Advisor: Susan R Suleiman
"The City and the Nazi Concentration Camps: Reading (In)Human Spaces"
In my dissertation, I investigate parallels, whether fictitious, perceived or remembered, between the Nazi system of concentration camps and human built environment as filtered through the survivors’ traumatic memory of the camps. By building on existing, albeit unsystematic, research by historians and art historians on the planning and architecture of Nazi concentration camps in relationship to National Socialist city planning and architecture, I analyze the uses and effects of these parallels in French literature and film produced by former political deportees. I further explore their role in establishing a distinctive relationship between reader and text in testimonial literature, as well as their role in shaping the postwar memory of the camps.
Advisor: Tom Conley
Research Interests: Early Modern French literature, especially 16th-17th century literature and Agrippa d'Aubigné; Baroque Poetry and Ekphrasis.
Advisor: Christie McDonald, [Sylvaine Guyot, Ann Blair (History)]
"French moraliste writing from Blaise Pascal to Joseph Joubert"
Situated somewhere between the fields of literary criticism, intellectual history, cultural history, philosophy and theology, my dissertation will study the development of French moraliste writing from the late seventeenth to the end of the eighteenth century; from the works of renowned seventeenth-century moralists such as Blaise Pascal, François de La Rochefoucauld, Jean de La Fontaine, Jean de La Bruyère, and the Marquise de Sablé, to those of eighteenth-century authors such as the Marquis de Vauvenargues, Alexis Piron, Antoine de Rivarol, Nicolas Chamfort, and Joseph Joubert. I aim to re-examine the idea that moraliste writing arose chiefly from the late-seventeenth century political context of aristocratic writers disillusioned by their loss of feudal power under absolute monarchy, and theological context of these writers' Augustinian or "Jansenist" beliefs. Contrary to these assumptions' basis in the biographies of the great moralistes of the late seventeenth century, moraliste writing continued to thrive throughout the eighteenth century in a diverse array of political and religious (or even irreligious) contexts - Royalists and Jacobins; aristocrats and bourgeois; Catholics, neo-Epicureans and neo-Stoics. What, then, motivated writers with such disparate views to use a style typified by the earlier moralistes? How was moraliste writing influenced by the social milieu with which it has become inextricably linked, the aristocratic salons organised chiefly by female hostesses? And can these writers' often cynical witticisms inspire us to moral improvement, as individuals or as a society? These are just some of the questions that I hope to address.
Advisor: Janet Beizer[Virginie Greene, Alice Jardine]
Writing Ennui & Reorienting Attention in 19th Century France and Beyond: Baudelaire, Flaubert, Huysmans, Villiers de l’Isle-Adam, Proust
Advisor: Sylvaine Guyot
Research Interests: French Renaissance literature; national identity; music; poetry. MATTHIEU GLAUMAUD-CARBONNIER
Advisor: Susan Suleiman
Research Interests: French contemporary literature; cultural history of contemporary France; representations of heroism in contemporary French literature and cinema; popular literature; the figure of the "Français moyen"; literature and politics; poetics of documentary. IFIGENIA GONIS
Advisor: Sylvaine Guyot
Research Interests: Contemporary French theatre (the body in performance, limits of performance); Sociopolitical implications of performance.
MEHDI IZADI DASTGERDI
Advisor: Tom Conley
Research Interests: Post-Enlightenment French Prose, Intersection of Literature and Philosophy through the Lens of Hermeneutic Phenomenology.
Research Interests: 20th Century Literature, Intersection of Philosophy and Literature, Experimental Literature, Philosophy of Humor, French Cinema.
Advisor: Janet Beizer
Research Interests: 19th century novel, especially realism and naturalism; intersection of medicine and literature; French renaissance poetry and its history.
Advisor: Sylvaine Guyot [Tom Conley, Sophie Houdard (Sorbonne Nouvelle - Paris 3)]
"Trafiquer le passé: élaboration et usages de figures exemplaires (1624-1660)"
Advisor: Françoise Lionnet
Research interests: Contemporary francophone literature; migration and diaspora; insularity, border theory and cultural fluidity, especially in the Indian Ocean and Caribbean; the intersection of technology and the human experience; digital humanities.
Advisor: Janet Beizer
Research Interests: 19th and 20th century literature, Marcel Proust, psychoanalysis, illness and suffering, grief, humanity and problems of justice.
Advisor: Virginie Greene [Tom Conley, Daniel Donoghue (English)]
"Textual Mobility: The Medieval Journeys of Twelfth-Century Anglo-French Texts"
Works written in Plantagenet territory in the twelfth century traveled away from their site of production in both time and space, sometimes being copied centuries later in distant lands. Enthusiasts have long investigated the causes and contexts of the burgeoning literary production in the espace Plantagenet, but the medieval textual afterlife of texts produced in the Angevin empire has yet to be coherently studied. My study addresses this gap by tracing the mobility of a cluster of twelfth-century texts. These romans traveled between and across what we now perceive as nations, the lines of their itineraries knitting together a literary and historical past shared across Western Europe – including Britain. I hypothesize that the transnational and enduring popularity of certain works has to do with their usefulness as sources of history in the medieval mode, when res digna memoria could be considered equal in value to res gestae. The routes texts took out of the Angevin empire created a map of shared knowledge and values validated by a common past.
Advisor: Janet Beizer
Research Interests: 19th-century literature; violence and cruelty; silence, absence, and nothingness; le fantastique; 20th & 21st-century literature
Advisor: Verena Conley
Research Interests: Contemporary French/francophone literature; migration and transnationalism; the intersection of literature, social theory, and law.
Advisor: Alice Jardine
Research Interests: 20th and 21st-century literature; musique et lettres, the performing body, the voice, temporality and loss, transgression, fascist thought in France.
Have something to say?
When it comes to expressing your thoughts in French, there’s nothing better than the essay.
It is, after all, the favorite form of such famed French thinkers as Montaigne, Chateaubriand, Houellebecq and Simone de Beauvoir.
But writing an essay in French is not the same as those typical 5-paragraph essays you’ve probably written in English.
In fact, there’s a whole other logic that has to be used to ensure that your essay meets French format standards and structure. It’s not merely writing your ideas in another language.
And that’s because the French use Cartesian logic, developed by René Descartes, which requires a writer to begin with what is known and then lead the reader through to the logical conclusion: a paragraph that contains the thesis.
Sound intriguing? The French essay will soon have no secrets from you!
We’ve outlined the four most common types of essays in French, ranked from easiest to most difficult, to help you get to know this concept better. Even if you’re not headed to a French high school or university, it’s still pretty interesting to learn about another culture’s basic essay!
Must-have French Phrases for Writing Essays
Before we get to the four types of essays, here are a few French phrases that will be especially helpful as you delve into essay-writing in French:
Introductory phrases, which help you present new ideas.
- tout d’abord– firstly
- premièrement– firstly
Connecting phrases, which help you connect ideas and sections.
- et – and
- de plus – in addition
- également – also
- ensuite – next
- deuxièmement– secondly
- or – so
- ainsi que – as well as
- lorsque– when, while
Contrasting phrases, which help you juxtapose two ideas.
- en revanche– on the other hand
- pourtant – however
- néanmoins– meanwhile, however
Concluding phrases, which help you to introduce your conclusion.
- enfin– finally
- finalement– finally
- pour conclure – to conclude
- en conclusion – in conclusion
4 Types of French Essays and How to Write Them
1. Text Summary (Synthèse de texte)
The text summary or synthèse de texte is one of the easiest French writing exercises to get a handle on. It essentially involves reading a text and then summarizing it in an established number of words, while repeating no phrases that are in the original text. No analysis is called for.
A synthèse de texte should follow the same format as the text that is being synthesized. The arguments should be presented in the same way, and no major element of the original text should be left out of the synthèse.
Here is a great guide to writing a successful synthèse de texte, written for French speakers.
The text summary is a great exercise for exploring the following French language elements:
- Synonyms, as you will need to find other words to describe what is said in the original text.
- Nominalization, which involves turning verbs into nouns and generally cuts down on word count.
- Vocabulary, as the knowledge of more exact terms will allow you to avoid periphrases and cut down on word count.
While beginners may wish to work with only one text, advanced learners can synthesize as many as three texts in one text summary. The concours exam for entry into the École Supérieure de Commerce de Paris calls for a 300-word synthesis of three texts, ranging from 750 to 1500 words, with a tolerance of more or less 10 percent.
Since a text summary is simple in its essence, it’s a great writing exercise that can accompany you through your entire learning process.
2. Text Commentary (Commentaire de texte)
A text commentary or commentaire de texteis the first writing exercise where the student is asked to present analysis of the materials at hand, not just a summary.
That said, a commentaire de texte is not a reaction piece. It involves a very delicate balance of summary and opinion, the latter of which must be presented as impersonally as possible. This can be done either by using the third person (on) or the general first person plural (nous). The singular first person (je) should never be used in a commentaire de texte.
A commentaire de texte should be written in three parts:
- An introduction, where the text is presented.
- An argument, where the text is analyzed.
- A conclusion, where the analysis is summarized and elevated.
Here is a handy guide to writing a successful commentaire de texte, written for French speakers.
Unlike with the synthesis, you will not be able to address all elements of a text in a commentary. You should not summarize the text in a commentary, at least not for the sake of summarizing. Every element of the text that you speak about in your commentary must be analyzed.
To successfully analyze a text, you will need to brush up on your figurative language. Here are some great resources to get you started:
- This guide, intended for high school students preparing for the BAC—the exam all French high school students take, which they’re required to pass to go to university—is great for learning how to integrate figurative language into your commentaries.
3. Dialectic Dissertation (Thèse, Antithèse, Synthèse)
The French answer to the 5-paragraph essay is known as the dissertation. Like the American 5-paragraph essay, it has an introduction, body paragraphs and a conclusion. The stream of logic, however, is distinct.
There are actually two kinds of dissertation, each of which has its own rules.
The first form of dissertation is the dialectic dissertation, better known as thèse, antithèse, synthèse. In this form, there are actually only two body paragraphs. After the introduction, a thesis is posited. Following the thesis, its opposite, the antithesis, is explored (and hopefully, debunked). The final paragraph, what we know as the conclusion, is the synthesis, which addresses the strengths of the thesis, the strengths and weaknesses of the antithesis, and concludes with the reasons why the original thesis is correct.
For example, imagine that the question was, “Are computers useful to the development of the human brain?” You could begin with a section showing the ways in which computers are useful for the progression of our common intelligence—doing long calculations, creating in-depth models, etc.
Then you would delve into the problems that computers pose to human intelligence, citing examples of the ways in which spelling proficiency has decreased since the invention of spell check, for example. Finally you would synthesize this information and conclude that the “pro” outweighs the “con.”
The key to success with this format is developing an outline before writing. The thesis must be established, with examples, and the antithesis must be supported as well. When all of the information has been organized in the outline, the writing can begin, supported by the tools you have learned from your mastery of the synthesis and commentary.
Here are a few tools to help you get writing:
4. Progressive Dissertation (Plan progressif)
The progressive dissertation is a slightly less common, but no less useful, than the first form.
The progressive form basically consists of examining an idea via multiple points of view—a sort of deepening of the understanding of the notion, starting with a superficial perspective and ending with a deep and profound analysis.
If the dialectic dissertation is like a scale, weighing pros and cons of an idea, the progressive dissertation is like peeling an onion, uncovering more and more layers as you get to the deeper crux of the idea.
Concretely, this means that you will generally follow this layout:
- A first, elementary exploration of the idea.
- A second, more philosophical exploration of the idea.
- A third, more transcendent exploration of the idea.
This format for the dissertation is more commonly used for essays that are written in response to a philosophical question, for example, “What is a person?” or “What is justice?”
Let’s say the question were, “What is war?” In the first part, you would explore dictionary definitions—a basic idea of war, i.e. an armed conflict between two parties, usually nations. You could give examples that back up this definition, and you could narrow down the definition of the subject as much as needed. For example, you might want to make mention that not all conflicts are wars, or you might want to explore whether the “War on Terror” is a war.
In the second part, you would explore a more philosophical look at the topic, using a definition that you provide. You first explain how you plan to analyze the subject, and then you do so. In French, this is known as poser une problématique (establishing a thesis question), and it usually is done by first writing out a question and then exploring it using examples: “Is war a reflection of the base predilection of humans for violence?”
In the third part, you will take a step back and explore this question from a distance, taking the time to construct a natural conclusion and answer for the question.
This form may not be as useful in as many cases as the first type of essay, but it’s a good form to learn, particularly for those interested in philosophy.
Here are a few resources to help you with your progressive dissertation:
As you progress in French and become more and more comfortable with writing, try your hand at each of these types of writing exercises, and even with other forms of the dissertation. You’ll soon be a pro at everything from a synthèse de texte to a dissertation!
And One More Thing…
Of course, French is a lot more than writing essays.
To cover all your other language bases, there’s always FluentU.
FluentU lets you learn French from real-world content like music videos, commercials, news broadcasts, cartoons and inspiring talks.
Since this video content is stuff that native French speakers actually watch on the regular, you’ll get the opportunity to learn real French—the way it’s spoken in modern life.
One quick look will give you an idea of the diverse content found on FluentU:
Love the thought of learning French with native materials but afraid you won’t understand what’s being said? FluentU brings authentic French videos within reach of any learner. Interactive captions will guide you along the way, so you’ll never miss a word.
Tap on any word to see a definition, in-context usage examples, audio pronunciation, helpful images and more. For example, if you tap on the word “suit,” then this is what appears on your screen:
Don’t stop there, though. Use FluentU’s learn mode to actively practice all the vocabulary in any video with vocabulary lists, flashcards, quizzes and fun activities like “fill in the blank.”
As you continue advancing in your French studies, FluentU keeps track of all the grammar and vocabulary that you’ve been learning. It uses your viewed videos and mastered language lessons to recommend more useful videos and give you a 100% personalized experience.
Start using FluentU on the website with your computer or tablet or, better yet, download the FluentU app from the iTunes store.
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