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The novel displeased his father so much that he tried to buy all existing copies of the book. Earlier while stranded in London, Modiano had called his father to request a little financial assistance, but his father had rebuffed him. Another time , his mother sent Patrick to the father's apartment to demand a tardy child-support payment, and in response the father's girlfriend called the police. In , Modiano co-wrote the screenplay of Lacombe, Lucien , a film co-written and directed by Louis Malle ; it focuses on a boy joining the fascist Milice after being denied admission to the French Resistance.

The film caused controversy due to the lack of justification of the main character's political involvement. Modiano's novels all delve into the puzzle of identity, and of trying to track evidence of existence through the traces of the past. Obsessed with the troubled and shameful period of the Occupation —during which his father had allegedly engaged in shady dealings—Modiano returns to this theme in all of his novels, book after book building a remarkably homogeneous work. In the end, we are all determined by the place and the time in which we were born. All of Modiano's works are written from a place of "mania.

The novel addresses the never-ending search for identity in a world where "the sand holds the traces of our footsteps but a few moments. Fifteen years after their breakup, they meet again, but she has changed her name and initially denies their past. Two of postwar London's more notorious true-life characters, Peter Rachman and Emil Savundra , befriend the narrator.

What is real and what is not remain to be seen in the dreamlike novel that typifies Modiano's obsessions and elegiac prose. The theme of memory is most clearly at play in Dora Bruder entitled The Search Warrant in some English-language translations. Dora Bruder is a literary hybrid, fusing together several genres — biography, autobiography, detective novel — to tell the history of its title character, a year-old daughter of Eastern European Jewish immigrants, who, after running away from the safety of the convent that was hiding her, ends up being deported to Auschwitz.

As Modiano explains in the opening of his novel, he first became interested in Dora's story when he came across her name in a missing persons headline in a December edition of the French newspaper Paris Soir. Prompted by his own passion for the past, Modiano went to the listed address, and from there began his investigation, his search for memories. Regarding Dora Bruder, he wrote: "I shall never know how she spent her days, where she hid, in whose company she passed the winter months of her first escape, or the few weeks of spring when she escaped for the second time.

That is her secret. Even though there are plenty of geographical details, the reader is left with a sense of vagueness as to what happened and when. In the third of five chapters, the protagonist herself relates episodes from her life, but she remains difficult to grasp. The author creates a number of instabilities on various levels of his text and this signifies how literary figures can not be created.

The protagonist evades being grasped. In Modiano's 26th book, L'Horizon , the narrator, Jean Bosmans, a fragile man pursued by his mother's ghost, dwells on his youth and the people he has lost. Among them is the enigmatic Margaret Le Coz, a young woman whom he met and fell in love with in the s. The two loners spent several weeks wandering the winding streets of a now long-forgotten Paris, fleeing a phantom menace. One day, however, without notice, Margaret boarded a train and vanished into the void—but not from Jean's memory.

Forty years later, he is ready to look for his vanished love. The novel not only epitomizes Modiano's style and concerns but also marks a new step in his personal quest, after a mysterious walkabout in Berlin. But if you look at it right, you can still spot ancient wastelands beneath the concrete. These are the very roots of my generation. His latest work is the novel Pour que tu ne te perdes pas dans le quartier Modiano has also written children's books.

Modiano is also one of the 8 members of the jury of the French literary award Prix Contrepoint. Called the "Marcel Proust of our time", [18] he was awarded the Nobel Prize in Literature "for the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the Occupation ".

From Wikipedia, the free encyclopedia. For other uses, see Modiano disambiguation. Consent Only. She understood the Revolution like no other. Steeped in the aristocratic tradition of the salons, she was at the same time a founder of French romanticism. From her exile in Switzerland she was, with her lover Benjamin Constant, profoundly engaged in liberal thought.

Her novels are about women and for women. Her writings introduce German culture into France. In this course we will read her novels and some of her important non-fiction writings. The second part of the course will be devoted to the topic of Judaism as a way of life, focusing on the writings of Joseph Soloveitchik.

The third part of the course will consider a number of historically and theoretically heterogeneous essays that take up different aspects of our theme. Consent only. Limited enrollment; students interested in taking for credit should attend first seminar before registering. Verlaine, Rimbaud, Apollinaire, and Char. Close reading, and focus on problems in translation.

Students with French, of course, should read the poems in the original. Les deux individu et livre sont indissociables et occupant une place centrale dans le livre de Montaigne. Readings and discussions in French. Students with a major other than French can give a presentation in English and write their term paper in English. At a time when liberal models are undergoing a crisis, in Europe and in America, this course seeks to explore an alternative genealogy for political modernity and its theoretical implications.

This course also aims to bring to light a comparatively neglected aspect of the thought of Montaigne — his political thought and its complex relationship with later major political philosophies. Our working hypothesis is that these different themes may be linked coherently if they are understood in terms of the contribution made by Montaigne to the construction of modern liberal thought, as it has developed from Hobbes to the present day. All readings in French; discussion in English.

Montaigne constantly redefined the nature of his task, in order to fashion himself anew and, in the end, offered an impressionistic model of descriptions based on momentary experiences. Over the centuries, the reception of Montaigne has been anything but simple. The 21st century seems somewhat less interested in the writer Montaigne, but strives more than ever to find for him a place in the western philosophical canon.

Thus, for the last two decades people all over the world have been asking: what is it that makes Montaigne a modern philosopher? In what way can the Essays be considered the first great text of modernity? In this sense, the 21st century is in the process of reinventing a new Montaigne. This Montaigne is inside us, he inhabits us. We will attempt to define this Modern or Post-Modern Montaigne. What is the process by which some historical figures take on mythical proportions?

This course examines four case studies of conquerors who attained sovereign power in times of war conquest, civil war, revolution , who had a foundational role in empire-building, and who consciously strove to link themselves to the divine and transcendent. Their immense but ambiguous legacies persist to this day. Although each is distinct as a historical individual, taken together they merge to form a paradigm of the exceptional leader of epic proportions. Each models himself on exemplary predecessors: each invokes and reinvents myths of origin and projects himself as a model for the future.

Taught in English with separate discussion session for students in French. The New Wave. The Neo-Avant Garde. Rarely have these film and art movements been placed into an explicit historical or theoretical dialog or dialectic. It will be the task of this seminar to do just that. We will begin our study with a brief look into the pre-WWII situation of radical art and film movements, and classic theories of the avant-garde and neo-avant-garde.

As we move toward and beyond the events of May , we will bring our study of social documentary, politically militant forms, collective film and art practices, and historiography to bear on purportedly stable understandings of the New Wave, its art historical forebearers, and its heirs. While some of our texts will appear in English translation, many will not. The seminar will be conducted in English, but the last thirty minutes of each session will be conducted in French.

Screenings are mandatory. With some possible exceptions, films will be subtitled. PQ: Reading knowledge of French is required. This course will examine the history and achievements of the Paris-based literary collective Oulipo, Workshop for Potential Literature , from its founding as a secret society in to its expansion into an internationally visible group. We will consider the group's relationship to and reaction against earlier and contemporary avant-garde movements, the French new novel, and structuralism, and we will also examine the reception of Oulipian writing outside France.

Readings will include collective publications by the group as well as works by Queneau, Perec, Roubaud, Calvino, Mathews, Grangaud, and others. Students seeking French credit must do the readings where applicable and writing in French. The French Revolution is one of the defining moments of modern world history. The course will explore the mix of social, political and cultural factors which caused its outbreak in and go on to consider the overthrow of the Bourbon monarchy in , the drift towards state-driven Terror in and the ensuing failure to achieve political stability down to the advent of Napoleon Bonaparte in Paris shaped the Revolution in many ways, but the Revolution also reshaped Paris.

The urbane city of European enlightenment acquired new identities as democratic hub from and as site of popular democracy after In addition, the Revolution also generated new ways of thinking about urban living and remodelling the city for the modern age. A wide range of primary sources will be used including visual sources notably paintings, political cartoons and caricatures and maps. As well as focussing on architecture and the built environment, we will examine the political, social, and especially cultural history of the city. A particular feature of the course will be representations of the city—literary Victor Hugo, Baudelaire, Zola, etc.

We will also examine the city's own view of itself through the prism of successive world fairs expositions universelles. Blaise Pascal in the seventeenth century and Simone Weil in the twentieth formulated a compelling vision of the human condition torn between greatness and misery.

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They showed how human imperfection coexists with the noblest callings, how attention struggles with distraction and how individuals can be rescued from their usual reliance on public opinion and customary beliefs. Both thinkers point to the religious dimension of human experience and suggest unorthodox ways of approaching it. We will also study an important text by Gabriel Marcel emphasizing human coexistence and cooperation. PQ: Undergraduates must be in their third or fourth year. For French undergraduates and graduates, we will hold a bi-weekly one-hour meeting to study the original French texts.

Particular attention will be paid to critical paradigms and approaches in the evolving fields of classical reception studies, theater and performance studies, and gender studies. PQ: Reading knowledge of French strongly preferred.

Assistant Professor of French and Medieval Studies

Texts may be read in the original or in English translation. Nous nous concentrerons sur le dit narratif et les textes hybrides. We will also read older critical interpretations Mauron, Sartre, H. Finally, we will read him in conjunction with some other, more or less overtly philosophical texts Heidegger, Badiou, Nietzsche, Meschonnic, e. Reading knowledge of French is required, though the course will be conducted in English. Nous aborderons Rabelais dans le cadre politique de la Renaissance. Nous lirons deux romans de Rabelais: Gargantua et Pantagruel.

This seminar has two goals. One is to combine the text-based tradition of French literary studies with the image-based, comparative tradition of art history—and, in so doing, to change the taxonomies of both. The other is to re-evaluate French Classicism by attending to practices of reading, writing, performing, looking and making. Looking will be no less important than reading, as we will conduct sessions with original objects in the Art Institute and in Regenstein Special Collections. The seminar will be conducted in English; all primary texts will be made available in both English translation and, for those with reading knowledge, in the French original.

This seminar will travel to Paris during exam week March , ; airfare and lodging covered by university. Consent of instructors required. For this course, we will read major texts by Freud and Lacan. We will also read excerpts from a variety of texts that use the writings of Freud and Lacan for theoretical purposes: Derrida, Sarah Kristeva, Irigaray, Zizek and others. Students seeking French credit will read Lacan texts in the original, and the theoretical texts in French as well.

Over the last two decades, questions of race, racial identity, and racial discrimination have come increasingly to the fore in France, despite or because of the country's prevailing rhetoric of colorblind indivisibility. These issues are becoming ever more pressing on a background of intensifying racisms and right-wing populisms in Europe.

The purpose of this course is to offer analytical perspectives about these critical tensions and their ripples across the landscape of contemporary French politics. Using readings from a wide variety of fields among others, anthropology, sociology, literature, philosophy, history, political science, and news media , we will unpack the discourses and lived experiences of race that have shaped the politics of national identity and difference in France since the late 18th century.

We will see that the question of 'racial France' has been intimately bound up with the country's history of colonialism and decolonization, with its Republican ideology, with matters of law and government, with questions of citizenship, religion and sexuality, with recent debates on multiculturalism, and with white malaise and resentment stirred by the growth of right-wing extremisms. In the course of our examinations, we will also reflect on the specificity of race and racialization in France, and its differences from racecraft in the United States.

We will consider the roots from Euripides to Corneille of his theatrical practice as well as its immense influence on future writers from Voltaire to Proust, Beckett and Genet. PQ: At least one French literature course or higher. This course is a study of directed readings in special topics not covered by courses offered as part of the program in French.

Etienne de Montety : biographie, actualités et émissions France Culture

Subjects treated and work completed for the course must be chosen in consultation with the instructor no later than the end of the preceding quarter. PQ: French or , depending upon the requirements of the program for which credit is sought. This course involves directed readings in special topics not covered by courses offered as part of the program in French. Subjects treated and work to be completed for this course must be chosen in consultation with the instructor no later than the end of the preceding quarter.

This course will examine the influence and continuation in twentieth-century French literature of the great realist enterprise of the previous century.

Le romantisme [Bac de français]

Beginning with the crisis of naturalism in the late nineteenth century, we will consider the inflections given to literary representation by historical cataclysm, the avant-garde critique of the novel, and the postwar "age of suspicion. Finally, we will evaluate the phenomenon of the "return to the real" in contemporary French literature. PQ: advanced undergraduates admitted with consent of instructor.

Readings in French, discussion in French or English. Papers in French or English according to field of study. This course will examine some of the salient texts of postmodernism. Part of the question of the course will be the status and meaning of "post"-modern, post-structuralist.

The course requires active and informed participation. PQ: Taught in English. Since the late-eighteenth century, French writers have relied on the brevity and evocative powers of the short story to inform, shock, and impassion their readers with the realities of slavery, colonialism, and racial violence in the Atlantic World.

Soon enough, however, the subjects of these lived experiences took the pen to write their own short stories, thus cannibalizing the genre in order to fit the necessities of their own cultural settings and political agendas. In this course, we will trace the evolution of the short story as it traveled along the shores, around the themes, and across the traditions of the Francophone Black Atlantic. We will explore the ways in which writers from France, the Caribbean, and West Africa have dialogued with one another to further hybridize a literary genre often defined by its very indefinability.

Class discussions will be in English. All texts will be available in both French and English. This course studies manuscripts, printed books, and printed images produced in fifteenth- and sixteenth-century France that combine text and image, particularly those that do so in unusual, innovative, or provocative ways. We will consider problems of interpretation, "illustration," friction and gaps between text and image, and the uses of print vs. Types of objects studied include emblem books, books of hours, scientific books, mythological and romance literature, captioned prints and print albums, and ceremonial books made to document events.

We will visit several local collections n. Basic reading knowledge of French required. In this research-intensive graduate seminar, students will engage with a range of methods, questions, and approaches to conducting archival research in filmic, paper and print, and internet databases, and in both American and foreign contexts. While some class content will unfold around archival materials related to French film and art practice between , and to the discursive transformations around concepts of materiality and visual aesthetics therein, we will also explore a range of texts on archival methodology; selected texts on archival theory; and case-studies foregrounding modes of archival discovery, evaluation, and interpretation.

To be considered for this seminar, interested students should thus submit a short paragraph research proposal prior to registration. Proposals do not have to focus on French or Francophone topics, nor do they have to be fully developed. They must, however, propose a set of coherent and exploratory, if tentative, questions or propositions that the student will explore through intensive archival research. Proposals should be sent to jenniferwild uchicago. This seminar will examine how twentieth-century filmmakers and artists have deployed form and formal experiment to engage not simply politics, but the visual, discursive, and material field of political life and experience.

Consequently, our study will advance a discussion about the dialectical relationship between "form" and "aesthetics," while we will also interrogate the evolution of "politcial subjectivity" and its modes of being and expression in twentieth-century film, art, and life. Additionally, this seminar is designed to coincide with and compliment the yearlong project "Concrete Happenings" in the Department of Art History, and the associated symposium on "Fluxus and Film" that will take place in the spring term.

We will study major philosophers Montesquieu, Rousseau, Voltaire, Diderot and examine their influence on contemporary controversies on Democracy, Justice, Civilisation, Europe and Empire. For those enrolled in this course as a French course, there will be a weekly discussion session in French. This course surveys the history and aesthetics of French avant-garde groups and tendencies in the twentieth century, from Dada and surrealism to the Nouveau Roman and Oulipo.

While our focus will be on literary texts, we will also consider theoretical perspectives on the avant-garde and explore connections and contacts between literature and the other arts. In this course we will be looking at the medieval Mediterranean world from the perspective of French literature of the 12th and 13th centuries. In direct contrast to an understanding of the Middle Ages as a time of cultural isolation and homogeneity, we will be considering some of the many points of contact between medieval France and other Mediterranean geographies, cultures, and peoples.

The emphasis will be on texts that present these trans-Mediterranean relationships in complex and varied ways. Texts will be selected from a variety of genres, including poetry, epic, and romance, and we will also look at medieval art and art objects. Course is taught in French. All of the Old French texts will be available in modern French translations.

This course will explore the expression of Terror la terreur as it was thematized in French texts of the nineteenth century. In reaction to the fast won freedom of the an extremist group headed by Robespierre came to power and through its terroristic practices threatened the democratic values of the Revolution itself. We will examine some key moments during the period of the French Revolution and their impact on the collective memory of French novelists. Particular attention will be paid to the narrative construction of the historical moment known as the Terror; the development of the historical novel, the relationship between history and fiction.

This seminar will involve intensive readings in selected 16thth c. Readings will be done in French, Italian, Latin, and English where available. We will make frequent reference to images, secondary literature, and ancient texts. Paper topics may be drawn from students' own fields. Qualified undergraduates may be admitted. We will see how the expansion of commerce in the sixteenth century produces a new form of travel literature, an object for imagination where the Other in reality or in fiction helps to reflect on the cultural and moral values of Europe. Most readings in French. Papers in French for French grad students and in English for others.

Advanced undergraduates accepted with consent of instructor. Est-ce que la dissimulation va toujours de paire avec la civilisation? How does this astounding assemblage of architecture, visual arts, landscaping, performance spaces and political arenas reveal transformations in cultural tastes and power arrangements over the centuries? How do literature and art alternately support and subvert absolutist power and state propaganda? While this course will broadly introduce major themes of French and European culture and history of the early-modern and modern periods, students are also encouraged to pursue in-depth projects in their own areas of interest, from history and political philosophy to the visual arts, theater and performance, and literature.

We will be particularly attentive to Victor Hugo's role as an observer of nineteenth-century French society as well as an actor in the political life of his times. All classes and texts in French; presentations preferred in French, but English will be acceptable depending on the concentration. Written work in French or English. From the early modern narrative genres to the great nineteenth-century novels, we will look at the ways in which story-telling emphasizes human greatness or makes fun of human imperfection. Idealism and realism alternate, rival with each other, and sometimes even manage to cooperate.

For the older period we will read short excerpts from An Ethiopian Story, Amadis de Gaula, and Diana by Montemayor, as well as a couple of novellas by Boccaccio and Cervantes. Skip to main content. Academic Year - Any - Literatures or Languages - Any - Language Literature.

Biographie d'Etienne de Montety

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