Prof: Mark Jensen
This course is the second half of second-year French; its complementary course, French 201, is based on the same textbook and vocabulary book.
Oll zee woerk een zees class wheel bee een Frahnsh—well, almost all—there will be infrequent exceptions like this syllabus. But ideally, all communication will be in French. You will endear yourself to the instructor if you help to make the classroom a French-language zone (une zone de langue française) where use of other languages is an unwelcome—mais non, ce n'est pas très aimable—let us say regretfully tolerated—intrusion, except in unusual circumstances.
The goals of French 202:
First, the course would like (if a course can be said to like something): 1) to help you master elements of grammar essential to your becoming an effective prattler in French; 2) to expand your vocabulary in French in a systematic fashion, with the same end in view, teaching you to avoid faux amis and not ask for bread that is sans préservatifs ; 3) to develop your ability to speak and write effectively in ways that a French person might actually use; (4) to focus your attention on the accuracy of your pronunciation of all those pesky little phonemes (sacrebleu ! ); and 5) wire you into the cultural, social, and intellectual dimensions of linguistic communication in French.
Second, French 202 seeks to give you: 1) some insights into the background and values of Francophone cultures, especially French culture, with a special emphasis in this course on the 1930s; and 2) some information about how French culture has influenced the culture of the United States (ça alors ! ).
Third, the teacher of this course, even at his advanced age, aspires: 1) to make you better able to analyze and compare ideas and opinions, both your own and those of others; 2) through the study of imaginative works of and discussion of them, to make you a chum of conventions of genre, to cause you to flirt with the influence of history, to pal around with the progress of ideas, and to open your eyes to how these have affected and shaped human experience (heureusement ! and sometimes not so heureusement ); and 3) to learn to challenge assumptions (en garde ! ) intellectually, to bounce against different perspectives without breaking, to evaluate and explain different viewpoints on complex issues, and defend (but not enforce) judgments (si cela vaut la peine ! ). In addition, intensive work with the French language at this level will give you new ways of thinking about your own native language and will often prod you to reflect on that mystery of mysteries, language itself. If you succeed in doing all these things, you will be far ahead of your benighted instructor and can proceed directly to Go and collect $200 (worth 151.49 euros on February 1, 2012, Groundhog Day Eve, when this paragraph was newly edited though not really originally written), but for how long? given the Irish, Portuguese, Greek, Italian, and — no, not French !? quelle horreur ! ) debt crises.
In the fourteen weeks of this course, you will 1) valiantly and uncomplainingly struggle through the second half of a rigorous presentation of French grammar in French ; 2) study in tedious detail the first act of a great French play, (La guerre de Troie n'aura pas lieu) — also acting out many of its scenes in class, and immerse yourself in a quirky detective novel about the immortal detective Maigret, written by Georges Simenon, acquainting yourself along the way with notions like the dichotomy of Paris and les provinces that have contributed to the French Weltanschauung (Zut ! pardonnez mon allemand ! ). Let us say, rather, the French mentalité.
Activities in class will vary, albeit in a monotonous yet comfortingly predictable weekly fashion.
Mondays will begin with some time devoted to subtleties of pronunciation and phonetics, then proceed to the grammatical material for the week. You'll be assigned pages to study in the grammar text in preparation for the class. On most weeks—weeks of special delight and interest for every student as well as for the instructor himself—a meticulously prepared short written composition (or, on the following week, the attempted correction of the previous week's now discouragingly and spider-webbily red- or green- or purple- or blue-inked composition) will be also be due in class.
Wednesdays will be devoted to further laborious and baffling explorations and eye-opening explanations of French grammar (did you ever notice that exploration and explanation have only two letters that are different?), usually with additonal attention to group work, occasionally including entertaining performances, amusing games, or diverting class presentations.
Fridays (vendredi ! enfin ! merci Dieu ! )
devoted to works of literature. The two works we'll look at in detail
this semester were both written in the 1930s, in the period depicted in
the 2009 film Public Enemies (with which this course has nothing
do, but Johnny Depp is so cool — and also speaks French ! as is
by this YouTube
clip.) : La guerre de Troie
n'aura pas lieu by Jean Giraudoux in the first half of the course, and
Saint-Fiacre by Georges Simenon in the second half. The first is a
text of staggering profundity (d'une
profondeur stupéfiante) as well as of sparkling wit
( d'un esprit piquant ) that will sometimes fly right
over our unsophisticated heads; making acting out scenes in class will
help us grasp what Giraudoux is trying to do. The second is one of the
innumerable (but by one count 192) novels
by the creator of Maigret (75 of those novels feature Maigret). Ah,
the Thirties, the light-hearted decade that brought you the Great
Depression, the rise of Nazism, the Stavisky affair, Stalin's purge
trials, the Spanish civil
war, the explosion of
the Hindenburg, Sartre's depressing novel
La nausée, Céline's dark, obscene masterpieces,
Voyage au bout de la nuit and Mort à
crédit, the assassination of Huey Long, the
writing of Darkness at Noon and the publication of the greatest
work of the 20th century, the unreadable Finnegans
Wake ! A miserable period, really — one that
thoroughly depressed my new hero, H.G. Wells, about whom you'll probably
get sick of hearing during the course of the semester. In addition to reading works by Giraudoux and Simenon from the 1930s, every Friday we'll spend a few minutes discussing the desires of that tortured period by studying a page of advertisements in a 1930s French almanac (Almanach Hachette 1937).
Wed., Feb. 8 : Introductions and what sociologist Erving Goffman would call presentations of self. Discussion of course, study methods, and expectations for the course—yours and mine. Some English, for the sake of clarity.
Fri., Feb. 10 : (1) Before class:
Read the first two scenes of the first act of Giraudoux's La guerre
de Troie n'aura pas lieu. (2) Review the
fascinating vocabulary on houses and the corresponding sentences toward
of the page (vous pouvez les trouver !) in Fournier,
mot et l'idée, I, §§ 4-7. (Review §§
1-3 as well, and also do this for every subsequent "chapter" in Fournier
you work through the book.) Look up words you don't know in a good
dictionary (see below on the meaning of this vague expression), and, for
four words not yet chosen by anyone else, post
on Google Docs a definition or
explanatory remarks, an image, and a sample sentence using the word. (See
below for more information on this bold, innovative pedagogical project.)
Sign your work
with your initials. (3) In addition,
read, or reread, the preface in Barson's formidably all-in-French (except
preface!) grammar textbook. (4) In class: Discussion of ad for the École universelle.
Mon., Feb. 13 : (1) Introduction to the International Phonetic Alphabet (IPA). (2) Consonants : [R] Scott Juall, review of French consonants. (3) Barson, Chapter 7, Les verbes pronominaux (classification et conjugaison), pp. 168-70. (4) Fournier, II, §§ 6-10.
Wed., Feb. 15 : Barson, Chapter 7, Les verbes pronominaux (l'accord du participe passé), pp. 171-73, including a skosh of group work. (2) Fournier, III, §§ 4-6.
Fri., Feb. 17 : (1) Before class: Read Giraudoux, Acte
Scène 3 and prepare answers to the questions previously
distributed in class.
IV, §§ 4-7. (3) In class: Discussion of ad for Ducretet-Thomson radios.
Mon., Feb. 20 : Presidents' Day holiday.
Wed., Feb. 22 : (1) Barson, Chapter 7, Les verbes pronominaux à sens idiomatique, pp. 173-76. (2) Fournier, V, §§ 3-4.
Fri., Feb. 24 : (1) Before class : Read Giraudoux, I, 4, and prepare answers to questions. (2) Fournier, VI, §§ 4-6. (3) Discussion of ads for the Fondation Figuière and Liniment Sloan (for rhumatism).
Mon., Feb. 27 : (1) Vowels. (2) Barson, Chapter 7, Le passif, pp. 176-80. (3) Fournier, VII, §§ 4-6.
Wed., Feb. 29 : (1) Barson, Chapter 8, La négation, pp. 194-96. (2) Fournier, VIII, §§ 3-5.
Fri., Mar. 2 : (1) Before class: Read Giraudoux, I, 5-6 and prepare answers to questions. (2) Fournier, IX, §§ 3-4. (3) Discussion of ad for the Exposition Internationale 1937.
Mon., Mar. 5 : (1) Nasal vowels. (2) Barson, Chapter 8, La négation des pronoms et des adjectifs indéfinis, pp. 196-99. (3) Fournier, X, §§ 3-5.
Wed., Mar. 7 : (1) Barson, Chapter 8, more on negation, pp. 199-201. (2) Fournier, XI, §§ 3-5.
Fri., Mar. 9 : (1) Before class: Read Giraudoux, I, 7-8, and prepare answers to questions. (2)Fournier, XII, §§ 3-4. (3) Discussion of ads for Gilllet (pompes à chapelet); Sénécal (roses); and Mme Hélène Duroy (« belle poitrine »).
Mon., Mar. 12 : (1) Semi-vowels. (2) Barson, Constructions, pp. 201-05 & 233-34 (Étude de verbes). (3) Fournier, XIII, §§ 4-7.
Wed., Mar. 14 : (1) Barson, Chapter 9, Le féminin des adjectifs et des noms and le pluriel, pp. 217-24. (2) Fournier, XIV, §§ 4-6.
Fri., Mar. 16 : (1) Before class: Giraudoux, I, 9-10 (la fin du premier acte ! ), and prepare answers to questions. (2) Fournier, XV, §§ 4-6. (3) Discussion of ad for Vichy.
Mon., Mar. 19 : (1) Phonetic transcription : Jean Desmeuzes, « Colère » (produce a phonetic transcription of this poem and bring it to class). (2) Barson, Chapter 9, L'accord des adjectifs and La place de l'adjectif qualificatif, pp. 224-28. (3) Fournier, XVI, §§ 3-4.
Wed., Mar. 21 : (1) Barson, Chapter 9, Le comparatif and Le superlatif, pp. 228-31. (2) Fournier, XVII, §§ 4-7.
Fri., Mar. 23 : The long-dreaded but no longer avoidable MIDTERM EXAM!
Spring break. Optional assignment: Read Giraudoux, II, 1-14.
Mon., Apr. 2 : (1) Syllables and rhythmic groups (i). (2) Barson, Chapter 10, La formation du subjonctif, pp. 252-56. (3) Fournier, XVIII, §§ 2-3.
Wed., Apr. 4 : (1) Barson, Chapter 10, L'emploi du subjonctif, pp. 257-63. (2) Fournier, XIX, §§ 3-5.
Wed., Apr. 11 : (1) Barson, Chapter 10, Constructions, pp. 266-69. (2) Fournier, XXI §§ 4-6.
Fri., Apr. 13 : (1) Simenon, ch. 1-2, and prepare answers to questions. (2) Fournier, XXII, §§ 3-4. Discussion of ad for Unic automobiles.
Mon., Apr. 16 : (1) Syllables and rhythmic groups (iii) ; Clandestine, (« La boîte à souvenirs ». (2) Barson, Chapter 11, Les pronoms relatifs, pp. 282-85 (to II.B.). (3) Fournier, XXIII, §§ 3-4.
Wed., Apr. 18 : (1) Barson, Chapter 11, Les pronoms relatifs (suite), pp. 285-87 (from II.C.). (2) Fournier, XXIV, §§ 3-4.
Fri., Apr. 20 : (1) Simenon, ch. 3-4, and prepare answers to
questions. (2) Fournier, XXV, §§ 4-6. Discussion of ad for Linguaphone.
Mon., Apr. 23 : (1) Glanville Price, "Mute e," Ch. 11 in An Introduction to French Pronunciation (Basil Blackwell, 1991), 76-87. (2) Barson, Chapter 11, Le participe présent, pp. 287-89. (3) Fournier, XXVI, §§5-8.
Wed., Apr. 25 : (1) Barson, Chapter 11, Tout, pp. 289-90. (2) Fournier, XXVII, §§ 3-4.
Fri., Apr. 27 :
(1) Simenon, ch. 5-6, and prepare answers to questions.
(2) Fournier, XXVIII, §§ 5-8.Discussion of ads for H. Djema, scientifique astrologue, Meinel & Hérold accordeons, the École de navigation and Institut du génie civil, D'Hermès (talisman de chance et de protection), and A.H. Robert (drapeaux).
Mon., Apr. 30 : (1) Glanville Price, "The Semi-Consonants in Detail," Ch. 13 in An Introduction to French Pronunciation (Basil Blackwell, 1991), 94-99. (2) Barson, Chapter 12, Les temps au discours indirect and L'interrogation au discours indirect, pp. 302-04. (3) Fournier, XXIX, §§ 4-7.
Wed., May 2 : Showing of Le ballon rouge.
Fri., May 4 : (1) Simenon, ch. 7-8, and prepare answers to questions. (2) Fournier, XXX, §§ 5-9. (3) Discussion of ads for Singer (sewing machines); La Société de la gaîté française ; Paul Beuscher (musical instruments); and Cimenfer (la fosse « autoseptique »).
Mon., May 7 : (1) J.W. Jack, "Liaison or Linking," Ch. XXXIII in French Pronunciation and Diction (D.C. Heath & Co., n.d.), 172-83. (2) Barson, Chapter 12, Phrases impératives au discours indirect, Autres changements au discours indirect, and Les verbes introductifs du discours indirect, pp. 304-07. (3) Fournier, XXXI, §§ 5-10.
Wed., May 9 : (1) Barson, Chapter 12, Constructions, pp. 307-09, and Faire causatif, pp. 309-13. (2) Fournier, XXXII, §§ 5-8.
Fri., May 11 : (1) Simenon, ch. 9, and prepare answers to
XXXIII, §§ 6-11. (3) Discussion of ad for Dupont (lit mécanique, voiture de mutilé, fauteuil de repos, etc.)
Mon., May 14 : (1) Bernard Travel, "French Liaison and Elision Revisited: A Unified Account within Optimality Theory," Claudia Parodi, Carlos Quicoli, Mario Saltarelli, and Maria Luisa Zubizarreta, Romance Linguistics in Los Angeles (Georgetown University Press, forthcoming). (2) Provocative group presentations. (3) Fournier, XXXIV, §§ 4-6.
Wed., May 16 : (1) Cheering group presentations. (2) Fournier, XXXV, §§ 4-6.
Fri., May 18 : (1) Simenon, ch. 10-11 (la fin !), and prepare answers to questions. (2) Final review.
QUIA homework schedule
QUIA exercises should be done within four days of the class on the related subject. After that date the QUIA site will no longer accept your work!
Recommended: As you do exercises, use your doughty Cuthbertson verb wheel to review verbs you've forgotten or with which you're not familiar.
After Feb. 13 class, QUIA exercises due by Feb. 17 : §§7-1.1, 2, 3, 4, and 5, and §7-2.1 and 2.
After Feb. 15 class, QUIA exercises due by Feb. 19 : §7-2.3.
After Feb. 22 class, QUIA exercises due by Feb. 26: §§7-2.4 and 5.
After Feb. 27 class, no QUIA exercises due.
After Feb. 29 class, QUIA exercises due by Mar. 4: §§8-1.1, 2, 3, and 4.
After Mar. 5 class, QUIA exercises due by Mar. 9: §§ 8-2.1 and 2.
After Mar. 7 class, QUIA exercises due by Mar. 11: §§8-2.3, 4, and 5.
After Mar. 12 class, QUIA exercises due by Mar. 16: §§8-2.7 and 8.
After Mar. 14 class, QUIA exercise due Mar. 18: §§9-1.1, 2, 3, 4, and 5.
After Mar. 19 class, QUIA exercises due Mar. 23: §§9-2.1, 2, 3, and 4.
After Mar. 21 class, QUIA exercises due on Mar. 25: §§9-2.7, 8, 9, 10, 11, and 12.
After Apr. 2, QUIA exercises due by Apr. 6: §§10-1.1 and 2.
After Apr. 4 class, QUIA exercises due by Apr. 8: §§10-2.1 and 2.
After Apr. 9 class, QUIA exercise due by Apr. 13: §§10-1.3 and 4.
After Apr. 11 class, QUIA exercises due by Apr. 15: §§10-2.3 and 4.
After Apr. 16 class, QUIA exercises due by Apr. 20: §§11-1.1, 2, 3, and 4.
After Apr. 18 class, QUIA exercises due by Apr. 22: §§11-2.1, 2, and 3.
After Apr. 23 class, QUIA exercises due by Apr. 27: §§11-2.5.
After Apr. 25 class, no QUIA exercises due.
After Apr. 30 class, QUIA exercises due by May 4: §§ 12-1.1.
After May 2 class, no QUIA exercises due.
After May 7 class, QUIA exercises due by May 11: §§12-1.2.
After May 9 class, QUIA exercise due by May 13: §12-2.1.
After May 14 class, no QUIA exercises due.
After May 16 class, no QUIA exercises due.
Schedule of compositions
NOTE: These are due in class (no email submissions accepted) on the day indicated. Double-space or triple-space and leave margins on all sides of at least one inch.
Mon., Feb. 27 : Les écrivains, les artistes et les musiciens sont-ils plus sensibles (faux ami ! — en anglais, 'sensitive') que les autres ? Par exemple, se fâchent-ils, s'excitent-ils ou se désespèrent-ils plus souvent ou plus facilement ? Utilisez des verbes pronominaux. (200 mots) — Correction of first draft due in class on Mon., Mar. 5.
Mon., Mar. 12 : Écrivez une mini-pièce de théâtre avec le scénario suivant : Vous êtes soupçonné(e), à tort, d'avoir commis un délit. Vous retrouvez un(e) ami(e) et vous lui racontez vos mésaventures, en essayant de le/la convaincre que vous n'êtes pas un(e) criminel(le). Spécifiez l'acte illicite dont vous êtes accusé(e). Utilisez beaucoup de négations. (250 mots) — Correction of first draft due in class on Mon., Mar. 19.
Mon., Apr. 2 : Décrivez le pays de vos rêves. Ce pays existe-t-il ? Utilisez une grande variété d'adjectifs. (250 mots) — Correction of first draft due in class on Mon., Apr. 9.
Mon., Apr. 16 : Sous forme d'une lettre à un(e) nouvel(le) étudiant(e) de PLU, offrez quelques bons conseils basés sur votre expérience personnelle. Utilisez les tournures suivantes : (1) il faut que (2) ne pensez pas que (3) il est possible que (4) c'est une bonne idée que (5) je suis content(e) que (6) il serait utile que (7) il est probable que (8) je suis certain(e) que (9) j'espère que (10) c'est dommage que. (300 mots) — Correction of first draft due in class on Mon., Apr. 23.
Mon., Apr. 30 : Est-ce que l'apparence physique est un reflet du caractère ? Donnez au moins un exemple qui illustre votre point de vue. Employez des pronoms relatifs. (300 mots) — Correction of first draft due in class on Mon., May 7.
Calculation of grades
Your grade will be determined as follows:
Comments on each of these components:
University academic policies
PLU's altogether justified expectation is that students not cheat or plagiarize. Accordingly, these behaviors will not be condoned; also, students must assist others who plagiarize. This includes the use of machine translation in the completion of assignments. Academic misconduct not only jeopardizes the career of the individual student involved, but also undermines the scholastic achievements of all PLU students and attacks the mission of this institution. Students are inherently responsible to do their own work, thereby insuring the integrity of their academic records.
Respectful and Civil Conduct
Accomodations for Students with
BONNE CHANCE ET BON COURAGE !
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