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Enseigner la poésie aux étudiants et intégrer la poésie à la didactique sont deux mouvements complémentaires qui permettent non seulement de travailler tous les aspects de la langue mais favorisent et exercent des processus et qualités multiples: mémorisation, adaptabilité, esprit critique et confiance en soi — sans parler du plaisir qu’on y prend. Cette présentation propose un choix de textes poétiques et d’activités créatives pour des classes de français de tous niveaux.
La photographie est une forme d’art trop souvent négligée, peut-être parce qu’elle est considérée comme techniquement plus facile que la peinture et semble aujourd’hui à la portée de tous. Cependant, les images d’Henri Cartier-Bresson, Robert Doisneau, Bruno Barbey, Marc Riboud, J R, ou Yann Arthus Bertrand, pour ne mentionner que ces quelques photographes français, exercent une fascination durable de par leurs qualités esthétiques, leur faculté de révéler ce qui se cache sous le banal, leur humanité, leur humour, leur poésie et le témoignage qu’elles donnent de leur époque. Cette présentation a pour but de les rendre plus familières à ceux qui les connaissent peu et de suggérer quelques pistes et documents pour leur exploitation en cours de français.
The Parisian suburbs—la banlieue—are a multifaceted space inhabited by 8 million people where history and tradition meet social turmoil and exclusion. Through an exploration of this complex environment, learners can access a deeper understanding of contemporary France. They can reconsider the stereotypical view of Paris as a city of light through an encounter with antithetical representations of the political and societal changes reflected in the banlieue. Literary texts, films, political cartoons, music and media coverage provide exceptional pedagogical resources and exemplify some of the most vivid innovations of French language. These resources provide a fertile tool for stimulating debate and cross-cultural comparison while integrating the study of vocabulary and grammar within an enlightening literary, cultural, and political framework. This presentation features classroom-tested sequences focusing on the critical study of authentic materials about the banlieue.
Petite exploration des richesses et des défis du bilinguisme à travers des extraits de L’Arabe du futur, de Riad Sattouf, du Piano oriental de Zeina Abirached et des Identités meurtrières d’Amin Maalouf.
Use simple dramatic techniques to enhance your teaching of pronunciation, vocabulary and grammar and motivate your students.
Utilisez des techniques théâtrales simples pour renforcer votre enseignement de la prononciation, du vocabulaire et de la grammaire et motiver vos élèves.
Images à projeter:
This document presents three exercises for teaching students the complicated constructions of “avant” and “après” (“before” and “after”) in French:
1) directly (without any other preposition) when used with nouns.
2) “avant de + present infinitive” and “après + past infinitive” when used with verbs having the same subject as the independent clause.
3) “avant que + subjunctive” and “après que + indicative” when used with verbs having a subject different from that of the independent clause.
The first exercise, “Mr. and Mrs. Wilson’s Trip to Paris” (pp. 2-13), is used in class without earlier preparation on the part of the students. The teacher prompts the students, picking actions out, putting them into pairs in the passé composé, (“First the couple did this, then they did that” [same subject for both verbs] and “First the couple did this, then someone else did that” [two different subjects]) and then having the students describe those same two actions using “avant” and “après”, alternating chorus responses with individual responses.
The second exercise, the “Chronology of the Dutronc Family” (p. 14), is to be prepared by the students on the night before the class, when they also read grammatical explanations of the uses of “avant” and “après”. Having now done the exercise on the Wilson couple, the students write their 6 sentences (written out the night before, each with a different construction of “avant” and “après”, and to be handed in at the end of the class) on the board and correct each other. This exercise also serves as a basis for the present night’s homework, in which the students are to form a chronology of their own families (12 items, starting at a time years before their own births), and then use that chronology as they did with the Dutronc family’s, to exemplify the 6 uses of “avant” and “après”.
The third and final exercise, the “Story from Photos” (pp. 15-19) is a longer assignment to be given over a weekend. Having already used these photos twice before in the class, the first time to rearrange them as they see fit to write a story in the passé composé and the imparfait, the second time to embroider into that same story background information in the plus-que-parfait, the students now use it for the third and last time: they take the actions of the stories they have individually written and now compose 12 sentences using them, 2 for each construction of “avant” and “après” (plus, if so desired, 2 more with “pendant que” [“while” + conjugated verb] and 2 with “en + participe present” [“while” + gerundive])
Guillaume Martinez’s Gratte-papier: An unusual short film and how to use it in class.
The integration of visual material into the foreign language classroom offers many advantages to both teacher and student. Political drawings are of particular value in that they are concise, manageable texts that open onto a wealth of social, political, and cultural references. Because of their visual and linguistic economy, they lend themselves to variegated uses that can be expanded or contracted according to the time constraints and objectives of a given pedagogical module. In this presentation, strategies are shared as to how to use political cartoons to help students of French develop critical thinking skills and cultural and visual literacy. The cartoons included in the presentation are thematically clustered around the subject of immigration.