Documents for new French ECE instructors

French 3267 & 3268W
Handbook
June 2010
Created by Florence Marsal, Faculty Coordinator French
University of Connecticut
Documents for new French ECE instructors
Welcome to the Uconn ECE program.
Please read the following documents before you write your syllabus and organize your courses for the
Fall:
1.
2.
3.
4.
5.
6.
7.
French 3267 and 3268W pedagogical statements
Tools to write a syllabus for French 3267 and 3268W
Grading system
Grading rubric for compositions
Correction code for compositions
W Course information
French ECE bibliography
2|Page
UCONN ECE PROGRAM OFFICE CONTACT INFORMATION
University of Connecticut
UConn Early College Experience
368 Fairfield Way Unit 2171
Storrs, CT 06269-2171
Phone: 860-486-1045 Fax: 860-486-0042
UConn ECE Program Office Staff:
Gillian B. Thorne, Executive Director, Office of Early College Programs
Email: [email protected]
Brian A. Boecherer, Associate Director, UConn Early College Experience
Email: [email protected]
Jennifer R. Griffin, Marketing & Communications Manager
Email: [email protected]
Erin Blanchette, Business Manager
Email: [email protected]
Louise Larson, Technology Coordinator
Email: [email protected]
Faculty Coordinator:
Florence Marsal
University of Connecticut
Modern and Classical Languages
337 Mansfield Rd. Unit 1057
Storrs, CT 06269-1057
Phone: (860) 486-3313
Fax: (860) 486-4392
Email: [email protected]
UConn ECE Website: http://www.ece.uconn.edu
The ECE website contains information for both students and instructors, including program
offerings, application materials, information about credits, instructor certification procedures,
directories of instructors and schools, and dates of upcoming conferences and workshops.
3|Page
University of Connecticut
French 3267 and French 3268
Statement of Pedagogical Principles and Practices
Both 3267 and 3268 French courses are “introductory advanced courses” whose primary goal is to
help students achieve success in future advanced French college courses (examples of advanced
courses at the University of Connecticut are: French literature from the Middle Ages to the 21stCentury; French art and civilization; Francophone literature; French or Francophone cinema;
introduction to literary theory; advanced grammar; phonetics, etc.) Both courses aim at helping
students master the four skills, and becoming completely comfortable with the French language and
with French and Francophone culture, in order to help them focus on more complex content courses
in college.
French 3267, Grammar and Culture, The Bridge
This course is a bridge between basic-level language classes -- where the students learn the French
language -- and advanced courses about a literary, cultural or specific linguistic content taught in
French. This course is an overall review of grammar and of the four basic skills: listening, speaking,
reading, and writing. Moreover, the study of a variety of cultural topics, such as French or
Francophone history, literature, film, music, and current events, will complement the review of
language structures and linguistic skills.
Regular activities and assessments include: reading assignments, oral presentations, compositions,
class discussions, grammar exercises, quizzes and exams.
The cultural content of the course varies from instructor to instructor. On the other hand, the
systematic review of grammar and of the four skills, through regular practice and assessment needs to
be comparable at the college and the high school levels.
French 268 W, Grammar and Composition
This course is a composition course, as well as a review of grammar. In this course, students will
learn specific writing skills, such as taking notes, writing a letter, a narrative, a portrait, a film or
book review, an argumentative essay, a research paper etc. Students will work on improving their
writing skills while reading different types of texts (letters, poetry, short stories, a novel, newspaper
articles, film reviews, portraits) and studying their functions and techniques. The next step is
imitation: students practice by writing their own journals, letters, poetry, narratives, articles etc.
Students will also review numerous grammatical problems, lists of vocabulary, and apply them to
their texts.
Regular activities and assessments include: reading assignments, grammar exercises, making and
learning vocabulary lists, writing at least two versions for each main composition (at least one draft,
and one final version), quizzes and exams.
The reading assignments may vary from instructor to instructor. On the other hand, the amount of
writing needs to be comparable at the college and high school levels. French 3268 is a writing
intensive (W) course: students need to write and revise a minimum of 15 pages during the semester.
4|Page
At the high schools, frequent writing samples (compositions, a journal etc.) assigned throughout the
year, along with the final 5-page paper, need to amount to the same number of pages.
Tools to write a French ECE 3267 or 3268W syllabus
Name of instructor
Class period and room
Office hours, room
Instructor’s phone number and e-mail
Course URL if you have one.
Course prerequisites
French 164 (Intermediate II) or three years of high school French.
Course description and objectives
Your syllabus should explain the specific requirements and advantages of being a UConn college
course.
1. The following information can be included in the course description:
This course is a college course. Uconn ECE is a concurrent enrollment program that allows students
to receive both high school and college credit for this course. The three credits earned transfer into
UConn and many other institutions. Grades below a C are listed as “audit”, showing only that the
student has attended the course. UConn ECE students are non-degree UConn students and are
eligible for a variety of university benefits.
2. Consider and include the following statement in your own objectives and practices:
5|Page
University of Connecticut: French 3267 and French 3268
Statement of Pedagogical Principles and Practices
Both 3267 and 3268 French courses are “introductory advanced courses” whose primary goal is to
help students achieve success in future advanced French college courses (examples of advanced
courses at the University of Connecticut are: French literature from the Middle Ages to the 21stCentury; French art and civilization; Francophone literature; French or Francophone cinema;
introduction to literary theory; advanced grammar; phonetics etc.) Both courses aim at helping
students master the four skills, and becoming familiar with the French language and with French
and Francophone culture, in order to help them focus on more complex content courses in college.
French 3267, Grammar and Culture, The Bridge
This course is a bridge between basic-level language classes -- where the students learn the French
language -- and advanced courses about a literary, cultural or specific linguistic content taught in
French. This course is an overall review of grammar and of the four basic skills: listening, speaking,
reading, and writing. Moreover, the study of a variety of cultural topics, such as French or
Francophone history, literature, film, music, and current events, will complement the review of
language structures and linguistic skills.
Regular activities and assessments include: reading assignments, oral presentations, compositions,
class discussions, grammar exercises, quizzes and exams.
The cultural content of the course varies from instructor to instructor. On the other hand, the
systematic review of grammar and of the four skills, through regular practice and assessment needs to
be comparable at the college and the high school levels.
French 3268 W, Grammar and Composition
This course is a composition course, as well as a review of grammar. In this course, students will
learn specific writing skills, such as taking notes, writing a letter, a narrative, a portrait, a film or
book review, an argumentative essay, a research paper etc. Students will work on improving their
writing skills while reading different types of texts (letters, poetry, short stories, a novel, newspaper
articles, film reviews, portraits) and studying their functions and techniques. The next step is
imitation: students practice by writing their own journal, letter, poetry, narrative, article etc.
Students will also review numerous grammatical problems, lists of vocabulary, and apply them to
their texts.
Regular activities and assessments include: reading assignments, grammar exercises, making and
learning vocabulary lists, writing at least two versions for each main composition (at least one draft,
and one final version), quizzes and exams.
The reading assignments may vary from instructor to instructor. On the other hand, the amount of
writing needs to be comparable at the college and high school levels. French 3268 is a writing
intensive (W) course: students need to write and revise a minimum of 15 pages during the semester.
At the high schools, frequent writing samples (compositions, a journal etc.) assigned throughout the
year, along with the final 5-page paper (1500 words), need to amount to the same number of pages.
6|Page
Texts
You can consult the bibliography of textbooks, literary works and films used at Uconn and at the
high schools, posted on husky CT.
Homework, tests, and activities
When designing your 3268 syllabus, please consult the Uconn requirements for Writing intensive
courses. They are posted on the vista web site, and on the following web site:
http://www.writingcenter.uconn.edu/w_course_info.php
Clearly state that students will be assigned a 1500 words/5 page paper at the end of the year, and
that they need to pass the writing component in order to pass the course.
Important also: although it is current practice at the high school level for some students not to take a
final exam, if they have a certain grade, remember that your ECE students are also considered college
students, and therefore, must comply with the university rules: every Uconn student needs to take
a final exam. That includes ECE students at the high school level.
The following information can be included in your syllabus:
Regular oral and written practice is essential for improving proficiency in a foreign language.
Attending class and participating actively on a daily basis are necessary for success. It is very
important that you speak French at all times in class, even when working in pair groups. Your
participation grade is based on your attendance and on your willingness to participate actively in
class activities. Success in learning a foreign language requires frequent (=daily!) studying,
memorizing and practice using the language!
This class will require substantial independent preparation and learning. You must study and prepare
each chapter on your own BEFORE class so that we can use class time to practice and master the
language skills and structures. Prepare questions about anything that you don’t understand. A
general rule of thumb is that you should expect to spend at least 1—1.5 hours preparing for each
class session: reviewing the grammar and vocabulary from the previous class, reading over the
grammar explanations and doing the assignments for the next class. A minimum of 4 to 6 hours of
work a week should be devoted to this course.
7|Page
Grade breakdown
For 3267, each of the 4 skills, reading, writing, speaking and listening, should be given a more or less
equal value.
For 3268, the emphasis is on grammar and compositions. Composition grades should take into
account the rewrites and efforts at self-correction.
Numerical grades are converted into letter grades as follow:
A=100-95
A-=94-90
B+=89-87
B=86-84
B-=83-80
C+=79-77
C=76-74
C-=73-70
D+=69-67
D=66-64
D-=63-60
F=59 and below
Plagiarism and academic honesty policies.
Written assignments that you submit in this class must be entirely your own work. Should you need
to perform research for a class assignment, you must appropriately cite the work consulted
(INCLUDING INTERNET RESOURCES!) using quotation marks, in-text citations,
footnotes/endnotes and/or a bibliography in the correct MLA format (see The MLA Handbook). If
you have any questions about how to give appropriate credit to sources, please come and see me.
Various policies
Attendance and tardiness
Missed or late exams or assignments
Various tips and methods to learn
The use of circumlocutions, avoid translating from English, do not feel intimidated by your
mistakes, read the newspaper or listen to the radio on the Internet, etc.
Tentative schedule
This will vary according to your school’s schedule, your objectives and texts.
Try to provide at least a tentative monthly schedule.
Note: your syllabus can be in French or in English, as you choose. There are advantages and
inconveniences for each choice.
8|Page
Rubric for compositions - French Uconn ECE Program
GRAMMAR, STRUCTURE, SYNTAX, /30
28-30
25-27
19-24
10-18
0-9
Excellent control of language structures as well as high level
Very good language control with a few minor mistakes
Contains errors that impede comprehension, but work still understandable as a whole
Too many errors that impede comprehensibility
Lack of basic language structure, completely incomprehensible
29/30= 96%; 28/30=93%; 27/30=90%, 26/30= 86%; 25/30= 83%; 24/30=80%; 23/30=76%;
22/30=73%; 21/30=70%; 20/30=66%; 19/30=63%; 18/30=60%; 17/30=56%; 16/30=53%;
15/30=50%; 14/30=46%; 13/30=43%; 12/30=40%;11/30=36%; 10/30=33%; 9/30=30%;
5/30=16%.
ORGANIZATION, COHERENCE, "ENCHAINEMENTS" (TRANSITIONS), /20
19-20 Work is highly organized with introduction, body, and conclusion, supporting details and
transitions
16-18 Organized with an introduction, body, conclusion, and supporting details, but lacks some
transitions
12-15 Introduction or conclusion is missing or inadequate, lack of transitions
10-11 Work is missing parts of the body, the progression of argument is impeded.
0-10 Work is completely disorganized and missing several of the above elements.
TASK COMPLETION, REWRITES, PEER-EDITING, /20
19-20 Superior completion, meets target, 1500 words/5 pages, bibliography complete and MLA
formatted, ideas well-developed and well-organized. Mistakes from first draft(s) completely
corrected, very thorough peer-editing.
16-18 Adequate completion, meets target or almost, 1000-1500 words, 4-5 pages, bibliography
complete, most mistakes from first draft(s) corrected, good peer-editing.
12-15 Poor completion, target underdeveloped, 750-1000 words, 3-4 pages, bibliography missing
or inadequate, a lot of mistakes from first draft(s) are not corrected, superficial peer-editing.
10-11 Insufficient completion, 750 words, 3 pages, not enough corrections, bibliography missing,
insufficient peer-editing.
0-10 Under 750 words, 3 pages, no corrections, no bibliography, no peer-editing.
VOCABULARY/DICTION, /20
19-20 Rich use of vocabulary with new words and some idiomatic language
16-18 Adequate and accurate use of vocabulary
9|Page
12-15 Some major mistakes and anglicisms that impede comprehension, but work still
understandable as a whole
10-11 Inadequate and inaccurate use of vocabulary, too many anglicisms that impedes
comprehensibility
0-10 Lack of adequate vocabulary, completely incomprehensible
19/20=95%; 18/20=90%; 17/20=85%; 16/20=80%; 15/20=75%; 14/20=70%; 13/20=65%;
12/20=60%; 11/20=55%; 10/20=50%; 5/20=25%
CREATIVITY, RISK TAKING, /10
Points given for original ideas, extensive research, adequate use of difficult grammar structures
(subjunctive, complex sentences etc.) and vocabulary (technical or idiomatic vocabulary), choice of a
challenging topic or argument, exceptional efforts and/or improvement.
10 | P a g e
Code de correction pour les compositions
Trait vert
verbe lui-même.
: erreur concernant un verbe : il faut changer le temps, ou le mode, ou le
Trait bleu
féminin)
: erreur concernant un accord ou le genre (pluriel, singulier, masculin,
Trait noir
complètement.
: erreur de vocabulaire, d’anglicisme, phrase incompréhensible à réécrire
sp.
prép.
art.
pron.
nég.
conj.
adj.
adv.
: Spelling
: Préposition
: article défini, indéfini, partitif, négatif etc.
: pronom démonstratif, relatif, sujet, objet, réflexif etc.
: corriger la négation, il manque peut-être un élément
: conjonction
: adjectif
: adverbe
: accent
: delete
: insert
: change word order
11 | P a g e
W Course Information
W guidelines
In a writing-intensive (W) course, writing should be integral to the learning goals and subject matter
of the course. In the language of UConn's General Education Guidelines, "Students should not
write simply to be evaluated; they should learn how writing can ground, extend, deepen, and even
enable their learning of course material. In addition then to general formal questions concerning
strategies for developing ideas, clarity of organization, and effectiveness of expression--and discipline
specific format, evidentiary, and stylistic norms—the W requirement should lead students to
understand the relationship between their own thinking and writing in a way that will help them
continue to develop throughout their lives and careers after graduation."
According to the policies of the General Education Oversight Committee and the Faculty Senate,
those teaching W courses must:
1.
2.
3.
4.
Assign 15 pages of edited written work
Not only assign writing, but teach it
Build in a process for revision
Inform students that in order to pass the course, they must pass the writing component.
(This should be stated on the syllabus)
An excerpt from an April 14, 2005 GEOC memo expands on those requirements:
"The key distinction between a W and non-W course is pedagogical, not whether writing is assigned
or not. Writing, of course, may be, and in fact, should be assigned in many courses, with or without
the W designation. What distinguishes a W course from any other course is that students must be
provided explicit writing instruction and consistent faculty feedback to foster revision, and W
courses require a minimum of fifteen, revised and edited pages of writing. It is likely that some
courses may require fifteen or more pages of writing in a semester without offering instruction and
structured opportunities for revision, but a course that did so would not qualify as a W course.
Because W courses require explicit instruction and consistent feedback for revision, it is not possible
to register some students for W credit and others not for W credit in the same course. If the
teaching practices in the course conform to the requirements for a W course, then the enrollment
limits must conform to the university mandate (nineteen students per section) to enable effective
writing instruction."
For the full document, please see follow this link:
http://geoc.uconn.edu/geocguidelines.htm
For the original W policy document, see the following PDF:
http://tricampuswriting.uconn.edu/W Course Guidelines.pdf
12 | P a g e
For other GEOC documents, please go to http://geoc.uconn.edu/
The General Education Oversight Committee (GEOC) sets W course policy, approves new W
course proposals or modifications to existing W courses for intersession, and oversees assessment and
curricular matters related to general education, including W courses.
The University Writing Center offers support to student writers, mostly through individual
tutorials, and consults with faculty and graduate students as they teach writing in their home
disciplines. The University Writing Center works in concert with GEOC and academic
departments, but it holds none of their authority over either curriculum or faculty.
FAQs about W Course Teaching
Is the purpose of my W course to teach students to write in my discipline or teach them to
write more generally?
Both, but the emphasis is on writing in your own discipline.
Are guidelines for W courses different at regional campuses?
No. W courses, regardless of location or level, should meet the same four criteria. For those course
requirements, please see the University Writing Center website. As with Storrs, most regional
campuses have writing specialists to assist faculty and writing centers that offer tutoring.
Can I enroll beyond the 19 cap by giving out permission numbers?
Please don’t. Enrolling beyond 19 requires approval from the General Education Oversight
Committee.
Does any kind of writing count toward the 15 page minimum?
No. Only writing that moves through a revision process counts. This does not mean that all writing
in a W course must be revised—after all, many kinds of informal, exploratory, and one-shot writing
can be quite valuable for student learning—but instead that at least 15 pages of formal, revised text
must be assigned. Collaboratively composed texts can count as part of those 15-pages.
Does the W requirement dictate that any specific genres must be assigned?
No. Those will depend on your discipline and course. Some W courses center on one 20-page
research project (usually composed in stages),while others include three or four shorter essays; some
feature specialized genres (policy briefs, lab reports, proposals, abstracts, case study analyses, etc.),
while others incorporate a mix of genres.
Do I need to assign a research paper?
No, but many W courses hinge on research and address how to evaluate, incorporate, and document
sources. When assigning research projects, many faculty opt to divide them into smaller, progressive
components (proposal, annotated bibliography or literature review, section drafts, whole draft), each
of which occasions response.
13 | P a g e
Should I require that students buy a separate book on writing?
That is up to you. If looking for advice on writing handbooks, discipline-specific writing guides, or
online resources, the University Writing Center can make suggestions and get you examination
copies. We can also help you create a print or online writing guide customized to your course.
Exactly how much writing instruction do I need to include, and how can I balance it with
other course content?
This will vary and is left to the wisdom of each instructor. Note that “writing instruction” means
more than imparting rules for grammar, usage, and documentation; it also involves teaching students
to explore and shape their ideas, analyze their audiences, frame arguments, gather evidence effectively
and ethically, understand genre conventions, and attend to style. Many faculty reserve writing
instruction for their comments on drafts or their individual conferences with students. Many build it
into lectures and discussions, showcase models of successful and unsuccessful writing, introduce
mini-lessons on key stylistic points, and hold writing workshops on days when drafts are due.
Writing instruction should complement rather than compete with course content: learning to write
in a discipline means learning to think, argue, research and communicate with the community of
scholars in a given field.
Can a final writing project substitute for a final exam?
Maybe. The general rule is that 100 and 200 level courses require final exams, but exceptions are
possible. Check with your department in advance of the semester to see if a final exam exemption
has been approved for the course; the department can also request one from the dean. For courses
numbered 300 and above, the instructor can make such decisions without consulting the
department.
What kinds of revision should be built into my W course?
You choose. It usually entails commenting on drafts or conferencing with students in advance of
their final submission of papers. Other options include having students critique each others’ drafts
(be sure to structure and supervise such peer review), holding small group tutorials, or bringing
drafts before the whole class for review.
Should I grade drafts?
That is your choice. Some opt to grade them; some deliver a tentative grade (“If this draft were your
final version, it would merit a D because…”); some hold off on grading to encourage exploratory
thinking and risk-taking. In any case, when responding to drafts your focus should be on formative
comments: that is, posing questions, affirming what is working, pointing out shortfalls, and making
suggestions so that students can put your comments to use as they revise.
Are there UConn-wide standards for evaluating student writing?
No. You set the criteria appropriate for your course and discipline. If interested, you can find several
discipline-specific sample grading rubrics on the University Writing Center website. We recommend
that you distribute your expectations for writing and your grading policy early in the semester.
14 | P a g e
How should I respond to sentence-level errors in student writing?
Set high standards for editing and stick to them, but also help students meet those high standards.
Error-ridden final submissions of assignments should not pass. We might expect more frequent
sentence-level problems in drafts, because there writers tend to focus more on finding their purpose,
shaping their ideas and structure, and gathering evidence. Some faculty address sentence-level
concerns by working with students individually; some introduce occasional in-class lessons on key
usage, style or documentation matters. Another option is referring (but not requiring) students to
make appointments with the Writing Center, where we often work toward helping students edit
their own work. As a general rule, avoid line editing an entire student draft, as this is often counterproductive because it means that you are editing for the student. While you should respond
throughout a draft to a student’s ideas, structure, and voice, better to line edit no more than the first
20% of the text; for the latter 80%, jot a check in the margin for each grammatical or
documentation error. This alerts students to the frequency of their surface errors but allows you to
engage with the intellectual and structural substance of the text.
How do I deal with potential cases of plagiarism?
When planning your course, consider ways to promote academic integrity: discuss in class the ethical
standards and documentation conventions for your discipline; on your syllabus include the
plagiarism policy and your expectations for intellectual work; create detailed assignments tailored to
your course; require students to complete the on-line plagiarism module in WebCT; alert students
to potential problems in early drafts; and never accept final papers for which you haven’t seen the
required drafts. If you discover plagiarism, please inform your home department and the Dean of
Student’s Office; also see the Student Code of Conduct (www.dosa.uconn.edu).
Shouldn’t my students have learned to write and document sources in Freshman English?
In Freshman English students grapple with complex readings from the humanities and social
sciences; they practice interpretation, argument, and research; and they write several essays, some of
which incorporate sources. They write and revise at least 30 pages of text. Still, because academic
writing is a deeply contextual activity, no single course can prepare students for the range of writing
they encounter across a college curriculum, nor can any single course inoculate students from
making sentence-level mistakes in other contexts. When students receive consistent and rigorous
response to their writing across courses and over a number of years, they develop into skilled and
versatile writers.
Where can I get more information about the W requirement or get assistance with my course
planning?
The General Education Oversight Committee sets W policy and oversees W courses. The University
Writing Center offers faculty and teaching assistants workshops, online resources, and individual
consultations. We also make individualized tutorials in writing available to all UConn students.
Syllabus Text Add-Ins For W Courses:
Failure Clause, Writing Center Description, Academic Integrity, Students With Disabilities
15 | P a g e
Please Include the Following Statement on All W Course Syllabi
According to university-wide policies for W courses, you cannot pass this course unless you receive a
passing grade for its writing components.
Optional Add-Ins for Your W Course Syllabus
***Please note that the following are not official UConn statements, but feel free to use or adapt
them as you wish***
University Writing Center
All UConn students are invited to visit the University Writing Center for individualized tutorials.
The Writing Center staff includes talented and welcoming graduate and undergraduate students
from across the humanities, social sciences, and sciences. They work with writers at any stage of the
writing process, from exploring ideas to polishing final drafts. Their first priority is guiding each
student's revisions, so they frequently provide a sounding board for a writer's ideas, arguments,
analytical moves, and uses of evidence. They can also work with you on sentence-level concerns, but
please note that they will not proofread for you; instead, they will help you become a better editor of
your own work. You should come with a copy of the assignment you are working on, a current draft
(or notes if you are not yet at the draft stage), and ideas about what you want out of a session.
Tutorials run 45 minutes and are free. You can drop in or make an appointment. For hours,
locations, and more information, please go to writingcenter.uconn.edu.
Academic Integrity
In this course we aim to conduct ourselves as a community of scholars, recognizing that academic
study is both an intellectual and ethical enterprise. You are encouraged to build on the ideas and
texts of others; that is a vital part of academic life. You are also obligated to document every occasion
when you use another’s ideas, language, or syntax. You are encouraged to study together, discuss
readings outside of class, share your drafts during peer review and outside of class, and go to the
Writing Center with your drafts. In this course, those activities are well within the bounds of
academic honesty. However, when you use another’s ideas or language—whether through direct
quotation, summary, or paraphrase—you must formally acknowledge that debt by signaling it with a
standard form of academic citation. Even one occasion of academic dishonesty, large or small, on any
assignment, large or small, will result in failure for the entire course and referral to Student Judicial
Affairs. For University policies on academic honesty please see UConn’s Responsibilities of
Community Life: The Student Code: http://www.dosa.uconn.edu/student_code.html. Please note that
ignorance of prevailing academic conventions or of UConn’s policies never excuses a violation. You
are encouraged to come see me if you have questions about when and how to cite; you would also be
wise to consult a writing handbook.
Students With Disabilities
Students who think that they may need accommodations because of a disability are encouraged to
meet with me privately early in the semester. Students should also contact the Center for Students
with Disabilities as soon as possible to verify their eligibility for reasonable accommodations. For
more information, please go to http://www.csd.uconn.edu/.
16 | P a g e
We also recommend that you include syllabus language that explains your expectations for revision,
your late draft and paper policy, and your grading criteria.
Policy on Graduate Students Teaching W Courses
According to the General Education Oversight Committee of the Faculty Senate, “qualified graduate
students may be used to assist faculty in a 200-level W course or, with faculty supervision, to teach a
100-level W course. All new instructors of W courses will be provided with an orientation. This
orientation will be required of all teaching assistants assigned to assist in a 200-level or to instruct a
100-level W course.”
The University Writing Center offers this W orientation each August and January, right before the
semester begins. Registration forms for these orientations will be posted online well in advance of
each orientation.
To register for the January 2009 W Teaching Orientation, please click here for the online form.
Request a Tutor Talk
The orientations outline best practices for teaching writing in the disciplines. They feature
interactive workshops on building robust revision processes into W courses, designing effective
assignments, responding to student writing, and handling the paper-load. Our aim is not only to
enhance the quality of student learning in W courses but also to explore strategies that can make
each instructor’s writing-intensive teaching more effective and rewarding.
You need attend the W orientation only once during your time at UConn. However, we encourage
you to attend the stand-alone workshops offered each semester on various teaching topics. Please
note that as of 2006, attending the stand-alone workshops during the regular year cannot substitute
for the January or August W orientations unless arrangements are made well in advance with the
Director of the University Writing Center.
The University Writing Center is happy to work with graduate students as they plan and teach their
W courses. Beyond offering the W orientation and regular-year workshops, we invite you to meet
with us individually to discuss your teaching of writing in the disciplines.
17 | P a g e
ECE FRENCH BIBLIOGRAPHY
French 3267 (Grammar and culture)
French 3268 W (Grammar and composition)
Textbooks
De Mado, John and Emmanuel Rougières d’Usseau. Allez Viens ! Levels 1-3. Austin, Texas : Holt,
Rinehart and Winston, 2006.
Amiry, Laila. Barron’s How to Prepare for the AP French Exam. 2nd ed. New York, NY : Barron’s
Educational Series, 1998.
Bady, J. et al. Grammaire : 350 exercices. Niveau Moyen. Paris : Hachette, 1996.
Baker, Lucia F., et al. Collage : Révision de grammaire. 5th ed. New York, NY : McGraw-Hill
Higher Education, 2001.
---. Collage : Variétés culturelles. 5th ed. New York, NY : McGraw-Hill Higher Education, 2001.
---. Collage: Lectures littéraires. 5th ed. New York, NY : McGraw-Hill Higher Education, 2001.
---. Montage. 3rd ed. New York, NY : McGraw-Hill Higher Education, 1997.
Baker, Mary and Jean-Pierre Cauvin. Panaché littéraire. Boston, MA : Heinle & Heinle publishers,
1995.
Berg, Robert and Fabrice Leroy. Littérature française : textes et contextes. Fort Worth, Texas: Holt,
Rinehart and Winston, 1997.
Blood, Elizabeth and Yasmina Mobarek. Intrigue : Langue, culture et mystère dans le monde
francophone. 2nd ed. Upper Saddle River, NJ : Pearson Education, 2006.
Bragger, Jeannette D. and Donald B. Rice. Quant à moi… Témoignages des Français et des
Francophones. 2nd ed. Boston, MA : Heinle & Heinle publishers, 2000.
18 | P a g e
Bryan, Anne Marie Desprès and Jean Duche, Pour Parler : manuel de conversation française, 2nd ed.
Englewood Cliff, NJ : Prentice Hall, 1977.
Carlut, Charles and Walter Meiden. French for Oral and Written Review. 5th ed. Boston, MA:
Heinle & Heinle publishers, 1993.
Comeau, Raymond F. and Normand J. Lamoureux. Ensemble : Grammaire. 6th ed. Orlando, FL :
Harcourt Brace & Company, 1999.
---. Ensemble : Histoire. Orlando, FL : Harcourt Brace & Company, 1992.
---. Ensemble : Littérature. Orlando, FL : Harcourt Brace & Company, 1992.
Crocker, Mary. Schaum’s Outline of French vocabulary. 2nd ed. New York, NY : McGraw-Hill
Higher Education, 1998.
Demaray, Carolyn and al, Triangle: application pratique de la langue française. 3rd ed. Concord,
MA: Wayside Publishing, 1998.
Dietiker, Simone R. and Dominique van Hooff. En bonne forme. 7th ed. New York, NY :
Houghton Mifflin, 2001.
En voyage McGraw Hill, 1998
Garcia, Flavia. Les jeux sont faits! Recueil de jeux de grammaire en situation : français langue
seconde, niveau intermédiaire. Paris: Didier, 1964.
Gerrard, Lisa et al. En train d’écrire. New York, NY : McGraw-Hill Higher Education, 1993.
Gibaldi, Joseph. MLA Handbook for Writers of Research Papers. 6th ed. New York, NY : The
Modern Language Association of America, 2003.
19 | P a g e
Herbst, Henry L., and Hale Sturges II. Par tout le monde francophone. White Plains, NY :
Longman Publishing Group, 1996.
Hirsch, Bette G. and Chantal Thompson. Moments littéraires : anthologie pour cours
intermédiaires. Lexington, MA : D.C. Heath and Company, 1992.
Hope, Quentin and Geoffrey. L’Art de lire. 3rd ed. Upper Saddle River, NJ : Pearson Education,
2002.
Kendris, Christopher. 501 French Verbs. 4th edition. New York, NY : Barron’s Educational Series,
1996.
Krueger, Cheryl L. et al. Mise en scène: cinéma et lecture. Upper Saddle River, NJ : Pearson
Education, 2006.
Ladd, Richard and Colette Girard. AP French : Preparing for the Language Examination. 2nd ed.
Glenview, CA : Scott Foresmans Addison Wesley Publishers, 1998.
Lenard, Yvone. Trésors du temps : niveau avancé. New York, NY : Glencoe/McGraw-Hill Higher
Education, 2004.
Loriot-Raymer, Gisèle, et al. A vous d’écrire. New York, NY : McGraw-Hill Higher Education,
1996.
Lynch, Véronique. Drawing Conversations in French: Manuel for Advanced Conversation. V&B
Publications, LLC, 2005
Maley, Catherine A. Dans le vent. Boston, MA : Heinle & Heinle publishers, 2006.
20 | P a g e
Meunier, Lydie et al. Générations : composition et conversation en français. Boston, MA : Heinle &
Heinle, 2000.
Mitschke,Cherie. Imaginez : le Français sans frontière. Vista Higher Learning, 2008
Muyskens, Judith et al. Bravo. 5th ed. Boston, MA : Heinle & Heinle publishers, 2005.
Schofer, Peter and Donald Rice. Autour de la littérature. Boston, MA : Heinle & Heinle publishers,
1999.
Schunk, Susan, and Janet Waisbrot. Explorations. Boston, MA: Thomson-Heinle, 2001.
Siskin, H. Jay et al. Taches d’encre: cours de composition. Boston, MA : Houghton Mifflin, 2004.
Siskin, H. Jay et Cheryl Krueger. Entretiens. 2nd ed. Boston, MA : Heinle & Heinle publishers,
2001.
Smenata and Myron. Mélanges littéraires. 2nd ed. New York, NY : Holt, Rinehart and Winston,
1981.
St Onge, Susan et. al. Interaction : Révision de grammaire française. 7th ed. Boston, MA : Heinle &
Heinle publishers, 2007.
Sturges II et al. Une fois pour toutes : une révision des structures essentielles de la langue française.
3rd ed. White Plains, NY : Longman Publishing Group, 2008.
Valette, Jean-Paul and Rebecca. French for Fluency : grammaire active. Lexington, MA : D.C.
Heath, 1990.
Valette, Jean-Paul and Rebecca. Discovering French Nouveau. Evanston, IL : Mc Dougal Littell,
2004.
White, Renée. En D’Autres Termes. Concord, MA : Wayside Publishing, 1992.
21 | P a g e
Textes littéraires en œuvre complète (il y a beaucoup trop d’éditions pour toutes les mettre ici)
Anouilh, Jean. Le voyageur sans bagage.
Beckett, Samuel. En attendant Godot.
Ben Jelloun, Tahar. La réclusion solitaire.
Camara, Laye. L’enfant noir.
Camus, Albert. L’Etranger.
Dumas, Alexandre. Le Comte de Monte Cristo
---. Les trois mousquetaires
Galembert, Jean-Pierre. Le collier africain.
Gros, Christian. Henri Podeur et le secret de Merlin, 2006.
Ionesco, Eugène. La Cantatrice chauve.
---. Rhinocéros.
---. Contes pour enfants de moins de trois ans.
Gide, André. La Symphonie pastorale.
Krebs, Franck. Tom Cox à la poursuite de Merlin (il y a 6 autres volumes)
La Fontaine, Jean de. Les Fables.
Fournier, Alain. Le Grand Meaulnes.
Maupassant, Guy de. Les Contes de la Bécasse.
---. Contes du jour et de la nuit.
---. Le Horla et autres contes.
22 | P a g e
Mérimée, Prosper. Carmen.
Molière. Le misanthrope.
---. Le bourgeois gentilhomme.
Quint, Michel. Effroyables Jardins.
Roblès, Emmanuel. Le rossignol de Kabylie.
Rostand, Edmond. Cyrano de Bergerac.
St Exupéry, Antoine de. Le petite Prince.
Sartre, Jean-Paul. Huis-clos.
---. La Nausée
Schmitt, Eric-Emmanuel. Monsieur Ibrahim et les fleurs du Coran.
Sempé et Goscinny. Le petit Nicolas (il y a une série).
Simenon, Georges. La vieille dame de Bayeux.
---. L’auberge des noyés
Van Cauwelaert, Didier. Un Aller Simple.
Vargas, Fred. Un lieu incertain, 2008. (c’est le dernier sorti, il y en a beaucoup d’autres !)
Zobel, Joseph. Rue cases nègres.
Films
L’Accompagnatrice. Dir. Claude Miller. 1993.
L’Argent de poche. Dir. François Truffaut. Les Films du Carrosse, Les Productions Artistes Associés,
1976. Videocassette. MGM/UA Home Video, 1991.
23 | P a g e
Au revoir les enfants. Dir. Louis Malle. Nouvelles Editions de Films, 1987. Videocassette. Orion
Home Video, 1989.
L’Auberge espagnole. Dir. Cédric Klapisch. Mars Distribution, 2002. DVD. Fox Searchlight
Pictures, 2003.
La bataille d’Alger. Dir. Gillo Pontecorvo. Casbah Films, Igor Film, 1966. Videocassette. Criterion
Collection, 2004.
Bienvenue chez les Ch’tis. Dir. Dany Boon. Pathé Renn productions, 2008.
Bon voyage. Dir. Jean-Paul Rappeneau. ARP production, Columbia TriStar Home Entertainment,
2003.
La Cage aux Folles. Dir. Edouard Molinaro. Da Ma Produzione, 1978.
Camille Claudel. Dir. Bruno Nuytten. Société Gaumont, 1988. Videocassette. Orion Home Video,
1989.
Carmen. Migenes-Johnson, Julia, Plácido Domingo, et al. Columbia Tristar Home Video, 1999.
Les choristes. Dir. Christophe Barratier. Vega films AG, 2004.
De battre mon cœur s’est arrêté (the Beat that my Heart Skipped). Dir. Jacques Audiard. Why Not
Productions. 2005.
Le dîner de cons. Dir. Francis Veber. EFVE Films, 1998.
Etre et avoir. Dir. Philibert, Nicolas. New York, NY: New Yorker Video, 2004.
L’esquive. Dir. Abdel Kechiche. Lola Films. 2004.
Le Fabuleux destin d’Amélie Poulain. Dir. Jean-Pierre Jeunet. Claudie Ossard Productions. DVD.
Miramax, 2001.
24 | P a g e
Le festin de Babette. Axel, Gabriel, and Isak Dinesen. Montreal, Canada: Alliance Vivafilm Video,
1989.
La graine et le mulet (the Secret of the Grain). Dir. Abdel Kechiche. Pathé Renn Production. 2007.
Hiroshima mon amour. Dir. Alain Resnais. Argos Films, 1960.
Indochine. Dir. Régis Wargnier. Paradis Films, La Générale d’Images, 1992. Videocassette.
Columbia TriStar Home Video, 1993.
Jean de Florette. Dir. Claude Berri. 1986. Videocassette. Orion Home Video, 1987.
Un long dimanche de fiancailles. Dir. Jean-Pierre Jeunet. 2003 Productions, 2004.
Maria Chapdelaine. Dir. Gilles Carle. Astral Bellevue Pathé. 1986.
Madame Bovary. Dir. Claude Chabrol. MK2 Productions SA/C.E.D. Productions/FR3 Films
Production. 1990. Videocassette. Republic Pictures Home Video, 1992.
Manon des sources. Dir. Claude Berri. 1986. Videocassette. Orion Home Video, 1987.
Marie-Antoinette. Dir. Caroline Huppert. Paris : Scherzo Distribution, 1989.
Mon meilleur ami. Dir. Patrice Leconte. IFC Films, 2006.
Monsieur Ibrahim et les fleurs du Coran. Dir. François Dupeyron. ARP Sélection, 2003.
Paris je t’aime. Dir. Ossard, Claudie, et al. First Look Home Entertainment, 2007.
Perceval le Gallois. Dir. Éric Rohmer. World class cinema collection. New York, N.Y.: Fox Lorber
Home Video, 1999.
Persepolis. Dir. Marjane Satrapi. 2. 4. 7. Films. 2007.
Le placard. Dir. Francis Veber. Canal + Productions, 2001.
Ponette. Dir. Jacques Doillon. Les Films Alain Sarde, 1997.
25 | P a g e
La Reine Margot. Dir. Patrice Chéreau. Canal + Productions, 1994.
Le retour de Martin Guerre. Dir. Jean-Claude Carrière. Dussault. 1983.
Lucie Aubrac. Dir. Claude Berri. Centre National de la cinématographie. 1997.
Rue cases nègres. Dir. Euzhan Palcy. NEF Diffusion, 1983.
Le scaphandre et le papillon. Dir. Kathleen Kennedy. Touchstone Home Entertainment, 2008.
Sur mes lèvres (Read my lips) . Dir. Jacques Audiard. Canal +. 2001.
Tatie Danielle. Dir. Etienne Chatiliez. France 3 Cinéma, 1990.
Vatel. Dir. Roland Joffé. Canal + Productions, 2000.
La vie en rose "La Môme". Dir. Olivier Dahan. Distributed exclusively for Festive Films Pte Ltd
through Musictronic (S) Entertainment Pte Ltd, 2007.
Les visiteurs. Dir. Jean-Marie Poiré. Alpilles Productions, 1993.
26 | P a g e