Preface

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How often have you tried to integrate French films into your first-year
French course and found the language too difficult for your students
to comprehend? How many times have you been disappointed by the French
videos offered with other textbooks? Would you like your students to watch a French
film that they can actually understand, and one that will help them learn about
French language and culture? If so, this program is for you!
The Débuts / Le Chemin du retour
Program: What Is It?
The textbook, Débuts, and the film, Le Chemin du retour, are
a completely integrated film-based introductory course for
learning French language and culture.
A two-hour feature-length film, Le Chemin du retour is
the story of a young television journalist, Camille Leclair,
and her pursuit of the truth about her grandfather’s
mysterious past. Through Camille’s quest, students learn
language and culture in the functional context provided
by the story.
Unlike other textbook/video programs in which the video
component is thematically, functionally, or grammatically
driven, and thus self-consciously pedagogical, this program
has been developed so that the textbook is a complement to
the film. The film narrative is what drives the scope and
sequence of vocabulary and grammar, the presentation of
culture, and the development of reading and writing. This
does not mean, however, that these items are presented in a
random fashion. Rather, the screenwriter worked within the
authors’ pedagogical framework but did not let it limit his
creative expression. He did a wonderful job of writing a
good story while still honoring the major steps in learning
the French language.
The textbook/film package grew out of the authors’
conviction that language learning is more than just learning
skills: it is also a process in which understanding of culture
must surely occupy a central position. Therefore, Débuts and
Le Chemin du retour emphasize the importance of cultural
awareness and understanding, not only of the French culture,
but also of the student’s own culture.
Equally important, the authors strongly believe in the
principles of communicative competence. Débuts gives
students a solid foundation in the structure of the language,
stressing acquisition of high-frequency grammar, vocabulary,
and functional language. In addition, students come to view
listening, reading, and writing as active tasks, requiring meaningful interaction as well as high-order cognitive processing.
The Goals of the Program
The overall goal in Débuts is to move students toward communicative competence while guiding them toward intercultural sophistication. Included in this framework are the
following student objectives:
• to communicate orally and in writing in natural-sounding
•
•
•
•
•
French and in culturally appropriate ways
to read with comprehension both informational and
literary texts taken from authentic French sources
to understand French when spoken by a variety of people
using authentic speech patterns and rates of speed
to increase awareness and understanding of cultural
institutions and culturally determined patterns of behavior
to develop critical-thinking skills as they apply to language
learning
to link language study to broader and complementary
discipline areas
Preface
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Cultural Competence
New to the Third Edition
Débuts had its origins in the desire to provide students with
a stimulating, culturally rich set of tools for the acquisition
of French. Cultural content was thus a central concern in the
devising of the plot of Le Chemin du retour, and it has been
integrated into every section of the text. Through the film,
students have the opportunity for intensive exposure not
only to the language and communicative habits of French
speakers, but also to the visual culture of objects and nonverbal communication and to the auditory culture of music
and the sounds of everyday life.
The approach to culture in Débuts is content-based.
Themes treated in the sections specifically devoted to culture
derive from the film but consistently move students toward
the big questions of culture, stimulating them to consider
matters that are of concern to all people, whether or not
they ever travel to the French-speaking world. The authors
have made culture a “hook” in this program, to generate
interest in longer-term language study and to place the study
of language and culture within the larger context of a
humanistic education. The cultural content of Débuts aims
to be thought-provoking and to expand students’ horizons
beyond simple “travelogue” facts toward understanding the
roots of cultural differences.
In response to feedback about the second edition of Débuts,
we have made the following changes to the new edition:
• Vocabulary has been revised to help students move beyond
•
•
The National Standards
With its integrated, multifaceted approach to culture, Débuts
exemplifies the spirit of the National Standards* of foreign
language education. By watching the characters in the film
perform routine tasks and interactions and by grappling with
complex issues of history and identity, students are exposed
to a multiplicity of products, processes, and perspectives.
Through the presentation of functional language, role-play
activities, and personalized activities, as well as an emphasis
on listening comprehension, Débuts emphasizes communication. Documents, readings, and other exploratory activities
help students make connections between their study of
French, other discipline areas, and their own lives. As for
culture, the Regards sur la culture and Synthèse sections in
the textbook provide sustained opportunities for hypothesis
and analysis, inviting students to make connections between
beliefs, behaviors, and cultural artifacts. Ample opportunities
are also provided for cross-cultural comparisons in the
follow-up activities to the Regards sur la culture and Synthèse
sections. Finally, web-based and experiential activities allow
students to explore the many types of communities inherent
in the French-speaking world.
•
discussion of the film, Le Chemin du retour, to related
contemporary topics. For example, common university
courses are now presented earlier, in Chapters 1 and 2.
In Chapter 19, a new vocabulary section on protest and
peaceful change has been added to supplement the current
presentation on World War II and the Resistance. Other
new, expanded, or updated vocabulary topics include
technology (Chapter 13), the immigrant contribution
to French culture (Chapter 15), ecology and other
environmental issues (Chapter 18), and job hunting
(Chapter 20).
Grammar activities have been revised throughout to
provide more opportunities for partner work and
meaningful student interaction. In the Instructor’s Edition,
new input activities have been introduced into each
chapter to allow for an immediate check on student aural
comprehension of new grammar points.
In order to provide more exposure to the Francophone
world in both cultural and social contexts, we’ve added
eight new readings in this edition. New topics include
nonverbal communication (Chapter 3), Tunisian holidays
and celebrations (Chapter 5), Swiss youth fashion (Chapter 6),
healthcare in the Francophone world (Chapter 9), and
Malian music (Chapter 21). We have also included the
lyrics to three songs about the Francophone experience:
“Jolie Louise” from Québécois composer Daniel Lanois
(Chapter 2); “Réveille,” Zachary Richard’s ode to the
Acadian expulsion of the French and their exodus to
Louisiana (Chapter 11); and Jean-Jacques Goldman’s
“Ton Fils,” a moving ballad about the immigrant
experience in France (Chapter 20).
In conjunction with these new textbook readings, a playlist
of songs has been created in iTunes† to coordinate with
the Débuts program and give students still more exposure
to the vast diversity of music and culture in the
Francophone world.
• Notez bien! and Pour en savoir plus marginal boxes, along
•
with the Regards sur la culture section, have been revised
throughout to include new social developments,
technological advancements, and updated statistics.
The Visionnement 1 section of previous editions, which
provides previewing activities for each episode of Le
Chemin du retour as well as vocabulary needed for
*Standards for Foreign Language Learning: Preparing for the 21st Century (1996, National Standards in Foreign Language Education Project). The standards
outlined in this publication were established by a collaboration of the American Council on the Teaching of Foreign Languages (ACTFL), the American
Association of Teachers of French (AATF), the American Association of Teachers of Spanish and Portuguese (AATSP), and the American Association of
Teachers of German (AATG).
†
iTunes is a trademark of Apple Inc.
xxviii
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comprehension of the story, has been renamed À l’affiche
(Now Playing). The Visionnement 2 section is now called
À revoir and can be found on the Débuts website along
with postviewing activities from the workbook.
Structure of Le Chemin du retour
Le Chemin du retour is available in a Director’s Cut version
that is the uninterrupted, full-length feature film. The
Instructional Version of the film, however, divides the story into
a preliminary episode, twenty-two story episodes, and an
epilogue. Except for the Épisode préliminaire, which introduces students to the concept of learning French through
film, each episode of Le Chemin du retour follows the same
three-step format.
1. Students watch and participate in on-screen previewing
activities.
• Vous avez vu… Scenes from previous episodes are used
•
to remind students about main events in the story that
will help them understand the new episode.
Vous allez voir… New narrative introductions of
several important moments in the upcoming episode
give students an idea of what they will see and hear in
the episode. When expressions from the textbook
feature Vocabulaire relatif à l’épisode appear, they are
highlighted in the subtitles. Multiple-choice and True/
False questions allow students to focus their viewing.
2. Students view the complete episode.
3. Students watch and participate in on-screen postviewing
activities.
• Vous avez compris? Scenes from the episode are used
in a variety of multiple-choice and true-false activities
to help students verify their comprehension of the main
ideas and the plot of the episode they’ve just viewed.
Students who didn’t understand an important point as
they viewed the episode will find they understand more
after doing these activities.
• Langue en contexte A transition back to the textbook,
this section identifies for students the language
functions and structures they will learn about in the
textbook. Appropriate scenes from the film are subtitled
in French and the targeted grammar and vocabulary are
highlighted in yellow.
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• Finally, this edition of Débuts features a fresh, modern
design inspired by French film magazines.
Using Le Chemin du retour in a
Classroom Setting
The film, Le Chemin du retour, can be used as the foundation for a classroom-based beginning French course at the
college level. As such, it offers several options for implementation. For example, an instructor may
• use the textbook, Débuts, and the film in class, assign most
•
•
of the material in the Workbook / Laboratory Manual for
homework, and follow up selected homework activities
with discussions in class.
use only the textbook in class, and have students view the
film episodes at home, in the media center, or in the
language laboratory.
use the Student Viewer’s Handbook with the film either by
itself or to accompany other print materials.
Options for Using Le Chemin
du retour
The film, Le Chemin du retour, can also be used
• in a distance learning course.
• as an offering for adult or continuing education students.
• as the foundation for French courses at the high school
•
•
•
•
level.
as a supplement to beginning, intermediate, or advanced
courses, at all levels of instruction.
as a resource for informal learning.
as training materials for French-language classes in
business and industry.
as a significant addition to library movie collections.
Preface
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Camille Leclair
Mado Leclair
Bruno Gall
Rachid Bouhazid
A young television
journalist who searches
for the truth about her
grandfather’s past.
Camille’s mother, who
fears the truth and wants
to keep her father’s
history hidden forever.
Camille’s cohost on the
morning television
show “Bonjour!”.
A new reporter at
“Bonjour!” who, with
his family, must adjust
to a new life in Paris.
Louise Leclair
Martine Valloton
Hélène Thibaut
David Girard
Camille’s grandmother,
who encourages her
granddaughter to pursue
her quest for the truth.
Producer of “Bonjour!”
who has to risk her job
to support Camille’s
determination to find out
about her grandfather.
A journalist from Quebec,
and friend of Bruno and
Camille.
Historian, friend of
Bruno, who researches
information about
Camille’s grandfather.
Alex Béraud
Sonia Bouhazid
Jeanne Leblanc
Roland Fergus
A musician who plays
in the Mouffetard
Market. Friend of
Louise, Mado, and
Camille.
Wife of Rachid and
mother of their daughter,
Yasmine.
A woman who knew
Camille’s grandfather
during the time of the
German occupation of
France.
A man who worked with
Camille’s grandfather
during the German
occupation and who
holds the key to the
truth.
Preface
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A Guided Tour of the Textbook
Débuts, the textbook, is clearly organized and easy to use. The chapters are coordinated with the individual episodes of the film. Each of the twenty-two main chapters consists of the following self-contained
teaching modules, which maximize flexibility in course design. The preliminary chapter, containing a
slightly different structure, introduces students to basic vocabulary and provides an overall framework
for using the film.
Chapter Opener
Vocabulaire en contexte
Chapter learning goals prepare students for what is to come
in the chapter and in the accompanying movie episode.
Thematically grouped vocabulary is presented in culturally
informative contexts with drawings and scenes from the
movie. It is accompanied by activities that promote vocabulary development.
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Pour parler des personnes°
Pour… Talking about peopl
Suggestion: Check www.mhhe.
com/debuts3 for additional
activities, including links to other
websites.
Film connection: The following
vocabulary from this presentation
will be heard in Episode 2: amusant,
bon, capable, difficile, formidable,
grand, important, inquiet,
magnifique, mais, parisien, prêt,
ridicule, super, vrai.
Film connection: Bruno and
Camille are two characters who
are introduced in Episode 2.
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Comment est° Bruno?
Bruno est un bon° journaliste parisien à Canal 7.
Il est…
capable.
dynamique.
important.
Selon la productrice,° Bruno est…
souvent° amusant.
sympathique.*
Comment… What is . . . like?
work
prêt… ready to start / But / worried
good
producer
often
heureux.°
parfois° difficile et ridicule.
Selon le public, il est…
super.
.
A. Descriptions. How would you describemagnifi
theseque
people?
Choose words from the list or
formidable.°
other adjectives of your choice.
Il n’est pas sans° charme.
Et il dynamique,
n’est jamais ennuyeux
.° heureux, important, inquiet,
Vocabulaire utile: amusant, capable, difficile,
grand,
Selonsympathique
Camille, Bruno est un vrai Français° et un bon ami.
intelligent, intéressant, ridicule, stupide, super,
happy
sometimes
Activités
lture
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Selon° Yasmine, papa est grand° et très intelligent. Le travail° de
Rachid est intéressant. Il est prêt à commencer.° Mais° il est
inquiet° pour Yasmine.
• talk n how the gualism Canadian
lin
• lear about bi lyrics to a
• read learn the
and
terrific
without
boring
vrai… true Frenchman
Le diplomate est…
Le diplomate est important et capable.
MODÈLE:
5
q 3
-cin
trente
*The adjective sympa, which you learned in Chapter 1, is a shortened form of sympathique.
36 Chapitre 2 trente-six
1. Le clown est…
2. L’acteur est…
3. Le professeur est…
Now tell what these people are not.
MODÈLE: Le diplomate n’est pas…
Le diplomate n’est pas ridicule
Débuts
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This section provides pre- and postviewing activities that
supplement those found on-screen in the movie episode, as
well as vocabulary needed for comprehension and questions
that focus students’ attention on what to watch and listen for
in the story.
/08
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43x
that knowing the
professional relati
onships of these
people may help
them understand
later events in the
film. If s
tudents are still
tentative about
the identities of
people, you can
go over them now
and suggest
that students confi
rm them during
a second viewing.
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2. présente 3. Cami
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5. prêt 6. pain 7.
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9. Montréal 10. méda
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Act. A, Suggestio
n: Students may
ask you to
explain the differenc
e between journaliste
reporter for this activi
and
ty. It is enough to
explain
that the journalistes
are rather like edito
rs, and in
this case, hosts of
the TV show, where
as the
reporter works for
them and does the
research
they need to prepa
re their shows.
Act. A, Answers:
1. e 2. d 3. a 4. b
5. c
a. la productrice
d. un journaliste
b. un reporter cana
français
dien
e. une journaliste
c. un nouveau (
française
new) reporter
B. Qu’est-ce qui
se passe? (Wha
by filling in the
t’s happening?) Com
blanks with the appr
plete the summary
opriate word from
of Episode 2
the list of useful
Vocabulaire utile
vocabulary.
: béret, Camille,
Canal 7, content,
présente, prêt, test
émission, médaillo
n, Montréal, pain
,
Rachid arrive à
1
. Martine, la prod
2
uctrice,
travailler b avec
3
ses nouveaux a collè
et Bruno.
gues. Rachid va
Aujourd’hui,c pend d
ant l’émission «Bon
jour!», Camille et
parisien. Il y a un
4
Bruno interviewent
sur le pain: pain
un boulanger
artisanal ou pain
pour le test. Il iden
industriel? Bruno
6
tifie le
5
est
artis
anal
,
et il gagne e le
n’est pas
7
8
.
de la semaine f…
mais il
Hélène, une amie
de Bruno, arrive
9
de
.
tard, h Camille cher
Brun
o est très content
che son i
10
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a
ses… his new bva…
will be working
c
Today dduring ewins f
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her again
h
Plus… Later iher j
Where
40 Chapitre 2
quarante
ez!
er v
Obs
•
V
. —D
s in
term arisien .
The nger p le pain
r
la
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ie
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Structure
06
8
2/0
/2
7 8
Pronunciation:
Pronunciation of
venir is presented
and practiced
in the Audio Progra
m and the
Workbook/Laborato
ry Manual. For
now, you may wish
to model the
pronunciation of
each form and
point out that the
singular forms
all sound alike.
s2
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4:2
12:1
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Pag
Three grammar points per chapter are introduced through
clear and concise explanations and examples from the movie.
Grammar points are accompanied by a wide range of practice, from controlled and form-focused to open-ended and
creative communicative activities.
dd
3.in
7
6-0
_05
Optional: You may
wish to tell
students that the
irregular verb
venir has three stems
. The first
stem, vien-, occurs
throughout the
singular. The secon
d stem ven-,
occurs in the firstand secondpersons plural. The
third stem,
vienn-, is found in
the third-person
plural. As with other
verbs, only
the endings for the
nous
forms are pronounced and vous
.
e
e
c
l
d
p
tab
com
the
res
in li
e Fr
peo
ocia
r, sta h so
etim
ccep
ultu tance s (som smalle Frenc g. Th she is before tain s stood
re a
r
r
is
in
e
e
e
cin
mo eat is a
he d intanc s to b counte an spa h he o a room ria ma o hav
s
uch
ok
h
e
ic
s
en
ua
nd
is m le café ople lo r
acq nce te ricans Americ ith wh acros as Alg icans w
s
r
rst
b
e
e
ge
y
r
he fi ricans
forta ay p e oth t,”
tran
dista Ame n with pace w the wa s such Ame
e
n: T
s
th
at s a com the w On th n’t exis s.
stio rth Am akes
ie
g
que
h
o
Nor situatio sh the ed all countr . North g.”
in
nal me N handsh ne
tar g from le wit street. ey do tranger
k
h
S
io
in
li
c
c
e
.
n
it
h
f
a
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eo
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d
o
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th esta
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as b Afric e Fre as pu
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h
r
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m ple-w nco
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do “as th ntact
a
t
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one
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la
tial
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ing
to th take p is tha e. Wh
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oten and pe ans are e walk ey feel y eye c
p
m
p
t
u
ti
p
a
r
t
a
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ro
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m
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rth
thin
ans try to ssary?
ofte anagem n in N rance, close in No s for a
you
eric
e
tha
Am nt to nnec
ther that
In F
em
rule
orth you wa t be u
• Ey Francepastime. from ra ple say e social
tN
a
in
em h peo of th
al
spo ould uld th
m
th
r
to
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e
t
s
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asy road, , or wo
Fren ecau
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ér
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ave
Con eople h y walk a s of the
yp
the
abit
Man e way erbal h be?
v
by th e non ould it
w
to th hard
How
r
eni ement
ev
erb g mov
v
Le
sin
res
Exp
Act. A, Note: Explai
n, if
necessary, that the
Alliance
française is an intern
ational
organization that
organizes French
courses for foreig
ners. It has
offices in many count
ries.
Input activity: Qui
est-ce? Read
the following senten
ces aloud to
your students and
have them
indicate whether
a man or a
woman is speaking
(or is being
spoken about). If
it is impossible
to tell, they should
indicate “Je ne
sais pas.” Script: 1.
Je suis canadien.
2.Tu es anglaise. 3.
Je ne suis pas
parisienne. 4. Je suis
marocaine°
5. Tu es vietnamien?
6. Je suis
américain. 7. Vous
êtes française?
Reminder: These
exercises have
been purposely constr
ucted to
avoid the need for
students to
produce geographic
prepositions,
which are presen
ted in Chapter 14.
u
et t a?
ç
azid
ouh , c’est
id B
ach arseille
sR
u e de* M
T
—
s
no.
n
ru
ie
v
,B
t ça
’es
—C
-sep
ante
soix
te:
*No
xxxiv Débuts
use
The
ns
sitio
repo
of p
is
mes
l na
hica
grap
geo
with
in
nted
prese
pter
Cha
14.
68 Chapitre 3
soixante-huit
When Bruno first
meets Rachid, he
uses the verb venir
to verify where he
comes from.
venir (to come)
je viens
tu viens
il, elle, on vien
t
nous
vous
ils, elles
venons
venez
viennent
Tu viens avec moi,
non?
You’re coming with
Nous venons au
me, aren’t you?
studio ensemble.
We come to the studi
1. The verbs deve
o together.
nir (to become) and
revenir (to come
venir.
back, return) are
conjugated like
Camille devient
silencieuse et
Camille becomes
elle part.
silent and walks
away.
Mais elle revient
pour parler à
But she comes back
Rachid.
to talk to Rachid.
2. To express wher
e a person is comi
ng from, use venir
de.
Remember−The
preposition de contr
acts with the masc
Rachid vient du
bureau. Nicole et
uline and plural
Martine viennent
definite articles:
de la régie.
3. The constructi
on venir de 1 infi
nitive means to have
sometimes referred
just done something
to as the immediat
. This is
e past.
Hélène vient d’arr
iver.
Hélène (has) just
Martine vient de
arrived.
trouver le
Martine (has) just
médaillon.
found the locket.
Act ivit és
A. À l’Alliance
fran
çaise. The follow
Complete the sente
ing students are
nces to say what
at the Alliance franç
country or regio
aise in Paris.
n they are from.
MOD ÈLE: Lisa
habite à New York
. Elle vient des États
-Unis.
1. J’habite à Lond
res (London). Je
d’Angleterre.
2. Nous habitons
à Alger. Nous
d’Algérie.
3. Tu habites à Madr
id. Tu
d’Espagne.
4. Mitsuko habit
e à Tokyo. Elle
du Japon.
5. Linda et Ford
habitent à Montréal.
Ils
du Canada.
6. Vous habitez
à Berlin. Vous
d’Allemagne.
B. À Canal 7.
Complete these sente
nces with a form
of the verbs venir
1. Le vrai pain franç
, revenir, and deve
ais
de plus en plus (
nir.
more and more)
2. Et les Français
difficile à trouver.
de moins en moin
s (less and less) capab
3. «Hélène
les de reconnaître
du Canada. D’où
un bon pain.
est-ce que tu
4. «Et Camille et
, Rachid?»
toi, d’où est-ce que
vous
, Bruno?»
is3ch03
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La famille françai
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Introduction
se du XXI e siècle 1
La famille fran
çaise se caractér
ise par la trad
vie 4 sociale et
ition et la nou
on continue
veauté. 2 Elle
à célébrer la
aurait tort 5 de
reste la cellule 3
famille (fête des
généraliser.
de la
mères, fête des
pères). Mais
on
Ré
flexion de la
société
ily.
s
fam
Doe
nch
ily?
La famille fran
fam
e Fre
çaise reflète la
h
th
c
f
diversité des
no
conditions soc
Fren .
o
e
ti
M
io-économiqu
2P
olu
of th xplain
2:2
es de la société
entière. Sous
e ev
on
6:5
luti tral? E
l’influence des
in th
u
evo
conditions de
xpla
elle se transfor
the ain ne
vie,
at e
me
rd
.
th
Il y a des cris
m
a
es internes et
tow
les conflits ent
or re
ctors
re génération
ude rove,
e fa
s. La femme
attit
pp
thre
vie plus indépe
a une
or’s y, disa
me
nda
a
th
nte
N
qu’
u
il
6
autrefois; les
s’émancipent
e a ” fam
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ual.
enfants
de plus en plu
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Man
s tôt. 7
Exp
hat the “ne
tory
C.
s. W
f
bora
ent rove o
k/La
em
La transform
boo
Jug e app
rk
.
Un déjeuner
o
h
D
ation récente
en plein air en
eW
he/s
famille
in th
le)
Depuis8 trente
mil
ans, le nombre
e fa
n
des
(u
mente. Autre
mariages dim
r4
inu
phé
e.
nom
Par
te
ène
allè
lement, le nom
récent: le dévelop
ap
de 17% des cou
bre des divorces
r Ch
pement de l’un
ples qui cohabit
e fo
augion libre ou coh
ent. Conséquenc
naissances hor 9
crir
abitation. Ce
e de ce phénom
s mariage. Il
Àé
sont près
Do
faut ajou 10
ène
75
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Other features
ter aus
: 30% des nais
si la multiplica
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sances sont des
tion des familles
coexistence de
ther
monoparentale
conceptions très
mo ew
s. Ces
h
différentes de
nep e
la vie familial
e.
c
ie
s
n
tive
le 1 reThe
Adapté du Nou
unc n8tsLa…
; la French family in the
ère
veau Guide Fran
2
9
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643x_ch
6 Ch
apitr
The chapter culminates in a synthesis section, which alternates between cultural presentations and readings, many of
which are song lyrics and literary selections. Prereading strategies and postreading comprehension
activities help students develop reading
skills. A writing activity (À
écrire) follows in the Workbook / Laboratory Manual.
re
is3%0/s
Notez bien!
These marginal notes highlight important details about
grammar and vocabulary that students are expected to learn.
Pour en savoir plus
These marginal notes contain optional information about
culture, vocabulary, and grammar.
Débuts
xxxv
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Program Components
As a full-service publisher of quality educational products, McGraw-Hill does much more than just sell
textbooks to students; we create and publish an extensive array of print, video, and digital supplements
to support instruction on your campus. Orders of new (versus used) textbooks help us to defray the
substantial cost of developing such supplements. Please consult your local McGraw-Hill representative to
learn about the availability of the supplements that accompany Débuts.
Books and Multimedia Materials Available to Adopters and to Students
Student Edition
The Débuts textbook is correlated with the individual
episodes in the film, Le Chemin du retour, and contains vocabulary presentations and activities; pre- and postviewing
activities; grammar explanations and practice activities;
songs; cultural, historical, and literary readings; and preand postreading activities.
Le Chemin du retour
• Director’s Cut: The full length, uninterrupted two-hour
film is available on DVD. The Director’s Cut DVD version
can be viewed with or without French subtitles.
• Instructional Version: This version, available on DVD and
on the Centro website (www.mhcentro.com) divides the
film into 24 episodes and includes onscreen pre- and
postviewing activities. From the main menu of the DVD,
instructors may choose to watch the episode with or
without the pre- and postviewing activities.
CourseSmart eTextbook
CourseSmart is a new way to purchase the Débuts eTextbook.
At CourseSmart you can save up to 50% off the cost of a
print textbook, reduce your impact on the environment, and
gain access to powerful web tools for learning. CourseSmart
has the largest selection of eTextbooks available anywhere,
offering thousands of the most commonly adopted textbooks from a wide variety of higher education publishers.
CourseSmart eTextbooks are available in one standard
online reader with full text search, notes and highlighting,
and email tools for sharing notes between classmates. For
further details contact your sales representative or go to
www.coursesmart.com.
xxxvi Débuts
Workbook / Laboratory Manual
The Workbook / Laboratory Manual Part 1 (Chapters P–11)
and Part 2 (Chapters 12–Épilogue) accompany the textbook.
Each chapter is divided into sections that follow the organization of the main textbook. Each section, as appropriate,
may contain both workbook and laboratory activities. All
chapters provide practice in global listening comprehension,
pronunciation, speaking, vocabulary, grammar, reading,
writing, and culture.
Audio Program
For use with the laboratory activities in the Workbook /
Laboratory Manual, the audio CDs offer 13 hours of listening, oral communication, and pronunciation practice. The
Audio Program also contains the Vocabulary Audio CD,
which is the recorded version of the end vocabulary for each
chapter. The complete Audio Program can also be accessed
on the Débuts website (www.mhhe.com/debuts3).
Centro
Available to all those who purchase the Quia online
Workbook / Laboratory Manual, Centro (www.mhcentro.com)
is a new and exciting one-stop website that brings together
all the online and media resources of the Débuts program.
The Quia online version of the workbook is identical in
practice material to the print version, and has many added
advantages, such as self-correcting exercises and the integration of the audio program into the activities. In addition to
the online Workbook / Laboratory Manual, the Centro website
also offers access to the Instructional Version of Le Chemin du
retour and to the Online Learning Center website. Instructors
will find an easy-to-use gradebook and class roster system
that facilitate course management. They also get convenient
access to all of the Instructor Resources.
sis8643x_fm_i-xl.indd Page xxxvii 11/19/08 3:16:56 PM user-s205
Online Learning Center
A complete learning and teaching resource center for both
students and instructors, this website (www.mhhe.com/
debuts3) includes additional practice for each vocabulary
and grammar section of each chapter and offers supplementary cultural readings and web-based activities that extend
students’ knowledge of the cultural topics introduced in the
textbook.
In the previous edition, Visionnement 2 was divided
up between the main text and the Workbook / Laboratory
Manual. In the third edition, these previewing and postviewing cultural activities have been brought conveniently
together in the Online Learning Center, in the interactive
section entitled À revoir. In addition, the Dossier culturel
section, previously located in the Workbook / Laboratory
Manual has been placed with the Dossier culturel
activities that were already online. The Online Learning
/Volumes/203/MHSF069/mhsis3%0/sis3fm
Center also includes the maps from the book, an online tour
of the filming locations for Le Chemin du retour, and an
iTunes playlist. Instructor resources include the Instructor’s
Manual, the Audioscript, the Filmscript, the Testing Program,
the Online Picture File, and Powerpoint presentations of
grammar and vocabulary for each chapter.
Instructors have full access to all content via the Instructor’s Edition link on the home page of the Online Learning
Center website. Please contact your local McGraw-Hill sales
representative for your password.
Student Viewer’s Handbook
Ideal for those courses in which Le Chemin du retour is used
to supplement textbooks other than Débuts, the Handbook
offers a variety of pre- and postviewing activities for use
with the film.
Books and Multimedia Materials Available to Adopters Only
Instructor’s Edition
The Instructor’s Edition is identical to the Student Edition
except that it contains annotated suggestions, cultural information, additional vocabulary, as well as activity extensions
and variations.
Online Instructor’s Resources
Instructor’s Manual
The Instructor’s Manual provides additional background
information on the film, a tour of the Paris and Marseille
locations from the film with neighborhood maps as well as
sample lessons, syllabus planning, and scheduling suggestions. It also includes general teaching suggestions, chapterby-chapter teaching suggestions, and an Answer Key for
the Student Edition activities. New to the third edition is a
chapter of supplementary games and activities, with their
accompanying handouts. In addition, instructors will find
helpful suggestions for using the film as well as episode
summaries in English and French.
Audioscript
The Audioscript, which contains the complete recording
script of the Audio Program, can be downloaded from the
Instructor’s Edition of the Online Learning Center.
Online Picture File
The Online Picture File contains stills from the film designed
to stimulate conversation in the classroom.
Testing Program
The Testing Program consists of two sets of tests for each
chapter of Débuts, as well as quarter and semester exams. An
audioscript is provided for the Listening Comprehension
section of each test.
Débuts
xxxvii
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Acknowledgments
The authors and the publisher would like to acknowledge the
instructors across the country whose classroom experience
with the program provided us with such valuable feedback
for the preparation of the third edition. The appearance of
their names in this list does not necessarily constitute their
endorsement of the text or its methodology.
Course Survey Participants
We thank the fifteen French instructors who participated in a
general course survey conducted by McGraw-Hill. The results
of this survey helped shape and form this third edition of
Débuts and provided timely and useful information for other
projects currently in development.
Myriam Alami, Rutgers University
Bruce Anderson, University of California, Davis
Debbie Bell, University of Georgia
Becky Chism, Kent State University
Margaret Dempster, Northwestern University
Pascale Hubert-Leibler, Columbia University
Scott Jamieson, Memorial University of Newfoundland
Kathy Lorenz, University of Cincinnati
Yvonne McIntosh, Florida A&M University
Lori McMann, University of Michigan, Ann Arbor
Shawn Morrison, College of Charleston
Angelina Overvold, Virginia Commonwealth University
Sandhya Shanker, Michigan State University, East Lansing
Barbara Vigano, Mount San Antonio College
Sharon Wilkinson, Simpson College
Reviewers for Débuts, Third Edition
Rijasoa Andriamanana, University of New Mexico
Bernadette Beroud, Case Western Reserve University
Alexandra Braddy, Santa Fe Community College
April A. Bunch, Montgomery College
Florence Ciret-Strecker, Simmons College
Dr. Sara Jane Dietzman, Nebraska Wesleyan University
Jennifer Forrest, Texas State University, San Marcos
Laura Franklin, Northern Virginia Community College
Harry Gamble, The College of Wooster
Kathleen Hart, Vassar College
Frederick Hodgson, Chabot College
Martine Howard, Camden County College
Amy L. Hubbell, Kansas State University
Robert J. Jones, Fulton-Montgomery Community College
xxxviii Débuts
Véronique Meyer, Goucher College
John F. Moran, New York University
Dr. Martine Motard-Noar, McDaniel College
Corinne Noirot-Maguire, Virginia Polytechnic Institute
Carla Owings, University of South Carolina Upstate
Marina Peters-Newell, University of New Mexico
Françoise Sullivan, Tulsa Community College
The authors would also like to extend very special thanks to
the following organizations and individuals:
• David Murray and Ginger Cassell for their tireless work on
•
•
•
•
•
the creation, direction, production, and final editing of Le
Chemin du retour.
SAME Films in France for their efforts in producing this
film.
David Lang, for a beautiful script.
Karine Adrover, Denis Cherer, and the whole cast and crew
for a highly professional production.
Edge Productions for taking chances and for providing
support to get the filming started.
Cherie Mitschke, Austin Community College, for her
endless enthusiasm and creativity in writing the on-screen
postviewing activities.
Additional thanks to Catherine Coste, Claudette Pelletier
Deschesnes, Marie-Hélène Le Tuan, Jean-Michel Margot, and
Lise Nathan, who provided materials and consultation during
the development process.
Finally, the authors wish to thank the editorial, design,
and production staff at McGraw-Hill and their associates,
especially Peggy Potter, Leslie Oberhuber, and our former
editor-in-chief, Thalia Dorwick, for their guidance and
inspiration during the creation of the first edition. For this
third edition we would like to express our appreciation to
Sylvie Waskiewicz for her editorial work, to William R. Glass,
our publisher, Katherine Crouch, Susan Blatty, Nicole
Dicop-Hineline, Veronica Oliva, Jorge Arbujas, and our
terrific marketing team. We would also like to express our
gratitude to the production team: David Staloch, Anne
Fuzellier, Cassandra Chu, Rich DeVitto, Louis Swaim, Aaron
Downey, and Jennifer Blankenship for all their dedication
and hard work on this project.