Le Canard déchaîné - AATF

Le Canard déchaîné, tome 34, Numéro 2
décembre 2010
Le Canard déchaîné
Lettre de la présidente
le 1 décembre 2010
Chers membres et collègues,
Nous avons reçu beaucoup de réactions enthousiastes au nouveau format du Canard
déchaîné de septembre. Nous espérons que ce numéro de décembre, qui vous viendra par
courrier normal et en pièce jointe (en couleur !), vous plaira également. Nous y avons mis des
articles sur la pédagogie, la technologie, la culture française aussi bien que des renseignements
sur les activités de notre région que vous trouverez utiles.
Notre congrès du 7 au 9 octobre à Seatac Airport entre la Washington Association of
Foreign Language Teachers et la Confederation in Oregon for Language Teaching a été très
fructueux, ne serait-ce que pour les contacts que nous avons renouvelés avec nos collègues
d‘Oregon et nos promesses mutuelles de travailler davantage ensemble. Catherine Ousselin a
offert une présentation technologique: ―Thinking about Syncing? Part II,‖ qui a rempli non
seulement la salle mais le couloir ! ―Huchoosadeh: Traditions of the Heart‖ par Susan Redd a
abordé le sujet important des langues et traditions des Amérindiens de notre région. Le
―French Idea Share‖ a concentré sur l‘emploi des chansons et du texto dans la salle de classe.
Pour la première fois, nous avons essayé une table ronde dont le titre ―Quelles sont les difficultés pratiques que vous encontrez tous les jours dans l‘enseignement du français ?‖ a attiré
Dans ce numéro
une quarantaine de participants. La discussion s‘est fixée sur les problèmes de l‘enseignement—comment réviser les verbes à la rentrée ? Comment faire utiliser tous les pronoms inLettre de la
terrogatifs par les étudiants ? Comment intégrer des leçons de cuisine dans la journée pédago1
présidente
gique ? Cette table ronde a permis aux professeurs expérimentés de partager leurs méthodes
avec leurs plus jeunes collègues dans une ambiance détendue. Notre déjeuner AATF a été
Nantes and
également une réussite grâce à Nadine Fabii, directrice du Canadian Studies Center de l‘Uni2
Bellevue
versité de Washington, qui nous a parlé des possibilités de bourses, de conférenciers et de
collaborations entre le centre canadien et nos membres de l‘AATF. Tous ces renseignements
Nantesse trouvent au site http://jsis.washington.edu/canada/. N‘hésitez pas à consulter ce site et à
Washington
3
contacter Mme Fabii si vous avez des questions. Je vous envoie aussi à notre site http://
Partnership
www.aatf-northwest.org/ pour un album de photos du congrès. Je suis sûre que vous serez
La Pétanque à
d‘accord que les visages souriants de nos membres témoignent de leur enthousiasme pour
4
Edmonds
l‘enseignement du français.
Le prochain congrès de la WAFLT aura lieu à Central Washington University en
Picasso in
5
avril. La WAFLT encourage, pourtant, des ―mini-ateliers‖ qui pourront se donner un samedi
Seattle
n‘importe où dans l‘état de Washington sur n‘importe quel aspect de la pédagogie des langues
étrangères. Si vous avez des idées, veuillez contacter Bridget Yaden à [email protected].
Beyond
15
Il est temps d‘inscrire vos élèves au Grand Concours du printemps. Votre contact est
PowerPoint
notre infatigable vice-présidente Catherine Ousselin ([email protected]).
Je vous invite, encore une fois, à nous envoyer vos articles (3 pages maximum), comLe Coin du
17
mentaires, ou suggestions pour le Canard déchaîné du printemps. Dites-nous ce que vous
pedagogue
avez fait pour La Semaine Nationale du Français. Interviewez vos élèves pour nous. Quelles
nouvelles rubriques voudriez-vous voir dans Le Canard ?
Dates and
Contact
20
En attendant le plaisir de vous parler ou de vous lire, je vous souhaite de bonnes fêtes
Information
et une très bonne nouvelle année 2011.
Amicalement,
Mary Anne O’Neil
Mary Anne O‘Neil, Présidente, AATF-Nord-ouest
[email protected].
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Le Canard déchaîné, tome 34, Numéro 2: décembre 2010
Sister Schools: Nantes and Bellevue
For fourteen years the private school St. Stanislas in
Nantes and the International School in Bellevue have been
cultivating a solid sisterhood/exchange program that has
become a unique distinction and attraction for our schools
overall. This relationship has certainly evolved over the
years, but as teachers, students, and the program have
changed, the foundation has remained strong and the benefits continue to grow. Now that we have an official relationship through our respective governments, we can also anticipate more support in developing greater potential in our
cross-continental relationships.
Every year twenty-four students from Nantes and
twenty-four students from Bellevue embark on a year-long
adventure that fuels anticipation and excitement, contagious
to all the students, staff, and families around them as whole
communities play integral roles in the success of the program. By late fall the students have been carefully matched
St. Stanislas hosts a community gala dinner
by the concerted efforts of the teachers at each school. From
to welcome us to Nantes.
the moment students receive the name and contact information of their correspondents there is a flurry of exuberance as they exchange introductions, stories, shared interests,
and photos via the Internet, now mostly Facebook. Suddenly twenty-four students along with their friends and families
in America are curiously inquiring about twenty-four students in France and vice versa. Whole French classes are just as
worked up about meeting the ―Frenchies‖ as the lucky twenty-four students, planning adventures in which everyone can
participate, reading their letters and collaborating on their correspondence. Since the Americans write in French and the
French correspond in English, stories circulate frequently about what the French students write, for example, ―I hate to
see you!‖ (The direct translation: J’ai hâte de te voir !) We can only imagine the awkward translations on the other end!
International School is first up for the three-week hosting experience beginning in late January, so our students
do all they can to create the most memorable stay possible in winter with the intent to foster a long-term reciprocal relationship. Of course the families are an integral part; the parents exchange E- This is a moment of profound joy for
Mails with each other and help orchestrate activities. Everyone wants to be
the teachers
gracious as hosts to cultivate a strong, trusting relationship in both countries
so that all students have an enduring positive impression. Inevitably, the three-week stay ends too soon for everyone,
but the anticipation for our trip in the spring is like an electric charge in our twenty-four students.
Six weeks later we are off to France! Over the three weeks, one week is spent exploring and discovering as
much as feasible, making the language and culture students have studied for years come vibrantly alive. But without
fail, what the students find to be the definitive denouement is the two-week family stay. In these two weeks, we teachers
become celebrities at the school as teachers and students alike rave about the American students. Everyone is impressed
by their French speaking, touched by their enthusiasm and intrigued by their differences and similarities to themselves.
Our students have the unique privilege of living as members of French families; from the meals to the bathrooms at
home to the social life and school life; they see the world in a whole new way. When the time comes to leave our dear
friends, not even the most stoic student can refrain from an emotional goodbye. This is a moment of profound joy for
the teachers; to witness students living the target language and culture in a real-life friendship across continents. It is
impossible to imagine a more relevant culmination of our students‘ learning.
Yet the potential is increasingly boundless. Following our own discoveries as teachers/learners in technology,
such as the myriad of opportunities presented in the WAFLT/COFLT conference only weeks ago, there seems to be no
limit in possibilities to nurture student engagement and relevancy in the curriculum. While this may occasionally seem
daunting and overwhelming, it is tremendously exciting to make learning more alive than it ever was for us in school.
Most teachers today, as younger learners, used books to learn about francophone countries and cultures; today we can
catch up-to-date news from Senegal, listen to the latest music happening in Martinique, and even drive vicariously
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Le Canard déchaîné, tome 34, Numéro 2: décembre 2010
International students take St. Stanislas
students to a UW basketball game.
through the streets in Geneva via Google maps. So for our long-established sisterhood with St. Stanislas, the future is exciting and bright as we explore ideas
such as setting up private blogs between our schools to discuss various topics and compare our different perspectives
culturally. We can post and exchange short videos where students speak in the target language, write responses to the
same news event, poem or text, or share favorite songs, and so on. Indeed, it is in learning another language that one
finds the most potential for merging technology and real-word applications, underscoring the relevancy of the five
standards for foreign language education: Communication, Connections, Communities, Comparisons, and Cultures. All
of this in such a way that the students become more personally engaged and creative in their learning and their selfexpression becomes more authentic as they experience the real world on a global scale.
All said, there could never be enough space in any publication to capture each student‘s unique experience, but
for all students this exchange marks an unforgettable milestone in their lives. And
for our respective schools, the exchange program is a magnetic draw for students.
St. Stanislas typically has to choose their twenty-four students from a pool of over
eighty students every year. After fourteen years, the success of the program is an
essential component of our schools‘ distinction. To be fair, the burden of work and
responsibility on the part of the teachers is heavy; we do the planning and arranging
ourselves. Still, each year we have the continual reminder of the immeasurable
gains that our students attain and our program fosters. The endeavor is well worth
undertaking!
Rhonda Eastman
International School, Bellevue
The Académie de Nantes and State of Washington Partnership
Last April, the Office of the Superintendent of Public Instruction of Washington State and representatives of the Académie
de Nantes signed a Memorandum of Understanding that encourages exchanges of many kinds between elementary and high schools
in our state and schools in the Nantes school district. This memorandum—the first ever to be enacted between a French school district and Washington—means that Washington teachers interested in Internet communication with French students, trips to a French
school in the Nantes region, and even teacher exchanges will have help in arranging these exchanges. Ten schools in Washington
State have already initiated partnerships, but there is no limit to the number of partnerships possible. For further information, please
consult our chapter website: http://www.aatf-northwest.org/. For an explanation of the partnership and an application to become a
partner school, contact Misa Bourdoiseau at [email protected].
This is a marvelous opportunity for French teachers and students. Please consider enrolling your school in the program.
Mary Anne O’Neil
Whitman College
Le Canard déchaîné, tome 34, Numéro 2: décembre 2010
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La Pétanque à Edmonds
J‘enseigne un cours de français intermédiaire aux retraités. Cet été nous
avons lu un court récit qui parlait de la pétanque en Provence. Coïncidant avec cette
lecture, en septembre dernier, un terrain de pétanque a vu jour. Ce terrain, qui se
trouve à Edmonds Civic Playfield, en face du commissariat de police, 6th Ave. N.,
près de Bell St., est le fruit des efforts de la Lyonnaise, Mme Michelle Martin. C‘est
grâce à son acharnement et à sa passion pour ce sport que la communauté peut utiliser ce terrain au nord de Seattle. Le Consul honoraire de
France, ainsi que Rick Steves d‘Edmonds (lui-même bon
joueur de pétanque), et quelques-uns de mes étudiants,
ont assisté à l‘inauguration.
La pétanque est un sujet qui continue à emballer
Jill Capozzoli
ma classe depuis plusieurs mois. Récemment, nous avons
eu un « montre et raconte ». Une de mes étudiantes a montré quelques belles photos prises
de ce samedi-là ; puis, un autre étudiant a apporté son propre set de boules, toutes neuves ;
et un troisième étudiant nous a
Mme Michelle Martin
expliqué les
règles (qui sont affichées en anglais sur
un panneau au terrain). Enfin, parce que
ma classe apprécie tant la Provence,
nous avons l‘intention de jouer tous ensemble à Edmonds et ensuite de prendre
un déjeuner accompagné d‘un bon pastis !
Pour connaître les origines de ce
jeu, le terme « pétanco » vient de l‘occitan provençal et signifie « lancer une
boule avec les pieds fixés au sol » (voir :
http://www.cnrtl.fr/etymologie/
pétanque). Quant aux règles, elles sont
Le nouveau terrain de Pétanque à Edmonds
assez simples — même les enfants peuvent y jouer. Essentiellement, le but est
de lancer une boule le plus près possible du cochonnet (the jack).
La pétanque permet aux professeurs de français d‘exploiter maints sujets. Un autre atout de ce jeu pour les professeurs et les joueurs est que l‘équipement ne coûte pas cher. C‘est pourquoi j‘ai penUne suggestion géniale sé à cette activité comme un exercice amusant pour les lycéens des cours de français.
Toutefois, je conçois que le pastis leur sera interdit. De plus, ce jeu permet d‘intégrer
les règles, le vocabulaire (le terrain, la boule en acier, le cochonnet, jouer à / jouer de, tirer, pointer, lancer, etc.), et la
culture. Quant à l‘aspect sociologique, on constate qu‘aux États Unis, il y a beaucoup de femmes qui jouent à la pétanque, tandis qu‘en France, le jeu est plutôt réservé aux hommes.
Enfin, la pétanque peut servir aussi de petite excursion et d‘initiation à l‘un des passe-temps favoris en France.
Voilà donc une suggestion géniale pour les lycéens et les francophiles aux alentours d‘Edmonds.
Pour de plus amples détails sur ce jeu, consultez ces sites :
 fipjp.com/fr/
et surtout celui du groupe de pétanque d‘Edmonds :
 chrisguitton.com/Petanque/
Jill Capozzoli
Seattle
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Le Canard déchaîné, tome 34, Numéro 2: décembre 2010
Picasso in Seattle
Seattle Art Museum (SAM) October 8, 2010 – January 17, 2011
Picasso: Masterpieces from the Musée National Picasso, Paris, featuring
over 180 of Picasso‘s paintings, sculptures, drawings, prints, and photographs currently on display at SAM is a must-see for French teachers and students. Art is a
perfect way to teach any foreign language to students of any age, so the purpose of
this article is to encourage others in our area, particularly those who teach or study
French, to profit from the exhibit. I have taught French privately and at community
college and university levels and have used text books, short novels, film, and art to
teach at all levels. One reaches students with each method, and we now have a golden
opportunity to teach our students French culture and language.
When the Musée Picasso recently closed for renovation, this extraordinary
exhibition began a worldwide tour, with SAM as its first U.S. destination. We are
extremely fortunate to have this exhibit after visits to Madrid, Helsinki, Moscow, and
St. Petersburg. From Seattle, the show will travel to San Francisco, Richmond
(Virginia), and on to Sydney before returning to Paris. For French students and
Pablo Picasso
lovers of French art and culture this exhibit represents a singular opportunity to gaze
upon a wide variety of works created by Picasso in various genres throughout his long career. Picasso‘s work is rarely
exhibited in this magnitude outside of Europe and New York.
The exhibit underscores Picasso‘s complex view of himself, beginning with a display of enlarged photos of
the artist entitled ―Picasso‘s Picassos‖: four of Picasso in his Studio on rue Schoelcher in Paris (1915-16); Picasso at
14 (1895); and Picasso in his Studio in Mougins (1965). Then, upon entering the exhibit we are immersed in the
earliest stages of his artistic development. This ―Blue Period‖ group of drawings, paintings, and sketches, from late
1901 until 1904, reminds us that all great artists develop their particular styles and methods over a lifetime of work.
Just as the impressionist painters did not create the term impressionism, Picasso did not categorize his works into
periods or phases: critics, curators and art dealers did that, such as Mme Anne Baldassari, Director and Chief Curator,
Musée Picasso and General Curator of the traveling exhibit, and Ms. Chiyo Ishikawa, Seattle Curator. We see Picasso‘s masterpieces in various mediums, elegantly displayed in twelve galleries, designed by Michael McCafferty, that
represent specific periods and themes based on Picasso‘s well-documented relationships. These periods and themes
sometimes coincide with the specific artistic periods that those familiar with
Picasso have come to expect and sometimes coincide with what some now
argue are stylistic and technical devices coinciding temporally with his numerous paramours. This organizational schema reflects the way that traditional critics viewed Picasso‘s artistic development, such as the French biographer Gilles Plazy in Picasso (2006). The curators emphasize how much the
women in Picasso‘s life influenced his work. Yet while Picasso always had a
muse, those women were not necessarily inspirations to his style or technique.
Instead, he depicted subjects in new and inventive ways, such as cubism and
collage. For example, Picasso did not decide to paint Portrait d’Olga dans un
fauteuil (1918) with the subject sitting on a chair seemingly in space because
he loved her. Instead, he deleted the background to redefine the traditional
style of portraiture. If Picasso‘s relationships were his driving force, then how
can one explain his paintings in opposition to the German bombing of Guernica or the American involvement in Korea? Picasso‘s personal life, often
portrayed in dramatic terms, should not overshadow his exceptional, meaningful, and everlasting work.
Picasso mastered numerous styles and media. He sometimes painted
careful realistic artistic representations; at other times, Picasso painted the
Portrait d’Olga dans un fauteuil
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Le Canard déchaîné, tome 34, Numéro 2: décembre 2010
same subject in a neo-classical, cubist, or surrealistic style that we have
come to identify with his name. Picasso once said ―every act of creation is
first of all an act of destruction.‖ He sometimes deconstructed his subjects
and reconstructed them as a painting, sculpture, collage, drawing, or
sketch. He constantly invented new ways of seeing persons and things,
turning his original perspectives into art. Picasso oscillates between depicting reality and attempting to look beneath or behind the surface. Viewing
these masterpieces gives a glimpse into the techniques and processes he
used. Since he generally left his paintings untitled, the art dealers who
offered his works usually titled them. As a rule, Picasso only signed and
dated his creations. He once stated that by dating his art he was leaving
future generations a visual biography of his life.
The exhibit does not include certain well-known works as Les
Demoiselles d’Avignon, Guernica, Portrait de Gertrude Stein, or, my favorite, Autoportrait avec une palette (1906). The audio commentary
spends too much time on Picasso‘s numerous relationships rather than on
in-depth discussions of his style, techniques and methods. The ordering of
the exhibit into periods breaks down after he meets his first wife, Olga, and
the result is an organization based on artistic methods connected to his
relationships. The curators‘ position is that Picasso‘s work was fluid so he
moved stylistically within different media at different times with his differAutoportrait avec une palette
ent women. It is an anachronistic display that disturbs the historical evolution of his work. Viewers will also be disappointed that there is a lack of explanatory narrative adjacent to most
works and the exhibit catalogue offers little aid in the understanding of the individual works. However, the beauty
and abundance of Picasso‘s masterpieces displayed ensure visitors will be well-pleased and experience an appreciation of the broad range of the artistic genius of Picasso.
In the Blue Period display, the viewer is immediately
struck by the
absence of
blue in many
of the works.
The artist
displays an
almost melodramatic
loneliness,
often underscored by his
use of morbid
coloring.
Now most
La mort de Casagemas
images are
smooth with no apparent texture or brush strokes, making the
subjects seem solitary, isolated, and distant. La mort de Casagemas (1901), is one of the first paintings in the Blue Period, a small,
tender memorial to the artist‘s good friend who committed suicide
after being rejected by his Parisian love. It reflects an influence of
El Greco and Van Gogh with its vibrant brushstrokes of red, yellow, and green. La Célestine (The woman with a cataract, 1904)
shows prominent blue tonalities.
La Célestine
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Le Canard déchaîné, tome 34, Numéro 2: décembre 2010
But it is Le Repas frugal (1904) that tears at my heart. A
sense of melancholy and despair pervades the etching; the stark
lines and shading emphasize the isolation and loneliness, while his
compassion for humanity is evident in
his careful rendering
of the subject. This
work is usually
viewed as the last
piece in the Blue
Period.
Following a
transition in late 1904
to his Rose Period,
Picasso‘s palette turns
to gentle pink and
ochre tones, lighter
than his earlier color
choices. Selfconfidence exudes
from his attractive
subjects, yet a mild
Le Repas frugal
sense of pathos still
lingers. By this time
Picasso is a friend of the poets Max Jacob and Guillaume Apollinaire,
who appreciate his work. Picasso, in turn, expresses their poetic subjects
Les Deux Frères
and
sensibilities in his art. His subjects now range from
circus performers and harlequins to landscapes, as he
moves back and forth from realistic to more abstract
shapes. Picasso studied Greek and Roman sculpture at
the Louvre, as depicted in Les Deux Frères (1906).
The Rose Period ended in the fall of 1906, when his
pastel tonalities gave way to terra-cottas, rusts, and
grays.
Picasso visited the Louvre and the ethnographic museum at the Palais du Trocadéro where he
realized an ancestral connection to the Iberian art and
discovered a magical quality in art forms from Africa,
so clearly seen in his studies Nu assis (1906-1907)
and Buste d’homme (1907), both studies for the larger
work Les Demoiselles d’Avignon (1907, not in this
exhibit), which refers to a street in Barcelona with a
notorious bordello, not as some assume, the town of
Avignon in France. The faces in these studies appear
mask-like, flat, and angular. During this period, Picasso experimented with different representations of the
eyes: one eye open and the other closed or both eyes
closed with one eyelid darkened and the other lightened.
Les Demoiselles d’Avignon
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Le Canard déchaîné, tome 34, Numéro 2: décembre 2010
In the fall of 1907, Picasso met fellow artist, Georges
Braque, and for the next seven years, they experimented together
with new techniques. The most celebrated of which is cubism, the
biggest artistic revolution since the birth of perspective during the
Renaissance. Cubism is often seen in three phases, the first of which
was greatly influenced by Cézanne, as seen in L’Arbre (1907), a
painting that shows thinly curved shapes, in rose, green, pale blue,
and brown tonalities with black outlines primarily on the leaves,
dominate the canvas. In Trois figures sous un arbre (1907-1908) the
mask-like faces combine with forms that again recall Cézanne and
Iberian and African art and masks. In this painting Picasso‘s palette
consists of very dark blue-green, blue, rust, brown, and orange tonalities. He paints his subjects looking downward, as unworthy of looking at the viewer. Here the eye treatment varies for each face: the one
to the viewer‘s left has one brown and one black eyelid, the middle
has only one eyelid, and the right has two closed eyes.
Picasso painted Le Sacré-Cœur (1909-10), during the second
cubism phase, known as analytic cubism, which spanned the years
from 1909 to 1912. Here traditional one point perspective gives way
and Picasso splits the basilica into facet-like, geometric shapes,
viewed from numerous angles. His use of muted grays, cream, and
pinkish tan tones, coupled with the sketch-like quality of his brush
strokes that outline the various shapes, and the unfinished appearance
add to the understated elegance of this painting.
Trois figures sous un arbre
L’Arbre
Le Sacré-Cœur
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Le Canard déchaîné, tome 34, Numéro 2: décembre 2010
In Homme à la guitare (1911) and Homme à la mandoline (1911),
Picasso changes the sculptural approach from what he used in Les Deux
Frères; he subdivides the works on the two canvases into a number of
different planes each representing a view of the subject from a different
angle. The finished works represent a recombining of these various perspectives in recreated subjects. Viewers often gaze intently at these two
works, which are exhibited side by side, trying to ascertain where each
face and instrument is
located within each painting.
He also begins
experimenting using
different material in his
third phase, known as
synthetic cubism (19121919). This further development of analytic cubism refers to his use of
pieces of cut paper and
fragments of wallpaper or
newspaper pasted into
paintings as seen in
Bouteille de vieux marc et
journal (1913). Experimenting further, Picasso
begins integrating real
objects into his works,
creating a collage. In
Guitare et bouteille de
Les Baigneuses
Homme à la guitare
Bass (1913), the guitar
created from partially painted pine, collage, charcoal,
newspaper, and a nail, all on a wood panel, is disassembled. This turn to various found objects represents a completely new art form, at the same time he
takes an individual sensibility back to his paintings.
This new sensibility can be seen in Les
Baigneuses (1918). Here Picasso paints three women each playing with her hair in a different manner
while sunbathing at the beach in Biarritz, in the
Basque Region, near Spain. Picasso had admired the
theme of bathers in Cézanne‘s paintings and often
returned to it. In this small intimate painting, Picasso
depicts his subjects from various angles, but their
proportions are realistic. The sailboat in the background foreshadows the one in the distant horizon of
La Minotauromachie (see p. 12). In contrast, the
subjects in Deux femmes courant sur la plage
(1922) are of monumental proportions. The exuberant women appear to be running toward the viewer
Deux femmes courant sur la plage
and off the canvas. This work, one of Picasso‘s last
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Le Canard déchaîné, tome 34, Numéro 2: décembre 2010
depictions of such massive figures, utilizes a style he first developed in the summer of 1920 at Juan-les-Pins.
Around this time, he also produced a brightly-colored visually aggressive Le Baiser (1925). This painting
foreshadows a characteristic of his later work: a multi-faced ambiguity. The dual blue background appears as clear
sky and calm waters at the seashore, the hint of beige at the left of the work depicts the sandy beach. Picasso uses
thick black outlines to contain the various solids and patterns within the shapes. Since its creation, critics and viewers
have wondered whether it shows a man and a woman kissing or a woman and child. Picasso reveled in the ambiguity
and refused to clarify what the work depicted. The motifs of Le
Baiser form the foundation for numerous versions of a double
head consisting of a profile superimposed onto a frontal view, as
seen in Picasso‘s later works such as his several portraits of
Marie-Thérèse Walter and Dora Maar.
La Lecture (1932), shows a woman reading, a frequent
theme in Picasso‘s paintings. This surrealistic picture consists of
curved, colored, and fragmented shapes which form the upper
body; the subject‘s round face is divided in half. In partial view,
on the floor to left is an empty frame standing upright and having the same lavender tones as the reader‘s flesh. It is as if the
artist wants to be in the painting himself. In Femme couchée
lisant (1939), the subject reclines and reads intently; while the
artist paints, the face attracts the viewer‘s attention. In this painting, Picasso uses his technique of superimposing a profile onto a
frontal view; the subject‘s nose remains in profile yet we see
both nostrils, one eye reads on a horizontal plane while the other
eye stars down also reading, the ears located further up the head
than usual appear misplaced.
Le Baiser (1925)
Femme couchée lisant
La Lecture
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Le Canard déchaîné, tome 34, Numéro 2: décembre 2010
The glamorous Portrait de Dora Maar (1937) shows the subject
enthroned on a black chair yet she is boxed in by the background that
takes the form of a small room. The work is a stunning example, in bright
reds, yellows, magenta, pale blue, green, and black, of Picasso‘s combined
use of profile and frontal view. The dramatic rotation of her head, suggested by the nose facing one direction and the mouth facing another become
standard in Picasso‘s later works. Her red right eye seems to follow the
viewer‘s every step, while the green eye looks inward. Some commentators see this treatment of the face as representative of a divided personality.
In sharp juxtaposition to these abstract representations the exhibit
features what many consider one of its highlights. Picasso‘s Corrida: la
mort du torero (1933), created after he had spent two recent summers in
Madrid, reflects his obsession with the violent theme of bullfighting. This
small, exceedingly detailed painting, more mythical than realistic, depicts
a decapitated torero, perched across the head of an enormous wounded
bull which remains very much alive. The horse, guts streaming from its
side, strains its neck backwards, and attempts, seemingly in vain, to flee
for its life. Picasso‘s mythic style, his meticulous detail in the bull‘s head
and legs, and his use of bright, lively colors for the torero‘s costume and
the six waving flags atop the arena all work together to deemphasize the
gory nature of the painting. Despite its gruesome theme, the painting
entices the viewer.
Corrida: la mort du torero
Portrait de Dora Maar
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Le Canard déchaîné, tome 34, Numéro 2: décembre 2010
In keeping with this mythic style,
though strikingly different in its lack of
color is La Minotauromachie (1935).
The head of Picasso‘s Minotaur, a Greek
mythical figure with the head and tail of a
bull and the body, arms and hands of a
human, is almost identical to the bull‘s
head in Corrida: la mort du torero. A
suggestive and multifaceted symbolism
pervades this etching. The little light in
this piece on the left side comes from the
candle held high by a young girl in a
dress holding a bouquet of flowers, while
the brighter light on the right emanates
from the hidden moon filtering through
the rain that falls from a cloud behind the
Minotaur. This work with its Christ-like
figure climbing up a ladder on the far left
and two doves in front of the two women
La Minotauromachie
at a window suggests hope after the carnage of the sacrifice of human flesh to the Minotaur, the main figure at the far right. The lighter dove foreshadows
Picasso‘s famous white peace dove, which is not on exhibit. In the center is a horse, similar in character to the one in
Corrida: La mort du torero with a disheveled and presumably dead female matador draped over its back. These two
immensely detailed works bear little resemblance to Picasso‘s earlier cubist paintings, wherein the subject was often
hard to discern, or to his paintings from the late 1920s, that were child-like in form with almost no detail.
In contrast to the mythical violence depicted in the previous two works, the Massacre en Corée (1951) was
painted to protest what Picasso thought was an American invasion of Korea in 1950. He was particularly moved by
the massive killings of Koreans during the conflict. Here Picasso, a life-long pacifist, generates a large painting in
shades of dark oranges, greens, and grays. This stark reminder of the evils of war demonstrates the pain, suffering,
and venerability of pregnant women and children as they face the horrific weapons of the invading army. An unfeeling heartlessness is depicted in the robotic masks of the fighters whose stylized weapons are pointed directly at the
defenseless and naked victims. Behind these modern soldiers stands a knight-like figure brandishing a sword, connecting the atrocities in Korea to
other atrocities committed
throughout history. The fear on
the face of the defenseless, naked,
child in the middle of the painting
is juxtaposed with the armored
and eyeless faces of the soldiers,
standing poised to destroy their
victims. Picasso once stated, ―Art
is not made to decorate rooms. It
is an offensive weapon in the
defense against the enemy.‖ His
paintings such as Massacre en
Corée illustrate this sensibility
and provide a greater understanding of Picasso‘s attempt to right
an all too often unjust world.
Massacre en Corée
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Le Canard déchaîné, tome 34, Numéro 2: décembre 2010
While his
works during the war
depict loss of life and
despair, after the
conflict subsides,
Picasso returns to the
theme of a woman
reading in La Liseuse
(1953). Here, as the
reader reclines, her
head and neck are
detached from her
body and held up by
her hands. The subject
is not a victim of war,
naked and fearful
facing death, but is
composed and is
safely reading. The
gray and orange
cloud-like matter in
the background, gives
a sense that the reader
is either engrossed in
the book or fantasizing about the story.
Thus, the book enaLa Liseuse
bles her to be in another world simultaneously with being the subject of the painting. This work, differs from Picasso‘s Femme couchée
lisant (see p. 10 above) where the
figure‘s body is composed of curved
shapes yet remains discernibly female and La Lecture (also on p. 10)
which is abstract but not fragmented
as in La Liseuse.
Picasso moves from a simplistic abstract technique in La
Liseuse to an almost cartoon-like
depiction of a man and woman kissing in Le Baiser (1969). Some critics
argue that this close-up dual portrait
is autobiographical, depicting the
aging Picasso and his young wife,
Jacqueline. Though Picasso never
had a beard, he paints himself with
one and with a double nose. He also
uses his characteristic double eyes,
one profile and one frontal, one eye
looking in and the other looking out,
a technique which began with his
Le Baiser (1969)
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Le Canard déchaîné, tome 34, Numéro 2: décembre 2010
1925 painting Le Baiser (see p. 10) and is also found in Le
Matador (1970), considered one of Picasso‘s last self-portraits
painted when he was 89.
In Le Matador, Picasso uses his double-face technique
and adds various shapes to the distorted face. Here, Picasso
juxtaposes his lifelong theme of the bullfighter with the reality
of an aging man who continues to perform artistically, smoking a cigar and holding a sword in his left hand that has five
fingers where there should be four. Picasso leaves the viewer
pondering the significance of the ambiguities within the painting. Now Picasso uses larger canvases, the detail of some
earlier works is gone, and the drab colors of some of his earlier
pieces are replaced with bright and sometimes even garish
colors. The unique paintings and sculptures in the last gallery
demonstrate Picasso‘s most advanced work and represent the
final stages in his artistic evolution.
-o-oOo-oPicasso, frequently referred to as the quintessential
modernist, continues to fascinate teachers and students, art
lovers, scholars, critics, and the public. As this exceptional
exhibit clearly shows, Picasso‘s work is complex in character
and spans various media. Because he disliked art theories and
Le Matador
fixed ideologies, he constantly searched for new ways
to express his artistic vision. A Spaniard by birth, he
found inspiration in France where he lived for the last
seventy years of his life. During this time, he pushed
the limits of his work through original uses of perspective, light, line, color, tone, and shape. He continually
reinvented his art, successfully sold his oeuvre, and
exhibited his pieces in galleries and museums in various countries around the world. Picasso retained possession of thousands of his works in hopes of establishing and protecting his own artistic legacy. The works
on exhibit at SAM are an impressive part of that huge
artistic legacy.
This article is dedicated to my parents, Earl and Pat,
on their sixtieth wedding anniversary.
Kathleen Marie Brunner, Ph.D.
Seattle
Pablo Picasso, October 25, 1881—April 8, 1973
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Le Canard déchaîné, tome 34, Numéro 2: décembre 2010
Technology for the 21st Century World Language Teacher
Student projects: Beyond the PowerPoint presentation!
PowerPoint has reigned as the preferred mode of presentations since the early 1990s. The program is easy
to learn, to use, and to adapt to any subject area, including faculty staff meetings. Who among us has not sat
through the beginning of the yearly reports on scores and graduation rates filled with lengthy bullet points, pie
charts, and animated arrows? A PowerPoint presentation can be a tedious, if not excruciating experience at times.
I openly admit to being a heavy (early) user of the animated slideshow program. Throughout the years, I
honed my animation skills on the program, adding jumping animals, flashing text, and dazzling transitions. At the
time, my students were enchanted with my unique creations. However, that time has passed. Within the past two
years, when I opened the PowerPoint, I would hear soft groans from the group, ―Not another PowerPoint!‖ It seems
that many teachers were using PowerPoint to present their curricula and unfortunately, some had not adopted the
cardinal rules of the successful presentation: minimal text, few animations, and low-intensity charts. The program
had become the standard lifeless, overbearing mode of presentation. Teachers were not the only heavy users of the
PowerPoint. Students quickly learned that a written report or presentation could be copied and pasted into the program for a more ―professional‖ project. Regrettably, where teachers‘ presentations modeled the ubiquitous mode for
basic transmission of information, student projects relied too heavily on the animated aspects and the slide design
options of the program. Students did not know how to meld the demonstration of deep knowledge of the material
with the flashy presentation additions. In order to meet the required ―technology-enhanced‖ guideline on the rubric,
they simply copied their entire text into several slides, added animated transitions, colorful backgrounds and
graphics; and presented their projects by reading directly from the slides. The
Fifty ways to tell a story final result: the equivalent of an attractive and teacher-pleasing ―plastic report
cover‖ of days past masking inadequate and thoughtless research. Through no fault of our own, we as teachers have
allowed this type of presentation style to continue, as there were few other options. Last year, I helped evaluate the
senior culminating projects at my high school. The majority of the students had followed the norm and produced
text-heavy, resource-lacking projects. Their assumption was that as long as it was in PowerPoint, that the criteria for
in-depth research and discovery were met. After viewing ten similar senior projects, I made the resolution to eliminate or modify my own usage and student usage of PowerPoint.
In working and researching with the Mount Vernon school district technology liaison, Martha Thornburgh,
we discovered a wealth of alternatives to the omnipresent PowerPoint. The criteria for the presentation options
were: (a) free to teachers and students, (b) easy-to-use and (c) offering the possibility to embed into social media
such as a blog, webpage or Facebook. Martha and I found a fantastic site called: CogDooRoo (see image below).
This site has been linked on the AATF-Northwest ressources pédagogiques page for two years, but I had not explored it thoroughly. During a
tech training session Martha and
I sat together and
explored the
Wiki produced
by a researcher
in educational
technology. The
Wiki offers an
entry on ―50
ways to tell a
story.‖ with
links, examples,
and comments
on each media
type. These sites
offer templates
in which stu-
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Le Canard déchaîné, tome 34, Numéro 2: décembre 2010
dents can add pictures, video, text, and voice to create visually stunning but thoughtful products. In order to ensure
that the work is authentic and personal, one should require students to prepare and to revise their written work before online publication. I include that condition on all of my technology-based rubrics.
Currently, my students in third year are working on a clothing project. Instead of the typical PowerPoint, I
have asked my students to try the various sites and to choose a new mode of presentation. The students were able to
teach themselves the new forms of presentation, and during our lab time I was available to offer suggestions and
corrections. I am posting the students‘ projects on our class blog. (See address and image below.) The students
themselves agree that these sites offer a more appealing style to presentation that best represents current cultural
norms. They also appreciate the ability to share their work in a social medium with
friends and family. I encourage you to step slowly away from PowerPoint and expand
your students‘ familiarity with the vast wealth of free resources available to them from
CogDooRoo. If you have any questions, comments, or need any compassionate handholding, please contact me! I remain available to all World Language teachers in need
of technology coaching.
Sites mentioned in this article: These sites are also found on the AATFNorthwest Web site.
 http://www.aatf-northwest.org/
 http://cogdogroo.wikispaces.com/StoryTools (50 ways to tell a story wiki)
 http://www.youtube.com/watch?v=Rp8dugDbf4w (Amusing video about
unsuccessful PowerPoint presentations)
 http://mountvernonfrench.blogspot.com/ (MVHS French blog)
Bon surf!
Catherine Ousselin
[email protected]
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Le Canard déchaîné, tome 34, Numéro 2: décembre 2010
Le Coin du pédagogue : décembre 2010
Sous cette rubrique nous comptons publier de temps en temps dans le Canard déchaîné l‘esquisse d‘une nouvelle « méthode » d‘enseigner une langue. Ce ne sera pas une méthode comme les autres qui dominent l‘enseignement. Ce sera une série d‘idées pour mieux enseigner une langue : des pratiques que l‘on peut utiliser avec n‘importe
quelle autre méthode d‘enseigner. La seule idée qui caractérise cette nouvelle méthode c‘est que les idées seront basées sur le simple bon sens, pas sur une théorie quelconque.
Pour commencer cette série, nous allons passer en revue quelques méthodes en vogue pendant le XXe siècle.
L’enseignement traditionnel :
Depuis le XVIIIe siècle jusqu’au XXe siècle, c‘était la méthode par excellence pour apprendre une langue, ce
qu‘on considérait comme un problème avec une solution écrite : la traduction d‘une langue vers une autre par l‘apprentissage d‘un vocabulaire et d‘un ensemble de règles grammaticales avec des exceptions. Le but sous-entendu
était de connaître la littérature de la langue visée et non pas d‘apprendre la communication.
Deux anecdotes illustrent les avantages et les désavantages de cette méthode. Aux années vingt, après avoir
reçu une bourse Rhodes à Oxford, un de mes cousins se présenta comme
L’expert de la langue française
candidat pour une bourse à Yale. Le chef du département lui demanda de
traduire en latin un éditorial du New York Times. Il essaya de le faire et
ne savait pas le parler
quand il remit sa copie, le professeur lui demanda en quel latin il l‘avait
faite. Le cousin ne savait pas qu‘il y avait « deux latins ». Il dit qu‘il l‘avait mis « en latin ». Il fut accepté. L‘avantage est que c‘est un bon moyen de vite évaluer la connaissance d‘un étudiant.
Deuxième anecdote : je commençai l‘étude d‘ancien français en étudiant une des meilleures éditions d‘Yvain.
Nous passâmes toutes nos classes en essayant de traduire le texte vers le français moderne. Une vingtaine d‘années
après cela, quand j‘étais médiéviste moi-même, à un congrès de la Société Rencesvals je fis la connaissance du professeur anglais qui rédigea l‘édition. Il était célèbre comme un des plus grands experts de la langue et de la littérature
française médiévale. Quand nous parlions ensemble, un jeune chercheur français se présenta au professeur pour lui
poser une question. Celui-ci ne voulait pas parler français, car il ne savait pas le parler couramment. Le désavantage
de la méthode de traduction est qu‘on risque de ne pas apprendre à parler ni à entendre la langue orale.
La méthode naturelle :
Cette méthode vise à enseigner une langue comme moyen de communication, une langue quotidienne, essentiellement orale. Le livre qui a créé cette méthode fut publié en 1880 : L’Art d’enseigner et d’étudier les langues, par
François Gouin. [On peut télécharger ce texte gratuitement chez Google Books.] Les principes de cette méthode sont
à la base de la méthode d‘immersion et de la méthode communicative, ce que nous examinerons plus tard. Pour réaliser ces principes, Gouin proposa qu‘on donne à l‘étudiant plusieurs séries de phrases qui décrivent, en ordre chronologique, des tâches à faire. L‘étudiant entend ces phrases, les commet à la mémoire, puis les répète oralement par mémoire.
La série de phrases « J‘entre dans la salle de classe. Je regarde autour de moi. . . . » que trop d‘étudiants devaient apprendre par cœur sans les comprendre il y a quelques décennies est un exemple de la méthode de Gouin. Les
résultats de cette méthode étaient mixtes.
Le laboratoire des langues :
L‘invention du magnétophone pendant la deuxième guerre mondiale mena à la création des « laboratoires de
langue » aux années cinquante. En l‘imitation des laboratoires de chimie ou de physique, on créa des postes où les
étudiants pourraient entendre le français parlé par des Français, et on pouvait essayer d‘imiter la prononciation, en
enregistrant ses efforts pour qu‘un professeur pût les analyser. C‘était un bon début pour apprendre l‘aspect oral
d‘une langue. C‘était aussi une nouveauté, car au début presque personne aux années cinquante n‘avait accès à un
magnétophone. Tout le monde voulait l‘essayer, mais la nouveauté ne dura pas longtemps. Aujourd‘hui l‘ordinateur
personnel remplace en grande partie le laboratoire de langues.
La méthode structurale :
Inspiré par le linguiste Ferdinand de Saussure (1857-1913) et l‘anthropologue Claude Lévi-Strauss (1908-
Le Canard déchaîné, tome 34, Numéro 2: décembre 2010
Page 18
2009), le structuralisme domina la vie intellectuelle des années cinquante et soixante. Son influence s’étendait même
à l‘enseignement des langues, surtout grâce à l‘influence de Robert Politzer à l‘Université du Michigan (puis à Stanford). Le principe de cette méthode était que les étudiants devaient se concentrer sur les structures d‘une langue, pas
sur le vocabulaire. On gardait un minimum de vocabulaire, une centaine de mots, qu‘on mettait dans des structures
différentes pour apprendre l‘essentiel d‘une langue. L‘idée centrale était qu‘après avoir appris les structures d‘une
langue, on pourrait facilement apprendre le vocabulaire pour le mettre dans ces structures.
Par exemple, voici un échange oral, un modèle, entre un professeur (P :) et un étudiant (É :) employant cette
méthode. L‘échange doit être assez vite, sans laisser le temps de réfléchir : P : (Répétez :) Je pense que l‘automobile
est belle. É : Je pense que l’automobile est belle. P : Nous. É : Nous pensons que l’automobile est belle. P : Doutons.
É : Nous doutons que l’automobile soit belle. P : Camion. É : Nous doutons que le camion soit beau.
De tels exercices peuvent devenir bien difficiles et bien ennuyeux pour que l‘étudiant fasse les changements
automatiquement. Quand le « professeur » est un magnétophone au laboratoire des langues, le résultat est une
chambre de torture, semblable aux dispositifs expérimentaux inventés par B. F. Skinner au début des années 1930.
Troisième anecdote : Je me promenais un jour à Bonn quand une dame s‘approcha de moi pour me demander
Verzeihung, wo ist der Bahnhof ? (‘Pardon, où se trouve la gare ?’) J’étais bien conditionné par la méthode structurale, et je répondis vite : Gerade aus ! (‘Tout
droit !‘). Quelques instants plus tard, je me
rendis compte que je n‘avais pas entendu ni ce
que la dame me demanda ni où se trouvait la
gare. Je répondis comme je répondais aux laboratoires de langues, sans y penser. Un des
désavantages de la méthode structurale est de
ne pas faire que les étudiants pensent à ce
qu‘ils disent. Ils deviennent des perroquets et
ils détestent la langue quasiment appris. Le
vocabulaire limité ne faisait qu‘ajouter aux
problèmes des étudiants.
L’Enseignement assisté par ordinateur
(EAO) :
Ce n‘est pas exactement une « méthode » mais plutôt un outil à utiliser, comme
un texte, un tableau noir ou de la craie. Néanmoins, l‘ordinateur a beaucoup changé l‘enseignement des langues. Au début, aux années
soixante, avec l‘invention du temps-partagé
avec un ordinateur — précurseur de l‘ordinateur personnel — les programmes étaient assez simples : l‘étudiant lisait différentes
« pages » de texte sur l‘ordinateur au lieu de les lire dans un livre. L‘équivalent moderne de cela est l‘iPad : une autre
méthode de lire un livre.
Avec le temps, les logiciels d‘EAO devinrent plus sophistiqués.
Le logiciel ELSE corrigeait les À l‘université du Manitoba, le logiciel ELSE (‗Exercice de Langue Sedevoirs de n’importe quel texte conde Élémentaire‘) corrigeait les devoirs de n‘importe quel texte, individuellement en temps réel pendant que l‘étudiant écrivait ses réponses.
Chaque fois que l‘étudiant appuyait sur la barre d‘espace après avoir écrit quelque chose, l‘ordinateur corrigeaient
instantanément les fautes sans importance (par exemple, la ponctuation), examinait chaque mot d‘une réponse, ne
faisait rien si le mot faisait partie de plusieurs réponses possibles pour chaque question, mais si le mot n‘était pas acceptable, mettait l‘étudiant sur la bonne piste, et après chaque phrase correcte, donnait quelques mots d‘encourage-
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Le Canard déchaîné, tome 34, Numéro 2: décembre 2010
ment à l‘étudiant. Tout cela se faisait en un millième d‘une seconde. Un désavantage de l‘EAO est que si le système
d‘exploitation change, un informaticien spécialisé doit peaufiner le logiciel afin de pouvoir le faire marcher sous le
nouveau système d‘exploitation.
En général, l‘EAO est un supplément à l‘instruction traditionnelle, mais il existe des exceptions, comme le
logiciel commercial Rosetta Stone, qui enseigne plusieurs langues tout seul sans rien que l’ordinateur. De plus, la version 4,0 du logiciel permet qu‘on communique oralement et en temps réel avec un locateur natif par l‘Internet.
Si l‘on s‘intéresse à l‘EAO, on peut se faire membre de CALICO (‗Computer Assisted Language Instruction
Consortium‘ ; voir https://calico.org/), un groupe magnifique pour les débutants ainsi que pour les experts.
La Méthode individualisée :
L’approche communicative est la
La base de cette approche est l‘idée que l‘enseignement
traditionnel est dépassé : on peut être autodidacte dans le cadre
renaissance de la méthode naturelle
d‘une université ou d‘un lycée en se servant d‘un système où l‘étudiant travaille seul, avec l‘aide deux fois par semaine, par téléphone ou en personne, de quelqu‘un qui parle la langue
visée. Cette personne parle avec l‘étudiant, corrige ses efforts, et l‘aide à planifier ce qu‘il fera pendant la semaine à
venir. L‘étudiant doit réussir un examen toutes les trois semaines, et réussir un examen final, corrigé par un examinateur externe. L‘avantage de ce système est qu‘une institution peut ainsi donner des cours en n‘importe quelle langue,
pourvu qu‘il existe quelqu‘un qui soit capable de diriger l‘étudiant. Le seul préalable est que la personne qui aide
l‘étudiant doit savoir parler et écrire la langue étudiée. Le texte fait tout le reste. Pour d‘autres renseignements sur
l‘approche individualisée, voir Foreign Language Annals, Vol. 4, numéro 4 (mai 1971), pp. 420-424.
L’Immersion :
Cette méthode met des élèves dans un milieu où ils n‘écouteront rien que la langue visée. Tout enseignement
se fait en cette langue. D‘habitude on commence cette méthode à un âge très jeune, dès la première journée de
l‘école. À première vue, les résultats sont spectaculaires. À l‘âge de sept ans, les élèves parlent déjà la langue couramment. Le problème de cette méthode est que les élèves n‘apprennent qu‘à peine à écrire leur nouvelle langue.
C‘est exactement le contraire de la situation de la méthode traditionnelle où l‘étudiant apprenait à lire et à écrire une
langue sans savoir la parler. Si un étudiant continue à étudier cette langue à une université, il est souvent handicapé
par son incapacité de l‘écrire. Il pense qu‘il n‘a rien à étudier et quand c‘est trop tard, il voit qu‘il ne comprend pas,
par exemple, la différence entre l‘infinitif « parler » et le participe passé « parlé » ; en principe, il ne fait jamais l‘accord des adjectifs avec leur substantifs.
Par contre, si l‘étudiant comprend au début de l‘université qu‘il peut être faible en la langue écrite, il a un
avantage sur les autres étudiants par le fait de sa capacité d‘entendre et de parler la langue.
L’Approche communicative :
Cette approche est la renaissance de la méthode naturelle, commencée en 1880 par François Gouin, mais au
lieu de commettre des phrases à la mémoire ad nauseum, cette méthode ne cherche qu’à améliorer la capacité de
l‘étudiant à s‘exprimer et à comprendre ce qu‘il entend. On met plus d‘importance sur la communication que sur la
bonne grammaire. Cela ne veut pas dire qu‘on n‘enseigne pas la grammaire avec cette méthode. On commence par la
communication, et la correction de la grammaire vient plus tard. C‘est peut-être
la meilleure de toutes les méthodes discutées dans cet essai.
Conclusion :
Notre but dans cette rubrique ne sera pas de remplacer une méthode
quelconque par une autre méthode d‘enseigner une langue. Notre but sera seulement de présenter quelques nouvelles idées qu‘on pourra appliquer à n‘importe quel système d‘enseigner qu‘on préfère. On invite tout lecteur à suggérer
ses propres idées pour l‘enseignement et ses opinions sur les concepts qu‘on
présentera.
John Robin Allen
Priddis, Alberta
[email protected]
To AATF Member:
AATF WA/AK/BC/AB Chapter
c/o Mary Anne O‘Neil
Department of Foreign Languages and Literatures
Whitman College
Walla Walla, WA 99362
WWW.AATF-NORTHWEST.ORG
Important Dates and Contact Information, Winter 2011
December 15, 2010: Deadline for proposals for the AATF Annual Convention, Montreal, July 6-9, 2010. See
www.frenchteachers.org.
January 17, 2011: Final day: Picasso in Seattle: Masterpieces from the Musée National Picasso, Paris.
Seattle Art Museum. 1300 First Avenue, Seattle, WA 98101.
January 20, 2011: Final registration date for Le Grand Concours. For further information contact Catherine Ousselin
www.aatf-northwest.org
February 10, 2011: Le Canard déchaîné deadline for contributions to the spring issue
February 14-25, 2011: Le Grand Concours Contest dates for elementary schools
February 15, 2010: Application deadline for AATF Scholarships for summer study in Quebec, Belgium, and France.
See www.frenchteachers.org
March 1-28, 2011: Le Grand Concours Contest dates for middle and high schools
March 1, 2011: National Endowment for the Humanities application deadlines for K-12 Teachers: Fifteen Summer
Seminars and nineteen Summer Institutes College Teachers: Ten Summer Seminars and eleven Summer Institutes See www.neh.gov/projects/si-school.html; Phone: (202) 606 8463.
President: Prof. Mary Anne O‘Neil, Whitman College, [email protected]
Vice-President and Grand Concours: Catherine Ousselin, Mount Vernon H.S., [email protected]
Secretary: Margaret Holland Newcomb, Bishop Blanchet H.S., [email protected]
Past President: Misa Bourdoiseau, Education Française Greater Seattle, [email protected]
Le Canard déchaîné : contact John Robin Allen, [email protected]
WWW.AATF-NORTHWEST.ORG