A Strategy for Change: Incorporating Women Writers into the High School French Literature Curriculum

1987 ◽  
Vol 20 (6) ◽  
pp. 549-554
Author(s):  
Kathleen A. Krier
Keyword(s):  
High School ◽  
Women Writers ◽  
French Literature ◽  
Literature Curriculum

Lessons in French

2021 ◽  
pp. 74-99
Author(s):  
Alison Rice
Keyword(s):  
Women Writers ◽  
French Literature ◽  
Mother Tongue ◽  
Literary Creation ◽  
Initial Exposure ◽  
Conscious Choice ◽  
History Of ◽  
New Form ◽  
Almost All ◽  
Shed Light

None of the writers in my study can call French, without hesitation and qualification, a mother tongue. Some of them didn’t start studying the language until they arrived in Paris in their twenties and grappled with learning a new form of expression at a relatively late age. When they recall their initial exposure to this foreign tongue, they describe a fascinating apprenticeship involving dictionaries and renowned works of French literature, and they often shed light on the distinction between oral and written competence in their experience. It is crucial to note that even those authors who have long been fluent in French underscore their non-native relationship to it. Chapter 3 addresses the approaches of these worldwide women writers to French and examines their inventive literary publications in this tongue. It is sensitive to the history of this language and its inextricable connection to a colonial past that many of these writers experienced or became aware of in their homeland. It also focuses on the reality that, for almost all of these authors, this is not the only tongue with which they are familiar. For multilingual individuals, selecting French as their language of literary creation is often the result of a conscious choice motivated by a particular affinity. What comes through in their reflections is most often a passion for this language and a confirmation of the freedom it affords them, as well as an affirmation of its inimitable music that makes it especially well-suited for creative compositions.

What is Effective Literature Instruction? a Study of Experienced High School English Teachers in Differing Grade- and Ability-Level Classes

2000 ◽  
Vol 32 (3) ◽  
pp. 303-348 ◽  
Author(s):  
Jane Agee
Keyword(s):  
High School ◽  
English Teachers ◽  
Ability Level ◽  
Student Needs ◽  
Literature Instruction ◽  
High School English ◽  
Student Centered ◽  
Literature Curriculum ◽  
Teacher Centered

This study examined how experienced high school English teachers defined and gauged effective literature instruction as well as how their perspectives affected their students' experiences with literature. The research focused on 3 questions: (a) How did these teachers define effective literature instruction? (b) What kinds of evidence did they look for to gauge their effectiveness? and (c) How did their perceptions of effective literature instruction inform their decisions about texts and ways of reading them with students in different grade- and ability-level classes? Profiles of 5 teachers showed that they used differing models for literature instruction against which they gauged their effectiveness. Flexible, student-centered models allowed teachers to address differences among students. Inflexible, teacher-centered models often limited teachers' ability to address student needs effectively. The kinds of models the teachers used determined whether or not they were willing to listen to feedback from students and to use it to make changes in their literature curriculum.

Designing and using rubric for assessment writing competency of high school student through demonstrative texts

2020 ◽  
Vol 65 (9) ◽  
pp. 34-43
Author(s):  
Quynh Nguyen Thi Xuan
Keyword(s):  
High School ◽  
Language Arts ◽  
High School Student ◽  
Assessment Tool ◽  
Basic Form ◽  
Writing Competency ◽  
Literature Curriculum ◽  
Informative Text

Teaching and assessment toward competency-approached are the most crucial changes in the 2018 Language Arts and Literature Curriculum. Demonstrative text is a basic form of informative text, which is important and popular in high school curiculum. This paper suggests how to design and use the rubric as an assessment tool for learning to grade high school student’s writing competency through demonstrative text in order to meet the requirements of the Curriculum.

Some Overseas Angles on the History of French Literature

1999 ◽  
Vol 8 (2) ◽  
pp. 335-346
Author(s):  
GISÈLE SAPIRO
Keyword(s):  
New York ◽  
Women Writers ◽  
French Literature ◽  
Harvard University ◽  
Washington Dc ◽  
Cambridge University ◽  
Modern France ◽  
History Of ◽  
The Right ◽  
Nouvelle Revue Francaise

Martyn Cornick, The Nouvelle Revue Française under Jean Paulhan 1925–1940 (Amsterdam and Atlanta: Rodopi, 1995), 224 pp., Fl. 65, $40.50, ISBN 9-051-83767-6.Nicholas Hewitt, Literature and the Right in Postwar France: The Story of the ‘Hussards’ (Oxford and Washington, DC: Berg Publishers, 1996), 218 pp. (hb.), £34.95, ISBN 1-859-73029-9.Denis Hollier, Absent Without Leave: French Literature under the Threat of War, trans. Catherine Porter (Cambridge, MA and London: Harvard University Press, 1997), 256 pp. (pb.), £18.50, ISBN 0-674-21271-1.Jeffrey Mehlman, Geneologies of the Text: Literature, Psychoanalysis, and Politics in Modern France (Cambridge and New York: Cambridge University Press, 1995), 262 pp., hardcover, ISBN 0-521-47213-X.Jennifer E. Milligan, The Forgotten Generation: French Women Writers of the Inter-War Period (New York and Oxford: Berg Publishers, 1996), 236 pp. (pb.), £14.99, ISBN 1-859-73118-X.

The “Francophone” Fermata

2021 ◽  
pp. 147-177
Author(s):  
Alison Rice
Keyword(s):  
Women Writers ◽  
French Literature ◽  
World Literature ◽  
Literary Prizes ◽  
The Way

Chapter 6 focuses on the widespread reluctance among worldwide women writers to accept the word “Francophone” to describe their lives and work. For many, this disinclination is due to their understanding that this term is frequently employed in order to set their work apart as separate from and implicitly inferior to writing by French authors from France. Some admit that the classification is useful in certain settings, but most are quick to deny its pertinence to the French literary scene. An examination of bookstore displays and literary prizes reveals that narrow definitions of what constitutes “French literature” and a tendency to hastily classify authors as “Francophone” can lead to forms of exclusivity with deleterious effects. A consequential number of women signed a manifesto arguing for abolishing the ambiguous application of the descriptor “Francophone” in favor of the adoption of the much broader, more encompassing phrase “world-literature in French.” Two months after the publication of this document in the French newspaper Le Monde on March 16, 2007, an accompanying collective book volume came out, featuring chapters by a relatively high percentage of authors in my study. Their signatures and essays indicate a desire among worldwide women writers of French to be respected simply as authors, free from the oft-confining specifications that restrict the way they are received and read. Their involvement in this movement also exhibits a willingness to advocate avidly for different angles of interpreting written works that transcend the limits of a label.

scholarly journals Centocinquant’anni di letteratura francese a Ca’ Foscari

2018 ◽  
Author(s):  
Olivier Bivort ◽  
Magda Campanini ◽  
Alessandro Costantini
Keyword(s):  
High School ◽  
French Literature ◽  
Related Research ◽  
History Of

This essay traces the history of the teaching of French literature at Ca’ Foscari University of Venice and the lines of development of related research, from the founding of the Royal High School of Commerce to the present day. In addition, in an appendix, it draws up a list of all degree theses and graduates in French literature from 1909 to 1944.

Cosmetology treatments on human hair: An SEM study

1996 ◽  
Vol 54 ◽  
pp. 940-941
Author(s):  
D.F. Bowling
Keyword(s):  
High School ◽  
High Resolution ◽  
Human Hair ◽  
Optical Microscope ◽  
Convincing Evidence ◽  
Brightness Contrast ◽  
Sem Study

High school cosmetology students study the methods and effects of various human hair treatments, including permanents, straightening, conditioning, coloring and cutting. Although they are provided with textbook examples of overtreatment and numerous hair disorders and diseases, a view of an individual hair at the high resolution offered by an SEM provides convincing evidence of the hair‘s altered structure. Magnifications up to 2000X provide dramatic differences in perspective. A good quality classroom optical microscope can be very informative at lower resolutions.Students in a cosmetology class are initially split into two groups. One group is taught basic controls on the SEM (focus, magnification, brightness, contrast, specimen X, Y, and Z axis movements). A healthy, untreated piece of hair is initially examined on the SEM The second group cements a piece of their own hair on a stub. The samples are dryed quickly using heat or vacuum while the groups trade places and activities.

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