Fall 2015 First Year Course Descriptions

Select search options below to limit the course listings. To search for First Year Seminars, select "LNGC - Lang College" in the Subject drop down menu. To search for First Year Writing courses, select "LFYW -First Year Writing Program" in the Subject drop down menu. To review course options for a particular subject, select from the Subject drop down menu.

*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
LANT 2005 Credits: 4
Intro to Anthropology *BEST BET*
This course satisfies requirements in Reading for Anthropology majors.
LANT 2040 Credits: 4
Indigenous Formations & Settler Governance *BEST BET*
The category Indigenous has various meanings, which have been used to mobilize action toward a number of political ends. However, as Orin Starn writes, "The truth is that indigeneity, precisely because it has no fixed or necessary meaning or destination, comes with no guarantees." This has been revealed by instances of armed resistance to both the FBI and tribal government at Wounded Knee in the early 1970's, as well as the forms of protest and political action that continue to demand justice and recognition for Indigenous peoples today. Ethnographically, this course will look at everyday life within and across the borders of reservations. Though the course will focus on the United States, we will also look at a number of other settler states to discuss how indigeneity is articulated as an international rights-based claim. Indigenous is a concept used to describe inherent notions of community, belonging, sovereignty, and political relatedness. Conversely, Indigenous, as well as analogues like Indian, Native, First Nation, and Aboriginal, have been used by states to define, detail, and survey colonized peoples as a tactic of governance. These categories are also used to displace, eliminate, and disperse populations struggling for political and cultural recognition. This course explores notions of indigeneity, as they are cast both within Indigenous communities, as well as the settler states that seek to regulate them. Course readings will include introductions to Indigenous politics and settler colonial studies, complemented by a range of ethnographic texts that account for the forms of power that operate between settler governance and Indigenous political life.
LANT 2100 Credits: 4
Postcolonial Africa
Postcolonial Africa is typically represented as a marginal place in the world: a place of disorder and war. How does anthropology help us to consider Africa's place in our world? Do anthropological accounts of postcolonial Africa confirm that it is a place of chaos and violence? Or does anthropology allow us to better understand how we came to think about Africa as prone to violence and marginality? This seminar will consider these questions. We will examine some of the key concepts and debates that are central to the anthropology of postcolonial Africa with an aim to developing a critical perspective on representations of this vast continent and the diversity of practices that make Africa more than a continent. The seminar will take a thematic approach, covering topics such as kinship and ethnicity, religion and witchcraft, and economics and globalization. We will use both ethnographies and novels as the basis for discussion and debate. This course satisfies requirements in Reading and Writing.
LCST 2039 Credits: 4
This course focuses on the role of technological thinking in the study of media. It introduces students to a variety of perspectives on the machines and apparatuses that undergird the systems of meaning that we know as media. Topics include the technologies of sound and image; apparatus theory of cinema; painting and CGI; technics and time; cyborgs and games. The general aim of the course is to acquaint students with a rich tradition of inquiry into the technological bases of media forms. [Tracks M & C]
LCST 2040 Credits: 4
Reading Visual Images *BEST BET*
This course introduces students to the diverse methods, formats, and genealogies of the visual image. Looking at both still and motion pictures, students learn to understand the language of images, the visual rhetoric that gives images their power, and to develop critical skills in visual analysis. [Count for Tracks M & S]
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 2129 Credits: 4
"The Girl" as Media
"*""The Girl"" as Media Image* [Tracks M & C] She is everywhere: selling everything from magazines to real estate. The Girl now mediates our relationship to commodities, and even to each other. Feminist theory has argued that these images are not those of ""real women,"" but has had less to say about how ""she"" has become a structural necessity for marketing. This course examines both these aspectsùgender and commodity. It examines popular culture (Beyonce) and theories of gender, but also writers and artists who have dissented from this figure, from Kathy Acker to Beatriz Preciado. It also considers men who have appropriated and channeled her, from Warhol's transgender superstars to Almodovar's Hollywood drag. This course links theories of the commodity, gender, and sexuality and applies them to contemporary everyday experience. [Tracks M & C]"
LCST 2150 Credits: 3
Intro to Cinematography
*Introduction to Cinematography* [Track S] How a director decides where to place the camera, how to frame the image and who or what will be seen within the frame, the particulars of lighting a scene and whether or not the camera should move will all be explored and practiced in this mid-level directing course. It is a requirement for entry into the Senior Seminar in Directing. We will complete weekly camera exercises, as well as a final project that incorporates all of our semester's learning. [Track S] *Senior Seminar: Screen* [Track S] This course allows Culture & Media graduating Seniors in the Screen Track [S] to complete their Senior Capstone requirement in a class room environment. This is a Production course.[Track S]
LCST 2450 Credits: 3
Introduction to Media Studies *BEST BET*
*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
*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 *BEST BET*
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 2021 Credits: 2
Lang at Judson Church *BEST BET*
This course provides students the opportunity to delve into experimental dance and performance in downtown New York by attending regular weekly performances of Movement Research at Judson Memorial Church. These performances are a free, high visibility, low tech forum for experimentation, emerging ideas, and works in progress. Required reading and class discussion considers the history of the Judson Dance Theater in the context of post-modernism and avant-garde experimentalism in the early 1960's. A dance background is not a requisite for this class. Students will attend performances at Judson Church every Monday evening and participate in class discussion on Wednesday evenings. The church is located at 55 Washington Square South.
LDAN 2040 Credits: 4
Introduction to Dance History
This course introduces students to issues and methods in the field of dance history. Reckoning with the embodied and ephemeral nature of dance, students consider varied ways in which dancing tends to elude official history. With an emphasis on 20th century U.S. concert dance, course material includes theoretical and historical texts, recordings of performance, ethnographic accounts, and oral histories. Exploring a choreographic event of their choosing, students conduct research at the New York Public Library for the Performing Arts, one of the world's largest and most comprehensive archives devoted to the documentation of dance. The course is open to students across the arts and humanities.
LDAN 2300 Credits: 1
Introduction to Ballet Practices *BEST BET*
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 2920 Credits: 4
IHD-Harlem Dance and Education *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.
LECO 2125 Credits: 4
Technology, Inequality and Economic Growth in the United States *BEST BET*
We will review notions of economic growth as they pertain to issues of wealth and income inequality as well as technology. Our case study will be the US economy of the 20th Century. Mathematical prerequisites will be self contained.
LFYW 1000 Credits: 4
Writing the Essay I: A Small History of Photography
Taking title and cue from Walter Benjamin's 1931 essay, this course will examine the early years of the photographic medium and venture into the social histories of the scientific experiments and processes that lead to what we know as photography today. One objective of this course will be to de-familiarize our understanding of photography by re-materializing it as a scientific process that is rooted in its particular historical and cultural moment of the early 19th century. We will explore the origins of photography in relation to other emerging scientific and social movements of the same period. By reading early writings on photography penned by some of its inventors alongside the writings of contemporary critics seeking to illuminate photography's origins, we can explore the range of political, social, and cultural understandings of photography at its earliest stages of development and examine how these early understandings of the medium translate into the present. We will examine some of photography's early ideological uses and functions and consider how these uses and functions are/ are not legible in contemporary ways of seeing and talking about photographs. We will examine a wide range of early photographic practices spanning the first 100 years of the medium, from the early experiments of Joseph Niepce and Louis Daguerre, early portraiture and police "mug shot" photography, as well as images of genocidal violence throughout the period of territorial expansion and post-Reconstruction in the U.S.. Some questions we might consider are: how did people see and describe photographs and the processes of photography in the 19th and early 20th century? As an art form that has its origins in science, what role did photography play in other emerging scientific inquiries of the time? How is race, or the concept of "otherness" constructed in early photographic practice? How does a photograph assert an idea or an ideology?
LFYW 1000 Credits: 4
Writing the Essay I: Citizenship and the Other
Through a consideration of recent events in this country around race and violence, we begin a conversation in our own writing and thought on citizenship and the other: who belongs and who does not in a given society. Our primary text is poet Claudia Rankine's Citizen, a powerful new work which documents racial violence, both physical and psychological, in the United States today. Through Rankine's text, we consider recent events surrounding race in America: Ferguson, MO, Trayvon Martin, the death of Eric Garner and the social movements that have sprung up in their wake: who belongs and who does not in our own country. Inspired by Rankine, we document our own micro-aggressions in our writing, our personal encounters with the violence of racism or being "othered" on the basis of gender, sexuality, appearance, age, etc. Other texts include Maggie Nelson's The Argonauts, which investigates gender identity and normativity.
LFYW 1000 Credits: 4
Writing the Essay I: Contemporary Feminisms
Taylor Swift and Katy Perry say they aren't- but Beyonce and Lena Dunham proudly are.  In this writing intensive course we will look at the recent resurgence of interest in feminism.  Readings will include historical and contemporary texts, as well as pop culture and performance art.  Why is feminism having a moment?  In looking at the intersections between feminism, gender equality and civil rights, why does feminism matter? We will look at feminism through the "waves" – from suffragettes to Amy Schumer, from Ms. Magazine to Rookie, from bell hooks to Roxanne Gay.  Digital events will be looked at in real time during the months this class is in session.  In addition to class discussions and outings to live performances, students will write, workshop and rewrite essays related to the readings.
LFYW 1000 Credits: 4
Writing the Essay I: Critical Theories of Finance
This writing seminar introduces students to critical theories of finance. We will survey recent and canonical works to arrive at an understanding of finance as an institutional system for the management and regulation of the circulation of money, whose market rationality has extended beyond the economic sector and into other dimensions of human activity. We will define key features of this system by studying some of the contemporary forms "money" takes—debt, credit, derivatives, and remittances—examining their historical development as part of the globalization of capitalism, as well as their cultural ramifications in everyday social life. How and why has the financial market emerged as the dominant sector of the global economy? How do financial instruments like derivatives inflect our notion of value, uncertainty, and risk? How do contemporary institutions of debt and credit transform fundamental ideas about personhood, social obligation, even our sense of time? How might migrant remittances direct us to an understanding of the transnational operations of labor and capital? We will engage these questions from a multi-disciplinary perspective, drawing on readings from, among others, Karl Marx, Michel Foucault, Marcel Mauss, Karen Ho, and Wendy Brown.
LFYW 1000 Credits: 4
Writing the Essay I: Critical Theories of Finance *BEST BET*
This writing seminar introduces students to critical theories of finance. We will survey recent and canonical works to arrive at an understanding of finance as an institutional system for the management and regulation of the circulation of money, whose market rationality has extended beyond the economic sector and into other dimensions of human activity. We will define key features of this system by studying some of the contemporary forms "money" takes—debt, credit, derivatives, and remittances—examining their historical development as part of the globalization of capitalism, as well as their cultural ramifications in everyday social life. How and why has the financial market emerged as the dominant sector of the global economy? How do financial instruments like derivatives inflect our notion of value, uncertainty, and risk? How do contemporary institutions of debt and credit transform fundamental ideas about personhood, social obligation, even our sense of time? How might migrant remittances direct us to an understanding of the transnational operations of labor and capital? We will engage these questions from a multi-disciplinary perspective, drawing on readings from, among others, Karl Marx, Michel Foucault, Marcel Mauss, Karen Ho, and Wendy Brown.
LFYW 1000 Credits: 4
Writing the Essay I: Giving an Account of Oneself: Experience, Identity, Responsibility
In this writing-intensive course, students examine philosophical and literary works that have investigated the difficulties inherent in "giving an account of oneself." The first half of the course examines several classic texts that defined the genres of the autobiography and the essay, likely including brief selections from St. Augustine, Montaigne, Descartes, Rousseau, and Emerson. In the second half of the course we will consider a number of texts that have complicated the meaning of autobiographical practices. Likely selections include texts by DuBois, Dostoevsky, Nietzsche, Freud, Foucault, Arendt, Butler, Ashbery, Graham, Crenshaw, and Ellison. 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 experience, identity, and responsibility.
LFYW 1000 Credits: 4
Writing the Essay I: Great Short Fiction
This writing course offers a survey of the Twentieth Century short story. Authors are both canonical and contemporary, from Joyce, Kafka, Updike, and O'Brien to Carver, Amy Hempel, and E.L. Doctorow, among others. The course explores character and conflict, experimental and psychological fiction, moral fiction, as well as the role of voice, descriptive language, and symbols in interpreting fiction. The course emphasizes close reading of texts and requires ongoing shorter assignments plus multiple drafts of formal essays.
LFYW 1000 Credits: 4
Writing the Essay I: Race and the Iconic Ghetto
Given the rise of protests and general civil unrest within cities across the country as a result of high profile race related cases, the subject of race has re-emerged as a dominant theme in American culture. Focusing on the urban context of racial inequality, this writing intensive course looks at the lasting effect of spatial segregation on race relations in the U.S. In particular, this course takes the African American experience into account from the Great Migration after to slavery to mass incarceration or what many call the "New Jim Crow" to provide a context of the relationship and consequence of ghettoization and race relations. In doing so, this course takes a critical reading and analytical approach to some of the key authors and arguments in the fields of urban and race studies. The focus of the course is to take into account the historical, political, economic and social implication of race through a critical analysis of the written material on the subject. In doing so, emphasis will be placed on effective writing and argument analysis through a deconstruction of mainstream scholarship on these issues. The objective of this course is to come to a grounded and contemporary analysis of race centered on the urban context as well as developing a strong foundation in critical reading and effective writing.
LFYW 1000 Credits: 4
Writing the Essay I: The Faith Between Us
Look at the headlines, flip through a magazine, or click the link to your favorite blog, and increasingly you'll find that whether faith comes between us, separating one believer from another, or lives between us, forming the glue that holds communities together, is a question we all must face. No matter your tradition, or lack thereof, so many people these days have something pressing to say about God, faith, belief, practice, or, yes, even unbelief. Through a consideration of a variety of (mainly) contemporary religion writing – mostly from newspapers, popular magazines and books, and journals – this course asks you to take your own excursions into faith and faithlessness, and through a process of writing, workshopping, and the all-important rewriting, create the stories that, in Joan Didion's words, "we tell ourselves in order to live."
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? How can various cultures express essentially the same story? Most importantly, what does this phenomenon say about us? In addition to reading fairytales and accompanying literary criticism on tales and their circulation, we will read basic elements of narrative theory. Students will investigate the prevalence of fairytales in contemporary literature and popular culture. Readings will include The Grimm Brothers, Charles Perrault, Giambattista Basile, Italo Calvino, Jack Zipes, Rebecca Solnit, Maria Tatar, Kazuo Ishiguro and 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, & Empire
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: War Stories: Violence, Truth, and Narrative
Novelist and Vietnam veteran Tim O'Brien wrote that "a true war story, if truly told makes the stomach believe." His aim was to emphasize the importance of a story's visceral impact on a reader, but also to voice a certain skepticism about the role of war stories in perpetuating myths about what war is, why it happens, and how people are affected by it. War stories are some of the oldest and most enduring narratives. Yet despite their ubiquitous presence in the popular imagination, the "true" experience of war is often perceived as elusive, either because it is so difficult to represent faithfully, or because its portrayal is colored by a deeper agenda, political or otherwise. In this writing intensive course, readings and class discussions will explore some of the genres, tropes, and techniques by which war and its aftermath have been represented. The textual "war story" will be the primary medium that we will examine together first-hand, however, class discussions and assignments will incorporate a variety of cultural forms, including journalism, film, television, photography, visual art, archival history, and other forms of media. 
LFYW 1000 Credits: 4
Writing the Essay I: Writing About Values
In this course, students are encouraged to examine 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 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, Euripides, Aristotle, Shakespeare, Woolf, Orwell, Sartre, June Jordan, Al Gore, and Michael Pollan, as well as Eastern and Western religious texts (from the Book of Job to Buddhist texts), and topical newspaper articles. Students will focus on developing logical strategies, grammatical clarity, and rhetorical techniques, as well as close reading and research skills.
LFYW 1000 Credits: 4
Writing the Essay I: Writing Science, Writing the World
From our relationship to nature to our understanding of string theory, writing has much to offer to science: expression, examination, communication, creativity. Students in this course explore those pathways as well as a more challenging (and perhaps more exciting) question: What can science offer to our writing? In this writing-intensive course, scientific work serves as analytical object, literary subject, and creative inspiration. Students examine rhetorical and literary choices in diverse specimens of science writing, honing their ability to make strong choices in their own writing as well. Readings include scientific journal articles, science journalism, and literary work that engages creatively with scientific material and aesthetics. Authors may include Charles Darwin, Carl Sagan, Brian Greene, Aldo Leopold, William Cronon, Rachel Carson, Primo Levi, Mary Roach, Ed Yong, Meehan Crist, Caleb Scharf, Lynn Schmiedler, Donovan Hohn, and Rivka Galchen. No scientific expertise is required as prerequisite, but students should not be afraid to engage with scientific scholarship.
LFYW 1000 Credits: 4
Writing the Essay I: Writing the Environment
Humanity's conflicted relationship with the world around it is as old as the species itself. The movement known as environmentalism is much newer: as the environmental historian Ramachandra Guha argues, it's a movement best understood as a reaction to industrialization, and as such is no older than several hundred years. Wherever environmentalism has flourished, great writing has pushed it forward. Using Guha's "Environmentalism: A Global History" as our guide, we'll trace the history of this movement through the writers who have fueled it, from the Romantic poets to Rachel Carson, from Edward Abbey to Elisabeth Kolbert. We'll also read some great science fiction, a genre whose best practitioners—Isaac Asimov, J. G. Ballard, Ursula K. Le Guin—have produced the some of the most vivid and provocative prose ever written about environmental consequences. Along the way you'll try your hand at your own environmental essays, bearing in mind that "the environment" isn't restricted to the great outdoors; the questions we'll be discussing are just as vital in the big city, and even inside your apartment.
LHIS 2070 Credits: 4
Citizenship in the Empire City: A History of Civil Rights in NYC *BEST BET*
From its start as a Dutch commercial outpost, New York City has been a point of convergence for people of vastly varied backgrounds and statuses. How have government authorities confronted this wide array of difference over time? This course uses the city's history as a laboratory to investigate the development of the rights and privileges that we now think of as "citizenship." The readings explore who had access to rights, who was denied them, and who struggled to obtain them over the course of almost four centuries. Topics covered include slavery and emancipation, immigration and naturalization, law enforcement and criminal justice, suffrage and the electoral process, social welfare and income inequality, and protest and the right to public space. The course demonstrates that citizenship did not suddenly emerge on the national level, but slowly accrued over time in response to local circumstances.
LHIS 2072 Credits: 4
Empire, Slavery and the Making of the Americas *BEST BET*
Starting with the Spanish invasion of Aztec Mexico and ending with the Haitian Revolution in 1791, this course explores a transformative period in history. The accidental discovery of America initiated several centuries of intensive economic, military and religious activities throughout the Atlantic world. These transformations had catastrophic consequences for indigenous peoples and relied upon the labor of twelve million enslaved Africans. While our focus will be on the British empire, this course draws parallels between Spanish, English and French endeavors overseas, in order to evaluate how the mass migration of Europeans and the forced exodus of Africans to the "new world" laid the groundwork for American society as we know it today. Our approach towards history will be thematic. Rather than memorizing dates and events, the assignments will ask you to consider how people who possessed competing interests, values and beliefs interacted with each other. A variety of written and visual materials, from travel narratives and maps, to paintings and illustrations, will help us to understand how people negotiated their differences or resorted to violence.
LHIS 2106 Credits: 4
Memoirs of 20th Century Europe *BEST BET*
"Julio Caro Baroja (anthropologist, Spanish): ""There's a patent contradiction between one's own life experience--childhood, youth and old age passed quietly and without major adventures--and the facts of the twentieth century...the terrible events which humanity has lived through."" Theodor Adorno (philosopher, German): ""The illusory importance and autonomy of private life conceals the fact that private life drags on only as an appendage of the social process."" Samuel Hynes (literary scholar, American): 'A personal narrative is what can be made of what may have happened.' Vera Brittain introduces her autobiography with the assertion that the outbreak of war in 1914 came as an annoying interruption of her everyday life, cannily underscoring the terrible ironies of private lives enacted in a world shaken by political cataclysm and profound socio-economic ruptures.This course takes the juxtaposition of ordinary life and the major events of the twentieth century as its subject. Using a variety of first-person accounts, it explores: the century's catastrophic world wars, the Soviet domination of Eastern Europe, changes in gender roles and expectations, the transformation of rural life, and the challenges of immigration and ethnicity in late twentieth-century Europe. We address the ways that memoirs and other types of first-person accounts work as historical documents and explore the complicated politics of memory."
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.
LHIS 3100 Credits: 4
Migration, Diaspora and Citizenship in Past and Present *BEST BET*
The seminar will focus on the experience of migration in terms its history and its present with a special emphasis on Latin American immigrants in New York City and Buenos Aires. It will be specially tuned to contemporary debates on undocumented migrants, and policy discussions in light of wider historical contexts in the Americas. The course is co-taught by Claudio Remeseira, Metro editor of El Diario, the oldest and one of the largest Hispanic newspapers in the USA. The course will include visits to sites and community organizers for migrants in the city, and will culminate in a media, policy and academic discussion focusing on mutually inclusive history and public intellectual angle.
LINA 2006 Credits: 3
Punk and Noise
This course explores the aesthetics, techniques, history, and elements of style in punk and noise music, with an emphasis on New York City-based musicians, audiences, and venues. Related topics include postmodernism, youth subcultures, the music industry, and issues of politics and gender. The course offers opportunities for performance and composition. Familiarity with Western music notation is not required. This course counts toward the Gender Studies minor.
LINA 2025 Credits: 3
Arts Digital Toolkit
This course provides students the practical and conceptual skills to integrate digital media into their research presentations and art-making practice. It covers the acquisition and production of digital media using DSLR's, video cameras, and sound recorders and the use of imaging applications from the Adobe Creative Suite such as Premiere, Photoshop and After Effects, as well as selected sound design applications. Students prepare their material for various output scenarios ranging from print graphics to Internet distribution to large-scale projection. Students must own an external hard drive for saving and transferring their work.
LINA 2032 Credits: 4
Melodrama in the Arts *BEST BET*
This course explores melodrama, that much maligned but most wonderful of genres, from its original definition as "a sensational or romantic stage play with interspersed songs and an orchestral accompaniment" to its present day incarnations. We will investigate the history and techniques of melodrama as evidenced in works for the stage as well as music and cinema, and we will also pursue questions about the cultural significance and uses of melodrama in our culture. Reading and listening assignments include works by dramatists such as Dion Boucicault, Alexandre Dumas, Charles Ludlam, and the impresario David Belasco; novelists such as Charlotte Bronte, composers such as Robert Schumann, films by directors such as Rainer Werner Fassbinder; and selected theoretical writings by Eric Bentley, Peter Brooks, and Judith Halberstam. Through this course we will understand melodrama (and the quality of being "melodramatic") through a range of artworks and historical contexts.
LINA 2036 Credits: 4
Sound and Sexual Politics
"This course takes up questions of gender, sexuality, performance, and sound in art since 1945. Sexual politics have been understood almost exclusively in terms of visual and textual markers, yet their entanglement with the sensory and philosophical register of sound is extensive. Gender and sexuality cut through discourses on sound and sonic aesthetics, asking us to rethink both the history of sonic art and the status of sound in the arts more broadly. Likewise, attention to the sexual politics of sound within aesthetics and performance might compel us to reframe sexual difference, and sexual dissidence. We will study how artists have deployed sound--as part of performances, videos, installations, and sculptures, as well as in ""sonic art""--in ways that offer material for queer and feminist thought. The role of musical, vocal, and auditory practices within political movements will also be considered. Course material will span artwork and popular culture as well as black studies, Marxist feminism, film theory, queer studies, psychoanalysis, visual studies, and art history. Reciprocally, we will explore how close attention to sound and sound studies might reshape central knots in feminist theory and queer theory. In addition to reading and listening assignments, students will complete a series of writing projects over the course of the semester. This course counts toward the Gender Studies minor."
LINA 2101 Credits: 4
Contemporary Cuba: Art, Politics, History, Ideas
"The course will focus on the development of different artistic media over five decades of Cuba's contemporary history. We will consider how Cuban works of art reflect the complexity of the country's history, culture, and charged political situations. We will analyze the history of the post-revolutionary era through the lenses of visual arts, considering how they constitute highly sophisticated interpretations of the always-changing reality. Classic films and video by prestigious filmmakers (Santiago Alvarez and Tomßs Guti?rrez Alea) will be reviewed and analyzed, and we will also explore the history of Cuban music and dance with guest lecturers. This course examines curatorial events organized in Cuba, such as the Havana Biennial, and exhibitions of Cuban art in North America, such as ""Cuba: Art and History from 1868 to Today!"" at the Museum of Fine Arts in Montreal in 2008 and the exhi bition at the Bronx Museum this year."
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 2010 Credits: 4
Ethics and History of Journalism
This course situates contemporary journalism in its historical context and grounds students in the fundamental ethical principles of the discipline. The course will introduce the concept of journalism as a system by which a society shares information, and an integral part of the democratic checks and balances system. History will extend back to the oral tradition in ancient Rome to the 17th century coffeehouses of London to the birth of the first newspapers, and look at disruptive technologies like the printing press, radio, television and the Internet. The class will examine the effects on society of government-controlled press and consider ideas of the effect of corporate control in contemporary journalism, as well as look at different contemporary models like the American notion of neutrality versus the European system of Liberal and Conservative outlets. Emphasis will be placed on changing notions of what it has meant historically to be a good journalist, and establishing the guiding ethics of telling the truth, transparency, independence and serving the public good.
LLSJ 2236 Credits: 2
Podcasting *BEST BET*
Podcasting offers journalists, artists, and performers a direct conduit to listeners and Serial and other recent breakout shows suggest audiences have a voracious appetite for more programming. This class will explore the opportunities podcasting offers audio producers. The class will create an eight episode podcast and every student will get experience with story planning, interviewing, audio editing, promotion and audience building. Some audio production skills are recommended but not required. The class will also explore the podcasting publishing ecosystem as well from networks like Radiotopia and Slate.
LLSJ 2239 Credits: 2
In the Company of Strangers: Photojournalism for Connectivity *BEST BET*
We live in a world saturated with images and videos. As mobile devices turn us inward and self-involved, how do we investigate the world? Through photographic assignments, supplemented by class discussion, students will use photography as a tool for engagement, allowing them to build community. We will think about what draws people to photography and the power of pictures. We will examine the history of photographic evidence in journalism and how visual literacy has changed in the 21st century. This class is open to students of all disciplines. Students will enter the class identifying with many virtual communities and will leave the class with stronger ties to their physical community, and a clear foundation in interpreting and producing photographs.
LLSJ 2240 Credits: 2
Designing Digital Communities
The Internet is a place for discussion and collaboration, but the experience can be difficult, confusing, intimidating, or downright hostile. This course will explore how we can design systems for better discussion, collaboration, voting and governance online. This course is taught by Francis Tseng, who is currently involved in the design and development of the Coral Project, a collaboration between the Washington Post, Knight-Mozilla OpenNews, and the New York Times that seeks to reinvent how digital communities work.
LLSJ 2241 Credits: 2
Web Coding for Interactive Design *BEST BET*
Interactives and news apps are changing the way we process media, and the expectations for media producers in newsrooms globally. Data journalism departments and newsrooms like Vox, the NYTimes, ProPublica, and 538 build narrative and newsworthy tools around code; and the participatory nature of their media output invokes new languages and web fluencies. This course will introduce web development for newsroom interactives, including an introduction to web scripting languages, version control for collaborative coding, and the authorship of interactive narrative on the web. The goal of the course is to compliment student's existing coursework and interests with some essential coding skills, by course completion, helping them design, build, and deploy a data-driven, or news-inspired interactive. Students will workshop a news interactive of their own design throughout the course, punctuated by smaller exercises and lecture pairings on the topics of HTML5/CSS3, Javascript and contemporary development in data journalism.
LLSJ 2242 Credits: 2
Data Journalism Bootcamp *BEST BET*
Learn how to investigate data-driven stories that catalyze change without knowing how to code. This hands-on lab course will start with the basics by honing students BS detector before covering the building blocks of data journalism through presenting findings for publication -- be it in text, graphic or other form. Students will learn the basic math and spreadsheet skills needed to verify data and spot outliers that make a great story. Extracting and cleaning data and how to format findings for publication will also be covered. Students will leave knowing how to make spreadsheets and do the dirty work of great journalism. Throughout the course, students will learn from published stories that changed lives and law and see how those journalists got their numbers.
LLSL 2037 Credits: 4
History of the English Novel
"This course is a survey of the novel in English from 1700 to the present day. Once derided as an ""incentive to seduction,"" the novel achieved critical acclaim as well as cultural prominence in the mid-nineteenth century; it remains by far the most popular form of printed literature to this day. Starting from the picaresque novel of the eighteenth century, we see how the English novel reached its characteristic mode in the 1800s, with Austen's domestic drama and Dickens's sentimental realism. We then look to twentieth-century writers of the greater English-speaking world, for whom the settled novelistic formulas had grown stale, and consider whether they have succeeded in merely putting the genre on life support or in reviving the form for a new era. Readings include: Daniel Defoe, Robinson Crusoe; Jane Austen, Pride and Prejudice; Charles Dickens, Great Expectations; Virginia Woolf, Mrs. Dalloway; Salman Rushdie, Shame; and Edward P. Jones, The Known World."
LLSL 2038 Credits: 4
Terrorism in Modern Literature and Cinema *BEST BET*
Arguably the central political and moral issue of the 21th century, Terrorism has a long history. Through readings and film screenings, lectures, and discussion of historical, theoretical, literary, and cinematic works that represent terrorism in Europe, Asia, Africa, Russia, the Middle East, and the Americas over the past 150 years, we will confront the complex historical, cultural, and moral dimensions of terrorism as it has been represented, understood and explained. Among the writers read are John LeCarre, Franz Fanon, Albert Camus, Joseph Conrad, Yasmina Khandra, and others.
LLSL 2039 Credits: 4
Listening to America *BEST BET*
This course is an introduction to rhetorical theory and its modern American contexts. Considering the classical philosophical relationship between speech, listening, vernacular, and democracy, this course will will interrogate the ways in which America and Americans are rhetorically composed, solidified, and contested through the voices of literature, oratory, music, and audio culture. Jay Fliegelman argues that "The Declaration of Independence" was meant to be read aloud and that, in reading this document silently to ourselves, we fail to grasp its meaning and potential. He maintains that America is a culture and society built on the affective and rational dimensions of listening. We will consider such texts as Whitman's "Song of Myself," the people's microphone of Occupy Wall Street, Martin Luther King, Jr.'s "I Have a Dream" speech, and Zora Neale Hurston, Their Eyes Were Watching God. We will ask why Americans are galvanized by voices and how a deeper understanding of rhetoric can contribute to a broader definition of nation.
LLSL 2411 Credits: 4
Contemporary Latin American Literature
This course studies Spanish American texts written during the last two decades by such authors as novelists Roberto Bola±o, C?sar Aira, Juan Gabriel Vßsquez, and playwright Sabina Berman. While contemporary writers had long labored under the shadow cast by the international reputation of the Boom novelists and other Latin American authors of the 1960s, the rise of Bola±o as a world author has generated a new wave of interest in Latin American literature as a principal contributor to the current literary scene.
LLSL 2663 Credits: 4
Anglophone Poetry 1
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
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 2014 Credits: 3
Quantitative Reasoning II: Quantitative Research Methods
This course is aimed at developing students' ability to (i) identify a well-formed data-based research question, (ii) find, analyze and present the relevant quantitative information in support of the pertinent argument, and (iii) to compile all results and construct a sophisticated data analysis project. Building upon QRI's numerical and quantitative reasoning skills, this course will focus on quantitative research methods and related skills, including elements of statistical analysis and their applications to business and social sciences. Students will be able to identify, understand, and critique primary and secondary research in industry, scholarly, government, and other specialized applications. They will also gain strong familiarity with the use of large data sets.
LMTH 2025 Credits: 4
Statistics for Social Scientists *BEST BET*
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 *BEST BET*
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 and Psychology majors, 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.
LMUS 2010 Credits: 4
Fundamentals of Western Music
This course is a study of basic concepts and skills in Western music theory, with a focus on learning to read and write music notation in both treble and bass clefs.Topics include intervals and ratios; music terminology; melodic, rhythmic, and harmonic structures; traditional musical forms; and beginning composition and analysis.The course focuses on ommon practicetonality, but also considers other historical developments in the organization of musical sound.The course is designed for students who do not yet read music notation and/or students who wish to improve their listening skills and understanding of music theory.
LMUS 2030 Credits: 4
Hip Hop Pedagogy & Practice *BEST BET*
"This course examines the power of the hip hop elements (MCing, DJing, graffiti, breakdancing, beatboxing) as tools for teaching and empowering activism agency. Grounded in hip hop culture and critical pedagogy, students will develop an analytic lens that will be used to ""close read"" the world and respond to social justice issues on both artistic and educational platforms. Students will craft a culminating project consisting of an issue-based hip hop performance or installation focused on civic engagement, accompanied by a supplemental curriculum designed for classroom implementation. This course will highlight artist educators/artist activists who span the stage, the studio, and the classroom. We will consider hip hop cultural tenets re-imagined as a framework for teaching and learning through case studies drawn from around the world."
LMUS 2050 Credits: 4
Music Technology *BEST BET*
This course provides an introduction to the field of music technology from historical, philosophical, and practical hands-on perspectives. Topics of study include the physics of sound and psychoacoustics; case studies on compositional techniques such as musique concrete and electronic synthesis; studio mixing, recording and production techniques; and digital sampling and editing software.
LMUS 2106 Credits: 4
Underground Dance Music - Electronic Dance Music in NYC
Why has dance music had such an enduring hold on the popular imagination? This course will look at the creators and consumers of underground dance music from the late twentieth century to the present day. Students will learn about urban subcultures and the relevant historical contexts û from the rise of disco in the 1970s, the backlash during the AIDS crisis of the 1980s, and the evolution of house, techno and rave culture in the 1990s, to the emergence of fragmented electronic dance music (EDM) subgenres during the contemporary Internet age. Readings will address the relationship between music and dance, and between music and marginalized minority groups; the cult of the disco diva; and DJ culture. Students will develop their listening abilities and learn to think critically about the historical, social and cultural issues surrounding dance music.
LMUS 2111 Credits: 4
Harlem Sound Conservancy *BEST BET*
This course explores the musical heritage of Harlem since the early twentieth century through archival research, oral histories, and fieldwork recordings to create an online sound library. Topics such as the Harlem Renaissance and the Black Arts Movement will allow students to consider sound, place, and scene along with social and political context. We will partner with the Detroit Sound Conservancy (DSC), an organization that provides support to Detroit's imaginative musical heritage through advocacy and education and addresses challenges in the areas of preservation and education through music. The DSC will provide a working model as well as educational and technical support throughout the semester. Emphasis will also be given on the role of advocacy and community engagement as critical to arts preservation. The course is designed to engage students in critical thinking and hands-on learning opportunities while developing skills in archival work and service learning. LINA 2025 Arts Digital Toolkit is recommended as preparation for this course.
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. This course is one of the two required courses for Contemporary Music majors and minors.
LNGC 1001 Credits: 2
Reading NYC: Citizen Journalism: Oral Histories of NYC
This course explores the rise of citizen journalism, and its disruption of traditional news through the facilitation of multiple voices and new platforms globally. We will examine the ethics, tools and practice of citizen journalism by traversing the city to engage with a diverse array of New York City communities: Puerto Rican elders in the Bronx, young LGBT activists in Bushwick, or a dance company in Chinatown, for example. Our seminars will center on: strategies for community collaboration; exploring interactive storytelling mediums; hands-on production workshops in video, audio and public art installations, and developing our own oral history projects.
LNGC 1001 Credits: 2
Reading NYC: Collaborative Performance & Social Justice in the City
How is activism performative? This course will explore the circumstances in which social change is personified through performance. We will take a critical lens on the city's social structures by conducting hands-on research into New York City's most influential and emerging ‘artivists' and social movements such as Black Lives Matter, Immigration Reform, Labor, Stop and Frisk alongside artists/organizations such as The Hemispheric Institute, Universes, Sekou Sundiata, Guillermo Gomez Pena, and The Peace Poets. With these references, and with off-site visits to talks, performances, and meet-and-greets, we will define what it is about performance that can motivate, inspire, and change. Expounding upon the 'personal as political', this course challenges non-performers/performers alike to develop collaborative interdisciplinary performance that examines issues of race, gender, and inequity.
LNGC 1001 Credits: 2
Reading NYC: Educating New York *BEST BET*
This course looks at New York City through the landscape of urban education, equity and access. To better understand what is often referred to as the "tale of two cities," we will explore race, class, gender, and sexual orientation within New York City schools and Department of Education policy. At the same time, we will investigate the outside influences that impact student success and perpetuate the acheivement-opportunity gap. We will explore and get to know New York City by investigating issues of justice and injustice within and around city schools, connecting those issues to larger national conversations, and better understanding the city around us by making-meaning behind the ways we nurture and protect our most vulnerable citizens -- youth.
LNGC 1001 Credits: 2
Reading NYC: Getting Medieval on NYC *BEST BET*
The phrase "I'm gonna get medieval on your ass" was first made popular by Quentin Tarantino's 1994 film Pulp Fiction. This curious idiom suggests that the "medieval" is somehow a kind of sodomy. The idea that a time period can be likened to a sex act will be our course's jumping-off point for exploring how temporality is sexed, gendered, and raced. We will visit parts of New York City that are queerly anachronistic (e.g. cloisters, cathedrals, and shrines), and we will challenge the city's claim to being "new" by privileging indigenous, black, feminist, and anarchic experiences of time. We will conduct experiments in time-travel through site-visits and creative writing, and we will analyze how assumptions about temporality frame the city's complicated history with issues like HIV/AIDS, the so-called "war on terror," and police brutality. Our readings will include ancient philosophers of time; medieval mystics and theologians; post-modern and post-colonial theorists; pre-modern and contemporary literature; as well as a couple of films.
LNGC 1001 Credits: 2
Reading NYC: Law and Order: Policing & Criminal Justice in the City *BEST BET*
This course surveys historical approaches and contemporary debate surrounding police practices, policy and criminal court processing in NYC. We will explore police/community relations across the five boroughs and navigate the criminal justice process for New York City residents from arrest to trial. Throughout, we will examine the particular impact of criminal processing on communities of color, poor and working city residents, immigrants, young people and LGBTQ New Yorkers. We will travel throughout the city to meet with community groups and police organizations and observe the criminal courts in the five boroughs. Assignments will include a group final project, weekly reflection papers and ‘on the scene' reporting from sites through social media platforms.
LNGC 1001 Credits: 2
Reading NYC: Reclaimed NYC: Sites of Activism & Community Preservation *BEST BET*
This course traces the history of New York City's deserted urban spaces and how they have been transformed into sites of resistance and radical cultural preservation. We will study and visit: Weeksville, one of the first free African-American communities in the United States, the interactive "Whose Streets, Our Streets" project that maps queer activism, the East Village C squat building, the greenspaces in the Bronx's casitas, and more. Readings include texts by Arlene Davila, Judith Wellman, Benjamin Shepard and Gregory Smithsimon. Through this course, we will discover the city's diverse cultural landscape and the grassroots movements that have shaped communities across the five boroughs.
LNGC 1402 Credits: 4
Artists and Social Change
Charlie Chaplin appeared for the last time as the iconic figure of the 'Little Tramp' in his brilliant comic masterpiece and last silent film 'Modern Times'. 'The Tramp' or the underdog fighting for the poor and the destitute against the indifferent oppression of an industrialized society is arguably the most recognizable fictional character in film history. Impacted by America's Great Depression and the consequences of global industrialization, Chaplin in 1936 wrote, directed, choreographed, produced and played the leading role in 'Modern Times'. No one before or since has had complete control over such a sensational international hit. In the film, Chaplin explored important themes of economic and social human rights, the rise of the labor movement and his own theories of how to redress social injustice. Using Chaplin's seminal work as a springboard, this course will trace the emergence of the 'activist artist' by delving into distinct movements for social change -- from the reformers at the turn of the 20th century; to the social documentarians during the Great Depression; to artists today who are working to expand global awareness of human rights issues. We will also explore the shifting nature of the artist, from those who document and satirize in order to raise consciousness, to artists who also seek to create genuine social transformation.
LNGC 1405 Credits: 4
Beyond The Beats: New York School of Poets
The generation of writers and artists to emerge in the wake of the Beat Generation in New York City is usually referred to as the New York School. The New York school is most often associated with well known and celebrated figures such as poets Frank O'Hara, John Ashbery, Bernadette Mayer, Alice Notley and Tedd Berrigan. But what do these writers have in common beyond sharing the geography of New York City in their formative years? This course will examine the construction of the New York School as a literary category in the mid twentieth century and explore its ongoing impact on contemporary writing in New York. In addition to reading the writings of several New York School poets and listening and viewing visual and acoustic works by some of the artists and musicians with whom they collaborated, students will explore first-hand how some of New York's downtown neighborhoods shaped the work in question. As one of the required assignments, students will have the option of submitting a piece of creative writing.
LNGC 1418 Credits: 4
Dickens and Crime
Who goes to prison, and for what sort of crimes? This is a central question in Little Dorrit, Charles Dickens's masterful novel of financial crime. We read the tale of an imprisoned debtor's daughter and a massive bank fraud in installments, as it was first published, over the course of the semester. Reading Dickens slowly allows us to savor his prose and to explore the politics of his writing, in the context of his life. We also consider parallels in our own lives. To flesh out these comparisons, we visit a New York City court and decode the financial news in the Times. George Bernard Shaw once claimed that Little Dorrit was more revolutionary than Marx's Das Kapital. We find out why.
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 1427 Credits: 4
Childhood Narratives *BEST BET*
This course examines the theme of childhood across world literature, as well as its use as a metaphor for self-knowledge. Topics include literary strategies, patterns and traditions; the relevance of formative experiences to cultural literacy and to critical and political engagement; gender; the separation from home; the myth of a disappearing traditional culture; and maturity and adulthood. Readings may include works by Saint Augustine, Patrick Chamoiseau, Jamaica Kincaid, Tobias Wolff, Stanley Cavell, J.M. Coetzee, and Maxime Hong Kingston.
LNGC 1428 Credits: 4
The Seminar in the City: Within and Beyond Lang College
Lang College, 30 years old this year, builds on The New School's nearly century-long commitment to imagining more socially engaged forms of higher education. We explore the history and development of this often anti-institutional institution through online archives, site visits, and research projects around visionary classes from the past, while also studying the pedagogical philosophies that have shaped the values of the school, including writings by John Dewey, John Cage, Sara Ruddick and Sekou Sundiata. We ask how The New School's experiments empowered students to learn first-hand in the city, and how seminar pedagogies can work to catalyze and synthesize such learning. As a final project, students will lead a model seminar of their own that speaks to the urgent demands of the present time.
LNGC 1429 Credits: 4
Hard Feelings: Narratives of Trauma in History, Literature, and Culture
The malady known as Post Traumatic Stress Disorder did not exist as a medical classification until 1980 when a coalition of Vietnam War veterans and psychologists rallied for its official recognition. Yet clinical archives, literature, and other artifacts of culture show how people have grappled with the bodily, moral, and psychological effects of loss and catastrophe long before they became matters of medical science. This course explores a variety of ways in which trauma and its aftermath have been defined throughout history as well as the cultural contexts that have shaped strategies of recognition, reflection, and healing. Our readings will include first-hand accounts of trauma survivors and narratives of collective trauma as well as clinical literature that frames trauma as an object of scientific knowledge and medical practice.
LNGC 1430 Credits: 4
This class is an introduction to film analysis and will involve an intensive study of the film The Eternal Sunshine of the Spotless Mind as well as the original script that the film was based on and the Alexander Pope poem on which the title is based. Through a rigorous shot-by-shot analysis of this film, and by focusing on the various elements that go into any filmûstory, dialogue, casting, performance, mise-en-scene, production design, lighting, camera movement, sound design, and musicûstudents will develop a deeper understanding and appreciation not only of this particular film but of the art of narrative cinema in general.
LNGC 1433 Credits: 4
Spiritual Autobiography
One of the ways we make sense of the trajectory of our lives and of our ultimate questions is by uncovering a narrative of meaning. In this course, we will encounter contrasting contemporary spiritual autobiographies and spiritual memoirs: books and essays (and also documentary film) by writers/artists from diverse backgrounds (African-American, Euro-American, Latina/o, S.E. Asian; Buddhist, Jewish, Catholic, Protestant, Mestiza/indigena, Muslim, Native American; lesbian, gay, heterosexual, and transgender) who offer rich and moving examples of the attempt to understand the spiritual impulses that have significantly informed their lives. The constellation of themes we will explore though these texts include: ancestors, lineage, tradition, cell memory; secrets/disclosure and 'passing'; the body, sexuality, desire; concepts of God and the sacred; exile, homecoming, turning and returning; suffering, loss, and mortality; forgiveness and freedom; and the role of autobiographical writing as craft and as a process of liberation, broadly construed.
First-Years Lang students only.
LNGC 1436 Credits: 4
Civic Participation
Social scientists have noted that while there has been a decrease in political engagement among the young, there has been a surge in volunteerism among those 13-25. In this course, we will explore the multiple pathways of engaging in civic participation as well as the ways that people may educate themselves and share their education during their civic work. In the first part of the course, we will look at several models of non-profit organizations from arts and culture to service and the many in between. In the second part of the course we will look at ways that students and institutions of higher education can engage and partner with civic organizations to enrich the experience offered by each as well as enhance the quality, diversity, and scope of the services and activities offered in the community. This course is premised on the conviction that each of us can be both life-long doers and learners and that the free and reciprocal flow of knowledge resources between institutions and communities is one of the most effective and enriching ways to build essential social capital and create innovative approaches and dynamic solutions to the challenges that modern communities face, from poverty and cultural drought, to atomization and lack of political and social engagement.
First-Years Lang students only
LNGC 1439 Credits: 4
Reading the Modern Middle East
This course is designed to offer a general introduction to the regions of Southwest Asia and North Africa commonly designated "The Middle East." Rather than a chronological survey, the class will take a thematic approach organized around major issues and debates. We will focus on the history of ideas about how this part of the world should be understood, and we will explore how different ways of "reading the Middle East" have in fact shaped its history. Our study of the rise of Islam in the introductory segment will allow us to ask questions about 19th-century European scholarship on "Islamic civilization" and the ways it informed the policies of colonial governments across the region. Our reading of debates about identity and the history of nationalismùboth among historical actors at the time and subsequently among academic historiansùwill help us to understand what was new and different about the system of nation-states that emerged after World War I to replace an older order of "empire states." Our attention to the history of ideas about politics and political authority in the region will help us to evaluate struggles over the meaning of "people power" in the present moment. Ultimately, the aim of the course is to provide a toolkit for learning about the diverse cultures and societies of this often-misunderstood part of the world.
LNGC 1440 Credits: 4
Photography in Black and White: Race and the Photographic Image
This course allows us an opportunity to think about the ways race is "framed" rather literallyùthrough the lens of a camera. Our interest in race and photography is primarily American in context, dating from the early twentieth century through the present day, and principally photojournalistic and documentary in form. We explore key moments in American history, as well as seminal photos, as we consider the politics and ethics of representation. Through sociological, historical, and journalistic prisms, we examine, for instance, slave and lynching imagery, documentation of immigrant populations, and coverage of the civil rights movement. Ultimately, we progress right to the contemporary moment, with discussion of race and the photographic image in the age of social media. We also consider American coverage of peoples abroad, typically in war-based settings, as we extend our political and social discussions both geographically and conceptually. Throughout we ask, how have photographers reinforced or contested prevailing views of racial identity through the photographic form? And how are viewers influenced by these portrayals of race? Readings include theory and critical essays, as well as journalistic and historical accounts, and of course we will be looking atùand learning to read closelyùa lot of photography. Authors may include: Sontag, Sturken, Gladwell, and Azoulay. Students write response papers and longer essays, will take trips to various galleries and photo institutes, and can produce a visual project of their own.
LNGC 1445 Credits: 4
Sugar and Cotton: The Making of Global Capitalism
Through the history of two goods of consumption, sugar and cotton, this course will offer a reflection on the evolving nature of capitalism in the modern era. The course explores what capitalism is and when it came into being, and the role played by the growing circulation of consumption goods. It surveys how scholars have explained its evolution, and the different paths encountered for the spread of capitalism in Asia, Europe and in the USA since the 19th century. Through a reading of texts on the history of sugar, cotton, and world economy, such as Mintz and Pomerantz, as well as classical sociological authors such as Marx and Weber, this course will offer an introduction to the study of global capitalism and its different paths of socio-political developments.
LNGC 1446 Credits: 4
The Legacy of the Witch
The word "witch" carries a weighty history of feared female power. For centuries, healers and midwives using techniques outside Western medicine and women who amassed too much land, wealth, or independence were branded witches and suffered rape, torture, and death as a result. Today, while witch-persecution continues in certain parts of the world, the figure of the witch is both exploited and championed in films, television, music videos, visual art, and fashion. Whether on American Horror Story: Coven, Game of Thrones, Maleficent, or Salem, the witch transgresses hegemonic boundaries by rejecting religious, cultural, or patriarchal ideologies. This course will analyze the archetype of the witch through a feminist lens, tracing the history of this figure through historical and contemporary texts, films, and artworks that delve into the legacy of the witch as an enduring cultural icon.
LNGC 1447 Credits: 4
Body, Mind & School: Wellness & American Education *BEST BET*
This course explores historical and contemporary approaches to health and wellness in American education. Examining the progressive errand to educate 'the whole child,' the course investigates what that has meant in theory and in practice in the nation's public schools. Students consider questions such as: Should schools educate beyond 'the 3 Rs?' Is educating for wellness a 'frill,' or crucial to a successful education? What kind of curriculum did John Dewey have in mind when he advocated educating 'the whole child?' Additional topics to be discussed include the idea of 'multiple intelligences,' the impact of nutrition and physical fitness programs, the role of extracurricular sports, and the ways that changing ideas about the body inform our educational practice and experience today.
LNGC 1448 Credits: 4
Music and Politics
In 1948, composer and former New School professor Hanns Eisler was deported after an investigation by the House Un-American Activities Committee, led by a young Richard Nixon, decided that he and his music posed a political threat to the United States. Almost a decade earlier, Billie Holiday's 'Strange Fruit' became what British music critic Leonard Feather would call 'the first significant protest in words and music, the first unmuted cry against racism.' From the Futurists to Bob Dylan to Pink to N.W.A., from classical to jazz to folk, rock and punk, politically engaged music can be found in almost every genre and generation. This course explores forms of political discourse in twentieth-century and current music, focusing not only of the politics of governance, but also on how music plays a role in the politics of race, gender, religion, and national identity. Students are encouraged to explore their own musical backgrounds and interests when completing individual research projects about a specific genre, piece or political movement of their choice.
LNGC 1449 Credits: 4
Beyond the Human Being
How do nonhuman material thingsùsuch as the climate, the quantum particle, the microbe, the prosthetic limb, or the computer--impact our human existence? This course serves as an introduction to a growing field of academic discourse that seeks to challenge society's philosophical and methodological focus on the human being. Despite postmodern challenges to the subject, affects and environments outside the boundaries of the human still struggle to come into sharp focus. We will engage a variety of arguments for a model of understanding the world as comprised of intermixed hybrids, or "assemblages," of both human and nonhuman actors. Drawing on various strands of philosophy engaged in discourses commonly referred to as "new materialism" and "posthumanism" and inspired by such thinkers as Rosi Braidotti, Karen Barad, Jane Bennett, Diana Coole, and Donna Haraway, we will ask whether humans and nonhumans can ever be clearly differentiated despite our habits of thought that presuppose their fundamental differences from each other.
LNGC 1450 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 1503 Credits: 4
Understanding the Economy
What is needed to understand economic affairs? Is specialized knowledge important? What role does the connection between politics and economics play? In this course, we will use current economic news to gain greater familiarity with the economic concepts and tools necessary to understand economic debates.
LNGC 1509 Credits: 4
The Essays of David Foster Wallace
Perhaps better known as a novelist, David Foster Wallace was also a master essayist, whose works offer a unique look at what has animated our culture over the past generation, from hi-brow to lo. Wallace's essays explore matters from animal ethics to the physics of a game of tennis, from David Lynch and John McCain to Roger Federer and Tracy Austin (who broke his heart). He wrote about philosophy and pornography, cruise ships and Dostoevsky. This seminar explores Wallace's non-fiction work in pieces and as a whole, and as an example of what the essay alone may be able to do in our time. We ask also, in the words of one critic: 'How much can we sort of pin on DFW?'
LNGC 1523 Credits: 4
Hegel's Aesthetics
Our primary aim in this course will be to read and understand the two volume English translation of Hegel's Lectures on Fine Art. This will require us to consider some earlier philosophical aesthetics to which Hegel is responding (Kant, but also earlier German aesthetic thought), as well as to talk about some of the artworks on which Hegel dwells. However, our main goal will be to make sense of Hegel's Lectures.
LNGC 1530 Credits: 4
Game Theory and Decisions
In this course we will explore the fascinating role of mathematics in our decision-making processes. Game theory is an interdisciplinary branch of mathematics that examines situations in which players' actions affect everyone's outcomes. It can be applied to economics, politics, psychology, biology, ecology and philosophy, as well as standard recreational games. We will also look at social choice theory which asks: how should we elect a president; share resources; measure power? Arrow's famous Impossibility Theorem says that it is impossible to design an election system that is fair all the time. In this class, we will study this result and others using simple geometric tools to understand some of the paradoxes in voting theory.
LNGC 1534 Credits: 4
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.
LNGC 1535 Credits: 4
Women of Color Feminism: Technologies of Thought and Action
We will begin this course with Audre Lorde's two foundational essays "The Uses of Anger" and "The Uses of the Erotic: The Erotic as Power," to shape how we understand activist and intellectual "technologies." Framing technology as the practical application of knowledge, we will consider how Women of Color Feminist thought and activism has invented and mobilized a wide range of technologies to produce a huge body of work toward social change. From This Bridge Called My Back to #This Tweet Called My Back, we will trace these technologies primarily in the United States, but looking beyond the United States as well, to consider this vast repertoire of technological innovation and power. Working across media, we will study the work of folks including Lorde, June Jordan, Chela Sandoval, Marci Blackman, Sara Ahmed, Lisa Nakamura, Janet Mock, Sylvia Wynter, Katherine McKittrick, Monica Roberts, BlackGirlDangerous (Mia McKenzie), The Feminist Wire, the Crunk Collective, INCITE!, bell hooks, Gloria Anzuld·a, Cherr? Moraga, Suey Park, #IdleNoMore, Dina Georgis, Shola Lynch and others. The intellectual project of the course will convene around analyses driven by race, class, gender, sex, citizenship and de/colonization. Students will have the opportunity to read closely, to think together, and to produce creative-critical projects based on course materials.
LPHI 2009 Credits: 4
Postcolonial Paths *BEST BET*
This course is about how postcolonial thought occasions the reconsideration of the Western tradition of political philosophy and the discovery of alternative pathways of modernization within it. Of central interest is the rethinking of the idea of social and political change together with the idea of the self-transformation of the individual. These two sides are reconsidered through the lens of Kant and Marx in dialogue with postcolonial thinkers, such as Chakrabarty and Gandhi. The course is organized in two parts. The first part inquires into the meaning of history and social change through the confrontation of Chakrabarty and Marx. The second part inquires into self-transformation, or what Kant calls the "revolution inside," by putting Kant and Gandhi in dialogue on autonomy and self-knowledge.
LPHI 2010 Credits: 4
Philosophy I: Ancient
This required course is an introduction to the major themes and important texts of ancient philosophy, covering such philosophers as Heraclitus, Parmenides, Plato, and Aristotle.
LPHI 2020 Credits: 4
Philosophy II: Modern *BEST BET*
In this course we explore "the modern period" of the history of Western philosophy - a period of continued relevance that brought about a pervasive change in our self- and world-conception. Fueled by the Scientific Revolution (embodied by figures like Galileo, Bacon, Boyle and Descartes), philosophers from 17th and 18th century-Europe fervently rejected old authorities as they developed new answers to fundamental philosophical questions. These questions concerned the structure of reality, the capacities and limits of the human mind, the sources of legitimate knowledge, the shape and possibility of human freedom and the nature of morality. The objective of this course is for students to gain a broad understanding of the manner in which these questions were rethought in this period of radical change through a close reading of Descartes, Spinoza, Hobbes, Rousseau, Hume and Kant.
LPHI 3006 Credits: 4
Plato's Republic *BEST BET*
This course will introduce the student to philosophical questions, and questioning, through a close reading and discussion of Plato's Republic. A wide range of issues will be on the table, such as the nature of knowledge and art, the relation between society and the person, and the meaning of war; but everything will turn on one basic question: "what is justice?
LPOL 2001 Credits: 2
Seminar Slam:The Debate Studio
The course is designed to introduce students to The New School debate team by way of the study of politics. It will serve as a practice seminar for those that choose to participate in debate tournaments outside of class and provides the necessary analytical and practical skills for students to compete throughout their undergraduate years. Moreover, the class will emphasize argumentation, advocacy, and public speaking and will be valuable for students who either decide to continue to compete for The New School or who are just looking to hone their academic argumentation skills. The course will investigate the variety of approaches to advocacy found in debate: policy analysis, protest politics, and the personal as political. Students will learn to approach politics from each perspective with a critical lens in order to interrogate existing social conditions in the pursuit of justice.
LPOL 2015 Credits: 4
Constitutional Law
The American Constitution creates the structure and allocation of power for federal government and establishes the relationship between the federal government and the states, as well as between the government and its citizens. Ratified in 1788, the American Constitution is the oldest working written Constitution in the world and has been an important model for all other Constitutions. Through class discussions and some lecturing, this course provides an introduction to the Constitution's major doctrines and explores how and why this document has remained vital and active while other Constitutions have failed. After examining the drafting and ratification of the Constitution in the late 1780s, the course uses a close reading of significant Supreme Court decisions to examine the Constitution's major doctrines and the Supreme Court's interpretation of those doctrines. Among other topics, the course will cover the allocation of power among the three branches of federal government, the role of the federal judiciary, federalism, the power of Congress to regulate, due process, and individual rights.
LPOL 2036 Credits: 4
Democracy - Ancient, Liberal, and Radical *BEST BET*
"There are approximately 130 democratic countries in the world. Democracy is the most desired and most accepted political regime by the majority of the global population. In Western capitalist societies formal democratic institutions enjoy the status of a ""common sense"" and are taken by many for granted. Democratic aspirations, demands for equality, human rights, autonomy and social justice are proclaimed by various movements and activist groups in different parts of the world. The major historical political shifts of the last two centuries and emergence of national states are related to the advancement of democracy. However, the question remains salient - what is democracy? This course focuses on the concept and notions of democracy. It introduces students to selected debates in democratic theory and concepts which are situated at the heart of democracy such as freedom, equality, collectivity, autonomy, emancipation, self-rule, law, popular sovereignty and power. We will critically examine various theories and views of democracy from classical thinkers of ancient Greece to contemporary thinkers of radical democracy. The course places attention to critiques of democratic politics and paradoxes and tensions inherent within the democracy itself such as democracy's tyrannical and imperial tendencies, relationship between popular sovereignty and individual rights, self-rule and logic of representation, tensions between liberalism and democracy, deliberation and agonism, elitist versus participatory democracy. We will explore major themes related to debates between ancient and modern models of democracy, tensions between formal, institutional democratic politics and theories of radical democracy and examine if advancing communication technologies of capitalist societies foster or diminish social democratic potential."
LPOL 2060 Credits: 4
Environmental Justice: Social Difference, Inequality and the Production of Space
Are environmental problems experienced differently according to race, gender, class and nation? When and why? What does it matter if different communities have unequal exposure to risks and benefits of the environment? In this course we examine the ways in which social difference intersects with ideas of nature and ecological sustainability in often persistent and troubling ways. We will look at social, political and economic processes through which disempowered communities, in particular racial minority communities and the urban poor, are disproportionally exposed to environmental hazards, are denied access to resources, and are excluded from decision-making processes regarding the production of landscapes. Examples of the outcome of such processes include Hurricane Katrina, inner city food deserts, and the displacement of indigenous peoples from their land. An exploration of historical and contemporary case studies including toxic waste, food, air pollution, climate change, labor and transportation, will help us in understanding environmental inequality, its causes, and what is being done about it on local, national and global levels.
LPSY 2008 Credits: 4
Fundamentals of Abnormal Psychology *BEST BET*
This course introduces students to the study of abnormal psychology. Students learn the current classification system (DSM IV) for psychiatric disorders and become familiar with theories of etiology and treatment for individual disorders. Historical and contemporary conceptions of abnormal behavior are explored as well as controversies within the field regarding the classification, assessment, and treatment of psychological disorders.
LPSY 2036 Credits: 4
Fundamentals of Developmental Psychology *BEST BET*
This course is an introduction to the theories and methodologies associated with the study of psychological development in humans.
LPSY 2040 Credits: 4
Fundamentals of Social Psychology *BEST BET*
"This course provides students with a broad overview of social psychological research and theorizing. Central to the course is the idea that human beings are not isolated entities who process information like computers, but social animals engaged in a complex network of social relations, driven by goals and motivations and constrained by cultural worldviews. We will analyze how this affects our perceptions of and attitudes towards individuals (including ourselves) and groups. We will examine why people conform, how they influence each other, why they firmly hold on to stereotypes and why they engage in pro- or antisocial behaviors. By analyzing these phenomena we will see how theories of human behavior can be tested rigorously via laboratory experiments and field studies. *Must receive a grade of ""C"" or higher in this course in order to enroll in LPSY 3141, Death is Unacceptable.*"
LPSY 2042 Credits: 4
Fundamentals of Cognitive Psychology *BEST BET*
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 of 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 2051 Credits: 4
Women's Spirituality and Contemporary Religion
"Beginning with the ""second wave"" of the feminist movement in the early 1960s, this course explores the contours of women's spirituality within mainstream and (so-called) alternative religious traditions in contemporary America, including Judaism, Christianity, Islam, Wicca/neo-Paganism, and Buddhism. Using primary and secondary texts by Euro-American women and women of color; traditionalists, reformers, and radicals; we will consider a range of issues at the intersection of religion and gender including: the role of hierarchy and authority; the individual in relation to her religio-spiritual community; the boundaries of normative religious practice; tradition, innovation, and continuity; the role of ritual and concepts of the sacred; and issues involving race, power, class, and social justice. We will consider the ways in which women from diverse backgrounds and orientations articulate their religious and spiritual legacies, their struggles and yearnings, and we will explore their common concerns as well as their significant differences. This course counts toward the Gender Studies minor."
LREL 2065 Credits: 4
Introduction to Islam *BEST BET*
This course provides an introduction to the key texts, beliefs and practices of the religion of Islam. The course begins with an examination of the rise of Islam, the life of its Prophet and the early appearance of the main sectarian divisions. Topics explored will include the nature and history of the Qurßn and the Hadith, particular aspects of Islamic practice and belief, as well as religious law, theology, philosophy, Sufism, literature, and art and architecture from the earliest period to the present. Students will also explore major developments in the political, social and cultural history of the Muslim world from its origins in seventh century Arabia to rise of the nation-state in the twentieth century, especially its expansion into South and Southeast Asia and sub-Saharan Africa.
LREL 2070 Credits: 4
Hebrew Bible as Literature *BEST BET*
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. This course is a required core course for the Jewish Studies minor. It counts toward the Gender Studies minor.
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.
LSCI 2037 Credits: 4
Foundations of Physics *BEST BET*
In this course, the statics and dynamics of objects under external forces are studied using Newton's laws. We will first consider the equilibrium state of concentrated masses, planar, and general three-dimensional bodies at rest by looking at relevant fundamental concepts such as force, torque, and couple. A number of important engineering structures such as beams (with different support conditions), trusses, and frames will be analyzed to compute the static loads in each part of the structure. Next, we will look at dynamics and motion of objects under external excitements. We will look at the kinetics of rigid body motion in different coordinate systems, and solve a variety of applied problems. If time permits, we will look briefly at the theory of vibration. The focus of the course will be on understanding the basic concepts and problem-solving.
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 2500 Credits: 4
Chemistry of the Environment
"Chemistry has contributed to our understanding of environmental issues, but it has also been responsible for some of them. This course will discuss fundamental chemistry concepts to explain the causes of environmental challenges and to offer possible solutions and policies to address them. Topics that will be explored include (i) water quality and access to safe drinking water, (ii) chemical energy and fossil fuels, and (iii) polymers, plastics and """"green"""" alternatives. Students who have completed Chemistry of Life or Chemical Narrative of the Cell should not take this course. This course satisfies the Chemistry requirement for the Interdisciplinary Science and Environmental Studies major."
LSCI 2600 Credits: 3
Climate & Society *BEST BET*
This interdisciplinary course is designed to introduce students to the many facets of climate (averages, extremes, variability and change) and the broad range of climate affairs and issues that affect society at global and local scales. Given the growing concern about global climate change, it is intended to provide a baseline understanding of climate-society interactions, focusing on five basic elements: a) climate science and knowledge; b) climate impacts; c) climate economics; d) climate politics and policy; and e) climate ethics and equity. A broad rante of topics will be covered including: global warming 1-1, hazards (floods, droughts, and hurricanes), El Nino Southern Oscillation, food insecurity, mainstreaming gender into global responses, vulnerability, the politics of climate disasters, adaptation, and climate justice. There are no prerequisites.
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 2001 Credits: 4
Sociological Imagination *BEST BET*
In this course, students begin to think about how society works. The course examines relationships among individual identity and experience, social groups and organizations, and social structures. They examine the economic, political, and cultural dimensions of social life and question social arrangements that seem natural or unchangeable. Topics covered include social inequality, politics and power, culture, race and ethnic relations, gender, interaction, and socialization. The course also introduces students to major sociological theorists and sociological research methods.
LSOC 2018 Credits: 4
The Forest of Symbols
"This is a course about nature - how humans understand, participate in, and represent the natural world. The course will explore the importance of symbols in constructing our understanding of both the social and the natural world and in carrying out their transformations and exchanges. Of particular concern will be the interfaces between Nature and Religion, Nature and Science, Nature and the Law, Nature and Society, and Nature and the Nation. Readings will highlight human actions and symbolic representations of trees and forests in nation building, struggles over water rights, militaristic and territorial aspirations in the design of gardens, scientific engagement with and appropriation of nature and natural processes, human interactions with other animals, and the cultivation of a ""natural conscience"" in urban and suburban contexts."
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
Lang Theater Production *BEST BET*
The Lang theater production is directed by a faculty member or a visiting professional director. Auditions are 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 2016 Credits: 4
Modern Drama 1870-1980 *BEST BET*
This course explores Western dramatic literature of the Modern era, from approximately 1870 to 1980, beginning with the advent of Naturalism and Realism in the works of Henrik Ibsen and ending with radical explorations of form in the work of Samuel Beckett. We will address several modes of theatrical presentation in three overlapping sections: The Impact of Naturalism and Realism, The Impulse of the Avant-Garde from Symbolism to Absurdism, and The End of Isms in postwar challenges to structure and form. Each section will proceed chronologically, exploring core texts with an emphasis on dramaturgical analysis of plays as vehicles for performance and an understanding of these texts and performance practices within a broader cultural and historical continuum. This course fulfills the dramatic literature requirement for Theater majors and minors.
LTHR 2025 Credits: 4
Introduction to Directing
This course focuses on the art-science and philosophy of stage direction. Students will read a brief history of its development and about major twentieth-century directors as well as plays by Russian playwright Anton Chekhov (1860-1904). Specific areas to be studied are script analysis of Chekhov's plays, composition, working with actors, and organizing a production. Students learn directing and acting terminology and how to apply it to scene work in rehearsals. In addition, students work with actors on their scenes, focusing and combining different skills, including the understanding of space, movement, and text. The class will present scenes from Chekhov's plays at the end of the semester. This course is one of the required foundational courses for Theater majors and minors.
LTHR 2050 Credits: 4
Acting Fundamentals
This course is an introduction to acting and the actor's creative process. Through physical explorations and observations, monologues, improvisations, and finally scene work, students will learn the basic vocabulary of acting and a range of approaches to creating character. Students will also develop the ability to read a play through the lens of the actor; form an understanding of character, circumstances, and action; and develop the ability to listen, respond with immediacy, and work collaboratively. This course is one of the required foundational courses for Theater majors and minors.
LTHR 2052 Credits: 2
Freeing the Natural Voice *BEST BET*
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 2110 Credits: 4
Foundations of World Theater *BEST BET*
This theater history course surveys the development of theater traditions from Ancient Greece through nineteenth-century melodrama, focusing on European and Asian Classical theater forms. Through representative plays and historical documents students will explore dramatic conventions, the uses of theater space, the role of audiences, and theater technologies across cultures and eras. The course includes outings to performances in the city to experience theater history as it lives on today. This course fulfills the theater history requirement and the global perspectives requirement for Lang Theater majors and minors.
LTHR 2917 Credits: 4
IHD-Harlem Theater & Education
"This course offers Lang students the opportunity to mentor elementary school students through the ""I Have a Dream: Harlem"" afterschool drama/literacy program at P. S. 7, located at 160 East 120th St. In the Monday seminar sessions at Lang, students will be exposed to critical pedagogy and transformative arts education as they explore the field of theater in education. On Wednesday afternoons Lang students work directly with third- and fourth-grade students in Harlem to develop a curriculum for their small drama groups. At the end of the semester Lang students will help facilitate a performance by their IHD-Harlem students for their families and community. Coursework also includes regular journal entries, a midterm research paper, and a final project. This course fulfills the civic engagement requirement for Theater majors."
LVIS 2001 Credits: 4
Introduction to Art History and Visual Studies *BEST BET*
This course introduces students to the fundamentals of art history and the related field of Visual Studies. Based upon close looking at artistic objects, as well other visual and material objects (taken from, for example, film and performance, advertising and design), the class familiarizes students with key terms and debates, and those methods (from formal analysis to interdisciplinary theoretical approaches) that are employed in the interpretation of cultural objects. Through close visual analysis of diverse objects in tandem with a range of readings (drawn from literature and literary criticism; social theory and gender studies; postcolonial and global studies, to name a few), students will gain insight into how one builds an interpretation, stressing the centrality of skills of critical thinking and reading as objects are brought into dialogue with texts. In addition, the class demonstrates how the study of art history entails the very question of what is considered "art," emphasizing that medium, form, and discourse all possess a history. Further elucidating the historical dimensions of the discipline, the course follows its recent expansion under the aegis of Visual Studies, Cultural Studies, and Media Studies. This course counts toward the Gender Studies minor.
LVIS 2002 Credits: 4
Matter and Materiality: Introduction to Sculpture
How can theories of materiality help us think through the matter of sculpture? How does form emerge from the informal? This course will consider the productive capacity of space and time including conceptions of the khora, the informal, and the collective commons as a site for the emanation of form in three and four dimensions. We will begin our study with ancient art objects and proceed through contemporary sculptural works, with specific focus on material concerns: process and technique, questions of site and context, the aesthetics of objects and objecthood, and the scale of an object's relation to and in the body. This course will survey sculpture in its traditional sense as well as in the expanded field of sculpture where matter can range from sound objects to internet-based works that are sometimes considered 'immaterial'. We will also engage traditional processes, alongside skill sets employed after the Readymadeùpractices generally referred to as 'deskilling'. This course seeks to collectively make conversant forms for thinking through and with the informal; it will be a mix of theoretical readings and hands-on studio investigation. There are no prerequisites for this course. This course also fulfills a studio or practice-based visual arts course requirement for Visual Studies students.
LVIS 2003 Credits: 4
History of the Electronic Image *BEST BET*
This course explores the history of "seeing at a distance" (Fernsehen, tele-vision) in art. We will examine the electronic image in its technological and social formations from the 19th century to the present. We will proceed from how the electronic image was imagined through discourses of spiritualism, telepathy, and psychic projection, alongside engineering innovations such as the Nipkow scanning disk and cathode-ray tube technology. We will investigate 20th century discourses on "materialities of communication" and military applications of "composite pictures" for strategic control, thru contemporary debates on the "poor image" and the "operational image" as modalities of institutional critique. Discussion will center on artists' use of the electronic image, considering their work in the context of topics such as: psychoanalysis, science fiction, mass media, surveillance and security, stereoscopy and 3-D technologies, montage and assemblage, video art, performance, "screen-reliant art," and installation. Featured artists include Vito Acconci, Cory Arcangel, Dara Birnbaum, Harun Farocki, Jean-Luc Godard, Dan Graham, Chris Marker, Bruce Nauman, Tony Oursler, Nam June Paik, Martha Rosler, Hito Steyerl, Wolf Vostell, Andy Warhol, among others.
LVIS 2010 Credits: 4
Exhibitions as History *BEST BET*
This course explores the history, theory, and practice of art exhibitions as well as the larger context of the historical, social, and ideological function of artistic institutions from the gallery to the museum. We will explore the notion of the national museum, ideological critiques of the museum, the politics of exhibitions, the museum as a global tourist destination, and the shifting roles of exhibitions and curating along with their relationship to new trends in artistic practice. The emphasis of the course is on how museums and exhibitions are physical entities as well as ideological places where certain types of knowledge are generated and particular histories are produced. Students will gain insight into the complexity of exhibitions and their primary role in shaping art and cultural history, as well as critical skills in analysis and interpretation. The course includes visits to current exhibitions and meetings with working artists and professionals in the field.
LVIS 2202 Credits: 2
Lang at the Guggenheim
This course is an in-depth exploration of the Solomon R. Guggenheim Museum, including its history, design, and notable exhibitions. In Spring 2015 the museum will feature the first full-scale retrospective of Japanese conceptual artist On Kawara (1933-2014). Students will take four trips to the museum to experience and discuss the exhibition and meet with key staff members regarding particular aspects of the museum's dynamics. Topics includecuratorial and educational work, installation procedures, public reception, and the role of the exhibition in the context of the museum's mission as well as its place in contemporary art culture.
NARB 1003 Credits: 4
Arabic Intro Intensive
This accelerated first course integrates Modern Standard Arabic (Fus-ha) and Levantine Arabic, introducing the Arabic alphabet and sound system along with basic conversational skills in Levantine. Students learn to engage in simple conversations and write short compositions about themselves, their families, and other familiar topics. This course is for beginners who would like to progress rapidly.
NARB 1701 Credits: 1
Arabic Calligraphy I
This five week long Arabic course introduces students the art of Arabic calligraphy. Building on the basic Arabic alphabet, it teaches the fundamentals of the Naskh script, and gives students tools to further mastery of Arabic calligraphy on their own. The course concludes with each participant making a final piece. Prerequisite: Knowlege of Arabic alphabet, the equivalent, or permission of the instructor.
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 1003 Credits: 4
Chinese Introductory Intensive
This is a course for beginners who want to progress rapidly in learning Chinese. Students acquire basic speaking, reading, and writing skills, while learning about Chinese culture.
NCHM 1701 Credits: 2
Business Chinese Level 1 *BEST BET*
This course is designed for students with no or very limited prior knowledge of Chinese who are interested in learning the fundamentals of Chinese from a business perspective It aims to teach students how to communicate in a business setting. Students learn how to listen, speak, read and write introductory level Chinese language in professional business activities and scenarios, such as introduction, travel, meeting and business etiquette. Communicative competence an intercultural awareness are emphasized.
NCHM 1702 Credits: 1
Chinese Calligraphy
Calligraphy is the art of writing Chinese characters. This course aims to familiarize students with the key techniques for learning calligraphy that have been taught over the centuries in China. This is a skill-oriented course starting with the origins of Chinese characters and the art of Chinese calligraphy. It acquaints students with the characteristics of the Official Script, focusing on the basic strokes and forms of written Chinese characters. Students will learn to concentrate on the movement of the brush. The emphasis is on the techniques, methods and practice of brush writing. Knowledge of Chinese or brush technique is not required.
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.
NFDS 2050 Credits: 3
Introduction to Food Studies *BEST BET*
In this course, we explore the connections between food, culture, and society, looking at the role of food in the construction of personal and collective identity in terms of body, race and ethnicity, class, gender, nationality, and social movements. We also examine cultural aspects of food politics, paying particular attention to the United States but also considering globalization and international flows of people, goods, ideas, and technologies. The course introduces analytical approaches and methods that are widely used in the growing research field of food studies. This course counts toward the Gender Studies minor.
NFDS 2080 Credits: 3
Introduction to Food Design *BEST BET*
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.
NFDS 2615 Credits: 3
Food and Media
Food finds itself at the center of frequent and significant interactions, as it occupies an increasingly visible role in today's world. This course examines how food representations establish, question, reinforce, reproduce, or destroy cultural and social assumptions about individuals and communities. Students will examine and critically analyze advertising materials, TV shows, films, cookbooks, social media, magazines, blogs, and videos, among other media, to identify elements and themes, connected with eating and ingestion, that shape popular culture and its impact on contemporary social and political debates.
NFDS 2701 Credits: 3
Food and the Human Body *BEST BET*
How does food connect with health and wellness? Is food just fuel for the human body? In this course, students explore the aspects of human physiology connected to food and the basic concepts of nutrition, as well as how different dietary models can have an impact on digestion, energy and fitness. Students will learn to apply scientific approaches to a better understanding of food preparation, diet analysis, and recipe modification. The course will also examine issues related to allergies and other food-related illnesses, while also providing students with the tools to correctly interpret and evaluate nutritional information from packaging labels and other sources, including integrators and functional foods. Students will reflect on how scientific information regarding food and nutrition is diffused to the public through sources as diverse as government institutions, non-governmental organizations, media, and the Internet.
NFRN 1001 Credits: 2
French Level 1
A first course in French for those with no previous knowledge of the language. Students learn basic speaking, reading, and writing skills while learning about French culture. Class activities include interactive exercises and role-playing. Principles of grammar and syntax are introduced as students become more comfortable with the spoken language.
NFRN 1002 Credits: 2
French Level 2
For students with elementary knowledge of French, this course first reviews simple elements of grammar (present, past, and future tenses) and then introduces more complex grammatical and syntactical elements. Students expand their vocabulary and knowledge of French culture in a classroom setting that emphasizes communication skills.
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 intermediate-level course assumes familiarity with the basic grammatical structures of the French language. The course begins with a review and moves on to cover more complex grammatical forms such as the conditional tenses and direct and indirect object pronouns. Special attention is given to improving the student.s ability to understand spoken French and converse in French on a number of topics pertaining to different times and places.
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
This first intermediate course is designed to help students review intermediate grammatical structures and expand their knowledge of French language and culture through articles, popular songs, short literary texts and short films from contemporary francophone filmmakers. Emphasis is on written and oral communication within an authentic cultural context using short texts, audiovisual and on-line resources. Review of vocabulary and of grammatical structures is done in context, woven into the study of the various texts. Prerequisite French Intro 2, Intro Intensive 2 or the equivalent of 3 semesters of instruction.
NFRN 3101 Credits: 4
Adv 1: A Table! *BEST BET*
This course will examine the enduring presence of food in French culture throughout history and the important role it played in shaping national identity. We will examine the relationship between food and culture, food and history, in a variety of fiction and culinary texts, as well as in contemporary French films. Along the way we will consider food as a national symbol, as a marker of social hierarchy and regional identities, as a persistent political, social and cultural tool, and finally as a part of migration and multicultural identities. With its emphasis on developing language skills through class discussions and interactive presentations, this course takes students from the intermediate to an advanced level. . Prerequisite: French Intermediate 2 or equivalent.
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*
For those with elementary knowledge of German, this course reviews simple grammar and introduces more intricate grammatical and syntactical elements of the language. Students expand their vocabulary and knowledge of German culture in a context that emphasizes communication skills.
NITL 1001 Credits: 2
Italian Level 1 *BEST BET*
A first course in Italian for those with no previous knowledge of the language. Students acquire basic speaking, reading, and writing skills while learning about Italian culture. Class activities include interactive exercises and role-playing. Principles of grammar and syntax are introduced as students become more comfortable with the spoken language.
NITL 1002 Credits: 2
Italian Level 2 *BEST BET*
For students with elementary knowledge of Italian, this second-semester course reviews simple elements of grammar (present, past, and future tenses) and introduces more complex grammatical and syntactical elements. Students expand their vocabulary and knowledge of Italian culture in a classroom setting that emphasizes communication skills.
NITL 1101 Credits: 4
Italian Intro 1 *BEST BET*
This course is aimed at developing proficiency in the four language skills: listening, speaking, reading and writing. It introduces basic vocabulary and grammar and provides opportunities for students to enhance their understanding and appreciation of Italian culture through songs, videos, dialogues and other communicative activities. Intended for students with no previous knowledge of Italian.
NJPN 1001 Credits: 2
Japanese Level 1
A first course in Japanese for those with no previous knowledge of the language. Students acquire basic speaking skills and are introduced to reading and writing hiragana and katakana while learning about Japanese culture. Class activities include interactive exercises and role-playing. Principles of grammar and syntax are introduced as students become more comfortable with the spoken language.
NJPN 1101 Credits: 4
Japanese Intro 1
This course is designed to introduce elementary Japanese to students with no previous background in the language. It is aimed at developing basic proficiency in the four language skills: speaking, listening, reading and writing. This course introduces the three Japanese writing systems from the beginning of the semester. Students are required to learn all 46 Hiragana and 46 Katakana, as well as Kanji (Chinese characters).
NJPN 2101 Credits: 4
Japanese Intermediate 1
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 4718 Credits: 2
Selected Topics in Japanese *BEST BET*
Beginning advanced study of Japanese Language and Culture designed for students with sufficient knowledge of Japanese (beyond the two-year level). Students develop their language skills (reinforcing grammar, expanding vocabulary, and further mastering of Kanji) and gain proficiency in reading and writing at a beginning advanced level. This course examines selected topics in contemporary culture or a single topic across films or popular culture. May be taken more than once for credit when topic changes. Prerequisite: Intermediate 2 or equivalent.
NKRN 1001 Credits: 2
Korean Level 1 *BEST BET*
A beginning course in the national language of Korea. Emphasis is on learning to speak Korean. Reading and writing of Korean characters is introduced. All communication skills are taught in a cultural context.
NKRN 1003 Credits: 4
Korean Intro Intensive 1
This is an accelerated course for beginners with no or little knowledge of Korean. Students learn the fundamentals of the Korean language through speaking, listening, reading, and writing, including tones, elementary Korean characters (writing), vocabulary, and grammatical functions such as affirmative and negative, asking questions, and expressing past and future. The course follows a whole language approach, so students are also introduced to aspects of Korean culture and topics of everyday conversations such as greetings, family, visiting friends, expressions of time, hobbies, shopping and school.
NLTN 1106 Credits: 3
Latin: Augustine and Early Christianity *BEST BET*
Intended for beginners as well as students with some background in Latin, this course is devoted to reading the post-classical world's greatest Latin writer and one of its greatest thinkers. Students quickly learn or review the necessary grammar, and then the class begins reading and translating excerpts from Augustine's greatest works, including The Confessions and The City of God.
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 1705 Credits: 1
Brazilian Popular Music: Samba, Bossa Nova, and Forro
The course is aimed at a wide range of students with an interest in Brazilian language and music who wish to discover the main regional musical styles and learn about Brazilian social history and popular culture through the work of talented musicians. It offers students an opportunity to gain a deeper knowledge of how popular music helped shape Brazilian society, culture and language. Brazilian Portuguese basic words will be introduced as needed for cultural comprehension. No prior knowledge of Portuguese is required.
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 1011 Credits: 2
American Sign Language: Level 1
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.
NSPN 1001 Credits: 2
Spanish Level 1 *BEST BET*
A first course in Spanish for those with no previous knowledge of the language. Students acquire basic speaking, reading, and writing skills while learning about Spanish and Latin American 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.
NSPN 1002 Credits: 2
Spanish Level 2 *BEST BET*
For students with elementary knowledge of Spanish, this course first reviews simple grammar (present, past, and future tenses) and then introduces more complex grammatical and syntactical elements. Students expand their vocabulary and knowledge of Spanish and Latin American culture in a classroom setting that emphasizes communication 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 1004 Credits: 4
Spanish Introductory Intensive 2 *BEST BET*
This accelerated course is the continuation of Introductory Intensive and completes the study of the fundamentals of the Spanish language. Students extend their knowledge of essential grammar, learning how to express opinions (past and present subjunctive), and make conjectures (conditional and future). They continue learning about Spanish and Latin American cultures while developing communication skills. Prerequisite: Spanish Introductory Intensive 1 or the equivalent.
NSPN 1101 Credits: 4
Spanish Intro 1 *BEST BET*
Intended for students with no previous knowledge of Spanish. Students learn the basic vocabulary, grammar, and culture of Spain and Latin America in a classroom setting that enhances and develops communication skills at a beginner level.
NSPN 2001 Credits: 2
Spanish Level 3
This is the third course in a four-term sequence that introduces the fundamentals of the Spanish language through speaking, listening, reading, and writing. Students build on the basic grammar learned in previous courses and go on to learn the different uses of past tenses, combinations of pronouns, and the various forms of commands while learning to construct complex sentences. They practice by conversing and writing about topics such as celebrations, health, technology, and personal relationships. As in previous courses, they continue learning about Spanish and Latin American cultures. Prerequisite: Spanish Level 2, the equivalent, or permission of the instructor.
NSPN 2011 Credits: 1
Gramßtica y composici?n I
This course is meant for students who have completed one year of college Spanish. It aims to review and strengthen the student's understanding and use of basic grammatical features, especially the preterite and imperfect tenses, distinctions between ser and estar, verb-plus-prepositions, discourse markers and prepositions. In addition, cultural readings in Spanish will widen vocabulary and serve as a springboard for in-class discussions. In this course we will focus on developing and refining description and narration (past and present).
NSPN 2101 Credits: 4
Spanish Intermediate 1
NSPN 2731 Credits: 1
Taller de Conversaci?n *BEST BET*
This course is for students with a very basic intermediate fluency who wish to refine their speaking skills and complement their language class with a practical session focused on conversation. Students in this course will practice the same topics covered in Intermediate 1 and will expand them into conversational situations. In addition to cultural topics, in this course students will focus on retelling events in the past,expressing their opinions about issues that affect their lives and others, describing habits in the past and comparing them with current ones, giving instructions and directions, describing different kinds of housing and finding the right roommate, talking about their future and that of others, etc. Prerequisite:Intro 2.
NSPN 3101 Credits: 4
España a través del cine *BEST BET*
In this advanced course we examine late twentieth-century Spanish society through the lens of some key films. Renowned directors û Pedro Almod?var, Alejandro Amenßbar, Ic?ar Bolla?n, Achero Ma±as, Alex de la Iglesia and others û will provide us with four essential themes: political and personal violence, border tensions, gender transgression and artistic renewal. Students will practice their language skills by engaging in conversation, readings and a variety of projects that will help reinforce vocabulary, idioms, grammar and listening comprehension. This course counts toward the Gender Studies minor.
PCDD 1100 Credits: 2
Web Design I
Students learn how to hand-code Web pages with HTML and Cascading Style Sheets. They discuss and master the elements of good Web design, the basics of user interface, and recommended standards. Toward the conclusion of the course, each student designs a cohesive website.
Prerequisite: Mac Basics or equivalent experience. Online class requires (free online) code editors such as TextWrangler for Mac or Notepad ++ for PC.
Limited to 16.
Open to Non-Credit and Certificate Students. Open to Degree students with permission of program
PCFA 0401 Credits: 1
Drawing Basics *BEST BET*
This course explores both traditional and contemporary approaches to drawing with using a variety of materials. Through a series of assignments with still-life arrangements and live models, students learn the importance of seeing form as well as the basic principles of drawing. Critiques and discussion help students develop analytic and evaluative skills. Instruction is one- on-one and is geared to the needs of individual students. Bring an 18"x24" newsprint pad (100 sheets), a woodless graphite 6B pencil, and a kneaded eraser to the first class.
Limited to 16.
Open to Non-Credit and Certificate Students. Open to Degree students with permission of program
PCFA 1100 Credits: 2
Color Theory *BEST BET*
Discover color and its implications for designers and artists. Study ideas of space and the use of color to solve spatial problems. Look at color harmony and the way colors interact, as well as color qualities and combinations. Online students must have access to a scanner.
Limited to 16.
Open to Non-Credit and Certificate Students. Open to Degree students with permission of program
PCFA 1200 Credits: 2
Introduction to Digital Photography
This lecture/demonstration course introduces you to the fundamentals of digital photography. You emerge from the class with a new sense of the power of photography and confidence in using a camera without focusing excessively on the technical details of the medium. Topics covered include different types of cameras, how to choose a camera, and how to hold the camera to ensure sharp photographs. You also learn about aperture opening (f-stop) and shutter speed in detail so that you can control how the two elements work together to determine exposure, sharpness, and depth of field. You also explore lighting techniques, image size and perspective as related to lens and focal length choice, depth-of-field and its creative potential, automatic features of electronic cameras, digital darkroom techniques, and accessories including tripods, flashes, and filters. Your individual creativity is stressed and your work is viewed and discussed in class. If you own a camera, bring it to the first class session.
Limited to 16.
Open to Non-Credit and Certificate Students. Open to Degree students with permission of program
PCFA 1401 Credits: 2
Painting 1
This basic painting studio begins with an examination of the use of color, composition, spatial structure, and transition. Students work with a variety of observed sources, including the figure model, while receiving guidance on issues they are struggling with. Art history and contemporary art are incorporated. Bring to the first class a small tube of ivory black oil paint, a small tube of Titanium white oil paint, a small can of Turpenoid or odorless turpentine, a paper palette pad, a small jar, several oil painting brushes (#6, #8, #10, flat, bright, round), and one canvas or prepared board (10 ? ? 12 ?).
Limited to 16.
Open to Non-Credit and Certificate Students. Open to Degree students with permission of program
PCFA 1414 Credits: 2
Watercolor *BEST BET*
Beginning and advanced students explore all facets of watercolor painting and develop their technical ability and creativity. A variety of styles and approaches are demonstrated, including wet-on-wet, glaze and washes. Subjects covered include landscapes, flowers and buildings with an emphasis on design and color. The development of a student's personal vision is encouraged.
Limited to 16.
Open to Non-Credit and Certificate Students. Open to Degree students with permission of program
PCFA 1436 Credits: 2
Drawing in New York City
This course gets you out into the city drawing at indoor and outdoor locations. You'll learn how to depict a landscape or interior in an expressive and cohesive composition that captures value, space, form, and movement. Beginning and advanced students draw using their own approach while remaining aware of the solutions reached by successful artists throughout history. Critiques and discussion help students develop analytic and evaluative skills. Instruction will be one-on-one and geared to the needs of each student. Drawing sites may include the High Line, The Met, the Central Park Zoo, and the Central Park Conservatory Garden. First session meets at the southwest corner of Union Square Park, inside the dog run. We will draw the dogs and the Greenmarket. (In case of rain, we will meet at the subway entrance at the southwest corner of the park). Bring a 9"x12" sketchbook (100 sheets, 80 lb.), a woodless graphite 6B pencil, and a kneaded eraser to the first class.
Limited to 16.
Open to Non-Credit and Certificate Students. Open to Degree students with permission of program
PCFA 1800 Credits: 2
Introduction to Printmaking
Beginning students explore printmaking media including etching, monotypes, and collagraphy. This workshop enables students to develop their own personal vision. This course covers conventional techniques and introduces students to experimental methods.
Limited to 12.
Open to Non-Credit and Certificate Students. Open to Degree students with permission of program
PCFD 1001 Credits: 2
Design Sketching 1
A basic course in making a designer's sketch. Using a live model, draw and render designs with emphasis on the figure. Bring to the first class an 18 ? ? 24 ? newsprint pad and soft charcoal or charcoal pencils.
Limited to 16.
Open to Non-Credit and Certificate Students. Open to Degree students with permission of program
PCFD 1820 Credits: 2
Fashion Trends
What is the fashion news? This course examines significant cultural phenomena that shape the new sensibilities in fashion. Among the components of the historically based slide lectures are the themes of revolution, music, cosmopolitanism, film, the influence of couture, memory, and the ensuing acquisition of the look. This class incorporates roundtable discussions and viewings of current collection showings from the world's fashion capitals.
Limited to 16.
Open to Non-Credit and Certificate Students. Open to Degree students with permission of program
PCID 1700 Credits: 2
Architecture of New York
From the Federal-style rowhouse to the modern skyscraper, New York's architectural heritage is compelling. Acquaint yourself with the philosophy and forces that have shaped our city. Using the city as a classroom, physically experience New York City architecture and its urban environments. Learn to identify architectural styles and understand them in the context of social, economic, and technological currents. The first class meets at Parsons' Greenwich Village campus; subsequent classes meet off campus at various Manhattan locations.
Limited to 16.
Open to Non-Credit and Certificate Students. Open to Degree students with permission of program
PLAH 1059 Credits: 3
NYC: Exhibitions
"This course will focus on museums, art galleries and auction houses in the city of New York. These institutions are repositories of material culture that promote public education and personal growth. Students will learn about the practices these institutions use to collect, protect, preserve and educate. This will be accomplished through the careful examination of objects. This careful looking will be aided by classroom lectures, writing assignments, group discussions, research and class presentations. The course will also involve trips to a variety of New York City art galleries, auction houses, and museums: for example, The Brooklyn Museum of Art, The Studio Museum of Harlem, The Museum of the Moving Image, and The Brooklyn Historical Society. When possible, this will include behind the scenes tours of museum work areas not usually seen by the general public. Students will be asked to create a virtual exhibition using the blog feature in Blackboard.""
Open to: University undergraduate degree students, freshman and sophomores only.
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, freshmen and sophomores only. Pre-requisite: Placement above or successful completion of NELP 1800 or 1810 for students for whom English is a second language.
PUFY 1020 Credits: 3
In this studio course, students learn through first-hand experience in Parsons' modeling facilities and hybrid studio/shop classrooms. Students explore concepts such as malleability, weight, texture, color, durability, smell, sound, taste, life cycle and ecological impacts through a wide variety of projects that privilege the close relationship of making to thinking. Other areas of inquiry range from space formation to environmental psychology to object explorationûand moreûto discover how materials and their uses shape meaning. Discussion, critique and written responses create class community and idea sharing, while helping students understand their work in historical and cultural contexts. The course will have a number of sections each following a particular theme, as follows:

Body The body has an impact on our surroundings and the objects within it. How do ergonomics, structure, and self-image correspond to the shape, movement and impact of the human form? Students use a range of methods to explore body coverings, functionality and personal space.

Community Community provides us with our most direct means of self-identification. How do our attitudes about what we wear, how we interact, and how we come together define both our personal space and our shared space? This course will explore the relationship between the shifting boundaries of community and the material nature of social and ecological space.

Culture This course explores the affect culture has on the objects we use and spaces we inhabit. Students will investigate the relationship between beauty, utility and the hand-made.

Habitat Habitat is the natural environment for humans, plants, and animals that provides what is required to sustain life. What constitutes shelter and safety and survival for humans in contrast to animals and plants? How do spaces and materials sustain and nurture, or adversely affect environments? This course will explore the shifting balance in the inseparable relationship between the constructed environment within the natural world.

Open to: Parsons First Year students, and others, space provided.
PUFY 1030 Credits: 3
How is meaning constructed and communicated through visual images? In this course, students use traditional drawing and digital imaging methods to explore the conceptual, aesthetic and formal qualities that inform how ideas and impressions are expressed on a two-dimensional plane. Students explore visual organization, representational and abstract forms and engagement through observational drawing, photography, digital image creation, and the integration of a variety of media. The tools and methods acquired in this course form an introductory platform for students to build upon in their upper level disciplinary courses. Sections of this class may explore the following themes in relationship to the construction of form, function, identity and meaning:

Language How do visual images enhance or create meaning? What can signs and symbols convey? In this class students will address these questions by using the concrete elements of design and observational drawing to explore and develop a visual language.

People How do our bodies define us? What is a relational body? Can it be a neutral symbol? When is it a loaded message? These and more questions will be addressed by this section, which looks to explore the singular and the collective through the lenses of communities, tribes, nations, and cultures.

Places This section focuses on space, location, and the unique place as a site of investigation and may include personal, private, public, and historical space. What is the question/exploration for discovery being addressed?

Things This section focuses on the tangible object and may include found, crafted, mass-produced, artifacts. What is the question/exploration for discovery being addressed?

Open to: Parsons First Year students, and others, space provided.
PUFY 1040 Credits: 3
This course is an introduction to the cultural and perceptual constructions of time. Learning to work with time involves more than simply editing video and sound into linear sequences. It entails the consideration of time as a designed idea that can function as a tool. How does this tool, in turn, affect how objects function, how environments are perceived, or how experiences are shared? Studio projects, readings, writing, and examples of many artists' work are used to examine how ideas such as frame, duration, and speed have evolved to impact our understanding of time. A variety of methods and media -- from digital video, to drawing, to performance -- are used to explore and represent different cross-disciplinary notions of time in the fields of art, design, science, and industry. The course will have a number of sections each following a particular theme, as follows:

Composition How do new audiovisual forms affect our perception, understanding and representation of time? This class will study variables such as rhythm and counterpoint; theme and variation; improvisation and scripting; silence and noise, to investigate practices from multimedia composition to experimental writing.

Embodied Time can be measured through the body in any number of ways: four physical aging, our kinetic movements, the performance of our everyday actions, and our changing outward personal style. This class explores aspects of performance, ritual, identity and live art, as expressed through the physical body and the impact it has on the space around it.

Frame This class will begin with a single frame: a moment in time. From this starting point you will work with variables such as movement, progression, or space, to create experimental stories in a variety of forms such as graphic novels, montage, visual languages, and book arts.

Metropolis In this course, students investigate the passage of time though the cycles of the city. How does the urban environment affect its inhabitants? How do we perceive its growth and decay? Students use a variety of forms, from multimedia composition to dynamic drawing to spatial studies, to examine the perpetual change of the city.

Open to: Parsons First Year students, and others, space provided.
PUFY 1100 Credits: 3
Sustainable Systems
This course provides students an opportunity to acquire a foundational understanding of the scientific and social issues related to the design of resilient urban futures. An understanding of the constraints, challenges, and opportunities presented by the need to design products, systems, and services that are more socially, environmentally and economically resilient is at the core of a Parsons education. This course is where that work begins. It is crucial, as both professional experts making decisions about materials flows, and as citizens, that creative practitioners have a comprehensive understanding of the scientific process, from fieldwork and laboratory to policy formulation. By combining sequenced 1) field trips and lectures to locations around New York City, which will introduce and frame discussions and context-based learning related to sustainability, ecology, and systems, with 2) studio-based labs, where field work and applied scientific methods will be applied, students will translate these sets of experiences into informed creative works within the areas of art, design, and strategic design, thereby building a creative agency that supports diversity, adaptability and resilience in the face of ever-changing conditions.
Sections of this course designated [LS], or Language Supported, are specially designed for students who have completed NELP 1800 or NELP 1810.
Open to: Parsons First Year students, and others, space provided. Pre-requisite: Placement above or successful completion of NELP 1800 or 1810 for students for whom English is a second language.
UENV 2000 Credits: 4
Environment and Society *BEST BET*
UENV 2400 Credits: 4
Urban Ecology
UENV 2530 Credits: 4
Environmental Justice
Are environmental problems experienced differently according to race, gender, class and nation? When and why? What does it matter if different communities have unequal exposure to risks and benefits of the environment? In this course we examine the ways in which social difference intersects with ideas of nature and ecological sustainability in often persistent and troubling ways. We will look at social, political and economic processes through which disempowered communities, in particular racial minority communities and the urban poor, are disproportionally exposed to environmental hazards, are denied access to resources, and are excluded from decision-making processes regarding the production of landscapes. Examples of the outcome of such processes include Hurricane Katrina, inner city food deserts, and the displacement of indigenous peoples from their land. An exploration of historical and contemporary case studies including toxic waste, food, air pollution, climate change, labor and transportation, will help us in understanding environmental inequality, its causes, and what is being done about it on local, national and global levels.
UGLB 2110 Credits: 3
[Dis]Order & [In]Justice
"This class serves as an introduction to Global Studies. The focus is on the tension between order and justice as it plays out across the contemporary world, from war to migration, to the changing roles of the state, international institutions, transnational actors, and citizens. A governing metaphor for the class is the "border" and the ways in which it creates order and disorder in the modern system of states. We will examine the creation of the borders of countries, but also the borders between the local and the global, the legal and illegal, the licit and the illicit, self and other. These borders have intertwined histories, structures, and logic that we shall explore together. In particular we will seek to understand order as a dynamic relationship between territory, identity and belonging, and justice as a question of responsibility and ethics at the collective and personal level in an intimate relationship to forms of order. In other words, how did we get to where we are today, and what shouldùand canùwe do about it? We will explore these topics through ""global"" perspective with an interdisciplinary focus, emphasizing the interconnectedness between global and local spaces and the impact of global issues on the real human lives that are inevitably at the center of our investigations.
This course is open to all bachelor level students at the university.
UGLB 2111 Credits: 3
Global Economies
This class explores the circulation of money, goods, bodies, and ideas that make up the global economy as it is experienced and lived today. This core course introduces students to key global areas where economic dynamics intersects with politics, society, and culture. It explores essential and contested concepts such as value, money, labor, trade, and debt, "licit" and "illicit" economies, and moral economy. We will examine changing trends in the global political economy as well as emerging areas such as the sharing economy (e.g. AirBnB) or technologies such as automated trading. Readings will be drawn from classic texts, contemporary commentary, and case studies from a variety of disciplines that seek to understand the "economic" and relate its logics and workings to our contemporary realities of unparalleled inequality, interconnectivity, and interdependence.
ULEC 2161 Credits: 3
Introduction to Psychology: Discussion
This is the required discussion section for ULEC 2160 (the required lecture for Introduction to Psychology). Please refer to the course description for the lecture.
Students must register for both the lecture and discussion section of this course.
ULEC 2401 Credits: 3
America is Hard to Find: Discussion
This is the required discussion section for ULEC 2400 (the required lecture for America is Hard to Find). Please refer to the course description for the lecture.
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.
UURB 2629 Credits: 3
The Suburbs: Divided We Sprawl *BEST BET*
With housing developments bordering dairy farms, office parks adjoining urban centers, and New Urbanism projects flanking strip malls, it is difficult to demarcate suburban, urban, and rural. In their article, "Divided We Sprawl," Bruce Katz and Jennifer Bradley suggest that we shed these divides and imagine ourselves as part of a metropolitan whole. At stake are not just interrelated problems of transportation, housing, education, food, jobs, and the environment. With "frantic privacy" winning out over "spontaneous public life," what becomes of our ability to mingle in crowds, encounter difference, and collectively tackle societal problems? In this course, we explore history, culture, politics, and design of metropolitan centers, from the vantage point of the suburbs. Beginning with the origin of the Anglo-American suburb in Britain and its colonies in the 18th-century, we work our way to contemporary debates over gated communities and New Urbanist developments, both in the United States and abroad. We examine tensions between "public" and "private" in spaces ranging from living rooms and lawns to highways and malls. Readings include historical texts, ethnographic accounts, sociological commentaries, popular culture parodies, and period films. Student projects will further explore these issues through an in-depth examination of a suburb of their own choosing.
UURB 2701 Credits: 3
Deconstructing Cities *BEST BET*
This is an introductory urban studies course that exposes students to innovative ways of understanding cities and the social disparities they manifest. The class focuses on contemporary urban issues including income inequality, segregation, gentrification, homelessness, immigration, media and culture, and social control. Students learn to analyze such problems by looking at economic, political, and social processes occurring simultaneously on different scales--global, local, personal--and how they unfold through space and over time. Using New York City as a benchmark, students explore urban contexts in comparative international perspective by researching an urban issue in a global city of their choice. The course satisfies core introductory lecture requirements for urban studies majors studying primarily online.
XINS 2001 Credits: 1
Piano Perf Workshop 1 *BEST BET*
A series of performance classes devoted to the understanding of style differentiation. From the Baroque period through the modern 21st Century, students will perform for each other in a supportive group environment covering such topics as phrasing and articulation, ornamentation, legato, technical problems and musical interpretation. For intermediate to advanced-level pianists only.
XPER 2012 Credits: 2
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. Out of class requirements include weekly reading, weekly journaling, personal self study projects, and daily practice to build new habits.
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 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 XTOM 0001 or XTOM 0002.
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 1. Pre-requisite: basic ability to read music in treble and bass clefs.
XVCO 2501 Credits: 1
Vocal Performance Workshop
This course teaches the student how to prepare and perform all types of vocal repertoire. Song selections may come from the following genre: opera, oratorio, art song, and musical theater. The format of the course will be performance-oriented and will incorporate mini-masterclasses as well as involve some dramatic coaching. Each student will present at least one song each week. It is expected that students will prepare the material with the appropriate IPA transcriptions, translations, and any other assigned notations. In addition to performing, students will be taught what is required in the professional arena and learn about working with other professionals in a performance setting.

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