Winter Quarter
| Dept | Course No and Title | Instructor |
|---|---|---|
| FRENCH (W26) | 1B FUNDAMENTALS | MALANDAIN, J. |
| No detailed description available. | ||
| FRENCH (W26) | 1B FUNDAMENTALS | AYOUTI, T. |
| No detailed description available. | ||
| FRENCH (W26) | 1B FUNDAMENTALS | MIJALSKI, M. |
| No detailed description available. | ||
| FRENCH (W26) | 1AB INTENSIVE FRENCH | MIJALSKI, M. |
| No detailed description available. | ||
| FRENCH (W26) | 2B INTERMEDIATE | MIJALSKI, M. |
| No detailed description available. | ||
| FRENCH (W26) | 2B INTERMEDIATE | KLEIN, L. |
| No detailed description available. | ||
| FRENCH (W26) | 2AB INTENSIVE FRENCH | MIJALSKI, M. |
| No detailed description available. | ||
| FRENCH (W26) | 10 PEER TUTOR PROGRAM | MIJALSKI, M. |
| No detailed description available. | ||
| FRENCH (W26) | 102F INTL RELATIONS | MOURAD, G. |
| French for International Relations This is an intermediate-level French course designed for students interested in a career in international relations, global governance, diplomacy, and humanitarian work in France and the French-speaking world. This class focuses on developing students’ proficiency in professional French used in international relations, humanitarian organizations, and diplomacy with an emphasis on oral communication through the completion of simulated professional tasks in a professional context. Through authentic materials—such as speeches, reports, and press releases from institutions like the United Nations, the embassy of France and other Francophone nations, French and francophone cultural organizations, and NGOs—students expand their vocabulary and deepen their cultural understanding of francophone diplomatic practices. Emphasis is placed on oral communication, formal writing, and intercultural competence essential for careers in international relations. Students will engage in simulations of negotiations, press conferences, and policy briefings conducted in French. The course also explores contemporary global issues through a francophone lens, fostering critical thinking and linguistic precision. By the end of the semester, students will be equipped to communicate effectively and confidently in professional French within international and humanitarian environments. The course is taught entirely in French. Pre-requisite: successful completion of FR2A and concurrent enrollment in FR2B. Cross-listed with Global Cultures 103B. | ||
| FRENCH (W26) | 116 RENAISSANCE PROSE | VAN DEN ABBEEL, G. |
| Résumé du cours : Lecture et discussion des principaux auteurs, thèmes, et mouvements de la poésie française depuis la fin du moyen-âge jusqu’aux débuts du classicisme (15e - 17e siècles). Cette période d’extrême richesse littéraire correspond avec ce qu’on appelle la Renaissance française, époque – un peu comme la nôtre – démarquée de changements rapides et mêmes violents, y compris l’expansion globale du commerce et de la navigation, l’invention de l’imprimerie et la technologie du livre moderne, la Réforme de l’église et les guerres de religion, la centralisation du pouvoir dans le roi comme personnification de l’état-nation, le déclin du latin et la montée des langues nationales dans les professions et dans l’expression littéraire. C’est aussi le moment de l’humanisme qui se distingue de la théologie et de la mythologie en proposant les valeurs modernes de la science, de la civilité, de la pensée critique, et de l’auto-expression personnelle. Dans ce contexte, la Renaissance française se situe à mi-chemin entre les Renaissances italiennes et anglaises, ou entre Pétrarque et Shakespeare. Finalement, on désigne la fin de cette période en France comme l’ère du « baroque » pour son goût accroissant pour le grotesque, l’étrange et le bizarre en tant que tels. On lira des sélections de François Rabelais, La vie très horrificque du grand Gargantua ; Marguerite de Navarre, L’Heptaméron ; Etienne de la Boétie, Discours de la servitude volontaire ; Michel de Montaigne, Essais. Course Summary: Readings and discussion of major authors, themes, and movements in French literature from the end of the Middle Ages to the beginning of Classicism (15th- 17th centuries). This period of extraordinary literary riches corresponds to what we call the French Renaissance, an era, much like our today, marked by rapid and even violent change, including the global expansion of commerce and navigation, the invention of the printing press and the technology of the modern book, the Reformation and religious wars, the centralization of power in the king as the personification of the nation-state, the decline of Latin and the rise of national languages both in the professions and in literary expression. This is also the moment of Humanism as a mode of thought distinguishing itself from both theology and mythology by proposing the modern values of science, civic-mindedness, critical thinking, and self-expression. In this context, the French Renaissance stands halfway between the Italian and English Renaissance, or between Petrarch and Shakespeare. Finally, the latter part of this period in France is designated as the era of the “Baroque” on account of its increasing taste for the grotesque, the strange, and the bizarre as such. Readings to include selections from François Rabelais, La vie très horrificque du grand Gargantua; Marguerite de Navarre, L’Heptaméron; Etienne de la Boétie, Discours de la servitude volontaire ; Michel de Montaigne, Essais. | ||
| FRENCH (W26) | 120 FEAR AND LOATHING | BEY-ROZET, M. |
| Fear and Loathing on the Western Front: WWI French Literature More than 40 years after its humiliating defeat against Prussia, France saw in what would later be known as “The Great War” a chance to defeat Germany and recover its honor. But the unprecedented violence of the battlefield, exacerbated by the use of “modern” armaments, quickly disillusioned all the parties involved. The groundbreaking publication of Henri Barbusse’s Le Feu in 1916 triggered a new way of representing war in literature: narratives where horror and cowardice, rather than patriotic heroism, are the norm. Novelists, poets, and journalists shared a set of questions: how can one represent the war authentically? What can literature do to change national consciousness? Does literature have an ethical duty to bear witness and remember? We will read and discuss several French novels and poems written by WWI combat veterans in order to learn about the living conditions of soldiers on the frontlines, the political and social conflicts the war uncovered, and the relationship between literature and memory. Course entirely taught in French. | ||
| FRENCH (W26) | 150 MYTHOLOGIESOFPARIS | AYOUTI, T. |
| Mythologies of Paris Few cities have been as relentlessly estheticized, romanticized, and theorized as Paris. Across literature, cinema, photography, advertising, and tourism, the French capital has been imagined less as a lived space than as a symbolic surface: a screen for projecting fantasies of love, style, freedom, modernity, or revolution. This course explores how Paris functions as a dense cultural signifier, structured by what Roland Barthes called mythologies—narratives and images that transform historical, social, and political realities into self-evident truths. Rather than treating these representations as secondary to urban experience, we will analyze them as central to how the city is perceived, inhabited, and consumed. Our focus will be on five intersecting myths that organize the global imaginary of Paris: the city of love and romance; the capital of fashion; the bohemian and artistic haven; the city of exiles and outsiders; and finally, the city of light, whose universal ideals often obscure its racialized and postcolonial realities. Through close readings of literary texts, visual media, and critical theory, we will ask how these myths emerge, circulate, and persist. The course invites students to read the city not only as a physical space but also as a semiotic and ideological construction in which beauty often masks violence and desire coexists with exclusion. | ||
| FRENCH (W26) | 160 LIM OF VIS PLEASURE | BEY-ROZET, M. |
| French 160: Limits of Visual Pleasure When we watch movies, it's often because we're seeking entertainment and escapism. How do we confront films that do the opposite--"feel-bad" films that contest the idea that viewing film should be a pleasurable activity? In this class, we will explore the limits of visual pleasure in cinema and the ethical ramifications of taking pleasure in (and out of) watching films that challenge our expectations of cinematic "feel-good" entertainment, from horror films to the canon known as "extreme cinema": films that intentionally frustrate, bore, and otherwise offend our aesthetic and narrative sensibilities. While much of the scholarly conversation around "new extremism" in film has centered around French cinema, we will consider European filmmakers across the continent, from Michael Haneke to Lars Von Trier, who have been instrumental in shaping what we broadly know as feel-bad or extreme cinemas. | ||
| FRENCH (W26) | 199 INDEPENDENT STUDY | BEY-ROZET, M. |
| No detailed description available. | ||
| FRENCH (W26) | 199 INDEPENDENT STUDY | FARBMAN, H. |
| No detailed description available. | ||
| FRENCH (W26) | 199 INDEPENDENT STUDY | LITWIN, C. |
| No detailed description available. | ||
| FRENCH (W26) | 199 INDEPENDENT STUDY | NOLAND, C. |
| No detailed description available. | ||
| FRENCH (W26) | 199 INDEPENDENT STUDY | VAN DEN ABBEEL, G. |
| No detailed description available. | ||