In The Death of French Culture, Donald Morrison suggests that French writers today have "largely shunned the real world of politics, globalization, poverty, terrorism, ecological peril, financial crisis, and other pressing concerns [and have] retreated into a realm of intimacy and anecdote." Arguing that French literature has become "esoteric, detached from the real world, and maddeningly difficult to export," Morrison furthermore claims that very little contemporary French literature interests anybody outside the Hexagon -- especially Anglo-Saxons (28-31).
With Morrison's concerns in mind, we will (re)read French novels published since the 1920s. To what degree can it be argued that they are unexportable? Did things "start to go off the rails" in the mid-twentieth century? Has this been due to the "confusingly experimental, self-occupied, claustrophobic" and "nombriliste (navel gazing)" novelists criticized by Morrison?
In other words, what is -- or might be -- the form/s of the contemporary French novel? To what degree is the French novel shaped -- or should it be shaped -- by political, philosophical, moral, or artistic concerns? Is the French novel really in decline? Or are French novels being read less and less today as a result rather of the eclipsing of the humanities by "scientific" and "technological" fields? ("As Interest Fades in the Humanities, Colleges Worry")
After reading, analyzing, interpreting, and comparing novels by five key contemporary authors writing (or who wrote) in French in order to grapple with these and other questions, and in keeping with Cal Poly's Learning Objectives, successful students should better be able to: think critically and creatively; communicate effectively both orally and in written form; work productively as individuals and in groups; use their knowledge and skills to make a positive contribution to society; and make reasoned decisions based on an understanding of ethics and a respect for diversity. More specifically, successful students should have made progress in: gaining perspective on cultural and historical achievements in French-speaking cultures as well as on relevant issues of diversity; cultivating awareness of ethical and professional perspectives that reflect linguistic and cultural heritage; and developing the life-long ability to evaluate ways in which language and culture provide perspective on the larger world of the arts, science, and technology.
Diversity (age, race, ethnicity, faith, gender identity, sexual orientation, physical or mental ability, and perspectives) is welcomed in this course.
Please reach out to me first and directly during my office hours with suggestions and/or concerns. If you are registered with the Disability Resource Center, please plan on meeting with me in person during my office hours no later than by the end of the first week of classes to discuss how I might best be able to accomodate your need/s.
All students should meet with me during my office hours to get guidance on potential paper topics. This is an important part of your responsibilities as a college student and critical thinker. If you are unwilling or unable to do so, please do not take this course.
Cheating and/or plagiarism will not be tolerated. As per California Education Code Section 78907, neither electronic listening nor recording devices can be used without my consent.
Active participation is required. Please do not bother attending class if you have not completed the required reading and are not fully prepared actively to discuss it and articulately to defend your views. Each unexcused absence will negatively affect your grade by two percentage points.
Required Texts
Camus, Albert. The Stranger
Duras, Marguerite. Four Novels
Gide, André. The Counterfeiters
NDiaye, Marie. Rosie Carpe
Robbe-Grillet, Alain. The Voyeur
Recommended
Grade Distribution
Active participation (20%)--you will need to provide documentation (a log) of your active participation by 3 June
Exam (30%)--this will be identifications (concepts, quotes, characters)
Paper 1 (20%)--this will be four pages in length and will require one peer-reviewed source
Paper 2 (30 %)--this will be five pages in length and will require two peer-reviewed sources
Schedule
29 March: Introduction to the course; general context (1900-1940; mid-20th century; approaching the 21st century)
5 April: The Stranger (--> the end of Chapter 2 in Part 2)
7 April: The Stranger (--> the end of the novel) & Camus re. The Stranger
12 April: The Counterfeiters (--> the end of Chapter 10 in Part 1); Characters
14 April: The Counterfeiters (--> the end of Part 1)
19 April: The Counterfeiters (--> the end of Part 2)
21 April: The Counterfeiters (--> the end of Chapter 10 in Part 3)
26 April: The Counterfeiters (--> the end of the novel) & Journal of 'The Counterfeiters''
28 April: The Voyeur (--> the end of Part 1); He Was Nouveau When It Was New
3 May: The Voyeur (--> the end of Part 2); French Passions: Tom McCarthy on Robbe-Grillet
5 May: The Voyeur (--> the end of the novel)
10 May: Moderato Cantabile: Paper 1 due by 6 p.m.
12 May: 10:30 on a Summer Night
17 May: The Afternoon of Mr. Andesmas
19 May: Rosie Carpe (--> the middle of page 78)
24 May: Rosie Carpe (--> the bottom of page 149)
26 May: Rosie Carpe (--> the bottom of page 283)
31 May: Rosie Carpe (--> the end of the novel) & "Marie Ndiaye's Discombobulated Subject" (Lydie Moudileno)
2 June: Paper 2 due by 11:59 p.m.
3 June: Participation log due
9 June: Exam (1 - 4 p.m.)