the side of literature
Francophone literature is also rich in accents and different colors than French spoken around the world.
" But there are also a specific pleasure and intellectual enrichment which belongs to the French reading texts. Pleasure trip in the texts, yet the exotic scenery can lead to a true initiation to otherness. Which joined the founding function of literature: it is productive of identity, for his invention and language by building themes that gradually acquire the power of myths. The invitation to host Francophone literature in French the strangeness of the other and make that difference is both sensitive (it affects the opacity by the words of another) and intellectually close (It is "includes" because we speak in our language).
This was written one of the leading specialists of French Literature, Jean-Louis Joubert in a 2006 article in the journal The French in the world, " Teaching Francophone literature .
http://www.francparler.org/dossiers/joubert2006.htm
also take into account the comments of Estelle Riquois , PhD in linguistics from the University of Rouen:
"The educational use literary text in class raises FLE indeed the question of the suitability of learning a language and read a literary text. Solitary activity par excellence, this reading is often the result of personal selection is carried out under conditions chosen, and its objective is to find a certain pleasure to discover the actions of characters whom the reader can more or less s' identify. This
playback mode, which can be described as authentic is difficult to implement in the classroom. (...)
The question that arises then is the objective that must be assigned to read a literary text in class FLE, or rather, objectives are most appropriate for the educational use of this type of authentic document. (...)
One of the aims of the communicative approach is to allow access to learner autonomy. Literary reading can be a way to do that. (...)
Provide tools to access trust these books is a realistic goal and then adapted in many lands. Without neglecting the learning of oral skills development specific to literary reading can be inserted into a teaching progression for the benefit of learners. These skills, however, require further reflection in order to define teaching. Read foreign language requires specific strategies that can be remote reading habits in their mother tongue. In this perspective, the use of a literary exercise for grammar or conjugation seems totally inappropriate and even detrimental to the literary text.
the contrary, when the text is accompanied by questions for a holistic approach when it comes with a reproduction of its front cover, or part of paratext available for the regular reader, understanding is done according to strategies closer to those that are used outside the classroom. "end quote
S. Doubrovsky " The literary text is a genuine document which should not be designed as a teaching language, civilization or critical theories, but as a place of learning in which learners can explore all possibilities of language and all the potentialities connotative, pragmatic and cultural fit in it. "
In the '50s, the goal was" to cultivate and adorn the minds of learners in the study a splendid literature, and become truly distinguished people. (Mauger, 1953). Interculturalism is not too much to the agenda.
The literary texts were then shelved until the 80's, when the communicative approach presents them simply as authentic documents, and this once acquired language skills. " Paradoxically, it is as if the attendance of the texts of great authors could not be earned after a long association with the texts produced for language and teaching. " wrote J. P.Cuq in 2005. In recent years
didacticians express a growing attention towards the use of literary texts in class ELF. Despite the presence of literary texts in the textbooks of FLE, note the almost total absence of non-French writers. An example in all right 3, page 25, The legend of origins, a so-called fairy fan signed Blaise Cendrars and owned a book called nothing less than that Anthology negro !
The teacher will be obliged to seek his own texts and tools that will enable it to establish an intercultural approach to French literature. For what should concern us most is the study of texts that could help develop cultural competence and intercultural learning. His own culture will be confronted with the world then the other, what is the true cultural experience.
All very well, but in practice, where to find texts, how to choose, what to do with them?
We will, from our own experience, trying to offer some clues.
WHERE? Southern Cultures
is a refereed journal, news and criticism on literature of the African, Caribbean and Indian Ocean. Absolutely essential.
http://www.culturesfrance.com/librairie/index.html
A site to enhance information resources and cultural insular world francophone Island Hopping :
http://www.lehman.cuny .edu / ile.en.ile / 
Cape to Quebec:
http://www.panorama-quebec.com/cgi-ole/cs.waframe.singlepageindex
http://www . quebecoise.org-literature / And
to Africa:
http://www.africultures.com/php/
http://ethiopiques.refer.sn/
http://litteratureafricaine.unblog.fr/
http://www.bobodioulasso.net/auteurs/
African Literature in the feminine
http://aflit.arts.uwa.edu.au/FEMEChome.html
A more general blog: http:/
/ the-pen-francophone.over-blog.com /
'
THAT CHOOSE?
descriptors of the CEFR will be a basis for the selection of texts according to the level of our learners, but the best parameter will inform the group and its various individualities.
WHAT?
Again, knowledge of the group class will guide our steps. However, the basis for any activity involving a literary text should necessarily be the pleasure of reading and discovery.
The interest of the learner can be generated by activities of prefetch. We will analyze the device paratextual and contextual framework that constitute the text, the iconic presentation, typography, cover (if a book), etc.. If these items prove not useful, it can trigger interest through fun activities from a word that anticipates the text content.
These activities must create a climate conducive to wait for better reception of the selected text.
After a first reading and to achieve a comprehensive text, we will collect the impressions of students and they may ask the traditional questionnaire Who? What? Where? How? Why?
questionnaire probably best suits the narrative or drama.
procedures selected to achieve a more comprehensive approach should be chosen to highlight specific text: open questions, vulnerability scanning (see the clues of a text related to a given indication), a grid of reading, a multiple-choice ... These activities can be achieved only on papers that have only one interpretation. Many texts have as many interpretations as readers ...
few activities to take ownership of a text:
text again: Cut
text (poetry, prose, drama) and have it re- order. For this activity, it is advisable to choose well-structured texts, but the result can sometimes be another text, which adds spice to the affair.
In the same vein, we can submit a text to reconstruct holes.
Give the title or the first few lines of text and to imagine the rest.
must however consider that literature allows us to approach quite unique in the target language and culture, a more sensitive than usual texts we use. It should especially allow our students to give free rein to their feelings and even their emotions. The literary space as a space of freedom and imagination, it will very often involve them emotionally in their learning.
few texts and some ideas operating
Three poems
Charles Ngande
(Cameroon)
When peace comes
When peace comes
Back My Man returns its Earth And sleeping
mouths gleam oil shea
And Weave rekindle the dying fire
I sit down at night
On the front of lilies
On three moons thrice
Blind ... While the Spider
lend me his back
And I'll dance until the very top
beard
the sun shining through a rainy day. When the Mother Elephant
Works A people
Elephant
Oil Shea Shea "butter tree" in Wolof, is a tree that grows in the savannas of West Africa.
butter and shea oil are used for food , health and beauty.
Africa, elephant is often the symbol of power but also of wisdom.
Level: A2
Started
Add to Table "When peace comes " and ask students what this phrase suggests that they should.
Then ask them what they know Cameroon. If possible ask them to do research on the Internet.
Creative Writing.
Ask learners to write, individually or in small groups, a short text entitled "When peace comes .
Sharing.
reading from Charles Ngande.
Impressions and Comments of the class.
Reading aloud, with emphasis on musicality and rhythm of the poem.
Laâbi
Abdellatif (Morocco)
Two hours by train
In two hours I train
replaying the film of my life
Two minutes on average
Half an hour for the Children
one for the prison
Love, books, wandering
share the rest of my girlfriend's hand
back gradually in mine
and his head on my shoulder
is as light as a dove
Upon our arrival I
fifties and I will live about an hour
the Embrace of monde.Paris: Difference, 1993.
Abdellatif Laâbi was born in 1942 in Fez (Morocco). He founded the journal Souffles in 1966 that will play a significant role in the cultural renewal in the Maghreb. His fight for freedom he was imprisoned from 1972 to 1980. He went into exile in France in 1985. For this poem
Laâbi Abdellatif, an approach roughly similar to the text Ngande.
Level: A1 end
In this case, it can trigger interest and even creative writing from the first two lines of the poem.
Depestre
Rene (Haiti)
Nostalgia
It is not yet dawn in the house 
Nostalgia is lying beside me.
She sleeps, she is regaining strength, fatigue
That much the company
On negro rebellious and romantic
She is fifteen years or a thousand years, it has only
Or born
And this is his first sleep
Under the same roof as my heart.
past fifteen years or centuries
I wake up unable to speak
The language of my people
Without hello its pagan gods
Without the taste of the cassava bread
Without the smell of her morning coffee
I wake up far from my roots of my childhood
Far Away from my own life.
or fifteen years since my blood
Traversa weeping sea
The first life I greet my waking
is unknown at this pure brow
Who will one day become blind
dint of using his green eyes
As the treasures that I lost.
This poem by the great Haitian writer can be introduced from the end of level A1 .
For the start it would use the words "nostalgia ", " exile" and especially " Haiti."
In this sense, we should remind our students that the Caribbean island is the first American democracy after the United States, having liberated France in 1804.
they should also be noted that the term " negro" here is not pejorative. One can feel some irony, "a negro and romantic rebel, but especially proud of " negritude. "
Text disorder
poem Depestre Cut into three pieces and ask learners divided small groups to reconstruct. Compare the different results, discuss and finally present the true text.
Creative Writing
"I wake up far from my roots "
What would you miss it more if you were to live in another country?
Project A project is a way to mobilize knowledge and know-how acquired and developing skills and knowledge.
One could therefore make the group a project on Haiti. We will divide the class group into sub-groups dealing respectively with research on the geography, history and culture of Haiti.
The result of this research should if possible be submitted as part of the institution as an exhibition and oral presentations from learners and researchers.
For more details on the project method:
http://www.francparler.org/dossiers/projets_introduction.htm
Two scenes drama
A theatrical text is an excellent opportunity to work the intonation, and even emotion, in the target language. This can be done through reading aloud, and even representation.
One could even imagine the idea of a theatrical performance where learners must take care to choose (s) text (s), costumes, lighting and even the staging.
Carole Fréchette
(Quebec)
John and Beatrice (2002)
JEAN: The reward is how much?
BEATRICE: A very big check, you'll see. (...)
JEAN: I'm ready. (...)
BEATRICE: Wait. I must ask you a few questions for my archives. Your name?
JEAN: Jean .
BEATRICE: Is that all?
JEAN: That's enough .
BEATRICE: Age?
JEAN: Write: unknown.
BEATRICE: What do you mean stranger?
JEAN: I never remember my age.
BEATRICE: You must have an idea.
JEAN: young enough to mount thirty-three flights of stairs. Old enough to be breathless. 
BEATRICE: Good. Marital Status.
JEAN: Only.
BEATRICE: How it alone?
JEAN: Alone in my two and a half in my room in my bed in my stomach, my head in my guts.
BEATRICE: Okay. Alone. Love?
JEAN: What, love?
BEATRICE: How many loves in your life? I mean from the beginning.
JEAN: I do not the issue.
BEATRICE: It's simple. How much love?
JEAN: Write: Do not know.
BEATRICE: Do not know?
JEAN: Do not know what exactly has the word love.
BEATRICE: "Willingness to desire the good of a humanized entity and to devote themselves to it."
JEAN: Email: do not know if love is measured in volume, weight or units, do not know what that means: will the good of a humanized entity, does not know how many loves in his life. Can not answer this question.
BEATRICE: As you wish. Occupation?
JEAN: Hunter
BEATRICE: Really? You are my first hunter. Until now, I had a Swedish massage, a philosophy professor who wrote a thesis on seduction: The Temptation of the other, an engineer for waste water, completely depressed, a semiologist in burnout, an actor knew he was playing in a pea an announcement of Macedonia. (...) You are a hunter of what? Rabbits, bison, butterflies?
JEAN: From premiums.
BEATRICE: Pardon?
JEAN: I am a bounty hunter. I found the lost children, stolen items, jewelry lost by rich women and folded. I do anything for the reward.
This scene will be presented to learners eradicated, except the first, all replicas of John. They were asked to imagine.
After pooling, which could be done aloud, they provide the original version.
Laurent Van Wetter
(Belgium)
Bridge
Editions Lansman (2000)
BY: I am not a novice! I also tried!
AZ: Oh, yes?
BY: Yes.
AZ : to jump off a bridge?
BY: No.
AZ : Ah!
BY : From the second floor of my house. And there, it does no good to know how to swim!
AZ : You're well fired. There are rubber sidewalks with you?
BY: There was a pile of sand on the sidewalk, right underneath my window. I jumped in and I got nothing. Nothing. Just sand everywhere, and a slap from my mother because I was out without his permission ...
AZ : It was not really a suicide. You saw the pile of sand.
BY: I was eight. At that age, even if dying to die, we want to leave a little luck.
AZ : is human.
BY: And you? You could choose a motorway bridge, right? Or railroad?
AZ : Oh, no! How horrible!
BY: At least you have managed your shot and you would not be there to piss me off!
AZ : Stop being aggressive.
BY: Easy to say when we do risk a flu. 
AZ : This is not even a problem, I took my precautions: I'm on antibiotics for two days. You want some?
BY: No. I can not swim, me.
AZ : It means nothing. Someone you could see the shore, and you recover ... Do not look at me like this: I will not do anything, I promise you. But it will not prevent someone else to intervene. Once I missed my suicide like that.
BY: Once?
AZ : I had a leg cramp, but one of these humanistic insomniacs spotted me. He yelled so loud, with his dog, they have awakened all carriers. They made me throw ropes, buoys ... Anyway, I would have strangled him and his dirty pooch, but he wept with joy. He took me in his arms, told me about the fate of the bladder of the dog ...
BY: You tried to jump more than once?
AZ : Each year, in fact, at the same time.
BY: Long?
AZ : Fifteen years, I think ... I do not know.
BY: Always here on this bridge?
AZ : Yes.
BY: Why?
AZ : Because it is not far from home.
A variant of the earlier operation would ask them to reconstruct the scene. They have one side of BY replicas in order, and the other those of AZ in disorder. They should hand them to their seats.
Finally, for the sheer pleasure of reading and getting away:
Paul Gaston EFFA
(Cameroon)
A poignant happiness
When my mother would leave me to work the fields, thought its disappearance, and soon his death, never left me, she let go of me over at any moment she was there, scary, haunting ...
However, not once, I had not surprised to say no Once I had thoughts é: "what would I do if my mother did not come back? "As if all future might be, by the end, prevented cleanly cut, as if no post if only conceivable, if only possible if everything had to, to never stop here, end with his absence.
Nothing could restrain my anguish, the stem ... In the bluish light of the hurricane lamp, I was there, waiting for nightfall and definitely one I loved me back with an exclusive love, and if my mother had not returned at sunset, fears assailed me to let me go do that on his return. Only the memory of the brilliant colors of her dresses was moved again in me. I was terrified she would not return - after Independence, It was said that the cut-throat prevented people from returning home - it cuts off his throat at the bend of a path, then everything was qu'alentour 
already asleep. Stood in the twilight of imperceptible syllables should have the power to bring me my mother: blue, red, green, pink, brown ... Throughout the day, I knew I had to repeat myself, mechanically, this Following magic colors. Exorcise anxiety. A poignant happiness. So close, yet so elusive, the dress of my mother! This mixture of excitement and stupor in his memory, as if that hugged me, would have been hoping to see her again soon and the certainty that I do not see her again. These images also that 
assailed me, it was almost like pictures we see in dreams, I thought I saw her light robe, on top of me, halfway between earth and sky, floating loose clothing and suddenly dissolved before hitting the ground and I never saw the culmination of his fall ... Did this mean that my mother was gone, she would not return?
Ah! I had been afraid in this house of stone beat! Tiny, three, four years, it was not until these dark corners where the light from the lamp failed, which I do terror, knowing that my grandfather or my father a few paces from me, hearing them almost breathe in the night. When I had to sleep alone in my bed, nothing could stave off the fear aroused in me the creaking of the furniture, the cries of birds, the murmurs in the common room, the feeling in the huge mud house, the distance , the bed walls, the door appears at night disproportionately enlarged, empty of that depth, in the heart of the house, where there was shade. This horrible feeling, I find it intact, I still feel it, I found, precise, haunting me. Perhaps not engraved she with much more force than I had ever issued from this terror by entrusting it to my mother, much less my father laughed at me, calling me " sissy "as soon as I showed weakness. So I had kept for me, where she was staying alive, so to speak, to an unimaginable depth.
long time, I remained convinced that I could bring back my mother just by naming the colors of the dress she wore that day, that knowing by heart the colors bring her back to life if unfortunately it had died to turn a corner. Even later, I had good reason to fight a belief so absurd, I thought, intellectually somehow be convinced of the impossibility of such a power, while an obscure movement in me continued to adhere to this belief child .
At the age of five years, I questioned my mother
- When I'm six years old, Ma, how old, thou shalt, thou?
- 21 years ...
- And when I'm twelve years old, you have what age?
- 27 years ...
- You'll still young, is not it?
- Yes, very young ... Douo
- And dad, he is older than you, is it not, it has what age?
- 37 years, my son, yes he is much older than me ...
- So he will die before you, is not it, Ma?
- Chances are, yes Douo! But it's not very nice for your dad ... Why are you asking me all these questions?
- Not for Ma, just to know ...
Released in Our Bookstore. Review of Literatures of the South.
No. 1 4 8. Think violence. July-September 2002
Francophone Literature, world literature in French, " whatever the name chosen, the key is not the word, but the emergence of this powerful current, vigorous, which revives the literary production in French . ( Françoise Ploquin )
What these authors are Belgians, Mughrabi, Quebec, Lebanese, Swiss, from black Africa or islands, venturing into their literature offers us a real intercultural awareness and knowledge of the other in a world increasingly multicultural. Good
discovered while! And if you do not mind, let us know your experiences. Thank
Bibliography
Jean Peytard , Uses of Literature Classroom language , in "Literature and Education " LWF, No. Special, February / March 1988, p. 12.
Jean-Pierre Cuq , Isabelle Gruca, courses teaching French as a foreign language and second , PUG Collection FLE, 2003, p. 182.
Acts Theatre No. 15, April 2002, SACD
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