Course	FREN 106 Basic Intensive French
Professor	Odile Chilton / Eric Trudel
CRN	16154
Schedule	M T W Th F 9:20 - 10:20 am OLINLC 210 M T W Th F 1:25 -2:25 pm OLINLC 210
Distribution	OLD: D	NEW: Foreign Language, Literature, & Culture

This course is designed for students who wish to acquire a strong grasp of the French language and culture in the shortest time possible. Students with little or no previous experience of French will complete the equivalent of three semesters of college‑level French. The semester course meets ten hours a week, using a variety of pedagogical methods, and will be followed by a four‑week stay at the Institut de Touraine (Tours, France). There the students will continue daily intensive study of the French language and culture while living with French families (successful completion of the course in France carries 4 extra credits).

Course	FREN 203 Intermediate French III
Professor	Odile Chilton
CRN	16155
Schedule	Tu Wed Th 10:30 - 11:30 am OLINLC 210
Distribution	OLD: D	NEW: Foreign Language, Literature, & Culture

In this  continuation of the study of French civilization and culture, students will be able to reinforce their skills in grammar, composition and spoken proficiency, through the use of short texts, newspaper and magazine articles, as well as video. Students will meet the French tutor for one extra hour during week for workshops.

Course	FREN 223 Genealogy of French Morals
Professor	Marina van Zuylen
CRN	16158
Schedule	Wed 3:00 -4:20 pm OLIN 203 Fr 1:30 -2:50 pm OLIN 203
Distribution	OLD: B/D	NEW: Foreign Language, Literature, & Culture

Cross-listed: Human Rights

If we act morally, the French moralists believed, it is because we know we are being watched. If we believe in fidelity, it is because we are afraid of being betrayed. If we weep at our friend's funeral, it is because we are afraid nobody will weep at our own. Like the onion, we are all skin, all mask, and no core. What we call our identity is the face we present to others; perpetually on stage, we modulate our behavior according to fear, ambition, and hypocrisy. This cynical portrayal of humanity, at the core of the seventeenth century tradition of moralistes, began a trend of thinking that would permeate much of French literature and philosophy, a tradition that would view with suspicion the altruistic roots of our moral behavior. Readings will be excerpted from short selections of major French literary texts. Pascal (Pensées), La Fontaine (Fables), Molière (Misanthrope), Laclos (Liaisons dangereuses), Rousseau (Vicaire savoyard), Balzac (Père Goriot), Proust (Un Amour de Swann), Gide (L'Immoraliste), Céline (Mort à crédit), de Beauvoir (Mémoires d'une jeune fille bien rangée), and Sarraute (L'Usage de la parole). The class is aimed for students who have taken classes such as French Film or Intermediate French and wish to improve their writing and oral skills while being introduced to French literary studies. Conducted in French.

Course	FREN 332 Poetic Objects:Poetry & the Arts in the French 20^th Century
Professor	Eric Trudel
CRN	16159
Schedule	Wed 9:30 - 11:50 am OLIN 303
Distribution	OLD: B/D	NEW: Foreign Language, Literature, & Culture

Throughout the 20th century, poetry and the visual arts enjoyed what one might call a profoundly intimate and complex connection. Painters, sculptors and poets evolved in the same circles, working side by side in various avant-garde movements. The sheer number of critical and theoretical texts on these art forms, of poems and manifestoes expressing common aesthetical ideas and concerns, is simply astounding. One needs only to evoke Apollinaire's works on cubism, Aragon's texts on collage, Éluard's poems dedicated to Ernst and Chirico, or Ponge's fascination with the “Atelier contemporain”. In examining a selection of writings (both poems and writing on arts), we will see that the vision carried by poets in their works about painters and their art is certainly the reflection of an on-going dialogue, as well as, in some cases, a conscious emulation of the pictorial realm, when faced with meaning in crisis. What does the evolution of poetic form throughout the century owes to its ‘neighbors’ (Paulhan), and most especially to painting? If writing can think about the other arts, to what extent can they, in return, help us read poetry? Our investigation will be informed by supplementary readings from Lessing, Kant, Baudelaire, Hegel, Jean-Luc Nancy, Jacques Derrida and Jacques Rancière. Close readings will focus on works by Apollinaire, Aragon, Artaud, Beckett, Bonnefoy, Breton, Char, du Bouchet, Dupin, Éluard, Jaccottet, Leiris, Michaux, Paulhan, Ponge and Reverdy. Taught in French.