Guy de Maupassant. Mythologie grecque et romaine. Jean de la Fontaine. Eric Zemmour. Stefan Zweig. Thomas Piketty. Emile Zola. Du Contrat Social. Annie Ernaux. Le Royaume. Marcel Proust. La Peste. Edy Legrand.
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Les Crimes Bleus. Enrique Laso. Miguel de Cervantes.
A Comparative Study
Yuval Noah Harari. David Foenkinos. Johann Etienne. Albert Camus Pierre Lemaitre. Arthur Conan Doyle. Nora Roberts. Le Comte de Monte-Cristo. Madame Bovary, in the original french. L'Assassin royal Tome 2 - L'Assassin du roi. George R. Un avion sans elle. Du sang sur les docks. Bernard Coat. Sans mobile apparent. Arnaud Papin. Les Fleurs du Mal. La formule de Dieu. Jose rodrigues dos Santos.
Guillaume Musso. Sur ordre royal. Margaret Moore.
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L'Assassin royal Tome 4 - Le Poison de la vengeance. L'Assassin royal Tome 5 - La Voie magique. L'Assassin royal Tome 6 - La Reine solitaire. Marc Levy. La couleur des sentiments. His novels are hilarious, his art criticism profoundly innovative, his philosophy deeply revolutionary, his libertinage scandalous. Readings and discussion in French, but English tolerated.
We will consider the relation between literature and other media including music, opera, and the visual arts and gauge the impact of French classical criticism on the broader European scene, considering its reception and contestation in Britain, Italy, Spain and Germany. Course conducted in English, but reading knowledge of French is required; students taking course for French credit must do all written work in French.
The main goal of this course is to help students acquire advanced grammatical knowledge of the French language and develop their writing skills. This course is strongly recommended for all students who intend to take courses in which writing essays in French are required: French literature classes on campus, the Autumn Paris Civilization program, or the academic yearlong program in Paris. It is also strongly recommended for students who wish to take the advanced proficiency exam in French. This course is strongly recommended for all students who intend to take courses in which writing essays in French is required: French literature classes on campus, the Autumn Paris Civilization program, or the academic yearlong program in Paris.
Thinker, poet, historian, Edgar Quinet had a profound influence in nineteenth-century France. Very much a European, he had a deep understanding of Vico and was among the very first to introduce German thought into France. He opened new perspectives in the understanding of medieval culture as well as the French Revolution and the Empire. Readings and discussion in French but comments in English are also welcome. Papers and student presentations in French or English depending on student's concentration. PQ: Undergrads must be in their third or fourth year.
This course will consider the foundational transformations of Western thought from the end of the Middle Ages to the threshold of modernity. It will provide an overview of the three self-conscious and interlinked intellectual revolutions which reshaped early modern Europe: the Renaissance revival of antiquity, the "new philosophy" of the seventeenth century, and the light and dark faces of the Enlightenment. First-year students and non-History majors welcome.
PQ: Students seeking French credit must read French texts in that language. More than a school of philosophical thought, existentialism was an intellectual movement that dominated French culture in the years following World War II. Why did existentialist thinkers turn to forms of literary expression, writing plays and novels? How did they shape the reception of other writers, and how did later writers revisit existentialist concerns?
This course explores major contemporary French and francophone artists, art forms and art works. Students will acquire basic linguistic and analytical skills to apprehend visual arts, graphic novels, movies and theatrical performance in French. They will work on individual and group art and academic assignments. A screening and a museum field trip are required.
This course focuses on developing the tools necessary for advanced oral proficiency in an academic context. Through active class participation involving a number of class presentations, students practice a variety of discourse styles e. Special emphasis is placed on correct pronunciation. This course does not count toward major or minor requirements. This course will focus on fictional texts that readers have misrecognized as factual accounts, as well as the less frequent case of factual texts misidentified as fictional.
Feminism in Great Britain, France, and America has produced a rigorous intellectual, theoretical, and aesthetic legacy within the field of film studies. This course will discuss the ways in which fiction imagines a multitude of individual cases meant to incite reflection on moral practices.
How should a history of sexuality take into account scientific theories, social relations of power, and different experiences of the self? We discuss the contrasting descriptions and conceptions of sexual behavior before and after the emergence of a science of sexuality. Other writers influenced by and critical of Foucault are also discussed. One prior philosophy course is strongly recommended. In our study of two decades in the history of French cinema, we will track the rise of the poetic realist style from the culture of experimentation that was alive in both the French film industry and its surrounding artistic and literary landscape.
As an exercise in the excavation of a history of film style, we will consider the salient features of the socio-political, cultural, theoretical, and critical landscape that define the emergence and the apex of poetic realism, and that reveal it as a complicated nexus in the history of film aesthetics. Main texts by Dudley Andrew and Richard Abel will accompany a wide range of primary texts. This class is cross-listed with the Department of Romance Language and Literatures and may be taken for French language credit in which class the student will follow the French language requirements for the course.
In our study of this important decade in the history of French cinema, we will track the rise of the poetic realist style from the culture of experimentation that was alive in both the French film industry and its surrounding artistic and literary landscape. Designed as an alternative to FREN for students in Business Economics, Global Studies and related fields of study, this four-skills course meets the grammatical objectives of FREN while equipping students with the basic communication skills and cultural awareness necessary in the areas of international exchange and economics.
L’archéologie enfermée dehors. Retour sur un malentendu français
Through exposure to a wide range of material—including essays, newspaper and journal articles, film reviews, professional writing practices—and interactive exercises including discussions, in-class activities, and group projects in simulated professional situations, students will acquire the linguistic skills and sociocultural knowledge required for engagement in international exchange and business economics as well as to participate in larger debates in the Francophone context.
This course helps students quickly gain skills in spoken and written French by building on their prior working knowledge of another Romance language Catalan, Italian, Portuguese or Spanish. By relying on the many similarities with other Romance languages, students can focus on mastering the different aspects of French. This class covers content from FREN and In this intermediate-level sequence, students review and extend their knowledge of all basic patterns e. They develop their oral and written skills by describing, narrating, and presenting arguments.
They are exposed to texts and audio-visual materials that provide them with a deeper understanding of French literature, culture, and contemporary society. This course helps students develop their descriptive and narrative skills through a variety of texts, audio-visual materials, and activities. This course helps students develop their skills in understanding and producing written and spoken arguments in French through readings and debates on various issues relevant to contemporary French society. The idea that men and women use language differently is a common trope today, yet this was not always understood to be the case.
In this course, we will investigate the origins of modern assumptions about the relationship between sex, gender, and language by tracing their conceptualization in a wide range of literary, theoretical, and scientific discourses. Readings include texts from seventeenth-century ethnography, eighteenth- and nineteenth-century philosophy and philology, and twentieth-century literature, linguistics, and feminist theory.
Reading and discussion in English; students who know German or French will have the opportunity to read in the original. The easing of political life and the relaxation of private morals which came to characterize the long reign of Louis XV was mirrored by the development of a new conception of art, an art more intimate, decorative, generally amorous and often erotic. It is these last two related dimensions which are the basis of a new visual aesthetic which constitute the subject matter of this course.
Artistic subjects, the mechanisms to represent them, their metaphorical stakes, and their phenomenological effects on the beholder will therefore be considered as the expression of a particular historical and ideological context. It is in this context that love became the symbol of a king who privileged peace against war, and where emotional pleasure triumphed over moralizing values and asserted itself as a new aesthetic category. Taking up the French historical technologies of the guillotine and the barricade, this doctoral seminar explores the history of political spectacle, violence, death, and resistance as also part of a history of figuration—conceptualized by Julia Kristeva as the establishment of a relation between two historical realities—across media.
This seminar thus seeks to examine the methodological stakes of inter-medial and interdisciplinary history and historiography that draws equally from French history, literature, visual art including sculpture , architecture, and film. While our sessions, including film screenings, will at times be devoted to understanding the function of the guillotine and the barricade in French history, others will demand a more abstract conceptualization of these forms and technologies.
How do both figures suggest something of their value and development at various revolutionary moments that extend the political into the realm of signification, art and aesthetics? How do we reconcile these figures in a history of architectural or built form, and how do we situate them within contemporary debates on resistance, the death penalty, and extremist violence? This class will be taught in English; French reading and research skills are not necessary, but would be beneficial.
Henri Focillon advanced an account of form that influenced work in many fields and provoked vehement critique. Kumler in advance to discuss how appropriate accommodations might be made. In this seminar we will examine classic theories the avant-garde, canonical histories of avant-garde film, and contemporary scholarly works. Our central objective will be to explore how theories of the avant-garde simultaneously present models of history, while we will also consider how the inclusion or exclusion of the film medium transforms or challenges purportedly resolved questions in the theory and history of vanguardism.
Designed to span the twentieth century, this seminar will consider topics ranging from the historical European avant-garde, the first film avant-gardes, the neo-avant-garde, New Wave film movements, structural film, and contemporary moving image practice. Authors may include P. Pogolli, P. Sitney, J. Kristeva, G. Marcus, R. Krauss, B. Buchloh, M. Calinescu, and others. Attendance at all screenings is mandatory.
The mid-thirteenth-century Roman de la Rose was arguably the single most influential vernacular text of the French Middle Ages. A sprawling, encyclopedic summa composed by two separate authors writing some forty years apart, whether taken as a source of inspiration or an object of condemnation, the Roman de la Rose became an obligatory point of reference for generations of authors. The proposed seminar will initiate students into the complex allegorical narrative of the Roman de la Rose. Through discussion of topically organized scholarship on the Rose and its historical ambient the seminar will provide students with the historical and historiographical orientation required for sophisticated interpretation of the work.
Taught in English, with a separate discussion section in French. Taught at Newberry Library. This six-week course sequence FREN will help students build a solid foundation in the basic patterns of written and spoken French and their use in everyday communication. Attention will be given to all four language skills listening, speaking, reading, and writing. Completing this sequence is the equivalent of FREN during the regular academic year, and it will fullfill the College language competency requirement for University of Chicago students.
This intensive, three-quarter sequence brings students with no prior background in French to advanced-low levels in all four skills—reading, writing, speaking, and listening—thus preparing students to take third-year level courses in French. Learners who are starting French late in their College careers or who wish to move forward swiftly will gain skills corresponding to two full years of study by completing the entire sequence.
Although the three classes constitute a sequence, students may enter the sequence whenever it is appropriate for them based on prior courses or placement exam results. Students may also exit the sequence after any given class and continue in the appropriate course in the Elementary or Intermediate French track. NOTE: Each course is units and corresponds in workload to taking two courses. This course will examine the philological notion of interpolation—the insertion of new material into a text perceived to be faulty or lacking—not only as an operation of textual reparation or editorial alteration, but more importantly as constituting in and of itself a form of literary writing or authorship, whose poetics we will explore.
What is, we will ask, the relation between literary scholarship and literary creation? We will concentrate primarily, but not exclusively, on early-modern writings, employing a comparative perspective which will allow the examination of other artistic practices beyond the literary, including music and sculpture. In addition, theoretic readings will be discussed to examine problems such as the coherence and identity of literary texts, the role of the author, and the status of philology and literary criticism.
The course will be in English, but students registering under the French course number will read French texts in their original language and conduct all written work in French. This seminar will be conducted on two tracks. On the one hand, we will study major contributions to hermeneutic theory including positions that understand themselves as anti-hermeneutic.
This is an introductory-level course. This course traces the history of the autobiographical genre in France from the eighteenth century to the present. The study of key texts will be accompanied by an introduction to some critical perspectives. We will give special emphasis to questions of reference and authenticity, identity and subject formation, and gender and the family. This course includes close readings and discussions of major literary and dramatic works by twentieth-century authors e. Topics might include surrealism, absurdism, existentialism, gender and sexual identity, social upheaval, the post-modern condition, and the rise of cinema.
Readings, discussions and papers in French. An introduction to some major nineteenth-century French literary works, this course emphasizes the main cultural debates of the period through some close readings and discussions. We study various literary genres from early Romanticism to the rise of Symbolism. Classes conducted in French. This intensive course is intended to introduce beginning students to the French language through reading. Students read a variety of French texts from multiple sources and acquire a basic set of vocabulary and grammatical structure that enables reading proficiency in French.
Reading is individualized according to students' needs and desires. This course is intended for students with little to no background in French. This course examines works written by women from the Middle Ages to the present day. We will consider the freedoms and constraints that govern textual production in order to better understand how women fashion individual, authorial, and collective identities through writing.
Cour de France.fr
Introductory level, taught in French. In his treatise on education, Rousseau has to find a way out of a deep paradox inherent to the Enlightenment psychology: how could he account for the socialization of a human being with the conceptual resources of a solipsistic psychology?
Neither a coherent movement nor a precise style, La Nouvelle Vague was nonetheless a watershed moment in the history of modernism. With an examination of canonical and lesser-known films - early s , we will pursue our study from the standpoint of cinematic ontology and French cultural and political history. With an examination of canonical and lesser-known films, we will pursue our study of film from the standpoint of cinematic ontology and French cultural and political history. This course is intended as a general review and extension of all basic patterns of the language for intermediate students.
Students explore selected aspects of contemporary French society through a variety of texts and audio-visual materials. Courses in this sequence must be taken for a quality grade. Nous verrons comment le Journal de voyage de Montaigne constitue un document politique et culturel pour Montaigne.
At least two years of French required for this course. This course is a study of the Early Modern vision of human passions, as reflected in literature. The course is in French and most required texts are in French. Undergrads must be in their third or fourth year. Over the course of quarter we will read the conjoined text, each student focusing their reading through a critical optic of their choice e. Students will select and read ancillary texts to enrich their understanding of the Rose, and will collaborate with one another to chart a rich and diverse set of interpretive paths through this complex work.
Taught in English, with readings in French. While the nineteenth-century novel has a privileged relationship with history, twentieth-century literature is marked by a double movement of engagement with and detachment from contemporary events.
This course will examine this evolution through the study of some key works from the nineteenth century to the present. Themes will include the representation and fictionalization of history, memory and quest, and the transformations of realism. Our approach to Flaubert will be sociological.
Taught in English, with Flaubert readings in French. Meets RLL French section grad theory requirement. History painting is the object of our course. In particular, the crisis which affected history painting in eighteen-century France: crisis of fable, crisis of narrative, crisis of pictorial verisimilitude. We focus on the genesis of history painting through the academic training and the artistic practice founded on imitation. We consider material practices, theory of art, criticism, social and political involvements.
This course explores the strategies adopted by French literary fiction in a cultural context that increasingly relegates the novel to the margins and privileges forms of non-fiction narrative. Countering the pervasive discourse of literary crisis, we will examine the ways in which contemporary literature increasingly asserts its agency in the world by locating itself on the margins of fiction.
We will also consider the extension of the literary domain beyond the boundaries of the book with the emergence of new digital forms. Rolin, Salvayre, in conjunction with theoretical and critical readings Genette, J. Schaeffer, J. PQ: Reading knowledge of French required; advanced undergrads admitted with consent of instructor. Course conducted in English, with readings in French. From fables to bestiaries, in the margins of medieval manuscripts and at the center of animal narratives, animals abound in medieval literature.
Transformations from human to animal form or vice versa , friendships between animals and humans, the anthropomorphization of animals, invite us to interrogate the relationship between animals and humans, and to put into question the boundary if indeed one can be defined between the two. Taught in English with required discussion section in French for those seeking French credit. For Proust, literary style conveys the singularity of an individual vision while rescuing experience from the contingencies of time.
Literature, identity, and memory are inseparable. How does memory serve as the foundation of individual or collective identities? How does fiction imagine and give form to memory, and how does literature serve as a medium for cultural memory? How do literary works register the intermittence of memory, its failings and distortions, its fragility as well as its attachment to bodies and places?
We will tackle these questions through close analysis of a range of texts. PQ: French reading knowledge desirable but not required. The course may be counted toward the French major or minor; students taking the course for French credit will do appropriate readings in French and participate in a weekly French discussion section.
What if I told you that the real was imaginary and the imaginary was real? This course will explore the concepts of the marvelous, the imaginary and the real through a selection of French literature from the middle ages to the 17th century. The middle ages are often perceived as a rigid feudal society. Yet, fairies abound in stories, people shape-shift, and objects magically transform under our eyes. In the 16th century truth appears to harden through of advances in science, mathematics, and art. But even here there is the unexpected, the surprising je ne sais quoi and overwhelming ineffable.
Through the literature of each era, we will see how reality often mixes with the marvelous, and everything is not always as it seems.
La France deviendra-t-elle une République islamique ?
The last volume of Foucault's history of sexuality has finally been published after more than a 30 year wait. In this volume Foucault moves from his previous focus on Greco-Roman culture to early Christianity, and his account culminates in an extensive discussion of Saint Augustine. This seminar will consist of a close reading of "Les Aveux de la chair", supplemented by a few other texts from the later Foucault. We will also try to draw some general methodological and philosophical conclusions from our reading.
All students interested in enrolling in this course should send an application to wweaver uchicago. Applications should be no longer than one page and should include name, email address, phone number, and department or committee. Applicants should briefly describe their background and explain their interest in, and their reasons for applying to, this course. PQ: Limited enrollment; students interested in taking for credit should attend first seminar before registering. Reading knowledge of French required. Consent Only. She understood the Revolution like no other.
Steeped in the aristocratic tradition of the salons, she was at the same time a founder of French romanticism. From her exile in Switzerland she was, with her lover Benjamin Constant, profoundly engaged in liberal thought. Her novels are about women and for women. Par quoi? Par le cadre justement, fait d'acteurs qui ne sont pas humains. Non, nous nous transportons simplement aux lieux et aux temps de la conception du cadre. Vincent , J. Morel , P. Gros , D. Ozanam , A. Tchernia , Y. Pietri , O.
Picard , J.