Claire Mouflard Union College 1 Exiled Women in - My Site
Transcription
Claire Mouflard Union College 1 Exiled Women in - My Site
1 Claire Mouflard Union College Exiled Women in Twentieth-Century Francophone Literature and Film (Cross-listed, French majors read and write in French) Objectives and goals This course observes the different representations of French-speaking women in exile in the works of both immigrant and non-immigrant authors and filmmakers in France. The course will be designed as a series of readings from various literary genres (novels, short stories, poems, theory) and films. Students will be invited to investigate the questions of colonization, immigration, historical trauma, hybridity, sexuality, belonging and haunting in relation to the notions of identity, ethnicity and gender. Looking closely at the diversity of narrative strategies and film techniques, we will ask the following questions: how has the history of colonialism affected the representation of these women? What is the correlation between colonization and immigration in these productions? What is the link between the female body and writing (the text as body and the body as text)? French majors will read the texts in their original French version when available; participants whose major is not French will read the texts in English. Course Assignments and Grading Assignments: you will be responsible for a 10-15 minute presentation in French on a literary, critical or historical topic relevant for a given 20th / 21st century problematic or a particular text. A list of suggested topics will be handed out during the second week. You will prepare an outline of your presentation for other students. You will have two literary analyses to write that require library research. These two papers must be 4-6 pages in length. Final papers must be 10-12 pages in length, and the topic must be discussed with the instructor beforehand. You must post on the class’ online message board one question pertaining to the text(s) that need to be read for that day (4 times this quarter), and you must answer a fellow student’s question as well. Participation in the online message board will be monitored and graded (5% of final grade). Selected questions will be used during class time for group conversations. More information will be given in class about each assignment. Attendance: your presence in class and your active oral participation are essential in this course. Repeated absences and/or lack of participation will impact your grade negatively. All absences due to illness must be excused by a doctor’s note. Grading: Oral presentation 15%, Participation in online message board 5%, Literary Analyses 25% (2), Midterm 20%, Final Paper 35%. * Course reader available * Theory: Hélène Cixous, Le Rire de la méduse ---, The Laugh of Medusa Léopold Sédar Senghor, “Femme nue, femme noire” in Anthologie de la nouvelle poésie nègre et malgache ---, “Black Woman” in Anthology of New Negro and Malagasy Poetry Frantz Fanon: Peau noire, masques blancs (extrait: “La Femme de couleur et le blanc”) ---, Black Skin, White Masks (“The Woman of Color and the White Man”) 2 Claire Mouflard Union College Albert Memmi: Portrait du colonisé ---, The Colonizer and the Colonized Simone de Beauvoir, Le Deuxième sexe ---, The Second Sex Judith Butler, Gender Trouble Monique Wittig, Le Corps lesbien ---, The Lesbian Body Narratives: Mayotte Capécia, Je suis Martiniquaise (extrait) ---, I Am a Martinican Woman Gisèle Pineau, L’Exil selon Julia ---, Exile According to Julia Assia Djébar, L’Amour, la fantasia ---, Fantasia: An Algerian Cavalcade Calixthe Beyala, Tu t’appelleras Tanga ---, Your Name Shall Be Tanga Nina Bouraoui: Garçon manqué ---, Tomboy Leila Sebbar, Shérazade: 17 ans, brune, frisée, les yeux verts ---, Sherazade: Missing, Aged 17, Dark Curly Hair, Green Eyes Films: Claire Denis, Chocolat (Santa Monica: MGM Home Entertainment, 2001) Yamina Benguigui, Inch’Allah Dimanche (New York: Film Movement, 2002) Additional Material Yamina Benguigui, Le Plafond de verre (New York: ArtMattan productions, 2004) --- Mémoires d’immigrés: l’héritage maghrébin (Paris: Canal + Vidéo, 1998) Fatou Diome, Le Ventre de l’Atlantique (Paris: Anne Carrière, 2003) ---, The Belly of the Atlantic (London: Serpent’s Tail, 2008) Maryse Condé, Le Coeur à rire et à pleurer: Souvenirs de mon enfance (Paris: R. Laffont, 1999) WEEK TUESDAY THURSDAY Introduction Frantz Fanon, Mayotte Capécia, Albert Memmi, Léopold Senghor Exil selon Julia Question due Exil selon Julia January 21 L’Amour la Fantasia Question due L’Amour la Fantasia First lit. analysis due January 28 L’Amour la Fantasia Midterm Exam Discussion : Chocolat Judith Butler, Simone de Beauvoir, Hélène Cixous January 7 January 14 February 4 3 Claire Mouflard Union College February 11 Student presentations Student presentations Tu t’appelleras Tanga Tu t’appelleras Tanga Second lit. analysis due February 18 February 25 Discussion : Inch’Allah Dimanche Shérazade Question due March 4 Shérazade Garçon Manqué Question due March 11 Garçon Manqué Student conferences Texts must be read and films must be watched for the day indicated on the syllabus, and you must come to class prepared to discuss the texts in relation to the theoretical abstracts previously read and studied in class. Online message board: each student needs to post one question on the board, and answer a fellow student’s question regarding the texts, before each class. Participation, quality of questions and answers, prose and civility are monitored and graded. Failure to participate or answer adequately will result in a lower grade. Questions will be selected at random for class discussions. You will post 4 times this quarter, when indicated on the syllabus (“question due”) Student presentations: on that day, students will come prepared to present and will have notified me beforehand if their presentation necessitates any technological material (projector, audio…) Presentation topics will be chosen from a list handed out in class during the second week. If class size permits, these presentations will be done individually – otherwise, you will pair up with another student (in this case, the amount of work before and during the presentation must be split evenly). Before your presentation, the format and content of what you will be preparing have to be discussed with me during my office hours. This meeting is imperative and will count towards your grade. After your presentation, you will have to come to my office hours again to discuss your grade and get feedback. All presentations are in English. The midterm exam will be a 2-hour, comprehensive test of the concepts, texts and films approached thus far. It will be composed of 5 questions (each question must be answered with a minimum of 100 words and reference the literature studied in class) and a short essay (250 words) related to the topic of your individual presentation. You must be in class to take the midterm exam. There are no exceptions. French majors write in French. The last day of the quarter, during student conferences, class time and office hours will be used for you to come and discuss the progress of your final paper, which is due on the last day of finals’ week. You need to send me by email your topic and a short bibliography by March 4th at the latest. Final papers must cover at least one of the oeuvres and two theoretical texts studied in class. You may choose to compare two oeuvres, or one of the oeuvres studied in class with one of the oeuvres listed in the “additional material” section of this syllabus. French majors write in French. For French majors: 10 % of your grade on each paper will be dedicated to the correct use of French vocabulary, grammar and syntax.