Results for FRENCH

When the French New Wave burst onto the stage in 1959, it changed forever the way films are made and the ways we think about cinema. Shooting on location with small crews, light cameras, unknown actors and improvised scripts, a group of young film critics turned filmmakers circumvented the big studios to craft low-budget films that felt fresh, irreverent and utterly modern. In just a few years, the Nouvelle Vague delivered such landmark works as Truffaut's 400 Blows, Godard's Breathless or Resnais' Hiroshima mon amour. Together with Agn¿s Varda, Eric Rohmer and Claude Chabrol, they redefined the essence of cinema as an art form as complex and multi-layered as literature. Yet, after having been hailed as revolutionary, the Nouvelle Vague was soon dismissed as 'rather vague and not all that new. 'Why did these films look so radically fresh? What is their common aesthetics, when each 'auteur' claimed an utterly personal style for him or herself? And what did their immediate success and early fall from grace tell us about France in the early 60s? This survey course will explore a unique moment in French culture and the history of cinema, when radical politics, youth culture, and jazzy aesthetics coalesced into dazzling experiments on the screen that continue to influence world cinema to this day. Focus is on cultural history, aesthetic analysis, and interpretation of narrative, sound and visual forms. Satisfies Ways AII (Aesthetic and Interpretative Inquiry). Films in French with Subtitles. Taught in English.

How does fiction make us better at reading minds? Why do some TV shows get us to believe two contradictory things at once? And can cognitive biases be a writer's best friend? We'll think about these and other questions in the light of contemporary neuroscience and experimental psychology, with the help of Song of Solomon (Toni Morrison), Madame Bovary (Gustave Flaubert), season 1 of Westworld (Lisa Joy / Jonathan Nolan), and short readings from writers like Louise Glück, Jorge Luis Borges, Virginia Woolf, and Marcel Proust. We'll also ask what we see when we read; whether the language we speak affects the way we think; and why different people react differently to the same book. Plus: is free will a fiction, or were you just forced to say that?

Medical Humanities is a humanistic and interdisciplinary approach to medicine. It explores the experience of health and illness as captured through the expressive arts (painting, music, literature), across historical periods and in different cultures, as interpreted by scholars in the humanities and social sciences as well as in medicine and policy. Its goal is to give students an opportunity to explore a more holistic and meaning-centered perspective on medical issues. It investigates how medicine is an art form as well as a science, and the way institutions and culture shape the way illness is identified, experienced and treated.

The literature, culture, and politics of France from Louis XIV to Olympe de Gouges. How this period produced the political and philosophical foundations of modernity. Readings may include Corneille, Moli¿re, Racine, Lafayette, Voltaire, Diderot, Rousseau, Beaumarchais, and Gouges. Taught in French. Students are highly encouraged to complete FRENLANG 124 or to successfully test above this level through the Language Center. This course fulfills the Writing in the Major (WIM) requirement.

This course takes students on a trip to major capital cities at different moments in time, including Renaissance Florence, Golden Age Madrid, colonial Mexico City, imperial Beijing, Enlightenment and romantic Paris, existential and revolutionary St. Petersburg, roaring Berlin, modernist Vienna, and transnational Accra. While exploring each place in a particular historical moment, we will also consider the relations between culture, power, and social life. How does the cultural life of a country intersect with the political activity of a capital? How do large cities shape our everyday experience, our aesthetic preferences, and our sense of history? Why do some cities become cultural capitals? Primary materials for this course will consist of literary, visual, sociological, and historical documents (in translation).

Restricted to French majors with consent of department. Normally limited to 4-unit credit toward the major. May be repeated for credit.

How does fiction make us better at reading minds? Why do some TV shows get us to believe two contradictory things at once? And can cognitive biases be a writer's best friend? We'll think about these and other questions in the light of contemporary neuroscience and experimental psychology, with the help of Song of Solomon (Toni Morrison), Madame Bovary (Gustave Flaubert), season 1 of Westworld (Lisa Joy / Jonathan Nolan), and short readings from writers like Louise Glück, Jorge Luis Borges, Virginia Woolf, and Marcel Proust. We'll also ask what we see when we read; whether the language we speak affects the way we think; and why different people react differently to the same book. Plus: is free will a fiction, or were you just forced to say that?

The Renaissance (14-16th c.) was a period of intense exploration: outwards, with the "discovery" and conquest of "new" continents and people; back in time, with the unearthing of Classical texts from antiquity; and inwards, with the first human dissections and the rise of gynecology. From all these experiences emerged multiple models and definitions of gender, conflicting norms of sexualities, and shifting accounts of sexual difference. Bodies became objects of constant scrutiny, speculation, and representation.Scientists, philosophers, writers, theologians, explorers discussed and documented hermaphrodites and animal-human hybrids, trans-gendering, vagrant uterus, male and female cosmic attributes, sexual drives, while poets dabbled in proto-pornography and subverted gender roles.We will look at scientific, literary, and artistic documents from 16th century France to investigate how gender, sex, race, and sexuality intersected in the age of the anatomical gaze.Readings from medical treatises, philosophy, novels (Rabelais), poetry (Scève, Ronsard, Labé), essays (Montaigne), and emblem literature. Taught in French.

Selections from all seven volumes of "In Search of Lost Time". Focus on issues of personal identity (perspective, memory, life-narrative); interpersonal relations (friendship, love, homosexuality, jealousy, indirect expression); knowledge (objective truth, subjective truth, necessary illusions); redemption (enchantment, disenchantment, re-enchantment); aesthetics (music, painting, fiction); and Proust's own style (narrative sequence, sentence structure, irony, metaphor, metonymy, metalepsis). Taught in English; readings in French or English.

This course examines the relationship between art and the market, from Renaissance artisans to struggling Impressionist painters to the globalized commercial world of contemporary art and NFTs. Using examples drawn from France, this course explores the relationship between artists and patrons, the changing status of artists in society, patterns of shifting taste, and the effects of museums on making and collecting art. Students will read a mixture of historical texts about art and artists, fictional works depicting the process of artistic creation, and theoretical analyses of the politics embedded in artworks. They will examine individual artworks, as well as the market structures in which such artworks were produced and bought. The course will be taught in English, with the option of readings in French for departmental majors.

This course will explore the links between aspects of South-East Asian cultures and their influence on modern and contemporary Western art and literature, particularly in France; examples of this influence include Claude Debussy (Gamelan music), Jacques Charpentier (Karnatak music), Auguste Rodin (Khmer art) and Antonin Artaud (Balinese theater). In the course of these interdisciplinary analyses - focalized on music and dance but not limited to it - we will confront key notions in relation to transculturality: orientalism, appropriation, auto-ethnography, nostalgia, exoticism and cosmopolitanism. We will also consider transculturality interior to contemporary creation, through the work of contemporary composers such as Tran Kim Ngoc, Chinary Ung and Tôn-Thât Tiêt. Viewings of sculptures, marionette theater, ballet, opera and cinema will also play an integral role. To satisfy a Ways requirement, this course must be taken for at least 3 units. WIM credit in Music at 4 units and a letter grade.

In this course, we will think critically about what we have come to call the African diaspora. We will travel the world virtually while exploring a selection of classic and understudied texts, in order to interrogate the relationship between culture, race, gender and identity in the "old" and "new" African diasporas. From literary texts to popular culture, we will relate each weekly reading to a hot topic. Our goal is to think cross-culturally and cross-linguistically about the themes covered by putting exciting works in conversation. The diverse topics and concepts discussed will include race, class, gender, identity, sexuality, migration, Afro-Caribbean religions, performance, violence, the body, metissage, Negritude, Negrismo, multiculturalism, nationalism, Afropolitanism and Afropean identities.

The Renaissance (14-16th c.) was a period of intense exploration: outwards, with the "discovery" and conquest of "new" continents and people; back in time, with the unearthing of Classical texts from antiquity; and inwards, with the first human dissections and the rise of gynecology. From all these experiences emerged multiple models and definitions of gender, conflicting norms of sexualities, and shifting accounts of sexual difference. Bodies became objects of constant scrutiny, speculation, and representation.Scientists, philosophers, writers, theologians, explorers discussed and documented hermaphrodites and animal-human hybrids, trans-gendering, vagrant uterus, male and female cosmic attributes, sexual drives, while poets dabbled in proto-pornography and subverted gender roles.We will look at scientific, literary, and artistic documents from 16th century France to investigate how gender, sex, race, and sexuality intersected in the age of the anatomical gaze.Readings from medical treatises, philosophy, novels (Rabelais), poetry (Scève, Ronsard, Labé), essays (Montaigne), and emblem literature. Taught in French.

A survey of literatures and cultures of the French speaking world outside of Europe. We will examine a variety of literary genres as we explore works from the Caribbean, the Maghreb, West Africa, North America, Asia, and the Indian Ocean. Topics include: the politics of language, the making of literary classics, world literature and translation, decolonization, nationalism, gender, sexuality, race, and identity. Taught in French.

For students in French working on special projects or engaged in predissertation research.

Doctoral students who have been admitted to candidacy, completed all required courses and degree requirements other than the University oral exam and dissertation, completed 135 units or 10.5 quarters of residency (if under the old residency policy), and submitted a Doctoral Dissertation Reading Committee form, may request Terminal Graduate Registration status to complete their dissertations.