UNIVERSITY OF MARY WASHINGTON -- NEW COURSE PROPOSAL

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UNIVERSITY OF MARY WASHINGTON -- NEW COURSE PROPOSAL Electronically submit this completed form with attachments in one file to the Chair of the College Curriculum Committee.

Department/discipline and course number*: FREN 336 *This course number must be approved by the Office of the Registrar before the proposal is submitted.

1 UNIVERSITY OF MARY WASHINGTON -- NEW COURSE PROPOSAL Electronically submit this completed form with attachments in one file to the Chair of the College Curriculum Committee. COLLEGE (check one): Arts and Sciences X Business Education Proposal Submitted By: French Faculty Date Prepared: 11 / 19 / 2015 Course Title: French and Francophone Literature in Translation Department/discipline and course number*: FREN 336 *This course number must be approved by the Office of the Registrar before the proposal is submitted. None Number of credits proposed: 3 Prerequisites: Will this be a new, repeatable special topics course? (Do you want students to be able to take this new course more than once if the topic changes?) NO X YES Date of first offering of this new course: FALL SEMESTER, year FALL 2016 Proposed frequency of offering of the course: Every 5 th or 6 th semester. List the faculty who will likely teach the course: Di Lauro, Koos, Powers, Wellington Are ANY new resources required? NO X YES Document in attached impact statement This new course will be (check all that apply): Required in the major General Elective Elective in the major X General Education** **AFTER the new course is approved, a separate proposal must be sent to the General Education Committee. Catalog Description: 336 French and Francophone Literature in Translation. No prerequisite. Taught in English. The study of masterpieces of French Literature in English Translation such as Molière, Hugo, Balzac, Zola, Camus, and Sartre. COURSE HISTORY *will be taught in the spring* Was this course taught previously as a topics or experimental course? YES X NO Course Number and Title of Previous Course Semester Offered Enrollment FREN 320: Art and Literature in Nineteenth Century France Spring CHECK HERE if the proposed course is to be equated with the earlier topics or experimental offerings. This means that students who took the earlier topics course will only be able to take the new course if they made a C- grade or lower in the earlier course. NOTE: If the proposed course has not been previously offered as a topics or experimental course, explain in the attached rationale statement why the course should be adopted even though it has not been tried out. REQUIRED ATTACHMENTS: 1. Rationale Statement (Why is this course needed? What purposes will it serve?) 2. Impact Statement (Provide details about the Library, space, budget, and technology impacts created by adding this new course. Include supporting statements from the Library, IT Department, etc. as needed.) 3. Sample Syllabus Department Chair Approval: CCC Chair Approval: Date: 11/19/15 Date: 11/20/15 UCC Chair Approval: Date: 12/07/2015

2 Rationale Statement (Why is this course needed? What purposes will it serve?) We would like to add this course in order provide the possibility for students who do not have advanced language skills to take a FREN course. Although it is important for us that courses be delivered in the target language, we recognize that there is a population of students who are interested in French studies but who do not possess the language skills necessary to pursue such classes. We therefore propose a course in translation. Impact Statement (Provide details about the Library, space, budget, and technology impacts created by adding this new course. Include supporting statements from the Library, IT Department, etc. as needed.) The changes to the program will have no effect on library, space, budget, or technology. The changes will not affect the French minor.

3 Sample Syllabus Art & Literature in Nineteenth Century France (FREN 320) University of Mary Washington, Spring 2012 TR 11:00 am - 12:15 Combs 215 Professor B. Di Lauro bdilauro@umw.edu Office: Combs 224 Tel: x 1988 Office Hours: TR 3:15-6:00 and by appointment (please use Starfish for scheduling) The visual and written arts have always influenced and challenged each other in productive ways. Horace has famously stated As is painting so is poetry while Lessing makes a distinction between the two, claiming that painting is an art of space, while poetry is an art of time. Regardless, the line between the visual and the verbal has long been a blurry one, and this course will investigate the everchallenging dynamics between text and image and their mutual influence. Required Texts: Coursepack available at Bookstore Honor Code A basic requirement of French 336 is that each student handing in the required work must have completed it individually by his/her own effort and without help. Receiving help from outside sources such as translation software, peer-editing, etc. constitutes a violation of the Honor Code. Please read carefully the documents in the coursepack which indicate how to properly cite sources. Disability Resources The Office of Disability Services has been designated by the University as the primary office to guide, counsel, and assist students with disabilities. If you have documented disabilities you should make an appointment with ODS ( ). If you find that you require accommodations for this class in particular, please make an appointment with me as soon as possible (no later than the due date of the first major assignment) to discuss your approved accommodations and bring your accommodation letter with you. Class Attendance Attendance is critical to doing well in this course. You will be allowed three absences throughout the course of the semester. Beginning with the fourth absence your final grade will begin to drop by one increment (e.g. from an A to an A-) per absence. I therefore highly recommend that you save your allotted absences for important events or unanticipated illnesses. Should you be absent from class the day on which a paper is due, be sure to have the paper turned in to my office or mailbox sometime that day (either by yourself or by a friend). No late work will be accepted unless previous arrangement has been made with me through personal contact. If you arrive more than 15 minutes late, you will be counted as absent. Course description and student work: 1) Readings & Blogs (35%) For each of the readings you will post to our class blog. You should make one original post and comment on one of your classmate s posts. Both posts should be analytical in nature and should be a

4 minimum of five sentences. Ideally a conversation will ensue and you will continue beyond these required posts. For each post you make you should give it a tagline. These tags will be aggregated on the sidebar of the blog and the more popular the tag, the larger it will appear. Imagine the tags just like the movie taglines from which their name derives. They should be pithy and punchy but also reveal your take on the reading. For each class we will have a competition and vote for who came up with the best tag that day. The top three winners throughout the semester will earn 5, 3, and 1 extra points on their final exam respectively. The blogs will be graded two ways. 50% of your grade will be based on completion - you will receive 100% if you do the assignment and 0 if you do not. The other 50% will be graded on the quality of your post the strength of your analysis, relevance of your comments, and the creativity of your tags. 2) Midterm Exam (15%) Just before spring break we will have a written exam which will include painting and textual identification, multiple choice questions, and brief essays questions. 3) Group Creative Project (20%) You will work in groups to put the theories we have been reading about into practice. You should devise a project which demonstrates the inextricability and mutual influence of text and image. 4) Final Exam (30%) The final paper should be a minimum of 4000 words (not including bibliography and footnotes) The Visual & The Verbal Introduction to Literary & Artistic Movements Delacroix Hugo, Lamartine Courbet, Corot, Chardin Balzac Flaubert Stendhal Laocöon, Chapters 1, 2, 3, 9, 10, 12, 15, 16, 17, 18, 21 (Lessing) An Introduction to Nineteenth-Century French Literature (Tim Ferrant) Nineteenth-Century Art: A Beginner s Guide, Introduction (Laurie Adams) ROMANTICISM ( ) Delacroix on Romanticism The Literate Delacroix (Dorothy Wirtz) Preface to Cromwell (Hugo) Qu est-ce que le romantisme? (Baudelaire) REALISM ( s) Stephen Eisenman, "The Rhetoric of Realism: Courbet and the Origins of the Avant-Garde,"pp Gustave Courbet, Letter to Champfleury," "Statement on Realism Gustave Courbet, Realist Manifesto Père Goriot, Selections Unknown Masterpiece, Selections Mme Bovary, Selections Le Rouge et le Noir, Selections

5 Maupassant Zola Zola Zola Manet NATURALISM (1880s-1930s) The Necklace On Realism and Naturalism (Delacroix) Le Roman experimental, Selections A New Manner of Painting Germinal, Selections The Masterpiece, Selections IMPRESSIONISM (late 1860s-1880) François Mathey, Salon des Refusés, A Turning Point for Impressionism in The Impressionists, pp , Manet, Leader Despite himself in The Impressionists, pp Stephen Eisenman, Manet and the Impressionists in Modern Art and Life, pp Monet Simona Bartolena, Smile of Impressionism in Monet (2011), pp Renoir Monet s Years at Giverny Parker Tyler, Renoir (World Art Series) Richard Covington, Renoir s Controversial Second Act in Smithsonian Magazine (February 2010) Pissarro Karen Levitor, Paths to Pissarro pp Richard Shiff, Pissarro: Dirty Painter, pp Moreau Mallarme, Rimbaud Baudelaire, Verlaine Baudelaire Van Gogh Matisse Seurat Gauguin SYMBOLISM (1860s-1880s) Symbolist Manifesto (Moréas) Painter of a Modern Life POST-IMPRESSIONISM ( ) Selection of letters from Vincent to his brother Theo Eisenman, Abstraction and Populism: Van Gogh pp Richard Shiff Matisse and Origins in Cezanne and the End of Impressionism pp Henri Matisse, Notes of a Painter in Artists on Art, pp Seurat in Perspective selections Mass Culture and Utopia: Seurat and Neoimpressionism pp Abigail Solomon-Godeau, "Going Native: Paul Gauguin and the Invention of the Primitivist Movement," pp G.-Albert Aurier Symbolism in Painting: Paul Gauguin, pp

6 13 14 Picasso Apollinaire Magritte Breton, Eluard CUBISM: ( ) John Golding, Cubism: A History and An Analysis, , Chap. I: The History and Chronology of Cubism, pp SURREALISM: ( ) Visible Poetry: Metaphor and Metonymy in the Paintings of René Magritte (Randa Dubnick) Breton, Surrealist Manifesto Breton, Eluard,

Attendance is required. Work will be assessed on the basis of students visual observations, mastery of course material, and critical interventions.

Attendance is required. Work will be assessed on the basis of students visual observations, mastery of course material, and critical interventions. AH 320 19 TH CENTURY ART IMPRESSIONISM AND POSTIMPRESSIONISM IES Abroad Paris BIA DESCRIPTION: This course provides an in-depth study and pictorial survey of Impressionism, its origins and its legacy presented