French and Francophone Studies
Courses Schedules and Descriptions (Fall 2009-Fall 2010) |
URI Schedule of Classes (Ecampus)
French Courses Descriptions in the URI Catalogue
SCROLL DOWN FOR Summer 2010-Fall 2010
| Spring 2010 |
For All FRN 101-102 sections offered see Ecampus and the URI Catalogue above.
NEW COURSE: LET 151 Franco-American Relations (entirely ONLINE, no class meetings, Dr. Alain-Philippe Durand) TAUGHT IN ENGLISH, NO KNOWLEDGE OF FRENCH REQUIRED
Just approved for the Letters, Literature, Cross-Cultural Competence, and Diversity [D] gen ed requirements.
The course’s main purpose is to examine Franco-American relations, and more specifically the perspectives on each other developed by French and American citizens throughout the years. This interdisciplinary course addresses Franco-American relations in a global way through assigned readings and films. The ultimate course’s goal is to come up with reasons why such close and at times tumultuous relations exist between France and the United States.
Readings (excerpts)
Jean Baudrillard’s America
Simone de Beauvoir’s America Day by Day
Frédéric Beigbeder’s Windows on the World
Declaration of the Rights of Men and of the Citizen
Benjamin Franklin’s Letters From France
Adam Gopnik’s Americans in Paris: A Literary Anthology
Marquis de Lafayette-George Washington’s Correspondence
Bernard-Henri Lévy’s American Vertigo
Barack Obama’s Normandy Speech on June 6, 2009
Colin Powell’s UN Speech on February 6, 2003
Count de Rochambeau’s Memoirs
Vanessa R. Schwartz’s It’s So French! Hollywood, Paris, and the Making of Cosmopolitan Film Culture
Tyler Edward Stovall’s Paris Noir: African Americans in the City of Light
Alexis de Tocqueville’s Democracy in America
US Declaration of Independence
Dominique de Villepin’s UN Speech on February 14, 2003
Eugen Weber’s My France: Politics, Culture, Myth
Films:
Ken Annakin’s The Longest Day
Sofia Coppola’s Marie Antoinette
Jean-Pierre Jeunet’s Amelie,
Claude Lelouch’s Les Misérables
Johua Logan’s Bus Stop
Baz Luhrmann’s Moulin Rouge
Vincente Minnelli’s An American in Paris
Jean Renoir’s French Can-Can
Steven Spielberg’s Saving Private Ryan,
Roger Vadim’s And God Created Woman
FRN 103 Intermediate French 1
Take the fast track to becoming fluent in French and have fun while doing it! As the continuation of the FRN 101 and FRN 102 sequence, FRN 103 will take you through the remaining basics of the French language. Emphasis will be placed on all four language skills: speaking, listening,
reading and writing.
FRN 104 Intermediate French 2
Take the fast track to becoming fluent in French and have fun while doing it! In this lively class, we review all of the grammar points that you learned in the FRN 101-103 sequence and we consolidate your understanding of the French language so that you may advance seamlessly to the 200-level courses. Contrary to the more textbook-centered FRN 101-103 sequence, in FRN 104 we take a more organic approach to learning the French language and culture. You will work on a French or Francophone blog project, do daily readings on French culture and present your work to the class in animated discussion groups. Come join us and discover French music, food, sports, politics, fashion, movies and much more!
FRN 204-001 French Composition 1 MWF 1-1:50pm (Dr. Lars Erickson)
The emphasis is on writing, but we will also work on speaking, listening, and reading skills. I organize the course around discussions of the concept of liberty. We use the last three chapters of the textbook Quant à moi to develop the skills necessary to discuss and write about the concept of liberty as it manifests itself in the film Bleu, in genetic engineering research, and in the film Rouge. Each of the three units includes a chapter exam as well as a graded discussion, and a 2-and-a-half page paper.
Here’s what some students have said about the course in the past:
“I like the topics we discuss. They are all very current and relevant. Also, it improved my French a great deal.”
“It’s an active course. I like the fact that this is an early morning class and I have never dozed off. Not once. That’s great!”
“I like that we have group discussions that help brainstorm our writing.”
“It’s a good blend of speaking, listening, writing, and grammar. This approach, that enables students to do all, is effective in helping my language skills advance quickly.”
FRN 207-001 French Oral Expression 1 MWF 2-2:50pm (Dr. Lars Erickson)
Students will develop skills needed to communicate successfully in predictable social, academic, and professional situations. Specifically, students will expand their ability to describe in the present by talking about relationships, studies, and everyday objects. Students will also develop the ability to narrate in the past and to effect complicated transactions. Films and short stories will provide the basis for most classroom discussions. In addition, we will use music, video recordings, audio recordings, and some non-fiction works. Students will participate in classroom discussions, organize and lead a classroom discussion, engage in role-play activities, and present information.
FRN 307-001 French Oral Expression 2 MWF 10-10:50am (Dr. Joseph Morello)
FRN 307 focuses on the continued development of the oral/aural skills, speaking and listening. The objectives for speaking are those consistent with the ACTFL Intermediate High to Advanced Mid proficiency guidelines (You can and should read these at: http://www.actfl.org/files/public/Guidelines.pdf). We will cotinue to work on past, present and future narration as was the case in FRN 207, but the course will focus more on developing the ability to hypothesize, discuss abstract topics, state and defend opinions. You will also work a great deal on listening comprehension through regular assignements to listen to French radio and television shows available on the internet. And, if there is sufficient interest, we might put on a play!
FRN 310-001 Modern French Culture & Literature MWF 1-1:50pm (Dr. Kenneth Rogers)
Through literature, this course introduces students to the major philosophical, aesthetic, and political debates of nineteenth and twentieth century France.
FRN 412-001 Non-Places in the Contemporary French Novel and Cinema T 4-6:45pm (Dr. Alain-Philippe Durand)
Si Hollywood a découvert le phénomène ces dernières années– les films de Steven Spielberg (The Terminal), de Sofia Coppola (Lost in Translation) ou de Jonathan Dayton et Valerie Faris (Little Miss Sunshine) en sont le meilleur exemple – les romanciers et cinéastes francophones s’intéressent depuis au moins vingt ans à ce que l’anthropologue Marc Augé appelle « non-lieux ». Il s’agit des espaces destinés à la circulation, aux occupations professionnelles et aux loisirs des individus: autoroutes, transports publics, aéroports, centres commerciaux et de loisirs, discothèques, stades, milieu de l’entreprise...
L’objectif de ce séminaire est d’analyser la prolifération de ces non-lieux dans les productions littéraires et cinématographiques en France et en Belgique depuis le début des années 1980. Cette remise en question d’espaces s’accompagne souvent de nombreux appareils, dispositifs et autres gadgets électroniques qui ne cessent d’envahir les textes et les films.
Le séminaire, entièrement conduit en français, est organisé autour de discussions et de conférences impliquant la participation active des étudiants (et des auteurs) à l’intérieur et à l’extérieur de la salle de classe. Nous essayerons de définir plusieurs caractéristiques communes au fonctionnement de ces non-lieux. Les participants auront l’occasion de développer leur connaissance et interprétation des non-lieux en analysant une sélection de textes et de films français et belges publiés/produits au cours des vingt dernières années. De plus, les participants auront l’opportunité de dialoguer tout au long du semestre avec plusieurs des auteurs discutés dans le séminaire ainsi qu’avec des spécialistes de leurs œuvres en Europe et aux Etats-Unis.
Corpus
Marc Augé. Non-Lieux. Paris: Seuil, 1992.
Frédéric Beigbeder. Vacances dans le coma. Paris: Grasset, 1994.
François Bon. Autoroute. Paris: Seuil, 1999.
Emmanuel Carrère. L'adversaire. Paris: P.O.L., 2000.
Alain-Philippe Durand. Un Monde techno. Nouveaux espaces électroniques dans le roman français des années 1980 et 1990. Berlin: Weidler, 2004.
Alain-Philippe Durand, ed. Frédéric Beigbeder et ses doubles. Amsterdam: Rodopi, 2008.
Benoît Duteurtre. Service clientèle. Paris : Gallimard, 2003.
Annie Ernaux. Journal du dehors. Paris: Gallimard, 1993.
Anne Garréta. Sphinx. Paris: Grasset, 1986.
Michel Houellebecq. Extension du domaine de la lutte. Paris: Maurice Nadeau, 1994.
Amélie Nothomb. Stupeur et tremblements. Paris: Albin Michel, 1999.
Jean-Philippe Toussaint. Faire l'amour. Paris: Minuit, 2002.
Filmographie
Laurent Cantet, réal. Ressources humaines. Haut et Court, 1999. (100 minutes)
Fabrice Cazeneuve, réal. De gré ou de force. Anabase Production, 1998. (86 minutes)
Alain Corneau, réal. Stupeur et tremblements. BAC Films, 2003. (107 minutes)
Nicole Garcia, réal. L’adversaire. BAC Films, 2002. (129 minutes)
Philippe Harel, réal. Extension du domaine de la lutte. Mars Films, 1999. (120 minutes)
Philippe Lioret, réal. Tombés du ciel. Epithète Films, 1993. (91 minutes)
Jean-Philippe Toussaint, réal. La Patinoire. Les Films des Tournelles, 1998. (80 minutes)
Please Note: Some texts and films studied in this course include violent scenes and/or nudity or explicit sexual scenes.
FRN 474-001 African Literature in French R 4-6:45pm (Dr. JoAnn Hammadou Sullivan)
Authors of Africa and the diaspora.
Course bibliography: Azouz Begag's Béni ou le paradis privé, and short stories by Assia Djebar.
Course filmography: Merzak Allouache's Salut cousin and Storytelling With African Griots.
| Summer 2010 |
FIRST SUMMER SESSION:
FRN 101 Beginning French 1, MTWR 8-9:45am, Kingston, Dr. Joseph Morello
FRN 320
The Films of Luc Besson, ONLINE, Dr. Alain-Philippe Durand
TAUGHT IN ENGLISH, NO KNOWLEDGE OF FRENCH REQUIRED
Films are in English or in French with English subtitles. All readings, assignments, and class discussions are conducted in English. This course counts toward the Film Media Major/ Minor, the French Major/Minor, the Literature, Fine Arts and Cross-Cultural Competence gen. ed. requirements, a 300+ graduation elective, and it counts as a diversity [D] course. French 320 may be repeated with different topics. Students who wish to count this course toward a French Major or Minor will write exams and term paper in French; other students will work in English.
This course concentrates on Luc Besson, one of the most celebrated contemporary French directors. Besson pursues a successful career as director, scenarist, and producer in France and in Hollywood since the 1980s. His most recent films, such as Kiss of the Dragon, The Transporter, and Angel A are distributed worldwide. The course analyzes Besson’s films and pays special attention to the evolution of his career between two languages, two countries, and two cultures. In addition to viewing required films in class, students will also read some of the most important texts dealing with Besson.
FILMOGRAPHY (All films on DVD with English subtitles when applicable)
Le Dernier combat/The Last Combat (1983)
Subway (1985)
Le Grand Bleu/The Big Blue (1988)
Nikita/La Femme Nikita (1990)
Leon/The Professional (1994)
The Fifth Element (1997)
Taxi(1998)
Angel A (2005)
FRN 393 Twentieth Century French Literature in Translation, ONLINE, Dr. Alain-Philippe Durand
TAUGHT IN ENGLISH, NO KNOWLEDGE OF FRENCH REQUIRED
This course counts toward the the Literature, Letters, and Cross-Cultural Competence gen. ed. requirements, a 300+ graduation elective, and it counts as a diversity [D] course. This course may NOT count toward the French Major or Minor.
This online course examines some of the most important French novels of the Twentieth Century through the theme of the search for identity. FRN 393 studies the different forms of this search and its evolution throughout the Twentieth Century.
Required Readings*
Marcel Proust, “Combray” in Swann in Love, 1913
Jean-Paul Sartre, Nausea, 1938
Albert Camus, The Fall, 1956
Marguerite Duras, The Lover, 1984
*Any edition in English translation is acceptable.
LET 151 Contemporary France (entirely ONLINE, no class meetings, Dr. Lars Erickson) TAUGHT IN ENGLISH, NO KNOWLEDGE OF FRENCH REQUIRED
This course counts toward the the Letters and Cross-Cultural Competence gen. ed. requirements, and it counts as a diversity [D] course.
LET 151 Hip-Hop Culture (entirely ONLINE, no class meetings, Dr. Alain-Philippe Durand) TAUGHT IN ENGLISH, NO KNOWLEDGE OF FRENCH REQUIRED
This course counts toward the the Letters and Cross-Cultural Competence gen. ed. requirements, and it counts as a diversity [D] course.
This interdisciplinary course is about the emergence and growing notoriety of rap music and hip-hop culture in the US and in France and the rest of the Francophone world. Since its arrival in France in the early 1980s, rap music has experienced immediate and ever-growing success, going from an underground sound to becoming the second largest market in the world after that of the United States.
Hip-hop is understood in this course as a culture that includes three main forms of expression: hip-hop dance, rap music, and graffiti/tagging. Using a mix of printed texts (some in English translation) and audio-visual materials (songs and films), the course concentrates on exploring the main themes represented in hip-hop culture: appropriation and defense of spaces, mixing of different cultures and, most importantly, the search for identity.
The course also presents some similarities in the evolutions of American and Francophone hip-hop cultures. The fact that hip-hop came from the streets, that it was rejected at first by the powerful medium and was brought up by minorities is very important in order for us to understand the identification of a big part of the Francophone population with American hip-hop and the human values it represents.
Readings:
Durand, Alain-Philippe, ed. Black, Blanc, Beur. Rap Music and Hip-Hop Culture in the Francophone World. Lanham, MD: Scarecrow P, 2002.
George, Nelson. Hip Hop America. New York: Penguin Books, 1998.
Course Filmography:
Charlie Ahearn, dir. Wild Style. 1982.
Curtis Hanson, dir. 8 mile. 2002.
Israel. The Freshest Kids. 2002.
Mathieu Kassovitz, dir. La Haine [Hate]. 1995.
John Singleton, dir. Boyz N the Hood. 1991
SECOND SUMMER SESSION:
FRN 101 Beginning French 1, MW 5-8:45pm, Providence, Dr. Lars Erickson
FRN 101 Beginning French 2, MTWR 5-8:45am, Kingston, Dr. JoAnn Hammadou Sullivan
FRN 412 Identités et destinées dans le roman français du 20e siècle (entirely ONLINE, no class meetings) TAUGHT IN FRENCH, Dr Karen de Bruin
Ce séminaire enseigné en ligne explore les questions pertinentes à la recherche d’identité dans la prose française du vingtième siècle. L’objectif est d’étudier les différentes formes de cette recherche et son évolution chez quelques-uns des plus grands romanciers français du siècle dernier.
The BA in French requires a minimum of two FRN courses at the 400 level including at least one among the following: FRN 412, FRN 473, FRN 474. FRN 412 may be repeated with different topics.
Corpus
*Marcel Proust, Un amour de Swann, 1913
André Malraux, La Voie royale, 1930
Jean-Paul Sartre, La Nausée, 1938
Albert Camus, La Chute, 1956
Marguerite Duras, L’amant, 1984
* Lisez uniquement le chapitre intitulé « Combray »
LET 151 Contemporary France (entirely ONLINE, no class meetings, Dr. Lars Erickson) TAUGHT IN ENGLISH, NO KNOWLEDGE OF FRENCH REQUIRED
This course counts toward the the Literature, Letters, and Cross-Cultural Competence gen. ed. requirements, and it counts as a diversity [D] course.
LET 151 Franco-American Relations (entirely ONLINE, no class meetings, Dr. Alain-Philippe Durand) TAUGHT IN ENGLISH, NO KNOWLEDGE OF FRENCH REQUIRED
This course counts toward the the Literature, Letters, and Cross-Cultural Competence gen. ed. requirements, and it counts as a diversity [D] course.
The course’s main purpose is to examine Franco-American relations, and more specifically the perspectives on each other developed by French and American citizens throughout the years. This interdisciplinary course addresses Franco-American relations in a global way through assigned readings and films. The ultimate course’s goal is to come up with reasons why such close and at times tumultuous relations exist between France and the United States.
Readings (excerpts)
Jean Baudrillard’s America
Simone de Beauvoir’s America Day by Day
Frédéric Beigbeder’s Windows on the World
Declaration of the Rights of Men and of the Citizen
Benjamin Franklin’s Letters From France
Adam Gopnik’s Americans in Paris: A Literary Anthology
Marquis de Lafayette-George Washington’s Correspondence
Bernard-Henri Lévy’s American Vertigo
Barack Obama’s Normandy Speech on June 6, 2009
Colin Powell’s UN Speech on February 6, 2003
Count de Rochambeau’s Memoirs
Vanessa R. Schwartz’s It’s So French! Hollywood, Paris, and the Making of Cosmopolitan Film Culture
Tyler Edward Stovall’s Paris Noir: African Americans in the City of Light
Alexis de Tocqueville’s Democracy in America
US Declaration of Independence
Dominique de Villepin’s UN Speech on February 14, 2003
Eugen Weber’s My France: Politics, Culture, Myth
Films:
Ken Annakin’s The Longest Day
Sofia Coppola’s Marie Antoinette
Jean-Pierre Jeunet’s Amelie,
Claude Lelouch’s Les Misérables
Johua Logan’s Bus Stop
Baz Luhrmann’s Moulin Rouge
Vincente Minnelli’s An American in Paris
Jean Renoir’s French Can-Can
Steven Spielberg’s Saving Private Ryan,
Roger Vadim’s And God Created Woman
| Fall 2010 |
For All FRN 101-102 sections offered see Ecampus and the URI Catalogue above.
FRN 204-001 French Composition 1 (Dr. JoAnn Hammadou Sullivan)
FRN 204-002 French Composition 1 (Dr. Kenneth Rogers)
FRN 204 is a continuation of the coursework you have already taken in French in that it will continue to develop your skills in speaking, listening and reading French while stressing development of your writing ability. Emphasis will be placed on reading (a novel plus texts from the popular press) as a basis for the writing you will do. There will also be some study of relevant grammar points. The specific functional objectives of the course are:
• learn to write "in paragraphs"
• learn to narrate in past, present and future time
• learn to express opinions
FRN 207-001 French Oral Expression 1 (Dr. Joseph Morello)
Course Goals
The goals of French 207 are as follows:
1 – to train you in the spontaneous use of oral French.
2 – to extend the quantity and quality of your spoken French.
3 – to examine and discuss current French cultural issues.
4 – to acquire the concepts and terminology necessary for communicating your ideas about French culture and literature.
5 – to familiarize yourself with the main French media (radios, newspapers, television) through the World Wide Web and other technologies.
Course Description
The course is organized around a series of themes among the most important in the French and Francophone cultures. Representative authors, directors, and artists, as well as theoretical and fictional works from France and the Francophone world are used as the base of our investigation. All works will be discussed in French. In the great tradition of the Arts and Humanities, the course will be a mix of class discussions, lectures, music, and films, requiring a strong active participation from the students. The skills you will learn in this class are essential in interpreting any text (including television, cinema, advertisements); you will thus be able to use them throughout your life no matter what you do.
FRN 304-001 French Composition 2 (Dr. JoAnn Hammadou Sullivan)
This is an advanced writing course. Students will write regularly on a variety of different topics and using different writing genres (e.g., descriptions, stories, summaries, job resumes, advertising, etc.). The course focuses on the students’ ability to express themselves easily and accurately in a manner that will be easy for the native French speaker to understand. We will work on improving your grammatical accuracy and the extent of your vocabulary so that you can write smoothly, with less difficulty. We will also investigate cultural topics selected by the students so that your writing is culturally as well as grammatically accurate.
FRN 309-001 French Culture & Literature to 1789 (Dr. Lars Erickson)
We begin by examining how changes in architecture illustrate broad cultural shifts. Next we use historical films (Le Retour de Martin Guerre, La Reine Margot, and Ridicule) along with excerpts of authentic texts to examine intellectual and artistic movements. In the third unit, we analyze representative literary works (excerpts of Rabelais’s Gargantua, Molière’s Les Femmes savantes, and Claire de Duras’s Ourika) to see to what extent they reinforce or contradict what we have learned about French society. In the final unit we’ll look at heroes and discuss how they define a society. The class familiarizes students with France’s historical periods. It also demonstrates the continuing influence of history on French culture. It’s not a literature class. It’s not a culture class. It’s not a writing class.It’s not a speaking class. It’s not a history class. It is all of the above.
In the past, this is what some students have said about the class:
“Relationship between prof and student is relaxed and respectful, this led to deeper class discussions and a feeling of comfort unparalleled in any class I’ve ever had at URI.”
“This class is a good combination of history and language.” “My French has improved so much in this class because I am given so many opportunities to speak...”
FRN 320-001 Studies in French Cinema: French Comedies (Dr. Alain-Philippe Durand)
What makes the French laugh? Why do the French like Jerry Lewis (and other comics) so much? Why does Hollywood remake so many French comedies? The course responds to these questions by examining the comic and humor techniques used in French cinema throughout the years. In addition to analyzing several representative films from different periods, participants will study the cultural and historic roots of French humor and laughter through assigned readings. Representative films and theoretical texts are used in our investigation. Therefore, the goals of this course are as follows:
1 - to present and to analyze the various comedy techniques used in French cinema throughout the twentieth century;
2 - to learn various approaches one may take to interpreting a film;
3 - to acquire the concepts and terminology necessary for communicating your ideas about cinema;
4 - to develop an awareness of the assumptions comic films make about us as viewers; to uncover the ways in which directors skillfully shape our understanding and our interpretations of a given motion picture.
Corpus
Noël Carroll. « Notes on the Sight Gag ». In Comedy/Cinema/Theory. Ed. Andrew Horton. Berkeley: U of California P, 1991. 25-42.
Rae Beth Gordon. Why the French Love Jerry Lewis: From Cabaret to Early Cinema. Palo Alto: Stanford UP, 2001.
Wylie Sypher, ed. Comedy. An Essay on Comedy by George Meredith. Laughter by Henri Bergson. Baltimore: Johns Hopkins UP, 1956.
Filmography
The Magic of Melies, 1902-1912, 102 minutes.
Boudu sauvé des eaux [Boudu Saved From Drowning], Jean Renoir, 1932, 82 minutes.
Mon Oncle [My Uncle], Jacques Tati, 1958, 110 minutes.
La Grande Vadrouille [Don’t Look Now, We’re Being Shot at], Gérard Oury, 1966, 132 minutes.
Les Aventures de Rabbi Jacob [The Mad Adventures of Rabbi Jacob], Gérard Oury, 1973, 100 minutes.
Un éléphant ça trompe énormément [Pardon Mon Affair], Yves Robert, 1976,105 minutes.
Les Bronzés [French Fried Vacation], Patrice Leconte, 1978, 87 minutes.
Trois hommes et un couffin [Three Men and a Cradle], Coline Serreau, 1985, 106 minutes.
Gazon maudit [French Twist], Josiane Balasko, 1995, 104 minutes.
La vérité si je mens [Would I Lie to You?], Thomas Gilou, 1997, 100 minutes.
Le Dîner de cons [The Dinner Game], Francis Veber, 1998, 80 minutes.
FRN 473-001 French Canadian Literature (Dr. Kenneth Rogers)
In this course,we'll survey the tortured history of the Québécois and Acadians, and read samples of their early literature. We'll also read poems, novels, short stories,and plays from recent periods, including mysteries, comedies, and sociological novels. Students will engage in indiviual and group projects and presentations.
FRN 480-001 Business and Professional French (Dr. Lars Erickson)
Real French for the real world. Learn what you need to succeed in the French business world. Know key business terms. Learn skills for effective communication. Use strategies for getting ahead.
Goals:
This course aims to teach you how to engage in effective communication in the French business world. It will prepare you to complete successfully the Certificat de Français Professionnel administered by the Chambre de Commerce et d'Industrie de Paris.
Description:
Business French encompasses both advanced language skills and specialized skills. It involves specialized knowledge, general language ability, and also communication strategies. Consequently, in class we will work on developing specific abilities relating to the business world, such as understanding invoices, writing a resume, engaging in a job interview, and taking down a phone message. Also, we will develop more general abilities such as understanding newspaper articles, writing emails, talking about the workplace, and making travel plans. Cutting across the specific and the general, we will also work on applying communication strategies such as asking follow-up questions, taking notes, listening actively, and appreciating cultural differences.
| THE BA IN FRENCH, DON'T LEAVE URI WITHOUT IT! |
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