French Department

Professors: Elisabeth Cardonne-Arlycka, Cynthia B. Kerrb, Christine Reno; Associate Professors: Mark Andrews, Patricia Célérierab, Kathleen Hart (Chair); Assistant Professors: Susan Hiner, Vinay Swamyb.

ab Absent on leave full year
a Absent on leave, first semester
b Absent on leave, second semester

All courses are conducted in French except French 183 and 248.

Requirements for Concentration: 11 units excluding French 248, and including at least 3 units at the 300-level. One of these three seminars should be French 332, 348, 355, 366 or 380. Students may count no more than one Senior Translation (French 301) or Senior Independent (French 399) towards the major. No courses in French elected after the declaration of the major may be taken NRO.

Teaching Certification: Students who wish to obtain Secondary Certification must complete the program of study outlined by the education department.

Advisers: The department.

Study Abroad: Study abroad is the most effective way to achieve linguistic and cultural fluency. Vassar College and Wesleyan University jointly sponsor a program of study in Paris. Majors in French and Francophone Studies are expected to participate in this program for one or two semesters during their junior year. Students electing a correlate sequence in French and Francophone Studies are also encouraged to participate in the program. Students concentrating in other fields for whom study in Paris is advisable are accepted, within the regulations of their respective departments and the Office of the Dean of Studies. Courses offered in the Paris program are included below. Students of French and Francophone Studies who are unable to study abroad during the academic year are strongly encouraged to attend the summer program at Middlebury College French School, or other summer programs in France or French-speaking countries.

Correlate Sequence: Students majoring in other programs may complement their study by electing a correlate sequence in French and Francophone Studies. Those interested in completing a correlate sequence should consult as soon as possible with a member of the department to plan their course of studies.

Requirements: 6 units excluding French 248, at least 5 of which must be taken above the 100-level. At least 1 but preferably 2 units must be taken at the 300-level. This unit should be French 332, 348, 355, 366, 370 or 380. No French courses elected after declaration of the correlate sequence may be taken NRO.

Study Away and summer courses may be substituted in the correlate sequence, with departmental approval.

I. Introductory

105a-106b. Elementary French (1)

Fundamentals of the language. Students learn to understand spoken French, to express simple ideas both orally and in writing, and to read French of average difficulty. While enhancing their communicative skills, students acquire knowledge of France and the Francophone world. The department.

Open to seniors by permission of the instructor.

Not open to students who have previously studied French.

Three 50-minute class periods, 2 hours of drill and oral practice.

183a. Fashion and Modernity (1)

In this Freshman Seminar we consider the historical and cultural evolution of fashion in France from the end of the Old Regime to the twentieth century. While to many, the term fashion implies surface, frivolity, and deception, in this course we analyze fashion in relation to some of the most important themes of modernity’ social mobility, colonialism, industrialization, consumerism, and mass culture, for example, and place the discourses of fashion in a social context. By reading literary texts in conjunction with historical documents, illustrations, and classic works of fashion theory, we show how fashion can be used as a crucial prism through which to understand French culture. The course is taught in English. All works are read in translation. Ms. Hiner.

Open only to Freshmen.

II. Intermediate

205a and b. Intermediate French I (1)

Basic grammar and vocabulary acquisition. Oral and written practice using short texts, audiovisual and on-line resources. Fall enrollment limited by class.The department.

Prerequisite: Two years of French in high school. French 105-106 by permission of the instructor.

Three 50-minute or two 75-minute periods; one hour of scheduled oral practice.

206a and b. Intermediate French II (1)

Emphasis on more complex linguistic structures. Reading, writing, and speaking skills are developed through discussion of cultural and literary texts and use of audiovisual material. The course prepares students linguistically for cultural and literary study at the intermediate level. The department.

Prerequisite: French 106, French 205 or three years of French in high school.

Three 50-minute or two 75-minute periods; one hour of scheduled oral practice.

212a and b. Reading French Literature and Film (1)

Introduction to the analysis of literature and film and to basic modes of interpretation through the study and discussion of short texts (poems, short stories, films, plays, essays). The department.

Prerequisite: French 206 or four years of French in high school.

213a and b. Media and Society (1)

An introductory study of France through current newspapers, magazines, television programs, films and the web. The department.

Prerequisite: French 206 or four years of French in high school.

[228a. Tellers and Tales] (1)

Study of narrative fiction using short stories taken from several periods of French literature.

Prerequisite: another 200-level course above French 206 or equivalent.

Not offered in 2008/09.

[230a. Medieval and Early Modern Times] (1)

Studies in French literature, history, and culture from the Medieval to the Classical period.

Prerequisite: another 200-level course above French 206 or equivalent.

Not offered in 2008/09.

[231b. Revolutionary France and Its Legacies] (1)

Studies in French literature, history, and culture in relation to the French Revolution during the Enlightenment and the Romantic period.

Prerequisite: another 200-level course above French 206 or the equivalent.

Not offered in 2008/09.

232b. The Modern Age (1)

The course explores literary, artistic, social, or political manifestations of modern French society and its relation to the French-speaking world from the Napoleonic Empire to the present.

Topic for 2008/09: Reading (with) Emma: The Worlds of Madame Bovary. Censored by the government on moral and religious grounds, Flaubert’s 1857 novel Madame Bovary is considered today to be an important document for the reading of modernity in France, a great example of the conflicts surrounding the feminine in the nineteenth century, and a “master text” of French literature. The novel is also relevant to contemporary questions of material culture, desire and the feminine, the individual and society, and literary production. Taking Madame Bovary as our central focus, we read Flaubert’s masterpiece in conjunction with some of the novels, images, and texts from the everyday press that informed the culture that produced its heroine and that she fictitiously and famously consumed. The principles of simultaneous readings and the juxtaposition of genres that organize this course offer a unique perspective both on what Emma read and on the influence of mass culture on the production of the literary masterpiece. We also consider how Emma’s readings and character persist into the twentieth century by taking up some later incarnations of this novel. This class serves as both an exploration of narrative forms and an introduction to the practice of interdisciplinary cultural analysis. Ms. Hiner.

Prerequisite: another 200-level course above French 206 or equivalent.

235a. Contemporary France (1)

This course offers a study of French society as it has been shaped by the major historical and cultural events since WWII. The main themes include Vichy France, de Gaulle’s regime, the wars of French decolonization, the Mitterrand years, immigration, and the religious issues facing France today. The course draws on a variety of texts and documents including articles from the press and movies. Mr. Swamy. .

Prerequisite: another 200-level course above French 206 or equivalent.

240a. Study of French Grammar (1)

In-depth study of major aspects of French grammar. Grammar exercises, compositions, and oral practice. Ms. Reno.

Prerequisite: another 200-level course above French 206 or equivalent.

241b. Composition and Conversation (1)

A course designed to improve written and oral expression, through the study and practice of various forms of writing, and the discussion of readings on contemporary issues. Enrollment limited by class. Mr. Andrews.

Prerequisite: another 200-level course above French 206 or equivalent.

242a. Studies in Genre I (1)

Study of narrative and prose forms including the novel, autobiography, and the essay.

Topic for 2008/09: Private Geographies. The course examines the depiction of individual lives in the modern French novel, in particular the ways in which everyday reality is imaginatively transformed through the mapping of private space onto the outside world, creating personal trajectories and histories within shared social spaces. Critical readings about novelistic experimentation and the representation of memory are considered. Authors may include Annie Ernaux, Emmanuèle Bernheim, Patrick Modiano, Pierre Michon, Amélie Nothomb, Léla Sebbar. Mr. Andrews.

Prerequisite: another 200-level course above French 206 or equivalent.

243a. Studies in Genre II (1)

Study of dramatic and lyric forms including theater, poetry, and song.

Topic for 2008/09: Clowns, Fools, and Rebels: The Changing Role(s) of French Comedy. Who are the protagonists of France’s greatest comedies and why do they still make us laugh? Is there such a thing as Gallic humor and, if so, what are its characteristics? This course on the art of French comedy explores the nature of laughter as well as its social implications. We examine multiple comic forms such as farce, satire, vaudeville, improv, and stand-up comedy. We discuss the psychological underpinnings of laughter as observed by Freud, Baudelaire, and Bergson. Each play is analyzed in its socio-political context and studied from the perspective of modern criticism and contemporary theatrical production. Playwrights include Molière, Marivaux, Beaumarchais, Jarry, Romains, Beckett, Ionesco, and Reza. Viewings of recent landmark productions by Circle in the Square, the Royal Shakespeare Company, the Comédie-Française, and the Théâtre du Soleil. Emphasis placed on oral participation. Ms. Kerr.

Prerequisite: another 200-level course above French 206 or equivalent.

[244a. French National Cinema] (1)

Since WWI, French cinema has defined itself as national: not only as an industry requiring protection, but as a cultural institution bearing French identity. Through the study of individual films ranging from the silent era to the present, we examine the interaction between the French and their cinema in terms of historical circumstances, economic constraints, aesthetic ambitions, and self-representation. Ms. Cardonne-Arlyck.

Prerequisite: another 200-level course above French 206 or equivalent.

Two 75-minute periods plus evening film screenings.

Not offered in 2008/09.

[246b. French-Speaking Cultures and Literatures of Africa and the Caribbean] (1)

Prerequisite: another 200-level course above French 206 or equivalent.

Not offered in 2008/09.

284b. Music and Text (1)

From Bizet’s opera Carmen, inspired by Prosper Mérimée’s nineteenth-century novella, to modern cultural practices including rap, raï and slam, the course examines literary language in relation to music. How does language “sing,” and what does music “say?” If music performs a “socially prescribed task,” as musicologist Richard Middleton proposes, then what do various combinations of music and language suggest about specific moments in French history? We address this question by considering music and literature both separately and together in relation to class, gender, ethnicity, and national identity. Readings include song lyrics, poetry by Charles Baudelaire and Paul Verlaine, a play by Marguerite Duras, and fiction by Germaine de Staël and Jean-Paul Sartre. Required films are Edmond T. Gréville’s Princesse Tam-Tam, Jaco van Dormael’s Toto le héros, and Christophe Barratier’s Les choristes. Ms. Hart.

Prerequisite: Another 200-level course above French 206 or equivalent.

285b. The French New Wave Revisited (1)

Recent studies have reappraised the cinematic phenomenon known as the New Wave, whose films had a strong impact on other national cinemas and still constitute the major reference point in French cinema. Rather than focusing exclusively on the critics-turned-directors (Truffaut, Godard, Chabrol, Rohmer, Rivette) who articulated a new aesthetic in Les Cahiers du cinéma (including the auteur theory that has dominated film criticism ever since), they analyze the social and economic conditions that enabled an unprecedented number of young directors to make their first films between 1958 and 1964. They pay attention to independents such as Melville and Varda, who had already broken away from the stiffling French production system, to the producers, music composers, cameramen, and young actors who were part of the movement, and to innovative contemporary filmmakers, such as Resnais, Marker, and Demy. Drawing from these studies, we consider the New Wave as an artistic movement that emerged from particular socio-economic conditions, in the context of de Gaulle’s Fifth Republic and the Algerian war, and in relation to such cultural phenomena as “yéyé” youth culture and cinephilia. Ms. Cardonne-Arlyck.

Prerequisite: Another 200-level course above French 206 or equivalent.

298a or b. Independent Work (1/2 or 1)

One unit of credit given only in exceptional cases and by permission of the chair. The department.

III. Advanced

Prerequisite for all advanced courses: 1 unit of 200-level work above French 212 or French 213, or Study Abroad in France or in a French-speaking country, or by permission of the department. Open to freshman and sophomores by permission of the instructor.

300a. Senior Thesis (1)

Open only to majors. The department.

Permission required.

301a or b. Senior Translation (1/2 or 1)

Open only to majors. One unit of credit given in exceptional cases only and by permission of the Chair. The department.

332b. Literature and Society in Pre-Revolutionary France (1)

Topic for 2008/09: Gender Identity in the Middle Ages. Several medieval works revolve around questions of gender: do men and women have different natures? What constitutes manly/womanly behavior? Is ambiguity possible when it comes to gender? The course explores these questions in a number of literary works and conduct manuals. Readings include Chrétien de Troyes’ Erec et Enide; Marie de France’s Lais, Aucassin et Nicolette, and conduct manuals written by male and female authors, plus some theoretical articles. Ms. Reno.

One 2-hour period.

348b. Modernism and its Discontents (1)

Topic for 2008/09: Endangered Habitats. The course examines the representation of natural environments in modern fiction, and the relationship established between people and their physical surroundings. A recurring theme is the inherent instability of habitat, in terms of its physical presence and as a reflection of mental states, subject to hidden laws and forces at play in characters’ lives. Readings in narrative theory and in the politics of ecology. Authors may include Jean Giono, Colette, Marcel Pagnol, Jean-Marie LeClézio, Tahar Ben Jelloun, Michel Rio, Jacques Poulin, Déwé Gorodé. Mr. Andrews.

One 2-hour period.

355a. Cross-Currents in French Culture (1)

Topic for 2008/09: Masks and Mirrors in Seventeenth-Century France. Based on a multidisciplinary approach involving literature, cinema, music, and the visual arts, this seminar explores the radical transformations of vision that characterized the reign of Louis XIV. Reading fairy tales, fables, plays, and private letters penned by the Sun King’s courtiers and courtesans, we examine politics as spectacle and art as propaganda at a time when France, Europe’s most powerful nation, stood at the crossroads of the old and the new. We study the palace of Versailles, with its emphasis on décor, ceremony, fashion, and entertainment, as metaphor for the theatricalization of life. An analysis of the literature of the period, highlighting romantic and political intrigue, unconscious duplicity, and willful inauthenticity, reveals how Louis XIV, brilliant magician and most absolute of monarchs, created an unparalleled theater state based on deception and illusion. Authors include Perrault, La Fontaine, Molière, Corneille, La Rochefoucauld, and the Marquise de Sévignée. Films by Rossellini, Mnouchkine, Planchon, Rappeneau, Corneau, Corbiau, and Tirard. Ms. Kerr.

One 2-hour period.

366a. Francophone Literature and Cultures (1)

Topic for 2008/09: Education and Ideology in (Post)colonial Francophone contexts. In this seminar, the theme of education in its various forms—indigenous, colonial, Republican, postcolonial, formal, informal—serves as a focal point around which we can develop a discussion of the complex rapport that numerous cultures have built with the French language. In examining presentations of different modes in which children and young adults are nurtured in (post)colonial Francophone contexts, the course elaborates on the intricate relationship between ideology (colonial or other), culture (French/Francophone) and the nation. Mr. Swamy.

One 2-hour period.

370a. Stylistics and Translation (1)

A study of different modes of writing and of the major problems encountered when translating from English to French, and vice versa. Practice with a broad range of both literary and nonliterary texts. The department.

[380b. Special Seminar] (1)

One 2-hour period.

Not offered in 2008/09.

399a or b. Senior Independent Work (1/2 or 1)

One unit of credit given only in exceptional cases and by permission of the Chair. The department.

Vassar-Wesleyan Program in Paris

Courses are subject to change. For information, please consult the department and its website.

247a. The Idea of the Monster in French Literature (1)

The monster is an important figure in French literature and represents what is abnormal, outside of the law, “against Nature;” the monster goes beyond and often breaks the rules of the society in which he lives. However, social norms—whether physical, theological, legal, scientific, esthetic or moral—can in turn become monstrous, as can those who adhere to them. From this paradox emerge the following questions: Where is the monster found? Who is he? How does he manifest himself? Why does he exist? The course examines these questions in a variety of media (literary works, press clippings, scientific texts, films), exploring the enduring fascination aroused by the phenomenon of monstrosity as well as its social functions and the evolution of certain themes connected with it. Major works include Diderot’s Le Neveu de Rameau, Mérimée’s Vénus d’Ille and Rostand’s Cyrano de Bergerac.

250a. Paris through the Centuries (1)

The aim of this course is to provide an in-depth geographical, historical and cultural perspective of the city of Paris. Each class/visit focuses on a neighborhood whose origins and unique aspects we learn about through an analysis of historical, artistic and literary references. Readings include texts by Balzac, Hugo, Zola and Corneille. On-site visits and class sessions alternate each week. Mr. Peigné.

251a. Love and Tragedy in French Theater (1)

The course first studies the nature of seventeenth-century tragedy as transformed by Corneille and Racine, who grafted a love story onto the core of myth. We then move to the twentieth century’s reshaping of the notion of the tragic through the influence of various philosophical currents. Questions of style (baroque and classical) and philosophy (existentialism and the absurd) are foregrounded, with emphasis both on the continuity of tragic literature and on formal variations from the seventeenth century to the present. Students attend four or five plays chosen in light of the Paris theatrical season, so as to allow the analysis of a number of live performances. Mr. Clément.

[252a. Special Topics] (1)

This course is taught by the resident director. Topic varies each year.

Not offered in 2008/09.

253b. Writing about the Self (1)

When writing about the self adopts a fictional mode, it often chooses the form of correspondence (epistolary novel) or the personal diary, both of which contain a high level of ambiguity. Guilleragues’ Lettres de la religieuse portugaise, written at the end of the seventeenth century, was read for centuries as an authentic document rather than as a work of fiction; readers’ hunger for true stories no doubt played into the hoax. In the twentieth century, works about the self abandoned these traditional forms to give life to a distant inner voice, as in Perec’s Un homme qui dort. These new fictions blur the limits between fiction and truth and in fact have given birth to a new genre termed Autofiction, that mixes real-life truth and literary invention (L’Amant). Whether speaking of love (Lettres de la religieuse portugaise), treating the theme of madness (Maupassant’s La Horla), affirming indifference (Un homme qui dort) or reliving childhood (L’Amant), these large and solitary voices choose letters, journals, monologues, and pictures to speak about the self —and about us. Ms. de Chalonge.

255b. French Theater (1)

Topic for 2008/09: Twentieth-Century French Theater. This course studies contemporary French Plays and theoretical texts on theater, and provides the opportunity to see plays currently On the French stage. Sartre’s Huis Clos, as an example of existentialist and absurd theater, and Artaud’s Le théâtre et son double, are read and analyzed in depth. Three or four diverse plays are chosen from among those running during the current season to provide a panorama of contemporary trends in French theater. Students read and study plays, attend productions, and discuss and critique them through written work and exposés. Mr. Mégevand.

256b. Enlightenment Literature: Art, Science, Politics and Love in the Eighteenth Century (1)

An introduction to the nature and spirit of the French and European Enlightenment through some of the major literary and philosophical works of the period. The course involves an historical presentation of the eighteenth century, with emphasis on the Enlightenment’s encyclopedic aspirations and its intense interest in both early civilizations and the “natural man.” Students read a number of great individual works to which we still refer today in our thinking about art, science, politics, and love: Montesquieu’s Lettres persanes; Rousseau’s Discours; Diderot’s Rêve de d’Alembert and Paradoxe sur le Comédien; Voltaire’s polemical writings. Mr. Chartier.

260a. Studies in French Cinema (1)

Topic for 2008/09: Cinema and Literature. The purpose of the course is to explore the relationship between literature and cinema through a close analysis of various films from the sixties. We study different forms of interactions between literature and cinema such as the adaptation of a literary text to the screen (Max Ophuls/Guy de Maupassant or Delvaux and André Gracq) or writers who became filmmakers (Marguerite Duras, Jean Cocteau, André Malraux). Students learn how to decipher an image and study various literary texts (Ponge, Gracq, Duras and Breton). Mr. Leutrat.

261b. Nineteenth-Century Romanticism (1)

The course presents a broad synthesis of diverse aspects of Romanticism in France, adopting an approach at the same time historical, literary, artistic, political, social and cultural. The second half of the semester is devoted to a study of the influence of the Romantic movement on French art and literature of the latter part of the century, including the poetry of Baudelaire, the symbolist paintings of Gustave Moreau and Rodin’s sculptures. Mr. Peigné.

262b. Special Topics (1)

This course is taught by the resident director. Topic varies each year.

263a. France and the European Union: The Ambitious and Limits of a World Power (1)

After the long and troubled period of the Second World War, France recovered an institutional equilibrium and a European framework favorable to its emergence as a European and world power. This new status, that de Gaulle struggled to achieve despite adverse national and international circumstances, provided France a privileged space in which to assert itself through the construction of Europe. A founding member of the E.U., France put Europe at the center of its international strategy and quest for power. However, France lost its dominant position over time. A number of re-adjustments regarding its political system, foreign policy, identity, economy, and relation to the non-European world had to be undertaken. How does France deal with these transformations? What are their characteristics? What is their impact on French society and its political system? How does France adapt to its changed status from an independent power to that of a member state of the European union? Mr. Amégan.

264b. “Are the French Exceptional?” A Cultural History of Modern France, Nineteenth and Twentieth Centuries (1)

The French love to claim their special status and frequently invoke the notion of “l’exception française”. Does this notion make sense in the age of the global village? To attempt to answer this question, the course examines French cultural history of the past two centuries to see how France negotiated its entry into “modernity.” Beginning with the French Revolution, perceived by its contemporaries as an event without precedent, we trace the main lines of France’s cultural evolution up to the dark hours of World War II. The course aims to provide students with a solid conceptual and chronological framework of modern French cultural history as well as familiarize them with the works of major cultural theorists (Pierre Bourdieu, Roger Chartier, Michel Foucault, etc.) The course provides students with the opportunity to use their experience abroad to reflect on the problematic notion of “French exceptionalism”. Mr. Kalifa.

265b. Franco-African Relations (1)

Beginning with a survey of precolonial kingdoms in Africa and the implantation of Islam, the course proceeds to an analysis of European intervention and of the structure of European colonial administration. Various phases of the African independence movement are highlighted: the formation of an African elite, the spread of African nationalisms, Panafricanism, and “Négritude.” Finally, we examine French policies in the post-colonial period and the U.S.’s emerging role in African affairs. Mr. Amégan.

266b. Politics and Society (1)

Topic may vary each year.

Topic for 2008/09: The Maghreb and Muslim Worlds, from the nineteenth–twenty-first centuries. An introduction to the history of the Maghreb and Muslim worlds from the nineteenth century to the present. The course covers a wide geographic area—from Casablanca to Palestine by way of Algiers, Tunis, Cairo, Istanbul, Teheran, Beirut and Jerusalem—and a long chronological sweep that traces the economic, political, and social disruptions that have beset the region since the nineteenth century. The course aims to transmit specific historical and sociological information while at the same time promoting critical reflection on theoretical and practical issues, including the history of European imperialism and its long-term effects, resistance to colonialism and the creation of new nations, the place of Islam in the region and its relation to the Western world, and political islamicisms. Ms. Taraud.

267a, 268b. History of Modern Art (1)

The courses focuses each semester on a different aspect of modern art, with special emphasis on the works of one or several of the major artists of the period, or of one school of art. Class visits to contemporary galleries and to the Louvre, the Musée d’Orsay, the Pompidou Center, the Rodin Museum, the Picasso Museum, and other museums containing works by artists under study are an integral part of the course. Topics may vary each year.

Topic for 2008/09: From The Object to the Work of Art: Reconsidering the Banal Object in Twentieth-Century Art. Art reflects the cultural physiognomy of society. Walter Benjamin denounced the mutations caused by mass reproduction ad infinitum of the object. Barthes spoke about a mythology of everyday life within which objects acquire a new fetishistic character. Introducing the object into the field of art, Duchamp endowed the object with a specific idiosyncrasy. The transposition of the object in art is based on the artist’s choice and formulates the relationship between himself and the world. The interactive relationship between art and life established through the banal object inspired a unique artistic mode. Posing the question : “What is an object in art and how far can it be defined?”, the course studies artists from several generations who possess, vis-à-vis the object, radically different intentions. Ms. Kraguly.

Topic for 2008/09: “Scandalous” Art. Baudelaire’s Fleurs du mal, Michelangelo’s David and Manet’s Olympia were all considered scandalous in their day. The history of art is in fact punctuated by scandals that were often associated with technical innovations, new ideas or major transgressions of social norms. Twentieth-century art, in particular, is closely related to the notions of scandal and censure. In this course, we study a number of works of art that, at different moments and at different times, have provoked shock and scandal and given rise to public outcry. We also look at the mutual incomprehension that can exist between the artists and mass media, and the problematic relationship between art and society. Artists studied: Artemisia, Manet, Schiele, Picasso, the Gutaï group, Manzoni, Herman Nitsch, Serrano, etc. Ms. Kraguly.

269b. Music and Culture (1)

Topic may vary each year.

Topic for 2008/09: Lyric Opera. The course retraces the history of opera in France through an appreciation of the lyric form in its musical and literary manifestations, and as a reflection of the cultural life of France in the eighteenth and nineteenth centuries. Emphasis is given to the relation between the dramatic and musical arts, the collaboration between librettist and composer, and approaches to staging. Three operas are examined in detail. Students attend performances of these works at the Garnier and the Bastille opera houses, and are asked to attend a fourth opera on their own. Visits to museums of music and opera are also arranged. Prerequisites: General background in music recommended. Mr. Memed.

270 a and b. Language and Composition (1)

This class is designed for those students who have not yet taken several literature or culture classes in French. Its goals are to prepare students for the larger term papers that they write at the end of the semester through an intensive review of advanced grammatical structures, an expansion of their vocabulary, and mastery of French writing “methodology.” Ms. Miquel.

272 a and b. Writing about France Today (1)

The aim of this class is to help students improve their writing skills, using their experience in France as material upon which to reflect and write. Through various activities in and out of class, students also develop greater proficiency in the other language skills (speaking as well as listening and reading comprehension). For example, students are asked to narrate a significant event, conduct and report on an interview, keep a journal, express their opinion on current events, write a film review, and present, both orally and in writing, an aspect of their current experience. The course allows students to broaden their vocabulary in different areas and registers, using materials such as videos, recordings, and excerpts from the press and literature. Students focus throughout the semester on developing their writing style by refining their choice of words and sentence structure. Ms. Collet-Basset.

273a, 274b. Special Topics: University of Paris (1)

Students in the Paris Program have the opportunity to enroll in French university courses under the supervision of the resident director and receive Vassar credit.

Internships—Experiential Learning

Academic Internship (.5)

Students serve as language teaching assistants in Parisian primary or secondary schools, or at Paris IX-Dauphine, working with teachers, conducting small conversation groups, or participating in the university language class. Internship involves a final written report. The Academic Internship can also be pursued on a non-credit basis if the student chooses not to do the written report, however it is very important that students be present at all sessions whether they pursue the internship on a credit or non –credit basis.

Other internships (.5)

A few internships are available outside of the school system depending on availability; volunteering through the Centre du Bénévolat de Paris (meeting with the aged in French hospitals, after-school tutoring in community centers, a variety of tasks with other non-profit or humanitarian organizations), working with a dance school, publishers, an art gallery, a business analyst and consultant, the World Wildlife Fund, a cheese shop. Internships last approximately 8-10 weeks and involve a final written report.

275b. IFE Internship (2)

Internship in a French governmental, civic or volunteer organization through cooperation with the Internships in Francophone Europe program. Special application procedure.