Registration Open for ASFS2019 Sydney

front facadeRegistration for ASFS2019 “Making and Breaking the Rules” hosted by University of New England and Western Sydney University is now open. Get in quick before Early-bird registration closes on 4 September.

To register, follow this link and use our online store. Choose the registration package that suits you and please fill in the registration form which should be submitted separately to the conference organisers.

You will find all relevant conference information updated regularly on the conference web page.

A bientôt, à Sydney.

 

CFP: FATFA 2020 Conference in Brisbane

The French Teachers Branch of the Modern Language Teachers Association of Queensland invites you to the 2020 Conference of the Federation of Associations of Teachers of French in Australia  

Making Connections: Engaging 21st Century Learners of French in the Pacific 

3rd – 5th July 2020 –  Emmanuel College, University of Queensland, Brisbane

How do we and how can we teach French here and now in ways which engage diverse groups of learners?   

This conference invites reflection on the theme of engaging learners of French in the contexts in which we teach. We invite proposals for presentations and workshops on:

  •        Connecting with French speaking communities (in our local context or elsewhere) 
  •        Teaching French as a regional language of the Pacific 
  •        Retention; attrition; barriers and enablers to participation in language education 
  •        Learner motivation 
  •        Inclusivity and teaching diverse groups of learners 
  •        Engaging non-traditional learners  
  •        Work-Integrated learning 
  •        Teaching French in an age of technology 

Please note that although our inspiration is the Australian curriculum, we are interested to hear about projects carried out in other contexts which relate to the theme of learner engagement 

The conference organizing committee invites proposals for: 

Papers (20 minutes + 10 minutes of questions) 

  •        Individual presentations of research or practice + 10 minutes for questions 
  •        Panels of three papers dealing with the same theme 

In your proposal, please indicate: 

  • if it is primarily presenting research, practice-based research or practice 
  • your av requirements (powerpoint projection; internet) 
     

Workshops (60 minutes or 90 minutes) 

·         Workshops give participants the opportunity to participate in activities and/ or explore resources hands-on.  

In your proposal, please indicate: 

  • what the goal of the workshop is and what kind(s) of activities participants will undertake. 
  • the maximum size for your workshop 
  • any av or furniture requirements (tables/ clear space allowing movement etc 

Languages of the conference: French and English.   

Submit proposals (your details plus 150 – 200 word description of your session)  

by: 1st February 2020  to: FATFA2020conference@gmail.com 

 

Extended deadline: ASFS/AJFS Postgraduate Prize

A prize of $500 will be awarded for the best article (4,000-6,000 words inc. notes) by a postgraduate student on any aspect of French Studies (except French language studies). The prize will be awarded at the annual ASFS Conference in Sydney https://australiansocietyforfrenchstudies.com/events/asfs-conference/ in December 2019, and the winning article will be published in a ‘miscellaneous’ issue of AJFS.

Applicants must be enrolled in a research higher degree at an Australian university and be a member of ASFS. Previous prize recipients are not eligible to submit an article. Articles may be written in English or French and must be presented according to AJFS style guidelines (see http://online.liverpooluniversitypress.co.uk/loi/ajfs or http://artsonline.monash.edu.au/australian-journal-french-studies/. They will be assessed by a joint ASFS/AJFS judging committee which may call upon relevant expertise in its deliberations.

The deadline for submissions for the prize is 15 August 2019. The winner will be announced in December 2019.

Submissions and enquiries relating to the ASFS/AJFS Postgraduate Prize should be directed to ASFS’s Postgraduate Officer, Sophie Patrick at sophie.patrick@une.edu.au.

Véronique Duché, President of ASFS
Brian Nelson, Editor of AJFS

Video contest: Francophonie in Asia-Pacific

The Asia-Pacific Commission of the FIPF is organising a video contest on Francophonie for French learners in the Asia-Pacific region. Candidates will have to create a short video on the Francophone presence in their respective countries. Participate, have fun and win great prizes thanks to our sponsors!

Conditions for participation
The candidate must be a French learner (from the age of 15, at a senior high school or university) in one of the Asia-Pacific countries. Professionals or people with French as their mother tongue cannot participate. There are 2 categories: a) High school students); b) University students

How to participate

  • Create a video of 3 minutes maximum, format mp4 on the topic of the Francophone presence in your country. You can talk about the Francophonie in your area or city if you prefer. You can use all kinds of media (photos, interviews, writing, sound effects, music, sound …). The video must be in French from beginning to end.
  • Upload the video on YouTube and publish it in “unlisted” mode. Each video must be clearly labelled with the name, surname, age, and country of the candidate.
  • Fill in the online entry form with the URL of your video and submit the form: https://forms.gle/xCG5WkWCBrPGX6Dk7
  • Complete the agreement sheet (parental agreement for participants under 18 years) for the dissemination of photos (photos, videos, sound recordings …) on various communication media. Entering the contest is an acceptance of the rules in their entirety.

Dates

  • Send the form with the video URL before 15 July 2019
  • Results will be announced on 20 August 2019
  • The winning videos will be broadcasted at the International symposium on French Language Education in Asia-Pacific to be held in Mongolia from September 19 to 20, 2019.

Criteria and Jury

  • The jury is made up of different French teachers from Asia Pacific countries and the executive committee of the CAP.
  • The criteria will be based on: language, pronunciation, content, and creativity.

For more information: Video contest on Francophonie in Asia-Pacific

Émission radio dédiée à Christchurch (en français)

Chers collègues, chers amis, 
 
Afin de commémorer les événements tragiques à Christchurch du 15 mars dernier, nous avons dédié notre émission radio de « Paris s’éveille » (sur la radio communautaire de Plains FM) à notre ville et à la Journée internationale de la poésie. Vous trouverez ci-dessous le message publicitaire qui circule sur les réseaux sociaux. Si vous souhaitez écouter l’émission en podcast, vous pouvez y accéder sur le site suivant :
 
Dans cette émission, nous remercions officiellement l’ASFS pour son soutien et sa solidarité. Un grand merci aux collègues de l’ASFS pour les messages personnels que vous nous avez envoyés.
 
 
Tonight’s show is a very special one: it is dedicated to Christchurch on International Poetry Day. Still recovering from devastating earthquakes for the last 8 years, Christchurch was victim to a tragic event that was anything but natural. Tonight, beyond the language of radicalization and hate speech that has received much media attention, we have preferred to respond with the power of words grounded in love, resistance, and tolerance.
 
Tune in this evening for a celebration of language and poems from French and Francophone writers from across the Francosphere. “Paris s’éveille” is honoured to be sharing poems dedicated to Christchurch following the tragic events of March 15 from world-renowned poets such as Katy Rémy, Tanella Boni, Maggy de Coster, and Hédi Bouraoui, including hitherto unpublished material.
 
En solidarité – Kia kaha,
Antonio Viselli
Antonio Viselli, PhD

Lecturer/French Subject Coordinator 
School of Language, Social, and Political Sciences
University of Canterbury
Private Bag 4800
Christchurch
New Zealand
+64 3 369 4540

To our friends in New Zealand

Following the violent events in Christchurch on Friday, the ASFS extends its sincere condolences to the victims’ families and to our many New Zealand colleagues, students and friends who may be affected. The ASFS welcomes people from all cultures and we live by our values, which include “respect”.

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Nick Hewitt, in memorium

NickHewitt

Nick Hewitt at ASFS 2016 in Adelaide

from Alistair Rolls and Greg Hainge


Greg and I started our journeys at Nottingham University as undergraduates in October 1990. They were days when the university experience was rather different, and I for one, as a first-in-family student from a working-class family was entirely out of my comfort zone. And I couldn’t have been happier. Among all the personalities who made up the French Department at Nottingham in those days (my memories are of academics with brilliant minds and teachers with “stage presence”) few lecturers could command a room better than Nick Hewitt. He was renowned for his dry and cutting wit but, above all, for his ability to fill students with awe while also – and this is a gift – getting his message through purposefully and didactically. I remember going into my final year knowing the department’s professor for his occasional lectures in team-taught literature courses and was surprised by the way that he engaged students in his courses on Céline (I read both Voyage au bout de la nuit and Mort à crédit twice that year, and I suspect that Greg would have done the same) and the popular culture of the Fourth Republic, but also his classes on journalistic French rhythm, which marked me deeply and which I have tried, with less success, to incorporate in my own language classes since. Greg went on to do a PhD on Céline, while I followed my interest in Vian, and we both had Nick as supervisor. It was in those years (1994 to 1998) that I discovered a true kindness that some people may not have suspected beneath the often confrontingly intellectual exterior. He had a reputation for not suffering fools gladly, but he suffered me… And he supported me, often quietly and behind the scenes, and guided me to a successful outcome, something for which I shall be forever grateful. The most complimentary words he ever said about my work were not said to me, but instead to my parents, on the day of my PhD graduation ceremony. They felt more out of place there than I did (and to this day I hesitate as I walk onto university campuses for the first time), and those words meant more to them than he perhaps realized. That was very much a mark of the man.

Of his academic works, I shall always remember The Golden Age of Louis-Ferdinand Céline (Bloomsbury, 1987), France and the Mass Media (Palgrave Macmillan, 1991), which he edited Brian Rigby, which I read as an undergraduate, and his article on La Nausée, “Looking for Annie” (Journal of European Studies, 1982), which was a pioneering study of the novel’s other, non-philosophical side. Lastly, having discussed its progress with him over the years, I am yet to read Montmartre: A Cultural History. I plan to read it now, but it will be with a heavy heart. I owe Nick Hewitt a great deal and I shall miss his mentorship, his wit and his unfailing support.


“Nous voici encore seuls. Tout cela est si lent, si lourd, si triste… Bientôt je serai vieux. Et ce sera enfin fini.”

How else to begin a reflection on the life of Nick Hewitt than with these opening lines of Louis-Ferdinand Céline’s second novel, Mort à credit. Given the fundamentally biological, medical vision of existence that permeates le Docteur Destouches’ literary universe, death is the only possible “vérité de ce monde” (Voyage au bout de la nuit). Given this, given the time that I have spent pondering such matters, thanks to Nick who introduced me to the works of Céline, one might think that news of his passing would be less of a shock, would seem less unreal.

More the fool me, for Bardamu continues his musing on death as follows: “La vérité de ce monde c’est la mort. Il faut choisir, mourir ou mentir. Je n’ai jamais pu me tuer moi”. Death, then, is our only truth, but it is one we attempt to dissimulate by telling stories that pretend this is not so, that there is some way to offset the crushing absurdity of a life thus defined, to laugh in the face of this very bleakest of visions and thus have the will to carry on living.

Now then is a time for telling stories, for remembering fondly how Nick lived and worked according to this kind of principle.

In his academic writing, Nick was an exemplary storyteller with a flair for readability that unfortunately didn’t always rub off on his doctoral students – don’t worry, I’m having a dig at myself, Alistair! His work The Golden Age of Louis-Ferdinand Céline remains to my mind the best critical work on Céline’s novels in the English language; it uncovered archival information never previously published that radically changed the interpretation of some key aspects of Céline’s novels, presented an incredibly rich and complex analysis of the texts that unpacked their deep and irreverent engagement with the (at the time) emergent theory of psychoanalysis, and yet managed to remain very accessible. His biography of Céline published with Blackwell went further still, being meticulous in its attention to detail and scholarly rigour while being a real page-turner.

That he managed so successfully to walk this fine line between erudition, rigour and readability is perhaps due to two things. Firstly, as Alistair notes, he had a reputation for not suffering fools gladly or, to put this slightly differently, he was not afraid to cut to the chase and call a cat a cat. This propensity for brutal honesty could be confronting to say the least: having read through what I thought was the final version of my thesis, I remember him saying to me, “it’s great, but it’s not a thesis”. Having picked myself up from the floor, our subsequent discussion about what precisely that meant remains one of the most valuable conversations I have had for thinking about my own writing and the advice that I provide to my students.

As well as talking and writing straight, though, the other key to the success of Nick’s work is the obvious love of the material that can be felt in his writing. This extends from his early work on Céline, through his mid-career work on other writers whose political positioning provides an alternative history of the inter-war years, perhaps reaching its apogee in his late career work on places in France dear to his heart. As surely befits its subject matter, Colin Jones concludes his review of Nick’s 2017 volume Montmartre: A Cultural History by noting that, “there is pleasure aplenty in this subtle and highly evocative account”. Let us then hope that we will soon have the opportunity to find more pleasure still in the pages of the book on Marseille that Nick was working on. “I’m in the final stages of sending the manuscript for the Marseille book off to the publishers, but, at the moment, it’s more or less on schedule”, he wrote to me in January. And this is wonderful news indeed, because if the stories we tell make life bearable while we are here, they also provide those who survive us, who cared for us and thus mourn us some small consolation when, finally, we can lie no more and must face the truth.