FRC 453-SP2016MW - Canisius College Computer Science

CANISIUS COLLEGE
DEPARTMENT OF MODERN LANGUAGES, LITERATURES AND CULTURES
SPRING 2016
FRC 453A (CRN 46385): War and Memory (3 credits)
Field 3 “Literature and the Arts” Designation of the Core Curriculum and Global
Awareness Attribute
MW: 2:00 p.m. – 3:15 p.m.
Room: OM 305
Instructor: Dr. Eileen M. Angelini
Office: CT 1011
Extension: (888) 2829
E-mail: [email protected]
Office Hours: M, W & F: 12:00 to 1:00 p.m. in OM 305 and 3:15 to 5:00 p.m. in CT 1011; T &
Th: by appointment.
I. DMLLC LEARNING GOALS AND OBJECTIVES
Student Learning Goal 1: Language majors will demonstrate effective skills at the
ACTFL advanced-low level according to two Communicative Modes: Interpersonal and
Presentational. Students will:
• Objective A: Actively and accurately negotiate meaning in fluent
interpersonal communications (Interpersonal).
Objective B: Accurately and fluently present oral information, concepts and ideas in
a cohesive manner to an audience (Presentational).
Student Learning Goal 2: Language majors will critically analyze cultural production in
the target language. Students will:
•
•
Objective A: Assess, interpret and assign meaning to numerous types of cultural
production including literature, film, essay, and art.
Objective B: Place various types of cultural production in a wider cultural and historical
context.
Student Learning Goal 3: Language majors will design and carry out an original project
in which the target language is the major research tool and vehicle of expression. Students
will:
• Objective A: Create a project that demonstrates comprehension of cultural productions
indicated by a clear thesis and a developed argument.
•
•
Objective B: Demonstrate a mastery of information literacy tools and the integration of
secondary sources in his/her work.
II. GOALS AND OBJECTIVES FOR COURSES WITH LITERATURE AND THE ARTS
DESIGNATION OF THE CORE CURRICULUM (current statement from the Core
Curriculum homepage): Designated courses that enable students to understand the aesthetic
2
dimension of creative work in the fine arts and/or literature and to understand how that creative
work mirrors and shapes human experience.
Goals & Objectives
Content:
Goal: Students will demonstrate an understanding of the aesthetic dimension of human life
through the study of literature, art, or music and the ways in which they mirror and shape the
human experience.
Objectives: Students will:
•
Identify specific techniques, styles, or formalistic properties of particular examples of
literature, art, or music.
•
Identify the relationship of particular examples of literature, art, or music to the traditions
from which they have emerged.
•
Demonstrate an understanding of how creative work in literature, art, or music mirrors
and shapes human experience.
Skills:
Goal: Students will demonstrate knowledge of the methods of literary and artistic criticism and
interpretation.
Objectives: Students will:
•
Critically evaluate the methods of literary and/or artistic criticism and interpretation
employed in the study of literature, art, or music.
•
Employ the methods of literary and/or artistic criticism and interpretation in the study of
literature, art, or music.
III. GOALS AND OBJECTIVES FOR COURSES WITH GLOBAL AWARENESS
DESIGNATION OF THE CORE CURRICULUM (current statement from the Core
Curriculum homepage): Designated courses that enable students to develop an understanding of
geographical regions other than the United States with a focus on their history, culture, and/or
political systems.
Courses designated as Global Awareness may have more learning objectives in addition to those
associated with the Core.
Goals & Objectives
Content:
Goal: Students will demonstrate knowledge of the history, culture, and/or political systems of
societies, states, and peoples other than the United States.
Objectives: Students will:
3
•
Identify and describe the history, social structures, political institutions, and/or patterns of
cultural expression that characterize specific societies, states, and peoples outside the
United States.
•
Identify the various factors that have contributed to the history and development of social
structures, political institutions, and patterns of cultural expression that characterize
specific societies, states, peoples, and cultures outside the United States.
Skills:
Goal: Students will demonstrate how their knowledge of geographical regions other than the
United States fosters greater awareness of the world in which the students live.
Objectives: Students will:
•
Critically analyze how the history, culture, and/or political systems of geographical
regions other than the United States inform the way people outside the United States view
themselves.
•
Critically analyze and reflect on how their knowledge of the history, culture, and/or
political systems of geographical regions other than the United States inform the way in
which the students understand their relationship to the world.
IV. COURSE DESCRIPTION & GOALS
The primary objective of this special topics seminar is to show how the impact of the events of
World War II and the Occupation of France still play a major role in the cultural and economic
forces at work in contemporary France. Students will discuss particularly the mentality and
demeanor of the French, the permanent and evolving traits of French society and the grounding
of French culture. Novels, memoirs, autobiographies, documentaries, feature-length films, and
historical readings will form the basis for class discussions.
Selected articles from the French press (L 'Express, Le Journal français d 'Amérique, La
Sélection Hebdomadaire du Monde, Paris-Match, France-Amérique, Le Nouvel Observateur) as
well as videocassettes (TV5 programs) will enhance the class discussion on current events in
France.
The main goal of the seminar is to read the texts and selected articles as well as view the
documentaries and feature-length films in their socio-cultural context so as to enable the students
to improve their understanding of written French and to perfect their speaking skills and abilities
in discussing and expressing their opinions linked to the topic in question.
BUTS DU COURS: Après les vingt années qui ont suivi l'émergence du film, Le Chagrin et la
pitié (1971) de Marcel Ophuls, il y a eu une transformation énorme dans la perception de la
Shoah par les Français -- écrivains, historiens et autres citoyens, ainsi que de la place de
l'Occupation et du gouvernement Vichy dans l'histoire de France. L'expérience française pendant
la deuxième guerre mondiale est particulièrement intéressante, mais également problématique
parce que la France a collaboré avec les Nazis tout en étant en guerre avec l’Allemagne
(gouvernement de résistance de Charles De Gaulle). Cette identité nationale divisée entre le
gouvernement Vichy d'un côté et les Forces Françaises Libres de l'autre cause un problème de
mémoire culturelle. Les souvenirs de cette époque-là sont chéris par certains, tandis que d'autres
essaient d'oublier. Ainsi, quand il s'agit de récits de cette période de l'histoire de France, il faut se
demander: qui veut se souvenir?, qui veut oublier?, et pourquoi?
4
Depuis longtemps, en fait, dès la fin de la guerre, de nombreuses légendes ont circulé à propos de
ces années pénibles (1940-1944) pendant lesquelles la France a été sous l'Occupation allemande.
L'une de ces légendes qui durent est que beaucoup de Français ont combattu dans la Résistance;
une autre impression non moins puissante était que le gouvernement de Vichy était l"'allié
secret" de la Résistance et qu'il travaillait au maximum pour créer des obstacles et s'opposer aux
Allemands tandis qu'ils donnaient en même temps l'impression de coopérer avec eux. L'oeuvre,
Vichy France (1972) de Robert Paxton a mis fin d'une manière abrupte et définitive à ces deux
mythes. Reçue tout d'abord avec indignation et consternation par les historiens français --la
plupart d'entre eux étant encore plus bouleversés par le fait que cette oeuvre révélatrice avait été
écrite par un Américain -- Vichy France a inauguré une nouvelle époque dans l'historiographie
française et change l’opinion française populaire sur l'Occupation. De même, l'année précédente,
Le Chagrin et la pitié d'Ophuls avait scandalisé ceux qui l'avaient commandé pour la télévision.
En fait, Le Chagrin et la pitié n'a été montré à la télévision qu'en 1981.
Depuis une dizaine d'années, mais plus particulièrement depuis le procès de Klaus Barbie (19831987) qui a encouragé plusieurs survivants de cette époque à publier leur témoignage, de
nombreuses monographes, histoires compréhensives et biographies, ainsi que des récits à la
première personne ont paru en France. Henri Russo, dans son excellente étude sur l'évolution des
souvenirs officiels et populaires de la période de Vichy depuis 1945 (Le Syndrome de Vichy,
1987 et 1990) fait référence à ce fleurissement littéraire comme une "obsession nationale."
Obsession ou pas, nous avons aujourd'hui une grande quantité de documents dans de multiples
genres (y compris des films et des scénarios) qui peuvent être étudiés aux côtés d' oeuvres
historiques et théoriques.
V. REQUIRED TEXTS: NOVELS AND TESTIMONIES
1.)
2.)
3.)
4.)
5.)
Delbo, Charlotte. Le Convoi du 24 janvier. Paris: Éditions de Minuit, 1966.
Duras, Marguerite. La Douleur. Paris: P.O.L., 1985.
Joffo, Joseph. Un Sac de billes. Paris: Éditions Jean-Claude Lattes, 1973.
Kofman, Sarah. Rue Ordener, Rue Labat. Paris: Éditions Galilée, 1994.
Vercors. Le Silence de la mer/The Silence of the Sea. Oxford/Washington, D.C.: Berg,
1991.
VI. DOCUMENTARIES AND FEATURE-LENGTH FILMS ON LIBRARY RESERVE
1.) Au revoir les enfants. Dir. Louis Malle. DVD. Orion Home Video, 1987.
2.) Le Chagrin et la pitié. Dir. Marcel Ophuls. Videocassette. Télévision Rencontre, 1970.
3.) Le Chambon: La Colline aux milles enfants. Dir. Jean-Louis Lorenzi. Videocassette.
Gateway Films, 1994.
4.) La France divisée. Dir. Eileen M. Angelini and Barbara P. Barnett. DVD. American
Association of Teachers French, 2002.
5.) Hotel Terminus: The Life and Times of Klaus Barbie. Dir. Marcel Ophuls.
Videocassette. Virgin Visions, 1998.
6.) Lacombe Lucien. Dir. Louis Malle. DVD. Nouvelle Édition de Films, 1975.
7.) Monsieur Klein. Dir. Joseph Losey. DVD. Lira Films, 1976.
8.) Nuit et Brouillard. Dir. Alain Resnais. Videocassette. Home Vision Video, 1955.
9.) L’œil de Vichy. Dir. Claude Chabrol. DVD. First Run Features Home Video, 1996.
10.)La Rafle. Dir. Rose Bosch. DVD. Légende Films, 2010.
11.)Le Silence de la mer. Dir. Jean-Pierre Melville. DVD. Teledis, 1947 (MKS Video
1997).
12.)Uranus. Dir. Claude Berri. DVD. Prestige (Division of Miramax Films), 1991.
5
13.)Weapons of the Spirit. Dir. Pierre Sauvage. Videocassette. First Run Features Home
Video, 1988.
VII. ADDITIONAL MATERIALS ON LIBRARY RESERVE
1.) Conan, Eric and Henry Rousso. Vichy, un passé qui ne passe pas. Paris: Fayard, 1994.
2.) Kofman, Sarah. Rue Ordener, Rue Labat. Paris: Éditions Galilée, 1994.
3.) Minear, Richard H. Dr. Seuss Goes to War: The World War II Editorial Cartoons of
Theodor Seuss Geisel. New York: The New Press, 1999.
4.) Paxton, Robert O. Vichy France: Old Guard and New Order, 1940-1944. New York:
Columbia UP, 1972.
5.) Smith, Fréderic. “La France appelle votre secours”: Québec et la France libre, 19401945. Montréal: VLB Éditeur, 2012.
6.) Weitz, Margaret Collins. Sisters in the Resistance: How Women Fought to Free France,
1940-1945. New York: J. Wiley, 1995.
VIII. MAJORS TOPICS: (tentative, only indicative)
1.)
2.)
3.)
4.)
5.)
6.)
France before, during and immediately after World War II – unique in four ways.
Hidden Children
Resistance – armed and non-armed vs. daily survival for all
Propaganda and the German perspective
Torn allegiance and impressionable youth
Post-war France
IX. TRAVAUX DU COURS (Course work) et ÉVALUATION (grading): La
note du cours sera déterminée de la façon suivante:
Les Éléments (Components):
20% - la préparation hors classe (les lectures, les travaux de recherches, et le travail pour chaque
classe, y compris la préparation de deux questions de compréhension individuelles sur les cartes
3X5 pour chaque discussion);
20% - exposés oraux (trois par personne);
20% - présentation de groupe;
5% - partie culturelle (voir « Cultural Component » ci-dessous);
15% - la participation en classe, y compris les contrôles de compréhension et les questions
posées aux camarades de classe pendant les exposés; et,
20% - les quatre rédactions, y compris les révisions (4 à 6 pages).
Le Barème (Scale)
A+: 100-97
A: 96-93
A-: 92-90
6
B+: 86-83
B: 86-83
B-: 82-80
C+: 79-77
C: 76-73
C-: 72-70
D+: 69-67
D: 66-63
D-: 62-60
F: 59-0
RÈGLES DU COURS (Policies):
ATTENDANCE: Regular and punctual class attendance is fundamental to learning a foreign
language. You are expected to attend all classes and complete all work assigned for each class.
Without consistent attendance your skill level and confidence will drop, which can result in
lower grades on exams, papers, and quizzes. Missing class in many courses also affects the
learning experience of other students. Make regular attendance a habit; it will pay off throughout
your college experience.
You are allowed three undocumented absences without penalty. After the third absence,
the student must provide documentation to explain the absence: this can include letters from
health care providers explaining prolonged illness, letters from parents confirming family
emergencies or situations that require absence, and letters from college staff (athletic
departments, for example) explaining the reason for missing class. After the third absence, any
further undocumented absences will result in the lowering of the student’s final grade. As this
class meets on Tuesdays and Thursdays, more than four undocumented absences will result in a
grade of FX: failure due to absence.
Documentation should be provided to the instructor by the next regularly scheduled class.
All students are responsible for work missed while absent from any class: this includes both
documented and undocumented absences. Make-ups for quizzes and exams will be contingent
upon proper documentation.
TARDINESS: Every three days that a student is late for class counts as one absence.
NO MAKE-UPS for announced or unannounced tests without a documented excuse.
LATE WORK: Only homework assignments turned in on time will be graded. Any written
assignment not turned in on time will result in a lowering of the grade for that assignment by ten
points for every day the assignment is late. There is no possibility to make up work for tests that
are missed. Legitimate reasons, such as illness-with a doctor's statement-or death in the family
might justify exceptions to this policy. E-mail submission of assignments will not be accepted.
NOTA BENE: If a student has any condition, such as a physical or mental disability, which will
make it difficult for him/her to carry out the work as outlined or who will require extra time on
examinations, please notify the instructor in the first two weeks of the course so that the
appropriate arrangements can be made.
DISRUPTIVE BEHAVIOR: Systematically arriving late or leaving early, speaking English in
class, eating and drinking during class, chewing gum, etc., adversely affect the class as well as
your own performance. Participation grades will be lowered for such behaviors. This policy
attempts to assure the best learning environment for everyone in the class.
BEEPERS. TELEPHONES. AND OTHER ELECTRONIC DEVICES must be turned to
“vibrate” before the beginning of each class period. Please speak with me at the beginning of the
7
semester about such electronic devices if you need to have one in use. This policy again
attempts to assure the best learning environment for everyone in the class.
CHEATING AND PLAGIARISM: Learning is a personal effort for personal intellectual
enrichment. Cheating and plagiarism violate the integrity of the learning experience. Students
are expected not to give or receive help during tests and exams and must acknowledge fully any
ideas, materials or quotations taken from another source for either written or oral use. The
policies on academic misconduct also apply to the inappropriate use of Machine Translation,
Web-based translation engines, or Web texts.
While students are encouraged to discuss ideas with friends and classmates, all work that is
turned in must be the work of the individual. A student must not receive any help in the actual
writing from native speakers, tutors, more advanced students, or translating software.
A student may receive help in the form of pointing out particular errors that he/she tends to make
consistently, for example grammar or syntax errors, or general suggestions pertaining to the
organization, structure and flow of your composition, but a tutor or classmate may not tell the
student how to word it, or write it.
It is the responsibility of all students to be aware of and follow Canisius College's Code of
Academic Integrity. For the full text, see the on-line Undergraduate Catalog.
Following are some important excerpts from this policy.
Proscriptions: Each of the following behaviors violates all of the principles of honesty, trust,
fairness, respect, and responsibility explained above and is thus prohibited.
Plagiarism is using "another person's ideas or expressions in your writing without
acknowledging the source... " [MLA Handbook for Writers of Research Papers 5th ed., p. 30].
[This) may range from isolated formulas, sentences, or paragraphs to entire articles copied from
books, periodicals, websites, speeches, or the writings of other students. Honestv requires that
any work or materials taken from another source for either written or oral use must be
acknowledged. Any student who fails to give credit for ideas or materials obtained from another
source is guilty of plagiarism.
Cheating: Cheating includes, but is not limited to: using unauthorized notes, study aids, or
information on an examination, test, etc.; ... allowing another person to do one's work and
submitting that work under one's own name.
Duplicate submission of the same work.
Collusion: Collusion includes cooperation that results in the work or ideas of others being
presented as one's own (e.g., rather than as a group effort). ... Unauthorized use of information
technologies. Aiding and abetting academic dishonesty.
X. ÉXPOSÉS ORAUX
Each student is required to do three oral presentations (20% of the final grade) and be part of a
group presentation (20% of the final grade). IMPORTANT: Each student must do an exposé
oral on each of the four sections. That is to say, each student is responsible for giving an exposé
oral on Les Enfants cachés; La Résistance, la vie quotidienne, et la Rafle de Vel d’Hiv; La
propagande, la perspective allemande, et les jeunes; et, La France après la guerre. As the group
presentations will occur at the end of the semester, they are to be cumulative in nature.
8
Specifically, they are not to be done in isolation but a contrast and a comparison with the other
two units must be achieved for the best grade possible.
For every oral presentation, each student in class will be required to ask at least one relevant
question and will be graded on the quality of the questions that is asked of the presenter.
Scoring rubrics will be introduced at the beginning of the semester so that each student
understands the required components for an oral presentation and how an oral presentation is
scored (e.g. vocabulary within context, functions/use of language, accuracy in use of basic
structures, fluency, pronunciation/intonation, reaction/appropriateness of response, and
creativity/recombination of learned material).
XI. RÉDACTIONS
Scoring rubrics will be introduced at the beginning of the semester so that each student
understands the required components for a written rédaction and how a written rédaction is
scored (e.g. purpose of the written rédaction is clearly stated, ideas are well developed and
include cross-cultural sensitivity, varied and properly documented outside sources, vocabulary
within context, functions/use of language, accuracy in use of basic structures, appropriate
vocabulary, spelling, as well as a coherent and original structure with clear transitions).
A. Formal aspects of writing assignments-Aspects formels des devoirs écrits:
1. Length (Longueur). Strict observance of the assigned length for each written work is
necessary. A word count total must be included at the end of the text that is submitted.
2. Appearance (Présentation). All versions are to be written on a computer and
double-spaced. Hand-written work or work that is not double-spaced will not be
accepted. Note: Save your written work on a diskette or your hard drive in order to do
corrections or rewrites.
3. Bibliography (Bibliographie). MLA Format is required. Wikipedia is NOT an
acceptable reference source.
9
B. Rewrites-Révisions
Much care is given in scoring each and every written assignment. Mistakes will be made
according to a scoring key. For each written assignment, students are thus required to
correct their mistakes directly on the assignment in BOLD font. The assignments with
completed corrections must be turned in at the next class meeting or there will be a
lowering of the grade given on the assignment.
C. Helpful Hints-Conseils pratiques
1. Understand well the topic under investigation - Bien comprendre le sujet: Read
over several times the topic to be sure that you understand what is being discussed and
where you are going with your writing assignment.
2. Brainstorm-Faire du remue-méninges: Write down all of the ideas that come to you
about the topic, pros and cons, in no definite order. Ask yourself the basic questions
who, what, where, why, when, (qui, quoi, ou, pourquoi, quand). Write down examples
from history or from current events that you might use to bolster your arguments for and
against.
3. Outline--Faire le plan: Put some order in your ideas and develop an outline or a
"skeleton" that you can develop or put flesh on as you begin writing. Be
gin by stating your thesis sentence, which you will present in your introduction. Be sure
to balance out the arguments and examples you will present in the thèse and antithèse
sections. A rédaction is a discussion and not a catalogue of ideas.
4. Things to avoid- À éviter: Errors of logic, contradictions, repetition of ideas,
repetition of idioms and words (look for synonyms!), certain expressions such
10
as alors, comme ça (ça is not the proper level of language for a rédaction), ainsi de
suite, etc., qqn., qqch. (no abbreviations). Always keep readily available the hand-out
on « Vocabulaire de rédaction. »
5. Reread-Relire: Before handing in your work, try to correct as much of the grammar
and spelling as possible. With a Word program, run a spell check and a grammar check
before submitting your work to the instructor. IMPORTANT: Failure to run a spell
check on the written assignments you submit and failure to correct obvious errors will
result in the lowering of your grade on that assignment by 10%. How will I know that
you have not tried hard enough to proofread your work? From the spelling errors in
simple, common words that could have been corrected by using the lexique at the end of
Tâches d’encre, your dictionary, or the computer spell check; from the simple grammar
mistakes that should have been caught and corrected by the grammar checker such as
agreements between nouns and articles, adjectives and nouns, subjects and verbs and
errors in word order that the computer grammar check would have caught.
XII. METHODOLOGY
This course will be conducted entirely in French. The instructor will explain methods of literary
and film analysis as well as research approaches for historical investigation. To improve all
student language skills, special emphasis will be placed on the technique of reading,
summarizing, and discussing. For the “exposés oraux,” the “présentation de groupe” and three
“rédactions,” a detailed bibliography following MLA guidelines is required. Reminder:
Wikipedia is NOT an acceptable reference source.
For all class lectures, it is important that students remember to prepare two discussion questions
on a 3X5 index card as well as “review” questions in the text that pertain to the day’s reading
assignment. “Review” means that each student should be sure that he/she is capable of
discussing the question in class or, at the very minimum, indicate during class discussion what
he/she may not fully understand.
IMPORTANT: All films are to be viewed outside of class. All films are on reserve in the
college library for student viewing.
XIII. CULTURAL REQUIREMENT
Over the course of the semester, each student in the Department of Modern Languages in
courses 103 on UP will participate in or attend two cultural events or activities outside of
regular class time. One of them must be related to the culture of the language under study. The
second should at least have a multicultural character. These events may include (but are not
limited to) concerts, plays, lectures, college-sanctioned cultural trips, or films. At least one
cultural event must be college-sponsored. In order to earn up to 5% of the final grade, the
student will write 2 essays (in English for the 103/104/115/116 level and in the target language
for higher level courses, maximum one-page each, 12-point font, double spaced). Each essay
must be turned in within ONE week of the event/activity’s occurrence. The assignment is to
include a brief summary of the event and most importantly, must reflect the student's
impression/opinion/analysis of the event. One cultural assignment must be completed by mid-
11
semester and the second must be completed by the last day of classes. Failure to do so will result
in a grade of zero for each assignment that fails to meet these set deadlines.
In order to avoid misunderstandings, the student MUST consult with the instructor whether or
not the event he/she plans to attend meets the above criteria. For students taking more than one
Modem Language class, the number of cultural events required is 4.
A current list of events acceptable in fulfillment of the cultural requirement will be posted
electronically and updated weekly by the Department of Modem Languages. Suggestions by
students are welcomed and encouraged.
Important deadlines: The first cultural event essay must be turned in by Monday, March 14,
2016 and the second cultural event essay must be turned in by Monday, April 18, 2016. These
deadlines are strictly adhered to. If a student attends a cultural event less than one week prior to
either of these two deadlines, the March 14, 2016 and April 28, 2016 deadlines take precedence
over the one week time period normally allotted to complete the essay.
XIV. AVANT LA DISCUSSION
À partir du texte que vous avez lu, complétez le tableau suivant pour chaque texte:
1.) Auteur et titre du roman (il faut s’orienter);
2.) Genre du roman;
3.) Personnage principal de l’histoire;
4.) Pronom-sujet de la narration;
5.) Thème (mots clés);
6.) Sous-thèmes (mots clés);
7.) Cadre (contexte) de la narration [lieu et temps (présent, passé, futur)];
8.) Temps verbaux utilisés dans la narration;
9.) Prétexte du voyage;
10.)
Le drame qui conclut l’histoire.
XV. COURSE SCHEDULE
Spring 2016: The schedule listed below is a tentative presentation of the methodology and
content of the course. Each student will be responsible for a minimum of two oral exposés as
well as be part of a group presentation. The exposés will be evenly distributed across the entire
semester. The group presentations will take place in March. This tentative schedule may be
adjusted to the class's needs. For all class lectures, it is important that students remember to
prepare two discussion questions on a 3X5 index card as well as “review” questions in the text
that pertain to the day’s reading assignment. “Review” means that each student should be sure
that he/she is capable of discussing the question in class or, at the very minimum, indicate during
class discussion what he/she may not fully understand. This tentative schedule may be adjusted
to the class's needs.
(N.B: Le plan des séances et les dates des devoirs peuvent être modifiés à la discrétion du
professeur. Ce document est distribué en début de semestre afin de permettre aux étudiants
d’organiser au mieux leur travail, mais il ne dispense pas d’un suivi régulier des séances et
d’une mise à jour des dates si nécessaire.)
12
Le 20 janvier: Introduction (Paxton and Russo) – Historical overview as well as directions for
downloading and printing research guide from www.frenchteachers.org.
Le 25 janvier: La France divisée. Exercice écrit: À préparer une question et sa réponse pour
chacune de sept sections du film.
Le 27 janvier: Les Enfants cachés
Rue Ordener, Rue Labat de Sarah Kofman.
Le 1 février: Rue Ordener, Rue Labat de Sarah Kofman.
Le 3 février: Au Revoir les enfants de Louis Malle.
Le 8 février: Le Chambon: La Colline aux mille enfants de Jean-Louis Lorenzi.
Le 10 février: Première rédaction à rendre sur les enfants cachés. Présentation sur la Rafle de
Vel d’Hiv.
Le 15 février: Pas de classe: President’s Day.
Le 17 février: La Résistance, la vie quotidienne, et la Rafle de Vel d’Hiv
La Douleur de Marguerite Duras.
Le 22 février: La Douleur de Marguerite Duras. Quel rôle François Mitterand joue-t-il?
Le 24 février: Le Silence de la mer (roman de Vercors et film de Jean-Pierre Melville).
Le 29 février: Extraits du Convoi du 24 janvier de Charlotte Delbo.
Le 2 mars: La Rafle de Rose Bosch.
Le 4 mars: Monsieur Klein de Joseph Losey.
Le 7 mars: Deuxième rédaction à rendre sur la Résistance, la vie quotidienne, et la Rafle de Vel
d’Hiv. En classe, Weapons of the Spirit de Pierre Sauvage.
Le 9 mars: La Propagande, la perspective allemande, et les jeunes.
L’œil de Vichy de Claude Chabrol.
Le 14 mars: Le Chagrin et la pitié de Marcel Ophuls. Premier événement culturel à rendre.
Le 16 mars: Lacombe Lucien de Louis Malle.
Le 21 mars: Un Sac de billes de Joseph Joffo.
Le 23 mars: Un Sac de billes de Joseph Joffo.
Du 24 mars au 3 avril: Vacances de printemps: pas de classe.
Le 4 avril: Troisième rédaction sur la propagande, la perspective allemande, et les jeunes.
Présentation sur Oradour.
Le 6 avril: La France après la guerre.
13
Uranus de Claude Berri
Le 11 avril: Les lieux de mémoire. (Pierre Nora).
Le 13 avril: Hotel Terminus: The Life and Times of Klaus Barbie de Marcel Ophus.
Le 18 avril: Nuit et Brouillard d’Alain Resnais. Deuxième événement culturel à rendre.
Le 20 avril: Plus sur Le Chagrin et la pitié de Marcel Ophuls.
Le 25 avril: Quatrième rédaction à rendre sur la France après la guerre. Préparation de groupe
pour les présentations finales. Chaque groupe prépare un des quatre thèmes majeurs du cours
(c’est-à-dire: Les Enfants cachés; La Résistance, la vie quotidienne, et la Rafle de Vel d’Hiv; La
propagande, la perspective allemande, et les jeunes; et, La France après la guerre).
Le 27 avril: Préparation de groupe pour les présentations finales.
Le 2 mai: Présentations finales.
Le 4 mai: Présentations finales.
La révision de la quatrième rédaction est à rendre à 10h lundi 9 mai dans ma boîte aux
lettres à Churchill Tower 1016.
FRC 453: War and Memory
Grading Form for Individual Oral Presentation
Item
Points earned
1.) The purpose of the presentation
is clearly stated. (5 possible points)
_______________
2.) The ideas are well developed,
organized, and include cross-cultural
sensitivity as well as literary, film and
historical analysis. (20)
_______________
3.) Interdisciplinary connections and their
relevance to the topic are clear. (10)
_______________
4.) Outside sources are varied, reflecting
interdisciplinary connections, and are
properly documented. (10)
_______________
5.) Pronunciation is clear and fluent. (10)
_______________
6.) The vocabulary is appropriate, varied
and broad in range so as to be precise and
expressive. Idioms are used properly and
there are no examples of “franglais.” (10)
_______________
7.) General rules of grammar are
14
observed and sentences are well constructed
(e.g. subjects and verbs agree, pronouns are
used correctly, appropriate and consistent use
of verb tenses). (15)
_______________
8.) Overall, the presentation is
coherent, original, and well structured,
with clear transitions indicating careful
preparation. (10)
_______________
9.) Reaction/Appropriateness of
responses to questions. (10)
________________
Total points earned
________________
Instructor Comments:
FRC 453: War and Memory
Grading Form for “Rédactions”
Directions: Please proofread and examine your written work. To help you assess your
individual progress this semester, use the following rubric as a guideline and rate yourself
accordingly in the student column. The possible points for each category are listed between
parentheses at the end of each item description. Please staple this sheet to the front of your
written work.
Item
Student Evaluation
Instructor Evaluation
1.) The purpose of the composition
is clearly stated. (5 possible points)
_______________
________________
2.) The ideas are well developed and
include cross-cultural sensitivity as well
as literary, film, and historical
analysis. (25)
_______________
________________
3.) Outside sources are varied,
reflecting interdisciplinary connections,
and are properly documented. (15)
_______________
________________
4.) The sentences are well constructed,
with appropriate and consistent use of
verb tenses. (15)
_______________
________________
5.) The vocabulary is appropriate, varied
and broad in range so as to be precise and
15
expressive. Idioms are used properly and
there are no examples of “franglais.” (15)
_______________
________________
6.) General rules of grammar are
observed (e.g. subjects and verbs agree,
pronouns are used correctly). (10)
_______________
________________
7.) Words are spelled correctly. (5)
_______________
________________
8.) Overall, the composition is
coherent, original, and well structured,
with clear transitions. (10)
_______________
________________
Total points earned
________________
________________
Instructor Comments:
FRC 453: War and Memory
Grading Form for Team Presentation
Item
Points earned
1.) The purpose of the presentation
is clearly stated. (5 possible points)
_______________
2.) The ideas are well developed,
organized, and include literary, film, and
historical analysis. A contrast and
comparison with all course units are
achieved. (20)
3.) Connections to the readings and film(s)
as well as their importance to its culture
are clear. (10)
_______________
_______________
4.) Outside sources are varied and are
properly documented. (10)
5.) Pronunciation is clear and fluent. (10)
_______________
6.) The vocabulary is appropriate, varied
and broad in range so as to be precise and
expressive. Idioms are used properly and
there are no examples of “franglais.” (10)
_______________
7.) General rules of grammar are
16
observed and sentences are well constructed
(e.g. subjects and verbs agree, pronouns are
used correctly, appropriate and consistent use
of verb tenses). (15)
_______________
8.) Overall, the presentation is
coherent, original, and well structured,
with clear transitions indicating careful
preparation. (10)
_______________
9.) Reaction/Appropriateness of
responses to questions. (10)
________________
Total points earned
________________
Instructor Comments: