How often have you tried to integrate French lms into your rst-year French course and found

the language too difcult for your students to comprehend? How many times have you been disappointed by the French
videos offered with other textbooks? Would you like your students to watch a French lm that they can actually understand, and one that will help them learn about French language and culture? If so, this program is for you!

The Dbuts / Le Chemin du retour Program: What Is It?

The textbook, Dbuts, and the lm, Le Chemin du retour, are a completely integrated lm-based introductory course for learning French language and culture. A two-hour feature-length lm, Le Chemin du retour is the story of a young television journalist, Camille Leclair, and her pursuit of the truth about her grandfathers mysterious past. Through Camilles quest, students learn language and culture in the functional context provided by the story. Unlike other textbook/video programs in which the video component is thematically, functionally, or grammatically driven, and thus self-consciously pedagogical, this program has been developed so that the textbook is a complement to the lm. The lm narrative is what drives the scope and sequence of vocabulary and grammar, the presentation of culture, and the development of reading and writing. This does not mean, however, that these items are presented in a random fashion. Rather, the screenwriter worked within the authors pedagogical framework but did not let it limit his creative expression. He did a wonderful job of writing a good story while still honoring the major steps in learning the French language. The textbook/lm package grew out of the authors conviction that language learning is more than just learning skills: it is also a process in which understanding of culture must surely occupy a central position. Therefore, Dbuts and Le Chemin du retour emphasize the importance of cultural awareness and understanding, not only of the French culture, but also of the students own culture. Equally important, the authors strongly believe in the principles of communicative competence. Dbuts gives students a solid foundation in the structure of the language, stressing acquisition of high-frequency grammar, vocabulary, and functional language. In addition, students come to view listening, reading, and writing as active tasks, requiring meaningful interaction as well as high-order cognitive processing.

The Goals of the Program

The overall goal in Dbuts is to move students toward communicative competence while guiding them toward intercultural sophistication. Included in this framework are the following student objectives:

to communicate orally and in writing in natural-sounding

French and in culturally appropriate ways to read with comprehension both informational and literary texts taken from authentic French sources to understand French when spoken by a variety of people using authentic speech patterns and rates of speed to increase awareness and understanding of cultural institutions and culturally determined patterns of behavior to develop critical-thinking skills as they apply to language learning to link language study to broader and complementary discipline areas

Preface

xxvii

Cultural Competence
Dbuts had its origins in the desire to provide students with a stimulating, culturally rich set of tools for the acquisition of French. Cultural content was thus a central concern in the devising of the plot of Le Chemin du retour, and it has been integrated into every section of the text. Through the lm, students have the opportunity for intensive exposure not only to the language and communicative habits of French speakers, but also to the visual culture of objects and nonverbal communication and to the auditory culture of music and the sounds of everyday life. The approach to culture in Dbuts is content-based. Themes treated in the sections specically devoted to culture derive from the lm but consistently move students toward the big questions of culture, stimulating them to consider matters that are of concern to all people, whether or not they ever travel to the French-speaking world. The authors have made culture a hook in this program, to generate interest in longer-term language study and to place the study of language and culture within the larger context of a humanistic education. The cultural content of Dbuts aims to be thought-provoking and to expand students horizons beyond simple travelogue facts toward understanding the roots of cultural differences.

New to the Third Edition

In response to feedback about the second edition of Dbuts, we have made the following changes to the new edition:

Vocabulary has been revised to help students move beyond

discussion of the lm, Le Chemin du retour, to related contemporary topics. For example, common university courses are now presented earlier, in Chapters 1 and 2. In Chapter 19, a new vocabulary section on protest and peaceful change has been added to supplement the current presentation on World War II and the Resistance. Other new, expanded, or updated vocabulary topics include technology (Chapter 13), the immigrant contribution to French culture (Chapter 15), ecology and other environmental issues (Chapter 18), and job hunting (Chapter 20). Grammar activities have been revised throughout to provide more opportunities for partner work and meaningful student interaction. In the Instructors Edition, new input activities have been introduced into each chapter to allow for an immediate check on student aural comprehension of new grammar points. In order to provide more exposure to the Francophone world in both cultural and social contexts, weve added eight new readings in this edition. New topics include nonverbal communication (Chapter 3), Tunisian holidays and celebrations (Chapter 5), Swiss youth fashion (Chapter 6), healthcare in the Francophone world (Chapter 9), and Malian music (Chapter 21). We have also included the lyrics to three songs about the Francophone experience: Jolie Louise from Qubcois composer Daniel Lanois (Chapter 2); Rveille, Zachary Richards ode to the Acadian expulsion of the French and their exodus to Louisiana (Chapter 11); and Jean-Jacques Goldmans Ton Fils, a moving ballad about the immigrant experience in France (Chapter 20). of songs has been created in iTunes to coordinate with the Dbuts program and give students still more exposure to the vast diversity of music and culture in the Francophone world.

The National Standards

With its integrated, multifaceted approach to culture, Dbuts exemplies the spirit of the National Standards* of foreign language education. By watching the characters in the lm perform routine tasks and interactions and by grappling with complex issues of history and identity, students are exposed to a multiplicity of products, processes, and perspectives. Through the presentation of functional language, role-play activities, and personalized activities, as well as an emphasis on listening comprehension, Dbuts emphasizes communication. Documents, readings, and other exploratory activities help students make connections between their study of French, other discipline areas, and their own lives. As for culture, the Regards sur la culture and Synthse sections in the textbook provide sustained opportunities for hypothesis and analysis, inviting students to make connections between beliefs, behaviors, and cultural artifacts. Ample opportunities are also provided for cross-cultural comparisons in the follow-up activities to the Regards sur la culture and Synthse sections. Finally, web-based and experiential activities allow students to explore the many types of communities inherent in the French-speaking world.

In conjunction with these new textbook readings, a playlist

Notez bien! and Pour en savoir plus marginal boxes, along

with the Regards sur la culture section, have been revised throughout to include new social developments, technological advancements, and updated statistics. The Visionnement 1 section of previous editions, which provides previewing activities for each episode of Le Chemin du retour as well as vocabulary needed for

*Standards for Foreign Language Learning: Preparing for the 21st Century (1996, National Standards in Foreign Language Education Project). The standards outlined in this publication were established by a collaboration of the American Council on the Teaching of Foreign Languages (ACTFL), the American Association of Teachers of French (AATF), the American Association of Teachers of Spanish and Portuguese (AATSP), and the American Association of Teachers of German (AATG). iTunes is a trademark of Apple Inc.

xxviii

Preface

comprehension of the story, has been renamed lafche (Now Playing). The Visionnement 2 section is now called revoir and can be found on the Dbuts website along with postviewing activities from the workbook.

Finally, this edition of Dbuts features a fresh, modern

design inspired by French lm magazines.

Structure of Le Chemin du retour

Le Chemin du retour is available in a Directors Cut version that is the uninterrupted, full-length feature lm. The Instructional Version of the lm, however, divides the story into a preliminary episode, twenty-two story episodes, and an epilogue. Except for the pisode prliminaire, which introduces students to the concept of learning French through lm, each episode of Le Chemin du retour follows the same three-step format. 1. Students watch and participate in on-screen previewing activities.

Using Le Chemin du retour in a Classroom Setting

The lm, Le Chemin du retour, can be used as the foundation for a classroom-based beginning French course at the college level. As such, it offers several options for implementation. For example, an instructor may

use the textbook, Dbuts, and the lm in class, assign most

of the material in the Workbook / Laboratory Manual for homework, and follow up selected homework activities with discussions in class. use only the textbook in class, and have students view the lm episodes at home, in the media center, or in the language laboratory. use the Student Viewers Handbook with the lm either by itself or to accompany other print materials.

Vous avez vu Scenes from previous episodes are used

to remind students about main events in the story that will help them understand the new episode. Vous allez voir New narrative introductions of several important moments in the upcoming episode give students an idea of what they will see and hear in the episode. When expressions from the textbook feature Vocabulaire relatif lpisode appear, they are highlighted in the subtitles. Multiple-choice and True/ False questions allow students to focus their viewing.

Options for Using Le Chemin du retour

The lm, Le Chemin du retour, can also be used

2. Students view the complete episode. 3. Students watch and participate in on-screen postviewing activities. Vous avez compris? Scenes from the episode are used in a variety of multiple-choice and true-false activities to help students verify their comprehension of the main ideas and the plot of the episode theyve just viewed. Students who didnt understand an important point as they viewed the episode will nd they understand more after doing these activities. Langue en contexte A transition back to the textbook, this section identies for students the language functions and structures they will learn about in the textbook. Appropriate scenes from the lm are subtitled in French and the targeted grammar and vocabulary are highlighted in yellow.

in a distance learning course. as an offering for adult or continuing education students. as the foundation for French courses at the high school
level. as a supplement to beginning, intermediate, or advanced courses, at all levels of instruction. as a resource for informal learning. as training materials for French-language classes in business and industry. as a signicant addition to library movie collections.

Preface

xxix

Camille Leclair
A young television journalist who searches for the truth about her grandfathers past.

Mado Leclair
Camilles mother, who fears the truth and wants to keep her fathers history hidden forever.

Bruno Gall
Camilles cohost on the morning television show Bonjour!.

Rachid Bouhazid
A new reporter at Bonjour! who, with his family, must adjust to a new life in Paris.

Louise Leclair
Camilles grandmother, who encourages her granddaughter to pursue her quest for the truth.

Martine Valloton
Producer of Bonjour! who has to risk her job to support Camilles determination to find out about her grandfather.

Hlne Thibaut
A journalist from Quebec, and friend of Bruno and Camille.

David Girard
Historian, friend of Bruno, who researches information about Camilles grandfather.

Alex Braud
A musician who plays in the Mouffetard Market. Friend of Louise, Mado, and Camille.

Sonia Bouhazid
Wife of Rachid and mother of their daughter, Yasmine.

Jeanne Leblanc
A woman who knew Camilles grandfather during the time of the German occupation of France.

Roland Fergus
A man who worked with Camilles grandfather during the German occupation and who holds the key to the truth.

Preface

xxxi

A Guided Tour of the Textbook

Dbuts, the textbook, is clearly organized and easy to use. The chapters are coordinated with the individual episodes of the lm. Each of the twenty-two main chapters consists of the following self-contained teaching modules, which maximize exibility in course design. The preliminary chapter, containing a slightly different structure, introduces students to basic vocabulary and provides an overall framework for using the lm.

Chapter Opener
Chapter learning goals prepare students for what is to come in the chapter and in the accompanying movie episode.
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Vocabulaire en contexte
Thematically grouped vocabulary is presented in culturally informative contexts with drawings and scenes from the movie. It is accompanied by activities that promote vocabulary development.
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Pour parler des personnes

Suggestion: Check www.mhhe. com/debuts3 for additional activities, including links to other websites.

Pour Talking about peopl

Film connection: The following vocabulary from this presentation will be heard in Episode 2: amusant, bon, capable, dicile, formidable, grand, important, inquiet, magnique, mais, parisien, prt, ridicule, super, vrai. Film connection: Bruno and Camille are two characters who are introduced in Episode 2.

Selon Yasmine, papa est grand et trs intelligent. Le travail de Rachid est intressant. Il est prt commencer. Mais il est inquiet pour Yasmine. Comment est Bruno? Bruno est un bon journaliste parisien Canal 7. Il est capable. dynamique. important. Selon la productrice, Bruno est souvent amusant. sympathique.*

According to / tall work prt ready to start / But / worried Comment What is . . . like? good

producer often

t mee eyll rs th them aracte Have the ch e photo. e of e som e in th se e ar they thes that what ce. ents describe Fran stud : Tell ens in em to estion e. Ask th ory happ Sugg is st isod at th is ep in th r signs th fo look

la ar: -er et amm ctifs rs en er gr s adje gulie Chapt e 6: Le verbes r f. ur s niti Struct e 7: Le e 1 in jectifs ur verb e des ad Struct ac La pl ure 8: Struct

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le an In peop frequency ent and f em cribe IFS des adverbs o ns of agre ECT OBJ use expressio will rkers n wo ou use reement productio de, y her co episo r and disag out TV ur! this onjo Leclai ab In ille ow B talk t Cam f show TV sh mee Paris TV t of the adition o tr en on a a segm French e ch wat n about th lear dmaking brea

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heureux. parfois difcile et ridicule. Selon le public, il est super. magnique. A. Descriptions. How would you describe these people? Choose words from the list or formidable. other adjectives of your choice. Il nest pas sans charme. Et il nest jamais ennuyeux. Vocabulaire utile: amusant, capable, difcile, dynamique, grand, heureux, important, inquiet, Selon Camille, Bruno intelligent, intressant, ridicule, stupide, super, sympathique est un vrai Franais et un bon ami.

happy sometimes

Activits

terric without boring vrai true Frenchman

MODLE:
inq 35

Le diplomate est Le diplomate est important et capable.

-c trente

*The adjective sympa, which you learned in Chapter 1, is a shortened form of sympathique.

36 Chapitre 2 trente-six

1. Le clown est

2. Lacteur est

3. Le professeur est

Now tell what these people are not.

MODLE: Le diplomate nest pas

Le diplomate nest pas ridicule

Dbuts

xxxiii

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This section provides pre- and postviewing activities that supplement those found on-screen in the movie episode, as well as vocabulary needed for comprehension and questions that focus students attention on what to watch and listen for in the story.
5.in dd

that knowing the professional relati onships of these people may help them understand later events in the lm. If s tudents are still tentative about the identities of people, you can go over them now and suggest that students con rm them during a second viewing.

will help, too.

to understand mo Dbuts website and in the Workbook/ Laboratory Manual

Aprs le vision nement

A. Quel travail? (Which job?) Now person you saw that you have watc in the lm. hed Episode 2, matc h each job to

1. Camille

,j in C ot tin sion 2 sur Fill ing ph une Mar mis 4. 7. est d au. n, nal e prece ur! late cra a la le p 6 Bonjo e: 5 sur t la at th se . util e es iffu 1 d ire tin l ula Mar ns le sur cab all. ille une e da oG est dio run st lm et Cam . ur! et B e no no onjo Leclair c Bru Bru sion B et mis ir ille , l t vo Camille Cam anal 7 peu elle 7 adore C , et sion e e n se mis l e. L t ca ulair b ring c peu pop t du

l ic 2. t ductr ro 4. p blic u 7. p

2. Bruno 3. Martine
Act. A, Suggestio n: Students may ask you to explain the dierenc e between journaliste reporter for this activi and ty. It is enough to explain that the journalistes are rather like edito rs, and in this case, hosts of the TV show, where as the reporter works for them and does the research they need to prepa re their shows. Act. A, Answers: 1. e 2. d 3. a 4. b 5. c

4. Hlne

5. Rachid

a broa

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de nt Ava

as he w 2 and e ause bec pisod luck m E ther nge fro a er fa d h g exch ishe e w llowin smin the fo , Ya d de 1 hy, rea e. .d iso f Ep out w dialogu ripte do d la sc e en o n p the a ole, Nic t? At th too. T ums u e en Et c r. day s r gem n?b r jou est , su na ateu ie nd e a big that b Et l dm vas b ralis gra v se id) , le Tu ger, le Un g to ha respon ach lors R e: A ifcileest Ro goin se the ( . tin de o re e, on azid mar hid: D mm. C cho lai piso ther ouh And rac ine: M njour. e Et abu l id B aker o t or ach Voc atif ting le) b dinat mar ole: B onjour. hid, R star (ma coor rel d script nic id: B st Rac e is job. d et ach or r brea c. H new de c direct nge : Ce ran, r ger e dma a l? oula ro tin lc han ade wel le b e you ting mar ory-m t Are ain r th star e fact b Tu rs le p g fo th al e is ty- ce)? isan okin . H sses at . den twen ntury b art lo resi el ce cla ersity y by ustri a new a ind e (to a mov nt d univ et ying cle t sa orta ving ime si id is before imp nd un ach e ids n gra ui, u encore ach a. R ood-by away. rdh es ut R g ujou vous t ing abo ol? , us a mov euf c no e sicle cho ight r ve te-n at s Et a im are tren off s: t et un ou ine ng if y tence sen Au vi See Yasm ing l. ing e 2. llow rtisana d pp e fo a piso dro in th le pain hE fter e lm tre, watc lues. go a in th . De lau h03 ear Now wing c chid re? is3c app dustriel 0/s e s Ra ode follo doe is3% o th f lpis le pain in hs he d lati here 69/m W at does bulaire rec, dun ct SF0 /MH n 3 Do Voca Wh /20

Act. B, Answers: 1. Canal 7 2. prsente 3. Cami lle 4. test 5. prt 6. pain 7. bret 8. content 9. Montral 10. mda illon

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a. la productrice d. un journaliste b. un reporter cana franais dien e. une journaliste c. un nouveau ( franaise new) reporter B. Quest-ce qui se passe? (Wha by lling in the ts happening?) Com blanks with the appr plete the summary opriate word from of Episode 2 the list of useful Vocabulaire utile vocabulary. : bret, Camille, Canal 7, content, prsente, prt, test mission, mdaillo n, Montral, pain , Rachid arrive 1 . Martine, la prod 2 uctrice, travailler b avec 3 ses nouveaux a coll et Bruno. gues. Rachid va Aujourdhui,c pend d ant lmission Bon jour!, Camille et parisien. Il y a un 4 Bruno interviewent sur le pain: pain un boulanger artisanal ou pain pour le test. Il iden industriel? Bruno 6 tie le 5 est artisanal, et il gagn e nest pas 7 8 e le . de la semaine f mais il Hlne, une amie de Bruno, arrive 9 de . Bruno est trs cont tard, h Camille cher che son i 10 ent de la revoir. g . O j est-il? Plus a ses his new bva
will be working
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Three grammar points per chapter are introduced through clear and concise explanations and examples from the movie. Grammar points are accompanied by a wide range of practice, from controlled and form-focused to open-ended and creative communicative activities.
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Pronunciation: Pronunciation of venir is presented and practiced in the Audio Progra m and the Workbook/Laborato ry Manual. For now, you may wish to model the pronunciation of each form and point out that the singular forms all sound alike. Optional: You may wish to tell students that the irregular verb venir has three stems . The rst stem, vien-, occurs throughout the singular. The secon d stem ven-, occurs in the rstand secondpersons plural. The third stem, vienn-, is found in the third-person plural. As with other verbs, only the endings for the nous forms are pronounced and vous .

When Bruno rst meets Rachid, he uses the verb venir to verify where he comes from. venir (to come) je viens tu viens il, elle, on vien t nous vous ils, elles venons venez viennent

e e c l d p com the ptab res in li e Fr peo ocia r, sta h so etim acce ultu tance s (som smalle Frenc g. Th she is before tain s stood r r is ore is a in e e e cin he d intanc s to b counte an spa h he o a room ria ma o hav ch m eat h e ic oss mu caf s le look ua nd ns en eric lg is sw wh acr t acq nce te rica as A rican ith Am gers rtable y peop other e rs cans y a fo ri : Th t, tran e dista Ame n with pace w the wa s such Ame tion h Ame kes s th at s a com the w On th nt exis s. ie ues rt a h r Nor situatio sh the ed all countr . North g. ing o al q me No andsh e k h Star g from ble wit e street. they d strange ion n h the establi as bac frican Frenc pushin eld. ddit n of so ries of someo in ta n th A gh ith o e e tch s for h acti long se when is is a do to r adian orth A of the ne wa min ple-wa ncom g dow as thou ntact w re l e at t th lace N ntia d peo are u alkin feel ye co an ose ever yo to th take p is tha e. Wh C th ote s p m le in t st er p ica, an erican hile w a they gthy e tha a grou e of ti eop er than that th P ll st s ce ju rk ano Amer y Am nces w meric g len join al wa in ss Fran just s m a re m a t is A ta an colo ink? s in y to ad ry? en men North nce, m se dis North r avoid th an tr ge oft you clo in ana an in Fra s fo eric essa th Am ant to unnec ther that In em rule w e orth Ey Francepastime. from ra ple say e social t N ld you that b in em al peo spo f th u ld orm y at th rench ause o y to ad, wo r wou n as F ec ctl ,o ly e bro dire , some part b eme ying a e living d d extr er han ably in it is ere stu you w b w pro that h ted . If you whic en z re e comm d stand ulture in sid c n av Con eople h y walk a s of the it p e any way th bal hab e? M the onver ld it b by e n wou to th hard How

Tu viens avec moi, non? Youre coming with Nous venons au me, arent you? studio ensemble. We come to the studi 1. The verbs deve o together. nir (to become) and revenir (to come venir. back, return) are conjugated like Camille devient silencieuse et Camille becomes elle part. silent and walks away. Mais elle revient pour parler But she comes back Rachid. to talk to Rachid. 2. To express wher e a person is comi ng from, use venir de. RememberThe preposition de contr acts with the masc Rachid vient du bureau. Nicole et uline and plural Martine viennent denite articles: de la rgie. 3. The constructi on venir de 1 in nitive means to have sometimes referred just done something to as the immediat . This is e past. Hlne vient darr iver. Hlne (has) just Martine vient de arrived. trouver le Martine (has) just mdaillon. found the locket.

Act. A, Note: Explai n, if necessary, that the Alliance franaise is an intern ational organization that organizes French courses for foreig ners. It has oces in many count ries. Input activity: Qui est-ce? Read the following senten ces aloud to your students and have them indicate whether a man or a woman is speaking (or is being spoken about). If it is impossible to tell, they should indicate Je ne sais pas. Script: 1. Je suis canadien. 2.Tu es anglaise. 3. Je ne suis pas parisienne. 4. Je suis marocaine 5. Tu es vietnamien? 6. Je suis amricain. 7. Vous tes franaise? Reminder: These exercises have been purposely constr ucted to avoid the need for students to produce geographic prepositions, which are presen ted in Chapter 14.

Act ivit s
aise. The follow Complete the sente ing students are nces to say what at the Alliance fran country or regio aise in Paris. n they are from. MOD LE: Lisa habite New York . Elle vient des tats -Unis. 1. Jhabite Lond res (London). Je dAngleterre. 2. Nous habitons Alger. Nous dAlgrie. 3. Tu habites Madr id. Tu dEspagne. 4. Mitsuko habit e Tokyo. Elle du Japon. 5. Linda et Ford habitent Montral. Ils du Canada. 6. Vous habitez Berlin. Vous dAllemagne. B. Canal 7. Complete these sente nces with a form of the verbs venir 1. Le vrai pain fran , revenir, and deve ais de plus en plus ( nir. more and more) 2. Et les Franais difcile trouver. de moins en moin s (less and less) capab 3. Hlne les de reconnatre du Canada. Do un bon pain. est-ce que tu 4. Et Camille et , Rachid? toi, do est-ce que vous , Bruno? A. lAlliance fran

r eni ement ev ov erb e v sing m L s xpre E

t tu id e a? haz st Bou le, ce hid il Rac Marse s * ue T ns de no. Bru vie , t a es C ante soix -sep

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Regards sur la culture

A cultural note and its accompanying critical-thinking question deepen students awareness and understanding of cultural issues raised in the movie episode or chapter vocabulary.
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, ch x, f te yeu e, tris nnu id e, e , stup . if calm ents nt, , sport tellig tils. usa le nt in as gen : am , ridicu s es. p tile que es so briti e e u x, riche oliti olitiqu e sont ir p cele th es n bula reu alist mes mes p is ils n ight telling e chose oca alheu of e o t hom journ res ithou les es hom is parf ,m of th nt les aid wn 4. tity pictu , w L E : 1: L i, ma ou lebrity e iden a differe unity D n clo Ou wy MO 5. u 2: sho ses a ce uess th ooses opport ill h g cole er w p choo try to er c had an l ek-end ach mb e fant r te e grou ns to up me up has id, le w ma io t, la n en You s. er of th quest er gro the gro fant de cin ssan 1. u b tre e en use no oth ) of . un ars ( f. d, in rie ne memask yes/ ed, an ember 2 st ran st my ree. O bers identi ch m , g les 3. s m tigu ea brit s of th p me rity is until e, fa facil Cl group er grou t celeb tinues h, mpa D. oth sy , fc e rs con rk in eux super, Wo rs. The hen th ctivity rity. nuy , the ty. W the a celeb , en sportif o te? cile bri nd ery peti dif dicule, cele rity, a myst me? est er, b hom elle : ch etit, ri cele oose a un p e qu tile h st-c cest e u uvais, to c e lair e. E a e qu abu x, m mm Est-c . Voc eureu ne fe 1: e? st u on malh L E : 2: N rs, ce ortiv D st sp Alo MO lle e 3: i. Ou que 2: Est-ce 1:

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ion gest Sug s of an . D, Act picture r of e Post numb ale m n eve and fe n the e e o mal rities that ar b cele those s and se hoo nt lm e long ce d. C av the boar e to re at h black lar du those th e sure be ak u to pop rts or eal. M ough class. p n ce con ing ap large e of the ts go d n rs stan res are embe stude ill write m ing ey w pictu by all th y hav n see w up b , where f each . o o d it Foll e boar ption portra ri to th ef desc w the lo a bri rity be b cele

Point out: they ma Belgians co ns ke the best Fr ider that in the wo ench fri es America rld, and most North ns who in Brus sels wo have tasted fri uld agre es e.

F069/m The Fr hsis3% en 0/sis3 ch02 When ch do not th as in le stea ked what the k of themse lves as ktypical eating French frites (steak French ric with fri pe es). Th meal is, mos h food, how when he ople like to ever is t peop ea The Ei or she needs a t, but it is the may not correspo le in France , but only good kind of quick would ffel To food. nd to N dinner wer re pr meal th sense. . ally A at a Fr orth American obably answ ench tr er collect hilarious 1999 is a landmar ideas of aveler or k wha might visit Pa with hundre lm, Le Voya that the Fren think of t ch ds ris ge rst The Fr and see the re of models of th Paris, recoun think of as repr al thin ench lik ts the e Eiffe esentin g. advent l Tower e to th g them clever ures ink of an in his themse room at of a rural in some He is a d quick. The lves highway po G home. toll His dr the Ro aul* who, in pular comic as the little gu eam is man le gions. ancient times book characte ys who alway to Astrix , r Astrix sw is alway lives in the is a sym in out becaus on s able e they bol of to outw e village that are this sens it the po ha wer of s not been co e of identity. Caesar nquere d and hi s troops by .

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lues e va ut th about re s abo a uch them a There h . sm c us a ho use escribe e Fren y tell w d ally eople sed to bout th ut man a p usu b pes of the suppo otypes selves, oty s re arti Stere custom they a an stere ch them as p iac and whom Ameri e Fren lves rec th se emse at app t tho North d by d u of th re w ink nd gifte ed abo rench a fe are sha ot. n th od a rn of F that rs are n nce ofte er y e ple d in fo lly co food arly ev oth peo e cia ple h ne d nch terest espe e sta foo it Fre larly in hey are truly th along w e main rens nse cu it. T h is th hild n ft se use is ate ting d, whic ad is e and it most c nal cra y beca ly. io k l, il brea e. Bre y mea nd for tradit ght da t quic o in a r the e bou ies ou is als cuis at eve akfast l) b e in dr dy dish at bre d mad has to s and dustrie re rea n e a a eate ks. Bre sanal) rvativ pain in eople ebates p se ti c sna ain ar no pre ad (le rench ated d F (le p ntains ced bre Most in anim . u it co -prod stores. engage today d Mass able in ent to f brea o avail y mom uality n at a t the q u abo

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Synthse
The chapter culminates in a synthesis section, which alternates between cultural presentations and readings, many of which are song lyrics and literary selections. Prereading strategies and postreading comprehension activities help students develop reading skills. A writing activity ( crire) follows in the Workbook / Laboratory Manual. re
s /08 /23 4 8 e9 Pag ndd 95.i 74-0 4_0 0 _ch 43x is86 5 s17 serMu 2P 2:2 6:5 9/m F06 HS 03/M es/2 lum /Vo hsis 3% 0/s

g ations. ext through and see if you r prediction is correct.

h04 is3c

La famille franai

Introduction

se du XXI e sicle 1

Other features

si la multiplica ents rvlent la sances sont des tion des familles coexistence de ther monoparentale conceptions trs mo ew s. Ces h diffrentes de nep e la vie familial e. niec ves le 1 r lati Adapt du Nou unc n8LaeThe French family in the re veau Guide Fran ts; 9 21st century 2 la m veu ce For outside 10 change 3nucle 4 pare r e us life 5on e hter of Il One must add le n ce one would be fath ddaug mistaken 6than i ) ) before 7de la n le (m. (m. pl. earlier and earlie -law gran c r er-in lon arents oth on p ; br nds les re ther s) Apgra lle -law bro le p tite- s-lle rs la lectur er-in step e te e r fath s la p s peti -law siste er; ent (le ls -ls) A. Conrmation. fath er-in par nt au Now , oth step etit- ts Les re rres) ;m vity and see ousine that you have read the le p s peti u-fr selection, go ther (le r bea beaux-f law la c if you would still choose mo back to the pre le How usinch did inmu , the same par step u reading strateg terit help you to (les -pre res) aphrase to sum co la s nte y acticheck for cog u r; sis : le p es marize the gist Voc ta scognatl.) did you notice ) bea beaux-p nates before iste s la pl. of the article. studabulary recycling: Have le nt m. as you read the reading the ent step are ents ( ents describe les -mre res) l., f. ( ire passage? whole article? pp the people in r m. p What new the photo and ts a ds-pa Trants (on elle elles-m B. diti ou nou guess about the mo ran la b s b veaut? Tell wife hter relationships g s) enfa le -sur ( whether each ur between them g les les famille traditio . sentence des dau nnelle), the ne ir: elle elles-s d cribes the trad evo w family (Ce la b s b Act. B, Answer owe itional family son er r st la nouvell s: 1. Cest la fam 1. La femme wid (le er (Cest la e th e famille), or ille traditionnelle reste la mai ) bro dmoth mm . 2. Cest la nou both (Ce son son rc(e . 2. Les enfant velle t les deux). la fe e famille. 3. Ces ran s smanco divipen g ll t la nouvelle t plus tt. (e), famille. 3. e) la 4. Ce sont les er euv Lunion librari frquen deux. 5. Cest e est ls dfath la te. le re nouvelle fam uf (v 4. Les nts: m e ) ran g ve ille. 6. Ce sont r es eftes familiales s le le fr and-m ds-mr d par d r s ap ban la g s gran re ) ) hus mot (le d-p nce res (Fra d ds-p ran CS liar le g s gran PA r mil (le i ya e , un le lly b togeth ar lion sing d lega ry g ) le m mil

exion de la socit ily. s fam Doe nch ily? La famille fran fam e Fre aise rete la nch of th diversit des conditions soc Fre on the lain. io-conomiqu luti of evo es de la socit entire. Sous on l? Exp the luti linuence des evo neutra plain conditions de elle se transfor the t ex vie, me. Il y a des tha ard remain crises interne tow , or les conits ent ctors s et re gnration ude ve e fa s. La femme attit isappro thre vie plus indpe a une ors d ndante quaut ame auth family, l. refois; 6 les enf z. N smancipent e e ua ants de plus en plu liqu is th new Man s tt. 7 Exp hat e tory C. s. W of th bora e ent k/La em pprov La transform boo Jug a Un djeuner D. e/she ation rcente Work en plein air en e h famille in th le) Depuis8 trente mil ans, le nombre e fa des mariages (un mente. Autre diminue. Parall r4 phnomne rce lement, le nom apte nt: le dvelop de 17% des cou bre des divorces r Ch pement de lun ples qui cohabit e fo augion libre ou coh ent. Consquenc naissances hor 9 crir abitation. Ce e de ce phnom s mariage. Il sont prs Do faut ajouter10 ne: 30% dvelop

La famille fran aise se caractr ise par la trad vie 4 sociale et ition et la nou on continue veaut. 2 Elle clbrer la aurait tort 5 de reste la cellule 3 famille (fte des gnraliser. de la mres, fte des pres). Mais on

cri

pem

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des nais

Langage fonctionnel This feature provides useful phrases for carrying on conversations in particular situations. Vocabulaire relatif lpisode Unfamiliar vocabulary items needed for comprehension of the episode are provided in lafche.

Notez bien! These marginal notes highlight important details about grammar and vocabulary that students are expected to learn.

Pour en savoir plus These marginal notes contain optional information about culture, vocabulary, and grammar.

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Program Components
As a full-service publisher of quality educational products, McGraw-Hill does much more than just sell textbooks to students; we create and publish an extensive array of print, video, and digital supplements to support instruction on your campus. Orders of new (versus used) textbooks help us to defray the substantial cost of developing such supplements. Please consult your local McGraw-Hill representative to learn about the availability of the supplements that accompany Dbuts.

Books and Multimedia Materials Available to Adopters and to Students

Student Edition The Dbuts textbook is correlated with the individual episodes in the lm, Le Chemin du retour, and contains vocabulary presentations and activities; pre- and postviewing activities; grammar explanations and practice activities; songs; cultural, historical, and literary readings; and preand postreading activities. Le Chemin du retour Directors Cut: The full length, uninterrupted two-hour lm is available on DVD. The Directors Cut DVD version can be viewed with or without French subtitles. Instructional Version: This version, available on DVD and on the Centro website (www.mhcentro.com) divides the lm into 24 episodes and includes onscreen pre- and postviewing activities. From the main menu of the DVD, instructors may choose to watch the episode with or without the pre- and postviewing activities. CourseSmart eTextbook CourseSmart is a new way to purchase the Dbuts eTextbook. At CourseSmart you can save up to 50% off the cost of a print textbook, reduce your impact on the environment, and gain access to powerful web tools for learning. CourseSmart has the largest selection of eTextbooks available anywhere, offering thousands of the most commonly adopted textbooks from a wide variety of higher education publishers. CourseSmart eTextbooks are available in one standard online reader with full text search, notes and highlighting, and email tools for sharing notes between classmates. For further details contact your sales representative or go to www.coursesmart.com. Workbook / Laboratory Manual The Workbook / Laboratory Manual Part 1 (Chapters P11) and Part 2 (Chapters 12pilogue) accompany the textbook. Each chapter is divided into sections that follow the organization of the main textbook. Each section, as appropriate, may contain both workbook and laboratory activities. All chapters provide practice in global listening comprehension, pronunciation, speaking, vocabulary, grammar, reading, writing, and culture. Audio Program For use with the laboratory activities in the Workbook / Laboratory Manual, the audio CDs offer 13 hours of listening, oral communication, and pronunciation practice. The Audio Program also contains the Vocabulary Audio CD, which is the recorded version of the end vocabulary for each chapter. The complete Audio Program can also be accessed on the Dbuts website (www.mhhe.com/debuts3). Centro Available to all those who purchase the Quia online Workbook / Laboratory Manual, Centro (www.mhcentro.com) is a new and exciting one-stop website that brings together all the online and media resources of the Dbuts program. The Quia online version of the workbook is identical in practice material to the print version, and has many added advantages, such as self-correcting exercises and the integration of the audio program into the activities. In addition to the online Workbook / Laboratory Manual, the Centro website also offers access to the Instructional Version of Le Chemin du retour and to the Online Learning Center website. Instructors will nd an easy-to-use gradebook and class roster system that facilitate course management. They also get convenient access to all of the Instructor Resources.

xxxvi Dbuts

Online Learning Center A complete learning and teaching resource center for both students and instructors, this website (www.mhhe.com/ debuts3) includes additional practice for each vocabulary and grammar section of each chapter and offers supplementary cultural readings and web-based activities that extend students knowledge of the cultural topics introduced in the textbook. In the previous edition, Visionnement 2 was divided up between the main text and the Workbook / Laboratory Manual. In the third edition, these previewing and postviewing cultural activities have been brought conveniently together in the Online Learning Center, in the interactive section entitled revoir. In addition, the Dossier culturel section, previously located in the Workbook / Laboratory Manual has been placed with the Dossier culturel activities that were already online. The Online Learning

Center also includes the maps from the book, an online tour of the lming locations for Le Chemin du retour, and an iTunes playlist. Instructor resources include the Instructors Manual, the Audioscript, the Filmscript, the Testing Program, the Online Picture File, and Powerpoint presentations of grammar and vocabulary for each chapter. Instructors have full access to all content via the Instructors Edition link on the home page of the Online Learning Center website. Please contact your local McGraw-Hill sales representative for your password. Student Viewers Handbook Ideal for those courses in which Le Chemin du retour is used to supplement textbooks other than Dbuts, the Handbook offers a variety of pre- and postviewing activities for use with the lm.

Books and Multimedia Materials Available to Adopters Only

Instructors Edition The Instructors Edition is identical to the Student Edition except that it contains annotated suggestions, cultural information, additional vocabulary, as well as activity extensions and variations.

Online Instructors Resources

Instructors Manual The Instructors Manual provides additional background information on the lm, a tour of the Paris and Marseille locations from the lm with neighborhood maps as well as sample lessons, syllabus planning, and scheduling suggestions. It also includes general teaching suggestions, chapterby-chapter teaching suggestions, and an Answer Key for the Student Edition activities. New to the third edition is a chapter of supplementary games and activities, with their accompanying handouts. In addition, instructors will nd helpful suggestions for using the lm as well as episode summaries in English and French. Testing Program The Testing Program consists of two sets of tests for each chapter of Dbuts, as well as quarter and semester exams. An audioscript is provided for the Listening Comprehension section of each test. Audioscript The Audioscript, which contains the complete recording script of the Audio Program, can be downloaded from the Instructors Edition of the Online Learning Center. Online Picture File The Online Picture File contains stills from the lm designed to stimulate conversation in the classroom.

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Acknowledgments
The authors and the publisher would like to acknowledge the instructors across the country whose classroom experience with the program provided us with such valuable feedback for the preparation of the third edition. The appearance of their names in this list does not necessarily constitute their endorsement of the text or its methodology. Course Survey Participants We thank the fteen French instructors who participated in a general course survey conducted by McGraw-Hill. The results of this survey helped shape and form this third edition of Dbuts and provided timely and useful information for other projects currently in development. Myriam Alami, Rutgers University Bruce Anderson, University of California, Davis Debbie Bell, University of Georgia Becky Chism, Kent State University Margaret Dempster, Northwestern University Pascale Hubert-Leibler, Columbia University Scott Jamieson, Memorial University of Newfoundland Kathy Lorenz, University of Cincinnati Yvonne McIntosh, Florida A&M University Lori McMann, University of Michigan, Ann Arbor Shawn Morrison, College of Charleston Angelina Overvold, Virginia Commonwealth University Sandhya Shanker, Michigan State University, East Lansing Barbara Vigano, Mount San Antonio College Sharon Wilkinson, Simpson College Reviewers for Dbuts, Third Edition Rijasoa Andriamanana, University of New Mexico Bernadette Beroud, Case Western Reserve University Alexandra Braddy, Santa Fe Community College April A. Bunch, Montgomery College Florence Ciret-Strecker, Simmons College Dr. Sara Jane Dietzman, Nebraska Wesleyan University Jennifer Forrest, Texas State University, San Marcos Laura Franklin, Northern Virginia Community College Harry Gamble, The College of Wooster Kathleen Hart, Vassar College Frederick Hodgson, Chabot College Martine Howard, Camden County College Amy L. Hubbell, Kansas State University Robert J. Jones, Fulton-Montgomery Community College Vronique Meyer, Goucher College John F. Moran, New York University Dr. Martine Motard-Noar, McDaniel College Corinne Noirot-Maguire, Virginia Polytechnic Institute Carla Owings, University of South Carolina Upstate Marina Peters-Newell, University of New Mexico Franoise Sullivan, Tulsa Community College The authors would also like to extend very special thanks to the following organizations and individuals:

David Murray and Ginger Cassell for their tireless work on

the creation, direction, production, and nal editing of Le Chemin du retour. SAME Films in France for their efforts in producing this lm. David Lang, for a beautiful script. Karine Adrover, Denis Cherer, and the whole cast and crew for a highly professional production. Edge Productions for taking chances and for providing support to get the lming started. Cherie Mitschke, Austin Community College, for her endless enthusiasm and creativity in writing the on-screen postviewing activities.

Additional thanks to Catherine Coste, Claudette Pelletier Deschesnes, Marie-Hlne Le Tuan, Jean-Michel Margot, and Lise Nathan, who provided materials and consultation during the development process. Finally, the authors wish to thank the editorial, design, and production staff at McGraw-Hill and their associates, especially Peggy Potter, Leslie Oberhuber, and our former editor-in-chief, Thalia Dorwick, for their guidance and inspiration during the creation of the rst edition. For this third edition we would like to express our appreciation to Sylvie Waskiewicz for her editorial work, to William R. Glass, our publisher, Katherine Crouch, Susan Blatty, Nicole Dicop-Hineline, Veronica Oliva, Jorge Arbujas, and our terric marketing team. We would also like to express our gratitude to the production team: David Staloch, Anne Fuzellier, Cassandra Chu, Rich DeVitto, Louis Swaim, Aaron Downey, and Jennifer Blankenship for all their dedication and hard work on this project.

xxxviii Dbuts