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Ce cours vous propose une exploration de
la figure du monstre dans la littérature et la culture
du 19e siècle. A travers une lecture approfondie
des textes divers, nous examinerons le rôle et la fonction
du monstre dans l’imaginaire collectif. Qui est le monstre?
Quel est son caractère? Comment se présente-t-il
au 19e siècle? En quelles formes? Le monstre est-il
une menace extérieure ou intérieure? Est-ce
toujours un personnage? Un texte (roman, poème,
conte) peut-il lui-même être monstre ou au moins
monstrueux?
Pour la plupart, nous considérerons ces questions principalement
par rapport à des textes littéraires, mais
on lira aussi des textes historiques, folkloriques ou théoriques.
En plus, on discutera de la figure du monstre dans l’art
du 19e siècle.
Vous préparerez une lecture pour chaque classe, selon
l’emploi du temps qui suit. En plus, chaque étudiant
fera un exposé oral en classe (d’environ 10 minutes)
sur un passage précis que je vous indiquerai. Il
y aura deux dissertations (de 5-6 pages) à remettre,
et un examen final de genre "take-home."
Textes exigés
disponsibles à la librairie (F&M Student Bookstore):
Gautier. Récits fantastiques
Hugo. Notre-Dame de Paris
Maupassant. Le Horla
Mérimée. La Vénus d’Ille
Baudelaire. Les Fleurs du mal
sur le site web du cours (ici)
Alain Rey. "Le
monstre et la chimère." Sciences et Avenir.
Juillet/Août 2000.
Geneviève Carbone. "La
bête du Gévaudan." Sciences et Avenir.
Juillet/Août 2000.
polycopiés à être distribués en
classe
Henri Dontenville. "Meneurs de loups et garous." La
France mythologique.
Larry Feinberg. "Hercules and the Lernaean Hydra," Gustave Moreau:
Between Epic & Dream
Geneviève Lacambre. Gustave Moreau Maître Sorcier (extrait)
et "Oedipus and the Sphinx," Gustave Moreau: Between Epic & Dream.
George Sand. "Le Meneur de loups" Légendes
rustiques.
films à la réserve à ATS
"Le Horla" (1999)
"Notre-Dame de Paris" (Jean Delannoy, 1956)
"Le Pacte des loups" (Christophe Gans, 2002)
Emploi du temps
janvier
21: Introduction au cours
Le monstre animal
23: Rey. "Le
monstre et la chimère;" Carbone "La
bête du Gévaudan"
28: "Le Pacte des loups" (film: 2002); Sand
& Dontenville. [questions]
30: Hugo. Notre-Dame de Paris: livre 1 (pp.
37-80) [questions]
février
Le monstre humain
4: Hugo. Notre-Dame de Paris** livre 1 (suite)
6: Hugo. Notre-Dame de Paris: livre 2 (pp. 83-127)
[questions]
11: Hugo. Notre-Dame de Paris: livres 3 et 4 ("Le Chien
et son maître") (pp.131-77) [questions(3)] [questions(4)]
13: Hugo. Notre-Dame de Paris: livres 4, 5 et
6 ("Le Trou aux rats") (pp. 177-224)[questions (5)] [questions (6)]
18: Hugo. Notre-Dame de Paris: livres 6 et 7 ("Qu’un
prêtre et ...") (pp. 224-72) [questions (7)]
20: Hugo. Notre-Dame de Paris: livre 7 (fin)
(pp. 272-318); Ebauche 1
25: Hugo. Notre-Dame de Paris: livre 8 (pp.
321-367) [questions]
27: Hugo. Notre-Dame de Paris: livre 9 (pp.
371-400) [questions]
mars
4: Hugo. Notre-Dame de Paris: livre 10 ("Le
Retrait où ...") (pp. 403-38) [questions]
6: Hugo. Notre-Dame de Paris: livre 10 (fin)
(pp. 438-468)
11: Hugo. Notre-Dame de Paris: livre 11 (pp. 471-509)
13: "Notre-Dame de Paris" (film: 1956); Dissertation
1
18: Congé
20: Congé
Le monstrueux dans l'art
25: Mérimée. “La Vénus d’Ille”
[questions]
27: Mérimée. “La Vénus d’Ille”
[Todorov Questions]
avril
1: Gustave Moreau: "Oedipe
et le Sphinx" (1864); Lacambre: Gustave Moreau Maître Sorcier
(extrait) et "Oedipus and the Sphinx," Gustave Moreau: Between Epic &
Dream.
Biographie
de Gustave Moreau [1826-1898]
Le
Symbolisme
3: Gustave Moreau: "Hercule et
l'Hydre de Lerne" (1869-76); Feinberg: "Hercules and the Lernaean Hydra," Gustave
Moreau: Between Epic & Dream. [questions]
Le féminin monstrueux et le vampire
8: Gautier. “La Morte amoureuse” [questions]
10: Gautier. “La Morte amoureuse”
15: Baudelaire. Les Fleurs du mal: “Le Vampire”(XXXI);
“Le Revenant”(LXIII); “Les métamorphoses du vampire”(VII); “L’Héautontimorouménos"
(LXXXIII). [questions]
17: Baudelaire. Les Fleurs du mal: “L’Albatros”(II);
“La Géante”(XIX); “Une Charogne”(XXIX); "Hymne à la beauté"(XXI).
Ebauche 2
Le monstre en soi
22: Maupassant. "Le Horla" (première version:
pp.45-54)
24: Maupassant. "Le Horla" (deuxième version:
pp.55-82) + "Le Horla" (film)
29: Révision; Examen final (“take-home”) distribué
en classe. Date de limite: le 8 mai, 17h00
mai
1: cours annulé
2: Dissertation 2; Fête! 19h30-20h00 chez Fay
[CONSEILS DE REDACTION]
Dates importantes à noter:
Final day to add a course or withdrawal without record: Feb.
4
Final day to select P/NP option: Feb. 18
Final day to withdrawal from a course with record:
April 17
Système de notation
Mémoires (2): 40%
Participation: 30%
Exposé oral: 10%
Examen final: 20%
Guidelines
1. Readings:
All readings must be completed for the date assigned
on the syllabus. I will provide you with exact page numbers,
or in some cases, a list of poems. Readings will vary in
length, but will generally not exceed 50 pages per class meeting.
This means that you must start reading early and pace yourselves
as you go, reading a little bit every day. From time to time,
I may administer short quizzes on the readings.
Discussion questions are linked in the schedule
above. You are strongly advised to prepare these while
you read.
2. Participation:
Regular contributions to class discussion are vital
to your learning experience. Please do not hesitate to speak
up in class, ask questions, try out an idea, etc. even
if you are not sure of how to express your ideas correctly
in French. We are all here to learn and all ideas and opinions
are worthy of attention. I encourage you to express yourselves
as best you can, ask for help when you need it, and simply
have fun playing with the language and your ideas.
You are permitted two (2) no-questions-asked unexcused absences
during the semester. After the second unexcused absence,
your grade will be lowered accordingly. Any student with
excessive absences may earn an F for the course.
If you must miss class due to illness, family emergency, participation
in a varsity sport (letter from your coach required), or
religious holiday, please notify me as soon as possible.
3. Oral Presentations:
Each student will do one oral presentation on some
aspect of the reading during the course of the semester.
I will assign a specific passage, poem, etc. We will sign
up for dates in a few weeks. Presentations should be about
10 minutes. You will receive specific guidelines about the
presentations in a few weeks.
4. Papers:
You will write two papers (5-6 pages) on a topic which
you will choose in consultation with me. A week or two
before the final draft is due, you will hand in a first
draft (échauche). The first draft should be typed,
double-spaced and carefully written since you will not
have a lot of time to revise it for the final deadline.
I will comment the first draft making suggestions for your
final revision. The paper grades will reflect your work on
both the first and final drafts. Please note the due dates on
the syllabus for all drafts. Grades will be lowered for papers
submitted after the deadlines.
5. Final Exam:
The final exam will be a take-home exam, distributed
on the last day of class. Final due date to be annonced.
6. Academic Integrity:
The boon of readily available information on the Internet
requires all members of the academic community to be clear
and precise about citing sources used for written and oral
assignments. In general, in French 372 you will be writing
and talking about your own ideas and will not spend time
reading and researching secondary criticism, other than
what is assigned on the syllabus.
Nonetheless, please be advised that you must credit
all sources, whether print or digital, that you use in
your work. I will provide you with the suitable format for
citations during the semester.
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