This article addresses a key pedagogical issue of our time: the widespread yet generally unwelcome presence of machine translation (MT) in the language classroom. Studies have repeatedly shown that L2 students consult the most widely used translation tool, Google Translate (GT), in spite of the fact that its use is frowned upon by second language (L2) instructors. Even so, academic honesty violations are not always reported, nor is there a consensus on whether the use of MT constitutes a form of cheating. Recognizing the omnipresence of GT in L2 student work, this article examines current research on the use of MT, highlights the strengths and limitations of this technology, explores 21st‐century pedagogical solutions designed to harness the capabilities of both MT and alternative technologies, and suggests venues for future research with the goal of ensuring learners’ academic growth in line with ACTFL's Can‐Do Statements for Intercultural Communication.

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This article examines Jules Vallès's portrayal of an abusive parent-child relationship in his 1879 novel L'Enfant, showing how the author's narrative techniques, in particular his use of an unstable first-person narrative voice, undermine the notion of parental authority. Situating this novel in its historical context, I show that although it was published a decade before France's first law protecting children from physical abuse, authors of childrearing guides from as early as the 1820s were already advocating moral as opposed to corporal punishments for children. Not only does Vallès cast his critical eye on parent-child dynamics but also he widens the novel's scope by creating an analogy between the authority of parents in the home and that exercised by the State in schools. Moreover, through the young protagonist's rejection of his parents’ professional aspirations for him, Vallès's provocative novel challenges the classic nineteenth-century narrative of progress through upward social mobility.

In an effort to better understand Balzac's thinking about marginality, class, and social mobility, this paper analyzes Balzac's representation of la vie de bohe`me in texts from La Come´die humaine containing the most references to bohemia: Un Prince de la bohe`me (1845), Be´atrix (1839), Illusions perdues (1843), and La Muse du de´partement (1843). Balzac's representations of this counter-cultural figure share much in common with notions of the bohemian that were popular in the literature of the time, but he also emphasized qualities that were dear to his own preoccupations, particularly the allure of the bohemian's amorous prowess and his financial ties to the upper classes. In showing the sources of revenue that help these young men to continue their lifestyle of minimizing productive work and spending any money they can get their hands on for pleasures like dinner parties and gambling, Balzac reveals a significant aspect of the social machinery that connects bohemia and bourgeois society. Rather than existing as a separate space, untouchable by official society, Balzac's bohemia serves as a source of pleasure and sexual favors for bourgeois and aristocrats, as well as fellow bohemians. Balzac's bohemians provide the novelist a means of diversifying and enriching his typology of characters by allowing him to examine the pitfalls of a life of self-indulgence, as a contrast to his social-climbing arriviste characters.Keywords Balzac Á Bohemian Á Un Prince de la bohe`me Á Be´atrix Á Illusions perdues Á La Muse du de´partement Balzac's Come´die humaine offers readers a richly textured tapestry that details the social flux of postrevolutionary France-in particular, the opening up of barriers

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