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									Parsons The New School for Design
Fall 2006 Course Descriptions
Critical Studies Department & University Liberal Studies & Lecture Courses

Last updated: 2. 21.07

Department of Critical Studies 70 Fifth Avenue, Room 609 212.229.8916 Office of Advising 2 W. 13th St., 5th floor 212.229.5855 Fall 2006

TABLE OF CONTENTS GENERAL INFORMATION Course Index Course Expectations Grading and Attendance Policy University Policy on Academic Honesty COURSE DESCRIPTIONS Introductory Courses Perspectives in World Art and Design Critical Reading & Writing ESL Art History & Design Studies Intermediate Advanced Senior Seminars Graduate Courses University Lecture Courses Social Sciences & Humanities Mathematics Natural Sciences Foreign Languages

Course Expectations Writing: • • • • A minimum of 2-3 papers over the course of the semester. Guidelines for form and style will be distributed by the instructor. Supplementary writing such as journal writing and in-class reaction papers may be assigned. Many classes will also include short-answer and essay exams.

Reading: • 60 pages per week is the average.

Discussion: • Class participation is expected and will determine a percentage of your grade.

Online Courses: • All of the online courses at New School Online University are fully interactive. Students and instructors meet in virtual classrooms and project areas where they share information, ask and answer questions, and complete assignments. In all ways except physical, participation in a NSOU class is virtually identical to participation in a traditional, classroom-based course. In our current academic program, courses last fifteen weeks and students studying for credit must complete assessment exercises (papers, tests, integrative projects, etc.), just as they would in the traditional classroom.

Grading and Attendance Policy • 3 absences result in a failing grade. • 2 late arrivals equal an absence. • Plagiarism will result in a failing grade for the assignment or the course (see below for Plagiarism Policy). • ―F" is the grade given to students who attend but do not successfully complete the work. ―WF‖ is the grade given to students who stop attending the course. • Incompletes are given only due to emergencies. An incomplete form signed by the instructor and student and must be attached to the grade sheet. For undergraduates, an Incomplete automatically turns to a ―WF" after four weeks. For graduate students, the deadline for completion is one year though a shorter period may be established by the instructor. University Policy on Academic Honesty The University community, in order to fulfill its purposes as an educational institution, must maintain high standards of academic integrity. Students in all divisions of the University and in all facets of their academic work are expected to adhere to these standards. Plagiarism and cheating of any kind in the course of academic work will not be tolerated. Academic honesty includes accurate use of quotations, as well as appropriate and explicit citation of sources in instances of paraphrasing and describing ideas, or reporting on research finds or any aspect of the work of others (including that of instructors and other students). These standards of academic honesty and citation of sources apply to all forms of academic work (examinations, essays, theses, dissertations, computer work, art and design work, oral presentations, musical work, and other projects). Standards of academic honesty are intended to protect the rights of others as well as to support the education of the individual student, who derives no educational benefit from incorrectly or dishonestly assuming credit for the work of others. These standards also include the responsibility for meeting the requirement of particular courses of study. Thus, multiple submissions of the same work for different courses must have the prior approval of all parties involved. New School University recognizes that the differing nature of work across divisions of the University may entail different procedures for citing sources and referring to the work of others. Particular academic procedures, however, are based on universal principles valid in all divisions of New School University and among institutions of higher education in

general. It is the responsibility of students to learn the procedures specific to their disciplines for correctly and appropriately differentiating their work from that of others. INTRODUCTORY COURSES Introductory level courses are prerequisites for all art history and design studies courses. PLAH 1000 PERSPECTIVES IN WORLD ART AND DESIGN 1: Pre-history to the 14th Century PLAH 1001 PERSPECTIVES IN WORLD ART AND DESIGN 2: 14th Century to the Present PLAH 1030 CHASE: PERSPECTIVES IN WORLD ART AND DESIGN 1 (open only to freshmen Chase Scholars) Perspectives in World Art and Design, a two-semester course, will introduce students to the visual arts and design with a focus on cognitive analysis and methodological approaches. The objective is to expose students to the breath and diversity of the visual arts and design worldwide and to provide a sense of historical context through chronological organization of the material. Readings and are chosen to broaden critical perspectives. Discussion based classes enable students to become more articulate in expressing their understanding of visual material. Research and/or analytic papers and class presentations will be assigned to sharpen written and oral skills. 3 CR

PLEN 1020 CRITICAL READING AND WRITING 1 PLEN 1021 CRITICAL READING AND WRITING 2 PLEN 1030 CHASE: CRITICAL READING AND WRITING (open only to freshmen Chase Scholars]) Critical Reading and Writing 1 and Critical Reading and Writing 2 are each one-semester courses in which students develop skills in critical reading and writing through the study of design theory and criticism. Students are introduced to methods of criticism as a means to understanding the indissoluble connection between ideas and the products of human culture. These methods include formal criticism, functional criticism, historical criticism, semiotics, production and power criticisms, gender criticism and ethical criticism. Students should be prepared to engage in extensive writing and rigorous reading in this course. 3 CR PLEN 1006 BRIDGE: CRITICAL READING AND WRITING This course, with the same methodological content as Critical Reading and Writing 1 and 2, is designed for students for whom English is not a first language. Students will only receive credit for one semester of Bridge: CRW. 3 CR ESL Students concentrate on the development of a critical vocabulary through the study of written, visual, and material texts. Analytical and writing skills are developed. Special attention is paid to speaking and listening skills at the lower levels. Based on test placement or faculty recommendation, a student may be required to take this course. PLEN 0505 ESL 2 1.5 CR PLEN 0509 ESL 4 3 CR PLEN 0507 ESL 3 1.5 CR PLEN 0510 ESL 4: WRITING INTENSIVE 3 CR

PLEN 0500 AMERICAN CULTURAL LANGUAGE This is an intermediate level ESL class that will explore the many connotations or ―hidden‖ meanings of key vocabulary words that have come into American culture from the world of art and design, mythology, gender studies, postmodernism and pop culture, and current events. Students will, for example, discover the connotations for the word ―Madonna‖ in American culture. Using authentic readings and listening material, writing, grammar, and speaking and pronunciation work, students will learn and practice the use of new

vocabulary that enable students to better understand American culture, material learned at Parsons, and life in New York City. 1.5 CR

ART HISTORY AND DESIGN STUDIES
INTERMEDIATE COURSES Intermediate Art History & Design Studies courses are prerequisites for any Advanced course. Students must take at least one Intermediate course before enrolling in an Advanced course. PLAH 2010 LATIN AMERICAN ART: 20th CENTURY Faculty: Calirman This course explores Latin American Twentieth Century artists from a historical point of view, contextualizing them in relationship to their North American and European counterparts. Topics include the birth of modernism, the search for identity, the diaspora and exile, surrealism, abstract constructivism, conceptualism, political art, and displacement. It will analyze the reception of Latin American Art in the United States as well as the growing presence of Latinos in the U.S., and its representation in cultural institutions. 3 CR [Multicultural] PLAH 2040 RENAISSANCE ART Faculty: Necol A pivotal period in the history of art, the Italian Renaissance remains a rich trove of visual and intellectual inspiration for contemporary artists and designers. Through masterpieces of painting and sculpture, students will come to understand not only the artists and ideas of the time, but also the design of daily life. Much of what we associate with the modern artist-a dynamic society, patronage, politics, and gender-has its roots in this period. Alive with artistic personalities and innovations, the pageant of visual culture is examined thematically and historically through painting, sculpture, and a variety of design arts, such as books, clothing, and furnishings, to explore the creation of the material culture as well as Renaissance ideals and responses to it. 3 CR PLAH 2050 AFRICAN ART Faculty: Waller This course will focus on three aspects of African art and culture, starting with an introduction to traditional religious and philosophical thought. This will be followed by an overview of ancient kingdoms, specifically, the Congo, Benin, Yoruba and Akan kingdoms. The course concludes with an overview of village communities, including the Dogon, Bamana, Dan and Senufo peoples. 3 CR [Multicultural] PLAH 2080 CONTEMPORARY ART Faculty: Grove Contemporary art is global, multipurpose, and increasingly integrated with music, film, design and other creative fields; New York City is still, arguably, the best place in the world to explore it. The objective of this class is to promote understanding of issues important to contemporary art, including the tensions between image and object, accumulation and appropriation, entertainment and enlightenment. The class will experience contemporary art through slides, videos, and discussion of texts drawn from current books and journals, but also through visits to galleries and museums and written assignments and class presentations designed to further observational and analytic abilities and enable class members to connect individual and collective experiences of contemporary art with their own work and ideas. 3 CR PLAH 2100 MODERN ART Faculty: Angeline The modern period, while over 100 years old, is still largely confusing and poorly understood by many of the people who have lived during its development. This course will set the foundation for the modern period by beginning with Realism and moving through the 20th century, considering the issues and context that inform the formal strategies being pursued at the time. 3 CR

PLAH 2110 19th CENTURY ART Faculty: Pierre This course will include lectures and discussions on the various and changing politics, practices, and styles of visual fine art created during the 19th Century. The scope of this course will cover the arts of Western Europe and the United States, beginning with the Enlightenment and ending with the Belle Époque. The careers and works of individual artists such as David, Delacroix, Goya, Turner, Courbet, Manet, Morisot, Cassatt, and Claudel, among many others, will be considered. The characteristics of specific styles and movements, such as Classicism, Romanticism, Realism, Impressionism, and Symbolism will also be studied in depth. In addition, various topics will be highlighted such as the birth of photography and the popularity of other print forms; changing viewpoints on the medium of sculpture; the rise of public art; painting at the Salon exhibitions; international exhibitions and other modern venues for art; changes in the art market; and the specific obstacles faced by women artists. The goal of this course is to provide a better understanding of the historical and cultural landscape of the western world during the 19th century through discussions of specific artworks and assigned readings. 3 CR PLAH 2150 18th CENTURY ART & DESIGN Faculty: Grove The 18th century is one of the most complex and fascinating periods in art history. This century included the Mughal period in India, the Qing dynasty in China, the Choson (Yi) dynasty in Korea, the Edo period in Japan, the Age of Enlightenment, and the Industrial Revolution in Europe, along with the increased colonization in Africa, the Americas, and the Pacific. As world cultures grew more aware of each other they influenced each other more directly, as in the Chinoiserie craze in Europe. Other cultures turned to the past for new ideas, as in the Choson dynasty's adoption of older Ming styles. Interior and exterior design will be considered in the class, as will ceramics, furniture, inventions, painting, sculpture, and architecture. Readings will touch on philosophy, poetry, and history as well as art theory and practice. 3 CR [Multicultural] PLAH 2160 JAPANESE ART Faculty: Eisenstadt Historically the Japanese have not made a distinction between fine art and craft. Japanese art and aesthetics are addressed in screens, sculpture, architecture, ceramics, fabric, and scrolls, just to name a few areas of importance. This survey of Japanese art examines the visual and historical elements fundamental in the creation of the Japanese aesthetic. Much of Japanese art is linked to the two dominant religions in Japan, Shinto and Esoteric Buddhism. The course will explore these links through several art forms such as theater costume, temples, shrines, screens, and objects such as those used in the tea ceremony. Various periods will be discussed, including the Jomon, Kofum (Haniwa culture), Nara, Heian, Kamakura, and Edo. The class will also look at contemporary Japanese art. We will also visit exhibitions at museums and galleries, such as the Japan Society. 3 CR [Multicultural] PLAH 2300 HISTORY OF PHOTOGRAPHY Faculty: Eisenberg, Towery, Salo The purpose of this course is to familiarize each student with the major conceptual, ideological, and cultural issues that have impacted and defined the history of photography from 1839 to the present. Each student will be expected to develop their ability to discuss and identify the major developments of this history with understanding and confidence. This course will place emphasis on the socio-political forces, technological developments, and aesthetic innovations that have determined the trends of photographic theory and production. 3 CR (Preference given to Photography students for whom this course is a Critical Studies requirement.) PLAH 2301 HISTORY OF GRAPHIC DESIGN Faculty: Levy This survey will examine all of the major designers and modern movements that have significantly contributed to the development of the practice of graphic design. The course will discuss how historical, societal, cultural, and technical conditions changed what designers produced and how they worked. Emphasis will be placed on the Avant-garde, emphasizing such seminal periods and movements as the Arts and Crafts, Russian Constructivism, German Modernism, the Neue Grafik, and the recent proliferation of

digital design. The course will include readings from Philip Meggs' "History of Graphic Design" amongst other readings by designers themselves. Requirements include a midterm, final exam and research. 3 CR (Preference given to Communication Design sophomore students for whom this course fulfills a Critical Studies requirement.) PLAH 2310 HISTORY OF WORLD ARCHITECTURE I Faculty: Kladzyk This lecture course surveys built environments, individual buildings, and landscapes crated by early humans. From studies of complex shelters, social spaces and margins by prehistoric people, to the design and structures associated with Greek Hellenism in the West, students learn about the early history of building activity and how certain forms have endured to the present. Early architecture of Africa the Americas and Asia with particular emphasis on wooden forms will be covered. Students learn how the transference of cultural aesthetic influences takes place. Weekly lectures are followed by preceptorials and off-campus site visit. 3 CR (Preference given to Architecture and Interior Design sophomore students for whom this course is a Critical Studies requirement.) PLAD 2040 HISTORY OF FASHION AND MODERNITY Faculty: Glasscock This course examines fashion from 1850 to the present and its capacity as both a reflection of, and an influence on, the cultural conditions of its respective time period. In its entirety, students should gain a greater perspective on the historical, social, economic, and industrial precursors and contexts to contemporary fashion's design, consumption, production, image, tastes, and trends. This seminar course is supplemented by field trips and guest speakers. Course work will be comprised of group and independent research, written papers, and oral presentations. 3 CR PLAD 2502 INTRODUCTION TO VISUAL CULTURE Faculty: Bouman Visual images pervade our everyday experiences in an increasingly technological and communications based culture. From newspapers to the Web, from the sciences to the humanities, to advertisements and movies, we encounter visual images in every area of our lives. Visual Studies is an exciting new area of study that looks at this range of art, media, and visual images, rather than focusing on fine art alone. The course will familiarize students with the key terms and debates, as well as introduce techniques used to analyze visual images from art and photography, to television and electronic media, using a variety of overlapping analytic frameworks. We will draw upon new approaches in art history, media studies, gender studies, literary and social theory, and discuss their cultural, political, and aesthetic implications. 3 CR (Preference given to Fine Arts sophomores for whom this course fulfills a Critical Studies requirement.) PLDS 2072 INVENTION Faculty: Klein Philosophers have differed about the process and meaning of invention. It makes all the difference whether invention is considered materialistically as discovery dependent on physical causes; ontological, as a decision referred to a universal value; perspectivally, and held to be an action aimed at personal satisfaction; or humanistically, and regarded as the solution to problems arising out of a common human experience of the world. In this course we study major contributions to the philosophy of invention, with special attention to the concept of the problem, the nature of creation, and the structure of argument. 3 CR PLDS 2190 THE HISTORY OF DESIGN: 1850-2000 Faculty: Lichtman Design exists everywhere.—in the things we wear, the places we live, and the objects we use. This course traces the history of design from the dawn of the industrial revolution to the present day. It examines the relationship between designers and consumers and investigates how design relates to social and cultural change. The lectures focus on major design movements: Design Reform, Arts and Crafts, Vienna Secession, the Bauhaus, Art Deco, Streamlining, the International Style, Hollywood Modern, Organic Design, ―Good Design,‖ Pop, Post-Modernism, Green, and Contemporary Design. Throughout the semester, design is considered in relation to new materials and technological advancements, as well as

shifting ideas about taste and progress. Issues influencing the development of design history as a discipline are also considered, including the feminist scholarship and privileging of Modernism. 0 CR PLEASE NOTE: In order to receive credit for this course, students must also register for one of the corequisite discussion sections: PLDS 3 CR 2191 History of Design: 1850-2000 Recitation

PLDS 2300 TECHNOLOGY AND SOCIAL CHANGE Faculty: San Miguel This course analyzes the impact of technology in society, pointing out the ways in which the development and introduction of new technologies not only transforms their surroundings, but also modifies existing social values and relations, and creates new ones. Technological innovation is seldom ideologically neutral, and many times provokes profound social transformations, often in unintended ways. We also analyze the role of information technologies as a crucial factor in the spread of ideas. 3 CR PLDS 2500 INTRODUCTION TO DESIGN STUDIES AND VISUALITY Faculty: Brody This class examines different aspects of design and visuality by looking at larger questions of production, consumption, and use and how these issues become part of a larger discourse about design and visual culture. The design process is intricately tied to visuality, or how things appear and look; thus, the course uses images to provide students with a better understanding of their chosen field of study at Parsons. We will assess the relationship between design and the visual by investigating questions about gender, spatial control, ethics, race, status, and class. We will look at a variety of theoretical, historical, social, and political writings to explore this complicated topic. PLEASE NOTE: In order to receive credit for this course, students must also register for one of the corequisite discussion sections: PLDS 2501 INTRODUCTION TO DESIGN STUDIES DISCUSSIONS Faculty: TBA 3 CR (Preference given to BFA sophomores for whom this course is a Critical Studies requirement.)

ADVANCED COURSES
Intermediate Art History & Design Studies courses are prerequisites for any Advanced course. Students must take at least one Intermediate course before enrolling in an Advanced course. PLAD 3220 THE COLONIZING CAMERA: PHOTOGRAPHY IN THE MAKING OF COLONIAL KNOWLEDGE IN AFRICA AND ASIA Faculty: Becker From the late 19th century through the early 20th century, the expansion of European colonialism was recorded with the camera. This course examines the problematic nature of the relationship between the technology of the camera, the photograph, and colonialism various parts of Africa (South Africa, Namibia, Algeria) and Asia (India, China and Korea). This complex relationship led to particular constructions of colonized people, their cultures, and geographical locations, all of which we will consider critically. Therefore, we are specifically concerned with the ways in which these constructions were supported and legitimated through photographic representations of race, gender, culture, and geography. Furthermore, we will discuss the meaning of ‗the archive‘, where enormous quantities of ‗scientific‘ photographs are filed away. Finally, we turn to contemporary visual culture and consider to what extent it is possible to subvert or return the colonial ‗gaze‘. In order to do so we will examine the work of progressive photographers, artists and writers, who attempt to re-work, re-position or re-contextualize colonial photographs. 3 CR [Multicultural] PLAD 3320 BEARING WITNESS: THE NAZI HOLOCAUST & MATERIAL FORMS OF REMEMBRANCE Faculty: Hoenninger A chronology of the Holocaust will be explored through a variety of media and forms of human expression, such as painting, film, poetry, photography, drawing and music. This will include work which bears witness to the Nazi reign of terror in Europe, in addition to work created later, in response to the horror and the

crimes committed during those years. Throughout the years of Nazi occupation, forms of creative expression played a major role in both promoting and perpetuating Nazi ideology, in providing warnings, and as a venue for acts of resistance. This course will, then, be divided into three sections: 1) Art as Propaganda, as Social Criticism, 2) Art as Documentation, as Interpretation, 3) Art as Memorial, as RePresentation. 3 CR PLAD 3230 PHOTOGRAPHY AND THE FACE Faculty: Maimon What kind of responses photographic portraits provoke? Correspondingly, what forms of ‗truth‘ do they evoke? What kind knowledge do they produce on subjects? How is meaning constructed in photographs with regard to past events and notions of identity? Did our response to photographic portraits changed historically as well as our understanding of what a photographic portrait is? The course will examine the historical and contemporary role of photographic practices in the constitution of individual and collective forms of identity. It will trace the relations between photographic portraits as an artistic genre, as a form of knowledge within disciplinary social or political apparatuses, and as a popular form of representation and identification within different media technologies. 3 CR PLAD 3325 PHOTOGRAPHY AND THE AVANT-GARDE Faculty: Sundell The first half of this course consists of an in-depth survey of the photographic practices of the leading prewar avant-garde movements: Futurism, Dada, Russian Constructivism, Bauhaus and Surrealism, where photography was used as a way of undermining conventional modes of representation and developing a ―new vision‖ in tandem with the utopian ideas that were pervasive among avant-garde artists in Europe. In the second half of the course, we will examine photography‘s place in the post-war neo-avant-garde movements of Pop and Conceptual art, where the photographic image was incorporated as a means of rethinking artistic production and coping with fully industrialized processes of inscription and communication. The class will end with a consideration of what is arguably the last avant-garde movement--postmodernism-emphasizing the central role that photography played in its critique of representation, originality, and artistic authorship. 3 CR PLAD 3370 AGE OF REVOLUTION: EUROPEAN VISUAL CULTURE 1780 – 1880 Faculty: Auricchio Europe experienced an unprecedented series of social and political upheavals in the eighteenth and nineteenth centuries, ranging from the French Revolution to the Napoleonic wars to the Industrial Revolution. This course investigates how visual culture both responded and contributed to the reinvention of European nations, their leaders and their citizens in this tumultuous period. We will look not only at traditional media (e.g., painting, caricature, festivals, costume, decorative arts, and urban planning), but also at new technologies and new sites of cultural production (e.g., panoramas, photography, and world‘s fairs). Focusing on intersections between art and politics, we will consider artists and designers including JacquesLouis David, Percier & Fontaine and Honoré Daumier in France, Francisco Goya in Spain, and James Gillray, William Blake and William Morris in England. This discussion-based seminar will encourage students to consider contemporary visual culture, and their own studio work where applicable, in relation to issues raised in class. This advanced elective assumes familiarity with the basic outlines of European art from Neoclassicism to Impressionism. 3 CR PLAD 3500 GLOBAL ISSUES IN DESIGN & VISUALITY IN THE 21c: CULTURE Faculty: Yelavich Impermanence may be the only permanent characteristic of the 21st century. People rarely live in just one place anymore. New urban landscapes are rapidly evolving in response to the tides of migration; at the same time, new geographies are mapped everyday on the internet. We have grown accustomed to buying products made in one place, manufactured in another, and sold everywhere. Goods, services, and images have become their own culture, transforming designers and artists into culture authors. How can we talk about these new cultures? Lectures by anthropologists, historians, and critics will establish a critical framework for case studies drawn from design and visual media. Students will discuss the issues raised, in light of both the course readings and their own studio practices, in their discussion sections. PLEASE NOTE: In order to receive credit for this course, students must also register for one of the following co-requisite discussion sections:

PLAD 3501 GLOBAL ISSUES DISCUSSIONS TBA 3 CR (This course is a Critical Studies requirement for all BFA juniors at Parsons. Each semester is thematic. Students can select Cultures for the Fall term or PLAD 3500 GLOBAL ISSUES IN DESIGN & VISUALITY IN THE 21c: COMMUNICATION for the Spring term.) PLAH 3010 WOMEN ARTISTS FROM THE RENAISSANCE TO THE PRESENT Faculty: Necol Not for women only, this selective survey studies women painters, sculptors and photographers working in the past 500 years. It will include a look at design movements of the modern period as well. By studying the artists‘ work and writings, including personal letters and statements, we will learn about their theories and practices, to know them as women and artists, in some cases only recently added to the ―canons‖ of art history and design. What unique contributions have women artists made to our visual culture? What is their relationship to the prevailing political, cultural and artistic contexts? How do they image men and themselves? How do issues of gender, race and class impact on representation and identity? Time will be given to the lively and varied developments world-wide in women‘s art of the last 30 years engendered by the Women‘s Movement as well as contemporary activities. Field trips are planned. 3 CR [Multicultural] PLAH 3015 THE NUDE IN WESTERN ART: A RECONSIDERATION Faculty: Collins Few images are as powerful as the nude. The unclothed figure, whether male or female, can embody everything from beauty and strength to suffering and ecstasy. It can arouse the strongest desire or provoke the most violent outrage. This course will explore this theme as it has developed in Western art and will closely examine paintings and sculpture by such towering artists as Praxitles, Michelangelo, Titian, Rubens, Ingres, Matisse and Picasso. Although the course will use Kenneth Clark‘s classic text, The Nude: A Study in Ideal Form, it will move beyond Clark to discuss more recent feminist and psychoanalytic approaches. The course will also look at the nude as it appears in the works of contemporary artists such as Robert Mapplethorpe, Lucian Freud, Philip Pearlstein and others. Special attention will be paid to works in New York Museums. 3 CR PLAH 3025 IMAGES OF WOMEN IN ANCIENT CULTURES Faculty: Jones This course focuses on the different ways in which women are represented in Egypt, the ancient Near East, the Aegean, Greece, and Rome. Using narrative scenes, costumes, and body language such as poses and gestures, complemented by literary sources, the various roles and places in society of women are considered, from the religious and royal to the domestic spheres. Particular attention is paid to costumes and textiles, both as marks of identification and as women‘s crafts. Interconnections in women‘s imagery between the various regions studied, is also examined from the standpoint of adoption of religion/goddesses, symbolism and dynastic marriages. Lectures will take place in class and at the Metropolitan Museum of Art. 3 CR [Multicultural] PLAH 3170 PORTRAITURE BEFORE PHOTOGRAPHY Faculty: Bunkin Portraiture is a distinct genre in the art of the world. It is a kind of time-transcending reflection of who we are and what we look like. From Paleolithic mammoth ivory carvings to grandiose royal portraits, artists have been representing themselves and others as emblems of identity and significance. Many cultures‘ ideas about likeness vary, in some cases the specific identity of an individual is conveyed by text coupled with a canonic visual form, in other cases it is based upon physical markers, emblems, or clan identity. Some portraits are even conjectural, as they represent long-dead legendary figures of the past. The status of portrait specialists and the demands on their skills have also varied from culture to culture and era to era. Do all eras demand a flattering likeness? Are all portraits honest? Can we really know if the person represented looked like their simulacrum? We will explore these issues among the rich body of world portraiture made before the advent of photography in 1839. Each session will focus on a specific aspect of portraiture from Asia, Africa, Europe, the South Pacific and the Americas. We will take several field trips to see portraits first-hand.

3 CR PLAH 3172 THE MOVING IMAGE IN ART Faculty: Bouman Experiments in film and video first emerge in the 1960s in and outside of the gallery, grow by leaps and bounds in the 1970s and develop into a fully entrenched art form in the 80s and 90s. This course will follow the conceptual and cultural elements of this emergence, focusing on highly experimental video and film, not traditional narrative works. Beginning with its prehistory in avant-garde film and in art, we will follow the history of this medium as it forms an integral part of many of the most important impulses in the decades of its emergence and maturation, especially structural film in New York City, "expanded cinema," conceptualism, feminism and performance art, as well as the social aspirations of activists and artists to create a guerrilla, or revolutionary television. Contemporary areas include the impact of music videos, site specificity/installation art and the Internet on video and film art. A portion of each class will be given over to screenings of films and videos, with the remainder dedicated to a discussion of film/video and the readings assigned for the class. 3 CR PLAH 3174 CONTEMPORARY CHINESE ART Faculty: Yang This is a survey course on contemporary Chinese art from the early 1990s to today. In this course, we will examine artists‘ works primarily from Mainland China and analyze several artistic media including painting, sculpture, ink painting, photography, video, computer, the internet, and artists‘ bodies. We will emphasize the most important artistic motifs and subject matters that characterize social, cultural, and political transformation during Mainland China‘s wake of globalization. The course will include several studio visits and artists‘ talks. This course will help you understand the representation of art in relation to its social, cultural, and political background and how New York formulates an important community for contemporary Chinese art around the world. 3 CR [Multicultural] PLAH 3179 US – S. KOREAN CONTEMPORARY ART AND DESIGN Faculty: Vrachopoulos This course will begin with the post-war era and its artistic developments up to the present time. The end of the Korean War in 1953 signaled a period of artistic chaos with two tendencies to be seen, one pro and one against Western influence. But, by the late fifties modern artists abounded in South Korea. A number of movements similar to the West -- Dada, Post-Painterly Abstraction, and Pop Art -- ensued. Many artists began to travel to Europe and the United States for their education, and the cross-pollination process wrought new changes in the Korean aesthetic. Korean art (sculpture, installation, new media, film) and design (fashion, furniture, jewelry) are now a significant presence in the international arena, and in New York City, the host of a large number of Korean artists. This course will cover Korean art and design, and KoreanAmerican designers and artists. Students will have the opportunity to make studio visits and attend exhibitions at the Tenri Cultural Institute, The Asian Society, The Kaikodo Gallery, The Metropolitan Museum of Art, The Korea Gallery, and The Kang Collection. 3 CR [Multicultural] PLAH 3210 IMAGINING THE OTHER: NOTIONS OF THE PRIMITIVE IN MODERN ART Faculty: Newton As much as modern art projected itself into the future, it also sought to return to imagined beginnings and to rediscover a lost innocence in the works of groups identified as primitive. In ways both positive and negative, the word ―primitive‖ signaled earlier stages in mental development, lower levels in a pseudoDarwinian evolutionary hierarchy. Thus modern artists looked to the creations of a wide variety of ―primitive‖ Others: so-called ―tribal‖ peoples, children, the mentally ill, peasants, and historically distant cultures around the globe. In the imagination of so many modern artists, these primitive Others served as antidotes to the coarse materialism of the modern bourgeois industrialized state. This course will explore the discourse of the primitive in relation to modern art and popular culture from the late nineteenth century to the late twentieth century. In addition to examining art works, significant exhibitions, and examples of related visual culture, we will analyze texts drawn from the fields of art history, psychology, anthropology, and cultural criticism. 3 CR PLAH 3310 FROM CAGE UNTIL NOW: CONCEPTUAL ART Faculty: Burtt

The rise of pop, minimal, conceptual, body, performance art during the early 1960's coincided with a rethinking of artistic practices. These movements can be linked to the boundary-expanding experimentation found in the work of composer John Cage. Cage‘s interest in the early modernist experiments of Marcel Duchamp, time/temporality, chance, and Eastern philosophy can be found in advanced art making throughout the late 20th century, through today. These new art movements were intellectually based in theories about art and culture and offered new approaches to interpreting the function and meaning of art. The camera, both still and moving, became an increasingly important medium. Using photo-mechanical processes artists amassed records, offered testaments, and made statements about time, the body, perspective, identity, and reality. During the 1980's and 1990's these concepts and theories continued in installation based art which employed multi-media technology and recent advancements in digital design, many of which continue through today. This course examines the roots of critical contemporary art practices through extensive readings into cultural theory and art criticism, looking at art (slides and museum visits) discussion and writing. 3 CR PLAH 3320 AMERICAN PHOTOGRAPHY: WHAT IS AMERICAN ABOUT AMERICAN PHOTOGRAPHY? Faculty: Gutman It could be suggested that American photography is today hardly distinguishable from photography produced globally. This course will consider how American photographers first created their styles and subjects out of action, the road, landscape and individual, creating a photographic style emulated around the world. Spread globally by The Life Photographer and other American media, it was dubbed the International Style. But no sooner were Asian, European and South American photographers fluent in the language of this International Style than they refashioned it for home viewers, as photographers like Sebastiao Salgado from Brazil, Raghubir Singh from India, Chien-Chi Chang from Taiwan as well as photographers from Japan, Italy, Hungary, France and Germany spread new ways of seeing to impact and radicalize what were considered American sensibilities by expanding and redefining American photography‘s mission, restraints, and taboos in particular. 3 CR PLAH 3350 IMAGES OF BLACKS IN WESTERN ART Faculty: Farrington This course will examine the ways in which Africans and their descendants have been represented in art throughout t he ages. Through comparisons of the social and political situations of both artists and subjects and the kinds of images that prevailed during any given period, students will learn how Western art representing Africans has served to enhance political and religious agendas; and how these agendas have evolved over the millennia. The semester will begin with an examination of the art of antiquity followed by a look at the ―Moor‖ or African Muslim (from the 8th to the 15th centuries). Turning to Europe, images of blacks are present in the Gothic period, and in the paintings and sculpture of artists such as Bosch, Durer, Grunewald, Rembrandt, and Velazquez, among others in the western canon. We will consider questions such as how representations of Africans begin to change with the advent of slavery and again during diaspora after slavery at the end of the 19thcentury. The course will culminate with a consideration of how blacks represent themselves and a comparison of their own imagery against that which represents blacks as ―other.‖ 3 CR [Multicultural] PLAH 3650 AESTHETICS & REPRESENTATION IN EARLY FILM Faculty: San Miguel This course explores the aesthetic and intellectual roots that contributed to define cinema as an art, and the diverse currents that shaped modern film. We will delve into the influence of literature, fine arts, avant-garde movements, and film pioneers, to trace their impact in the most prominent cinematic trends and filmmakers. Students will develop a more complex appreciation of the context that framed the evolution of film language and aesthetics. This course does not require previous knowledge in cinema, but demands weekly viewing of movies, active in-class participation, and is writing intensive. 3 CR PLAH 3700 ETHNIC, FOLK, AND OUTSIDER ART Faculty: Apikos Is there a "filter" that distinguishes what we consider "art" from a larger fabric of artistic production? When non-academic art is placed within the larger history of indigenous and local cultural art forms, this course explores the relationship of global to local culture, proximity to tradition and invented tradition, shifts in

aesthetics and meaning, authenticity to the inauthentic, the artist/producer‘s intention to the object‘s end use, modes of diffusion and commodification. Woven into the content of this course is an overview of the major theoretical schools that have dominated western theory; evolutionism, cultural relativism, functionalism, structuralism, symbolic studies, and reflexivity in post-modernity. From these core frameworks students probe a series of specific case studies. 3 CR [Multicultural] PLAH 3850 COLLAGE: A CASE STUDY OF 20TH CENTURY ART Faculty: Krantz Covering areas of Europe and America, this course will examine the evolution of collage over the course of the 20th century. Though a collage aesthetic was present in mostly commercial images beginning in the early 19th century, it was the invention of papiers-colles by Pablo Picasso and George Braques which marked the collusion of collage with the fine arts. Beginning with works by these artists, we will look at the changing forms, materials, meanings and contexts with regards to which collage (and its parallels assemblage, construction, collage-object, etc.) has been observed by scholars, critics and artists themselves. Through looking, reading, writing and discussion, students will enhance their skills for critical analysis. PLDS 3015 JAPANESE DESIGN Faculty: Traganou The class will review trends in Japanese design (graphics, products, architecture) from the 17th century until today tracing its relation with the broader socio-epistemological environment of each era. Artifacts that represent and question myths of Japanese uniqueness and identity will be discussed in a variety of historical frameworks and international contexts, such as domination of Japanese cultural politics by China, westernization, pan-Asianism, internationalism, and globalization. 3 CR [Multicultural] PLDS 3025 AMERICAN DESIGN 1927-1957 Faculty: Flinchum This course will focus on the advent of the industrial design profession in the United States in the context of the 1920s. Norman Bel Geddes and Walter Dorwin Teague opened offices in New York City in 1927 to provide industrial design services, followed by Henry Dreyfuss and Raymond Loewy two years later. These ―Big Four,‖ along with a host of others bootstrapped the profession over the following decade. The establishment of the Society of Industrial Designers (today the IDSA) in 1944 culminated the drive by these practitioners to found a profession. ―Blue Sky‖ design and the postwar environment will be covered, along with the emergence of Charles & Ray Eames, Eero Saarinen, George Nelson, and Hans & Florence Knoll as tastemakers and innovators in the design of modern interiors. Special focus will be provided on the firms founded by Teague, Dreyfuss, and Deskey, and on their crucial roles in creating services that addressed all aspects of their clients‘ needs. The class culminates with an analysis of the emerging trends of the 1960s that would overturn many of the precepts of industrial design practice in the postmodern era. 3 CR PLDS 3030 CONSUMER CULTURE Faculty: Hudson What is consumer culture and how has it developed? How have ideas and practices of consumption changed over time? How does changing consumption relate to political, economic, and cultural history? How have ordinary men and women embraced or resisted consumerism and what is its relationship to identity formation? This course seeks to answer these questions by exploring the development and impact of modern consumer culture. The course places emphasis on consumption in the United States and Europe, but also considers the contemporary spread of consumer capitalism to other regions of the world. Topics will include: the rise of consumer capitalism, advertising, and mass media; shopping, debates about the morality of consumerism; theories of consumer culture and self-identity; and contemporary critiques of consumption and consumerism. 3 CR

PLDS 3100 SOCIAL HISTORY OF ADVERTISING Faculty: Casey This course examines the history of advertising media from an historical perspective. Numerous advances in printing technologies, broadened communications and a rise in literacy and shifts in consumption from

local and domestic realms to nationalized sources, as factors of dynamic change will be examined. The primary focus will be on the nineteenth and twentieth centuries, and the requisite forms of advertising: newspapers, magazines, trade cards, catalogs, billboards, neon, blimps, radio, television, and the www. The relationship between the agencies promoting goods and the technological innovations will be examined from several theoretical perspectives. For example, photo-based processes, from the half-tone to high speed printing and digital imaging have impacted the ways in which products have been represented, criticized and theorized within the broader American cultural framework. 3 CR PLDS 3140 DESIGN AS CULTURAL INTERFACE Faculty: Kauste In this class we will look at the relationship between design and culture, i.e. the role of design both as an expression of culture and also as a means of shaping culture through its influence on our everyday practices. As a person positioned between the user and the production process, the designer takes on the role of a mediator whose task it is to create the best possible interface by bringing together the wisdom of tradition and the excitement of innovation. The role of design and designers as agents/carriers of social change will be studied both in terms of different time periods and different cultures. Significant attention will be paid to the role of design in our contemporary internationalizing culture. The aim of the class is to deepen our understanding of the connections between design and culture, as well as those between the designer and the cultural context in which he or she operates. 3 CR PLDS 3165 DOMESTICITY & MODERN DESIGN Faculty: Theocharopoulou This course will investigate the history of modern design through notions of domesticity and the architecture of the interior. We will explore concepts of modernity, tradition, feminine taste, and everyday life. We will examine how these concepts have influenced the design of the home from the mid-nineteenth to the midtwentieth centuries. Some examples of spaces we will study include the Victorian parlor, the so-called Frankfurt Kitchen (1926-1929), and the Case Study Houses (1945-1966). The course will be conducted as a research seminar. 3 CR PLDS 3185 CULTURE AND CREATIVITY: DESIGN AND GENDER AND THE GENDER OF DESIGN Faculty: Lichtman How does gender affect design? Does it? This course, using what art historian Griselda Pollock has labeled ―feminist interventions,‖ addresses these and other questions as it examines the relationship between gender and design. Through a focus on interiors, fashion, products, environments, textiles, furniture, and architecture, the course reexamines the role of women in design and challenges assumptions about culture and creativity. It places design within a broader feminist framework by addressing such issues as creative partnerships, the gendered nature of objects, anonymity and recognition, patronage, and production and consumption. It also highlights the lives and careers of women designers, some known and other not as well known, while always placing their work within the broader context of race, ethnicity, and class. Readings will come from both primary and secondary sources situated within a variety of frameworks including Marxism, Capitalism, Modernism and Post-Modernism. PLDS 3195 ULTIMATE VALUES IN DESIGN AND ART Faculty: Klein "A course treating issues of art and design practice in relation to the most fundamental values." Designers and artists are often asked to justify their practice in terms of values such as social awareness and sustainability, but the contents of these values are often left undefined and their grounds unexamined. But both the contents and grounds of values have been differently determined by philosophers, for it makes all the difference whether ultimate goods are sought in the eternal verities of religions, the contingent circumstances of history, the behavior of material bodies, or the structure of human nature. In this course we examine several fundamental theories of value, with special attention to individual conduct, the status of pleasure, and the structure of argument. 3 CR Open to Graduate Students PLDS 3425 DESIGNING CHILDHOOD Faculty: Apikos-Bennett Childhood is made, not given. It is a stage of life that is dependant upon many different beliefs-from cultural, economic, religious, and psychological concepts to scientific and medical notions of human development.

This course will provide an in-depth overview of frameworks that define childhood and adulthood at various moments in Western history. Spanning the period form 1500 to the modern era we will scrutinize the design, technology, and meaning of the everyday objects that were used by children and their caregivers. Beginning with articles for body care, feeding and health, the course will move on to study domestic objects such as dinnerware and flatware, furniture, wall paper, educational material, toys, architecture, and playground design. 3 CR PLDS 3580 DRESS AND CULTURE Webber-Hanchett This course will explore the socio-cultural significance of dress by examining issues integral to our understanding of dress and society such as gender and sexuality, aging, race and ethnicity, religion, politics, media, and technological innovations. By looking at historic and contemporary dress practices as well as the fashion system within their cross-cultural contexts, students will gain an increased awareness of the multiple meanings of dress and appearance. 3 CR [Multicultural] PLDS 3670 DESIGN AND TRAVEL Faculty: Traganou The course is based on the perception of design as an enterprise that is affected by cultural exchange and mobility, rather than as one that is rooted in a specific place and culture. The aim of this course is twofold: on one hand it will examine cases of designers/architects-as-travelers from the modern period to the present (from the era of colonialism and internationalism to that of post-colonialism and globalization); on the other it will examine how material products related with traveling, such as graphically or industrially manufactured objects (maps, guidebooks, travel gadgets), traffic networks (roads, aviation) and buildings (hotels, railway stations, tourist attractions), reveal cross-cultural encounters and consequent epistemological shifts. Under the term 'travel' we will include various modes of mobility, such as exploration, tourism, colonization, immigration, pilgrimage, diaspora, exile, and so on. PLDS 3686 CONSUMING NEW YORK CITY Faculty: Mitrasinovic Students in this course will reinvent shopping in NYC, and ask questions such as: Why do people shop? Why are most shops branded and organized around specific themes? What do such themes tell us about our culture? Can we reorganize such themes in order to tell the story of our (sub)culture(s) in other, more tangible and relevant ways? Both individually and as a group, students will gather and analyze information on shopping in NYC through publications, direct observation, video and photo documentation, in-context interviews, and prototyping. Texts and materials will be drawn from several fields that relate to students' backgrounds: fashion, architecture, interior design, photography, fine arts, communication design, product design, etc. Students will apply findings by creating shopping scenarios for NYC. 3 CR PLDS 3690 THE GENDERED DWELLING (WOHNUNG) IN GERMAN AND AUSTRIAN MODERN DESIGN Faculty: Smith In The Arcades Project, Walter Benjamin cites the ―porosity and transparency, [the] tendency toward the well-lit and airy,‖ in early-twentieth-century architecture as an end to the nineteenth-century dwelling, where the use of abundant fabrics and ―deep folds‖ ―encased‖ the person ―deeply in the dwelling‘s interior.‖ Following on Benjamin‘s observations from the Arcade Project, the course would examine changing ideas about dwelling in the design movements of the Wiener Werkstatte, Deutscher Werkbund, and Bauhaus, and consider the (gendered) dialectic between the nineteenth-century interior and the New Architecture‘s metaland-glass spaces. Through the writings of Hermann Muthesius, Henry van de Velde, Peter Behrens, Adolf Loos, Bruno Taut, Adolf Behne, Walter Gropius, Ludwig Mies van der Rohe, Lilly Reich, and the Bauhaus weavers, as well as a range of secondary-source literature on these movements, we would examine the representation of industrial design in modern Germany and Austria. Works by contemporaneous artists, such as Josef Albers and Laszlo Moholy-Nagy, and short texts by German theorists that often gender the concept of dwelling, including Georg Simmel, Siegfriend Kracauer, and Benjamin, would further texture the discussion. 3 CR PLDS 3699 VISUAL CULTURE AND THE RADICAL SIXTIES Faculty: Sherman

By the late 1960s, the term ―cultural revolution‖ had become commonly used in the United States by artists and writers who consciously defined themselves as agents of artistic and social change—artists who lived their art, pronouncing ―ivory tower formalism‖ an architecture of the past, decreeing that issues of ―art and politics‖ should be fought out in the classroom of the streets. In this class we will examine how the visual permeated every aspect of the revolutionary art of the Sixties from its early years with ―underground‖ filmmakers like Ron Rice and Harry Smith, to the merging of dance and visual art at the Judson Church with Yvonne Rainer and Robert Morris, to the ―9 evenings of Art and Engineering,‖ the poets‘ theater, Fluxus, the birth of off-off Broadway theater, the happenings of Carolee Schneeman, poetry itself, and continuing into the political ―underground‖ of the middle and late Sixties with its posters and 8mm documentaries, photojournalism, and alternative magazines and newspapers. Starting with the Civil Rights Movement and emerging arts movements of the ‗50s, we will explore this ―renaissance‖ in its historical and social context, considering along the way the Beats, the Hippie, New Left, Anti-War and Student Movements, and the struggles for national liberation (third world, women‘s, gay). 3 CR [Multicultural]

SENIOR SEMINARS
Seminars are open to seniors only. PLAH 4020 BODY POLITICS Faculty: Farrington In this seminar students will tap canonical primary source documents across centuries, which reveal how the body, the architectural spaces that enclose it, and the clothing that adorns it, have been, and continue to be, manipulated in visual culture. Readings and seminar discussions will explore concepts of the "ideal", sociopolitical agendas, and gender and race construction as these phenomena are revealed through articulations of the body from age to age and culture to culture. 3 CR PLDS 4000 CONSTRUCTION OF APPEARANCE Faculty: Morano Participation in creating a ―look‖ is not optional; while we may experience our own appearance as ―normal‖ or ―natural,‖ our physical self is a manifestation of culture. This course will examine dress and the body as social constructions. How do we determine what looks normal? How do media, technology, politics, music, and tradition affect our appearance? How does our appearance reflect concepts of masculinity/femininity, conformity/rebellion, or modesty/display? These and other issues will be traced historically and identified in current discourse. Seminar work will include extensive readings and substantial research. Participants are expected to bring their prior academic and studio experience to the course focus. 3 CR PLDS 4010 ETHICS OF DESIGN Faculty: Szenasy What do moral duty, obligation, responsibility, or principles of conduct have to do with design and the professional activities of designers? This course will examine the moral base that informs the work of such historic figures as William Morris, Walter Gropius, Henry Dreyfuss, and Charles and Ray Eames. In addition, some of today's influential practitioners (and their collaborators in the manufacturing arena) are discussed. What is their understanding of the most important issues that shape society at the end of the millennium? How do they comply with civil rights legislation for barrier-free design? What is their response to grass-roots issues such as environmental sustainability? 3 CR PLDS 4015 DESIGNING MODERNITY Faculty: Brody This course, which takes its title from a show that was held at the Wolfsonian Museum in Miami Beach, explores modern design. Over the course of the past one-hundred-and-fifty years, scholars, designers, and cultural critics have responded to the changing nature of our artificial world in a variety of ways. Some have praised modernism, while others have looked at modernity as the end of civility, claiming that modern design destroys our values, morals, and ethics. This class looks at these varied responses and ways in which modernism affected design processes and products. Some of the topics we will deal with include: new technology and the design process, race and modernism, modernity and gender, design and social class, and modern design as cultural reform. 3 CR PLDS 4050 DESIGN AND NATIONAL IDENTITY Faculty: Traganou Taking the Olympic Games, World Expositions and other international/global events as its starting point, the class will explore how design is utilized as a means of reinforcing or configuring national identities since mid19th century, discussing individual and collective design approaches in parallel with issues of nationalism, national representation, group identity and stereotyping. 3 CR PLDS 4155 DESIGN AND POVERTY Faculty: Tai What role does design play in the lives of the economically disenfranchised? Are there sectors in which design impacts the poor more heavily than other groups? Is Vitruvius‘s mandate to make the world a better place through firmness, utility and delight only meant to serve an elite segment of society? Can design be harnessed to solve some of the problems of poverty? In this course students will explore such topics by identifying design circumstances that inordinately affect the poor in such areas as transportation, housing,

advertising, media, and education; by uncovering political, economic, and cultural factors which affect design for the poor; by studying ways our society has attempted to address issues of poverty through design; and by contemplating possibilities for future design interventions in these areas. There will be a substantial research and writing component in this course. 3 CR PLAH 4010 EXHIBITING CULTURES Faculty: Auricchio From the cabinets of curiosity and world‘s fairs of the past to the museums, galleries and websites of the present, exhibitions tell stories about the objects on view. Yet exhibitions also tell us about the values, assumptions and goals of the people and cultures who organize them. How do such factors as an exhibition‘s contents, design, location and audience shape both stories? Combining close looks at selected exhibitions with readings drawn from art history, anthropology, and cultural criticism, we will examine these questions in relation to a range of cultural institutions, focusing on sites in New York City. This discussionbased seminar will encourage students to consider their own studio practices in relation to readings and visits conducted for the course. This senior seminar is limited to students in their last, or second-to-last, semester of coursework. 3 CR PLHU 4050 GENDER & ETHNIC IDENTITY Faculty: Danby Through an interdisciplinary engagement with a variety of texts, visual arts, popular culture, music, theatre and films, this course explores the proliferation of ways that identities are displayed, performed, and transgressed in contemporary culture. Students will consider how social, political and cultural forces, which organize identities, structure representations of the self and others. This course will also explore ways in which broaching social and cultural borders - a destabilizing of boundaries, which entertains the possibilities of desire, fantasy, power, and authenticity - challenges notions of self and other. 3 CR PLDS 4035 FLUX – DESIGNING FOR MOTION Faculty: Kladzyk Flux – Designing for Motion, is a course that presents human movement as a ‗design driver‘ for specific environmental settings. Key motivating factors, personalities and environments drive and inspire the creation of form. War/defense drives the design of a particular tool, form of clothing, or building. Emotion, caused by the death of a loved one, influences particular design formation as a tangible expression of grief. Historical forms from diverse cultures will be used to learn patterns and motivation. Fashion, wall-treatments, lighting, makeup and hair styling, furniture, and architecture will be analyzed relative to domestic motion, economic motion, ritual or religious motion, travel motion, and rural, suburban, and urban motion. The catwalk and American exhibitionism will be studied relative to the Grand Entrance of Native American powwows. Stylin‘ on urban streets, acts of meditation and prayer in holy spaces, travel through airport hubs, and shopping in particular markets or on-line will be studied as they inspire design. 3 CR PLDS 4040 MEMORY AND DESIGN Faculty: Miller This seminar explores the shifting meanings of design against the cultural-historical and theoretical backdrop of collective memory studies. We will examine the intersection of collective memory, material and visual culture through a wide range of topics including the numerous arenas for the display of objects, consumption, preservation and commemoration, ―invented traditions‖ and national identity. In addition, the early uses of photography will be considered in order to better understand how the very depiction and/or imaging of things, or the very spectacle of seeing things, also converged with the project of making things. One objective of this seminar is to underscore the various prisms through which the study of design may be investigated. Students will be encouraged to think creatively and critically about both objects and ideas. 3 CR PLAD 4040 PRACTICING CRITICISM: CONTEMPORARY ART IN GALLERIES AND MUSEUMS Faculty: Sundell Much like the art it addresses, criticism is best understood as a form of practice—one that seeks to both assess individual objects and understand their place within a broader context. A second distinguishing feature of criticism is its engagement with the art of the present. For this reason, the goal of this class is twofold: Its primary interest is the practice of criticism—of learning how to make a critical argument with respect to works of art, exhibitions or architectural installations. Its second aim is to introduce students to the

key issues and debates that currently animate the field of contemporary art. Drawing on New York City‘s unparalleled cultural resources, the class will consider work currently on view in galleries and museums. In lieu of traditional papers, writing assignments will take the form of ―reviews.‖ 3 CR PLDS 4872 SEMIOTICS Faculty: Blonsky After four introductory sessions exposing the seminar to what the French writer Roland Barthes called the semiological adventure (of the 1960s and '70s), the course becomes an applied semiotics, addressing Americans for whom European theory is but a catalyst for action, for self-insertion into the U.S. marketplace. These first lessons focus on the major names of the movement, Barthes, Lacan, Kristeva, Foucault, Derrida, Eco et al. The introduction will include sample decodings, from the founders of the discourse as well as from the instructor, who will focus on contemporary American examples and topics. Starting with the fifth session the seminar applies the theory to advertising (TV and radio), film, fashion, text, decorative arts and other market discourses. The pedagogic tools include fashion documentaries (Wender‘s ―Notebook on Cities and Clothes‖, Scorcese‘s ―Made in Milan‖, etc.), radio and TV Reports' video compilations of top current TV spots, engagement with the Seventh Avenue fashion department, a visit to the Cooper-Hewitt collection of decorative works, as well as in-seminar film and news screenings, lecture and above all, classroom discussion. In short, there will be a balance between theory and contemporary practice. 3 CR PLDS 4165 WATCHING YOU, WATCHING ME: SURVEILLANCE AND VISUAL CULTURE Faculty: Bouman As political, cultural and philosophical work as diverse as Colin Powell‘s case for war presented to the UN, reality TV and Michel Foucault demonstrate, we live in a surveillance culture. Our attitudes towards surveillance are ambivalent, to say the least: we see it as either intrusive or fundamentally undemocratic (ECHELON), or as a guarantor of our safety (the use of surveillance cameras following the London bombing in the summer of '05), or as an opportunity to perform our everyday lives in our domestic spaces to previously inaccessible and unimaginable audiences (Jenny-cam). This course will trace these movements as part of a destabilization of the divide between public and private spaces and behaviors. It will do so through an assessment of "the perfect storm" created by the development of increasingly sophisticated visual surveillance technologies, the current political and legislative context, and the rise of "surveillance entertainment." Examples for consideration will include works of art, current trends in design as well as test cases from contemporary culture. 3 CR

GRADUATE COURSES
PLAH 5010 AESTHETICS Faculty: Klein Philosophers have differed about the nature of Art for it makes all the difference whether Art is conceived of in terms of pleasure, spirit, language, or process. In this course we examine four major theories of art with special attention to the function of Art, the context of creation, and the structure of argument. 3 CR PLAH 5005 ART OUTSIDE THE GALLERY Faculty: Meyers-Kingsley This two-part course will examine how contemporary artists have been thinking ―out of the box,‖ making work outside of the gallery or museum space. The first semester will investigate artists‘ projects in the urban environment and the second semester will examine artists‘ projects in the natural environment. NOTE: The two parts of this course constitute distinct classes, and they needn‘t be viewed as sequential; thus students may take one or both semesters of PLAH 5005. In both semesters we will look at ephemeral and permanent projects in all media; from public commissions by governmental and other agencies to artist-driven projects. The course includes field trips to artists‘ studios, galleries and to temporary and permanent projects in and around New York City. FALL 2006: ARTISTS’ PROJECTS IN THE URBAN ENVIRONMENT (CITY AS SITE) This course will examine how contemporary artists have been thinking "out of the box," making work outside of the "white cube" of the gallery or museum space. Focused on artworks made in the public realm particularly in an urban setting, we will utilize New York City as our site. The course will look at ephemeral and permanent projects in all media; from public commissions by governmental and other agencies to artistdriven projects. Projects in the urban environment include a constant dialogue with architecture and civic space. We will also look at the conditions under which contemporary art is created -- sanctioned or spontaneous -- and how the conditions may change the definition and reception of a work. In considering contemporary examples, the course will offer a new definition of the term "alternative space," offering the student the chance to investigate the many ways art can address a public out in the world. The course includes field trips to artists' studios, galleries and to temporary and permanent projects in and around New York City. 3 CR SPRING 2007: ARTISTS’ PROJECTS IN THE NATURAL ENVIRONMENT This course will examine how contemporary artists have been thinking "out of the box," making work outside of the "white cube" of the gallery or museum space. This course will concentrate on artists' projects made in the public realm -- in the natural environment; examining projects made in the natural environment or that engage in a dialogue with nature. We will look at ephemeral and permanent projects in all media; from public commissions by governmental and other agencies to artist-driven projects. The course will examine the legacy of ecological art, land art and earthworks; and contemporary examples of artists' projects in the land. We will also look at the conditions under which contemporary art is created -- sanctioned or spontaneous -- and how the conditions may change the definition and reception of a work. In considering contemporary examples, the course will offer a new definition of the term "alternative space," offering the student the chance to investigate the many ways art can can address a public out in the world. The course includes field trips to artists' studios, galleries and to temporary and permanent projects in and around New York City. 3 CR PLAH 5040 CINEMA: ART FORM OF THE 20TH CENTURY Faculty: Hegarty In this seminar we shall examine cinema of the 20th Century through both the films and the critical/theoretical responses to those films, many of which were produced by the filmmakers themselves. Beginning with a brief review of the proto-cinematic traditions that shaped early cinema and entrenched the medium in entertainment and narrative conventions, we will then examine the evolution of that trajectory and the persistent pull against the grain by other film traditions. We will view and read about cinema from the "silent era", the Soviet cinema, Surrealist cinema, German Expressionist cinema, Classical Hollywood cinema, early American independents, the European New Waves, and the "revitalized" American cinema of the 1970‘s and 1980‘s.Screenings will include Melies, Lumiere, Edison, Griffith, Eisenstein, Vertov, Bunuel,

Murnau, Pergman, Deren, Godard, Pasolini, Brakhage, Scorsese, etc. Readings will include Thomas Gunn, S.M. Eisenstein, Dziga Vertov, Andre Bazin, J.L. Godard, Laura Mulvey, Kaja Silverman, etc. 3 CR Seniors may register for this course with the approval of Academic Advising (To receive credit for this course, students must register for PLAH 5041 CINEMA: SCREENING) PLAH 5041 CINEMA: SCREENING TBA 0 CR PLAH 5030 UTOPIA IS COMING Faculty: Malen The wish to re-envision our environment and institutions for a greater common good is a perennial tendency in American culture. In recent years this wish has been expressed more in social and artistic arenas than in purely political ones. Today utopian ideas may be seen as an attempt to redress formidable social conditions created by global technologies. Utopian thinkers are exploring notions of shelter and ecology, cyber-culture, genetic engineering and artificial intelligence. The first semester of this course will examine utopian visions from l950 to 2003 beginning with California beat culture in the l950s, the application of new technologies to architecture (Buckminister Fuller‘s Operating Manual for Spaceship Earth," 1963), the transformations in media in the 60s and 70s (McLuhanism), and utopian critiques of media envisioned by San Francisco-based multi-media collective ant farm, The course will explore utopian theories of cyber-culture and cyber-art from M.I.T.‘s media lab and Ray Johnson‘s Interface Culture We will read about future applications of robotics and artificial intelligence in the Ray Kurzweil‘s Age of Spiritual Machines. At semester‘s end the class will read and discuss Herbert Girardet‘s, "Sustainable Cities: A Contradiction in Terms?" and parts of Rem Koolhaus‘s Delirious New York, which explores the effects of politics, context, the economy, and globalization on contemporary architecture. (In addition to readings and papers the students may work together on collaborative art projects.)The second semester will examine utopian and dystopian visions from l900-l950 beginning with E.M. Foster‘s The Machine Stops, l909, continuing with Huxley‘s Brave New World, the World Fairs of 39-40 and 64, Russian suprematism, modernism and other art movements. 3 CR ESL Students concentrate on the development of a critical vocabulary through the study of written, visual, and material texts. Analytical and writing skills are developed. Based on test placement or faculty recommendation, a student may be required to take this course. PLEN 5000 ESL: GRADUATE INTERMEDIATE 0 CR PLEN 5001 ESL: GRADUATE ADVANCED 0 CR PLAH 5045 INTERVENTIONIST ART: THE CREATIVE DISRUPTION OF EVERYDAY LIFE Faculty: Sholette Art made to attach to buildings or to be given away? Wearable art for street demonstrations or art that sets up a booth at a trade show? Collectively organized artistic practices. This is the art and design of the interventionists, who trespass into the everyday world to raise our awareness of injustice and other social problems. These artists don't preach or proselytize; they give us creative tools to help us arrive at our own opinions and create our own political actions. From inflatable homeless shelters and portable "birthing" tents, to temporary urban parks and trendy fashion accessories designed for communal shoplifting, the interventionists invent new ways as well as re-invent old ones to break down the walls between art and life. As the most recent Whitney Biennial proves such work is again part of the cultural discourse. This seminarstyled class will focus on such questions as: How do we design work to intervene within an increasingly privatized public sphere? Is interventionism sustainable? Why are so many younger artists choosing to work together in groups and collectives today? And what is the future of activist public intervention after 9-11 and in the face of the "clash of cultures"? 3 CR Seniors may enroll with permission of the Academic Advising Only

UNIVERSITY LECTURE COURSES
6 credits of University Lecture coursework required of BFA & BBA freshmen and sophomores. In January 2004, Provost Arjun Appadurai approved the proposal for a University Curriculum. Created to showcase the University's particular strengths in the liberal arts, design, and the performing arts, courses offered through the University Curriculum create a space for conversation among our undergraduates across the institution. This conversation – grounded in the University's longstanding commitment to "knowledge that matters" – is rigorously problem-oriented, historically grounded, broadly interdisciplinary, and attentive to international concerns. Courses in the University Curriculum feature lectures by the University's most dynamic and experienced faculty, and offer students a shared experience that incorporates the vast cultural resource that is New York City. Beginning in the 2004-2005 academic year, students joining the New School University community will be required to take a minimum of two courses (a total of 6 credits) in the University Curriculum. Students may choose from an array of options, and may complete the courses at any point during their time at the University. ULEC 2090 The Art of War: Word, Image, Culture Faculty: Vinokurov, Gordon This course examines how war becomes art. Working from various perspectives (that of the scholar, the novelist, etc.), the course considers how representation shapes fact; how the sensory and aesthetic contours of warfare form its moral landscape; how war can be extension of culture, even as it destroys civilizations; how military culture can inspire the best and the worst in human nature; and how the meaning of combat depends as much on its narrative aftermath as it does on martial prowess. Topics may include Homer, Euripedes, Goya, Tolstoy, Isaac Babel, and Dadaism. PLEASE NOTE: In order to receive credit for this course, students must also register for one of the corequisite discussion sections: ULEC 2191 The Art of War: Word, Image, Culture: Discussion 3 CR ULEC 2120 THE BODY: AESTHETICS, CULTURE & POLITICS IN THE 20TH CENTURY Faculty: Bernstein, Dilnot, Foulkes, Gordon, This course considers the body as a sign and symptom of European and American culture: as a metaphor for sexual and social conditions, as a microcosm of larger social and political bodies, as a locus of repression and revolt, and as an outlet for artistic and cultural expression. It examines cultural notions of purity and impurity, health and sickness, discipline and uniformity, production and consumption, and alienation and despair. It covers the historical and contemporary avant-garde; body culture and life reform movements; war; and cabaret, dance, and performance art. Readings include works by Kafka, James Weldon Johnson, Audre Lorde and Jeanette Winterson; art works by Hans Bellmer, Frida Kahlo, George Balanchine, Andy Warhol, Judy Chicago, Cindy Sherman, and Orlan; theoretical texts by Freud, Foucault, Kracauer, Sontag. Slides of painting, photography and performance art are shown in class, and a number of films are screened PLEASE NOTE: In order to receive credit for this course, students must also register for one of the corequisite discussion sections: ULEC 2121 THE BODY: DISCUSSION Faculty: TBA 3 CR ULEC 2060 CENSORSHIP & THE PUBLIC SPHERE Faculty: Kottman In the history of political thought, a crucial challenge to censorious power has come from the notion of ―free speech.‖ Indeed, the privileging of speech has often been thought to correspond to the best form of political life. Correlative to this is the notion that the power to speak (i.e., ―having a voice‖) is commensurate with public power and influence. In addition to defining the ―battle lines‖ in the current culture war, this course will examine not only what gets admitted into or excluded from the public sphere, but how censorship works in the production of a public sphere. We will also take time to note how censorship of the visual sphere is fundamentally different from censorship of the verbal sphere. Looking at writings from Aristotle to Martin Luther King and Mario Savio (leader of the Berkeley Free Speech Movement in the 1960s), we will consider different ways in which ―free speech‖ opposes itself to censorship. At the same time, others have suggested that the power to control what gets seen is the true locus of political power. This view suggests that the

power to produce, regulate, or frame ―images‖ is the best way to configure the political arena. Thomas Hobbes, the first truly ―modern‖ political thinker, said that sovereign power must be ―a visible power to keep them all in awe.‖ Through a series of critical readings, and through the analysis of a number of contemporary images and utterances - including the faces of Osama Bin Laden and Saddam Hussein, photographs of Afghan women ―unveiled,‖ scenes from Abu-Gharib prison, and Howard Dean‘s ―scream‖ we will try to better grasp the historical and contemporary stakes of censorship and the circumspection of what we can see and what we can hear. In order to receive credit for this course, students must also enroll in one of the following co-requisite discussion sections: PLEASE NOTE: In order to receive credit for this course, students must also register for one of the corequisite discussion sections: ULEC 2061 CENSORSHIP: DISCUSSION TBA 3 CR ULEC 2190 How to Recognize a Poem Faculty: Jackson This course explores the 19th and 20th century definitions of poetry. It begins with romantic revisions of genres of poetry, and ends with Jenny Holzer's recent projected wall of poetry at the newly reconstructed 7 World Trade Center. The focus is on the changing definitions of poetry in public space. Topics include what makes a poem a poem; what is the function of poetry; how is poetry recognized in public and private life. 0 CR PLEASE NOTE: In order to receive credit for this course, students must also register for one of the corequisite discussion sections: ULEC 2191 How to Recognize a Poem: Discussion 3 CR ULEC 2020 Introduction to Macroeconomics Faculty: Foley This is an introductory course which requires no prior work in economics. We will survey basic economic concepts and show how they apply to contemporary economic problems. The topics will include: how the capitalist economy evolves through the division of labor, capital accumulation and technical change; how economists measure production through the GDP; how markets work and when they fail; supply and demand and opportunity cost; how money is created and circulates through banks; what determines interest rates; what the stock market is and what it does; whether government deficits are good or bad for the economy; how social security works and the problems it faces; how tax, spending and lending policies influence business cycles, unemployment, and inflation; and how wages are determined and what the effects of migration are. The course will be based on textbook readings, notes prepared by the instructor, readings, and newspaper and magazine articles on current issues. 0 CR PLEASE NOTE: In order to receive credit for this course, students must also register for one of the corequisite discussion sections: ULEC 2021 Introduction to Macroeconomics: Discussion 3 CR ULEC 2160 Introduction to Psychology Faculty: Steele This course provides an introduction to the broad science of psychology. Topics range from biology to sociology to computer science. They may deal with human or animal behavior (which can be observed), or with mental and emotional activity (which can often only be inferred from behavior). Specific topics include: human susceptibility to visual illusions, comparing self-recognition in chimpanzees with self-awareness in children; human propensity to obey authority, and conform to the behavior of peers; how the brain processes language; why we fall in love; how babies come to understand they are animate objects in space; why we never forget how to ride a bicycle. PLEASE NOTE: In order to receive credit for this course, students must also register for one of the corequisite discussion sections: 0 CR

ULEC 2161 Introduction to Psychology: Discussion 3 CR ULEC 2080 Liars, Hypocrites & Truthtellers Faculty: Kottman According to some philosophers, our ability to lie - more than our ability to tell the truth - distinguishes us as human beings. But what is lying? And what is telling the truth? Are they always mutually exclusive? And who is more dangerous - the liar or the truth-teller? By looking at philosophical and literary representations of truth-telling and lying, this course will examine the place of liars and truth-tellers in public life. At the same time, we will ask if lying and telling the truth as human activities have a historical character - Are there contemporary modes of deception that were simply unavailable to the ancients? By the same token, we can ask if there is a contemporary place for an ancient type of truth-tellers such as, for example, Socrates? 0 CR PLEASE NOTE: In order to receive credit for this course, students must ALSO register for one of the corequisite discussion sections: ULEC 2081 Liars, Hypocrites & Truthtellers: Discussion 3 CR ULEC 2070 POLITICS OF THE IMAGE IN THE MUSLIM WORLD Faculty: Devji Images are political. They represent people to themselves and to others, and their existence is entwined with the lives of those who make, use, and abandon them. This course examines the images in the Muslim world, a place whose politics is generally confined to books, ideas, and a limited repertoire of actions. And yet the production, proliferation, and profanation of images in this world go beyond these confines. Topics include: the politics and impact of the world of images; how images define or breach the limits of the Muslim world; themes such as idolatry and iconoclasm, representation and modernity, dictatorial and revolutionary aesthetics, the image as commodity, and the spectacle of violence in several parts of the Muslim world 0 CR PLEASE NOTE: In order to receive credit for this course, students must also register for one of the corequisite discussion sections: ULEC 2071 POLITICS OF IMAGE: DISCUSSION TBA 3 CR ULEC 2170 Reading Word by Word/Literature, Langauge and Lies Faculty: Prose Throughout history, written language has been used to create masterpieces and to pump out propaganda, to delight and delude, to reveal and obscure the truth. But unless we read closely--word by word, line by line, sentences by sentence--it can be hard to tell the difference. In this class, we will close-read the short stories of great writers (James and Joyce, Cheever and Chekov, Mansfield and O'Connor, Beckett and Bowles, etc.) as well as this week's issue of The New Yorker and today's copy of The New York Times as we look at the ways in which words are used to convey information and insight, to transmit truth and beauty, and to form and transform our vision of the world. 0 CR PLEASE NOTE: In order to receive credit for this course, students must also register for one of the corequisite discussion sections: ULEC 2171 Reading Word by Word/Literature, Langauge and Lies: Discussion 3 CR ULEC 2210 Social Thought I: Social Change Faculty: Kassimir This course provides insight into how social science thinking, research, and logics of inquiry are used to understand important social issues from around the world. Students gain both broader knowledge of these issues and tools for grasping the meaning, causes, and consequences of these issues which can be used in further study. The semester is structured around modules which focus on a critical social issue. This course highlights large scale social and political transformations and mobilization (such as social protest, war and civil conflict, and democratization) and perspectives on these issues from public intellectuals, classical social theorists, contemporary social researchers.

0 CR PLEASE NOTE: In order to receive credit for this course, students must also register for one of the corequisite discussion sections: ULEC 2211 Social Thought I: Social Change: Discussion TBA 3 CR ULEC 2180 Violence/Non-Violence Faculty: Devji, Rao This course explores the complicated relationship between the twin concepts of violence and non-violence. It considers Gandhi‘s reflections on the intimacy of the seemingly disparate approaches to the resolution of social issues and also considers other studies devoted to the nature and extent of violence in South Asia. By focusing on non-violence as much as to its supposed opposite, this course allows a re-thinking of the character of social relations in the region. Readings are inter-disciplinary and include visual materials addressing the changing nature of the urban riot, the new culture of terrorism and relationship of religious and secular conflict from colonial times to the present. 0 CR PLEASE NOTE: In order to receive credit for this course, students must also register for one of the corequisite discussion sections: ULEC 2181 Violence/Non-Violence: Discussion TBA 3 CR

SOCIAL SCIENCES & HUMANITIES
UPHI 2230 Aesthetics: Thinking About the Arts Faculty: Banu Works of art stimulate our imagination, inspire great thoughts, and provoke profound feelings. Art can be unsettling. It causes us to wonder about the nature of the creative process, the work of art, and aesthetic experience. By grappling with these questions, students enter the world of philosophical thinking. They read some of the classic theories in philosophy of art and aesthetics: Plato, Aristotle, Shaftesbury, Kant, Nietszche, and Dewey and become familiar with philosophical ways of thinking and philosophical concepts. The course assists in thinking critically—and creatively—about the nature of art and aesthetic experience. 3 CR PLSS 2010 CULTURAL HISTORY OF MEDIA: FROM RADIO TO THE INTERNET Faculty: Sherman In the 1960s, Marshall McLuhan focused attention on the cultural impact of television. By declaring, "the medium is the message," he predicted a transition from "print" to "electronic" media that would result in a cultural transformation. It can be argued, however, that the age of electronic media really began with the invention of radio telegraphy by Guglielmo Marconi in 1896; along with the telephone, radio brought the outside world into our living rooms with an immediacy previously unimagined. Today, with the Internet, the synthesis of information media and telephone technology signals a new revolution in communication. This course will explore these developments through audio and videotapes, the computer, and assigned readings. 3 CR UPHI 3102 ETHICS Faculty: Banu Ethical questions arise every day of our lives. We are often frustrated and discouraged because ethics is not a science, and even philosophical opinions vary. Skepticism, relativism, and extreme individualism get in the way of achieving moral certainty. And yet we continue to search for goodness and right. In this course, we confront the difficulties head on. To get a sense of some of the answers to perennial moral questions, we read key ethical theories offered by Western philosophers going back to the ancient Greeks and moving forward into the modern world. Finally, thinking philosophically about moral choices, we experiment with some of the concepts and theories, applying them to case studies and everyday problems. 3 CR UPHI 2005 EXISTENTIALIST THINKING Faculty: Murphy This course provides an engagement with the work of several major existentialist thinkers and writers. The meaning and value of human life as it is lived by the individual is the central theme of our investigations. Thus we consider how existentialism responds to modern cultural crisis through a renewed examination of human reality, interpreted as individual existence. The structures of this existence make it possible for us to relate to the world in terms of alienation and inauthenticity, but also point to an existence based on freedom and responsibility. Readings may include Kafka, Kierkegaard, Nietzsche, Jaspers, Heidegger, and Sartre. 3 CR UURB 3023 Grass Roots Environmental Activism Faculty: Cohen This course examines the roles of community organizations, environmental groups, and individual citizen activists in protecting and improving the urban environment. It traces the historical roots of urban environmental advocacy and contemporary approaches-from the creation of community gardens to the use of the courts-to attain environmental justice and sustainable development. Topics include an examination of the mechanisms that grassroots organizations and individuals use to influence decisions that affect the environment and approaches to enhance citizen participation; how community organizations, environmental groups, and individual citizen activists work to protect and improve their local environment; and the most effective strategies, tools, and techniques of grassroots environmental groups. 3 CR PLSS 2200 INTRODUCTION TO SOCIAL THEORY Faculty: Crespo, Gumplova, Mosenson This course will offer a brief survey of social theory and sociological thought from late 19th and 20th century to our days. We will get acquainted to canonical texts such as: Marx¹s Manifesto, Weber¹s Protestant Ethics and the Spirit of Capitalism, Durkheim‘s Rules of Sociological Method, and The Elementary Forms of

Religious Life, Freud¹s Interpretation of Dreams, and Culture and its Discontents, Saussure's Course in General Linguistics, Horkheimer-Adorno's Dialectic of Enlightenment, Benjamin¹s Art in the Age of Mechanical Reproduction, and Foucault¹s The Order of Things and Discipline and Punishment. These texts among others- will help us in the mapping of disciplinary and ideological frameworks in modern social sciences from an inter- and trans-disciplinary perspective. These would take into account the dialogues and tensions between psychoanalysis, semiotics, interpretive sociology, hermeneutics, social critique and anthropology. Our case studies will include class inequalities, ideology, gender and identity issues, race relations, cultural clashes and hybridization, and postcolonial discourse. 3 CR (Preference given to Design & Management students.) USOC 2015 Iraq: War, Occupation and Politics Faculty: Arato The course will consider the war in Iraq and its aftermath in its historical and international context. Special attention will be paid to the possible explanations of why the war occurred in the first place and the attempts to justify it. International legal questions of war and occupation will receive attention, as will the geo-political consequences of these events. The bulk of the course, however, will focus on the internal Iraqi developments in the context of the American-led occupation: constitution making, elections and the issues raised by the insurgency and the attempts to suppress it. Here comparisons with other American attempts to impose constitutional democracy by external force will be made, in particular in the Phillipines, Japan and, possibly, Germany. 3 CR ULIT 2009 Major Russian Novels Faculty: Vinokurov This seminar will focus on some of the key works of 19th and 20th century Russian literature, including novels by Alexander Pushkin (The Captain's Daughter), Mikhail Lermontov (Hero of Our Time), Nikolai Gogol (Dead Souls), Fyodor Dostoevsky (The Brothers Karamazov), Lev Tolstoy (Anna Karenina) and Vladimir Nabokov (Glory). We may also examine some of the rich critical writing on prose theory that has been inspired by the Russian novel. Topics may include literary history and evolution, genre theory, ethics and aesthetics, metaphysics, religion in literature and literature as religion. 3 CR PLHU 3010 MEANS AND MEANING IN THE VISUAL ARTS Faculty: Touster A course designed to investigate ways of conveying ideas and emotions through visual means. With the introduction of films, paintings and other graphic materials like posters, cartoons, etc., we will explore the visual strategies of expressing time, memory, psychological states, and social conditions. 3 CR UHUM 2270 Medieval Church and State: Christendom’s Fall and Rise Faculty: Pettinger This course examines the history of Christianity and its association with European identity from the fall of the Roman Empire in the West to the Reformation. Students examine the relationship between the Church and the disintegrating Roman State and the new kingdoms that took its place. This entails studying the process of conversion in Europe, including such topics as monasticism and missionary movements, pagan resistance and accommodation to the new religion, and Christian relations with Jews and Muslims in Europe and beyond. 3 CR PLSS 2015 REPRESENTATIONS OF SCIENCE IN CINEMA Faculty: San Miguel Cinema was born as a scientific marvel, but soon transformed into an industrial art and the most powerful form of entertainment. However, science has always played a very significant but often overlooked role in cinema‘s development, spurring numerous scientific advancements and providing the film industry with never-ending technological improvements. In turn, science soon found in cinema the most perfect vehicle for scientific popularizations through documentaries and educational programs, as well as extremely useful research and archival tools. In addition, science itself has many times become one of the favorite cinematographic subjects, from the lives of scientists to the science-fiction anticipations. This course will center on the study of these three major areas of contact: cinema as a scientific and technological product, cinema as an instrument and vehicle for science, and science as a subject of cinema. 3 CR

UHUM 2110 ROMANTICISM IN MUSIC, LITERATURE & PAINTING Faculty: Shapiro/Shedletsky This interdisciplinary course will focus on the new ways in which the three arts, after the French Revolution, portray, represent, and define ―motion‖. We will explore the complementary ways in which the arts discovered movement in nature, as in the music of Schubert and Beethoven, the poetry of Coleridge, Wordsworth, Shelley, Goethe, and Holderlin, and the paintings of Turner, Constable, and C. D. Friedrich. Concentration on ―inner‖ movement in nature brought with it new formal concerns, as found in music by Chopin, poetry by Baudelaire and Keats, and painting by Courbet, Delacroix, and Corot. Finally, the new 19th century‘s concept of social ―motion‖ or mobility had huge consequences for new form and content in the arts, as seen in fiction by Balzac, opera by Verdi, and painting by Goya and Manet. 3 CR UREL 2002 Theorizing Religion Faculty: Murphy What is "religion" and how useful is it to describe aspects of human history and experience? This course explores a wide range of disciplinary engagements with the definition of "religion" and considers the genealogy of the concept in relation to broader histories of ideas and politics. Students consider the problematics of this Western concept for understanding non-Western cultures and traditions, and evaluate the usefulness of critical engagement with the notion of religion in concept to contemporary society. 3 CR UCST 2350 Visual Cultural Analysis Faculty: Johnson This course combines social history techniques of examining visual artifacts with the examination of selected images and media. Students analyze 1) how digital age images reveal greater truths, 2) whether earlier media created more moving statements, and 3) why America evolved into a visual culture. Social history texts include Fred Chiapelli‘s First Images of America and Joyce Appleby‘s Telling the Truth about History. American colonial era images such as the Sable Venus from Bryan Edwards History (1801) are discussed. Media include the film ―Stormy Weather‖ (1943), featuring the Katherine Dunham dancers, and rap artist Missy Elliott‘s video ―Work It‖ (2002). Students write two essays due at mid-term and the end of the semester. 3 CR

MATHEMATICS
UMTH 1500 ALGEBRA Faculty: TBA This course reviews the fundamentals of elementary and intermediate algebra. Topics include simplifying algebraic expressions, factoring, solving equations, and linear, quadratic, and exponential functions. The course prepares students for more advanced study in mathematics (i.e., pre-calculus and statistics) and courses involving broader mathematical principles (i.e., accounting and financial management). 3 CR UMTH 3400 CALCULUS Faculty: Sole This course begins with a review of Pre-Calculus and introduces students to limits, derivatives, linear approximations, integration, and applications of the derivative to maximization, and related rates problems. Technology is also used to assist in visualizing the applications. 3 CR (Pre-requisite: Pre-Calculus or permission from the instructor.) UMTH 2400 PRE-CALCULUS Faculty: TBA This course strengthens students' mathematical background and equips them with the skills and knowledge to enter calculus. It covers the theory of functions, and examines the basic functions used to model the natural world including linear, polynomial, rational, exponential, logarithmic, and trigonometric functions. Emphasis is on the algebraic, graphical, and analytic skills necessary to develop and interpret these models. Technology also is used to assist in visualizing the applications. This covers in greater depth many of the concepts touched upon in algebra. 3 CR

UMTH 2525 STATISTICS 1 Faculty: TBA, Sole This course covers an introduction to the vocabulary statisticians use; techniques used to select a sample; how to use, organize, and present data graphically; the calculating and interpreting of a variety of measures of center and dispersion; and an introduction to probability. Students are introduced to confidence intervals and encouraged to use statistics to analyze data and interpret their results. The course also provides an introduction to the use of software in analyzing and presenting statistical information. 3 CR

NATURAL SCIENCES
USCI 2238 BIOLOGY OF BEAUTY, SEX, AND DEATH Faculty: Chamamy Advances in technology have pushed basic scientific research into the public eye. In this century, Botox has been engineered to remove wrinkles and body odor, but the active agent continues to be one of the deadliest bio-warfare tools known to mankind. Stem cells promise hope of regeneration and eternal life, but human cloning remains controversial. The rate of sexually transmitted disease infections continues to escalate and some have been linked to cancers that are threatening female populations in the developing world. Video clips and news articles kick off each of three modules, while readings of research and news articles, op-eds, and textbook selections provide students with the background needed to make informed decisions. Each module culminates with a capstone experience that requires the student to formulate an action plan in the form of a policy report, research proposal, or letter to a policy maker. 4 CR USCI 2570 THE BRAIN: BIOLOGY AND BEHAVIOR Faculty: Jones This course examines what has been called the ―three-pound universe,‖ the human brain. Covered is the brain‘s basic biology—how neurons work together to produce the senses, our motor functions, our emotions, memories, and consciousness. Topics include the types of memory and memory formation, how the brain learns, the neural foundations of happiness, the male/female brain, the left/right brain, communication, autism, drugs, joy, the ―gay‖ brain, the possibility of artificial intelligence, the presence of the soul, the sexual brain. The course features guided reading and online discussions 3 CR USCI 2220 CHEMISTRY AND LIGHT Faculty: Venkataraman This course examines the role of light in the world around us, emphasizing its application in everyday phenomena. Topics such as the role of light in color, vision, light sources, communication, solar energy, and environmental chemistry are explored through discussions of the nature of light and the interaction between light and molecules. 3 CR USCI 2025 Does the Environment Matter? Faculty: McGowan This course deals with some of the most compelling environmental issues of our day. Starting with the history and science of the discovery of global climate change, it examines the threatened collapse of the world‘s environmental system. Issues of environmental justice and the inordinate impact of environmental deterioration on the poor and disadvantaged minorities are considered throughout. 3 CR USCI 2320 Genes and Race Faculty: McGowan This course examines the history of race and racism. As a genetic concept, race may be questionable, but racism certainly exists. Students explore current genetic science thinking about the concept of race, the history of the idea of race, whether race was invented and why. 3 CR USCI 2510 INTRODUCTION TO ASTRONOMY: COSMIC MYSTERIES Faculty: Morgan This course examines the current state of astronomy and cosmology and addresses (and may answer) questions of cosmic importance, such as the age of the universe, whether the cosmos is infinite or finite

black holes, life on other planets. The focus is on current scientific research and on the unanswered questions that still drive scientists to probe the frontiers of our understanding of the universe. 3 CR USCI 2050 THE MOLECULAR WORLD Faculty: Venkataraman This course will explore fundamental concepts in chemistry, applying them to the chemistry of the greenhouse effect and global warming, stratospheric ozone depletion, acid rain, and water. Fundamental concepts discussed include molecular bonding, molecular shape, relationships between molecular shape and physical and chemical properties. Experiments will include computational molecular modeling, laboratory measurements, and data analyses. 4 CR USCI 2010 ISSUES IN ENVIRONMENTAL HEALTH Faculty: Opler The course examines the relationship between the environment and human health, focusing on air pollution, industrial development, urbanization, accumulation of toxic substances, and policy. Student teams learn research skills, test hypotheses, and formulate and defend a position. They consider practical approaches to energy conservation and consumer/commercial influence on consumption. In addition to guest lecturers, there are field studies, laboratory exercises, and in collaboration with New York City Soil and Water Conservation District, a moderated panel discussion focuses on collection and interpretation of environmental data; the roles of private industry, community activism, government, and academic research; and technical, political, and practical solutions to local/global challenges 3 CR USCI 2021 REVOLUTIONS IN SCIENCE Faculty: Green Great conceptual changes in the sciences have traditionally been portrayed as ―revolutions‖ – complete overthrows of established approaches for new ones that better account for observed facts. This course analyzes the concept of a ―scientific revolution‖ by examining three such revolutionary approaches: the cosmology of Copernicus, Darwinian evolution, and the relativity theory of Albert Einstein. We will study the cognitive, material, and social factors that shaped and promoted revolutionary change. Ultimately, this course strives to illuminate the interaction between scientific ideas and the communities that form them. 3 CR

FOREIGN LANGUAGES
These proficiency-based courses emphasize communication in a chosen language and provide a solid knowledge of basic grammatical structures. Every language is taught in its cultural context using a variety of authentic materials. This comprehensive program also offers a range of activities (i.e. field trips, films, etc) to help reinforce language skills as they are acquired. All courses are 3 CRedits.

Level 1 This course is designed for students with no previous experience in the language and is taught primarily in that language. It emphasizes four skills: speaking, reading, writing and understanding, while giving students some exposure to the cultures of the places where the language is spoken. Additional lab/computer work expected beyond the three hours per week of class. Level 2 This is a continuation of Level I and is designed for English speakers with some previous training in the language. The course is taught primarily in the language and emphasizes listening, speaking, reading and writing skills, while providing some exposure to the cultures of the places where that language is spoken. Additional lab/computer work expected beyond the three hours per week of class. Level 3 This course provides a review of basic grammar structures while developing more complex communication skills through cultural and literary readings. The textbooks integrate literature into language learning, while improving one‘s critical thinking skills and giving further insights into cultures where the language is spoken. Level 4 This course is a continuation of Level III and completes the second-year program in the language. The goals of this course are to improve one‘s skills in understanding various levels of both the written and spoken language, and to develop one‘s ability to speak and write more accurately and effectively in the language. This course involves grammar review, varied readings, and work in the classroom and on group projects to improve one‘s comprehension and fluency. Three hours per week. Level 5 This course is designed for students who have completed beginning and intermediate-level language courses and wish to further develop their written and oral communication skills. Students will work on writing skills, reading and listening comprehension through a variety of activities: literature readings, discussion, oral presentations and written commentary. Students will expand their fluency level and further develop critical thinking skills. UFLN 2001 Arabic 1 Faculty: TBA Please see above for language level description. 3 CR UFLN 3002 Arabic 2 Faculty: TBA Please see above for language level description. 3 CR UFLN 3503 Arabic 3 Faculty: TBA Please see above for language level description. 3 CR UFLN 2011 Chinese 1 Faculty: TBA Please see above for language level description. 3 CR UFLN 3012 Chinese 2 Faculty: TBA Please see above for language level description. 3 CR

UFLN 2021 French 1 Faculty: Beckstrand Please see above for language level description. 3 CR UFLN 3022 French 2 Faculty: Beckstrand Please see above for language level description. 3 CR UFLN 3523 French 3 Faculty: Beckstrand Please see above for language level description. 3 CR UFLN 3624 French 4 Faculty: Luneau-Liption Please see above for language level description. 3 CR UFLN 3724 French 5 Faculty: TBA Please see above for language level description. 3 CR UFLN 3800 French 6-8 (Le Theatre) Faculty: Beckstrand This course will survey a selection of dramatic texts and their contexts from the 17th century to the present day. Students will read representative works by significant playwrights such as Molière, Racine, Corneille, Beaumarchais, de Gouges, Beckett, Sartre, and Genet. We will be concerned with how theatre of the French-speaking world reflects, challenges, and redefines social, political and aesthetic values. 3 CR UFLN 2041 Italian 1 Faculty: Pasqui, TBA Please see above for language level description. 3 CR UFLN 3042 Italian 2 Faculty: Pasqui, TBA Please see above for language level description. 3 CR UFLN 3543 Italian 3 Faculty: TBA Please see above for language level description. 3 CR UFLN 3844 Italian 4-5 Faculty: Pasqui Please see above for language level description. 3 CR UFLN 2051 Japanese 1 Faculty: Kamimura, TBA Please see above for language level description. 3 CR UFLN 3052 Japanese 2 Faculty: Kamimura, TBA Please see above for language level description. 3 CR

UFLN 3553 Japanese 3 Faculty: Kamimura, TBA Please see above for language level description. 3 CR UFLN 3654 Japanese 4 Faculty: TBA Please see above for language level description. 3 CR UFLN 3754 Japanese 5 Faculty: TBA Please see above for language level description. 3 CR UFLN 2061 LATIN MULTI-LEVEL Faculty: Madhu This course is designed for students at all levels of ability in Latin. The course stresses the principles of grammatical structure and syntax, as well as encourages facility in reading and translation. 3 CR UFLN 3810 Russian 1 Faculty: Anemone Please see above for language level description. 3 CR UFLN 2071 Spanish 1 Faculty: Galli Please see above for language level description. 3 CR UFLN 3072 Spanish 2 Faculty: Galli, Villa Please see above for language level description. 3 CR UFLN 3573 Spanish 3 Faculty: TBA Please see above for language level description. 3 CR UFLN 3674 Spanish 4 Faculty: Villa Please see above for language level description. 3 CR UFLN 3774 Spanish 5 Faculty: Villa Please see above for language level description. 3 CR UFLN 3805 Spanish 6 - 8 (Spanish Conquest) Faculty: Villa This course provides students with a literary, historical, and anthropological overview of the Spanish conquest of the Americas during the 15th and 16th centuries, as relayed by the essential primary texts of that period: Columbus, Las Casas, Cortés, Fernández de Oviedo, Díaz del Castillo, Inca Garcilaso and others. Additional texts from the Portuguese, French, German and Native American experiences will add context, along with some visual materials. 3 CR

Independent Study
PLAD 3900 Independent Study UFLN 4901 Independent Study/French Adv UFLN 4902 Independent Study/Italian Adv UFLN 4904 Independent Study/Japan.Adv UFLN 4903 Independent Study/Spanish Adv For more information on Independent Study courses, please contact the Advising Office.


								
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