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for 2008-2009
UCD School of Languages and Literatures
One-year full-time and two-year part-timeMastersDegreein French and Francophone Studies at UCD
The programme in French at UCD is the largest in Ireland, with a long-established international reputation for research and teaching excellence. Yet, despite the large number of staff and the wide range of their interests, the degree retains many of the best features of small programmes:
close contact with lecturers and small class sizes.
There are currently 12 permanent staff teaching in French whose interests
range from Medieval Literature to the Literature of the Enlightenment to Contemporary Cultural Theory and Modern Francophone Literature.
September to the following August.
New for 2008-09:It is now possible to take the taught MA on a part-time basis over the course of two years. There is separate provision for a Masters Degree by major thesis, i.e. a two-year MLitt. If interested, please contact the Coordinator of Postgraduate Programmes: Dr Stephen Schwartz ( the MA and the MLitt degrees qualify students for
subsequent enrolment for the PhD degree in French.
2. Complete third-level transcripts (UCD French graduates are exempted from this requirement); 3. A copy of the applicants birth certificate; 4. A one to three page statement of interests and reasons for wanting to pursue an MA in French 5. A letter of reference from a third-level lecturer or professor (UCD French graduates are exempt) 6. A short sample of intellectual work, in French or in English
Funding opportunities The Irish Government and UCD provide competitive funding opportunities for students involved in full-time study. Contact the Fees and Grants Office on 716 1431. Information is available on the web at:
How the programme isstructured
Three elements: Course work, minor thesis and thesis defence
C o u r s e w o r k
 All students take twoIntroduction to Re-search Methodsmodules offered to all MA students in the School of Languages and Litera -tures.
Elective modules take five one-: Students semester elective modules. Full-time students normally take three in the first semester and two in the second. These take the form of a weekly seminar spread over twelve sessions. Provision of any course is subject to a minimum quota of stu -dents. Assessment in elective modules is usually based on one substantial essay (3,500 to 5,000 words) per course.The language used in elective modules may be French or English. Students may only take one of the Literary Translation courses.
I n d e p e n d e n t p r e p a r a t i o n Thesis:All students must write a minor thesis of 12,000-15,000 words. The thesis may be writ -ten in French or in English, though students who choose to write in English are required to enrol in one of the Literary Translation courses. The topic chosen may be (a) course-related, in which case the supervisor will be the course convenor, or (b) independent, i.e. related to the research interests of another member of staff (as listed at the end of this booklet). In either case students will be required to follow the same preparatory timetable, indicating deadlines for submission of:  a specific topic, as agreed with the thesis su -pervisor (by end of semester 1)  a 1,000-1,500 word plan of their proposed thesis and bibliography (by mid-February)
All students should subsequently consult their supervisors on the basis of an agreed number and timetable of meetings. The thesis is normally submitted to the Examinations Office by the end of August. Official thesis submission dates are published annually by the Registrars Office. Thesis defence or:The oral defence, soutenance the dissertation will take place on, of an agreed date after assessment of the disserta -tion is complete. It consists of an oral presenta -tion in French by the student, followed by a dis -cussion in French with a panel of staff.The panel in attendance at the presentation will usually comprise the Head of French and the Coordina -tor of the MA Programme, plus the dissertation supervisor and any other interested staff mem -bers. The oral presentation usually lasts about twenty minutes. It gives students an opportunity to dem -onstrate the interest of their work, to explain the reasons that led them to choose their topic, the objectives they set themselves, the scope and originality of the project, the methods employed, the difficulties encountered, the conclusions reached. It is also an opportunity for students to demonstrate their skills of formal oral exposition in French. The presentation is followed by a question-and-answer session. Weighting of assessed elements The MA degree is now modular in structure and comprises90 credits. The research methods modules are each worth 5 credits and the fiveelective modulesare each worth 10 credits. Thedissertationandthesis defenceare together worth 30 credits.
defining the rse ch writer, thinker, campaigner, and entengaged with the concept of and writings. In order to trace the ero, this course proposes to delve erary attempts at re-defining the , the anti-hero/ine, and the heroic. h criticise monarchy, Church and texts (history; poetry; theatre), oltaires rather idiosyncratic alities of major historical figures: II of Sweden, Louis XV and Peter ill subsequently turn to Voltaires of Frederick the Great of Prussia, re-writings of the self as victim and rovide intriguing contrasts. Finally, writing will be analysed against âme!, his letter-campaign to sm and intolerance.These later their theoretical perspective on e (theContes philosophiques) as uct of a factual hero/ine (the . Given the enormous inuence rted on readers perceptions and will be pertinent to examine res in the light of recent theories sponse theories, with particular f authorship and censorship. homas (Monhelios, 2002) Suède, ed.Yves Lemoine (Michel de u Mahomet le Prophèt,Nanine ou é,Le café ou lEcossaise, ed. Jean on, 2004) Magnan (Paris-Méditérranée, n prose, ed. by Edouard Guitton , 1994) orContes en vers et en nant, 2 vols (Classsiques Garnier, sion de la mort de Jean Calass Van den Heuvel (Gallimard, 2003)
2. Fifty Years of Formalism:The Legacy of theNouveau Romanin ContemporaryFrench Fiction
Convenor: Dr Emer OBeirneIt is fifty years since thenouveau romanFrance sought to resituate the novelliterary grouping in as an autonomous art form, emphasising the process of writing and the texts status as a con -struct in order to challenge the perception of the genre as a vehicle for the representation of social reality and/or political or philosophical argument. It remained an enormously inuential movement for two decades in France and beyond, and the dominant intellectual forum for de -bate around the nature and function of the novel, despite the very real divergences on these questions among its chief proponents Alain Robbe-Grillet, Nathalie Sarraute, Michel Butor, and Claude Simon, divergences evident in the groups creative as well as their critical writings.
Half a century later, what is left of thenouveau roman it fell from favour in thelegacy? While 1970s and 80s, in more recent years several contemporary novelists are once again happy to place themselves in its lineage while remaining at the same time predominantly representational. How have such formally self-aware writers as Marie Darrieussecq, Jean Echenoz, or Jean-Philippe Toussaint engaged with thenouveau romanheritage in fictions which are nonetheless resolutely referential? How far are the (varied) priorities of thenouveaux romanciersreally still live for this newer generation, and what new aesthetic and cultural questions compete to inform their work? With the distance of hindsight and comparison, what extrinsic determining forces can be seen at work in thenouveau romanto what extent do these limit its significance for fiction aesthetic, and today? These are the questions that will be explored in the course of this option, as we consider some key topics in the works of both generations: the city, the artwork, and the self.
Principal texts: Michel Butor,LEmploi du temps(1956) Alain Robbe-Grillet,Dans le labyrinthe(1959) andPour un nouveau roman(1963) Nathalie Sarraute,Les Fruits dor(1963) andLre du soupçon(1956) Jean Echenoz,Lac(1989) Jean-Philippe Toussaint,LAppareil-photo(1989) Marie Darrieussecq,White(2003)
3.Doù je viens, où je vais: LEcriture migrante dans le mondefrancophonecontemporain
Responsables: Dr Michael Brophy et Prof Mary Gallagher
A lheure dun mondialisme galopant qui tend à regrouper et à diluer dans de vastes synthèses la pluralité et la diversité des cultures, lécriture (im)migrante ou transculturelle nous plonge très souvent dans un univers hétéroclite et éclaté, où sopère un difficile passage entre le pays natal et le pays daccueil, la culture dorigine et la culture dadoption, et même dans certains cas, entre la langue maternelle et la langue de lautre. Le texte migrant est le site dun interminable apprentissage, dune constante métamorphose. Ecartelé entre de nombreuses contradictions, il cherche néanmoins à sériger en carrefour, à conjuguer tant bien que mal le proche et le lointain, le familier et létranger, le semblable et le différent, la mémoire et loubli, bref à transformer lexil en sentiment dappartenance. Comment saffirmer soi-même en participant à une autre culture, à une autre vie ? Comment lécriture migrante nous oblige-t-elle à repenser notre conception de lidentité et notre rapport au lieu ? Le nomadisme culturel serait-il enfin la seule vraie culture, et le statut migrant, celui, essentiellement, de tout écrivain ? Cest à travers des trajectoires bien distinctes, des métissages littéraires fort innovateurs, que ce cours permettra de poursuivre cette interrogation décloisonnante. Outre les questions dappartenance, didentité et de poétique, on abordera celles qui portent plus largement sur la teneur et les enjeux de la francophonie mondiale, marquée comme elle lest par le poids du colonialisme historique et le défi actuel dun néo-impérialisme anglophone.Toutes ces questions animent de bout en bout les textes mis au programmedes textes qui tracent, par exemple, le déplacement des Antilles au Québec ou en France, du Canada anglophone et du Maghreb à Paris, de la France métropolitaine au Québec.
Textes prescrits: Régine Robin,La Québécoite(Montréal : XYZ, [1983]1993) Emile Ollivier,Passages(Paris : Le Serpent à Plumes [1991] 2001) NancyHuston/LeïlaSebbar,Lettres parisiennes :Autopsie de lexil(Paris  lu, [1986] 1999): Jai
Textes supplémentaires: Antonio DAlfonso,LAutre Rivage(Montréal :îoroNeL)9991,t Gisèle Pineau,LExil selon Julia Livre de Poche [1996] 2000)(Paris :
inémaet société
Le cinéma français des années 30 présente un champ d'études particulièrement riche et varié, tant sur le plan du fond que sur celui de la forme. Cette richesse s'explique par l'innovation technique (la transition au parlant), l'évolution esthétique (du surréalisme au réalisme poétique), et un contexte social en pleine mutation. Le consensus critique qui assure la réputation classique des films de Vigo et Renoir entre autres témoigne de lapport esthétique des cinéastes français de lépoque. Mais cette réussite cinématographique sinscrit dans un contexte historique bien défini. Lhistoire la crise économique, le conit social, lessor du Deuxième Guerre Mondiale, fournit au cinéma des années 30 non seulement un décor de circonstance, mais les matériaux mêmes de ses films, et constitue un cadre indispensable à la compréhension de ce qui se passe à lécran. Ce cours propose donc un panorama des thèmes et techniques du cinéma français des années 30, tout en le situant dans son contexte industriel, social et politique. On abordera entre autres les thèmes suivants:  Les rapports entre cinéma, histoire et politique  Linuence du surréalisme  Le réalisme poétique  Le cinéma du Front populaire  La fonction de la vedette  La théorie de lauteur/la contribution de léquipe (scénariste, décorateur etc.) Films prescrits : Luis Buñuel et Salvador Dalí,Lge dor(1930) René Clair, nous la liberté(1931) Jean Vigo,LAtalante(1934) Jean Renoir,Le Crime de Monsieur Lange(1935) Julien Duvivier,Pépé le Moko(1936) Marcel Carné,Le Jour se lève(1939) Jean Renoir,La Règle du jeu(1939) Ce cours nexige aucune connaissance préalable dans le domaine de létude de cinéma, mais présuppose par contre la lecture des trois ouvrages suivants avant le début du programme: DudleyAndrew, CultureMists of Regret: and Sensibility in Classic French Film(Princeton: Princeton University Press, 1995) Jean-Pierre Jeancolas,Histoire du cinéma français(Paris: Nathan, 1995) Francis Goliot-Lété, AnneVanoye etPrécis danalyse filmique(Paris: Nathan, 1992) Bibliographie indicative : Jean-Pierre Jeancolas, 1929-1944 le cinéma des Français,Quinze ans dannées trente:(Paris: Stock, 1983) Keith Reader and Ginette Vincendeau (eds.),à nous! French Cinema of the Popular est La Vie Front, 1935-38(London: BFI, 1986) Marc Ferro, édition refondueCinéma et histoire, nouvelle(Paris: Gallimard, 1993) Pascale Ory,et politique sous le signe du Front Populaire, 1935-38La Belle Illusion: culture (Paris: Plon, 1994)
5.Introspectionin Century French Fi Convenor: Prof Mary Gallagher André Gide, having practiced both genr counterintuitivelythat it is the novel, lends itself best to introspection. Sever French writers used literary fiction, if n illuminate the intricacies of the mind ob critical approach to such notions as ficti genre, the writing subject, consciousnes identity, authorship, etc., this module ex introspective projects that lie at the he ProustsDu côté de chez Swann, Paul Val ColettesLa Vagabonde. Primary Texts Colette,La Vagabonde(Livre de poche e Marcel Proust,Du côté de chez Swann( Paul Valéry,Monsieur Teste(Gallimard ed
Summary Background Bibliogr Paul Jay, Text: Self-RepresentatBeing in the Ithaca: Cornell UP, 1984 P. Mansell Jones,French Introspectives, fro Cambridge UP, 1937 Georges Poulet, essaisEntre moi et moi: J. Corti, 1977 Dorrit Cohn,Transparent Minds: Narrati Consciousness in Fiction, Princeton David Walker, 'Challenging the Novel in Gide, Longman, 1996. Roger Shattuck,Proust, Fontana, 1974 6. & 7. LiteraryTr Convenors: Dr Phyllis Gaffney and The course offers a practical approach translation.As a form of intercultural c not just a matter of finding verbal equiv interpretation of a much wider social a will learn to interpret short texts from French into English. The corpus for translation from English ter will consist of Hiberno-English texts 1945, while the corpus for translation i sist of Hiberno-English texts written be The corpus for translation from French range of texts with a stylistic as well as of text types, from literary to journalisti linguistic comparison will be made bet
Staff R
Dr Michael etics; poetry porary Franc Dr Derval ideas; early-m age; early-mo phy. Dr Phyllis youth and age in Old French Saint-Lô; Bec Prof Mary dian writing i sation and cul writing in Fre fiction (esp. P ras); ethics an Mme Pasc Proust; littéra tiste (littératu talités; exposi Dr Laurent néma et socié raine (politiq Dr Emer O from Proust t rary aesthetic Prof Jean-centuries); m val hagiograp belais; moder land and Fran DrSíofraP ographie, litté Bretonne; ima siècle. Prof Vera tics; acquisitio theory; sociol French-Cana Dr Stephe thought; liter ries of individ theory; conte Dr Dougla sociology; int ema.
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