French

This course concerns the modification of cultural practices to produce wine products in organic and biodynamic agriculture. It covers regulatory aspects and certification, the biological and physiological impact of organic and biodynamic viticultural practices, cultural aspects of the implementation of certification and conversion period, biodynamic principles, and specific viticultural practices. The course also discusses the economics of the organic, natural, and biodynamic wine market, and the economic impact of the conversion. Additional topics include vinification and conservation without sulfur dioxide, microorganisms in the context of organic wine production, ecology, and diversity. Finally, the course discusses regulations, practices, experiences, and constraints of organic agriculture. 

This course focuses on the different forms of live performance and their relationship to socio-historical contexts to construct a definition of what a live performance is through the study of five plays and a ballet. Works studied include Pierre Corneille'S LE CID (1636), Molière's L'ECOLE DES FEMMES (1662), Victor Hugo's HERNANI (1830), and Igor Stravinsky's LE SACRE DU PRINTEMPS (1913).

The course presents cinema auteurs, with a particular focus on Raymond Depardon, to examine diverse themes and art mediums.

This course examines the factors that lead companies of strategic importance to France's economic sovereignty to relocate their activities or be taken over by foreign players. It studies theoretical concepts concerning industrial sovereignty, French public policies aimed at protecting strategic companies, case studies, and exchanges with guest speakers.

Through a multifaceted approach, this methodological workshop imparts an effective methodology and knowledge to apprehend the reading of political philosophy texts as a genuine interpretative experience. By focusing on famous philosophical texts, it studies the way in which argumentation is constructed and logical, articulated reflection is conducted. This methodological and practical approach focuses on providing the tools needed to understand a text properly: identifying arguments, dialectical procedures, and the use of examples. The temporal and geographical variation of the texts also provides an understanding that any reading of political philosophy is necessarily situated, inscribed in a here and now, which instructs us on the meaning of the text and enriches our understanding of it. Finally, the course cross-references the interpretations that the texts may elicit. From this point of view, the study of secondary sources offers a fresh, offbeat look at philosophical works.

This course focuses on the practical aspects of the automated processing of human languages. It develops knowledge of useful and logical aspects, as well as useful prototypes of the same nature. The course introduces the basics of the programming language Python.

This course compares interdisciplinary approaches to economics (sociology, history, political science, business) through the study of a specific object: consumption. It highlights the contributions of each of these perspectives to underline their specificity. It also considers how they can be combined to produce a more complete and realistic representation of consumption, and through it, of our society. After a presentation of the main viewpoints and narratives on consumption, thematic sessions cross-reference these viewpoints on a variety of subjects and issues including quality, choice, credit and money, fashion, overconsumption, and addiction.

This is a second level beginning French course that covers: oral comprehension, pronunciation, grammatical structure, reading, and writing simple texts. It also introduces some aspects of French culture.

This course considers destruction and the life and destiny of works of art. It investigates how we understand and describe the gestures or modes of destruction of works of art, a question that seems to arise from the more general problem of iconoclasm, defined as the refusal and destruction of images. It also considers other means of destruction: the effect of time and ruin, of a natural disaster, or the consequence of a voluntary gesture on the part of an artist, whether they are the producer or not. The course discusses how we can distinguish iconoclasm from “vandalism,” “attack” from artistic gesture by offering a philosophical history of the arts and an investigation into the different modes of existence of works of art.

This course is a chronological presentation of French literature from the Middle Ages to 1600.  It connects genres and literary texts with the history of ideas and mentalities.