This course initiates a sequence that continues with French 302 in the spring semester.

Oll woeurk een zees classe wheel bee een Frannsh — must off eet, Aye meeen — zere wheel bee eenfreeqvent exzeptions layke zees seellabouss. But ideally, all communication will be in French (or at least franglais). You will win the heart of the instructor if you help make the classroom a French-language zone (une zone de langue française) where use of other languages is, if the expression is not too inhospitable (or do I mean unhospitable?), a less-than-welcome an intrusion. Feel free to speak English, however, in the event of an earthquake, an asteroid impact, or the collapse of the euro.

The goals of French 301 are goals you might anticipate, if you thought about it: 1) acuminating your understanding of those elements of grammar that you've been working to master for years now; 2) enlarging and refining your vocabulary in French in a systematic fashion, with the same end in view, enabling you to avoid faux amis and say that you went to une conférence (right here on campus, no preregistration required) and not une lecture; 3) to fatten, in other words, your ability to speak and write effectively in ways that French-speaking people might really use when they're not showing off their knowledge of English; (4) to gain deeper aperçus into the structure not only of the French language but of language itself, and to cause you to pooh-pooh no more phonetics and the ways in which the sociolinguistic register of your communications affects pronunciation, vocabulary, and grammar; 5) to make you thrill to the cultural, social, and intellectual dimensions of communication in French.

Second, French 301 seeks to give you glimpses of both the universal values associated with French culture as well as some aspects that are supposedly franco-français (too French to be easily appreciated by the non-French).

Third, the teacher of this course, even in his dotage, hopes you will: 1) become better able to analyze and compare ideas and opinions, both your own and those of others; 2) deepen and perplex your relationship to cultural conventions through investigation of and discussion of imaginative works, with attention to genre, history, and the evolution of ideas; and 3) probe assumptions — your own and those of others —, reflect upon different perspectives, evaluate and explain different viewpoints on complex issues, and defend judgments. Intensive work with the French language at this now fairly advanced level should also give you new perspectives on your own native language. If you succeed in achieving all of this, you will have demonstrated such intellectual probity and academic virtue that you will win a free pass to the 2012 Fort Lauderdale International Film Festival and have dinner with Audrey Tautou!

During the fourteen weeks of this course, you will 1) labor through the first half of a rigorous presentation of French grammar and workbook at an advanced level ; 2) study a classic French film (Les parapluies de Cherbourg) and an intenely personal film about the life of the person who made it (Jacquot de Nantes), a recent play by a Franco-Iranian playwright, (Le dieu du carnage), and read Voltaire's amaranthine Candide. A savory bouilli — just the fracandelle the doctor ordered!

Activities in class will plod along in an unimaginatively monotonous yet somehow reassuring weekly manner.

Mondays will begin with about a half-hour devoted to phonetics or sociolinguistics, then proceed to the grammatical material for the week. You'll be assigned pages to study in the grammar text in preparation for the class. On most weeks — weeks of special delight for every student as well as anticipation for the instructor himself — a meticulously prepared short written composition (or, on the following week, the attempted perfection of the previous week's now discouragingly and spider-webbily red- or green- or purple- or blue- or indigo-inked composition) will be also be due in class.

Wednesdays will be devoted to further laborious and baffling explication, exploration, and exploitation of French grammar, usually with additonal attention to group work, occasionally including entertaining performances, amusing games, or diverting class presentations.

Fridays (vendredi ! enfin ! merci Dieu ! ) will be devoted to works of literature or film. As noted above, the works we'll look at in detail this semester are quite diverse in their origins: a charmingly quirky fusion of opera and New Wave film from the 1960s and a 1991 film about Jacques Demy, the director, made by his wife, Agnès Varda; a 2006 play by the Iranian-born hit playwright Yasmina Reza, the first French dramatist to attain international celebrity in some time; and Voltaire's amusing, fast-paced, and sophisticated 1759 ROFL satire of philosophical optimism and human pretention, which is as irresistibly sassy, bold, irreverent and dangerous as anything WikiLeaks ever published.

Wed., Sept. 7 : Introductions and what sociologist Erving Goffman (not French) would call presentations of self. Discussion of course, study methods, and expectations for the course—yours and mine. Some English, for the sake of clarity.

Fri., Sept. 9 : (1) First part of Les parapluies de Cherbourg, a film by Jacques Demy. As preparation for viewing this film, read "A Short History of French Cinema" by Andrew Pulver (Guardian [London], March 22, 2011); view also the videoclips and trailers. Soyez prêt/e à répondre oralement en classe aux questions suivantes : 1. Pourquoi peut-on dire que la France a inventé le concept du cinéma ? 2. Quel était le premier film de science-fiction ? 3. Quel est le film muet français le plus extraordinaire ? Qui l'a fait ? 4. "Les Enfants du paradis," "Diva," "Les Quatre Cents Coups," et "Le Chien andalou," sont associés avec un mouvement : lequel ? (a) Le surréalisme ; (b) le réalisme poétique ; (c) la Nouvelle Vague ; (d) le cinéma du look. 5. Combien de films français sont mentionnés dans cet article ? 6. A votre avis, pourquoi est-ce que Pulver donne le nom français de certains films et le nom des autres sont en anglais ? 7. Avec quel mouvement est-ce que Jacques Demy et Agnès Varda sont associés ? 8. Quelle description est-ce que Pulver donne des valeurs ou des caractéristiques de ce mouvement ? (2) Fournier, Le mot et l'idée, I, §§ 8-11. (Review §§ 1-7 as well, and also do this for every subsequent "chapter" in Fournier as you work through the book.) Look up words you don't know in a good dictionary (see below on what I mean by this vague expression). (3) Read the preface in Denise Rochat's grammar textbook.

Mon., Sept. 12 : (1) Levels of language study: phonetics, syntax, semantics, discourse; sociolinguistics; historical linguistics. (2) Rochat, Chapter 1, Le présent de l'indicatif, pp. 1-6. (3) Fournier, II, §§ 11-16.

Wed., Sept. 14 : Rochat, Chapter 1, L'impératif, pp. 6-9. (2) Fournier, III, §§ 7-10.

Fri., Sept. 16 : Conclusion of Les parapluies de Cherbourg (2) Fournier, IV, §§ 8-11.

Mon., Sept. 19 : (1) The International Phonetic Alphabet. (2) Rochat, Chapter 2, Les articles, pp. 10-20. (3) Fournier, V, §§ 5-7.

Wed., Sept.. 21 : (1) Rochat, Chapter 2, Quantités, préparations et substances ; Omission de l'article, pp. 20-29. (2) Fournier, VI, §§ 7-10.

Fri., Sept. 23 : First part of Jacquot de Nantes, a 1991 film by Agnès Varda about Jacques Demy. (2) Fournier, VII, §§ 7-9.

Mon., Sept. 26 : (1) Phonetic transcription. (2) Rochat, Chapter 3, Les pronoms objets directs et indirects ; les pronoms y et en, pp. 30-43. (3) Fournier, VIII, §§ 6-8.

Wed., Sept. 28 : (1) Rochat, Chapter 3, Place des pronoms, pp. 43-49. (2) Fournier, IX, §§ 5-6.

Fri., Sept. 30 : (1) Second part of Jacquot de Nantes. Read an interview with Agnès Varda published by Jean Decock in The French Review (May 1993), pp. 947-58. (2) Fournier, X, §§ 6-8.

Mon., Oct. 3 : (1) Register & pronunciation: Batchelor & Offord, Using French, A Guide to Contemporary Usage, 2nd ed. (1993), pp. 1-12, and Richard Durán & George McCool, "If This Is French, Then What Did I Learn in School?", The French Review 77.2 (December 2003), 288-98. (2) Rochat, Chapter 4, Les pronoms disjoints, pp. 50-60. (3) Fournier, XI, §§ 6-8.

Wed., Oct. 5 : (1) Rochat, Chapter 4, Formes des pronoms dans certaines constructions idiomatiques, pp. 60-64. (2) Fournier, XII, §§ 5-6.

Fri., Oct. 7 : (1) Yasmina Reza, Le dieu du carnage, first half (to "Michel referme le catalogue . . ." (2) Fournier, XIII, §§ 8-11.

Mon., Oct. 10 : (1) Register, vocabulary and grammar: Bachelor & Offord, Using French, pp. 12-19. (2) Rochat, Chapter 5, Les démonstratifs variables, pp. 65-69. (3) Fournier, XIV, §§ 7-9.

Wed., Oct. 12 : (1) Rochat, Chapter 5, Les démonstratifs invariables, pp. 69-75. (2) Fournier, XV, §§ 7-9.

Fri., Oct. 14 : (1) Second half of Reza, Le dieu du carnage. (2) Fournier, XVI, §§ 5-6.

Mon., Oct. 17 : (1) Fournier, XVII, §§ 8-11. (2) Midterm review.

Wed., Oct. 19 : The long-dreaded but no longer avoidable MIDTERM EXAM!

Fri., Oct. 21 : No class — Mid-semester break.

Mon., Oct. 24 : (1) Register, examples 1 & 2: Batchelor & Offord, Using French, pp. 19-23. (2) Rochat, Chapter 6, L'interrogation direct, pp. 76-80. (3) Fournier, XVIII, §§ 4-5.

Wed., Oct. 26 : (1) Rochat, Chapter 6, L'interrogation partielle, pp. 81-90. (2) Fournier, XIX, §§ 6-8.

Fri., Oct. 28 : (1) Voltaire, Candide, chapitres 1-8, and prepare answers to questions. (2) Fournier, XX, §§ 5-7.

Mon., Oct. 31 : Special treat for Halloween : M. Jensen s'habille comme Lucien de Rubempré ! (1) Register, examples 3 & 4: Batchelor & Offord, Using French, pp. 23-26. (2) Rochat, Chapter 8, La négation (i), pp. 100-08. (3) Fournier, XXI §§ 7-9.

Wed., Nov. 2 : (1) Rochat, Chapter 8, La négation (ii), pp. 109-12. (2) Fournier, XXII, §§ 5-6.

Fri., Nov. 4 : (1) Voltaire, ch. 9-15, and prepare answers to questions. (2) Fournier, XXIII, §§ 5-6.

Mon., Nov. 7 : (1) Register, examples 5 & 6: Batchelor & Offord, Using French, pp. 26-29. (2) Rochat, Chapter 9, Le passé de l'indicatif, pp. 113-22. (3) Fournier, XXIV, §§ 5-6.

Wed., Nov. 9 : (1) Rochat, Chapter 9, Le récit au passé, pp. 122-27. (2) Fournier, XXV, §§ 7-9.

Fri., Nov. 11 : (1) Voltaire, ch. 16-20. (2) Fournier, XXVI §§ 9-12.

Mon., Nov. 14 : (1) Presentation of passages analyzed for register (i). (2) Rochat, Chapter 11, Le futur, pp. 142-48. (3) Fournier, XXVII, §§ 5-7.

Wed., Nov. 16 : (1) Barson, Chapter 11, Le conditionnel, pp. 148-54. (2) Fournier, XXVIII, §§ 9-12.

Fri., Nov. 18 : (1) Voltaire, ch. 21-25, and prepare answers to questions. (2) Fournier, XXIX, §§ 8-11.

Mon., Nov. 21 : (1) Presentation of passages analyzed for register (ii). (2) Rochat, Chapter 12, Le subjonctif, §§ 1-8, pp. 155-62. (3) Fournier, XXX, §§ 10-14.

Wed., Nov. 23 : Recent French popular music: Christophe Maé and MC Solaar.

Fri., Nov. 25 : Thanksgiving break.

Mon., Nov. 28 : (1) Presentation of passages analyzed for register (iii). (2) Rochat, Chapter 16, §§ 1-7 Les pronoms relatifs simples, pp. 205-14. (3) Fournier, XXXI, §§ 11-16.

Wed., Nov. 30 : (1) Rochat, Chapter 16, Les pronoms relatifs composés, pp. 214-16. (2) Fournier, XXXII, §§ 9-12.

Fri., Dec. 2 : (1) Voltaire, ch. 26-30, and prepare answers to questions. (2) Fournier, XXXIII, §§ 12-17.

Mon., Dec. 5 : (1) Le monde francophone. (2) Rochat, Chapter 19, Le comparatif, pp. 255-62. (3) Fournier, XXXIV, §§ 7-10.

Wed., Dec. 7 : Rochat, Chapter 19, Le superlatif, pp. 262-67. (2) Fournier, XXXV, §§ 7-10.

Fri., Dec. 9 : (1) Final review.

The instructor has examined and worked through many a workbook. You deserve to know that the second edition of Workbook for Contrastes: Grammaire du français courant is without exception the most well-worked-out, appealing, intelligent, intellectually nimble, smart, sharp as a tack, and generally felicitous book of grammar exercises that has ever, in his threescore years of trekking, come across his path. Perhaps, decades from now, you'll agree, and call me up to let me know.

The workbook exercises should be turned in on the dates indicated below, in class. Ideally you will attempt them only after carefully studying the relevant sections in Contrastes. Many exerices are optional, in recognition of the fact that you have other things to do in your life besides doing French exercises, like studying chemistry, washing clothes, or watching The Big Bang Theory on Thursday nights (it's still on Thursdays, isn't it?) with friends. Skipping optional exercises will not affect your grade, but since they are still worth doing, do them and turn them if you can find the time. (NOTE: I would prefer you write out the answers to the exercises in complete sentences and turn them in on notebook paper, rather than filling in the blanks; doing it this way is more conducive to learning, more engagé. I'll also accept torn-out workbook pages, however. Not acceptable, however, is handing in lists of the answers to the exercises.)

Wed., Sept. 14. Turn in exercises 1-1, 1-2, 1-3 (optional), 1-4, 1-5, and 1-6 (pp. 1-4).

Fri., Sept. 16. Turn in exercises 1-7, 1-8 (optional), 1-9 (optional), and 1-10 (pp. 4-7).

Wed., Sept. 21. Turn in exercises 2-1, 2-2, 2-3 (optional), 2-4 (optional), 2-5 (optional), 2-6, 2-7, 2-8, 2-9, 2-10, 2-11 (optional), 2-12 (optional), 2-13 (optional), 2-14, 2-15, and 2-17 (optional) (pp. 9-16).

Fri., Sept. 23. Turn in exercises 2-18, 2-19, 2-20 (optional), 2-21, 2-22, 2-23, 2-24 (optional), 2-25, 2-26 (optional), 2-27, and 2-28 (optional) (pp. 17-22).

Wed., Sept. 28. Turn in exercises 3-1, 3-2, 3-3 (optional), 3-4, 3-5 (optional), 3-6, 3-7 (optional), 3-8, 3-9, 3-10 (optional), 3-11, and 3-12 (pp. 23-28).

Fri., Sept. 30. Turn in exercises 3-13, 3-14, 3-15 (optional), 3-16, 3-17, 3-18 (optional), and 3-19 (pp. 29-32).

Wed., Oct. 5. Turn in exercises 4-1, 4-2 (optional), 4-3, 4-4, 4-5, 4-6 (pp. 33-36).

Fri., Oct. 7. Turn in exercises 4-7, 4-8 (optional), 4-9, 4-10, 4-11, 4-12 (optional), 4-13, 4-14 (pp. 37-41).

Wed., Oct. 12. Turn in exercises 5-1, 5-2, 5-3, 5-4, 5-5 (optional), 5-6 (optional), and 5-7 (pp. 43-46).

Fri., Oct. 14. Turn in exercises 5-8, 5-9, 5-10, 5-11 (optional), and 5-12 (optional) (pp. 47-49).

Wed., Oct. 26. Turn in exercises 6-1 and 6-2 (pp. 51-52).

Fri., Oct. 28. Turn in exercises 6-3, 6-4, 6-5 (optional), 6-6, 6-7, 6-8, 6-9, 6-10, 6-11, 6-12 (optional), 6-13 (optional), 6-14 (optional), and 6-15 (optional) (pp. 53-59).

Wed., Nov. 2. Turn in exercises 8-1, 8-2, 8-3, 8-4, 8-5 (optional), 8-6, 8-7, and 8-8 (optional) (pp. 71-74).

Fri., Nov. 4. Turn in exercises 8-9, 8-10 (optional), 8-11, 8-12, 8-13 (optional), 8-14, 8-15 (optional), and 8-16 (pp. 75-78).

Wed., Nov. 9. Turn in exercises 9-1, 9-2 (optional), 9-4, 9-5, 9-7, 9-8, 9-9, 9-10 (optional), 9-11, and 9-12 (optional) (pp. 79-86).

Fri., Nov. 11. Turn in exercises 9-13, 9-15, 9-16, 9-17 (optional), and 9-18 (optional) (pp. 87-94).

Wed., Nov. 16. Turn in exercises 11-1, 11-2 (optional), 11-3, and 11-4 (pp. 111-12).

Fri., Nov. 18. Turn in exercises 11-5 (optional), 11-8, 11-9, 11-10, 11-11, 11-13, 11-14, 11-15, 11-16 (optional), 11-17 (optional), and 11-18 (optional) (pp. 114-18).

Wed., Nov. 23. Turn in exercises 12-1, 12-2, 12-3 (optional), 12-4, 12-5, 12-6 (optional), 12-7 (optional), 12-8, 12-9 (optional), 12-10 (optional), 12-11 (optional), and 12-12 (optional) (pp. 121-25).

Wed., Nov. 30. Turn in exercises 16-1, 16-2 (optional), 16-3, 16-4 (optional), 16-5 (optional), 16-6, 16-7, 16-8 (optional), 16-9, 16-10 (optional), 16-11, and 16-12 (pp. 165-70).

Fri., Dec. 2. Turn in exercises 16-13, 16-14, 16-15 (optional), 16-16 (optional), 16-17 (optional), 16-18 (optional), 16-19, 16-20, 16-21 (optional), and 16-22 (optional) (pp. 171-76).

Wed., Dec. 7. Turn in exercises 19-1, 19-2, 19-3, 19-4, and 19-5 (optional) (pp. 201-03).

Fri., Dec. 9. Turn in exercises 19-6, 19-7 (optional), and 19-8 (pp. 204-05).

NOTE: The first drafts of these compositions are due in class (no email submissions accepted) on the day indicated. The final, corrected version is due in class one week later. Compositions should be at least 400 words in length. Double-space and leave margins on all sides of at least one inch (2.54 centimeters).

Mon., Sept. 19 : Les parapluies de Cherbourg. Voici quelques suggestions des sujets à discuter : Evaluez le rôle de la musique dans Les parapluies de Cherbourg. Quelle est son importance dans le film? Comment avez-vous réagi à cet aspect musical? Y a-t-il des moments dans le film où le chant et la musique sont particulièrement réussis ? Par contre, y a-t-il des moments où la musique est gênante ?

Mon., Oct. 3 : Jacquot de Nantes. Comparez votre expérience de Jacquot de Nantes avec les intentions d'Agnès Varda, selon l'entretien publié en 1993 dans The French Review (lien ci-dessus). [Quand vous citez l'article dans votre essai, comme vous devriez le faire entre trois et six fois, employez des notes en bas de la page selon la forme conseillée par The Chicago Manual of Style ; par exemple : Agnès Varda, interview par Jean Decock, "Entretien avec Agnès Varda sur Jacquot de Nantes," The French Review 66 (1993): 947.]

Mon., Oct. 24 : Le dieu du carnage. A quels aspects de la vie contemporaine est-ce que Yasmina Reza s'intéresse particulièrement, d'après vous ? Commentez sa présentation de ces aspects dans la pièce.

Mon., Nov. 7 : Candide. Vous savez quelque chose du tremblement de terre du 12 janvier 2010 à Haïti qui a tué, dit-on, 300 000 personnes. Comparez votre réaction à cet événement par rapport aux réactions de Pangloss et de Candide au tremblement de terre à Lisbonne.

Mon., Nov. 21 : Candide. Écrivez sur l'Eldorado, tel qu'il figure dans les chapitres 17-18 de Candide. Quels aspects du monde sont renversés dans la description de ce pays utopique ? Selon vous, est-ce que le but Voltaire est de décrire une forme de société qu'il croit possible et réalisable, ou est-ce que son but est plutôt satirique ? Justifiez votre réponse.

Your grade will be determined as follows:

• 20% Participation
• 20% Workbook exercises
• 20% Five compositions
• 10% Collaborative vocabulary project on Google Docs
• 10% Midterm exam
• 20% Final exam

Obiter dicta on each of these components:
• Class participation. Faithful attendance and painstaking participation are requisite if you want to make the grade. I will quantify my assessment of your participation as follows. Your presence and participation in class will be evaluated after every class. You will receive either 0, 1, 2, 3, or 4 for each class. Zero means you were absent; 1 means either that you arrived noticeably late, or did not bring needed materials, or could otherwise not participate; 2 means that you were present but did not significantly participate, or were not adequately prepared; 3 means that you participated "normally" in class activities; and 4 means that you appeared to be well prepared and made adequate efforts at communicating in French. At the end of the course the average of these scores will be calculated, and 20% of your grade will be determined by the result, on a conventional 4-point scale.
• Workbook exercises. The workbook exercises should be handed in on the date indicated in class, or placed in my mailbox by 5:00 p.m. should you need to be absent that day. Lateness will affect your grade, and workbook exercises more than a week late will encounter a chilly reception indeed.
• Compositions. Compositions should be handwritten, double-spaced or triple-spaced, with ample margins on all sides of the page. They will be handed back with partial corrections, your revision being due on Monday of the following week. No email submissions of compositions or any other assignments will be accepted in this class.
• Collaborative Google Docs vocabulary project. Fournier's Le mot et l'idée is being integrated into French 201, 202, 301, and 302 as a way of systematically reviewing vocabulary. — To figure out your assignment, you'll have to do some math. For each assignment, divide the number of words in the assigned lists (say, for the first assignment, 37) and divide it by the number of students taking French 202 (say, 10), and then, from the answer (3 and 7/10) eliminate the "remainder" (here, 7/10) to find the number of words (here, 3) that you are responsible for 1) defining or commenting on in French, 2) illustrating with an image lifted from the web, and 3) exemplifying in a sentence of your own concoction. You should also examine the contributions of other students and, when you notice a mistake, offer a corrected version to the right of their exemplary sentence. I've done the first one ( une villa ) as an example. All this work will be done on Google Docs, then be collectively examined and commented upon in class. I will later evaluate its contribution toward your grade for this course. You should also learn the meanings of all the other words in the sections indicated. Read the exemplary sentences for the sections in Fourier, which compose a remarkably stupid but authentically French mini-essay. Sometimes they enact a pathetically unimaginative and boring story or sketch. So you'll want to review earlier sentences as well. — Note on dictionaries. The online dictionaries with which I am familiar are not very reliable. I recommend you purchase and keep for the rest of your wild, precious life a good French-English or English-French dictionary of 750-1200 pages, like the Larousse Concise Dictionary: French-English/English-French, rev. ed. (2010) or Langenscheidt's Compact French Dictionary (1989 now somewhat out of date) or Harrap's French and English Dictionary. Smaller 300-500 page "pocket" dictionaries are inadequate the purposes of this course. In addition, the following dictionaries are not recommended in any edition: Cassell's French & English Dictionary; Larousse Student Dictionary: French-English/English-French; Merriam-Webster's French-English Dictionary/Dictionnaire français-anglais; Webster's French-English Dictionary; Webster's New World French Dictionary: French/English English/French. These should be cast into the outer darkness. Larger 1200-2000 page dictionaries like the Oxford-Hachette French Dictionary or the Collins-Robert French-English English-French Unabridged Dictionary are also appropriate for this course and for musclebuilding exercises. You may also want to consult dictionaries entirely in French  the best are by Robert. — Further note. Fournier's Le mot et l'idée is not only a list of words but a hideous, stifling, oppressive, and bizarre portrait of traditional French culture that reflects many of prejudices of conventional and reactionary bourgeois society. Sometimes it reads like something straight out of Ionesco's théâtre de l'absurde. Like many other volumes of its vintage, it is designed not only to teach language but to reinforce the values of the prevailing power structure. Subvert it if you can.
• Comprehensive tests. There will be an in-class mid-term exam on Wednesday, Oct. 19, which will cover chapters 1-5 in Rochat, the two films we've watched, and Yasmina Reza's Le dieu du carnage, which will determine 10% of your grade. A 110-minute final exam on everything we've studied on Mon., Dec. 12, from 2:00 p.m. to 3:50 p.m., will determine 20% of your final grade.

Respectful and Civil Conduct
"Civil conversation is central to the university's academic enterprise and centrally guided by faculty expertise. [The university] is committed to protecting the rights of community members to engage in dialogue and express ideas in an environment that is free from harassment, discrimination, and exploitation. This freedom of expression does not, however, entail the freedom to threaten, stalk, intimidate, harass, or abuse. Students are therefore expected to treat every individual with respect and civility" (Student Code of Conduct, p. 12).

Accomodations for Sudents with Disabilities
If you require course adaptations or accommodations because of a disability, if you have emergency medical information to share with me, or if you need special arrangements in case the building must be evacuated, please make an appointment with me as soon as possible. If you have questions concerning the services available for students with disabilities at PLU, please contact the Office of Disability Support Services, x7206.