{"id":704,"date":"2023-03-24T00:07:03","date_gmt":"2023-03-24T00:07:03","guid":{"rendered":"https:\/\/dornsife.usc.edu\/fren-ital\/?page_id=704"},"modified":"2025-10-29T19:05:57","modified_gmt":"2025-10-30T02:05:57","slug":"field-examination-2","status":"publish","type":"page","link":"https:\/\/dornsife.usc.edu\/fren-ital\/field-examination-2\/","title":{"rendered":"Field Exam"},"content":{"rendered":"\n\n\n\n  \n    \n\n\n\n\n\n\n<div\n  class=\"cc--component-container cc--rich-text \"\n\n  \n  \n  \n  \n  \n  \n  >\n  <div class=\"c--component c--rich-text\"\n    \n      >\n\n    \n      \n<div class=\"f--field f--wysiwyg\">\n\n    \n  <h1 style=\"font-weight: 400\"><strong>The Field Exam consists of three parts:<\/strong><\/h1>\n<p><span style=\"color: #ffffff\">d<\/span><\/p>\n<h3 style=\"font-weight: 400\">1) a six hour written component;<\/h3>\n<h3 style=\"font-weight: 400\">2) a two hour oral component; and<\/h3>\n<h3 style=\"font-weight: 400\">3) the creation of an original course syllabus.<\/h3>\n<h3><\/h3>\n<h3><span style=\"color: #ffffff\">g<\/span><\/h3>\n<h3 style=\"font-weight: 400\">To demonstrate language proficiency, one part of the exam (oral or written) must be completed in French and the other in English (examinee\u2019s choice). The Field Exam should be taken at the end of the fourth semester or no later than the beginning of the third year. Students must discuss the Field Examination reading lists with the Faculty Track Advisor well in advance of the exam date. If unsuccessful, the exam can be retaken once, but no later than the end of the semester following the first attempt. The committee for the Field Examination normally consists of three faculty in French.<\/h3>\n<h3><\/h3>\n<p><span style=\"color: #ffffff\">g<\/span><\/p>\n<h3 style=\"font-weight: 400\"><strong>Reading lists oriented around five <em>axes de recherche<\/em> serve as the basis of the exam.<\/strong><\/h3>\n<h3 style=\"font-weight: 400\">The examinee selects four <em>axes de recherche<\/em> from the eleven options below and they create their own fifth axis with faculty input. This original reading list axis must include fifteen to twenty works with no repeat titles from the examinee\u2019s four chosen axes. The list must be finalized and submitted in writing for approval by the track advisor a minimum of six weeks in advance of the exam.<\/h3>\n<h3><\/h3>\n<p><span style=\"color: #ffffff\">g<\/span><\/p>\n<h3 style=\"font-weight: 400\"><strong>The third part of the Field Examination requires examinees submit a syllabus for an undergraduate French course of their own design.<\/strong><\/h3>\n<h3 style=\"font-weight: 400\">The syllabus should be sent to the track advisor at least two weeks prior to the oral examination.<\/h3>\n<p>&nbsp;<\/p>\n\n\n\n<\/div>\n\n\n  <\/div><\/div>\n\n\n\n\n\n\n                      \n  \n    \n\n\n\n\n\n\n<div\n  class=\"cc--component-container cc--accordions \"\n\n  \n  \n  \n  \n  \n  \n  >\n  <div class=\"c--component c--accordions\"\n    \n      >\n\n    \n      <div class=\"header-container\">\n\n                  \n<div class=\"f--field f--section-title\">\n\n    \n  <h2>\n          FFS Field Exam Reading Lists\n      <\/h2>\n\n\n<\/div>\n      \n                  \n<div class=\"f--field f--description\">\n\n    \n  <p><strong>AXES DE RECHERCHE<\/strong><\/p>\n\n\n\n<\/div>\n      \n      \n    <\/div>\n  \n      <ul>\n              <li>\n          <button type=\"button\" class=\"accordion-trigger \" id=\"heading-1-1-bbP_ZbM5dX\" aria-controls=\"section-1-1-bbP_ZbM5dX\" aria-expanded=\"false\" aria-disabled=\"false\">\n                          <span class=\"item-title\">I.   Gender and Sexuality<\/span>\n            \n                      <\/button>\n\n          <div id=\"section-1-1-bbP_ZbM5dX\" role=\"region\" aria-labelledby=\"heading-1-1-bbP_ZbM5dX\" class=\"accordion-panel\">\n\n                            \n    \n\n\n\n\n\n\n<div\n  class=\"cc--component-container cc--rich-text \"\n\n  \n  \n  \n  \n  \n  \n  >\n  <div class=\"c--component c--rich-text\"\n    \n      >\n\n    \n      \n<div class=\"f--field f--wysiwyg\">\n\n    \n  <ol>\n<li style=\"font-weight: 400\">Christine de Pizan, <em>La Cit\u00e9 des dames<\/em> (1405)<\/li>\n<li style=\"font-weight: 400\">Louise Lab\u00e9, <em>Sonnets<\/em> (1555)<\/li>\n<li style=\"font-weight: 400\">Robert Garnier, <em>Les Juives <\/em>(1583)<\/li>\n<li style=\"font-weight: 400\">Madame de La Fayette, <em>La Princesse de Cl\u00e8ves<\/em> (1678)<\/li>\n<li style=\"font-weight: 400\">Madame de S\u00e9vign\u00e9, <em>Lettres <\/em>(1648-1696)<\/li>\n<li style=\"font-weight: 400\">Abb\u00e9 Pr\u00e9vost, <em>L\u2019Histoire du chevalier des Grieux et de Manon Lescaut<\/em> (1731)<\/li>\n<li style=\"font-weight: 400\">Marie Jeanne Riccoboni, <em>Lettres de Milady Juliette Catesby<\/em> (1774)<\/li>\n<li style=\"font-weight: 400\">Olympe de Gouges, <em>D\u00e9claration des droits de la femme et de la citoyenne<\/em> (1791)<\/li>\n<li style=\"font-weight: 400\">George Sand, <em>Indiana<\/em> (1832)<\/li>\n<li style=\"font-weight: 400\">Rachilde, <em>La Marquise de Sade<\/em> (1887)<\/li>\n<li style=\"font-weight: 400\">Simone de Beauvoir, <em>Le Deuxi\u00e8me sexe<\/em> (1949)<\/li>\n<li style=\"font-weight: 400\">Mariama B\u00e2, <em>Une si longue lettre<\/em> (1979)<\/li>\n<li style=\"font-weight: 400\">Marguerite Duras, <em>L\u2019Amant <\/em>(1984)<\/li>\n<li style=\"font-weight: 400\">Monique Wittig, <em>La pens\u00e9e straight<\/em> (1992)<\/li>\n<li style=\"font-weight: 400\">Nina Bouraoui, <em>Gar\u00e7on manqu\u00e9<\/em> (2000)<\/li>\n<li style=\"font-weight: 400\">\u00a0Sam Bourcier, <em>Queer Zones. Politique des identit\u00e9s et des savoirs<\/em> (2001)<\/li>\n<li style=\"font-weight: 400\">Ananda Devi, <em>\u00c8ve de ses d\u00e9combres <\/em>(2006)<\/li>\n<li style=\"font-weight: 400\">Marie NDiaye, <em>Trois femmes puissantes<\/em> (2009)<\/li>\n<li style=\"font-weight: 400\">Kettly Mars, <em>Saisons sauvages<\/em> (2010)<\/li>\n<li style=\"font-weight: 400\">\u00c9douard Louis, <em>En finir avec Eddy Bellegueule<\/em> (2014)<\/li>\n<li style=\"font-weight: 400\">C\u00e9line Sciamma, (dir.) <em>Bande de filles <\/em>(2014)<\/li>\n<\/ol>\n\n\n\n<\/div>\n\n\n  <\/div><\/div>\n            \n                      <\/div>\n        <\/li>\n\n              <li>\n          <button type=\"button\" class=\"accordion-trigger \" id=\"heading-1-2-bbP_ZbM5dX\" aria-controls=\"section-1-2-bbP_ZbM5dX\" aria-expanded=\"false\" aria-disabled=\"false\">\n                          <span class=\"item-title\">II.   Race and Empire<\/span>\n            \n                      <\/button>\n\n          <div id=\"section-1-2-bbP_ZbM5dX\" role=\"region\" aria-labelledby=\"heading-1-2-bbP_ZbM5dX\" class=\"accordion-panel\">\n\n                            \n    \n\n\n\n\n\n\n<div\n  class=\"cc--component-container cc--rich-text \"\n\n  \n  \n  \n  \n  \n  \n  >\n  <div class=\"c--component c--rich-text\"\n    \n      >\n\n    \n      \n<div class=\"f--field f--wysiwyg\">\n\n    \n  <ol>\n<li style=\"font-weight: 400\"><em>Chanson de Roland<\/em> (circa 1100) [<strong>s\u00e9lections<\/strong>]<\/li>\n<li style=\"font-weight: 400\">Fran\u00e7ois Rabelais, <em>Gargantua<\/em> (1534)<\/li>\n<li style=\"font-weight: 400\">Abb\u00e9 Pr\u00e9vost, <em>Lettres d\u2019une Grecque moderne<\/em> (1741)<\/li>\n<li style=\"font-weight: 400\">Fran\u00e7oise de Graffigny, <em>Lettres d\u2019une P\u00e9ruvienne<\/em> (1747\/52)<\/li>\n<li style=\"font-weight: 400\">Jos\u00e9phine de Monbart, <em>Lettres Tahitiennes<\/em> (1784)<\/li>\n<li style=\"font-weight: 400\">Claire de Duras, <em>Ourika<\/em> (1823)<\/li>\n<li style=\"font-weight: 400\">Arthur de Gobineau, <em>Essai sur l\u2019in\u00e9galit\u00e9 des races humaines<\/em> (1853\u20131855)<\/li>\n<li style=\"font-weight: 400\">Victor Segalen, <em>Essai sur l\u2019exotisme: Une esth\u00e9tique du divers<\/em> (1921)<\/li>\n<li style=\"font-weight: 400\">L\u00e9on-Gontran Damas, <em>Pigments<\/em> (1937)<\/li>\n<li style=\"font-weight: 400\">Aim\u00e9 C\u00e9saire, <em>Cahier d\u2019un retour au pays natal<\/em> (1939) <strong><u>ou<\/u><\/strong> <em>Discours sur le colonialisme<\/em>(1950)<\/li>\n<li style=\"font-weight: 400\">Frantz Fanon, <em>Peau noire, masques blancs<\/em> (1952)<\/li>\n<li style=\"font-weight: 400\">\u00a0&#8212;, <em>Les damn\u00e9s de la terre <\/em>(1961)<\/li>\n<li style=\"font-weight: 400\">Kateb Yacine, <em>Nedjma<\/em> (1956)<\/li>\n<li style=\"font-weight: 400\">\u00c9douard Glissant, <em>La l\u00e9zarde<\/em> (1958)<\/li>\n<li style=\"font-weight: 400\">Gillo Pontecorvo (dir.), <em>La Bataille d\u2019Algers<\/em> (1966)<\/li>\n<li style=\"font-weight: 400\">Ahmadou Kourouma, <em>Les soleils des ind\u00e9pendances<\/em> (1968)<\/li>\n<li style=\"font-weight: 400\">An Antane-Kapesh, <em>Je suis une maudite Sauvagesse<\/em> (1977)<\/li>\n<li style=\"font-weight: 400\">Nathacha Appanah, <em>Le dernier fr\u00e8re<\/em> (2007)<\/li>\n<li style=\"font-weight: 400\">Achille Mbembe, <em>Critique de la raison n\u00e8gre<\/em> (2013)<\/li>\n<li style=\"font-weight: 400\">Abderrahmane Sissako (dir.), <em>Timbuktu<\/em> (2014)<\/li>\n<\/ol>\n\n\n\n<\/div>\n\n\n  <\/div><\/div>\n            \n                      <\/div>\n        <\/li>\n\n              <li>\n          <button type=\"button\" class=\"accordion-trigger \" id=\"heading-1-3-bbP_ZbM5dX\" aria-controls=\"section-1-3-bbP_ZbM5dX\" aria-expanded=\"false\" aria-disabled=\"false\">\n                          <span class=\"item-title\">III.   Language, Translation, and Writing<\/span>\n            \n                      <\/button>\n\n          <div id=\"section-1-3-bbP_ZbM5dX\" role=\"region\" aria-labelledby=\"heading-1-3-bbP_ZbM5dX\" class=\"accordion-panel\">\n\n                            \n    \n\n\n\n\n\n\n<div\n  class=\"cc--component-container cc--rich-text \"\n\n  \n  \n  \n  \n  \n  \n  >\n  <div class=\"c--component c--rich-text\"\n    \n      >\n\n    \n      \n<div class=\"f--field f--wysiwyg\">\n\n    \n  <ol>\n<li style=\"font-weight: 400\"><em>La Prise d\u2019Orange<\/em> (c. 1160-1165)<\/li>\n<li style=\"font-weight: 400\">Cl\u00e9ment Marot, <em>Cinquante pseaumes de David mis en fran\u00e7oys selon la v\u00e9rit\u00e9 h\u00e9bra\u00efque<\/em>(1543)<\/li>\n<li style=\"font-weight: 400\">Joachim Du Bellay, <em>D\u00e9fense et illustration de la langue fran\u00e7aise<\/em> (1549)<\/li>\n<li style=\"font-weight: 400\">Nicolas Boileau, <em>L&#8217;Art po\u00e9tique<\/em> (1674)<\/li>\n<li style=\"font-weight: 400\">Honor\u00e9 de Balzac, <em>Illusions perdues<\/em> (1843)<\/li>\n<li style=\"font-weight: 400\">Ferdinand de Saussure, <em>Cours de linguistique g\u00e9n\u00e9rale<\/em> (1916)<\/li>\n<li style=\"font-weight: 400\">Paul Val\u00e9ry, <em>Monsieur Teste<\/em> (1925)<\/li>\n<li style=\"font-weight: 400\">Jean-Paul Sartre, <em>Qu&#8217;est-ce que la litt\u00e9rature ?<\/em> (1948)<\/li>\n<li style=\"font-weight: 400\">Roland Barthes, <em>Le Degr\u00e9 z\u00e9ro de l&#8217;\u00e9criture<\/em> (1953)<\/li>\n<li style=\"font-weight: 400\">Jacques Derrida, <em>De la grammatologie<\/em> (1967)<\/li>\n<li style=\"font-weight: 400\">Michel Foucault, <em>L&#8217;ordre du discours<\/em> (1971)<\/li>\n<li style=\"font-weight: 400\">Mich\u00e8le Lalonde, <em>D\u00e9fense et illustration de la langue qu\u00e9b\u00e9coise<\/em> (1974)<\/li>\n<li style=\"font-weight: 400\">Luce Irigaray, <em>Speculum, De l\u2019autre femme<\/em> (1974)<\/li>\n<li style=\"font-weight: 400\">H\u00e9l\u00e8ne Cixous, <em>Le Rire de la M\u00e9duse <\/em>(1975)<\/li>\n<li style=\"font-weight: 400\">Edouard Glissant, <em>Le Discours antillais<\/em> (1981)\u00a0<strong>[s\u00e9lections]<\/strong><\/li>\n<li style=\"font-weight: 400\">Abdelk\u00e9bir Khatibi, <em>Le Maghreb pluriel<\/em> (1983) <strong><u>ou<\/u><\/strong> <em>Amour bilingue<\/em> (1983)<\/li>\n<li style=\"font-weight: 400\">Nicole Broussard, <em>Le d\u00e9sert mauve<\/em> (1987)<\/li>\n<li style=\"font-weight: 400\">Tahar Djaout, <em>L\u2019Invention du d\u00e9sert<\/em> (1987)<\/li>\n<li style=\"font-weight: 400\">Patrick Chamoiseau, Rapha\u00ebl Confiant, Jean Bernab\u00e9, <em>\u00c9loge de la cr\u00e9olit\u00e9<\/em> (1989)<\/li>\n<li style=\"font-weight: 400\">Anna Mo\u00ef, <em>Le Venin du papillon<\/em> (2003)<\/li>\n<\/ol>\n\n\n\n<\/div>\n\n\n  <\/div><\/div>\n            \n                      <\/div>\n        <\/li>\n\n              <li>\n          <button type=\"button\" class=\"accordion-trigger \" id=\"heading-1-4-bbP_ZbM5dX\" aria-controls=\"section-1-4-bbP_ZbM5dX\" aria-expanded=\"false\" aria-disabled=\"false\">\n                          <span class=\"item-title\">IV.   Memory, Trauma, and History<\/span>\n            \n                      <\/button>\n\n          <div id=\"section-1-4-bbP_ZbM5dX\" role=\"region\" aria-labelledby=\"heading-1-4-bbP_ZbM5dX\" class=\"accordion-panel\">\n\n                            \n    \n\n\n\n\n\n\n<div\n  class=\"cc--component-container cc--rich-text \"\n\n  \n  \n  \n  \n  \n  \n  >\n  <div class=\"c--component c--rich-text\"\n    \n      >\n\n    \n      \n<div class=\"f--field f--wysiwyg\">\n\n    \n  <ol>\n<li style=\"font-weight: 400\">Chr\u00e9tiens de Troyes, <em>Lancelot, ou le chevalier de la charrette<\/em> or <em>Yvain<\/em> (circa 1180\u20131190)<\/li>\n<li style=\"font-weight: 400\">Jean-Antoine de Ba\u00eff, <em>Euvres en rime<\/em> (1572) <strong>[s\u00e9lections]<\/strong><\/li>\n<li style=\"font-weight: 400\">D\u2019Aubign\u00e9, <em>Les Tragiques<\/em> (1616)<\/li>\n<li style=\"font-weight: 400\">Marquis de Sade, <em>La Philosophie dans le boudoir<\/em> (1795)<\/li>\n<li style=\"font-weight: 400\">Jean-Jacques Rousseau, <em>Les Confessions<\/em> (1782)<\/li>\n<li style=\"font-weight: 400\">Guy de Maupassant, <em>Le Horla<\/em> (1887)<\/li>\n<li style=\"font-weight: 400\">Marcel Proust, <em>Du c\u00f4t\u00e9 de chez Swann<\/em> (1913)<\/li>\n<li style=\"font-weight: 400\">Marie Vieux Chauvet, <em>Amour, Col\u00e8re, Folie<\/em> (1968)<\/li>\n<li style=\"font-weight: 400\">George Perec, <em>W ou le souvenir d\u2019enfance<\/em> (1975)<\/li>\n<li style=\"font-weight: 400\">Romain Gary, <em>La vie devant soi<\/em> (1975)<\/li>\n<li style=\"font-weight: 400\">Patrick Modiano, <em>Rue des boutiques obscures<\/em> (1978)<\/li>\n<li style=\"font-weight: 400\">Marie Cardinal, <em>Les mots pour le dire<\/em> (1975)<\/li>\n<li style=\"font-weight: 400\">Sembene Ousmane, <em>Camp de Thiaroye<\/em> (1988)<\/li>\n<li style=\"font-weight: 400\">Didier Daeninckx, <em>Meurtres pour m\u00e9moire<\/em> (1993)<\/li>\n<li style=\"font-weight: 400\">Le\u00efla Sebbar, <em>La Seine \u00e9tait rouge<\/em> (1999)<\/li>\n<li style=\"font-weight: 400\">Dai Sijie, <em>Balzac et la Petite Tailleuse chinoise<\/em> (2000)<\/li>\n<li style=\"font-weight: 400\">Ir\u00e8ne N\u00e9mirovsky, <em>Suite fran\u00e7aise<\/em> (published posthumously 2004)<\/li>\n<li style=\"font-weight: 400\">Mathias \u00c9nard, <em>Zone<\/em> (2008)<\/li>\n<li style=\"font-weight: 400\">Annie Ernaux, <em>Les Ann\u00e9es<\/em> (2008)<\/li>\n<li style=\"font-weight: 400\">Mohamed Mbougar Sarr, <em>La plus secr\u00e8te m\u00e9moire des hommes<\/em> (2021)<\/li>\n<\/ol>\n\n\n\n<\/div>\n\n\n  <\/div><\/div>\n            \n                      <\/div>\n        <\/li>\n\n              <li>\n          <button type=\"button\" class=\"accordion-trigger \" id=\"heading-1-5-bbP_ZbM5dX\" aria-controls=\"section-1-5-bbP_ZbM5dX\" aria-expanded=\"false\" aria-disabled=\"false\">\n                          <span class=\"item-title\">V.   Humanism(s) and Posthumanisms<\/span>\n            \n                      <\/button>\n\n          <div id=\"section-1-5-bbP_ZbM5dX\" role=\"region\" aria-labelledby=\"heading-1-5-bbP_ZbM5dX\" class=\"accordion-panel\">\n\n                            \n    \n\n\n\n\n\n\n<div\n  class=\"cc--component-container cc--rich-text \"\n\n  \n  \n  \n  \n  \n  \n  >\n  <div class=\"c--component c--rich-text\"\n    \n      >\n\n    \n      \n<div class=\"f--field f--wysiwyg\">\n\n    \n  <ol>\n<li style=\"font-weight: 400\">Fran\u00e7ois Rabelais, <em>Pantagruel<\/em> (1532)<\/li>\n<li style=\"font-weight: 400\">Marguerite de Navarre, <em>Heptam\u00e9ron<\/em> (selections) (1559)<\/li>\n<li style=\"font-weight: 400\">Pierre de Ronsard, <em>Les Amours<\/em> (1552)<\/li>\n<li style=\"font-weight: 400\">Michel de Montaigne, <em>Essais<\/em> (1580)<\/li>\n<li style=\"font-weight: 400\">Fran\u00e7ois de La Rochefoucauld, <em>Maximes<\/em> (1665)<\/li>\n<li style=\"font-weight: 400\">Julien Offray de La Mettrie, <em>L\u2019Homme-machine<\/em> (1748) <strong><u>ou<\/u><\/strong><em> L\u2019Homme-plante<\/em> (1748)<\/li>\n<li style=\"font-weight: 400\">Voltaire, <em>Microm\u00e9gas<\/em> (1752)<\/li>\n<li style=\"font-weight: 400\">Jean-Jacques Rousseau, <em>Discours sur l&#8217;origine de l&#8217;in\u00e9galit\u00e9<\/em> (1755)<\/li>\n<li style=\"font-weight: 400\">Denis Diderot, <em>Le R\u00eave de d\u2019Alembert<\/em> (1772)<\/li>\n<li style=\"font-weight: 400\">Jean-Paul Sartre, <em>Huis clos<\/em> (1944)<\/li>\n<li style=\"font-weight: 400\">Albert Camus, <em>L\u2019exil et le royaume<\/em> (1957)<\/li>\n<li style=\"font-weight: 400\">Jean-Luc Godard (dir.), <em>Alphaville<\/em> (1965)<\/li>\n<li style=\"font-weight: 400\">Michel Serres, <em>Le parasite<\/em> (1980)<\/li>\n<li style=\"font-weight: 400\">Ren\u00e9 Depestre, <em>Hadriana dans tous mes r\u00eaves<\/em> (1988)<\/li>\n<li style=\"font-weight: 400\">Marie Darrieussecq, <em>Truismes<\/em> (1996)<\/li>\n<li style=\"font-weight: 400\">Michel Houellebecq, <em>Les Particules \u00e9l\u00e9mentaires<\/em> (1998) <strong><u>ou<\/u><\/strong> <em>La Possibilit\u00e9 d\u2019une \u00eele<\/em> (2005)<\/li>\n<li style=\"font-weight: 400\">Patrick Chamoiseau, <em>L\u2019esclave vieil homme et le molosse<\/em> (1999)<\/li>\n<li style=\"font-weight: 400\">Jacques Derrida, <em>L\u2019animal que donc je suis<\/em> (2002)<\/li>\n<li style=\"font-weight: 400\">Emmanuelle Pireyre, <em>Chim\u00e8re<\/em> (2009)<\/li>\n<li style=\"font-weight: 400\">Pierre Ducrozet, <em>L\u2019Invention des corps<\/em> (2017)<\/li>\n<\/ol>\n\n\n\n<\/div>\n\n\n  <\/div><\/div>\n            \n                      <\/div>\n        <\/li>\n\n              <li>\n          <button type=\"button\" class=\"accordion-trigger \" id=\"heading-1-6-bbP_ZbM5dX\" aria-controls=\"section-1-6-bbP_ZbM5dX\" aria-expanded=\"false\" aria-disabled=\"false\">\n                          <span class=\"item-title\">VI.   Ecology and Environment<\/span>\n            \n                      <\/button>\n\n          <div id=\"section-1-6-bbP_ZbM5dX\" role=\"region\" aria-labelledby=\"heading-1-6-bbP_ZbM5dX\" class=\"accordion-panel\">\n\n                            \n    \n\n\n\n\n\n\n<div\n  class=\"cc--component-container cc--rich-text \"\n\n  \n  \n  \n  \n  \n  \n  >\n  <div class=\"c--component c--rich-text\"\n    \n      >\n\n    \n      \n<div class=\"f--field f--wysiwyg\">\n\n    \n  <ol>\n<li style=\"font-weight: 400\">Guillaume de Lorris et Jean de Meun, <em>Le Roman de la Rose<\/em> (c. 1230 et 1275) <strong>[s\u00e9lections]<\/strong><\/li>\n<li style=\"font-weight: 400\">Andr\u00e9 Thevet, <em>La Cosmographie universelle<\/em> (1575)<\/li>\n<li style=\"font-weight: 400\">Paul Contant, <em>Le Jardin et cabinet po\u00e9tique<\/em> (1609)<\/li>\n<li style=\"font-weight: 400\">Paul-Henri Thiry d\u2019Holbach, <em>Syst\u00e8me de la nature<\/em> (1770)<\/li>\n<li style=\"font-weight: 400\">Jacques-Henri Bernardin de Saint-Pierre, <em>Paul et Virginie<\/em> (1788)<\/li>\n<li style=\"font-weight: 400\">Jacques Roumain, <em>Gouverneurs de la Ros\u00e9e<\/em> (1944)<\/li>\n<li style=\"font-weight: 400\">Chris Marker (dir.), <em>La Jet\u00e9e<\/em> (1962)<\/li>\n<li style=\"font-weight: 400\">Ken Bugal, <em>Le Baobab fou<\/em> (1982)<\/li>\n<li style=\"font-weight: 400\">Maryse Cond\u00e9, <em>La Travers\u00e9e de la mangrove<\/em> (1989)<\/li>\n<li style=\"font-weight: 400\">Michel Serres, <em>Le Contrat naturel<\/em> (1990)<\/li>\n<li style=\"font-weight: 400\">\u00c9douard Glissant, <em>Po\u00e9tique de la relation<\/em> (1990)<\/li>\n<li style=\"font-weight: 400\">Luc Ferry, <em>Le Nouvel Ordre \u00e9cologique<\/em> (1992)<\/li>\n<li style=\"font-weight: 400\">Patrick Chamoiseau, <em>Texaco<\/em> (1992)<\/li>\n<li style=\"font-weight: 400\">Bruno Latour, <em>Politiques de nature<\/em> (1999)<\/li>\n<li style=\"font-weight: 400\">Agn\u00e8s Varda (dir.) <em>Les Glaneurs et la glaneuse<\/em> (2000)<\/li>\n<li style=\"font-weight: 400\">Rithy Panh (dir.), <em>Un Barrage contre le Pacifique<\/em> (2008)<\/li>\n<li style=\"font-weight: 400\">Yanick Lahens, <em>Bain de lune<\/em> (2014)<\/li>\n<li style=\"font-weight: 400\">Antoine Volodine, <em>Radiant Terminus<\/em> (2014) <strong><u>ou<\/u><\/strong> Jean-Marc Ligny, <em>Aqua\u2122<\/em> (2012)<\/li>\n<li style=\"font-weight: 400\">Marie Darrieussecq, <em>Notre vie dans les for\u00eats<\/em> (2017)<\/li>\n<li style=\"font-weight: 400\">Jos\u00e9phine Bacon, <em>B\u00e2tons \u00e0 message \/ Tshissinuashitakana<\/em> (2018)<\/li>\n<\/ol>\n\n\n\n<\/div>\n\n\n  <\/div><\/div>\n            \n                      <\/div>\n        <\/li>\n\n              <li>\n          <button type=\"button\" class=\"accordion-trigger \" id=\"heading-1-7-bbP_ZbM5dX\" aria-controls=\"section-1-7-bbP_ZbM5dX\" aria-expanded=\"false\" aria-disabled=\"false\">\n                          <span class=\"item-title\">VII.   Experimental Forms<\/span>\n            \n                      <\/button>\n\n          <div id=\"section-1-7-bbP_ZbM5dX\" role=\"region\" aria-labelledby=\"heading-1-7-bbP_ZbM5dX\" class=\"accordion-panel\">\n\n                            \n    \n\n\n\n\n\n\n<div\n  class=\"cc--component-container cc--rich-text \"\n\n  \n  \n  \n  \n  \n  \n  >\n  <div class=\"c--component c--rich-text\"\n    \n      >\n\n    \n      \n<div class=\"f--field f--wysiwyg\">\n\n    \n  <ol>\n<li style=\"font-weight: 400\">Cl\u00e9ment Marot, <em>L&#8217;Adolescence cl\u00e9mentine<\/em> (1532)<\/li>\n<li style=\"font-weight: 400\">Michel de Montaigne, <em>Essais<\/em> (1580\u20131588)<\/li>\n<li style=\"font-weight: 400\">Ren\u00e9 Descartes, <em>Discours de la m\u00e9thode<\/em> (1637)<\/li>\n<li style=\"font-weight: 400\">Blaise Pascal, <em>Pens\u00e9es<\/em> (1670)<\/li>\n<li style=\"font-weight: 400\">Denis Diderot, <em>Jacques le fataliste et son ma\u00eetre<\/em> (1785)<\/li>\n<li style=\"font-weight: 400\">Donatien Alphonse Fran\u00e7ois de Sade, <em>La Philosophie dans le boudoir<\/em> (1795)<\/li>\n<li style=\"font-weight: 400\">Joris-Karl Huysmans, <em>A rebours<\/em> (1884)<\/li>\n<li style=\"font-weight: 400\">St\u00e9phane Mallarm\u00e9, <em>Un Coup de d\u00e9s jamais n\u2019abolira le hasard<\/em> (1897)<\/li>\n<li style=\"font-weight: 400\">Andr\u00e9 Breton, <em>Manifeste du surr\u00e9alisme<\/em> (1924)<\/li>\n<li style=\"font-weight: 400\">Nathalie Sarraute, <em>Tropismes<\/em> (1939)<\/li>\n<li style=\"font-weight: 400\">Francis Ponge, <em>Le Parti-pris des choses<\/em> (1942)<\/li>\n<li style=\"font-weight: 400\">Alain Robbe-Grillet, <em>La Jalousie<\/em> (1957)<\/li>\n<li style=\"font-weight: 400\">Michel Butor, <em>La Modification<\/em> (1957)<\/li>\n<li style=\"font-weight: 400\">Rachid Boudjedra, <em>La R\u00e9pudiation<\/em> (1969)<\/li>\n<li style=\"font-weight: 400\">Georges Perec, <em>La vie, mode d\u2019emploi<\/em> (1978)<\/li>\n<li style=\"font-weight: 400\">Gilles Deleuze et F\u00e9lix Guattari, <em>Mille plateaux <\/em>(1980)<\/li>\n<li style=\"font-weight: 400\">Farida Belghoul, <em>Georgette!<\/em> (1986)<\/li>\n<li style=\"font-weight: 400\">Anne Garr\u00e9ta, <em>Sphinx<\/em> (1986)<\/li>\n<li style=\"font-weight: 400\">\u00c9ric Chevillard, <em>La N\u00e9buleuse du crabe<\/em> (1993)<\/li>\n<li style=\"font-weight: 400\">Rachid Dja\u00efdani, <em>Boumkoeur<\/em> (1999)<\/li>\n<\/ol>\n\n\n\n<\/div>\n\n\n  <\/div><\/div>\n            \n                      <\/div>\n        <\/li>\n\n              <li>\n          <button type=\"button\" class=\"accordion-trigger \" id=\"heading-1-8-bbP_ZbM5dX\" aria-controls=\"section-1-8-bbP_ZbM5dX\" aria-expanded=\"false\" aria-disabled=\"false\">\n                          <span class=\"item-title\">VIII.   Politics of Culture <\/span>\n            \n                      <\/button>\n\n          <div id=\"section-1-8-bbP_ZbM5dX\" role=\"region\" aria-labelledby=\"heading-1-8-bbP_ZbM5dX\" class=\"accordion-panel\">\n\n                            \n    \n\n\n\n\n\n\n<div\n  class=\"cc--component-container cc--rich-text \"\n\n  \n  \n  \n  \n  \n  \n  >\n  <div class=\"c--component c--rich-text\"\n    \n      >\n\n    \n      \n<div class=\"f--field f--wysiwyg\">\n\n    \n  <ol>\n<li style=\"font-weight: 400\">Th\u00e9odore de B\u00e8ze, <em>Satyres de la cuisine papale<\/em> (1560)<\/li>\n<li style=\"font-weight: 400\">Pierre Gringore, <em>Le Jeu du Prince des Sotz et de la M\u00e8re Sotte<\/em> (1511)<\/li>\n<li style=\"font-weight: 400\">Moli\u00e8re, <em>Tartuffe <\/em>(1664)<\/li>\n<li style=\"font-weight: 400\">La Fontaine, <em>Fables<\/em> (1668-1694)<\/li>\n<li style=\"font-weight: 400\">Voltaire, <em>Lettres philosophiques<\/em> (1734)<\/li>\n<li style=\"font-weight: 400\">Cr\u00e9billon fils, <em>Les \u00c9garements du coeur et de l\u2019esprit <\/em>(1736)<\/li>\n<li style=\"font-weight: 400\">Choderlos de Laclos, <em>Liaisons dangereuses<\/em> (1782)<\/li>\n<li style=\"font-weight: 400\">Denis Diderot, <em>La Religieuse<\/em> (1792, posthumous version)<\/li>\n<li style=\"font-weight: 400\">Gustave Flaubert, <em>Madame Bovary<\/em> (1857)<\/li>\n<li style=\"font-weight: 400\">Charles Baudelaire, <em>Les Fleurs du mal<\/em> (1857)<\/li>\n<li style=\"font-weight: 400\">\u00c9mile Zola, <em>Nana<\/em> (1880) <strong><u>et<\/u><\/strong> Jean Renoir (dir), <em>Nana<\/em> (1926)<\/li>\n<li style=\"font-weight: 400\">Georges Bataille, <em>La Part maudite<\/em> (1949)<\/li>\n<li style=\"font-weight: 400\">Roland Barthes, <em>Mythologies<\/em> (1957)<\/li>\n<li style=\"font-weight: 400\">Djibril Diop Mamb\u00e9ty (dir.), <em>Touki Bouki<\/em> (1973)<\/li>\n<li style=\"font-weight: 400\">Chantal Akerman (dir.), <em>Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles<\/em> (1975)<\/li>\n<li style=\"font-weight: 400\">Paul Virilio, <em>Vitesse et politique<\/em> (1977)<\/li>\n<li style=\"font-weight: 400\">Pierre Bourdieu, <em>La Distinction<\/em> (1979)<\/li>\n<li style=\"font-weight: 400\">Michel de Certeau, <em>L&#8217;invention du quotidien, 1. L&#8217;art de faire<\/em> (1980)<\/li>\n<li style=\"font-weight: 400\">Jean Baudrillard, <em>Simulacres et simulation<\/em> (1981)<\/li>\n<li style=\"font-weight: 400\">Fr\u00e9d\u00e9ric Beigbeder, <em>99 Francs<\/em> (2000)<\/li>\n<\/ol>\n\n\n\n<\/div>\n\n\n  <\/div><\/div>\n            \n                      <\/div>\n        <\/li>\n\n              <li>\n          <button type=\"button\" class=\"accordion-trigger \" id=\"heading-1-9-bbP_ZbM5dX\" aria-controls=\"section-1-9-bbP_ZbM5dX\" aria-expanded=\"false\" aria-disabled=\"false\">\n                          <span class=\"item-title\">IX.   Performance and Spectacle<\/span>\n            \n                      <\/button>\n\n          <div id=\"section-1-9-bbP_ZbM5dX\" role=\"region\" aria-labelledby=\"heading-1-9-bbP_ZbM5dX\" class=\"accordion-panel\">\n\n                            \n    \n\n\n\n\n\n\n<div\n  class=\"cc--component-container cc--rich-text \"\n\n  \n  \n  \n  \n  \n  \n  >\n  <div class=\"c--component c--rich-text\"\n    \n      >\n\n    \n      \n<div class=\"f--field f--wysiwyg\">\n\n    \n  <ol>\n<li style=\"font-weight: 400\"><em>La Farce de Maistre Pathelin<\/em> (c. 1440)<\/li>\n<li style=\"font-weight: 400\">Pierre Corneille, <em>Le Cid<\/em> (1637)<\/li>\n<li style=\"font-weight: 400\">Jean Racine, <em>Ph\u00e8dre<\/em> (1677) <strong><u>ou<\/u><\/strong> <em>Athalie<\/em> (1691)<\/li>\n<li style=\"font-weight: 400\">Pierre de Marivaux, <em>Le jeu de l\u2019amour et du hasard<\/em> (1730)<\/li>\n<li style=\"font-weight: 400\">Pierre-Augustin Caron de Beaumarchais, <em>Le mariage de Figaro<\/em> (1784)<\/li>\n<li style=\"font-weight: 400\">Denis Diderot, <em>Le neveu de Rameau<\/em> (written 1761\u20131777; posthumously published 1805)<\/li>\n<li style=\"font-weight: 400\">Antonin Artaud, <em>Le th\u00e9\u00e2tre et son double<\/em> (1938)<\/li>\n<li style=\"font-weight: 400\">Jacques Pr\u00e9vert, <em>Paroles<\/em> (1946)<\/li>\n<li style=\"font-weight: 400\">Albert Camus, <em>Caligula<\/em> (1944)<\/li>\n<li style=\"font-weight: 400\">Agn\u00e8s Varda (dir.), <em>Cl\u00e9o de 5 \u00e0 7<\/em> (1962)<\/li>\n<li style=\"font-weight: 400\">Aim\u00e9 C\u00e9saire, <em>La trag\u00e9die du Roi Christophe<\/em> (1963) <strong><u>ou<\/u><\/strong> <em>Une Temp\u00eate<\/em> (1969)<\/li>\n<li style=\"font-weight: 400\">Guy Debord, <em>La soci\u00e9t\u00e9 du spectacle<\/em> (1967)<\/li>\n<li style=\"font-weight: 400\">Jacques Derrida, <em>Signature, \u00e9v\u00e9nement, contexte<\/em> (1967)<\/li>\n<li style=\"font-weight: 400\">Fran\u00e7ois Truffaut (dir.), <em>Le dernier m\u00e9tro<\/em> (1980)<\/li>\n<li style=\"font-weight: 400\">Jacques Rivette (dir.), <em>La belle noiseuse<\/em> (1991)<\/li>\n<li style=\"font-weight: 400\">Wajdi Mouawad, <em>Incendies<\/em> (2003)<\/li>\n<li style=\"font-weight: 400\">Jean-Philippe Toussaint, <em>La m\u00e9lancolie de Zidane<\/em> (2006)<\/li>\n<li style=\"font-weight: 400\">Jean Echenoz, <em>Courir<\/em> (2008)<\/li>\n<li style=\"font-weight: 400\">David Guez, <em>\u00c9loge \u00e0 l\u2019esquive<\/em> (2014)<\/li>\n<li style=\"font-weight: 400\">Alain Gomis (dir.), <em>F\u00e9licit\u00e9<\/em> (2017)<\/li>\n<\/ol>\n\n\n\n<\/div>\n\n\n  <\/div><\/div>\n            \n                      <\/div>\n        <\/li>\n\n              <li>\n          <button type=\"button\" class=\"accordion-trigger \" id=\"heading-1-10-bbP_ZbM5dX\" aria-controls=\"section-1-10-bbP_ZbM5dX\" aria-expanded=\"false\" aria-disabled=\"false\">\n                          <span class=\"item-title\">X.   Media, Technology, and Popular Culture<\/span>\n            \n                      <\/button>\n\n          <div id=\"section-1-10-bbP_ZbM5dX\" role=\"region\" aria-labelledby=\"heading-1-10-bbP_ZbM5dX\" class=\"accordion-panel\">\n\n                            \n    \n\n\n\n\n\n\n<div\n  class=\"cc--component-container cc--rich-text \"\n\n  \n  \n  \n  \n  \n  \n  >\n  <div class=\"c--component c--rich-text\"\n    \n      >\n\n    \n      \n<div class=\"f--field f--wysiwyg\">\n\n    \n  <ol style=\"font-weight: 400\">\n<li>Rutebeuf, <em>Le Dit de l\u2019herberie <\/em>(c. 1271)<\/li>\n<li>Jehan Froissart, <em>Les Chroniques<\/em> (1369)<\/li>\n<li>Bonaventure des P\u00e9riers, <em>Nouvelles r\u00e9cr\u00e9ations et joyeux devis<\/em> (1544)<\/li>\n<li>Ren\u00e9 Descartes, <em>La Dioptrique <\/em>(1637)<\/li>\n<li>Denis Diderot, <em>Paradoxe sur le com\u00e9dien<\/em> (1770-1778)<\/li>\n<li>Charles Baudelaire, <em>Salon de 1859 <\/em><strong><u>ou<\/u><\/strong> <em>Le Peintre de la vie moderne<\/em> (1863)<\/li>\n<li>\u00c9mile Zola, <em>Au Bonheur des dames<\/em> (1883) <strong><u>et<\/u><\/strong> Julien Duvivier (dir.), <em>Au Bonheur des dames<\/em>(1930)<\/li>\n<li>Gustave Le Bon, <em>Psychologie des foules <\/em>(1895)<\/li>\n<li>Georges M\u00e9li\u00e8s (dir.), <em>Voyage \u00e0 la lune<\/em> (1902)<\/li>\n<li>Guillaume Apollinaire, <em>Lh\u00e9r\u00e9siarque et Cie<\/em> (1910) <strong><u>ou<\/u><\/strong> <em>Alcools <\/em>(1913)<\/li>\n<li>Marcel Allain et Pierre Souvestre, <em>Fant\u00f4mas <\/em>(1911-1913) [<strong>volume \u00e0 choix<\/strong>]<\/li>\n<li>Louis Feuillade (dir.) <em>Fant\u00f4mas <\/em>(1913-1914) <strong><u>ou<\/u> <\/strong><em>Les Vampyres <\/em>(1914-1915)<\/li>\n<li>Abel Gance (dir.), <em>La Roue<\/em> (1923)<\/li>\n<li>Marcel Carn\u00e9 (dir.), <em>Le jour se l\u00e8v<\/em>e (1939)<\/li>\n<li>\u200b\u200bJacques Tati, (dir.) <em>Jour de F\u00eate <\/em>(1949) <strong><u>ou<\/u><\/strong> <em>Playtime <\/em>(1967)<\/li>\n<li>Ren\u00e9 Vautier (dir), <em>Afrique 50<\/em> (1950)<\/li>\n<li>Jacques M\u00e9lo Kane, Mamadou Sarr et Paulin Soumanou Vieyra (dirs.) <em>Afrique-sur-Seine <\/em>(1955)<\/li>\n<li>Andr\u00e9 Bazin, <em>Qu\u2019est-ce-que le cinema? <\/em>(1958 et 1962; r\u00e9\u00e9dition, Cerf, 1976)<\/li>\n<li>Alain Resnais (dir.), <em>Hiroshima mon amour<\/em> (1959)<\/li>\n<li>Alain Robbe-Grillet, <em>Instantan\u00e9s<\/em> (1962)<\/li>\n<li>Georges Perec, <em>Les Choses <\/em>(1965)<\/li>\n<li>Jean-Luc Godard (dir.), <em>Deux ou trois choses que je sais d&#8217;elle <\/em>(1967)<\/li>\n<li>\u00c9ric Rohmer (dir.), <em>Ma nuit chez Maud<\/em> (1969)<\/li>\n<li>Roland Barthes, <em>La chambre claire: note sur la photographie<\/em> (1980)<\/li>\n<li>Gilles Deleuze, <em>Cin\u00e9ma 2: Temps-image<\/em> (1985)<\/li>\n<li>Jacques Tardi, <em>C&#8217;\u00e9tait la guerre des tranch\u00e9e<\/em>s<em>, 1914-1918<\/em> (1993)<\/li>\n<li>Jean-Philippe Toussaint, <em>La T\u00e9l\u00e9vision<\/em> (1997)<strong> <u>ou<\/u><\/strong> <em>L\u2019appareil photo<\/em> (1989)<\/li>\n<li>Claire Denis (dir.), <em>Beau Travail<\/em> (1999)<\/li>\n<li>Fran\u00e7ois Bon, <em>Paysage fer<\/em> (2000) <strong><u>et<\/u><\/strong> Fabrice Cazeneuve (dir.), <em>Paysage fer<\/em> (2004)<em>\u00a0<\/em><\/li>\n<li>Joann Sfar, <em>Le Chat du Rabbin<\/em> (2002)<\/li>\n<li>Marjane Satrapi, <em>Persepolis<\/em> (2003)<\/li>\n<li>Abd al Malik,<em> Qu\u2019Allah b\u00e9nisse la France<\/em> (2004)<\/li>\n<li>Marguerite Abouet et Cl\u00e9ment Oubrerie, <em>Aya de Yopougon<\/em> (2005)<\/li>\n<li>Virginie Despentes, <em>Vernon Subutex <\/em>(2015)<\/li>\n<li>David Lopez, <em>Fief <\/em>(2016)<\/li>\n<li>Houda Benyamina (dir.), <em>Divines<\/em> (2016)<\/li>\n<\/ol>\n\n\n\n<\/div>\n\n\n  <\/div><\/div>\n            \n                      <\/div>\n        <\/li>\n\n              <li>\n          <button type=\"button\" class=\"accordion-trigger \" id=\"heading-1-11-bbP_ZbM5dX\" aria-controls=\"section-1-11-bbP_ZbM5dX\" aria-expanded=\"false\" aria-disabled=\"false\">\n                          <span class=\"item-title\">XI.   Travel, Migration, Displacement<\/span>\n            \n                      <\/button>\n\n          <div id=\"section-1-11-bbP_ZbM5dX\" role=\"region\" aria-labelledby=\"heading-1-11-bbP_ZbM5dX\" class=\"accordion-panel\">\n\n                            \n    \n\n\n\n\n\n\n<div\n  class=\"cc--component-container cc--rich-text \"\n\n  \n  \n  \n  \n  \n  \n  >\n  <div class=\"c--component c--rich-text\"\n    \n      >\n\n    \n      \n<div class=\"f--field f--wysiwyg\">\n\n    \n  <ol>\n<li style=\"font-weight: 400\">Joachim du Bellay, <em>Les Regrets<\/em> (1558)<\/li>\n<li style=\"font-weight: 400\">Jean de L\u00e9ry, <em>Histoire d\u2019un voyage faict en la terre du Br\u00e9sil<\/em> (1578)<\/li>\n<li style=\"font-weight: 400\">Montesquieu (Charles-Louis de Secondat), <em>Lettres persanes<\/em> (1721)<\/li>\n<li style=\"font-weight: 400\">Louis-Antoine de Bougainville, <em>Voyage autour du monde<\/em> (1771)<\/li>\n<li style=\"font-weight: 400\">Denis Diderot, <em>Suppl\u00e9ment au voyage de Bougainville<\/em> (written 1772, published 1796)<\/li>\n<li style=\"font-weight: 400\">Germaine de Sta\u00ebl, <em>Corinne ou L\u2019Italie<\/em> (1807) <strong><u>ou<\/u><\/strong> <em>De l&#8217;Allemagne<\/em> (1813)<\/li>\n<li style=\"font-weight: 400\">Jules Verne, <em>Voyages Extraordinaires<\/em> (1863-1905) [<strong>un livre \u00e0 choix<\/strong>]<\/li>\n<li style=\"font-weight: 400\">Victor Segalen, <em>Les Imm\u00e9moriaux<\/em> (1907)<\/li>\n<li style=\"font-weight: 400\">Blaise Cendrars, <em>Les P\u00e2ques \u00e0 New York<\/em> (1912) <strong><u>ou<\/u> <\/strong><em>Prose du Transsib\u00e9rien et de la petite Jehanne de <\/em><em>France<\/em> (1913)<\/li>\n<li style=\"font-weight: 400\">Saint-John Perse (Alexis L\u00e9ger), <em>Exil<\/em> (1942)<\/li>\n<li style=\"font-weight: 400\">Ousmane Semb\u00e8ne (dir.), <em>La Noire de\u2026<\/em> (1966)<\/li>\n<li style=\"font-weight: 400\">\u00a0Bernard Dadi\u00e9, <em>Un N\u00e8gre \u00e0 Paris<\/em> (1959) <strong><u>ou<\/u><\/strong> Ousmane\u00a0 Soc\u00e9, <em>Mirages de Paris<\/em> (1937)<\/li>\n<li style=\"font-weight: 400\">Cheikh Hamidou Kane,<em> L\u2019Aventure ambigu\u00eb <\/em>(1961)<\/li>\n<li style=\"font-weight: 400\">Nabile Far\u00e8s, <em>Un Passager de l\u2019Occident<\/em> (1971)<\/li>\n<li style=\"font-weight: 400\">Maryse Cond\u00e9, <em>H\u00e9r\u00e9makhonon<\/em> (1976)<\/li>\n<li style=\"font-weight: 400\">Linda L\u00ea, <em>Les Trois Parques<\/em> (1997)<\/li>\n<li style=\"font-weight: 400\">Fatou Diome, <em>Le Ventre de l\u2019Atlantique<\/em> (2003)<\/li>\n<li style=\"font-weight: 400\">Kim Th\u00fay, <em>Ru<\/em> (2009)<\/li>\n<li style=\"font-weight: 400\">Alain Mabanckou, <em>Bleu-Blanc-Rouge<\/em> (2010)<\/li>\n<li style=\"font-weight: 400\">Mati Diop (dir.), <em>Atlantique <\/em>(2019)<\/li>\n<\/ol>\n\n\n\n<\/div>\n\n\n  <\/div><\/div>\n            \n                      <\/div>\n        <\/li>\n\n          <\/ul>\n  \n      <div class=\"links-container\">\n      \n            \n<div class=\"f--field f--link\">\n\n    \n    \n  \n<a \n  class=\"link\"\n  href= https:\/\/dornsife.usc.edu\/fren-ital\/wp-content\/uploads\/sites\/55\/2025\/10\/Field-Exam-2.pdf\n    aria-label=\"Read more about Download the FFS Field Exam Reading Lists\"  \n>\n    Download the FFS Field Exam Reading Lists \n  <svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" xmlns:xlink=\"http:\/\/www.w3.org\/1999\/xlink\" x=\"0px\" y=\"0px\" viewBox=\"0 0 35 35\" enable-background=\"new 0 0 35 35\" width=\"25\" height=\"25\" xml:space=\"preserve\"><polygon fill-rule=\"evenodd\" clip-rule=\"evenodd\" fill=\"#FC0\" points=\"19.3,27.5 29.3,17.5,19.3,7.5 16.3,10.4 21.4,15.4 6.7,15.4 6.7,19.6 21.4,19.6 16.3,24.6 \"\/><\/svg>\n<\/a>\n\n\n<\/div>\n\n          <\/div>\n  \n\n  <\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":76,"featured_media":4004,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-704","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.1.1 - 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