FR 250: Readings Texts in the French-Speaking World: Cultures

French 250 - 251: Gateway to French Studies at Georgetown University

French 250 and 251, required of all French majors and open to other qualified undergraduates, is a post-advanced level sequence that can be taken in any order and is designed to meet two goals. First, the sequence prepares students for upper-division French courses and for direct matriculation overseas study programs by focusing on the development of critical thinking and advanced writing abilities. Second, it enhances students’ capacities to perform close reading and analysis by introducing them to a variety of texts and documents selected to increase their content knowledge of the culture, geography, history, literature, and artistic media of the French-speaking world. Individual sections of these courses will emphasize specific approaches to French and Francophone cultures and literatures, such as the anthropological, the historical, the thematic, the formal (including notions of genre) and/or the rhetorical, depending on instructor expertise. Study and analysis will be carried out in class discussion, as well as through specific writing formats (such as explication de texte, dissertation, research paper) for which students will receive structured training, including systematic procedures for organization, drafting, and rewriting, as well as an introduction to research materials and methodology in the discipline. The final paper for each course will be designed to mobilize the reading, analytical and research competencies developed over the course of the semester. Prerequisites for these courses are Intensive Advanced French II (112) or Advanced Grammar & Writing (151) or direct placement through AP, SAT II and/or formal placement test results.

French 250
Goals

French 250 offers a broadly-defined introduction to the complex, multi-ethnic cultures and social practices of France and the French-speaking world. This course focuses on texts, from all historical periods but especially since the French Revolution, that might be categorized as “documents”: among them, essays, ethnographies, political and historical tracts, life writing and testimonials, journalism, studies, literature, documentary images, and films. In what context were these texts created, how were they crafted, and what impact have they had? What issues and problems do they illuminate within and beyond their communities of origin, and how do we appreciate their “documentary” value or “authority”? In order to address such questions, students will be given methodological tools and techniques that will allow them to approach texts in a systematic, cogent, and critical manner, both for their content and their form. Key notions such as genre, ideology, autobiography and autofiction, (self-)censorship, and frame will be explored and applied to multiple readings of works selected.

Objectives

This course is designed as a transition between the lower-level language study and the upper-level courses specializing in culture and/or literature. Its main goals are to enhance your reading and writing abilities and to provide a critical introduction to cultural studies and French culture, through the analysis of various types of cultural texts (fiction, journalistic prose, scholarly articles, films, comics, song lyrics).
A careful examination of historical, anthropological, sociological, literary, media and cinematic texts will help you develop a critical understanding of French cultural specificity. We will study some of the main issues and key themes that, in recent social and political history, have shaped French culture, and we will explore the dynamic relationship of this culture with that of other French-speaking areas (Europe, North- and Sub-Saharan Africa, or the overseas DOM/TOM).

More specifically, our objectives include:

Exploring the following thematic strands
—The formation of national identity from the Ancien Régime through the Revolution (1789-1799) and beyond, and various forms of resistance to or dissidence from national identity.
— Political and social institutions and structures, especially since the post-WWII era (the "Fifth Republic"), including issues revolving around class, religion, gender and ethnicity.
— Centralization and decentralization, from Louis XIV to the present; central authority and resistance to or dissidence from it
— Tension between tradition and modernity in various domains (the family, the economy, literature, music and the arts, etc.).
— Colonization, decolonization and its effects on contemporary France: "minority" identities, immigration and integration .
Trough guided practice, developing more critical and proficient reading abilities, in order to help you elaborate on your ideas and analyses, express them in a constructed and organized manner, and evaluate/revise your writing so as to enhance both its efficacy and stylistic qualities;
understanding and implementing the principles and strategies of formal and academic writing in French: textual construction, complex sentence building, stylistic and rhetorical effects. We will work systematically on correcting and improving a text.
understanding and implementing the principles and strategies for the preparation and delivery of an exposé, a formal, time-controlled oral presentation.
understanding and implementing the principles and strategies for research: note-taking, identifying and evaluating sources and building bibliographies.

Methodology

Preparation
In-class work involves mostly close reading and discussion of materials, for which you need to prepare carefully. "Preparing" involves five stages:

reading/viewing the assigned materials, making notes on the difficulties (language or content matter) you encounter;
looking up some words and expressions in a monolingual dictionary (Robert, Larousse), so as to clarify the general meaning of the materials (always read/view over the materials afterwards);
looking up notions, names, events and other content items (on-line, in an encyclopedia or other reliable source);
write out questions to be brought up in class in order to elucidate whatever you cannot satisfactorily figure out on your own;
prepare some notes reflecting the results of your research in a rationally organized fashion: a summary, an outline, a cognitive map (model, diagram)...

This work must be caried out entirely in French. Translation to/from English or another language should never be a part of it at any stage. The instructor will provide specific strategies on how to function in French without recourse to translation.

THIS IS NOT A LECTURE COURSE!
     Every student is expected to be present for every class. If an absence is anticipated for any reason, the instructor must be notified beforehand by e-mail or by phone (ext. 5852). In any case, students are responsible for finding out what was done or assigned while they were absent, and for turning in assignments on time.
     Every student is also expected to be prepared for every class, that is, having something definite to say about the assigned materials (based on research and/or reflection), and/or questions to ask the intructor, and/or issues to raise in class for discussion. Students are mostly responsible for conducting the readings and analyses.
     Finally, e very student is expected to participate in every class, that is, speak up in response to prompts by the instructor or to other students' comments, and volunteer comments without being prompted.

>> Presence, preparedness and participation account for 30% of your grade <<

Note taking
Taking notes efficiently is part of your work in this class, as your instructor will provide original insights not available from the texts or any other source. See the introductory guide here.

Writing / Paper rules
You are going to write three papers of varying lengths, and according to different formats:

a film review (compte-rendu) from list of films below, NOT a film we study in class)(2 pages - about 600 words)
a research report (dossier de recherche) based on a variety of sources (5-7 pages - about 1200-2000 words + bibliography)(see details below).
an argumentative, dialectical essay (dissertation) on one of the topics studied in class (1-2 handwritten pages—done in class)
a self-critique of one of the papers you have written.

Specific objectives, principles and guidelines for each writing format will be discussed in class and in e-mail messages.

Rewriting: the film review and research report will be marked up, given a provisional grade and handed back for rewriting at least once. The rewritten paper will receive a higher grade only if significantly improved, and with a maximum of one letter-grade increase from the provisional grade (e.g., from B- to A-, or from C+ to B+). Any further rewrites will be graded according to the same principle. Note: an "F" on a first draft cannot yield a final grade higher than a "C". A coding system will help you identify and correct problems in your writing.

Mechanics of writing:

All writing assignments completed outside of class must be composed with a word-processing software and you should always keep a back-up copy. They must be submitted electronically as e-mail attachments to spielmag@georgetown.edu, preferably in .doc (MS Word) or .rtf format. See the instructor if you are unsure about text formats, sending attachments, or if there is a reason why you wish to submit your work in printed rather than electronic format.
Name your file as follows: <250> - <your last name> - <Film> or <Rech> or <Crit> - version number. The first version of your film review, if your name is Smith, will thus be named <250SmithFilm1.doc>
Every paper should bear your name, "FREN 250," the date and, as applicable, a draft number ("Version 1").
Use plain fonts like Times Roman or Geneva, in size 12. Double-space your text, leaving 1-inch margins on all sides.
All diacritical marks (accents, cedillas, etc.) must be generated by the software, not added by hand.
Division into paragraphs must be consistent with the content, and the first line of each paragraph must be tabulated on the left.

Research

Your research topic will be of your own choosing, provided that it relates to course themes. Before proceeding to actual research, submit a proposed topic that will be vetted by the instructor, who may suggest or mandate some modifications.
Once your topic is defined in consultation with the instructor, you will have to submit an outline (un plan) and a preliminary bibliography including about 10 sources in French only: 3-4 books or book chapters, 3-4 articles from newspapers, magazines or scholarly journal, and 3-4 sources of another kind (film, Web site, CD-Rom or DVD-Rom, etc.). The plan and bibliography will also be vetted by the instructor before you proceed to writing the first full draft of your paper.
Your paper should be about 5-7 pages long (about 1200-2000 words); it should includes appropriately documented and formated references to and quotations from your sources.
Read the procedures and tips on the 6 étapes d'un projet de recherche d'information page (Université de Montréal).
Read the simplified guide on referencing your sources here; also refer to Lipson's Doing Honest Work in College (see bibliography below)

Formal Oral Presentation (exposé)
You will prepare and deliver a ten-minute formal oral presentation (exposé) based on your research. Although you should have notes to help you deliver your exposé, you may not simply read from a text. See the procedures and tips on the Chercher pour trouver page on the Université de Montréal Web site.

Honor System
All aspects of this class fall under Georgetown University's honor system. If you are not completely familiar with the Honor System, please review it at http://www11.georgetown.edu/programs/gervase/hc/index.html

Texts and Materials

Items in red to be purchased at G.U. bookstore
Other texts and materials listed below are available online (BlackBoard) in electronic format (MS Word, JPEG or PDF)

NOVELS
— Jules Verne, Paris au XX^e siècle (1863) - Éd. Piero. Gondolo della Riva. Paris, Hachette, 1994. Paris, Le Livre de Poche, 2002. ISBN-10: 2253139416. See on-line resource here.
At the outset of what would become one of the most successful writing careers on record anywhere, Jules Verne (future author of 20 000 Leagues under the Sea, Voyage to the Center of the Earth and Around the World in 80 days among other planetary bestsellers) wrote this short, very odd novel that his publisher turned down—so that it remained out of the public eye until 1994. Its hero is a young, brilliant man who, as a poet and writer, finds himself woefully unadapted to working and living in the 20th century, a time where industrial and financial matters have become the sole concern of society. Verne uses his character's tribulations as a pretext to offer a very bleak vision of the future, a sci-fi dystopia that frequently echoes Orwell's 1984 and reveals ambiguous feelings towards the then-prevalent "positivistic" enthusiasm about modernity.
Purchase at bookstore.
— George Simenon, Maigret hésite (Presses de la Cité, 1968). Paris, LGF - Livre de Poche, 1997. ISBN: 2-2531-42158
Simenon was the most prolific French-language writer in his own name and a handful of noms de plume; the best-known part of his prodigious output is a series of over 50 detective novels featuring commissaire Maigret. Maigret's investigations focus not so much on the crime at hand as on the people involved: victims, suspects or simple witnesses. The commissaire is above all an observer who seeks to understand the social context of crime in order to solve it, and who often feels compassion for the wretched souls who have been driven to misdeed by unfavorable circumstances. In this episode, where the investigation begins before any wrongdoing has even occurred, Maigret gets to study in depth the various members of a posh Parisian household, trying to figure out who is going to kill whom. In the midst of wealth and privilege, however, the unassuming commissaire feels ill at ease, and cannot easily grasp why any of the potential suspects would resort to murder.
Purchase at bookstore.

BANDES DESSINÉES (comics)

— Binet, Les Bidochon en habitation à loyer modéré. Paris, J'ai Lu, Collection «Librio BD,» 2005.ISBN: 2-2903-44311-2E
The Bidochon series provides a humorous glimpse into the daily life of a Français moyen couple. The very unglamorous goings on at the Bidochons deal a fatal blow to the stereotype that French people are cultured sophisticates... This volume explores the predicament of suburbanites dwelling in state-sponsored, rent-controlled HLM, where walls seem to made of cardboard, elevators routinely malfunction and neighbors may turn out to be overly noisy, nosy and ornery.
Purchase at bookstore.

— Farid Boudjelal, Gags à l'harissa (Les Slimani). Toulon, Soleil.
The Slimani are another example of an "average French" family: culturally, linguistically and religiously split between two worlds. While the mother and father immigrated from Algeria, their many children were born and raised in France and therefore feel perfectly intégrés—except that they keep being reminded that, somehow, they do not really belong there. Beur cartoonist Boudjelal's good natured humor allows him to deal with very serious issues of racism and exclusion in contemporary France.

— Gosciny et Uderzo, «En 50 avant J.C.» Les Aventures d'Astérix has become as integral to French culture as the plays of Molière or the novels of Balzac. Dozens of millions of Astérix albums have been sold since 1959, reaching a readership that cuts across age groups and socio-economic backgrounds. This short story, however, was specially produced for National Geographic in 1977, with hopes of introducing the characters and the series to the U.S. public. Although the authors soon gave up the idea of adapting Astérix for an American readership, «En 50 avant J.C.» stands as an prime example of French self-representation.

FILMS (all films can be viewed through BlackBoard)

Ridicule directed by Patrice Leconte (1996). Set in the waning days of the Ancien Régime, this drama tells the story of Ponceludon de Malavoy, an idealistic provincial nobleman who travels to Paris in order to seek support from King Louis XVI for a swamp drainage project. In the poisonous environment of the royal court, Ponceludon discovers that achieving his goal requires playing a complex and cruel social game where wit is the weapon of choice, and losing face can be worse than death. Commentary available on BlackBoard.

Le Grand Bazar directed by Claude Zidi (1973). In this farce, four shiftless friends help out the owner of a old-fashioned grocery store whose business is threatened by the opening of an enormous "hypermarket." Behind the slapstick and innumerable sight gags (provided by a four-man comedy team known as Les Charlots), this film offers a strikingly authentic vision of the uneasiness and anguish brought about by the profound economic and social transformations that France underwent during the Trente Glorieuses. Commentary available on BlackBoard.

L'Esquive directed by Abdellatif Kechiche (2004). Abdelkrim, aka Krimo, a teenager of maghrebi origins from a tough neighborhood, finds out that the best strategy to approach his love interest, Lydia, is to try out for the school play in which she is performing. However, the play is an 18th-century comedy whose language and setting are completely alien to Krimo. This romantic comedy/drama illustrates both how contemporary French youth from underpriviledged social groups are alienated from French "classical" culture, and how giving them access to this culture may help them transcend their initial limitations. Commentary available on BlackBoard. A complementary reading is Pierre Carlet de Marivaux' Le Jeu de l'Amour et du Hasard, a stage play from 1730 about love relationships (the comedy being rehearsed by the main characters in the movie). Text here.

La Haine directed by Mathieu Kassovitz (1995). This award-winning drama chronicles one fateful day in the life of three teenagers from a drab Parisian banlieue. Shot in black and white, the story opens on an urban riot during which the police has severely wounded a young man from the cité. Waiting for a resolution and seeking an impossible outlet to their anger and frustration (la haine) his friends drift through their neighborhood and into downtown Paris, increasingly aggravated by the treatment that they receive from "ordinary French people." Commentary available here

Violence des échanges en milieu tempéré directed by Jean-Marc Moutout (2004). A modern morality tale about a young management consultant who has just obtained his first job at the Paris office of a prestigious multinational firm. In spite of his modest credentials and provincial origins, Philippe seems set for a promising career; but his very first assignment provokes a sharp moral dilemna as he finds himself in the position of hatchet man in a merger scheme. Commentary available on BlackBoard.

Maigret chez les riches directed by Denys Granier-Deferre (2000). A faithful adaptation of Maigret hésite for French TV, featuring Bruno Crémer (who has played the commissaire in over 40 episodes) and a fine recreation of France in the 50's.

REFERENCE
— Les Français by Laurence Wylie and Jean-François Brière. Prentice Hall, 2000. Selected pages are available on BlackBoard in PDF format. Although you need to read them for background information, we will not discuss them in class.
— A French monolingual dictionary such as the portable Micro Robert or the full-size Petit Robert. (If you are majoring in French, it is highly recommended that you invest in your own copy of Le Petit Robert).
— A standard French grammar in French, such as Nouvelle Grammaire du Français. Cours de Civilisation Française de la Sorbonne, by Y. Delatour, D. Jennepin, M. Leon-Dufour, et B. Tessier. Paris, Hachette FLE, 2004. ISBN 2-01-0155271-0
— Doing Honest Work in College: How to Prepare Citations, Avoid Plagiarism, and Achieve Real Academic Success by Charles Lipson. Chicago, University of Chicago Press, 2004. ISBN: 978-0-226-48473-0 (a standard reference guide at Georgetown University since August 2006).