Exposer l'" autre". Essai sur la Cité nationale de l'histoire de l'immigration et le Musée du quai Branly, [To exhibit the "other": Essay on the Musée du Quai Branly and the Cité Nationale de l’Histoire de l‘Immigration /Museum of Immigration], author Maryse Fauvel, 2014
Exposer l'" autre". Essai sur la Cité nationale de l'histoire de l'immigration et le Musée du quai Branly. Paris: L'Harmattan. 2014. In 2006 and 2007 two new museums were inaugurated in Paris: the Musée du Quai Branly and the Cité Nationale de l’Histoire de l‘Immigration. They were promising a renewal of the museum landscape in Paris. Both present the Other through a collection of artefacts and art objects: the Quai Branly with objects from Oceania, Asia, Africa and the Americas, and through the history of immigration to France from the 19th-century to the 21st-century for the Cité Nationale de l’Histoire de l‘Immigration. Both lie at the crossing of today’s globalization, the age of memory and the age of mediatization. How is the Other represented? Do these museums contribute to a rewriting of a shared world history? And of a transnational and transcultural French national history? Which discourses construct those museums? Does a real dialog between the various cultures exist? How do these museums explain and celebrate transversal, transnational and transcultural influences in the creation of national and international histories and patrimonies — or do they in fact do something else?
While these museums apparently honor and celebrate in gorgeous settings the Other (immigrants and non-western art), they end up dominating and controlling them because they offer only a partial image of them. Both museums in their permanent exhibits reveal a deep unease which France still has towards different cultures (for example, daily objects are exhibited without mention of their origin, their creator, their function or the reason they ended it up in the Musée du Quai Branly; or very little is explained about the reasons why immigrants came to France, or what a positive impact they had or are having on France). Paradoxically, these museums end up putting France on stage rather than their ostensible subjects; they portray France’s military and colonial history, and display a civilization that is afraid of others and wedded to appearances.
Tâches d’encre, Maryse Fauvel, co-author, Heinle Cengage, 2011
The third edition of this process-oriented composition text is enhanced with many new features such as pair and group activities, a Student Companion Website (including a brief grammar review, associated practice activities and a list of common mistakes for each chapter and their corrections), a new chapter addressing the politics of ecology, a chapter on “commentaire composé” and a guide for writing research papers.
A vous de voir ! De l’idée au projet filmique (2010) Maryse Fauvel
A vous de voir ! De l’idée au projet filmique (Paris : Casteilla, 2010) is a multimedia work written in French and designed to teach both film analysis and the active, step by step process of film production, starting with the initial subject, the synopsis and storyboard in pre-production, to the production and post-production. Each chapter is comprised of the critical analyses of three French/Francophone films (by, among others, Raja Amari, Yamina Benguigui, Luc Besson, Sylvain Chomet, Agnès Jaoui, Bertrand Tavernier, Moufida Tlatli, François Truffaut, and Agnès Varda) and explains and illustrates a specific stage in movie-making.
Volume 1 focuses on the analysis of the synopsis, the characters and the script, as well as a glossary of key concepts (1. Professions in the cinema industry, 2. technical concepts and 3. critical concepts). For lecture preparations, the instructor’s CD-Rom contains answers to all exercises, various case studies, suggestions for essay assignments and lectures (e.g. the analysis of various well-known paintings, or “how to write a film analysis,” and a list of internet sites related to the cinema industry).
Volume 2 (forthcoming in 2011) approaches the storyboard, the mise en scène, the shooting, editing and the promotion and marketing tools through the analysis of works by French and Francophone directors not included in the first volume, such as Jeunet, Haneke, Belmont, Clouzot..
Scènes d'intérieur: Six romanciers des années 1980-1990 (2007). Maryse Fauvel, author
Although aimed at ephemeral gratification, the French novel of the 1980-1990s stresses openness to the other and provokes enduring questions. It no longer reflects a quest for cultural coherence or linguistic purity, but a multiplicity of trajectories that demonstrate strategies of coexistence.
The visual image both influences and competes with the written text in some novels: Toussaint decries the era of the spectacle and the reign of idolatry ; Duras translates the un-representable. Other texts fight against oblivion: Lê re-members the colonial past and evokes the integration of immigrants in France; Ernaux delineates the commemorative traces of working-class identity. Others focus on the private sphere: Redonnet unfolds a utopic imagination in order to overcome a conflictual present dominated by technology and profit ; Sebbar creates nomadic characters in order to narrate hybridity in daily life. All display a dissident writing practice.
Thus, these novels begin social and literary debates which are vital in the XXIst-Century.
Tâches d'Encre (2004). Maryse Fauvel, co-author
Second edition of a process-oriented composition text with new literary pieces, a new organisation, new writing assignments differentiating between four phases of the writing process. Each chapter ends with essays written by students from universities in the US : five of the eight essays have been written by students from the College of William and Mary in FR 305 !
Tâches d'Encre (1996). Maryse Fauvel, co-author
This book is a process-oriented composition text intended for students who have completed two years of college-level study of French. The goals of the book are two-fold: improving students' written expression, in terms of both accuracy and content; and reducing writing anxiety so that students can write with more ease and less fear of the teacher's or another reader's corrective feedback. It was conceived with a variety of teaching contexts in mind. It thus contains a wide range of exercise and writing formats, including form-focused, teacher-initiated exercises, partner and small-group creative and editing activities, as well as structured and free writing assignments for individual work.