Fall Quarter
| Dept | Course No and Title | Instructor |
|---|---|---|
| FRENCH (F25) | 1A FUNDAMENTALS | MIJALSKI, M. |
| No detailed description available. | ||
| FRENCH (F25) | 1A FUNDAMENTALS | MIJALSKI, M. |
| No detailed description available. | ||
| FRENCH (F25) | 1A FUNDAMENTALS | MIJALSKI, M. |
| No detailed description available. | ||
| FRENCH (F25) | 1A FUNDAMENTALS | MIJALSKI, M. |
| No detailed description available. | ||
| FRENCH (F25) | 1A FUNDAMENTALS | MIJALSKI, M. |
| No detailed description available. | ||
| FRENCH (F25) | 1C FUNDAMENTALS | MIJALSKI, M. |
| No detailed description available. | ||
| FRENCH (F25) | 2A INTERMEDIATE | MIJALSKI, M. |
| No detailed description available. | ||
| FRENCH (F25) | 2A INTERMEDIATE | MIJALSKI, M. |
| No detailed description available. | ||
| FRENCH (F25) | 2A INTERMEDIATE | MIJALSKI, M. |
| No detailed description available. | ||
| FRENCH (F25) | 10 PEER TUTOR PROGRAM | MIJALSKI, M. |
| No detailed description available. | ||
| FRENCH (F25) | 50 BAD TASTE | BEY-ROZET, M. |
| Bad Taste! Camp, Vulgarity, and Gore in French Popular Culture Over the years, France has carefully cultivated an image of refinement and high-class through its robust luxury industry, world-renowned cinema and literature, and sophisticated culinary tradition. Yet behind this glittery facade is an equally venerable tradition of vulgar media: films, novellas, drawings that either help make the distinction between "good" and "bad" taste, or blur the line between them. This course will consider "bad taste" media in France, its potential for political subversion and, conversely, how bad taste can also consolidate the legitimacy of good taste. We will discuss a wide range of primary sources across multiple centuries, including works of literature, films, illustrations, and political cartoons, among others. | ||
| FRENCH (F25) | 102A GRAMMAR/COMPOSITION | STAFF |
| No detailed description available. | ||
| FRENCH (F25) | 119 19TH C FRENCH LIT | STAFF |
| No detailed description available. | ||
| FRENCH (F25) | 150 MIGRANT VOICES | BEY-ROZET, M. |
| From Alice Diop in France and Rosine Mbakam in Belgium to Fatih Akin in Germany and Arash T. Riahi in Austria, migrant and second-generation filmmakers have shaped and continue to shape European cinema. Initiatives like the film laboratory FunKino and Refugee TV Film Lab encourage young migrants to share their experiences through film, and at the same time risk funneling “migrant cinema” into formulaic narratives of hardship and persistence in the face of intolerance. What roles do national and European institutions play in shaping “migrant cinema”? What obstacles must first- and second-generation immigrants face to be successful on the art and mainstream circuits? Should the corpus of “migrant cinema” function as a genre, with its own codes and recurring themes? Or does this “genrification” of the migrant experience limit the breadth of identities constitutive of migrant cinema? | ||
| FRENCH (F25) | 199 INDEPENDENT STUDY | BEY-ROZET, M. |
| No detailed description available. | ||
| FRENCH (F25) | 199 INDEPENDENT STUDY | FARBMAN, H. |
| No detailed description available. | ||
| FRENCH (F25) | 199 INDEPENDENT STUDY | LITWIN, C. |
| No detailed description available. | ||
| FRENCH (F25) | 199 INDEPENDENT STUDY | NOLAND, C. |
| No detailed description available. | ||
| FRENCH (F25) | 199 INDEPENDENT STUDY | VAN DEN ABBEEL, G. |
| No detailed description available. | ||