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French 301 in HONG-246A (MWF 13:45-14:50): Advanced French

Prof: Mark Jensen
Office: ADMN-220
Phone: (253) 535-7219
E-mail: jensenmk@plu.edu
Web page: www.plu.edu/~jensenmk/
Office hours: M 2:50 p.m.-3:50 p.m., W 2:50 p.m.-4:50 p.m., F 2:50 p.m.-4:50 p.m.

Materials

Required purchase:

  • Leroy-Miquel, Claire & Anne Goliot-Lété. Vocabulaire progressif du français avec 250 exercices : Niveau intermédiaire. CLE International, 2007; ISBN 9782090338720.
  • Zola, Émile. L'attaque du moulin ; suivi de Jacques Damour. Librio/J'ai Lu, 2004; ISBN 9782290346426.
  • Rochat, Denise. Contrastes : Grammaire du français courant. Second edition. Prentice Hall, 2009; ISBN 9780205646999.
  • Rochat, Denise Workbook for Contrastes : Grammaire du français courant. With Catherine Bloom. Second edition. Prentice Hall, 2009; ISBN 9780205628483.
  • Voltaire. Candide. Edited by Myrna Bell Rochester and Eileen M. Angelini. Focus Publishing/R. Pullins, 2007; ISBN 9781585102471.

Course goals

This course initiates a sequence that continues with French 302 in the spring semester.

Oll woeurk een zees classe wheel bee een Frannsh — must off eet, Aye meeen — zere wheel bee eenfreeqvent exzeptions layke zees seellabouss. But ideally, all communication will be in French (or at least franglais). You will win the heart of the instructor if you help make the classroom a French-language zone (une zone de langue française) where use of other languages is, if the expression is not too inhospitable (or do I mean unhospitable?), a less-than-welcome an intrusion. Feel free to speak English, however, in the event of an earthquake, an asteroid impact, or the collapse of the euro.

The goals of French 301 are goals you might anticipate, if you thought about it:  1) acuminating your understanding of those elements of grammar that you've been working to master for years now; 2) enlarging and refining your vocabulary in French in a systematic fashion, with the same end in view, enabling you to avoid faux amis and say that you went to une conférence (right here on campus, no preregistration required) and not une lecture; 3) to fatten, in other words, your ability to speak and write effectively in ways that French-speaking people might really use when they're not showing off their knowledge of English; (4) to gain deeper aperçus into the structure not only of the French language but of language itself, and to cause you to pooh-pooh no more phonetics and the ways in which the sociolinguistic register of your communications affects pronunciation, vocabulary, and grammar; 5) to make you thrill to the cultural, social, and intellectual dimensions of communication in French.

Second, French 301 seeks to give you glimpses of both the universal values associated with French culture as well as some aspects that are supposedly franco-français (too French to be easily appreciated by the non-French).

Third, the teacher of this course, even in his dotage, hopes you will: 1) become better able to analyze and compare ideas and opinions, both your own and those of others; 2) deepen and perplex your relationship to cultural conventions through investigation of and discussion of imaginative works, with attention to genre, history, and the evolution of ideas; and 3) probe assumptions — your own and those of others —, reflect upon different perspectives, evaluate and explain different viewpoints on complex issues, and defend judgments. Intensive work with the French language at this now fairly advanced level should also give you new perspectives on your own native language. If you succeed in achieving all of this, you will have demonstrated such intellectual probity and academic virtue that you will win a free pass to the 2013 Fort Lauderdale International Film Festival and have dinner with Audrey Tautou!

During the fourteen weeks of this course, you will 1) labor through the first half of a rigorous presentation of French grammar and workbook at an advanced level ; 2) study a classic French film (Les parapluies de Cherbourg) and an intensely personal film about the life of the person who made it (Jacquot de Nantes), a classic short story by a famous French novelist, (Émile Zola, L'attaque du moulin), and read Voltaire's amaranthine Candide ; (3) make two presentations to the class in French, one with one or two other students of a nature to be determined by you, and one an analysis of the phenomenon of linguistic register in an article from the popular press    A savory bouilli — just the fricadelle the doctor ordered!

Activities in class will plod along in an unimaginatively monotonous yet somehow reassuring weekly manner.

Just about every class will begin with a few minutes' attention to Vocabulaire progressif, so you should bring that book to class every day.  

On Monday, this will be followed by about a half-hour devoted to phonetics or sociolinguistics, then the grammatical material for the week.  You'll be assigned pages to study in the grammar text in preparation for the class.  In addition, on most weeks a meticulously prepared short written composition (or, on the following week, the attempted perfection of the previous week's now discouragingly and spider-webbily red- or green- or purple- or blue- or indigo-inked composition) will be also be due in class.

Wednesdays will be devoted to further laborious and baffling explication, exploration, and exploitation of French grammar, usually with additional attention to group work, occasionally including entertaining performances, amusing games, or diverting class presentations.

Fridays (vendredi ! enfin ! merci Dieu ! ) will be devoted to works of literature or film.  As noted above, the works we'll look at in detail this semester are quite diverse in their origins: a charmingly quirky fusion of opera and New Wave film from the 1960s and a 1991 film about Jacques Demy, the director, made by his wife, Agnès Varda; an 1880 short story by Émile Zola (which he later turned into an opera); and Voltaire's amusing, fast-paced, and sophisticated 1759 ROFL satire of philosophical optimism and human pretention, which is as irresistibly sassy, bold, irreverent, and dangerous as anything Julian Assange ever published.

Class schedule

Wed., Sept. 5

Introductions and what sociologist Erving Goffman (not French) 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., Sept. 7

(1)  Vocabulaire progressif, pp. 6-7.  (2) First part of Les parapluies de Cherbourg, a film by Jacques Demy.  As preparation for viewing this film, read "A Short History of French Cinema" by Andrew Pulver (Guardian [London], March 22, 2011); view also the videoclips and trailers.  Soyez prêt/e à répondre oralement en classe aux questions suivantes : 1. Pourquoi peut-on dire que la France a inventé le concept du cinéma ? 2. Quel était le premier film de science-fiction ? 3. Quel est le film muet français le plus extraordinaire ? Qui l'a fait ? 4. "Les Enfants du paradis," "Diva," "Les Quatre Cents Coups," et "Le Chien andalou," sont associés avec un mouvement : lequel ? (a) Le surréalisme ; (b) le réalisme poétique ; (c) la Nouvelle Vague ; (d) le cinéma du look. 5. Combien de films français sont mentionnés dans cet article ? 6. A votre avis, pourquoi est-ce que Pulver donne le nom français de certains films et le nom de certains autres sont en anglais ? 7. Avec quel mouvement est-ce que Jacques Demy et Agnès Varda sont associés ? 8. Quelle description est-ce que Pulver donne des valeurs ou des caractéristiques de ce mouvement ? (2) Read the preface in Denise Rochat's grammar textbook.

Mon., Sept. 10

(1) Vocabulaire progressif, pp. 8-9.  (2) Levels of language study: phonetics, syntax, semantics, discourse; sociolinguistics; historical linguistics. (3) Rochat, Chapter 1, Le présent de l'indicatif, pp. 1-6.

Wed., Sept. 12

(1) Vocabulaire progressif, pp. 10-11.  (2) Rochat, Chapter 1, L'impératif, pp. 6-9.

Fri., Sept. 14

(1) Vocabulaire progressif, pp. 12-13.  (2) Conclusion of Les parapluies de Cherbourg.

Mon., Sept. 17

(1) Vocabulaire progressif, pp. 14-15.  (2) The International Phonetic Alphabet. (2) Rochat, Chapter 2, Les articles, pp. 10-20.

Wed., Sept.. 19

(1) Vocabulaire progressif, pp. 16-17.  (2) Rochat, Chapter 2, Quantités, préparations et substances ; Omission de l'article, pp. 20-29.

Fri., Sept. 21

(1) Vocabulaire progressif, pp. 18-19.  (2) First part of Jacquot de Nantes, a 1991 film by Agnès Varda about Jacques Demy. 

Mon., Sept. 24

(1) Vocabulaire progressif, pp. 20-21.  (2) Phonetic transcription.  (3) Rochat, Chapter 3, Les pronoms objets directs et indirects ; les pronoms y et en, pp. 30-43.

Wed., Sept. 26

(1) Vocabulaire progressif, pp. 22-23.  (2) Rochat, Chapter 3, Place des pronoms, pp. 43-49.

Fri., Sept. 28

(1) Vocabulaire progressif, pp. 24-25.  (2) Second part of Jacquot de Nantes. Read an interview with Agnès Varda published by Jean Decock in The French Review (May 1993), pp. 947-58.

Mon., Oct. 1

(1) Vocabulaire progressif, pp. 26-27.  (2) Register & pronunciation: Batchelor & Offord, Using French, A Guide to Contemporary Usage, 2nd ed. (1993), pp. 1-12, and Richard Durán & George McCool, "If This Is French, Then What Did I Learn in School?", The French Review 77.2 (December 2003), 288-98. (3) Rochat, Chapter 4, Les pronoms disjoints, pp. 50-60.

Wed., Oct. 3

(1) Vocabulaire progressif, pp. 28-29.  (2) Rochat, Chapter 4, Formes des pronoms dans certaines constructions idiomatiques, pp. 60-64.

Fri., Oct. 5

(1) Vocabulaire progressif, pp. 30-31.  (2) Emile Zola, L'attaque du moulin, pp. 5-23 (sections 1 & 2).

Mon., Oct. 8

(1) Vocabulaire progressif, pp. 32-33.  (2) Register, vocabulary and grammar: Bachelor & Offord, Using French, pp. 12-19. (3) Rochat, Chapter 5, Les démonstratifs variables, pp. 65-69.

Wed., Oct. 10

(1) Vocabulaire progressif, pp. 34-35.  (2) Rochat, Chapter 5, Les démonstratifs invariables, pp. 69-75.

Fri., Oct. 12

(1) Vocabulaire progressif, pp. 36-37.  (2) Zola, L'attaque du moulin, pp. 23-45 (sections 3, 4, & 5).

Mon., Oct. 15

(1) Vocabulaire progressif, pp. 38-39.  (2) Présentations des étudiants.  (3) Midterm review.

Wed., Oct. 17

The long-dreaded but no longer avoidable MIDTERM EXAM!

Fri., Oct. 19

No class — Mid-semester break.

Mon., Oct. 22

(1) Vocabulaire progressif, pp. 40-41. (2) Register, examples 1 & 2: Batchelor & Offord, Using French, pp. 19-23. (3) Rochat, Chapitre , L'interrogation directe, pp. 76-80.

Wed., Oct. 24

(1) Vocabulaire progressif, pp. 42-43. (2) Rochat, Chapter 6, L'interrogation partielle, pp. 81-90.

Fri., Oct. 26

(1) Vocabulaire progressif, pp. 44-45.  (2) Voltaire, Candide, chapitres 1-8, and prepare answers to questions (pp. 164-72).

Mon., Oct. 29

(1) Vocabulaire progressif, pp. 46-47.  (2) Register, examples 3 & 4: Batchelor & Offord, Using French, pp. 23-26. (3) Rochat, Chapter 8, La négation (i), pp. 100-08.

Wed., Oct. 31

Special treat for Halloween : M. Jensen s'habille comme Lucien de Rubempré !  (1) Vocabulaire progressif, pp. 48-49.  (2) Rochat, Chapter 8, La négation (ii), pp. 109-12. 

Fri., Nov. 2

(1) Vocabulaire progressif, pp. 50-51.  (2) Voltaire, ch. 9-15, and prepare answers to questions (pp. 172-80).

Mon., Nov. 5

(1) Vocabulaire progressif, pp. 52-53.  (2) Register, examples 5 & 6: Batchelor & Offord, Using French, pp. 26-29. (3) Rochat, Chapter 9, Le passé de l'indicatif, pp. 113-22.

Wed., Nov. 7

(1) Vocabulaire progressif, pp. 54-55.  (2) Rochat, Chapter 9, Le récit au passé, pp. 122-27.

Fri., Nov. 9

(1) Vocabulaire progressif, pp. 56-57.  (2) Voltaire, ch. 16-20, and prepare answers to questions (pp. 180-86).

Mon., Nov. 12

(1) Vocabulaire progressif, pp. 58-59.  (2) Presentation of passages analyzed for register (i). (3) Rochat, Chapter 11, Le futur, pp. 142-48. 

Wed., Nov. 14

(1) Vocabulaire progressif, pp. 60-61.  (2)   Rochat, Chapter 11, Le conditionnel, pp. 148-54.

Fri., Nov. 16

(1) Vocabulaire progressif, pp. 62-63.  (2) Voltaire, ch. 21-25, and prepare answers to questions (pp. 186-92). 

Mon., Nov. 19

(1) Vocabulaire progressif, pp. 64-65.  (2) Presentation of passages analyzed for register (ii). (3) Rochat, Chapter 12, Le subjonctif, §§ 1-8, pp. 155-69.

Wed., Nov. 21

No class ; Thanksgiving break.

Fri., Nov. 23

No class ; Thanksgiving break.

Mon., Nov. 26

(1) Vocabulaire progressif, pp. 66-67.  (2) Presentation of passages analyzed for register (iii). (3) Rochat, Chapter 16, §§ 1-7 Les pronoms relatifs simples, pp. 205-14.

Wed., Nov. 28

(1) Vocabulaire progressif, pp. 68-69.  (2) Rochat, Chapter 16, Les pronoms relatifs composés, pp. 214-16. 

Fri., Nov. 30

(1) Vocabulaire progressif, pp. 70-71.  (2) Voltaire, ch. 26-30, and prepare answers to questions (pp. 192-96).

Mon., Dec. 3

(1) Vocabulaire progressif, pp. 72-73.  (2) Le monde francophone. (3) Rochat, Chapter 19, Le comparatif, pp. 255-62. 

Wed., Dec. 5

(1) Vocabulaire progressif, pp. 74-75.  (2) Rochat, Chapter 19, Le superlatif, pp. 262-67.

Fri., Dec. 7

(1) Vocabulaire progressif, pp. 76-77.  (2) Final review.

Workbook exercise schedule

The instructor has examined and worked through many a workbook. You deserve to know that the second edition of Workbook for Contrastes: Grammaire du français courant is without exception the most well-worked-out, appealing, intelligent, intellectually nimble, smart, sharp as a tack, and generally felicitous book of grammar exercises that has ever, in his threescore years of trekking, come across his path.  Perhaps, decades from now, you'll agree, and call me up to let me know.

The workbook exercises should be turned in on the dates indicated below, in class.  Ideally you will attempt them only after carefully studying the relevant sections in Contrastes.  Many exerices are optional, in recognition of the fact that you have other things to do in your life besides doing French exercises, like studying chemistry, washing clothes, or watching The Big Bang Theory on Thursday nights (it's still on Thursdays, isn't it?) with friends.  Skipping optional exercises will not affect your grade, but since they are still worth doing, do them and turn them if you can find the time.  (NOTE: I would prefer you write out the answers to the exercises in complete sentences and turn them in on notebook paper, rather than filling in the blanks; doing it this way is more conducive to learning, more engagé.  I'll also accept torn-out workbook pages, however.  Not acceptable, however, is handing in lists of the answers to the exercises.)

Wed., Sept. 12. Turn in exercises 1-1, 1-2, 1-3 (optional), 1-4, 1-5, and 1-6 (pp. 1-4).

Fri., Sept. 14. Turn in exercises 1-7, 1-8 (optional), 1-9 (optional), and 1-10 (pp. 4-7).

Wed., Sept. 19. Turn in exercises 2-1, 2-2, 2-3 (optional), 2-4 (optional), 2-5 (optional), 2-6, 2-7, 2-8, 2-9, 2-10, 2-11 (optional), 2-12 (optional), 2-13 (optional), 2-14, 2-15, and 2-17 (optional) (pp. 9-16).

Fri., Sept. 21. Turn in exercises 2-18, 2-19, 2-20 (optional), 2-21, 2-22, 2-23, 2-24 (optional), 2-25, 2-26 (optional), 2-27, and 2-28 (optional) (pp. 17-22).

Wed., Sept. 26. Turn in exercises 3-1, 3-2, 3-3 (optional), 3-4, 3-5 (optional), 3-6, 3-7 (optional), 3-8, 3-9, 3-10 (optional), 3-11, and 3-12 (pp. 23-28).

Fri., Sept. 28. Turn in exercises 3-13, 3-14, 3-15 (optional), 3-16, 3-17, 3-18 (optional), and 3-19 (pp. 29-32).

Wed., Oct. 3. Turn in exercises 4-1, 4-2 (optional), 4-3, 4-4, 4-5, 4-6 (pp. 33-36).

Fri., Oct. 5. Turn in exercises 4-7, 4-8 (optional), 4-9, 4-10, 4-11, 4-12 (optional), 4-13, 4-14 (pp. 37-41).

Wed., Oct. 10. Turn in exercises 5-1, 5-2, 5-3, 5-4, 5-5 (optional), 5-6 (optional), and 5-7 (pp. 43-46).

Fri., Oct. 12. Turn in exercises 5-8, 5-9, 5-10, 5-11 (optional), and 5-12 (optional) (pp. 47-49).

Wed., Oct. 24. Turn in exercises 6-1 and 6-2 (pp. 51-52).

Fri., Oct. 26. Turn in exercises 6-3, 6-4, 6-5 (optional), 6-6, 6-7, 6-8, 6-9, 6-10, 6-11, 6-12 (optional), 6-13 (optional), 6-14 (optional), and 6-15 (optional) (pp. 53-59).

Wed., Oct. 31. Turn in exercises 8-1, 8-2, 8-3, 8-4, 8-5 (optional), 8-6, 8-7, and 8-8 (optional) (pp. 71-74).

Fri., Nov. 2. Turn in exercises 8-9, 8-10 (optional), 8-11, 8-12, 8-13 (optional), 8-14, 8-15 (optional), and 8-16 (pp. 75-78).

Wed., Nov. 7. Turn in exercises 9-1, 9-2 (optional), 9-4, 9-5, 9-7, 9-8, 9-9, 9-10 (optional), 9-11, and 9-12 (optional) (pp. 79-86).

Fri., Nov. 9. Turn in exercises 9-13, 9-15, 9-16, 9-17 (optional), and 9-18 (optional) (pp. 87-94).

Wed., Nov. 14. Turn in exercises 11-1, 11-2 (optional), 11-3, and 11-4 (pp. 111-12).

Fri., Nov. 16. Turn in exercises 11-5 (optional), 11-8, 11-9, 11-10, 11-11, 11-13, 11-14, 11-15, 11-16 (optional), 11-17 (optional), and 11-18 (optional) (pp. 114-18).

Mon., Nov. 26. Turn in exercises 12-1, 12-2, 12-3 (optional), 12-4, 12-5, 12-6 (optional), 12-7 (optional), 12-8, 12-9 (optional), 12-10 (optional), 12-11 (optional), and 12-12 (optional) (pp. 121-25).

Wed., Nov. 28. Turn in exercises 16-1, 16-2 (optional), 16-3, 16-4 (optional), 16-5 (optional), 16-6, 16-7, 16-8 (optional), 16-9, 16-10 (optional), 16-11, 16-12 (optional),

Fri., Nov. 30.  Turn in exercises 16-13, 16-14, 16-15 (optional), 16-16 (optional), 16-17 (optional), 16-18 (optional), 16-19, 16-20, 16-21 (optional), and 16-22 (optional) (pp. 165-76).

Wed., Dec. 5. Turn in exercises 19-1, 19-2, 19-3, 19-4, and 19-5 (optional) (pp. 201-03).

Fri., Dec. 7. Turn in exercises 19-6, 19-7 (optional), and 19-8 (pp. 204-05).

Schedule of compositions

NOTE: The first drafts of these compositions are due in class (no email submissions accepted) on the day indicated. The final, corrected version is due in class one week later. Compositions should be 300-400  words in length. Double-space and leave margins on all sides of at least one inch (2.54 centimeters).

Mon. Sept. 10 : Les Jeux olympiques.  Commentez quelques aspects des Jeux olympiques de Londres 2012 (ou, si vous n'avez pas fait attention aux Jeux, expliquez pourquoi).  

Mon., Sept. 24 : La musique dans « Les parapluies de Cherbourg ».  Voici quelques suggestions des sujets à discuter : Evaluez le rôle de la musique dans Les parapluies de Cherbourg. Quelle est son importance dans le film? Comment avez-vous réagi à cet aspect musical? Y a-t-il des moments dans le film où le chant et la musique sont particulièrement réussis ? Par contre, y a-t-il des moments où la musique est gênante ?

Mon., Oct. 8 : Jacquot de Nantes. Comparez votre expérience de Jacquot de Nantes avec les intentions d'Agnès Varda, selon l'entretien publié en 1993 dans The French Review (lien ci-dessus). [Quand vous citez l'article dans votre essai, comme vous devriez le faire entre trois et six fois, employez des notes en bas de la page selon la forme conseillée par The Chicago Manual of Style ; par exemple : Agnès Varda, interview par Jean Decock, "Entretien avec Agnès Varda sur Jacquot de Nantes," The French Review 66 (1993): 947.]

Mon., Oct. 22 : L'attaque du moulin. A quels aspects de la vie est-ce que Zola s'intéresse particulièrement, d'après vous ? Commentez sa présentation de ces aspects dans le conte.

Mon., Nov. 5 : Candide. Voltaire emploie abondamment l'ironie dans Candide.  Choisissez deux ou trois exemples, et expliquez comment nous pouvons savoir que son intention est ironique.

Mon., Nov. 19 : Candide. A votre avis, est-ce que Voltaire est machiste ? raciste ? anti-sémitique ? homophobe ?  Choisissez une de ces catégories et citez des passages dans Candide qui pourraient se décrire de cette manière.  Critiquez ou défendez l'oeuvre de Voltaie par rapport à cet aspect.  Quelles circonstances pourraient l'expliquer ?

Calculation of grades

Your grade will be determined as follows:

  • 15% Participation
  • 20% Workbook exercises
  • 20% Six compositions
  • 15% Two class presentations, one en groupe and one of an article analyzed for register
  • 10% Midterm exam
  • 20% Final exam

  • Obiter dicta on each of these components:
  • Class participation
  • Faithful attendance and painstaking participation are requisite if you want to make the grade. I will quantify my assessment of your participation as follows. Your presence and participation in class will be evaluated after every class. You will receive either 0, 1, 2, 3, or 4 for each class. Zero means you were absent; 1 means either that you arrived noticeably late, or did not bring needed materials, or could otherwise not participate; 2 means that you were present but did not significantly participate, or were not adequately prepared; 3 means that you participated "normally" in class activities; and 4 means that you appeared to be well prepared and made adequate efforts at communicating in French. At the end of the course the average of these scores will be calculated, and 15% of your grade will be determined by the result, on a conventional 4-point scale.
  • Workbook exercises
  • T
    he workbook exercises should be handed in on the date indicated in class, or placed in my mailbox by 5:00 p.m. should you need to be absent that day.   Lateness will affect your grade, and workbook exercises more than a week late will encounter a chilly reception indeed.
  • Compositions
  • Each of the six compositions should be double-spaced or triple-spaced, with ample margins on all sides of the page.   They will be handed back with partial corrections.  A corrected revision is due on Monday of the following week. No email submissions of compositions or any other assignments will be accepted in this class.
  • Presentations en groupe and of a passage analyzed for register
  • You'll work with another student on an all-in-French presentation to the class on Oct. 15, and later choose a an article from the popular French press and present an analysis of register as it appears in that article, imitating the examples of Batchelor and Offord.  
  • Comprehensive tests
  • T
    here will be an in-class mid-term exam on Wednesday, Oct. 17, which will cover chapters 1-5 in Rochat, the two films we've watched as well as Zola's L'attaque du moulin, which will determine 10% of your grade. A 110-minute final exam on everything we've studied on a day to be announced will determine 20% of your final grade.

University academic policies

Academic Integrity
PLU's expectation — alas! sometimes disappointed! — is that students will not cheat or plagiarize, and that they will not condone these behaviors or assist others who plagiarize. This includes the use of machine translation in the preparation 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
"Civil conversation is central to the university's academic enterprise and centrally guided by faculty expertise. [The university] is committed to protecting the rights of community members to engage in dialogue and express ideas in an environment that is free from harassment, discrimination, and exploitation. This freedom of expression does not, however, entail the freedom to threaten, stalk, intimidate, harass, or abuse. Students are therefore expected to treat every individual with respect and civility" (Student Code of Conduct, p. 12).

Accomodations for Sudents with Disabilities
If you require course adaptations or accommodations because of a disability, if you have emergency medical information to share with me, or if you need special arrangements in case the building must be evacuated, please make an appointment with me as soon as possible. If you have questions concerning the services available for students with disabilities at PLU, please contact the Office of Disability Support Services, x7206.

BONNE CHANCE ET BON COURAGE !

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