Livret Professeur Password Terminale

T
le
B1 B2
TOUTES SRIES
Guide pdagogique
Coordination pdagogique
Juliette Ban-Larrosa
IA-IPR, Acadmie de Paris
Claudine Lennevi
Acadmie de Caen
Auteurs
Pascale Fontaine
Claudine Lennevi
Acadmie de Versailles
Acadmie de Caen
Mlanie Herment
Isabelle Tripault
Acadmie de Paris
Acadmie de Rennes
Corinne Legay
Hugues Azas
Acadmie dAmiens
Acadmie de Toulouse
Pour la langue orale et la grammaire

Brengre Rivoallan
Acadmie de Montpellier
Rfrences iconographiques
Couverture
Alistair Baker/Corbis
71, 72, 83, 84
Nataliasheinkin-Fotolia.com
96
Jupiter Images/Getty Images
230
36 commuting solutions
231
8athome.com
231
Globe and mail.com
232
Phil Wiley, Ozemdia.com
232
Copyright Guardian News & Media Ltd 2011

Museum News
Martin Amis, 1973, used by permission of The
Wylie Agency (UK) Limited
From Carta Blanche, the new James Bond Novel
by Jeffery Deaver, 2012 published by Hodder &
Stoughton Limited
96
dg Zubin Shroff/Getty Images
262
96
262
96
gd Carlo A/Getty Images
235
Claudiaveja-Fotolia.com
Bradford Veley/CartoonStock.com
Rfrences textes
58
From The Secret History by Donna Tartt

(Penguin Books 1992). Copyright Donna Tartt
58
David Lodge,The Independent, 28/03/2011
97
The New Kids Copyright 2011 by Boke Hauser

published by Simon and Schuster
98
From The beautiful things that heaven bears by

Dinaw Mengestu, copyright 2007 by Dinaw
Mengestu. Used by permission of Riverhead Books,
an imprint of Pengouin Group (USA) Inc.
128
Reprinted from Legend of a Suicide. Copyright

2008 by David Vann and published by the University
of Masachussets Press and by Penguin Books, 2009
158
The story of Queen Victoria Jean Plaidy,1985
158
From Elizabeth the Queen: The Life of a Modern

Monarch by Sally Bedell Smith, 2012. Used by
permission of the Random House Inc. Any third party
use of this material, outside of this publication, is
prohibited. Interested parties must apply directly to
Random House Inc. for permission
198
www.contactmusic.com
198
From War Horse by Michael Morpurgo, 1982.

Reprinted by permission of Egmont Books
299
299
From Faulks on Fiction by Sebastian Faulks, 2011.

Used by permission of the Random House Inc. Any
third party use of this material, outside of this
publication, is prohibited. Interested parties must
apply directly to Random House Inc. for permission
331
The Observer
334
From Surface by Siddharta Deb, 2005 published

by Picador Mac Millan
Nous avons recherch en vain les diteurs ou les ayants droit de certains
textes reproduits dans ce livre. Leurs droits sont rservs aux ditions Didier.
Couverture : Ellen Ggler

Mise en page : IGS-CP
Illustrations : Anne Horrenberger
La loi du 11 mars 1957 nautorisant, au terme des alinas 2 et 3 de larticle 41, dune part, que les copies ou reproductions strictement rserves lusage priv du copiste et non destin une utilisation collective et, dautre part, que les analyses et les courtes
citations dans le but dexemple et dillustration, toute reproduction intgrale, ou partielle, faite sans le consentement de lauteur
ou de ses ayants droit ou ayants cause, est illicite. (alina 1er de larticle 40) cette reprsentation ou reproduction, par quelque
procd que ce soit, constituerait donc une contre faon sanctionne par les articles 425 et suivants du Code Pnal.
1,2 kg q.CO 2
Les ditions Didier, Paris, 2012

ISBN 978-2-278-07387-0
Achev d'imprimer en octobre 2012
par Jouve imprim en France
Dpt lgal : 7387/01
Sommaire
Introduction ............................................................ p. 5
- Fiches dvaluation et de notation ........ p. 18
Dossier TICE ............................................................. p. 21
Unit 1 Going to university .................................... p. 27
- Fiches valuations ............................... p. 55
Unit 2 The new Americans ................................... p. 62
Unit 3 Tech-less world .......................................... p. 101
Unit 4 The Queen ................................................ p. 131
Unit 5 War on screen ........................................... p. 162
Unit 6 Telecommuting ......................................... p. 201
Unit 7 Museum restitution ................................... p. 236
Unit 8 British characters ...................................... p. 266
Unit 9 News from the world ................................. p. 303
INTRODUCTION
I.
LES CHOIX DIDACTIQUES ET PDAGOGIQUES
Password Tle sinscrit la suite de Password 1re dans les prconisations du nouveau programme du cycle
terminal (B.O. du 30 septembre 2010). La mthode a pour objectif de consolider les acquis de la classe de
premire dans les cinq activits langagires et de permettre aux lves datteindre le niveau B2 du CECRL
en n de classe terminale, tout en les exposant de manire dynamique aux ralits culturelles du monde
anglophone. Elle croise comptences langagires, comptences culturelles et comptences linguistiques.
Les comptences dans chacune des cinq activits langagires font lobjet dun travail de consolidation
et de dveloppement progressif et structur. Ces activits langagires sont travailles en synergie au
cours des chapitres, la communication les articulant entre elles : on ne pourrait concevoir un cours o les
lves ne sexprimeraient pas sous prtexte quils doivent progresser en comprhension, ou ne feraient
que de la mthodologie parce que certaines stratgies de base leur font dfaut, ou encore, seraient
invits sexprimer loral sans activit de passage lcrit pour synthtiser et structurer leur parole
dans un autre code.
Chaque chapitre de Password Tle :
- aborde et explore un thme culturel, li aux notions du programme ;
- est pilot par une tche nale ;
- intgre les comptences linguistiques en lien avec le thme et les tches nales ;
- privilgie deux activits langagires : une activit langagire dominante , laquelle est associe
une autre activit langagire, articulant ainsi rception et production. Mais quelles que soient ces deux
activits langagires centrales, les trois autres sont galement prsentes au travers de supports ou
dactivits. La production orale, mme lorsquelle nest pas considre comme spciquement dominante , constitue un objectif majeur et est toujours prsente : cest sur lactivit orale des lves que
repose tout lapprentissage ;
- propose deux types dvaluations en n de parcours : valuations par la tche dans les deux activits
langagires cibles dans le chapitre dune part, et valuations type BAC en vue de la prparation aux
nouvelles preuves du baccalaurat dans les cinq activits langagires dautre part.
La progression annuelle prvoit un travail sur toutes les activits langagires et couvre les quatre notions
au programme.
Chapitres et notions au programme :
Notions
Mythes et hros
Espaces et changes
Lide de progrs
Lieux et formes du pouvoir
Chapitres
4. The Queen
5. War on screen
8. British characters
2. The New Americans
7. Museum restitution
3. Tech-less world
6. Telecommuting
1. Going to university
9. News from the world
1. Les comptences culturelles

Des chapitres ancrs dans les notions du programme
Les notions au programme du cycle terminal sont dclines dans les chapitres travers des thmes choisis. Le l directeur est fourni par la problmatique, nonce par souci de clart pour llve sous forme de
question directe. Les rponses cette question douverture sont abordes progressivement au cours des
Introduction
Recap qui clturent chaque double-page de documents ; une che rcapitulative (propose sous forme de
che photocopiable dans le Workbook et mise la disposition des lves sur
www.didierpassword.fr)
peut tre renseigne au fur et mesure du parcours pour visualiser et faciliter la synthse et prparer aux
preuves orales du baccalaurat.
Des lments culturels phares sont abords par des entres originales : par exemple, les notions
de pouvoir et contre-pouvoir par la question de la slection lentre luniversit, lide de progrs
par des rcits post-apocalyptiques, les espaces et changes par le sujet de la restitution leur pays
dorigine dobjets patrimoniaux conservs dans les muses du monde occidental.
Construire la comptence culturelle

La dmarche vise lacquisition de savoirs, prsents de manire impliquer llve dans llaboration
de repres culturels. Elle vise galement la prise de distance, pour aller au-del des clichs communs.
Le guidage par le sens dans la mise en uvre met en relief les contenus culturels des documents, do
labsence de longs dveloppements sur des faits ou priodes.
Lorsque des savoirs culturels prcis sont ncessaires, des conseils sont donns dans ce guide pdagogique
lors de la mise en uvre des chapitres concerns.
Des recherches en autonomie sont encourages ; elles seront cibles et bien circonscrites et devront faire
lobjet dun compte rendu dynamique an que toute la classe puisse en bncier.
Le connu et lexprience personnelle des lves sont sollicits et mis en perspective : le chapitre sur
les nouveaux Amricains, par exemple, dbute par ce que les lves peuvent dj savoir sur le sujet
de limmigration aux tats-Unis, souvent abord avant la classe de Terminale ; autre exemple : la gure
du soldat amricain au cinma est aborde par une bande-annonce qui rappellera aux lves dautres
bandes-annonces.
Password Tle repose en outre sur une conception large de la culture, comme en tmoigne le choix des
supports : textes littraires, extraits de classiques ou non, dessins humoristiques, articles de journaux,
tmoignages individuels, reets authentiques et non ctionnaliss de leur poque.
2. Lapproche actionnelle
Clairement dnie dans les programmes du collge et prconise dans le programme de seconde, lapproche
actionnelle prend toute sa place dans lobjectif denrichissement culturel du cycle terminal.
Dans Password Tle, chaque chapitre est ax sur deux activits langagires une de rception, lautre de
production , values toutes deux dans des tches nales (ex. Final Tasks, manuel p. 26). Dans ce guide
pdagogique, un parcours minimal (ex. p. 29) est suggr pour chaque chapitre : il permet de raliser la tche
nale dans lactivit langagire dominante.
Lapproche actionnelle de Password Tle se caractrise aussi par la ralisation de tches dentranement,
notamment dans lactivit langagire dominante, en vue de la prparation de la tche nale. Ces training
tasks permettent galement dapprofondir des lments culturels en lien avec la notion aborde (ex. :
manuel p. 19).
Le manuel propose neuf chapitres qui invitent llve, en n de parcours, rinvestir et mettre en uvre
ses comptences dans les activits langagires :
- deux chapitres associant CO et PO (units 2 et 7) ;
- un chapitre associant CO et PE (unit 5) ;
- deux chapitres associant CE et PO (units 1 et 6) ;
- quatre chapitres associant CE et PE (units 3, 4, 8, 9).
Le pilotage par la tche nale assure la cohrence de ces parcours : les activits de rception et de production proposes en entranement concourent au mme objectif, donner aux lves les savoirs et savoir-faire
utiles la ralisation des tches nales.
Ces tches ainsi que les comptences vises sont clairement annonces au dbut de chaque chapitre an
de donner un l conducteur et un but identi la squence.
La tche de production ancre celle-ci dans des contextes dnis qui permettent aux lves dtre auteurs
de leurs actes de langage, lcrit comme loral. Ils ont ainsi la possibilit de donner libre cours leur
inventivit pour sexprimer personnellement et communiquer de manire authentique en anglais, en rinvestissant ce qui a t appris au cours de la squence.
Les chapitres permettent dtudier et de sexercer des types de discours diffrents, notamment raconter
(story-telling / creative writing), dcrire et/ou expliquer (describing / explaining), argumenter et dbattre
(arguing / debating).
Les tches nales proposes le sont dans un souci de cohrence didactique du parcours. Selon le temps que
le professeur souhaitera consacrer familiariser les lves au nouveau format des preuves du baccalaurat,
il/elle pourra choisir de faire faire ou non les tches nales suggres, Ces tches peuvent donc ne pas tre
faites systmatiquement, mais il est important de ne pas les ngliger compltement : elles donnent un l
directeur la squence denseignement, permettent aux lves de montrer leurs comptences dans les
cinq activits langagires et donnent au professeur un guidage dans la progression annuelle.
3. Les comptences linguistiques

Intgrer les comptences linguistiques
Les comptences langagires intgrent ncessairement savoirs divers et stratgies spciques. Si lon
comprend, on doit tre capable de restituer sa comprhension dans une langue intelligible, phonologiquement
acceptable ; si lon veut progresser dans lexpression, on doit tre expos la langue de manire intensive
et tre plac dans des situations de communication, donc dchanges, susceptibles de motiver sa propre
expression. On doit aussi matriser un bagage grammatical et lexical adquat.
Les dfaillances linguistiques (phonologiques, grammaticales ou lexicales) sont naturelles tant quon na
pas atteint le niveau de matrise suprieur de la langue. Dans les situations dvaluation, les niveaux de
comptences du CECRL prennent en compte ces dfaillances et les acceptent tant quelles ne nuisent pas
lintelligibilit du message.
En situation de classe, cest--dire en situation dentranement, la vigilance quant la correction est primordiale. Ladossement des programmes au CECRL ne signie pas quil faille maintenant laisser les lves
ne sexprimer que par des messages indigents. Au contraire, le fond est toujours sous-tendu et inscrit dans
des acquis culturels, et la forme correction, diversit, subtilit, richesse , cest--dire la faon dont le
langagier se dploie, diffrencie souvent un niveau du Cadre dun autre.
Lefcacit de cet apprentissage repose sur trois stratgies incontournables :
1. la mise en place dhabitudes langagires ;
2. des activits rexives rgulires visant une prise de conscience ;
3. le recours aux entranements intensifs.
Dans Password Tle, des objectifs linguistiques (lexique, grammaire et prononciation) sont annoncs en
dbut de chapitre.
Sur chaque double-page, des encarts Language Tools indiquent quel domaine lexical et/ou quel fait grammatical et/ou quelle particularit orale font lobjet dactivits particulires. Lexique, structure grammaticale ou
phnomne oral sont choisis soit parce quils servent la rception, soit parce quils sont utiles lexpression.
Les comptences linguistiques sont travailles :
- dans les activits proposes dans les doubles-pages Language Tools. Ces pages proposent en majorit
des activits intgrant ces savoirs linguistiques dans des activits communicatives contextualises ;
- dans les activits proposes dans le Workbook
(activits complmentaires sur les points de langue
cibls dans le chapitre).
On saura dautant mieux construire des noncs en autonomie si lon saisit la logique et le fonctionnement
des formes et outils ncessaires la construction du sens. Certains de ces outils font lobjet dune rexion
sur la langue ; cette rexion est conduite partir des noncs produits ou observs par les lves (activits
Observe des pages Language Tools).
Pour la langue orale, des entranements au reprage et la reproduction des rgularits de langlais
sont rgulirement proposs ; des activits complmentaires sont galement proposes dans le Workbook.
Grammaire et lexique
La grammaire de Password Tle est une grammaire pour dire et faire : loral comme lcrit, un point de
langue est abord dans la mesure o llve en a besoin pour comprendre ou pour sexprimer. Cette grammaire fait une part gale loral et lcrit : des activits dentranement et des apports thoriques sont
fournis dans ces deux domaines. On pourra se rfrer au prcis grammatical (manuel p. 188) et au prcis
phonologique (manuel p. 214).
Lapprentissage du lexique fait galement lobjet de multiples activits qui aident les lves toffer leur
vocabulaire par classement, drivation ou dveloppement de domaines lexicaux.
Phonologie
La correction phonologique, indissociable de lintelligibilit, est aussi importante si ce nest plus dans le cas
de langlais , que la correction syntaxique. Il sagit bien sr de faire acqurir une prononciation recevable des
phonmes mais aussi daider les lves comprendre et de les entraner respecter les caractristiques
suprasegmentales. Celles-ci seront galement primordiales en rception.
Introduction
Le prcis de prononciation offre llve la possibilit dentendre sur le CD audio encart dans le manuel
(et
CD 1 Classe : documents et entranements) les exemples cits, et de sentraner en autonomie
partir de courts enregistrements.
De nombreuses activits permettent llve de reconnatre les rgles et les rgularits auxquelles obit
langlais oral pour mieux le comprendre, puis le mettre progressivement en musique pour mieux communiquer.
4. Progression
Dans le manuel
Les chapitres se succdent dans le manuel selon une progression dans les comptences demandes dans
lactivit langagire de production phare.
Expression orale en continu :
- unit 1 : dfendre une motion tire au sort (argumentation dfendant un point qui nest pas le sien) ;
- unit 6 : faire une campagne promotionnelle (argumentation adapter au public concern).
Expression orale en interaction :
- unit 2 : prendre part une mission tlvise o un rle prcis est assign chacun (rinvestissement
de faits et dexplications tudis) ;
- unit 7 : prendre part un dbat dides et dfendre son point de vue selon le rle assign (recombinaison
dexplications et darguments divers vus dans le chapitre et mise en perspective personnelle).
Expression crite :
- unit 3 : rdiger la description dun monde post-apocalyptique (invention, description, explication) ;
- unit 4 : rdiger un pisode de la vie dElizabeth II partir dun fait divers rel (cration selon une trame
narrative connue) ;
- unit 5 : rdiger une critique de lm (cration guide par genre de lcrit) ;
- unit 8 : rdiger le portrait dun personnage emblmatique de la culture britannique (crit sous-tendu par
connaissances culturelles) ;
- unit 9 : participer une discussion sur un forum en ligne sur le mtier de journaliste (argumentation).
En rception, les supports proposs sont en adquation avec lactivit langagire de rception privilgie
dans le chapitre et les tches nales. Les documents audios et vidos sont de nature diverse (documentaire,
bande-annonce, extraits de lms...). Les articles de presse sont nombreux mais la majorit des supports
sont des extraits de ction an de consolider la lecture dcrits charge implicite.
La progression du manuel nest pas rigide : le professeur nest pas oblig de suivre les chapitres dans un
ordre strict, lui/elle de dnir, selon les lves et leurs acquis, ce qui leur est le mieux adapt.
lintrieur des chapitres : des parcours modulables

Les parcours conduisant la tche nale sont modulables partir dun minimum indiqu pour chacun
des chapitres dans un tableau rcapitulatif qui gure dans ce guide pdagogique. Des choix pourront donc
simposer au professeur en fonction de lhoraire, du niveau de sa classe, de ses centres dintrt et de ceux
des lves et des activits langagires dominantes vises.
Un nombre consquent de textes de nature varie est propos dans chaque chapitre an de permettre
ce choix. On pourra exploiter les documents non tudis dans loption approfondissement / spcialit
propose aux lves de la srie L.
5. Lvaluation
Les activits langagires ne peuvent tre construites de manire isole mais les acquis doivent tre valus
sparment an de donner une image juste du niveau de llve selon lactivit langagire cible : on peut
tre meilleur en rception quen expression, ou plus laise loral qu lcrit, et inversement.
Laccent mis sur lacquisition de comptences par les lves roriente lvaluation et ses formes : il ne
sagit plus uniquement de juger des savoirs ou de noter un niveau selon une norme universelle, mais de
jauger ce que llve sait et peut en faire lorsquil est confront une tche nouvelle pour laquelle il aura
t prpar par des moyens multiples.
Les nouvelles preuves du Baccalaurat prvoient une valuation de chacune des activits langagires.
Password Tle propose diverses modalits dvaluation.

1. une valuation par la tche :
- valuation des comptences de production
- valuation des comptences de rception
2. une valuation
qui constitue une prparation aux preuves du baccalaurat.
Lvaluation des comptences de production

Elle peut se faire divers moments de la squence et/ou de la sance, selon les phases : la restitution
orale de la trace crite ou le compte rendu de recherches faites en autonomie peuvent par exemple tre des
moments dvaluation. Ces moments dvaluation dpendent du choix du professeur.
Elle peut aussi se faire lors dactivits encadres : la tche finale donne lensemble du travail propos
en amont toute sa raison dtre et peut ainsi tre vue comme une valuation de comptences. Elle
demande llve de mettre en uvre, en autonomie, la somme de ses apprentissages. Cette tape
finale est fonde sur une recombinaison de comptences auxquelles on se sera entran. Il ne sagit
pas de montrer strictement son savoir, mais tous ses savoir-faire.
Des grilles proposes la n de chaque chapitre dans ce guide pdagogique sous forme de ches photocopiables
permettent dvaluer les ralisations des lves aussi bien sur lchelle de niveaux du
CECRL que sous forme de notes chiffres.
Lvaluation des comptences de rception

Paralllement aux tches nales de production, des tches de rception (comprhension de lcrit ou de
loral) sont proposes pour chacun des neuf chapitres du manuel, selon lactivit langagire de rception
cible dans le chapitre. De nature varie, les supports contiennent tous, dans des proportions diverses, des
lments factuels informatifs et implicites. Le protocole dvaluation vise la reconstitution du sens et non
uniquement au reprage de formes, qui ne peuvent faire un tout si on ne sait pas les lier.
Le choix a t fait de proposer systmatiquement une valuation par la tche , o les lves doivent
lire ou couter pour faire lactivit propose ;
- les supports sonores, en lien avec les thmes des projets, sont proposs respectivement dans le CD audio
pour la classe (
CD2 valuations) et dans ce guide sous forme de transcriptions ;
- lappareil dvaluation comportant les documents crits et les consignes sont proposs sous forme de
ches photocopiables la n des chapitres dans ce guide ;
- les corrigs et barmes de ces valuations sont galement situs la n de chaque chapitre dans ce guide.
6. La prparation au baccalaurat
Les entranements spcifiques
Cinq chapitres proposent des pages conseils et des entranements spcifiques aux cinq activits langagires values:
Chapitre 1 : expression orale en continu
Chapitre 2 : comprhension de loral
Chapitre 3 : comprhension de lcrit ( partir dun support unique) et expression crite
Chapitre 4 : comprhension de lcrit ( partir de deux textes)
Chapitre 7 : expression orale en interaction
Dans ces pages, outre des extraits du texte de dfinition des preuves (B.O. du 24 novembre 2011), on trouvera des conseils pour aborder les sujets le jour de lpreuve ainsi que des activits guides et commentes.
Les valuations
lissue de chaque chapitre sont proposes des valuations des comptences orales et des comptences
crites construites en conformit avec les textes du B.O. dfinissant les preuves. Ces preuves diffrent
selon les sries. La comprhension de loral nest pas prvue pour la srie L, mais il est utile de se rappeler
que cette comptence est fondamentale la construction de la comptence dexpression orale. Il est donc
recommand dentraner tous les lves la comprhension de loral, et donc dvaluer leurs acquis dans
cette activit langagire.
La comprhension de loral
Un document sonore authentique li la notion aborde dans le chapitre est propos dans le
luations pour chaque chapitre.
CD2 va-
Introduction
Le barme est fourni par la fiche dvaluation et de notation publie avec les nouvelles dfinitions des
preuves : un exemplaire est propos dans ce guide p. 18. Pour chaque document, les lments de corrigs
proposs dans ce guide sont donc prsents sous forme de fiche renseigne avec les lments attendus
pour chaque niveau (ex. p. 52).
Lexpression orale
Elle prendra la forme dune synthse de ce qui a t vu dans le chapitre, adosse la problmatique aborde.
Une fiche rcapitulative (reproduite dans le Workbook ou accessible sur www.didierpassword.fr) aidera les
lves baliser cette synthse orale.
La fiche dvaluation et de notation publie avec les nouvelles dfinitions des preuves (reproduite p. 19 de
ce guide), ne peut, pour cette activit langagire, tre renseigne avec des lments de contenu attendus,
la prestation de llve ne pouvant tre prsuppose.
La comprhension de lcrit
Le sujet est compos dun texte (chapitre 3) ou de plusieurs documents (tous les autres chapitres).
Les questions sont barmes en points ; le total des points, aprs la division indique, donnera la note sur 10.
Lexpression crite
Elle comportera deux sujets dexpression lun de nature narrative, lautre de nature explicative et/ou
argumentative.
Il nexiste pas, pour le moment, de fiche dvaluation et de notation officielle. On pourra valuer lexpression
en tenant compte du traitement du sujet dune part, de la recevabilit linguistique de lautre. Des suggestions
sont fournies dans ce guide p. 20 en fonction des types de sujet, mais il va de soi que ces suggestions seront
obsoltes ds quune fiche de notation officielle aura t publie.
valuation formative / valuation intermdiaire

Recap et Training Tasks
Dans la perspective du statut de la tche nale, les Training Tasks proposes au cours des phases dentranement peuvent tre vues comme des tapes dvaluation formative : ces tches intermdiaires sont axes
sur des lments ncessaires la ralisation de la tche nale ; cette dcomposition permet llve de
sentraner petit petit et de se concentrer chaque fois sur un ou deux points essentiels la tche nale.
Les Recap permettent des rponses partielles la problmatique et posent ainsi des jalons dans lexploration
de la notion telle quelle est illustre par chaque chapitre, dans le but de prparer les lves au compterendu demand lors de lpreuve orale du Baccalaurat.
7. La construction des comptences

Conformment aux niveaux dcrits dans les programmes, les tches nales proposes sont calibres au
niveau B1 vers B2. Les barmes donns pour leur valuation prennent en compte ces deux niveaux.
Pour parvenir la tche nale, le manuel propose aux lves de procder par tapes : la tche est mthodiquement prpare par le travail de rception et de production men partir des supports, et les Training
Tasks permettent de sentraner sur des segments.
Les activits de production orale en continu ou en interaction sont nombreuses an de donner tous la
possibilit damliorer ses comptences. Ces activits serviront galement la mise en place de lexpression
crite : on crira mieux si on sait comment a se dit , au sens littral de lexpression.
La construction des comptences langagires

En situation dentranement, rception et production sont intimement lies. Le sens dun support, crit
ou oral, doit faire lobjet dune ngociation collective, qui encouragera chaque lve sexprimer personnellement la hauteur de ses moyens, aussi modestes soient-ils. Les changes collectifs nourriront les
comptences de rception comme les comptences de production individuelles.
Password propose un appareil pdagogique qui guide sans tlguider : lappareil daccs au sens qui accompagne les supports oraux ou crits dans le manuel contient peu de questions fermes, an de laisser aux lves
la latitude daborder le support librement selon leurs acquis. Le professeur pourra adapter la dmarche ses
lves et posera, sil lestime ncessaire, des questions plus prcises qui lui seront inspires par les ractions
des lves. Ces ractions peuvent tre supposes mais certainement pas afrmes pour tous les lves. Ce
guide pdagogique donne nanmoins des suggestions de mise en uvre au sein de chaque chapitre :
- la construction des activits langagires de production, orales ou crites, se fait au travers de toutes les
activits proposes pour raliser le projet ;
- des activits concernant la phonologie et la phontique balisent galement les parcours an de consolider
10
les stratgies de rception de loral et sont mises en avant lorsque les projets sont oraux (pages Language
Tools et Workbook) ;
- les activits de rception et dexpression (notamment dans les Training Tasks) font lobjet dun entranement rigoureux pour doter les lves des outils conceptuels, langagiers, linguistiques et mthodologiques
ncessaires la ralisation de la tche nale.
II.
LES OBJECTIFS DE PASSWORD Tle
1. Stimuler la communication
Password Tle aide stimuler la communication en classe :
- en donnant loccasion, lenvie et le besoin de sexprimer ;
- en fondant la communication sur des changes rels ;
- en proposant des situations de communication motivantes qui favorisent la participation active.
Le manuel aide le professeur se dcentrer :
- il fait conance aux lves et part de ce quils ont appris en cours danglais, dans dautres disciplines
ou en dehors de lcole ;
- il favorise le travail coopratif, o coute et respect de lautre sont essentiels : ainsi, il aide les lves les
moins laise et valorise ceux qui le sont davantage en favorisant les changes dides et de comptences
lors des travaux en groupe ;
- il encourage la circulation de la parole dlve lve (discuss with the class, discuss in your group,
report back to the other groups) ;
- il soutient les efforts dattention et dcoute (coute active et participation sont favorises par des appels
ractions, des tches dcoute, une incitation la prise de notes et par des pauses rcapitulatives
intervalles rguliers).
2. Entraner avant dvaluer

La construction des comptences, qui implique que llve parvienne mobiliser ses savoirs et savoirfaire pour grer les situations auxquelles il peut tre confront, ncessite que situation dentranement et
situation dvaluation soient clairement distingues. On peut trs brivement rsumer la diffrence entre
lune et lautre en posant le constat suivant :
- ce qui part de llve relve dune dmarche dentranement ;
- ce qui part du professeur relve dune dmarche dvaluation.
Il est entendu que dans les deux cas, cest bien le professeur qui met la squence en uvre en sappuyant
sur ce quil connat du groupe, de ses acquis et de ses besoins.
La situation quotidienne de la classe est une situation dentranement

Partir des lves signie leur laisser la main , cest--dire leur laisser linitiative dans la prise de
parole tout en les accompagnant : les laisser sinterroger eux-mmes sur les reprages faire, ragir et
sexprimer lors de la dcouverte dun support, confronter leurs avis, prendre en compte et exploiter ce quils
ont dire pour questionner ensuite, si besoin est, de manire plus cible.
Seule cette dmarche dentranement peut mener peu peu llve sur la voie de lautonomie langagire
en lencourageant mobiliser ses propres ressources.
Limites et utilit de la dmarche dvaluation

Parce quen classe rception et expression sont intimement lies, une dmarche dentranement en rception impliquera une dmarche dentranement en expression: plus llve sera libre de ragir au document
tudi, plus il pourra utiliser ses propres ressources pour sexprimer. Cest partir de ces propositions
Introduction
11
individuelles, et donc souvent divergentes, que lon pourra construire collectivement une langue recevable
et permettre ainsi chaque lve damliorer sa langue.
La dmarche dvaluation se caractrise gnralement par un questionnement directif. Ce type de
questionnement peut avoir son utilit, mais le privilgier pour solliciter la parole prsente des inconvnients :
- il peut court-circuiter la mmoire immdiate et arrter les lves qui seraient capables de sexprimer sur
ce quils viennent dentendre (souvent les dernires rpliques) mais pas dans lordre choisi par le professeur
(qui dans sa logique personnelle commencera par le commencement) ;
- il impose la communication le schma articiel des questions-rponses, et donne ainsi aux lves
limpression que prendre la parole, cest dabord rpondre des questions... que lon ne se poserait pas
ncessairement demble ;
- il ne permet pas ceux qui nont pas bien compris la question dintervenir ;
- il force llve un cheminement qui nest pas ncessairement le sien un moment donn et contraint sa
parole : llve doit rendre compte du sens dans lordre des questions, ordre qui peut ne pas lui tre vident.
Ce qui ne lui permettra pas de sexprimer, faute de connatre la rponse attendue, ou de savoir comment
laborer cette rponse ;
- il limite lexpression discursive : une question ferme on peut souvent rpondre par des mots isols ;
- il nentrane pas llve faire une synthse de ce quil a compris.
Cest la raison pour laquelle lappareil pdagogique de Password Tle limite les questions.
Il est bien sr possible dutiliser le questionnement directif pour aider structurer la pense et la
parole mais on ne peut ordonner des lments que lorsquon a sufsamment dinformations pour cela et
que lon sait dans quel but on le fait.
Par exemple, lors de la premire dcouverte dun texte on demande souvent who?, what?, where?. Or les
rponses ces questions ncessitent parfois que lon ait pris le temps de relire, de sinterroger, damorcer
la construction du sens, et on ne peut donc pas les poser demble. En revanche, llve peut les utiliser
pour lui-mme, lorsquil y aura t entran, comme stratgie pour baliser la reconstitution du factuel.
Les implications de la dmarche dentranement

Pour tous les textes, crits ou oraux, la dmarche dentranement implique que :
lors de sa prparation, le professeur...
- part effectivement du sens du document et de sa spcicit (quy a-t-il comprendre ? comment est-ce
transmis ?) ;
- fait la part du factuel (quelle est lhistoire ?) et du moins factuel (quel est limplicite / quelles sont les
rfrences culturelles ou autres ?) ;
- fait abstraction de ce que lui, professeur, sait et comprend, pour mieux se mettre la place de llve
lorsquil dcouvre le document.
Dans chaque chapitre de ce guide, les rubriques Analyse du document donnent des indications quant
ces lments.
en classe...
- les lves ont linitiative de la prise de parole ;
- les avis de chacun sont confronts puis conrms ou inrms par retours au document ;
- le questionnement du professeur est dabord le plus large possible pour pouvoir recueillir le maximum davis ;
- des propositions de synthse sont labores en groupes et confrontes.
3. Guider par le sens

Implicite/explicite
Les supports proposs dans Password Tle sont authentiques et contiennent pour la plupart une certaine
dose dimplicite : cet implicite peut tre factuel lorsquil concerne une situation, mais il peut aussi concerner
le ton gnral du discours, les sentiments, penses ou ractions des personnages.
Il conviendra de partir dabord de lexplicite (ce que je peux lire et comprendre) pour aller vers limplicite
(ce que cela peut vouloir indiquer et signier).
Les dmarches suivies dans lappareil daccs au sens sont caractrises par un guidage par le sens et
non par la forme.
Le guidage par le sens ncessite un va-et-vient entre les formes et le sens : en effet, lorsquon se focalise
sur les formes, le prlvement et la restitution telles quelles par les lves ne garantit pas quils les aient
12
ncessairement comprises : si lon veut sassurer de la comprhension et si lon vise le dploiement du

langagier, il est toujours ncessaire de demander reformulations et explicitations, mme si lon estime que
les formes sont connues, videntes ou transparentes . Lobjectif est daider tous les lves produire
et restituer du sens et non reproduire des formes. Sans cette recherche constante du sens, les lves ne
pourront ni toffer leur expression, ni tre tous mens vers les liens effectuer.
La synthse des liens tablis permettra de rsumer le tout pour conduire la mise en vidence du nondit ton, intentions des personnages ou du narrateur que lon pourra alors, avec laide du professeur si
ncessaire, nommer.
Des suggestions sont proposes dans ce guide pour les cas o les lves auraient des difcults effectuer
les reprages de base (encadrs griss En cas de difcults...).
Comprhension du contexte et de la situation

Que ce soit lcrit ou loral, un message ne peut tre compris que si lon connat le contexte dans lequel il
a t mis et, lintrieur de ce contexte, la situation particulire dans laquelle sexpriment les personnes.
Les tapes anticipatives Before listening et Before reading permettent dexaminer cette situation de dpart
an de permettre aux lves de se mettre en condition , de mobiliser des hypothses de sens en accord
avec ce quils savent de la situation ou du genre.
Les lves, en particulier ceux qui sont moins laise, ont toujours du sens dans la tte mme si les formes
leur manquent pour lexprimer. Do la ncessit de procder du sens vers la forme, puis de la forme vers
le sens.
Pour la comprhension de lcrit comme pour celle de loral, un guidage par le sens habitue donc les lves
ne pas percevoir les formes comme des obstacles franchir : ils doivent tre entrans partir du thme,
de la situation, du connu, anticiper et prdire un contenu.
Identification du genre
Le genre auquel appartient le document peut aussi servir de base aux reprages ncessaires : si lon sait
quon va lire ou couter un texte extrait dun roman policier, un conte, un crit militant, on peut prvoir quels
reprages pourront tre pertinents.
Nature du document
Le guidage par le sens repose aussi sur le respect de la nature et de la spcicit des documents :
- un texte destin tre lu ne studie pas comme un texte destin tre entendu ;
- un texte destin tre entendu ne peut pas studier partir de son script ;
- une vido ne studie pas comme un support oral sans images ;
- un texte tir de la presse ne studie pas comme un extrait duvre littraire ;
- un extrait de lm de ction ne se regarde pas comme un documentaire but prcis.
Il est possible de faire couter un texte crit aprs quon la tudi, lorsque son sens a t construit et
compris, dans le but spcique de mettre en relief les liens entre sens et phonologie ; mais la lecture tant
une activit individuelle qui ncessite que lon puisse lire son rythme, on laissera dans un premier temps
les lves dcouvrir lcrit par eux-mmes.
Un document vido a la particularit dassocier limage et le son. Pour en conduire lexploitation, il faut
donc dterminer o et comment lun et lautre...
- se compltent : limage aide alors gnralement comprendre le son ;
- sont redondants : on peut alors se passer du son pour comprendre ;
- sont dissocis : on doit prter attention au son, limage napportant que peu daide.
Types de textes
Ltude des textes selon leur type (narratif, informatif, argumentatif, etc.) doit aussi tre prise en compte. Il
sera utile, sur ce point, de sintresser ce que les lves tudient en classe de franais : les types de textes,
registres et genres y sont abords ds le collge. Lentre par les types de textes fait appel en rception
des stratgies que les lves utilisent aussi en classe de franais et permet, en production, de sappuyer
sur des modles ables de construction du discours.
La place de lanalyse des formes

La comprhension dun document se construit par un va-et-vient entre formes et sens. Lanalyse pralable
des obstacles formels par le professeur lui permettra de sinterroger sur des obstacles ventuels an de
mieux guider les lves.
Introduction
13
Dans un texte crit

Les termes qui peuvent tre incompris sont soit :
- ncessaires, ou constituant une aide prcieuse au sens de lensemble mais difcilement infrables : dans
ce cas il convient de les lucider avant lecture idalement en les posant en jalons lors dactivits antrieures et de ne pas hsiter, si le cas lexige, donner lquivalent en franais ;
- infrables : dans ce cas, aprs avoir encourag les lves faire des hypothses de sens, on pourra
demander une reformulation en anglais (la traduction, cest--dire lquivalent formel en franais, pourra
accessoirement tre demande en n dheure comme conrmation de ce qui a t compris) ;
- pas ncessaires au sens de lensemble et difcilement infrables : dans ce cas, on pourra les ignorer ou
simplement rpondre aux demandes sil y en a. Une vrication la maison pourra tre requise, qui devra
toujours tre suivie dun retour notamment pendant la phase de travail lexical.
En partant de ces principes, trs peu de notes de lexique sont donnes dans le manuel, quels que
soient les textes crits. Ceci rejoint aussi le principe partir du connu de llve : les supports ont t
choisis de manire ce que llve y reconnaisse toujours assez dlments sur lesquels sappuyer dans sa
dcouverte. Pour laider visualiser ces lments connus, souvent plus nombreux que ce quil simagine,
un travail de surlignage est souvent demand : il sera facilit par la reproduction de certains documents
dans le Workbook
et permettra de mettre en vidence ce qui est immdiatement accessible aux
lves. Dans la mesure o le rsultat de ce surlignage, sil est entirement laiss la discrtion de llve,
peut grandement varier, il ne sera demand que le surlignage minimum que lon peut attendre de lui.
Dans un document oral
La comprhension de loral est un entranement faire sens dun ux sonore. Ce sens est transmis la fois
par les formes (mots, morphmes, etc.) et les indices suprasegmentaux (voix, intonations). Les lves
doivent pouvoir, aprs mise au clair de la situation de dpart, reprer des intonations, accentuations, segmentations et des formes quils pourront lier pour construire un sens logique et en accord avec cette situation.
Do limportance de ne pas fragmenter lcoute phrase par phrase mais plutt par blocs de sens, et
dhabituer les lves utiliser leurs propres mots pour restituer ce quils ont saisi. Il ne sagit pas dtre
immdiatement capable de rpter lidentique ce que lon a entendu mais de dire ce que lon pense avoir
compris et de le confronter ce que les autres ont pu saisir, en retournant aux fragments importants qui
restent incompris. Do, encore une fois, lextrme importance de donner aux lves linitiative de la parole
ainsi que des habitudes dinteractivit.
Les obstacles que peuvent gnrer la saisie et lidentication de formes ne sont nanmoins pas ngliger.
Lon ne peut reconnatre, et donc identier, que ce que lon connat dj.
Des formes peuvent ne pas tre saisies :
- parce quelles sont parfaitement inconnues, lcrit comme loral ;
- parce quelles sont connues lcrit mais mconnaissables loral (theatre, par exemple) ;
- parce quelles ne peuvent tre vraiment entendues , disparaissant pour des raisons relevant de phnomnes phonologiques (cest le cas, par exemple, des auxiliaires ou autres mots grammaticaux ).
Il sera utile pour le professeur de discerner au pralable quelles formes absolument ncessaires au sens
du message sont susceptibles de causer des problmes, et de proposer ces formes lcrit et loral
en jalon, lors de sances prcdant celle o le document sera tudi, ou ventuellement lors de la phase
anticipative ltude de ce document.
Transcriptions
Tous les documents sonores proposs dans Password Tle proviennent de sources extrieures (missions
de radio ou autres), ou ont t enregistrs en studio par nos soins partir de briefs non rdigs. Ce guide
pdagogique propose des transcriptions des documents sonores et de la bande son des documents vido
proposs en supports principaux dentranement.
Ces transcriptions peuvent constituer une aide pour le professeur mais ne lui permettent pas elles
seules de mener son travail danalyse du support sonore : seule lcoute du document lui permettra de se
rendre directement compte des particularits de chacun de ces supports et vitera les dangers inhrents
aux prparations de mise en place de la comprhension de loral partir de la transcription crite.
Il est entendu quen situation dapprentissage scolaire et selon les objectifs xs, la consultation du script
aprs coute et lucidation du sens peut tre utile. Dans ce cas, on liera cette consultation une activit qui
renforcera les comptences phonologiques des lves. Par exemple, rcouter un document (dont le sens aura
pralablement t construit) avec le script et stylo en main pour marquer tel ou tel phnomne et entraner
son oreille le reprer.
En revanche, nous ne fournissons pas de script pour les documents audio proposs en valuation la
dmarche gnrale, lorsquil sagit dun examen ou dun concours, est que le jury prpare le barme
lcoute uniquement, sans connaissance pralable de lcrit.
14
4. Dvelopper lautonomie
Les neuf chapitres sont construits de manire accompagner les lves dans lacquisition/la consolidation
dune autonomie langagire et favoriser des transferts de plus en plus importants.
Divers outils sont mis la disposition des lves pour favoriser lautonomie :
- la double-page Stratgies ;
- des entranements sur des savoir-faire cls du chapitre : Training Tasks et activits des pages Language Tools ;
- des entranements la synthse (Recap).
III. EN CLASSE AVEC PASSWORD Tle
1. Formes de travail
La dmarche de Password Tle donne llve un rle majeur. Il sagit pour lui de participer laction et
de dire et faire le plus possible.
La gestion du groupe classe est de ce fait modie : des travaux peuvent ncessiter que les lves travaillent
en groupes de tailles diverses (par deux, trois ou quatre ; par quart, tiers ou moiti de classe). On pourra
aussi prvoir que des travaux soient mens en dehors de la classe, notamment laide des TICE : ceci augmentera lexposition la langue et permettra de se concentrer, dans la classe, sur les travaux ncessitant
un guidage et sur la production orale des lves.
Travail de groupe
Llve apprend mieux en faisant : lentranement vise lautonomie et implique que llve puisse se
confronter la langue sans questionnement magistral prdtermin. Llve doit donc, aussi souvent que
possible, avoir la main dans la dcouverte des supports.
Le travail de groupe permet aux lves de construire leur apprentissage au travers dchanges entre pairs :
linteractivit se fait alors sans lombre de la correction magistrale. Les questions qui se posent, les rponses
que lon trouve, vitent lautocensure. En dautres termes, le travail par groupe permet la ngociation et le
questionnement, dabord en collectivit rduite pour parvenir des rponses qui leur tour seront ngocies
et discutes avec le reste de la classe.
Il sera important de faire comprendre aux lves que ce travail est un entranement supplmentaire et fait
partie de lacquisition de la langue. Il doit se drouler imprativement en anglais.
Ce travail de groupe renforce lentranement la prise de parole et lacquisition de savoir-faire qui vont audel de la matrise des structures de la langue : couter, tenir compte de la parole de lautre, ragir avec pertinence, oser dire pour soi, interroger ses convictions, senrichir de lopinion des autres, apprendre cooprer
Il concourra ainsi une construction rgulire des comptences dexpression orale : la prise de parole en
continu, comme linteraction orale ou le dbat, sont des formes spciques de prise de parole ; elles sont
plus complexes quil ny parat et on devra tudier leurs spcicits de manire explicite. Ces formes de
prise de parole auront t solidement prpares cours aprs cours si les lves sont quips en expression
discursive personnelle.
La formation des groupes

Il conviendra dexpliquer aux lves les raisons de ce travail en groupe pour quils en acceptent les modalits
et parviennent former des groupes efcaces sans intervention trop directive du professeur.
Plusieurs critres peuvent tre pris en compte et/ou privilgis : afnits personnelles, quilibre llesgarons, niveau de chacun, voire possibilits pratiques de se voir aprs la classe dans le cas dun travail
mener en dehors des heures de cours, intrts particuliers par rapport un document choisi
Dans tous les cas, on veillera :
- ne marginaliser et nexclure de fait aucun lve ;
- ne pas constituer des groupes o la trop grande homognit ou au contraire la trop grande htrognit rendrait ce travail de groupe insupportable et contreproductif.
Introduction
15
Il serait nanmoins souhaitable quau cours de lanne tous les lves puissent travailler avec des groupes
diffrents de manire garantir la cohsion de la classe, si importante pour que chacun puisse sexprimer
en son nom propre.
Les consignes
Les lves pourront dautant mieux se saisir de lautonomie qui leur est laisse sils savent clairement
quelle est leur tche et de quelle dure ils disposent pour laccomplir. Les consignes donnes dans le
manuel pourront tre explicites si besoin est an que chacun sache exactement ce que lon attend, et de
lui, et du groupe.
On pourra dsigner ou demander de dsigner un animateur ou modrateur pour rguler les interventions de chacun lintrieur du groupe et garder un il sur la montre. On pourra galement dsigner
ou demander de dsigner un rapporteur ou secrtaire , charg de rendre compte du travail du groupe
la classe.
2. Tout anglais et interactivit

Lapprentissage dune langue vivante ncessite une exposition maximale cette langue. Cette exposition
se fait par le biais des supports audio, vido et crits proposs mais aussi par la parole du groupe, et par
tout ce qui se dit en classe. Do la ncessit du tout anglais, langue objet et outil de travail au sein de la
classe. Il est important de viser une pratique intensive, la plus abondante possible, de la langue trangre.
Plus loutil langue est utilis, plus il devient efcace.
Pour viter un panachage contreproductif de langlais et du franais, toutes les activits hormis, selon les
classes, celles de la rexion sur la langue, sont conduites en langue-cible avec des consignes simples et
accessibles. Cette pratique de la langue ne peut qutre collective : les lves parlent aux lves. Les activits
dentranement qui sappuient sur la dynamique du groupe confortent et stimulent lactivit. La parole doit
circuler dlve lve, de groupes dlves groupes dlves. Linteractivit concourt limplication de tous
dans le travail collectif et permet chacun de contribuer la hauteur de ses moyens, aussi modestes soient-ils.
3. Statut de lerreur et correction des noncs

Pour encourager la prise de parole, notamment celle des lves les moins laise, il est important de
laisser les lves sexprimer et aller au bout de ce quils veulent dire. Cette prise de parole tant destine
au groupe, cest celui-ci de ragir en premier lieu sur la forme (lexique, syntaxe, prononciation) et sur
le fond (validation, interrogation, commentaire). Linteractivit repose sur des habitudes dauto- et dintercorrections, mais aussi dentraide. Le professeur tranchera en dernier recours.
La production orale des lves doit tre le tissu de chaque cours. Cest sur elle que repose limplication
des lves, lenrichissement des productions dlve et les progrs dans lapprentissage.
La correction de la langue est ncessaire en situation dentranement et doit aussi concerner la prononciation, le rythme et lintonation.
Un entranement systmatique
Les entranements, cest--dire la mise en bouche et la mise en oreille , sont dautant plus indispensables quand on ne passe que quelques heures par semaine parler et pratiquer une langue trangre.
La prosodie de la langue anglaise est trs loigne de larticulation syllabique du franais et cest par les
rptitions et les habitudes dcoute que lon peut aider les lves grer les spcicits de ces deux ralits linguistiques. Ainsi, on nhsitera pas faire travailler les lves en autonomie sur leur
CD pour
complter un travail non termin en classe par exemple , puis faire restituer en classe le sens de ce
quils ont compris.
Des rptitions collectives et individuelles dnoncs achevs et dont le sens a t clairement saisi de
tous doivent tre orchestres tout au long du cours rptitions dont le professeur donnera le modle, quil
faudra au besoin redonner, entre deux lves, pour viter les dperditions naturelles.
Les techniques de rptition

Ces rptitions ne sont pas du psittacisme : seuls peuvent tre rpts les noncs dont le sens le fond et
la forme a t saisi, aprs ngociation collective, de tous. Elles sapparentent au travail du comdien qui,
pour apprendre son texte et le dire de manire convaincante, cest--dire le faire vivre, lui donne dabord
du sens, linterprte puis verbalise cette interprtation. On est ici dans le rehearsing.
16
Ces rptitions ont pour but :

- de travailler systmatiquement la correction phonologique (prononciation, intonation, rythme) ;
- daider la mmorisation, notamment des noncs qui seront transcrits dans les cahiers.
Elles peuvent prendre plusieurs formes :
- la rptition collective, ou chorale, peut ne pas impliquer tout le groupe : le professeur peut choisir une
moiti de la classe, ou certaines ranges ;
- la rptition individuelle est importante pour tous, les lves les moins laise en particulier. Les rptitions collectives aident ces derniers rpter, labri du groupe, avant de se lancer dans les rptitions
individuelles.
Le recours la segmentation par groupes de sens/de soufe avant de redire lnonc dans son intgralit,
ou au backward building (segmenter et commencer par la n avant de reprendre tout lnonc) est une aide
lorsque les noncs sont complexes.
Il est aussi utile dajouter dans la trace crite quelques indications phonologiques pour rappeler la
prononciation de certains phonmes (par exemple, faire crire [ei] sous le a de native), la non-ralisation de certaines consonnes (par exemple, faire barrer au crayon noir le k de know) et matrialiser
les accents de mots ou les phnomnes suprasegmentaux (notamment liaisons, groupes de souffle,
intonation montante ou descendante, etc.) par des signes que le professeur choisira et expliquera aux
lves.
4. Aller du connu vers linconnu

Lapprentissage est fond sur un rebrassage ou une ractivation permanente du connu, auquel
on intgre une ou deux nouveauts. Le principe selon lequel le cours est fond sur linteractivit dans la
classe rejoint le principe didactique de base selon lequel toute nouveaut ne peut tre saisie que si elle est
ancre dans un connu rendu accessible tous. Utiliser la langue, cest mobiliser ses acquis pour rutiliser
ce que lon sait dj.
La part dinconnu peut tre rduite par lacquisition dhabitudes et de rexes. Il est ncessaire dinculquer
des habitudes en classe danglais : habitudes de comportement, qui sont celles exiges des lves quelle
que soit la discipline, mais aussi habitudes quils nont peut-tre pas dans dautres cours. Apprendre une
langue trangre est une entreprise particulire dans la mesure o lobjet de lapprentissage est aussi son
outil ; plus on utilise la langue que lon ne matrise pas, plus on a de chances den acqurir une matrise.
Do la ncessit dimplanter des habitudes de prise de parole et dinteractivit, de rptition pour la phonologie, dcoute et de lecture en dehors de la classe.
L inconnu pour les lves est reprsent par les faits de langue ou de culture mais aussi par ce que
lon attend deux pendant le cours : rien de plus dstabilisant et paralysant que de ne pas saisir ce qui est
attendu. Il nexiste pas de cours type et bien des types de cours sont recevables pourvu que llve puisse,
tout moment, saisir la logique de ce quil doit faire, avec quels moyens et dans quel but, immdiat et
court et moyen termes.
Introduction
17
valuations
Name:
Class:
Fiche dvaluation et de notation pour

la comprhension de loral (LV1/LV2)
Situer la prestation du candidat lun des 5 degrs de russite et attribuer cette prestation le
nombre de points indiqu (sans le fractionner en dcimales), de 0 (absence totale de production) 10.
Instructions ofcielles, B.O. n 43 du 24 novembre 2011
A. Comprendre un document de type monologue ou expos

Note sur 10
Critres de russite
A1
A2
B1
B2
Le candidat na pas compris le document. Il nen a repr que des lments

isols, sans parvenir tablir de liens entre eux. Il na pas identifi le sujet ou
le thme du document.
Le candidat est parvenu relever des mots isols, des expressions courantes
et les mettre en relation pour construire une amorce de comprhension du
document.
Le candidat a compris seulement les phrases/les ides les plus simples.
Certaines informations ont t comprises mais le relev est incomplet,
conduisant une comprhension encore lacunaire ou partielle.
Les informations principales ont t releves.
Lessentiel a t compris.
Comprhension satisfaisante.
Des dtails significatifs du document ont t relevs et restitus
conformment sa logique interne.
Le contenu informatif a t compris, ainsi que lattitude du locuteur (ton,
humour, points de vue, etc.). Comprhension fine.
Entourer
la note choisie
LV1 : 1 pt
LV2 : 2 pts
LV1 : 3 pts
LV2 : 4 pts
LV1 : 5 pts
LV2 : 6 pts
LV1 : 8 pts
LV2 : 10 pts
LV1 : 10 pts
B. Comprendre un document de type dialogue ou discussion

Note sur 10
Critres de russite
Le candidat na pas compris le document. Il nen a repr que des lments
isols et nest parvenu en identifier ni le thme ni les interlocuteurs (leur
fonction, leur rle).
A1 Le candidat est parvenu relever des mots isols et des expressions
courantes qui, malgr quelques mises en relation, ne lui ont permis daccder
qu une comprhension superficielle ou partielle du document (en particulier,
les interlocuteurs nont pas t pleinement identifis).
A2 Certaines informations ont t comprises mais le relev est insuffisant et
conduit une comprhension encore lacunaire ou partielle.
Le candidat a su identifier le thme de la discussion et la fonction ou le rle
des interlocuteurs.
B1 Le candidat a su relever les points principaux de la discussion (contexte,
objet, interlocuteurs et, ventuellement, conclusion de lchange).
B2 Le candidat a saisi et relev un nombre suffisant de dtails significatifs
(relations entre les interlocuteurs, tenants et aboutissants, attitude des
locuteurs, ton, humour, points de vue, etc.).
Comprhension fine.
Apprciation :
Note de llve A + B (2 documents) ou A x 2 (1 document) =
Entourer
la note choisie
LV1 : 1 pt
LV2 : 2 pts
LV1 : 3 pts
LV2 : 4 pts
LV1 : 5 pts
LV2 : 6 pts
LV1 : 8 pts
LV2 : 10 pts
LV1 : 10 pts
. /20
18
valuations
Name:
Class:
Fiche dvaluation et de notation

pour lexpression orale (LV1/LV2)
Pour chacune des 3 colonnes, situer la prestation du candidat lun des 4 degrs de russite et
attribuer cette prestation le nombre de points indiqu (sans le fractionner en dcimales), de 0
(absence totale de production) 6 ou 8.
A. Sexprimer en continu
B. Prendre part
une conversation
C. Intelligibilit/recevabilit
linguistique
Degr 1
Degr 1
LV1 : 1 pt
Produit des
noncs trs
LV2 : 1 ou
courts, strotyps, 2 pts
ponctus de
pauses et de faux
dmarrages.
Peut intervenir
simplement, mais
la communication
repose sur la
rptition et la
reformulation.
Degr 2
Degr 2
Degr 2
Rpond et ragit de LV1 : 3 pts

faon simple.
LV2 : 4 pts
Sexprime dans
une langue
comprhensible
malgr un
vocabulaire limit
et des erreurs.
Degr 3
Degr 3
Produit un discours
simple et bref
propos de la notion
prsente.
LV1 : 3 pts
LV2 : 4 pts
Degr 3
Produit un discours
articul et nuanc,
pertinent par
rapport la notion
prsente.
LV1 : 4 pts
LV2 : 5 pts
Degr 1
Prend sa part
dans lchange,
sait au besoin
se reprendre et
reformuler.
LV1 : 2 pts
LV2 : 2 pts
LV1 : 4 pts
LV2 : 6 pts
Sexprime dans
une langue qui
est partiellement
comprhensible.
Sexprime dans une

langue globalement
correcte (pour la
morphosyntaxe
comme pour la
prononciation)
et utilise un
vocabulaire
appropri.
LV1 : 1 ou
2 pts
LV2 : 1 ou
2 pts
LV1 : 3 ou
4 pts
LV2 : 3, 4
ou 5 pts
LV1 : 5 ou
6 pts
LV2 : 6 ou
7 pts
Degr 4
Degr 4
Produit un discours LV1 : 6 pts

argument, inform LV2 : 6 pts
et exprime un point
de vue pertinent par
rapport la notion
prsente.
Argumente,
cherche
convaincre, ragit
avec vivacit et
pertinence.
LV1 : 6 pts
Sexprime dans
une langue
correcte, fluide,
qui sapproche de
lauthenticit.
LV1 : 7 ou
8 pts
LV2 : 8 pts
Note A, sur 6
Sexprimer en
continu
Note B, sur 6
Prendre part une
conversation
./6
Note C, sur 8
Sexprimer en
continu
./8
./6
Degr 4
Apprciation :
Note de llve (total A + B + C) =
. /20
19
valuations
Name:
Class:
Suggestion de grille dvaluation et de notation

pour lexpression crite
Sujet 1
A. Traitement du sujet
Sujet 2
B. Recevabilit
linguistique
A. Traitement du sujet
Consignes non
respectes
Hors sujet partiel
Contresens
Sexprime dans une

langue simple et trs
fautive
Nest pas toujours
comprhensible
Consignes non
respectes
Hors sujet partiel
Contresens
Sexprime dans une

langue simple et trs
fautive
Nest pas toujours
comprhensible
0,5 1,5 pt
0,5 2,5 pts
0,5 1,5 pt
0,5 2,5 pts
Consigne respecte
Sujet compris mais
traitement plat et
superficiel
Construction vague
Sexprime dans
une langue simple
et assez fautive,
mais est toujours
comprhensible
Consigne respecte
Sujet compris mais
traitement plat et
superficiel
Construction vague
Sexprime dans
une langue simple
et assez fautive,
mais est toujours
comprhensible
1,5 3,5 pts
3 5 pts
1,5 3,5 pts
3 5 pts
Effort de construction
Prise en compte des
spcificits du type
dcrit
Traitement adquat et
pertinent du sujet
Diversit des ides
Sexprime dans une

langue globalement
correcte
Utilise un vocabulaire
adapt et une syntaxe
adquate
Effort de construction
Prise en compte des
spcificits du type
dcrit
Traitement adquat et
pertinent du sujet
Diversit des ides
Sexprime dans une

langue globalement
correcte
adapt et une syntaxe
adquate
4 7,5 pts
5,5 8 pts
4 7,5 pts
5,5 8 pts
Ides qui senchanent

bien
Dveloppement
organis
Rfrences culturelles
Touche personnelle
Sexprime dans une

langue trs correcte
riche et une syntaxe
labore
Est capable de
nuancer
Ides qui senchanent

bien
Dveloppement
organis
Rfrences culturelles
Touche personnelle
Sexprime dans une

langue trs correcte
riche et une syntaxe
labore
Est capable de
nuancer
8 10 pts
8,5 10 pts
8 10 pts
8,5 10 pts
Note Sujet 1 (total A + B) = . /20
Note Sujet 2 (total A + B) = . /20
Apprciation :
Note de llve (total sujet 1 + sujet 2) : 2
20
B. Recevabilit
linguistique
. /20
DOSSIER TICE
GRER LES ENREGISTREMENTS DES LVES
Si vous demandez aux lves de senregistrer chez eux par leurs propres moyens (tlphone, lecteur MP3,
micro, etc.), prenez soin de les avertir quils devront vous rendre leur chier sonore au format MP3 ou WAV.
En effet, quand ils utilisent leur tlphone, les formats de chiers ne sont pas forcment reconnus par les
ordinateurs. Il faut donc quils se chargent eux-mmes de la conversion. Pour cela, ils peuvent se rendre
sur un site de conversion de chiers multimdia tel que www.mediaconvert.com ou tlcharger un logiciel
gratuit comme Format Factory.
Ils peuvent ensuite, au choix :
- dposer leur chier sur lespace numrique de travail de ltablissement,
- utiliser les fonctionnalits du Labo de langue de la version numrique enrichie de Password,
- dposer leur chier sur le rseau de ltablissement,
- vous envoyer le chier par mail,
- vous lamener sur cl USB (solution de dernier recours, les cls pouvant contenir des virus).
FAIRE UNE CAPTURE DCRAN

Suivez ces tapes pour raliser une capture dcran et lutiliser comme support dune activit :
- faites apparatre lcran ce que vous souhaitez capturer (page internet, page dun chier Word, ou autre...),
- pressez la touche Impr cran sur votre clavier,
- ouvrez un logiciel de retouche photo, comme Paint (install par dfaut dans les systmes Windows) ou
PhotoFiltre (tlchargeable gratuitement et plus performant),
- dans la fentre ouverte, faites un clic droit et slectionnez coller ,
- la capture de votre cran apparat ; il ne vous reste plus qu la recadrer (clic droit + recadrer ) si besoin,
an de ne garder que la partie qui vous intresse.
Si vous ne disposez pas de la version numrique du manuel, vous pouvez vous-mme retravailler limage :
voir Didactiser un document iconographique, ci-dessous.
DIDACTISER UN DOCUMENT ICONOGRAPHIQUE

Vous devez pour cela utiliser un logiciel de retouche graphique. Nous vous recommandons PhotoFiltre car
il est gratuit, assez simple dutilisation et trs performant.
Il sagit donc ici de :
- recadrer limage pour nen garder que ce que vous souhaitez,
- ter des parties de limage.
Dossier TICE
21
a. Recadrer
1. Copiez/collez limage dans PhotoFiltre aprs avoir ouvert celui-ci.
2. Slectionnez avec votre curseur la partie qui vous intresse (elle se trouve alors encadre de petits tirets
vous pouvez choisir avec la barre doutils droite la forme de votre slection : carre, ovale, triangulaire,
libre, etc.
3. Dans la partie slectionne, cliquez droit puis slectionnez recadrer
Limage se recadre automatiquement :
22
b. ter des parties de limage

1. Slectionnez ce que vous souhaitez enlever.
2. Cliquez droit et slectionnez soit couper (qui laissera un blanc) soit contour et remplissage (qui
vous permettra de remplir immdiatement ce qui a t enlev ou de marquer les contours).
3. Si le fond de limage nest pas une couleur unie mais est compose de motifs, vous pouvez utiliser un
outil trs pratique qui se trouve dans la barre doutils sur la droite (avant de sen servir, il est prfrable de
zoomer sur limage an de pouvoir faire un travail plus minutieux).
Il sagit dun outil tampon de clonage ,

cest dire quil va copier exactement
ce que vous souhaitez avec toutes les
nuances.
Sur lafche ci-dessous, il peut tre intressant denlever un mot de la phrase daccroche. Voici le rsultat
obtenu avec loutil tampon de clonage :
Dossier TICE
23
TLCHARGER UN DOCUMENT SONORE

Rendez vous sur un site proposant des ressources sonores authentiques. Vous pouvez ensuite utiliser un
logiciel de capture tel que : Download Helper (pour Firefox) ou Real Player (pour Internet Explorer).
TRAITEMENT DES DOCUMENTS SONORES

Pour monter des documents, en vue de la passation dune valuation par exemple (insertion de pauses entre
chaque coute dun mme document, etc.), ou intervenir sur des documents (coupes, rythme etc.), vous
aurez besoin dun logiciel de traitement du son comme Audacity (tlchargeable gratuitement sur internet).
Les interventions sur les documents doivent se faire la marge, dans le respect de leur authenticit : ne
pas ralentir le rythme au point de rendre la parole peu naturelle, vrier que les coupes naltrent pas la
cohrence du tout, etc.
a. Montage de documents
Insrer des pauses pour la passation de lpreuve
Se placer lendroit o on souhaite ajouter un silence.
Gnrer : silence .
Indiquer la dure.
Cliquer sur gnrer du silence .
Coller une piste son la suite dune autre
Edition : copier le deuxime enregistrement.
Edition : coller la suite du premier.
Isoler et extraire une partie du document
Slectionner la partie du document qui vous intresse.
Fichier : exporter la slection en .wav .
Enregistrer sous un nouveau nom.
Couper une partie
Se placer au dbut du morceau quon souhaite enlever.
Cliquer gauche et maintenir le clic enfonc pour slectionner la partie souhaite.
dition : couper .
b. Intervenir sur un document sonore
Augmenter le volume
Slectionner la partie du document (ou le tout : slectionner tout ).
Effets : amplication .
Dplacer le petit curseur sur la ligne (vers la droite pour augmenter, vers la gauche pour rduire).
Cocher la case Autoriser la saturation .
Faire une prvisualisation.
Si le rsultat convient : ok , sinon, dplacer nouveau le curseur.
Modier la vitesse
dition : slectionner tout .
Effets : changer le tempo (an de pouvoir ralentir ou acclrer sans modier la hauteur de la voix),
Prvisualisation .
Si le rsultat vous convient : dition : enregistrer .
24
CRER UN BLOG CLASSE

On peut crer un blog collectif avec une classe dans divers buts :
- y hberger les travaux des lves,
- crer une plateforme dchange entre les lves de la classe, entre les lves de plusieurs classes, ou
entre les lves et une classe dun pays tranger.
Beaucoup dhbergeurs proposent des blogs faciles crer. Dans tous les cas, voici quelques recommandations avant de choisir votre hbergeur :
- il peut tre utile que le blog puisse tre collaboratif, cest--dire quil puisse tre administr par plusieurs
administrateurs (au cas o vous souhaiteriez en partager ladministration avec un collgue, de votre tablissement ou dun tablissement ltranger par exemple) ;
- assurez-vous quil puisse bien tre aliment par un grand nombre de contributeurs, car il serait souhaitable que les lves soient tous rdacteurs (ils peuvent publier dessus et ragir aux publications des autres,
mais ne peuvent pas altrer ces dernires) ;
- enn, il est pdagogiquement trs intressant que le blog offre une interface en anglais. Cest le cas
de Blogger par exemple, qui prsente lavantage inestimable doffrir aussi des tutoriels vido en anglais,
loccasion dexploitations pdagogiques dynamiques !
Si vous disposez dun vidoprojecteur ou dun TNI et dune connexion internet (dans votre salle ou en salle
informatique) il sera intressant de procder la cration du blog en classe, et quun lve soit charg de
faire le secrtaire. Les diffrentes rubriques offriront dinestimables occasions de dbattre en anglais : qui
peut lire le blog ? Quelles prfrences en termes de scurit et de protection de lexpression ? Etc.
CRER UNE WEBQUEST

a. Les vises pdagogiques
Il est important de toujours avoir en tte la vise de lactivit de recherche quand on propose aux lves
une webquest :
- Que veut-on quils lisent, regardent, coutent ?
- Dans quel but ?
- Pour quelle mise en commun ensuite en groupe classe ?
Il est vident que plus lactivit de recherche sera personnelle, avec une dimension dautonomie importante
et/ou des tches de recherche diffrentes (pour chacun, ou pour chaque groupe), plus la mise en commun
fera sens et sera dynamique.
b. Les techniques
Pour lancer la webquest, voici quelques conseils qui pourront savrer utiles.
1. Donner aux lves une version papier du support sil y en a un et y faire apparatre les adresses URL
entires (surtout si le travail est faire la maison).
2. Mettre galement leur disposition une version numrique sur laquelle les liens vers les sites consulter
seront actifs, de faon viter les erreurs de saisie dans ladresse. Si le travail est ralis dans ltablissement, la version numrique pourra tre dpose sur lENT ou le rseau ; si le travail est propos la
maison, la version numrique pourra tre mise sur lENT ou le site de ltablissement.
3. Faire des liens hypertexte : pour insrer un lien vers un site dans un document texte, vous avez plusieurs
possibilits :
- crivez ladresse et appuyez sur entre : le lien devient actif automatiquement (ex. : www.google.com),
- crivez le nom du site et rendez-le actif en procdant la manipulation suivante :
Ex.: You will rst browse through the UCLA website (Unit 1).
Surlignez le nom du site (ici : UCLA),
Cliquez sur Insertion (4e onglet en haut),
Cliquez sur Hyperlien ,
Dossier TICE
25
Copiez ladresse URL du site vers lequel vous voulez envoyer les lves.
Collez cette adresse dans lespace appel cible .
Cliquez sur appliquer puis fermer .
Avantage de cette option : linsertion du lien dans votre texte est plus harmonieuse (Ex. : You will browse
through the UCLA website). Inconvnient : llve na plus ladresse sous les yeux sur sa version papier.
Vous pouvez aussi insrer un lien hypertexte sur une image. La dmarche est la mme, sauf que vous
leffectuerez sur une image et non sur un mot (cliquez sur limage, puis insertion , hyperlien , etc.) :
26
UNIT 1 Going to university

Notion : Lieux et formes du pouvoir
Activit langagire dominante : expression orale
Activit langagire associe : comprhension de lcrit
FINALIT ET ORGANISATION GNRALE DU PROJET

Le thme gnral
Le thme de ce chapitre, laccs luniversit et plus gnralement la question des tudes suprieures,
sinscrit dans la notion Lieux et formes du pouvoir . Il permet de sinterroger entre autres sur le but de
ces tudes, leur cot dans diffrents pays (et donc sur le pouvoir de largent en ce qui concerne lavenir des
tudiants), le pouvoir des universits (la faon dont elles permettent aux tudiants de sintgrer dans la
socit), le pouvoir que confre la connaissance.
Les documents proposs ltude sont de nature varie bulletin dinformation, articles de presse, tmoignage, documentaire, extraits de romans et documents iconographiques et offrent plusieurs points de
vue pour aborder le thme.
En fin de parcours
valuation de lexpression orale :
- tche : dfendre une motion concernant laccs luniversit
valuation de la comprhension de lcrit :
- tche dappariement : associer motions et opinions
valuations
dans les cinq activits langagires :
- comprhension dune mission radiophonique,
- expression orale sur le thme de luniversit comme lieu de pouvoir,
- lecture et comprhension de plusieurs documents (extraits dun article de presse et dun roman),
- rdaction dun tmoignage et dun commentaire personnel post sur internet.
Parcours culturel
Parcours culturel
Documents
Notion :
pouvoir que donnent lducation, largent,
pouvoir des individus
Thme :
Laccs luniversit : la question de la slection
en Grande Bretagne et aux tats-Unis ; le rle de
lenseignement suprieur.
Problmatique :
Quelle slection pour laccs lenseignement
suprieur?
Le cot de luniversit pp. 14-15
Students discontent
Teenagers debate
Grer la question du nancement pp. 16-17
A personal story
I dont care what it costs
Comptences universitaires et autres comptences

pp. 18-19
Le but des tudes suprieures pp. 20-21
Good reads pp. 28-29
Tom Wolfe, I am Charlotte Simmons

Jeffrey Eugenides, Middlesex
Philip Roth, Indignation
27
Entranements et valuations
Activits langagires
Faire une intervention
orale argumente pour
dfendre une opinion
Comprendre
des faits et des opinions
dans une motion ou
un tmoignage
Comprendre lexplicite
et saisir limplicite dans
un texte de fiction
Comprendre une
information spcifique
ou une explication dans
un reportage ou un
tmoignage
Tches dentranement
Stratgies
valuations nales
Ragir un point
Exposer un point
Tche 1 :
de vue sur laccs
de vue
Dfendre une motion
luniversit en prsentant
pp. 24-25 concernant les critres
des contre-arguments
dadmission luniversit
p. 15
Tche 2 :
Identifier les opinions de
diffrentes personnes et
leur associer la motion
correspondante
p. 26
Expliquer de manire
argumente les solutions
envisages pour financer
ses tudes
p. 17
Aprs quelques
recherches, expliquer
pour quelle universit
amricaine on aimerait
postuler
p. 19
Entranement
valuation
Exprimer de manire
Expression orale
argumente son opinion
sur le rle de luniversit
p. 21 p. 30
4 situations dvaluation
p. 27
Outils de la langue
Words
Protest p. 14
Students and degrees p. 14
Funding p. 14
Financing p. 17
Facing difficulties p. 17
Non-academic skills p. 19
Transformation p. 21
Accomplishment p. 21
p. 6
Higher education
Prononciation
Grammaire
Accentuation des prpositions

p. 14 et
p. 7
p Prcis de prononciation 7 p. 219
What is / It is that p. 14
et
p. 8
g Prcis grammatical 19 p. 207
Prononciation de la lettre <o>

p. 21
La concession p. 17
et
p. 8
Prononciation et accentuation des

dates, nombres et chiffres
p. 7
Droulement de la squence : les supports et les diffrents parcours possibles

Le chapitre a t conu comme un ensemble cohrent permettant aux lves :
- dexplorer la thmatique en lien avec la notion concerne (ici, Lieux et formes du pouvoir ), et donc de
dcouvrir pas pas les lments qui les aideront rpondre la problmatique pose : What selection for
higher education?,
- de sentraner progressivement la ralisation des deux tches nales.
Cependant, conscients des contraintes horaires, nous proposons dans le tableau ci-dessous un parcours
dune dure maximale de 8 sances, valuation comprise, qui tout en permettant aux lves une exploration partielle mais substantielle de la thmatique, les prparera galement la tche nale prvue dans
lactivit langagire dominante.
Sont indiqus dans le tableau ci-dessous :
en gris, les supports et activits incontournables ncessaires la ralisation de la tche nale dexpression orale : Defend a motion about admission to university.
28

ce picto signale les documents que les lves pourront tudier la maison, en autonomie, avant la
mise en commun en classe.
en blanc, les autres supports et activits proposs que le professeur pourra choisir dtudier en fonction
de sa classe et du temps dont il dispose. Ces activits peuvent tre effectues la maison par la classe
entire ou un groupe dlves et suivies dune mise en commun classe entire. Elles peuvent aussi tre
utilises pour les cours dapprofondissement prvus en option. Par exemple, louverture sur le sens des
tudes (manuel pp. 20-21), pourra tre vue en approfondissement.
Les activits sur la langue (Language tools, manuel pp. 22-23) et sur les Stratgies (manuel pp. 24-25)
seront menes mesure de lavance dans le chapitre, en fonction des documents et tches choisis par le
professeur et des besoins des lves.
PAGES INTRODUCTIVES
pp. 12-13
The cost of university

Students discontent
p. 14
Teenagers debate
pp. 14-15
Recap
p. 14
Training task 1: Yes, but debate
p. 15
Coping with the cost

A personal story
p. 16
I dont care what it costs
p. 16
Recap
p. 17
Training Task 2: Financing your studies
p. 17
Academic and non-academic skills

Its about academics, Coach.
p. 18
Recap
p. 19
p. 19
Training task 3: Extra-curricular activities
The purpose of higher education

Whats the matter with that kid?
p. 20
Recap
p. 21
Training task 4: Two minutes to convince
p. 21
Language tools
p. 22-23
Stratgies
p. 24-25
Final task 1: Defend a motion about admission to university
p. 26
Final task 2: Match motions with peoples opinions
p. 26
valuations
p. 27
Fiche Recap
Mise la disposition des lves dans le Workbook
p. 9 ou sur le site
www.didierpassword.fr
Cette che rcapitulative permet deffectuer une trace crite (sous forme de notes) lissue des diffrents
Recaps puis de faire la synthse en n de chapitre, de manire se prparer activement lpreuve orale
du baccalaurat :
- noter ce que lon a appris,
- progresser dans la dcouverte de la problmatique,
- tablir les liens avec la notion au programme et dautres chapitres traitant la mme notion.
Voir aussi Entranement
Expression orale, manuel p. 30.
29
PAGES INTRODUCTIVES
Objectifs
Prparer les lves entrer dans lunit grce
un document iconographique reprsentant un
campus amricain.
Permettre aux lves de commencer changer
leurs ides sur le sens des tudes suprieures.
Faire merger ce quils connaissent des systmes
universitaires britannique et amricain et peut-tre
amorcer des comparaisons avec la France.
Analyse du document douverture

Il sagit dune photo reprsentant un campus amricain. On y voit des personnes dges varis (professeurs ? tudiants ?) dans lensemble dtendus,
protant dune journe ensoleille pour discuter
ou travailler sur ordinateur sur les marches dun
btiment de style no-classique. On remarque des
bannires qui illustrent les valeurs de luniversit.
Il sagit en fait du blason de luniversit de Harvard
dans le Massachusetts. Veritas est sa devise, tire
dune phrase latine (on pourra demander aux lves
de lassocier truth en anglais, puisque cest un
mot transparent).
Forme de travail
Collective. Le temps consacr cette activit dpendra videmment des ides des lves mais il ne
devrait pas excder une demi-sance et le professeur veillera imprimer un rythme assez soutenu
aux changes.
Suggestions de mise en uvre

tape 1
Laisser les lves ragir librement au document.
partir de leurs productions, on pourra introduire
le vocabulaire quils ne connaissent pas et qui sera
utile tout au long de la squence (voir ci-dessous,
productions possibles).
tape 2
Laisser les lves sexprimer sur les raisons qui
poussent les lycens poursuivre leurs tudes, et
quels types dtudes. On laissera aussi merger
lide que certains prfrent entrer dans la vie active
le plus vite possible.
tape 3
Faire le point sur ce que les lves connaissent des
systmes scolaires anglo-saxons travers les livres
quils ont lus ou les lms et sries quils ont vus.
Laisser les reprsentations merger, et mme les
strotypes : ltude des documents permettra de
30
Manuel pp. 12-13
voir ce quil en est vraiment ultrieurement. La trace

crite sappuiera sur les productions des lves (voir
ci-dessous les productions possibles).
Productions possibles :
tape 1
The photo represents an American campus
(= the grounds of a university or college/
includes all the buildings classrooms, labs,
libraries, student residences, dining facilities,
gym halls, etc.), quite different from a French
university.
We can see several people: they may be students or professors. They are standing or sitting on the steps of a building with big/huge
columns / a neoclassical building. They look
relaxed, enjoying the sunshine, talking or working on their computers.
We notice (bright) red banners/ags/a crimson coat of arms hanging between the pillars.
It is the emblem of Harvard university in Massachusetts. Veritas is its motto (it was part
of a longer Latin phrase); it means truth in
English.
The university may wish to convey a single
and non-ambiguous sentiment / one of the
values it advocates.
tape 2
High-school students may choose to pursue
their education to
- nd a better job / earn a living,
- experience a students life, living far from
their families / meet new people / go out with
them and have endless conversations shaping
a new world,
- enrich their culture / enjoy pure learning.
tape 3
In the USA and in the UK, students often study
very far from their families.
Life on the campuses is well organized and
pleasant.
It is very expensive to study there. (Introduire
tuition fees qui sera ncessaire ensuite.)
A lot of students need to work to pay for their
studies. They can also ask for a loan or a grant.
But then they have massive debts. ( (r)introduire ici en veillant la prononciation [det].)
N.B. : les mots ou expressions souligns peuvent
rsulter de ltoffement des productions au cours des
changes.
Manuel pp. 14-15
Cette double-page propose daborder lun des aspects de la problmatique (laspect nancier) en observant
la situation en Angleterre.
1. Students discontent
Analyse des documents
Ce document vido extrait de CNN Student News
rend compte des manifestations tudiantes qui se
sont droules Londres (Parliament Square) le 9
dcembre 2010. Les participants protestaient contre
ladoption dune loi propose par le gouvernement
visant augmenter les frais de scolarit luniversit de 3,290 9,000 . On remarquera que lun des
manifestants porte un masque : il sagit du masque
de V for Vendetta, une bande dessine cre par
Alan Moore (The League of Extraordinary Gentlemen)
et porte lcran en 2006. Le masque est inspir
de celui de Guy Fawkes et est devenu depuis plusieurs annes un symbole de la rvolte, comme en
tmoigne sa popularit lors du mouvement Occupy
Wall Street en 2011 par exemple.
Le correspondant de CNN, en direct depuis Londres,
sadresse un public amricain et amorce une com-
Manuel p. 14
DVD Vido 1
paraison entre la situation britannique et celle de son

pays. La photo illustre la manifestation.
Les pancartes sur la photo :
Tape man hates cuts = the person who is making
tapes hates to cut anything from his photos; tape man
hates to cuts photos / lm / video / audio.
Coalition of resistance = a coalition of groups ghting
cuts and privatisation = activist group founded in 2010
= (https://twitter.com/#!/cantpaywontpay or http://
www.coalitionofresistance.org.uk/) Sur le site de cette
organisation on peut lire : United campaign against
cuts: longing for a better world.
Socialist Worker : il sagit dun journal (A revolutionary anti-capitalist paper in Britain).
Theres Some Things Money cant buy For education theres mastercard... : dtournement dune publicit tlvise pour MasterCard (Some things money
cant buy For everything else theres MasterCard).
Squenage de la vido
Images
From the beginning
to 0039
the American news
anchor, Carl Azuz,
in the CNN studios
Soundtrack
Carl Azuz, CNN student news anchor
first up though / we are headed off to europe // violent protests in the streets of london /
over a vote in parliament / thats britains government / about college tuition // uk has a limit
/ on how much universities can charge students // this vote / raised that limit nearly 10000
dollars // it was around 4700 originally / now the limit is around 14000 dollars // people who
support this plan say the country needs to cut its deficit // but the protesters argue that
the increase will price some people out of a college education // dan rivers was in london
yesterday / when the protests turned violent // he has more on this situation //
From 0040 to 0145 Dan Rivers, CNN senior international correspondent, London
the London
correspondent
- high angle shot: the
demonstration
- NO written on the
ground (protesters +
police forces: violence
on both sides)
- superimpositions: the
journalist in the street +
mounted police
noises: explosions
its going to result in a trebling of student tuition fees / something that in the us / perhaps
/ people are more used to // but here / there is just no culture of / leaving university
with $50000 / $60000 / $70000 worth of debt / and clearly / this is part of / major austerity
measures to / try and rein in this huge deficit we have here // but this is the result of it /
bitter / anger and violence on the streets / with the police struggling at times / really / to
contain the crowd //
this will impact students // not those who are currently at university / but those who
will go to university // i was talking to one student yesterday / who said look / this isnt
going to affect me / but for my thirteenyearold and elevenyearold brothers / it will have a
massive impact // and she was from a lowerincome family and was saying / her brothers
probably wont go to university because / theyre so worried about mounting up these
massive debts // now the government says / if you go to university / youre going to get a
better job / and youll only have to pay this money back when youre earning over about
$35000 // and therefore / this is a fair way / of doing this and there are safeguards to
help lowerincome / students get into the system //
Lgende :
- Soulign : informations concernant les raisons de la manifestation et ses consquences,
- en gras : les arguments de ceux qui sont pour ou contre la manifestation et la hausse des frais de scolarit,
- en italique : la situation aux USA.
31
Lexique et phonologie
Si certains mots ont t introduits en amont lors de
ltude des pages introductives, comme suggr
plus haut (tuition fees, loan, grant, massive debts),
le lexique ne posera pas de problme majeur. Les
lves peuvent infrer le sens de rein in (= control),
associ austerity et decit, mount up (= accumulate),
associ worried et massive debts, et safeguards
(= rules to protect someone) associ help.
Les journalistes sont comprhensibles et les lves
pourront mettre en place les stratgies dcoute
quils auront dveloppes antrieurement. Si ce
chapitre est le premier de lanne, ce sera loccasion
pour le professeur de les faire rviser et sentraner
grce aux pages Stratgies - Comprendre un monologue, manuel pp. 44-45.
On ne manquera pas, par exemple, de faire remarquer et analyser laccentuation forte du modal will.
Les exercices Stressing prepositions, manuel p. 22
et Workbook
p. 7 pourront tre effectus
en amont, en classe ou la maison.
Formes de travail
1. collective ; 2. collective ; 3. en groupes puis collective ; 4. individuelle.
//
H.E. (renvoyer la problmatique pour que
les lves comprennent H.E.) not just for the
rich even poorer students must be able to
go to university
Tape man hates cuts: and so do students
ironical statement?
Because my Daddy cant pay only rich
students will be able to afford to go to university
/ lower-income students will be penalised / it
will be unfair.
Coalition of resistance different groups
must be uniting to protest over the governments decisions.
Socialist Worker maybe workers support
the students / political opposition to Camerons
/ to the governments liberal policies.
Theres Some Things Money cant buy For
education theres mastercard it implies
money can buy education / you can be educated
only if you are rich enough.
One of the demonstrators is wearing a mask /
the mask that the hero of V for Vendetta wore.
Some people also wore it during the Occupy
Wall street movement.It has become a symbol
of protest.
Accs au sens
1. Les lves sont invits tudier le document
2. On pourra procder par tapes.
iconographique avant de regarder le reportage an

davoir dj une certaine connaissance de la situation, ce qui guidera leur coute.
Visionnement 1 : exploitation des images et du

son. Demander aux lves de reprer les lieux, les
personnes et la situation gnrale.
Visionnement 2 : exploitation de ce qui est dit. Mise

en commun en classe entire de ce qui a t compris.
On ne recherchera pas lexhaustivit ce stade.
People
a march/a demonstration: a crowd of young
people / English students
but an American report
students are protesting over university fees /
are against fees and cuts (three similar placards)
/ they dont want to pay higher fees / dont want
the government to stop nancing universities
/ reduce / cut public nancial contribution to
universities
British parliament must have approved of
rising university tuition fees
smiling or not / sometimes wearing masks not
to be recognized?
shouting slogans against the government / one
with a megaphone
must be voicing concern at how high fees can
be / voicing their disagreement over high fees
students are holding signs up high with different slogans on them
Placards
Stop fees and cuts (x 3) that is the issue /
the students claim is quite clear
//
32
3. a. Pour une comprhension plus ne du document, la classe est divise en trois groupes, chacun
charg dune recherche dinformations spcique :
informations concernant les raisons de la manifestation et ses consquences (groupe 1),
les arguments de ceux qui sont pour ou contre
la manifestation et la hausse des frais de scolarit
(groupe 2),
la situation aux USA (groupe 3).
Se reporter la transcription dans le tableau cidessus. Si le professeur dispose dun laboratoire, il
peut partager la classe en trois groupes travaillant en
autonomie partir de leurs consignes. Le travail peut
aussi se faire en classe avec trois groupes rpartis
gographiquement. Reformulation par groupes avant
mise en commun. Conduire les activits dinfrence
ce stade au sein de chaque groupe.
b. Les groupes changent leurs dcouvertes et

dductions. Inviter les lves se poser mutuellement des questions et ragir aux conclusions de
leurs camarades an de favoriser linteraction en
classe. Le professeur proposera des enrichissements lexicaux.
Reason for the protest

The English MPs (members of parliament)
voted a law to increase the amount of money
that you pay to go to university.
The UK has a limit / a cap on how much
money universities can ask: the limit was
raised nearly 10000 dollars = the government
has decided to remove the cap on tuition fees
( introduire en vue de ltude du second document) / it is three times as high as it used to be.
Consequences
For the students, the law will affect future
students: a lot of them wont go to university
/ they will not have the money to do so / or
they will have to face huge debts and they
dont want to.
For everyone right now, students demonstrate
in the streets and there is violence: people are
hurt / the police hit the demonstrators who
oppose them.
The supporters arguments
Higher tuition fees are necessary: the country
needs to reduce its decit / cannot go on like this.
If you go to university, you get a better job,
you earn money and you can pay the loans back
/ so this is fair.
Poorer students will be helped (will they apply
for grants?).
The opponents arguments
The cost will be too high for some people who
will have to give up the idea of going to university / some students will be deterred from
studying / it will be impossible for them to
enroll at university / it is unfair.
//
//
The situation in the USA
People expect expensive fees / they are used
to having to pay to go to university.
There is a culture of having huge debt / of being
saddled with debts when leaving university.
Students have to pay off / repay enormous
debts when they have a job.
N.B. : les mots ou expressions souligns peuvent rsulter

de ltoffement des productions au cours des changes.
4. Il sagit ici de provoquer limplication dlves de

terminale qui devraient se sentir concerns par le
problme et qui, peut-tre, auront suivi les manifestations sur le mme thme qui se sont droules au
Qubec au printemps 2012 (le printemps drable ,
en rfrence au printemps arabe de 2011).
It is unfair to raise tuition fees: it is the students whose parents are well-off or wealthy /
from affluent families who can go to university.
What is really unacceptable is that money
has an impact on your future, and not just your
abilities.
It is true that if the government must face
huge debts, it cannot pay for all the students.
Etc.
Le professeur incitera les lves utiliser les tournures emphatiques en fournissant un premier modle
si ncessaire. Ce travail sera renforc la maison, par
exemple avec les activits des Language tools What
is/It is that, manuel p. 23 et Workbook
p. 8). Trace crite retant les changes au tableau.
2. Teenagers debate
Manuel p. 15
Analyse du document
La tche nale des lves dans ce chapitre tant de
dfendre une motion, ils devront mobiliser des arguments. Grce ce document extrait du site du Guardian, ils vont dcouvrir davantage darguments pour ou
contre laugmentation des droits de scolarit en GrandeBretagne, et auront ainsi des exemples de formulation.
//
Deux adolescents, membres du Parlement des

Jeunes, donnent leur avis sur la question.
Si le professeur le souhaite et si les lves

connaissent les critres selon lesquels ils
seront nots, ce travail pourra donner lieu
une valuation formative de lexpression orale.
- dtre prts les reformuler oralement et

rpondre aux questions ventuelles de leurs
camarades (question 3, manuel p. 14) ;
- de lancer en classe une discussion avec
leurs camarades sur les diffrences avec le
systme franais.
En cas dtude la maison

- demander aux lves de noter en deux
colonnes les arguments dEmilie et de James,
sous forme de document projetable la
classe (question 2, manuel p. 14) ;
//
Lexique
remove the cap, afuent auront t introduits en
amont.
degree and graduate : renvoyer aux Language Tools,
manuel p. 14.
33
Des mots pourront tre compris grce au contexte :

strive (effort l. 4), peers (myself and my peers l. 4),
foremost (best, l. 2), plug the gap (a large gap to
ll l. 16).
seront mis en avant. Il sagit dune anticipation sur le

contenu de larticle. Vrier que House of Commons
(the larger and more powerful of the two parts of the
British parliament) est connu des lves.
Le professeur pourra demander aux lves de reformuler les mots suivants avant den prciser ventuellement le sens :
jeopardise: spoil something important, destroy students ambition

genuine: sincere
vocational: related to the skills you need to do a
particular job
Formes de travail
1. collective ; 2. individuelle ; 3. en groupes puis
collective ; 4. collective.
Accs au sens
1. Les lves sont invits lire le titre et lintroduction du document an dimaginer les arguments qui
For
Higher tuition fees are necessary because the
country needs to reduce its decit.
Grants will be given to poorer students.
Against
The cost will be too high and it will be impossible for everybody to enroll at university.
Money should not have an impact on your
studies.
Etc.
2. Lecture des deux points de vue et reprage des

ides. Les lves pourront surligner arguments et
justications dans leur Workbook
p. 5.
Arguments :
AGAINST Emilie Adams, 15
proposal to remove the cap on tuition fees: having
a degree is being jeopardised
widening class divide; people from less affluent
backgrounds would be discriminated from achieving
their academic goals
having money shouldnt automatically give you the
right to an education and a high-ying career
those from more affluent areas of society will be
subsequently given an education at no real cost to
themselves
some may have to work part-time throughout their
study or take up a debt in order to buy their degree
a degree will become a status symbol, a reection
of money rather than of peoples effort, commitment
and hard work
will limit those with genuine aspirations and vocational goals moving forward in their chosen career
the wealthier will obtain the more prestigious
degrees while those who struggle to raise the full
funds for their degree may be left with the less prestigious awards
lower attendance of university courses and therefore
the current economic strain will not be decreased
a drop in the sort of jobs that fuel our economy, and
vital key workers like doctors will decline
the value of university is also meeting new people
different from myself: the diversity of people in university will be drastically reduced / separation of
classes / devaluing the wider experience of going to
university
3. Mise en commun en groupe et discussion de ce

qui a t compris. Ensuite, chaque groupe prsente
les arguments lists en reformulant les ides. Le
groupe peut choisir un ou plusieurs porte-paroles.
Le professeur a le choix de demander aux lves
34
FOR James Bartle, 18

to maintain high standards at university we have to
fund our universities on a fair and sustainable basis
a large gap to ll in the university budget
students must make a greater contribution to plug
the gap
in the end it is students who benet most from
having a degree, get better paid jobs
degrees are an investment in our futures
if we get a return on our investment and we start
earning a lot, we make a contribution back into the
system
choice: brilliant universities which are funded
through a fair contribution from graduates or thirdrate universities without investment which give students degrees of little value
de regrouper les arguments par thmes et de les

reformuler, ou bien, pour aider des lves plus en
difcult, la classe liste collectivement tous les
arguments au tableau et le professeur les organise
et fait trouver le chapeau.
Against - Emilie Adams, 15
The rise will widen class divide
Students will come from the same social classes:
only those who can pay will be able to attend
university = the richer will get richer because
they will have good jobs / the poorer wont
be able to get good jobs so will stay poor / get
poorer = there will be no social integration:
- the gap between those who have money and
those who dont will get wider,
- there will be no social mobility.
A degree will show how much money students have
- peoples effort and hard work wont matter
so much
- having money will give some people the right
to an education and they will be successful in
their jobs
Discrimination
- people who are less wealthy wont be able to
achieve their aims at university
- those with sincere aspirations who know what
jobs they want to study for / who have vocational goals wont be able to move forward in their
chosen career
- some will have to work part-time to pay for
their study
- others will accept to have a debt to buy
their degree
- the wealthier will get the better degrees and
the poorer will be left with the worse
It will make going to university seem less
interesting
- fewer students will attend university courses :
more people will need to nd a job / the current
economic difficulties will not be reduced
- the number of necessary key workers like
doctors will decline
For - James Bartle, 18
The problem boils down to this: having excellent universities which are funded through a fair
contribution from graduates or universities of
very bad quality which give students degrees
of little value.
Universities have to maintain high levels of
quality: necessary to provide money to the
universities on a fair basis and for a long time.
Also necessary to ll the gap in the university
budget and students must contribute.
Degrees: an investment in the future / students that benet most from having a degree get
better paid jobs / their business activity will be
successful / they will make a contribution back
into the system. / They will make a contribution
back into the system: it means they will pay
back/repay what they owe one year after having
found a job (if they earn more than 21,000
a year) / if they have no job or earn less than
21,000, they will not repay the money.
4. Les lves comparent la France et lAngleterre,

ce qui devrait permettre de proposer en classe une
discussion vivante. Cependant, dans certains groupes
il sera peut-tre ncessaire que les lves se renseignent dabord, et des recherches pourront tre
effectues la maison. Cette prparation nourrira
la discussion.
Higher education in France is divided between
public universities or grandes coles and specialised (= engineering, business, etc.) schools.
Higher education is funded by the state /
higher education costs are met by the government = the fees are very low / tuition fees are
much more affordable. (A basic fee for a masters
course is about 250 per year).
Students are also expected to pay a charge (of
around 200 per year) for health cover.
Students from low-income families can apply
for scholarships / a state grant = admission to
the university is very cheap (sometimes less
than 10).
The fees for students in public (state-nanced)
grandes coles are very low.
Can be very high / shoot up if the cole
is partially or completely private (Fees for a
classic business school cost between 5,000 and
10,000 a year / an engineering school can cost
up to 15,000). Some public schools are cheaper.
Adapted from http://www.french-property.
com/guides/france/public-services/highereducation/fees/
Recap
On amnera les lves synthtiser les diffrents
aspects du problme pos par le cot des frais de
scolarit luniversit.
The cost of university is a real issue
because
It is about social justice: can universities be free?
Universities do cost money and somebody
has to pay. Who?
How much should studies cost (i.e. who should
have access to them)?
Increasing tuition levels are pricing college
education out of reach of all but the very wealthy / is nancial aid sufficient? / student loan
debt is a real problem.
Should education be paid for through tuition
or later through taxation?
High fees are a message to young people of
limited economic means that they are not
allowed to develop themselves as they see t
in order to contribute back to their society.
//
35
den ajouter dautres le cas chant,

//
We can wonder whether the price of a college
education is worth it: do students then get
better jobs?
We must debate over what societal good a
post-secondary education represents / what
is its value?
In the end, how important is education? Are
people going to reaffirm their belief in the idea
of a just and egalitarian society or choose a
new path?
Training Task 1: Yes but debate

Ce dbat, sorte de dbat circulaire, est un entranement intermdiaire la tche nale.
Objectifs : permettre aux lves
de mmoriser et utiliser les arguments quils ont
dcouverts,
Coping with the cost
de sentraner loral,
de scouter mutuellement an denchaner logiquement les arguments.
tapes et mise en uvre : il est prfrable de faire
travailler les lves par groupes (de 4 6 en fonction
de la classe) an que la parole circule vite, que les
lves soient sollicits plusieurs fois et quils soient
amens rester concentrs et attentifs.
Un lve lance un argument contre la hausse des
frais de scolarit I think the rise of tuition fees is
unfair because studying will become too expensive for
the poorest students ;
un autre lve donne un contre-argument Yes
but if we do not do anything, the universities will not
be able to reduce their decits ;
un troisime intervient But shouldnt the government meet the costs, as it is the case in France?
Et ainsi de suite.
Manuel pp. 16-17
Il sagit prsent danalyser la situation aux USA.

Nous vous recommandons de commencer la double-page par le document vido : 2. I dont care what it costs
(manuel p. 17, et dans ce guide p. 38).
1. A personal story
Analyse du document
Il sagit du tmoignage dune ancienne tudiante
amricaine publi sur un site internet qui sollicite
les rcits personnels des internautes. Lintrt de ce
tmoignage rside dans son authenticit dune part, et
dans la multiplicit des dmarches entreprises par la
jeune femme pour viter davoir contracter des prts
tudiants dautre part. On attirera aussi lattention des
lves sur la conscience quont les Amricains non
seulement de la ncessit des tudes suprieures
mais aussi de leur cot, et sur la grande dtermination quil convient davoir pour accder luniversit.
Nous avons choisi daccompagner ce texte dun
dessin humoristique sur le sujet du nancement
des tudes suprieures. On pourra au passage
dire aux lves que limportance du problme se
mesure peut-tre au nombre trs impressionnant
de cartoons dont il fait lobjet.
Formes de travail
1. collective ; 2. et 3. individuelle puis mise en commun avec toute la classe.
Suggestion de mise en oeuvre
1. Phase danticipation partir du titre et du

cartoon propos en accompagnement du texte.
36
Manuel p. 16
Le titre du document (A personal story) ainsi que
la prsence dans le titre du texte du pronom personnel I permettront aux lves de comprendre
facilement quils vont lire un tmoignage personnel. Le dessin humoristique qui accompagne
le tmoignage illustre parfaitement le paradoxe
doux-amer du systme de financement des tudes
suprieures aux tats-Unis et permettra dassurer
la transition entre le reportage vido I don't care
what it costs, assez poignant, et ce texte plus
lger et optimiste.
On demandera aux lves de mettre en relation le
dessin avec le titre du tmoignage.
Si lon dispose du matriel ncessaire, on pourra
rvler le cartoon progressivement aux lves (ce
qui implique videmment de navoir pas fait ouvrir
les livres). laide dun logiciel de retouche dimage
comme Photoltre (gratuit), on peut altrer ce dessin
en retirant certains lments textuels (supprimer
la n des phrases de la conseillre, droite) an
de crer un dcit informationnel qui favorisera la
rexion des lves (voir dossier TICE Didactiser
un document iconographique p. 000 de ce guide). On
peut ensuite projeter limage au vidoprojecteur ou
au tableau interactif et inviter les lves imaginer
le texte manquant.
In this cartoon, we can see a woman advising
a student / a guidance counsellor.
The student wonders why he should go to
college.
The woman has logical answers:
- if he goes to college, hell get a good job,
- if he gets a good job, he will get/earn a lot of
money,
- if he has money, he will be able to pay back
his college loans.
= going to college will provide him with a good
job which will pay well and will enable him to
pay off his college loans
She is a guidance counselor but does not say
he should go to college to learn more things /
enrich his culture. She has a realistic/practical/
matter-of fact point of view.
What makes it funny/the irony: if you need
to go to university just to get money to pay the
bank back, why bother? = the guidance counselor is in fact saying that going to university is
not a good idea = contrary to what she should
be doing.
The cartoonist wants to denounce the sacrices students have to make to study: they have
to ask for loans to study, but in the end they
have to spend all their money on paying them
back. So it would probably be better to try to
avoid student loans, and that seems to be what
Crystal did.
Given the title of the text, it must be a students testimony about how she managed to
pay her college fees without asking for loans.
Perhaps she got a part-time job / may have had
a part-time job / must have had a job.
Her parents may have saved money for her.
She may have asked all her family to help.
Si les lves ne connaissent pas le sens du verbe

avoided, on pourra ventuellement les accompagner
dans la lecture du chapeau introducteur an de les
aider sappuyer sur les mots connus pour en infrer
le sens. Cette dmarche nous semble dautant plus
importante si ce chapitre est trait ds le dbut de
lanne. Lensemble du contexte immdiat ayant
un sens trs positif (managed, luck and help) et le
caractre inhabituel de cette russite tant soulign
(Im often asked how that happened), les lves ne
devraient pas avoir de mal infrer le sens du verbe.
2. En individuel dans un premier temps, avec prise

de notes par les lves, puis collectivement. La
structure principalement chronologique du rcit
devrait aider les lves suivre la succession des
vnements. On pourra donc les inciter organiser
leurs notes de manire pouvoir ensuite reprendre
cette chronologie.
revenir sur le dtail. An daider les lves faire le

tri parmi les nombreuses informations du texte, on
pourra leur demander de slectionner :
dans chaque partie, une ou deux phrases qui leur
semblent reprsentatives du titre de la partie,
ou dans lensemble du texte, deux ou trois phrases
qui pourraient rpondre chaque lment de la
phrase de conclusion (work, luck, help).
La mise en commun et la comparaison des choix
oprs par les lves leur permettra de commenter
naturellement le texte.
Crystal says that because
Work
- planned her future / knew she would need
money to go to college,
- in her early teens: got jobs (babysitting and
pet-sitting) and saved most of her money,
- got a job as soon as she entered college,
- she had up to three jobs at the same time,
amounting to 60 hours a week, besides her
classes,
- worked hard to get good grades.
Help
- self help: did not spend more money than
necessary / was careful not to spend too much
= lived thriftily,
- help from her parents who lent / loaned her
money,
- got several scholarships, including an academic one (merit-based).
Luck
Her parents eventually wrote off / forgave her
debt as a graduation present.
Crystals story
= story that illustrates where theres a will,
theres a way = if you are determined enough,
you can nd a way to achieve what you want,
even if it is very difficult,
= (very American) can do / self-made person
story = achieve success by ones own efforts
= optimism / condence / resourcefulness in
the face of challenges
b. How do you react to Crystals story?

Crystals story is quite impressive, shes extremely courageous/determined/strong-willed.
I dont know if Id show so much determination.
It must be very difficult to think about and
plan your college education right from your
childhood.
//
3. En individuel puis collectivement.

a. Lexplication de la phrase de conclusion permet
de revenir sur le texte. On part de la synthse pour
37
//
Its unfair, education should be free, people
shouldnt have to make so many sacrices to
benet from education. As Crystal says, she was
lucky to get help from her parents.
Besides, working three jobs at the same time
must have prevented her from studying as much
as she could have, so it could have jeopardized
her education.
//
2. I dont care what it costs
//
On the other hand, being confronted to so
many obstacles/deterrents must make American students more aware of the importance
of their college education.
Manuel p. 17
DVD Vido 2
Analyse du document
Il sagit dune vido extraite dun reportage
de PBS sur le campus de luniversit de Boston en 2008 (lintgralit du reportage peut tre
visionne ici : http://www.pbs.org/newshour/
bb/education/july-dec08/highered_12-08.html).
Ce reportage porte sur laugmentation des droits

de scolarit luniversit et les difcults des
tudiants pour nancer leurs tudes, travers les
tmoignages mouvants de plusieurs tudiants aux
prols et aux parcours trs varis.
Squenage de la vido
Time code
38
Images
Soundtrack
From the
beginning to
030
Students at Umass Boston.
From 031 to
101
Graphs showing the increase in

tuition fees and the price of college
costs.
From 102 to
156
Interview of a student, Ian Witherby. Ian Witherby, student: I think that it becomes a sort of
standard practice to just accept the fact that, if you want
to get what you want out of life, youre going to have to be
in debt.
John Merrow: Ian Witherby will graduate from UMass
Boston this spring with a degree in philosophy and at least
$65,000 in federal and private loans. How long is it going
to take you to pay off the amount of money youre going to
owe?
Ian Witherby: I have no idea. Wild guess, off-the-cuff, 20
years.
John Merrow: But youre 24 now.
Ian Witherby: Yes.
John Merrow: Youll be 44, 45 years old?
Ian Witherby: Yes.
They say how much money they

will owe when they graduate.
About sixty percent of students at four year colleges go

to public institutions like this one.
These colleges are relatively inexpensive but that doesnt
mean theyre cheap.
How many of you when you graduate will owe money?
Almost everyone.
From 25 to 65, 000 dollars.
College costs have been climbing for years. Since the
early 80s, tuition and fees have grown 375%, almost three
times more than median family income.
The average public college now costs about $14,000 per
year and private colleges are approaching $35,000.
With a deteriorating economy forcing cuts in state
spendings, the trend is likely to continue. More students
than ever are borrowing from federal and private lenders
to foot the bill.
John Merrow: Does that scare you?

Ian Witherby: Do what you love and the rest will follow. It
doesnt matter what youre doing or what youre making as
long as youre doing what you really want to be doing.
John Merrow: I dont care what it costs, is that what
youre saying?
Ian Witherby: Its pretty darn close to that, yes.
From 157 to
the end
Interview of another student,

Annabelle Rosario.
We see her at work.
John Merrow: Two years ago, Annabelle Rosario was like

Ian Witherby, taking out high-interest private loans to cover
the cost of her degree. But after graduating from UMass
Dartmouth in 2007, her debt -- $67,000 -- began to take its
toll.
John Merrow: To make her loan payments, which will soon
total about $900 per month, Annabelle works as a high
school career counselor and answers phones at a domestic
abuse hotline. If she continues to make minimum monthly
payments, her debt could swell to over $100,000.
What does your mom say?
Annabelle Rosario: She feels really bad because she
couldnt help as much as she wanted to. You know, you
have those kids who their parents -- they were fortunate
enough to have their parents or grandparents pay for their
education.
And then you have those kids who are below the income
level that, you know, that they couldnt pay for it, and then
you had the state pay for their education. And then you have
people in the middle who get stuck with paying the loans
and all these outrageous, like, bills. Its not fair.
Lexique
Pas de difcults particulires.
Formes de travail
1. collective ; 2. individuelle puis en groupes ; 3. mise
en commun avec toute la classe.
On pourra ventuellement faire travailler les lves
la maison sur le reportage intgral (sans leur
communiquer le lien donn plus haut puisque le
script de la vido y apparat ; le reportage est aussi
disponible sur YouTube : http://www.youtube.com/
watch?v=_iJGIjgdIJc) en partageant la classe en
groupes et en assignant un tmoignage diffrent
chaque groupe. La mise en commun prendra
dautant plus de sens que tous les groupes auront
entendu des tmoignages diffrents mais complmentaires.
Accs au sens
1. Lanticipation se fera partir des lments de la

photographie et du titre du document.
In this picture, we can see a girl. She must be a
student striving to pay for her studies since we
can see her savings. She must be faced with difficulties because she looks down/low/dispirited.
//
//
So we can guess the report must be about
students coping with their tuition fees in a
university in Boston, Massachusetts.
She must resent the price she has to pay but/
and yet/however she doesnt mind, she wants to
pursue her studies all the same, and thats probably why she says I dont care what it costs.
No matter how expensive the tuition fees are,
she wants to...
The title can also be a quotation from the
report, may be a comment from another student
/ a professor / a parent...
2. tape collective : le professeur invitera les lves

identier la nature du document propos et la nature
de luniversit o le reportage a t tourn an que
ce contexte soit compris par tous.
3. En individuel dans un premier temps avec prise de

note par les lves, puis en groupes avec des rles
attribus chacun des groupes :
un premier groupe pourra se focaliser sur la situation gnrale des tudiants (surtout traite dans la
premire partie du reportage) ;
un deuxime groupe pourra se concentrer sur le
cas de Ian Witherby ;
un dernier groupe pourra sintresser la situation
dAnnabelle Rosario.
39
La question 3 peut tre donne trois groupes dlves et faire l'objet d'un travail la maison, aprs un
premier visionnage en classe.
Time code
Each students situation
From the
beginning to
030
Most students
Almost every student in the

class will owe money after
they graduate.
Several reasons:
- tuition fees three times
as high as median family
income,
- cuts in state spendings.
From 102 to
156
Ian Witherby
He will graduate from UMass

Boston this spring with a
degree in philosophy and at
least $65,000 in federal and
private loans.
From 157 to
the end
Annabelle
Rosario
Has a huge debt: $67,000 that

she is trying to pay off.
What they are doing /

have done about it
More and more are
borrowing from private
lenders to foot the bill.
(debt)
determined and strong-willed

resigned / uncomplaining
He thinks debt cannot be avoided,
that if you really know what you
want to do, its worth being in debt.
1. she took out highinterest private loans
2. she now works as a high
school career counselor
and answers phones at a
domestic abuse hotline
Il serait souhaitable de laisser un temps de mise en

commun chaque groupe avant la prsentation devant
la classe entire. On incitera les lves prparer la
restitution loral, partir des notes prises pendant
et aprs lcoute an dviter quils ne rdigent. La
ncessit danalyser les sentiments des tudiants
permettra des changes et des dbats authentiques.
This report was shot at Umass Boston.
It deals with the bad situations/plight of some
students who cannot make ends meet to pay for
their college tuition and fees.
The graphs show that the tuition fees have
increased since the early 1980s and in 2008
they were three times as high as median family
income.
In the report, we can see that nearly all the
students of a class will owe money after they
graduate, between $25,000 and $65,000.
Two students are interviewed. Both students
are in debt, but they do not see things the same
way:
- Ian Witherby is in huge debt, he is likely to
spend the next 20 years paying it off. But even
though/although he owes a lot of money, he
seems resigned as he considers debt as part of
the game. He remains hopeful and determined.
What really matters to him is the job hell do.
//
40
Their feelings
pessimistic
bitter, resentful
She thinks its unfair that as a
student coming from a working
class background, she was too
rich to get maximum grants but not
wealthy enough to be able to pay
for her studies.
She feels bad for her mother who
feels guilty.
//
- Annabelle Rosario seems to feel more pessimistic about the future. Despite/in spite of
her two jobs, she is still unable to overcome
her difficulties.
She also seems to be resentful at the system for
not helping the students who come from the
lower middle class or working class.
Yet, both students are aware that higher
education is necessary if they want to have a
good job. Theyre both determined and willing
to do their best to complete their education,
in spite/despite the difficulties / no matter
what the sacrice / whatever sacrices are
necessary / it may involve.
Cette activit fera surgir des besoins langagiers

naturels tels que la concession. Elle pourra tre
loccasion dun rappel travers les activits des
Language tools (manuel p. 23 et Workbook
p. 8).
On pourra ensuite inviter les lves donner leur
avis sur ces tmoignages et observer la dtermination de ces tudiants, prts tous les sacrices
pour tudier.
Recap
On amnera les lves lister les diffrents moyens
la disposition des tudiants amricains pour nancer leurs tudes.
To nance/pay for/cover their college education, students can:
apply for scholarships/grants, either meritbased or need-based, or specic (student-specic, college-specic, or career-specic),
ask for student loans that they will have to pay
back when they have completed their education,
work part-time,
ask their parents to help them (if they can).
tapes et mise en uvre : selon le temps dont on

dispose, on leur donnera cette tche prparer
la maison ou en classe. tant donn quil sagit de
prendre la parole, il est prfrable de le faire en classe
an que les lves ne soient pas tents de surprparer leur prise de parole, voire de la rdiger.
On peut leur demander de prparer leurs arguments
oralement en petits groupes de trois, en prenant
des notes uniquement sous forme de mots, ce qui
favorisera les changes en langue cible. On pourra
ensuite, au choix, les inviter :
prendre la parole devant la classe et solliciter la
raction des autres,
Training Task 2: Financing your studies

Objectifs : permettre aux lves de poursuivre la
rexion entame partir des documents tudis
dans cette double-page en leur proposant dimaginer quels choix ils opreraient pour nancer leurs
tudes. La prise de parole ne devrait pas excder
3 minutes.
expliquer leurs choix en senregistrant chacun

laide dun lecteur MP3.
Les chiers sonores pourront ensuite tre relevs
par le professeur qui choisira ventuellement de les
valuer (si les critres dvaluation ont videmment
t dgags auparavant avec la classe) ou bien tre
changs entre les lves, qui devront sinter-valuer
en soulignant les points forts et les points travailler.
Academic and non-academic skills
Manuel pp. 18-19
Its about academics, Coach

Analyse du document
Les deux textes de cette double-page sont extraits
de l'uvre de Tom Wolfe, I am Charlotte Simmons,
publi en 2004. Ce roman dresse les portraits croiss
de plusieurs tudiants de luniversit de Dupont, une
universit amricaine ctive trs largement inspire des tablissements dlite de la cte Est, dont
le roman semploie dnoncer le fonctionnement
douteux. Les extraits choisis portent sur lun des
personnages principaux du roman, tudiant dans
cette universit : Jojo Johanssen. Le jeune athlte
a t admis Dupont pour jouer dans lquipe de
basketball et a donc obtenu une bourse ce titre.
Dans le premier extrait que nous proposons, au
moment o le roman commence, Jojo a acquis un
statut de clbrit au sein de luniversit : tout le
monde le connat, cest une star. Lensemble du
roman tant racont par un narrateur omniscient,
on trouve des passages de discours indirect libre,
comme dans ce premier extrait, o Jojo rchit
sa place au sein de luniversit, son avenir, ses
ambitions, mais aussi aux doutes qui lassaillent,
et quil choisit pour le moment de ne pas rvler.
Le deuxime extrait, qui se situe plus loin dans le
roman, est trs diffrent. Il sagit dune conversation
au cours de laquelle Jojo essaie de faire part son
entraneur de ses doutes concernant ses tudes,
son cursus et son envie dexploiter davantage ses

capacits acadmiques. Lentretien dure longtemps,
mais le pauvre Jojo na videmment pas gain de
cause.
Lexique
Il y aura peu de difcults lexicales majeures et
les mots inconnus pourront tre soit infrs, soit
compenss grce au contexte immdiat.
Ex. : dans les trois exemples qui suivent, llve peut
comprendre le sens de la phrase mme sil ignore
les mots souligns en sappuyant sur ce que nous
signalons ici en gras :
If the unthinkable happened and you didnt make it
to the League, it was pretty good credentials just to
be able to say you graduated from Dupont (l. 12-13) ;
He took it as an inside-out compliment. (l.19) ;
The high school would make sure he had all the
grades he needed to stay eligible. (l. 21-22).
Ladjectif stern (l. 30), sil est inconnu des lves,
pourra tre infr grce au verbe turned et au
contraste avec kindly smile. Les mots en italiques
et le mot damned dans les phrases qui suivent
devraient achever de conforter les suppositions des
lves quant au ton de lentraneur.
41
Enn, le two-point-two grade point average (l. 40-41)

risque de ne pas tre compris demble par les
lves mais l encore, le contexte immdiat et la
conjonction so (l. 41) permettent de comprendre
quil sagit certainement dun rsultat, et quil doit
tre bon, ou du moins sufsant.
Toutefois, ce sera une excellente occasion dexpliquer
aux lves ce dont il sagit et de les informer quon
lit plus couramment lacronyme qui correspond
cette moyenne : GPA .
En cas de difcults
Les lves trouveront une aide sous la forme
dun travail dinfrence, Workbook
p. 6.
Help:
1. stern: svre 2. drift along: sintaller,
prendre racine (ici)
- The word things can refer to any obstacle
to their program: some teachers may have
given them a bad mark, they may have refused
to let them attend a class, etc.
- What did the coach think Jojos problem
was at the beginning of the meeting?
He thought that Jojo was having trouble
passing, which means he thought his marks
were not sufcient.
- Highlight the coachs questions throughout
the meeting. What do they reveal about the
coachs views on academics?
He does not feel much respect for academics, he regards them as totally unimportant and as completely disposable.
In this cartoon, there is a man who is probably
being interviewed for a job. He is explaining
how his academic skills have prevented him
from getting an athletic scholarship.
At rst sight, this cartoon is funny. It suggests
that:
- only illiterate people get athletic scholarships,
- it is easier to get a scholarship if you have
athletic skills than if youre academically skilled.
It shows how important sports are in American universities. Theyre much more acknowledged than in France.
It is also a comment on higher education in
the US: the universities are more interested in
winning sports championships than preparing
for good academic degrees / prefer brawn
to brain.
It may be seen as unfair/absurd for those
who can achieve good academic standards but
are not sporty.
It can also be seen as shocking: students who
are not interested in studying / are not capable
of studying can have access to university / suggests that the students who get athletic scholarships are stupid.
2. En individuel, puis collectivement. Dans un premier temps, les lves vont se concentrer sur le
personnage principal et les nombreuses informations donnes sur son identit et sa personnalit.
La consigne donne dans le manuel les invite
comprendre quelle est la situation de Jojo.
Formes de travail
1. collective ; 2. 3. 4. et 5. individuelle puis mise en
commun avec toute la classe.
1. Phase danticipation partir du dessin humoristique

propos. Celui-ci met en exergue les critres dattribution des bourses, qui peuvent sembler paradoxaux.
Comme pour le document de la double-page prcdente, avant de faire ouvrir les livres on pourra projeter
le dessin en ayant t ou cach une partie du texte an
de crer du dcit et de faciliter laccs au sens. Il serait
pertinent de projeter limage (au vidoprojecteur ou au
TNI) en cachant ou en ayant enlev I could read, et de
demander aux lves dimaginer ce qui a pu constituer
un obstacle lobtention de cette bourse sportive.
Exemples de propositions :
I was not skilled enough.
I was too rich / my parents had too much money.
... I couldnt run / jump / swim...
On pourra tenter de les mettre sur la voie en leur
demandant de relier le dessin au titre de la doublepage.
42
Jojo Johanssen is a senior student at Dupont

University and he plays basketball in their team.
Hes very famous, everyone knows who he is.
Ultimately he would like to play in the League.
He seems to be clever (his high-school teachers used to think so), but he doesnt seem to
be working very much.
He has always been helped to get where he is
now. But he cant help worrying that this may
get him into trouble at some point.
The text is written from his perspective, we
learn a lot about his feelings.
3. On pourra proposer aux lves de rchir en

petits groupes ces deux phrases et de comparer
leurs interprtations avant la mise en commun.
He was of a higher order of student (l. 20)
Jojo is very famous in his college, hes not
regarded as a regular student, but as a star.
//
Hes of a higher order of student probably

means he is not subjected to the same demands.
Apparently, he has a particular status and is
not treated like the other students. Hes only
expected to succeed at basketball, and doesnt
have to be good at academics.
Luckily, word of it never got beyond the
classroom. (l. 26)
The narrator talks about a time when one of
Jojos history papers was read to the class.
Jojo had probably / must have had mixed
feelings:
- he had felt excited because he must have
been very proud,
- he had felt embarrassed because it was unusual, but also because he was not supposed to
be bright, everyone expected him to be stupid
because he was an excellent basketball player.
This seems strange / His reaction seems
excessive. He should be proud of his academic
skills too, especially if hes lucky enough to be
good at both academic and non-academic subjects. Here the narrator is being ironic.
Yet, if we take the cartoonists message into
account, Jojos fears seem to be legitimate:
maybe he wouldnt have an athletic scholarship
if he had applied himself and worked / if he had
shown he was a bright student too.
4. Part 2.
Cet change devrait tre assez ais comprendre
pour les lves, dautant quils connatront dj
bien le personnage de Jojo. Quant lentraneur,
Buster Roth, il est tellement conforme au strotype du coach rigide que lon trouve souvent dans
les lms amricains que les lves auront certainement dj des images mentales adquates en
le dcouvrant.
On pourra, au choix, proposer aux lves de
reprendre leur travail en groupes avant la mise
en commun, ou bien donner ce deuxime texte
travailler la maison, le contexte tant dj connu
et le Workbook proposant une aide.
In the rst text, it was obvious that what Jojo
expected from university was:
- a good-quality basketball training,
- a better chance to later play for the League.
But in this second passage, he seems to have
grown and he now expects more from the university: he would like to study academics more
seriously.
The university expects him to keep playing
basketball well enough for the team to compete
against other prestigious universities.
//
//
Dupont University needs him for its reputation. So they are ready to do whatever is necessary to help him focus only on his athletic skills:
- the athletes have tutors who probably help
them study, and may even do their work,
- there is the program Buster Roth talks about:
apparently, some teachers agree to lower the
level of their courses to help the athletes graduate.
5. Productions possibles :
Several elements are striking in Jojos
situation:
he has been admitted into Dupont on account
of his athletic skills while his brother, who must
be brighter, got a less prestigious university,
it seems unfair yet why shouldnt athletics
be rewarded as much as academics?
in order to keep his scholarship, he has to
pretend he is not very clever,
he is prevented from studying academics
harder, probably because his coach is afraid /
fears that may prevent/deter him from training
properly,
yet there are tutors and teachers who help
him get good grades,
the pressure must be so overwhelming that
he seems terried to even explain his feelings
to his coach he doesnt seem to be in charge
of his own situation.
= paradoxical situation
= narrators irony reinforced by the fact that
Jojo likes French, a subject that is seen as terribly complicated/arcane/only for the real scholars (= Jojo tries to explain that what he does
is not so complicated: he read French books in
English, l. 48).
Recap
Il sagit de rcapituler les diffrents talents pris
en compte pour ladmission dans les universits
amricaines. Voir la partie lexicale des Language
tools, manuel p. 22.
On invitera les lves donner leur opinion sur le sujet :
In the USA, admission depends on more
various skills than in France.
It seems fairer: anyone can have a chance to
access higher education:
- the USA may have more all-round students:
students who have various skills and abilities,
- it must be more enriching for the university,
//
43
//
- it must be less frustrating for the students who
choose to keep studying what they like.
It seems unfair to the students who work
hard academically but who have no athletic
skills: some students may not feel the need to
develop certain academic skills that are considered indispensable in France
Training Task 3:
Extra-curricular activities
On proposera ce travail de prfrence la maison
an de gagner du temps. Il sera peut-tre utile de
montrer des lves faibles un exemple de site
internet duniversit amricaine pour quils se familiarisent avec les onglets.
La mise en commun pourra se faire en classe entire
directement, ou bien en groupes pralablement.
The purpose of higher education
Manuel pp. 20-21
Whats the matter with that kid?

Analyse du document
En partant des problmes nanciers poss par
les tudes, il est assez naturel de se demander
quoi elles servent, ce que chacun met derrire le
terme education. Pourquoi dpenser tant dargent ?
Sagit-il uniquement de pouvoir ensuite trouver un
travail ? De sinsrer dans la socit pour y prendre
sa place en tant que citoyen ? Dtudier avant tout
pour son panouissement personnel et pour largir sa culture ? Ltude de cet extrait de Middlesex
de Jeffrey Eugenides devrait permettre aux lves
de dbattre du sujet. crit comme des mmoires,
Middlesex raconte lhistoire de Calliope Stephanides
(Cal, le/la narrateur/narratrice) qui dcouvre 14 ans
quelle est un garon. Cal retrace le rcit de cette
transformation, sur un ton souvent ironique.
Dans cet extrait, Cal voque Chapter Eleven (surnom de son frre) et lattitude de ce dernier face
aux tudes. Ltudiant a vite chang physiquement,
dans ses gots (le portrait de John Lennon p. 21 en
est une illustration) et ne souhaite plus tudier les
mmes sujets que lorsquil est entr luniversit.
Il sagit donc dun texte la premire personne,
majoritairement narratif, o le narrateur rend
compte des modications intervenues chez cet
adolescent-tudiant, et des ractions des autres
membres de la famille. Une des difcults consistera
pour llve bien comprendre la chronologie des
vnements dans les diffrents passages.
Lexique
Certains mots normalement inconnus des lves
ne sont pas ncessaires la construction du sens
du texte, et dautres pourront tre infrs grce au
contexte :
knack: les lves pourraient penser habit, interest,
talent
counter-spin: send the ball back (l. 18)
44
scuttle: end his plans (l. 30: had plans to become an

engineer, now anthropology, so he has changed his
plans)
eldwork (l. 33) est expliqu par les deux phrases
suivantes
spurred on: encouraged, incited, prompted
On prcisera si ncessaire :
hug: putting her arms around her brother to show love
kin bonding: family relationships (donner un synonyme
aux lves sils ne connaissent pas lexpression).
On peut aussi donner lquivalent franais (liens
familiaux) pour gagner du temps puisque le terme
est difcilement infrable.
Sassurer que les lves ont compris que Baker and
Inglis est une cole.
Lexercice Higher education dans le Workbook
p. 6 sera propos en amont pour aider la

comprhension.
Formes de travail
1. collective ; 2. individuelle puis collective ; 3. en
groupes. 4. collective ; 5. individuelle.
1. Les lves sont invits se prparer lire lextrait

en sinterrogeant sur son titre.
kid: an adult must be speaking (father?
mother?)
question + whats the matter: he/she does not
understand the child astonishment/ incomprehension
that kid: that sounds derogatory.
The kid may pose a problem to his parents /
they dont know how to react.
2. Lecture du texte et premire mise en commun de

ce qui a t compris. Les dtails seront repris dans
la troisime phase, mais on amnera les lves
ce stade reprer la chronologie des vnements
du texte an daider ceux dont la comprhension
crite est hsitante.
En cas de difcult
Demander aux lves de relever des rfrences des dates, des moments qui
scandent le temps, puis dy associer des
faits ou vnements :
- in the summer of 72: the narrators brother
went to college (l. 1)
- after his freshman year: he came back one
year later and he had changed (l. 2-3)
- in seventh- and eighth grades: the narrator
was at school and that is when his brother
changed (l. 8-9)
- that summer: after the narrators brothers
freshman year (l. 14)
- Chapter Elevens return to college: after the
vacation following the freshman year (l. 14-15)
- Christmas of 73: four months later (l. 28-29)
- that weekend: a weekend during the Christmas vacation (l. 41-42).
Chapter Elevens
self-transformation
- he had become another person
- hed grown his hair out
- hed started learning the guitar
- he was wearing granny glasses
- he wore faded bell-bottom jeans
- went from science geek to John
Lennon look-alike
- he wore Earth shoes
- he started meditating
- he claimed to understand 2001:
A Space Odyssey
- he bought a motorcycle
- he beat his father at ping-pong
- he decided to study anthropology
The extract spans about 16 months.
The main scene takes place in the summer
of 73.
But the narrator remembers the previous year
(use of past perfect).
He also mentions what happened at Christmas of 73.
3. Pour une comprhension plus ne du texte la

classe est divise en trois groupes, chacun charg
dune recherche dinformations spcique :
informations concernant la transformation de
Chapter Eleven (groupe 1),
les ractions de ses parents (groupe 2),
les relations que la narratrice entretient avec son
frre (groupe 3).
Reformulation par groupes avant mise en commun.
Conduire les activits dinfrence ce stade au sein
de chaque groupe.
Les lves auront repr les lments signiants
dans le texte (cf ci-dessous). La reformulation se
fera au prsent, temps du commentaire.
His parents reactions

- His (Miltons) face turned red
- Whats the matter with that kid?
- Its just a stage. Itll pass.
- It better.
- We wondered what it would be
like.
- As my father had feared, ...
On fera remarquer le passage du I au we (l. 28:

we all wondered) : Chapter Eleven semble sopposer
au reste de la famille.
4. Les groupes changent leurs dcouvertes et

dductions. Inviter les lves se poser mutuellement des questions et ragir aux conclusions de
leurs camarades an de favoriser linteraction en
classe. Le professeur proposera des enrichissements lexicaux.
The narrators relationships

with her brother
- l. 1: hug, sign of love
- l. 12: I understood what was
behind all this
- l. 20: Go! I cheered him on. Beat
Dad!
- l. 21: Chapter Eleven had done it!
Hed beaten Milton!
- l. 40: my brother didnt pay much
attention to me
- l. 42: he took a new interest in me
a. Chapter Eleven has changed
physically: he is now very similar to a star, the
well-known John Lennon / he is dressed in a
casual way (wide trousers, Earth shoes, long
hair, glasses).
hobbies: he is interested in music, meditation,
intellectual/highbrow lms (= serious and said
to be difficult to understand), motorcycling.
//
45
//
//
morally: he can beat his father at table tennis,

so he is now strong enough and dares to do it/he
makes his own choices: he has decided to study
anthropology, that is people and their societies,
and not to please his parents who wanted him
to be an engineer. / John Lennon is a typical
example/ epitomizes his transformation: Chapter
Eleven used to be a science geek (that is someone
unpopular only interested in boring subjects like
sciences) and now he looks like a pop star.
Why has he changed?
- he must have been inuenced by the other
students on his college campus
- he met different people there and started
thinking differently
- far from his family, he managed to assert his
personality
- living with other students, he became familiar
with other hobbies and ideas
- in the 70s on American campuses left-wing
activism, anti-authoritarian spirit so Chapter
Eleven became more rebellious
b. His parents do not seem to understand
and accept his transformation (Itll pass /
we wondered) and his father fears the coming
change/ he is really worried.
c. The narrator seems to love her brother (she hugs him, she supports him when
he plays ping-pong against their father), she
understands him.
At the beginning, Chapter Eleven does not pay
attention to her but then he changes too : he
took a new interest in me (because he studies
anthropology and cares more about people and
what they think?)
l. 32-39: pay attention to the quotation

marks. What do they reveal about the narrators state of mind? (the narrator is mimicking,
laughing at Chapter Eleven / not taking him
seriously)
5. The tone of the extract.
Whose point of view is adopted? How old is

this character? So can he/she understand /
grasp the situation clearly?
To conclude, characterize the tone using
adjectives: ironical and light
Ironical: the situation is amusing because a
transformation happens, the opposite of what
the family expected / the description of Chapter
Eleven is meant to make the readers smile.
Light: seen through a childs eyes
Recap
Il sagit deffectuer une synthse des diffrents points
de vue donns sur le sens des tudes suprieures.
For the parents, the purpose of university
is to
- enable their son to get a good job (becoming
an engineer),
- equip Chapter Eleven to earn a living.
So it is a utilitarian purpose.
For Chapter Eleven, it is to
- assert his personality,
- blossom, following fullling courses.
So it is pure learning / learning for its own sake.
En cas de difcult
Aider les lves avec des questions plus prcises sur quelques aspects du texte.
Situation dj pose : Chapter Eleven has
undergone a transformation his parents cannot
understand. He now looks like J. Lennon.
l. 1-2: a kind of farewell. Is it really a farewell/good bye? What does the narrator mean?
Do you think he is being
serious ; funny reproachful?
l. 10-11: He claimed to understand 2001:
A Space Odyssey, even the ending. What
does the use of even suggest? (that he is
exaggerating / pretending he can understand
something which is difcult to understand for
a lot of people. So the narrator is making fun
of Chapter Eleven)
//
46
On pourra demander aux lves sils voient dautres

raisons de poursuivre des tudes suprieures et de
choisir luniversit.
Universities can
- transmit a common culture and common
standards of citizenship,
- contribute to economic growth,
- extend and deepen human understanding,
- teach different skills.
Students can
- meet new people and come across new ways
of thinking,
- enrich their culture,
- learn about other cultures,
Etc.
tapes et mise en uvre : prparation en classe

ventuellement, mais plutt la maison, de faon
consacrer le temps de classe loral.
Training Task 4: Two minutes

to convince
Objectifs : permettre aux lves de
sentraner prendre la parole en continu,
prendre position, dfendre leur point de vue,
essayer de convaincre leurs camarades,
dfendre des ides en argumentant et en les
illustrant avec des exemples,
travailler lenchanement logique des arguments.
Arguments in logical order

Get a good job
1. people work hard to have
a well-paid job / much more
likely to get a good job if good
degree.
2. studying: enhances your
confidence.
Etc.
On peut demander aux lves de prparer un vrai

brouillon , sous forme de notes, toute rdaction
tant proscrite puisque les lves devront prendre
la parole. Exemple :
Examples to back them up

1. two people with the same
experience: hiring manager will
choose the one with the college
degree because that person has
shown that they have the desire to
be better than the others.
2. getting a degree gives you a
sense of accomplishment / you are
more confident / you can do better
at a job interview. For example, my
elder brother
Useful vocabulary / structures

To convince :
Why dont you listen to me?
If I were you, I would strive to get a
good job.
I am sure you can go far if you go to
university.
I bet its easier to earn a lot of money.
I believe that studying hard is the best
way to get an interesting job.
Why not spend the time necessary to
elevate yourself?
En amont, les lves auront effectu lactivit des Language tools Pronouncing the letter <o>, manuel p. 22,
an de bien prononcer cette voyelle lors de leur prise de parole. Ce sera un des critres de lvaluation de
la prononciation.
LANGUAGE TOOLS Corrigs

Manuel p. 22-23
WORDS
Faux amis
Exemples de productions possibles :
Le contexte se prte bien ce type dexercice qui correspond des confusions souvent faites par les lves.
The cost of tuition fees in the USA is really

prohibitive: it certainly prevents a lot of people
from enrolling at university.
In the USA, students must be ready to pay
off all their debts once they have a job.
1. Im taking an exam tomorrow.

2. You passed your exam.
3. I got good marks.
4. The teacher gave me a lecture1.
5. My brother is being educated at Cambridge.
The price students must devote to their

studies is very low in continental Europe.
Going to university is less costly in continental Europe than in the UK.
Most Canadian students can afford to study
in a university : they do not have to sacrice
too much money.
1. Le professeur attirera lattention des lves sur les deux

sens du mot lecture :
- An exposition of a given subject delivered before an
audience or a class, as for the purpose of instruction.
- An earnest admonition or reproof; a reprimand.
47
Talking about higher education

a.
Students
junior
freshman
senior
sophomore
grant holder
alumni (former
students)
undergraduate
postgraduate
graduate
Staff
Buildings
professor
lecturer
dean
tutor
director
faculty
coach
language lab
institute
administration
bureau
faculty of ...
library
information center
training center
campus
classroom
Degrees
bachelors degree
masters degree
research masters
degree
Ph.D
Courses
social studies
legal studies
psychology
languages
science
law
management
information
technology
medicine
teaching
b. Les lves sexpriment librement (courte prise de parole individuelle) partir de ce quils ont vu dans
le chapitre.
iste
Stressing Prepositions
P R O N U N C I AT I O N
i s te
followed by any complement, it is fully pronounced

(strong form).
La rponse peut aussi tre donne en franais.
Pronouncing the letter <o>
Usually, when the preposition is followed by a complement/appears in the middle of a sentence, it

is hardly pronounced/we can hardly hear it (weak
form). When it appears at the end of a sentence, not
a. et b.
1. []
a. college
dollars
.
job
cost
politics
topic
scholarship
2. []
3. [u]
lose
support
move
report
story
lord
.
New York
short
Remarque : deux autres colonnes doivent tre ajoutes (les lves risquent de ne pas les trouver euxmmes ; essayer de bien leur faire entendre les
nuances phontiques, mme si elles sont nes) :
[] proposal Europe welcome society - profession
[] government
4. [u]
5. []
protest
world
vote
work
diploma
.
proposal
old
over
those
vocation
post
tournures emphatiques (appeles des clives et
pseudo-clives ). Dans les phrases 1.a. et 2.a., les
faits sont prsents de manire neutre, selon lordre
canonique de construction dune phrase en anglais.
Dans la phrase 1.b., la tournure emphatique permet
dinsister sur a class divide; et dans la phrase 2.b.,
sur the future of university education.
g Prcis de grammaire 19 p. 207
GRAMMAR
What is / It is that
48
Practise
1. What I would like to get is a degree in law.
Observe
2. What should only be taken into account is academic results.
Les phrases en italiques permettent de mettre en

avant certaines parties de lnonc. Ce sont des
3. What is needed is a demonstration if we want the

situation to change.
It is a demonstration which/that is needed if we want

the situation to change.
No matter how hard I worked = remise en cause de

la conclusion implicite.
4. What this famous university will soon raise is its

tuition fees.
Phrases 1 et 2 : Even if/although + S + GV
It is its tuition fees which/that this famous university

will soon raise.
Phrases 4 et 5 : Despite/in spite of + GN
5. What lies in our hands is the future of higher

education.
It is the future of higher education which/that lies
in our hands.
Exemples possibles :
What I need more than ever to obtain my
degree is this scholarship.
It is thanks to this scholarship that I will
manage to get my degree.
What I am ready to do to prove my determination is unbelievable.
It is thanks to my determination that I
managed to pass my A level and what I really
need now is this scholarship.
What may stop me from getting my degree is
a lack of money.
Etc.
Phrase 3 : No matter how + adv. + S + GV

Even if et although fonctionnent comme des conjonctions ; despite et in spite of comme des prpositions.
Practise
1. Even if/although my parents can afford to pay
for the tuition fees, I will not apply for this university
because my academic results are not satisfying
enough.
2. Even if/although Laura works hard every day, she
cannot nance her studies.
No matter how hard Laura works every day, she
3. Even if/although John is talented and skilled, his
college application was/has been/will be rejected.
No matter how talented and skilled John is, his
college application
4. Even if/although Mike was/has been entitled to
an athletic scholarship, he (has) decided not to go
to university.
Despite/in spite of his entitlement to an athletic
scholarship, Mike
5. Even if/although my cousin graduated quickly, he
did not nd/he has not found any job as an engineer.
Concession
Observe
Les parties soulignes permettent dexprimer la
concession : elles remettent en cause la conclusion
implicite que lon pourrait tirer des parties non
soulignes.
No matter how quickly my cousin graduated, he

Despite/ in spite of his quick graduation, my cousin
Exemples de productions possibles : voir amorces
donnes dans le manuel p. 23.
I didnt get the scholarship : conclusion implicite = tu

nas pas assez travaill pour avoir de bons rsultats
et obtenir une bourse.
p. 6
WORDS
Higher education
a freshman: a rst-year student
a senior: a fourth-year student
a sophomore: a second-year student
Stressing prepositions
stressed prepositions / unstressed prepositions
b.
i s te
a junior: a third-year student
From Asia. Im so glad we can meet students from

all over the world and learn about new cultures:
thats what university is all about.
P
Workbook
Im going to Durham university, but Im not sure I

really want to. What Im not sure about is the point
of it all.
What are you thinking of? It is a great opportunity
for you!
I know university is probably worth going to, but it
all depends on what you want to go there for.
And what do you want to go there for?
Thats the question!
a. What are you looking at?

At the new students who arrived on the campus at
the beginning of the week.
Where do they come from?
49
Pronouncing and stressing dates, numbers

and figures
iste
b.
a. 'thirty nine'teen 'forty thir'teen six'teen

four'teen 'ninety seven'teen eigh'teen 'fty
f'teen 'eighty 'sixty 'seventy
Hey Mike, I am going to study at the University of

Birmingham next year but Ive just heard the tuition
fees for all undergraduate courses will be 9,000!
Isnt that expensive?
to ask for a ten-year loan to be able to graduate.

It is the cost of higher education that would stop
me from studying there.
What must be incredible in the US is life on a
campus.
2. What I would love to do is studying Arts.
What would make me really happy is to be accepted in an engineer school.
It is an interesting and well-paid job that I would
like to have!
Well, yes it is, Sandra, especially as the students

entering in 2011 only had to pay 3,375. Such a rise
is incredible!
Etc.
Im thinking about applying for a scholarship but

they will only give me about 1,050 a year.
What about applying for a student loan?

Yes, I thought about it. The deadline to send the
application is 31 May 2013. But Im not sure they
will grant me one.
Concession
Although he has a very good degree, he is not
going to run the company yet.
Even if he graduated from Harvard, he will still
have to serve coffee in the morning.
Have you found accommodation?
No matter how hard he studied, he will not earn

as much money as he thought.
Yes I have, the rent is 450 a month. Thats reasonable.
Despite his efforts to get an interesting job, his

missions will be quite limited.
Indeed And you said you had saved up 25% of what

you earned as a saleswoman over the summer, didnt
you? So that should cover some of the costs, I guess.
Concession
GRAMMAR

Although the Kenyan government promised free
primary education for all in 1963, it was made possible in 2003 only.
Even if more students can move onto secondary

school, they are still forced to pay part of their tuition fees.
1. What is surprising about higher education in the

US and in the UK is that students sometimes need
No matter how important literacy and numeracy

skills are, they do not guarantee a reasonable living.
What is / It is that
Manuel pp. 24-25
STRATGIES
Exposer un point de vue
Objectifs
Le but de cette double page dactivits est dentraner
les lves prsenter et dfendre leur point de vue
de manire convaincre leur auditoire. Pour cela
ils devront :
organiser leurs ides,
prparer leur brouillon doral pour cette prise
de parole assez consistante (entre 2 et 5 min),
tapes possibles :
le brouillon doral est prpar la maison,
mise en commun par groupe en classe (environ
10 min) lors du cours suivant,
maintenir lattention de leur auditoire.
en homework, les lves se prparent individuellement la prise de parole,
Suggestions dexploitation
lors d'un second cours, le professeur dsigne deux

ou trois lves pour prsenter leur point de vue sur
la question pose.
Les lves devront mettre en uvre ces stratgies

lors de la tche nale. Il est donc souhaitable quils
se soient entrans au pralable.
On pourra envisager le travail sur cette double page
avant la tche dentranement 1 p. 17 du manuel
50
Financing your studies et/ou la tche dentranement

4 p. 21, Two minutes to convince, ce qui permettra un
premier transfert de ces stratgies.
Il sera possible de demander aux autres lves de

faire une co-valuation formative de leurs camarades
en fonction des critres exposs dans le point
p. 25 du manuel ( Lors de votre expos ) ; la grille
dvaluation utilise lors du projet nal (voir dans

ce guide p. 00) pourra servir de base cette covaluation formative, permettant ainsi aux lves
VALUATIONS
Corrigs
Task 1. Speaking . . . . . . . . . . . . .
20 pts
Suggestion de grille dvaluation
de sapproprier les critres. On veillera toutefois

ne travailler que sur les critres de traitement du
sujet et de prise de parole en continu.
Voir document photocopiable p. 55 de ce guide.
Manuel pp. 26-27
Task 2. Reading . . . . . . . . . . . . . . .
10 pts
Document support :
Prsentation de la tche
Il sagit dune prise de parole en continu pour

dfendre une motion. Cette tche entrane les
lves formuler une opinion et se montrer
convaincant en dveloppant des arguments
qui seront utiles le jour de lpreuve du baccalaurat.
Il sagit dune tche dappariement. Les lves ont

leur disposition cinq sujets de motion ; ils devront
lire six opinions diffrentes et identier quelles
personnes dfendent quelles motions. Toutes les
motions ne sont pas forcment dfendues ; une
mme motion peut tre dfendue par plusieurs
personnes.
Forme de travail
Individuelle.
Propositions de mise en uvre

Il est souhaitable que les lves se soient entrans
au pralable grce aux pages Stratgies (manuel
pp. 24-25) et quils aient lu attentivement les
consignes p. 26 (1. Get ready et 2. Action!). Ils
devront tirer au sort une motion :
- Everybody should be allowed to go to university
without paying anything
- Everybody should be allowed to go to university but
it cannot be free
- Only the best students should go to university without paying anything
Puis ils prendront rapidement quelques notes
(voir Stratgies p. 25 : Prparez votre brouillon
doral). Enn ils prsenteront leur motion la
classe en 2 minutes en maintenant lattention de
leur auditoire (voir Stratgies ).
Il est possible de proposer une tche ceux qui
coutent : valuer avec une grille de critres ;
dterminer quelle motion est dfendue, relever
les arguments mis en avant, etc.
Forme de travail
Individuelle.

Prvoir environ 20 minutes.
Corrigs et barme (Task 2)

Motion
Opinions
Motion 1 Education cannot be

treated as a simple consumer good
Mary
Motion 2 The public school system

does not need a change
no-one
Motion 3 Too many kids go to

college
Bob
Motion 4 College education is

always a plus
John, Joanne
Motion 5 The same subjects should

be taught everywhere
Holly
Entirement correct : 10 pts

5 rponses correctes : 8 pts
1 rponse correcte : 1 pt
Appariement totalement erron : 0 pt
51
VALUATIONS
Corrigs
Manuel p. 27
Comprhension de loral
Documents supports
1. Avant la passation
Voir
Communication du titre accompagnant lenregistrement : "Is it worth going to college?"
les consignes dans le manuel p. 27.
CD2 valuations Piste 1
2. Passation
Grille dvaluation et de notation
(source : B.O. du 24 nov. 2011)
Prsentation du document
Il s'agit d'un extrait dune mission de NPR (National
Public Radio). On entend deux locuteurs : la journaliste qui prsente lmission et lance la discussion,
le professeur duniversit qui rpond longuement.
Le document sapparente donc un dialogue.
Forme de travail
Individuelle.
Proposition de mise en uvre
Prvoir 20 minutes. Trois coutes intgrales au cours

desquelles llve peut prendre des notes comme il
le souhaite au brouillon :
coute 1 - Pause dune minute
coute 3
3. Aprs la dernire coute, llve dispose de

10 minutes pour rendre compte de ce quil a compris, en franais, sur sa copie.
On pourra lui suggrer de remettre aussi son
brouillon que l'on vitera de regarder avant davoir
valu le compte-rendu an de pouvoir observer
le passage entre les notes et la restitution et ainsi
pouvoir mieux aider les lves qui auraient des
difcults dans cette preuve.
La passation et lvaluation de la performance de

llve suivent les instructions ofcielles (B.O. du
24 novembre 2011).
lments de rponse et barme

Les critres apparaissant en colonne de gauche sont ceux du BO du 24 novembre 2011, les lments proposs
en face sont des lments de rponse possibles pour le document dont il est question ici.
Comprendre un document de type dialogue ou discussion

Is it worth going to college?
B.O. du 24 novembre 2011
Niveau
Situer la prestation du candidat lun

des cinq degrs de russite et attribuer
cette prestation le nombre de points
indiqu sans le fractionner en
dcimales de 0 10.
Le candidat na pas compris le
document. Il nen a repr que des
lments isols et nest parvenu
en identifier ni le thme ni les
interlocuteurs (leur fonction, leur rle).
lments de rponse possibles
Quelques mots relevs.
1 pt
A1
Le candidat est parvenu relever

des mots isols et des expressions
courantes qui, malgr quelques mises
en relation, ne lui ont permis daccder
qu une comprhension superficielle
ou partielle du document (en particulier,
les interlocuteurs nont pas t
pleinement identifis).
3 pts
52
Quelques expressions releves.

Thme partiellement compris : lenseignement suprieur /
l'universit.
Imprcisions sur le rle des deux interlocuteurs : un
homme, une femme journaliste.
Niveau
A2

Is it worth going to college?
Certaines informations ont t
comprises mais le relev est insuffisant
et conduit une comprhension
encore lacunaire ou partielle.
Le candidat a su identifier le thme de
la discussion et la fonction ou le rle
des interlocuteurs.
Thme compris : est-ce que cela vaut la peine daller

luniversit? + est-ce une erreur de pousser des jeunes
entrer luniversit?
Interlocuteurs identifis : une journaliste / prsentatrice et
un professeur (nom de famille non exigible).
Plus dinformations partielles releves quen A1.
5 pts
Le candidat a su relever les points
principaux de la discussion (contexte,
objet, interlocuteurs et, ventuellement,
conclusion de lchange).
B1
8 pts
B2
Points principaux relevs.

Contexte : mission de radio / USA
Objet : des universitaires donnent leur point de vue sur la
poursuite dtudes luniversit (plusieurs noms cits / on
nexige pas leur transcription)
Est-ce une bonne chose daller luniversit puisque :
- on nest pas sr de trouver un travail mme avec un
diplme universitaire,
- il existe bon nombre demplois qui ne ncessitent pas de
diplme universitaire
Interlocuteurs : journaliste + un professeur duniversit
Conclusion de lchange : il est de plus en plus difficile de
trouver un travail avec un diplme universitaire
Le candidat a saisi et relev un

Plus de dtails (4 lments parmi les 6 suivants)
nombre suffisant de dtails significatifs. - mission de radio : Tell me more ou NPR relev
Comprhension fine.
- certains jeunes ne devraient pas aller luniversit :
9 une grosse charge financire
9 inadquation entre le type de mtiers qui recrutent et la
formation universitaire
9 trop de diplms sur le march du travail par rapport la
demande.
Points de vue : attitude nuance du professeur, qui approuve
le souhait du Prsident Obama de permettre aux lves du
secondaire de continuer leurs tudes mais souligne que cela
10 pts
ne garantit pas de trouver un emploi
N.B. Les mots souligns correspondent aux lments attendus.

Si des lments ont t relevs plusieurs niveaux, il appartiendra au correcteur de dnir le niveau global
atteint. Le professeur pourra multiplier les points par 2 pour attribuer llve une note sur 20.
Note de llve: note sur 10 2 =
/20
Expression orale
Corrig et barme
Topic : University / Higher Education
2 pts
Grille dvaluation et de notation (source :

B.O. du 24 nov. 2011)
40 pts diviser par 2
Voir
a. The text is an extract from: a newspaper article
Text 1
The text deals with the situation in: the United Kingdom
1 + 1 = 2 pts
Comprhension de lcrit
Documents supports et protocole
Voir documents photocopiables pp. 58-61 de ce

guide.
b. David Lodge :
5 pts
age: 76 (1 pt)
his past professional occupations : former professor of English at Birmingham University + writer
(0,5 x 4 = 2 pts)
his present professional occupation : full-time
novelist (1 pts)
53
Pick out details about

a. David Lodges description of university life (quote the text) 8 pts
in the 1960s
today
For students
generous grants (l. 2)

spread among an academic elite (l. 2) / only
about five or six per cent of people went to
university (l. 12)
a sense of being rather lucky to be at a university
(l. 10)
tuition fees (l. 3)

bearing down on a potentially huge
proportion of young people (l. 3)
pressures facing both universities and
students (l. 16)
For the staff
There was a certain assuredness about their future: Older members of staff are on the whole
Once you had got a job at a university, it was yours disillusioned and most of them have taken
early retirement. (l. 32-33)
for life. You had to do something extremely silly to
lose it. (l. 14-15)
b. The purposes of university: 2 + 2 = 4 pts
the three subjects the narrator studied 3 pts:
in the 1960s: broadening peoples horizons (l. 11)
pre-med - biology / ancient Greek / English literature
today: a purely business view of university education (l. 23) / think of what can directly benet the
commercial sector (l. 24)/ you allow the market to
decide what is done by the universities (l. 28) / the
whole university is a bit like a business (l. 34)
- the reasons why the narrator chose to study these

subjects: 3 pts
Right or wrong? 3 pts

a. In the 60s it was easy to nd a job if you had a
university degree.
Right: It was very competitive for students to get into
higher education but a sense that, once you had, there
was a certain assuredness about your future. (l. 12-13)
b. Some subjects might disappear from the university
curriculum.
Right. Under the Governments proposals, funding
for teaching all university subjects bar maths, science,
technology, engineering and some language courses
will be gradually phased out over the next three
years with the arts and humanities having to rely
on income from students through fees to support
them. (l. 17-21)
c. Students do not always know what they should
study.
Right. This assumes that students know exactly what
they need to be doing. (l. 29)
Text 2
biology - pre-med: I was majoring in pre-med

(money, you see, was the only way to improve my
fortunes, doctors make a lot of money, quod erat
demonstrandum) (l. 5-6)
Greek: This was due to no love for the language
but because I was majoring in pre-med (l. 4) + My
counselor had suggested I take a language to fulll the
humanities requirement. (l. 6-7)
English literature: As the months went by I remained
uninterested, if not downright sickened, by my study of
biology; my grades were poor; I was held in contempt by
teacher and classmate alike. I switched to English
literature (l. 13-14)
the different characters views on the purpose of
education: 2 pts
The narrator wants to study a subject he is interested
in / he wants to study arts for pleasure whereas his/
her parents consider he/she must study to be able
to get a job, to earn money.
Both texts
a. 2 b. 4 c. 3
3 pts
a. Text 2 is an extract from: a novel
Expression crite
1pt
b. Identify: 12 pts
the main characters (position or job, how they are
related): the narrator who studied in a small college
in his/her home town / his/her parents / his/her
father who ran a business 4 pts
54
UNIT 1
valuations
Final task 1
Going to university
Name :
Class :
Speaking
Manuel p. 26
Defend a motion about admission to university

Traitement du sujet
(7 pts)
A2
Prsentation simple et trop

brve, peu structure.
Sest exprim dans une

langue partiellement
comprhensible.
A produit un discours
assez simple avec des
pauses et des faux
dmarrages.
Sest adress son
auditoire en se dtachant
de ses notes.
3 pts

langue comprhensible
malgr un vocabulaire
limit et des erreurs
grammaticales et
phonologiques.
Prsentation structure.
A dvelopp les points
importants avec prcision.
Sest exprim avec une

certaine aisance, avec
de rares pauses ; capable
de reformuler.

langue globalement correcte
(pour la morphosyntaxe
comme pour la
prononciation) et utilise
le vocabulaire appropri.
4 ou 5 pts
4 pts
5 6 pts
A su insister sur les

arguments importants avec
lenvie de convaincre.
A pu parler au moins deux

minutes avec un dbit
rgulier.

langue globalement
correcte et fluide.
6 ou 7 pts
5 pts
7 8 pts
Prsentation simple ; des

efforts de structuration et
dexplication.
3 pts
B1-2
B1-3
B2
Recevabilit
linguistique
(8 pts)
Sest adress son

auditoire mais a lu ses notes.
A produit des noncs
courts, strotyps, avec
de nombreuses pauses.
1 ou 2 pts
1 ou 2 pts
B1-1
Prise de parole
en continu
(5 pts)
1 2 pts
3 4 pts
55
UNIT 1
valuations
Final task 2
Going to university
Name :
Class :
Reading
Manuel p. 26
Match motions with peoples opinions

Read the different opinions given below.
Which motion do these people defend?
Please note: several people can defend the same motion. It may happen that a
motion is defended by nobody.
Motion 1: Education cannot be treated as a simple consumer good
Motion 2: The public school system does not need a change
Motion 3: Too many kids go to college
Motion 4: College education is always a plus
Motion 5: The same subjects should be taught everywhere in high schools
Opinions :
Bob - We must admit that a bachelors degree no longer guarantees a job the unemployment rate for those with a BA has never been so high. You can succeed without going to
college : Americas high-tech, entrepreneurial economy rewards great ideas and innovation,
regardless of ones formal education. For many, onerous student loans will at best neutralize
the increased income they can hope for if they have a college education, and at worst put
them in an untenable nancial situation.
Bob defends motion n . . . . . . . . . . . . . . . .
Mary - Students must not be encouraged to think of themselves as buyers whose view is
to make money, investing only in their own personal human capital. University education is
not something purchased at a high price for private benet. This way of thinking evacuates
the values which are morally necessary in a society.
Mary defends motion n . . . . . . . . . . . . . . . .
Holly - America is too far behind in terms of curriculum. The education is not consistent
and varies from state to state, county to county. The American government should adapt its
curriculum standards to the British education system. It's more universally accepted and
is more effective.
Holly defends motion n. . . . . . . . . . . . . . . .
John - First, to stay competitive, Americans need more education : a decrease in college
degrees will result in an economy that develops slowly. Then getting a college degree has,
and always will be, the best way for lower-income families to improve their economic status.
Moreover, college education provides much more than higher incomes; it produces well-rounded citizens who know how to communicate, solve problems and better understand the world.
John defends motion n . . . . . . . . . . . . . . . .
56
UNIT 1
valuations
Going to university
Name :
Class :
Joanne - Going to high school and not college doubles your chance of being unemployed. In
a rapidly changing global economy, many of the traditionally high-paid jobs in manufacturing
that high school graduates could get are gone forever. And employers are looking for the
kind of cognitive skills that we normally associate with college graduates. And turning from
material considerations, a liberal arts education is likely to produce a more vital civil society
and citizens who can better adapt to changing circumstances.
Joanne defends motion n. . . . . . . . . . . . . . . .
57
UNIT 1
valuations
Going to university
Name :
Class :
Text 1
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
For a picture of how university life has changed over recent decades from the 1960s
era of generous grants spread among an academic elite to the present-day reality of
tuition fees bearing down on a potentially huge proportion of young people time spent
with David Lodge makes it very clear.
Lodge is the former professor of English at Birmingham University who for many years
was able to combine that job with writing novels an indication in itself of how things
used to be. He retired from academic life in 1987 in order to write full-time [].
Now 76, Lodge published his rst novel, The Picturegoers, more than half a century ago
in 1960, the same year that he began teaching at Birmingham. I think there was that
sense of being rather lucky to be at a university then, he says. There was a tremendous
feeling of broadening peoples horizons in the 1960s. At that stage only about ve or six
per cent of people went to university. It was very competitive for students to get into
higher education but a sense that, once you had, there was a certain assuredness about
your future. That was also true for the staff. Lodge admits that "once you had got a job
at a university, it was yours for life. You had to do something extremely silly to lose it.
Contrast that with today, and the pressures facing both universities and students.
And as a result of that process, Lodge says, something valuable is being lost. Under
the Governments proposals, funding for teaching all university subjects bar maths,
science, technology, engineering and some language courses will be gradually phased
out over the next three years with the arts and humanities having to rely on income
from students through fees to support them.
Lodges measured tones belie a rm message. I think thats very regrettable. Its
foolish to take a purely business view of university education and only think of what
can directly benet the commercial sector. Thats not what university education is for.
University can be that, but it should be much more than that. The arts have won us
international acclaim. We get a great deal of income from the arts. We really should
be supporting them.
Its a fallacy the idea that you allow the market to decide what is done by the universities.
This assumes that students know exactly what they need to be doing. It is a very, very
fallacious argument that you only supply where there is demand. If you do that, many
important cultural areas will disappear from what universities have to offer.
How do his former colleagues at Birmingham feel about the changes? Older members
of staff are on the whole disillusioned and most of them have taken early retirement. It
is not what they signed up to do. The whole university is a bit like a business, with a huge
amount of form-lling and assessment and targets. Id have found all that extremely
oppressive and destructive. But with the expansion of university education to the point
where nearly half the population now go on to higher education, Lodge accepts that it
cannot be provided for free to all. If you want to give higher education to a signicant
proportion of the age group, you cant have the quality of life that students had in the
Fifties and Sixties. Youve got to accept that you cant provide it for free. []
41
Monday 28 March 2011, The Independent online

Text 2
1
2
3
4
5
6
7
8
9
10
58
After high school I went to a small college in my home town (my parents were opposed,
as it had been made very plain that I was expected to help my father run his business,
one of the many reasons I was in such an agony to escape) and, during my two years
there, I studied ancient Greek. This was due to no love for the language but because I
was majoring in pre-med (money, you see, was the only way to improve my fortunes,
doctors make a lot of money, quod erat demonstrandum) and my counselor had suggested
I take a language to fulll the humanities requirement; and, since the Greek classes
happened to meet in the afternoon, I took Greek so I could sleep late on Mondays. [...]
I did well at Greek, excelled in it, and I even won an award from the Classics department
my last year. It was my favorite class because it was the only one held in a regular
UNIT 1
valuations
11
12
13
14
15
16
17
Going to university
Name :
Class :
classroom no jars of cow hearts, no smell of formaldehyde, no cages full of screaming

monkeys. Initially I had thought with hard work I could overcome a fundamental
squeamishness and distate for my subject, that perhaps with even harder work I
could simulate something like a talent for it. But this was not the case. As the months
went by I remained uninterested, if not downright sickened, by my study of biology;
my grades were poor; I was held in contempt by teacher and classmate alike. In what
seemed even to me a doomed and Pyrrhic gesture, I switched to English literature
without telling my parents. I felt that I was cutting my own throat by this, that I would
certainly be very sorry.
Donna Tartt, The Secret History, 1992
Read the text carefully, then answer the questions.

What topic do both texts deal with? (Answer with one or two words)
..............................................................................................................................
Text 1
a. Circle the right answer in the following statements:

The text is an extract from: a novel a newspaper article a diary a biography
The text deals with the situation in: Australia The United States Canada - the United Kingdom
b. Find out information about David Lodge:
age: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
his past professional occupations:
............................................................................
his present professional occupation: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pick out details about

a. David Lodges description of university life (quote the text):
in the 1960s
today
For students
For the staff
b. What David Lodge says about the purposes of university (Quote the text):
in the 1960s: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
..............................................................................................................................
today:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
..............................................................................................................................
Decide if the following statements are right or wrong. Justify by quoting the text.
a. In the 60s it was easy to nd a job if you had a university degree.
..............................................................................................................................
..............................................................................................................................
59
UNIT 1
valuations
Going to university
Name :
Class :
b. Some subjects might disappear from the university curriculum.

..............................................................................................................................
..............................................................................................................................
c. Students do not always know what they should study.

..............................................................................................................................
..............................................................................................................................
Text 2
a. Circle the right answer in the following statement:

Text 2 is an extract from: a novel a newspaper article a diary a biography
b. Identify:
the main characters (position or job, how they are related) (Answer in 20 words),
..............................................................................................................................
..............................................................................................................................
the three subjects the narrator studied,

..............................................................................................................................
..............................................................................................................................
the reasons why the narrator chose to study these subjects (quote from the text):
..............................................................................................................................
..............................................................................................................................
the different characters views on the purpose of education (answer in 30 words):

..............................................................................................................................
..............................................................................................................................
Both texts
Relate the following quotations from text 1 to the corresponding quotations from
text 2:
Quotations from text 1
Quotations from text 2
a. We get a great deal of income from the arts.

We really should be supporting them. (l. 26)
1. Greek was my favorite class because it was

the only one held in a regular classroom. (l. 10)
b. a purely business view of university

education. (l. 23)
2. I switched to English literature without telling my

parents. I felt that I was cutting my own throat by
this, that I would certainly be very sorry. (l. 17)
c. This assumes that students know exactly what 3. My counselor had suggested I take a language
they need to be doing. (l. 29)
to fulfill the humanities requirement. (l. 6-7)
4. This was due to no love for the language but
because I was majoring in pre-med (money, you see,
was the only way to improve my fortunes). (l. 4-5)
a. ..........
60
b. ..............
c. ...............
UNIT 1
valuations
Going to university
Name :
Class :
Expression crite
1. A testimony
A famous actor recalls how he started studying drama despite his parents disapproval. Write
his testimony.
2. A comment to have your say

Write a letter to the Editor to give your opinion on David Lodges comment Youve got to accept
that you can provide university education for free.
61
UNIT 2 The new Americans

Notion : Espaces et changes
Activit langagire dominante : comprhension de loral
Activit langagire associe : expression orale

Le thme gnral
Le thme de ce chapitre, les nouveaux immigrants aux tats-Unis, sinscrit dans la notion Espaces et
changes . La problmatique laquelle on apportera des lments de rponse au l des quatre doublespages est la suivante : Quelles sont les aspirations des nouveaux Amricains ?
Les documents proposs ltude sont de nature varie : tmoignages issus de reportages vido ou dmissions radiophoniques, extraits de romans et articles de journaux, graphiques Ils permettent :
de comprendre que les tats-Unis ont t et sont toujours une terre dimmigration,
de dresser plusieurs portraits de nouveaux arrivants aux aspirations diffrentes,
de mesurer limpact de chaque immigrant sur la socit amricaine,
de mieux comprendre lesprit amricain.
En fin de parcours
valuation de lexpression orale en interaction :
tche : prendre part un dbat radiophonique sur les nouveaux Amricains.
valuation de la comprhension de loral :
tche : choisir un invit pour une mission tlvise.
valuation
comprhension dun tmoignage,

expression orale autour de la notion Espaces et changes , en particulier sur ce que les immigrants
apportent au nouveau pays dans lequel ils sinstallent,
lecture et comprhension de plusieurs documents (extrait de roman et de documentaire),
rdaction dune entre de journal intime et dun dialogue argumentatif.
Parcours culturel
Parcours culturel
Documents
Notion :
Espaces et changes
Thme :
Les nouveaux Amricains : le rve amricain est-il
toujours vivant ?
Problmatique :
Quelles sont les aspirations des nouveaux
Amricains ?
Destination, les tats Unis pp. 34-35
A Nation of Nations
Radio Interviews, Personal stories
Documentary, Ellis Island
En qute dune nouvelle vie pp. 36-37
A shot at the American Dream

NPR radio, Immigrants hope their American
Dream is not fading
The Dream Act
Une intgration russie pp. 38-39
Chang Rae Lee, I wasnt unwelcomed

Documentary, Renewed hope
62
Le rve amricain : toujours vivant pp. 40-41
Fareed Zacharia,
I still believe in the American Dream
Stratgies pp. 44-45
Laundromat becomes an English classroom
Culture le : Immigrant communities pp. 48-49
Eavan Bolan, The Emigrant Irish

Margaret Regan, The Death of Josseline
Activits langagires
Comprendre les
points principaux dune
exprience personnelle
Comprendre les points
cls dans un reportage
tlvis
Poser/rpondre
des questions sur une
exprience personnelle
Comprendre des
informations et des
opinions dans un article
de presse
Comprendre les faits
principaux, lidentit
des personnages, leurs
actes et leurs motivations
dans des tmoignages
personnels et des textes
littraires
Tches dentranement
Stratgies
valuations nales
Tche 1 :
Comprendre
Aprs quelques
Prendre part un dbat
un monologue
recherches, rdiger une
entre pour un livret de
pp. 44 - 45 radiophonique sur les
nouveaux Amricains
prsentation du muse de
limmigration Ellis Island
p. 35
Tche 2 :
Choisir un invit pour
une mission tlvise
Faire un bref expos
pour prsenter et
p. 46
commenter une photo
p. 37
Rechercher et
changer des informations
sur des personnalits
amricaines dorigine
trangre
p. 39
Entranement
valuation
Discuter la dfinition
de lexpression le rve
amricain dans le but
Comprhension
de loral
de rdiger un tweet
p. 41
p. 50
p. 47
Outils de la langue
Words
Immigration p. 35
Obstacles and Success p. 35
Work p. 36
Feelings p. 36
Integration p. 39
Achievements p. 39
Can-do spirit p. 41
Prosperity / Want p. 41
Mots composs p. 17
Prononciation
Grammaire
Rythme et formes faibles p. 42

et
p. 17
Want, would like, expect sb to

p. 18
p. 43 et
Accentuation des mots composs

p. 42
When / If... p. 43 et
p. 18
Terminaisons en -ion p. 42

Lensemble du parcours permet aux lves dexplorer la thmatique des nouveaux Amricains en lien avec
la notion Espaces et changes et de sentraner la ralisation des tches nales dans les deux activits
langagires plus spciquement vises. Cependant, conscients des contraintes horaires, nous proposons
dans le tableau ci-dessous un parcours dune dure maximale de 8 sances, valuation comprise, qui tout
en permettant une exploration partielle mais substantielle de la thmatique, les prparera galement la
tche nale prvue pour lactivit dominante en comprhension de loral.
63

en gris, les supports et activits incontournables ncessaires la ralisation de la tche nale dans
lactivit langagire dominante du chapitre : Guest selection for a talk show.
en blanc , les autres supports et activits proposs que le professeur pourra choisir dtudier en fonction
de sa classe et du temps dont il dispose.
Ces activits peuvent tre effectues la maison, par la classe entire ou un groupe dlves, et suivies
dune mise en commun classe entire. Elles peuvent aussi tre utilises pour les cours dapprofondissement en option.
Les activits sur la langue (Language Tools, manuel pp. 42-43) et sur les Stratgies (manuel pp. 44-45)
seront menes mesure de lavance dans le chapitre, en fonction des documents et des tches choisis
par le professeur et des besoins des lves.
PAGES INTRODUCTIVES
p. 32
Destination America
A Nation of Nations
p. 34
Personal stories
p. 35
Recap
p. 35
p. 35
Training Task 1: A presentation leaflet
In search of a better life

A shot at the American Dream
p. 36
Immigrants hope their dream is not fading
p. 36
The Dream Act
p. 37
Recap
p. 37
Training Task 2: Picture commentary
p. 37
Successful integration
I wasnt unwelcomed
p. 38
Renewed hope
p. 39
Recap
p. 39
Training Task 3: Faces of America
p. 39
Keeping the American Dream alive

p. 40
Recap
p. 41
p. 41
Training Task 4: Tweeting the Dream

Language tools
p. 42
Stratgies
p. 44
Final Task 1: Take part in a radio programme about the New Americans
p. 46
Final Task 2: Guest selection for a talk show
p. 46
p. 47
valuations
Fiche Recap
p. 19 ou sur le site
www.didierpassword.fr.
Cette che rcapitulative permet deffectuer une trace crite (de prfrence sous forme de notes) lissue
des diffrents Recaps et de faire la synthse en n de chapitre, de manire se prparer activement
lpreuve orale du baccalaurat :
noter ce que lon a appris,
progresser dans la dcouverte de la problmatique,
64
tablir les liens avec la notion au programme et

dautres chapitres traitant la mme notion.
Les lves peuvent la remplir hors classe suite
ltude de chaque double-page et elle peut tre utilise pour le rcapitulatif de dbut dheure suivante.
Dans loptique de la prparation au baccalaurat,
cette che servira de support aux lves pour sentraner la prsentation orale de la notion. En effet,
les rponses aux questions des Recaps (voir les

suggestions dans les pages suivantes) permettent
aux lves de btir peu peu leur prise de parole
en inscrivant le thme du chapitre dans la notion
plus vaste d Espaces et changes . En n dtude,
ils auront ainsi dvelopp des ides sur lesquelles
appuyer leur prsentation.
manuel p. 30.
PAGES INTRODUCTIVES
Objectifs
Permettre aux lves de rentrer dans la problmatique du chapitre en illustrant ce que peut ventuellement recouvrir le titre : The new Americans.
Amener les lves sinterroger sur les consquences de limmigration pour les pays et pour les
immigrants eux-mmes.

Une couverture du clbre magazine amricain,
Time. On y voit le visage en gros plan dune femme
imaginaire cr entirement par ordinateur, synthse
des portraits des personnes dorigines diverses qui
gurent larrire-plan. Le caractre mosaque
(assemblage de parts disparates faisant un tout
esthtiquement quilibr) de ce portrait ainsi que le
titre et les sous-titres posent clairement le visage de
lAmrique, socit multiculturelle capable dintgrer ses immigrants. Le travail de synthse de
lordinateur peut voquer le melting pot, ce creuset
qui faonne et mlange harmonieusement les
individus dans la socit o ils vivent.
On introduira ici du lexique tel que multicultural
society ; immigrants ; shaping the country ; mix of
races and cultures.
Forme de travail
Collective.

tape 1 :
Travail mthodologique sur la composition de
limage. Attirer lattention des lves :
dans un premier temps, sur larrire-plan et faire
expliciter ce quvoquent pour eux ces visages multiples ;
dans un second temps, sur le visage au premier
plan et le texte. Les amener remarquer que cette
femme est une cration virtuelle.
Faire mettre des hypothses sur les diffrents
aspects du visage de la jeune femme. Sattarder
nouveau sur la composition de la photo pour faire
merger limplicite :
Compare the background and the foreground: what
do they symbolise?
Expression orale,
Manuel pp. 32-33

This is the cover of an American magazine
called Time. Apparently, it is a special issue
whose headline is The New Face of America.
Judging from the headline, we can guess this
document deals with immigration to the US
nowadays.
In the subtitle, the words immigrants, shaping
and multicultural involve the diversity brought
by immigrants which has shaped/formed American history and politics.
In the background, we have a multitude/a
large number of faces which all look different,
men or womens faces with dark or fair hair
and dark or fair skin All of them give the US
its unique multicultural society.
The focus of the photo is the portrait of a
young woman who looks quite familiar and
attractive. She has a placid smile.
However if we take a closer look, we notice
her features are quite ambiguous. In fact, it is
a curious combination/mixing of Asian, African, Middle Eastern and Anglo-Saxon traits.
We learn that this woman is not real. She was
created by a computer by mixing/blending
all the people from various geographical and
cultural origins who live in the US.
As the portrait is not a real one, we can wonder
if such a blend of different races really exists.
changes.
tape 2 :
Faire le lien entre la couverture de Time et le titre
The new Americans.
This woman is the typical representation of

the sort of descendant/offspring that is likely
to emerge in this multicultural society.
//
65
//
All the ethnic groups are mixed/melted in one
face with harmony: it is the perfect symbol/illustration of the melting pot where all the different
cultures are mixed.
This document perfectly illustrates the diversity

of the American society: a changing society / a multicultural society and depicts the fusion of different
nationalities, ethnicities and cultures.
Destination America
Manuel pp. 34-35
1. A Nation of Nations
Une page daccueil du site Destination America
incluant des photos, un quiz que les lves pourp. 11 ou sur
ront remplir dans leur Workbook
www.didierpassword.fr., une introduction prsentant quelques donnes historiques, telle que la date
1965, qui a amen un changement considrable dans
lhistoire de limmigration amricaine (cette date sera
reprise dans le quiz, question n10), et diffrentes
rubriques. Certaines de ces rubriques apparaissent
sous forme de questions sur les diffrentes poques
et raisons de la venue aux tats-Unis dimmigrants
de toutes origines.
Des donnes statistiques
Le graphique n1 en barres permet de rpertorier les diffrentes vagues dimmigration sur une
priode de cent ans. On peut faire les constatations
suivantes :
- les grandes vagues dimmigration du XXe sicle
sont, en chiffres, peu prs quivalentes celles
du dbut du XXIe sicle, ce qui tend montrer
qu'aujourd'hui comme hier, les tats-Unis sont
une terre dimmigration ;
- au dbut du XXe sicle, la quasi-totalit des
immigrants venait dEurope ;
- au dbut du XXIe sicle, la tendance sest inverse : une trs faible minorit dimmigrants est
dorigine europenne. La plupart des arrivants
aujourdhui viennent dAmrique Latine et dAsie ;
- la priode correspondant la Seconde Guerre
mondiale enregistre limmigration la plus faible,
le systme de quota de 1921-1924 ayant considrablement ralenti les arrives aux tats-Unis ;
- limmigration repart dans les annes 1960, certainement grce labolition du Quota System
par le prsident Lyndon Johnson ;
- de plus, labolition du Chinese Exclusion Act en
1943 et la guerre du Vietnam entre 1964 et 1975
ouvrent les portes au monde asiatique ;
- tout au long du XXe sicle, les lois sur limmigration ont tantt t favorables pour les immigrants
dorigine latino-amricaine en raison des besoins
en main-duvre bon march, et tantt plutt
drastiques pour limiter leur arrive.
66
Manuel p. 34
Le graphique n 2 en camembert insiste davantage sur lorigine des immigrants. On pourra constater quen 2010, environ la moiti des immigrants
taient dorigine mexicaine et asiatique la plus
forte proportion concernant les Mexicains :
- les immigrants mexicains et leurs descendants
constituent de fait lune des communauts les
plus importantes des tats-Unis, et certainement
lun des groupes les plus inuents. La proximit
des tats-Unis par rapport leur propre territoire
(3200 km de frontires communes), limage attractive du mode de vie US ainsi que la situation
conomique du Mexique ont contribu attirer de
nombreux migrants mexicains ;
- en ce qui concerne les Asiatiques, la loi de 1965,
en posant comme critre dadmission la possession de qualications, a eu pour effet larrive de
nombreux cadres et techniciens originaires dAsie,
notamment dans les domaines de la science et
de la mdecine. Par ailleurs, la n de la guerre
du Vietnam en 1975 a galement entran une
vague importante de rfugis admis aux tatsUnis pour raisons humanitaires et politiques. Les
immigrants dorigine Asiatique se rpartissent
de manire peu prs quivalente entre ressortissants originaires de lInde, des Philippines et
de la Chine, suivis de prs par le Vietnam et la
Core du Sud ;
- le reste (Other) regroupe entre autres le Canada,
Cuba, des pays dAmrique du Sud et quelques
pays dAfrique.

Procder la phase danticipation, question
1, classe entire,
demander aux lves de faire la maison,
le quiz correspondant la question 2 et de
se prparer reformuler oralement ce quils
ont compris,
leur demander dtudier les graphiques en
prenant quelques notes, de manire pouvoir
les commenter en classe entire.
Lexique
Dates
Pas de difcult majeure grce aux nombreux mots

transparents. Le mot pegged (sur la page daccueil
de Destination America, la n de lintroduction)
peut tre infr en contexte, notamment avec les
pourcentages.
Formes de travail
1. individuelle ; 2. collective.
Accs au sens
1. a. Attirer lattention des lves sur les titres : A

Nation of Nations - Destination America et les faire
expliciter.
b. Leur laisser quelques minutes pour prendre

connaissance du document en autonomie. Puis
leur demander sils ont trouv des rponses leurs
questions. Mise en commun des premires ractions
sous forme de notes. La vrication des rponses
aux questions pourra faire lobjet dune prparation
la maison en faisant raliser les activits proposes dans le Workbook
The United States appears to be a nation of
immigrants. It was the rst destination for
immigrants in the past, it is a favourite destination for immigrants today and it may still be
the destination number 1 in the future.
The 1965 Act certainly played a major role in
the immigration history.
It marked a radical break from the immigration policies from the past.
It opened the door to a fresh wave of immigrants whose entry was formely/previously
limited or refused/denied/not allowed.
Todays immigrants arrive from all parts of
the world.
The rst decade of the 21st century rivals/
competes the rst decade of the 20th century
with nearly equal percentages that can be considered as signicant in history.
The USA remains a nation of nations.
Reasons for
immigrating
1851 - 1860
Potato Famine
1861 - 1870
Land of Opportunity
1871 - 1880
Religious Freedom
1881 - 1890
The Age of Steam
1891 - 1900
Southern Italians
1901 - 1910
Russian pogroms
WHY DID THEY COME?

- Freedom to worship:
A strong desire to create a new society in which they
could have a religious freedom.
- Freedom from oppression:
America offered the opportunity to make a new life
in a land that valued Liberty.
- Freedom from want:
Immigrants hoped to have a better quality of life with
a plot of land which was for them a means to survive
and become prosperous.
- Freedom from fear:
Escaping to America was not an option, it was a
matter of life and death for some immigrants.
- Freedom to create:
Immigrants collectively represented the single
greatest transfer of talent the world had ever seen.
TAKE THE QUIZ
Activit raliser avec les lves en salle multimdia ou faire prparer la maison en reportant
les rponses dans le Workbook
p. 11 ou sur la
che disponible sur le site www.didierpassword.fr.
Les rponses aux questions gurent sur le site
Destination America. La correction pourra se faire en
quipes en interaction. Un lve menant le quiz et
posant les questions, le reste de la classe divis en
deux quipes concurrentes. Possibilit dattribuer
des points pour les bonnes rponses mais aussi
pour la justication.
Corrig
1. The correct answer is: b. A play with a

Romeo and Juliet style plot.
A. WEBQUEST - Workbook
site
p. 10 ou sur le
Corrig :
1. Search the website www.pbs.org/destinationamerica/ to nd answers to the questions below:

WHEN DID THEY COME?
Number of Europeans who came to the US between
1815 and 1915: 30 million Europeans.
The term melting pot came from a 1908 play

by English writer Israel Zangwill. The melodrama transposed the plot of Shakespeares
Romeo and Juliet to New York City, with the
star-crossed lovers now from Russian Jewish
and Russian Cossack backgrounds. In the
plays climactic moment, the hero proclaims:
Understand that America is Gods Crucible,
the great Melting-Pot where all the races
of Europe are melting and reforming! A g
for your feuds and vendettas! Germans and
Frenchmen, Irishmen and Englishmen, Jews
and Russians into the Crucible with you all!
God is making the American.
67
2. The correct answer is: b. A nuclear chain

reaction
The Manhattan Project: The rise of Fascism in
Italy and Nazism in Germany led to a braindrain from Europe in the 1930s, as scientists
many of them Jews immigrated to the
United States to take up posts at American
laboratories and universities. Many of these
scientists participated in the Manhattan Project the effort to create an American atomic
bomb. Italian Enrico Fermi was working at
the University of Chicago when he oversaw
the rst controlled nuclear chain reaction,
which proved that an atomic bomb was a
practical proposition. News was transmitted
to the Manhattan Projects leaders in a coded
message The Italian navigator has successfully landed in the New World.
3. The correct answer is: a. Land

Boomers and Sooners: In the 1870s, railroad
executives, real-estate speculators, and
would-be settlerscollectively known as
Boomers lobbied the government to
allow non-Indians into unassigned land. In the
1880s, federal laws undermined the Indians
right to the land theyd been promised. In
1889, President Benjamin Harrison signed
legislation opening up two million acres of
Indian Territory to settlement, on a rst come,
rst served basis. At noon on April 22 of that
year, some 50,000 Boomers raced into the
territory. Many of the 1889 Boomers, however,
found that others had snuck in before April
22 and staked out land claims. These Sooners as they were called gave Oklahoma its
nickname, the Sooner State.
4. The correct answer is: b. The Mormons

In 1827, Joseph Smith, of Palmyra in western
New York State, announced that the angel
Moroni had guided him to a buried set of golden plates engraved in reformed Egyptian,
which the 21-year-old Smith then translated
into English with the aid of special glasses.
According to Smith, the plates revealed that
ancient Israelites had traveled to North America thousands of years earlier. Further revelations led Smith to found a new sect in 1830,
which became known as the Mormons, from
the faiths principal scripture, The Book of
Mormon. Today, there are more than 2.5 million
Mormons in America, and they comprise about
three-quarters of the population of Utah.
5. The correct answer is: c. Ayn Rand

In the spring of 1917, Russias government,
battered in World War I and beset by internal
unrest, collapsed. Czar Nicholas II abdicated in March, and a provisional government
took over. In October, the Bolshevik (communist) party seized power. The revolution was
68
followed by two years of bloody civil war as the

Bolsheviks successfully fought off challenges
from the forces of several White (anticommunist) groups. The war, and the famine that
followed, claimed perhaps 2 million lives and
created 1.5 million refugees, about 30,000 of
whom settled in America before the immigration restrictions of the 1920s went into
effect. One of those who was allowed out
of the country was Allisa Rosenbaum, who
managed to obtain a visa to visit relatives in
America in 1926 and never returned. Changing
her name to Ayn Rand she later authored the
hugely successful novels The Fountainhead
(1943) and Atlas Shrugged (1957).
6. The correct answer is: b. Roger Williams

A colony of a different kind was Rhode Island.
Founded in 1636 by Roger Williams, a minister
who had been banished from Massachusetts
because of his ideas on freedom of worship,
it was the rst colony to guarantee religious
tolerance, and it provided a refuge for Quakers, Baptists, Jews and other non-Puritans.
7. The correct answer is: b. Cuban refugees

Mariel and the Balseros: In April 1980, Castro
announced that any Cuban who wanted to
leave the country could do so by way of the
port of Mariel. Between April and October,
when Castro closed the port, Cuban-Americans brought 125,000 people to Florida from
Mariel, many aboard small craft. Cubans
continued to ee to America, many of them
in ramshackle boats and rafts. An unknown
number of these balseros (raft people) died
in the attempt. Before 1994, Cubans who
reached Florida were allowed to stay, but
that year the Clinton administration changed
its policy in order to discourage the balseros.
Over the next decade, balseros intercepted by
the Coast Guard were sent to camps at the
U.S. Naval Base at Guantanamo Bay, Cuba.
8. The correct answer is: a. John Locke

The ideas of the English philosopher John
Locke had a profound effect on the political
development of the young United States. In
works like Two Treatises of Government (1690),
he rejected the prevailing view that rulers
derived their authority from God, and thus
were entitled to unlimited power. Instead,
Locke argued that all people possessed fundamental rights to life, liberty, and property, and
that it was the governments duty to protect
these rights a concept Thomas Jefferson
expressed in the preamble to the Declaration
of Independence more than three-quarters of
a century later: We hold these truths to be
self-evident, that all men are created equal,
that they are endowed by their Creator with
certain unalienable rights, that among these
are life, liberty, and the pursuit of happiness.
9. The correct answer is: c. Elizabeth Cady

Stanton
Most historians date the start of the struggle
for womens suffrage in the United States to
1848, when Lucretia Mott and Elizabeth Cady
Stanton organized a conference at Seneca
Falls, New York. Out of this meeting came a
wide-ranging Declaration of Principles that
included legal equality for women and men,
as well as suffrage. The aftermath of the
Civil War split the small movement. In 1869
Congress passed the Fifteenth Amendment,
which guaranteed the right to vote to the newly
freed slaves, but it applied only to men. The
National Woman Suffrage Association (NWSA),
led by Stanton and Susan B. Anthony, argued
against ratication of the amendment unless
it guaranteed women the vote, too.
10. The correct answer is: c. Koreans

The rst Korean immigrants to the United States
were about 7,000 young men who came to Hawaii
in 1903-1904 as laborers on the islands sugarcane plantations. Korean immigration rose in the
early 1960s, when special legislation gave work
permits to South Korean doctors and nurses.
Thanks to the 1965 reforms, which came about
the same time that the South Korean government
eased restrictions on emigration, a big wave
of immigration began in 1968. By 1980, about
350,000 Koreans had settled in America, rising to
800,000 in 1990 and 1.1 million in the early 21st
century. Today, 90 percent of Korean-Americans
are post-1965 arrivals or their children.
3. On amnera les lves dcouvrir ou se remmorer les donnes factuelles concernant limmigration amricaine (son histoire, les politiques
dimmigration menes dans le pass et la situation
actuelle). On insistera sur 1965, une date cl dans
lhistoire de limmigration, et on pourra peut-tre
2. Personal Stories
Deux enregistrements de tmoignages dimmigrantes venues aux tats-Unis pour des raisons
tout fait diffrentes : une jeune femme dorigine
tawanaise venue par ambition professionnelle mais
qui a du mal sadapter la vie New-Yorkaise dune
part, et une femme dorigine iranienne, rfugie
politique. Elle aussi a rencontr des difcults mais
se sent progressivement mieux intgre bien que
son pays natal lui manque.
Les photos sont les portraits de ces deux femmes.
lopposer the historic high of 15% in 1910 et au

Quota System de 1921-1924.
Amener les lves faire le lien entre les diffrentes
donnes chiffres et les deux schmas (dates et
origines).
Commencer par la pratique des chiffres, des dates
et des nationalits. Faire comparer les deux graphiques. Sappuyer sur la phrase-exemple donne
pour le second chart.
The rst document shows the different waves
of immigration from the beginning of the XXth
century to the beginning of the XXIst century.
At rst sight, we can notice that the beginnings
of the two centuries are quite similar in terms
of numbers.
However, if we take a closer look, we notice
that the origins of the immigrants are different.
At the beginning of the XXth century, the
majority/the greater number of people came
from Europe whereas today they mainly come
from Asia and Latin America.
If we observe the second chart, we are given
more details about immigrants from Asia and
Latin America: in fact, immigrants from Latin
America mainly come from Mexico and Asian
immigrants mostly come from the Philippines,
China and India, a few more coming from Vietnam and South Korea.
The Quota System from 1921-1924 slowed
down immigration but its repeal in 1965, as
seen before, brought considerable/signicant
change in the history of immigration.
We notice/observe that since the 1960s, the
number of immigrants has kept increasing.
Today, immigration has reached an unprecedented number / today the number of immigrants is bigger than ever making the USA the
rst destination to start a new life.
Manuel p. 35
CD1 lve Piste 8
Transcription du document audio

fang-yi Sheu- 00'10" to 02'00"
fang-yi sheu always loved to dance / but the
island of tawan was too small for her ambitions
// she wanted to dance on the world stage /
which meant she had to leave her uncomprehending parents behind / and take her chances
in new york city // the art of departure chronicles her life / living as a star of the martha
graham dance company // if not for dancing /
would you ever have come to the united states
// no / I am a dancer / who dances in new
//
69
//
york / but I dont know how to enjoy life in new
york // I dont know what life means to me in
new york // in new york / the only thing I do is
dance / happy and sad / I ght with myself every
day // dance and life will never be in one place /
no matter where I choose to stay / I will never feel
complete / because both of them are my dreams //
you had to move to new york / to become a
professional modern dancer / do you think
modern dance will ourish in tawan / to the
point that future tawanese dancers will have
/ plenty of opportunities in their homeland // I
want to believe that yes / it will one day / it may
take time / but one day/ I believe//
I see/ do you think your nostalgia / as you put
it / for tawan / has any effect on your dancing/ perhaps as fuel for your emotions // yes
/ I am that kind of person // I dont know how
to express myself / except through my body /
through dance / but I still miss home very much
// if I can wish anything / Id wish for dance and
life / to be in one place //
would you encourage other artists to move to
new york to pursue their dreams // no / but I
will encourage them to follow their hearts and
their dreams / dont give up too easily //
Farah Nacy- 02:06 to 04:10
ferdows nacy and her two daughters / mahnaz
and farah / became independent women in
america // when ferdows decided to emigrate to
the us / she opened the door for her daughters
to later join her in california //
after so many years in the united states / does it
nally feel like home / or will that designation
always belong to iran the country of your birth
and childhood//
as a teenager growing up in the united states in the
early 1960s / I sort of felt an outsider and longed
for a sense of belonging // my brother on the other
hand / felt immediately at home when he came
here and / has always taken great pride in being an
iranian-american / when I returned to iran for a
visit in 1968 / I quickly felt at home / and the visit
had an enormous inuence on my later decision
to return to iran to live // when I returned to the
us in 1982, this time as a political exile / I gained
new respect for the democratic institutions of this
country / and in time / I felt more like home / but
the call of my birthplace is always there //
do you feel more like an immigrant / or an exile
/ in america//
I have lived my life in the us in two parts /
growing up / I lived the life of an immigrant
/ my mother having brought us here so many
years before // she took enormous pride in
being an iranian-american and / took her
citizenship very seriously / she instilled
this pride in us as well / but /I always felt /
//
70
//
somewhat apart from my peers // I longed for a
place that felt more like home / I followed that
call / and returned to iran on the eve of the revolution / after almost four years living there / I
returned / this time as a political exile / though /
well /I feel more at home now / than when I rst
came /there is a part of me that will always feel
in exile / whether in the us or in iran //
Pas de difcults majeures, les diffrentes personnes parlent clairement et le lexique utilis est
simple. lissue de ltude de ce document, on
pourra entraner les lves avec lactivit des Language Tools Stress on compound nouns, manuel
p. 42, an de les prparer la production orale.
Formes de travail
1. collective ; 2. individuelle ; 3. exploitation en
groupes.
Accs au sens
1. Phase danticipation mener rapidement. Laisser venir les diffrentes propositions et au besoin,
attirer lattention des lves sur le titre, les photos
et les noms des personnages, ce qui permettra de
remettre en mmoire et en oreille le contenu
lexical : achieve - exile - immigrants - hostility - discrimination - birthplace - homeland.
Where do you come from? Whats your native
country? Whats your homeland? Do you miss
your native country, are you homesick?
Why did you come to the US? Did you want
to start from scratch? Did you meet any difficulties?
Did you nd any obstacles to your integration?
Were the people hostile or welcoming?
What dream did you want to full/to achieve?
2. Premire coute du document dans son intgralit

pour trouver des rponses aux questions souleves.
En cas de difcults
Selon la classe, si les lves ont encore des
difcults prendre des notes pendant lcoute
en dbut danne, faire dabord couter lenregistrement jusqu la n du premier tmoignage, puis faire couter la deuxime partie en
mnageant ventuellement un court instant de
prise de notes en n dcoute de chaque partie.
Si les lves sont laise, on pourra procder la prise de notes pendant lcoute,
modalit laquelle il est bon de les entraner
en vue de lpreuve du baccalaurat.
3. a. En deux sous-groupes : deuxime et ventuellement troisime coute du document.

Chaque sous-groupe se focalise sur lun des aspects
dvelopps en prenant des notes au fur et mesure
de lcoute.
b. changes au sein de chaque sous-groupe avant

prsentation lautre groupe.
Fang-Yi Sheu comes from Tawan / is
Tawanese whereas Farah Nacy comes from
Iran / is from Iranian origin. Both of them
moved to the US but for different reasons.
Tawan is an island off the Eastern Coast of
China.
Iran, formely known as Persia, and now officially known as the Islamic Republic of Iran, is
a country in the Middle-East.
Fang-Yi Sheu was very eager to succeed as a
dancer / her ambition drove her to emigrate to
New York. In fact, shes a dancer but she wanted
to become a professional modern dancer. Thats
why she moved to New York, she hoped to full
her dream.
Farah Nacy followed/joined her mother
who wanted more independence, to the US
and settled in California. However, she didnt
stay there. Farah returned to Iran when she
was an adult. In 1982, she had to ee/escape/
run away from her native country. She became
a refugee/an exile.
//
//
Fang-Yi Sheu feels happy and sad. She
misses her homeland very much. She feels
homesick. She thinks she cant be completely happy in New York although dancing is
her dream/her passion. She feels she doesnt
live in New York. Shes only here for her job.
She wishes dance and life to be in one place.
Farah Nacy has mixed feelings towards her
new country. When she was a teenager, she
didnt feel integrated but she felt proud to be an
Iranian-American. She felt like an immigrant/a
foreigner. No wonder she felt at home in Iran
where she had come for a visit in 1968.
Yet, when she returned to the US to ee the
new political regime, she felt more at home. She
felt more respectful for the democratic institutions / She showed more respect towards this
democratic country. Though she has realized
how democratic the USA was, she thinks she ll
never feel completely at home in this country.
changes.
c. La trace crite pourra se faire laide des ID cards
proposes dans le Workbook
www.didierpassword.fr. Deux lves seront chargs
de rsumer les changes qui auront eu lieu au cours
de cette activit lorsque tout le monde aura rempli
son ID card.
Name: Fang-yi Sheu

Country of origin: Tawan
Place of residence in the US: New York
Job: dancer
Reasons for emigrating: to become a professional modern dancer/
to have a better career / to have a better job opportunity / take her
chance in New York City
Familys feelings: didnt understand her decision

Feelings:
- for her native country: homesick / misses her native country /its her life
- for the USA: happy and sad happy because dancing is her dream and sad because
she feels homesick
Hopes for the future: wishes dance and life to be in one place / wishes Tawanese
people to have good job opportunities in Tawan / hopes dance will flourish there.
Other information: would encourage artists to follow their dreams
UNIT 2 The
h new Americans
i
71
Name: Farah Naficy

Country of origin: Iran
Place of residence in the US: California at first
Job:
Reasons for emigrating: political exile
Familys feelings: mother who is proud to be American, brother
who adapted easily
Feelings:
- for her native country: its her birthplace. Feels like home.
- for the USA:mixed feelings: first, felt as an outsider / had difficulties to adjust to her new country.
On her second stay, felt more at home.
Hopes for the future:

Other information: came to the US twice: first, to join her mother, secondly, as a political refugee.
lissue de ce travail, il est possible de mettre

en place la rexion grammaticale propre cette
double-page, savoir les structures Want, would
like, expect sb to qui posent souvent problme aux
lves. On pourra mener les activts proposes dans
le manuel p. 43, et dans le Workbook
p. 18.
Training Task 1: A Presentation leaflet
Recap
On peut y voir des images du dbut XXe sicle et entendre

les tmoignages dune immigrante sudoise, dun visiteur du Family Center et de lun des responsables du
muse, Steve Briganti. Le montage dextraits propos
permet de mieux cerner limportance dEllis Island
et de prendre conscience du nombre considrable
dimmigrants venus de toute lEurope pour diffrentes
raisons au cours de plusieurs dcennies. Faire visionner lensemble de la vido an que les lves puissent
prendre des notes. Les images dpoque permettent
de se faire une ide de la classe sociale des diffrents
immigrants et des conditions dans lesquelles ils arrivaient aux tat-Unis.
faire directement la suite de ltude des documents de la double-page. Partir des exemples abords ou ventuellement en trouver dautres. Sinon,
possibilit de poser le Recap comme consigne dune
tche prparer la maison en vue du contrle oral
de la sance suivante. Reporter les rponses dans
la che Recap du Workbook
p. 19.
The US is a country of hopes.
Immigrants hope to have a better career/
better job opportunities, a better life, a better
education.
They know they will not be persecuted. They
can nd asylum/shelter.
They expect to full their dreams.
72
DVD Vido 3
Cette tche donnera aux lves loccasion de rinvestir ce quils viennent dapprendre tout en enrichissant
le parcours culturel grce au visionnage de la vido
3 Ellis Island Immigration Museum.
Squenage du document vido :

Time code
Images
Soundtrack
Part 1
From 0050
to 0140
Statue of Liberty + immigrants landing on Ellis Island

Steve Briganti, Statue of
Liberty Ellis Island Foundation
Photo of Ellis Island
this was the dream // this was the reality // ellis island was
gateway and gateway // millions of american lives began
here // war began again here // more than one hundred
million citizens of the united states can trace their ancestry
here / to an immigrant who landed at ellis island // what brave
pioneers / they were // what it must have been like for them //
Part 2
From 0207
to 0319
Portraits of immigrants +
Steve Briganti
I dont think if youve got ellis island ancestry / you go out

there and not hear the voices of these people / as they
arrived to find a new life for themselves // many museums
display history / but ellis island museum is history //
they came by the millions / from ten thousands cities and
towns and villages and ghettos // people looking for a better
life // and they helped make america a better country // since
the year 1600/60 million people have come to the united
states / fully one fifth of that number / 12 million came in a
little more than 30 years / between 1892 and 1924 / and they
came to the ellis island immigration station // ellis island is
pretty symbolic of the populating of america // it wasnt the
only place that people came to / but it was clearly the largest
place / the site of the largest human migration history center
in the world // in 1922, / there was a turkish family / mother /
father / three daughters and two sons / were like a million
christians living in turkey / they were like the mayflower
pilgrims / who came to america to escape religious
persecutions //
more than half of all living americans can trace family
routes back to ellis island // its important for / you know /
its important for my children to know / for my grandchildren
to grow and know what we came to // the american family
immigration history center /at the ellis island immigration
museum is where that knowledge lies // people come to
the record center because they want to know about the
people who came before them // perhaps they understand
themselves // we want to connect with something // we
want to connect with something that is important to us // and
the most important thing / the most of us are families // he
22 million people who came to the port of new york between
1892 and 1924/ are listed there //
their names/ and a lot more information filled the ships
manifests lists of passengers / which are the underlying
proofs and evidence of the millions who came // I think its
wonderful that people can come here and find their heritage/
and find people that they knew/they know and love and their
history // there are public records / and you simply need to
come with that persons name / and go into your exploration
// it took us five years to create the database. and cost about
twenty-two and a half million dollars //
Ellis Island
Birgitta Fichter, Swedish
Immigrant, 1924
Part 3
From 2115
to 2232
Family History Center
A visitor of the History family

centre.
Family History Centre
1. a. La classe sera spare en trois groupes diffrents correspondant aux trois sections du leaet,
avec des objectifs dcoute diffrencis. Les prises
de notes sont possibles au fur et mesure de lcoute
p. 13.
sur la page du Workbook
b. change en binmes au sein de chaque groupe.

2. Group Work: laisser aux lves le temps de la
mise en commun an quils puissent complter la
section choisie de leur brochure dans le Workbook.
Comme il sagit dun premier entranement la CO

on pourra, en amont, travailler les pages Stratgies
Comprendre un monologue, manuel pp. 46-47.
73
Historical and
Geographical Data
The Immigrants
The Family History Centre
Millions of Americans came

through Ellis Island.
Today, more than 100 million
American citizens have ancestors
who came through Ellis Island.
Ellis Island > more than a
museum: it is History.
Since the year 1600, 60 million
people have come to the US.
Pioneers
They came to America to start a
new life, a better life. This life began
at Ellis Island.
The immigrants came from
everywhere: cities, towns,
villages> helped build America.
A section of the Ellis Island

Museum.
People come to this section
because they want to know about
their ancestors, their heritage.
The 22 million passengers who
came to New York Harbour between
1892 and 1924 are listed in the
Record Centre.
12 million immigrants in a little

more than 30 years between 1892
and 1924.
Ellis Island: a symbolic place as far
as immigration is concerned.
Largely contributed to the
population growth of America.
They came for different reasons:

for example, Christian families living
in Turkey came to escape religious
persecution.
You just have to come with the

persons name and start your
exploration.
It took five years to create the
database and it cost 22,5 million
dollars.
Possible to have access to
documents such as the ships
manifests or the passengers lists.
In search of a better life
Manuel pp. 36-37
1.A shot at the American Dream

Formes de travail
Il sagit de deux posts de personnes dorigines diffrentes qui se sont installes aux tats-Unis. Elles
racontent leur arrive et les raisons pour lesquelles
elles ont dcid dmigrer. La structure mme des
tmoignages facilitera les reprages et laccs au
sens :
date darrive aux tas-Unis,
raisons de limmigration,
situation actuelle,
esprances pour lavenir.
Anticipation collective ;1. individuelle ; 2. collective.
En cas d'tude la maison

Demander aux lves
de noter les lments de rponse aux questions 1 et 2,
dtre prts les reformuler oralement et
rpondre aux questions ventuelles de leurs
camarades.
Lexique
Aucune difcult lexicale. Lexique simple et courant
sauf le titre du document, A shot at the American
dream, que lon pourra faire expliciter la n.
74
Manuel p. 36
Accs au sens
tape danticipation : dans un premier temps, crer
lattente en faisant ragir les lves la source des
deux textes et lorigine des deux personnes : faire
anticiper le type de support, le type de discours
(blog = exprience personnelle publie sur internet)
et le propos ventuel. tant donn le pays dorigine,
faire mettre des hypothses quant la venue aux
tats-Unis. Faire vrier les hypothses la lecture.
These documents are two comments posted
on the internet.
The writers come from different countries.
Perhaps they write to tell about their arrival in
the US and their experience there.
The title A shot at the American dream
suggests the writers will certainly talk about
their hopes in their new country. They certainly
have great hopes for the future.
1. Lecture et travail individuels. Mise en commun

collective.
Kayla is from Cuban origin whereas Miguel
is from Mexico. Both arrived in New York a
few years ago.
Kayla followed her parents (who probably ed
political persecution).
We easily imagine she was a child/a little girl
when she arrived.
It was difficult for Kayla at rst.
The whole family settled in Brooklyn which
is a tough/difficult borough of New York. Kayla
was shocked/bewildered.
As a child, she probably didnt speak the language very well.
Today, she has adjusted to/adapted to her
new country and she sounds completely happy.
She probably made friends and adapted to her
American school. Today, she feels American
and doesnt want to go back.
Miguel arrived in the US to graduate / to pass a
degree / to get a diploma. He was probably older
than Kayla since he came to go to University.
American universities are well-reputed:
Miguel knows if he graduates there, he will
have a better job / he will be better-paid.
Today, he is studying in a prestigious university and at the same time, working part-time
to pay for his fees, which means he certainly
comes fom a poor background.
2. Laisser quelques minutes aux lves pour prparer la mise en commun des informations. Sous
forme de notes, crire les rcapitulations des lves
au tableau. On pourra encourager les lves faire
des comparaisons.
Both Kayla and Miguel fullled their dreams
though in a different way:
- Kayla adjusted to her new country,
- she is proud to be American/an American
citizen,
- she seems pleased to live in New York although
it is not what she had imagined at rst,
- Miguel is studying in a prestigious American
University (perhaps an Ivy League University):
he will nd a job that will meet his expectations
/ if he does, we can be sure he will succeed in
his future career / he will have good job offers
I hope I will have a shot at the mythical
American Dream means that through his work,
he hopes to succeed, have a good job opportunity and improve his life.
In both cases, they have fullled their dreams
in the way that they have succeeded in their
pursuit of happiness. Both of them seem
hopeful for the future / optimistic.
Manuel p. 36
i s te
2. Immigrants hope their American Dream is not fading
CD 1 lve

Extrait dune mission de radio de la NPR (National
Public Radio) du 8 Avril 2009. Il se compose dune
interview de deux immigrants dorigines differentes :
Martin Matoda originaire de Bulgarie, et Nick Injow
originaire du Kenya. Ils tmoignent de leur exprience et nous font partager leur perception du rve
amricain.
La photo nous montre un jeune homme, visiblement
sur le point de passer un entretien dembauche.

millions of immigrants have come to this country in search of their own american dream
/ its often rewarding / but rarely easy/ its
even tougher when the entire country is
going through hard times so / here are stories of immigrants in their own words //
//
//
my name is martin matoda / Im from bulgaria
// after graduating high school / I decided I was
looking for a better education and a better life
/ the education system in bulgaria / its very
different from what it is here // its more academically oriented / rather than practical / and
thats why people from all over the world / they
want to come here and study / and get a handson experience // and then maybe get a couple of
years of real work experience after they get their
degree // I nished my mba degree this last may
/ and I was very condent in the beginning that
Ill get a job fairly easily with / given that Ive a
masters degree / and in the beginning / I was talking to recruiters / but as the economy get worse
/ I started to hear less and less / back after I send
the resume / and at some point / I didnt hear
anything // my name is nick injow // I was born
//
75
//
and raised in nairobi kenya // and I came to the
united states / Ive been here 10 years / Im a
trained accountant / I joined an accountant
rm / went to college in the united kingdom
// and I studied / I majored in economics
and social sciences // when I returned to my
country / kenya / back in the late 1990s / there
were no opportunities because / the political
system had run down the economy // then the
opportunity to come to america just surfaced
/ everybody was very excited / you could not
describe / what it is / to be in this land / and
experience all the opportunities / we were
told about since we were babies // I had two
brothers and one sister / living in baltimore /
and they thought / that I could go back into
the corporate world / I entered the corporate
world and I worked / with a number of companies for about four years /doing accounting
work and / I experienced the fear of losing my
job / that fear became reality because / I lost
a good professional job three times / and no
/ Im not disappointed because / every pitfall
/ I as an immigrant see that there is / added
opportunity to be something different // so I
decided I am going to work for myself / Ive
been self-contracting for about six seven years
now / the american dream is still very much
alive / because I think the dream exists in our
minds / and in our hearts //
Pas de difcults lexicales ou phonologiques. Le
dbit est sufsamment clair pour que les lves
comprennent sans mal le sens global. Le terme
accountant pourra tre infr par le contexte, notamment avec economics et social science, sinon le
donner.
Formes de travail
1. individuelle ; 2. 3. et 4. collectives.
En amont de laccs au sens du document audio, on
pourra proposer aux lves lexercice de prononciation f Rythm and weak forms, manuel p. 42, et dans
le Workbook
p. 34. Lalternance entre formes
accentues et formes non accentues pose souvent
problme aux lves qui ont du mal dissocier les
diffrents groupes de sens.
Accs au sens :
1. Phase danticipation mener rapidement partir

du titre et de la photo. Immigrants - American Dream
et la photo permettent danticiper sur le contenu du
document.
76
The words immigrants, hope and American

Dream suggest that this programme is about
immigrants in the US and their hopes for the
future. American Dream suggests a better life
for the future.
However hope is not fading indicates they
think their dream is not disappearing / is still
alive.
On the photo, we see a man, certainly waiting
for a job interview. So, from the title and the
photo we guess the immigrants may have doubts
about their future jobs. Maybe they fear they
might not nd a good job and so not have a
shot at the American Dream.
2. Premire coute du document dans son intgralit. Donner un temps court (1 min) lissue de
lcoute pour que les lves notent individuellement
ce quils ont retenu, puis mise en commun en classe.
Accepter les mots isols, les noter au tableau et en
n de collecte, faire mettre des hypothses de sens.
I heard different people speaking, three I
think.
Two of them have foreign accents, so they
must be immigants coming to America. I guess
both of them are talking about their lives in
the US.
One of them has the American accent so he
must be the journalist leading the interview.
3. Deuxime coute :
> Focus on the peoples origins and their reasons
for coming.
The rst immigrant is called Martin Matoda.
He is of Bulgarian origin / He comes from Bulgaria / from Eastern Europe.
He came to the US to study / to have a better
education / to go to University / to graduate
in order to have a better life / a well-paid job.
The second immigrant is called Nick Injows
and he comes from Nairobi in Kenya/ he is of
Kenyan origin. He came to the USA to nd a
job since there were no job opportunities in
his native country.
Thats why he joined his sisters and brothers
who were living in Baltimore.
Avant de procder une troisime coute, faire
mettre des hypothses
> What do they sound like? Puis troisime coute.
Vrier les hypothses > Listen once more, this time
concentrate on their feelings and check your answers.
At rst, Martin was hopeful for the future
since he got his MBA. He was condent he
would nd a good job with his degree.
Yet, with the economical crisis / he suffered
from the economical crisis, he didnt nd any
jobs / he didnt manage to nd a job. He had
no news from recruiters even if he had a good
rsum/CV. At that point, we can be sure Martin
feels rather disillusioned and disappointed.
He certainly thinks his job opportunity is fading / He fears he might not have a shot at the
American Dream.
Nick was at rst really excited to come to the
US. He had always been told what a wonderful
country the US is / that the US is the land of
opportunities. In fact, he did nd a job but he
lost his job three times / he was made redundant
/ he was laid off three times. Yet, he didnt feel
disappointed / discouraged / hopeless / helpless
/ downhearted.
After that, he decided to work for himself. He
thinks being in the US is a good opportunity
even if he had bad experiences.
4. Laisser un temps court aux lves an quils

rassemblent leurs ides ; possibilit de travailler en
binmes. Puis mise en commun en classe.
En cas de difcults
Pour faciliter laccs au sens, il est possible
de faire couter tout ou partie du document
une dernire fois avec prise de notes. Mise
en commun des informations.
For Martin, the American Dream was the
opportunity to get a good education, to get a
degree, to have access to a good job and so to
earn a living and improve his living conditions.
As he was not able to get a good steady job /
achieve his goals, he feels frustrated.
For Nick, the American Dream is slightly different. Although he also came to have a good job,
he is conscious being in the US is a real asset.
What he experienced was on the whole rather
positive. He is hopeful for the future because
he strongly believes the dream is in his mind
and his heart.
3. The Dream Act
Manuel p. 37
Accs au sens
Photo de la manifestation du 20 avril 2004 Capitol

Hill, Washington D.C. Plus de 300 tudiants, certains
venant daussi loin que la Californie, taient prsents
ce jour-l. Tous avaient revtu le costume de la
crmonie des diplmes an de protester contre leur
avenir incertain et leur probable exclusion du pays.
Au premier plan, Nelly Rodriguez, tudiante dorigine
latino-amricaine. Ces tudiants sans papiers sont
arrivs enfants aux tats-Unis et esprent, grce
au Dream Act, obtenir un titre de rsidence lgale.
1. et 2. Donner 3 minutes aux lves pour prendre
Le Dream Act est un acronyme pour Development,

Relief and Education for Alien Minors. Cette loi a t
prsente une premire fois au Congrs le 1er aot 2001,
suivie de diffrentes versions en 2005, 2007 et 2009
mais qui nont jamais abouti. Si elle tait vote, cette
loi garantirait la rsidence lgale un certain nombre
dillgaux arrivs aux tats-Unis enfants, y ayant vcu
depuis au moins cinq ans et dsireux et capables de
continuer leurs tudes.
Lexique
Le document est facile daccs. Le mot mock peut
tre infr aprs lecture du texte grce au contexte.
Stage ceremony + date: April 20, 2004.
Forme de travail
connaissance du document et mmoriser le plus

dinformations possible. Possibilit dune deuxime
lecture pour rpondre la consigne 2.
This photo shows a students demonstration
that took place in Washington D.C. on Capitol
Hill in April 2004.
At rst, we may think it is a graduation ceremony but if we take a closer look, we notice
that the students dont look cheerful. On the
contrary, they look rather sad and worried.
In the foreground, we see Nelly Rodriguez,
a student who is certainly from Latino origin. Shes holding a sign reading Now What?
meaning she doesnt know what will happen
in the future.
The text suggests that these students are
undocumented/illegal / dont have any identity
papers.
They are not American citizens.
I suppose they fear for their future / they fear
they might be deported / be sent back to their
native countries.
//
Collective.
77
//
They are demonstrating. They want people to
know about their situation and they expect the
bill the Dream Act to be voted. They would like
to become American citizens in order to study
in the USA and take their exams and graduate.
These citizens are ghting for their status. They
want to become legal students to have the right
to live in the country they have known since their
childhood / for so many years. They would like
to take part in the American society and life.
3. Webquest
Cette tche ncessite une phase de recherche et de
prparation qui peut tre faite soit la maison, soit
en salle multimdia. On pourra indiquer aux lves
le numro de Time du 25 juin 2012, dont la couverture titre We are Americans just not legally et qui
rapporte des tmoignages personnels de jeunes
sans papiers de toutes origines qui ont dcid de
se dnoncer (coming out) an de forcer ladministration fdrale agir. Les donnes ci-dessous
pourront nourrir les productions dlves :

Demander aux lves
de noter les lments de rponse dans le
Workbook,
dtre prts reformuler leurs rponses
oralement.
Immigrants may nd it difficult to adjust to
their new country.
It may be hard to enrol at a university since
the fees are very expensive.
Its not always easy to nd a job because some
people are prejudiced against immigrants.
When you are undocumented, you fear deportation / being expelled from the country. You
cant have any plans for the future / your future
is uncertain.
Training task 2: Picture commentary

Note culturelle
The original Bill called the Development, Relief
and Education for Alien Minors Act (the Dream
Act), is a long anticipated Immigration Bill
which was just introduced in the US Congress
(both Senate and House) on March 26, 2009.
This original legislation was proposed to provide millions of immigrant children who graduate from US High Schools the opportunity
to receive US Residency (a Green Card) after
so many years of being left in the shadows by
State and federal laws. The new legislation will
provide immigration benets to those who
arrived in the United-States as children, before
the age of 16 and who have been residing in the
US continuously for at least ve years prior to
the Bill being enacted into law.
The Dream Act failed to pass in 2009 and even
though Senator Reid brought it up to the oor
twice: the rst time, pre-midterm election 2010
where it died with a defense authorization bill;
and the second, in December 2010, when it fell
ve votes short of passing.
Recently, in 2011, Democrats in both the House
and Senate re-introduced the Dream Act. Both
bills (House Bill and Senate Bill) continue to
await Congregational action.
www.dreamact2009t.org
Recap
Activit orale qui se base sur les documents tudis.
On pourra donner ce travail la maison et reporter les rponses dans la che Recap du Workbook
p. 19.
78
Cette tche dentranement vise une production

orale ncessitant une phase de recherche hors
classe. Possibilit de faire faire les questions 1 et
2 la maison.
1. et 2.
Insister pour que les lves ne prennent

en note que des mots isols pour leurs commentaires.
3. La troisime question se fera en classe. Cette activit dexpression orale permettra un entranement
supplmentaire la prise de parole. Sassurer que
les lves travaillent partir de notes succinctes et
les encourager faire des comparaisons. Possibilit
pour les lves denregistrer la prparation de leur
prise de parole.
Les donnes ci-dessous pourront nourrir les productions dlves.
Notes culturelles
American Gothic is an iconic painting by
Grant Wood, in the collection of the Art Institute of Chicago. Woods inspiration came from
a cottage designed in the Gothic Revival style
with a distinctive upper window and a decision to paint the house along with the kind of
people I fancied should live in that house. The
painting shows a farmer standing beside his
spinster daughter. The gures were modeled
by the artists dentist and sister. The woman
is dressed in a colonial print apron mimicking
XIXth century American and the couple are in
the traditional roles of men and women, the
mans pitchfork symbolizing hard labor, and
//
//
the owers over the womans right shoulder suggesting domesticity. It is one of the most familiar
images in XXth century American art, and one of
the most parodied artworks within American
popular culture.
Santiago Forero is a Colombian artist that
has been working in Photography, Video and
New Media for the past ten years. He attended
Ponticia Universidad Javeriana in Bogot
where he got his B.F.A in Visual Arts in 2005.
After moving to Austin, Texas, he received his
M.F.A. in Studio Art with a concentration in
Photography from The University of Texas
at Austin in 2010 and the Artist of the Year in
Photography Award by the Austin Visual Arts
Association the same year.
Ces informations pourront tre retrouves sur
le siteen.wikipedia.org/wiki/American_Gothic
A parody of the original iconic painting American Gothic, by Grant Wood in 1930.
Instead of the two typical XIXth century immigrants, we see people of Mexican origin. It suggests the typical XIXst century immigrants are
from Mexican origin.
Instead of a pitchfork, the man on the photo
is holding a tool and has dirty hands: he is not a
farmer anymore, he has become a builder which
is also hard labour.
His wife has a feather duster in her pocket:
she must be a housekeeper, the kind of menial
jobs usually done by unskilled workers when
they settle in the US.
The house has changed. It is a bright blue
colour, typical of many houses in Mexico.
By caricaturing the famous painting, representing 19th century typical Americans, Santiago
Forero wants us to realize / wants to stress /
emphasize the importance of the MexicanAmericans today.
It reveals that immigrants of Mexican origin
must be inuential in the American social,
political and economical life.
Successful integration
Manuel pp. 38-39
1. I wasnt unwelcomed
La photo nous montre un quartier rsidentiel dune
banlieue amricaine et un groupe de personnes de
tous ges, qui visiblement entretiennent de bons
rapports.
Extrait dun roman de Chang Rae Lee, Gesture
Life, publi en 1999. Fils dun psychiatre coren du
nord rfugi Soul, Chang Rae Lee a trois ans en
1968 quand sa famille immigre aux tats-Unis. Rien
ne semblait destiner Chang Rae Lee lcriture :
il commence sa vie professionnelle en tant quanalyste nancier Wall Street aprs avoir tudi
lUniversit de Yale. Sa vocation dcrivain ne se
rvle qu la mort de sa mre. Il sinstalle alors
en Oregon o il participe des ateliers dcriture.
Et surtout il rencontre son mentor, le pote Garrett
Hongo, auquel Gesture Life est ddi.
Le narrateur et hros du roman, le docteur
Franklin Hata, est un Japonais dorigine corenne ;
il sest tabli dans une bourgade du New Jersey,
Bedley Run, au dbut des annes soixante. Dsormais septuagnaire la retraite, il semble couler des
Manuel p. 38
jours paisibles dans sa banlieue cossue. Il vit dans
une vaste demeure de style no-Tudor avec jardin
et piscine dalle. Il semble avoir gagn lestime de
ses voisins.
Le titre et lintroduction du passage nous dpeignent
directement le personnage principal : le narrateur,
dorigine asiatique, qui semble tre apprci dans
son voisinage.
lments de sens de lextrait :
Installation du narrateur dans cette banlieue cossue : living thirty-odd years in the same place / Ive
lived here as long as any / here, fty minutes north of
the city / a picturesque town.
Lge du narrateur : living thirty-odd years in the
same place / as an elder / silver hair.
Le fait que tout le monde le connaisse et lapprcie : people know me here / everyone here knows
perfectly who I am / Whenever I step into a shop,
someone will say Hey, its good Doc Hata / How are
yous and Hellos / gradual and accruing recognition / the
small but unequalled pleasure that comes with being
79
familiar sight to the eyes / I alone rate the blustery

greeting, the special salutation / my name, both odd
and delightful to people
Le sentiment du narrateur : I deeply appreciate / I
somehow enjoy an almost Oriental veneration
Le fait qu son arrive, les choses taient diffrentes : It wasnt always so / In my rst years, things
were a bit different / few people seemed to notice me
Lexique
Lensemble du texte ne comporte pas de difcults
majeures mme si certains mots seront difciles
comprendre pour les lves, mais tous ne sont
pas ncessaires. De plus, un travail dinfrence est
propos dans le Workbook
p. 15.
Formes de travail
1. individuelle puis collective ; 2. en groupes ; 3.
collective.
Accs au sens
1. a. Anticipation avec le titre du passage et lintroduction. Cette introduction peut amener aisment
les lves supposer que le texte parle de la vie
dun immigrant dorigine asiatique, install aux
tats-Unis. Le titre suggre que son intgration a
t russie.
p. 14-15. An de matrialiutiliser le Workbook

ser les recherches, les lves devront surligner les
informations trouves :
le premier groupe sattachera dcouvrir ce qui
concerne la routine du narrateur ainsi que lattitude
des gens son gard,
le deuxime groupe se concentrera sur tout ce qui
concerne larrive du narrateur : lpoque laquelle
il sest install, des dtails sur la ville de Bedley Run
ce moment-l ainsi que lattitude de la population
son gard.
En cas de difcults
On pourra demander aux lves d'utiliser
le guidage plus serr qui se trouve dans le
Workbook
p. 15.
Help
Focus on what people say to the narrator
and what they do for him:
When I buy my paper each morning, the newsstand owner wil say (l. 28-29)
And the young, bushy-eyebrowed woman at the
deli, [] always reaches over the refrigerated
glass counter and waves her plump hands and
says... (l. 32-33)
She winks at me and makes sure to prepare
my turkey breast sandwich herself (l. 37-38)
Folding an extra wedge of pickle into the butcher paper... (l. 39)
> It is a friendly attitude.
The main character must be the narrator who

is of Asian origin / who comes from Asia.
Has settled, not far from New York City
suggests he has immigrated to the US.
The title suggests he managed to integrate
quite successfully in his new country.
Judging from the title and the introduction, I
imagine the text is about the narrators life and
feelings in his new country.
Look out for words expressing the narrators feelings in this passage.
deeply appreciate (l. 21) / enjoy (l. 23) / veneration (l. 24) /
> The narrator is proud and attered to be
recognized and appreciated.
b. Lecture silencieuse axe sur une premire prise
Focus on the passage (l. 59-64):

I suppose it was because Bedleyville was still
Bedleyville then, and not yet Bedley Run
> The adverbs indicate the town was about
to change its name.
dindices spciques qui fait suite la question

prcdente : les informations concernant la vie du
narrateur ainsi que les sentiments quil prouve.
The text decribes the narrators daily routine
in Bedley Run, the little town where he has
settled.
When he arrived no one / a few people seemed
to notice him / people seemed rather indifferent. But after some years 30 years people
seem to appreciate and respect him. Wherever
he goes, he is greeted by the local population.
The narrator enjoys this recognition / enjoys
being accepted and is glad to blend in the community.
80
2. La classe sera divise en deux groupes et pourra
Help
though desperately wanting to be. (l. 61)

but/however desperately wanting to be.
> I suppose it was because Bedleyville was
still Bedleyville then, and not yet Bedley Run,
however/but it desperately wanted to be called
Bedley Run.
tax is very close to taxe in French > any
newcomer was seen as benecial for the city
in terms of population and tax paying.
census refers to the number of inhabitants
in the city.
Conclude > When he arrived, the narrator
thought people were indifferent and were not
interested in him. However, he realized people
saw newcomers as benecial for the city.
Un temps de travail sera attribu aux groupes avant

la mise en commun. Le questionnement sera privilgi si des informations donnes nont pas t
comprises. Enn, un lve devra rapporter les informations prises en notes lorsque les exposs des
groupes auront t faits.
We learn that the narrator has adapted to the
local life of his town: he goes shopping in the
town, he buys his newspaper everyday, he buys
a sandwich at the deli for lunch.
Whenever he enters a shop, he is greeted by
the locals who have a friendly attitude towards
him. They seem to appreciate him. They want
him to know they appreciate him: the lady at the
Deli makes sure to prepare his sandwich herself.
The narrator is delighted with these ways of
greeting / acknowledging him with a simple smile
or a quick hello.
He arrived in Bedley Run, at that time called
Bedleyville, in 1963, thirty years ago.
At that time, people did not seem to be
interested in newcomers. New people were
seen as a means of developing the city and
bringing money to the country.
Bedley Run, then called Bedleyville seemed
to live together / to live in harmony apart from
the black and the Chinese communities. The
narrator took short trips in the country and
noticed that people seemed to live together
without problems. Only the Blacks and the
Chinese in urban areas lived apart.
Black people because in the 1960s segregation still prevailed and most of the black
community lived in ghettos or in specic geographical areas.
//
2. Renewed hope
Analyse du document
Il sagit dun documentaire sur la communaut vietnamienne de San Diego et plus particulirement sur
le boom des salons de manucure tenus par des Vietnamiens, car ce travail ne ncessite pas de connaitre
parfaitement la langue et nexige pas de qualications
spciques. Certains de ces immigrants se trouvaient
lorigine dans des camps de rfugis au Vietnam.
Lactrice Tippi Hedren, qui visita plusieurs fois lun de
ces camps, dcida daider les rfugis leur arrive
aux tats-Unis et envoya sa propre manucure enseigner les rudiments du mtier aux femmes.
La n de la guerre du Vietnam et le dpart des Amricains en 1975 prcipita lexode de la population et
des vagues successives de rfugis arrivrent sur
le sol amricain. Les Vietnamiens arrivs aux tats-
//
The Chinese because they lived in enclaves of
their own (Chinatowns) that had been created
in the 19th century and still resented the 1943
Chinese Exclusion Act.
Perhaps he noticed that the Chinese did not
want to mix because of the way they had been
treated.
So he thought he would not be treated differently. He reckoned American people would
see him as an intruder
Although the narrator expected to be discriminated against rejected / ostracized, people
were interested in him and made him feel he
was not unwelcomed.
3. Il sagit ici dune discussion sur lvolution de la

situation du narrateur. Ce travail doit inciter llve
exposer des ides, voire exprimer son accord ou
son dsaccord sur linterprtation de ses camarades.
La prparation cette question pourra donner
lieu un travail la maison.
When the narrator settled in Bedley Run,
people didnt seem to be interested in him
although they told him he wasnt unwelcomed.
They have gradually learnt to know him and
to appreciate him.
The rst sentence is in capital letters because
it shows how important it is for the narrator
to be recognised. He is proud to be accepted /
acknowledged / to belong to the place. It shows
his integration was a success.
For him, recognition is necessary for a successful integration. He is thankful/grateful
to the local people for accepting / adopting /
integrating him.
Manuel p. 39
DVD Vido 4
Unis aprs 1978 taient en gnral jeunes (60 % tant

des enfants), pour beaucoup originaires du milieu
rural et peu instruits. Trs peu parlaient une langue
trangre (anglais ou franais). Ce bas niveau dinstruction na pas manqu de poser certains problmes
concernant la reconversion professionnelle, ladaptation et lintgration de ces rfugis dans la socit
amricaine, difcults que navaient pas rencontres
la premire vague dimmigrants vietnamiens, compose de civils et militaires appartenant pour la plupart
aux classes dirigeantes et aux milieux aiss (cadres,
hauts fonctionnaires, ofciers suprieurs, banquiers,
industriels, intellectuels, ingnieurs, mdecins, dentistes, pharmaciens, juristes, riches commerants,
etc.). ces catgories, il faut ajouter des employs
de lambassade ou dentreprises amricaines ainsi
que les membres de leurs familles.
81
On pourra visionner lensemble du documentaire sur : http://www.video.google.com/ Full Focus : San Diegos
Vietnamese 6-9-05
Squenage de la video
Time code
Images
Elements of the soundtrack
From the
beginning
to 0106
Gloria Penner, KPBS Public

Affairs Director, presenting
the show
Good evening, Im Gloria Penner. Its been 30 years since Saigon

fell to communists, Vietnam, causing tens of thousands of refugees
to flee their homeland and with 40,000 settled in San Diego. Today
the Vietnamese community here numbers more than 60,000 with
the medium-aged Vietnamese Americans heading 30.
Many are too young to remember the old country, for the others,
the emotional upheaval of leaving their homeland and adapting
to life in America is still fresh.
From 0121
to 0211
Gloria Penner talking
How do all people who have lost virtually everything managed

to rebuild their spirit and their livelihood. Well begin with an
excerpt of the documentary by independent producer Judy
Hammond. It tells little known stories about a business that
gave many Vietnamese refugees renewed hope.
This is a nail salon, a new neighbourhood, especially if you live
in the South West of the US and three times out of four, youll
find the Vietnamese immigrants hard at work.
thats an economic niche for many Vietnamese American
women. Because you can start business with little money
down, with very limited skills and limited education and limited
English language and ability.
A beauty salon, Vietnamese

women polishing nails
Prof. Linda Vo. UC Irvine
Asian-American studies
From 0506
to the end
Nail salon and beauty

exhibition
In the decade since, nails have become big business, its a

6-billion-dollar-a-year industry which Vietnamese run alone
making at least a third of the market nationally.
Lexique
Les images du salon de beaut permettent de comprendre nail et nail salon. Du point de vue strictement
phonologique, pas de problme majeur quant la
comprhension du document. Il faudra prvoir 2 ou
3 coutes. Les chiffres peuvent apporter une aide
supplmentaire.
Formes de travail
1. individuelle puis collective ; 2. collective.
Accs au sens
Phase danticipation avec limage et le titre.
The scene takes place in a beauty salon, certainly in San Diego, California, according to
the title.
We see Asian women, hard at work, and judging from the title, we understand they are
of Vietnamese origin. They are doing other
womens nails.
We learn that because of the end of the Vietnam war / the departure of American troops
from Sagon, in 1975 / X years ago, tens of thousands of Vietnamese people left / ed / escaped
from their native country to seek refuge in the
US. They had lost everything. They had no
choice but to rebuild their lives.
40,000 of them settled in San Diego.
Today, the community numbers more than
60,000 people.
A lot of Vietnamese-American women found
renewed hope in an unexpected business: nail
salons.
That job was perfect for them: they could
start with little money, they didnt need a
high education, they didnt need to be uent
in English and they didnt need a lot of qualications/skills.
Today, it is a six-billion dollars industry per
year, mainly run by Vietnamese people.
2. Laisser quelques minutes de rexion indivi1. Lors du visionnement, le professeur mettra laccent sur la nature du document propos et insistera
sur limportance de limage, tape pralable la
construction du sens.
82
duelle pour prparer la prise de parole. Il est possible de visionner une nouvelle fois le document de
faon partielle (n du document partir du salon
de beaut).
Apparently, most Vietnamese-American
women had the opportunity to nd a job quickly.
This job was the key to their integration.
This job helped them rebuild their lives and
gave them new hopes for the future.
Vietnamese-Americans did so well that nails
have become a very important business, producing six billion dollars a year, which can be seen
as a successful integration.
Recap
//
People can also feel integrated because they
have managed to mix/blend in the community.
Training Task 3: Faces of America

Cette tche dentranement vise une production orale
ncessitant une prparation.
1. La premire phase de recherche se fait soit hors

classe, soit en salle multimdia. Diviser la classe
en trois groupes. Complter les ID cards dans le
Workbook
p.15.
2. La deuxime partie se fera en classe avec une
People can feel integrated thanks to a job that
can give them a new life and new hopes.
Integrating a country can mean speaking the
language uently.
People can feel integrated because they are
accepted by the population / because people
know them and they are greeted with affection.
//
mise en commun des informations. An de promouvoir une prise de parole collective et ordonne, le
professeur pourra distribuer la parole comme suit :
le groupe 1 pose des questions au groupe 2,
ensuite, le groupe 2 pose des questions au groupe
3,
enn le groupe 3 pose des questions au groupe 1.
la n des changes, un ou plusieurs lves rcapituleront les informations prises en notes dans
les ID cards.
Andrew Carnegies biography

Life (childhood, schooling, memorable events, etc.)
Personal details
Date/Place of Birth: First job in 1848 at the age of 13, as a bobbin boy
November 25, 1835
Dunfermline, Fife,
Scotland.
Arrival in the US:

moved to Allegheny
(poor area)
Pennsylvania with his
parents in 1848.
Family background:
First son of William Carnegie a linen weaver
and local leader of the Chartists (who sought
to improve the conditions of working-class life
in Great Britain), and of Margaret Carnegie
daughter of Thomas Morrison a shoemaker
and political and social reformer.
Andrews father wanted to escape starvation /
had to borrow money to migrate. There,father
found a job in a cotton mill / the mother earned
her living by binding shoes.
(he changed spools of thread) in a cotton mill /

worked 12 hours a day, 6 days a week in a Pittsburg
cotton factory for $1.20 a week.
hard worker / was by turn a telegraph messenger
boy, a secretary / telegraph operator for the
Pennsylvania Railroad Company / became the
superintendent of the Pittsburgh Division: vital to his
later success.
The railroads: the first big businesses in America
/ the Pennsylvania: one of the largest of them all.
Carnegie: learned much about management and cost
control during these years. Built Pittsburghs Carnegie
Steel Company / later merged with several other
companies to create U.S. Steel. Led the enormous
expansion of the American steel industry.
With his fortune: turned to philanthropy. A passion
for reading: gave most of his money to establish
many libraries, schools, and universities in the
United States, the United Kingdom, Canada and
other countries, as well as a pension fund for former
employees.
Often regarded as the second-richest man in
history after John D. Rockefeller and one of the most
important philantropist of his era. Often referred to
as a true rags to riches story.
Died on August 11, 1919, in Lenox, Massachusetts
of bronchial pneumonia.
83
Salma Hayeks biography

Personal details
Date/Place of Birth: Sent to the Academy of the Sacred Heart in Grand
September 2, 1966
- Coatzacoalcos,
Veracruz, Mexico
Arrival in the US:

moved to Los
Angeles, California,
in 1991.
Family background:
mother: opera singer and talent scout of
Spanish ancestry / father: oil company executive
of Lebanese ancestry
Salma means safe in Arabic / was raised in
a wealthy, devoutly Roman Catholic family
Coteau, Louisiana, at the age of twelve / diagnosed

with dyslexia / attended college in Mexico City :
studied International Relations at the Universidad
Iberoamericana.
At the age of 23: landed the title role in Teresa
(1989), a successful Mexican telenovela / made her
a star in Mexico.
Moved to Los Angeles, California, in 1991 to study
acting under Stella Adler / had limited fluency in
English attributed to her suffering from dyslexia.
In 1995, given a starring role opposite Antonio
Banderas in Desperado. Received an Academy Award
nomination for Best Actress for her role as Frida
Kahlo in the film Frida, released in 2002.
Spokesperson for Avon cosmetics since February
2004.
On September 21, 2007, gave birth to daughter
Valentina Paloma Pinault in Los Angeles. In 2009,
married French billionaire and CEO Franois-Henri
Pinault.
In 2011, launched her own line of cosmetics,
skincare and haircare products called Nuance by
Salma Hayek.
Also an activist in the awareness campaign on
violence against women and discrimination against
immigrants.
Jerry Yangs biography

Personal details
Date/Place of Birth: Life: graduated from Sierramont Middle School and
November 6, 1968 in
Tape, Tawan.
Arrival in the US:

moved to San Jose,
California at the
age of ten with his
mother and younger
brother / father died
when Jerry was two.
Family background:
mother: an English teacher. Yet, Jerry only knew
one English word: shoe, on his arrival / became
fluent in 3 years / was placed in an Advanced
Placement English class.
84
Piedmont Hills High School in San Jose / earned

a Bachelor of Science and a Master of Science in
electrical engineering from Stanford University, April
1994, co-created an Internet website called Jerry
and Daves Guide to the World Wide Web with David
Filo, consisting of a directory of other websites / was
renamed Yahoo! (an exclamation). Yahoo! became
very popular.
Yang and Filo realized the business potential / cofounded Yahoo! Inc. in April 1997.
In 1999: named to the MIT Technology Review
TR100 as one of the top 100 innovators in the world
under the age of 35.
married to Akiko Yamazaki, a Japanese woman who
was raised in Costa Rica.
February 2007, Jerry Yang and his wife gave US$75
million to Stanford University.
Today: currently on the Board of Directors of the
Asian Pacific Fund, and Cisco / also on the Stanford
University Board of Trustees.
Keeping the American Dream alive
Manuel pp. 40-41

Analyse du document
Ce document est un article publi le 21 octobre
2010 dans le magazine amricain Time. Son auteur,
le journaliste Fareed Zacharia, compte parmi les
intellectuels les plus inuents dans les mdias amricains. Il analyse ici lvolution du rve amricain
en se rfrant sa propre exprience.
Annes 1970 : les USA connaissent une priode de
prosprit et de stabilit politique en dpit de la crise
conomique mondiale et dun malaise politique intrieur ; compare lInde, cest une dmocratie riche ;
Annes 2000 : lInde, pays en voie de dveloppement, a connu une forte croissance pendant plusieurs dcennies ; en revanche, les tats-Unis ne
sont plus autant que par le pass le symbole de la
russit conomique. Mais le dynamisme dmographique et culturel du pays assure la survivance de
lAmerican Dream et donne des raisons desprer.
Lexique
Pas vraiment de difcults dans cet article si ce nest
Betamax cassettes (l. 13) quil faudra expliquer aux
lves, ceux-ci tant trop jeunes pour savoir de quoi
il sagit. La srie Dallas tant revenue sur le devant
de la scne rcemment, il se peut que les lves
la connaissent ; dans le cas contraire, leur donner
un bref aperu (cette activit pourrait trs bien tre
donne en travail la maison et un lve pourrait
faire un rapide compte-rendu en dbut dheure
suivante). Quelques notions historiques pourront
ventuellement tre donnes aux lves, telles que
Vietnam War and post Vietnam War si le document
vido p. 39 n'a pas t tudi en amont.
Formes de travail
1. deux puis collective ; 2. individuelle puis collective ; 3. en groupes ; 4. deux puis collective.
Accs au sens
1. Phase danticipation : en tudiant les lments

priphriques (photo, titre, source, date) les lves
peuvent imaginer quelles informations seront donnes

dans larticle et se prparer la lecture. Leur laisser
quelques minutes pour rassembler leurs ides.
This document is a press article issued from
Time Magazine, a worldwide known American
magazine.
It was published in 2010 and written by Fareed
Zakaria, an American of Indian origin.
Judging from the title, I suggests Fareed
Zakaria is speaking. still makes me think the
American Dream may have disappeared in some
peoples minds.
On the photo, I can see people of Indian origin attending a parade in New York. They look
cheerful and pleased to be there.
From the title and the photo, I suppose Fareed
Zakaria is going to give us his opinion as an
Indian-American about the American Dream
today.
2. Premire tape de comprhension : dcouverte

des faits gnraux et reformulation, puis mise en
commun. Les lves disent ce quils ont compris ; les
inviter approuver ou rfuter ce qui est propos par
les autres pour dvelopper linteraction dans la classe.
3.a. Deuxime tape de comprhension : comprhension plus ne visant proposer un compterendu plus prcis des diffrentes tapes dans la vie
de Fareed Zakaria. Pour cela, diviser la classe en
trois groupes en suivant les trois axes fournis par
la consigne :
group 1 : vision du rve amricain quand lauteur
vivait en Inde ;
group 2 : vision du rve amricain quand lauteur
tudiait aux tats-Unis ;
group 3 : sa perception de la situation aujourdhui,
alors quil vit aux tats-Unis depuis de nombreuses
annes.
The American Dream when the

writer lived in India
The American Dream on the

writers rst visit in the US
His perception of the situation

today
The journalist had never been to

the US but he knew what it was like
through watching worldwide known
TV series.
He was fascinated, so were all the
people he knew. He imagined the
US was like what he had seen in the
series.
When he came to America on a

first visit, the journalist realized it
was not what he had imagined.
It was not a kaleidoscope of sexy
images. It was different from Dallas
/ from the image conveyed in TV
series and shows.
The situation today is not the

same. It is a reversed situation.
American people seem pessimistic/
discouraged/hopeless about their
future whereas Indian people are
full of hopes and faith.
85
The American Dream when the

writer lived in India
The American Dream on the

writers rst visit in the US
For him, America was a paradise

where everybody lived a wonderful
life.
The American Dream for him
consisted in open land, shiny
skyscrapers, fancy cars, cowboy
businessmen, sexy actresses
There seemed to be an immense
contrast between his native country
and the US.
By comparison, India seemed far
behind.
Everybody, even politicians
dreamed of the States.
Even if the 70s were hard/tough
times, to the rest of the world,
America was sparkling.
His vision of the American Dream

was slightly different.
The modern American Dream
consisted in prosperity and well
being.
The American Dream was
materialized by a spacious house
with a double garage. The majority
of people, mostly middle-class
people, could hope to be able to
buy such a house. They had the
feeling the American dream was
not impossible to reach / was within
their reach.
Happiness relied on prosperity.
It created contentment, pleasure,
satisfaction, happiness.
It gave energy and motivation to
people. They had the feeling they
could face any challenge: they
invented the can-do spirit.
Being prosperous was a stimulus
for them.
At that time, American optimism
contrasted with Indian fatalism.
They have the ambition to

succeed.
After years of stagnation, the
whole country is coming out /
coming to light.
It is conveying the image of a
booming economy.
b. Mise en commun. Le travail sera plus riche si
Recap
les trois groupes peuvent travailler en vritable

interaction. Les lves doivent reformuler ce quils
ont compris. Chaque partie pourra donner lieu
une prise de parole en continu qui fournira une
synthse du travail de construction du sens avant
une prise de notes.
4. Prise dindices mener en individuel ou en

binmes.
The reasons for optimism are:
Economic reasons: America is the largest
and the richest market in the world.
Demographic reasons: it is the only country
in the industrialized world where the population is increasing.
Historical reasons: immigrants have contributed to keep the Dream alive.
The American Dream is a part of American
history.
Cultural and psychological reasons: its the
only country in the world to have the diversity,
the openness, the dynamism which give this
country its power / which make this country
so powerful and unique.
86
His perception of the situation

today
The American dream has been present from

the start: what the USA is now is founded on
immigration. People wanted to become American citizens in order to become independent
/ get their freedom.
The American dream helps make America
what it is. It also inuences / shapes the Americans attitudes in the face of adversity.
Believing in the dream is a cultural trait. The
Pursuit of happiness is written in the American constitution and is part of the American
can do spirit.
The successive waves of immigration have
built the country and given it its richness.
The Dream has changed over times but is
always here.
The diversity, the openness and the dynamism
have made this country exceptional and unique.
Even if the American economy is not thriving,
the US still gives immigrants the opportunity
to improve their lives / to remain hopeful for
the future / to live in a democracy / to have a
shot at the American Dream.
Training task 4: Tweeting the Dream
1. Rpartir les lves par groupes de trois ou quatre.

Cette tche dexpression orale va fournir aux lves
loccasion de rpondre la problmatique de dpart
les exemples donns tout au long du chapitre
pourront videmment tre repris. Ils sont galement

invits utiliser leurs connaissances pour enrichir
leur dnition.
2. Tche dentranement lexpression crite : laisser les lves produire individuellement un tweet de
140 caractres.

Manuel p. 42-43
WORDS
Feelings and reactions
a.
excitement
apprehension
exultant - thrilled excited
apprehensive anxious hesitant - worried
happiness
hope
glad - delighted cheerful - elated
courage
optimistic hopeful - buoyant
audacious courageous brave
b. Exemples de productions possibles :
Talking about immigration
On the rst photo, the woman has probably left

her country in difcult circumstances and she is no
doubt courageous. She looks anxious. Maybe shes
apprehensive for her future and shes wondering
whether she has made the right decision.
a. reasons for immigrating: war - political or religious persecution - lack of money - unemployment
-famine - family reunion - job opportunity - better
education
The little boy at her side does not look so worried

but he may be very hesitant about his future.
The second photo shows a whole family. The smile
on their faces suggests all of them are glad of their
situation. They have certainly adjusted to their new
country and are hopeful and optimistic for their
future and their childrens future.
The odd one out

a.
1. asset
4. remote
2. foreign
5. immigrants
3. integrate
6. grasp
b.
When settling in a foreign country, speaking
the language uently is an asset when it
comes to nding employment.
Immigrants sometimes nd it difcult to
integrate because of their poor command of
the language. Thats why many of them take
language classes. They know it will also help
them grasp cultural habits that may be very
remote from theirs.
obstacles: language - discrimination - cultural habits

- be uprooted...
integrating: job - education - family - sports...
People have been immigrating to the United
States for centuries. They have come for many
reasons: religious or political persecution,
to escape wars, because of famine, to get a
better education or for a job opportunity, to
join a family member / a relative
However, integrating a new country is not
always easy and the newcomers often meet
a lot of difculties such as the inhabitants
hostility or the complexity of learning the
language and adapting to new cultural habits.
On top of that, being cut off from your family
roots must be heartbreaking for a lot of
immigrants.
Thats why you need a lot of courage to start
from scratch. Yet, the promise of a better life
through a better job and a better education is
a good reason to remain optimistic.
87
Pi
We expect you to work hard every day.
p.17
ist e
11
Stress on compound nouns
Workbook
ste 1
Rhythm and weak forms
'homeland - 'birthplace - 'Asian American - suc'cess

story - 'will power - 'world stage - 'corporate world
- 'high-tech engineer - 'real estate agent - 'lifestyle
- 'school education - com'munity center
Conclusion: it is always the rst term of the compound
noun that bears the main stress.
Verbs
'immigrate
ex'pect
'fascinate
'starve
'organize
as'similate
con'front
de'port
'integrate
dis'criminate
de'termine
Pi
Words ending in -ion
ste 1
Derived nouns
immi'gration
expec'tation
fasci'nation
star'vation
organi'zation
assimi'lation
confron'tation
depor'tation
inte'gration
discrimi'nation
determi'nation
GRAMMAR
We would like you to start community work if you

have never done any before.
When/If
Observe
Dans les phrases 1 et 2, les actions exprimes par
les verbes principaux (be able to settle / be easier)
sont soumises condition :
- condition explicite :
si Martin trouve du travail / si la loi est vote ;
- condition implicite :
quand il trouvera du travail = uniquement partir
de ce moment l / quand la loi sera vote = uniquement partir du vote de la loi.
Elles ne peuvent se raliser quau moment o ces
conditions sont remplies. On ne sait pas quand ces
conditions seront remplies mais on est certain de
ces conditions : si elles ne sont pas remplies, rien
ne se passera. On les pose donc comme des vrits
irrfutables.
Dans les subordonnes introduites par if ou when,
on ne peut pas employer le modal will puisque will
exprime une forte probabilit mais pas une vrit.
Do labsence de futur dans les propositions
subordonnes temporelles introduites par when.
Les constructions des phrases sont semblables

et leur sens trs proche :
La phrase 3 se refre une action accomplie avec

un rsultat prsent (when he has graduated = he has
a degree). On pose comme condition non discutable
le moment o Miguel pourra se mettre en qute du
rve amricain (have a shot at the American dream).
On ne peut donc pas avoir de modal.
S + want/would like/expect + Cplmt + to + BV
Practise
vouloir que qquun fasse qque chose / attendre

de qquun quil fasse qque chose
Le second verbe est prcd de to car laction

quil introduit ne sest pas encore ralise : elle est
souhaite, espre, attendue, vise.
a. They will leave their country if they dont nd/

havent found a job.
Want/would like/expect sb to...

Observe
Practise

a. Martin Matoda wants/would like recruiters to
give him a job.
b. Farah wants/would like Iranian women to be
better recognized.
c. Fang-Yi Sheu wants/would like/expects Taiwanese
dancers to develop modern dance in their homeland.
88
We would like you to go to optional evening lessons

when you have time.
b. When they have become American citizens, it will

be easier for them to integrate.
Etc.

When I am there, I will try to nd a job and then
travel across the different states.
If I nd a at easily, I will invite my neighbours for
a house-warming party.
Etc.
d. Farah would like her fellow immigrants to integrate more easily.
When they have really settled, they will nally

feel American.
We expect you to be on time for the lectures and

to take notes.
If they manage to nd a house quickly, they will

feel relieved.
Workbook
pp. 17-18
WORDS
My parents would like you to help yourself in the

kitchen if you are hungry.
Compound words
My mother wants you to be on time in the morning

in order not to miss the bus.
a.
academic background
homesick
racial discrimination
history centre
steerage passenger
career prospects
host country
social background
immigration station
job centre
homeland
job opportunity
b. Exemple de production possible :

In the 1920s, a lot of steerage passengers went
through Ellis Island, the Immigration Station.
Many of them were homesick because they had
to leave their homeland. However, the promise
of job opportunities and career prospects made
them adopt their host country.
My parents would like you to be here for dinner

at 8 p.m.
My mother expects you to put your laundry in the
basket in the bathroom.
The teachers expect all the American students to
behave in class.
They would like them to participate in class.
The school staff expect the American students
to attend school regularly and not to skip classes.
They would like the students to have a good time
in the school.
They want them to have lunch at school in order
to taste French food.
Etc.
When/If
Rythm and weak form
is
11
te
I feel like I am embodying the American dream. My

parents never had the opportunity to get an education,
to go to college, to pursue a professional career and
earn a lot of money. They have always had nancial
problems and they are still living in a small house
in a poor suburb. So I feel like it is my job to be there
for them and show them that I can succeed and be
someone important. I will continue to ght as much
as I can so they will be proud of me.
GRAMMAR
If they leave their homeland, some immigrants

will be homesick.
When immigrants nd refuge, they will feel relieved.
If they cross the border, they will be granted
equal rights.
When they integrate, they will discover another
culture.
If they get a job, they will have a better life.
When they obtain a degree, they will have better
opportunities.
If they have ambitions, they will succeed.
If they are welcome, they will share common
values.
Want/would like/expect sb to
If they are not rejected, they will try to full their

dream.
Etc.
Pi
ste 1
Manuel pp. 44-45
STRATGIES
CD 1 lve
Comprendre un monologue
Objectifs
Premier volet des stratgies de comprhension de
loral. Doit permettre aux lves de mieux saisir les
messages transmis lors dune prise de parole assez
longue de type tmoignage, expos, reportage etc.,
en sentranant :
se prparer lcoute ;
faire des reprages et stocker en mmoire ;
mettre en relation les lments reprs pour
construire du sens.
89
Pi
ste 1
Analyse du document
Extrait dune mission radiophonique sur NPR,

datant du 16 aot 2011, dune dure de 216 min,
intitul New York Laundromat becomes an English
classroom. Il sagit dun reportage sur une exprience particulire denseignement de langlais aux
immigrs dominicains et mexicains, sans papier
pour la plupart, installs Manhattan. Cet enseignement dispens par un bnvole, Hector Canonge,
se fait dans un Lavomatic, alors que les immigrants
viennent y faire leur lessive.
On entend dans ce reportage :
lintroduction de lanimatrice de lmission de NPR
qui annonce le sujet,
le bruit des machines laver,
le professeur Hector Canonge qui fait rpter des
mots anglais, donne leur traduction en espagnol et
tmoigne brivement de son exprience,
les immigrants qui rptent,
le journaliste George Bodarky, de WFUV national
public radio in New York city qui explique longuement le projet men par Hector Canonge.
On remarquera que mme si plusieurs personnes
interviennent dans ce reportage, il ne sagit pas
dun dialogue : lexplication de G. Bodarky est en
fait illustre par les tmoignages.
//
this part of manhattan has a large population
of spanish-speaking immigrants // canonge
lives in the neighbourhood // he got the idea
for the english classes / while doing his own
laundry //
i saw many people struggling with the
machines / you know / reading / like / the
instructions //when do I put the soap // whats
wash / and whats bleach / or whats rinse //
during the day / there is the korean owner /
who tends the place / so / even that is / you
know / they cant talk to him // they cant say /
i need change // you know / give me ve dollars
in change // and also / he cant speak spanish
/ so thats a pain //
underwear // no // underwear //
but when you live in a neighbourhood / where so
many people do speak spanish / its easy to put
off learning english // thats what myra kayro
/ who hails from the dominican republic / says
happened to her // shes been living in the us
for 26 years / and became a citizen about six
months ago //
everybody speaks spanish in this neighbourhood // its very difficult to speak english //

immigrants in new york city / who want to learn
english / have a new venue / in which to do so /
the laundromat //
george bodarky / of member station wfuv /
tells us about one mans project / to teach
english / in that free time between washing
and folding //
(soundbite of laundromat machines)
amid the gurgling of washers and hum of driers
at the magic touch laundromat in northern
manhattan / hector canonge is teaching english
// his vocabulary lesson / starts off with words
tting for the setting // shirt / shirt. (translated
in spanish)
canonge is just standing in front of a wall of
stainless steel industrial driers / at the head of a
bright yellow folding table // his eight students
are lined up along the table / four on each side /
six women and two men / from the dominican
republic and mexico //
pants / pants // (translated in spanish)
canonge says he wanted to offer immigrants
in the neighborhood / especially those without documentation / a relaxed setting to learn
english //
so many / recent immigrants can go to a school
/ a public school and say / you know / i want to
learn english / because the rst thing theyre
going to ask you is / well / do you have an id //
or even in the library //
//
90
On pourra envisager le travail sur cette double-page

diffrents moments de ltude du chapitre, soit en
amont de la tche dentranement 1 : A presentation
leaet, manuel p. 35, an de prparer le transfert de
stratgies, soit en aval pour raliser ce transfert et
prparer lcoute du document Immigrants hope
their American Dream is not fading, manuel p. 36.
tapes possibles :
La prparation lcoute se fait individuellement
la maison : les lves prennent en notes leurs
hypothses sur le reportage radiophonique propos.
Mise en commun des hypothses classe entire lors
de la sance suivante.
coute du document pour vrication des hypothses : on demandera aux lves de se concentrer
sur lenvironnement sonore et sur qui parle (voir
premiers lments reprer du tableau page 45
du manuel). Nouvelle phase de travail la maison :
demander aux lves de reprer notamment les
mots qui se dtachent clairement, les indicateurs
de lieux, les donnes chiffres.
Lors du cours suivant : mise en commun des
lments reprs par groupes de 4 ou 5 lves et
mise en relation. Demander aux lves de prparer
par crit, la maison, une synthse individuelle en
francais de ce quils ont compris. Ils pourront se
reporter lentranement
Comprhension de
loral, manuel pp. 50-51.
VALUATIONS
Corrigs
Task 1. Speaking . . . . . . . . . . . . . . 20pts

Documents supports (role-play cards)
Voir documents photocopiables p. 96 de ce

guide.
Manuel pp. 46-47
Task 2. Listening . . . . . . . . . . . . . . . 10pts

Document support
CD2 valuations piste 3
Voir document photocopiable p. 95 de ce guide
Il sagit dune prise de parole en interaction dans
le cadre dun talk show radiophonique. Dans un
tel contexte, des notes seront permises mais
elles doivent tre trs succintes et regardes avec
parcimonie.
Les lves devront tirer au sort une carte (role-play
cards) qui leur attribuera un rle :
le prsentateur de lmission de radio,
une immigrante dorigine Hondurienne,
un immigrant dorigine Indienne,
une jeune femme dorigine chinoise.
Forme de travail
Collective.

Prvoir une sance : Il est possible pour gagner
du temps de nvaluer que quelques groupes et
de charger les autres lves de co-valuer leurs
camarades.
1. Constituer des groupes de quatre lves. Tous se

prparent sans savoir exactement quel moment
ils vont effectuer leur prestation.
2. Les lves tirent une carte.

3. Donner aux lves 10 minutes pour prparer leurs interventions. Les lves spectateurs
doivent, tout comme le journaliste, prparer
quelques questions et se tenir prts intervenir tout moment. On peut, pour limiter le
nombre de groupes, donner plus de cartes de
journalistes.
4. Lancer le Talk Show pendant 15 minutes. Ne

pas interrompre les lves.
Les lves devront couter deux journalistes

chargs de slectionner un ou des participants
une mission radiophonique sur les nouveaux Amricains . Ces journalistes dcrivent
trois diffrents prols dimmigrants candidats
lmission et donnent leur avis sur leur ventuelle
participation.
lissue des trois coutes, les lves devront
identier les prols dimmigrants retenus par les
journalistes (pas de justications demandes).
Forme de travail ;
Individuelle.

Prvoir un maximum de 30 minutes en tout.
1. Trois coutes, chacune suivie dune pause de

1 ou 2 minutes.
2. Chaque lve prend des notes lors des diffrentes coutes.
3. la n de la troisime coute, laisser du temps
aux lves pour rpondre la question.
Corrigs et barmes :
Slectionn
pour lmission
Candidats
1 : Sun Goo
2 : Paul Mercado Reyes
3 : Monica
Toutes les cases sont correctement coches :

10 pts.
Une erreur : 5 pts
Deux erreurs : 1 pt
Toutes les cases sont fausses : 0 pt
91
Corrigs
VALUATIONS
Manuel p. 47
Document support
1. Communication du titre accompagnant lenre-
Voir
gistrement : From illegal immigrant to world known

specialist crire au tableau.
2. Trois coutes intgrales au cours desquelles

Le Dr Alfredo Quinones-Hinojosa tmoigne de sa
russite spectaculaire, depuis son arrive aux tatsUnis comme saisonnier sans papier en Californie
jusqu sa russite en tant que chirurgien neurologue rput.
Forme de travail
llve peut prendre des notes comme il le souhaite

au brouillon :
coute 3
3. Aprs la dernire coute, llve dispose de 10

minutes pour rendre compte de ce quil a compris,
en franais, sur sa copie. On pourra lui suggrer de
remettre aussi son brouillon quon sera vigilant
de ne pas regarder avant davoir valu le compterendu an de pouvoir observer le passage entre les
notes et la restitution et ainsi pouvoir mieux aider les
lves qui auraient des difcults dans cette preuve.
Individuelle.
Passation
24 novembre 2011). Prvoir 20 minutes.
Dans le tableau ci-dessous apparaissent en colonne

de gauche les critres xs par le B.O. du 24
novembre 2011, en colonne de droite les lments
de rponse pour le document dont il est question ici.
Comprendre un document de type monologue

From illegal immigrants to world-known specialist
Niveau
Situer la prestation du candidat lun des cinq

degrs de russite et attribuer cette prestation
le nombre de points indiqu sans le fractionner
en dcimales de 0 10
Le candidat na pas compris le document. Il nen
a repr que des lments isols, sans parvenir
tablir de liens entre eux. Il na pas identifi le
sujet ou le thme du document.
1 pt
A1
A2

Thme et sujet nont pas t identifis.
Le candidat est parvenu relever des mots

isols, des expressions courantes et les mettre Thme partiellement compris : un homme a
en relation pour construire une amorce de
ralis le rve amricain.
comprhension du document.
Le candidat a compris seulement les phrases/les
ides les plus simples.
3 pts
Certaines informations ont t comprises
mais le relev est incomplet, conduisant une
comprhension encore lacunaire ou partielle.
5 pts
92
Plus dinformations partielles releves quen A1 :

Cet homme, immigrant illgal, est arriv en
Californie avec trs peu dargent / 3 dollars en
poche.
A travaill trs dur pour russir.

A crit un livre pour raconter son exprience.

Est arriv aux tats-Unis en 1987, il y a environ
20 ans.
A travaill de ses mains et a eu le sentiment quil
pouvait raliser le rve amricain.
Pour lui, les temps ont chang mais le rve
amricain existe toujours.
Le rve, cest davoir de quoi se nourrir, de quoi
nourrir ses enfants et de quoi payer leurs tudes.
B1
8 pts
B2
Des dtails significatifs du document ont t

relevs et restitus conformment sa logique
interne.
Le contenu informatif a t compris, ainsi que
lattitude du locuteur (ton, humour, points de vue,
etc.). Comprhension fine.
10 pts
Plus de dtails :
Le rve amricain est toujours vivant mme si
les moyens de latteindre ont volu.
La russite de cet immigrant : il travaille toujours
de ses mains mais dans un institut prestigieux,
un des plus prestigieux au monde. Il est mdecin
(spcialiste).
Plus difficile maintenant dentrer aux US pour les
Mexicains : les frontires sont mieux gardes.
Il est fier de ce quil a fait.
Si des lments ont t relevs plusieurs niveaux, il appartiendra au correcteur de dnir le niveau global atteint.
Note de llve : note sur 10 2 =
/20
Expression orale
Voir les consignes dans le manuel p. 47.

1 pt par bonne rponse = 3 pts
Voir documents photocopiables pp. 97-100 de ce guide.
Corrig et barme
Total des points = 50 pts (multiplier par 2 et diviser
par 5 pour obtenir une note sur 20 pts)
a. Both texts deal with immigrants feelings

b. Both texts are: ; narratives
c. ; Text 1 is non-ctional and text 2 is ctional

Text 1
Where (place and country)
2,5 pts
Characters present in the
scene (identification and if
mentioned: age, occupations,
origin, relationships)
7 pts
Other people involved:
how they are related to the
characters present where
they live
4 pts
High School at Prospect Heights, in

Brooklyn, New York USA.
3 lments de rponse = 1,5 pt
Text two
Store, USA.
2 lments de rponse = 1 pt
Student N 219870508 called Chit Su,

I , the narrator shopkeeper from
17, high school student (9th grade) from Ethiopia.
Burma or Thailand.
5 lments de rponse = 2,5 pts
Dariana, the Coordinator of Special
Programs but a better job title would be
The Fixer ( she has solutions for
everything), 25, from Dominican Republic.
6 lments de rponse : 3 pts
Burmese sisters: probably former
students at that school who have
relocated in Texas.
Customers of the shop - narrators

uncle and two friends/ living in the USA.
Narrators mother and brother / in
Ethiopia
5 lments de rponse = 2,5 pts
93
2 pts par rponse correcte accompagne dune

justication= 18 pts
Text 1
a. All the students at the International High School
at Prospect Heights have just arrived in the country.
Wrong. the students who have lived in the country for
longer have learned to blend in better but the new
kids are easy to spot. (l. 1-3)
b. All the students at the International High School
at Prospect Heights wear a uniform.
Wrong. brand-name sneakers and low-riding jeans.
(l. 3)
c. Student No. 219870508 has managed to blend in
perfectly well.
Wrong. Somehow Student N 219870508 got it almost
right. (l. 6-7) Her clothes t too well to be hand-medowns, and they leave no trace of a foreign country.
(l. 14-15)
d. Lots of personal details about Student
N 219870508 are available.
Wrong. very little is known about Student
N 219870508. No one is exactly sure where she came
from, ou how she got here this morning, up three ights
of stairs and past security. (l. 29-30)
e. Student N 219870508 has a bad command of
English.
Right. her English is very limited. (l. 35)
f. Student N 219870508 is given a package of peanutbutter crackers because she has a stomach ache.
Wrong. Eat these every time you feel nervous. (l. 43)
Text 2
g. The narrator earns a lot of money.
Wrong. I own my business, and that business is
okay. (l. 8) Grateful its not worse. (l. 9) / when I
can afford to (l. 11)
h. The narrator sends money to his family on a
regular basis.
Wrong. I send them money every few months when I
can afford to. (l. 11)
94
i. The narrator thinks his new life is fullling.

Wrong. I was hit with the sudden terrible and frightening realization that everything I had cared for and
loved was either lost or living on without me seven
thousands miles away, and that what I had here was
not a life, but a poorly constructed substitution. (l. 3-6)
In text 1, student n 219870508 has just arrived

in the USA whereas the narrator in text 2 has been
living there for some time. 2 pts
a. The main character in text 1 wants to appear
integrated:
today is her rst day [] but at least by appearances
she could be any girl entering the ninth grade at any high
school in any city or small town across America. (l. 7-10)
2 pts (1 pour ladjectif correctement choisi,1 pour la
justication.)
The main character in text 2 wants to appear
successful:
A grim store and a cheap apartment. (l. 7) I tell them
only that I own my business and that business is okay.
(l. 8-9) I send them money. (l. 9) 2 pts
b. The main character in text 1 actually feels tense:
it was obvious Chit Su was suffering from a bad case
of nerves. (l. 26-27) 2 pts
The main character in text 2 actually feels lonely,
uprooted and homesick,
Left alone behind the counter, I was hit made up of
one uncle , two friends. (l. 3-6) 4 pts
2 pts
a. The main character in text 1 wants the American
students to think she is one of them.
b. The main character in text 2 wants his family to
think he has succeeded.
; A challenging experience 1,5 pt
Expression crite
UNIT 2
valuations
Final task 1
The new Americans
Name :
Class :
Speaking
Manuel p. 46
Take part in a radio programme about the new Americans

Traitement du sujet
A2
A pu mettre en adquation
sa production avec le
sujet propos : est bien un
immigrant prenant part une
mission sur les nouveaux
Amricains.
Prendre part une

conversation.
Aisance et coopration.
A lu ses notes en jouant
peu. Des hsitations.
Voix peu audible.
Peut soutenir une
conversation simple.
Intelligibilit et recevabilit linguistique

La langue est comprhensible
malgr des erreurs
lmentaires, un lexique
limit et une prononciation
assez imparfaite (fort accent
franais).
1 3 pts
1 2 pts
1 2 pts
A pu avancer plusieurs
arguments simples en
adquation avec le sujet.
A su prendre de la distance
par rapport ses notes.
Sest exprim clairement
mais a rcit plus quil/elle
na jou.

langue comprhensible
et globalement correcte ;
vocabulaire spcifique bien
utilis.
Erreurs occasionnelles.
Bon rythme oral mme si un
accent et une intonation trop
franiss sont perceptibles.
4 pts
3 pts
3 4 pts
A pu avancer des ides

argumentes de manire
claire et mthodique en
utilisant des procds varis.
Peut prendre linitiative de la

parole et son tour de parole.
Sait se reprendre et
reformuler.
La langue est comprhensible

et globalement correcte.
Bonne matrise du
vocabulaire ncessaire la
tche.
Utilise une gamme assez
tendue de vocabulaire et de
structures appropris.
Est clairement intelligible
mme si un accent tranger
est perceptible et sil y a des
erreurs occasionnelles.
5 6 pts
A utilis presque tous les
procds.
A pu enrichir sa production
en situation.
A fait preuve doriginalit.
4 pts
Peut construire un entretien
avec efficacit et aisance,
en scartant spontanment
des questions prpares et
en exploitant et relanant les
rponses interessantes.
5 6 pts
A acquis une prononciation
et une intonation claires et
naturelles.
A un bon contrle
grammatical ; des bvues
occasionnelles, des erreurs
non systmatiques et de petites
fautes syntaxiques peuvent
encore se produire mais elles
sont rares et peuvent tre
corriges rtrospectivement.
Ne fait pas de fautes
conduisant des malentendus.
7 pts
5 pts
7 8 pts
B1-1
B1-2
B2
95
96
Sangjay Lakshmi
Indian
Left India: 2009
Reason: work as a high tech
engineer
Became CEO of his company
Anna Lin Wu
Chinese
Left China: 2007
Reason: study at Yale
Graduated and found the job she
wished for
Carmen Alvarado
Hondurian
Left Honduras: 2010
Reason: Join her husband
Became an active member of
Charity Action Against Hunger
Speaking - Role-Play cards
The TV presenter
The TV presenter
Carmen Alvarado
Hondurian
Left Honduras: 2010
Reason: Join her husband
Became an active member of
Charity Action Against Hunger
Final task 1
Sangjay Lakshmi
Indian
Left India: 2009
Reason: work as a high tech
engineer
Became CEO of his company
valuations
Anna Lin Wu
Chinese
Left China: 2007
Reason: study at Yale
Graduated and found the job she
wished for
UNIT 2
The new Americans
Name :
Class :
Manuel p. 46
UNIT 2
valuations
The new Americans
Name :
Class :
Manuel p. 47
Text 1
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
Everybody has The Outtthe outt they bought for America. The students who have
lived in the country for longer have learned how to blend in better, disappearing in
brand-name sneakers and low-riding jeans. But each September on the rst day of
school, the new kids are easy to spot. []
Sitting behind a cluttered desk in her ofce on the fourth day of school, Dariana Castro
examines the new girl from behind cats-eye glasses. Somehow, Student No. 219870508
got it almost right. Today is her rst day at the International High School at Prospect
Heights, a Brooklyn public school that teaches English to new immigrants, but at least
by appearances she could be any girl entering the ninth grade at any high school in any
city or small town across America. She has silky brown hair, which is half up, and small
eyes, which are cast down at the oor. Her lips are glossed and her nails polished, but
that doesnt stop her from nibbling on them. She wears brand-new blue jeans (factory
made), a black-and-red Mead backpack, and a T-shirt the uorescent-green color of
Nickelodeon slime. Her clothes t too well to be hand-me-downs*, and they leave no
trace of a foreign country. Its as if someone undressed a mannequin in the back-toschool display in the teen department of Target, and re-created the ensemble on her.
Whats your name? Dariana asks.
Chit Su, the girl says, twisting a ower-shaped ruby ring on her nger.
Cheet Sue, Dariana repeats carefully.
Cradling a phone receiver to her ear, she motions for the girl to take a seat.
Ofcially she is known as the Coordinator of Special Programs, but a better job title
would be The Fixer. Every immigrant community has one, and the International High
School at Prospect Heights has Dariana, a twenty-ve-year-old Dominican with pale
skin, curly red-tinted hair that will change colors and styles many times in the coming
months, and a solution for everything.
As soon as the new girl walked into her ofce to pick up her class schedule, it was
obvious to Dariana that Chit Su was suffering from a bad case of nerves. But thats just
about the only thing about Chit Su that is obvious. Other than the ID number assigned
to her by the New York City Department of Education, very little is known about Student No. 219870508. No one is exactly sure where she came from, or how she got here
this morning, up three ights of stairs and past security. To Dariana, she looks like
an ordinary American girl. But she is from Burma. Or Thailand. Her answer changes
depending on who asks. Either way, she is the only person in the entire school who
speaks her language, now that the ip-op-wearing Burmese sisters have relocated to
Texas. She is seventeen years old, and her English is very limited. That much is clear.
Are you happy to be here? Dariana asks, leaning forward. Are you nervous?
Silence. Shifting her weight in the chair, the girl smiles, her teeth crowded on top of
each other like subway riders at rush hour.
Youre not nervous? Dariana asks again, this time speaking more slowly. More silence.
Dariana stands up and walks over to the corner of the room, where a large plastic bag
is lled with snacks and small cartons of juice.
Here, she says, handing Chit Su a package of peanut-butter crackers, along with her
class schedule. Eat these every time you feel nervous. It will make you feel better.
Rubbing her stomach, Dariana pretends to chew. Mmmm. Thats what I do.
Brooke Hauser, The New Kids (2011)
* articles of clothing that have already been used and are given away when not wanted anymore
97
UNIT 2
valuations
The new Americans
Name :
Class :
Text 2
1
2
3
4
5
6
7
8
9
10
11
No one tells you this at the beginning, but the days of a shopkeeper are empty. There
are hours of silence punctuated briey with bursts of customers who come and go
within the span of a few minutes. [] Left alone behind the counter, I was hit with the
sudden terrible and frightening realization that everything I had cared for and loved
was either lost or living on without me seven thousand miles away, and that what I had
here was not a life, but a poorly constructed substitution made up of one uncle, two
friends, a grim store and a cheap apartment. []
In my monthly letters and phone calls to my mother and brother in Ethiopia, I tell
them only that I own my business, and that business is okay. Never good. Never bad.
Simply okay. Could be better. Grateful its not worse. I send them money once every
few months when I can afford to, even though I know they dont need it. I do it because
I am in America, and because sending money home is supposed to be the consolation
prize for not being home.
Dinaw Mengestu, The Beautiful Things That Heaven Bears (2007)
Read the texts carefully, then answer the questions.

Tick the right answers.
a. Both texts deal with:
immigration trends success

immigration policy immigrants feelings
b. Both texts are:
essays
narratives
newspaper articles
diaries
reports
c. Texts 1 and text 2 are:
both ctional
both non-ctional
text 1 is non-ctional and text 2 is ctional

text 1 is ctional and text 2 is non ctional
Fill in the grid below picking out as many details from the texts as possible.
Text 1
Where (place and country)
Characters actually present

in the scene (identification
and if mentioned: age,
occupations, origin,
relationships)
Other people involved:

how they are related to the
characters present where
they live
98
Text 2
UNIT 2
valuations
The new Americans
Name :
Class :
Read the following statements and decide if they are right or wrong. Justify by
quoting the text.
Text 1
a. All the students at the International High School at Prospect Heights have just arrived in the country.
..........................................................................................................................................................
..........................................................................................................................................................
b. All the students at the International High School at Prospect Heights wear a uniform.
..........................................................................................................................................................
..........................................................................................................................................................
c. Student No. 219870508 has managed to blend in perfectly well.
..........................................................................................................................................................
..........................................................................................................................................................
d. Lots of personal details about Student N 219870508 are available.
..........................................................................................................................................................
..........................................................................................................................................................
e. Student N 219870508 has a bad command of English.
..........................................................................................................................................................
..........................................................................................................................................................
f. Student N 219870508 is given a package of peanut-butter crackers because she has a stomach ache.
..........................................................................................................................................................
..........................................................................................................................................................
Text 2
g. The narrator earns a lot of money.
..........................................................................................................................................................
..........................................................................................................................................................
h. The narrator sends money to his family on a regular basis.
..........................................................................................................................................................
..........................................................................................................................................................
i. The narrator thinks his new life is fullling
..........................................................................................................................................................
..........................................................................................................................................................
Draw conclusions about how long Student N 219870508 and the narrator of text
2 have been in this country. (about 15 words)
..........................................................................................................................................................
..........................................................................................................................................................
..........................................................................................................................................................
99
UNIT 2
valuations
The new Americans
Name :
Class :
Complete the following sentences by using some of the adjectives from the two
lists below. Quote the text to justify your choice.
a. integrated - successful - at ease - competitive - busy
The main character in text 1 wants to appear ............................................................................
..........................................................................................................................................................
The main character in text 2 wants to appear ............................................................................
..........................................................................................................................................................
b. homesick - uprooted - tense - lonely - happy - lost
The main character in text 1 actually feels ................................................................................
..........................................................................................................................................................
The main character in text 2 actually feels ................................................................................
..........................................................................................................................................................
Complete the following sentences with elements from the list below:
his/her family - his/her friends - the government - the American students - the teachers - the customers
a. The main character in text 1 wants ............................ to think she is one of them.
b. The main character in text 2 wants .............................. to think he has succeeded.
Among the following titles, which one would you choose for that set of document?
A challenging experience
Assimilation
A humiliating experience
Multiculturalism
Making a dream come true
Expression crite
A diary entry
Write Chit Sus diary entry recalling her rst day at the International High School (150 words).
A dialogue
Imagine a conversation the narrator in text 2 had with his mother when he rst told her he was
going to settle in the US (250 words).
100
UNIT 3 Tech-less world
Notion : L'ide de progrs
Activit langagire dominante : production crite


Le thme gnral
Le thme de ce chapitre, un monde dpourvu de technologie, sinscrit dans la notion Lide de progrs ;
il est abord sous diffrents angles. Les documents proposs ltude balisent un droul qui va de la
simple exprience dune panne de courant dans la vie de tous les jours au projet utopique dun retour
un environnement en harmonie avec la nature. Quelle soit transitoire ou permanente, subie ou volontaire,
lexprience dun monde sans technologie remet en perspective notre mode de vie actuel. Le texte nal
(Good reads p. 68), propos en prolongement de ce thme, illustre deux choix de vie opposs.
En fin de parcours
valuation de l'expression crite :
- tche : imaginer et prsenter par crit un monde post-apocalyptique o la technologie a disparu
- tche : associer des textes de quatrime de couverture aux couvertures correspondantes
valuations
- comprhension de loral : un dialogue,

- expression orale sur la notion Lide de progrs , en particulier sur les consquences quaurait pour
lHomme une disparition totale des technologies,
- lecture et comprhension dun document (extrait de roman),
- rdaction de deux courriels et dune conversation
Parcours culturel
Parcours culturel
Documents
Notion :
Lide de progrs
Thme :
Limpact de la technologie sur la vie quotidienne ; la
vie sans technologie : choix personnels ; socits
imaginaires dans les textes de fiction.
Problmatique :
Comment vivre sans technologie ?
Quand les lumires steignent pp. 54-55
Massive Power outage in California

Personal experiences of blackouts
Des journes sans technologie pp. 56-57
Molly Hottle, Students unplug
Sombres priodes pp. 58-59
S.M. Stirling, Dies the Fire
Plus heureux sans technologie pp. 60-61
Paul Theroux, The Mosquito Coast
Good Reads pp. 68-69
Jon Krakauer, Into the Wild
101
Activits langagires
Dcrire et
expliquer par crit
les consquences de
la disparition de la
technologie sur la vie
quotidienne
Imaginer et rdiger un
texte narratif dcrivant
la vie, les sentiments
et les ractions des
personnages dans un
monde sans technologie
Comprendre les
faits principaux et
les sentiments des
personnages dans des
tmoignages personnels
et des textes narratifs
Prsenter par
oral une exprience
personnelle
Tches dentranement
Stratgies
valuations nales
Faire la voix-off dun

crire un texte
Tche 1 :
extrait vido
narratif
Imaginer et prsenter par
p. 55
p. 64 crit un monde postapocalyptique
Rdiger et
prsenter loral le
compte rendu dun
week-end sans
numrique
Tche 2 :
Associer des textes de
quatrime de couverture
aux couvertures
correspondantes
p. 66
p. 57
Rdiger la suite dun
texte narratif dcrivant
un monde postapocalyptique
p. 59
Rdiger une carte
Entranement
postale
Comprhension
p. 61
de lcrit
p. 70
valuation
p. 67
Expression crite
p. 72
Outils de la langue
102
Words
Prononciation
Grammaire
Electricity cuts p. 54
Discontent / Satisfaction p. 54
Obstacle / Failure p. 57
Dependence / Independence
p. 57
Deprivation p. 57
Dislike p. 59
Benevolence / Malevolence p. 59
Success p. 61
Abundance p. 61
Feelings and attitudes p. 62
Cause and consequence p. 62
Talking about progress p. 62
Intonation dans les questions

p. 62
p. 54 et
p Prcis de prononciation p. 215-216
Present perfect + since/for

p. 22
p. 63 et
Intonation dans les listes p. 54

et
p. 62
p Prcis de prononciation p. 215-216
a/the/ p. 63 et
p. 22
g Prcis grammatical 4 4 p. 192
Droulement de la squence : les supports

et les diffrents parcours possibles
galement les lves la tche prvue pour lactivit

dominante en production crite.
Lensemble du parcours permet aux lves dexplorer la

thmatique en lien avec la notion Lide de progrs et
de sentraner la ralisation des tches nales dans les
deux activits langagires plus spciquement vises.
Cependant, conscients des contraintes horaires, nous
proposons cependant dans le tableau ci-dessous un
parcours dune dure maximale de 8 sances, valuation comprise, qui tout en permettant une exploration
partielle mais substantielle de la thmatique, prparera

en gris, les supports et activits incontournables
ncessaires la ralisation de la tche nale dexpression crite : Imagine a world without technology.
ce picto signale les documents que les lves

pourront tudier la maison, en autonomie, avant
la mise en commun en classe.
en blanc , les autres supports et activits proposs
que le professeur pourra choisir dtudier en fonction
de sa classe et du temps dont il dispose. Ces activits

peuvent tre effectues la maison par la classe
entire ou un groupe dlves et suivies dune mise
en commun classe entire. Elles peuvent galement
tre utilises pour les cours dapprofondissement
prvus en option.
Les activits sur la langue (Language tools, manuel

pp. 62-63) et sur les Stratgies (manuel pp. 64-65)
seront menes mesure de lavance dans le chapitre, en fonction des documents et des tches
choisis par le professeur et des besoins des lves.
PAGES INTRODUCTIVES
pp. 52-53
Blackouts: when the lights go off

Breaking News
p. 54
Personal experiences of blackouts
p. 55
Recap
p. 55
Training task 1: Voice-over - What if petrol disappeared?
p. 55
Tech-free Days
Students Unplug
p. 56
Recap
p. 57
p. 57
Training Task 2: Unplug: how long will you resist without technology?
Dark Times
Surviving (S.M. Stirling, Dies the Fire)
p. 58
Recap
p. 59
Training Task 3: An encounter
p. 59
Better Off
Building a new life (Paul Theroux, The Mosquito Coast )
p. 60
Recap
p. 61
Training Task 4: A Postcard
p. 61
Language tools
pp. 62-63
Stratgies
pp. 64-65
Final Task 1: Imagine a world without technology
p. 66
Final Task 2: Match book covers and blurbs
p. 66
p. 67
valuations
Fiche Recap
Recaps puis de faire la synthse en n de chapitre, de manire se prparer activement lpreuve orale
du baccalaurat :
103
PAGES INTRODUCTIVES
Objectifs
Prparer llve entrer dans le chapitre grce
un document iconographique montrant une yourte
et un homme debout devant lentre.
Susciter les ractions des lves et les amener
sinterroger sur limportance de la technologie dans
notre quotidien, son impact sur notre vie et sur nos
comportements. Mise en place dun questionnement
pour aboutir la problmatique : comment vivre
sans technologie ?

Il sagit dune photographie reprsentant un homme
debout devant une yourte, dans ltat de New-York,
dans la rgion des montagnes Catskill. La photographie voque :
- un retour la nature,
- une harmonie,
- la surprise de voir une yourte dans ltat de NewYork.
Mais on ne sait pas si cet homme a choisi de vivre
dans cette yourte ou si ce mode de vie lui a t
impos. On ne sait pas non plus sil vit l toute
lanne ou sil est juste en vacances. partir de leurs
hypothses, les lves construiront leurs questionnements pour aboutir la problmatique. On pourra
attirer lattention des lves sur les points suivants :
- quelles technologies semblent absentes ?
- quelles sont les technologies qui leur semblent
essentielles ?
Vocabulaire utile pour lexploitation du document :
dispense with / keep warm / feel the full brunt of
nature / cope with / give up
eco-friendly = nature-friendly / cosy = comfortable /
sustainable / recyclable / insulated / trendy
consumer society / organic food / huts in trees /
composting toilet /
Mise en jalon : pour prparer laccs au sens du texte
p. 60, le professeur veillera injecter et laisser une
trace crite des mots suivants : corn stalks (l.13) /
oods (l.7) / earth tremor (l.8) / cobs (l.13) / sewage
(l.18) / windmill (l.29) / ush toilets (l.22).
Formes de travail
Travail collectif. Le temps consacr cette activit
dpendra videmment des ides mises par les
lves mais il ne devrait pas excder une vingtaine
de minutes et le professeur veillera imposer un
rythme assez soutenu aux changes.

tape 1
Projeter la photo au tableau par vidoprojecteur ou
faire un transparent de limage. Laisser aux lves le
104
Manuel pp. 52-53

temps de prendre connaissance de la page puis les
laisser ragir. Les lves formuleront des suppositions et pourront tablir des hypothses partir de
la description de lattitude de cet homme et de son
environnement et de lutilisation des informations
donnes dans la lgende.
We can see a man standing outside his yurt
with his hands on a broom.
The yurt is circular and looks like it is made
of wood.
Theres a chimney = perhaps hes got cooking
equipment / heating but maybe no electricity.
He has a broom = wants to keep his house
clean. Lives in the middle of a forest/a wood but
wants to live comfortably. We have the impression he is quite proud and satised.
He seems to be in harmony with nature and
himself.
He might want to experience a different way
of life.
He might be fed up with modernity and intend
to feel the full brunt of nature.
N.B : les productions soulignes peuvent tre le rsultat de lenrichissement des productions dlves par
le professeur.
tape 2
On posera des questions pour amener les lves se
projeter dans ce genre de situation, communiquer
leurs propres expriences.
What do you think of this kind of living? Have
you ever experienced such a way of life? What
was it like?
I nd this rather interesting/new/stimulating/liberating/exciting/trendy/daring/
I think it must be rather uncomfortable.
I have once spent the night in a hut up a tree
and it was creepy. There were many sounds
I couldnt identify. I stayed awake all night
long. It was the worst night of my life. It was
a nightmare.
Would you accept to live such an experience?
Yes, denitely to see how I would cope with
the bare necessities.
Denitely not. / I would be scared by spiders
and insects. / I would miss my mobile phone/
I would feel lonely / I would not be able to live
without modern conveniences (running water
/ gas / electricity / home appliances, etc.)
//
//
What forms of technology are most important
to you?
Communicative devices / heating
tape 3
The chapter is about progress and its place in

our society. The question is could we live without technology?; To what extent is technology essential in our life? What if technology
disappeared from our life?
Lorsque les lves ont puis leurs remarques, leur

demander de formuler des hypothses quant au contenu
du chapitre et des questions que le thme soulve.
Blackouts: when the lights go off

1. Breaking News
Manuel pp. 54-55
Manuel p. 54

Le but de ce premier document compos de deux
lments est de sensibiliser les lves la ralit
des menaces de coupures de courant et aux retombes possibles sur la vie quotidienne. Comment ragir quand ce qui nous semble aller de soi disparat ?
Une photo : cette photo extraite dun reportage
tlvis portant sur le blackout gigantesque survenu
en Californie en septembre 2011 montre des personnes poussant leur caddie de supermarch alors
que les nons sont teints, mais on ne comprend
pas la situation tout de suite.
DVD Vido 5
de la coupure de courant qui a frapp San Diego le

8 septembre 2011 suite une erreur de manipulation de lun des employs. Alternant faits objectifs
et tmoignages personnels, ce document permet
un travail de discrimination quant la nature des
informations donnes : les lves devront faire la
diffrence entre, dun ct, les faits objectifs et de
lautre, les sentiments exprims par les tmoins. En
outre, ils devront classer les faits en deux catgories :
- les retombes de cette coupure de courant sur la
vie au quotidien,
- les moyens mis en uvre par les citoyens pour y
faire face.
Un reportage vido : document authentique de

la chaine Fox 26 relatant chaud les consquences
Squenage de la vido
Time code
Images
Elements from the soundtrack
From the
beginning to 015
La journaliste prsente la situation.
Power is slowly coming back along the Southern

West Coast after an operators mishap left a million
without light or even air-conditioning
Fox News s correspondent Marianne Rafferty has
been following the story and has the details
From 015 to 049
1. Vue plongeante sur des files de

voitures roulant dans le noir complet.
2. Plan rapproch sur une citoyenne
au visage souriant.
3. Srie dimages montrant des
scnes de rue sans lumire.
4. Communiqu de presse dun
officiel qui explique la situation ses
concitoyens.
5. Images illustrant les propos de
lenvoye spciale.
Parts of California, Arizona and Mexico had been

completely in the dark
I have got family members out there my sister,
my son
A mishap in an Arizona plant maybe to blame for this
massive power outage along the Southern West Coast
The initial instance of it looks like its an operators
mishap up there in Arizona that started the series of
events
Police officers were dispatched in several
neighborhoods working to prevent any looting and
directing traffic at the intersections as traffic signals
became ineffective
105
From 050 to 112
1. Image dun homme assis sur une

chaise pliante et qui caresse son
chien rest dans la voiture
2. Un couple assis la table dun
restaurant prenant son repas la
lumire des bougies
Despite the situation, some took it in stride
From 113 to 129
1. Images de rues plonges dans

le noir
2. Plan rapproch dun responsable
de la centrale
3. Communiqu de presse dun officiel
From Arizona to California, cruises are working

tirelessly to get the light back on in affected areas
We are focused on restoring service to our
customers, and are working diligently to do just that
The restoration process is started. It could be
a slow process but we are seeing pockets of
customers being restored
From 130 to
the end
Marianne Rafferty Fox News

Correspondent
Officials say the outage should be limited to the area

and investigations are under way to see why this has
spread on to so large region. ln New York, Marianne
Rafferty, Fox News
Peu de difcults lexicales ou phonologiques
proprement parler ; le dbit est sufsamment clair
pour que les lves comprennent sans mal le sens
global. Par contre, certains noms de localit sont
difciles saisir mais dans la mesure o ce sont
les consquences de lincident qui nous intressent
au premier chef ici, on pourra se dispenser dune
comprhension ne de ces noms propres. Le professeur devra en revanche donner la dnition de
lexpression take in stride = to accept advances or
setbacks as the normal course of events.
Formes de travail
One San Diego restaurant proved they didnt need

electricity to bring in the customers. You know
they have natural gas so they dont need electricity;
so they are cooking dinner and serving people and
trying to help everyone/ the wife : A romantic dinner
in the gasoline
A woman is talking to the camera. She might
be the news reporter
The scene takes place in San Diego, California.
A woman is being interviewed and she looks
quite happy / she is smiling.
We can see that everything is in the dark, that
there is much traffic.
The traffic signals are out/ineffective.
There is one couple having dinner joyfully at
a restaurant.
They remain calm/unruffled.
But people dont seem to panic. It seems to
be no big deal. They look quite enthusiastic.
1. et 2. collectives ; 3. en groupes ; 4. collective.
3. Visionnage du document avec la bande-son, avec
1. Utiliser la photo pour anticiper la nature du docu-
prise de notes concomitante. On pourra visionner le

document en question deux fois pour permettre aux
lves de noter un maximum dlments.
ment et son contenu.

This is a news report about a massive power
outage affecting California. Judging from the
situation on the photo, we can guess it deals
with the way people react to this electricity cut.
2. Visionnage de la vido sans le son et sans prise

de notes. Demander aux lves de se concentrer sur
les images et de mmoriser le plus grand nombre
dlments possibles. Lister immdiatement aprs
le visionnage tout ce qui a t compris. Faire valider
les propositions par le groupe et les faire ventuellement enrichir. Cette premire mise en commun
permettra aux lves les plus en difcult de mieux
comprendre la bande-son par la suite.
106
Group 1 se concentre sur les implications et les

consquences de cette coupure de courant,
Group 2 sattache aux moyens mis en uvre par les
citoyens pour faire face,
Group 3 sintresse aux ractions et motions des
gens.
Dans la mesure o il est plus simple de reprer les
consquences de cette situation, le professeur fera
en sorte que les lves en difcult appartiennent
au premier groupe. De mme, il sera prfrable que
les lves les plus laise sintressent aux lments
du groupe 3 pour lequel le travail dimplicite est
plus important.
Le professeur laissera ensuite les lves organiser
leurs notes en binmes lintrieur de chaque
groupe, pendant 5 minutes maximum.
The situation and

its consequences
(group 1)
traffic lights out/ineffective
packed /congested streets
much traffic jam / car running at a
snails pace
different cities blacked out /
deprived of electricity
everything is dark
police dispatched everywhere to
prevent looting and to direct the
traffic at the intersections
left a million without light or airconditioning/ affected many people
some relatives are out/ people are
disconnected from their families /
cut off from their family members
Peoples ways of coping

(group 2)
some restaurants use gas lamps
/ natural gas and keep on serving
people and cooking dinner
people make do with what they
have at hand / they take in stride
try to pass the time without
electricity
its business as usual
settle / adapt sitting patting the
dog
make the most of the moment
make do with what they have
4. Expos des rsultats des recherches de chaque

groupe, suivi dune rcapitulation par les lves des
autres groupes.
Rcapitulations possibles :
Group 1: The blackout led to/provoked/caused
much chaos and mayhem.
Group 2: People could easily nd solutions
and/or adapt to the situation.
Group 3: They made the most of the situation.
They remained unruffled. They felt they just
had to grin and bear it / to cope with it.
Peoples feelings
(group 3)
people find it fun
they find this situation quite
romantic
they are smiling and look happy
not so distressed
no panic
Si les lves omettent dutiliser spontanment des

mots de liaisons exprimant la cause ou la consquence, le professeur les orientera sur les exercices de Language Tools Cause and consequence,
manuel p. 62.
Les lves aboutissent ici une synthse crite du
reportage.
2. Personal experiences of blackouts

Analyse du document
Formes de travail
Une srie de posts exprimant les ractions authentiques de personnes de diffrentes origines ayant
vcu des coupures de courant de grande ampleur
au cours de ces dernires annes est ici propose.
Ces textes courts dcrivent de faon succincte la
situation et les diffrentes ractions face ces vnements. La structure propre aux posts facilitera la
comprhension et laccs au sens ; par ailleurs, ils
offrent un prolongement intressant la vido. Avec
une classe faible, le professeur prendra le temps
dtudier ces documents en classe an de consolider
la mise en place du lexique li au sujet. Avec une
classe plus laise, le professeur donnera ltude
de ces posts faire la maison. Si le document est
tudi la maison, chaque lve choisira un post et
se prparera la question 1.
1. en groupes ; 2. collective.
Lexique
Pas de difcults particulires.
Manuel p. 55
1. Le professeur affectera un post chaque groupe,

qui aura pour tche den prlever les informations ;
celles-ci seront classes en trois catgories :
- consquences,
- solutions trouves,
- sentiments.
Puis un porte parole, dsign ou volontaire, reformulera le post en respectant ce classement. Prciser aux lves quils doivent mettre en pratique
ce quils viennent dapprendre et donc utiliser des
connecteurs logiques. Le professeur fera reformuler les premires productions pour complexier les noncs. En fonction des quipements,
le professeur pourra utiliser le TBI sur lequel il
crira les productions des lves puis il demandera aux autres de venir enrichir en ajoutant des
107
connecteurs logiques. Ainsi, il restera une trace

crite de leurs productions communes et le travail
denrichissement sera plus interactif et visuel.
On peut galement concevoir ce mme travail sur
transparents.
Jordan: New York, August 2003
Since there was much traffic jam, it took him
much longer to get back home. People had
nothing to do as a result they helped the police
direct the traffic. Some restaurants even offered
passers-by free drinks. Hence, the blackout
favoured solidarity between people. Jordan
considers this incident as an eye-opening incident, a wake-up call. Thanks to this kind of
incidents, people realize how addicted to technology they have become without knowing it.
Electric devices are taken for granted.
Marcelo Wong: Brazil, November 2009
The city was plunged into darkness and there
were no buses nor trains anymore. This power
failure led to chaos and mayhem. People were
forced to leave the buildings. Some children
were stuck on the 21st oor of a building, feeling
panicky, and had to be comforted by their father
who called them on the phone for the elevator
was ineffective. Marcelo nds this experience
traumatizing and panicking.
Irving King: New Zealand, February 2011
Without electricity which is vital/ essential for
his profession, Irving couldnt work normally.
He had to throw food away and stop working.
There was a lot of waste. The blackout led to
many professional problems and losses.
2. Cette deuxime tape permettra aux lves de

synthtiser tous ces lments.
Positive consequences:
Lead people to gather and communicate.
Oblige people to make the most of the situation
Negative consequences:
Create much havoc /h vk/, disrupt, transport
networks and business
People can become disorientated
Training Task 1: Voice-over
DVD Vido 6
La vido montre les consquences quengendrerait

la soudaine disparition du ptrole et va permettre
aux lves de transfrer les apprentissages quils
viennent de faire. Cette tche de voicing-over pourra
faire lobjet dune valuation formative avec enregistrement au labo.
Cette tche dentranement se droulera en trois
temps :
- un premier temps sera consacr au reprage des
lments importants,
- un deuxime temps permettra aux lves de discuter des informations essentielles puis de les classer,
- enn, chaque lve enregistrera son travail en
commenant par Yesterday when I got home
Si ltablissement ne dispose pas de salle multimdia, le professeur pourra utiliser des mp3 ou tout
simplement faire passer les lves devant la classe.
Il pourra alors impliquer les lves dans l'valuation
des camarades. Ce sera loccasion pour les lves de
sapproprier les critres dvaluation que le professeur aura tablis avec la classe auparavant.
Labo de langue pour les enseignants qui disposent
dune version numrique premium de Password
Terminale, il est possible dutiliser les fonctionnalits
du Labo de langues.
Pour ceux qui nen disposent pas, voir le dossier
TICE Grer les enregistrements des lves, p. 000
de ce guide.
Exemple de production possible :
These accounts show that such incidents can

happen anytime anywhere in the world. It
causes many problems in peoples daily lives
but, as a whole, people react positively.
Recap
Activit orale qui permet de reprendre ce qui a t dit
lors de ltude des documents de la double page.
faire directement la suite en partant des exemples
abords an den trouver dautres. Sinon, possibilit
de poser le Recap comme consigne dune tche
prparer la maison en vue du contrle oral de la
sance suivante.
108
Yesterday when I got home, I began to prepare

dinner. Then I went to the sitting-room and
sat in an armchair. I reached out for the water
bottle but it disappeared. Well never mind, then,
as I was watching the football match, the set just
vanished. My wrist watch too. I started feeling
a bit panicky. Everything collapsed around me.
My world was tumbling down. No furniture
anymore, no carpets, no doors, no car. I ended
up half naked in front of my neighbor, feeling
stupid and helpless. What a nightmare! What
the hell is going on?, I was thinking to myself.
I must be dreaming!dreaming!
Tech-free days
Manuel pp. 56-57
Students unplug
Analyse du document
Publi sur le site oregonlive.com le 10 octobre 2010,

cet article relate lexprience vcue par un groupe
dtudiants amricains qui ont accept de ne plus utiliser dobjets technologiques pendant une semaine.
Ce texte simple a le mrite de mettre en scne des
adolescents auxquels les lves ne manqueront pas
de sidentier ou desquels ils se sentiront proches,
ce qui facilitera ltude du thme.
1. Cette premire tape danticipation permettra aux
Lexique
Le lexique est relativement simple et cet article
est maill de termes relatifs aux ordinateurs que
les lves connaissent dj. Seule lexpression in
a technology fast pourra poser problme mais le
contexte est assez clair pour que les lves puissent
en infrer le sens.
lves de resituer lexprience dans son contexte.

This document may deal with the description
of an experiment carried out by 54 students in
Portlands Lincoln High school in 2010. This
experiment consisted in stopping using technology for a week. It may deal with the way those
students coped.
2. Les lments proposs dpendront du niveau de

comprhension des lves. Les laisser sexprimer
sans intervenir.
3. On pourra donner une grille aux lves quils

rempliront au fur et mesure du droulement du
cours. Le professeur pourra donner la tche faire
toute la classe ou, si celle-ci a des difcults, il
choisira de rpartir les lves en trois groupes. Les
aspects positifs et ngatifs concernent la raction
des tudiants et lexprience en elle-mme.
Formes de travail
1. 2. 3. et 4. collectives.
The experience itself (1)
The negative aspects (2)
54 students involved among whom

Elise Cramer
unplug all technological devices
for a week
challenge was voluntary
only two students refused to do it
launched by English teacher
Jordan Gutlerner
some students were feeling

anxious. They were afraid they
might miss something important.
Couldnt take this off their mind
checking their e-mails was an
obsession
Cramer couldnt resist the
temptation and checked e-mails. Its
hard to go cold-turkey
even the teacher slipped / was
unable to go through
many are addicts to technological
devices
people cant do without them
after the experiment, students will
go back to normal usage. Wont
change anything in their behavior
Its positive sides (3)

liberating to be unplugged
a way to discover new things
had to make efforts to shake off
their habits and find new activities
some pondered over the role of
technology in our world
some found this experiment eyeopening even if it was tough
people realized technology was
not essential
some students realized they
were never left alone. They were
connected all the time
some will deactivate their
Facebook account
students will challenge other
students later in the year
a good lesson to be taught
We dont ask people to live as cavemen used
to. The point is for people to become aware of
what they are doing, the way they are behaving.
//
//
Thanks to this kind of experiment, what we do
is not a reex any more but a free choice. From
now on, these students will use Facebook of
their own free will.
109
Le dessin humoristique reprsentant les hommes

prhistoriques permettra aux lves de conclure
sur le sujet avec distance et humour. Il illustre
parfaitement le propos dElise Cramer. Le professeur pourra par exemple demander aux lves
pourquoi cest ce document qui a t choisi pour
illustrer le texte.
We can see cavemen. One is juggling with sticks
on re. Two others are watching him regretting
the time when re didnt exist. They wish re
hadnt been invented because re prevents
them from communicating. This is a criticism
of people who keep regretting things which
belong to the past. Clearly, this is preposterous
since thanks to re, Man was able to improve
his living conditions. So the point is not to go
back to prehistoric times but to become aware
of what we do.
Recap
Tche dexpression crite qui prendra principalement
appui sur les ides dveloppes lors de lexploitation de larticle, mais on pourra galement puiser
dautres exemples dans les activits ralises prcdemment. Cette tape constitue non seulement un
palier de synthse mais galement un entranement
pour la tche qui suit. On pourra demander aux

lves dcrire un minimum de 4 phrases.
This kind of experiment is a challenge because/
since:
it plunges you in an unknown situation you
will have to cope with,
it forces you to dispense with what makes
your life easier,
your world unravels and you can lose your
way/ become disorientated,
it obliges you to make efforts to shake off their
habits and nd new activities,
it forces you to question your habits,
it makes you realize that what you take for
granted may disappear.
Training Task 2: Unplug!

La situation de dpart est invariable : les lves
vivent un week-end sans tlphone portable.
Ils prennent des notes succinctes pour rendre compte
de leur exprience et de leurs ractions/sentiments
soit devant toute la classe, soit par groupe de quatre,
ce qui permettra tous les lves de sexprimer
loral avant de passer la phase dexpression crite
qui se fera la maison et donnera lieu une valuation formative avant la tche nale.
Dark times
Manuel pp. 58-59
Surviving
Analyse du document
Lexique
Extrait du roman Dies the Fire de S.M Stirling dans

lequel lauteur dcrit un monde post-apocalyptique
o toute forme de technologie est absente suite
une catastrophe dont on ignore la nature. Ce passage montre que la socit moderne nest plus : les
hommes sont forcs de fuir les villes pour trouver
de quoi se nourrir, tout est reconstruire, certains
choisissent le retour lanimalit, la sauvagerie,
tandis que dautres tentent de rtablir un ordre
social stable.
La charge lexicale de ce texte peut apparatre comme

un obstacle mais le champ lexical des armes aura t
dfrich lors de la phase danticipation. Pour lever
la difcult de lecture, il conviendra de bien faire le
point sur la situation de dpart : on pourra recourir
un exercice de comprhension li du dessin an
de permettre aux lves de visualiser la scne, de
reprer les personnages et le contexte.
Bien quexterne et la troisime personne, cette

narration nous donne parfois accs aux penses du
hros, Havel. Le passage se situe au dbut du roman
et nous expose la rencontre de deux groupes, le
groupe errant du hro principal et le groupe dhabitants dun hameau situ sur leur chemin. Lintrt de
ce texte est de poser la question du rle du progrs
technique : est-ce un rempart contre la loi du plus
fort ? Ou un outil au service de la soif de pouvoir ?
110
Formes de travail
1. collective ; 2. en groupe puis collective ; 3. en
groupes ; 4. 5. et 6. collectives.
1. Lillustration permet une bonne anticipation du

texte. On commencera par la dcrire an dintroduire
le lexique des armes gurant dans le rcit. Il se peut
que les lves supposent dabord que la scne se
passe dans des temps anciens mais trs vite, les

autres devraient les contredire en leur apportant le
dtail des ls lectriques et des voitures.
an axe / tyres / streetlamps / car wrecks / ries/
bows / wheat / peasants /
We can see two groups facing. They might
meet for the rst time.
It cant take place long before the 20th or
21th centuries because we can see car wrecks
and streetlamps. This way of living is forced
upon them. They havent chosen it. There has
been a kind of catastrophe. The text might deal
with the meeting of these two groups.
2. Pour favoriser la comprhension, on pourra

demander aux lves de se mettre en groupes de
trois et de dessiner la situation de dpart, de la
ligne 1 la ligne 15, sur un transparent. lissue
de ce travail, un groupe prsentera la scne quil
aura dessine et les autres groupes commenteront.
I dont agree with you. The man looks aggressive.
I think youre wrong: they are standing across
the road etc. en fonction des prsentations.
3. a. Tche de reprage. Diviser la classe en deux

groupes. Premire phase pendant laquelle la lecture sera individuelle. Mnager ensuite un temps
dchange en formant plusieurs groupes. Par
The hamlet and its residents

(group 1)
Now half a dozen baseball bats. l. 4-5
Afternoon, the burly middle-aged man already
been through. l. 10-11
Ive got to warn enough for our own. l. 14-15
Several of the men stiffened with suspicion. l. 20
The little band of townsfolk relaxed. Their leader
looked at the l. 24
then? Looks like l. 26
That brought a few chuckles from his
townsmen l. 27
The leaders eyes took in their various bruises and
contusions and spat eloquently. l. 31
What happened? l. 32
got another, louder chuckle. l. 34
A nod, and the leader leaned on his axe. We have a
couple of horses l. 37
exemple, trois groupes de 6 pour les reprages

sur les rsidents et trois groupes de six pour les
reprages sur les voyageurs. Chaque groupe devra
dsigner un rapporteur pour la phase de mise en
commun. Le professeur circulera entre les groupes
pour donner des aides le cas chant et sassurer que
g
le travail se fait en anglais.
The hamlet and its residents - group 1
Name = Lochsa
State: Idaho
Description:
- hard country for farming
- usually pleasant area t for hobbies and fun but
now the road is blocked by 6 people : residents
The residents: heavily armed / armed to the teeth
(hunting bows, axes, baseball bats)
One leader: burly / middle-aged = around 40
Attitude: on the lookout = on the watchout = on
the alert sentinels/vigilantes
- aggressive
- suspicious = diffident = (l. 20)
They protect their community and cant allow
too many people to stop over.
The travellers - group 2
Situation:
- road people looking for a place where to settle.
- are heading towards Lewinston
- offers a deal / exchanges meat for rice and work
Description: on horses (l.6) / carrying swords
and bows (l.25)
2 leaders: Havel (injured on his face because has
fought with a bear)
and Angelica
Attitude: ready to ght (l. 30) = on the watchout
close-knit group ready to defend themselves.
The travellers
(group 2)
Havel reined in his horse of the rest behind him
l. 6-7
as a horse shifted in place.
Afternoon, he said. l. 8-9
Road people? Havel thought l.12
Havel nodded. l. 16
Were fixed for now, he said. Got plenty of meat.
l. 19
Already? Havel thought, or rice or beans. l. 20-23
swords the travelers all carried, and the bows. l. 25
You folks together youre loaded for bear! l. 26
Havel smiled thinly We ran into some l. 27-28
Were taking precautions to avoid another incident
like that. l. 30
Havel shrugged. l. 33
Coyotes have to eat too, so we didnt bury, he said,
l. 33
Wed like to camp for we can do farrier work or
such. l. 34-36
111
En cas de difcults
Sassurer dans un premier temps que les lves sont en mesure didentier les diffrents protagonistes en leur demandant de souligner dune couleur les passages correspondant au personnage
sur lequel ils vont se concentrer.
Une aide est propose dans le Workbook
p. 20-21.
Use the context to identify who is speaking:

- Focus on lines 9-19. Identify who the following pronouns refer to:
he (l. 9) Havel
I, we (l. 14) the burly middle-aged man > the residents
he (l. 19) the burly middle-aged man
- Focus on lines 24-27. Identify who or what the following words refer to:
that (l. 27) the sentence that has just been uttered by the residents leader;
his (l. 27) the burly middle-aged man
- Who is asking the question line 26? the burly middle-aged man
- Focus on lines 27-30. Identify who we (l. 28 and 30) and they (l. 28 and 29) refer to.
the travellers
the Survivalists
Conclude: who are the two main protagonists?
The main protagonists are the two leaders or rather the leader of the residents and the group of
travellers.
What do they show about the two groups of people?
They are on the lookout / on the watch out: they are ready to defend their group against potential
enemies. They both form a community eager to build cohesion.
- Focus on each protagonists words: identify the main lexical eld used:
food meat / elk / venison / bear / jerky / our / rice or beans / eat
Conclude about these peoples main concern:
They are concerned with survival. They need to nd food to survive.
c. Lors de la mise en commun, nommer un secrtaire
The Survivalists
dans chaque groupe dauditeurs pour la rcapitulation en vue de la trace crite. Favoriser la mise
en place dune interaction via un questionnement
lorsque lexpos a besoin dtre clari ou dvelopp.
Survivalists, original-sovereign types. They

seemed to think they could do anything they wanted
l. 28-29
Those crazy bastards l. 32
the bodies l. 33
4. Cette tape permettra aux lves de sapproprier

les informations donnes par les autres groupes.
We can see some similarities: on the watch
out; defending their people. They are scared
by the Survivalists and fear they might come
across them.
They are ready to ght tooth and nails to
defend their people but at the same time they
respect strangers. Both groups wish they could
build a stable society based on order and individuals.
En cas de difcult demander aux lves de mener
un travail de reprage prcis sur The Survivalists.
112
Survivalists, original sovereign-type a group

of people ready to kill in order to survive and
impose their leadership.
Original sovereign-type: perhaps they were
ruling the country before the Change occurred
and they still behave as if they were still the leaders in this new world. In this new world the
question of survival is important as well as the
question of leadership: society is not organized
anymore = anarchy.
Survivalists = do anything they can to survive
/ survive at all costs / favour / the strongest /
defend survival of the ttest / take this as an
opportunity to become rulers and leaders.
//
//
Travellers are heavily armed the better to
defend their community.
They have killed those men and didnt bury
their bodies to let the wild animals feed on
them.
The Survivalists were ready to kill people to
steal their food. They attacked Havels group
but lost their ght as their bodies are left to
coyotes
6. Au l des questions, les lves sont amens

prendre de la distance par rapport au texte et son
thme, en dgager limplicite. Ce sera loccasion
pour les lves de manier le lexique vu dans les pages
prcdentes : deprivation, dependence, obstacle
After the big Change, no means of communication and transport = no more business / no
more shops / no more news
Everyone left to manage by themselves = no
more rules / order = no more social organization
= no more government = no laws
No machinery = return to life without
machines = cold / heat / food = problems =
hunting
No guns = return to ancient / medieval weapons
Only those who can nd food (hunt animals)
/ defend themselves can survive
People who cannot manage on their own /
fend for themselves = likely to need protection
from stronger people = tribes
General ght for food, shelter, power
The world is not safe anymore / people feel
insecure.
It is full of /rife with violence and aggressiveness. It is deprived/stripped of order and
organization.
Barbarous people tend to take the upper hand
and impose their illegitimate power.
Recap
Dans la mesure o la mise en commun des trois
exercices prcdents sest droule loral et de
faon collective, on privilgiera, pour cette phase
de rcapitulation, la forme crite et individuelle. Le
professeur pourra demander aux lves dcrire un

paragraphe expliquant limpact de ce Changement
sur lindividu et ses relations avec les autres.
The big Change swept all the values away /
individuals are left facing their own conscience
and personal ethics.
Individuals are at a loss what to do, what to
think.
Some make the most of this extraordinary
situation: to become leaders or to try to rule
the world.
Others are looking for comfort and attempt to
communicate and build some orderly society.
Human relationships are turned upside down.
Security is annihilated. What matters is survival, basic survival instincts are revived/ become
more important
Training task 3: An encounter

Tche dentranement la production crite partir du texte tudi p. 58, qui constitue la fois une
tape de rcapitulation et de prparation la tche
nale. Elle constitue le moment charnire o les
lments tudis jusqualors et qui ne concernaient que la ralit basculent dans la ction et
lcriture narrative. Llve va pouvoir rebrasser le
lexique concernant les sentiments et ractions des
personnages en linsrant dans une tche crative.
Une activit sur les Stratgies pralable cette tche
dentranement, manuel p. 64-65, est possible, voire
souhaitable. Lexercice des Language Tools Feelings and attitudes, manuel p. 62, constituera une
phase de prparation supplmentaire pour les lves
en difcult et pourra tre ralise en amont.
La tche elle-mme se fera en deux temps :
- premier temps : en groupes ou ateliers dcriture,
les lves se mettent daccord sur les lments
de lhistoire (lieu, actions, attitudes) .ainsi que
sur les sentiments prouvs par les personnages.
En cas de difcults, inviter les lves puiser
des ides partir des mots gurant dans lencart
Words, manuel p. 59.
- deuxime temps : chaque lve met son histoire
en forme.
Lcriture pourra tre amorce en classe et termine
en autonomie.
113
Better off
Manuel pp. 60-61
Building a new life

Analyse du document
Le roman de Paul Theroux intitul Mosquito Coast raconte
lhistoire dun savant fou , Allie Fox, qui dcide de fuir
la socit moderne et daller vivre au Honduras avec
sa famille pour y crer sa propre communaut, plus
harmonieuse, plus proche de la nature, plus humaine.
Lextrait choisi dcrit Jeronimo, son village bti en pleine
jungle. Cest Charlie Fox, lun des ls dAllie, qui en est
le narrateur. Le passage prsente une description, un
bilan de lexprience : il commence par dcliner tous les
combats qui ont t mens contre une nature rebelle et
hostile puis il prsente les fruits de tous ces efforts. Enn,
le narrateur souligne lattitude du pre face ce succs :
il ne se repose pas sur ses lauriers, mais poursuit son
uvre inlassablement. On comprend rapidement qu
travers la description de cette socit, cest le portrait du
pre qui est bross et, en ligrane, les sentiments que le
garon prouve pour lui. Cit plusieurs reprises, il hante
toute la description et le ls exprime son admiration pour
ce pre crateur et tout puissant.
Lexique
Le texte dcrit les installations du village et certains termes techniques pourront poser problme.
Pour remdier cela, le professeur aura pris soin
daborder ces lments au cours de lanalyse du
document douverture (manuel p. 52), lorsque les
lves font des hypothses sur le mode de vie de
lhomme devant la yourte : corn stalks (l. 13), oods
(l. 7), earth tremor (l. 8), cobs (l. 13), sewage (l. 18),
windmill (l. 29), ush toilets (l. 22).
They have fought against nature.
Impression of abundance: many elements.
They grow plants
3.a. Deux groupes chargs dune lecture intensive

du texte et dune recherche dinformations spciques (de 10 min environ selon la classe). Lors de
cette phase de reprage, chaque lve travaille seul.
Reprages possibles :
The positive and negative aspects mentioned in
1 (group 1):
Positive aspects
We had defeated
We had tamed
We had drained
We had irrigated
We had overcome
We had withstood
We were organized
the mosquitoes/
Mosquitia
the river (wild)
the swamp
the gardens
Purified water
We had an ice-making
plant (the only one in the
world.)
June floods /
September heat /
Honduras weather
earth tremor
jungle
undrinkable water
Par exemple, on pourra supposer :

How can he nd food? He might grow plants,
corn, wheat
What if there are oods?
Formes de travail
1. et 2. collective ; 3. Individuelle et en groupes ;
4. 5. collectives.
Place: Honduras, Tropics.
The characters: Allie Fox (a brilliant inventor);
his wife and children; natives. The narrator is
one of his sons, Charlie.
Situation: have just emigrated to start a fresh
new life/start afresh/start from scratch/ break
out of modern society.
This excerpt might deal with the building
up of this village. Description of its evolution.
Success story.
114
Negative aspects
The inventions and their consequences on peoples

daily lives in 2 (group 2):
Inventions
Their consequences
on peoples daily lives
an incubator for
hatching eggs (l. 15) / a
chicken-run
Fat boy ice-making
plant (l. 15)
a sewage system (l. 18)
a shower apparatus
(l.18)
a windmill (l.19)
3 new buildings (l. 21)
bamboo tiles (l. 21)
2 boats (l. 22)
flush toilets (l. 22)
a distiller
provide them with food

give them ice
permit them to get rid of
wastewater
enable them to wash, to
keep clean hygiene
to make ice; like an
engine
shelter , comfort
natural wood
were able to travel to
go from one place to
another
to get rid of wastewater
drinking water
b. Dans un deuxime temps, les lves travailleront

en binmes. Deux par deux ils mettront en commun
le rsultat de leurs recherches et rchiront une
interprtation de ces reprages. Le professeur circulera de binme en binme pour sassurer que le
travail se fait bien en anglais et pour guider le cas
chant. Veiller ce que les lves mettent en mot
les informations repres.
Group 1
We can see that each obstacle has been overcome, they have reached a kind of balance,
harmony
Wild nature has become tamed. they have
managed to organize chaos
we shows the success of a community.
Its a successful experience.
However dangerous and hostile this world
might be, Allie Fox succeeded in making it his
own.
We can see two semantic elds: control and
hostility.
//
Quotations from the text

The fathers statements
So big, it only takes eleven of them to make a dozen
(l. 14)
Control thats the proof of civilization. Anyone can
do something once, but repeating it and maintaining
it thats the true test (l. 15-17)
Were clean! (l. 18)
in a tank Father named the Fish Farm(l. 25)
It could take a lifetime, he said.But Ive got a
lifetime Im not going anywhere !(l. 32)
Hybrids ! Burpees! Wonder corn! Miracle beans!
Sixty-day tomatoes! (l. 33-34)
The fathers attitude
his names were always a bit grander than the things
themselves. (l. 25-26)
Some of it he gave to people in return for work. (l.
27)
But he never handed out any food to beggars. What
he preferred to do was to cut the produce open .dry
them. (l. 28-31)
River workers were rewarded with blocks of ice and
bags of seeds. (l. 33)
//
They have overcome many obstacles and they
have succeeded in taming nature / getting the
upper hand.
Group 2
They have access to more than the bare necessities. A land of plenty.
Quite cosy and comfortable.
Impression of abundance the land was
endowed with natural resources.
Recreated what was useful in their previous
society
c. Mise en commun. Laisser un temps de prparation

et de rexion individuelle (2 min environ) avant la
prise de parole ou bien demander une prparation
la maison.
4. Demander des lves volontaires ou proposer

deux lves en difcult de prparer cet exercice
la maison. Cet exercice fait cho au prcdent
et permettra aux lves de faire le point sur leurs
capacits traiter les informations repres.
Your conclusion
He is quite self-satisfied with his own making. Has a
sense of humour.
He is quite self-confident. Utters what sounds like
aphorisms as if he had understood it all from life. No
doubts as to whether he is right or wrong.
Many exclamation marks. A wild temperament / fiery.
Full of energy
Quite creative. Tends to control everything by naming
things.
Determined, resolute. But at the same time dramatic
irony. Not going anywhere indeed.
Inspired from the Bible. Cynical?
The son is quite aware of the personality of the
father who overblows things. /overdoes it.
Believes in rewarding and merit. Strict values and

ethics. Based on work. Acts as the chief of Jeronimo.
Feels superior and we are under the impression he
teaches everyone a lesson. No charity. Dignity.
115
Implies that everything is done and the worst
is behind them.
Jeronimo has become home.
Have made themselves at home in a hostile
environment.
Have managed to domesticate/tame nature.
Implies that everything is done and the worst
is behind them.
Have recreated a world adapted to their needs
and wants.
Have turned this place into a new paradise/
an Eden-like home.
= a positive assessment of the fathers wishes
= Jeronimo = fathers prize/reward
Teaches you who you are, what you can do
alone without any outside help.
It can permit you to go beyond your limits, to
learn how to overcome obstacles...
Training Task 4: A postcard

Activit dentrainement lexpression crite prenant
directement appui sur ltude du texte et permettant
aux lves de sapproprier les lments tudis.
Cette tche va fournir aux lves loccasion de faire
le point avant lvaluation nale : dcrire la vie sans
technologie, les sentiments dun personnage
Recap
Cette activit prendra appui sur le texte mais aussi
sur lexprience personnelle des lves. L encore,
en fonction du temps dont on dispose, possibilit de
faire un travail prparatoire la maison, mise en
commun en classe et prise de notes dans la che
Recap Workbook
p. 24.
Hi Peter,
my father has succeeded in creating an ideal
society here! Everything is under control / We
are quite comfortable / We are in harmony with
nature now. There are plenty of things to do. /
I sometimes miss my mobile
Your new phone must be outstanding but would
be useless here. / Saw an amazing thing in 3d
too: wild animals. / Rice growing in the jungle:
can you believe it?

Manuel p. 62-63
WORDS
Feelings and attitudes
On attendra une production de 100 mots environ.
A young woman is leaning against a man who
seems to be determined to protect her against
the soldiers around them. Those ones are
pointing ries at them and look merciless and
malevolent
Or we could guess they are here to protect the
couple
Ce sera loccasion dutiliser : angry - worried - prevent
from recoil - dislike charitable - well-intentioned compassionate merciless - cold -hearted invidious
116
Cause and consequence

a. Cause : because - as since - for - given that
Consequence : so - consequently - as a result - thats
why
b. 1. Since some kinds of technology are dangerous,
people would like to get rid of them.
2. There was a massive power outage, as a result
communities couldnt work as usual.
3. People are accustomed to using technological
devices, thats why they dont trust their personal
capabilities anymore.
4. Because the blackout had spread all over the Bay
of Plenty, Sheilas earliest customers could not buy
her famous cupcakes.
Talking about progress

b.
Improvement
enrichment
increase
update
upgrade
betterment
progress
Degeneration
downfall
decrease
crumbling
deterioration
regression
worsening
corruption
c. Productions possibles :
In a world deprived of technology, there can be
some regressions in Mens behaviour.
The enrichment of Mans nature requires efforts
and
is te 1
Kevin, could you imagine a life without technology?

What do you mean, without technology?
Well, how would you react if you no longer had a
car or a computer?
Are you joking? This is just unimaginable!
In a Yes-No question, the intonation is usually rising.
In a Wh- question, the intonation is usually falling.
ste 1
Pi
b. We stayed in complete darkness for three long

days. It was terrifying!
c. They have rediscovered the simple values of life
since the blackout.
d. She has adopted new attitudes since the state
raised energy taxes. It is a good solution then!

Since the storm damaged our area, we have been
obliged to sleep in a gymnasium and to eat cold food.
We have stayed at our cousins for two weeks
because there was no electricity in our area.
We have not had any hot shower since the storm.
Etc.
a/the/
Observe
Intonation of lists
Practise
a. I have repaired my laptop twice since I bought it!
e. The employees worked with candles for two days

last week. Since the power went off, they have lost
all their data and are really worried.
Intonation in questions
Dans la phrase 4, lvnement (la panne dlectricit) nest pas ncessairement termin, et mme sil
lest, il a des consquences sur la situation prsente
(and now, theres no more food). Dans ce cas, on
pourrait traduire par il ny a pas eu dlectricit
pendant une bonne semaine et prsent ou il
ny a pas dlectricit depuis une bonne semaine et
prsent )
Article associ
a
the
a. With no electric devices , no TV , no cell phone

, no computer , the only things we had to do was
read books , watch the rain , sleep on the porch
, and count stars.
Nom indfini
singulier
When somebody lists elements, the intonation is

rising until the list is nished.
Nom dfini
singulier
b. During the blackout , the train service stopped

, the trafc lights went off , electric-powered
buses stopped , people were forced to get back
home , and children started panicking.
Nom indfini
pluriel
GRAMMAR
X
X
X
Nom dfini
pluriel
Sens
gnrique
Sens
particulier
Present Perfect + since/for

Observe
Since + point de dpart de laction / For + dure
de laction.
Il sagit du prtrit et du present perfect (+ be-ing).
Tous deux peuvent tre associs des complments
introduits par since et for.
g Prcis grammatical 10 et 11 p. 199-200 et 14 p. 204
Dans les phrases 3 et 4, les complments sont
introduits par for. Toutefois, dans la phrase 3, lvnement est prsent comme tant termin (last time)
et sans lien avec la situation prsente. On traduirait
alors for par pendant.
Practise
a. In the jungle, you nd small houses but the

house we built was nice and roomy. It was a house
made of bamboo and liana.
b. Food was hard to nd and meat was scarce,
but the meat we ate was very tasty.
c. We adopted a wild dog that we called Roofy
because we found him on the roof of a house.
d. We often helped the local population. It was a
fantastic experience, the experience of our lives!
Justications en lien avec le tableau et
117
a. It was hard/difcult to nd water but the rivers

were clean and the water they drank was not polluted.
c. Allie was studying owers and botany. The

plants he found here were more coloured.
b. Cereals were scarce but the inhabitants often

ate fruit.
d. They had built a bridge to cross the river. The

bridge was narrow but useful.
Workbook
p. 22
Pi

Intonation in questions
ste 2
Could you survive without an internet connection? ()

Oh no, I couldnt! Im totally addicted to my laptop.
What would I do without it? ()
So how would you feel if the power went off? ()
Would you be anxious? ()
I dont know. I guess Id just have to be patient.
What do you usually do with your laptop? () Do you
use it everyday? ()
Yes, I do. I use it all the time to write emails, chat
or shop online... ()
GRAMMAR
Since/for
1. Ever since Man discovered re, he has continuously
discovered new techniques.
2. It must be years since you last saw your auntie!
3. For the past three months, they have been travelling all around the world.
Ive had my i-phone for two weeks now! I just cant

live without it! I have already sent about a hundred
text messages since I bought it
a/the/
Wheres the DVD I bought yesterday?
What DVD? I did not know you had bought a new
DVD.
Well, yes I did. Its the lm we talked about last
week with Peter and Clara
We talked about .lms all evening! Remember,
you nearly had a ght because Clara thought
musicals were for stupid people.
You know, the lm about a family who builds a new
town in Central America out of nothing.
Oh, right. We would nd it easily if you were not so
messy. Look at the room. There are DVDs, books,
video games, clothes and old sandwiches
everywhere.
Thats not an old sandwich, its a/the baguette I
bought for tonights dinner.
Aaagh! Brothers are a pain!
Etc.
a/the/
Lgende de liconographie, manuel p. 54.
Exemples productions possibles :
Pupils have been taught with basic softwares for

years but since the recent technological advances,
they have rediscovered how to use a computer.
The young women are serving pizzas and offering a

glass of water to the customers who feel lost because
of the blackout
Computers have greatly evolved since the last

few years.
American customers are rushing through the

alleys of a store to try to nd food and are happy to
be able to drink a real coffee
Teachers have adopted new teaching methods

since computers entered the classroom.
Etc.
STRATGIES
crire un texte narratif
118
Manuel pp. 64-65
Objectifs
des personnages dans une situation particulire.

Pour cela ils devront :
planier leur rcit,
Le but de cette double-page dactivits est dentraner les lves rdiger un rcit mettant en scne
le rdiger en veillant particulirement sa cohrence et sa structuration,
lenrichir et contrler lexactitude de la langue

employe.
Les lves devant mettre en uvre ces stratgies
lors de la tche nale, il est donc souhaitable quils
se soient entrans au pralable. On pourra envisager le travail sur cette double-page avant la tche
dentranement 3 : An encounter, manuel p. 59, ce
qui permettra aux lves de sappuyer sur le texte et
lexploitation qui en a t faite en classe pour rdiger
leur rcit. La tche nale constituera une tape supplmentaire, puisquelle sera loccasion dun transfert
de ces stratgies partir dune situation inconnue.
tapes possibles :
La planication du rcit est prpare individuellement la maison.
et La rdaction et lenrichissement du rcit se

font individuellement la maison, partir des plans
revus. On demandera aux lves de matrialiser le
travail denrichissement en utilisant un stylo dune
couleur diffrente. Lors dun second cours, nouvel
change en binmes (10 min) : chaque lve annote
le travail de son camarade en se rfrant la premire colonne des tableaux et p. 65 du manuel :
il prcise ainsi quels conseils ont t suivis ou non,
ce qui lui permettra de sappropriant les critres de
lvaluation nale.
Le professeur pourra ensuite relever un certain nombre de ces rcits pour complter la covaluation. Il pourra notamment tirer parti des
besoins langagiers mis en vidence par lexamen de
lchantillonnage de copies pour attirer la vigilance
des lves sur tel ou tel point lors de la phase de
relecture.
En binmes, lors du cours suivant : relecture

des plans proposs (environ 5 min) et ventuelles
suggestions.
VALUATIONS
Task 1. Writing . . . . . . . . . . . . . . .
Manuel p. 66
20pts
Expression crite partir dune situation donne
par le professeur. Il sagira dcrire un texte narratif (avec une partie dialogue) se situant dans un
monde post-apocalyptique. On pourra distribuer
aux lves les cartes de situations proposes p. 00
de ce guide ; les lves pourront inventer une
localit, le nom des personnages, etc.
Situation 1 Title: After the Fall
Context: a natural catastrophe has left the
world stripped of its modern comforts and
technology. A group of people try to rebuild
a New Eden.
Characters: at least, two characters / one of
them is the leader
Setting: any English-speaking place
Situation 2 Title: Afterworld

Context: a technological disaster has completely disrupted the lives of citizens of
Eden Grove. Their community is falling
apart from neglect and natural decay.
Characters: John Kipper, a rough young
leader + Christina March, a teenage girl
challenging his authority.
Main problem: have to adapt to a new future
and create a new society.
Setting: an English-speaking country.
Le professeur pourra galement utiliser une
photographie comme point de dpart ou comme
dclencheur de rcit narratif.
Suggested starts:
X and Y were talking about the rules that had to
be respected when they heard footsteps outside
The community was trying to nd a solution to their
main problem: water.
They had heard a group of thugs had arrived the
previous day
partir de lun de ces points de dpart, les lves
imagineront et criront un pisode : ils dcriront
le mode de vie des personnages, les vnements
119
qui se produisent, les sentiments et paroles des protagonistes Lobjectif en lien avec la problmatique
est de montrer les choix de vie des communauts :
Comment survivre sans technologie ?
Quelles valeurs garder ?
Comment sadapter ? Comment interagir ?
Forme de travail
Forme de travail
Individuelle.
Individuelle.
1. La situation sera donne par le professeur

le jour de lvaluation. La prparation pour les
lves consistera bien revoir les pages Stratgies
(manuel pp. 64-65), ainsi que le vocabulaire et les
points de grammaire tudis lors de la squence.
2. Le jour de lvaluation, les lves prennent

connaissance des sujets et en choisissent un. Le
professeur pourra aussi faire le choix dattribuer
lui-mme le sujet.
Temps de rdaction (brouillon + mise au propre) :
45 minutes environ. Nombre de mots : autour de 300.
Laisser 5 minutes la n pour la relecture.
Une prise de notes minimale par rapport aux
deux tapes Get ready et Action! sera laisse avec
la copie rendue par llve an que le professeur
puisse analyser la dmarche et apporter des remdiations plus cibles lors de la correction.
Task 2. Reading. . . . . . . . . . . . . . . .
10pts

Voir documents photocopiables pp. 126-127 de
ce guide.
VALUATIONS
Mettre en relation les quatre couvertures de romans

prsentes sur le manuel p. 66 avec les quatrimes
de couverture (blurbs) correspondantes. Les lves
auront cinq blurbs lire (donc une de plus) : seules
quatre dentre elles seront choisir.
Prvoir 30 minutes en tout. La tche pourra tre

ralise en trois tapes distinctes an dviter que les
lves ne se perdent dans un magma dinformations.
1. Les lves prennent connaissance et observent

les quatre couvertures de romans prsentes p. 66
du manuel.
2. Puis le professeur distribue les blurbs. Les

lves ont 20 minutes pour les lire et en souligner
les mots cl qui font rfrence la couverture.
3. Les lves ont ensuite 5 minutes pour remplir

la grille de rponse.
Corrig et barme
Book Cover
Blurb
1. Genesis, by Bernard Beckett
2. Dog Eat Dog, by David J Rodger
3. Patriots, by James Wesley Rawles
4. Return, by Clayton J Elliott
2,5pts par bonne rponse.
Corrigs
Manuel p. 67
Documents supports
Voir
Le dialogue est clair ; aucun lment priphrique

ne vient gner la comprhension.
Forme de travail
Individuelle.
Ici, un seul document propos : un change contradictoire entre deux personnes au sujet des e-books.
120
Passation
24 novembre 2011).
Prvoir 20 minutes.
1. Communication du titre accompagnant lenregis-
trement : E-books: pros and cons, crire au tableau.
10 minutes pour rendre compte sur sa copie, en

franais, de ce quil a compris.

au brouillon :
coute 1 Pause dune minute
coute 2 Pause dune minute
coute 3

brouillon (que lon veillera ne pas regarder avant
davoir valu le compte-rendu) an de pouvoir
observer le passage entre les notes et la restitution,
et ainsi pouvoir mieux aider les lves qui auraient
des difcults dans cette preuve.
lments de rponse et barme :

Comprendre un document de type dialogue ou discussion.
E-books: pros and cons
Niveau
A1

Situer la prestation du candidat lun des
cinq degrs de russite et attribuer cette
prestation le nombre de points indiqu - sans le
fractionner en dcimales - de 0 10
Le candidat na pas compris le document.
Il nen a repr que des lments isols et
nest parvenu en identifier ni le thme ni les
1 pt

isols et des expressions courantes qui,
malgr quelques mises en relation, ne lui
ont permis daccder qu une comprhension
superficielle ou partielle du document
(en particulier, les interlocuteurs nont pas
t pleinement identifis).

Thme superficiellement compris :
conversation, un homme et une femme, sur les
e-books.
3 pts
5 pts
Thme compris : une discussion sur les

e-books : la femme trouve que cest une
brillante invention tandis que lui nest pas
daccord / trouve cela inutile, sans charme.
Chacun donne des arguments opposs.
Trois des arguments suivants ont t compris :
Femme :
- plus lger transporter
- on peut lire la nuit sans dranger lautre
- pratique
- cest moins cher
Homme :
- on peut aller la bibliothque emprunter des
livres
- cela perd tout son charme et son me, cest
froid
- ne pourrait pas lire longtemps
Le candidat a su relever les points principaux

de la discussion (contexte, objet, interlocuteurs
et, ventuellement, conclusion de lchange).
8 pts
Les arguments principaux ont t clairement

compris (tous les arguments en gras ci-dessus).
Le contexte de lchange a t identifi : la
femme vient dacheter un e-book ; chacun reste
camp sur ses positions de dpart.

mais le relev est insuffisant et conduit une
la discussion et la fonction ou le rle des
interlocuteurs.
A2
B1
121
Le candidat a saisi et relev un nombre

suffisant de dtails significatifs.
Comprhension fine.
B2
10 pts
Plus de dtails au niveau des arguments quen

B1 (trois lments parmi les cinq suivants) :
Femme :
- clairage grce une petite lumire intgre
inutile dallumer la lumire
- on peut varier les polices et grossir les lettres
- une simple pression du pouce suffit pour
tourner les pages
Homme :
- a-t-on vraiment besoin demporter six romans
en vacances ?
- la maison, il y a peu de chance quon
prfre lire sur ce nouveau support
Les sentiments des interlocuteurs ont t
identifis ainsi que le but de la conversation :
la femme veut faire partager son enthousiasme
et convaincre son interlocuteur de lutilit des
e-books. Elle ny parvient pas, lhomme reste
rticent.
Comprhension de lattitude des deux interlocuteurs :
- il pose des questions,
- elle acquiesce parfois.
Dbat serein et amical
Note de llve: note sur 10 2 =
/20
Expression orale
Grille dvaluation et de notation (source : B.O. du 24 nov. 2011)
Voir
Documents supports et protocoles
Voir documents photocopiables pp. 128-130.
Corrig et barme
2 pts par bonne rponse = 4 pts
a. This text is an extract from: a novel

b. The best title for this extract is: remote life
4 pts (0,5 pt par bonne rponse)
The characters present: Roy and his Father 2 pts
(1 pt par segment soulign)
The characters mentioned: the pilot of the plane
= Tom, Roys friends 2 pts
10 pts
a. What time of the year is it?
Its Autumn/ the fall. (Accepter aussi beginning
of winter)
122
Were getting ready for winter (l. 44) / Roy didnt

believe theyd still be here when it rst snowed (l. 1)
2 pts (1 pt pour la rponse et 1 pt pour la citation)
b. Where do the characters present live? (country,
housing, environment
They live in Alaska, (near Juneau) (l. 34) / in a
cabin (l. 3), In the middle of nowhere (l. 35) 3 pts
c. What is their way of life?
they sh / collect wood for re / but can also have
supplies delivered by plane.
Roy was shing (l. 11),He went back for his pole
and salmon and walked on to the cabin (l. 30), He
scaled them quickly and cut off their heads....(l. 36)
+ pit for the wood (l. 8) + I ordered the supplies
(l. 33). 3 pts (0,5 pt par lment + 0,5 pt par citation)
d. What is the main event in this passage? What

happened on that day?
a plane ew over their place but the boy missed it.
Focus on the passage from line 33 Roy took his

salmon down to the water to the end.
When the plane came a few days later (l. 11) /

I missed him (l. 29) 2 pts (1 pt pour la rponse et
1 pt pour la citation)
Focus on Roy 12 pts (2 pts par bonne rponse. N.B. :

une seule citation exigible pour justier le choix).
pour la citation)
a. Roy doesnt bother about what happened that day.

False looking at where it had nally disappeared and
breathing hard and feeling that something terrible
had happened. (l. 27-28) /He left, he said out loud. I
missed him. (l. 29)
b. Roy is happy with his life
False He wanted out of here (l. 23) / you want to
leave? (l. 39) / he was just going to go (l. 38) / I dont
want to just try to survive winter (l. 49)
c. Roy has lived in this place for less than a year.
True You told me youd stay out here a year, and I made
my plans. What am I supposed to do if you just leave?
(l. 49) (il faut les deux parties de la citation, sinon 0).
d. Roy understands the early snow will make their
life more difcult.
True Roy didnt believe theyd still be here when it rst
snowed ...Roy knew that somehow this disappointment
was worse for his father than the other disappointments
had been. (l. 1-4)
10 pts (2 pts par bonne rponse, 1 pt par adjectif et 1 pt
Father:
- Self-satised: Were not doing so bad, are we?
(l. 41)
- Selsh: What about me? (l. 50)
- Authoritative: Youre just staying and thats that
(l. 46)
The son:
- Guilty: He felt terrible, as if he was killing his father
(l. 40)
- Pessimistic: he knew terrible things were going to
happen to him (l. 52-53)
Barme
Questions
1.
2.
3.
10
4.
12
5.
10
TOTAL /40 divis par 2
pour obtenir une note sur 20.
e. It is difcult for Roy to communicate with his father.

True If Roy spoke now, he doubted hed be heard. And
he understood this about his father, that he was often
gone into his own thoughts and couldnt be reached
(l. 4-6)
f. Roy is torn apart at the end of the passage.
True Roy wanted to say right then that hed stay, but
he couldnt (l. 52)
Points
Expression crite
123
UNIT 3
valuations
Final task 1
Tech-less world
Name :
Class :
Writing
Manuel p. 66
Imagine a world without technology

A2
B1-1
B1-2
B1-3
B2
124
Traitement du sujet
(8 pts)
Cohrence et cohsion
(4 pts)
Recevabilit linguistique
(8 pts)
Respecte partiellement la
consigne (trop bref ; oubli
des parties dialogues, etc.).
Dcrit brivement les
vnements.
Juxtapose des noncs sans

marquer la cohrence de la
situation.
Possde un rpertoire
lmentaire de mots et
dexpressions courantes.
Contrle limit de quelques
structures simples.
Des erreurs faisant obstacle
la comprhension.
1 2 pts
1 pt
1 2 pts
crit une narration de faon

simple : la trame factuelle est
en adquation avec le thme.
La partie dialogue est
prsente.
Le rcit est peu prs

cohrent.
Est capable de faire des
paragraphes.
Est capable de relier les
phrases par des mots de
liaison basiques.
Sexprime dans une langue

simple mais ne matrise
pas toujours les structures
courantes.
3 4 pts
2 pts
3 4 pts
Peut apporter son rcit

une certaine varit
Produit un dialogue simple
et clair dont les ides
senchanent.
Peut intgrer des sentiments
et des ractions.
Peut utiliser les articulations

et les connecteurs les
plus frquents, voire assez
varis ; rcit cohrent qui
facilite la lecture.
Les caractristiques du
dialogue sont respectes.
Est capable dutiliser

des structures plus
complexes et du lexique
diversifi malgr quelques
erreurs ne faisant pas
obstacle la comprhension.
5 6 pts
3 ou 4 pts
5 6 pts
Peut relater de faon claire

et dtaille en mettant en
valeur le point de vue, les
sentiments et les ractions.

Produit une narration
globalement correcte et
qui senchane et utilise
riche.
des connecteurs varis et
cohrents.
crit un dialogue labor o
figurent des caractristiques
varies du dialogue.
7 8 pts
5 ou 6 pts
7 8 pts
UNIT 3
valuations
Final task 1
Tech-less world
Name :
Class :
Writing
Manuel p. 66
Imagine a world without technology

Bearing in mind the elements studied in this unit, inspire yourself from one of the
following situations and narrate the episode, including some dialogue.
Feel free to invent names, details, etc.
Situation 1
Situation 2
Title: After the Fall
Title: Afterworld
Context: a natural catastrophe has

left the world stripped of its modern
comforts and technology. A group of
people try to rebuild a New Eden.
Context: a technological disaster has

completely disrupted the lives of citizens of Eden Grove. Their community is
falling apart from neglect and natural
decay.
Characters: John Kipper, a rough young
leader and Christina March, a teenage
girl who ischallenging his authority.
Main problem: have to adapt to a new
future and create a new society.
Setting: an English-speaking country.
Characters: at least, 1 leader, 1 woman

Setting: one American State
Suggested starts:
X and Y were talking about the rules that had to be respected when they heard footsteps outside
The community was trying to nd a solution to their main problem: water.
They had heard a group of thugs had arrived the previous day
125
UNIT 3
valuations
Final task 2
Tech-less world
Name :
Class :
Reading
Manuel p. 66
Match book covers and blurbs

Look at the four book covers in your textbook p. 66.
Read the five blurbs below.
Then match each book cover with its blurb.
Blurbs:
a
Aaron is 60 years old, living in the wastelands of a long dead London. As he rests
in the ruins of the National Gallery, surrounded by the detritus of a lost civilization,
he recounts his own history and that of a dying empire. Are there any limits
in the fight to save a dying planet? Is it possible for humanity to go back to Nature
and live in harmony with it or are we destined to destroy everything? These are
the questions that haunt Aaron as he recounts his past and that of the Earth.
The book explores our need to re-connect with the Earth and with Nature as a
whole.
b
In the near future, the Earth is devastated by a viral pathogen. Over seventy percent
of the human population is dead. Most of the survivors act like animals. Greed
and corruption are hovering over this brutalized domain and a cosmic horror
is now free to infiltrate the remote abandoned corners of the Earth. Within this mix
the lives of two survivors collide: a renegade intelligence agent and a coldblooded master of violence, shaping events with their virulent hunger for money
and a desire to carve their name into this new world ruled by mans inhumanity
to man.
c
Anax thinks she knows history. Her Examination has just begun, and if she passes,
shell be admitted into the Academythe elite governing institution of her utopian
society. Her chosen area of expertise, which she will be questioned over, is about
early attempts at genetic engineering that started in 2030. But Anax is about to
discover that the history shes been taught isnt the whole story. And the Academy
isnt what she believes it to be. This novel is an interesting take on artificial
intelligence and the philosophical issues it raises Can man play god and genetically
create a new world? What is consciousness? What makes us human? How was
humanity born? Can Artificial intelligence take the upper hand over nature and
man?
//
126
UNIT 3
valuations
Tech-less world
Name :
Class :
//
d
In this thrilling adventure novel about a man left alone on earth, the author combines post-apocalyptic elements with an adventurous road novel. Alan, the hero of
the story, is visiting Japan on business. After the outbreak of a pandemic, he finds
himself to be the single survivor. The viral disease has wiped away his past life:
Alan must fear injury, sickness and hunger - the food begins to decay in the stores.
Yet, Alan swears to travel back to his family in Berlin, straight across Asia and
some 10,000 miles. The hardships and landscapes (the Gobi desert, Siberia) are
described in all ferocity. A few other humans have survived as well, some eager to
use the disaster for their own purposes. Electrifying chapters describe the encounter with Somerset, a charming, yet psychotic warlord, who is assembling an army
to conquer Moscow, if not the entire world. However, Alan remains determined to
return to Berlin, by whatever means.
e
Part novel, part survivalist-handbook, it tells of a small group of friends facing
every Americans worst nightmare and collapse, including preparedness against
the risks of a post-disaster society which include looting, armed violence and food
shortages. Practically overnight, the fragile institutions of democracy fall apart and
every American is forced to survive on their own. Evading mobs of desperate, outof-control citizens, the protagonists make their way to a shared secure ranch in the
wilds of northern Idaho. The group turn into a resistance movement and engage
into war to restore true Constitutional law when it is learned that the Provisional
United States Government supported by a massive UN-led European Peacekeeping
Force are little more than bloodthirsty tyrants.
Book cover
Blurb ( a , b , c , d or e )
Genesis, by Bernard Beckett

Dog Eat Dog, by David J Rodger
Patriots, by James Wesley Rawles
Return, by Clayton J Elliott
127
UNIT 3
valuations
Tech-less world
Name :
Class :
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
128
Roy didnt believe theyd still be here when it rst snowed, but he nodded as his father
climbed down in and then he took the pieces1 his father handed him and carried them
back to the cabin. Roy knew that somehow this disappointment was worse for his father
than the other disappointments had been. If Roy spoke now, he doubted hed be heard.
And he understood this about his father, that he was often gone into his own thoughts
and couldnt be reached, and that none of this time spent alone thinking was good for
him, that he always sank lower when he went in there.
They stacked the wood against a side wall, and when they were done, they looked again
at the pit2, at the mud deepening and the walls caving, and both looked into the sky,
into the grayness that had no depth or end, and then they went inside.
When the plane came a few days later, Roy was shing several miles up the coast. He
thought he heard it, then thought he must have made it up, but stopped and listened
and heard it again. He pulled in his line, grabbed the two salmon he had caught, and
started running. He was far enough off, though, and blocked by so many small points
along the way, that he couldnt see it y into the mouth of their cove3. He ran over the
rocky beach and, when he had to, up into the trees and down again, becoming more
and more afraid that he would miss it. He assumed his father was there cutting wood,
but what if he had hiked back over the ridge for some reason and no one was there?
The pilot might not come back again for a long time, might just leave a note saying,
Call me on the radio if you need anything. And there was another thing, too, that Roy
didnt like to admit. Even if his father was there, what would he say? Was there a chance
he would just say everything was ne and send the pilot away and not have him come
back? It didnt seem impossible, and Roy needed to leave here, he needed to get away.
Roy dropped the sh and his pole and ran faster.
He was only a few hundred yards from the nal point when he heard the drone of it again
and stopped to see it rush out of the mouth, tilt free of its own spray, and lift precariously
over the channel. He stood there then, looking at where it had nally disappeared and
breathing hard and feeling that something terrible had happened.
He left, he said out loud. I missed him.
He went back then for his pole and the salmon and walked on to the cabin.
His father was back at the woodpile. Tom came by, he said when Roy-walked up.
I heard.
Oh. Well he was just here a minute but I ordered the supplies we need and hell be back
with them next week on his way to Juneau4. Though not really on his way exactly, I suppose. And his father grinned then, pleased at how in the middle of nowhere they were.
Roy took his salmon down to the water and gutted them. He scaled them quickly and
cut off their heads and ns and tails. He wanted out of here. He didnt care what his
father thought about it; he was just going to go.
You want to leave? his father asked when he told him at dinner.
Roy didnt say it again but just ate. He felt terrible, as if he were killing his father.
Were not doing so bad, are we? his father asked.
Roy refused to cave in5. He didnt say anything.
I dont understand, his father said. Were nally getting somewhere. Were getting
ready for winter.
Why? Roy thought to himself. Just so we can survive winter? But he didnt say anything.
Look, his father said. Youre gonna have to talk to me about this, otherwise youre just
staying and thats that.
Okay, Roy said.
Why do you have to go?
I want my friends again, and my real life. I dont want to just try to survive winter.
Fair enough. But what about me? You told me youd stay out here a year, and I made my
plans. I quit my job and bought this place. What am I supposed to do if you just leave?
UNIT 3
valuations
Tech-less world
Name :
Class :
[...] Roy wanted to say right then that hed stay, but he couldnt. He knew terrible things
were going to happen to him out here if he stayed. He did the dishes and then they
went to bed.
David Vann, Sukkwan Island in Legend Of a Suicide, 2009
1. pieces of wood
2. cavity where they keep the wood dry
3. cove = little bay
4. capital of Alaska
5. cave in = agree /cooperate
Read the text carefully, then answer the questions

Circle the right answer:
4 pts
a. This text is an extract from: an autobiography a testimony a diary a novel an essay

b. The best title for this extract is: city life rescue work a shing party remote life
Who are the characters actually present in the scene and the characters who
are simply mentioned? Give as many details as possible about each of them (name,
relationships, occupation) 4 pts
..........................................................................................................................................................
..........................................................................................................................................................
..........................................................................................................................................................
..........................................................................................................................................................
Answer very briefly the following questions, then justify with a quotation from
the text. 10 pts
a. What time of the year is it?
..........................................................................................................................................................
..........................................................................................................................................................
b. Where do the characters present live? (country, housing, environment)
..........................................................................................................................................................
..........................................................................................................................................................
c. What is their way of life?
..........................................................................................................................................................
..........................................................................................................................................................
d. What is the main event in this passage? What happened on that day?
..........................................................................................................................................................
..........................................................................................................................................................
Focus on Roy: say if the following statements are true or false. Justify by quoting
from the text. 12 pts
a. Roy doesnt bother about what happened that day.
..........................................................................................................................................................
..........................................................................................................................................................
129
UNIT 3
valuations
Tech-less world
Name :
Class :
b. Roy is happy with his life

..........................................................................................................................................................
..........................................................................................................................................................
c. Roy has lived in this place for less than a year.
..........................................................................................................................................................
..........................................................................................................................................................
d. Roy understands that the early snow will make their life more difcult.
..........................................................................................................................................................
..........................................................................................................................................................
e. It is difcult for Roy to communicate with his father.
..........................................................................................................................................................
..........................................................................................................................................................
f. Roy is torn apart at the end of the passage
..........................................................................................................................................................
..........................................................................................................................................................
Focus on the passage from line 33 Roy took his salmon down to the water to
the end.
Choose the adjectives that best characterize the two protagonists. Then justify, quoting
from the text. 10 pts
self-satised / selsh / compassionate / thrilled / obedient / optimistic / pessimistic / rebellious
/ guilty / authoritative
..........................................................................................................................................................
..........................................................................................................................................................
..........................................................................................................................................................
..........................................................................................................................................................
Expression crite
Two e-mails
Youve just heard that one of your friends has decided to be away and out of touch for a year.
Send her/him an e-mail to convince her/him he must keep in touch wherever she/he is. Your
friend replies, explaining why she/he wants to be out of touch. Write both e-mails. (200 words)
A conversation
An extensive network failure has left hundreds of mobile phone users unable to use their mobiles
for a whole day. Imagine a conversation between two users. One thinks it was a great day; the
other thinks it was a disruption that should never happen again.
130
UNIT 4 The Queen

Notion : Mythes et hros
Activit langagire dominante : comprhension de lcrit
Activit langagire associe : expression crite
FINALIT ET ORGANISATION GNRALE DU CHAPITRE

Le thme gnral
La notion Mythes et hros est aborde dans ce chapitre travers ltude des portraits (rels et ctifs) de
trois reines anglaises : Elizabeth I, Victoria et Elizabeth II.
Ces gures symboliques de la monarchie une composante importante de lidentit collective britannique
ont marqu lhistoire, ne serait-ce que par la longueur de leurs rgnes respectifs. Dans quelle mesure
les images de ces reines relvent-elles du mythe ? Quincarnent-elles ? Et derrire ces reprsentations,
quen est-il de leurs vies personnelles ?
Les documents proposs ltude sont de nature varie tableaux, audioguides, extraits de romans,
dinterview, de rcit, de journal intime, de pice de thtre, bande-annonce et permettent un va-et-vient
entre image publique et vie personnelle.
En fin de parcours
valuation de lexpression crite :
tche : rdaction dun pisode de la vie dElizabeth II en prenant appui sur un vnement relat dans la
presse
tche de remise en ordre dun rcit
valuations
comprhension dun tmoignage oral,

expression orale sur le thme des gures symboliques, li la notion Mythes et hros ,
lecture et comprhension de plusieurs documents (rcit dune Amricaine qui a rencontr Elizabeth II,
et extrait de ction concernant Victoria),
rdaction dun extrait de journal intime et dun commentaire personnel post sur internet.
Parcours culturel
Parcours culturel
Documents
Notion :
Mythes et hros :
la nature mythique des monarques lie la construction
de leur pays / identit collective
Thme :
La reine dans lhistoire des les Britanniques :
Elizabeth I, Victoria, Elizabeth II / image publique et vie
personnelle.
Problmatique :
Qui sont ces souveraines au-del des reprsentations
que nous en avons ?
Un destin hors du commun pp. 76-77
Audioguides
Lenfance dune reine pp. 78-79
Alison Weir, The Lady Elizabeth
Devoir et amiti pp. 80-81
Shrabani Basu, Victoria and Abdul

The Queen and the commoner
UNIT 4 The Queen
131
La reine et son peuple pp. 82-83
Allan Bennett, The Uncommon Reader
Stratgies pp. 86-87
Alison Weir, The Lady Elizabeth
Culture File
William Shakespeare, Henry VIII
Authors and Queens pp. 90-91
Charles Dickens, Oliver Twist

Queen Victorias diaries
Activits langagires
Comprendre les faits
principaux, les opinions
et les sentiments des
personnages dans un
texte narratif
Tches dentranement
Enregistrer un
audioguide sur un sujet
relatif au rgne de
lune des trois reines
dAngleterre
Stratgies
valuations nales
Comprendre un texte
narratif
Tche 1
Rdiger un court pisode
p. 86 de la vie de la reine
Elizabeth II partir dun
fait divers rel
p. 77
crire une lettre
pour raconter des
vnements et exprimer
des sentiments
texte narratif comportant
des passages dialogus
Prsenter oralement
une personne, un lieu ou
un vnement tudis en
classe
Rcrire un pisode
de la vie de la reine
Elizabeth I en changeant
de point de vue
p. 79
Tche 2
Comprendre et
reconstituer un texte dont
les paragraphes ont t
mlangs
p. 88
crire une lettre pour

rendre compte de
sentiments personnels
p. 81
Entranement
valuation
dialogue entre la reine
Comprhension de
Elizabeth II et lun de ses
lcrit
conseillers
p. 92
p. 89
p. 83
Outils de la langue
Words
Symbols of the monarchy
p. 77
Political systems and their heads
p. 77 et 84
Myths p. 77 et 84
Speech tags p. 79
Authority and ambition p. 79
Feelings p. 81
Duty and leisure p. 83
132
Prononciation
Grammaire
Groupes de souffle dans les

Discours rapport p. 79
phrases longues p. 77
p. 30-31
et
p Prcis de prononciation 4 p. 216 g
Prcis grammatical 18 p. 207
Accentuation des lments
Wish p. 81 et
p. 31-32
porteurs de sens p. 81
et
p. 30
Mots se terminant en -ed p. 84

Lensemble du parcours permet aux lves dexplorer la thmatique en lien avec la notion Mythes et hros et
de sentraner la ralisation des tches nales dans les deux activits langagires plus spciquement vises.
dune dure maximale de 8 sances, valuation comprise, qui tout en permettant une exploration partielle
mais substantielle de la problmatique Who is behind the image?, prparera galement la tche prvue
pour lactivit dominante en comprhension de lcrit.
en gris, les supports et activits incontournables ncessaires la ralisation de la tche nale de
comprhension de lcrit : Re-order a narrative about a Queen.
utilises pour les cours dapprofondissement prvus en option. Par exemple, le professeur pourra faire le
choix de demander un groupe dlves dtudier The Queen and the Commoner et den faire un compte
rendu la classe.
PAGES INTRODUCTIVES
pp. 74-75
A destiny out of the ordinary

Audioguides
p. 76
Recap
p. 77
p. 77
Training task 1: Audioguides
A Queens childhood
Might I be Queen?
p. 78
Recap
p. 79
Training task 2: Creative writing
p. 79
Duty and friendship

Victoria and Abdul
p. 80
The Queen and the commoner
p. 81
Recap
p. 81
Training task 3: Letter to a friend
p. 81
The Queen and her people

One has a duty to find out what people are like
pp. 82-83
Recap
p. 83
Training task 4: Narrative dialogue
p. 84
Language tools
pp. 84-85
Stratgies
pp. 86-87
Final task 1: Write an episode in the life of a Queen
p. 88
Final task 2: Re-order a narrative about a Queen
p. 88
valuations
p. 89
UNIT 4 The Queen
133
Fiche Recap
Cette che rcapitulative permet deffectuer une trace crite (de prfrence sous forme de notes) lissue
des diffrents Recaps et de faire la synthse en n de chapitre, de manire se prparer activement
tablir les liens avec la notion au programme et dautres chapitres traitant la mme notion.
Les lves peuvent la remplir hors classe, suite ltude de chaque double-page, et elle peut tre utilise
pour le rcapitulatif de dbut dheure suivante.
Dans loptique de la prparation au baccalaurat, ces ches serviront de support aux lves pour sentraner
la prsentation orale de la notion. En effet, les rponses aux questions des Recaps (voir les suggestions
dans les pages suivantes) permettent aux lves de btir peu peu leur prise de parole en inscrivant le
thme du chapitre dans la notion plus vaste de Mythes et hros . En n dtude, ils auront ainsi dvelopp
des ides sur lesquelles appuyer leur prsentation.
PAGES INTRODUCTIVES
Objectifs
un document iconographique reprsentant la reine
Elizabeth II, alors ge de 51 ans.
Entrer de plain-pied dans la problmatique du
chapitre en partant de ltude dun tableau : grce
la reproduction dune uvre dart, on donnera aux
lves la possibilit de dire quelle image est donne
de la reine.
Faire merger leurs reprsentations et leurs
connaissances des reines dAngleterre.
Manuel pp. 74-75
travers le regard de ses sujets. Cest pourquoi ces

portraits ont t qualis de dmocratiques :
dans la plupart des portraits ofciels de souverains,
le monde existe travers le regard du monarque ;
ici, cest le contraire.
Formes de travail
Collective.
Le temps consacr cette activit dpendra videmment des ides des lves mais il ne devrait pas
excder une demi-sance et le professeur veillera
imprimer un rythme assez soutenu aux changes.

Il sagit dune srigraphie sur papier dAndy Warhol
date de 1985. Elle fait partie dune srie de portraits
dElizabeth II raliss partir dune photo prise en
1977 lors de son Jubil dArgent (les couleurs varient
dans les diffrentes versions). Lartiste a reprsent
de la mme manire Queen Beatrix Of The Netherlands, Queen Ntombi Twala Of Swaziland, Queen
Margrethe II Of Denmark.
Fascin par le principe pictural de la rptition,
Warhol a lui-mme choisi de reprsenter cette reine,
qui na pas pos pour lui (on pourra observer que
le motif de la rptition des ttes couronnes existe
dj sous diffrentes formes : pices de monnaie,
timbres). Cette srigraphie fait bien sr penser aux
portraits de clbrits raliss de la mme manire
par lartiste (Marilyn Monroe, Mick Jagger, Liz Taylor) et on pourra en dduire que Warhol a voulu
reprsenter une star, propulsant Elizabeth II au rang
dicne. Ceci est soulign par les traits que lartiste
a ajouts, comme le maquillage autour des yeux.
La reine nous regarde en souriant et nous la regardons. Elle existe travers ce regard que nous portons sur elle, de mme que la monarchie existe
134

tape 1
Laisser les lves ragir librement au document.
Rebondir sur leurs productions pour leur fournir, selon
leurs besoins, le vocabulaire quils ne connaissent pas
et qui sera utile tout au long de la squence.
Thanks to this vivid screen portrait/print
by Andy Warhol, the celebrated/renowned
American pop art artist, Queen Elizabeth II
looks approachable.
It is an appealing portrait / the Queen seems
close/benevolent. Her face is more human
than royal despite her royal attributes.
The colours are very bright: red, green, blue,
yellow and give a cheerful aspect.
The smiling Queen is looking at us: the picture is full face/face on and not in prole. So
she does not seem haughty.
//
tape 2
On laissera les lves sexprimer sur ce quils savent
dj dElizabeth II et sur lhistoire de la royaut au
Royaume Uni an de leur permettre danticiper sur les
I know that Elizabeth II has celebrated her
Diamond Jubilee, marking the 60th anniversary
of her accession to the throne.
I know the English Queens reigns lasted for
a long time.
Id like to know what they did for their countries.
I wonder what sort of monarchs they were.
Etc.

Tableaux et audioguides : les trois tableaux en haut
de la double-page reprsentent les trois reines dont
il va tre question dans le chapitre. Ces portraits
ofciels sont dcrits et analyss dans les audioguides
qui gurent sur le
CD lve (pistes 21, 22 et 23) ;
des donnes factuelles sur le contexte historique et
les peintres eux-mmes sont ajoutes, ainsi que des
explications sur linterprtation possible du message
quils ont voulu transmettre.
Frise chronologique : elle donne aux lves quelques
repres sur les vnements historiques marquants
des rgnes des trois reines pour leur permettre de
mieux les situer dans le temps, de juger de leur
importance conomique, culturelle, etc.
Transcription des documents audio

Our museum houses one of the greatest
collections of paintings representing the
English Queens. Lets start with Elisabeth I.
Pi
21
ste
Queen Elizabeth I
this portrait commemorates the high point
of the reign of elizabeth I / the defeat of the
//
Pi
s te 2
Cette premire double-page permettra aux lves

de vrier et dlargir leurs connaissances sur les
reines anglaises en confrontant ce quils dcouvrent
avec ce quils auront dit ltape 2 du travail sur les
pages introductives.
ste 2
2
A destiny out of the ordinary
21
ste
Manuel pp. 76-77
Pi
le professeur.
documents du chapitre (en expliquant ce quils aimeraient savoir et quils apprendront peut-tre ensuite).
Laisser les lves changer leurs ides et exprimer
leurs divergences sans les interrompre. Ltude ultrieure des documents permettra de voir ce quil en est.
Trace crite retant les changes au tableau.
Pi
//
Warhol presents the Queen as an iconic and
glamorous gure.
His own lines, added to the photographic
image, suggest the stylised make-up of a Hollywood star.
The Queen is treated as a celebrity (Warhol
also depicted M. Monroe and M. Jagger among
others).
//
spanish armada / in 1588 // it was painted
that same year / and attributed to george gower
// the defeat of the armada is happening in
the two scenes at the top / showing different
moments in the battle / on either side / of elizabeths head // to elizabeths right / the english
re ships are being sent out against the spanish
// to her left / the storm is shown raging / and
ships are wrecked off the coast of ireland //
elizabeth is then 55 / and has already reigned
for 30 years // her hand / on the globe / symbolizes her desire / for an empire // this is the
age of walter raleighs exploration / and initial
colonization / of the atlantic coast of north america // the name virginia / given to the colony /
may have been suggested by raleigh / perhaps
noting her status / as the virgin queen since /
she never married / and had no children // her
other hand holds a fan of exotic feathers / and
her crown is placed beside her / on a table // the
chair in the portrait is carved with a mermaid or
siren / creatures who attract sailors / and cause
their death // it may mean elizabeth herself / is
the mermaid responsible / for the shipwreck /
of philip of spains eet //
elizabeth is depicted wearing a beautiful dress /
with a lace collar // the gold suns on her sleeves
/ and the pearls on her clothes / give messages
about her power / by linking her with the sun
and the moon // so this painting conveys an
//
UNIT 4 The Queen
135
//
impression of authority / and control // the main
colours used / red / black, / green / golden/ green
/ golden/ emphasize the sensation of wealth /
and beauty //
elizabeth looks elusive / and untouchable //
she embodies the modern representation of
the monarchy //
2
Pi
ste 2
Queen Victoria
this is a portrait / of queen victoria / painted by
german artist franz xaver winterhalter / in 1859
// the queen highly appreciated him / and he was
commissioned to paint her portrait several times
// in this one / victoria is 40 / and has been on the
throne for 22 years // she is depicted in luxurious
state robes / worn for official ceremonies // she
is wearing a white embroidered dress / which
may be made of satin / a furred gown/ red on
the outside / velvet / and white / on the inside /
ermine // it symbolizes her position //
this painting gives a different image of the queen
/ often pictured as a widow in mourning //
when 42-year-old prince albert died in 1861 /
queen victoria did mourn him // she refused
to go out in public for many years / and when
she did / she wore a widows bonnet instead of
the crown // their nine children / were of great
comfort to her //
in this painting / we can notice two crowns /
a small one / on her head / and another one /
next to her // it looks like st edwards crown /
the official coronation crown / put on the windowsill to remind us of her status //
in the distance / we recognize london // the
queen has her hand on some papers // all this
may mean the queen is at work / performing
her office // the red warm colour symbolizes
her power //
winterhalter was good at creating almost theatrical compositions / but also was a virtuoso in
the art of conveying the texture of fabrics / furs
/ and jewellery // although he never received
high praise for his work from serious critics /
he became an international celebrity / enjoying
royal patronage //
Pi
s te 2
Queen Elizabeth II
this is a full length portrait / of queen elizabeth
II / painted by italian artist / pietro annigoni /
in 1955 // elizabeth was then 29 years old and
had been queen for only two years // she is
shown here / wearing the splendid robes / of
the order of the garter / the highest order of
chivalry / or knighthood / existing in england //
she is depicted as a beautiful / yet solitary gure
/ proled in what seems to be a dreamy italian
landscape / with tall trees / moving in a slight
wind // the white / light grey / and pink shades
of the landscape / soften the dark colour of the
robes // it might be early morning / the beginning
//
136
//
of the day can be seen as symbolizing the beginning of the queens reign // the painting / is an
unusual rendering / that serves to both isolate /
and objectify her monumental responsibilities
/ and her high hopes for her people //
the queen looks calm / and determined / aware
of the duty that is hers // the major impression
that is conveyed / is one of royal dignity // the
portrait is glamorous / and romantic // annigoni
said / i did not want to paint her as a lm star //
i saw her / as a monarch / alone in the problems
of her responsibility //
this incredible painting / made annigoni famous
/ and conrmed his place in art history / his
portraits are seen as unique 20th century contributions to renaissance tradition //
Les audioguides sont des crits oraliss. Le dbit
assez lent devrait en faciliter la comprhension par
les lves. Certains mots leur seront peut-tre inconnus mais les documents iconographiques permettront de les lucider. Cest le cas de storm, wrecked
off, shipwreck, feathers, carved ou lace qui auront pu
tre introduits lors de la phase danticipation.
Dautres mots sont expliqus en contexte : mermaid,
virgin, elusive, commissioned, mourn, widow, performing her ofce, garter, shades.
Attention aux faux amis : fabrics.
On ne vise pas une comprhension exhaustive, donc
ne garder que les mots essentiels.
Formes de travail
1. individuelle puis collective ; 2. collective ; 3. individuelle puis collective ; 4. individuelle puis collective ;
5. individuelle puis collective ; 6. individuelle puis
collective.
Accs au sens
1. Premire approche des tableaux : laisser les

lves les dcouvrir seuls pendant deux trois
minutes. Ils feront ensuite part de leurs impressions
initiales et de ce qui les frappe le plus. Ils pourront
ainsi dj faire ressortir les aspects sur lesquels les
peintres ont voulu insister et qui illustrent le titre
de la double-page : A destiny out of the ordinary. En
justiant leurs impressions partir des lments
du tableau, ils brasseront le vocabulaire utile la
comprhension des audioguides.
2. Phase danticipation o les lves dressent collectivement la liste des informations habituellement
fournies dans un audioguide. Ils laborent ainsi
une sorte de grille dcoute qui guidera leur relev
dindices. On devrait aboutir un support qui pourrait
avoir pour entres :
Reason why the portrait was painted / Setting / Historical elements / The Queens outt / Her attitude /
Symbolic aspects / The Queens private life / Details
about the painter / ... Cependant, ne pas rechercher

lexhaustivit des entres car certains points sont
moins essentiels.
En cas de difcults
Si les lves rencontrent des difcults parce
quils ne sont pas familiers des audioguides,
les aider en faisant des suggestions.
Exemples :
- The painting is going to be described. What
elements will be mentioned?
- The audioguide may also provide information
about what the painting means. Which ones?
Etc.
3. Premire tape de comprhension des audioguides (il sera prfrable de travailler sur les portraits un un pour les tapes 3 et 4) : les lves
coutent puis partagent oralement ce quils ont
compris en reformulant les informations. Les inviter
approuver ou rfuter ce qui est propos par les
autres pour dvelopper linteraction dans la classe.
4. Deuxime tape de comprhension : grce la

grille quils ont labore en 2, donc en prenant des
notes, les lves vont relever davantage de dtails et
parvenir une comprhension plus ne. Lors de la
mise en commun, les inviter dbattre de la justesse
des propositions et complter les suggestions de
leurs camarades de faon faire des liens entre les
diffrents lments perus.
5. Dernire coute complte pour mettre en relation

les lments des trois audioguides, puis partage
des ides. En recherchant les points communs et
les diffrences entre les trois tableaux et les trois
reines, les lves poursuivent ltablissement de
liens. Ils bauchent ainsi le travail rcapitulatif
propos par la suite.
6. La frise chronologique permet dapprofondir ce

qui a t suggr en 5. Laisser sufsamment de
temps aux lves pour en prendre connaissance.
Common points
The three paintings convey an impression
of authority / the Queens really embody the
monarchy.
The portraits were all officially commissioned.
The three monarchs were crowned Queen
when they were young adults (Elizabeth I was
25, Victoria 18 and Elizabeth II 26).
The rst two Queens lived a very long life:
Victoria lived until she was 82, and Elizabeth I
was 70 when she died/passed away. Elizabeth
II is 86 (in 2012): she has already lived longer
than the other Queens.
//
//
The three Queens have sat on the throne for
very long periods of time.
Two of them ruled over large empires.
Raleigh started colonizing the north of America for Elizabeth I, Queen of England and Ireland.
Victoria: Queen of the United Kingdom of
Great Britain and Ireland + rst Empress of
India.
Elizabeth II: still the Head of the Commonwealth, so of a lot of countries (even if it
is symbolic).
Both Elizabeth I and Victoria were famously
known for their years of glory.
Elizabeth's reign: English literature and
poetry developed.
Victoria's reign: Industrial Revolution (social,
economic, and technological progress in the
United Kingdom).
Differences
Elizabeth II: a solitary gure in a dreamy
Italian landscape / Elizabeth I and Victoria:
imposing gures in their palaces.
The Queens' roles declined. Elizabeth I was a
real ruler. Queen Victoria had little to do with
the affairs of the State. Elizabeth II has hardly
any inuence on her countrys politics / she is
a mere gurehead.
Queen Elizabeth I reigned over one of Britains greatest periods of growth and increasing
power.
Reign of Queen Elizabeth II: disintegration
of the British Empire.
Elizabeth I never married and died childless.
Victoria and Elizabeth II married and had several children.

Les activits des Language tools Tone units in long
sentences et Pronouncing -ed endings (manuel
p. 84), pourront ventuellement tre proposes en
amont dans une classe en difcult pour afner la
discrimination auditive, ou bien seront faites ensuite
(en classe ou comme travail personnel) avant la
Training task de la page 77, de manire ce que les
lves intgrent la dimension phonologique dans la
ralisation de leurs enregistrements.
Lexercice Politics (manuel p. 84), pourra aussi
tre effectu la n de cette double-page.
Recap
Synthse en n de cours ou prparation la maison
et mise en commun au cours suivant. Ce Recap
donnera lieu une prise de notes dans le Workbook
p. 34 an de renseigner peu peu la grille

qui servira de support lentranement lpreuve
dexpression orale du baccalaurat.
UNIT 4 The Queen
137
Elements which make the reigns of the
three Queens remarkable:
the length of their respective reigns / longlived reigns,
what has been achieved during their reigns
(Elizabethan era, Victorian era),
the turning points in English history (sea
power, British Empire, decolonization),
their sense of duty.
Training Task 1: Audioguide

Objectifs :
amorcer la prparation de la tche nale (sagissant dun audioguide, les lves vont devoir dabord
rdiger quelques lignes propos dun vnement,
lieu ou personnage clbre) ;
enrichir les connaissances culturelles et lexicales
des lves (grce des recherches sur un sujet
prcis) et entraner la lecture (qui est lactivit
langagire dominante du chapitre) ;
dvelopper les comptences lies la prise de
parole en continu.
tapes et mise en uvre
1. Par groupes de 4 ou 5, les lves effectuent des

recherches sur le thme choisi, soit en laboratoire
de langues (si ltablissement en est quip) an que
le professeur puisse les aider, soit en dehors des
cours, pour gagner du temps et varier les sources
(internet mais aussi livres, missions de tlvision,
professeur dhistoire, etc.). Dans le cas dun travail
au laboratoire, le professeur pourra fournir aux
lves une liste de sites consulter pour viter
toute dispersion.
Par exemple :
Walter Raleigh
http://www.rmg.co.uk/ralegh;
A Queens childhood
Les trois doubles-pages suivantes vont permettre de
revenir sur certains lments concernant chacune des
trois reines. Selon une progression chronologique, les
pages 78 et 79 sont donc consacres Elizabeth I. Le
professeur de langues nest pas professeur dhistoire,
138
Richmond Palace
http://www.richmond.gov.uk/home/leisure_
and_culture/local_history_and_heritage/
local_studies_collection/local_history_notes/queen_
elizabeth_i_and_richmond.htm;
Crystal Palace
h t t p : / / w w w. b b c . c o . u k / l o n d o n / c o n t e n t /
articles/2004/07/27/history_feature.shtml;
the Channel Tunnel
http://channeltunnel.org.uk/history.htm;
http://www.eurotunnelgroup.com/uk/the-channeltunnel/history/;
the Commonwealth
http://www.royal.gov.uk/MonarchAndCommonwealth/QueenandCommonwealth/QueenandCommonwealth.aspx
British Raj
http://www.bbc.co.uk/history/british/modern/independence1947_01.shtml
2. Aprs avoir organis individuellement les informations sous forme de notes sur une che, chaque
lve sentrane les prsenter oralement.
3. Les lves enregistrent leur audioguide au laboratoire de langues ou chez eux (sur cl USB). Le
professeur peut ensuite les couter et en faire un
bilan dans le cadre dune valuation formative.
Labo de langue : pour les enseignants qui disposent
dune version numrique Premium de Password
du Labo de langues. Pour ceux qui nen disposent
pas, voir le dossier TICE Grer les enregistrements
des lves, p. 23 de ce guide.
Follow up work possible : les lves qui ont choisi
le mme sujet changent leurs audioguides et les
comparent. Si une liste de critres a t tablie
collectivement pour valuer la performance, cette
inter-valuation peut tre trs fructueuse.
Les lves coutent laudioguide dun camarade qui
a trait un autre sujet an denrichir leurs connaissances. Ils en retirent deux ou trois points forts et
disent brivement ce qui les a intresss, tonns, etc.
Manuel pp. 78-79

et si les pages prcdentes ont fourni aux lves
quelques repres culturels ncessaires, il sagit bien
par la suite de rpondre la problmatique pose
initialement : Who is behind the image? et dillustrer
la notion de Mythes et hros .
1. Might I be Queen?
Le texte est extrait du roman historique (historical
ction novel) dAlison Weir, publi en 2008. Si la forme
est romance, lauteure, qui est aussi historienne,
sest appuye sur des faits rels. Elle dpeint Elizabeth Tudor enfant, alors quelle a quitt Londres
(elle vit Hateld, ville du Hertfordshire, dans le
sud-est de lAngleterre) et a t prive de ses droits
de succession au trne (en 1537, elle a 4 ans et est
orpheline, raison pour laquelle elle est appele
Lady et non plus Princess, ayant t dclare
illgitime aprs quHenry VIII a fait dcapiter Ann
Boleyn, sa seconde femme, mre dElizabeth). Il
est alors peu probable quelle devienne reine : le
texte explique pourquoi (lignes 61 64) et le miniarbre gnalogique p. 79 permet aux lves de
mieux apprhender lordre de succession : Elizabeth
narrive quen troisime position. On pourrait ajouter
que Lady Jane Grey rgna aprs Edward VI, selon le
vu de celui-ci, mais seulement neuf jours.
Cette scne (principalement un dialogue) illustre le
moment o Elizabeth apprend de sa gouvernante,
Lady Bryan, la naissance de son demi-frre Edward,
appel succder Henry VIII, puis leur dpart pour
Londres. Elizabeth y est dpeinte comme une enfant
curieuse et prcoce (elle sexprime trs bien pour
une petite lle de 4 ans), qui fait dj preuve dun
certain caractre. Derrire limage de lenfant se
dessine celle de la reine en devenir.
Tableau et mini arbre gnalogique : le tableau de
la page 79, Coronation portrait, o Elizabeth est reprsente lors de son couronnement, rpond la question de la page 78 : Might I be Queen? Contre toute
attente en effet, Elizabeth a rgn, et longtemps ! Ce
tableau pourra tre compar celui de la page 76.
Larbre gnalogique permet aux lves de mieux
reprer les liens entre les diffrents protagonistes.
Lexique
Il sagit dun texte de ction historique dont le
vocabulaire est assez simple malgr quelques mots
plus littraires. Il nest pas ncessaire que tout soit
expliqu de manire dtaille ; par exemple, il suft de
comprendre, grce au contexte, que beam, auspicious
(transparent pour certains lves) ou elation renvoient
une ide positive, de joie ou de bonheur.
Tidings, un mot littraire, sera infr partir du
contexte et les lves lassocieront facilement
news. Summon devrait aussi tre compris sans
difcult.
La ligne 25 permet de deviner que christening
renvoie une crmonie et aprs une naissance,
les lves penseront peut-tre un baptme. Le
professeur pourra cependant prvoir dexpliciter
ce terme rapidement en cas de besoin, en donnant
un synonyme plus transparent (baptism) ou une
dnition (a Christian religious ceremony at which a
child is ofcially given a name).
De mme, infrer que litter renvoie un moyen de

transport du XVIe sicle sufra. Mais le professeur
pourra l encore prciser sil le juge utile : a sort of
chair for carrying important people.
Formes de travail
groupes puis collective ; 4. collective.
Accs au sens
1. Prparation une lecture active : les lves sont

invits se poser des questions avant la lecture de
lextrait. Ils pourront ainsi en prendre connaissance
en ayant un but : trouver des rponses ventuelles
ces questions.
Is a child wondering if she could become
queen?
How can a child think of such things?
How did Elizabeth have access to the throne?
How old was she?
What (combination of ) circumstances allowed
Elizabeth to become queen?
She was older than Edward, so why did she
reign after him?
Why did Henry VIII repudiate Catherine of
Aragon and have Ann Boleyn beheaded?
Etc.
2. Lecture silencieuse. Laisser aux lves le temps

de lire individuellement, puis mise en commun en
classe entire de ce qui a t compris. On ne recherchera pas lexhaustivit, la question 3 permettant
dentrer dans les dtails.
3. a. Pour une comprhension plus ne du texte, la

classe est divise en trois groupes, chacun charg
dune recherche dinformations spcique :
informations concernant lvnement mentionn
et ses consquences (groupe 1),
informations concernant les ractions des diffrents personnages (groupe 2),
les rgles de succession la Cour dAngleterre au
XVIe sicle (groupe 3).
Relev des indices : les lves pourront les surligner
dans le Workbook
p. 26 o le texte est reproduit.
Reformulation par groupes avant mise en commun.
Conduire les activits dinfrence ce stade au sein
de chaque groupe.
b. Les groupes changent leurs dcouvertes et

dductions. Les productions viennent complter ce
qui a t explicit lors des questions prcdentes.
Inviter les lves se poser mutuellement des questions et ragir aux conclusions de leurs camarades
an de favoriser linteraction en classe.
UNIT 4 The Queen
139
//
GROUP 1
Edwards birth: in 1537, on October 12th, a
promising/hopeful/ an auspicious day / when
Elizabeth was four.
Edward was born on the eve of St Edward the
Confessor (an Anglo-Saxon king of England
from the House of Wessex who ruled from
1042 to 1066): this is supposed to be a good
sign/presage/augury/omen. The Prince will
be successful.
Changes it will provoke: England has a Prince
/ it is a great day for the King's Majesty (cf l. 10)
/ people think they are free from all threat of
war / the King has at last a son to succeed him
/ no man can challenge his right.
Henry VIII now has a male heir / it establishes
his authority / the monarchy will continue to
live/last.
His power cannot be challenged/called into
question.
Elizabeth is even more unlikely to become
queen.
GROUP 2
Lady Bryans: feels very happy and smiles /
she says they have received good news / she
beams happily.
She exclaims it is a great day for the King's
Majesty and the people.
She is pleased the baby is a boy / knows the
English people have been expecting an heir to
the throne for a long time / it is not proper for
a woman to rule / it would be unnatural for a
woman to be Queen.
Elizabeth will be a virtuous/pious/godly wife
and mother.
Elizabeths: she would have someone to play
with. Her brother could come and live at Hateld = probably has no friends/companions /
feels lonely.
She is excited and enthusiastic / elated / bursting with elation as she is going to play her
part at the christening / she inquires if it is an
important part / she realizes her new brother
will be more than just a playmate / she wonders
if she could possibly/might be Queen if he died /
should Edward die in the event of his death.
Elizabeth rst reacts as a child: she thinks
she will have someone to play with / then she
is happy and excited to go back to London
to play a part at her step-brother's baptism/
christening.
Then she reacts more like an adult: she
realizes her brother is going to be King / she
might realize she has been deprived of her
rights.
She thinks being Queen is more fun/amusing/
interesting/than being a wife and mother.
//
140
GROUP 3
You and your sister are barred from the
throne / women do not rule kingdoms or men
in the 16th century, succession was governed
by precise rules (l. 61-64): sons inherited before
daughters even if they were younger / rule of
male succession = the Crown could not go to
Elizabeth or her sister since their father, the
King now had a son (this rule was abolished in
October 2011: if William and Kate rst child
is a girl, she will be the next Queen, even if she
has a baby brother).
In 1537, England had never had a Queen
/ England had no real precedent of a queen
regnant (Elizabeths older sister became Queen
after Edwards death = Mary I was the rst real
queen regnant).
A female heir was unacceptable / women were
not considered capable of ruling/governing a
country. The idea that they could rule over men
was seen as improper/outrageous/ridiculous.
4. La classe afne sa comprhension du texte en en

commentant une phrase et en essayant de mieux
comprendre les sentiments dElizabeth.
For the moment, Elizabeth lives far from
London, isolated in a palace.
She seems to be bored by her life (l. 35-37) /
apparently dreams of settling in the capital city
/ she has greater expectations.
Lady Bryan pictures Elizabeth's future life as
a godly wife and mothers.
The little girl does not seem to agree with this
prospect (Elizabeth pulled a face l. 74). / She
cannot be satised with that kind of life.
She feels it would be fun to be Queen: being a
child, she thinks it would be amusing.
At the same time, she senses that this status
could change her life positively.
Elizabeth wants to learn and to order people
around / she seems to be curious and precocious, with an imperious bent.
Shes not an ordinary little girl: she doesnt
speak and think like a four-year-old. Young but
ahead of her time: she already has an independent spirit and seems to be witty.
This description of Elizabeth as a child foreshadows the type of sovereign she will be.
Tout au long de la mise en commun, amener les
lves utiliser le style indirect. Les activits des
Language tools, Reported speech, manuel p. 85 et
Workbook
p. 30-31 peuvent tre proposes
comme synthse aprs que les lves ont pratiqu
ces structures lors de ltude de lextrait.
tapes et mise en uvre
Recap
Synthse prpare plutt individuellement la maison
an que les lves aient le temps de rchir, et mise
en commun au cours suivant. Ce Recap donnera lieu
une prise de notes dans le Workbook
p. 34 an de
renseigner progressivement la che rcapitulative qui
pourra servir de support lentranement lpreuve
dexpression orale du baccalaurat.
Training Task 2: Creative writing

Objectifs :
amorcer la prparation de la tche nale (les
lves vont relater un vnement en mlant narration et dialogue) ;
crire en changeant de point de vue (autre faon
de montrer sa comprhension du passage).
1. et 2. Par paires, les lves se mettent daccord sur

la situation (lieu, poque, statut des protagonistes)
et imaginent les sentiments et opinions de lamie de
Lady Brian, qui napparat pas dans le texte.
3. criture du dialogue deux (les lves peuvent

endosser un rle sils le souhaitent) et entraide
mutuelle. Lapprentissage des Words de la page
79 et la ralisation en amont de lactivit Intentions, moods and feelings, manuel p. 84, permettront
denrichir les productions.
Follow up work possible : les binmes pourront
changer leurs dialogues et une inter-valuation
pourra intervenir avec une liste de critres tablie
pralablement.
Duty and friendship
Manuel pp. 80-81
Cette double-page est consacre la reine Victoria travers deux documents : un rcit de Shrabani Basu
et une interview de cette mme auteure montrent comment la souveraine a essay darticuler vie publique
et vie prive.
1. Queen Victoria and Abdul
Manuel p. 80

Le texte est extrait du livre de Shrabani Basu, Victoria and Abdul, publi en 2010. partir de centaines
de lettres et de journaux intimes, la journaliste et
auteure indienne a effectu un important travail de
recherche an de mieux comprendre les relations
qui ont exist entre Victoria, impratrice des Indes
nayant jamais visit ce pays, et Abdul Karim, un
jeune indien musulman dAgra envoy la Cour
de Londres pour le Jubil dOr de la reine en 1887.
Le jeune homme resta auprs de la souveraine, lui
fournit des cls pour apprhender la culture indienne
et lui apprit lourdou. Enn il devint son condent,
ce qui provoqua des heurts avec la famille royale qui
trouvait cette relation plus que dplace.
Cet extrait de lintroduction de Victoria and Abdul
raconte le sort rserv Abdul aprs le dcs de
Victoria et revient sur les circonstances de son
arrive en Angleterre, tout en soulignant les liens
entre la reine et son secrtaire-condent.
Les photos permettent aux lves de mieux se
reprsenter ces personnages historiques.
//
Demander aux lves de faire la maison,
la recherche dinformations correspondant
la question 2.b. et de se prparer reformuler
oralement ce quils ont compris.
Lexique
Pas de difcults particulires : les lves pourront
infrer le vocabulaire inconnu (comme mourners).
Le professeur pourra cependant prciser les sens
de Household (= Victorias family and servants who
live together in the same place) et Establishment (=
the people holding most of the power and inuence at
Court) si ncessaire.
Formes de travail
1. collective ; 2. individuelle puis collective ; 3. collective ; 4. collective.
Accs au sens
Procder la phase danticipation, question 1, classe entire ainsi qu la question 2.a.
//
1. Grce aux titres p. 80 et lintroduction au texte,

les lves pouront mettre des hypothses sur le
contenu de lextrait. Lors de la premire lecture, ils
pourront ainsi confronter ces hypothses avec ce
quils dcouvriront.
UNIT 4 The Queen
141
The text may deal with the relationship
between Queen Victoria and Abdul.
Abdul is the man we can see page 80: he looks
Indian.
The extract will perhaps explain how an
Indian came to attend upon the Queen at the
English Court.
''Duty and friendship'' may imply that they
became friends. The text will clarify / sort this out.
//
//
Will the excerpt explain that Queen Victoria
was torn between her duty and her friendship
for Karim?
2. Lecture silencieuse, puis les lves disent ce quils

ont compris. Leur demander sils ont retrouv les
thmes auxquels ils avaient pens lors de ltape
prcdente. Puis prise de notes individuelle sur les
trois points soulevs, suivie dune mise en commun
et dune reformulation.
142
Information
Information rephrased
The Queens
attitude
defended Abdul relentlessly / stood like

a rock by his side
handed him cottages in England and
lands in India
had his portrait painted
wanted him to be treated on a par with
the whole Household
praised him
cared little for what others thought
had given instruction so that Abdul
could walk with the principal mourners
at her funeral
ensured he would be written into the
history books
the Queen knew her Household did not

like Abdul so she kept protecting him /
was very determined not to let him down
she was very generous and promoted
him / treated him as if he were a member
of the Royal family
admired him and approved of what he
did publicly
did not worry about / pay attention to
what other people thought of her attitude
wanted Abdul to attend her funeral but
knew her family would not agree: said
beforehand what her will was
wished the future generations could
remember the part he had played in her life
Abduls situation
and feelings
before her death
a gift from India

a servant waiting at the Queens table
then a cook, then her teacher
a highly decorated secretary
considered by the Queen as a friend
and even a son
her closest confident
did not choose to go to England

soon became somebody important for
the Queen / very quick advancement
was more than a secretary to her
was told the Queens secrets as she
talked to him about personal things
Abduls situation
and feelings
after her death
walked with the principal mourners

defenceless and alone
stood in silence when her letters were
burnt
was asked to pack his bags and return
to India
attended the Queens funeral but was

soon pushed aside
could not say anything as nobody sided
with him / stood up for him
could not stay in England / had to go
back to India
The Households
attitude
abhorred Abdul Karim

were suspicious of his influence over
the Queen
opposed Abduls presence at the
Queens funeral
demanded all the letters Victoria had
written to Abdul and burnt them
asked Abdul to pack his bags and
return to India
hated him because they thought his

attitude was morally wrong / thought
he was dishonest and wanted to take
advantage of the Queens affection /
make the most of his privileged situation
would have wanted to prevent him from
attending the Queens funeral
suppressed documents dealing with
Abdul and Victorias relationship
quickly ordered Abdul to leave England
/ sacked him
3. Temps de rexion personnelle avec prise de

notes (2 minutes environ), puis mise en commun.
The fairytale has nished, that is Abduls life
in England.
He has to go back to his country / cannot stay
in England any longer.
His long stay in England (14 years) is over.
Fairy tales implies magical things happened to Abdul: an ordinary Indian servant
but treated with respect and affection by the
English queen.
The Household did not respect/comply with

Victoria's wishes.
They had resented having to accept Abdul's
presence / were jealous / took revenge on him.
The Household's will: not to leave traces of the
Queen's affection for an ordinary man.
They burnt Abdul and Victoria's mail/correspondence : no evidence of their relationship.
Wanted to suppress all signs of a degrading
relationship.
Could not bear the idea of Abdul's name being
in a history book next to their mother's.
4. Discussion collective sur les raisons pour lesquelles le nom dAbdul est absent des livres dhistoire.
Pi
ste 2
Manuel p. 81
2. The Queen and the commoner

Analyse du document
Cet enregistrement correspond une partie dune
interview de Shrabani Basu, lauteure de Victoria and
Abdul. Elle y reprend certains lments voqus dans
son livre en les approfondissant. Elle insiste surtout
sur le fait quAbdul a t banni de la Cour aprs la
mort de sa protectrice pour avoir enfreint la loi qui
voulait quun roturier ne se mlange pas aux membres
de la famille royale. Cest le reproche principal adress
au condent indien de Victoria : avoir franchi les barrires invisibles entre les classes sociales.
Les interventions de linterviewer structurent le
document en quatre parties claires :
1. le rle jou par Abdul auprs de Victoria,
2. comment il la aide mieux comprendre lInde,
3. lapprentissage de lourdou par Victoria,
4. les ractions violentes contre Abdul.

i think this relationship worked at different
levels // on one hand / abdul karim was the
queens closest condant / her closest friend /
somebody she could talk to about her joys and
her sorrows / her loneliness / and her troublesome children / you know the troublesome royals in europe she would gossip with him about
for hours apparently / so he was somebody
who was very close to her he / he crossed that
barrier which you know the household had //
the household kept themselves at a distance //
the children were also you know very distant
// but abdul karim crossed that barrier // and
/ so / on one hand / he was her closest friend /
and on the other hand he was like a son to her
/ so she was also very affectionate // she would
tell him various things / give him advice / make
//
//
sure he was looked after / and nurse him when
he was ill / so i think the relationship worked
on various levels //
and he / portrayed / india to her / in a way
/ that no-one else did //
right / he was / i mean / india was her jewel in
the crown / but queen victoria had never been
to india / and she longed to know more about
the country // she wanted the story from the
street / and this is what karim brought to her /
he brought her the pulse of india as it were / so
the heat and the dust and the festivals / even the
politics / he told her about hindu muslim / riots
/ he told her about / you know the problems that
muslims faced as minorities / and we know all
this because she then wrote back to the viceroy
/ asking for answers //
and he inspired her to learn some urdu /
even //
thats right / the queen actually really wanted
to learn urdu // so / he became her teacher /
and he taught her for thirteen years // one of
the things / very few people know about queen
victoria is that she could read and write in urdu
/ and she was very proud of it // how incredible
that at such a late date in her life / she actually
learnt // she would not miss a single lesson /
whether she was on the boat / or whether she
was on holiday / every night / they would sit
down and have these lessons //
and abdul provoked some jealousy / within
the court //
oh yes / abdul provoked a lot of jealousy /
lot of anger / lot of resentment / because of
two things // of course / because he was close
to the queen / anyone whos close to the queen
//
UNIT 4 The Queen
143
//
will provoke that jealousy // but also the fact
that he was a commoner // you know if he was
a prince / an indian prince / they would have
let it go / but the fact that he was just a clerk
from agra / who was then promoted to this
high rank / and equated along with the household who were all members of the gentry / you
know / toffs in their hats and tophats / and /
there was abdul in his turban / and hes allowed
to use the billiard room with them / and he has
his own carriage / and this is something they
just couldnt take //
Lgende :
soulign : the roles Abdul played for the Queen
en italique : the Queens behaviour towards him
en gras : the Households reactions
Le lexique pose peu de problme, dautant quon
nattend pas une comprhension exhaustive de
linterview. De plus, le premier document aura dj
donn des cls.
Le contexte aide infrer certains mots (ex. : problems fait cho riots).
La phonologie pourra parfois poser problme (viceroy par exemple est transparent lcrit mais ne
sera peut-tre pas reconnu loral). Ltude de ce
document pourra donc permettre de ractiver les
stratgies de comprhension de loral normalement
connues par des lves de terminale. Les activits
Stress on key information, manuel p. 84 et Workbook

p. 30 pourront tre proposes en amont.
Si le professeur dcide de ne pas travailler cette
interview en classe (ides principales dj dcouvertes avec le document 1 + manque de temps +
activits langagires vises dans ce chapitre surtout
crites), il pourra demander un groupe dlves de
ltudier en autonomie et den faire une prsentation
orale au reste de la classe.
2. Premire coute et mise en commun de ce qui

a t compris. Les lves reformulent les informations. Les inviter approuver ou rfuter ce qui est
propos par les autres pour dvelopper linteraction
dans la classe.
3. Seconde coute et reprage dinformations plus
spciques. Si ltablissement est quip dun laboratoire de langues, on pourra proposer un travail
personnel de reprage avant la mise en commun
dans les trois groupes. Se reporter la mise en relief
des diffrentes informations dans le script ci-dessus.
4. Les lves donnent leur opinion sur les ractions

des personnes cites et approfondissent les raisons
de ces ractions. Ils travaillent ainsi limplicite du
document.
The Queen
gentle / cared about Abdul / trusted him /
gave him advice / promoted him / gave him a
better position / considered he was equal with
the household / granted him privileges.
> because she felt alone / was a widow / distrusted her family / wanted to know more about
India / was open-minded and tolerant.
Abdul
listened to the Queen / told her about the
Indian culture / taught her urdu.
> because he liked her / could improve his position / maybe took advantage of her kindness.
The Household
kept themselves at a distance / felt jealous,
angry / resented Abdul's presence and position
> because they despised the clerk from Agra
/ could not bear a commoner in Court circles /
wanted to keep barriers between social groups
/ were arrogant and conceited / resented their
mother's affection for a foreigner / did not
understand why their mother had become infatuated with Abdul / thought the situation was
unacceptable.
Formes de travail
1. collective ; 2. individuelle puis collective ; 3. individuelle puis collective ; 4. collective.
Recap
Accs au sens
Synthse faire en classe ou la maison en fonction

du rythme du cours.
1. Les lves sont invits faire la liste des questions

quils aimeraient poser Shrabani Basu. Leur coute
de linterview sera ainsi plus active puisquils chercheront des rponses leurs interrogations.
Why did you write about Abdul and Victoria?
Their correspondence was burnt, so what
documents did you use?
What happened to Abdul once he had left
England?
Etc.
144
Can a Queen have true and reliable friends? /
friends who do not care for their own material
interests / without an ulterior motive?
It may depend on the persons social origins:
perhaps it is not going to be a problem if this
person belongs to the aristocracy / has the same
background as the Queen / comes from a family
close to the Queens family. But it is more difficult /
a source of trouble if the person is a commoner.
//
//
A Queen must have friends of her own: try and
stay in tune with the realities of the country.
Often in the limelight: difficult for a Queen to
have friends of her own. Her duty comes rst.
A Queen has too many commitments: she does
not have enough time to spend with friends.
Hardly possible: power tends to separate the
rulers / drive them apart from common people.
Duty is not always compatible with friendship: friends may ask for favours you cannot
grant them, for fear of being accused of showing
favouritism / treating them better than others.
A Queen also knows many state secrets: cannot run the risk of letting people know too
much.
A Queens privacy must be protected: cannot
run the risk of having people telling the public
about the Queens private life = if friends are
not totally reliable/trustworthy, the Queens
image can be damaged/ruined.
Training Task 3: Letter to a friend

Objectifs :
amorcer la prparation de la tche nale (les
lves vont relater un vnement dans la lettre) ;
utiliser son imagination en maintenant une
cohrence par rapport lextrait tudi et ce que
lon sait des personnages (autre faon de montrer
sa comprhension du passage).
Mise en uvre :
Travail individuel car on crit le plus souvent une
lettre seul. Il sera prfrable que ce travail soit
ralis la maison an de consacrer le plus possible
le travail en classe aux changes oraux. Les lves
trouveront un guidage pour les aider rdiger la
lettre dans le Workbook
p. 27. 150 mots seront
sufsants pour valuer les productions.
Follow up work possible : les lves pourront
changer leurs lettres et valuer mutuellement leurs
travaux avec des critres tablis pralablement et
qui recouvriront en partie les critres dvalutation
de la tche nale.
The Queen and her people
Manuel pp. 82-83
Cette double-page est consacre Elizabeth II. travers lextrait propos, on sinterrogera plus particulirement sur la question du lien quun(e) souverain(e) entretient avec son peuple.
One has a duty to find out what people are like

Le texte est extrait dun court roman (novella)
publi en 2007. Son titre (traduit par : La Reine des
Lectrices) fait videmment cho The Common Reader, une collection dessais sur la littrature crite
par Virginia Woolf et publie en 1925 (The common
reader [] differs from the critic and the scholar. []
He reads for his own pleasure). La lectrice dAlan
Bennett nest autre quElizabeth II qui, de uncommon
(= not usual / not a commoner), devient common en
rejoignant le royaume des lecteurs o elle nest plus
quune lectrice parmi dautres. Dans cette satire,
la reine dAngleterre se dcouvre une passion pour
la lecture, ce qui lui prend du temps et lamne
ngliger ses engagements royaux. Sous lemprise
soudaine de cette passion, la reine donne une image
plus humaine delle-mme alors que son entourage
dsapprouve ses nouvelles habitudes et lui rappelle
ses devoirs. Lectrice, elle se voit comme lgale de
ses sujets : All readers were equal, herself included.
Ce roman est galement un plaidoyer pour la lecture.
Le portrait de la reine : limage de la Reine est
dessine au pochoir sur un mur ; il ne sagit plus dun
portrait ofciel, mme si la souveraine pose avec ses
attributs royaux. En 2008, Londres, Banksy (artiste
anglais initialement graffeur, connu essentiellement

pour ses pochoirs en milieu urbain, peintre et ralisateur) est lorigine dune exposition appele
ironiquement The Cans Festival. Il y invite des artistes
qui peignent leurs uvres dans la rue. La reine se
trouve donc soudain prs de ses sujets. Les couleurs
beige et noire ajoutent la simplicit du portrait o la
souveraine, reprsente jeune, esquisse un sourire
en regardant ceux qui ladmirent.
Lexique
Pas de vocabulaire indispensable la comprhension que les lves ne puissent deviner page 82. Par
exemple, enlightenment peut tre dcompos. Le
professeur fera reformuler la mtaphore (l. 19 24).
Le lexique posera davantage de difcult dans le
dernier paragraphe, cest pourquoi des activits
daide la comprhension sont proposes dans le
p. 28-29.
Workbook
Bennett mlange les styles (styles direct et indirect
libre), ce qui pourra dcontenancer les lves, de
mme que lutilisation du pronom one, quil faudra
interprter. La classe ne comprendra peut-tre pas
demble le ct satirique et drle du texte. Ltude
de lextrait doit les amener lapprhender.
UNIT 4 The Queen
145
Formes de travail
1. collective ; 2. individuelle et collective ; 3. collective ; 4. individuelle.
Accs au sens
1. En rchissant au lien entre titres et image, les

lves anticipent le contenu de lextrait.
The portrait of the Queen seems to be painted
on a wall, in a street: that is where ordinary
people are.
She can ''meet'' them.
To know what people are like, the Queen must
be at their level.
It is even her duty / she has to do it because
it is right.
2. Aprs une mise en commun des premiers lments compris, les lves travaillent individuellement sur les tapes proposes dans le Workbook
p. 28.
En cas de difcults
p. 29-30
Corrig et productions possibles :

Reading as seen by Sir Kevin and royal
circles (colour 1)
Help
- Focus on lines 1-12:
her (l. 3): the Queens; him (l. 9): Sir Kevin;
it (l. 11-12): reading
- Focus on lines 30-37: the Queen is asking the questions, so her point of view is
expressed here.
She wonders why she now feels like reading /
she opposes reality, the real world she knows
since she has had the opportunity to travel
and books which are a reection of the world.
- Elements referring to Sir Kevins and royal
circles views on reading: in royal circles
reading, or at any rate her reading, was not
well looked on. / The reading, though, made
him uneasy. / while not exactly elitist it sends
the wrong message. It tends to exclude.
- What these elements have in common:
negative words, so reading is not seen in a
favourable light / Sir Kevin considers reading
separates the Queen from ordinary people /
sets her apart since her subjects do not read.
The reasons why the Queen took up reading (colour 2)
Help
- Identify what the Queen says: the Queen
says she took up reading to set a good exam//
146
//
ple / to show to those who do not read that
it is worth it / not because she is bored and
only wants to pass the time /
> because she has stayed focused for a long
time / has been doing her duty / has given
special attention to her people and should
be entitled to do something else,
> because it is a way for her to know more
about other people and their lives / about
other worlds, that is other circles/elds she
does not know anything about.
- Try to infer the meaning of words you dont
know ( faire dabord).
e.g.1 pleasure: second place / if pleasure there
was: pleasure hardly exits
incident = unusual event (transparent word) /
incidental pleasure: less important than duty
e.g.2 loft = a room or space under the roof of
a building, so it is high / lofty literature = indifferent to whether the readers were important
people or not, showing high moral qualities /
making no differences between people
defer = submit (cf dfrence in French)
repetition of All readers were equal: books
believe in equality, do not submit to power /
they respect everybody
e.g.3 mingled unrecognised with the crowds =
the Queen mixed with other people, moved
around and talked to different people
- Identify what the Queen thinks: The Queen
thinks now is the time to change / for a Queen
duty comes rst, so to enjoy reading, she must
consider it as a duty / pleasure will only be
the icing on the cake / when reading, she
nds out what people are like, she is one of
them.
Mixed feelings: thinks it is tactless to mention
a republic in front of her; it could upset or
embarrass her / but then understands the
word republic can have different meanings;
literature is like a republic, a system in which
everyone is equal and has the right to do the
same things: all readers are equal / when she
reads she is no more the Queen. She does
not want to be apart anymore; she wants to
be like her subjects.
The thoughts the Queen has about duty and
pleasure (colour 3)
Help
- Identify who one refers to in the following
passage: one should keep ones eye on the
//
//
ball (l. 20) = I, the Queen. Six occurrences of
one: lines 19, 27, 28 (three times), l. 38 to
refer to the Queen.
> The Queen uses one to speak of herself
using the third person. It shows she is the
sovereign and must be respected. It is also
a way to keep a distance between her public
and her private images.
- Identify who the underlined words refer to
in the following passage:
Well Ive had my eye on the ball [] so I think
these days one is allowed [] the boundary,
the underlined words also refer to the Queen.
(l. 20-22)
> The Queen has been a dutiful person all
along her life and now wishes for more entertainment and freedom / she has been doing
what she is expected to do and she has always
behaved in a loyal way / she longs for something different.
la maison. Une mise en commun au cours suivant

permettra aux lves dchanger leurs points de vue
et dtoffer leurs ides en rponse la problmatique
pose page 75 : Who is behind the image?
En cas de difcults
Pour aider les lves, on peut les amener
dnir le ton de lextrait en leur proposant
lactivit ci-dessous.
Read the following denitions:
romantic = beautiful in a way that affects your
emotions / in which feelings and imagination
are most important
ironical = when you say something but clearly
imply something else
funny = meant to make the reader laugh
educative = meant to teach something
To your mind, what is the best adjective to
dene the tone of this extract? Justify with
one or two elements.
I = the person; one = the Queen (duty)
Recap
3. Les lves expliquent clairement en quoi la littrature rapproche la reine de son peuple. Ils synthtisent ainsi ce qui a t dtaill prcdemment.
Literature relates the Queen to her people
because
she enjoys a private activity,
she is one among all the readers / in a way
she can mingle with other people, reading the
same books,
she sets a good example to people who do
not read,
she learns about other peoples lives,
all readers are equal in front of a book whatever their social status,
letters are a republic so the readers are citizens more than subjects,
reading is shared and common: she can read
the books ordinary people read too,
she is unrecognised, a reader like all the
others,
she does not want to be apart / different anymore / wants to be closer to them.
4. Cette question appelle une rponse plus personnelle. Elle pourra donc faire lobjet dun travail
Synthse faire en classe ou la maison en fonction

du rythme du cours.
A Queen may wish to go unrecognised...
to feel free,
to get rid of the constraints of the protocol/
etiquette,
to put aside the formal rules she must respect,
to mix with ordinary people and know them
a bit more,
to learn what people/her subjects think of her,
to be anonymous, closer to the others / considered as a human being only
Etc.
Training Task 4: Narrative dialogue

Objectifs :
- amorcer la prparation de la tche nale (les lves
vont crire un dialogue narratif) ;
- utiliser son imagination en dpeignant une nouvelle
lubie de la reine.
Mise en uvre : travail individuel pour sentraner
la tche nale. Il sera prfrable que ce travail soit
ralis la maison an de consacrer le plus possible
le travail en classe aux changes oraux. Les lves
essaieront dimiter le ton dAlan Bennett.
UNIT 4 The Queen
147

Manuel p. 84-85
WORDS
Politics
Exercise
Monarchy
queen, king, empress,
emperor, reign, rule,
monarchic, imperial
president, govern,
preside, presidential,
republican
tyrant, despot,
govern, oppress, rule,
dictatorial, despotic
democrat, govern
autocracy, monarch,
monarchist, prince
parliament,
majority rule, elect,
representatives
dictator, despotism,
tyranny, potentate,
oppressor
democratic,
democratically, elect
Republic
Dictatorship
Democracy
Intentions, moods and feelings

b. The odd one out: 1. warn - 2. exclaim - 3. sigh - 4. add - 5. refuse - 6. ask - 7. agree
Talking about remarkable figures

a.
Myth
Prestige
icon, mythical, majesty
influence, deserve
respect, gain admiration
Extraordinary
Mundane
exceptional, outstanding,
stupendous, wonderful,
amazing
ordinary, commonplace,
unremarkable
b. Exemples de productions possibles sur Elizabeth I et Elizabeth II :

Elizabeth I was an extraordinary woman / no
ordinary queen. She ruled England for 45 years.
She rejected conventions and never married.
She lived her life on her own terms, and at the
same time retained control of an entire government: this is stupendous in the context of the
16th century. She is really an amazing icon of
feminine power.
Her Majesty Queen Elizabeth IIs Diamond

Jubilee took place in June 2012 to mark 60 years of
reign. The only other British monarch to celebrate
a Diamond Jubilee was Queen Victoria in 1897. A lot
of people think Elizabeth II is a wonderful woman.
She has gained their admiration by dedicating her
life to her country and they say she deserves respect
for the work shes done and what she represents.
Pi
ste 2
Tone units in long sentences
in this beautifully detailed portrait of Henry the eighth

/ the kings gure / and magnicent clothes / are
proof of his authority / however / Holbeins portrait /
is not especially attering / as Henry appears on the
defensive / suspicious / and quite unapproachable
Pi
p. 30 et dans ce guide p. 00.

ste 2
Pronouncing -ed endings
Pi
Workbook
ste 2
Stress on key information
We can hear three different pronunciations of the

-ed ending: [id], [t], and [d]
[id]
[t]
[d]
painted
attributed
suggested
married
depicted
appreciated
placed
reigned
carved
used
commissioned
embroidered
furred
pictured
died
refused
received
profiled
determined
conveyed
confirmed
148
NB: Autres exemples de verbes qui peuvent venir

complter cette liste an de bien montrer la rgularit
de ces rgles de prononciation :
1.b. La situation que lon dcrit est encore vraie au
[id]: defended, demanded, decided, rallied, carried
Les deux phrases expriment ce que lon pense dune

ralit que lon voudrait diffrente. La phrase 1.a.
exprime un regret (avec le past perfect) et la phrase
1.b. un souhait (avec le prtrit).
GRAMMAR
Reported speech
Observe
Lorsquon passe du style direct au style indirect, des
changements soprent au niveau :
- des pronoms (we > they ; you > her)
- des formes verbales (prsent > prtrit ; prtrit
> past perfect)
- des adverbes (ago > before)
- des possessifs (your > her)
- de la ponctuation (plus de guillemets)
On peut ajouter la conjonction that (mais elle nest
pas toujours ncessaire) pour introduire le discours
rapport.
Practise
Elizabeth asked what she would be doing. Lady
Bryan answered that she was to take part in the
procession. (Then,) Elizabeth asked/wondered if that
was an important part, (to which) Lady Bryan replied
(rmly, suppressing a smile,) that she believed it
was very important and that they now had to get
her ready quickly.
She asked William...
- if she would have to go to ofcial meetings and be
photographed all the time,
- if she would be able to go shopping alone, without
bodyguards,
- if they would manage to protect their private lives
from paparazzi,
- how often she would be able to travel with him,
- etc.
Wish
Observe
Les deux phrases concernent un fait pass (Queen
Victorias family did not like Abdul) et dcrivent une
ralit que lon commente.
1.a. Laction dont on parle est rvolue au moment

de ce fait pass > Abdul est venu en Angleterre
mais la famille de Victoria pense quil aurait mieux
fait de ne pas venir.
Practise
a. Queen Elizabeth wishes her family appeared
less often in celebrity magazines / did not appear in
celebrity magazines.
b. They wished they had not gone that far / they had
respected Lady Diana's private life.
c. The King wished he could marry Wallis Simpson

/ his Prime Minister accepted his relationship with
Wallis Simpson.
The Prime Minister wished the King did not marry
Wallis Simpson / were more sensible / were not in
love with Wallis Simpson.
Elizabeth I
- I wish my father had spent more time with me.
- I wish people stopped asking why I dont want to
get married.
Victoria
- I wish I had visited India.
- I wish my son were not so intolerant.
Elizabeth II
- I wish I had more time for myself.
- I wish I could spend more time with my grandsons.
Workbook
p. 30-32
Stress on key information
ste 2
William answered (her)...

- that she shouldnt worry too much,
- that her life would change but for the better,
- that paparazzi were not going to track them every day,
- etc.
Le verbe wish semploie pour exprimer son point

de vue et marquer une distance entre la situation
relle et la situation souhaite (cf. prsence de
were associ du singulier, et non de was, que lon
emploierait dans le cas dun prtrit temporel). Il est
suivi du prtrit ou du past perfect valeur modale
puisquest exprim un avis sur une ralit.
Pi
[t]: snapped, oppressed, suppressed, talked, faced
moment de ce fait pass > la reine nest pas raisonnable mais sa famille aimerait bien quelle le soit.
1. When he became King of England in January

nineteen thirty six, Edward the eighth had had a
steady relationship with Wallis Simpson for quite
a few years.
2. Only a few months after his accession to the

throne, he declared his absolute wish to marry her.
His government and the people strongly opposed
his decision.
3. Edward abdicated in December nineteen thirty

six and was succeeded by his brother who had never
even in his dreams considered ever becoming King.
UNIT 4 The Queen
149
Conclusion: The types of words that are stressed are

words that convey the main information: nouns, verbs
and adverbs.
GRAMMAR
Reported speech
Sir Kevin told the Queen that he felt that while
not exactly elitist, it sent the wrong message and
tended to exclude. The Queen wondered why it
would exclude for she believed that most people
could read. Sir Kevin answered that they could
but that he was not sure that they did, to which
the Queen replied that she was then setting a
good example.
Sir Kevin went on saying it was important that
Her Majesty should stay focused. The Queen
wondered if when he said stay focused, he
meant that one should keep ones eye on the
ball. According to her, she had had her eye on
//
//
the ball for more than fty years so she thought
that those days one was allowed the occasional glance to the boundary. He replied that he
could understand Her (Majestys) need to pass
the time. The Queen, surprised by his answer,
retorted that books were not about passing the
time but were about other lives, other worlds.
Wish
a. 1. Elizabeth wished she had had someone to play
with when she was a child.
2. Elizabeth wished she could have lived in London
with her father, King Henry VIII.
3. Abdul wished he had been allowed to keep Victorias letters.
4. William and Kate wish the journalists stopped
tracking them.
5. Elizabeth wished she had more time for reading.
6. Sir Kevin wished the Queen had stayed focused
on her duties.
b. Un exemple est donn dans le Workbook
p. 31.
Manuel pp. 86-87
STRATGIES
Comprendre un texte narratif
Objectifs
Le but de cette double-page dactivits est de prparer les lves comprendre le rcit dun narrateur
qui met en scne des personnages dans une situation
particulire. Pour cela ils devront :
La lecture du texte A maid, mis disposition dans

le Workbook
p. 32-33 ou tlchargeable sur le
site www.didierpassword.fr, constituera un premier
transfert de ces stratgies avant ltude du texte
p. 82-83 et la tche nale dvaluation.
faire un certain nombre de reprages et sappuyer

sur leurs connaissances pour formuler des hypothses avant la lecture,
Notons que les lves seront rgulirement amens

mobiliser ces stratgies lors des valuations de
comprhension de lcrit type bac.
vrier ces hypothses par une lecture minutieuse

et des reprages prcis an didentier la situation.
tapes possibles :
Le texte donn en exemple pour ces activits est
un autre extrait du roman dAlison Weir, The Lady
Elizabeth, propos p. 78 du manuel. Nous suggrons
donc de conduire ces activits sur les stratgies
lissu du Recap de la page 79. Les lves feront
ainsi facilement le lien entre leurs connaissances
nouvellement acquises et les hypothses de sens
proposes en exemple.
150
La phase de prparation la lecture est effectue

individuellement la maison.
En binmes, lors du cours suivant : change des
hypothses (5 min).
En homework pour la sance suivante: lecture du
texte et identication de la situation.
Lors du cours suivant, changes en collectif (15 min) ;
les diffrents lments qui gurent dans la premire
colonne du tableau dans le manuel p. 87 sont
identis et les lves expliquent comment ils sont
parvenus cette identication.
VALUATIONS Corrigs
Task 1. Writing . . . . . . . . . . . . . . .
20pts
Documents supports
Voir situations proposes dans le manuel p. 88
et situation 3 ci-dessous.
Pour le professeur : voir document photocopiable p. 155 de ce guide.
Manuel pp. 88-89
2. On accorde aux lves quelques minutes pour

relire la situation quils vont dvelopper et poser
des questions si des problmes de comprhension
se posent. Les livres seront ensuite ferms an de
ne pas inciter au recopiage de formes.
3. Temps de rdaction (brouillon + mise au propre)
de 45 minutes environ. Nombre de mots : autour
de 250.
4. Cinq minutes de relecture la n.
Il sagit dune production crite de type narratif
avec introduction dune partie dialogue. Pour
aider les lves, une situation de dpart (authentique) est propose. Deux dentre elles gurent
dans le manuel. Le professeur pourra en proposer
dautres (ractualisant les supports en fonction de
lactualit) ou ajouter par exemple :
Task 2. Reading . . . . . . . . . . . . . . .
10pts
Voir document photocopiable pp. 156-157 de

ce guide.
Situation 3
Do your duty: invite a Royal to tea
Betty McCarron, a widow living in Glasgow,
Scotland, entertained the Queen of England for
fifteen minutes.
Aprs lecture dun extrait de ction divis en plusieurs parties qui ne sont pas ordonnes, les lves
devront en rtablir lordre logique et chronologique.
Forme de travail
Individuelle.
The Independent, 19 July 1999
Suggested start
Yesterday, Mrs McCarron had a special guest.

She was chosen among many to entertain the
Queen in her small semi-detached house in
Glasgow. When the Queen arrived...
On consacrera 25 mn maximum cette tche.
Il sagira de dvelopper cet pisode, de raconter

cet vnement de la vie de la reine en imaginant
les sentiments des protagonistes. Lobjectif en lien
avec la problmatique est de montrer les ractions
de la reine lorsquelle nest pas dans une situation
totalement ofcielle ou ordinaire : qui est-elle
derrire limage quelle donne ?
Il serait souhaitable de pouvoir effectuer une

correction dans la foule, lorsque les lves ont
encore en mmoire les raisons de leur choix. Dans
ce cas, une fois les supports relevs, le professeur
prvoira de projeter les extraits an que les lves
les aient sous les yeux pour justier lordre choisi.
Corrig et barme sur 10

Correct order : , , , , ,
Remise en ordre totale : 10 pts

Une inversion ou un extrait mal plac : 7 pts
Forme de travail
Plus dune inversion et plus de deux extraits qui

se suivent : 4 pts
Individuelle.
Deux extraits se suivent seulement : 2 pts
Le premier extrait choisi (n 3) est le seul correct : 1 pt
1. Les lves prennent connaissance des situations
Rien nest correctement remis en ordre : 0 pt
et en choisissent une, ou le professeur attribue

lui-mme un sujet chaque lve.
UNIT 4 The Queen
151
VALUATIONS
Corrigs
Manuel p. 89
Document support
1. Communication du titre accompagnant l'enregis-
Voir
trement : A testimony: Her Majesty crire au tableau.
On pourra galement spcier la date du tmoignage : dcembre 2011.
l'lve peut prendre des notes comme il le souhaite

au brouillon :
coute 1 - Pause d'une minute
coute 2 - Pause d'une minute
Un seul document est propos. Il sagit dune interview

informelle de dcembre 2011 o Gretchen Maynard
explique son intrt pour la famille royale britannique.
On entend deux locuteurs : le document sapparente
un dialogue bien que Gretchen sexprime davantage
que la jeune lle qui lui pose des questions.
coute 3
Forme de travail
Individuelle.
3. Aprs la dernire coute, l'lve dispose de

10 minutes pour rendre compte de ce qu'il a compris, en franais, sur sa copie. On pourra lui suggrer de remettre aussi son brouillon qu'on sera
vigilant de ne pas regarder avant d'avoir valu le
compte-rendu an de pouvoir observer le passage
entre les notes et la restitution et ainsi pouvoir
mieux aider les lves qui auraient des difcults
dans cette preuve.
Passation
La passation et l'valuation de la performance de
l'lve suivront les instructions ofcielles, conformment au B.O. Du 24 novembre 2011.
Prvoir 20 minutes.

Dans le tableau ci-dessous apparaissent en colonne de gauche les critres xs par le B.O. du 24 novembre
2011, et en colonne de droite les lments de rponse possibles pour le document dont il est question ici.
Niveau
A1
A2
152

A testimony: Her Majesty
le nombre de points indiqu - sans le fractionner
en dcimales - de 0 10
Le candidat na pas compris le document. Il nen a Quelques mots relevs.
repr que des lments isols et nest parvenu Thme et interlocuteurs non mentionns.
en identifier ni le thme ni les interlocuteurs (leur
fonction, leur rle).
1 pt
isols et des expressions courantes qui, malgr
Thme partiellement compris : une femme parle
quelques mises en relation, ne lui ont permis
de la famille royale britannique.
daccder qu une comprhension superficielle
Deux interlocuteurs mentionns mais
ou partielle du document (en particulier, les
imprcisions sur leur rle (par exemple, llve ne
interlocuteurs nont pas t pleinement identifis). mentionne pas que quelquun pose des questions).
3 pts
Thme compris : intrt pour la famille royale
britannique + surtout la contribution dElizabeth II.
Interlocuteurs identifis : une femme ge (le
nom Gretchen Maynard nest pas exigible) rpond
aux questions dune personne/fille qui est sans
interlocuteurs.
doute plus jeune.
5 pts
Le candidat a su relever les points principaux

de la discussion (contexte, objet, interlocuteurs
et, ventuellement, conclusion de lchange).
Points principaux relevs dans des phrases

claires.
contexte : peu de temps avant le 60e anniversaire
du rgne dElizabeth II
objet : limportance de ce quElizabeth a accompli
pendant son rgne / symbole de stabilit
(important ce niveau car rpt)
interlocuteurs : jeune fille + femme dge mr
conclusion de lchange : la reine a jou un tel
rle que sa mort sera un vnement important
B1
8 pts
Le candidat a saisi et relev un nombre suffisant
de dtails significatifs.
Comprhension fine.
B2
10 pts
Plus de dtails (3 points parmi les 6 points

suivants) :
Tenants et aboutissants : stabilit car la reine
- a surmont les preuves / le divorce de son fils
Charles par exemple ;
- est le plus ancien monarque rgner (elle a
85 ans / rgnera plus longtemps que Victoria).
Points de vue :
- enthousiasme de la femme,
- a t impressionne par la crmonie du
couronnement dElizabeth,
- intrt ds son enfance,
- accent probablement amricain = la reine est
aussi admire aux tats-Unis.
Note de llve: note sur 10 x 2 =
/20
Expression orale
Voir
Grille dvaluation et de notation (source : B.O. du 24 nov. 2011)
Corrigs et barme
; Queens: who they really are despite their ofcial

role
Total sur 40 diviser par 2.

What is the common point of the texts?
Fill in the grid below giving as many details as

possible. 11 pts
3 pts (1,5 x 2) et moins 1 pour une mauvaise rponse.
; Queens performing their duties
Text 1
Queens name + age
Main event /
circumstances
Victoria / 18
0,5 + 0,5 pt
Text 2
Elizabeth II / 81 0,5 + 0,5 pt
The King has just died 1 pt (si on a her

father died, donner 0,5 pt car le roi qui
vient de mourir n'est pas son pre :
confusion entre mama et the Queen
is now Queen)
Brit ambassadors garden party
Where (place and

country)
Home / England 0,5 pt
Brit embassy, Washington, DC
Private or public
place?
Private 0,5 pt
0,5 pt
0,5 + 0,5 pt
Public 0,5 pt
UNIT 4 The Queen
153
When
June 20, 1837 0,5 pt
May 2007 0,5 pt
Other people present Mama = the narrators mother

The Archbishop of Canterbury
(name + position
Lord Conyngham
when stated)
- Husband, Prince Philip

- Two Grenadier Guards
- The British ambassador, Sir David Manning
- Sallys husband
The Kings physician
0,5 x 4 = 2 pts
0,5 x 4 = 2 pts
Who does the pronoun I correspond to in each

text? Define the nature of both documents. 4 pts
Text 1
I = the narrator, Victoria
1 pt
Victoria's personal reaction when she becomes

queen = imagined account = probably ction 1 pt
Text 2
I = Sally Bedell Smith
1 pt
describes an encounter with the Queen, exact date

= probably non ctional account 1 pt

a. The new Queens mother sees her daughter as
a queen.
Wrong. Come, said Mama, and she led me into the
sitting room. (text 1, l. 9)
b. The Queens change of clothes illustrates her
frivolousness/triviality.
Wrong. I put on a black dress and went down to

breakfast. Everything was different. I was a queen.
(text 1, l. 30-31)
c. The narrator longs for loneliness.
Right. the rst thought that occurred to me was: Now
I can be alone. (text 1, l. 28-29)
d. Sally Bedell Smiths husband engaged in private
conversation with the queen, as is allowed by protocol.
Wrong. Stephen decided to commit two protocol
infractions simultaneously: asking the Queen a question and mentioning the possibility that she gambled
at the race-track. (text 2, l. 17-19)
e. It is not easy for a queen to express her feelings.
Right. the gaiety so often obscured by the dignity of
the Queens role. (text 2, l. 32-33)
f. Sally Bedell Smith admires the queen.
Right. With masterful diplomatic deection, she
ignored the question (text 2, l. 21-22) // I had also
witnessed her control and skill. (l. 33-34)
All of the adjectives below can be applied either to one queen or another, except for one which can be
applied to both queens. Quote the text to justify them. 1 pt par adjectif bien justi = 12 pts
Victoria (text 1)
Elizabeth (text 2)
dutiful: I must do my duty (l. 32).

determined: Alone, I repeated firmly (l. 15).
dignified: I knew then what position I held (l. 13).
touched: They called me Your Majesty and I felt a great
surge of emotion (l. 19)
prepared: as naturally as though I had rehearsed it (l. 18).
considerate: I turned to Lord Conyngham and asked
after the Queen for I knew how she loved him // (l. 24)
I said, Please take my condolences to the Queen (l. 25).
extremely impressed and worried: an awesome
feeling swept over me (l. 7)
polite: Her politeness was badly rewarded (l. 17) but

she didnt let on (l. 16).
interested/concerned: Something about the phrasing
must have piqued her interest (l. 22). You could see the
yellow cap! she said excitedly (l. 29).
cheerful: the animated gestures (l. 31-32) // the flashing
smile // I had glimpsed the gaiety
considerate: she didnt make him feel ill at ease (l. 35)
masterly: With masterful diplomatic deflection, she
ignored the question (l. 21-22)
Correct the mistake in each sentence and answer

the question. 4 pts
Text 1
The narrator learns that she has just become queen
and immediately takes the responsibility: she considers herself as her mothers sovereign but not as
her daughter anymore.
; The public image prevails.
Text 2
Taking part in a public meeting, the queen does not
respect the strict protocol and speaks with someone
about one of her hobbies.
; The private image prevails.
Expression crite
154
UNIT 4
valuations
Final task 1
The Queen
Name :
Class :
Writing
An episode in the life of a Queen

Traitement du sujet
(8 pts)
Niveaux
A2
B2
Bonus
Recevabilit
linguistique
(8 pts)
Juxtapose des noncs.

Respecte partiellement la
consigne (trop bref; oubli du Propos trs loigns de la
dialogue, etc).
situation.
Dcrit brivement les vnements et nexprime pas de
points de vue.
Possde un rpertoire
Contrle limit de
quelques structures simples.
1 2 points
1 point
1 2 points
Peut crire une narration

simple.
Dialogue prsent.
Lpisode est peu prs

cohrent mais pas toujours
suffisamment structur.
Prend partiellement en
compte la situation.
Possde un vocabulaire
suffisant pour assurer la
communication.
Matrise alatoire de structures simples et courantes.
3 4 pts
2 pts
3 4 pts
Peut produire une narration

et un dialogue clairs dont les
ides senchanent.
Peut intgrer des sentiments et des ractions.
Prend bien en compte le
statut de la reine.
pisode senchane bien

grce des articulations et
des connecteurs.
Bien en adquation avec la
situation.
Possde un lexique assez

tendu (par exemple verbes
introducteurs riches), cependant des lacunes lexicales
peuvent entraner lusage de
priphrases.
Correction suffisante
dans lemploi de structures
courantes.
5 6 pts
3 pts
5 6 pts
Peut produire une narration

et un dialogue labors o
limage officielle de la reine
est associe des ractions
plus spontanes.
Peut produire un texte

cohrent de bout en bout en
utilisant la ponctuation pour
renforcer les nuances du
contenu.
Utilise une gamme de vocabulaire adapt et vari et de

structures riches.
7 8 pts
4 pts
7 8 pts
B1-1
B1-2
B1-3
Cohrence et cohsion
(4 pts)
Fait preuve de culture personnelle/rfrences culturelles riches et pertinentes.

1 pt
155
UNIT 4
valuations
Final task 2
The Queen
Name :
Class :
Reading
Manuel p. 88
Queen Camilla
A passage from Queen Camilla, by Sue Townsend, has been jumbled up.
Read the different parts below.
Then re-order them. Write their numbers in order on the line provided at the end.
Start with:
The Queen said, If you will allow me to continue. She fiddled with an earring and then
touched her brooch. Finally she said, After a great deal of thought, I have decided to
abdicate. []
The Queen said to Charles, What do you think, Charles?

Charles clutched Camillas hand and said, Would Camilla be my queen?
'I am,' said Charles with a surge of anger. 'Unless you are Queen, I will not be
King!'
Anne said, 'Don't lose your bloody rag.*'
Charles shouted, 'If I had been allowed to marry Camilla when we were young and
first in love, there would have been no question about her status in this family. [ ]
Mummy, we will be King Charles and Queen Camilla, or nothing.
* lose your rag / your temper: become angry
Charles said, 'But, Mummy, the people would want you to be Queen.'
The Queen continued, 'Charles, I am eighty years of age and I simply cannot face...'
She hesitated.
Anne said, 'Another bloody Royal Variety Performance?'
There was laughter. Camilla looked over at Charles and saw that he was not laughing. He had lost his customary ruddy complexion and looked pale and frightened.
Camilla threw her cigarette into the sink then crossed the room, stepping over dogs
and feet.
'Oh, darling,' he murmured when she sat down next to him.
William said, his voice shaking with emotion, 'Grand-mama, if my father refuses
to carry out his duty then as his eldest son and heir I offer myself.'
William brushed the biscuit crumbs from his trousers and knelt before the Queen.
The Queen did not know what to do or say. She thought, he has a taste for melodrama, obviously inherited from his mother. She patted him on the shoulder and
said what mothers and grandmothers all over the world say at times of indecision,
'We'll see.'
//
156
UNIT 4
valuations
The Queen
Name :
Class :
//
'No,' said the Queen. 'Camilla would be your consort.'
Charles thought about the morning he had discovered that one day he would be
king. His nanny had explained to him that he must never, ever, appear outside the
nursery without first checking that his shoes were highly polished, his socks pulled
up to the knee, his shorts smartly pressed, his face and hands scrubbed clean and
his hair carefully parted and brushed. He must be polite at all times, stand with his
hands behind his back, and must not be heard shouting or laughing, because one
day he would be the ruler of millions of people. Later that night he had wept silently
in his bed in the nursery; he knew that he was not good enough or clever enough to
be the King of England and the Commonwealth. He knew that he was an ordinary
boy.
Charles said, 'I'm terribly sorry, Mummy, but I will not be crowned the King of
England unless my wife, the woman I love, is crowned Queen.'
Camilla said, 'Charles, darling, I'm not at all bothered about not being a queen.'
She knew how he felt. They had often talked about the possibility that one day he
would be king. They had never been happy conversations.
Sue Townsend, Queen Camilla (2006)
Correct order:
...............................................................................................
157
UNIT 4
valuations
The Queen
Name :
Class :
Manuel p. 89
Text 1
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
On that never-to-be-forgotten Tuesday morning of the twentieth of June in the year

1837 I was awakened from my sleep to nd Mama standing beside my bed.
Wake up, Victoria, she said, the Archbishop of Canterbury and Lord Conyngham are
here with the Kings physician. They are waiting to see you.
Why, Mama? What time is it?
Six oclock, she said. But never mind the time. They are waiting to see you.
I knew what this meant and an awesome feeling swept over me. I rose and put on my
dressing gown and slippers.
Come, said Mama, and she led me into the sitting room. At the door, I paused and
looked at her.
I shall go in alone, Mama, I said.
She stared at me.
But I knew then what position I held. I could feel the crown on my head. I had no need
to do what she told me now.
Alone, I repeated rmly.
She looked stunned, but she did not attempt to detain me.
The three men knelt down as I approached, and I knew what that meant. I held out my
hand for them to kiss as naturally as though I had rehearsed it.
They called me Your Majesty and I felt a great surge of emotion.
There were tears in my eyes and in theirs. I suppose I looked so young and defenceless
with my hair streaming down my back and wearing only my dressing gown and slippers.
The Archbishop told me that the King had died happy and had directed his mind to
religion and was prepared for his death.
I turned to Lord Conyngham and asked after the Queen for I knew how she loved him.
I said, Please take my condolences to the Queen.
Lord Conyngham replied, I will do as Your Majesty commands without delay.
Then I left them and went into my bedroom to dress.
I was eighteen years old. I was a queen. Oddly enough the rst thought that occurred
to me was: Now I can be alone. [ ]
I put on a black dress and went down to breakfast. Everything was different. Now I was
a queen. There was one thought that kept hammering in my brain. I must be good.
I must be wise. I must do my duty. I must put aside all frivolous desire for pleasure.
I must serve my country.
Jean Plaidy, Victoria Victorious (1985)
Text 2
1
2
3
4
5
6
7
8
9
10
I rst met Queen Elizabeth II in Washington, D.C., in May 2007. The occasion was a
garden party at the British ambassadors residence [].
Highly efcient military men organized us into lanes about thirty feet apart. As the
appointed hour approached, the sovereigns ag was raised to indicate that Her Majesty
was on the premises. The Queen, then eighty-one, and her husband, Prince Philip,
came out onto the terrace and passed between two Grenadier Guards in scarlet tunics
and bearskin hats. After the regimental band of the Coldstream Guards struck up God
save the Queen, the royal couple walked down a short ight of steps. []
The Queen disappeared into the distance of the gardens, but we stayed in place, and
eventually she doubled back along our lane toward the residence. The British ambassador, Sir David Manning, was making introductions to every twelfth person or so. [] He
presented me, and Elizabeth II extended her white-gloved hand, while I said, according
to protocol, How do you do, Your Majesty? Next came my husband, and the Queen
//
158
UNIT 4
valuations
The Queen
Name :
Class :
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
said she understood that he edited a Washington newspaper. Like her husband, she
is not enamored of the press she has not granted an interview during her sixty-year
reign but she didnt let on.
Her politeness was badly rewarded when Stephen decided to commit two protocol
infractions simultaneously: asking the Queen a question and mentioning the possibility
that she gambled at the race-track. Did you put a wager on Street Sense at Churchill
Downs? he inquired, referring to the winner of the Kentucky Derby, which she had
attended for the rst time the previous Saturday. With masterful diplomatic deection,
she ignored the question, but lingered. Something about the phrasing must have piqued
her interest. Stephen and I had watched the race on television []. He made a quick
observation about the race, and Elizabeth II replied that it was startling to see the
winning horse covered with so much mud afterward the result of running on dirt
rather than the grass tracks she was accustomed to seeing in England.
Evidently relieved to be discussing horses, one of her favorite topics, she went back
and forth with my husband, replaying the race and its thrilling nish, in which Street
Sense went from nineteenth place to rst. You could see the yellow cap! she said
excitedly. []
I had not anticipated the animated gestures, the expressive blue eyes, the ashing
smile. For a minute or so, I had glimpsed the gaiety so often obscured by the dignity of
the Queens role. While I didnt realize it at the time, I had also witnessed her control
and skill. By ignoring my husbands inappropriate question about making a bet, she
didnt make him feel ill at ease. She simply let it slide away, and moved the conversation
back to comfortable terms.
Sally Bedell Smith, Elizabeth the Queen: The Life of a Modern Monarch (2012)
Read the texts carefully, then answer the questions

What is the common point of these two texts? Tick the best two answers.
3 pts
They are about:

Queens performing their duties
Queens: who they really are despite their ofcial role
Queens and their households
Queens and commoners
Queens expressing personal tastes
Fill in the grid below giving as many details as possible. Quote the text.
Text 1
11 pts
Text 2
Queens name + age

Main event /
circumstances
Where
(place and country)
Private or
public place?
When
Other people actually
present (name +
position when stated)
159
UNIT 4
valuations
The Queen
Name :
Class :
Who does the pronoun I refer to in each text? Define the nature of each document.
4 pts
In text 1: ................................... Nature of the text: ..................................................................

In text 2: ................................... Nature of the text: .....................................................................
Right or wrong? Justify with quotations. Indicate the lines.
6 pts
Text 1
a. The new Queens mother sees her daughter as a queen.
.........................................................................................................................................................
b. The Queens change of clothes illustrates her frivolousness/triviality.
.........................................................................................................................................................
c. The narrator longs for loneliness.
.........................................................................................................................................................
Text 2
d. Sally Bedell Smiths husband engaged in private conversation with the queen, as is allowed
by protocol.
.........................................................................................................................................................
e. It is not easy for a queen to express her feelings.
.........................................................................................................................................................
f. Sally Bedell Smith admires the queen.
.........................................................................................................................................................
All of the adjectives below can be applied either to one queen or another, except
for one which can be applied to both. Quote the text to justify them. 12 pts
masterly, polite, dutiful, determined, interested/concerned, dignied, touched, cheerful, considerate, prepared, extremely impressed and worried
Victoria
Elizabeth
Underline the mistake in each sentence, correct it (rewrite the sentence with the
right words) and answer the question. 4 pts
Text 1 - The narrator learns that she has just become queen and immediately takes the
responsibility: she considers herself as her mothers sovereign and daughter.
..........................................................................................................................................................
..........................................................................................................................................................
So which aspect of the queen prevails? Tick the right answer:
the public image
160
the private image
UNIT 4
valuations
The Queen
Name :
Class :
Text 2 - Taking part in a public meeting, the queen respects the strict protocol and speaks with
someone about one of her hobbies.
..........................................................................................................................................................
..........................................................................................................................................................
So which aspect of the queen prevails? Tick the right answer:
the public image
the private image
Expression crite
Manuel p. 89
A diary entry
Once back in England, Queen Elizabeth writes an entry in her diary about her meeting with
Stephen G. Smith and his wife. Imagine it.
A comment on an online forum

You have just watched the news on television and seen images of thousands of people crowding
outside Buckingham Palace, expecting to see the Queen. How do you react? Post your comment
on an online forum called The Queen and I.
161
UNIT 5 War on screen

Activit langagire dominante : comprhension de loral
Activit langagire associe : expression crite

Le thme gnral
Le chapitre, qui s'inscrit dans la notion de Mythes et hros , sintresse la gure du soldat amricain
dans les lms de guerre amricains, depuis les lms sur la Seconde Guerre mondiale jusqu ceux des
guerres en Irak, en passant par le conit au Vietnam. La progression est chronologique an que les lves
peroivent bien le lien entre la reprsentation de la gure du soldat lcran et la perception de chaque
guerre dans la conscience amricaine.
En fin de parcours
- tche : rdiger une critique de lm de guerre
valuation de la comprhension de l'oral :
- tche dappariement : associer critiques et afches de lms
valuations
- comprhension dune interview,

- expression orale sur la notion de Mythes et hros , en particulier sur la reprsentation des soldats
au cinma en tant que gures hroques,
- lecture et comprhension de plusieurs documents (extrait dun roman et dun article critique),
- rdaction de la suite dun rcit et dun commentaire personnel.
Parcours culturel
Parcours culturel
Documents
Notions :
Mythes et hros
Thme :
La reprsentation des soldats amricains dans les films
de guerre amricains :
- lengagement amricain dans les conflits majeurs du
XXe sicle ;
- lvolution de la reprsentation des soldats dans les
films de guerre amricains.
Problmatique :
Comment les soldats amricains sont-ils reprsents dans les lms de guerre amricains ?
Les lms de guerre pp. 98-99
Randall Wallace, We Were Soldiers

Talking about war lms
La Seconde Guerre mondiale : les tripes et la gloire

pp. 100-101
La guerre du Vietnam : des hros dchus pp. 102-103
Steven Spielberg, Saving Private Ryan

Film reviews
Ted Kotcheff, First Blood
Larry Heinemann, Black Virgin Mountain: A Return
to Vietnam
162
Les guerres du Golfe : crises existentielles

pp. 104-105
Stratgies
Rupert Morgan, Same place, same story, different millennia
pp. 108-109
Hollywood and the Pentagon
Activits langagires
Tches dentranement
Stratgies
valuations nales
Comprendre les
informations essentielles
et les explications dans
une interview ou une
critique de film
Comprendre des
vnements et des
sentiments dans des
bandes-annonces ou des
extraits de films
Aprs quelques
Comprendre
Tche 1 :
recherches, prsenter
un dialogue ou une
Associer critiques et
loral un film de guerre
discussion
affiches de films
amricain
p. 99
p. 108
Rdiger des critiques

de films
Ragir un
commentaire sur un
site de critiques de
films ; rdiger sa propre
contribution
p. 103
Prsenter un film
loral
Donner son opinion sur
un film
En tant quassistant de
Steven Spielberg, expliquer
et commenter les choix du
ralisateur pour une scne
particulire
p. 101
couter une interview

et prendre des notes dans
le but dcrire une critique Entranement
de film, puis justifier ses
choix
p. 105 Expression orale
p. 110
Tche 2 :
Rdiger la critique dun
film de guerre amricain
p. 110
valuation
p. 111
Outils de la langue
Words
Talking about films p. 99
Soldiers p. 99, 100
On screen portrayal p. 99
Trauma p. 103
Cruelty p. 103
Disillusionment p. 105
Nouns as verbs p. 106
Talking about heroes p. 106
Prononciation
Grammaire
Accentuation des adjectifs drivs

p. 106
Formes passives p. 107 et
p. 41
g Prcis grammatical 19 pp. 207-208
Intonation et contraste p. 106 et
p. 41
Utilisation des noms comme

adjectifs p. 107 et
p. 41
p Prcis de prononciation 3
pp. 215-216

Lensemble du parcours permet aux lves :
- dexplorer la thmatique en lien avec la notion Mythes et hros et donc de dcouvrir pas pas les
lments qui leur permettront de rpondre la question pose : How are (US) soldiers portrayed in American war lms?
- de sentraner la ralisation des tches nales dans les deux activits langagires plus spciquement vises.
dune dure maximale de 8 sances, valuation comprise, qui, tout en permettant une exploration partielle
mais substantielle de la thmatique, prparera galement les lves la tche prvue pour lactivit
dominante.
163

comprhension de loral : Match war lm reviews and posters
Ces activits peuvent tre effectues la maison par la classe entire ou un groupe dlves et suivies dune mise
en commun classe entire. Elles peuvent aussi tre utilises pour les cours dapprofondissement prvus en option.
Les activits sur la langue (Language tools, manuel p. 106-107) et sur les Stratgies (manuel p. 108-109)
PAGES INTRODUCTIVES
p. 96-97
War films
They were soldiers
p. 98
Talking about war films
p. 98
Recap
p. 98
p. 99
Training task 1: Talking about a war film
WW2 : guts and glory

A film poster
p. 100
Saving Private Ryan
p. 100
Film reviews
p. 101
Recap
p. 101
Training task 2: A directors choices
p. 101
The Vietnam War: fallen heroes

The First casualty of war
p. 102
It wasnt my war
p. 102
John Wayne Dies
p. 103
Recap
p. 103
Training task 3: A discussion board
p. 103
The Gulf Wars : existential crisis

p. 104
Same place, same story, different millennia

Recap
p. 105
Training task 4: Preparing a review
p. 105
Language tools
p. 106
Stratgies
p. 108
Final Task 1: Write a war film review
p. 110
Final Task 2: Match film reviews and film posters
p. 110
p. 111
valuation
Fiche Recap
Recaps puis de faire la synthse en n de chapitre de manire se prparer activement lpreuve orale
du baccalaurat :
164
PAGES INTRODUCTIVES
Manuel pp. 96-97
Objectifs
Prparer les lves entrer dans le chapitre

et mettre des hypothses sur son contenu en
associant le titre, la problmatique et le document
iconographique.
Regarder, dcrire et commenter lafche du lm.

Amener les lves identier la nature du document
ainsi que le genre de lm quil illustre et expliquer
ce qui le rend immdiatement identiable comme
une afche de lm de guerre. Enn, on pourra commencer les amener rchir limage que cette
afche offre des soldats, puisque cette interrogation
sera le l conducteur du chapitre.
Les amener identier la nature du document

iconographique et analyser la reprsentation quil
offre des soldats.

Une afche du lm Tigerland, de Joel Schumacher
(2000). Les diffrents lments de lafche permettent didentier la nature du lm. Les couleurs
trs sombres voquent la difcult de la guerre et
les visages presque impossibles identier des
soldats apparaissant au premier et second plan
renvoient leffet dshumanisant de la guerre. Les
soldats semblent accabls et rsigns, mais aussi
isols puisque chacun regarde dans une direction
diffrente. Seul un soldat se dtache visuellement
du lot ; il sagit de celui qui apparat larrireplan. Contrairement aux autres, il se tient debout
et ne porte ni casque, ni arme, ce quil est possible
dinterprter comme lexpression de la lassitude, du
dgot, ou dun refus de se battre. On aperoit aussi
un sac pendu son paule, suggrant la possibilit
quil sagisse dun dserteur.
Enn, rien dans cette afche ne fait rfrence une
guerre en particulier, ce qui est une indication de la
porte intemporelle de la guerre laquelle renvoie le titre du texte p. 104 Same place, same story.
Forme de travail
Collective.
Mettre en perspective lafche et le thme de la

squence : How are soldiers represented in American
war lms?
This is a poster for a war lm / a war lm
poster. We can guess it because we can see
soldiers. They are wearing military outts and
carrying weapons.
The lm is called/entitledTigerland, and it
was directed by Joel Schumacher.
The soldiers are all looking in opposite directions, and looking down. They may feel lonely,
isolated, and waiting for an enemy attack / tired
of ghting / wondering why they are ghting
this war / questioning their duties as soldiers /
overwhelmed by the burden of the war.
One soldier stands out: he is the only one
who is standing and not wearing his helmet.
He does not have a weapon either. He may be
different from the other soldiers / may be the
main character / the hero in the lm / perhaps
this lm is about a soldier who refuses to ght
/ he may be rebelling.
changes.
War films
1. They were soldiers...
Analyse du document
Manuel pp. 98-99
Manuel p. 98
DVD Vido 7
Il sagit de la bande-annonce du lm We Were Soldiers, de Randall Wallace et avec Mel Gibson, qui
traite de la bataille de La Drang, pendant la guerre
du Vietnam.
de guerre hollywoodien gros budget. Elle devrait

permettre aux lves de reconnatre les canons du
genre mais aussi de sintresser la faon dont le
montage sert le but dune bande-annonce, savoir
attirer un public.
Cette bande-annonce trs classique dans sa

construction offre toutes les caractristiques du lm
On pourra commencer par une observation de

limage tire du lm.
165
Squenage de la vido
Time code
Images
From the
beginning to 025
Quotation from John F. Kennedy,

in January 1961 : "Let every nation
know... that we shall pay any price,
bear any burden, oppose any foe, to
assure the survival and the success
of liberty.
A father and his son
From 026 to 056 Soldiers leaving for Vietnam
Lyndon Johnson announcing the

departure of American soldiers for
Vietnam
Soundtrack
A father explains to his son what war is:

Its when some people take the lives of other people
and then soldiers like your daddy have to... you
know... its my job to go over there and stop them.
Senior soldier: We will ride into battle, and this will
be our horse.
Hostile territory 10, 000 miles from home.
Soldiers leaving their families

From 057 to 115 On the battlefield
Senior soldier :
Well be landing under fire.
Men will die.
Were going into battle against a tough and
determined enemy.
From 116 to
the end
Alternation between images of

the soldiers on the battlefield and
images of the soldiers with their
families.
Senior soldier: Our men are so young and when

I look at them, I see our boys.
Young soldier: What do you think of being a soldier
and a father?
Senior soldier: I hope that being good at the one
makes me better at the other.
Senior soldier: When we go into battle, I will be
the first to set foot in the field, and I will be the last to
step off, but we will all come home together.
Adjectives describing the soldiers

appear on screen.
Soldiers wife: Do you know the most common

thing an American soldier says when hes dying on
the field ? Tell my wife I love her.
Senior soldier: Those are my men out there, and
Im going to get them.
The title of the film appears at the

end, along with a flag waving.
166
Lexique
Formes de travail
Une partie du lexique qui servira directement la

dnition du hros apparaissant lcran, il ny a
pas de difcult majeure quant la comprhension
globale du document. Tous les mots ne seront pas
saisis mais tous ne seront pas essentiels.
1. et 2. collectives ; 3. individuelle avec prise de notes,

puis mise en commun avec toute la classe ; 4. et 5. en
groupes, puis mise en commun avec toute la classe.
Accs au sens
1. Phase danticipation partir de la photographie

propose dans le manuel, savoir limage tire
du lm, et de la nature du document qui va tre
visionn : une bande-annonce de lm.
In this picture/still from We Were Soldiers,
we can see soldiers who seem to be ghting / to
be at war/on the battleeld.
They are wearing helmets / carrying weapons.
We can guess that they are being attacked or
about to attack the enemy.
They look tense; one of them has been
wounded.
A lm trailer/preview is supposed to attract
the audience/viewers/moviegoers by showing
the most representative scenes of the genre, so a
war lm trailer should show action and ghting.
It should also be exciting and suspenseful.
On pourra commencer poser les jalons de lutilisation des noms comme adjectifs avec des groupes
nominaux complexes comme : war lm, war lm
trailer, moviegoers...
2. tape collective.
La bande-annonce de We Were Soldiers correspondelle ce que les lves avaient anticip ?
The trailer is a typical war lm trailer because
we can see a lot of ghting and action.
But what is more unusual is that we also see
the soldiers in their private / domestic lives.
They have to deal with both / combine their
duties and their private lives.
The lm seems a bit patriotic: we can even
see the ag of the USA at the end of the trailer.
3. Analyse de la bande-annonce.
En individuel dans un premier temps avec prise de
notes par les lves, puis en groupes avec des rles
attribus chacun des groupes :
- Group 1 : ce premier groupe pourra se focaliser sur les informations factuelles (personnages,
lieux, actions) ; ces informations tant plus faciles
reprer et exprimer, on pourra les proposer
des lves moins laise, de faon permettre une
bonne distribution de la parole ;
prparer la restitution loral, partir des notes prises

pendant et aprs lcoute an dviter quils ne rdigent.
Il est possible que certains lves lesprit plus critique identient dores et dj la nature patriotique
du lm. On essaiera de les laisser sexprimer sans
toutefois anticiper compltement le travail qui reste
accomplir sur ce document.
Productions possibles dans chaque groupe :
Relevant information
This lm deals with US soldiers who are sent
to Vietnam at the beginning of this conict. We
can see President Lyndon Johnson announcing
hell send US troops to Vietnam.
The main character, played by Mel Gibson,
is a commanding officer who is married and
has a son.
Soldiers portrayal
The soldiers are represented/shown/portrayed/depicted as brave/courageous/bold,
tough, accepting/uncomplaining but also sensitive, loyal to each other and united.
They are shown not only as soldiers but
also as men/human beings/as husbands and
fathers.
They are portrayed as self-sacricing heroes
ghting for a good cause and for their country.
They are doing their duty: they are dutiful.
Denition of war
War is dened by the images and the music as
a noble duty to your country. There is a lot of
imagery linked with the US nation (including
a ag waving) and the music is quite dramatic.
The focus is also on the relations between the
soldiers in the trailer so war may also be seen
as an opportunity to experience exceptional
brotherhood and unity.
Even though war is fought by soldiers, relatives have a part to play by supporting their
husbands or fathers who are in the eld.
The character played by Mel Gibson, as a
father, gives his son a rather simple denition
of war. It might be because he wants his son to
understand / accept his going to war, and it is
difficult to explain war to a child. Or it can also
be a statement about the lm itself / perhaps it
is a lm where patriotism is stressed / where
US soldiers are seen as defending US values/
have no doubts about the righteousness of
their duty.
- Group 2 : un deuxime groupe se concentrera sur

la manire dont les soldats sont dpeints ;
- Group 3 : un dernier groupe sattachera comprendre
comment la guerre est dnie par les personnages
dune part, et par les images et la musique dautre part.
Il serait souhaitable de laisser un temps de mise en
commun chaque groupe avant de prsenter leurs
trouvailles devant la classe entire. On incitera les lves
167
Productions possibles (utilisation dun TBI pour

lenrichissement des productions dlves) :
This portrayal of war is different from most
US war lms because it also focuses on the
humanity of soldiers. Soldiers are portrayed as
men who have feelings / who have private lives
and families / who miss their families. It seems
to be a touching/moving lm.
This lm looks stereotypical and patriotic,
even ag-waving, like so many American blockbusters in which the US army always wins. The
storyline seems to be very clich-ridden with
stock characters such as the perfect husband
and dedicated soldier, the loving and understanding wife, etc. The plot seems very predictable,
the US army is probably going to win and the
soldiers will be the good guys.
5. En groupes, puis collective.
Une fois la mise en commun effectue, il sera

intressant de faire remarquer aux lves que la
bande-annonce se termine sur un plan dun drapeau
amricain volant au vent, ce qui reprsente une occasion exceptionnelle dintroduire ladjectif ag-waving.
On pourra demander quels lves auraient maintenant envie de voir le lm. Ils se regrouperont
alors avec des camarades qui partagent le mme
avis et disposeront de 5 10 min (selon les besoins
du groupe) pour justier leurs avis. Un secrtaire/
rapporteur prendra en notes les changes, puis les
rapportera aux autres groupes.
et des soldats est-elle emblmatique de la plupart

des lms de guerre amricains ?
Il est fort probable que certains lves estimeront que
tous les lms de guerre amricains sont semblables
celui-ci, que les Amricains y sont toujours victorieux,
etc. Il sera intressant de les laisser formuler leurs
opinions, puisque lobjectif de cette squence est
aussi de leur permettre de se rendre compte quil y a
beaucoup dautres lms de guerre, offrant des visions
moins strotypes et manichennes, comme ils le
verront dans la suite du chapitre.
On pourra leur demander quels lms de guerre ils
connaissent.
Analyse du document
Il sagit dune conversation entre deux personnes
propos des lms de guerre. Lune delles les connat bien et les apprcie, la diffrence de lautre.
Lcoute de ce document permettra un groupe
168
Cette activit fera surgir des besoins langagiers

naturels tels que les structures passives. On pourra
en proter pour faire un rappel (manuel p. 107 et
Workbook
p. 41).
ste 3
Manuel p. 98
2. Talking about war films
On pourra amener les lves marquer particulirement les intensieurs quils utilisent (voir activit
Intonation and contrast, manuel p. 106).
Pi
4. tape collective. Cette reprsentation de la guerre
Wed love to see this lm, it seems original

because it shows the human side of the soldiers.
Even though were not soldiers, we can identify
with/relate to the characters thanks to this portrayal. It seems to be moving but also exciting,
and wed probably have a good time watching it.
We think this lm looks rather patriotic. All
the clichs of a war movie are there: the US
ag waving at the end, the soldier who is so
dedicated that he will leave his family to go to
war, the enemies who are seen as the bad guys.
CD 1 lve
dlves plutt novices, ou qui auraient du mal

soulever demble les interrogations que ce genre
peut poser, de le dcouvrir, de sapproprier le lexique
ncessaire pour en parler mais aussi de sinterroger
sur des problmatiques lies ce type de lm.

- procder la phase danticipation classe
entire,
- demander aux lves de faire la maison les
reprages correspondant aux questions 2 et 3,
- de se prparer reformuler oralement ce
quils ont compris partir de quelques notes,
- de prparer leur prise de parole pour
rpondre la question 4 ( partir de notes
trs succinctes).
//
horrible war is / they have to show the violence
/ to make their point//
well / i dont agree // i mean / you can make
pretty decent non violent war lms // take top
gun / for instance //
oh / come on // thats ridiculous // that movie
is simplistic // its not even realistic //
well / what do you know // besides / does it
always have to be realistic // i mean / cinema is
an art / you said so yourself // the point of the
lmmmaker / is to portray a war / and the men
/ who ght it / not report on it //

Lexique
oh / you know what / I saw a really unusual war
movie on TV / last night //
unusual // well / all war lms are the same to me
// they all glorify violent battles / blood / sweat
and tears and men in uniforms //
oh come on // youre stereotyping// theres lots
of kinds of war lms //
oh / such as //
well / lets see // youve got the world war two
combat lms / or the korean movies // there are
er / there are movies that feature real military
action // the war genre doesnt have to / even
portray armed combat // there are prisoner of
war lms / very popular in the nineteen sixties
/ like bridge on the river kwai / and great escape
// and there are lms that focus on the / um /
military training / well like / like tigerland / the
lm i was gonna tell you about //
oh / the one you saw last night //
yeah/ it was directed by joel schumacher //
have you seen it //
er / isnt that the one / where colin farrell plays
some / rebellious soldier in a training camp //
exactly // thats the one //
yeah / well / i havent seen it / but my brother
has // he didnt like it / precisely because / you
only see their training / but you never see them
on the battleeld //
yeah / well / thats exactly why i nd it so interesting // you can see / how the us government /
trains their soldiers / into war machines // thats
why tigerland is so great / because it explores
all those issues //
well / you seem to love it // sure makes me feel
/ like seeing it // um / but usually / war lms
scare me // i mean / lets be honest/ some of
them are extremely violent / even gruesome //
well / thats true / but i think / sometimes they
have to be // especially when theyre antiwar
movies / like the thin red line or apocalypse
now / or depalmas redacted / which is about
afghanistan / actually // i mean / to show how
//
Il ny a pas de difcult majeure quant la comprhension globale du document. Laccent amricain

est parfois assez marqu mais laccent de phrase et
lintonation mettent en exergue les mots importants
pour la comprhension du document. Les mots qui
seraient moins connus tels que gruesome pourront
tre infrs grce au contexte.
Formes de travail
1. et 2. collectives ; 3. individuelle avec prise de notes,
puis mise en commun avec toute la classe ; 4. en
groupes ou collective.
Accs au sens
On pourra, si cela na pas t fait en amont, travailler
avec les lves la mthodologie de la comprhension de loral et de la prise de notes grce aux pages
Stratgies, manuel pp. 108-109.
1. Phase danticipation partir de la photographie

et du titre proposs dans le manuel. On pourra
essayer damener les lves mobiliser les mots
susceptibles dtre entendus dans lenregistrement.
The document must be a conversation
between people about war lms.
They may have different opinions about war
movies. Some may love them while others may
not.
They will probably explain what they think
about war lms. They may talk about some
specic war lms, maybe their favorite ones,
or lms they really disliked.
We can expect to hear such words as violent,
ghting, battle, military, weapon.
2. Phase individuelle : coute de lenregistrement

et prise de notes.
169
The document actually is a conversation

between two people, a man and a woman, about
war lms.
As we have guessed, they share opposite opinions about war movies.
They expose the reasons why they like or
dislike war lms, and talk about the point of
making war lms.
3. Phase individuelle puis mise en commun. On

pourra inciter les lves organiser leur prise de
notes partir des informations dj dgages : deux
interlocuteurs donc deux lignes.
The speakers
opinions
The reasons
and examples
they give
The man
The woman
4. Phase collective ou en groupes.

Une fois lensemble du document compris de tous, on
pourra leur demander de sarrter sur certains arguments et de donner leur opinion, comme par exemple :
- all war lms are the same;
- they glorify violent battles;
- to show how horrible war is, they have to show the
violence;
- does it always have to be realistic?
- The point of the lmmaker is to portray a war and the
men who ght it, not report on it.
Puis les lves sont invits dire sils aiment regarder des lms de guerre ou non.
Pour cette activit, le professeur peut au choix :
rassembler les lves en petits groupes de 3 ou
4 ayant des avis divergents pour qu'ils puissent
discuter des raisons pour lesquelles ils aiment ou
non les lms de guerre ;
rassembler 3 ou 4 lves qui partagent la mme
opinion. Le but serait alors de rassembler oralement
des arguments pour dfendre leur point de vue avant
de dbattre de faon collective.
Il faudra videmment sassurer que les changes
se font bien en anglais. Avec des lves qui auraient
plus de difcults respecter ce principe, la seconde
organisation sera peut-tre prfrable car linterdiction de coucher sur papier les arguments rendra le
recours langlais plus lgitime.
Raisons possibles dapprcier (+) ou non (-) les lms
de guerre :
+
action-packed
exciting
learning more about history
new perspective on war
170
violent
predictable, stereotypical
useless
stereotypical portrayal of the US soldiers and of
their enemies
Recap
On amnera les lves se servir du travail effectu sur les documents de cette double-page pour
rcapituler les caractristiques principales du lm
de guerre et dores et dj sinterroger sur la reprsentation des soldats amricains dans les lms de
guerre amricains.
Obviously, most war lms are violent, because
they deal with violence. Most of them show
combat scenes, but some are bloodier or more
gruesome than others.
Almost all war lms are action-packed, but
many war lms are also made to:
- tell more about a war, or denounce a conict
which is unknown to people,
- offer a new perspective on a major historical
event,
- or convey a message about a particular war,
or about warfare in general.
The soldiers usually illustrate the impact of
the war on the individual. The soldiers can be
portrayed either as brave, strong, heroic, or as
discouraged, fearful or even traumatized.
Training Task 1: Talking about a war film

Avant de proposer ce travail, et si cela na pas t
fait auparavant, il sera ncessaire davoir abord les
activits grammaticales du chapitre qui portent sur
la voix passive (manuel p. 107).
Le travail de recherche sur Internet que cette tche
implique ncessite que celle-ci soit prpare, selon
lquipement de ltablissement, le temps dont on
dispose et les besoins des lves :
- soit la maison,
- soit en salle informatique ou en laboratoire multimdia.
Le professeur veillera expliciter les consignes et
attirer lattention des lves sur les connaissances
acquises en amont, qui savreront utiles pour la
ralisation de cette tche. Il sera aussi utile dinsister
sur lobligation de reformuler les informations, et
sur la ncessit de porter un regard critique sur la
bande-annonce du lm quils auront choisi en sattardant sur la manire dont le soldat y est reprsent.
Le site IMDB.com, qui est lune des plus grandes
bases de donnes de cinma, prsente bien des
avantages pour une exploitation pdagogique
puisque les pages sont toutes structures de la
mme faon. Si lon dispose dun tableau interactif
ou dun vidoprojecteur, il pourra tre intressant de

montrer aux lves une che de lm de ce site, soit
grce une connexion internet, soit en en faisant
une capture dcran (voir le dossier TICE : Faire une
capture dcran, p. 21 de ce guide).
Lanalyse de la gure du soldat dans la bandeannonce offrira galement davantage de subjectivit,

ce qui pourra ensuite donner lieu une comparaison
des ressentis de chacun, y compris entre les diffrents lms prsents.
Les lves pourront ainsi se familiariser avec la

structure de la page.
On conseillera aux lves de se prparer la prise

de parole de faon logique, cest--dire en faisant
un brouillon non pas crit, mais oral, laide dun
lecteur MP3 ou de tout objet multimdia leur permettant de senregistrer. Lcoute de leur propre
performance en entranement devrait leur offrir
la possibilit de samliorer en se corrigeant et en
recommenant.
Puisque les diffrents groupes vont travailler sur les

trois mmes lms, tous les groupes prsentant le
mme lm auront trouv les mmes informations. Les
groupes qui ne passent pas devant la classe auront pour
tche de vrier, complter, afrmer ou inrmer ce
que leurs camarades auront dire sur le lm. On peut
aussi partager le travail entre les diffrents groupes.
WW2: guts and glory
Manuel pp. 100-101
Cette double-page et les suivantes comportent toutes un encart situant la ou les guerres dont il est question.
Les lves pourront sy rfrer pour se remmorer le contexte et les grands vnements de chaque conit.
Nous avons choisi dy faire gurer galement le nombre de soldats amricains mobiliss ainsi que les pertes.
1. A film poster
Manuel p. 100
Analyse du document
Formes de travail
Lafche propose est celle dun lm de guerre

tourn en 1944 intitul The Fighting Sullivans, du
nom de cinq frres qui perdirent la vie au combat
pendant la Seconde Guerre mondiale.
1. et 2. collectives ; 3. individuelle ou en groupes puis

mise en commun avec toute la classe.
Cette afche au graphisme ancr dans une poque

rvolue va permettre aux lves de se familiariser
avec la vision quavait le peuple amricain de ses
soldats et de la guerre au moment de limplication
de leur pays dans le deuxime conit mondial.
1. Phase danticipation partir de lafche.
Lintrigue du lm, largement inspire par des faits

rels, a par la suite t reprise par le ralisateur
Steven Spielberg qui en a fait un lm plus clbre
et plus rcent : Saving Private Ryan.
Pour la progression dans la double-page, il sera
intressant de ne pas rvler cette information aux
lves : ils sen rendront srement compte tout
seuls, ou bien lapprendront en lisant la critique de
lm , manuel p. 101.
Lexique
La plupart des mots apparaissant sur lafche ne
poseront pas de problmes de comprhension. Seul
le mot guts devrait tre inconnu des lves. Une fois
quils auront rchi la reprsentation des soldats
sur cette afche, ils devraient tre en mesure de
dduire quau vu du contexte immdiat, son sens doit
tre positif. On pourra ventuellement les amener
comprendre le sens premier an quils saisissent le
sens gur, qui se trouve tre le mme en franais.
Accs au sens
On demandera aux lves dobserver lafche et
de dater le lm quelle illustre. Sils ne sont pas
forcment capables demble de donner des dates
correctes, ils sauront en tout cas reconnatre son
aspect dsuet et pass. Lobservation des dtails les
mettra ensuite sur la voie des annes 1940.
On pourra aussi les inviter identier le titre du
lm. Cette tape nous semble importante car la
mise en page est un peu diffrente des afches
plus rcentes.
This is a poster for a war lm which was probably made / must have been made a long time
ago / in the past / for an old war lm because
it is not a picture, it is a drawing. Most old lm
posters were drawn like this / this way.
Various elements of the lm appear on the
poster, as if the producers wanted to show all
the aspects of the movie to attract all kinds of
audiences.
171
Note culturelle
On pourra au passage leur apprendre que les
bandes-annonces telles que nous les connaissons aujourdhui, et telles que celle de We Were
Soldiers, quils ont vue prcdemment, sont
apparues dans les annes 1960-70.Avant cela,
le format tait peu dynamique et la pratique
ntait pas gnralise. Mieux valait alors utiliser laffiche pour annoncer le contenu du
lm, do ce collage dimages.
2. tape collective : on invitera les lves observer

lafche et y analyser la reprsentation des soldats.
Les lves seront en mesure didentier assez rapidement que le portrait des soldats est plutt atteur,
et le vocabulaire propos dans lencadr Language
Tools, situ sous lafche, leur permettra de mettre
ces observations en mots.
In this poster, the soldiers are shown/portrayed/depicted as obedient and disciplined
since we can see several of them lined up at
the bottom of the poster, and they are saluting.
They seem proud and dedicated.
If they are so disciplined, it means that the
army has trained them well: they are welltrained.
Their salute expresses their obedience/allegiance to the army and their willingness to
go to war. So they are shown as courageous/
brave/bold.
If they are ready to go to war, it means they are
ready to make a sacrice, theyre willing to leave
their families and girlfriends behind / to sacrice themselves so they are self-sacricing.
They are also sure that the war they are
ghting is a "good" war / that their reasons for
ghting are justied.
Like the trailer of We Were Soldiers, this
poster shows multifaceted military men: they
are soldiers, but also husbands. They are able
to be both loving and ruthless.
Their courage is also mentioned in the tagline
at the top of the poster with words like glory
and ghting.
Even the title has been changed from The
Sullivans to The Fighting Sullivans so that
the movie could immediately be identied as
a war lm.
These soldiers are the best, they are the guts
and glory of the ghting navy, they are brave,
they have guts, and they are glorious.
Their courage is enhanced/magnied in this
poster. They are gloried.
172
On pourra poursuivre la discussion en demandant

aux lves quelles ont pu tre les raisons pour
lesquelles les soldats taient reprsents ainsi (une
des raisons principales tant le besoin dattirer de
jeunes soldats et de sensibiliser la population
leffort de guerre). De plus, le lm a t ralis alors
que les tats-Unis entraient en guerre an de venir
en aide aux pays europens. La question de la lgitimit de leur engagement ne se posait pas, do la
perception de la Seconde Guerre mondiale comme
une bonne guerre .
Pour cela, on les renverra lencadr World War 2.
Le professeur pourra aussi utiliser des exemples
plus proches des lves, avec des lms tels que
Captain America (2011) dont le point de dpart
est prcisment la dtermination sans faille dun
jeune homme trs faible qui se voit refuser son
enrlement dans larme amricaine au moment
de la Seconde Guerre mondiale. Il accepte nalement de participer une exprience qui le rend
physiquement trs robuste, permettant ainsi son
incorporation. Lors de la promotion du lm lt
2011, une srie dafches vintage ont dailleurs
t dessines daprs celles des lms dpoque,
tels que The Fighting Sullivans. On pourra conseiller aux lves daller regarder ces afches (http://
www.avorwire.com/195861/gallery-cool-fauxvintage-captain-america-posters#1), ainsi que la
bande-annonce du lm (http://www.youtube.com/
watch?v=JerVrbLldXw).
3. tape individuelle puis collective.

On demandera aux lves de sappuyer sur les diffrents lments de lafche pour imaginer lintrigue
du lm et de se prparer la raconter la classe.
dune
Notes d
une lve :
Carmichael Sullivan Senior = American admiral,
50, married, one son (Carmichal Sullivan Junior)
December 1941: Sullivan Jr: just started studying
history at Yale University when recruited in the US
army. His father had already warned him that the
USA might enter WW2 but the young man never
actually believed him.
Sullivan Sr: gets his son in his own regiment =
double challenge for son and father.
Il conviendra lissue de ces activits dattirer
lattention sur la formation des adjectifs (terminaisons
en -ed ou en -ing selon les cas). Il sera aussi ncessaire de leur rappeler la ralisation phonologique
de la terminaison -ed, ainsi que laccent tonique des
adjectifs rencontrs (voir activit Stressing derived
adjectives, Language Tools, manuel p. 106).
2. Saving Private Ryan
Manuel p. 100
DVD Vido 7
Analyse du document
Il sagit de la scne douverture du lm de Steven
Spielberg, ralis en 1998. Dans cette scne, le
spectateur observe un vieux monsieur et sa famille
venir se recueillir dans le cimetire amricain de
Colleville-sur-Mer en Normandie. On comprend que
lhomme est un vtran. La squence se termine par
un gros plan sur son visage, puis sur ses yeux. La
transition avec la scne suivante (qui napparat pas
dans notre extrait) se fait avec un fondu-enchan
des yeux du vieil homme aux yeux dun jeune soldat
sur un bateau qui le vers les plages de Normandie.
Sensuit la clbre scne du dbarquement dont
parle dailleurs lauteur de la critique. On entend
toutefois le bruit des vagues la n de notre scne,
on pourra donc sen servir pour que les lves imaginent quoi lhomme pense.
Lexique
Cette scne est visuelle, il ny a pas de paroles. La
difcult lexicale sera donc en production et non
en rception. Les lves auront besoin dun lexique
cinmatographique qui pourra leur tre fourni
laide des ches tlchargeables sur le site
www.didierpassword.fr : Film-terms Glossary.
Formes de travail
Collective. On peut imaginer un travail en autonomie
dans un premier temps si lquipement de ltablissement le permet (laboratoire multimdia ou salle
informatique).
Accs au sens
Lextrait ne comportant pas de paroles, on pourra
se passer dune anticipation an de privilgier la
plonge des lves dans latmosphre de la scne.
Cependant, si le professeur lestime ncessaire,
il pourra demander aux lves didentier le lieu
reprsent sur la photo (le cimetire de Collevillesur-Mer).
1. On invitera les lves donner leurs premires

impressions partir de la musique et des images. On
peut leur demander didentier les instruments utiliss pour la musique et ventuellement, de dcoder
le langage cinmatographique en prtant attention
au choix des plans.
The scene takes place in the cemetery that
we can see in the picture. It is the American
cemetery in Colleville. The people buried there
are the US soldiers who died when the US army
landed in Normandy to free France from the
German occupation.
//
//
The scene is moving/touching/soul-stirring/
poignant: there is no dialogue, probably out of
respect for the dead. Plus, the audience is left
to reect upon the scene.
The scene opens with a shot of the American
ag waving.
The music is quite solemn and patriotic, it
becomes more and more dramatic / rises more
and more as the scene goes/progresses. At
the beginning of the scene, while the old man
is walking along the cemetary, we can hear/
make out trumpets, providing the scene with
a more military if respectful atmosphere that
culminates with the shots of the American and
French ags.
All the while, the old man is shot from behind
and from a distance. But when the cemetery
and its graves actually come into view, there
is a close-up on the old mans face and violins
start playing to add more emotion to the scene
and make it more personal.
The scene procedes with a wider shot of the
rows and rows of graves, with the old man looking very lonely among them. It lays the stress
on the number of soldiers who sacriced their
lives during WW2.
At the end of the scene, there is a tracking in
shot of the old mans face and eyes, as the music
fades and the sound of waves rises.
2. On leur demandera didentier les personnages.

The old man must be a veteran of WW2 / a
WW2 veteran. The other people must be his
family.
The older woman must be his wife, and the
younger man is his son since he calls him Dad.
The others must be the sons wife and their
children.
The music is quite solemn, it becomes more
and more dramatic / rises more and more as
the scene goes/progresses.
It is a military cemetery.
The music illustrates the scenes atmosphere
of respect / reverence for the fallen soldiers.
The shots of the American and French ags
recall the fact that American soldiers died in
France / away from home / they must not be
forgotten.
There are several generations.
They are walking behind out of respect for
the old man.
173
3. Le langage cinmatographique ainsi que le jeu

des acteurs permettront aux lves dimaginer ce
que pense le vieil homme. On invitera les lves
produire le plus possible, an de nourrir la tche
dentranement p.101 (A directors choice).
He looks very moved, overwhelmed by the
atmosphere of the place where he is.
He must be thinking about his old/former
friends who probably died on the battleeld.
He has probably come to pay his respects to
some of the soldiers who died during WW2.
//
//
He is crying/weeping by the tombs of soldiers
who sacriced their lives.
Maybe some of these soldiers sacried their
lives to save him, since the camerawork also
emphasizes the presence of three generations
in this scene. They may owe their existence to
this mans ex-comrades.
He must be overwhelmed by sadness / grief
but also gratitude to these men.
He must be remembering what being on the
battleeld was like.
3. Film reviews
Analyse du document
Les deux critiques de lms proposes ont t
rdiges par des internautes sur le forum de discussion du site IMDB. Nous les avons choisies
pour la pertinence de lanalyse quelles proposent
et pour leur structure interne, typique des articles
critiques, ce qui offrira aux lves un modle pour
la tche nale d'expression crite.
Lexique
Le lexique posera gnralement peu de problmes
pour la comprhension globale des textes. Certains mots seront certainement inconnus (letdown,
gawkish, etc.) mais leur sens sera infrable (une
aide est dailleurs propose dans le Workbook
p. 37-38).
Formes de travail
1. et 2. individuelles puis mise en commun ; 3.
collective.
Accs au sens
Phase danticipation partir de la nature des textes
et des lments priphriques.
On demandera aux lves dobserver les lments
priphriques aux textes, en particulier la source (un
site internet, dont ils auront dj entendu parler en
ralisant la tche intermdiaire p. 99), et les auteurs
(des pseudonymes tels que ceux que lon trouve sur
Internet). Les lves devraient donc tre en mesure
de deviner que ces textes ont t rdigs pour un
forum de discussion par des spectateurs, et non par
des journalistes.
On pourra leur demander danticiper le contenu
partir :
174
Manuel p. 101
- du titre de chaque review ;
- de ce quils sattendent trouver dans une review.
These texts are lm reviews.
They must have been written by viewers and
not by journalists since the authors have pseudos.
They have been published on a website.
They deal with different lms but both of them
probably include a summary of the plot, information about the director and/or the actors,
the authors opinions, the lms qualities and
aws, etc.
1. Lecture des textes et reprages.

On peut demander aux lves de lire les textes
une premire fois et de voir si les lments quils
pensaient y trouver apparaissent bien, et sils y ont
trouv dautres informations quils navaient pas
anticipes. Ceci est dautant plus important quon
leur demandera ensuite de sintresser la structure
et lorganisation interne des reviews.
Puis, on les invitera reprer les lments donnant des informations sur les soldats dune part, et
lopinion des auteurs dautre part. Les textes tant
p. 37, les lves
reproduits dans le Workbook
pourront surligner ces lments. Le Workbook propose aussi un encart Help qui devrait permettre aux
lves qui en ressentent le besoin dtre davantage
accompagns dans la lecture des textes.
On pourra ensuite demander aux lves dexpliquer ce quils ont compris : quelle est lopinion des
auteurs sur les lms et quelle reprsentation ces
derniers semblent-ils offrir des soldats ?
Filmfanfrank really loves Saving Private
Ryan because:
- he likes the fact that the plot is based on real
life / the real-life based plot,
- he thinks that the portrayal of the war and the
soldiers is quite realistic.
But he thinks Spielbergs lm is too sentimental, gawkish/awkward/clumsy, and a bit
patriotic.
The soldiers seem to be very brave and dedicated, ready to sacrice their own lives for
their mission. The author describes them as
courageous and heroic. We also learn the
lm is based on the same story as The Fighting Sullivans.
Moviemadmaddie is a big fan of Patton / a
Patton fan. He/she loves the movie because the
general whose name is the title of the lm / the
eponymous general is unusually rebellious. He/
she also explains that he/she saw the lm when
it was released, in the context of the Vietnam
war. He/she explains that the Vietnam war was a
very controversial conict, and so WW2 seemed
a lot simpler because it was unambiguous: the
allies were the good guys and the Nazis were the
bad guys. So you could be on the generals side /
you could side with the general even if he was
a rebel without feeling guilty at all because
he was ghting the good war.
This spectator gives information about the
context, and about the wars, we hadnt expected
this kind of information.
2. Les lves devront ensuite sintresser plus

particulirement la structure des textes, leur
construction.
En cas de difcults
p. 38. On invite les lves observer :

- les points communs entre les paragraphes
douverture de chaque review ;
- les mots employs pour prsenter et expliquer ides et arguments.
Both texts are divided in three paragraphs. We
can notice that in each text, the rst paragraph
sums up the plot in the present tense.
In the rest of the texts, the authors give their
opinions about the lms. They move from one
idea to another sometimes using words like
also, although, even if, whereas, and,
so.
On pourra au passage leur faire remarquer quil

ny a pas plthore de mots de liaison car langlais
est une langue paratactique, ce quillustre le texte
de Rupert Morgan (manuel p.104) : en dpit dune
structure extrment claire et uide, ce texte nen
comporte pas un seul !
3. Les lves sont ensuite invits donner leur

avis : lequel de ces deux lms auraient-ils envie
de voir ? On les incitera justier leur opinion le
plus clairement possible an de dvelopper leur
capacit dargumentation en vue de la tche nale
de production crite.
Raisons possibles de prfrer un lm ou lautre :
Saving Private
Ryan
Patton
Cast
Tom Hanks
less famous:
intriguing
Crew
(director/
writer)
Steven Spielberg
(director)
Francis Ford
Coppola (writer)
Tone of
the lm
dramatic
Style
the opening
scene - realistic powerful
Other
topic: rebellious
general
Recap
On amnera les lves se servir du travail effectu
principalement sur les documents textes de cette
double-page pour rcapituler les lments ncessaires la rdaction dune critique de lm. On pourra
dterminer avec eux ce qui semble indispensable et
ce qui est facultatif.
A lm review usually contains a summary of the
plot / the gist of the plot, sometimes also information about the cast and crew. It almost always
offers the journalists point of view since the
idea is for the audience to make up their minds.
Training Task 2: A directors choices

vido 7
Cette tche a pour but dentraner les lves expliquer et justier des choix. Il est indispensable que
la classe ait pralablement tudi le document 2
(vido 7) puisquil sagit pour les lves de se mettre
la place de lassistant-ralisateur de Spielberg et
dexpliquer les choix de ce dernier, la manire des
175
commentaires audio que lon peut trouver dans les

bonus des DVD.
En fonction du temps et du matriel dont on dispose,
on pourra demander aux lves :
- de prparer cette tche la maison et de senregistrer en classe, sur lecteur MP3 ;
- de raliser cette tche chez eux, en senregistrant
sur lecteur MP3 (ceux de votre tablissement si vous
avez mis en place un systme de prt, ou ceux des
lves). Les plus frus de nouvelles technologies
pourront mme par la suite mixer leur commentaire

audio sur lextrait du lm sils disposent de celui-ci
chez eux.
Labo de langue pour les enseignants qui disposent
du Labo de langues.
de ce guide.
The Vietnam War: fallen heroes

Cette double-page est consacre la reprsentation
des soldats ayant combattu pendant la guerre du
Vietnam. En changeant de guerre, on change de perception par le public, et donc de reprsentation des
soldats lcran. Comme le soulignait lauteur de la
critique de Patton sur la double-page prcdente, au
moment o clate la guerre du Vietnam, le pays est
profondment divis quant la lgitimit de sa participation au conit. Il est donc fort dlicat de satteler
la porter lcran. Ceux qui sy sont essays dans

les premires annes du conit, comme John Wayne,
co-ralisateur et hros de The Green Berets, offrent
souvent une cinglante illustration largument des
ralisateurs de lms plus tardifs, comme Platoon
ou Apocalypse Now, savoir quil est dangereux de
faire un lm chaud sur une guerre controverse.
Un certain recul est ncessaire. Platoon date de 1986,
First Blood de 1982.
1. The first casualty of war

Analyse du document
Lafche propose est clbre : il sagit de celle du
lm dOliver Stone, Platoon, ralis en 1986. Elle
sinspire dune photo de guerre prise en 1968 par Art
Greenspon. Ce dtail prouve limportance des images
de guerre lors du conit au Vietnam, ce qui ntait
pas le cas pendant la Seconde Guerre mondiale.
Lafche montre un soldat encercl par l'ennemi. Sa
pose presque christique, les deux bras levs et la
tte renverse en arrire, voque celle dun martyr,
comme sil tait lui-mme la victime dune guerre
quil na pas dcide. Ce thme est repris dans le
slogan : The rst casualty of war is innocence. On
protera de cette occasion pour rappeler aux lves
que parmi les trs nombreux soldats amricains
mobiliss pour ce conit, bien peu staient engags :
la plupart avaient t enrls contre leur volont et
taient tout fait inexpriments.
Les bras et le visage levs donnent aussi limpression
que le soldat implore le ciel de lui venir en aide, peuttre en abrgeant ses souffrances, ou en pardonnant
ses actes (ide renforce par le sang qui macule ses
mains et ses bras).
Les couleurs sont galement importantes ; la prdominance du vert, dans les vtements et la nature
exubrante, pourrait avoir deux signications :
- on pourrait y voir la dimension tragique du hros
touff, dpass, cras par une nature qui lui est
trangre et donc hostile (et qui a pos bien des
176
Manuel pp. 102-103
Manuel p. 102
problmes larme amricaine, force dadopter
des mthodes de combat adaptes au milieu) ;
- ou bien une forme de retour la nature, la terre,
au moment de mourir, conformment aux crits de
la Bible.

- mener ltude de la premire question
classe entire,
- demander aux lves de rchir la maison, aux questions 2, 3 et 4,
- de se prparer rendre compte du fruit de leur
rexion oralement partir de quelques notes,
- dtre prts confronter leur point de vue
avec ceux de leurs camarades.
Lexique
Les mots qui auraient pu poser des problmes dans
labsolu devraient, ce stade, tre connus des lves
puisque "platoon" apparat dans lencart Words de
la double-page prcdente et "casualty" dans les
encarts consacrs aux guerres.
Formes de travail
1. et 2. collectives ; 3. en groupes puis mise en commun avec toute la classe ; 4. collective.
Suggestion de mise en uvre

On peut choisir de faire observer lafche sans
le titre ni la phrase daccroche an de susciter
un peu plus de curiosit. On peut aussi ter un
morceau de la tagline pour demander aux lves
de la complter.
Ceci peut tre ralis facilement si vous utilisez la
version Premium du manuel numrique de Password
Terminale, grce la fonction caches , qui vous
permet de masquer les parties de limage que
vous souhaitez.
Si vous ne disposez pas de la version numrique
du manuel, vous pouvez vous-mme retravailler
limage : voir dossier TICE Didactiser un document
iconographique, p. 23 de ce guide.
Accs au sens
1. Les lves auront certainement des ractions

assez varies selon quils ont vu le lm ou non. On
pourra les laisser dire librement ce quils comprennent de lvnement photographi ici.
Productions possibles (formules par les lves lors

de la mise en uvre test et complexie avec laide
du professeur) :
The soldier seems desperate/hopeless/helpless: he may be asking God to send him back
home so he can see his family again.
He may be asking God to save his life/soul / for
salvation/forgiveness. He may regret what he
has done/be repentent: he may want to repent
for having killed people and made a bloodbath.
Maybe he feels guilty.
Hes kneeling on the ground and he looks
like Jesus Christ on the cross.
Hes kneeling in a Christ-like pose.
Hes portrayed as a martyr, as a victim of the
Vietnam war who is being sacriced by his country.
Since his outt is the same colour as the vegetation around him, it may be as if he were returning to
earth (Earth to earth, ashes to ashes, dust to dust).
4. On pourra informer les lves que la phrase du

The man in the foreground must be a soldier.
He seems hurt/wounded since theres blood on
his arms. It looks like hes being shot/gunned
down. We can distinguish/make out Vietnamese
soldiers behind him, in the background. Two of
them seem to be shooting at him.
We can see its a war lm poster / a poster
advertising a war lm because there are men
with military outts and equipment, the colour
green is dark, like military uniforms, and there
is blood on the soldiers arms.
Plus, the two Os of Platoon have been
replaced by the metal plates soldiers wear
around their necks / identication tags (commonly called dog tags). They indicate the soldiers details to be used if they are wounded or
killed (i.e. name, blood type, etc.). The presence
of the dogtags lays the emphasis on death, on
the soldiers sacrice.
On peut inviter les lves comparer cette afche

avec celle de The Fighting Sullivans : ils devraient
immdiatement remarquer que celle-ci est bien
plus sombre et tragique.
3. Linterprtation de la posture du soldat peut donner lieu des productions trs riches, dans le fond
comme dans la forme. On pourra inviter les lves
en discuter en petits groupes avant quun rapporteur
par groupe fasse part la classe des conclusions
qui auront t atteintes.
slogan est reprise de lexpression: The rst casualty

of war is truth.
Note culturelle
Les origines de la citation The rst casualty
of war is truth nont pas vraiment t claircies, et elle a t attribue successivement
plusieurs auteurs:
It has been attributed to both Arthur Ponsonby
in Falsehood in Wartime (1928): The rst casualty when war comes is truth. and US Senator
Hiram Johnson in a 1918 speech. However,
the true origin may be in the edition of The
Idler magazine from 11/11/1758 which says
...among the calamities of war may be jointly
numbered the diminution of the love of truth,
by the falsehoods which interest dictates and
credulity encourages.
Guardian.co.uk
This tagline may mean that when soldiers
go to war, they lose their innocence because:
- they are faced with the atrocities of war /
because they have to kill;
- they realize that some wars are fought for
reasons that may not be justied / not all wars
are good wars as was the second world war.
We must remember that most young American soldiers did not feel concerned by the
Vietnam war, lots of them were even opposed
to it. So they must have been even more traumatised by what they saw and did.
177
2. It wasnt my war
Manuel p. 102

Le document vido est un extrait de la scne nale
du lm First Blood (Rambo en France) avec Sylvester
Stallone. Ce lm adapt du roman de David Morrell
est considr comme un incontournable quand il sagit
dvoquer la production cinmatographique lies
la guerre du Vietnam. La volont du ralisateur et
de Sylvester Stallone fort des Oscars obtenus pour
le lm Rocky, quil avait crit, lacteur a eu le droit de
rcrire des parties du script de First Blood tait
de sintresser aux effets post-traumatiques de la
guerre sur les anciens combattants et la difcult de
ces derniers se rinsrer dans la socit.
On nhsitera pas exploiter les ides prconcues
que les lves ont gnralement propos du personnage de Rambo an de contrecarrer ce que ce
dernier reprsente dans limaginaire collectif. On
sinterrogera ainsi sur la notion de mythe . En
effet, les lves nont gnralement en tte que le
DVD Vido 8
guerrier hirsute, avec le fameux foulard rouge autour

de la tte. Lors de la mise en uvre test de ce
chapitre en classe, lorsquon a interrog les lves
propos de limage quils ont de Rambo, ils ont dit
quil tait arm (cest vrai) dune arme feu (cest
faux, il sagit dun couteau), quil tuait tout le monde
(cest faux, seulement pour se dfendre) et surtout,
quil se battait au Vietnam (cest faux, il revient du
Vietnam et tout le lm se passe dans la fort dune
petite bourgade des tats-Unis).
Limage propose dans le manuel est tire du
dbut du lm : John Rambo, vtran de la guerre
du Vietnam, arrive dans une bourgade de ltat de
Washington pour rendre visite au seul camarade
de son unit qui soit encore en vie. Mais il apprend
alors que celui-ci vient de mourir dun cancer caus
par les produits utiliss au combat lors de la guerre.
Rambo dcide alors de repartir. Dans notre image,
il fait de lauto-stop au bord de la route.
Script de la vido
Images
From the beginning to 055
Senior officer goes to the window and shows that
the building is surrounded by the police.
Rambo is quiet.
From 056 to 138
Rambo turns mad.
From 139 to 146

Rambo throws his weapon away.
From 147 to the end
Rambo collapses on the floor, and starts crying.
Soundtrack
look at them / out there // look at them // if you dont end this now /
they will kill you // is that what you want // its over / johnny // its
over //
nothing is over // nothing // you just dont turn it off //
it wasnt my war // you asked me / i didnt ask you // and i did what i
had to do to win / but somebody wouldnt let us win // and I come back
to the world / and i see all those maggots at the airport / protesting
me / spitting / calling me baby killer / and all kinds of vile crap //
who are they to protest me // who are they // unless theyve been
me / and been there / and know what the hell theyre yelling about //
it was a bad time for everyone / Rambo // its all in the past now //
for you // for me / civilian life is nothing // in the field / we had a
code of honor / you watch my back / i watch yours // back here /
theres nothing //
youre the last of an elite group / dont end it like this //
back there / i could fly a gunship / i could drive a tank // i was in
charge of million dollar equipment / back here / i cant even hold
a job parking cars //
oh god // where is everybody // i had a friend / twas dan forest //
there I had all these guys // back there i had all these great guys
// they were my friends // cause back here theres nothing //
Lexique
Formes de travail
Au premier abord, la scne est difcile comprendre

en raison de laccent que Stallone donne son personnage, mais en ralit, ce qui fait son intrt est
accessible aux lves grce laccent tonique. En
ce qui concerne le lexique, il y a quelques mots quil
faudra lucider, comme maggots ou spitting, mais ils
ne devraient pas gner la comprhension de la scne.
Individuelles puis collectives.
Pour faciliter laccs au sens du document on pourra

mener lactivit Intonation and contrast propose
dans les Language Tools , manuel p. 106 et Workbook
p. 41 en amont.
178
Accs au sens
Phase danticipation partir de la photo.
Le professeur pourra prvenir les lves que cette
photo est tire du lm, mais pas de la scne quils vont
voir. On demandera aux lves didentier lhomme qui
apparat sur la photo, en tant que personnage et en
tant quacteur, tche qui sera facilite par la lecture
de la lgende. Cependant, on peut dores et dj leur
demander ce quils pensent de limage de Rambo ici.
On pourra ensuite demander la classe dimaginer

ce que fait Rambo dans cette image.
He is probably waiting for a car to drive him
somewhere / hitchhiking.
He must be on his way to the war / to Vietnam,
because he looks worried/concerned.
He must be back from the war because he
seems sad/desperate.
1. On leur fera lire les quelques lignes en italiques

dans le manuel p.102 an quils comprennent o
se trouvent les personnages dans la scne du lm.
Puis, lissue du premier visionnage, on leur
demandera sils ont compris la situation globale.
Ils devraient tre en mesure de dire quelle est la
relation entre les deux hommes et dans les grandes
lignes, ce qui est arriv Rambo.
Lors dun deuxime visionnage, tout fait ncessaire au vu des difcults phonologiques, les lves
pourront essayer de noter les mots quils entendent
le mieux ( mots saillants ). videmment, les mots
saillants tant les mots porteurs de sens, cette
activit devrait aider les lves se concentrer sur
ce quils comprennent.
Il sera certainement ncessaire daider les lves
accder au sens en leur proposant de se concentrer
sur quelques passages importants :
it wasnt my war // you asked me / i didnt ask
you // and i did what i had to do to win / but
somebody wouldnt let us win // and I come
back to the world / and i see all those maggots
at the airport / protesting me / spitting / calling
me baby killer / and all kinds of vile crap // who
are they to protest me // who are they // unless
theyve been me / and been there / and know
what the hell theyre yelling about //
Les lves devraient comprendre les mots saillants ;
on leur demandera donc de les noter an de recrer
du sens autour : mme sils ne comprennent pas que
Rambo se fait cracher dessus, ils comprendront que
laccueil qui lui est rserv est agressif.
it was a bad time for everyone / Rambo // its all
in the past now //
for you // for me / civilian life is nothing // in
the eld / we had a code of honor / you watch
my back / i watch yours // back here / theres
nothing //
Ici, les mots saillants se trouvent tre soit des mots
transparents phontiquement (code, honor), soit
trs susceptibles dtre connus des lves (nothing
rpt).
back there / i could y a gunship / i could drive a

tank // i was in charge of million dollar equipment
/ back here / i cant even hold a job parking cars //
La n de la dernire phrase est difcile comprendre
parce que Sylvester Stallone crie. Mais cest intressant
parce que loccasion est offerte aux lves de recrer du
sens partir de ce quils auront compris de la phrase
prcdente : tant donn le contexte, le dsespoir
apparent de Rambo et le contraste entre back here et
back there (que les lves devraient pouvoir reprer),
et grce la transparence des mots tank, charge,
et million dollar equipment, ils vont pouvoir infrer
que les responsabilits qui taient celles de Rambo au
Vietnam ne sont plus, et quon ne lui accorde plus la
conance dont il bnciait pendant la guerre.
oh god // where is everybody // i had a friend
/ twas dan forest // I had all these guys // back
there i had all these great guys // they were my
friends // cause back here theres nothing //
L encore, certains passages sont difciles comprendre mais ne sont pas fondamentaux pour le sens
de la scne. Par ailleurs, certains mots importants sont
rpts (all, guys, friend(s), nothing).
Si lon dispose dune salle multimdia, on pourra
proposer aux lves de se mettre en groupes et
charger chaque groupe de se concentrer sur une
partie de la scne.
The older man seems to be Rambos superior.
But they seem to have a good relationship / they
seem to be close since the senior officer speaks
to him in a nice way.
Apparently, Rambo is back from the Vietnam
war, and is traumatized/distressed, probably
because he has seen/witnessed, maybe even
committed, shocking killings in Vietnam, and
because his soldier friends are dead.
On pourra ensuite leur proposer de relever la rplique qui leur parat rsumer le mieux la scne. Puis
quelques lves font part de leur choix la classe et
ceux qui ont choisi la mme citation se regroupent.
Chaque groupe dispose alors denviron 5 minutes
pour justier ses choix. Les diffrents groupes dbattront ensuite, chacun dfendant son choix de faon
approfondie et argumente.
Cette activit est intressante plusieurs gards :
- les lves vont se raccrocher ce quils ont compris
en sappuyant sur les syllabes accentues ;
- ils vont aussi saider de divers effets langagiers
comme linsistance, lintonation et la rptition pour
discriminer ce qui est vritablement pertinent ou
important de ce qui lest moins ;
179
- les lves vont eux-mmes analyser et expliquer

la scne du lm, et lchange permettra dtayer et
dapprofondir cette analyse avec des interventions
trs limites de lenseignant.
Quelques rpliques susceptibles dtre retenues
par les lves :
Nothing is over !
It wasnt my war ! (retenue comme titre du
document)
You asked me, I didnt ask you !
Back here, theres nothing !
Where is everybody ?
Puis, on pourra utiliser les arguments avancs par

les uns et les autres pour faire collectivement le point
sur les sentiments de Rambo. La scne tant trs
riche, on aidera les lves, partir de leurs hypothses, approfondir leur rexion et comprendre
la scne dans son contexte.
de jeunes soldats non forms et qui ne souhaitaient

pas y participer, et gnr dimportants mouvements
de protestation.
Lencart chronologique situ sur la page 102, Vietnam
war: US involvement, les aidera reprer les grandes
tapes de ce conit. Il faudra cependant les clairer
sur des aspects quils ignorent, comme le rle prpondrant jou par la tlvision dans la perception
de la guerre du Vietnam par le peuple amricain. En
effet, les citoyens quips dun tlviseur voyaient
quotidiennement des images dont certaines trs
crues de la guerre du Vietnam, communment
appele the rst television war car aucun conit
auparavant navait t couvert de cette manire-l.
On pourrait charger un groupe dlves de faire
quelques recherches en amont sur le sujet.
Le peuple percevait les combats de la Seconde
Guerre mondiale uniquement travers ce que la
presse en rapportait ; en termes dimages, il devait
se contenter de war comics plus ou moins ralistes
(deux couvertures sont proposes dans le Culture
File dans le manuel, p.113).
Rambo seems desperate/hopeless/helpess
for several reasons:
- all his friends died during the war,
- when he gets back to the USA, some people
are waiting for him at the airport, protesting/
demonstrating, spitting at him and insulting
him / calling him names.
- he cant nd a job in the USA / nobody will give
him a job in the USA whereas in Vietnam, he
was trusted / entrusted with expensive equipment and important responsibilities.
He feels misunderstood.
He cant adapt / has difficulty adapting to /
coping with society / civilian life.
In Vietnam, he was used to following orders
He felt important/useful/respectable and trustworthy in Vietnam since he could use/handle
/ was trusted with very expensive equipment.
However, back in the USA, he cant nd a job
because people dont trust him. Hes not considered as a hero but as a baby killer, as a murderer.
He is disillusioned.
2. Limage du soldat dans First Blood diffre singulirement de celle qui tait vhicule dans les pages prcdentes. Lanalyse de cette reprsentation va permettre
aux lves de comprendre le contexte de la guerre du
Vietnam, la raction du peuple amricain face au conit
et ceux qui y ont particip, et limportance cruciale
du mdia tlvisuel naissant dans cette perception.
Lorsque les lves comprennent laccueil rserv
Rambo laroport, il convient de leur demander sils
en connaissent les raisons. Forts des connaissances
acquises en cours dhistoire et de leur culture gnrale, ils savent gnralement de faon plus ou moins
prcise que la guerre du Vietnam a t un conit
fort controvers qui a divis lAmrique, mobilis
180
Note culturelle
On pourra lire ou faire lire aux lves une
dclaration prononce par Lyndon Johnson
devant la National Association of Broadcasters
le 1eravril 1968, juste aprs avoir annonc quil
ne se reprsenterait pas pour un deuxime
mandat prsidentiel :
As I sat in my office last evening, waiting to
speak, I thought of the many times each week
when television brings the war into the American home.
No one can say exactly what effect those vivid
scenes have on American opinion. Historians
must only guess at the effect that television
would have had during earlier conicts on the
future of this Nation.
Productions possibles propos de la reprsentation

du soldat dans cette scne :
The soldier is portrayed as a desperate but
sensitive man.
He seems traumatized / he seems to be suffering from PTSD (Post traumatic stress disorder).
The lm director portrays Vietnam veterans
as victims who did not ask to be part of the war
(You asked me, I didnt ask you.). They are
victims because they had to ght a war that they
didnt necessarily believe in, but also because
the American people blames them for it / lays
the blame on them.
Not only do they suffer from PTSD but they cant
even t in society anymore because theyre considered as cruel/heartless/pitiless/ruthless killers.
//
//
The emphasis is more on the soldiers anxiety
than on his bravery. Rambo seems to be suffering with/aching with anxiety, even angst.
3. On amnera les lves rchir la mise en

relation, ou la cohrence entre la reprsentation du
soldat dans First Blood et celle de lafche de Platoon.
Rambos distress illustrates the Platoon

tagline because he looks like/as if he will never
be able to forget what he saw and did in Vietnam.
Both soldiers are represented as victims of
this war. Both of them have been sacriced by
their country.
3. John Wayne Dies

Analyse du document
Ce texte est extrait du roman autobiographique de
Larry Heinemann, crivain amricain qui a combattu au Vietnam de 1967 1968. Dans ce passage,
il voque ce que reprsentait le clbre acteur de
westerns et de lms de guerre John Wayne pour
les soldats de la guerre du Vietnam. Ce texte dense
et trs riche offre une rexion particulirement
mouvante sur le hros et le mythe.
Lexique
Le texte comprend un nombre consquent de difcults lexicales mais quelques notes et une aide
dans le Workbook
p. 38-39 devraient aider les
lves comprendre et infrer. Les difcults
de comprhension seront aussi lies la syntaxe
complexe.
//
Maybe he wrote about him because he was a
soldier and John Wayne mostly played soldiers,
so he could identify with / relate to him.
2. On proposera aux lves qui le souhaitent de se

servir du Workbook an de progresser dans le texte
de faon plus accompagne.
Le professeur pourra attirer lattention des lves
sur la structure du texte, divis en trois paragraphes
dont les phrases liminaires annoncent ce qui va
tre trait :
Paragraphe 1 : In Vietnam...
Paragraphe 2 : John Waynes real name...
Paragraphe 3 : In the late spring of 1979...
Forme de travail
Individuelle puis mise en commun.
Accs au sens
1. Phase danticipation partir de lencart sur John

Wayne et du chapeau introducteur.
Maybe Larry Heinemann wrote about John
Wayne because he admired him, because he
was his favourite actor.
//
The narrator is Larry Heinmann. His text

is about the way John Wayne was seen by his
friends and himself during the Vietnam war.
And he talks about John Wayne, the actor, and
John Wayne, the lm hero.
Then he also talks about John Waynes death
and explains how he reacted.
3. Pour lanalyse des sentiments du narrateur et la

comprhension plus ne du texte, les lves trouveront de laide dans le Workbook
p. 39.
181
En cas de difcults
- John Wayne is written between inverted commas on line 10 but not on line 8.
- The one who is mentioned line 8 refers to the person whereas the one mentioned line 10 refers to
the lm character.
John Wayne
Colour 1
John Wayne
Colour 2
Nouns
used to define him
Marion Michael Morrison

man
husband
father
actor
pop culture legend

big-screen film persona
Hollywood character
Adjectives
used to define him
friendly
likeable
generous
gregarious
different
larger-than-life
- HIS FILMS: Pick out adjectives related to:

a specic example: patronizing and insulting, screamingly funny
the kind of lms he played in: testosterone-poisoned, cartoon-macho
- How did the narrator feel about John Wayne:
a. as a child?
quotes: pop culture legend, big-screen Technicolor postwar lm persona
deduce his feelings: he admired / looked up to him.
b. as a Vietnam war soldier?
quotes: to be called a John Wayne was a at-out insult, that big a fool, dumb
deduce his feelings: he despised him / looked down on him.
c. as a veteran?
Read again l. 17-23:
- what happens to John Wayne? John Wayne dies.
- how does the narrator react to this event? His reactions are physical: he starts laughing, quietly at
rst and then almost hysterically, so much so that he has to stop driving and tears come to his eyes.
Account for these reactions
When he was a child, Larry Heinemann used to admire / look up to John Wayne, he considered/
regarded him as a hero.
But when he went to Vietnam, he felt disappointed because he saw/witnessed the difference/gap/
discrepancy between John Waynes portrayal of a soldier on screen and the reality of the war.
He was then so disappointed and disillusioned that he became/got/turned/grew angry, disdainful/
scornful, and even spiteful/bitter.
He felt he had been lied to / been deceived/misled. So, like his fellow soldiers, he started to despise
/ look down on John Wayne.
The childhood hero became a myth.
And when he learned that John Wayne had died, Larry Heinemann started laughing hysterically,
as if he could not control himself. The reaction was mostly physical, which probably means it had a
strong impact on him.
3. Pour analyser la raction de Larry Heinemann,

les lves devront relire attentivement les dernires
lignes du texte. Sils narrivent pas trouver quels
lments mritent une attention particulire, ils
trouveront de laide dans le Workbook o on les
invite sinterroger sur la signication de nally,
and thank God.
182
When he learns that John Wayne has died,
his rst reaction is to laugh / he laughs so
much that tears come to his eyes / tears well up
//
//
His reaction is two-fold: he both feels some
sort of joy/happy surprise and sadness/relief.
Perhaps, he feels relieved/unburdened,
because:
- John Wayne reminded him of the Vietnam
war,
- John Waynes death symbolised the end of an
era of propaganda war lms,
- the hero who betrayed him is nally dead, so
he gets his revenge.
But he also cries because he feels John Wayne
is not supposed to die since he was a legend /
the little boy in him is sad because his childhood
hero is dead.
- Wayne was supposed to be an immortal
superhero but his death actually makes him
human. It questions/decs the myth. It demythologizes the actors.
- the burden he carried all his life is being lifted,
- this burden being the impossibility for the
narrator to be as good a soldier as / measure up
to / catch up to the lm hero he admired and
probably wanted to be like.
On pourra ventuellement proposer aux lves une

des dnitions du mythe que donne le WebsterMerriam :
A popular belief or tradition that has grown up around
something or someone; especially: one embodying
the ideals and institutions of a society or a segment
of society.
Vietnam war veterans may be seen as fallen

heroes because they did not benet from the
American peoples support. They suffered a
lot, both from the war they had to ght, but
also from many people (within and outside
America) s hostility.
The Vietnam war was such a controversial
conict that the soldiers who were sent there
were blamed for their commitment. They were
reproached for / with ghting a war that was not
theirs and for / with committing cruel killings
of civilians. So they were no longer regarded as
heroes, and the myth of the dedicated, respectable soldier started to be challenged/ invalidated.
The soldiers were downgraded from heroes
to traitors, they became fallen heroes.
Training task 3: A discussion board

Dans cette activit, il est demand llve de ragir
un extrait de commentaire dun spectateur sur un
forum de discussion. Ce travail peut tre ralis la
maison. Il conviendra de faire les recommandations
suivantes :
- qui dit forum de discussion ne veut pas dire
chat . Comme les lves sen seront aperus
la lecture des deux articles p.101, non seulement
il est interdit dutiliser un langage sms sur un
forum, mais beaucoup dinternautes apportent un
grand soin leurs publications ;
La comprhension du texte ncessitera que les

lves comprennent le fonctionnement des noms
utiliss comme :
- on leur rappellera la ncessit, an de convaincre,

dtre mesur et de justier ses arguments.
- adjectifs (cela fait lobjet dun rappel dans la partie

Grammar dans les Language Tools, manuel p.107 et
Workbook
p. 41)
Cette tche peut tre suivie, en classe, dune activit

de production crite en interaction : on demandera
alors aux lves dchanger leur production avec
un partenaire, puis chacun ragira la contribution
de lautre, comme si lon continuait lchange sur le
forum. Les lves peuvent alors, sils le souhaitent,
prtendre avoir un avis qui ntait pas le leur initialement an de ne pas se trouver oblig de rpter
ce quils ont dj crit dans leur contribution initiale.
- verbes (voir Language Tools Nouns as verbs:

verbing up!, manuel p.107)
Recap
lissue de cette double-page, les lves devraient
pouvoir sinterroger sur la dimension hroque
des soldats ayant combattu pendant la guerre du
Vietnam. On les aidera rcapituler lvolution de
la gure du soldat, du hros pendant la bonne
guerre du second conit mondial au soldat dchu,
au pariah du Vietnam. Puis on pourra leur demander
de dduire le sens de lexpression fallen heroes
(dans le titre de la double-page). On pourra leur
expliquer le double-sens de lexpression : ceux qui
sont tombs , morts au combat, et ceux qui sont
dchus de leur statut de hros.
Suggestions de mise en uvre :
Enn, il peut tre trs intressant galement de

demander celui qui a ragi de corriger et dvaluer la production de son partenaire, laquelle il
vient de rpondre. Pour ce faire : dterminer avec
les lves les critres dvaluation, leur demander
de formuler ce qui fait les forces et les faiblesses
de la production quils ont lue. Ils pourront ainsi
sapproprier les critres dvaluation de faon plus
profonde et durable.
183
Proposition de grille dvaluation labore avec les lves lors de la phase dexprimentation de la squence :
Traitement du sujet
Arguments
- nuancs
- pertinents
- cohrents
Structure du dveloppement
- organise
Etendue linguistique
- tendue du vocabulaire
- tendue grammaticale (complexit des structures)
Contrle linguistique
- contrle grammatical
- orthographe
The Gulf Wars: existential crisis
Manuel pp. 104-105
Same place, same story, different millennia

Analyse du document
Accs au sens
Ce texte a t rdig par Rupert Morgan, crivain

et critique de cinma britannique. Il y propose sa
vision de la reprsentation du soldat dans trois lms
portant sur les guerres du Golfe. Le texte met en
vidence le contraste entre le rle et donc la reprsentation lcran du soldat pendant la Seconde
Guerre mondiale et pendant les guerres du Golfe.
Lauteur souligne de quelle manire la nature de la
guerre inue sur le rle du soldat, mais rappelle
aussi quil y a des lments immuables, dant le
temps, dans la fonction des soldats et leur manire
de vivre leur engagement.
1. Phase danticipation partir du titre du texte

- procder la phase danticipation classe
entire,
- demander aux lves de prparer la maison les questions 2 et 3,
- dtre prts rendre compte oralement de ce
quils ont compris partir de quelques notes,
et de lintroduction. On demandera aux lves

danticiper le contenu possible. Ils auront peuttre besoin daide pour comprendre le sens du mot
millennia. On leur expliquera son origine latine ;
ils devraient donc pouvoir y reconnatre la racine
mille qui renvoie au chiffre quils connaissent
en franais, et infrer le sens du mot. Il faudra
aussi leur expliquer (en sappuyant peut-tre sur
les latinistes, sil y en a) que millennia est le
pluriel de millennium .
The author is a lm reviewer/movie critic so
this text must be a review.
It must be about more recent/contemporary
wars.
It must be about / deal with the Gulf Wars/
the Iraq wars.
The title indicates the author must believe
wars do not change, maybe soldiers themselves
do not change, whatever the time.
- lissue de ce compte rendu classe entire,

on pourra traiter collectivement la question 4.
Lexique
On ne trouvera pas de difcult majeure dans ce
texte.
Formes de travail
1. collective ; 2. et 3. individuelle avec prise de
notes, puis mise en commun avec toute la classe ;
4. collective.
184
On peut aussi inviter les lves ragir limage

assez spectaculaire extraite du lm de Kathryn Bigelow, The Hurt Locker. Ils pourront ainsi remarquer
que la tenue du soldat est totalement diffrente de
celles des soldats observs dans les pages prcdentes. Ils devineront certainement quelle est
la fonction du soldat dans cette photographie il
sagit dun dmineur et si certains ont vu le lm,
ils pourront tre chargs de valider ou dinvalider
les propositions des autres.
In the picture, we can see an explosion. And
someone is running away from it.
He's wearing a strange costume, something
big which can protect him from the explosion.
So maybe it is his job to deal with / prevent
explosions.
Film #1
Il semble intressant de ne pas leur donner lexpression bomb disposal expert puisquelle est mentionne dans le texte et quils pourront ainsi facilement
le reprer la lecture.
2. Pour travailler sur le texte, les lves pourront se

servir de leur Workbook
p. 40, o le texte est
reproduit. On pourra inviter les lves noter les
informations demandes sous forme de tableau :
Film #2
Film #3
title
Three Kings
Jarhead
The Hurt Locker
setting
The first Iraq War
The first Iraq War
The second Iraq War
plot
Three US soldiers try to steal

some gold that is said to
have been hidden by Saddam
Hussein in a village.
American soldiers are sent to

Iraq, but instead of fighting as
they thought they would, they
do not have much to do and
they come to suffer from a
kind of existential crisis.
The film is about a soldier

whose job is to defuse
bombs, and about his
eventual addiction to this
terrifying task.
tone
Satirical
Dramatic
Dramatic
Productions possibles des lves lors de la mise en

commun (on les invitera videmment contraster
les lms et consulter lencadr chronologique sur
les guerres du Golfe, manuel p. 105, si cela na pas
t fait auparavant) :
All the lms take place / are set in Iraq but
the rst two are about / deal with the rst Iraq
War whileThe Hurt Locker deals with the second one.
Jarhead and The Hurt Locker seem to be
rather dramatic while the reviewer says that
/ while Three Kings is said to be satirical, so it
must be funnier.
3. a. Les lves sont invits surligner les informations donnes par le texte propos
des soldats dans les diffrents lms ;
des soldats dans les diffrentes g
guerres
Writer and lm reviewer Rupert Morgan

reects on war and war lms.
On the 1st May, 1945, the German forces surrendered in Italy, effectively ending the Second World
War. The man they surrendered to was called
General Sir William Morgan. My grandfather. War
held no mystery for him hed known the absolute
horror of the trenches as a young man in World
War I and been a part of the Manhattan Project to

develop the atomic bomb. He had no regrets, sure
that what he had done was right and necessary,
and even said that some of the best days of his life
had been in the Somme, when the combat was the
most bloody and intense.
I do not know if todays soldiers have such
moral clarity about our contemporary wars. Certainly the cinematic representation of war has
changed from the heroic to the tragic, the entire
focus now being on amorality, trauma and the
dehumanisation of combatants.
The moral case for the rst Iraq War was
supposedly impeccable, having been backed by
a UN mandate, but Three Kings was a lm that
took a satirical view, effectively saying that it was
about economics and oil. George Clooney leads a
trio of American soldiers who try to steal a secret
cache of gold that Saddam Hussein is supposed
to have hidden in a nearby village. They are not
liberators or representatives of democracy and
freedom, but men motivated by personal gain
in which they represent the USA as a nation.
Three Kings seemed a modern take on war, but
in the past, of course, the promise of riches was
always a soldiers primary motive: victorious
armies plundered conquered lands. Clooney is
an American in Iraq, but he could be a Macedonian in Mesopotamia same place, same story,
different millennia.
//
185
Jarhead deals with the same war, but focuses

on the futility the soldiers feel because it is a combat
almost entirely fought from the air. The whole lm is
suffused with a sense of surreal absurdity the soldiers are in a featureless desert, with nobody to ght
and little sense of why they are there. They come to
suffer from a kind of existential crisis whereby they
are desperate to kill someone simply to feel their
lives have a purpose. Jarhead demonstrates the old
maxim that war is boredom punctuated by moments
of absolute terror, but it also says something important that it is easy to forget a man joins the army
because he wants to experience combat.
This is brilliantly evoked in Kathryn Bigelows
The Hurt Locker, which focuses on a bomb-disposal expert in Baghdad during the second Iraq War.
He is a man who knows that each day may be his
last and has learned to master his fear. An incredibly tense lm, it makes you understand how a
soldier can become addicted to the adrenalin that
only war can offer, and be unable to return to the
safety of civilian life.
I often ask myself if my grandfather, who I
knew as a humorous old man who spent his days
salmon shing in Scotland, would recognise the
soldiers in these lms. I suspect he would. But I
think hed say the wars are not good ones.
Rupert Morgan (2011)
b. Productions possibles lors de la mise en commun :

The author compares real-life soldiers, especially his grandfather, with on-screen soldiers.
The author's grandfather, Sir William Morgan, used to be a soldier during World War I.
He was absolutely certain that what he was
doing was right, that he was ghting for good
reasons. On the contrary, as the author says,
the soldiers who fought during the two Iraq
Wars may not be so sure about the legitimacy
of their job/duty.
Their job seems to have changed/evolved: it is
no longer only about ghting for your country,
but as in the second Iraq War, to advise and
assist, as The Hurt Locker shows by focusing
on bomb-disposal experts.
This change may be very disturbing/unsettling
to some soldiers, as the lm Jarhead seems
to illustrate. They have been trained to ght,
but when they nally arrive in Iraq, they have
nothing to do, so much so that they eventually
reach the point when they are desperate/eager
to kill simply to feel that they exist, that their
job means something, that their commitment
has not been in vain.
The author reminds us that, anyway, at the end
of the day, all soldiers have chosen/embraced
this career because they want to experience
combat. He also reminds the readers that even
//
186
//
if the plot of Three Kings may seem shocking
/ however shocking the plot of Three Kings
may seem, it has always been like this: armies
always hoped they could become richer by
defeating the enemies and conquering lands.
Hence the title of the text: Same place, same
story, different millennia.
The narrator and author of the text, Rupert
Morgan, is General Morgan's grandson.
So his review of the three Iraq War lms
contains a very personal dimension, which
probably makes it more subjective, but more
sensitive. We can feel a kind of nostalgia in the
writer's narrative.
Pour prparer le Recap, on amnera les lves

rcapituler encore une fois la reprsentation des
soldats dans ce texte. Comme pour la scne de First
Blood, on pourra leur demander de choisir la phrase
du texte qui leur semble la plus intressante pour
la problmatique du chapitre.
Il y a de fortes chances que la majorit des lves
propose Certainly the cinematic representation of
war has changed from the heroic to the tragic, the
entire focus now being on amorality, trauma and the
dehumanisation of combatants (lignes 10-12). Mais
dautres passages peuvent tre retenus et nalement, peu importe le choix des lves ds lors
quils tentent de largumenter. Le passage cit prcdemment prsente aussi lintrt dagir comme
une introduction au reste de larticle, et on pourra
demander aux lves de commenter les termes
forts : amorality, trauma, et dehumanisation, puis de
dire ce qui, dans le texte, semble illustrer ces ides.
Les lves disposeront alors de sufsamment de
matire pour pouvoir comprendre que les soldats
des lms portant sur les conits en Irak ne sont
plus reprsents comme des hros au sens o on
lentendait par le pass, que leur hrosme se situe
certainement un autre niveau, moins vident, mais
plus profond, et que le mythe du soldat hroque
qui est un modle pour son pays semble dnitivement enterr : il suft de voir la discrtion avec
laquelle les corps des soldats tombs au combat
sont aujourdhui rapatris aux tats-Unis. Il ny a
plus non plus dindividualisation des hros, on ne
prend plus le risque de mettre en avant un soldat
qui reprsenterait un idal dhrosme pour le pays.
Par ailleurs, les nouvelles technologies aidant,
leur action est davantage ou plus efcacement
surveille.
Tout ceci explique donc le mal-tre, la crise existentielle des soldats amricains, qui se battent pour
des pays et pour des raisons quils connaissent mal.
Le mythe seffondre, ou laisse place un nouveau

mythe, loign des hros de la petite enfance.
Suggestion dactivit supplmentaire
On peut, si on le souhaite et si on en a le temps, montrer aux lves les afches des lms cits dans le
texte, voire leur bande-annonce. Cela leur permettra
de mettre des images sur des mots, et ils pourront
encore mieux comprendre la porte de ce quils ont
lu. Les taglines des afches de Jarhead et de The
Hurt Locker, par exemple, sont fort intressantes,
respectivement :
Welcome to the suck: the suck est un terme argotique cr par les Marines probablement pendant
la guerre du Vietnam, ce qui semble dautant plus
logique que cette guerre a t la premire guerre
moderne o lenvironnement lui-mme a t un
vritable ennemi pour les soldats amricains tout
comme le dsert irakien.
You dont have to be a hero to do this job. But it
helps. Citation dautant plus intressante quelle
mentionne le mot qui se trouve au cur de ce chapitre sur les heroes.
Il est galement possible de demander quelques
lves seulement de regarder tout ceci chez eux et
de se prparer en rendre compte la classe.
Recap
Cette double-page tant la dernire du chapitre,
elle sera loccasion pour les lves de rcapituler
lvolution de la gure du soldat travers le temps.
The gure of the soldier in lms has changed/
evolved in time. The way soldiers are portrayed
reect how the wars they were ghting are
perceived.
World war 2 was the good war: there was
no debate about who the enemy was / why
Nazi Germany had to be fought and defeated.
During World War 2, soldiers were seen as
heroes, who were willing to sacrifice their
lives because they felt it was their duty /
they believed in democracy/ Americas role
as Europes saviour was called for / saluted.
That is why most the war films about that
war emphasize the heroic dimension of the
WW2 soldiers.
On the other hand, the Vietnam war was
highly controversial.
Many Americans did not see why America
should get involved in a conict that was not
theirs to solve.
A lot of American soldiers lost their lives
because of their inexperience / because the
military themselves did not know how to manage the war / America had military supremacy
but could not win the war Vietnam soldiers,
were no longer regarded as heroes. Many events
//
//
made the soldiers appear as ruthless killers.
But most Vietnam war lms portray them as
victims of the war, almost as much as the casualties. Indeed, in Platoon or in First Blood, they
appear as suffering, traumatised and damaged.
The portrayal of Gulf War soldiers is not
much different since the wars are almost as
contro-versial as the Vietnam war. So the soldiers dont feel very condent either, and the
wars have changed so much that soldiers can
no longer do their job as those who fought
earlier wars. It creates a feeling of uneasiness,
or uncertainty about their status and their
duty. Their job has become more ambiguous:
they feel they have to be there, but they cannot
really do anything.
This creates some kind of an existential crisis
in some of them who feel frustrated not to be
able to fulll their duty.
Training task 4: Preparing a review

CD 1 lve Piste 31
Dans cette activit dentranement la tche nale
de comprhension de loral, il est demand aux
lves dcouter un extrait dinterview du ralisateur
de Jarhead, Sam Mendes, et de prendre en notes ce
qui leur paratrait utile la rdaction dun article
critique propos du lm. Chacun devra ensuite
comparer ses notes avec celles de ses camarades
et justier ses choix. Ce travail peut tre ralis en
classe ou la maison en fonction du temps dont on
dispose. Il conviendra de faire les recommandations
suivantes :
il nest pas ncessaire de tout noter, mais seulement ce quils aimeraient pouvoir utiliser par la
suite dans un article critique (on rappellera alors les
diffrentes informations que comporte une review
voir Recap #1, dans ce guide p. 170) ;
parmi les propos du ralisateur, il y a dune part
ceux sur lesquels ils souhaiteront simplement sappuyer et dans ce cas, seule lide principale pourra
tre note ; et dautre part, il y a les propos quils
voudront citer rellement, et dans ce cas, ils devront
tre capables de les transcrire littralement.

a soldier goes to war and returns home / never
the same // that might be the one common experience of all wars / and yet / like ngerprints /
each soldiers war is uniquely his / or her own //
in the lm jarhead / a new marine recruit / takes
us on a torturous inner path / through a mine//
187
//
eld of his own / that begins as he sets down in
a burning oil eld in Saudi Arabia.
EXTRAIT DU FILM
director sam mendes adapted jarhead / from
the book by anthony swofford of the same name
/ a memoir of the rst gulf war / written from
the perspective of a twenty year old vet // sam
mendes joins us now // welcome //
thank you //
this soldier is a sniper // hes trained to be a
sniper / but he never shoots a gun // making a
lm about a sniper who never shoots a gun /
just from the get-go presents a certain kind
of challenge
// perverse / really / isnt it // i mean / i think
one of the attractions / strangely / of the book
/ for me / was that it in parts seems strange /
almost unadaptable / but somehow it threw up
/ through this very impressionistic / non-linear
approach / a series of incredibly memorable
images and details / that seemed to take me
unexpectedly closer to war / than any of the
more conventional
//
188
//
war memoirs that id read /and that was partly
because / the war itself was so utterly different
from any war before or since // i mean / its not
my kind of bloodyminded decision / to frustrate
an audience with a story about a sniper / who
doesnt re a shot // and this was a war / that
didnt allow the soldiers / in a way / to engage in
a conventional way / with the war that they were
presented // it was / in many ways / a story that
i read about / what happens if you train a man
to go to war / and then you take away the war //
you know / i would like to think / that what
were reaching for / in the movie / is a deeper
truth / which is about / why men seek that
experience / and / you know / how it will
always / however much you prepare yourself
for the reality / how it will always defy you //
and i think / of course / thats strangely at odds
/ with what an audience for a movie demands
/ which is some kind of catharsis // and so / a
lot of the lm is playing with the idea of the
catharsis that is / or isnt / available to the
audience / and the catharsis that is / or isnt /
available to the characters.
Ce qui pourrait tre intressant pour larticle
Les propos qui pourraient tre cits
the film is based on a novel

the film deals with a sniper who never actually shoots a
gun, thats the idea that appealed to the director
the director felt closer to the reality of war reading this
book than reading more conventional war novels because of
amazing images and details but also because of the nature
of the war
this was a war that didnt allow soldiers in a way

to engage in a conventional way with the war that
they were presented.
the director was interested in shooting a film about what

happens if a soldier who has been trained to fight eventually
cannot do his job in a conventional way
deep down, he also wanted to examine soldiers desire
to engage and fight, and the discrepancy between their
expectations and the reality
the director also wanted to play on the catharsis that the
audience usually wishes to experience, and that therefore is
not available
I would like to think that what were reaching for

in the movie is a deeper truth, which is about why
men seek that experience and, you know, how it
will always, however much you prepare yourself
for reality

Manuel p. 106-107
Nouns as verbs: verbing up!
Stressing derived adjectives
Cette activit va permettre aux lves de constater

encore une fois la trs grande souplesse de la langue
anglaise. Si la verbication du nom semble
avoir pris de lampleur avec lessor des nouvelles
technologies de la communication, ce phnomne
linguistique est cependant loin dtre nouveau :
Shakespeare sy tait lui-mme souvent prt,
comme lexemple tir de Richard II en tmoigne !
a. 1. c. ; 2. d. ; 3. a. ; 4. b.
b. skyping ; tweeting ; fedexing ; texting ; emailing ;
blogging ; friending
c. 1. Do not dare call me uncle or grace
2. Dont call me darling and stop telling me what
to do.
3. They knew they couldnt win as easily as John
Wayne.
a.
1.
power
powerful - res
pect res
pectful -
duty

dutiful
2.
pity
pitiless -
hope
hopeless -
power
powerless
3.
origin
original - e
motion e
motional
4.
real rea
listic -
hero her
oic -
poet po
etic
5.
rebel re
bellious -
courage cou
rageous
6.
Vietnam Vietna
mese - Ja
pan Japa
nese
b. The derived adjectives ending in -ful, -less, and
-al are stressed exactly like the nouns from which
they are derived.
On the contrary, the derived adjectives ending in
-ic, -(e/i)-ous and ese are stressed differently. The
sufxes are said to be stress-imposing.
4. He got his face as badly surgically-altered as

Michael Jackson.
5. She spent the whole party dancing like crazy /
showing off.
GRAMMAR
6. The champion glided off, rushing/pushing through

the crowd toward the start line.
Passive forms
7. Lexplication est donne dans lchange de rpliques.

On pourra, si on a le temps, montrer aux lves
lextrait de How I Met Your Mother qui correspond au
dialogue reproduit dans le manuel. On pourra aussi
demander ceux qui regardent la srie en version
originale de penser dautres exemples de verbing
up. Ils devraient pouvoir penser au fameux suit
up! de Barney !
d. ce stade, les lves devraient avoir compris que
la verbication du nom propre sert aussi induire
un effet humoristique, critique ou ironique. Ils devraient
donc sadonner cette activit avec un certain plaisir
et les rires que chaque proposition devrait engendrer
seront pour lenseignant la meilleure preuve de la
comprhension des lves. Leurs propositions seront
certainement trs lies lactualit.
Talking about heroes

a. 1. fearful ; 2. unreliable ; 3. sensitive ; 4. dull
b. Propositions dlves lors de la mise en uvre
test :
Bruce Willis (in the Die Hard movies): brave, strong,
but always in a detached/phlegmatic kind of way.
Eddie Murphy (in the Beverly Hills Cop movies): courageous, quick/swift, but also funny and rebellious.
Keanu Reeves (in the Matrix movies): bold, dependable and charismatic.
ste 3
Pi
2
WORDS
Observe
Dans les phrases o on trouve les formes verbales
surlignes en bleu, les sujets sont l'origine de
l'action (voix active).
Dans les phrases o on trouve les formes verbales
surlignes en rose, les sujets ne sont pas les sujets
rels mais les objets du verbe ; ils jouent simplement
le rle de sujets syntaxiques (voix passive).
Dans la phrase 1, le sujet rel du verbe portray
nest pas explicitement mentionn car il est sousentendu.
Dans la phrase 2, le sujet rel de receive est the
public introduit par la prposition by.
Dans la phrase 3, il s'agit d'une gnralit.
Dans tous les cas, l'nonciateur choisit la voix passive pour mettre en relief l'objet de l'action
g Prcis grammatical 19 p. 207-208
Practise
a. When the war against Iraq was declared, a lot
of soldiers were forced to ght even if they preferred
to stay home. Hundreds of civilians were injured
and most militaries were not considered as heroes.
b. A few years ago, the US government sent troops
to maintain peace in Afghanistan but many soldiers
were killed during the ghts. By 2013, the troops will
be brought back into the country.
189
c. When the Vietnam war ended in April 1975,

American soldiers were shipped back home. Some
were admired for their courage but many felt they
were regarded as losers.
During World War 2, many young men were forced
to quit their job and ght for their country.
A lot of women and children were killed/imprisoned/were made prisoners/were captured.
A lot of civilians were traumatised by the war.
Using nouns as adjectives

Observe
Les mots souligns sont des noms. Le mot noyau
pour chacun des groupes nominaux est lm ; il
apparat toujours en dernire position/ la n du
groupe nominal.
Workbook
Les autres mots souligns permettent de dterminer

le nom : ils jouent le rle dadjectifs et conformment la rgle de formation des groupes nominaux,
ceux qui touchent lessence mme du mot noyau
apparaissent au plus prs de ce dernier.
Practise
a. Scream is a 1996 Wes Craven horror lm.
b. As you like it is a 1599 Shakespeare comedy play.
c. Parachutes is a 2000 Coldplay rock music album.
d. Friends is a Warner Bros teenager TV program.
1. Animal Farm is a 1945 George Orwell science
ction novel.
2. Black and Blue is a 1976 Rolling Stones rock
music album.
3. Sweet Sixteen is a 2002 Ken Loach drama movie.
p. 41
Pi
Intonation and contrast
s te 3
Im not very fond of comedies but I really hate

musicals. Comedies can be funny, but musicals are
so boring...
How can you not like them? Every teenager likes
musicals!
Not every teenager! None of my friends like them!
None of your friends? How about me? I just adore
them! Theyre my favourite!
2. Even if the government has criticized this association, it will always be supported by the civilians.
3. Some civilians could have been killed (by the
soldiers) during the assault.
4. That exceptional movie has been awarded 5
Oscars (by the jury).
5. The novel is interpreted (by most reviewers) as
its authors commitment to peace.
Using nouns as adjectives
Really? How can you?
1. The Beatles were a twentieth century pop rock

band.
Because theyre not just about love and music,

theyre also about life and happiness!
2. Elvis Presley was a Memphis rock and roll solo

artist.
GRAMMAR
Passive forms
1. Young men were recruited by the US government
to defend the country against terrorist attacks.
3. Hugh Grant is an anti-hero character comedy

actor.
4. Sylvester Stallone is a Hollywood Rambo lm
series actor.
5. Mary Higgins Clark is a bestseller suspense
novels author.
Manuel pp. 108-109
STRATGIES
CD 1 lve piste 35
Comprendre un dialogue ou une discussion

Objectifs
Il sagit du deuxime volet des stratgies de comprhension de loral, qui doit permettre aux lves
de mieux saisir les messages transmis lors dun
dialogue ou dune discussion en sentranant :
190
- identier le contexte et mettre des hypothses

avant une coute (point ),
- faire des reprages et stocker en mmoire (points
et ),
mettre en relation les lments reprs pour

construire du sens (point
).
- soit en amont de ltude dun document, pour

prparer le transfert des stratgies,
- soit en aval, pour raliser ce transfert.
Analyse du document
Extrait dune mission radiophonique sur NPR, Talk
of the Nation, datant du 10 juillet 2008, dune dure
de 3 minutes et intitul Hollywood and the Pentagon.
Il se compose de deux parties :
- un monologue du journaliste, qui prsente le sujet
de lmission les rapports entre le Pentagone et
lindustrie cinmatographique et lillustre par deux
extraits de lms : Top Gun et In the Valley of Elah.
Il invite galement les auditeurs apporter leurs
propres tmoignages sur la guerre en Irak et sur
les lms quils ont vus (de 0 150) ;
- une interview du correspondant du Pentagone pour
le LA Times, Julian Barnes (de 150 la n).
Aprs la premire coute de lensemble du document, qui permettra aux lves de vrier leurs
premires hypothses, on leur demandera de se
concentrer sur linterview dont la transcription gure
ci-dessous.

our rst guest here with us / in studio three a /
is los angeles times pentagon correspondent /
julian barnes // welcome on the show //
thanks for having me //
youve just written an article / about the relationship between hollywood and the military
// describe it for a moment // there are actually
uniformed personnel / stationed / based in
hollywood / as liaisons to the industry //
thats absolutely right // they re sort of on a
nondescript office building / on wilshire boulevard / and theres a whole oor / and every
service has its own little office / the marines /
the air force / the army / the navy / and thats
where the officers / who vet the scripts sit / and
they sit on desks piled high with all these scripts
marked condential //
so / I mean / how much importance does the
military place on / sort of / you know / inuencing movies / say / you know / right now about
the iraq war //
well / the iraq war movies are very important
to the military / they dont like how the war is
being portrayed / particularly how the soldiers
are being portrayed // and many people / not
everyone / but many people within the military
/ think that / if they can persuade hollywood
to present a more nuance picture / of a soldier
who served in iraq / that would in fact affect the
public attitudes towards it //
On pourra envisager le travail sur cette double-page
diffrents moments de ltude du chapitre :
et Avant lcoute du document Talking about

lms, manuel p. 98, on pourra proposer aux lves,
en autonomie, cet entranement aux reprages,
lmission dhypothses et aux dductions. Demander aux lves une trace crite de cette prparation la maison ; on fera ensuite une rapide mise
en commun en classe, puis le professeur pourra
demander aux lves de poursuivre le travail en
proposant par exemple de rcouter le document,
soit en classe, soit en autonomie, et de rechercher
des justications qui valident ou non les hypothses
mises.
We think the document is about the army and
the cinema, and we think its right as we can
hear the words military, navy, air force
and the words lms, as well as lm clips.
We thought it is a conversation between a
member of the army and a lm director, but it
seems to be wrong: theres a long monologue to
start with, a journalist is speaking and introducing the topic of the programme, then there is a
dialogue/an interview between this journalist
and a man called Barnes. We understand he is
a Los Angeles Times Pentagon correspondent,
so he is a journalist too, and he is dealing with
military affairs.
et
Le travail de reprage et la mise en lien des
lments reprs effectu lors de ces deux points
pourra prcder ou suivre ltude du document It
wasnt my war, manuel p. 102. Il pourra aussi se
faire en autonomie et tre suivi dune rapide mise
en commun, en classe entire ou par groupe.
An de complter lentranement aux reprages, le
professeur pourra demander aux lves de poursuivre le travail lissue de la mise en commun, en
proposant par exemple :
de reprer en autonomie les mots rpts ou qui
appartiennent au mme champ lexical dans linterview (army, military, ofcers, personnel, uniformed,
soldiers / Hollywood, movies, scripts, picture, portray,
Iraq war movies, etc. / inuence, persuade, affect the
public attitudes, etc.) ;
de reprer les mots accentus : on pourra par
exemple distribuer la transcription et demander
aux lves de souligner les mots accentus en
autonomie ;
de reprer les pauses, les relances du journaliste
et de dduire ses intentions : il suggre que larme
exerce une inuence sur les lms produits concernant la guerre en Irak, et demande conrmation
son interlocuteur ;
191
de compenser ce quils nont pas compris

lcoute : par exemple, faire rcouter en classe
les deux extraits suivants :
1. : thats where the ofcers / who vet the scripts
sit / and they sit on desks piled high with all these
scripts marked condential //
2.: if they can persuade hollywood to present a
more nuance picture / of a soldier who served in
iraq / that would in fact affect the public attitudes
towards it //
Leur demander de dire ce quils ont compris (ofcers / scripts / marked condential /), puis de mettre
en lien ces lments (ex. : ofcers read the scripts
before the lm is shot / ofcers give their opinions
about the scripts / ofcers examine the script) ; la
suite de lmission de ces hypothses de sens, on
pourra donner lexpression vet the scripts, dont le
sens aura t lucid.
Procder de la mme faon avec le second extrait :
le mot affect, transparent lcrit, est peu audible
mais pourra tre infr.
VALUATIONS Corrigs
Task 1. Writing . . . . . . . . . . . . . . . .
10pts

Voir document photocopiable p. 197 de ce
guide.
Il sagit dune production crite dans laquelle
llve doit prsenter un lm de son choix et
donner son avis propos de cette uvre. Llve
devra se montrer clair et synthtique, formuler
une opinion et dvelopper des arguments. La tche
constituera ainsi un entranement supplmentaire
au sujet dargumentation propos dans lpreuve
dexpression crite du baccalaurat.
Manuel pp. 110-111
la maison :
1. choix du lm,
2. prise de notes sur le lm pour la review ;
En classe :
3. mise en forme des notes et rdaction de larticle
critique,
4. changes des productions entre lves et appariement productions et titres,
5. travail de correction des productions de camarades,
6. relecture et modications nales par les auteurs
de leur article critique.
tapes de la mise en uvre :
la maison
tape 1 : Choix du lm.
Forme de travail
Individuelle.

Llve devra choisir un lm de guerre dont il
rdigera une critique . Le choix mme du lm
est une activit pralable qui mettra llve sur la
voie de lanalyse et de largumentation. En fonction
de la classe et de ses intrts, on sera libre de
laisser llve :
- choisir un lm parmi ceux proposs dans le
manuel p. 110, et suggrs pour lintrt quils
reprsentent vis vis de la problmatique du
chapitre,
- choisir un lm de guerre amricain quil connait,
lun des critres de choix tant la reprsentation
du soldat et la rexion quelle inspire.
Cette deuxime proposition implique que lenseignant regarde les lms nalement choisis, ce
qui peut prendre du temps, mais est aussi une
occasion denrichir sa culture cinmatographique !
La mise en uvre pourrait donc sorganiser
comme suit.
192
Il sera ncessaire dannoncer cette tche aux

lves sufsamment longtemps lavance pour
quils aient le temps de regarder plusieurs lms
et de faire leur choix. On pourra les inviter regarder les bandes-annonces et les ches des lms
(sur IMDB) dans un premier temps pour faciliter
leur choix. On leur demandera aussi de jouer le
jeu et de ne pas chercher lire des reviews ou
autres discussions dj publies sur internet ne
serait-ce que pour exercer leur jugement critique
personnel et ne pas tre inuenc par des avis qui
ne sont pas les leurs. On leur demandera de regarder le lm en ayant en tte la problmatique du
chapitre an de sinterroger sur la reprsentation
des soldats amricains dans ce lm.
tape 2 : Prise de notes sur le lm pour la review.
Par ailleurs, leur travail prparatoire consistera
aussi anticiper et chercher le lexique dont ils
auront besoin pour parler de leur lm. Il est souhaitable que les lves se soient entrans au
pralable grce aux pages Stratgies (manuel
pp. 182-183) et quils aient revu attentivement la
structure des reviews (p. 101).
En classe
tape 3 : Mise en forme des notes et rdaction de
larticle critique.
Suggestions de mise en commun conscutive la
rdaction des articles.
tape 4 : changes des productions entre lves
et activit dappariement entre les productions
rdiges et des titres proposs. On peut demander
aux lves de ne jamais mentionner le titre du
lm choisi dans leur review (ils peuvent lappeler
my lm) an de proposer une tche de comprhension de lcrit en interaction, chacun lisant la
production dun autre camarade qui devra, lissu
de cette lecture, retrouver le titre du lm parmi
une liste de titres propose par llve auteur de
la critique.
tape 5 : Travail de correction des productions
(individuellement ou en groupes).
tape 6 : Relecture et modications nales par les
auteurs de leur article critique.
On peut alors proposer aux lves de publier leur
production sur, au choix :
Task 2. Listening . . . . . . . . . . . . . . . .
10pts
Document support et protocole :

Voir consignes dans le manuel p. 110.
CD 2 valuations piste 7
Il sagit dune tche dappariement. Les lves ont
leur disposition quatre critiques radiophoniques
de lms ; ils devront regarder les trois afches des
lms qui sont reproduites dans le manuel et identier quel lm correspond chaque critique. Lune
des critique correspond un lm dont lafche
napparat pas p.110.
Forme de travail
Individuelle.

Prvoir 30 minutes.
- un blog qui aura t cr par la classe (voir le

dossier TICE au dbut de ce guide, p. 00). Le travail
de correction et damlioration propos ci-dessus
prend alors tout son sens : il est ncessaire la
mise en ligne (qui pourra tre faite lextrieur de
la classe, depuis le domicile, le CDI, la bibliothque
municipale, etc.) ;
1. Anticipation partir des afches : les lves travaillent individuellement partir des afches an
danticiper ce dont parlent les lms. Il faudra les inviter bien regarder les afches et prendre des notes
pour anticiper le mieux possible ce quils risquent
dentendre : de quoi traite le lm ? De quelle guerre
sagit-il ? Quel genre de lm de guerre est-ce ?
- un blog ou un site existant (tel IMDB, avec lequel

les lves auront t familiariss). Il va de soi que
cette dernire tche est la plus authentique et la
plus naturelle de toutes, et celle qui fait donc le
plus sens. Chacun pourra publier son article, ou
bien la classe choisira un ou plusieurs articles
collectivement.
2. Trois coutes, chacune suivie dune pause

d1 minute.
3. Pendant les coutes et les pauses, llve peut
prendre des notes sur une feuille de brouillon.
4. Aprs la dernire coute, llve prend 2 min
pour associer limage et le son.
Corrigs et barme
Film poster
Film review n...
Full Metal Jacket
Pearl Harbor
Tropic Thunder
NB : La critique n3 correspond au lm Rules of

Engagement (2000)
Entirement correct : 10 pts
1 rponse correcte : 4 pts
Apparement totalement erron : 0 pt
193
VALUATIONS
Corrigs
Document support et protocole

CD 2 valuations piste 8
Il sagit dun extrait dune mission de radio
(source : NPR) qui fait intervenir plusieurs personnes sexprimant sur les liens entre le Pentagone
et Hollywood, travers les lms de guerre.
Forme de travail
Individuelle.
Passation
llve suivront les instructions ofcielles, conformment au B.O. du 24 novembre 2011. Prvoir 20 minutes.
Manuel p. 111
1. Communication du titre accompagnant lenregistrement : The Army and the lm industry, crire
au tableau.

au brouillon :
coute 3

minutes pour rendre compte de ce quil a compris
en franais sur sa copie.
brouillon quon sera vigilant de ne pas regarder avant davoir valu le compte-rendu an de
pouvoir observer le passage entre les notes et la
restitution et ainsi pouvoir mieux aider les lves qui
auraient des difcults dans cette preuve.

Les critres apparaissant en colonne de gauche sont ceux du B.O. du 24 novembre 2011, les lments proposs en face sont des lments de rponse possibles pour le document dont il est question ici.

The army and the lm industry
Niveau

prestation le nombre de points indiqu - sans
le fractionner en dcimales - de 0 10
lments de rponses possibles


Thme et interlocuteurs non mentionns.
1 pt
A1

malgr quelques mises en relation, ne lui ont
permis daccder qu une comprhension
superficielle ou partielle du document (en
particulier, les interlocuteurs nont pas t

Thme compris : les films de guerre larme
Sans que les deux thmes soient mis en relation.
Interlocuteurs : deux hommes : un journaliste +
un autre homme mais pas identifi comme tant
militaire.
3 pts
A2

interlocuteurs.
5 pts
194
Thme compris : Larme a un droit de regard sur

la production de films de guerre.
Interlocuteurs identifis: journaliste / responsable
de larme (nom non exigible).
Le candidat a su relever les points principaux de

la discussion (contexte, objet, interlocuteurs et,
ventuellement, conclusion de lchange).
B1
Points principaux relevs dans des phrases

claires.
contexte : mission de radio/ USA
objet : le rle que joue larme dans la production
des films de guerre ( = dcide quel film aura
soutien ou pas ). Et ce quimplique cette activit.
Larme lit les scripts des films et apporte son
aide certains films. Si le film apporte une image
positive de larme, cest une bonne chose
pour larme mais aussi pour le public car il est
important pour ce dernier davoir une bonne
image de son arme puisque celle-ci est son
arme.
interlocuteurs : journaliste + un responsable
qui fait partie dun service spcial de larme
consacr la production hollywoodienne.
conclusion de lchange : la production de films
de guerre et limage que ces derniers renvoient
de larme a un impact direct sur lenvie des
jeunes de sy enrler.
8 pts
B2
Le candidat a saisi et relev un nombre suffisant Plus de dtails:

les interlocuteurs : le responsable de larme
Comprhension fine.
est lieutenant-colonel. Il est le responsable du
service de lecture des films cest lui qui dcide
quels films peuvent bnficier du soutien de
larme.
Activits du service de liaison avec Hollywood
(1 des 3 lments suivants) :
- les activits dpendent du moment de lanne :
cela peut consister lire des scripts
- quand ils ne travaillent pas sur des films de
fiction, ils sintressent aux documentaires.
points de vue : Le journaliste est neutre mais
se fait le relais du public dont il dit quil serait
srement tonn dapprendre lexistence de
ce service de larme consacr la production
hollywoodienne.
Dtails sur le calendrier de travail du service
de larme dont il est question ici: de lautomne
jusquau printemps qui est la saison des pitchs et
des pisodes pilotes.
10 pts
atteint.
Note de llve sur 10 x 2 =
/20
Expression orale

Voir documents photocopiables p. 19 de ce guide.
195
Documents support et protocole :
ce guide.
Corrig et barme 60 points

( diviser par 6 pour obtenir la note sur 10)
ambitious, brave if there is a war, Id want to go. I

think Id make a good soldier, dont you? (l. 8) 3 pts
Father: delusional Well give them such a hiding
that they wont ever raise their sts to anyone. Be over
in a few months. (l. 22-23)
2 pts
Mother: worried She had her hand to her mouth. Oh,
dear God, she said softly, Oh, dear God. (l. 28) 2 pts
Texts 1 and 2
General topic: war

3 pts
Specic historical event: World War One (text 2, l. 2)
2 pts
Text 2
The specic
episode
Declaration of
war
the battle for

Turkeys Gallipoli
peninsula
Gallipoli battle
The place
(geographical
location)
People
involved in
this event
Britain
Gallipoli / Turkey
Family
(= civilians ) /
horse
Soldiers
b. 3 pts
Text 1 deals with an episode that happened before
the episode referred to in text 2.
Text 1
a. 2 pts
The nature of the text: ction / extract from a novel
b. 7 pts
The characters: Albert (1 pt), 15-year-old (1 pt) boy +
his (1 pt) horse (1 pt) Joey (1 pt) + his parents (2 pts)
c. 3 pts
Where they live exactly: on a farm
d. 9 pts
(1 pt par adjectif / 1 pt par justif)
Albert: naive But it wont affect us, not down there.
Well go on just the same. (l. 6)
or overcondent: God help the Germans if they
ever have to ght the two of us. (l. 11-12)
2 pts
CULTURE FILE
Dans la troisime dition du manuel, le texte de la
chanson Civil War, du groupe Guns NRoses, prsent
dans les deux ditions prcdentes, na malheureusement pas pu tre reproduit pour des questions
196
absence de justication ou justication errone)
a. The writer is commenting on a war lm.
a. 6 pts (1 pt par rponse)

Text 1
Text 2
Right or wrong? 8 pts (2 pts par rponse 0 pt si
Right. Citations possibles (une exigible) :

Add to the mix two of Australias greatest cinematic
talents, Mel Gibson and director Peter Weir (l. 7-8)
The nal battle is [...] the lms most harrowing
passage. (l. 11)
It seems that this has been the lms nal destination all along the horrors of war (l. 14-15)
b. The episode that is related is well known in the

entire English speaking world.
Wrong. Few Americans or anyone else, for that
matter know the story of the ANZAC invasion of
Gallipoli during World War I (l. 1-2)
c. Turkish soldiers fought along with Australian and
New Zealand soldiers.
Wrong. Turkish soldiers are dug into trenches that
run the length of the coastline, while the ANZAC forces
try to push through enemy lines. (l. 11-12)
d. The ANZAC did not suffer many losses.

Wrong. Despite massive casualties (l. 2-3)
6 pts
The authors opinion of the lm is: rather negative
Unfortunately halfway to greatness is mediocrity
and thats as far as Gallipoli gets. (l. 9-10)
it makes you wonder how it could have possibly
taken so long to get there. (l. 15-16)
Text 1 and 2
6 pts (3 pts par rponse)

Title for text 1: Imagining the war
Title for text 2: What war is really like
5 pts
Title for the set of documents:
b. Perceptions of war
pp. 112-113
de refus de droits. Ce texte et liconographie qui
laccompagnait ont t remplacs par Masters of
War, de Bob Dylan, et une photo du chanteur.
UNIT 5
valuations
Final task 1
War on screen
Name :
Class :
Writing
Manuel p. 110
Write a war film review

Niveau
A2
B1-1
Cohrence et cohsion
(4 pts)
Met en adquation sa
production avec le sujet
propos : prsente un film de
guerre.
Mais la reprsentation des
soldats a t occulte.
1 2 pts
Peut juxtaposer des

lments pour dcrire le film
choisi.
Emploie des connecteurs
lmentaires tels que and et
so toujours bon escient.
1 pt
Possde un rpertoire
lexical lmentaire.
A un contrle limit de
structures syntaxiques et de
formes grammaticales.
Propose une description

logique.
A tent dvoquer la
reprsentation des soldats
mme si celle-ci manque de
profondeur.
3 pts
Organise ses ides en

plusieurs paragraphes.
Emploie des connecteurs
lmentaires bon escient et
dautres plus complexes avec
quelques illogismes.
2 pts
La langue est
comprhensible malgr
des erreurs lmentaires
et un lexique encore limit.
Utilise correctement les

mots de substitution pour
viter les rptitions.
Produit des phrases
complexes.
3 pts
La langue est
comprhensible et
globalement correcte.
Le lexique est assez vari.
vite les rptitions.

Marque les tapes de
lexplication avec de
nombreux points de repre
chronologiques et logiques.
Utilise une langue correcte,

un lexique vari et prcis
qui sappuie sur les champs
lexicaux tudis au cours de
la squence et une syntaxe
globalement non fautive.
4 pts
7 8 pts
Respecte la structure type

dune critique de film.
B1-2
A expos clairement
B1-3
son opinion et analys la
reprsentation des soldats.
4 6 pts
B2
Recevabilit
linguistique
(8 pts)
Traitement du sujet
(8 pts)
Donne des dtails, fournit

des exemples prcis.
Ajoute des impressions
personnelles.
Lintrt du lecteur est
maintenu tout au long de la
lecture.
7 ou 8 pts
1 2 pts
3 4 pts
5 6 pts
197
UNIT 5
valuations
War on screen
Name:
Class:
Manuel p. 111
Text 1
The narrator is a horse.

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
It was some months later, on the way back from cutting the hay in Great Meadow along
the sunken leafy road that led up into the farmyard that Albert rst talked to us about
the war. His whistling stopped in mid-tune. Mother says theres likely to be a war, he
said sadly. I dont know what its about something about some old duke thats been
shot at somewhere. Cant think why that should matter to anyone, but she says we will
be in it all the same. But it wont affect us, not down there. Well go on just the same.
At fteen Im too young to go anyway well, thats what she said. But I tell you Joey, if
there is a war, Id want to go. I think Id make a good soldier, dont you? Look ne in a
uniform, wouldnt I? And Ive always wanted to march to the beat of a band. Can you
imagine that, Joey? If it comes to that, youd make a good war horse yourself, wouldnt
you, if you ride as well as you pull, and I know you will. Wed make quite a pair. God
help the Germans if they ever have to ght the two of us.
One hot summer evening, after a long and dusty day in the elds, I was deep into my
mash and oats1, with Albert still rubbing me down with straw and talking on about the
abundance of good straw theyd have for the winter months, and about how good the
wheat straw2 would be for the thatching3 they would be doing, when I heard his fathers
heavy steps coming across the yard toward us. He was calling out as he came. Mother,
he shouted. Mother, come out, Mother. It was his sane voice, his sober voice, and a
voice that held no fear for me. its war, Mother. Ive just heard it in the village. Postman
came in this afternoon with the news. The Germans have marched into Belgium. Its
certain for sure now. We declared war yesterday at eleven oclock. We are at war with
the Germans. Well give them such a hiding that they wont ever raise their sts to
anyone. Be over in a few months. Its always been the same. Just because the British
lions sleeping, they think hes dead. Well teach them a thing or two, Mother well
teach them a lesson theyll never forget.
Albert had stopped brushing me and dropped the straw on the ground. We moved over
toward the stable door. His mother was standing on the steps by the door of the farmhouse.
She had her hand to her mouth. Oh, dear God, she said softly, Oh, dear God.
Michael Morpurgo, War Horse (1982)
1. horse food - 2. paille - 3. toiture en chaume
Text 2
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Few Americans or anyone else, for that matter know the story of the ANZAC*
invasion of Gallipoli during World War I. Why should they? Despite massive casualties,
the battle for Turkeys Gallipoli peninsula had little effect on the outcome of the war.
But for the countries of Australia and New Zealand, whose young men composed the
ANZAC forces, the battle at Gallipoli is a xed point of national pride.
As such, Gallipoli forms the perfect backdrop for an Australian lm about the terrors of
war and the endurance of bravery and self-sacrice. Add to the mix two of Australias
greatest cinematic talents, Mel Gibson and director Peter Weir, and Gallipoli would seem
halfway to greatness before it even gets started. Unfortunately halfway to greatness is
mediocrity and thats as far as Gallipoli gets. []
The nal battle is [...] the lms most harrowing passage. Turkish soldiers are dug
into trenches that run the length of the coastline, while the ANZAC forces try to push
through enemy lines. The result is a grisly bloodbath that strikes at the ugliness and
arbitrariness of violence on such an enormous scale. It seems that this has been the
lms nal destination all along the horrors of war and it all happens so suddenly,
so clearly, that it makes you wonder how it could have possibly taken so long to get there.
www.contactmusic.com/movie-review/gallipoli
* Australian and New Zealand Army Corps
198
UNIT 5
valuations
War on screen
Name:
Class:
Read the texts carefully, then answer the questions

Texts 1 and 2
What general topic do both texts deal with? (answer with one word)
..........................................................................................................................................................
What specific historical event do they both refer to? Justify with one quote from
either text 1 or text 2.
..........................................................................................................................................................
a. Pick out details concerning the specific episode that is narrated in each text.
Text 1
Text 2
The specic episode
The place (geographical location)

People involved in
this event
b. Complete the following sentence about the chronological order of these episodes.
Text 1 deals with an episode that happened ................................... the episode referred to in text 2.
Text 1
Identify:
a. the nature of the text: .................................................................................................................
b. the characters present in the scene (name, relationships, age if given):
..........................................................................................................................................................
..........................................................................................................................................................
c. where they live exactly (do not give a geographical location): ....................................................
d. how they react to the event. Which adjectives would you use to describe each characters
feelings? Quote from the text to justify.
violent worried ambitious optimistic brave overcondent hopeless naive sceptical
..........................................................................................................................................................
..........................................................................................................................................................
..........................................................................................................................................................
..........................................................................................................................................................
..........................................................................................................................................................
..........................................................................................................................................................
Text 2
Read the following statements and decide if they are right or wrong. Justify your
answers with quotations from the text.
a. The writer is commenting on a war lm.
..........................................................................................................................................................
..........................................................................................................................................................
199
UNIT 5
valuations
War on screen
Name:
Class:
b. The episode that is related is well known in the entire English speaking world.
..........................................................................................................................................................
..........................................................................................................................................................
c. Turkish soldiers fought along with Australian and New Zealand soldiers.
..........................................................................................................................................................
..........................................................................................................................................................
d. The ANZAC did not suffer many losses.

..........................................................................................................................................................
..........................................................................................................................................................
Is the authors opinion of the film rather positive or negative? Quote from the text
to justify your answer.
..........................................................................................................................................................
..........................................................................................................................................................
..........................................................................................................................................................
Texts 1 and 2
Give a title to each text (tick only one answer for each text):
Text 1
Text 2
What war is really

like
The reasons for going
to war
The duty of
remembrance
Imagining the war
Political reection
on war
Choose a title for the set of documents among the following ones:
a. War on screen
d. War heroes
b. Perceptions of war
e. The horrors of war
c. The attraction of war
Expression crite
Imagine a continuation to text 1: The narrator is sold to the military as a war horse.
Describe the event and his thoughts and feelings.
Comment on an online forum.
A good war lm is a lm with heroes and heroines, not with men and women like you and me.
200
UNIT 6 Telecommuting
Notion : L'ide de progrs
Activit langagire dominante : comprhension de lcrit
Activit langagire associe : expression orale en continu

Le thme gnral
La notion Lide de progrs est aborde ici travers ltude du tltravail, une organisation du travail qui
permet aux salaris dexercer leur activit en dehors des locaux professionnels (domicile, tlcentre, ou
de manire nomade) grce aux technologies de linformation et de la communication (internet, tlphonie
mobile, vidoconfrence, etc.). Les questions qui seront ici explores sont les suivantes :
quelle place pour le tltravail, maintenant et dans les annes venir ?
le tltravail, un avantage conomique pour le salari et pour son employeur ?
le tltravail contribue-t-il lpanouissement personnel et professionnel ?
Les documents proposs ltude documentaires radiophoniques, extrait de confrence, tmoignage
personnel, article de presse, statistiques, essai but promotionnel, extrait littraire permettent dapprhender les aspects positifs et ngatifs du tltravail pour ses diffrents acteurs, tant sur le plan personnel
que professionnel, et pour lensemble de la socit.
En fin de parcours
valuation de la prise de parole en continu :
tche : faire la promotion du tltravail pour une campagne institutionnelle
tche : associer des textes promotionnels aux cibles auxquelles ils sadressent
valuation
comprhension dun extrait de discours,

expression orale sur Lide de progrs , en particulier sur les implications du progrs technologique
sur les conditions de travail, les modes de vie et les relations personnelles et sociales,
lecture et, comprhension de plusieurs documents (extrait de blog et article de journal),
rdaction dun commentaire personnel post sur internet et rdaction dun article de journal.
Parcours culturel
Parcours culturel
Documents
Notions :
Lide de progrs
Thme :
Le monde du travail et son volution ; les enjeux du
tltravail.
Problmatique
Le tltravail amliore-t-il nos conditions de vie ?
De nouvelles tendances pp. 116-117
A virtual company
Telecommute Nation
Des opportunits conomiques pp. 118-119
A new business universe

I got nothing done today
Des relations diffrentes pp. 120-121
Joshua Ferris, Then We Came to the End
201
Le tltravail convient-il tous ? pp. 122-123
Not commuting is driving me crazy

The pros and cons of telecommuting
Stratgies
pp. 126-127
Rupert Morgan, Choice of a lifestyle
Lauren Weisberger, The Devil Wears Prada
Activits langagires
Comprendre les
informations principales
et les arguments dans un
article de presse ou un
essai
Comprendre lexplicite et
saisir limplicite dans un
extrait de fiction
Prsenter loral les
enjeux du tltravail en
justifiant son opinion
laide darguments
Identifier les faits
principaux et les opinions
exprimes dans un extrait
vido ou une mission
radio
Tches dentranement
Stratgies
valuations nales
Discuter de
Comprendre un texte
lvolution des modalits
argumentatif
de travail en sappuyant
pp.126- 127
sur des titres de journaux
p. 117
Tche 1 :
Prendre part une
campagne radiophonique
ayant pour but de
promouvoir le tltravail
En tant quemploy,
convaincre son employeur
des avantages du travail
domicile
p. 119
Tche 2:
Associer des textes
promotionnels aux cibles
auxquelles ils sadressent
p. 128
Participer une
enqute en ligne en
rdigeant une rponse
la question : E-learning :
aimeriez vous tudier en
ligne ?
p. 121
Donner son opinion
tour de rle sur la motion :
Le tltravail devrait
tre un droit pour tous les
salaris
p. 123
valuation
p. 129
Outils de la langue
Words
Prononciation
Accentuation des arguments

At work p. 117
personnels p. 124
Statistics p. 117
Business p. 119
Work efficiency p. 119
Accentuation des quantits
Relationships p. 121
p. 124 et
p. 46
Feelings/personal reactions p. 123
Decision making p. 123
p. 46
Link words p. 124 et
Les mots finissant en -ity
p. 47
Grammaire
Les modaux p. 125 et
p. 47
g Prcis grammatical 13
p. 201-203
Make/have/let someone do sth
p. 125 et
p. 47

Lensemble du parcours permet aux lves dexplorer la thmatique en lien avec la notion Lide de progrs et
de sentraner la ralisation des tches nales dans les deux activits langagires plus spciquement vises.
mais substantielle de la thmatique, prparera galement les lves la tche prvue dans lactivit langagire dominante du chapitre.
202

en gris, les supports et activits incontournables ncessaires la ralisation de la tche nale en
comprhension de lcrit : Identify the target.
utilises pour les cours dapprofondissement prvus en option.
PAGES INTRODUCTIVES
pp. 114-115
New trends
A virtual company
p. 116
Telecommute Nation
p. 116
Recap
p. 117
Training task 1: Reading the news
p. 117
Economic opportunities
A new business universe
p. 118
I got nothing done today
P 119
p. 119
Recap
p. 119
Training task 2: Argue your case!
Different relationships
p. 120
Joshua Ferris, Office life
p. 121
Recap
p. 121
Training task 3: Have your say!
Does it suit everyone?

Not commuting is driving me crazy
p. 122
The pros and cons of telecommuting
p. 123
p. 123
Recap
p. 123
Training task 4: Circular debate

Language tools
pp. 124-125
Stratgies
pp. 126-127
p. 128
Final Task 1: Advocate telecommuting
p. 128
Final Task 2: Identify the target

valuations
p. 129
Fiche Recap
Recaps, et de faire la synthse en n de chapitre, de manire se prparer activement lpreuve orale
du baccalaurat :
203
PAGES INTRODUCTIVES
Objectifs
Amener les lves identier le thme et la problmatique du chapitre.
Faire merger les premires reprsentations des
lves sur le thme du tltravail et les faire ragir.
Analyse de la page douverture

Le titre permet didentier demble le thme du
chapitre. Il est possible que le terme commuter ne
soit pas connu des lves. Si cest le cas, on pourra
faire infrer telecommuting partir de la lgende de
la photographie.
Une photographie et sa lgende : un jeune homme
sur un ponton, par une journe ensoleille, en tenue
informelle, utilise son ordinateur. Diffrentes hypothses sont possibles quant son activit, hypothses que la lgende permettra de valider ou non.
Noter limportance de la prsence de lordinateur,
qui symbolise la rvolution des technologies de
linformation et de la communication. La photographie voque :
un sentiment de libert, les vacances,
la solitude,
le contact avec le monde extrieur grce aux nouvelles technologies,
le bien-tre,
elle nvoque pas lide que lon pourrait avoir du
mot travail .
La lgende de la photographie explicite lactivit du jeune homme ; elle permet galement de
dnir le terme telecommuting et dintroduire des
quivalents (teleworking, working outside an ofce,
working from home). Enn, elle donne un avis sur
cette forme de travail (enjoying), qui est ret dans
la photographie elle-mme.
Forme de travail
Collective.
Imprimer un rythme assez soutenu lors de ltude
de cette premire double-page an de ny consacrer
quune demi-sance.
Manuel pp. 114-115

Elements in
the picture
young man, suntanned, casually dressed
sitting by water (by
a lake, by the sea)
alone
using a laptop /
using IT (information technology)
Etc.
What
they evoke
holiday, leisure, free
time, feeling of freedom: doesnt seem
to be compelled to do
anything but what he
wants
being outdoors, open
space, quiet environment, enjoying solitude
may be surng on
the net: interacting
through e-mails /
facebooking / using
social networks
conveys an impression/a feeling
of well-being / being
healthy/relaxed/not
under stress/not
stress ridden

changes.
tape 2
Lecture de la lgende : attirer lattention des lves
sur le mot exibility et le faire expliciter (exible/
adaptable/adjustable/that you can change this
man is working but he can choose where and when
he wants to work, he is not obliged to work in an
ofce).
Demander ensuite de dnir telecommuter et telecommuting. Si les lves ne mentionnent pas spontanment les raisons pour lesquelles le tltravail
est possible, faire expliciter ces raisons.

La dcouverte progressive des diffrents lments de
la page (photographie dans un premier temps, puis
lgende et titres) permettra aux lves dmettre des
hypothses les plus larges possibles et dexploiter
au maximum la connotation de limage.
tape 1
Laisser les lves prendre connaissance de la
photographie et ragir. Si on dispose du manuel
numrique Premium, projeter la photographie
uniquement et demander : What can you see and
what does the picture evoke? ou bien What does
the picture evoke? Justify your answer with elements
from the picture.
204
The man is actually not on holiday but he is

working; he is not working from an office but
he is connected to the network of his employer
thanks to his laptop.
A telecommuter is someone who has a job but
doesnt have to travel/commute to the workplace/an office. He can choose to work where he
wants to work and he can choose when he wants
to work. He has a exible schedule. He can do his
job anywhere or even anytime without necessarily showing up at the workplace / he is able
//
//
to work remotely/from a remote location, i.e.
not in the same space as his co-workers or the
people he does business with.
It is possible for him to benet from such
exibility thanks to the internet and mobile
telephone / advances in technology/information technology.
The internet has made it possible/easier to
have online jobs.
Advanced technology such as broadband
phones, videoconferencing and wireless internet, makes it possible for people/enables people
to communicate with each other fast and effectively from the distance and at low cost.
tape 3
Demander aux lves leur avis sur le tltravail :
leur laisser une minute de rexion pour crire, sous
forme dun mot, une justication de leur opinion ce
sera une premire occasion de rebrasser le lexique
introduit en amont.
Faire un tour de table rapide en chargeant deux

ou trois lves de relever les avis pour prparer
un sondage : proportion des avis positifs/ngatifs
+ principales raisons voques. Les rsultats de
ce sondage pourront tre donns au dbut de la
sance suivante. Ils constitueront une base pour
connatre les a priori des lves sur le tltravail
et permettront de mesurer les avances en n de
parcours.
Well, for me its a very good opportunity
because you can organize your day as you want;
you certainly feel free.
Yes, it must be great, you are not compelled
to get up early for example.
I imagine it is very pleasant not to have to
travel to work everyday. It must be good for
traffic / it reduces traffic jams/congestions!
Im not quite sure Id like to telecommute. Itll
be too difficult for me to set to work.
New trends
Manuel pp. 116-117
Les documents proposs sur cette double-page permettront aux lves de se faire une premire ide des
enjeux du tltravail et de son volution.
1. A virtual company
Un extrait dune mission radiophonique de NPR
du 10 fvrier 2010 concernant limportance grandissante du tltravail aux USA.
La photographie reprsente Laura Schoppe, la
cratrice de la socit Fuentek, interviewe sur
son lieu de travail. On notera lordinateur et son
cran, lagenda, les combins tlphoniques, un
CD, une calculatrice et de rares lments imprims
sur le bureau, ainsi que la tenue vestimentaire,
plutt formelle, de Laura Schoppe. Rien dans la
photographie nindique que la scne se situe son
domicile, o un vritable lieu de travail a t cr.
Toutefois, le titre du document A virtual company,
ainsi que la source de lextrait, mis en relation avec
limage, permettront daiguiller les lves sur la
piste du tltravail.
Dans cet extrait on entendra trois intervenants : le
prsentateur en charge de lmission, le journaliste
Adam Hochberg et Laura Schoppe. Lmission se
Manuel p. 116
CD 1 lve piste 36
situe dans un contexte politique particulier : la

volont de ladministration Obama de dvelopper
davantage le tltravail pour permettre aux employs
de limiter leurs dplacements et de mieux quilibrer
leur vie familiale et professionnelle. Le journaliste
sappuie sur le tmoignage dune femme, chef dune
entreprise prive, Fuentek, pour montrer que le
tltravail prsente aussi des avantages pour les
employeurs :
nul besoin de bureaux pour cette entreprise de
40 personnes qui travaillent tous depuis leur domicile,
un service aux clients de qualit identique,
une flexibilit des horaires qui satisfait les
employs, de ce fait plus motivs.
Lexemple de Fuentek, mme sil est un peu atypique,
tmoigne dune tendance grandissante au sein des
petites et des grandes entreprises : le recours au
tltravail, au moins de manire partielle, pour
17 millions dAmricains.
205

Procder la phase danticipation et la
premire coute classe entire.
Sparer la classe en trois groupes et
demander chacun de faire la maison
le travail de reprage correspondant la
question 3.
Ensuite, se prparer reformuler oralement
ce quils ont compris.

telecommuting has become so mainstream /
that more than one third of companies / allow
now at least some employees to do their jobs
from home //
npr adam hochberg has discovered one company where employees do not have any choice
/ they must all work from home //
theres no longer anything novel about the way
laura schoppe does her job // each workday /
she goes upstairs to her office above the garage
/ of her rural north carolina home // and surrounded by her two dogs / zoey and bella /
she runs a multimillion-dollar company called
fuentek / that helps its clients commercialize
new technology //
while its not unusual nowadays / for people to
work from home / schoppes company takes the
idea to an extreme // all 40 people who work
for fuentek / are required to telecommute //
schoppe calls fuentek a virtual company / with
no traditional office at all //
when I started this in 2001 / right from the
start / the idea was that it was all going to be
home-based // to create a brick-and-mortar
environment really wouldnt have provided
any better service for our clients // and it really
wasnt what we were looking for //
schoppe says the decision was a practical one
at rst // when she founded the consulting
rm with just two other people / they saw no
need for formal office space // but as fuentek
grew / and began hiring engineers / technical
writers and others / she found they were more
productive / when they worked from home and
set their own schedules //
I think you get better loyalty // I think people
are / more willing to get the job done // and part
of that is that exibility / of allowing people to
have their personal life or their family life / be
primary //
completely office-less companies like fuentek
are rare / but working from home is growing
more popular at all kinds of employers // a
2008 survey by a consortium called World at
Work found that some 17 million americans
//
206
//
telecommuted at least part time // consultant
maryann perrin / who helps employers adopt exible work arrangements / says telecommuting has
become common in companies large and small //
Mme si laccent amricain est bien marqu, le dbit
des diffrents locuteurs nest pas rapide et le vocabulaire utile la comprhension aura t introduit lors
de ltude des pages douverture. De plus, les mmes
ides sont exprimes plusieurs fois de manire diffrente. An dviter que les lves ne butent sur les
noms propres on pourra leur demander de lire les
questions avant laudition du document.
Enn, si les lves ont des difcults comprendre
les donnes chiffres on pourra travailler en amont
dans les Language tools lactivit Stressing quantities, manuel p. 124.
Formes de travail
1. collective ; 2. en binmes puis collective ; 3. en
groupes ; 4. collective.
Accs au sens
1. Phase danticipation mener sur un mode alerte :

faire observer la source et limage et solliciter les
ractions,
faire mettre des hypothses sur le sens du titre
A virtual company ou simplement laisser sexprimer
lincomprhension de ce titre.
As we are going to listen to a radio programme
about telecommuting, I guess the woman is
working from home.
She has a lot of technological devices: a computer with a big screen, a keyboard...
Whats striking is that she is dressed as if she
was at work, I mean, in an office. What I mean
is that I imagine telecommuters wearing very
casual clothes.
Thats true but if she has a videoconference
with her boss she has to be properly dressed
just the same.
Well, I dont really know what virtual company
refers to, but I guess its because this company is
using information communication to work.
When something is virtual, it has no real existence, so I dont fully understand what a virtual
company really is. Only existing through the internet? selling people goods through the internet?
2. Premire coute du document dans son ensemble.

Lister aprs lcoute tout ce qui a t compris et
les ventuelles questions. Cette premire mise en
commun permettra aux lves de valider certaines

de leurs hypothses et den formuler de nouvelles.
En cas de difcults
Le professeur pourra prvoir une seconde
coute et sparer la classe en deux groupes :
- lun se concentrera sur les lments faisant
rfrence telecommuting,
- lautre sur les lments concernant Laura
Schoppe.
Demander alors aux lves de noter les donnes chiffres pendant lcoute.
More and more people telecommute, about 17
million, I think. Its not unusual to work from
home its getting more mainstream.
Some companies allow their employees to
telecommute, but I dont know how many and
Im not quite sure if they always work from home
or if they have to go to the office some days.
Laura Schoppe is the manager of Fuentek, she
has created this company. All the employees in
this company/rm work from home.
Laura has got an office above her garage. I
think she lives in North Carolina and she has
got dogs.
3. Classe spare en trois groupes, chargs chacun

de prlever diffrents indices. Dans la mesure o il
est plus simple de reprer des lments concrets
comme les caractristiques de Fuentek ou les donnes chiffres concernant lvolution du tltravail,
le professeur fera en sorte que les lves les moins
laise appartiennent au premier ou au troisime groupe.
la suite de lcoute, laisser les lves organiser
leurs notes en binmes lintrieur de chaque groupe
pendant 5 minutes maximum. Attirer leur attention
sur les dates si besoin. Puis mise en commun.
Fuentek
founded in 2001 by Laura Schoppe with two
other people
a multi-million dollar company, helps clients
sell communication technology
//
2. Telecommute Nation
Trois documents sont mis la disposition des lves
pour mieux saisir lvolution du tltravail aux tatsUnis.
//
in 2010: employs 40 people different kinds
of jobs, such as technical writers, engineers
All the employees have to/are required to do
their jobs from home/telecommute because
there is no office building
- thats why Laura Schoope says its a virtual
company
Advantages of telecommuting
employees work better: they are more productive and more loyal
they can organize their schedules as they want
telecommuting makes it possible for / enables
employees to have more time for their personal
and family life = it enables them to balance their
professional and personal life
its good for the employers too: they dont have
to buy an office building, to pay for electricity
and heating, so running the company is cheaper
the service for the clients is as good as in a
more traditional rm
Telecommuting trends
rare to have a rm like Fuentek where everyone works from home / without any office
building
more and more popular for employers:
- large and small companies let some of their
workers telecommute
- in 2008: 1/3 of companies allow employees
to telework
4. Laisser les lves ragir ce quils ont entendu.

Encourager linteraction.
Im quite surprised there can be some officeless companies.
I dont think obliging people to work from
home is a good thing.
I agree with you, I think they should be able
to choose.
It would be interesting to have an employees
point of view.
Id like to know if telecommuting is as popular
in France as in the United States.
Manuel p. 116
Une photographie du prsident Obama signant The
Telework Enhancement Act en dcembre 2010. Cette
loi vise dvelopper le tltravail chez les agents
de ltat an dviter la perte de productivit lors de
207
mauvaises conditions climatiques, le gaspillage de

carburant, et donner un signal favorable toutes les
entreprises prives.
Un graphique montrant lvolution du nombre
de tltravailleurs aux USA : on remarquera une
croissance constante entre 2000 et 2008, puis une
chute jusquen 2010, et la reprise enregistre aprs
la loi de dcembre 2010.
Un article de Derek Thomson publi dans The
Atlantic le 22 juillet 2011. Le journaliste cite bon
nombre de prvisions dmographiques annonant
lexplosion du tltravail dans les annes venir
mais il pointe une ralit : tous les employs, y compris lui-mme, qui pourraient travailler de chez eux
ne le font pas. Pourquoi ? La question est pose, le
reste du chapitre permettra aux lves de dcouvrir
des lments de rponse.
Lexique
Les ventuelles difcults lexicales ont volontairement t leves :
des synonymes et une illustration sont donns
sous forme de notes,
mise en jalons lors de ltude des pages introductives de mots tels que remotely,
infrence possible pour enhancement.
Formes de travail
1. en groupes ; 2. 3. et 4. collectives.
Accs au sens
1. Phase danticipation en deux temps partir de la

lgende de la photo et du chapeau de larticle.
Phase 1 - classe divise en deux :
groupe 1 lucide la photographie et reformule
la lgende,
2. Lecture de larticle. Limiter le temps pour inciter

les lves comprendre le plus possible dlments
sans sarrter sur ce quils ne comprennent pas. Mise
en commun pour un premier bilan de comprhension.
3. a. Deuxime lecture du document avec deux

tches de reprage. Veiller bien faire associer
donnes chiffres et dates.
Informations
concernant lauteur
Donnes statistiques
journalist works for

The Atlantic (l. 8-9)
works in Washington
D.C.
could telecommute but
prefers sitting at his desk
prefers walking half an
hour to and from work
even when its very hot,
than working from home
has no better equipment
at home than at his office
(no better internet only
needs a laptop)
asks why people who
can telecommute dont
in 2011: one in twenty

employed Americans
works consistently from
home
2008: it was predicted
that, in 2012, 75% of the
workforce would be
mobile
2009: it was predicted
that before 2020, there
would be four times more
telecommuters
half of the jobs available
can be done from home,
especially jobs involving
information technology
groupe 2 lecture du chapeau et reformulation.
En cas de difcults
Phase 2 : mise en commun et mise en relation.
Un guidage spcique est propos dans le

Workbook
p. 43.
Group 1
The photo dates back to December 2010 and
shows president Obama signing an Act or a law
about telecommuting. With this law it will be
easier for federal employees (= people who work
for federal agencies = government managed
offices) to do their jobs from home. In fact the
government want to develop telecommuting /
they want as many people as possible to telework.
Group 2
We can read that a lot of people 34 million
work from home, not all the time/not full
time, but at least some days/part time. What
is striking is that a lot more people have the
possibility to do so but dont and we dont know
if they will in the future.
//
208
//
It seems that all the employees are not really
willing to work from home / are reluctant to
telework even if they are allowed to do so.
The government had to promote telecommuting. Maybe they asked people to telecommute.
b. Mise en commun et explication du point de vue

du journaliste.
The journalist wants to point out that a lot of
people could do their jobs from home but dont.
A lot of predictions were made about the growth
of telecommuting and demographers thought
the number of telecommuters would increase
tremendously but the reality is a bit different.
The journalist shows that people who are
given the opportunity to telecommute dont,
like him. He wants to know/to explain why.
4. Laisser deux minutes pour prendre connaissance

du graphique et formuler des hypothses dexplication de lvolution.
What is striking is that telecommuting has
tremendously/dramatically increased between
2000 and 2008: from about 16 million telecommuters, it surged to 34 million. Then it dropped
by about 8 million.
Its worth mentioning that the Telework
Enhencement Act seems to have had an impact
/ to have triggered an upward trend.
It would be interesting to know why all the
people who can telework dont: maybe they
want to meet their co-workers, or it may be difficult for them to have a at or a house big enough
to set an office, or it may be an obstacle/a hindrance to career advancement
The employers may be reluctant to let them
work remotely: they may fear they might be
less productive.
Lors de la mise en commun, les lves pourront

complter la che Recap mise leur disposition
dans le Workbook
p. 50.
Training Task 1: Reading the news

Objectifs : tche dentranement la comprhension
des titres, chapeaux et sources darticles de journaux
et la formulation dhypothses sur leur contenu.
tapes et mise en uvre :
1. Premire phase individuelle, qui peut faire lobjet

dun travail en dehors de la classe, en autonomie.
Demander aux lves de se prparer expliquer
ce quils ont compris laide de quelques notes
(mots isols).
2. Travaux par groupes de quatre lves mener

en classe (10 min) :
a. les lves changent ce quils ont compris,
b. un tableau de ce type est propos chaque groupe
pour consigner le rsultat des changes et organiser
leurs trouvailles :
Conduire les activits grammaticales des Language

tools : Modals, manuel, p. 125. Possibilit dapprofondissement dans le Workbook
p. 47.
Place
Recap
...........
Activit de synthse qui permet de donner des

lments de rponse la problmatique de cette
double-page. Peut faire lobjet dune prparation la
maison et constituer une opportunit de rebrassage
du lexique manipul.
Telecommuting
trends
Possible contents
...........
...........
USA
Teleworking is becoming more and more
mainstream in the US, especially for jobs/positions in information technology.
Some large and small companies, as well as
the federal government, give their employees
the opportunity to work from home/remotely
at least part time.
Even if Information Technology has made it
possible for a large number of people to telecommute, telecommuting is not developing
as fast as it could: it had to be encouraged/
enhanced by a law.
Some people employers and employees
seem to be reluctant to telework.
Prsentation des rsultats lensemble de la classe.

Pour viter lassitude et rptitions, un groupe prsente ses conclusions, les autres compltent ou
rectient si besoin. Veiller ce que les lves sexpriment partir de notes, au volume de la voix ainsi
qu la prononciation.
209
Place
Trends
UK govt: want people to work from
home (Olympic Games)
UK
Telecommuting not very popular

IT employers not very keen on
telecommuting
India
A change: more and more let

employees telecommute
Increasing number of telecommuters

in large companies small
companies
Canada
USA
Contents
Why people should work from home (Olympic
Games: traffic congestion, lots of visitors, security
measures, not easy to go to work, delays)
Possible reasons: for employers/employees
Description of employers past attitudes and
motivations:
- fear employees might not meet deadlines/work less
- not easy to equip all employees with laptops
why things are changing examples of success:
- studies showing better productivity
- no need to have large offices
- no transportation delays
- better broadband connections
- employees demands
Reasons why the trend is different in large and small
companies:
- difficult for large companies to accommodate all
their employees
- employees in large companies may travel further to
get to work
Etc.
Dramatic increase, then slow down

Had to be promoted
Economic opportunities
Manuel pp. 118-119
Laccent est mis ici sur les bnces conomiques du tltravail, tant pour lemployeur que pour le salari.
1. A new business universe

Deux documents sont proposs.
Le logo de lentreprise en ligne ChefsLine, accompagn dune photographie mettant en scne un chef
cuisinier et son apprenti. Cette entreprise amricaine
base New York a t cre en 2006 : elle permet
des chefs cuisiniers renomms ainsi qu des
cuisiniers amateurs de partager leur savoir-faire
en ligne, depuis leur domicile, avec des cuisiniers
nophytes qui ont besoin daide et de conseils.
Un extrait du premier chapitre de Will Work from
Home: earn the cash without the commute, vritable
guide destin promouvoir le tltravail, en particulier auprs des femmes. Les auteures partent
du constat quil est difcile de concilier activit
professionnelle et vie personnelle et familiale harmonieuse. Elles expliquent quil est maintenant
210
Manuel p. 118
possible de faire autrement. En effet, la rvolution
des technologies de linformation, comparable au Big
Bang selon elles, a cr un nouvel environnement :
le march de lemploi sest globalis, les offres se
sont multiplies et diversies. Quali ou non, tout
un chacun peut maintenant trouver un travail lucratif
sans quitter son domicile, il suft de sauter le pas.
Lexique
Pas de vritables difcults. Seules quelques expressions peuvent poser problme mais leur sens doit
pouvoir tre infr.
Lorsque les lves se seront exprims sur ce quils
ont compris, le professeur pourra par exemple
demander : Can you nd in paragraph 2 an expression
which means that you are in charge, you have the
responsibility? ( l. 22, call the shots)
On pourra procder de la mme faon pour

grads (l. 38, graduates). Le sens de lexpression the
world is your oyster (l. 83) pourra poser problme
aux lves lors de la premire lecture mais sera
infrable en n dlucidation : If the world is your
oyster, then it is a place where you have the ability to
achieve anything you want.
//
This explosion enables people to nd a job
more easily but it also changes their working
conditions: they can work from home now, they
dont have to go to the workplace.
This explosion also impacts their way of life:
they can organize their day as they want.
Formes de travail
1. et 2. en binmes puis collective ; 3. a. collective,
b. individuelle puis collective, c. collective ; 4. individuelle puis collective.
3. Nouvelle lecture du texte pour des reprages

plus prcis.
a. Laisser les lves exprimer leurs hypothses de

Accs au sens
sens et les justier.
1. En deux temps :
donner deux minutes pour prendre connaissance

de la publicit et mmoriser le plus dinformations
possible ; puis manuels ferms, faire restituer le plus
grand nombre dlments compris, noter au tableau ;
deuxime lecture possible pour complter les
informations et justier les explications, puis lecture
du titre et mise en relation avec la publicit.
An ad for ChefsLine chefs are good/professional/renowned cooks. We can see a photo
representing two cooks, one (the experienced
one) seems to be showing the other (who must
be learning/must be an apprentice) how to cook.
ChefsLine is an online rm that enables
people to get advice from professional cooks.
A new business universe probably refers to
new opportunities to get a job in any part of the
world/worldwide because you can advise people
from anyplace in the world, I mean, if someone
wants to know how to cook, say pastry, they can
ask a French Chef and he/she can answer. Just
one thing, they have to speak the same language!
The revolution might refer to the technological revolution, I mean IT revolution with
the internet, which enables people to work
from home. We can read line 59 that the
internet has revolutionized the way we work
and live.
I see what you mean but in the paragraph we
are studying theres no reference to IT but a
reference to the revolution of people staying
at home.
Id tend to think that the revolution refers
to people working from home: they are not
only doing the housework or looking after
their children, as they perhaps used to, they
now have a professional activity. They are also
skilled and they can have a job with responsibilities as they can be executives.
b. Identication de lopinion des auteures et reprages

des arguments et exemples qui justient lopinion.
En cas de difcults
2. Lecture silencieuse suivie dun travail en binmes :

1er temps : change des lments compris,
2e temps : les lves se concentrent plus particulirement sur le Big Bang et ses consquences.

Workbook
pp. 44-45.
On prendra soin lors de la mise en commun classe

entire de faire dnir le Big Bang.

Help
- Identify who the following words refer to:
we (in paragraphes 1 and 2) > people with
a job
you (l. 46 and 77) > readers
According to scientists, the Big Bang is the

explosion that marked the origin of the universe.
Here the Big Bang does not refer to science
but to business/economy. It is a new economic beginning / Its possible to make money
everywhere in the world, its like an explosion
of job opportunities.
//
I (l. 48) > a person who is interested in telecommuting/ a person the authors have met
we (l. 50) > the authors T. Johnson and R.
Spitzman
our (l. 52) > the authors answer
- Focus on lines 52-57, paying attention to
adjectives. What do they have in common?
> They are all very positive
//
211
//
- In paragraphs 3, 4, 6, 7, nd words with a
positive meaning. What do you notice?
> Words referring to people working from
home are very positive
> Words referring to the new business universe are very positive too, as well as words
referring to the new jobs / the new job market.
All the words are positive.
- Conclude about the writersopinion on
teleworking.
> Obviously in favour of teleworking/advocating teleworking.
//
life and personal or family life. For example it
makes it possible for parents to attend their
kids baseball match.
There are more job offers available, as the
job market opportunities is globalized. As a
result/consequently its easier to get a job and
earn money.
It also creates new types of jobs, like culinary
consultants.
c. Conclusion sur la fonction du texte.

En cas de difcults
Pour faciliter la recherche des arguments et des

exemples, amener les lves trouver dans le texte
des rponses la question : Why do the authors think
telecommuting is a good thing? et les organiser
dans un tableau comme ci-dessous :
Arguments
l. 20: choice to set our own
schedules, to be our own
boss and call the shots
l. 26: an enormous moneymaking opportunity
l. 29: its changing the way
many women and men work
and live
l. 58: created an
alternative job market, new
job descriptions and new
opportunities
Exemples
l. 1 to 11
l. 1 to 11
l. 63 to 76: ChefsLine
example
Mise en commun.
The two writers think telecommuting is a very
good thing/the solution to many problems / a
panacea because it enables people to organize
their time as they want / to balance professional
//
2. I got nothing done today

Trois documents sont mis la disposition des
lves pour illustrer le titre I got nothing done today.
Une photographie montrant un jeune employ de
bureau/cadre/chef dentreprise, jonglant avec son
tlphone, son agenda et ses dossiers. Le sentiment
de stress qui se dgage de limage est renforc par
la pendule sur le mur.
212

Workbook
pp. 44-45.
Help
Focus on the last paragraph (l. 77-84).
Rephrase in your own words the following
sentences:
l. 78 > Do you want to explore to days workfrom-home job market? / Do you want to have
a look at telecommute job opportunities?
l. 81 > We think you should take your computer/laptop and nd the job that suits you.
Now, thanks to IT revolution you have access
to job opportunities everywhere in the world,
for example...
You can work from home with people from
all around the world.
You have the opportunity to achieve anything
you want, anywhere in the world.
lissu de ce travail daccs au sens on pourra

conduire lactivit lexicale Describing changes,
manuel p. 124.
Manuel p. 119
CD 1 lve piste 37
Un extrait dune confrence donne par un jeune

web entrepreneur, Jason Fried. Dans cet extrait il
dnonce le manque defcacit au travail dans un
bureau, o les employs sont sans cesse interrompus, happs par diverses tches (runions,
confrences tlphoniques, etc.), incapables de
vritablement produire. Il souligne galement la
ncessit de plages horaires de travail ininterrompues pour rchir et crer.
Les rsultats dun sondage ralis auprs de

chefs dentreprises ayant opt pour le tltravail,
qui vise identier les bnces de cette organisation selon eux. On notera que pour la majorit, le
tltravail signie une meilleure productivit ; ils
pensent galement pour un bon tiers dentre eux
que le tltravail offre la possibilit demployer
du personnel plus quali et de maintenir le personnel au sein de lentreprise ; enn, dans une
moindre proportion, ils sont sensibles aux bnces sanitaires et environnementaux quimplique
le tltravail.
//
/ how many people here / have ever had
eighthours for themselves at the office // about
seven hours / six / ve / four / when was the last
time when you had three hours work for yourself at the office / two hours/ one maybe // very
very few people actually have long stretches of
time at an office / and this is why people choose
to do work at home //

businesses are spending all this money on this
place called the office / and theyre making
people go to it all the time / if people dont do
work in the office // (applause) what is that
about // (applause) why is that // why is that
happening // and what you nd out/is that if
you dig down a bit deeper / you nd out that
people // this is what happens / people go to
work / and theyre basically trading in their
workday / for a series of work moments //
thats what happens in the office // you dont
have a workday anymore / you work moments
/its like the front door of the office / is like a
cuisinart / any walking and your days shredded
to bits / cause you are fty minutes here / and
thirty minutes there / and then something else
happens / and youre pulled off your work /
and youve got to do something else / and then
twenty minutes / and its lunch / and youve
got something else to do / and you have fteen
minutes and someone calls you aside / and
asks you this question / and before you know
its like ve pm / right / and you look back in
your day and you realize that / you didnt get
anything done // right / and weve all been
through this / you went through it yesterday /
and the day before / and the day before that //
and you look back in your day and you like / I
got nothing done today // I was at work / I sat
at my desk / I used my expensive computer / I
used the software they told me to use / I went
to this meeting that I was asked to go to / I did
these conference calls / I did all the stuff / but
I didnt actually do anything // I just did tasks
/ I didnt get real meaningful work done //
and what you nd is / with especially creative
people / designers / programmers / writers /
engineers / thinkers / that people really need
long stretches of uninterrupted time / to get
something done // you cannot ask somebody
to be creative in fteen minutes / and really
think about a problem / you may have a quick
idea / but to be in deep thought about a problem
/ really consider a problem carefully / you really
need long stretches of uninterrupted time //
and even if a workday is typically eight hours
//
Procder la phase danticipation (question

1), et la premire coute pour vrier les
hypothses (question 2), classe entire.
Demander aux lves :
- de faire la maison les reprages correspondant la question 3 et de se prparer
reformuler oralement ce quils ont compris,
- dtudier individuellement les rsultats du
sondage en prenant quelques notes (question
4), de manire pouvoir les comparer au point
de vue de Jason Fried collectivement.
Lextrait est facile daccs car le confrencier
sadresse son auditoire et an de bien se faire
comprendre, il nhsite pas se rpter et donner
de nombreux exemples. Certains dtails pourront
chapper la comprhension des lves, comme
cuisinart, mais lide est explicite dune autre faon
(shredded to bits) qui, elle, est aisment comprhensible partir de your day to bits. Si le mot
cuisinart na pas t isol, on pourra lintroduire
aprs explicitation de lide par les lves.
On pourra conduire lactivit des Language tools
Stressing personal arguments, manuel p. 124,
en amont de laccs au sens de ce document de
manire sensibiliser les lves au phnomne
daccentuation.
Formes de travail
1. collective ; 2. en binmes puis collective ; 3. a.
individuelle, possible la maison, b. collective ; 4.
en binmes puis collective.
Accs au sens
1. Attirer lattention des lves sur le titre et faire

mettre des hypothses sur lidentit du I dans la
phrase I got nothing done today. Accueillir toutes
les hypothses : ce stade, on peut penser quils
sagit de quelquun qui travaille de son domicile
et qui est constamment drang ou bien, partir
de la photo et penser quil sagit de quelquun qui
travaille au bureau et que le tlphone drange
tout le temps.
213
4. Sassurer que les lves ont bien compris lenjeu

du sondage.
Well, I think a telecommuter/someone working from home might be complaining about

doing no work. He/She might have been bothered by the children, or someone might have
popped in and made him/her do something he/
she hadnt planned to do, or there might have
been a power cut...
If we look at the photograph we can also
guess that this man has not been able to have/
get much work done. He was working on
his computer when the phone rang / he had
a phone call / he was interrupted by a phone
call.
2. Premire coute et vrication des hypothses.

On pourra se contenter ce stade dobtenir une
identication de I.
Jason Fried says I got nothing done today
when he talks about his work in the office. So
I clearly refers to the office worker who got
nothing done at the office.
3. a. Proposer une ou deux nouvelles coutes de

lextrait selon le degr daisance des lves, avec
prise de notes pour procder aux reprages demands. Laisser un temps en binmes pour confronter
et organiser les lments compris.
b. Productions possibles :
Jason Fried thinks its impossible to work at
the office efficiently.
He describes a day at the office as a succession
of short work moments, workers are always
interrupted: for instance, someone walks in
and asks for something, then the boss makes
him attend a meeting, then he has a conference
call. It seems impossible for him to focus on
his work, to have long uninterrupted stretch
of time. His work day is cut into small pieces /
shredded to bits, as if it was passed through a
Cuisinart mincing machine / a food processor.
Employers feel very frustrated because they
have been doing things/tasks such as sitting at
their desks, answering calls, attending meetings
but they have not been producing anything.
Employers are dissatised with/resent their
working conditions because they cant concentrate, think properly or be creative.
According to Jason Fried these office-working
conditions explain why people prefer to work
from home. As office workers, cant work properly/be focused at the office, they choose to
telecommute.
214
Company managers have been polled/have
been asked questions about the benets of
telecommuting.
What is striking is that most of them think
teleworkers are more productive/efficient when
they work from home than when they work at the
workplace. They seem to agree with Jason Fried.
They also point out that teleworking enables them
to hire qualied employees and to prevent them
from leaving the company / make them stay with
the company / to improve employee retention.
Companies also benet from teleworking as
it seems employees are healthier when they
work from home. They are probably less tired
because they dont have to commute and they
are less stressed.
Besides they are aware telecommuting is good
for the environment / green.
On pourra conduire dans la foule les activits

grammaticales Make/have/let someone do sth, manuel
p. 125 et Workbook
p. 47.
Recap
On pourra utilement mener lactivit Link words,

dans le Workbook
p. 46, en amont.
Activit orale qui pourra tre faite la maison et prparera efcacement la tche dentranement qui suit.
Lors de la mise en commun, les lves pourront
complter la che Recap mise leur disposition
dans le Workbook
p. 50.
Teleworking has an economic impact for the
workers: they can nd a job more easily/ they
have more job opportunities/ and therefore
they can earn money/earn a living.
Besides teleworkers dont have to go to the
workplace /commute, so they dont spend
money on transports, they can save money.
Telecommuting also benets company managers: they dont have to pay for big office buildings, so it cuts costs; their workers are more
productive/work more efficiently,
As workers are happy/satised with their
jobs they are not willing to change jobs/prone
to changing jobs, so the employee retention is
better / there is not a high turnover. In terms of
productivity its also very good for the company.
We can also say that teleworking benets
society as a whole: as/since there are more job
opportunities, fewer people are unemployed,
so they can spend more money buying goods
and thus they contribute to economic growth.
Training Task 2: Argue your case!

Objectifs : jeu de rle conduisant la production
dun discours argumentatif : lemploy essaie de
convaincre son employeur, il va donc faire valoir les
bnces du tltravail pour lemployeur.
tapes et mise en uvre : mener en deux temps.
1. Travail de groupes de trois quatre lves pour
rechercher trois arguments et les illustrer dexemples.
2. Travail individuel : enregistrement sur MP3 donn
au professeur. On rappellera aux lves limportance
de laccentuation de phrase pour prsenter ses
arguments.
Un travail dinter-valuation peut tre propos : les

lves de chaque groupe schangent leurs productions et valuent la qualit des arguments et des
exemples, ainsi que la faon de mettre en valeur les
arguments personnels.
Labo de langues : pour les enseignants qui disposent
du Labo de langues.
de ce guide.
Different relationships
Manuel pp. 120-121
Les documents proposs sur cette double-page vont permettre aux lves de confronter les implications
du travail domicile et dans lentreprise en termes de relations sociales et personnelles.
Office life
Trois types de documents sont proposs aux lves
pour aborder ce troisime aspect de la problmatique, savoir limpact du tltravail sur les relations
personnelles et sociales.
Un extrait du roman Then We came to the End
de Joshua Ferris, une satire sur la vie de bureau.
Le narrateur nous plonge dans cet univers o il
napparat jamais de manire individuelle mais sous
le pronom We, comme pour signier quil na plus
didentit propre et se faire le porte-parole du groupe
auquel il appartient. Des scnes typiques de la vie de
bureau, o les sentiments et ractions des employs
confronts la routine et une certaine promiscuit
se font jour, nous permettent de mieux apprhender
les relations qui se crent sur le lieu de travail.
Une photographie extraite de la srie tlvise
The Ofce : la scne montre des employs qui se
retrouvent pour bavarder, exprimer leurs proccupations et susciter les ractions amuses ou plus
ou moins compatissantes, voire agaces, de leurs
collgues.
Deux dessins humoristiques mettent en regard
le tltravail et le travail au bureau : la solitude du
travailleur domicile, labsence de contacts y est
dnonce de mme que les relations parfois conictuelles qui peuvent exister entre collgues de bureau.
Lexique
La charge lexicale peut paratre assez dense mais
certaines difcults ont t leves (notes de bas de
Manuel p. 120
page). Le professeur pourra faire appel aux stratgies dinfrence contextuelle des lves pour des
mots tels que glaze over (l. 11), callous (l. 14), swivel
chair (l. 26), ou be of two minds (l. 15). Si le mot sink
(l. 60) nest pas connu des lves, le donner.
Formes de travail
1. collective ; 2. en binmes puis collective ; 3. a.
collective puis en binmes, b. collective ; 4. et 5.
collective.
Accs au sens
1. Anticipation partir du titre et de limage.

The scene takes place/is set in an office and
employees are talking/gossiping/laughing.
The scene depicts the everyday lives of office
workers/white collars. They are not always
working at their desks, they meet and talk
about work problems or personal problems
maybe.
We can imagine the text will be about relationships at work: colleagues may be on good/
friendly terms with / get along very well with
each other and have fun/chat/break jokes;
or, on the contrary, they can be on bad terms,
when they complain about each other or gossip.
215
2. Deux temps :
- lecture silencieuse et rapide mise en commun en
binmes limiter le temps de cette premire phase
dchange 2 minutes ;
- mise en commun classe entire : faire expliciter ce
quon a compris et les questions que lon se pose.
The text deals with the life of office workers.
Ive understood the narrator is or more
exactly, used to be , an office worker as he
remembers his working days in the office.
He depicts what happened in the office/several
office situations and describes the relationships
between co-workers. They could be friendly or
not / or nasty with each other.
He also describes the employees feelings,
for example, he mentions they are bored.
Ive noticed he refers to two minds but I
dont understand what that means.
//
The narrator also thinks the daily nine-to-ve
routine can account for their bad behaviour
with each other. Indeed they could be very
irritable and nasty with each other.
At time they were probably fed up with /
couldnt stand working with each other all the
time, having to share even their meals.
Another point is that the office seems to be
crowded, they dont have enough office space.
There are several references to space throughout the text, for instance, line 42, a bigger
office, or line 47 this new important space.
Of course its obvious they resent the lack of
space in the kitchen when Tom and Marta are
very rude to each other.
Another point Id like to make is that,
although they complain about their working
conditions, they say/acknowledge the fact
that they are well paid, even overpaid, which
means their wages are too high for the work
they produce.
3.a. En trois temps :

travail de reprage rapide des situations dcrites,
classe entire : lignes 6 12 ; lignes 24 26 ; lignes
26 35 ; lignes 41 51 ; lignes 56 65 ;
travail en binmes (pas plus de 5 minutes) pour
se prparer expliciter la scne, en reformulant ce
qui a t compris ;
explicitation des cinq tranches de vie. Ces scnes
tant trs courtes, on demandera aux lves de
sexprimer sans notes.
b. Synthse de la phase prcdente. On encouragera

les lves se reporter au texte pour toffer les
justications.
We have mentioned that sometimes the
office workers behaved like children / had fun
together pushing one of them in his/her swivel
chair very quickly. It was probably because they
felt bored, like Benny.
They seemed to suffer from routine/office
routines, doing always the same thing as the
narrator points out lines 2 and 3: our mornings
lacked promise. I think that means they had
nothing to expect, nothing new to expect.
When the narrator refers to their changing
offices, it shows how necessary it is for the office
workers to change / break up their routine.
Even the objects around them, which they hated
before, are attractive again.
The narrator often uses the word new to
show how eager they were to have something
new, to break the monotony/the dullness of
their working days.
//
216
4. a. Demander aux lves de relire les lignes 41

55.
When the office workers have a new office,
they are very happy as it is something new
and then they organize their office as they
want. They decide and they make the right
decisions.
This is to be compared with their daily work
when they are of two minds, that is I think,
they cant decide/they cant make up their
minds/they dont know what to do/they are
wavering.
It means that the impact of daily routine
on their state of mind/their morale is quite
important: they may feel down and they may
not work as efficiently as they should.
The narrator never uses I because he considers himself as part of/as belonging to a group:
the office workers.
It looks as if he was not an individual anymore:
the office has changed him into an office-worker.
Lines 18-19, we can read that employment was
driving us far from our better self, which shows
the impact of the workplace on the workers.
The narrator might also use we because he
is speaking on behalf of his colleagues: he wants
to expose their conditions. He wants to show
his situation is not an individual one.
la maison et mise en commun en classe lors de

la sance suivante.
et des inconvnients du tltravail, en termes de

relations sociales et individuelles. Possibilit de faire
un travail prparatoire la maison.
5. Activit qui pourra donner lieu une prparation
The rst cartoon involves a telecommuter

who would like to come back/is looking forward
to coming back to the work place because he is
missing his colleagues/he wants to get in touch
with his colleagues. But once he is there, it is the
same old story again: they start complaining
about each other/whining/grumbling about
each other / reproaching the others for not
doing their job/gossiping
Conclusion: very happy to leave the office
happy to be a telecommuter.
The second cartoon: three huge screens
obviously a video conference. Whats funny
is that they are partying via a conference call:
the three teleworkers wished they could have
a real party as they used to when they were
working at the office. They miss the fun they
had when working at the office.
Both cartoons can actually relate to the
text: both hint at the relationships among
co-workers: on the one hand they can
be very friendly, office-workers can have
fun together, but on the other hand, it can
also be very difficult for them to get along
with each other, they can be nasty with each
other.
Recap
Activit dexpression orale mener sur un mode
alerte puisquil sagit de faire une liste des avantages
On the one hand when people telecommute

they can be focused on their work and they are
not bothered by their colleagues who want to
have a chat for example.
Another point is that they cant complain
about their colleagues attitudes or colleagues
dont complain about their attitudes. They
cant blame their co-workers for their gossips
for example or if they mess up something they
cant blame them for that.
On the other hand telecommuters can suffer
from being alone. They cant share their work
problems for example or crack jokes, or talk
about lms they have watched or books they
have read, or restaurants they have been to
Training Task 3: Have your say!

Objectifs : tche dcriture qui constituera un entranement la production dun texte argumentatif.
tapes et mise en uvre : cette activit peut tre
faite en dehors de la classe, individuellement. Les
lves sappuieront sur ce qui a t vu en amont pour
produire leur post, denviron 150 mots. On pourra
demander de dvelopper au moins trois arguments.
Les lves pourront mettre en ligne leur production
sur lintranet si cela est possible dans ltablissement
ou utiliser les fonctionnalits du Labo de langues si le
professeur dispose du manuel numrique Premium
de Password Terminale.
Does it suit everyone?
Manuel pp. 122-123
Les documents proposs sur cette double-page permettront aux lves de dcouvrir que malgr ses avantages, le tltravail ne convient pas tous.
1. Not commuting is driving me crazy

Analyse du document
Un extrait de Fortune, magazine en ligne publi
par CNN Money, dat du 11 juin 2010. Il sagit de la
rubrique Ask Annie, dans laquelle les internautes
trouvent rponse aux questions quils ont adresses
Annie. Dans cet extrait, le courriel mane de Harried Homebody, pseudonyme dune jeune femme qui
se rend compte quelle nest pas faite pour le tltravail, pourtant obtenu six mois plus tt sa demande
insistante. Trs embarrasse dadmettre son erreur
auprs de son employeur, elle demande conseil
Annie. Dans sa rponse, celle-ci se fait rassurante et,
sappuyant sur une tude de lanthropologue Ziona
Strelitz, explique que beaucoup de tltravailleurs
Manuel p. 122
plein temps comme Harried ont redcouvert les

vertus du travail au bureau.
Lexique
Pas de difcults majeures pour ce texte. Quelques
mots tels que wheedling, overhead costs ou encore
draining, pourront tre inconnus des lves mais
aisment infrables partir du contexte immdiat
ou des connaissances des lves sur la thmatique
ce stade du chapitre.
On pourra faire un point sur le pseudo adopt par
lexpditeur : harried = troubled/worried ; homebody = a person who never goes anywhere/stays at
home/a stay-at-home ( diffrencier de housewife).
217
Formes de travail
1. 2. 3. 4. 5. et 6. individuelles puis collectives.
Accs au sens
1. Identication du type de document et anticipation

partir de sa nature et du titre. On pourra faire
expliciter le titre.
The document consists of two elements: an
e-mail to Annie from Harried Homebody, and
Annies answer.
This online site is for people who have personal
problems / they write to Annie who offers advice
and possible solutions = online agony aunt.
We can guess Harried wants to ask something
to Annie about telecommuting.
We can assume the title of the document is a
quotation of what Harried says. Harried may be
fed up with telecommuting and she may want
to tell Annie about her situation.
She may want to ask Annie for advice / to seek
her advice on the problem she has / she may
want to know what she should do.
Harried may resent working from home /
maybe she cant stand being alone / she may
miss her colleagues.
2. Lecture du courriel dHarried : faire distinguer sa

situation prsente et sa situation passe.
//
Six months later she regrets her decision
/ she wished she hadnt become a telecommuter. She manages to be as productive as
before but it is very hard for her: she cant
really be focused on her work, her attention
is always diverted. She wishes she could go
back to the office. She is toying with the idea
of asking her boss if she can go back to the
workplace.
She feels embarrassed/uneasy now, she
doesnt know if she should talk about it to her
boss: she fears he might think she is an idiot,
not knowing what she wants. On top of that/
to make matters worse, her boss is perfectly
happy with the situation as he got more space
in the office.
3. Palier de synthse sous forme dun commentaire

du premier paragraphe, plus prcisment de la
citation dOscar Wilde. On pourra au besoin rappeler
aux lves qui est Oscar Wilde.
Six months ago Harried was very unhappy:
she wanted to be/longed to be a telecommuter
and her boss wouldnt agree; she didnt get what
she wanted.
Now she has got what she wanted, she is a
telecommuter but she wishes eagerly she could
go back to the office: getting what you want is
the other tragedy.
En cas de difcults
Workbook
p. 44 pour aider les lves
au reprage.
Harried is a working mother: she has two
young kids and is a graphic designer.
Six months ago she managed to convince her
boss to let her work from home. She couldnt
bear wasting time commuting. She was away
from home for such a long time that she
couldnt/was not able to see her family.
It was not easy for her to make her boss
accept to let her telecommute: she had to use
different tricks to persuade him she probably
tried to make him understand the advantages
he could have, she cajoled/wheedled/coaxed
him into letting her telework.
Although her boss was not very eager to let
her go/was reluctant to let her go he nally
accepted.
//
218
4. Lecture cursive de la rponse dAnnie. On

demandera aux lves limpression gnrale qui se
dgage de cette premire lecture, sans entrer dans
les dtails. Si le professeur manque de temps, il
pourra aussi demander aux lves de ne lire que
le premier et le dernier paragraphe de la rponse
dAnnie.
Annie tries to comfort/reassure Harried / to
cheer her up.
She tells her that many telecommuters
actually find it hard to work from home even
if they asked for it. She is not the only one
in this situation / that has this difficulty / to
be in such trouble, and she is certainly not
an idiot.
Annie uses Ziona Strelitzs work to explain
why telecommuting may be difficult to cope
with.
5. Lecture intensive et reprage des avantages et des

inconvnients du travail au bureau selon Z. Strelitz.
On pourra demander aux lves de reporter leurs
trouvailles dans un tableau sous forme de notes,
en reformulant.
Advantages
Can focus: no barking dogs, relatives or kids who
need your help or presence
People working together energize each other: when
you work in an office you can share your ideas, your
skills with your co-workers. It is more stimulating and
enriching
When you are at the office, you are seen/you are
not invisible and so:
- you are more likely to be given opportunities such as
new projects and consequently career advancement
- your job may be more secure; telecommuters are likely
to be laid off first
A sense of camaraderie: relationships with co-workers
at the workplace are very important/valuable
Drawbacks
More expensive: overhead costs (building,
equipment, electricity, heating)
Not easy to find work/family balance
Having to commute / to spend time going to work
and back is tiring / exhausting and boring
6. Palier de synthse sous forme de commentaire

dune citation du texte. Faire reformuler la citation
pour sassurer que les lves ont bien tous saisis le
terme panacea mis en jalons dans ltude des prcdents documents et infrable lissue de ltude
de ce texte.
There are not only benets to telecommuting.
Telecommuters nd it easier to balance their
professional and private life. They also avoid
wasting time on transports.
On the other hand they may miss many opportunities such as friendly relationships, career
opportunities, and professional enrichment if
they telecommute full time.
Its obvious that telecommuting is not for
everyone / not everyone is suited to telecommuting: it depends on your personality and
priorities in life.
Conduire dans la foule lactivit Words Linking

and organizing your ideas, manuel p. 124 et Workbook
p. 46. Lactivit grammaticale Make/have/

let somebody do sth, Workbook
p. 47, trouvera
galement sa place ici.
2. The pros and cons of telecommuting
Manuel p. 123
DVD Vido 10
Analyse du document
Extrait dune vido visant faire connatre et
promouvoir le site FlexJobs.com. Ce site propose
des offres demplois temps partiel et/ou domicile
moyennant une cotisation dune cinquantaine de
dollars lanne. Dans cet extrait, Mr Flexible Job
prsente brivement le site, puis liste de manire

dynamique les avantages et les inconvnients du
tltravail. Il conclue bien sr en afrmant qu son
avis le tltravail prsente bien plus davantages que
dinconvnients et lui convient tout fait !
Squenage de la vido
Time code - images
From the beginning to
019
Images:
Mr Flexible Job
FlexJobs Home Page
From 020 to the end
Images :
Mr Flexible Job listing
pros and cons.
Sarcasm written on the
image to precise the tone
of the remark

we all know ive got a pretty flexible job so in flex trousers and shirt of the day,
I was excited because theyve got over 50 categories of flexible telecommunic
freelance and other types of job / that you can search on a subscription basis /
whether you wanna sign it by month or by year // I highly recommend it / if you
dont have a job right now / or you just want a more flexible job // but I also want to
let you know / there are lots of pros and cons / to having a flexible / even work from
home type job //
Pros
you can make your own hours:
you can work from really anywhere
around your house / or in the area/
starbucks/anywhere //
you can wear whatever you want to work
you can spend lots of extra time with
pets / or kids / or whatever it is you have
roaming around your house //
Cons
sometimes working all those extra
hours / well / it can take a toll on
your personal life //
not a lot of human interaction for
hours on end: //
people tend to think you work less
than they do / because you work
from home //
219
Time code - images
youre not gonna end up on the biggest loser

because theres no fast food in your house //
you can buy your own groceries/make sure you
eat healthy / less snacky //
the i-phone invented the mute button for a
reason so you can take conference calls to the
bathroom with you
you save lots of money by not commuting to
work / on gas / food / and the time that you sit
in traffic //
depending on the job you have / you can write
off an entire room in your house / as your office
// and the expenses that you have for supplies
and other things // you can write those off as
well /
all things considered / I think that there are a
lot more pros than cons to working from home
// I love it / Ive been doing it for almost for four
years now / its great / its fun // life is flexible /
shouldnt your job be //
Lexique
Pas de relle difcult lexicale dans ce document qui
est une forme de synthse de ce qui a t vu dans le
chapitre. Le dbit rapide peut cependant rellement
entraver la comprhension de certains passages :
on fera appel aux stratgies de compensation des
lves sans viser une comprhension exhaustive.
N.B. : The Biggest Loser fait rfrence une mission de tlralit qui met en scne des personnes
obses.
Formes de travail
1. collective et en quipes ; 2. collective ; 3. en
Accs au sens
1. Phase danticipation rapide. On pourra toutefois,

en fonction de la classe, faire lister les avantages
et inconvnients an de rebrasser ce qui a t vu
en amont et de mieux prparer lcoute. Ce listing pourrait tre fait de manire ludique : deux
quipes, une pour les bnces, lautre pour les
dsavantages ; la premire quipe qui se trouve
court darguments a perdu.
Obviously the advantages and drawbacks /
benets and disadvantages of telecommuting
will be discussed.
//
220
if I mess anything up / when

Im working from home / i cant
really blame it on anybody else
in the office //
working from the couch can
get too comfortable at times //
(sarcasm)
you dont ever really disconnect
form work // because youve been
home all day, you look at your
laptop and your phone // you cant
leave those things somewhere
else //
if you dont have an office in
your house / sometimes your
dining room table gets used
as your office / so you lose
that dining room table / or your
coffee table / or a whole room in
some cases //
taxes are really confusing / I
mean / saving money is awesome
/ but gosh / its confusing // pay an
accountant!
//
Judging from the photo we can assume that
Mr Flexible Job is going to develop the advantages of telecommuting more than its disadvantages. Hell probably promote/advocate
telecommuting.
Pros: you can organize your schedule, you
dont have to commute, have more time with
your family, etc.
Cons: dont meet your co-workers, etc.
2. Premier visionnement de la vido. Vrication des

hypothses et recueil des informations comprises. On
demandera aux lves de se remmorer les images
quils ont vues (Mr Flexible Job et la page du site
FlexJobs) pour identier le but du document. Sils ont
des difcults, proposer un nouveau visionnement de
la premire partie et ventuellement faire rcouter
certains passages cibls (subscription) si ncessaire.
In fact Mr Flexible Job lists the pros and cons
of telecommuting and the list sounds rather
balanced, I mean there are about as many pros
as cons.
Thats true but in the end he clearly states his
opinion: he thinks telecommuting is better than
commuting to work / he prefers telecommuting/ hed rather telecommute than commute.
//
//
We can see a website: I think its FlexJobs.
com. You can nd different exible jobs on this
site (different types of jobs, about 50 categories
I think).
I wonder if this website is free or not. I heard
something about a subscription by month or
by year but I dont understand.
3. Nouveau visionnement. On se concentrera sur

la deuxime partie du document (de 020 la n).
Tche de reprages diffrencis, classe divise en
deux groupes. Temps dchange au sein de chaque
groupe avant mise en commun classe entire.
Pros
You can save money:
you dont have to
commute so you dont
have to spend money
on gas, transports,
food, clothes. You can
also pay fewer taxes
/ you are able to save
on taxes too as you
can write off your
expenses.
You dont have to
commute so you can
spend more time
with your family,
friends, pets
You are more independent / telecommuting provides
freedom: you can
work when you want
and where you want
/ you can have a
exible schedule.
Its easier to eat
healthy food: you can
cook and are not so
likely to eat snacks.
Etc.
Cons
You can really
spend long hours
working and it can be
difficult to disconnect
/ you might nd it difcult to stop working
especially if you have
to meet deadlines. It
may blur work and
personal life.
You dont get paid
for the number of
hours you work and
on top of that people
think that you work
less than if you were
working in an office.
It can be too comfortable and you can
just relax and forget
the deadlines!
4. Palier de synthse : hirarchisation personnelle

des diffrents arguments prsents. Laisser les
lves exprimer des avis divergents : ils illustreront
les approches individuelles par rapport au tltravail.
Personally I dont think Id like to telecommute because Im afraid I may not disconnect / I
fear I might never be able to disconnect from my
//
//
work. I am already addicted to my smartphone
and I think, I would be worried if I missed / I
might miss some important information. / Im
not well organized, it would be difficult for me
to meet deadlines
Well, for me, no doubt Id like to telecommute
because Id like to change work location, I enjoy
working from a caf, meeting friends/pals and
having a nice atmosphere. I cant stay in the same
place all the time and I like having noise around.
/ Id have more time to spend with my friends...
I like the exibility telecommuting offers:
Im a morning person ( a night owl), so it will
enable me to adjust my work schedule.
I think there are so many pros but for me the
two most appealing are being able to sleep in
and create my own hours, and to save money
on transport and junk food for lunch; my chief
concern is that its so hard for me to focus at
home when there are so many other things to
do around the house. I think it would require a
high level of discipline in order to stay on task.
I would always be worried about putting things
off which increases the chance of error.
Etc.
On pourra conduire lactivit Words ending in -ity,

Workbook
p. 47, dans la foule.
Recap
Demander aux lves de prparer ce rcapitulatif
la maison. Mener la phase orale de mise en commun
sur un mode alerte.
Telecommuting is not suitable for everyone:
for example people who like socializing/thrive
on interactions with other people may feel
isolated and suffer from solitude.
Some telecommuters nd that working from a
coffee shop or library is great, but others prefer
the office environment to solitude.
Having a high degree of self-control and selfdiscipline is essential to being a productive
telecommute, so if its difficult for you to focus
on your work or to set to work, telecommuting
might not be a good idea. Its very easy to get
distracted by things in your home (television,
a comfy bed for napping).
You also have to be self-reliant as you have
no constant reminders of what you should
do. I mean your boss, your co-workers are not
with you.
Training Task 4: Circular debate

Objectifs : cette tche intermdiaire donne loccasion
aux lves de sentraner une prise de parole en
interaction. Elle constitue une synthse du travail
221
effectu en amont et une tape supplmentaire

puisque les lves vont slectionner et prsenter des
arguments dj avancs dans le corps du chapitre
en fonction de la motion propose.
For
Fairness: everyone should benefit from this opportunity.
Employees have the right to decide what is best for
them.
Some employers dont trust their workers, so if
telecommuting was a right they would at least have to try.
tapes et mise en oeuvre : mise en oeuvre en deux

temps.
1. Classe divise en deux groupes : un groupe

qui dfend la motion, lautre qui est contre.
Recherche darguments et dexemples par binmes
au sein de ces sous-groupes. Cette phase prparatoire au dbat pourra faire lobjet dun travail
la maison.
2. Par groupes de quatre lves (deux pour la motion,

deux contre) : un lve lance un argument, un autre
contre-argumente, etc.
Against
Impossible: not all the jobs are suited for
telecommuting / Working remotely doesnt make
sense for all occupations: physicians and store clerks
are two obvious examples.
Not all workers are fit for that type of jobs.
It should be discussed and agreed on both by the
employer and the employee.
If telecommuters are not productive enough, what
will happen? Will they be sacked or allowed to come
back to the work place?

Manuel p. 124-125
WORDS
constant shift/trend/transition/adaptation/evolution/
improvement/effet/revolution/increase
Linking and organizing your ideas

1. although
4. for instance
2. thats why
5. and yet
3. while
6. despite
regular trend/adaptation/effect
eventful transition/adaptation/evolution/revolution/
start
sharp shift/transition/adaptation/evolution/improvement/effect/increase/drop
Describing changes
Expressions possibles partir des mots proposs :

dramatic shift/trend/evolution/improvement/effect/
revolution/increase/drop
There has been a tremendous adaptation to the

Information Technologies, for example theres been a
dramatic increase in mobile phones and computers
penetration. It has resulted in an impressive communication revolution.
slow transition/adaptation/evolution/improvement/
start/increase
Talking about telecommuting
a. fresh trend/start
effective transition/adaptation/evolution/improvement/revolution/increase
quick transition/adaptation/evolution/revolution/
improvement/effect/start/drop
Positive aspects
Verbs
slight trend upwards - downwards/transition/adaptation/evolution/improvement/effect/increase/drop

impressive/striking/tremendous + all the nouns
in the list
sudden shift/transition/adaptation/evolution/
improvement/effect/revolution/start/increase/drop
222
Adj.
suit, fit, allow,

stimulate,
encourage, help
useful,
appropriate,
adapted,
convenient
Negative
aspects
deprive, hamper,
discourage,
hinder, prevent,
hold back, deter
ineffective,
inadequate,
unsuitable
Pi
Is it really possible? Can I really stay at home and

make money?
Yes! This is the perfect time because the world is
growing and changing. Its less restrictive and more
inclusive, less traditional and more innovative. Not
only has the Internet revolutionized the way we work
and live, but it has created an alternative job market,
new job descriptions and new opportunities.
Pi
41
Stressing quantities
ste
Observe
Stressing personal arguments
Make/have/let somebody do sth

s te 3
Toutes ces formes verbales permettent dexprimer

laction quexerce quelquun sur quelquun dautre
on parle de structures causatives :
S1 + V1 + complment + V2.
Let somebody do sth autoriser quelquun faire
quelque chose
Make somebody do sth obliger quelquun faire
quelque chose
Have somebody do sth faire faire quelque chose
quelquun/demander quelquun de faire quelque
chose
1. Only one in twenty formally employed Americans

works from home, but the fact that so many of us
could do so is an interesting perspective.
Practise
2. Thats a lot of stats: in a nutshell: half of us could

work remotely if we wanted. Far less do.
1. Our employer made us go to that international

meeting.
3. Although a lot of large companies have some

sort of work-from-home program, the concept is
still largely absent from many smaller workplaces.
2. My boss let me work from home.

3. His manager lets him work part-time: he is so glad!
4. The client has me organize teleconferencing but
I prefer proper meetings.
5. Although I was very hot, my colleague made me
close the window because he had a cold.
6. The CEO had us meet our partners abroad and
we did so.
GRAMMAR
Modals
Observe
Dans les phrases a d, les modaux expriment un lien
particulier entre le sujet et le verbe (valeur radicale)
alors que dans les phrases 1 4, ils indiquent la
probabilit quun vnement ait lieu ou non (valeur
pistmique).
G Prcis grammatical 22 p. 210
He makes us come to the ofce at 7.30 am though
we ofcially start at 8 am.
He has us serve coffee to our clients while we are
supposed to organize meetings.
a autorisation - b possibilit - c conseil d obligation
He should let us work from home from time to

time.
1 4 : probabilit plus ou moins forte
We would like him to let us take a day off when

our kids are sick.
G Prcis grammatical 13 pp. 201-203
Etc.
Practise

1. Your employees should work from home.
2. The trainees can/may leave earlier.
3. Now most employees can telecommute.
4. Chief executives must work more efciently.

Sens 1
Valeur radicale / lien
sujet-verbe
Cant allocate
Todays workers must
adapt
Now you may!
You shouldnt
Sens 2
Valeur pistmique /
chances de ralisation
dun vnement
Telecommuting may not
change
A bachelors degree in
nursing can help
Why it must be so hard
223
Workbook
p. 46-47
Pi
Stressing quantities
ste 4
Most people in Europe would love to work from home.

Few of them have already experienced telecommuting, but most say they would be ready for such a
change! Even if their daily tasks wouldnt vary much
from what theyre usually doing at the ofce, working
from home would represent a lot of advantages: they
could eat with their children every day, and spend
more time with their family.
Pi
s te 4
Words ending in -ity
a. 1.
exible exi
bility
2.
regular regu
larity
3.
personal perso
nality
4. cre
ative crea
tivity
5. pro
ductive produc
tivity
6.
reliable relia
bility
7. indi
vidual individu
ality
The sufx -ity is stress imposing: it imposes stress on
the ante-penultimate syllable.
Ou : Lorsquun mot se termine par le sufxe -ity, il
est toujours accentu sur lavant-dernire syllabe.
Pi
b.
ste 4
recep
tivity /
scarcity / responsi
bility / ac
tivity /
adapta
bility / ca
pacity / dependa
bility / e
quality /
impossi
bility / renta
bility
STRATGIES
GRAMMAR
Modals
You may work from Monday to Thursday if you wish
but you must nish each task you start.
You should never arrive late at work or you may
be dismissed.
You can earn up to 2,000 a month if you keep
the prots up.
You must show how to be more efcient to the
trainees you will be in charge of.
Etc.
Make/have/let somebody do sth

Hell let him get used to his new job environment.
Hell have him change his habits.
Hell make him t in and behave like the other
workers.
He wont let him have his own way.
Hell make him conform.
He wont let him be different from his co-workers.
He wont let him rely on his own creativity
Manuel pp. 126-127
Comprendre un texte argumentatif

Objectifs
Le but de cette double-page de stratgies est de
prparer les lves comprendre lopinion exprime
par un auteur dans un texte, par le narrateur ou par
lun des personnages dans un rcit, ainsi que les
justications avances. Pour cela ils devront :
faire un certain nombre de reprages et sappuyer
sur leurs connaissances pour formuler des hypothses avant la lecture ;
vrier ces hypothses par une lecture minutieuse
et des reprages prcis an didentier les opinions
et leurs justications.
Le texte utilis en exemple pour ces activits est
de Rupert Morgan ; il y justie son choix dallier
tltravail et travail au bureau.
Compte tenu de la thmatique, nous suggrons de
conduire ces activits sur les stratgies lissue du
Recap de la page 121, ou aprs ltude du texte Not
commuting is driving me crazy, p. 122. Les lves
pourront ainsi mieux mettre en perspective les
arguments utiliss par Rupert Morgan.
224
La lecture du texte Do we rely too heavily on technology mis disposition dans le Workbook
p. 48-49
ou tlchargeable sur le site www.didierpassword.
fr, constituera un premier transfert de ces stratgies
que les lves seront amenes mobiliser rgulirement lors des valuations de comprhension de
lcrit au baccalaurat.
tapes possibles :
La phase de prparation la lecture est effectue
individuellement la maison.
En binmes, lors du cours suivant : change des
hypothses concernant le thme et la problmatique
du texte (5 min).
En homework pour la sance suivante : lecture
du texte et identication de lopinion de lauteur et
des justications.
Lors du cours suivant, changes en collectif (15
min) ; les diffrents lments qui gurent dans la
premire colonne du tableau p. 127 du manuel sont
identis et les lves expliquent comment ils sont
parvenus cette identication.
VALUATIONS
Corrigs
Task 1. Speaking . . . . . . . . . . . . . . .
20pts
Manuel pp. 128-129
Task 2. Reading . . . . . . . . . . . . . . . .
10pts
Documents supports :
Voir document photocopiable pp. 230-231 de
ce guide.
Prise de parole en continu pour promouvoir le
tltravail lors dune campagne radiophonique.
Sassurer que les lves travaillent partir de
notes succinctes et rappeler limportance de la
phonologie.
Formes de travail
Il sagit pour les lves dassocier un texte en
faveur du tltravail et son destinataire :
trois groupes cible sont proposs :
administrateurs employeurs cologistes,
quatre textes sont mis la disposition des lves.
1. en binmes ; 2. individuelle.
On rappellera aux lves quun texte peut cibler

plusieurs destinataires.
Propositions de mise en uvre sur une

sance
Forme de travail
1. Le travail prparatoire se fait en binmes sur

30 35 minutes environ.
Les lves dcident de leur cible : visent-ils
convaincre des employeurs ou des employs ?
Ils listent ensemble exemples et arguments susceptibles de convaincre leur cible puis organisent
leurs notes.
Entranement la prise de parole : chaque lve
sexerce devant son binme qui lui donne des
conseils avant la prestation (veiller sexprimer
partir de notes, ne pas lire, volume de la voix,
dbit, prononciation des sons et accentuation par
exemple).
2. Enregistrement individuel au laboratoire de
Individuelle.

Prvoir un maximum de 20 minutes en tout.
Corrigs et barme
administrators
Text(s) n 2
business
managers
1-2-3
environmentalists
3-4
6 bonnes rponses : 10 pts

langues. Les lves peuvent faire un premier

enregistrement sous forme de brouillon doral.
Labo de langues : pour les enseignants qui disposent du manuel numrique Premium de
Password Terminale, il est possible dutiliser les
fonctionnalits du Labo de langues.

1 bonne rponse : 1 pt
Le professeur pourra sil le souhaite demander

aux lves de senregistrer en dehors de la classe,
et de lui remettre un chier MP3 ainsi que leur
prise de notes.
Voir dossier TICE Grer les enregistrements des
lves, p. 21 de ce guide.
225
Corrigs
VALUATIONS
Manuel p. 129
Documents supports
Passation
Voir
La passation et lvaluation de la performance de llve

suivront les instructions ofcielles, conformment au
B.O. du 24 novembre 2011. Prvoir 20 minutes.

(source : B.0. du 24 nov. 2011)
1. Communication du titre accompagnant lenregistrement : Work-life delicate balance, crire au tableau.

au brouillon :
Extrait du discours prononc par Valerie Jarrett,

conseillre particulire du prsident Obama, lors
du forum sur la exibilit du travail organis par la
Maison Blanche le 31 mars 2010.
Dans cet extrait, la prsidente de sance introduit le
discours de Michelle Obama, qui va ouvrir ofciellement ce forum.
Forme de travail
Individuelle.

coute 3
3. Aprs la dernire coute, llve dispose de 10 minutes pour rendre compte de ce quil a compris, en
franais, sur sa copie. On pourra lui suggrer de
remettre aussi son brouillon quon sera vigilant
de ne pas regarder avant davoir valu le compte
rendu an de pouvoir observer le passage entre les
notes et la restitution et ainsi pouvoir mieux aider les
lves qui auraient des difcults dans cette preuve.

Dans le tableau ci-dessous, apparaissent en colonne de gauche les critres xs par le B.O. du 24 novembre
Comprendre un document de type monologue

Work-life delicate balance
Niveau

prestation le nombre de points indiqu (sans le
fractionner en dcimales) de 0 10 : entourer la
note choisie.
Le candidat na pas compris le document. Il nen Quelques mots relevs.

a repr que des lments isols, sans parvenir Thme et sujet nont pas t identifis.
tablir de liens entre eux. Il na pas identifi le
sujet ou le thme du document.
1 pt
A1
A2

isols, des expressions courantes et les
mettre en relation pour construire une amorce
de comprhension du document.
Le candidat a compris seulement les phrases/
les ides les plus simples.
3 pts

Thme partiellement compris : une femme
parle de Michelle Obama/la premire dame des
tats-Unis (un lment didentification), devant
un auditoire (on entend des applaudissements).

mais le relev est incomplet, conduisant une
Cette femme annonce que :

- Michelle Obama va prendre la parole,
- quelle va parler de la difficult de lquilibre
entre travail et vie familiale.
5 pts
226

B1
8 pts
Des dtails significatifs du document ont t
relevs et restitus conformment sa logique
interne.
Le contenu informatif a t compris, ainsi que
lattitude du locuteur (ton, humour, points de
vue, etc.). Comprhension fine.
B2
10 pts
La femme qui parle sexprime dans le cadre

dune runion publique. Elle prsente Michelle
Obama, quelle connat depuis plusieurs annes.
Michelle Obama, qui a russi brillamment sa
carrire professionnelle, connat les difficults
de concilier vie professionnelle et vie familiale.
A eu beaucoup de soutien = consciente que
toutes les femmes nont pas eu sa chance, la
premire Dame milite en faveur de la flexibilit du
travail.
Plus de dtails (trois des quatre points suivants
ont t compris) :
- loratrice est probablement prsidente de
sance lors de cette runion,
- elle sexprime devant un public amricain qui
connat bien Michelle Obama,
- elle lui porte une relle admiration : elle reconnat
en elle une mre et une pouse extraordinaire de
mme quune professionnelle brillante,
- elle a travaill avec elle et a pu se rendre compte
des difficults qua eues Michelle Obama
concilier vies professionnelle et familiale.
Note de llve : note sur 10 2 =
/20
Expression orale
Voir
Corrig et barme
Texts 1 and 2
Both texts deal with: technology 1 pt
(1 point par bonne rponse = 2 pts)

a. Both texts are: ; articles
b. Both texts relate to a personal experience.
Pick out as many details as possible from the texts to identify...

Text 1
Who I refers to
(name, occupation)
Text 2
Phil Wiley
Journalist (writes articles)
Tim Dowling
Journalist (text published in the Guardian)
1 pt
1 pt
The other people mentioned,

if any, and their
relationships with I
His wife
One of his kids: a boy, the oldest one
2 pts
Writing from my veranda, just onshore
I stand behind the car, trying to work

out how to jam the bike into it.
1 pt
1 pt
I's present situation

from Australias Great Barrier reef.
(place if mentioned, activity)
Tehnical devices I
actually uses
Right or wrong?
Text 1
17 pts
9 pts
a. I has never worked in a city.
8 pts
Cellular phone, fax, modem, notebook mobile phone (phone + sim card)
computer, latest wireless radio modem computer mouse
1 pt
1 pt
Wrong. it sure beats Central London, the last

place I worked (l. 3-4) / Ive become a long distance
drop out from the metropolis (l. 5). Wrong + 1 citation
correcte = 2 pts. Si 2 citations = 3 pts
227
b. I writes articles in Japanese.

Wrong. A Japanese newspaper recently used one of
my articles. Its possible they used a photo-copier which
tranlates English/Japanese as it copies. (l. 10-12) 2 pts
c. For I there may be no limit to technological
progress.
Right. one day, and this is not science ction
(perhaps nothing is) telephones will translate speech
as we talk (l. 13-14). 2 pts
d. I feels its not always easy to work from home.
Right. Sometimes I feel it hard to motivate myself in
such laid back surroundings. (l. 20-21) 2 pts
Text 2
8 pts
e. I sometimes shouts at his mobile phone

Right. Youre lying, I say to my phone. Why would
you lie? Whats in it for you? (l. 6) / Who are you
shouting at? yells my wife from downstairs. (l. 7)
My phone, I say. (l. 8) Right + 1 citation correcte
= 2 pts. Si 2 citations = 3 pts
f. One day I heard his friend speaking on the
computer.
Wrong. One night the computer started to read
the key for me (l. 11-13). / The next morning the
computer was still talking (l. 23) Wrong + 1 citation
correcte = 2 pts. Si 2 citations = 3 pts
g. I failed to x the problem himself.

Right. Help! I screamed. I cant live like this, I
said. Make it stop. (l. 30) / 'Command F5, said the
boy. (l. 31) 2 pts
10 pts
a. I in text 1 seems to be technically minded and

open to technological advances 1 pt
Using cellular phone within minutes. (l. 6) 2 pts
Using VR, well be able to stay at home and, if we
cared to, work in a virtual reality ofce. Perhaps the
illusion of a busy reality ofce would be good for me.
(l. 17-20) 2 pts
b. I in text 2 seems to be irritated and unable to
handle technological devices... 1 pt
For much of my life I have argued with technology (l. 9)
Please, shut up, I said, Oh my God, I said kneading the keyboard with my sts. (l. 17) 2 pts si au
moins une citation.
The next morning help! I screamed. (l. 23-26)
I revisit that moment of terrible helplessness as
I stand behind the car, trying to work out how to jam
the bike into it while the phone in my pocket dings for
no reason (l. 35-37) 2 pts si au moins une citation.
I and technology: fill in the following grid. 9 pts

Positive opinions/advantages?
Text 1
Quote the text
Negative opinions/ drawbacks?
I can conduct most, if not all, of my research without

leaving my comfy chair (l. 7)
Even language barriers are vanishing (l. 10)
Communication technology, particularly the Internet,
is shrinking the world (l. 15)
Combine the net with video telephones ans virtual
reality, and physical travel will no longer be as
important. (l. 16-17)
Encourage entrepreneurial qualities, including frive,
self-discipline, self reliance, and improved judgement.
(l. 22-23)
Sometimes I feel hard to motivate

in such laid back surroundings.
(l. 20-21)
5 pts
1 pt
I have argued with technology safe

in the knowledge that it wont talk
back. (l. 9-10)
Technological devices are difficult
to handle: you have to learn how to
use them.
Text 2
Quote the text
or use your
own words.
3 pts
Title for that set of documents : 3 pts
Expression crite
; Technology: a help or a nuisance?

Total des points sur 50 : multiplier par 2 et diviser
par 5.
228
UNIT 6
valuations
Final task 1
Telecommuting
Name :
Class :
Speaking
Manuel p. 128
Advocate telecommuting
Traitement du sujet
(8 pts)
A2
B1-1
B1-2
B1-3
B2
Prise de parole en
continu (4 pts)
(8 pts)
Tente de mettre en
adquation sa production
et le sujet propos : un ou
deux arguments en faveur du
tltravail.
Les arguments utiliss ne
permettent pas toujours
didentifier le destinataire du
message.
Produit des noncs

courts, strotyps avec de
nombreuses pauses.
Sexprime dans une

langue partiellement
comprhensible.
2 3 pts
1 pt
1 2 pts
Utilise quelques arguments

pertinents qui permettent
didenfier clairement le
destinataire.
Produit un discours assez

simple avec quelques pauses comprhensible malgr un
et des faux dmarrages.
vocabulaire limit et des
erreurs grammaticales et
phonologiques.
4 pts
2 pts
3 4 pts
Dveloppe quelques
arguments de manire claire
et mthodique.
Illustre ses arguments par
des exemples pertinents.
Sexprime avec une certaine

aisance, avec quelques
pauses mais reformule et
peut continuer sans aide.

globalement correcte (pour
la morphosyntaxe comme
pour la prononciation)
et utilise le vocabulaire
appropri.
5 6 pts
3 pts
5 6 pts
Dveloppe un grand nombre

darguments et insiste sur la
plupart des points importants
et des lments significatifs.
Utilise le temps imparti pour

parler avec un dbit assez
rgulier malgr de brves
hsitations pour chercher
ses mots.

fluide.
Utilise bon escient
laccentuation pour mettre
en valeur son point de vue
personnel.
7 8 pts
4 pts
7 8 pts
229
UNIT 6
valuations
Telecommuting
Name :
Class :
Final task 2
Reading
Manuel p. 128
Identify the target

You are going to read four different texts about telecommuting.
Read them carefully and identify which of these groups each text is aimed at.
Bear in mind that a text can have several targets!
administrators
business
managers
environmentalists
Text(s) n
Text 1
Prepare Your Workforce for the U.S. 36 Express Lanes Project
U.S. 36 construction will start in 2012, transforming the existing roadway into a
new multi-modal corridor, which will include a High Occupancy Vehicle (HOV)/High
Occupancy Toll (HOT) lane in both directions, Bus Rapid Transit service, and the
U.S. 36 Bikeway. The $306 million project will last 2012-2015, creating significant
congestion impacting your workforce, customers and visitors.
Now is the time to prepare for traffic delays. Expand your workforce commute
options by implementing telework/Flexible Schedules/Compressed Work Week
Restructuring the work day and providing employees with schedule flexibility not
only reduces peak-hour congestion, but also improves employee morale and retention. Telework is providing the technical infrastructure and policies for employees
to work from home. 36 Commuting Solutions will help you restructure your work
day policies by:
1. Offering telework consultations to establish a telework policy at your workplace,
2. Arranging technical consultations to overcome IT compatibility needs,
3. Providing support for workplace compressed work week/flexible work schedules
policies.
Adapted from: http://36commutingsolutions.org
Text 2
Many university workplaces craft flexible work arrangements to retain employees
whose contributions are invaluable but whose caregiving obligations can be incompatible with the rigid work schedules of yesteryear. University administrators from
Harvard and Columbia emphasized that flexibility is crucial to the needs of the
contemporary workforce. Their remarks indicated that a formal flexibility policy
even one that guarantees staff only an avenue to request a flexible work arrangement could be beneficial to recruitment and retention, and, accordingly, the
efficiency of business operations
Adapted from: http://www.thefork-wf2010.com
230
UNIT 6
valuations
Telecommuting
Name :
Class :
Text 3
This May, WorkShift published a sprawling report on the state of telework in
Canada. According to the report, there are about 4.3-million Canadians with jobs
that are compatible with working from home.
Allowing those employees to telework would have a bottom-line economic impact
of about $53-billion, according to the report. That overall impact includes such
community benefits as reduced environmental footprints, thanks to the use of
less gasoline to drive to and from work.
The report even cites reduced health-care costs as a potential plus, thanks to
fewer cars on the road and, as a result, fewer accidents.
In more immediate terms, the report estimates that a business with 250 telecommuting employees would save about $3-million a year. The cost savings are varied,
and include factors such as a generally happier work force and less need for real
estate space.
Adapted from: http://www.theglobeandmail.com
Text 4
The potential energy savings particularly in terms of vehicle miles traveled
could be enormous. Telecommuters naturally drive less, not only to work but for
the numerous stops to and from work. According to the 2005/2006 National Technology Readiness Survey (NTRS), the United States could save about 1.35 billion
gallons of fuel if everyone who was able to telecommute did so just 1.6 days per
week. That calculation is based on a driving average of 20 miles per day, getting 21
miles per gallon.
A more recent study by Sun Microsytems, which uses telecommuting extensively,
found that, by eliminating commuting half the week, an employee saves 5,400 kilowatt hours even accounting for home office use. They also can save some $1,700
a year in gasoline and wear and tear.
Adapted from: http://www.8athome.com
231
UNIT 6
valuations
Telecommuting
Name :
Class :
Manuel p. 129
Text 1
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
Ive given up travel, even to the ofce.

Im writing this from my veranda, just onshore from Australias Great Barrier reef. Its
in the high 80s1, parrots and palm trees in the garden. It sure beats Central London
and the crowded underground into Soho, the last place I worked.
Ive become a long-distance drop out from the metropolis; separated by space, but
united by communication. Using cellular phone, fax, and modem I can conduct most,
if not all, of my research without leaving my comfy chair. With a notebook computer
and the latest wireless radio modems its technically possible for me to do my work on
the beach and sell it globally within minutes.
Even language barriers are vanishing. A Japanese newspaper recently used one of
my articles. Its possible they used one of the latest innovations, a photo-copier which
translates English/Japanese as it copies.
One day, and this is not science-ction (perhaps nothing is), telephones will translate
speech while we talk.
Communication technology, particularly the Internet, is shrinking the world.
Combine the net with video telephones and virtual reality, and physical travel will no longer be as important. Using VR2, which at the rate of technological
advance will be perfectly feasible at home in a few years, well be able to stay home
and, if we cared to, work in a virtual reality ofce.
Perhaps the illusion of a busy virtual reality ofce would be good for me. Sometimes I
feel it hard to motivate myself in such laid back surroundings.
But then again, I feel that telecommuting seems to encourage certain entrepreneurial
qualities, including drive, self-discipline, self-reliance, and improved judgment.
Phil Wileys blog 1994/77
(please note that this article was originally written for The Guardian newspaper in England)
1. 80 degrees Fahrenheit equals about 27 Celsius 2. VR: virtual reality
Text 2
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
232
Even as I cycle along I can feel my phone dinging in my pocket for no reason. It has
done this for four months: some days it dings 20 times; some days it doesnt ding at
all. When it isnt dinging, its presenting me with a message that says, No sim card
installed." I know this statement to be untrue, because I have repeatedly taken out the
sim card, looked at it, and put it back.
Youre lying, I say to my phone. Why would you lie? Whats in it for you?
Who are you shouting at? yells my wife from downstairs.
My phone, I say. But to be fair, I thought you were out.
For much of my life I have argued with technology safe in the knowledge that it wont
talk back, but this lazy assumption was shattered when my computer began speaking.
It was late one night a few weeks ago, when I nipped up to my ofce to check my e-mail
before bed. I hit some unknown combination of keys with a fat thumb and the computer
started to read its screen to me.
Subject mega deal on drill bits and power les, it said, in a loud robot voice.
Sorry? I said.
Reply to no reply at tool shop direct dot co dot UK.
Please shut up, I said, clicking the mouse repeatedly. I tried to turn down the volume,
but pressing the mute key only made the screen scroll upwards.
So now youve changed the buttons? I said.
Please read, it said. A personal appeal from Wikipedia founder Jimmy Wales.
Oh my God, I said, kneading the keyboard with my sts. Are you planning to say the
entire internet? It ignored me and carried on.
UNIT 6
valuations
21
22
25
26
27
28
29
30
31
32
33
34
35
Telecommuting
Name :
Class :
The next morning the computer was still talking. Turning it off and on again did nothing.
I tried to ignore the voice, but it was now saying every letter I typed. When I hit the space
bar, it said space. After an hour of this, I did what I had to do.
Help! I screamed.
What do you want? said the oldest one, who was drifting past the door in his pyjamas,
laptop open under his chin.
Please consider the environment before printing this e-mail, said the computer.
I cant live like this, I said. Make it stop.
Command F5, said the boy, managing to roll his eyes without peeling them from the
screen.
Voiceover off, said the computer.
Thank you, I said, That was really beginning to The boy was already gone.
I revisit that moment of terrible helplessness as I stand behind the car, trying to work
out how to jam the bike into it while the phone in my pocket dings for no reason.
How do I do this again? I say. The bike, thankfully, says nothing.
Tim Dowling, The Guardian, Dec 9, 2011

Texts 1 and 2
What topic do both texts deal with? Answer with one word: ....................................
Tick the right answer.
a. Both texts are
diaries
essays
articles
ction stories
b. Both texts relate
a sad event a personal experience
an extraordinary trip
a scientic experiment
Pick out as many details as possible from the texts to identify...

Text 1
Text 2
Who I refers to (name,

occupation)
The other people

mentioned, if any, and their
relationships with I
I's present situation

(place if mentioned, activity)
Tehnical devices I
actually uses
233
UNIT 6
valuations
Telecommuting
Name :
Class :
Right or wrong? Justify with quotations. Indicate the lines.

Text 1
a. I has never worked in a city.
.........................................................................................................................................................
.........................................................................................................................................................
b. I writes articles in Japanese.
.........................................................................................................................................................
.........................................................................................................................................................
c. For I there may be no limit to technological progress.
.........................................................................................................................................................
.........................................................................................................................................................
d. I feels its not always easy to work from home.
.........................................................................................................................................................
.........................................................................................................................................................
Text 2
e. I sometimes shouts at his mobile phone.
.........................................................................................................................................................
.........................................................................................................................................................
f. One day I heard his friend speaking on the computer.
.........................................................................................................................................................
.........................................................................................................................................................
g. I failed to x the problem himself
.........................................................................................................................................................
.........................................................................................................................................................
Compare I s attitude to technology in each text by using some of the adjectives

or expressions from the list below. Quote the text to justify your choice.
irritated - technically minded - determined - open to technological advances - nostalgic - unable
to handle technological devices
a. I in text 1 seems to be: ............................................................................................................
.........................................................................................................................................................
b. I in text 2 seems to be: .............................................................................................................
.........................................................................................................................................................
I and technological devices: fill in the following grid.

Positive opinions
Negative opinions
Text 1
Text 2
Among the following titles, which one would you choose for that set of documents?
Taming information technology

Shrinking the world
Technology: a help or a nuisance?
234
The uses and abuses of technology

Remote work trend
UNIT 6
valuations
Telecommuting
Name :
Class :
Expression crite
A post to have your say
Are you addicted to information technology? Write your post, illustrating your point with examples
(200 words).
A newspaper article
Choose one subject among the following ones:
a. Write a newspaper article, starting from this headline: Who wants to become a drop out from
the metropolis?
b. Write a newspaper article starting from the following cartoon (200 words).
235
UNIT 7 Museum restitution

Notion : Espaces et changes
Activit langagire dominante : expression orale en interaction
Activit langagire associe : comprhension de loral

Le thme gnral
Ce chapitre sinscrit dans la notion gnrale Espaces et changes . Il sagit plus spciquement de sinterroger sur la proprit des uvres patrimoniales et des objets culturels qui peuplent les muses du monde, et
sur une question de plus en plus souvent pose : faut-il restituer ces uvres leurs pays dorigine ?
Au premier abord, certains lves qui ne frquentent pas rgulirement les muses pourront tre dcontenancs par le thme. Il sagira de leur faire dcouvrir pas pas toutes les implications de cette question.
Les interrogations porteront sur :
le rapatriement ou non du patrimoine culturel,
la notion de proprit (est-elle nationale, collective, historique, morale ?),
le sens des objets et uvres pour les pays qui les rclament :
le droit la mmoire et au patrimoine du sol,
le devoir de respect de la personne ( lgard des restes humains momis, par exemple).
Les documents proposs ltude sont de natures varies extraits darticles, de documentaires, dbat
radiophonique, rcit autobiographique, nouvelle et permettent aux lves dentrer de faon progressive
dans ltude du sujet.
En fin de parcours
valuation de l'expression orale :
tche: participer un dbat tlvis (mise en scne avec jeu de rles)
valuation de la comprhension de loral :
tche : choisir des participants un dbat en reprant sils sont pour ou contre la restitution duvres dart.
valuations
comprhension dune mission radiophonique,

expression orale sur le thme des changes entre pays, li la notion Espaces et changes ,
lecture et comprhension de plusieurs documents (extraits dun roman et dun article de presse),
rdaction dune lettre et dun dialogue.
Parcours culturel
Parcours culturel
Notions :
Espaces et changes :
liens entre peuples et pays : conflits entre particulier et
universel / oppositions entre tradition et modernit
Thme :
Le dbat sur la restitution des uvres patrimoniales ; le
sens des objets culturels :
- dans leur pays dorigine,
- dans les pays o ils sont exposs.
Problmatique :
qui appartiennent les uvres patrimoniales exposes dans les muses ?
236
Documents
La question du rapatriement pp. 134-135
Return our artefacts!

Maori head repatriated to New Zealand
Des points de vue divergents pp. 136-137
The property of humankind?

Radio debate
Retour au pays rel ou virtuel? pp. 138-139
Should museums change their approach to restitution?
Rtablir lidentit et le respect pp. 140-141
Animated objects
A totem pole comes home
Janet Frame, You Are Now Entering the Human

Heart
Activits langagires
Discuter des enjeux
de la restitution des objets
patrimoniaux leur pays
dorigine en sappuyant
sur des arguments et des
exemples
Comprendre les
informations essentielles
et les opinions dans un
documentaire ou un
bulletin dinformations
Comprendre des
arguments et des opinions
dans des articles de
presse
Tches dentranement
Stratgies
valuations nales
Dfendre un point de
Tche 1 :
Aprs quelques
vue, justifier, convaincre
Prendre part un dbat
brivement loral une
pp. 144-145 tlvis
uvre patrimoniale
p. 135
Tche 2 :
Choisir les meilleurs
Comprendre et
partenaires pour
classifier les arguments
constituer son quipe
utiliss au cours dun
dans le but de participer
dbat
p. 137
un dbat
p. 146
Prendre part
une conversation en
donnant son opinion et
en sappuyant sur des
exemples
p. 139 Entranement
valuation
Rdiger un court
article pour prsenter
Expression orale
une exposition d arts
premiers
p. 141 pp. 30 et 150
p. 147
Outils de la langue
Words
Restitution p. 135
Museums p. 135 et p. 142
Pillage p. 135
(Dis)agreement p. 137
Heritage p. 137
Virtual repatriation p. 139
Identity p. 141
Arguing p. 142
Talking about cultural exchanges
p. 142
p. 52
Respect/disdain
Prononciation
Grammaire
Questions rhtoriques p. 137

Intonation des questions
rhtoriques
p. 137 et
p. 53
Faire des liaisons
p. 141 Talk somebody into doing

something p. 141 et
p. 53
Accentuation des verbes et des
noms
p. 52-53
237

Lensemble du parcours permet aux lves dexplorer la thmatique en lien avec la notion Espaces et changes
et de sentraner la ralisation des tches nales dans les deux activits langagires plus spciquement vises.
mais substantielle de la thmatique, prparera galement les lves la tche prvue pour lactivit langagire dominante du chapitre.
en gris, les supports et activits incontournables ncessaires la ralisation de la tche nale en
expression orale en interaction : Debate and have your say!

utilises pour les cours dapprofondissement prvus en option. Par exemple, le professeur pourra demander
des lves dcouter The debate goes on (manuel p. 137 et
CD1 Elve piste 46) et den faire un compte
rendu la classe travail en autonomie hors classe). La discussion sur les diffrents types de restitution
(pp. 138-139) pourra tre vue en approfondissement.
Les activits sur la langue (Language tools, manuel pp. 142-143) et sur les stratgies (manuel pp. 144-145)
seront menes mesure de lavance dans le chapitre, en fonction des documents et tches choisis par le
professeur et des besoins des lves.
PAGES INTRODUCTIVES
pp. 132-133
The issue of restitution

Return our artefacts!
p. 134
Maori head repatriated to New Zealand
p.135
p. 135
Recap
p. 135
Training task 1: A two-minute talk
Conflicting points of view

The property of humankind?
p. 136
Radio debate
p.137
Recap
p. 137
Training task 2: The debate goes on
p.137
Homecoming, real or virtual?

pp. 138-139
p. 138
Recap
Training task 3: A discussion about restitution
p. 139
Restoring identity and respect

Animated objects
p. 140
A totem pole comes home
p. 141
Recap
p. 141
Training task 4: Writing workshop
p. 141
Language tools
pp. 142-143
Stratgies
pp. 144-145
Final task 1: Debate and have your say
p. 146
Final task 2: Choose partners for your debating team
p. 146
valuations
238
p. 147
Fiche Recap
p. 54 ou sur le site www.didierpassword.fr.
Cette che rcapitulative permet deffectuer une
trace crite (sous forme de notes) lissue des
diffrents Recaps, et de faire la synthse en n de
chapitre, de manire se prparer activement

tablir les liens avec la notion au programme et
dautres chapitres traitant la mme notion.
manuel p. 30.
PAGES INTRODUCTIVES
Expression orale,
Manuel pp. 132-133
Objectifs
tape 1
Prparer llve entrer dans le thme grce

un document iconographique reprsentant une
uvre monumentale.
Laisser les lves changer librement sur le sens

de lexpression cultural treasure. Rebondir sur
leurs productions pour leur fournir le lexique dont ils
pourront avoir besoin, par exemple : valuable, prized,
relate to, originate from, inherit (cf les suggestions de
productions ci-dessous).
Prsenter un trsor du patrimoine de lle de

Pques expos Londres an de poser demble
la problmatique du chapitre, lie la question des
espaces et des changes.
Faire merger les connaissances et reprsentations des lves.

La photo reprsente Hoa Hakananaia (qui signierait ami vol ou cach ), une statue de lle de
Pques, en Polynsie, appele moa et expose
au British Museum Londres. Cette pice colossale
et sacre de la culture rapa nui serait lie au culte
de lHomme oiseau (un oiseau est grav dans son
dos). Faite de basalte, elle pse quatre tonnes et
date denviron 1000 ans avant J.C. Cest lquipage
du HMS Topaze, un bateau britannique, qui la rapporte en Angleterre en 1868. On pense que ces
statues furent sculptes (jusquau 17e sicle) pour
commmorer le souvenir danctres. On en trouve
peu en dehors de lle de Pques.
Demble, on comprend que cette statue nest plus
dans son lieu dorigine. Son visage svre aux orbites
vides (mais qui contenaient lorigine des pierres
prcieuses) semble le dplorer
Formes de travail
Collective.
Le temps consacr cette activit dpendra videmment des ides des lves mais il ne devrait
pas excder une demi-sance et le professeur
veillera imprimer un rythme assez soutenu aux
changes.

Demander aux lves de lire le titre et la question.
ce stade, ils pourront essayer de dire trs brivement
ce que le titre Museum restitution leur voque.
tape 2
Laisser les lves proposer des rponses la question : Whose cultural treasure is it? Ils pourront utiliser la photo : la statue appartient-elle au British
Museum ou lle de Pques ? Les amener toffer
leurs rponses grce des exemples et leur permettre dchanger leurs ides sans les interrompre.
Ltude des documents du chapitre permettra de voir
ce quil en est. Trace crite retant les changes
au tableau.
Cultural treasure
A treasure is something valuable and important. It is valued by the people who owns it.
It is something which is highly prized for its
beauty, its perfection and/or its meaning.
When the treasure is cultural, it relates to a
particular society and its way of life.
It originates from a specic country.
The cultural treasure of a country is made up
of/comprises its artefacts and its traditions; it
is what a civilization inherits from the previous
generations.
Cultural treasures refer to the history of the
ancestors, to what people want to preserve for
the future generations.
Whose cultural treasure is it?
This massive statue standing upright is in London: I guess it belongs to the British Museum.
But it was not made/carved in Britain, it was
carved on Easter Island. Easter Island is a small
island off the coast of Chile. It is part of the many
islands that form Polynesia.
//
239
//
Even if it is exhibited/displayed in London,
I think it rightly belongs to the inhabitants of
Easter Island because it must have been made
by their ancestors and it certainly expresses
something specic for them.
It may have a special symbolic meaning for
the Polynesians.
//
//
A lot of different visitors can admire this
statue in the museum; it shows them an aspect
of the Polynesian culture, so now it belongs to
everybody, like many other artworks.

changes.
The issue of restitution
Manuel pp. 134-135
Les documents de cette premire double-page posent demble la question du retour des uvres dart
dans leurs pays dorigine en s'appuyant sur l'exemple rcent dune restitution effectue par la France la
Nouvelle-Zlande dont les lves auront peut-tre entendu parler.
1. Return our artefacts!

Formes de travail
Illustre de photos reprsentant des uvres qui nont

toujours pas t restitues, cette page est extraite
dun site scientique. Pour en savoir plus : www.
sciencebuzz.org/about/credits.
1. collective ; 2. individuelle puis collective ; 3. individuelle ; 4. collective.
Il sagit dun blog explicatif et lauteur ne prend pas

position sur le problme expos : rendre ou non les
uvres aux pays dorigine. Lextrait rappelle que
de tous temps, des tableaux ou sculptures ont t
dplacs pour diverses raisons, mais que depuis
quelques annes les demandes de restitution sont
plus nombreuses et de plus en plus insistantes. Le
problme est aussi politique et lgal : des poursuites sont parfois engages contre des muses.
On bauche les raisons que donnent les uns et les
autres pour justier leurs opinions.
Lexique
Pas de difcult majeure. ventuellement, le professeur pourra prvoir dapporter des prcisions sur
sue museum (= make a legal claim against someone)
et dig (= make a hole in the ground).
240
Manuel p. 134
Accs au sens
1. Phase o les lves peuvent faire librement part de

leurs connaissances, puis anticiper an deffectuer
ensuite une lecture plus active du blog.
2. Premire tape de comprhension : dcouverte

des faits gnraux et reformulation. Mise en commun : les lves disent ce quils ont compris. Les
inviter approuver ou rfuter ce qui est propos
par les autres pour dvelopper linteraction dans
la classe.
3. Deuxime tape de comprhension : comprhension plus ne des tenants et aboutissants du
problme. Cela ncessite une prise de notes de la
part des lves, en suivant les axes fournis par la
consigne.
4. Mise en commun. Les lves reformulent ce quils

ont compris.
What happened to the

objects mentioned
Removed from their original context / pillaged // stolen / looted from their
countries
Taken to be sold for profit to make money / saved as souvenirs / put in
museums appropriated by museums
Where they come from and

where they are now
Come from all over the world (Egypt, Greece, Ethiopia, etc.)
Are in large, national museums in western cities like London or Paris
What some governments

have asked and how
First they politely asked for the return of some objects, then they became
less polite.
They insisted, putting pressure on western countries.
They resorted to blackmail / As a last resort, Egypt stated that
archaeologists would not be allowed to go on with their research if the
museums didnt return the artefacts.
They threatened that they would sue museums.
The reactions to their

demands
Some are against.

Archaeologists think the return of some artefacts could incite other
countries to ask for their cultural treasures.
Museums argue that they promote scientific research on these objects.
They say that since the artefacts are in large cities, a lot of visitors can
admire them.
Others are for. They claim that it is important for countries to have the
objects which reflect their cultural heritage and national history in their
own museums.
2. Maori head repatriated to New Zealand
Manuel p. 135
DVD Vido 11

Il sagit dun reportage tlvisuel diffus en 2011 sur une chane no-zlandaise. Il tmoigne de la restitution
dune tte maorie par le muse de Rouen au muse de Wellington, le Te Papa Tongarewa (= the repository
for precious things ).
Squenage de la vido
Time code
Images
From the
beginning to 018
Extract from the ceremony in Rouen

town hall: curator bringing the head
hidden by a cloth + photographers
(Maori songs + conch shell)

after more than a hundred and thirtyfive years in
french hands / this toi moko / has been returned to his
people // under this black cloth a mummified tattooed
head of a maori warrior / the first in france to end its
time as a museum exhibit //
From 019 to 026 Michelle Hippolite, Te Papa Kaihautu i visited him / when he was / sitting on a shelf in rouen
(= leader, curator of the Te Papa)
/ and well from this point on / well be treating him with
dignity //
From 027 to 050 Animated head
this 3D animation shows what the rouen toi moko

looks like // a french citizen gave it to the local
museum in 1875 // toi moko were hotly sought after
by early european traders to new zealand / becoming
prized pieces / in museums around the world // but
cultural sensitivities have changed // maori want their
ancestors returned / and the french agree //
From 051 to 057 Valrie Fourneyron, Rouen mayor
its not an object / its a person // that is something /

very important //
241
Time code
Images
From 058 to 107 Signatures in Rouen town hall
the french tried to return the maori head five years ago
/ but it took a law change in france led by this woman /
to finally allow it to be repatriated //
From 108 to 117 Catherine Morin-Desailly, French

Senator
suddenly it becomes a reality / you realize / that it was a

good job to put all your energy into a / a noble cause //
From 118 to 129 Paul Hobbs in front of Rouen

museum
this might be the first museum in france / to hand back

a toi moko / but its thought there are twenty more in
this country // they will all be handed back to maori
after a te papa exhibition in paris / next january //
From 130 to 138 In the Town Hall: more of the

ceremony
now this toi moko is coming home // the next job / for
te papa / is to find out just where in new zealand is his
home / what is his iwi // (= people, tribe).
From 139 to 142 Michelle Hippolite, Te Papa Kaihautu there might be some signatures / on the moko / that
can give us more information //
From 143 to
the end
The Maori head leaving the town

hall carried by a French man and a
Maori
in the past seven years te papa has collected almost

200 toi moko / and skeleton remains/ an estimated 500
more / await a homecoming //
Pas de difcult particulire : le rythme nest pas
rapide, les accents sont comprhensibles et le
lexique courant, dautant que certains mots auront
t utiliss lors de ltude du premier document. Toi
Moko est explicit ds le dbut. Le professeur sera
amen expliquer ce quest le Te Papa et traduire
en anglais le mot iwi (= tribe).
//
Formes de travail
Demander aux lves de dnir qui peuvent

tre les diffrentes personnes qui prennent la
parole en sappuyant sur leur faon de parler
et des indices visuels :

Accs au sens
1. Les lves changent leurs connaissances sur la

Nouvelle Zlande et la culture Maori. Cela permet
de mettre le reportage en situation. Demander aux
lves de regarder les documents iconographiques
en haut de la page 135 : ils pourront ensuite mieux
associer tattooed Maori head et Toi Moko. La photo
gauche pourra donner lieu des hypothses : photographers an ofcial ceremony / a French man and a
Maori / carrying something which we cannot see / certainly the head mentioned in the title/ to hand it back.
2. Premire dcouverte du documentaire. Mise en

commun : les lves reformulent ce quils ont compris. Ne pas hsiter solliciter dabord les lves
dont la comprhension semble plus hsitante :
les images les aident infrer un certain nombre
dlments.
t compris (sinon revenir sur ces dtails),

et o il va (cf son de la conque, qui renforce
la mise en situation) : Where is the head?
Where is it/he going back to?
Faire valider le fait quil sagit dune crmonie : Whats happening? Why are these
people gathered?
Pay attention to the peoples accents and to

what they wear. Who do you think they are?
- The rst woman must be a New-Zealander
who is going to take the head back.
- The second woman sounds French; she is
wearing a blue, white and red piece of cloth over
her shoulder/a sash; she must be a government
ofcial/the mayor of Rouen.
- The third woman is French too; she must
be another ofcial / or the curator of Rouen
museum / she must have been working for the
repatriation.
- The man in front of the museum is a journalist/
One News correspondent.
3. Activit de reprage en groupes pour une comprhension plus ne du document. Demander aux
lves de prendre des notes puis de les confronter.
En cas de difcults
Demander aux lves de bien reprer do
part le Toi Moko : France, French, Rouen (prise
de vue devant le muse la n) doivent avoir
//
242
4. Un porte-parole par groupe rapporte aux autres

lves ce qui a t dcouvert.
The event that took place in France in May,
2011 and why:
A Toi Moko that had been in Rouen for a very
long time was returned to New Zealand and to
his people.
An important event because this was the rst
time a Toi Moko had been returned from France.
It happened thanks to a change of law which
allowed its repatriation.
The past story of the Maori head
Certainly bought or stolen by a European
trader to New Zealand in the 19th century.
Became a prized piece.
Belonged to a French citizen who gave it to
the Rouen museum in 1875.
Stayed in the museum for more than a hundred and thirty-ve years: the law did not allow
its restitution then.
What will happen to the head from then on?
The Toi Moko will be treated with dignity: the
Maori consider him as one of their ancestors.
This Toi Moko is going back home.
Te Papa museum will nd out where exactly
it came from (thanks to signatures).
It/he will be handed back to his people/tribe.
//
The French realize that Toi Moko are not
objects but people. That is why the woman
from New Zealand says his iwi not its iwi.
Etc.
Training Task 1: A two-minute talk

Cette tche intermdiaire constitue un premier
entranement une prise de parole. Elle permet
galement aux lves denrichir leurs connaissances
culturelles.
1. Individuellement, les lves effectuent des

recherches sur lobjet choisi, au laboratoire de langues si ltablissement en est quip an que le
professeur puisse les aider, ou en dehors des cours
pour gagner du temps. Dans le cas dun travail au
laboratoire, le professeur pourra fournir aux lves
une liste de sites consulter :
http://www.britishmuseum.org/explore/highlights/
article_index/w/what_are_the_elgin_marbles.aspx
http://www.athensguide.com/elginmarbles/
http://www.britishmuseum.org/explore/highlights/
highlight_objects/aes/t/the_rosetta_stone.aspx
http://archaeology.about.com/od/rterms/g/
rosettastone.htm
Recap
La citation propose permet de commencer faire
prendre conscience aux lves de lvolution des
points de vue concernant la question de la restitution
du patrimoine culturel. Ce Recap donnera lieu une
prise de notes dans le Workbook
p. 54 an de
renseigner peu peu la che Recap qui servira de
support lentranement lpreuve dexpression
orale du baccalaurat.
The way peoples tackle the issue has evolved.
The Maoris cultural sensitivity has changed:
they ask for the return of the Toi Moko that are
their ancestors.
The French sensitivity has changed, and the
law as well.
The government has agreed to the restitution
/ they have given their consent and the Toi
Moko will go back home.
//
http://www.louvre.fr/en/uvre-notices/wingedvictory-samothrace
http://atheism.about.com/library/FAQs/religion/
blgrk_nike04.htm
La consigne suggre llve des lments prcis de
recherche. Bien indiquer quil sagit de prendre des
notes qui serviront de support la prise de parole
et non de rdiger un texte qui serait lu.
2. Des lves prsentent le rsultat de leurs

recherches en deux minutes.
Tous les lves ne prendront pas la parole tour
de rle, ce serait fastidieux. Lorsque deux ou trois
lves ont prsent le fruit de leur travail, on peut
demander aux autres de rectier ou denrichir la
prestation. Il est aussi possible de faire enregistrer
tous les lves pour une valuation formative individualise.
Labo de langue : pour les enseignants qui disposent
du Labo de langues.
de ce guide.
243
Conflicting points of view
Manuel pp. 136-137
Les documents proposs ici vont permettre aux lves de mieux comprendre les enjeux lis la restitution
des uvres dart et de dcouvrir les arguments mis en avant par ceux qui y sont soit opposs, soit favorables.
1. The property of humankind?
Manuel p. 136

Le document principal est un article du chroniqueur Kwame Opoku, publi dans le journal en ligne
Modern Ghana.
Il est illustr de la photo dun masque en or saisi
par les Anglais lors de la colonisation du Ghana. Le
document est accompagn d'un encart o gurent
quelques repres gographiques et historiques.
Le masque et dautres trsors se trouvent dans la
Wallace Collection Londres, derrire le British
Museum.
Dans cet article, Kwame Opoku souligne les enjeux
historiques, politiques et nanciers de la restitution
des uvres dart et donne clairement son point
de vue. La rptition du mot looted et les critiques
faites lgard de certains Africains qui acceptent
lide que les uvres dart africaines sont mieux
protges dans les muses occidentaux montrent
clairement quelle thse il dfend. Des mots forts
comme alienation sont utiliss : il sagit bien dune
critique acerbe. Kwame Opoku dnonce galement
la mauvaise foi anglaise et termine en explicitant
limportance de ces objets pour les cultures dont
elles sont issues.
Lexique
Pas de difcult majeure. Regalia est expliqu dans
le reprage chronologique en bas de page ; summation (= summary) pourra tre compris en contexte,
et pour certains lves grce la racine du mot. Le
professeur sassurera cependant quil ny a pas de
faux sens sur le mot respect dans lexpression with
respect to (= concerning).
Formes de travail
1. collective ; 2. individuelle puis collective ; 3. individuelle ; 4. collective.
Accs au sens
1. Phase qui invite les lves tablir des liens

entre le titre de larticle et les donnes culturelles
de lencart du bas de page. Il sagit de permettre aux
lves de mettre larticle en situation avant de le lire.
The title When will Britain return looted golden Ghanaian artefacts? is a question which
//
244
//
means that Great Britain has stolen works of
art from Ghana.
At the bottom of the page, we read that the
British appropriated/took illegally/looted artefacts when they colonized Ghana. So there is a
dispute/controversy.
The artefacts have been in England for a
long time. Now Ghana is independent and
apparently the Ghanaian people want their
treasures back.
2. Premire tape de comprhension : dcouverte des

ides gnrales et reformulation. Mise en commun.
Les lves disent ce quils ont compris. Les inviter
approuver ou rfuter ce qui est propos par les
autres pour dvelopper linteraction dans la classe.
3. Deuxime tape de comprhension : comprhension plus ne des faits et des ides du journaliste.
Cela ncessite un reprage de la part des lves
en suivant les axes fournis par la consigne : les
lves pourront surligner les passages pertinents
de larticle, reproduit dans le Workbook
p. 51.
4. Mise en commun. Les lves doivent reformuler

ce quils ont compris et dvelopper le point de vue
de lauteur.
The reasons why the items have not been
returned
The British Museums administrators/trustees cannot send back / have no power to dispose of / the Ghanaian regalia/treasures.
The law does not allow it / it is forbidden
under the British Museum Act of 1963.
A special Act of Parliament is necessary to
allow the return of the objects.
The Parliament and the museum each refuse
to take responsibility: the Parliament says
Ghana has to talk directly to the museum and
the museum says an act of parliament prevents/
stops it from returning the objects.
What they represent for the British and
for Dr Opoku
1. The British do not want / are not in the mood
to / are reluctant to return some of the looted
objects: they consider they were part of an
//
//
indemnity given to the British / agreed to by
the King of the Asante Empire.
K. Opoku says the British wanted to appropriate
what is useful and valuable gold or diamond
/ objects which are worth a lot of money. So
the artefacts represent a material treasure for
the British.
They may also have an exotic, artistic and
romantic value.
African cultural objects are part of the cultural
heritage of humankind/mankind.
2. African cultural objects are presented as part
of the cultural heritage of mankind / everybody
feels they have a right / are entitled to possess
them, without paying attention to / regardless
of what they represent for the native cultures.
But they are a testimony of all the inuences
that founded the Ghanaian civilization.
They summarize the teachings of the ancestors / epitomize/symbolize what the ancestors
wanted to pass on.
The artefacts hold the key to / enable people to
understand the wisdom and even the history of
the members of the different families.
These treasures are of great research and educational value / essential to teach African people
their history.
Dr Opokus arguments in favour of restitution
There is a reversal of situation : what is generally considered as perverse/unreasonable is
//
//
becoming normal. So Dr Opoku defends the
following ideas:
a distance should not be put between Africans and their culture,
it is not normal to travel to other countries
and continents to see the icons of ones culture,
the natives from a country should be showing
other people their cultural objects, not the
other way round.
The English attacked the Asantes: the Asantes
are the victims / they did not start a war against
a European power: they are not to suffer from
it. They must recover what belongs to them.
Other African peoples opinions
Some highly educated/learned Africans accept
and spread/propagate the idea that African
artefacts are better kept in the West / that
Western museums can better take care of the
works of art and objects.
Dr Opokus point of view
According to K.Opoku, learned Africans convey
Western propaganda / side with the West.
The Africans were colonized, gained their
independence but the alienation of the Africans
from their land, property and culture is still
making great / huge / tremendous progress.
The Africans are treated as if their culture
did not belong to them / as if they could not
take care of it: so they are still considered as
colonized / inferior peoples.
Pi
ste 4
Manuel p. 137
2. Radio debate
CD 1 lve

Lenregistrement a t fait en studio par des locuteurs natifs, qui ont rpondu librement la question
pose. Les diffrents points de vue prsents permettent aux lves de faire la liste des arguments
quils pourront rutiliser lors de la mise en place de
leur tche nale.

Presenter/host: good evening // in tonights
debate / we will be discussing the arguments
for and against artefact repatriation // so / lets
rst of all give the oor to mrs proctor // do you
think that artwork should be given back to the
country of origin //
Mrs Proctor: yes // artefacts belong to their
country of origin and / repatriation is the right
thing to do // they have a unique connection
//
//
with the place / where they were produced and
/ are an essential part of the cultural history of
that area //
Mr Pilling: im sorry but i dont agree with you //
i just wonder if the original country can preserve
the artefact / as efficiently //
Mrs Wood: well / if certain artefacts are returned
to their country of origin / other countries will
demand the same thing / and they are generally
better taken care of in museums where they are
// and if one artefact is given back / shouldnt they
all be / thats highly unrealistic //
Mrs Proctor: you can only truly appreciate a
historical artefact / in its historical context // I
mean / lets take the example of the elgin marbles
/ er / I mean / they were originally in the parthenon / and now they seem out of place in the
british museum //
//
245
//
Mr Pilling: im not convinced // dont forget the
museums all over the world do loan out their
collections//
Presenter/host: but surely a lot of these objects
were stolen in the rst place / werent they //
Mrs Proctor: quite true // the problem gets /
how shall I put it / more complicated //
Mr Pilling: well / unesco regulations only
require the return of artefacts removed from
their country of origin after 1970 //
Mrs Proctor: you cannot deny / that many
countries / are being deprived of their potential
tourist revenue //
Mrs Wood: oh / I agree with that // however
what if the corrupt nature of the country leads
to / the loss of the artefact //
Mrs Proctor: nonsense //
Mr Pilling: the place of origin should not have
the monopoly over their own artefacts / they are
part of our collective history / and should be open
to anyone who is interested in what they have to
tell us // therefore / they ought to be exhibited
in places which receive the most visitors and are
most accessible //
Mrs Proctor: but / how can you say that // thats
/ absolutely preposterous //
Presenter / host: well / im afraid thats all
weve got time for this evening / thanks to all of
you for coming and / thanks for your input on /
something which is clearly / quite a passionate
/ issue //
met de mettre nouveau en place un entranement

la comprhension de loral (discrimination, mission
dhypothses de sens, mise en rseau de ce qui a
t compris), la deuxime activit langagire privilgie dans ce chapitre. Cela prparera les lves
la tche 2 (manuel p. 146), et lpreuve orale du
baccalaurat. Les exercices des Language tools
Intonation in rhetorical questions, manuel p. 142 et
p. 53 pourront tre proposs ici, de
Workbook
mme que ce qui concerne les Rhetorical questions
(manuel p. 143).
Formes de travail
1. collective. 2. individuelle puis collective. 3. en
groupes.
Accs au sens
1. Demander aux lves de lire le titre et de regarder le document iconographique, puis dmettre des
hypothses sur les arguments qui seront avancs
(ils pourront tre rapidement nots au tableau,
et rutiliss lors de ltape 2). Ainsi lcoute sera
plus active. Lexercice Making liaisons, manuel
p. 142, peut trouver sa place avant cette phase
danticipation.
2.a. Premire coute du dbat : on peut demander

aux lves de prciser sils ont repr des arguments
imagins lors de ltape prcdente. Une seconde
coute sera peut-tre ncessaire pour quils aient le
temps de relever le maximum darguments.
b. Mise en commun : les lves confrontent collectivement leurs relevs et le professeur les incite
reformuler ce quils ont compris. Une premire mise
en commun en binmes peut aider les moins laise.
3. En groupes, les lves classent les arguments,
Pas de difcult particulire, malgr un dbit un peu

plus rapide sur certains passages. Ce document per-
discutent de leur validit, et mettent un avis personnel.
Arguments
246
Historical/cultural
Artefacts belong to their country of origin.

You can only truly appreciate a historical artefact in its historical context.
They are an essential part of the culture that produced them.
They are part of our collective history.
Economic/
practical
Many countries are being deprived of potential tourist revenue.

They ought to be exhibited in places which receive the most visitors and are most
accessible.
Some countries cannot preserve the artefacts / the corrupt nature of some countries
may lead to the loss of the artefacts / the treasures are generally better taken care of
in museums where they are.
If certain artefacts are returned to their country of origin, other countries will
demand the same thing.
The museums all over the world do loan out their collections.
Moral
A lot of these objects were stolen in the first place, so they should be handed back
Legal
UNESCO regulations only require the return of artefacts which were removed from
their country of origin after 1970.
On pourrait donc avoir des productions du type :

I think the moral argument should come in the rst
place because valuable objects should not be stolen.
To my mind, the legal argument is hypocritical.
Recap
Ce Recap permet de mettre en commun :
//
corruption prevails / is a scourge in some
countries and it may lead to the loss of the
artefacts
if certain artefacts are returned to their
country of origin, other countries will demand
the same thing
les arguments tudis dans le premier document,

ce qui a t discut dans les diffrents groupes
(tape 3, prcdemment explicite),
et de classer les arguments pour et contre. Puis
les lves changent leurs points de vue quant
la porte des arguments avancs. Ce faisant, ils
se prparent au dbat nal puisquils devront soit
approuver ce qui est propos par les autres, soit
contre-argumenter.
Lexercice Arguing, manuel page 142, pourra tre
fait en amont.
Trace crite retant les changes au tableau : il
est important que les lves puissent revoir ces
arguments lorsquils rviseront leurs notes avant
le dbat nal.
For
a lot of artefacts were stolen in the rst place,
so they should be handed back
artefacts belong to their country of origin
they are an essential part of the culture that
produced them
you can only truly appreciate a historical
artefact in its historical context
it is not normal to travel to other countries
and continents to see the icons of ones culture
many countries are being deprived of their
potential tourist revenue
Western people do not understand the real
meaning of the objects which have been looted
/ they are a testimony / a key to African history
the treasures are of great research and educational value in their countries of origin
Against
some peoples agreed to give artefacts: they
were not looted
UNESCO regulations only require the return
of artefacts removed from their country of
origin after 1970
they are part of our collective history
the place of origin should not have the monopoly over their own artefacts
they ought to be exhibited in places which
receive the most visitors and are most accessible
the museums all over the world do loan out
their collections
Western museums can better take care of the
works of art and objects
//
Training Task 2: The debate goes on

CD 1 lve Piste 46
Cette tche intermdiaire constitue un entranement
la comprhension orale et permet aux lves de
dcouvrir de nouveaux arguments ajouter au dbat
sur la restitution duvres dart.
Pour gagner du temps, le professeur pourra demander aux lves dcouter le document chez eux, de
relever les arguments et de les classer, toffant ainsi
la liste amorce lors de la phase de Recap.
Une mise en commun sera effectue lors du cours
suivant.

Do you think works of art should be
returned to their countries of origin?
1. after all / artefacts belong to a particular
country / the citizens of that country identify
with those works of art // keeping them permanently in western museums means taking away
their sense of identity / as it takes away what
they see as their common symbol //
2. well / if there is a possibility that the work
of art would be sold to / for example / private
collectors / instead of being publicly displayed
in museums / or that it would be completely
destroyed / for political or religious reasons /
then it shouldnt be returned // but / if there
are no such reasons / then people should be
able to view / their own / art in their own
country //
3. i think / the works of art should be returned
to their motherland //
4. why not // its high time they went back home
where they really belong //
5. people do donate their collections to
museums and art galleries // thus / if the
museums have legal rights to own the pieces
/ then those dont need to be returned / if /
however / they dont have the legal right / then
they should return them //
6. i maintain that these art treasures and cultural artefacts belong to all humanity / and should
be preserved / in the great museums of the
world //
247
Arguments for the restitution
Artefacts belong to a particular country and
the citizens identify with them / these common
symbols which are part of their identity must
not be taken away.
People should be able to view their own art in
their own country.
Works of art should be returned to their
motherland / go back where they belong.
//
//
If the works of art were acquired illegally, they
must be returned.
Arguments against the restitution
Works of art must be publicly displayed in
museums, not sold to private collectors.
They may be destroyed in their countries.
If works of art are parts of donations, the
museums dont need to return them.
The works of art belong to humanity and
should be preserved in widely visited museums.
Homecoming, real or virtual?
Manuel pp. 138-139
Les documents de cette double-page exposent une solution prconise par certains : une restitution virtuelle grce aux progrs technologiques. Il sagit de numriser des uvres et de les faire parvenir sous
cette forme aux pays dorigine. Evidemment, cette solution est loin de satisfaire ces derniers.

Cette double-page se prsente comme un article de
magazine et comporte quatre parties :
une introduction qui fait le point sur lvolution
de la rexion sur la restitution des uvres dart,
un article de luniversit dUlster qui prsente
linitiative du professeur Bill Hart et de son quipe
de chercheurs, qui veulent numriser lhritage
culturel de la Sierra Leone,
en contrepoint, un nouvel article de Kwame Opoku
qui rejette cette solution,
en illustration, une photo qui prsente des femmes
Maori prenant soin de ttes rendues la Nouvelle
Zlande.
//
Article 2 : spurious argument (le contexte
permet de constater que cet adjectif a un sens
ngatif), purchase (infrable avec computers),
sword (associ ght donc infrable en tant
quarme).
Formes de travail
1. individuelle puis collective ; 2. en groupes ; 3. collective.
Accs au sens
1. a. Lecture de lintroduction pour reprer comment

Lexique
Pas de difcult majeure pour avoir accs au sens
du document. De nombreux mots sont transparents.
En cas de difcult, il sera possible de sassurer de
la comprhension de certaines expressions.
En cas de difcults
b. Premier balayage rapide du document dans son

intgralit pour comprendre lide gnrale. Puis
suggestions des lves pour expliquer la phrase
de lintroduction : Modern technology might offer a
compromise solution.
Relev et reformulations possibles :
Article 1 : secure funding (le contexte, cest-dire la somme dargent cite, permet dassocier secure funding et get money), prompt a
revaluation (faire dcomposer et comprendre
re/ valu(e)/ ation pour que prompt - cause,
bring about soit plus clair), held in storage (explicit par not on view to the public),
feasible (quasi transparent / demander des
synonymes en contexte = possible)
//
248
le dbat volue, et si de nouvelles faons de faire

sont envisages.
more museums start to return artefacts as

normal practice / more and more museums
accept to hand back artefacts
representatives from museums and communities discuss as equals / on an equal footing /
museums no longer impose their views unilaterally
//
//
it is not just to the source communities to justify
their claims / show they are entitled to recover
their artefacts / prove they are within their rights
everybody tries to find a solution when it is
not possible to return objects / a compromise
is sought out to avoid physical restitution
The title right under the introduction suggests
it may be a digital restitution.
If works of art are digitised / digitalized, everybody can see them on a computer / everybody
can access them.
It may be a compromise: the artefacts stay
where they are, but native communities can
nevertheless admire them.
2. tude dtaille dun article en groupe. Diviser

la classe en groupes de trois ou quatre lves en
fonction du nombre. La moiti des groupes tudient
le premier article en dtail, lautre moiti le second.
Ainsi, lors de la restitution commune, les lves se
trouvent dans une situation de dcit de connaissances et leurs changes prennent sens.
3. Mise en commun : les lves doivent reformuler

ce quils ont compris. Ils confrontent les deux points
de vue et donnent leur propre vision des choses.
Group 1: Dr Harts opinion
If Sierra Leones rich cultural heritage (in three
UK museums) is digitised:
- it will be useful for students and researchers
in the west African country and elsewhere / the
database will be developed to include documentation from other museum collections /
a lot of information will be easy to get;
- the way information is presented in museums
will be revalued / information will be highlighted
/ its importance will be valued more;
- the heritage will be accessible to a wider
audience / a lot of people will be able to see
the artefacts / the artefacts will be viewed by
the public / now they are held in storage / kept
somewhere else, not used, not displayed;
- a rich cultural heritage will be kept alive for
future generations : people in Sierra Leone will
be able to access it / to nd it through a form
of virtual repatriation;
- at the moment it is not feasible / possible to
consider physical repatriation of artefacts to
Sierra Leone / to think of handing the objects
back.
//
//
Group 2: Dr Opokus opinion
- the location of artefacts is important : the
objects are not needed by Western museums
/ but the Africans use them in their living
culture / for Western people the objects do
not represent anything but they really mean
something for the Africans;
- digitalization is an argument which is /false/
not valid/spurious because many Ghanaians
cannot afford purchasing individual computers
in order to see their cultural artefacts / they
have no money to buy computers so what is
the point of virtual repatriation?
- the King of the Asantes could not do with a
digitalized sword instead of the swords in the
museum / a digitised object cannot replace
a real one;
- so the argument based on digitalization has
no validity / virtual repatriation is nonsense
/ the physical transfer of African artefacts
cannot be questioned / people need to see
genuine objects.
Recap
Les lves synthtisent clairement les arguments
avancs. Ce Recap donne lieu une nouvelle prise
de notes dans le workbook
p. 54.
For virtual repatriation
enables researchers to get a lot of information
easily,
highlights the importance of the information
which is presented,
makes the cultural heritage accessible to
more people,
keeps a rich cultural heritage alive for future
generations.
Against virtual repatriation
prevents Africans from using their artefacts
in their living culture,
is unacceptable because many people cannot
buy individual computers to see their cultural
artefacts,
is nonsense because a digitalized object cannot replace a real / an authentic one.
249
Training Task 3: A discussion about restitution

Cette tche intermdiaire donne loccasion aux
lves de sentraner une prise de parole en interaction deux. Elle constitue une synthse de tout
le travail effectu en amont puisque, grce au jeu
de rle propos, les lves vont pouvoir utiliser
plusieurs des arguments avancs jusqu prsent.
contre-argumenter et bien prciser le point de vue.

Cest pourquoi cette tape peut se faire la maison, avant le travail oral en classe lors du cours
suivant, de mme que les exercices des Language
tools Going to museum et Talking about cultural
exchanges, manuel p. 142.
1. Demander aux binmes (choisis ou non par le
3. Discussion en classe sous forme de pair work.
professeur) de se rpartir les rles.
Limiter la prise de parole 5 minutes maximum.
2. Laisser du temps chaque lve pour prendre des
4. Il est possible ensuite de demander un groupe

de rejouer la scne devant la classe an den faire
une critique constructive.
notes propos des diffrents types de restitution,

leurs avantages et inconvnients, pour argumenter,
Restoring identity and respect
Manuel pp. 140-141
Les documents proposs ltude sur cette dernire double-page de la squence ont pour ambition de faire
rchir les lves plus en profondeur sur la signication et limportance de certaines uvres patrimoniales
pour les peuples dont elles sont issues. Ce thme a dj t pos en jalon ; il est nouveau voqu ici
travers les exemples de deux objets appartenant aux cultures maori et amrindienne.
1. Animated objects
Deux textes courts, rassembls sur une page de
magazine, voquent la question dans le contexte de
la Nouvelle Zlande.
Le premier texte est un extrait dun tmoignage
de Carol OBiso, reprsentante de lAmerican Federation of Arts. Elle y raconte son voyage en Nouvelle
Zlande pour prparer une exposition sur les trsors
maori qui devait se tenir New York en 1984 et elle y
explique limpact de ce sjour sur sa faon de voir les
choses, en particulier sa dcouverte que les objets
ont une me pour les Maori.
Le second texte est un article publi sur le site du
MET de New York ; il concerne le putorino, une sorte
de te maorie, et illustre les propos de Carol OBiso.
Lexique
Pas de difcult majeure : la comprhension de la
description de la te sappuiera sur la photo qui
illustre larticle. Le professeur pourra prciser aux
lves, sils ne le savent pas, que le nom maori de
la Nouvelle Zlande, Aotearoa, signie The Land
of the Long White Cloud .
Formes de travail
1. collective ; 2. individuelle puis collective.
Accs au sens
1. Les lves observent les photos et ragissent

librement.
250
Manuel p. 140
The faces on these objects look serious / in a
way, the objects are personied. It corresponds
to the title: they are animated.
The photo on the left represents a row of
carved wooden Maori treasures painted red.
They look like they are outside.
We see faces. Their eyes seem empty and they
are sticking their tongues out.
On the right, we can see a sort of ute held
by a hand. We recognize a face too (eyes, nose,
open mouth, forehead).
2. Les lves sont invits commenter une phrase

du texte de Carol OBiso et faire le lien entre le
premier texte et le second. On donnera un temps
de rexion individuelle la classe avant la mise
en commun.
a. Because there is a difference between the
way Americans and Maori see art.
For the Maori, a taonga / treasure is animated / transformed into a cultural object.
It has a psychic force and power / a soul.
A piece of wood has no signicance / no
meaning if it is not transformed through the
art process / a series of artistic actions.
//
//
It cannot be only a beautiful thing.
The object does not exist without the people
and events around it.
b. The last sentence The sound was said to
represent Hineraukatauri, a female ancestor who personied ute music shows that
the putorino illustrates what is said by Carol
OBiso.
//
2. A totem pole comes home
//
The putorino is not just a musical instrument. It looks like a person and its sound
represents a woman who embodies music.
It has existed / has been associated with the
Maori people / for a long time.
Les exercices et Stressing verbs and nouns dans
le Workbook
pp. 52-53 trouveront leur place ici.
Manuel p. 141
DVD Vido 12

Ce documentaire vido fournit un autre exemple de la signication des uvres et objets patrimoniaux, cette
fois pour une tribu indienne du Canada, le peuple Haisla. Les membres de cette communaut expriment
leur motion lors du rapatriement de Sude Vancouver d'un totem leur appartenant. Ils expliquent leurs
enfants la signication essentielle de ce retour.
Squenage de la vido
Time code
Images
From the The totem pole from the top to Sad music: flutes
beginning the bottom: the carvings feature this totem pole / known as the gpsgolox pole / has stood for 77
three figures from Haisla
years / at the museum of ethnography / in stockholm / sweden //
to 031
stories: Tsooda, Asoalget and a
mythical grizzly bear
From 032 Children gathering

to 056
Children singing
Voice-over: a commentator and a spokesperson for the Haisla
community
from the beginning of the process / to negotiate the poles return
/ the haisla have maintained / the importance of the pole as a
teaching tool / for their children //
today our young kids / from our community school / are going to
come / to hear some stories with respect to the totem pole and /
the family behind the totem pole / just to learn the history //
From 057 Children listening to a member

of the community / the pole
to 121
Presentation of the different adults.

im using / our / haisla kwakwakwwakw name because today
were gonna share / your history with you // this totem pole / is
your history // it belongs to all of us now //
From 122 Children and adults

to 234
are you going to put / this pole back up //

good question // are we going to put the pole back up // the answer
is no // once the pole / has been taken down / we never bring it up
again // so / when its placed in the cultural center / it will lay in this
position / and / allow / mother nature to take its course //
you see that // that was / that was right here // somewhere // it
was around the totem pole ok // and they had these / wires to four
corners / and as you get older / youll start to hear stories about
/ residential schools / about how our people were treated / and
prevented from learning to speak haisla / because / they wanted to
make us like everybody else // its now off right/ so you guys / here
/ so you have the opportunity to learn / to speak our language / you
have the opportunity to listen to people like louisa tell about her
history //
251
Time code
Images
From 235 The homecoming celebration /
people dancing
to 303
From 304 The homecoming celebration

to the end Showing the yoke

Music: tambourines
Voice-over: the commentator
the haisla are determined // no such yoke will be around the
necks of their children / constraining // they / are a generation
free / to embrace / and live their cultural traditions / as is
evidenced at the homecoming celebration //
The spokesman addresses his community.
Tambourines / people clapping their hands
this was the / yoke that held up the totem pole in sweden // when
louisa / myself and JP/ first walked in / to the totem pole / and
were the first haisla to actually see it for / since it left in 1929 / the
/ symbolism / of what we saw / hit us right in the heart // the guide
wires that were holding it up / the pole up and the yoke round his
neck/ to me were / and to louisa / were very symbolic of what the
history / of native peoples in general / and particularly the haisla
have been / since / contact // well its now off // and i believe / i
think its a huge victory / not just for the haisla / but for / all the
indigenous people in north america //
2. Premier visionnement du documentaire. Les
Globalement, ni le lexique, ni la prononciation ne

posent de rels problmes. Il faut cependant que
les lves comprennent bien le mot yoke, illustr
limage. Le professeur pourra demander des prcisions : something which was put around the pole to
make it stand / but then the pole was like a prisoner /
the yoke restricted its freedom. Le mot constraining
(= limiting movement and freedom) renforce cette
mme ide.
lves sont invits dans un premier temps non pas

seulement dire ce quils ont compris, mais surtout
ragir. En effet, lextrait propos est mouvant et
les lves ne devraient pas rester indiffrents.
Faire expliciter since contact (between the Haisla

people and Europeans) puisque they nest jamais
dni clairement.
Formes de travail
1. collective ; 2. collective ; 3. individuelle ; 4. collective.
Accs au sens
Lexercice Making liaisons dans le manuel p. 142
pourra prcder lcoute.
1. Phase danticipation o les lves imaginent ce quils

vont entendre et se prparent une coute active.
252
1. We may learn:
why the pole left Canada and where it was,
how long it stayed there,
what the Haisla Nation did to have it returned
/ how they managed to talk the Swedish authorities into returning it,
whether it was difficult or not,
what the totem pole really represents for
the Haisla,
their feelings now that the pole is back, etc.
2. I think its moving / touching to realize what
the pole embodies.
I am surprised: I did not expect a pole to be
so important for these people.
I did not think a piece of wood could be so vital
/ so meaningful, etc.
3. Nouveau visionnement. Cette fois, les lves recueillent des lments plus prcis, guids par les trois
types de reprage effectuer. Relev :
What happened / is going to

happen to the totem pole
The totem pole stood for 77
years (from 1929 to 2006) at
the Museum of Ethnography in
Stockholm, Sweden.
The process to negotiate the
poles return was long.
The pole was held up by a yoke.
Now back in Canada, the pole
is not going to be put back up. Its
going to be placed in a cultural
center, where it will lay as it is.
What the adults want to teach

the children
The symbolism of the pole and

the adults feelings
The adults want to teach the

children:
- the story of the totem pole and
of the family behind it,
- stories about the pole,
- their nations history and
sufferings (what residential
schools were - schools to
assimilate Native children /
how the Haisla were treated,
prevented from keeping their
culture),
- their native language,
- that they must feel free to
embrace and live their cultural
traditions.
The pole is a teaching tool for

the children.
With the yoke and the wires, the
pole symbolizes the sufferings
of the Haisla people who were
not free to live their traditions /
whom the White people wanted
to assimilate.
The pole now back home is
a symbol of the victory of all
the indigenous people in North
America.
N.B. : Pour en savoir plus sur les residential schools, voir :

http://www.aboriginalcanada.gc.ca/acp/site.nsf/eng/ao20023.html
http://www.wherearethechildren.ca/
http://cansp.wordpress.com/2012/01/23/residential-schools-in-canada/
4. Mise en commun. Les lves changent ce quils

ont compris du texte en reformulant les ides. Les
inviter approuver ou rfuter ce qui est propos par
les autres pour dvelopper linteraction dans la classe.
The totem pole spent 77 years in Europe
where it was held up by a yoke / after negotiations, it was returned to the Haisla people, an
Indian nation in Canada, near Vancouver.
It is going to lie in a cultural center, where
everybody will be able to see it.
The Haisla insisted on having the pole back:
for them it is a teaching tool.
It is a means to teach the children their
nations history and sufferings:
- what residential schools were schools to
assimilate Native children,
- how the Haisla were deprived of their freedom,
- obliged to learn American but to abandon their
native language at the same time,
- how they were forced to leave their cultural
traditions aside.
Now the children have something they can
see, touch and feel of their history and heritage.
The pole stands for the sufferings of the
Haisla people who were not free to live their
//
//
traditions / whom the White people wanted
to assimilate.
Thanks to the pole, the Haisla can nd again
the spirit of their people / the pole is like an
umbilical cord that ties them to their ancestors .
The pole now back home is a symbol of the
victory of all the indigenous people in North
America / they made the Europeans yield and
give back what they had taken, without even
understanding its importance.

Lexercice Respect/disdain dans le Workbook
p. 52, fait la maison et corrig rapidement en

classe, enrichira le lexique des lves sur ce sujet
et leur permettra dtoffer leurs productions, pour
le Recap par exemple.
Recap
La rexion propose permet de commencer faire
prendre conscience aux lves de lvolution des
points de vue concernant la question de la restitution
du patrimoine culturel. Ce Recap donnera lieu une
prise de notes dans le Workbook
p. 54 an de
nir de renseigner la grille qui servira de support
lentranement lpreuve dexpression orale du
baccalaurat.
253
Cultural artefacts can be differently
regarded.
For the people who made them, they are really
valuable, but not in terms of money: they are
more than objects.
They link them to their history/their heritage/
their traditional beliefs, values and customs.
For those who keep them in other countries,
usually in museums, they do not have the same
value.
They are beautiful objects / sometimes worth
a lot of money. They have an artistic value.
But people do not always understand their
real meaning.
Training Task 4: Writing workshop

Cette tche intermdiaire constitue un entranement
la rdaction. Elle sera faite hors de la classe en
travail personnel. Les lves sappuieront sur les
stratgies lies lexpression crite (crire un texte
explicatif, manuel p. 164) et, pour la forme, sur
les articles quils ont lus. Ils auront la possibilit
dutiliser ce qui aura t tudi prcdemment et
deffectuer des recherches complmentaires.
Faits en amont, les exercices portant sur les
structures causatives Talk somebody into doing
something, Workbook
p. 53 et les activits
grammaticales du manuel p. 143 pourront aussi
donner aux lves loccasion de complexier leurs
noncs.

Manuel pp. 142-143
WORDS
Pi
ste 4
Arguing
You can say

To agree
Absolutely! / Quite true / I agree with that.
To disagree
Not at all! / Im sorry but I dont agree with you. / Thats highly unrealistic. / Im not
convinced. / Nonsense. / How can you say that? Thats absolutely preposterous!
To add
something
Im sorry to interrupt but I wanted to add
To gain time
to speak
Well / I mean / how shall I put it?
To give your
opinion
I just wonder if / Dont forget that / But surely
To give examples Lets take the example of

If you are the
presenter/host
Lets first of all give the floor to

Im afraid thats all weve got time for this evening.
Thanks to all of you for coming and thanks for your input on something which is clearly quite
a passionate issue.
Going to the museum

exhibition
display
curator
artefact
exhibit
registrar
loan
254
a show of paintings, photographs, or other objects that people can go to see

show something to people, or put it in a place where people can see it easily
someone who is in charge of a museum
an object such as a tool, weapon, etc. that was made in the past and is historically important
something, for example a painting, that is put in a public place so that people can go to see it
someone who is in charge of official records
when you lend something to someone
Talking about cultural exchanges
20 words:
How come youve never visited the Quai Branly

museum? Youve been living in Paris for years now,
I cant believe youve never visited it!
Across: exhibit, digitize, embody, appropriate, rare,

steal
Down: symbol, facts, demand, argue, return, discuss,
talks, proper, repatriation, restitution, negotiation,
heritage, claim, representation
Observe
7
Pi
s te 4
1. : rhetorical question
2. : real question
3. : real question
4. : rhetorical question
Conclusion: rising intonation in real questions /
falling intonation in rhetorical questions.
Pi
ste 4
Making liaisons
Etc.
Talk somebody into doing something
Intonation in rhetorical questions
You say you dont like museums but how cant you
like this one? It is just fantastic!
Voici ci-dessous le type de reformulations que lon

peut attendre des lves. Les laisser exprimer ce
quils ont compris avec leurs propres mots, sans
attendre ncessairement une traduction prcise de
chacune des phrases :
1. Il parat quon a donn de largent / on a soudoy
/ certains Grecs pour faire en sorte quils cdent les
Frises du Parthnon aux Anglais.
2. Nessaie pas de (les leurrer pour) leur faire croire
que tu respectes leurs anctres alors que ce nest
pas le cas.
voir manuel page 142.
3. Ils les ont amadous pour quils quittent le Ghana.
GRAMMAR
4. force de longues discussions, on a russi

convaincre les autorits sudoises de rendre le
totem.
Rhetorical questions
S + V1 + Complment + into + V2-ing
Observe
Ces phrases permettent dexprimer comment on

est parvenu un rsultat : elles montrent par quel(s)
moyen(s) (V1: bribe / delude / coax / talk) le sujet
parvient faire en sorte que le complment ralise
laction exprime par V2 (give / believe / leave / return).
Les questions surlignes en rose sont de vraies

questions : le locuteur ne connat pas la rponse,
cest pourquoi il demande lavis de son interlocuteur
et attend une conrmation ou inrmation.
Par contre, dans les questions surlignes en vert,
le locuteur nattend pas rellement de rponse, soit
parce quil considre quil connat dj la rponse,
que celle-ci va de soi, ou que ce quil dit ne peut tre
remis en cause.
Practise
a.
a. The British were coaxed into returning masks to
Ghana.
Practise
b. The West deceived Africans into thinking their

artefacts would be sent back.
a. how shall I put it?
c. The Unesco frightened the British museum into

returning some of the mummies.
b. How can the government pay for the repatriation

of all those artefacts?
c. Shouldn't they all? How can you say so?
Workbook
The British Museum could be bribed into giving

back the Rosetta Stone to the Egyptians. Etc.
p. 52-53
WORDS
Respect / disdain
b.
Respect
humble, pay homage to, reverence, regard,
consideration, thoughtful, look up to, consider
Disdain
inconsiderate, egotism, arrogance, contempt, scorn,
haughtiness, disregard, conceit
255
Pi
ste 4
f. There is no substitute for the physical 'transfer of

Asante artefacts.
g. There is always a 'contest between those who are
in favour of repatriation and its opponents.
ob'jects to their repatriation, we will see what should

be done.
h. We must pro'gress towards an agreement.
Stressing verbs and nouns

a. These 'objects are very rare. If the museum
b. This new 'project is interesting but we cannot

pro'ject its cost.
c. The curator will pre'sent his memo about the
artefacts that were given as 'presents by former
governments.
Conclusion: noun rst syllable stressed ;
verb second syllable stressed.
Pi
Stressing verbs and nouns
ste 5
GRAMMAR
Rhetorical questions
Examples:
1. How can a cultural heritage be considered as a
nancial retribution? Culture is priceless!
a. Some people think there is no need to physically

trans'fer looted African artefacts.
2. Of course! How could they not? But is that a

sufcient reason for keeping items that do not belong
to us? I dont think so!
b. The curator ignored the 'protests of the Egyptian

representatives.
3. Why would they? Why would it be so? Each

case is different.
c. I pointed out the potential 'conict over restitution

between the two countries.
4. Why should they? Its so much better to see the

actual objects / have physical access to the objects.
d. Virtual repatriation is an 'insult to our culture.
Talk somebody into doing something
e. Hundreds of people blocked the entrance of the

museum, pro'testing against the British Museum
Act of 1963.
Examples given in the Workbook
STRATGIES
p. 53.
Manuel pp. 144-145
Dfendre un point de vue, justier, convaincre

Objectifs
Le but de cette double-page dactivits est de prparer les lves dfendre leur point de vue de
manire convaincante lors dune discussion. Pour
cela ils devront :
rendre leurs arguments convaincants,
impliquer leur interlocuteur dans lchange,
simpliquer eux-mmes dans lchange.
Les lves sont invits observer et sentraner
la mise en uvre de ces stratgies partir dune
question en lien avec le thme du chapitre : Les
muses nationaux devraient tre gratuits. Quelques
arguments en faveur ou contre cette motion sont mis
la disposition des lves qui pourront les complter
avec leurs propres arguments.
Nous suggrons de conduire ces activits sur les
stratgies en amont de la Training Task 3: A discussion about restitution, manuel p. 139 ; cette tche
constituera un premier transfert pouvant donner
lieu une valuation formative avant la tche nale.
256
Rappelons que les lves seront rgulirement

amens mobiliser ces stratgies en classe et aussi
lors de lexamen, en particulier dans la deuxime
partie de lpreuve orale. Il est donc important dy
consacrer un certain temps.
tapes possibles :
La classe est divise en deux groupes : un en faveur
de la gratuit des muses nationaux, lautre contre.
En homework : charge pour chaque lve de
trouver et de rendre ses arguments convaincants
laide du tableau . Les lves senregistrent et
sauto-valuent.
Lors du cours suivant, en groupes de trois lves
(un lve pour, un lve contre, un observateur) :
- les lves tudient les techniques qui permettent
dimpliquer son interlocuteur et de simpliquer dans
lchange (10 min),
- ils mettent en pratique ces techniques par un minidbat suivi dune critique constructive formule par
lobservateur (10 min).
VALUATIONS
Corrigs
Task 1. Speaking . . . . . . . . . . . . . . .
Task 2. Listening . . . . . . . . . . . . . . . .
20pts

Manuel pp. 146-147
10pts

CD2
Evaluations Piste 10
Il sagit dune prise de parole en interaction dans

le cadre dun talk show tlvis. Le sujet en est
la question pose en dbut de chapitre : Should
cultural artefacts be returned to their countries of
origin?. Cette tche entrane les lves dvelopper des arguments qu'ils pourront prsenter
le jour de lpreuve du baccalaurat.
Il sagit dune tche dappariement. Trois personnes donnent leur avis sur la question de la
restitution des uvres dart. Les lves coutent
les diffrents points de vue et choisissent la
personne qui viendra rejoindre leur quipe de
dbatteurs, savoir la personne favorable la
restitution.
Forme de travail
En groupe.
Il ny a quun seul locuteur totalement en faveur de

la restitution : le second est contre et la troisime
met un avis plus nuanc.
Forme de travail
1. Les lves prendront bien soin de relire la
Individuelle.
double-page Stratgies (manuel pp. 144-145)

et les consignes sur la page valuations (1. Get
ready et 2. Action!) avant de se lancer dans leur
prparation.
Ils devront tirer au sort une carte qui leur attribuera un rle :
- le prsentateur du show tlvis,

Prvoir un maximum de 15 minutes.
1. Trois coutes, chacune suivie dune pause de

1 minute.
2. Pas de prise de notes pendant la premire
coute, mais possible pendant les autres.
- le reprsentant dun muse africain,

- un journaliste spcialiste des arts,
- le reprsentant dun muse anglais,
Transcription du document audio et

barme
- etc.
2. Puis ils prendront quelques notes. En effet, dans
1. Personne pour
un tel contexte, des notes sont permises mais

elles doivent tre trs succinctes et regardes
avec parcimonie.
its the ethical thing to do

its inconvenient/impossible for those whod have
to visit overseas museums to learn about their own
countrys heritage/past
countries have a right to ancient artefacts that
were created on their territory
it contributes to their national identity/and it
threatens that/if they cant have access to it
3. Enn le prsentateur lancera le dbat et

conclura.
Les groupes seront dau moins quatre personnes
(les trois rles prsents dans le manuel p. 146,
plus le prsentateur), mais le professeur pourra
suggrer plusieurs journalistes/reprsentants
ou dautres rles (par exemple un habitu des
muses) en fonction de la taille du groupe-classe.
Dans lhypothse dune classe de 30 lves divise
en 6 groupes, et si cela est possible, faire faire
les dbats en demi-groupes (soit trois groupes
par heure de cours) pour ne pas lasser les lves
spectateurs.
Il est possible de proposer une tche ceux qui
coutent : tche dvaluation avec grille de critres ; reprage de certains points forts et faibles
des dbats, etc.
Le professeur pourra donner un temps limit
denviron 15 minutes par groupe.
2. Personne contre
private museums cant be held
responsible for what was taken
a long time ago
many museums have online
catalogues of their collections : anybody can go
online and see a collection that is thousands of
kms away / theyre not stopping people from seeing
whats in their collections
the country of origin may not exist anymore or
may not be the same anymore / hard to define or
decide where the artefact should go back to
257
Locuteur 1 coch = 10 pts
3. Personne pour et contre

as someone who enjoys visiting museums, I value
the treasures which are available to see from all
over the world
however, I do understand why some people might
feel its unfair for their heritage to be so far from its
native country / particularly if they consider these
artefacts to have been stolen in the past
there is no reliable way of knowing this / they may
just have been given as presents rather than looted
cultural patrimony claims are not easy to prove
VALUATIONS
Locuteurs 1 et 3 cochs = 6 pts

Locuteur 3 coch = 4 pts
Locuteurs 2 et 3 cochs = 2 pts
Locuteur 2 coch = 0 pt
Corrigs
Manuel p. 147
Document support
Voir
1. Communication du titre accompagnant lenregistrement : An imaginary museum, crire au

tableau.
Ce texte est un extrait dune mission de NPR (National Public Radio), o un prsentateur interviewe une
ditrice propos dun muse sur papier ; il sagit
donc dun dialogue.

au brouillon :
coute 3

Passation
La passation et lvaluation de la performance de llve
suivront les instructions ofcielles, conformment au
B.O. du 24 novembre 2011. Prvoir 20 minutes.
10 minutes pour rendre compte de ce quil a compris, en franais, sur sa copie. On pourra lui suggrer de remettre aussi son brouillon quon sera
vigilant de ne pas regarder avant davoir valu le
compte-rendu an de pouvoir observer le passage
entre les notes et la restitution et ainsi pouvoir
mieux aider les lves qui auraient des difcults
dans cette preuve.
Elments de rponse et barme

Dans le tableau ci-dessous, apparaissent en colonne de gauche les critres xs par le B.O. du 24 novembre

An imaginary museum
Niveau
BO du 24 novembre 2011
prestation le nombre de points indiqu (sans
le fractionner en dcimales) de 0 10.
Le candidat na pas compris le document. Quelques mots relevs.
Il nen a repr que des lments isols et Thme et interlocuteurs non mentionns.
nest parvenu en identifier ni le thme ni
les interlocuteurs (leur fonction, leur rle).
1 pt
258
A1
Le candidat est parvenu relever

des mots isols et des expressions
courantes qui, malgr quelques mises
en relation, ne lui ont permis daccder
qu une comprhension superficielle ou
partielle du document (en particulier, les
interlocuteurs nont pas t pleinement
identifis).
3 pts

Thme partiellement compris : les locuteurs voquent un
livre propos de lhistoire des arts.
Imprcisions sur le rle des deux interlocuteurs (par
exemple, un homme interroge une femme ).
A2

mais le relev est insuffisant et conduit
une comprhension encore lacunaire ou
partielle.
Le candidat a su identifier le thme de la
discussion et la fonction ou le rle des
interlocuteurs.
5 pts
Thme compris : publication dun livre qui est comme un

muse imaginaire
Interlocuteurs identifis : directrice de publication /
prsentateur (Welcome to the program). Les noms de
famille ne sont pas exigibles.

principaux de la discussion (contexte,
objet, interlocuteurs et, ventuellement,
conclusion de lchange).
Points principaux relevs dans des phrases claires.

Contexte : lors dune mission de radio, deux personnes
parlent de laboutissement dun projet de longue haleine.
Objet : la publication dun livre qui donne une vision trs
large de lhistoire des arts.
Interlocuteurs : prsentateur de radio qui a invit une
directrice de publication qui vient de Londres.
Conclusion de lchange : il a fallu 10 ans et
100 personnes pour mener bien un projet et proposer
la collection la plus incroyable sur lhistoire de lart.
B1
8 pts
Comprhension fine.
B2
10 pts
Plus de dtails :
Relations entre les interlocuteurs : le prsentateur pose
des questions la femme afin quelle explique le but du
projet. Il donne aussi des dtails lui-mme.
Tenants et aboutissants (3 lments sur les 5 ci-dessous) :
- il y a 10 ans, lditeur avec lequel travaille la femme
a donn de gros moyens ses collaborateurs
(dplacements et budget illimits) pour quils imaginent un
muse et quils dcident quelles uvres ils y mettraient ;
- les uvres pouvaient tre connues ou non, grandes ou
petites, accessibles au public ou non
- panorama complet de lhistoire de lart, des peintures
rupestres aux uvres contemporaines
-le livre est le seul endroit o lon trouve toutes ces
uvres la fois
- le livre est divis en 25 galeries (et non chapitres), et
chaque galerie comporte plusieurs pices, ce qui permet
de reproduire plus de 2700 oeuvres
Points de vue : la femme est l pour promouvoir le livre,
donc elle en parle positivement (the most amazing
collection)
- le prsentateur donne aussi un avis positif (explained
with visual clarity) et insiste sur la difficult du projet
(challenge).
Si des lments ont t relevs plusieurs niveaux, il appartiendra au correcteur de dnir le niveau
global atteint.
Note de llve: note sur 10 x 2 =
/20
259
Expression orale
Voir
Text 2
(0,5 + 0,5 = 1 pt)

Part 1: Charles is... c. alone at the Tate

Voir documents photocopiable p. 19 de ce guide.
6 pts (0,5 pt par bonne rponse)

a.5 - b.3 - c.8 - d.11 - e.1 - f. 7 - g.12 - h. 4 - i.13 j.10 - k.2 - l.6 - (9 ne convient pas)
1 pt

ce guide.
: Charles only agrees to visit the Tate because he

wants Rachel to like him. It turns out he can actually
enjoy looking at paintings and give his opinion on them.
Corrigs et barmes
Texts 1 and 2
Total sur 20 pts diviser par 2

Texts 1 and 2
General idea: b. Young people can have or can
develop an interest in art. 1 pt
(0,5 + 0,5 = 1 pt)

Text 1 is an extract from : a magazine.
Text 2 is an extract from : a novel.
Text 1

a. Many adults are right in thinking teenagers nd
museums boring and not for everybody.
Wrong. Are these just assumptions that adults make
about what teenagers think? (l. 3)
b. Teenagers cannot understand much about art.
Wrong. Teens, if we allow them, have the potential
to provide our museums with the fresh perspective
and energy required by each new generation as
it reinvents and nds the signicance of its own
cultural patrimony. (l. 5-7)
c. Teenagers can ask very relevant questions about art.
Right. What an extraordinary set of difcult questions loaded with ambiguity and nuance. (l. 20)
d. What teenagers think of art is of no importance.
Wrong. Their thinking will be at the forefront of
society within the decade. (l. 9)
e. Adolescents should be able to contribute to how
museums can evolve.
Right. Why not engage them now, learn from them,
and invite these youthful audiences to actively participate in the transformation of our institutions?
(l. 11-12)
260
Part 2: Charles is a. with Rachel at the Tate
(2 + 2 + 1 = 5 pts)
Exemples de rponses possibles :
a. 2 pts
Preconceived ideas in text 1: museums are dull/
boring, elitist and for the old.
This is what Charles thinks at rst in text 2: I
went along to the Tate, [] with a pocket edition of
the poets work and the well-thumbed Thames
and Hudson (l. 1-3). He thinks you must have
a lot of cultural background to understand the
paintings
b. 2 pts
- In fact text 1 argues that young people can be
interested in art and ask essential questions about it.
- And text 2 shows that Charles is not indifferent to
art even if he does not regularly visit art galleries.
c. So text 2 : conrms what text 1 says. 1 pt
Expression crite
UNIT 7
valuations
Final task 1
Museum restitution
Name :
Class :
Speaking
Manuel p. 146
TV debates
Niveaux
Traitement du sujet
Peut engager, soutenir

et clore une conversation
simple et rpter
pour confirmer une
comprhension mutuelle.
Peut rpondre des
suggestions et en faire.
Peut demander des
clarifications.
La langue est
comprhensible malgr
des erreurs lmentaires,
un lexique limit et une
prononciation assez
imparfaite (accent franais).
1 3 pts
1 ou 2 pts
1 3 pts
Peut dvelopper son

Peut prendre linitiative
opinion laide de quelques de la parole et son tour
arguments et exemples.
de parole, se reprendre et
reformuler.
Argumente, cherche
convaincre, ragit avec
vivacit et pertinence.
La langue est globalement

correcte.
Bonne matrise du
vocabulaire ncessaire la
tche.
Utilise une gamme assez
tendue de structures
appropries.
Est clairement intelligible
mme si un accent tranger
est perceptible et sil y a des
erreurs occasionnelles.
4 pts
3 pts
4 pts
Peut expliquer, commenter,

comparer et opposer.
Peut conduire un entretien

avec efficacit et aisance.
Les phnomnes
daccentuation sont pris en
compte.
A un bon contrle
grammatical (erreurs
occasionnelles).
Ne commet pas derreurs
conduisant des
malentendus.
5 ou 6 pts
4 pts
5 ou 6 pts
Peut en plus exprimer

clairement un point de vue.
Peut scarter spontanment

des questions prpares et
relancer les rponses
intressantes.
A acquis une prononciation

et une intonation claires et
naturelles.
Lexique riche.
A un bon contrle
grammatical : peut sautocorriger.
7 ou 8 pts
5 pts
7 pts
B1-3
B2
Bonus
Intelligibilit et recevabilit
linguistique
grammaire, vocabulaire,
prononciation
Exprime une opinion

de faon succincte en
adquation avec le rle
donn.
B1-1
B1-2
Prendre part une

conversation
aisance et coopration
Originalit des ides.

2 pts
261
UNIT 7
valuations
Museum restitution
Name :
Class :
Text 1
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
Museums are dull. They are stodgy. They are elitist places. They are for the old, not the
young. Too many lectures, academic answers, and canned responses.
Is this what teenagers really think of museums? Or are these just assumptions that
adults make about what teenagers think? []
Teens, if we allow them, have the potential to provide our museums with the fresh
perspective and energy required by each new generation as it reinvents and nds the
signicance of its own cultural patrimony. Museum directors, educators, and marketing experts now recognize increasingly that this audience represents the pulse
of contemporary culture. Their thinking will be at the forefront of society within the
decade. Teens represent the next generation of political leaders, artists, workers, and
inventors. Why not engage them now, learn from them, and as some of our colleagues
have boldly demonstrated, invite these youthful audiences to actively participate in the
transformation of our institutions?
On the rst day of the High School Museum Studies program at the Museum of Modern
Art, 16 high school students spent two hours in the galleries looking at art and discussing what they saw. Afterwards they were asked to write down any questions they
might have about modern art, artists, and the museum in general. Their questions
were astonishing: Why do artists get to bend the rules? Why do people collect art? How
does art spread new ideas? What makes art museum quality? What is the denition
of modern art? Why is some art worth millions while other art is not?
What an extraordinary set of difcult questions loaded with ambiguity and nuance, not
easily answered, and heavily debated by the most sophisticated adults. These are not
the questions of difdent or indifferent adolescents.
Deborah F. Schwartz, Museum News (September/October 2005)
Text 2
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
262
Charles has met Rachel at a party. They are both 19. She likes Thomas Gray1 and art. They
decide to go to the Tate2 together.
I went along to the Tate, I need hardly say, on the Saturday before, decked out like a
walking stationery department, also with a pocket edition of the poets work and the
well-thumbed Thames and Hudson3.
Half an hour of wandering round: I sneered at the militarist paintings on the ground
oor and laughed at one or two of the Hogarths4. Then it was down to work. I mapped
out an approximate route and noted points of general interest. In the hope that he
would acknowledged me on the day, I approached (practically on all oors) a winded
attendant and talked to him about how much he hated Americans and children of all
nationalities. I had a thorough look at the Blakes1, marking them up in the Thames and
Hudson, and generally got the feel of the place. I was a bit ashamed, actually, having
not been along before then. Because I really quite liked Blake []
Two hours later, over barley wines in a pub off the Kings Road, I swotted up some
quotes and drafted a few speeches. One on God Creating Adam5, to be delivered as we
were leaving, by the large windows at the southern end of the gallery. []
Then, in note form, I sketched out a short polemical piece on why I hadnt been to see
(and apparently hadnt heard of) the Gray Illustrations. []
On the following Saturday...
The day was going well, particularly in view of the fact that Rachels rst words were:
Hi. Youve got an enormous spot on your chin.
I laughed with her, in a way relieved that we werent going to spend every second of
the afternoon not mentioning it.
I know all about it, thank you, I said. And I did, too. That morning, man and spot had
become one, indivisible. Now, it felt like a surgically implanted walnut. But Rachel didnt
seem to mind, or was good at seeming not to. I would have minded.
UNIT 7
valuations
25
30
35
Museum restitution
Name :
Class :
I had read my notes so often that they had long lost any meaning they might once have
had. So I tried some extempore stuff. Rachel did a good deal of the talking by no
means all of it nonsense. To save face, therefore, I ran through an edited version of the
God Creating Adam speech, adapting it to the ghostly lighting effects of the lower gallery,
rather than to the pallid ickers of the afternoon sun: with widened eyes and more
oracular remoteness of voice. When I nished, Rachel looked up at me and spoke these
words:
See that little boy over by the stairs? Hes got his pyjamas on underneath his trousers.
We stayed for two hours. On the way out I heart-rendingly bought Rachel a 3p postcard
of Blakes Ghost of a Flea5, offering it to her with boyish difdence. She (quite rightly)
kissed me on the cheek, just missing my spot.
Martin Amis, The Rachel Papers (1973)
1. Thomas Gray: English poet (1716-1771) whose poems were illustrated by William Blake, an English poet,
painter, and printmaker (1757-1827) .
2. the Tate: London art gallery.
3. Thames and Hudson: publisher of illustrated books on art, architecture, archaeology, history, etc.
4. Hogarth: English painter, printmaker, social critic and editorial cartoonist (1697-1764).
5. God Creating Adam The Ghost of a Flea : paintings by Blake.

Texts 1 and 2
What general idea is illustrated in both texts? Circle the right answer.
a. Young people think art is for cultivated people only and they are right.
b. Young people can have or can develop an interest in art.
c. Museums are not the best place for young people to learn about art.
d. Most young people are indifferent to art.
Characterize each text. Tick the right answer.

Text 1 is an
extract from
Text 2 is an
extract from
a real-life testimony
a biography
a diary
a novel
a daily newspaper
a magazine
Text 1
Right or wrong? Quote the text to justify and give the line.
a. Many adults are right in thinking teenagers nd museums boring and not for everybody.
.........................................................................................................................................................
b. Teenagers cannot understand much about art.
.........................................................................................................................................................
c. Teenagers can ask very relevant questions about art.
.........................................................................................................................................................
d. What teenagers think of art is of no importance.
.........................................................................................................................................................
e. Adolescents should be able to contribute to how museums can evolve.
.........................................................................................................................................................
263
UNIT 7
valuations
Museum restitution
Name :
Class :
Text 2
Circle the right answer for each part of the text.

Part 1: Charles is...
a. returning to the Tate
c. alone at the Tate
b. with Rachel at the Tate
d. with Rachel in a pub
Part 2 (On the following Saturday): Charles is

a. with Rachel at the Tate
c. visiting the Tate for the rst time
b. with Rachel in his at
d. visiting the Tate again without Rachel
Match each excerpt from the text in column 1 with one sentence (and one only) in
column 2. One sentence in column 2 does not correspond to any excerpt in column 1.
Write the correct number after each letter:
a:.
d: .
g: .
j: ..
b: .
e: .
h: .
k: .
c: .
f: .
i: .
l: .
Column 1
a. I went along to the Tate decked out like a walking
stationery department, also with a pocket edition of the
poets work and the well-thumbed Thames and Hudson.
b. Half an hour of wandering round: I sneered at the
militarist paintings on the ground floor and laughed at one
or two of the Hogarths.
c. Then it was down to work. I mapped out an
approximate route and noted points of general interest.
d. In the hope that he would acknowledge me on the day,
I approached (practically on all floors) a winded attendant
and talked to him.
e. I had a thorough look at the Blakes, marking them up
in the Thames and Hudson, and generally got the feel of
the place. I was a bit ashamed, actually, having not been
along before then. Because I really quite liked Blake.
f. Two hours later, over barley wines in a pub off the
Kings Road, I swotted up some quotes and drafted a few
speeches.
g. Then, in note form, I sketched out a short polemical
piece on why I hadnt been to see (and apparently hadnt
heard of) the Gray Illustrations.
h. I had read my notes so often that they had long lost
any meaning they might once have had. So I tried some
extempore stuff.
i. Rachel did a good deal of the talking - by no means all
of it nonsense.
j. I ran through an edited version of the God Creating
Adam speech, adapting it to the ghostly lighting effects
of the lower gallery, rather than to the pallid flickers of
the afternoon sun: with widened eyes and more oracular
remoteness of voice.
k. When I finished, Rachel looked up at me and spoke
these words:
See that little boy over by the stairs? Hes got his pyjamas
on underneath his trousers.
l. We stayed for two hours. On the way out I heartrendingly bought Rachel a 3p postcard of Blakes Ghost of
a Flea, offering it to her with boyish diffidence.
264
Column 2
1.
He is not indifferent to art.
2.
His speech was not that interesting.
3. He is going to visit the art gallery with

Rachel, so he is preparing it.
4. He realizes one can talk about art without
preparation.
5.
Charles does not know much about art.
6. He has the feeling Rachel may think he is

a complete idiot.
7. He is writing down what he will say to
Rachel when they visit the art gallery.
8.
He does not know the art gallery very well.
9. He succeeds in impressing Rachel with

his knowledge of art.
10. He wants to impress her.
11. He wants Rachel to think he visits the art
gallery so often that he knows everybody there.
12. He feels the need to explain why he does
not know Gray.
13. Rachel can express interesting ideas
about art.
UNIT 7
valuations
Museum restitution
Name :
Class :
Tick the sentence that best sums up text 2.

Charles has no interest in museums and has no intention of learning anything about art. He
pretends he likes Blake just to please Rachel.
Charles only agrees to visit the Tate because he wants Rachel to like him. It turns out he can
actually enjoy looking at paintings and give his opinion on them.
Charles thought a place like the Tate was for people with massive art culture And indeed he
nds out only those who know a lot about art can enjoy great artists works.
Texts 1 and 2
Answer the questions.

a. What preconceived ideas are mentioned in text 1 and shared by Charles in text 2?
.........................................................................................................................................................
.........................................................................................................................................................
b. Complete the following sentences:
- In fact text 1 argues that ..............................................................................................................
.........................................................................................................................................................
- And text 2 shows that ...................................................................................................................
.........................................................................................................................................................
c. So would you say text 2 (tick the right answer):
contradicts what text 1 says
conrms what text 1 says
Expression crite
A letter
In the evening, Rachel writes a letter to a friend about her visit to the museum with Charles.
A dialogue
Imagine a conversation between a journalist, who thinks that museums are not for teenagers, and
a curator who does not agree and give examples of what is done in his museum to attract teens.
265
UNIT 8 British characters

Activit langagire dominante : expression crite

Le thme gnral
La notion Mythes et hros est ici aborde par le biais des hros ou personnages (characters en
anglais) de ction britannique, et les traits du caractre national (British national character) quils illustrent.
Que nous apprennent les hros de roman britanniques sur lidentit de leur pays hier et aujourdhui ? Quelles
sont leurs spcicits, leurs singularits ?
Le choix a t fait de ne pas entrer dans le dbat English vs British . Il nest pas question de nier quil
existe des personnages de ction, et donc des identits, explicitement lis lEcosse, au Pays de Galles ou
lIrlande, et qui refuseraient de se revendiquer British si ce terme tait lquivalent de English ; mais lide
au cur de ce chapitre est celle de la Britishness, cest dire ce qui marque des individus lis par des traits
culturels communs et spciques aux les britanniques.
Le choix sest port sur des personnages de ction anglaise emblmatiques dune certaine image nationale : lexplorateur, le dtective, lexcentrique. Les divers documents proposs ltude articles de
journaux, extraits de romans, bande-annonce de lm, tmoignage personnel, extrait littraire reposent
sur ce va-et-vient entre singularit ctive et identit britannique. Comment la ction se fait-elle lcho ou
le miroir de la ralit, comment la ralit impacte-t-elle lvolution de la ction ?
En fin de parcours
- tche : rdiger le portrait dun personnage emblmatique de la culture britannique
- tche : identier partir de prols dinternautes les personnages de ction britannique susceptibles de
leur plaire
valuations
- comprhension orale dun extrait dinterview,

- expression orale sur les icnes britanniques (iconic gures),
- lecture et comprhension de plusieurs documents (extraits dune analyse littraire et dune ction),
- rdaction dun passage de journal intime ou dun texte explicatif au sujet des personnages britanniques.
Parcours culturel
Parcours culturel
Documents
Notion :
Mythes et hros
Thme :
Les grands personnages de fiction britannique ;
quelques aspects du caractre national britannique.
Problmatique :
Que nous apprennent les hros britanniques
sur les Britanniques eux-mmes ?
Bien sr, nous sommes uniques pp. 154-155
Alice Thomson, What does it mean to be British?,

Sebastian Faulks, Remarkable characters
Ces hommes vous la mer pp. 156-157
266
Joseph Conrad, Heart of Darkness
Le sens de lenqute pp. 158-159
Anthony Horowitz, The House of Silk
Britannique, excentrique pp.160-161
Isabel Taylor, Exploring British Excentricity

Johnny English
Good reads pp.168-169
Arthur Ransome, Swallows and Amazons
Activits langagires
Tches dentranement
Stratgies
valuations nales
Aprs quelques
Rdiger des portraits
crire un texte
de personnages ou des
explicatif
descriptions dvnements loral un hros de srie
pp. 164-165
tlvise britannique
p. 155
Comprendre
les vnements, la
psychologie des
Rechercher et
personnages, leurs
changer des informations
actions et ce quils
sur de grands explorateurs
incarnent dans des
anglais
extraits de textes
p. 157
littraires
Comprendre des
crire le compte
opinions, des arguments
rendu dune conversation
et des exemples dans des
dans un journal intime
articles de presse
p. 159
Imaginer et crer un
Prsenter et
flyer pour promouvoir un
expliquer brivement
vnement caritatif
loral quelques aspects
p. 161
du caractre national
Tche 1 :
Rdiger le portrait dun
personnage emblmatique
de la culture britannique
Tche 2 :
Identifier les personnages
de fiction britannique
susceptibles de plaire
diffrents profils
dinternautes.
p. 166
valuation
britannique
p. 167
Outils de la langue
Words
Symbol p. 155
Heroes and characters p. 155
Tolerance p. 155
Sailors and adventurers p. 157
Personal traits p. 157-161
Companionship p. 159
Admiration p. 159
Eccentricity and humour p. 161
Prononciation
Le -s dans les pluriels
p. 162
p. 157 et
Accentuation des formes

ngatives
p. 162
p. 159 et
Grammaire
Verbe + ing : Being British
p.163
p. 155 et
Have-en / Had-en
p. 159 et
p.163
p Prcis de prononciation 7
p. 220
267

Lensemble du parcours permet aux lves dexplorer la thmatique en lien avec la notion Mythes et hros
et de sentraner la ralisation des tches nales dans les deux activits langagires plus spciquement
vises, savoir lexpression et la comprhension crites.
mais substantielle de la thmatique, les prparera galement la tche nale prvue dans lactivit langagire dominante. Sont donc indiqus dans le tableau ci-dessous :
en gris, les supports et activits incontournables ncessaires la ralisation de la tche nale dexpression crite : Present your favourite British character.
utilises pour les cours dapprofondissement prvus en option.
PAGES INTRODUCTIVES
pp. 153-154
Of course we are unique

We, the British
p. 154
Remarkable characters
p. 155
Recap
p. 155
p. 155
Training task 1: TV heroes
Men who follow the sea

p. 156
Seamen and wanderers

Recap
p. 157
Training Task 2: Voyages and adventures
p. 157
The science of detection

Remarkable Sherlock Holmes
p. 159
Recap
p. 159
Training Task 3: Portrait of a genius
p. 159
A B(r)it different
Exploring British eccentricity
p. 160
Johnny English
p. 160
Recap
p. 161
Training Task 4: A flyer
p. 161
Language tools
pp. 162-163
Stratgies
pp. 164-165
Final Task 1: Present your favourite character
p. 166
Final Task 2: Help website visitors find their heroes
p. 166
valuation
p. 111
Fiche Recap
p. 61 ou sur le site www.didierpassword.fr. Cette che
rcapitulative permet deffectuer une trace crite (sous forme de notes) lissue des diffrents Recaps puis de
faire la synthse en n de chapitre, de manire se prparer activment lpreuve orale du baccalaurat :
268
tablir les liens avec la notion au programme et dautres chapitres traitant de la mme notion.
PAGES INTRODUCTIVES
Objectifs
un document iconographique illustrant deux personnages mythiques de la littrature britannique :
Alice aux pays des merveilles et Robinson Cruso.
Si les lves ne connaissent pas ces personnages,
leur permettre de formuler des hypothses en liant
les lments du dessin, leurs connaissances ou
suppositions et la problmatique pose : Que nous
apprennent les personnages de ction britannique des
Britanniques eux-mmes ?
Problmatique : on amnera les lves sinterroger sur la diversit des personnages et sur ce quils
nous dcrivent de la britannitude ou britannit , et faire le point, avec leurs camarades,
sur leurs connaissances concernant la littrature
britannique.
Manuel pp. 153-154
point sur les connaissances des lves et dintroduire du lexique utile lensemble du chapitre, et
indispensable pour lapproche du document 2 p. 155 :
Remarkable characters.
Vocabulaire utile pour lexploitation du document :
huge - gigantic - puzzled - engrossed in ones
thoughts - shipwrecked - stranded - washed up on
the beach - a savage
bold - curious - cope with - poles apart - guardian
sense of humour - go through - ordeals - represent
- symbolize - stand for - typical - iconic - embodiment
- archetypal
Le professeur veillera poser en jalon des mots
utiles la comprhension orale p.155 : washed up
on the beach, shipwrecked...
Forme de travail
1. collective ; 2. en binmes ; 3. collective.
Le dessin met en scne Alice aux pays des Merveilles et Robinson Cruso. Au premier plan, agenouille et occupant quasiment tout lespace de ce
qui ressemble un tunnel ou un couloir, la jeune
lle regarde en arrire. Au bout de ce tunnel, prs
dun rivage, un homme se tient debout de prol ; il
porte un fusil sur lpaule, un parasol la main et
un panier en osier sur le dos. Ces deux personnages
sont trs diffrents, appartiennent des poques
diffrentes, vivent des aventures diffrentes. Pourtant, tous deux sont amens explorer un territoire
inconnu, subir les assauts dun monde trange
ou tranger, apprivoiser un environnement qui
se veut tantt hostile tantt bizarre ; tous deux
errent de dcouverte en dcouverte et accomplissent
leur voyage initiatique en faisant preuve dun esprit
dentreprise remarquable. Quelle est donc cette
permanence qui les a inspirs ? Leur plus petit
dnominateur commun ?
Le temps consacr cette activit dpendra videmment des ides mises par les lves mais il
ne devrait pas excder une trentaine de minutes, et
le professeur veillera imprimer un rythme assez
soutenu aux changes.
Le dessin :
voque les diffrentes personnalits quendosse
le personnage de ction britannique au cours de
lhistoire,
met en parallle deux personnages appartenant
des poques diffrentes.
Les questions p.153 (What do you know about these
characters? How would you link them to your idea of
britishness?) permettront au professeur de faire le

tape 1
Projeter la photo au tableau par vidoprojection, faire
un transparent ou agrandir limage si vous disposez
de la version numrique du manuel. Laisser aux
lves le temps de prendre connaissance de la page
puis les laisser ragir et exprimer spontanment
leurs ractions. Le sens de cette illustration nest
pas immdiat et les lves pourront se trouver
dsaronns, avoir limpression de navoir rien
dire. Il se peut mme quils ne connaissent pas les
deux personnages.
Si tel est le cas, attirer leur attention sur les dimensions des personnages, le lieu, les attributs de
chacun, etc. Ainsi, les lves pourront formuler
des suppositions partir de la description et des
informations fournies par la lgende. Donner le
nom des deux hros si ceux-ci ne sont pas reconnus
demble et voquer des lms qui pourraient les
mettre sur la voie (Tim Burton, Walt Disney), le but
tant damener les lves voquer leurs histoires
respectives.
269
In the
foreground
Who
a young girl,
kneeling: Alice
in Wonderland
a man,
standing:
Robinson
Crusoe
Where
in a corridor or
a tunnel
by the sea
What
is looking at
the huge/
gigantic man /
looks puzzled
/ a pink fan
/ smartly
dressed /
middle-class
is looking at
the open sea /
seems to be
dreaming /
engrossed in
his thoughts
/ looks like a
savage
young girl
/ dreamy /
curious /
exploring a
tunnel
lives on an
island / alone
/ came on a
ship / lost on
an island /
shipwrecked
/ stranded /
washed up on
the beach /
a castaway /
Friday
What do
you know
about
Robinson
Crusoe and
Alice?
Both are ctional characters/heroes / very

famous in British literature
Both bold, curious, exploring a new land /
on their own / trying to adapt/cope with the
unknown
Opposed/poles apart far from one another
and belong to different epochs, different classes
Crusoe is her ancestor. Like her, he is one of
the most famous characters in British literature
/ They have/share the same qualities: resourcefulness, initiative, adaptability = continuity
Crusoe is the guardian of Alice seems to be
defending/protecting her
In the
background
tape 3
Rapide mise en commun et largissement. Lobjectif de cette troisime tape est damener les
lves formuler des hypothses sur le contenu
du chapitre et le lien de cette iconographie avec la
problmatique : What do British characters tell us
about britishness?. Laisser les lves tablir leurs
hypothses et rpondre partir de leurs propres
conceptions des caractristiques britanniques. Sils
ont du mal comprendre, ne pas leur donner de
pistes : le professeur reviendra sur ce document en
n de squence. Ce sera alors loccasion pour eux
de mesurer leurs apprentissages.
Question et productions possibles :
What is your own conception of britishness? What is the link between Alice,
Robinson and britishness?
We can ask ourselves/we may wonder what
Alice and Robinson tell us about britishness.
Britishness: elegance / tea / humour / explorers who manage to go through many tough
situations/ordeals.
They represent/symbolize/stand for the typical British character.
They are the most important characters in
Great-Britain.
le professeur.
tape 2
Lobjectif de cette deuxime tape est damener
les lves apprhender limplicite du document.
Les lves travaillent en binmes : temps limit
quatre ou cinq minutes. Ils ont pour tche de trouver
le lien entre les deux personnages et la dimension
symbolique de lillustration.
Questions possibles : According to you, what is the
link between Alice and Crusoe? Justify with elements
from the document.
Of course we are unique

1. We, the British
Photo extraite de lun des lms danimation Wallace and Gromit, de Nick Parks. On y voit les deux
personnages assis une table lheure du petit
270
Manuel pp. 154-155
Manuel p. 154
djeuner. Wallace semble se rgaler de sa tartine
pendant que son chien Gromit lit le journal en jetant
un coup dil sur son matre. Un bol de crales est
pos devant lui, une thire trne sur la table au pre-
mier plan. Le dcor est vieillot, traditionnel, typique

dun intrieur britannique tel que se le reprsentent
les trangers. Ainsi, cette image met en scne les
attributs clichs du breakfast britannique. Ces deux
personnages, a priori connus des lves, incarnent
une certaine ide de lidentit britannique et mettent
en scne quelques indices de la britannitude que
les lves pourront reprer et reformuler lissue
de ltude du texte.
Article du Telegraph dat de juillet 2005 et sign
par une journaliste britannique, Alice Thomson.
Suite une scne dont elle a t tmoin Londres,
lauteur cherche dnir ce qui fait la spcicit des
Britanniques. Dans un premier temps, elle dcline
strotypes et clichs vhiculs et nourris par les
trangers et certains Britanniques eux-mmes,
puis elle passe en revue les diffrentes dnitions
avances par des diteurs, auteurs, acteurs Au
milieu de ce portrait kalidoscopique, elle insre
sa propre vision pour tenter de rsumer lidentit
britannique une ou deux caractristiques.
On notera bien sr que ce portrait est largement
positif : il sagit des Britanniques vus par euxmmes. Certes ils ne savent pas cuisiner, dcorent
leurs jardins avec des nains en pltre et perdent au
cricket, mais ces petits travers sont largement
contrebalancs par leurs succs dans des domaines
autrement plus importants : ils ne perdent pas une
guerre, collectionnent les prix Nobel, font le tour du
monde en solitaire, inventent sans cesse et, cerise
sur le gteau, possdent le don de lautodrision et
de leuphmisme.

premire lecture classe entire (questions
1 et 2).
Sparer la classe en trois groupes et
question 3.
Ils devront galement se prparer reformuler oralement ce quils ont compris
mit, soit demander aux lves de prendre connaissance de cette illustration directement partir du
manuel. Dans un premier temps, laisser les lves
ragir et identier les personnages (en cas de projection au tableau) ; puis leur demander dexpliquer
la lgende classic with a twist?. Ils devront, pour
ce faire, construire leur explication partir de leur
observation de la scne.
British characters/animated plasticine
gures/ Nick Parks
Classic: they are having breakfast with toast/
jam/cereals/tea/probably eggs coming/salt and
pepper on the table / typical British breakfast
/ traditional interior decoration / fondness
for pets
With a twist": the dog is sitting at a table /
reading the paper / has a bowl and a spoon /
is looking at the man / considered as a human
being / strange = uncommon situation
1. Les lves prennent connaissance du premier

paragraphe de faon individuelle et en lecture
silencieuse, puis mettent en commun leur interprtation.
This is a summary by a British woman about
British people.
British people are tolerant/broad-minded/
open-minded.
They are a tolerant nation who enjoy their
diversity but like to stick to the rules.
What British people cant stand is when someone breaks the law/doesnt obey the law.
What is important/matters most for a British
person is the law.
You can do whatever you want in Britain
except break the law / providing/provided you
respect/abide by the law, the rule.
They wont condemn you unless you break
the law.
Lexique
2. Lecture silencieuse et individuelle du texte entier.
Pas de difcult lexicale. En revanche, le texte comporte de nombreuses rfrences culturelles, dont
certaines font lobjet de notes de bas de page pour
lever cet obstacle et permettre aux lves de se
concentrer sur le fond.
Formes de travail
1. et 2. collectives ; 3. en groupe ; 4. et 5. collectives.

Avant la lecture du premier paragraphe et selon
lquipement mis sa disposition, le professeur
pourra soit projeter lillustration de Wallace et Gro-
The journalist is looking for a denition of

Britishness.
Many references to clichs such as Buckingham Palace, etc.
British people: Welsh, English, Scottish.
Many famous British people / scientists, etc.
British people never lose wars / are good at
cricket
//
271
spciques. Plusieurs mises en uvre possibles :
dix minutes aux lves pour prlever les lments

du texte. Lors de la mise en commun, llve sera
tent de lister tous les lments quil aura trouvs
au risque de se lasser et de lasser ses camarades.
Pour viter cet cueil, le professeur demandera
aux groupes dtablir des conclusions partir des
indices reprs dans le texte. De cette faon, ils
seront obligs de confronter les clichs mentionns leurs propres connaissances de la Grande
Bretagne ;
- en classe : dans ce cas, laisser un minimum de
- la maison ; mise en commun au cours suivant.
//
British people are not perfect but their qualities are more numerous than their faults /
their assets outshine/overshadow their faults.
They belong to an island...
3. Lecture intensive avec recherches dinformations
Everyday life and attitude

(group 1)
History and geography

(group 2)
Famous people and reasons

for their fame
(group 3)
bad food
double-deck bus
cricket
curry
roasts
toast
kettles
gardens
gnomes
tea cosies
rain
ginger beer
pony club camps
fudge and pubs
eccentrics
sense of humour
religious
love of animals
ambivalence towards children
sense of pageantry and dressing
up
understatement
sport is important. Are not
good at cricket
English / Welsh / Scottish / ethnic

minorities
different history
insularity
the most constitutionally mature
first to have industrial revolution
dont lose wars
empire (?)
innovators, explorers, story-tellers,
soldiers ; sailors
castles
a variety of nationalities /
different nations
they are different as far as their
history is concerned: first to get
the industrial revolution, to get a
constitution / like pioneers
good at war. Great Empire
are different since it is an island,
separated from the rest of Europe
The Queen
James Bond
Lord Salisbury: Prime Minister
Newton, Darwin, Watson and
Crick: won Nobel Prize
Ellen Mc Arthur: sailor
Tim Berners Lee: inventor in the
internet
JK Rowling, author of Harry Potter,
story-teller
Zadie Smith, Shakespeare:
novelists
Kelly Holmes: athlete, Paula
Radcliffe
politicians, sailors, inventors,
authors, athletes
many fields
are both bad at cooking and good

at making sweets.
breakfast is typical of British way
of living
are famous for their pubs and
beers.
are famous for their well-kept
gardens and lawns.
British people are said to be
eccentric, religious
Their reputation is to be always
well-dressed. They are smart/
elegant
Pour plus de clart lors de la mise en commun et
an de favoriser lcoute et garder une trace crite, le
professeur pourra donner chaque lve une feuille
272
o gure le schma de la page 273, quil compltera

au fur et mesure des exposs.
Attitude
(group 1)
Everyday life
(group 1)
Britishness
Geography
(group 2)
Famous people
(group 3)
History
(group 2)
concern (l. 81-88), les lves donneront leur interprtation.

British People manage to combine/succeed in
combining their specicities with foreign ones.
They take foreign features and make them
their own.
They can adapt themselves to any form of
culture.
They know how to remain themselves while
assimilating others specicities and qualities/
assets.
They know how to reach a balance between
their specicity and others.
5. Si les lves ont du mal rpondre la question,

le professeur les renverra aux titres Of course we
are unique et We, the British, qui rsument lide
essentielle de larticle.
Analyse du document
Extrait de lmission radiophonique Open Book,
ddie la littrature. Cette interview a t diffuse
sur la chane de radio BBC4 en fvrier 2011. Mariella
Frostrup y reoit Sebastian Faulks, crivain britannique de renom, au sujet de sa srie tlvise en
quatre parties intitule Faulks on Fiction et consacre
ltude du personnage de ction britannique. Le
premier volet traite du hros en gnral, de son
volution et de ses transformations. Les volets suivants se focalisent davantage sur un type de hros
en particulier (le snob, le mchant, etc.).
Ici, Sebastian Faulks aborde le sens de lvolution du
personnage de ction : dabord noble et tout-puissant,
le hros devient, sous la plume des crivains britanniques, beaucoup plus proche du commun des mor-
British people tend to think they are different

from others/the best/superior/unique / They
nd themselves superior to others.
They are proud of being British.
They enhance their qualities which, according
to them, surpass/overshadow their aws.
En guise de conclusion, et pour permettre une reformulation de tous les lments voqus, le professeur
pourra demander aux lves ce quils pensent de
lillustration propose en regard de larticle.
It is coherent with/perfectly matches/
is consistent with the article tea/sense of
humour (the dog is reading).
They sum up the main idea of the article:
classic with a twist.
ste
51
2. Remarkable characters
Pi
4. Aprs avoir relu rapidement le paragraphe
Manuel p. 155
tels : il peut avoir toutes sortes de dfauts et parfois
mme, tre peu recommandable. Licne inaccessible
se fait humaine, et donc faillible ; le modle devient
objet didentication pour le lecteur.

premire coute classe entire.
Sparer la classe en deux groupes ; demander chacun des groupes de faire la maison le travail de reprage correspondant
la question 3 et de se prparer en rendre
compte en classe.
273
Squenage du document audio

Time code
Soundtrack
Du dbut 058
but first / we turn our attention to a new 4 parts series for bbc 2 / and a companion book /
which sees sebastian faulks / best-selling author of titles like bird song / charlotte gray / and
the james bond centenary novel devil may care / get to the heart of the british novel // from the
offset / faulks lays out his theoretical stool / and explains that for him / this heart / lies not with
the author / or a need to make connections between the novel and personal detail about the
authors life / but / in its characters / and that in turn / its the characters of a novel that help us
/ understand ourselves //
De 059 130
the british novel finds its first hero here / washed up on a beach /after a shipwreck // for more
than 25 years / he defeated everything life could throw at him / wild animals / storms / marauding
cannibals / and most painfully of all / his own /agonizing solitude //. (music and clap of thunder)
daniel defoes novel was published in 1719 / the story of a young adventurer / shipwrecked / on
his way to buy slaves / in africa // in the past, in homer / the bible / or shakespeare / the hero was
noble / and remote / but crusoe is not like that // he is more like / you and me //
De 131 201
MF: dramatic stuff // presented and written by faulks / the series promises to tell the story / of
how the British novel made us / who we are // a bold claim / but does it hold true // well have
to find out // Im joined / by the man himself sebastian faulks / welcome to open book //
SF: thank you very much // i sounded a bit camp in that extract //
MF: im not casting aspersions // you can carry on //
SF: they made me redo it in a much more dramatic way / so well anyway / there it is
MF: very good thespian qualities / thats all Im going to say / your first episode focuses on
heroes / and I wondered what the qualities required for inclusion were //
De 202 la fin
SF: well we argued about this a lot / all around the table discussions and / the hero has always
been a complete misnomer / and has been an albatross round the neck of novelists / ever
since the novel began / and it was a word they used to use of their main characters / because
the novel was a very disreputable little form / when it started really // and the idea that they
were heroic / in the sense of being demi-gods / the main character gave it a completely sort
of bogus respectability / from the off // but quite quickly / novelists like trollope / and dickens /
and thackeray were saying // but you know / im trying to write a novel about real people // my
main character / why does he have to be a hero // i mean its just not right / and they fretted
with this / a lot //
but really we define hero while it changes / the definition as the story goes on / but its / the
readers point of identification the point of interest / and when you come to someone like beckie
sharp / in vanity fair / whom we call a hero / its quite clear that she is not / a good person / or a
person you look up to / but for some reason / she is the person you root for / in the story //
Certains passages pourront poser quelques problmes mais ils ne sont pas essentiels pour comprendre le message principal du document. Le
lexique important aura t introduit lors de ltude
du document douverture (shipwrecked, washed
up). Plusieurs termes et expressions ne pourront tre saisis par les lves : marauding, camp,
thespian, mais ne sont pas ncessaires pour la
comprhension du sens gnral. En revanche misnomer, disreputable et albatross seront peut-tre
reprs au niveau phontique mais pas au niveau
smantique :
a misnomer: an incorrect or unsuitable name for a
person or thing
albatross: sometimes used metaphorically to mean
a psychological burden that feels like a curse
Le professeur pourra donner la dnition ou aider
les lves en infrer le sens une fois quils auront
reprs ces mots dont les sons restent identiables
(cf 2.a. ci-dessous). Il pourra galement les introduire
274
lors de la phase danticipation la comprhension

orale (cf ci-dessous).
Formes de travail
1. en binmes puis collective ; 2. en groupe ; 3. collective.

En guise danticipation la comprhension orale,
demander aux lves de dnir ce quest un hros
de littrature, les laisser donner des exemples et
attirer leur attention sur les illustrations p. 155 du
manuel (Robinson Crusoe et la couverture de Vanity
Fair). Le professeur pourra poser les questions suivantes : What is a hero in literature? Can you name
some heroes either in French or British literarure?
Do they have all specic qualities? Are they all better,
stronger, cleverer than the others? Can a hero be bad?.
Lobjectif est de mener les lves la conclusion que
le hros nest pas toujours un modle, un parangon
de vertu et de courage.
Hero in literature: the main character/the protagonist / a character with specic qualities: can
be brave, intelligent, have supernatural powers
Harry Potter, David Coppereld, Sherlock
Holmes, James Bond , Bridget Jones, Tarzan,
Becky Sharp in Vanity Fair by William Thackeray, Robinson Crusoe
They sometimes look like everybody else /
there is nothing special about them / they can
even be worse than the others / be clumsy.
So not always a hero, that is to say not necessarily heroic / can be ordinary = someone like
the reader = an average person / someone the
reader can identify with / then should not be
called a hero.
Hero is not the right word to use then = it is
a misnomer.
Le professeur pourra faire expliciter le sens de

misnomer ce stade.
Teacher: What about the nature of the word? What
about the prex? the sufx? Do you know other words
with this prex? What can you conclude about the
meaning of the word?
Student: misnomer = noun / prex mis- misunderstanding/misleading/mistreating. It refers to something
negative.
disreputable = adjective / prex dis- disapprove/
disagree/disappear. It refers to the opposite of the
root. Sufx -able able/unable/agreeable/acceptable.
1. Premire coute sans prises de notes. Laisser

deux ou trois minutes pour que les lves puissent
changer en binmes sur ce quils ont compris an
dviter que ce soit les plus laise qui monopolisent la parole. Le professeur circulera de binme
en binme an daider les lves en difcults et
sassurer que le travail se fait bien en anglais. Le cas
chant, il pourra aiguiller les lves en orientant
leur attention sur les lments priphriques (la
lgende, le titre). Le temps consacr cette tche
peut varier en fonction des comptences de la classe.
an interview / Open Book
two people: a journalist = the host, and an
author = Sebastian Faulks
relaxed atmosphere
quite friendly journalist
talk about Robinson Crusoe / Shakespeare
evoke heroes of British ction
2. a. Mise en uvre en fonction du temps restant.

En classe, en deux sous-groupes : deuxime
coute du document. Chaque sous-groupe se focalise sur lun des aspects dvelopps en prenant des
notes au fur et mesure de lcoute. Le professeur
passera de groupe en groupe pour aider les lves,

notamment pour llucidation de albatross. Aides
orales possibles :
Albatross = a bird. Il nest peut-tre pas utile ici de
donner la rfrence culturelle (the poem entitled
The Rime of the Ancient Mariner by S.T Coleridge).
Ils connaitront peut-tre plutt celui de Baudelaire.
Sils ne le connaissent pas, apporter limage dun
albatross et faire dgager le sens de la phrase
partir de la description de loiseau et du contexte.
Teacher: What kind of animal does it refer to? Can
you describe it? So what can the expression to have
an albatross round ones neck mean?
Student: a bird / big white sea bird / to have something
heavy to carry. Have something which is hard to carry.
Something which prevents you from acting / obstacle/
difculties
changes au sein de chaque sous-groupe avant
prsentation lautre groupe (2 minutes).
Si lquipement le permet : on pourra dposer
au pralable le chier son et les dnitions des
termes qui posent problme sur une plateforme
collaborative : les lves rcoutent le document
et font les reprages la maison. Les dnitions
seront donnes loral en prambule de lcoute. Ces
dnitions auront t enregistres par le professeur
lui-mme laide du logiciel Audacity, par exemple.
Voir dossier TICE dans ce guide p. 21.
Labo de langues : pour les enseignants qui disposent
dune version numrique enrichie de Password Terminale, il est possible dutiliser les fonctionnalits
du Labo de langues.
Robinson Crusoe and Beckie Sharp

(group 1)
Robinson Crusoe
washed up on a beach after a shipwreck
defeated everything life could throw at him.
had to fight to survive
on his way to buy slaves in Africa
first hero as main protagonist of a novel
in the past, in Homer, the Bible or
Shakespeare, the hero was noble and remote
but Crusoe is not like that. He is more like
you and me
First time a hero looked like an average
man. A break with the traditional powerful
hero / godlike hero. Landmark/turning point
in literary history.
Beckie Sharp
Beckie Sharp is a character from Vanity Fair
not a good person or a person you look up to
the person you root for in the story
readers identify with her even if she is not
perfect nor good
//
275
//
first time a hero was fallible and had flaws
(Beckie Sharp (not a good person) /
Novelists and their heroes
(group 2)
British novelists fed up with writing stories
about powerful heroes
decided to write about the average man/
woman
were tired with/fed up with those demigods and resorted to human characters with
fallibilities
different vision of the British hero / a break
with the traditional vision / reversal of the
situation
hero is not a powerful / an almighty creature
anymore: it is rather a human protagonist
(Robinson Crusoe has to fight to survive)
Dans la mesure o beaucoup de comptes rendus

se sont faits loral, le professeur privilgiera une
forme crite pour cet exercice de rcapitulation. Il
peut par exemple demander aux lves de complter
leur spidergramme (doc.1, question 3).
Si la classe est volontaire, il est possible de prsenter
le Recap sous forme dmulation : qui se souviendra
du plus grand nombre de caractristiques des hros
de ction britanniques ? Diviser la classe en deux
parties. Chacune son tour, les deux quipes doivent
nommer une caractristique. Les premiers ne pas
en trouver ont perdu. On peut galement envisager
ce face face en groupe de quatre.
Training Task 1: TV heroes

Tche dentranement la prsentation de personnages britanniques qui permet aux lves de rcapituler et de sapproprier les critres nouvellement
appris ; elle constitue galement un premier jalon
en vue de la tche nale en expression crite.
Objectifs :
3. Cette troisime tape permet de conclure sur

limpact de ces changements sur le lecteur et le
contrat de lecture.
Heroes used to be all powerful demi-gods, or
kings and queens who were not ordinary people
and did not live the lives of ordinary people.
Readers admired them but knew that they
were different from them.
Now, heroes and heroines in literature are
ordinary people with the same faults and problems as normal people.
They have become more human.
Readers can better identify with them.
Not all heroes are good people / some are even
not good at all / are villains but they all exemplify traits / attributes / features that readers
feel they could also have or hope they dont have
Recap
Activit de synthse qui permet de reprendre tous
les lments abords au cours de cette double-page.
Men who follow the sea
- faire des recherches sur des personnages typiquement britanniques,

- prsenter et expliquer.
Les groupes de quatre lves sont constitus en
fonction des disponibilits de chacun et des afnits.
Les recherches se font en dehors de la classe, soit
la maison soit au CDI.
Sites utiles :
www.screenonline.org.uk
www.bbc.co.uk ou www.bbc.co.uk/programmes
wikipedia
pythonline.com
theavengers.tv/forever
a. Recherches personnelles qui doivent aboutir

une prsentation claire de la srie. On pourra mme
demander/permettre aux lves de montrer un court
extrait de la srie en question.
b. Chaque groupe vient prsenter sa srie et expliquer en quoi elle est symbolique de lidentit britannique (2 minutes par srie environ).
Annoncer qu lissue des prsentations, chaque
lve devra choisir la srie quil pense tre la plus
reprsentative et expliquer pourquoi lcrit. Cette
tche sera un entranement direct la tche nale.
Manuel pp. 156-157
Seamen and wanderers

Le texte est extrait dune longue nouvelle de
Joseph Conrad, Heart of Darkness, publie en feuilleton dans une revue en 1899. Conrad fait de cette
276
uvre inscrite dans la tradition du roman d aventures exotiques une rexion sur la conqute et
lexploitation des terres, mais aussi sur la nature
humaine et sur la ction. Le passage se situe au
tout dbut de luvre. Il dcrit le contexte dans

lequel Charles Marlow, un jeune ofcier de la marine
marchande britannique, va raconter son voyage
initiatique au cur de lAfrique noire. La scne se
passe la nuit tombante : installs bord du Nellie
amarr sur la calme Tamise, les hommes observent
la ville et le euve. Le texte dpeint latmosphre
de ce moment contemplatif de faon potique et
ravive, dans un style imag, le glorieux pass de la
Grande Bretagne. Cet instant qui prcde le rcit
des aventures de Marlow et qui est dcrit par lun
des marins prsents bord, voque le nom des
vaisseaux et hommes clbres qui ont contribu la
gloire de la Grande Bretagne. Le rcit est dense. Ces
explorateurs sont lous avec lyrisme. Le narrateur
exprime son opinion quant la grandeur du pass
britannique, de cet empire des mers. La rupture se
fait au moment mme o Marlow ouvre la bouche : il
se dsolidarise de ses compagnons en dsignant le
ct sombre de la civilisation britannique. Ainsi, pour
lui, la Tamise nest pas cette source de glorieuses
aventures mais le dbut dun voyage intrieur vers
le cur des tnbres.
La difcult du texte ne tient pas tant son lexique
qu son style. Il est remarquable demble par sa
porte lyrique. Le narrateur dcrit les diffrentes
nuances de la lumire au fur et mesure que le soleil
dcline. Il dcrit des choses simples de faon oblique.
Les lments factuels devront tre extraits de ce
corpus potique. En fonction de laisance de la classe,
le professeur choisira de ltudier ou pas : il nest pas
essentiel pour la mise en uvre de la tche nale.
lments de sens de lextrait :
- histoire daventures,
- rfrences au pass glorieux de la Grand Bretagne,
- description lyrique de la Tamise comme source et
rceptacle de lhistoire,
- rupture : intervention de Marlow (who breaks the
spell).
On tudiera cet extrait en deux temps an de ne pas
dcourager les lves moins laise.
Le tableau, intitul The Egremont Sea Piece et
ralis en 1802 par le peintre Britannique William
Turner. Il illustre parfaitement les nuances et latmosphre mentionnes dans le texte : les contrastes,
les jeux de lumires
Lexique
Le lexique est dense mais les mots porteurs de sens
sont infrables partir du contexte : to and fro,
wanderers, august. Le cas chant, le professeur
apportera une aide pour mettre les lves sur la voie.
Formes de travail
dun extrait de roman daventures, situ au XIXe sicle.

On insistera sur limpression donne par la peinture de
Turner (vagues, ciel sombre, menace dorage).
Productions possibles:
It might be an adventure story / a story with
sailors or explorers or pirates / the story of a
sea voyage / expedition.
Perhaps a story like Treasure Island.
Dark atmosphere / horizon / cloudy, a storm
is brewing.
Big waves / rough sea / swells
We feel a danger is close at hand / might sink/
buffeted by the waves.
The sailors might tell stories about their lives
at sea / about their discoveries/their hopes/
their fears.
2. Le texte tant riche et dense, les lves laborderont par le biais dune lecture mutualise : rpartis
en groupes de quatre, les lves sont en charge
dun passage du texte quils lisent dabord de faon
individuelle avant de mettre en commun les lments
compris au sein de leur groupe. Leur laisser environ
cinq minutes. Puis chaque groupe aura pour tche
de rsumer leur passage en une phrase quils communiqueront ensuite aux autres groupes.
Demander un lve de prendre chaque phrasersum des quatre passages en notes sur un
transparent an damener par la suite les lves
construire un rsum collectif du texte dans son
ensemble en vue de la trace crite. En commun,
loral, les lves proposeront un agencement des
phrases cohrent.
l. 1 7: battles of the sea
Sailors are remembering things while looking
at the river Thames, that the narrator describes
with veneration and admiration.
l. 7 14 : the ships and the men
The landscape makes them think of/evokes/
conjures up memories from the past / famous
seamen, captains such as Sir Francis Drake.
l. 14 22 : germs of empires
Mentions hunters, sailors ; this river is the river
which saw all the famous people who followed the
sea, which is a king of eternal/ever-lasting witness.
l. 23 26 : under the stars
Are looking at a town/London and can see elements announcing/forerunning signs of some
darkness/storm.
1. collective ; 2. individuelle ; en groupe et collective ;

3. en groupes et collective ; 4. collective.
3.a. La classe sera divise en deux groupes. An de
matrialiser leurs recherches, les lves devront

surligner les informations trouves :
1. Anticipation partir du titre, de limage et de lintroduction. On sattend ce que les lves dcouvrent quil sagit
- le premier groupe sattachera dcouvrir ce qui

concerne the river,
277
- le deuxime groupe, ce qui concerne les men who

followed the sea.
En cas de difcults
Les lves trouveront une aide dans le Workp. 55-56.
book
Help
- Meaning of the word stream and what it refers
to in this particular passage: the river Thames.
- It refers to the river Thames and they to
the men who followed the sea.
- The adjectives referring to the river are all
positive.
- So we can conclude that the narrator feels
admiration for that river Thames.
- The words connected to the men who followed the sea belong to the semantic elds
of treasure/ fame / nobility
b. Un temps de travail sera attribu aux groupes avant

la mise en commun, qui se fera collectivement. Le
questionnement sera privilgi si des informations nont
pas t comprises. Enn, un lve devra rapporter les
informations prises en notes lors des exposs des autres
groupes, ce qui permettra au professeur et aux lves
de vrier lexactitude des propos nots dans le cahier.
Ce sera le moment de mettre leur disposition des
dictionnaires ou un libre accs un ordinateur dot
du logiciel Lexibase pro an quils peaunent leur
comprhension du texte.
The river
(group 1)
Greatness of the river
The river evokes/conjures up the great spirit
of the past.
It is the river which enabled men to build the
power of GB.
The river Thames has witnessed it all.
Source of power and life
linked to movement life / abundance
repetition of it / like anaphoric repetition
insisting on/emphasizing/stressing its benecial role in the past.
Light imagery
references to light, not darkness, contrary to
what the title of the novel suggests
The setting is generating light. The river like
a source of enlightenment Connected to ships
illuminating British history.
source of life discoveries and good things.
Blessing/ a home.
Men who followed the sea
(group 2)
They are the nation Pride because
//
278
//
They were powerful and won a lot of battles,
defending the nation against enemies. They helped the nation to become powerful. Imperialism.
Most noble men in the country.
Contributed to increase the nations wealth.
Strongly connected with Great Britain and
its history, its empire.
Synthse : association of the current of the water and

the passing of time.
Same adjective for both river and seamen: like an
assimilation of the two.
c. Laisser un temps de rexion aux lves (deux

minutes) avant la mise en commun.
The narrator admires the river Thames and its
glorious role in the history of Britain.
The river is an object of pride because it carries
the memory of men who founded Britains sea
power and built the British Empire.
The narrator praises and celebrates all those
who have sailed from the mouth of the Thames
to conquer the unknown world.
It is an ode dedicated to seamen and wanderers: the narrator expresses his fascination/
homage/respect/reverence.
The description of the river is a lyric moment
in the narrative: the narrator recounts his
intense feelings/his personal impressions and
thoughts.
4. Cette activit est mene selon la mme procdure

que lactivit 3. Les lves seront donc amens
utiliser les mmes stratgies que prcdemment.
La tche devra se faire en deux temps :
- un premier temps consacr aux reprages,
commentaires, reformulation et interprtations
(10 minutes. Les lves travaillent en binmes).
Pendant ce temps, le professeur circulera et vriera
que les changes se font en anglais. Le rapporteur
sera dsign au hasard pour viter que ce soient
toujours les bons lves qui interviennent ;
- un deuxime temps de mise en commun. Le terme
discuss implique que les lves pourront ne pas tre
daccord et devront justier leurs points de vue.
Marlow is the only one mentioned, the only
one to speak is going to be the protagonist
He sounds opposed to the narrator: talks about
darkness (as opposed to light), interrupts the
narrator in his lyricism in order to add some
opposed elements
//
//
He is different from the others / original / the
odd one out / a mist / an outsider: he was the
only man, didnt represent his class
But like the others, he is a follower of the sea
Question: How do you understand is their

country/... the sea (line 33)?
They follow the sea for the sake of GreatBritain.
They remain on the sea for so long that they
associate it with their country.
Recap
Cette activit permettra aux lves de saisir et de
verbaliser limpact de la gloire de lempire maritime
britannique et de ces illustres hommes vous
la mer sur la littrature, et permettra aux lves
de ne pas oublier que la problmatique ne vaut que
dans un va-et-vient constant entre ction et ralit.
Sea-voyages inspired writers to create heroes

who followed the sea.
The writers inspired themselves from the
great history of GB.
History is like a source of inspiration.
Novels are like testimonies of history.
Training Task 2: Voyages and adventures

Cette tche dentranement permettra aux lves
dtendre leurs connaissances culturelles et historiques.
Lactivit de prononciation -s in plurals (manuel
p. 162) pourra tre donne auparavant en travail
la maison.
On pourra utilement conseiller aux lves le site du
National Maritime Museum : www.rmg.co.u, mine
dinformations o lon peut accder facilement des
rsums sur tout ce qui a trait lhistoire navale.
The science of detection
Manuel pp. 158-159
Remarkable Sherlock Holmes

- ladmiration que lui voue Watson,
Un extrait du roman The House of Silk, crit en

2011 par lcrivain et scnariste britannique Anthony
Horowitz, dsign par le Conan Doyle Estate (les
ayant-droits de Conan Doyle) pour crire une nouvelle aventure de Sherlock Holmes.
- les liens damiti entre les deux hommes.
La scne se passe chez le clbre limier, qui a invit

son compagnon de travail Watson venir prendre le
th et passer quelques jours avec lui pour mener
bien une nouvelle enqute. Il sagit dun dialogue au
cours duquel Sherlock Holmes va une fois de plus
tonner son acolyte par ses talents de dduction.
travers les gestes et paroles de Watson, le dtective
dduit moult dtails concernant les rcentes pripties de sa vie. Cest un portrait en action de Sherlock
Holmes qui nous est donn lire ici. Le document
prsente les avantages suivants :
Ce document permettra aux lves de sentraner

la description dun personnage de ction britannique
en vue de la tche nale.
Une afche du lm Sherlock Holmes, sorti en
dcembre 2011. La scne se passe de nuit, Paris.
On peut voir les deux protagonistes au centre, cerns par lobscurit. Un halo de lumire les nimbe et
projette leur ombre. De toute vidence, un danger
les menace hors champs. Il rgne dans cette image
une sombre atmosphre. Les deux comparses sont
proches lun de lautre et prts se serrer les coudes
pour affronter les obstacles mis sur leur chemin. Ce
document permettra aux lves didentier demble
les hros du texte
- les lves connaissent les personnages et auront

peut-tre vu le lm avec Jude Law et Robert Downey
Jr sorti en dcembre 2011,
- laspect dialogu du texte facilite la lecture et est
plus motivant pour les lves.
On notera lors de la lecture :
- les ractions de Watson, qui est interloqu par les
talents de Holmes et demande ce dernier de lui
rvler son secret,
- la personnalit de Sherlock Holmes, qui minimise
ses talents de dduction mais consent en faire une
dmonstration,

premire lecture classe entire.
Sparer la classe en deux groupes et
question 2.a. et de se prparer en rendre
compte en classe.
279
Lexique
Pas de difcults lexicales proprement parler.
//
Formes de travail
Holmes (group 2)
1. collective ; 2. en binmes puis collective , 3. et 4.

collectives.
- Holmes mentions the fact that Watson is

married / his wife was once called Miss Mary
Mornston / married two years ago Holmes
knows Dr Watson quite well. He must be a
close friend of his.
Help
1. partir des lments priphriques (afche, titre

et source), mener une phase danticipation rapide,
suivie dune lecture en commun. Mise en commun
mener sur un mode alerte. Faire expliciter ce que les
lves ont compris et les questions quils se posent.
- If I explained my method to you, you would

nd it extremely easy, simple. Thinks
Watson should nd by himself. / Holmes is
humble and minimizes his talent.
- l. 21, l. 29, l. 53, l. 58, l. 58

Some questions are rhetorical questions.
Questions to pave the way for Watson to
understand the logic.
Others are questions uttered aloud but
which Holmes asks himself silently. He just
expresses aloud his logical mind.
There are two characters: Sherlock Holmes

and Dr Watson.
The scene takes place at Holmess.
The two men are having tea.
Someone / a child is ill.
They are talking when suddenly Dr Watson
stops/stops short.
A series of deductions surprises/strikes Watson who wonders how the detective / sleuth can
do to infer all these things.
2. a. Travail en binmes au sein de chaque groupe

et changes de conclusions sur les personnages. Ce
travail ne devra pas excder cinq minutes.

Une aide est propose aux lves dans le
Workbook
pp. 57-58.
Help
Watson (group 1),
- speech tags: replied, exclaimed, cried,
admitted, concurred, etc. He is surprised/
astonished.
- Watsons questions: How is it possible?
(l. 22) / How can you be so condent? (l. 44) /
How can you be so sure? (l. 56) They start
the same way and ask questions about Sherlock Holmes method? He might ask these
questions to understand, to try and become
as smart/as shrewd as Holmes.
- Watsons conclusion: You are remarkable
as ever (l. 64)
Ccl. All these elements show that Dr Watson
is quite astounded at Holmes talent/smartness. He acts like a student who wants to
learn more from his teacher. He is curious
and wants to understand it all.
//
280
- since (l. 26) - as (l. 31) - as (l. 34) - of course

(l.36) - and (l. 38) - and so (l. 40) - moreover
(l. 50)
Link words expressing logic (since/so)
and easiness (and). Everything he concludes
seems perfectly evident/obvious.
- Could have given / would / the fact that youve
chosen / what might that be? if anyone is likely
to call your wife (l.40) / It might well be her (l. 40)
- the fact that you have lost your maid (l. 47)
Express a point of view, a subjective angle
of vision. Modal expressing possibility/ certainty He always tries to nd what is mostly
possible.
Conditional: makes guesses / hypotheses
to nd the logical thread.
Present perfect: takes stock of the situation and starts thinking and making guesses
from this.
Ccl. Holmes is quite perspicacious and
shrewd. Knows Watson very well and seems to
be interested in him. Has a remarkably logical
mind. Sounds like Socrates. Its investigation
in the making.
Reprages et interprtations possibles :
Watson (group 1)
He cannot quite understand/grasp/gather/construe. /
He is surprised/baffled.
exclamation marks
gestures stops dead short
I replied, then stopped and gazed at him in wideeyed astonishment. (l. 4-5)
asks many questions all through the passage.
Admires Sherlock Holmes. In awe / looks up to
you are remarkable as ever (l. 64)
Sense of humour, comical Watson
in the way he describes the scene (the cup)
burst into laughter
Sherlock Holmes (group 2)

humble = modest
finds it childish/simple/easy pie
He underestimates/minimizes/belittles his talent, his
gift
Were I to explain it to you, it would
all seem painfully childish. (l. 24)
calm/cold-headed/phlegmatic/unruffled/
short sentences, simple/not complex/straightforward.
sure of himself/self-confident
returned Holmes with a yawn (l. 27)
has a talent/knack for observation
as soon as you arrived, I noticed (l. 57)
polite and considerate
Well, since you have been so good as to pay me this
visit, I suppose I must oblige (l. 26)
stiff upper lip / remain composed whatever the
situation.
b. Synthse de lanalyse en classe entire.

Close friends: Holmes remembers the date of
Watsons wedding.
Watson strongly admires Holmes for his
perspicacity/shrewdness/logical mind / he is
amazed at
Dr Watson feels inferior to Sherlock Holmes
/ he plays second ddle / he is overshadowed.
Complementary (ex.: one is single, the other
is married, etc.)
//
So it is painfully childish because what he
explains is so logical/rational/consistent.
One must remember that puzzling enigmas/
riddles often appear very simple only when
their solution is known because everything
then becomes simple and easy.
In fact nobody has Holmess powers of observation and deduction.
So his deductions are not so childish.
Holmes wants to remain humble / does not
want to affirm/claim how extraordinary he is.
Probably because he does not want his friend
Watson to feel he is a complete idiot
3. Accorder le temps ncessaire aux lves pour

relire les dductions de Holmes (2-3 minutes sufront). Cette activit permettra aux lves de rcapituler les faits mentionns par Holmes et de prendre
du recul par rapport aux personnages. La question
laisse toute libert de rponse aux lves et les
productions pourront varier dune classe lautre.
I nd/I think/to my mind/as far as Im concerned his deductions are
Remarkable as ever
Some deductions are remarkable/outstanding:
how did he manage to nd the compelling reason why Watsons wife had to leave her house?
Goes further than we would do: for instance
about the gloves. Im not sure I would have been
able to infer that he had forgotten his gloves.
Painfully childish
What Holmes implies is that his deductions
are child play / that a child could do exactly
what he does.
//
4. Deuxime question ouverte qui permet aux lves

de prendre du recul et dinterprter. Laisser un
temps de rexion individuelle avec prise de notes
(soit la maison, soit 2 minutes en classe) an de
nourrir les changes qui suivront.
Holmes embodies the values of intelligence:
he is smart/cunning/very rational / no apparent
emotions / very high idea of himself / curious
/ observant.
Holmes: teacher - Watson: student a master
and his disciple.
Holmes: the brain - Watson: the legs
They are complementary and embody the
perfect associates/partners.
They perfectly match one another.
Their temperament is also quite opposed:
impulsive Dr Watson, calm/unruffled/phlegmatic Sherlock Holmes.
281
lissue de ce travail daccs au sens, le professeur

pourra proter de laspect dialogu du document
pour demander aux lves de travailler la lecture
du texte voix haute en respectant les attitudes et
les motions des personnages, en mettant le ton qui
convient, voire en faisant les gestes. tant donne
la longueur du texte, le professeur pourra affecter
des passages diffrents aux lves. Cette activit se
droulera en classe. Les lves seront en binmes
et le professeur circulera de groupe en groupe an
dapporter une aide ventuelle aux lves qui le
demanderont. Cette activit vivante permettra de
consolider ltude du document pour les lves les
moins laise en anglais, qui pourront poser des
questions leur partenaire ou leur professeur
sans exposer leurs difcults toute la classe. Si un
ordinateur est disponible dans la classe, les lves
pourront aller vrier la prononciation des mots sur
le site Howjsay.
Les lves sentranent entre 20 et 30 minutes.
lissue de ce temps imparti, le professeur demandera des lves volontaires ou dsigns de
faire une lecture voix haute toute la classe.
Les autres lves auront pour tche dcouter
et de donner leur avis sur la prestation de leurs
camarades. Sont-ils daccord avec linterprtation donne ? Pourquoi ? Quels sont les lments
bien mis en valeur ? Quels sont ceux qui ont t
escamots ?
Recap
Activit dexpression crite qui permettra un entranement supplmentaire la rdaction dun texte
explicatif et une rvision des caractristiques de
la britannitude vues au cours de ltude de la
premire double-page. Les lves pourront saider
du spidergramme (dans ce guide p. 273). En fonction du temps disponible, possibilit de prparer le
travail la maison. On invitera les lves rutiliser
les mots de liaison abords dans le texte dAnthony
Horowitz : since, as Le professeur demandera la
rdaction de deux ou trois phrases seulement pour
permettre une correction et une mise en commun
collgiale rapide.
Il renverra les lves la partie grammaire Have-en /
Had-en, manuel p. 159 et
p. 163.
g Prcis grammatical 11 p. 200.
Holmes is the best but does not brag about it
/ does not show off.
He is a good story-teller: he can tell the whole
of Watsons own story from a whiff/simple smell
of coffee.
He seeks fair justice. His job is to nd the
truth and enforce the law.
He proceeds from observation to deduction:
he epitomizes a practical/rational/empiri//
282
//
cal way of thinking / the same that often leads
to great scientic discoveries.
His way of investigating has turned detection
into a science and made Scotland Yard the
synonym of police excellence.
Of course, he is unique. His adventures have
been so successful and celebrated that they
have become a staple of the detective ction
genre.
He now represents the father-gure of all
British detectives / has inspired many writers
and is reected in many modern day heroes,
from Harry Potter to Dr House.
En dbut de sance, les lves travailleront en
binmes et commenteront les phrases de leur partenaire (10 minutes maximum) en les corrigeant au
besoin. Trois lves seront chargs de rassembler
ces phrases et de les distribuer aux camarades
la sance suivante (sur feuille ou sur la plateforme
collaborative Moodle, o il dposera le chier qui
sera alors disponible tous).
Training Task 3: Portrait of a genius

Activit dentrainement lexpression crite prenant
directement appui sur ltude du texte et permettant
aux lves de sapproprier les lments tudis. Cette
tche va fournir aux lves loccasion de sentraner
la tche nale : crire un texte explicatif. Ils devront
dcrire Sherlock Holmes et les dtails de sa conversation avec Watson mais aussi expliquer en quoi cet
homme est un gnie. Cette tche dentranement
pourra faire lobjet dune valuation formative note
sur 10.
Critres dvaluation (sur 10)
description de la personnalit de Sherlock Holmes
(utilisation pertinente des termes permettant de le
dcrire) : 4 pts
texte cohrent (introduction du sujet, paragraphes,
connections, liens de cause effets) : 4 pts
recevabilit linguistique : 2 pts
Ce qui est intressant ici est davantage de savoir si
llve a compris la mthode que ses comptences
linguistiques proprement dites.
La tche dcriture en elle-mme se fera en deux
temps.
Premier temps : en groupes ou ateliers dcriture,
les lves se mettent daccord sur les arguments
essentiels.
En cas de difcults
Inviter les lves puiser des ides partir des mots gurant dans lencart Words,
manuel p. 159 et les renvoyer lexercice
Talking about British characters, manuel p.162.
Deuxime temps : chaque lve met son histoire en

forme. Lcriture pourra tre amorce en classe et
termine en autonomie.
Labo de langues : pour les enseignants qui disposent dune version numrique Premium de
Password Terminale, il est possible dutiliser les
fonctionnalits du Labo de langues.
As soon as I entered, he was able to notice
that / I had hardly entered the room when /
even if I had said nothing about it, he managed
to deduce it all /
He is so shrewd/perspicacious / nothing
escapes him / he embodies logic itself
//
//
I was so astonished. / How surprising! / I
couldnt believe my ears! / How the deuce could
he have guessed about that detail? / Ive never
seen such a perspicacious mind
Since/as he was able to deduce from the
slightest details
Une activit sur les Stratgies, manuel pp. 164-165,

en pralable cette tche dentranement, est possible voire souhaitable. Lexercice des Language
Tools, manuel p. 162, constituera une phase de prparation supplmentaire pour les lves les moins
laise et pourra tre ralis en amont.
A B(r)it different
Manuel pp. 160-161
1. Exploring British eccentricity

Extrait dune srie darticles consacrs aux spcicits du caractre anglais donc britannique.
Il sagit ici de la sixime partie de cette tude
mene par Isabel Taylor en 2006. Le texte, aux
allures journalistiques, cherche circonscrire
lexcentricit, ce trait national que lon associe
gnralement aux natifs dOutre-Manche. Questce qui caractrise la British excentricity ? Comment peut-elle sexpliquer ? Que traduit-elle de la
socit britannique ?
Le premier paragraphe exprime trois fois la
mme ide : contrairement ce qui se passe dans
beaucoup dautres pays, lexcentricit est considre comme une valeur positive par les Britanniques, et vue tout au plus comme le signe dune
certaine marginalit, dun refus de sintgrer dans
la socit. Au cours de la lecture on notera
- les nombreuses citations,
- les diffrentes dnitions proposes,
- la manire dont les Britanniques rconcilient
marginalit, respect des valeurs traditionnelles et
culture nationale.
Une photo de la cratrice de mode Vivienne Westwood, qui incarne elle seule cet aspect de lidentit
anglaise. Debout dans la rue, cette styliste de renom
porte un parapluie haut en couleurs, une veste non
moins colore et une valise aux motifs graphiques
noirs et blancs. On remarquera lair er et conqurant quelle afche au milieu de cet environnement
pour le moins trs classique, et mme chic. Vivienne
Westwood dtonne tant par son accoutrement que
par son expression et son attitude.
Manuel p. 160
Une photo mettant en scne un Britannique de
prol vtu dun costume noir, dune chemise claire
et dune cravate assortie ; il porte un parapluie
noir. Ce jeune homme pourrait incarner la City, le
monde des affaires et le parfait businessman britannique, ntaient son attitude et sa coiffure : nonchalamment appuy sur une poubelle, il porte rement
une crte de cheveux rouges coups liroquoise.
Lexique
Pas de difcults lexicales. Seul laspect trs conceptuel du texte pourra poser problme certains lves
moins laise.
Formes de travail
1. individuelle ; 2. collective ; 3. en groupes ; 4. collective.
1. Premire prise de contact avec le document ; cette

phase permet de faire la synthse des connaissances
des lves et de proposer des hypothses partir du
titre et des documents iconographiques qui accompagnent le texte.
a. There is a pun/a play on words.
Photos of smart yet original/eccentric people.
Double sided personalities: gap between what
they look and what they are / their status and
their personality.
//
283
//
Here, impression that eccentricity is
something normal / taken for granted.
eccentric = strange = odd
b. Reminds me of Absolutely Fabulous / Punk
music / Sex Pistols / Wallace and Gromit / Dr
Who / Monty Python / Elton John and his
funny glasses
puddings / food / jelly / colourful faades /
British humour
Wallace and Gromit: eccentric because the
dog is more sensible than the man.
Question: What do you think the document
may deal with? What kind of questions is it
going to answer?
It may try to understand British eccentricity.
What does British eccentricity teach us about
British people?
What are the different characteristics of British eccentricity?
2. Cette tape permettra dviter tout malentendu

quant aux connotations du terme lui-mme. Laisser
les lves lire le paragraphe puis leur demander de
fermer leur manuel pour viter quils ne rptent
les termes du texte et les forcer reformuler avec
leurs propres mots.
In Great Britain, eccentricity is a quality / is
a compliment / a force / an asset.
British people consider eccentricity as positive, contrary to us.
The more eccentric, the better / the stranger, the better / the more peculiar, the better / the more unconventional / the more
bizarre
3. Diviser la classe en deux groupes prenant chacun en charge un paragraphe diffrent du texte.
On notera que le deuxime paragraphe court de la
ligne 10 la ligne 58. Les lves travailleront en
sous-groupes de quatre. Laisser un maximum de dix
minutes pour faire les reprages et les conclusions
qui en manent.
En cas de difcults
p. 59.
Help
- In paragraph 2
c. (l. 53, 55, 58) Thanks to eccentricity,

people remain cool and thus order and calm
are favoured.
- In paragraph 3
tap into (l. 66) make the most of, exploit,
use as a source of inspiration
hallmark (l. 70) feature, characteristic
uplifted (l. 75) improved, taught a lesson,
- creativity / inventiveness / best / great /
amboyant / mainly positive
- we are under the impression that there is
nothing better than eccentricity, that it is the
main quality ever.
Paragraph 2
(group 1)
eccentricity = mild form of rebellion against
authority and social conventions
anarchic streak
= declaration of Independence on a small scale
are free to do whatever they want
= a way of letting off steam/important safety valve
Helps prop up order
serenity
Ccl.: gives 3 definitions of eccentricity. Form of
rebellion, cry for freedom and a way to remain
cool. Social, individual and psychological aspect of
eccentricity.
It echoes the first text what does it mean to be
British: to respect the law. Its paradoxical.
Paragraph 3
(group 2)
Attached to creativity and inventiveness
arts, fashion, music
literature
fashion: self parody is a hallmark of English
fashion
music: to entertain and amuse sgt Pepper dark side
of the moon Vivian Stanshall
Ccl.: eccentricity can be seen in / pervades different
areas such as music, fashion, literature
Indeed: The Beatles and Pink Floyd. Has given way
to many brilliant works of art. What was eccentric
has become mainstream values. / what was
unconventional has become part of the norm
a. (l. 10-22)
4. Laisser les lves lire le paragraphe puis travailler
1. eccentricity is a mild form of rebellion
deux trois minutes en binmes avant la mise en

commun.
2. eccentricity is a declaration of independence

//
284
//
b. (l. 34, 36, 44) to let off steam(l. 34) to
get rid of ones tensions
British eccentricity tends to become rare/
scarce. British people have to ght/struggle to
make it survive.
Truly original eccentricity is disappearing:
implies there might be fake eccentricity, not
really creative. / Isabel Taylor warns against
the disappearance of truly original eccentricity / will impact English culture. / As British
eccentricity is part of British culture, its disap
pearance will impoverish British culture.
//
//
She is quite optimistic since she herself ends
her text with some quite an eccentric suggestion. tabletop croquet (an outdoor ball game
that you play on a table).
Ex.: Pete Doherty, the lm Good morning
Britain, The Full Monty, Gnomeo & Juliet,
Johnny English Reborn, Dr Who, etc.
On pourra faire la transition vers le document suivant en mentionnant le lm Johnny English Reborn,
sorti en octobre 2011 et que certains lves auront
peut-tre vu.
2. Johnny English
Manuel p. 161
Analyse du document
Bande-annonce du lm Johnny English dans
laquelle limage et le son sopposent, dlivrant
des messages contradictoires qui confrent au
document un ton burlesque, ironique. La voix off
commence par prsenter le hros en lui accordant
deux qualits dignes dun vrai hros : le courage
et laudace. Puis, la voix se fait plus ironique et
le spectateur dcouvre quil sagissait dun rve
veill du personnage lui-mme. Ds le dbut,
Johnny English est donc prsent comme un loser
maladroit. Lhumour rsidera dans ce dcalage
entre ce quil est et les fonctions quil va endosser : celles dun agent secret la James Bond.
Imposteur, menteur, brailleur, prtentieux, Johnny
vido 13
English est lanti-hros par excellence, qui contre

toute attente, russira malgr tout mener bien
sa mission.
Photo extraite de cette bande-annonce : on y
voit Johnny English face camra, lair intrigu,
de toute vidence en train despionner quelquun
hors champ. Il est habill de blanc tandis que les
autres personnages quon aperoit larrire-plan
portent des costumes noirs. Demble, le personnage dtonne. Dans un deuxime temps, un dtail
frappe lobservateur : la te de champagne quil
tient dune main crispe est casse. Ici encore
sopre un dcalage entre ce quil parat et ce quil
est vraiment.
Squenage du document audio

Minutage
Images
Du dbut
019
1. The scene takes place at night: The Thames,

an island, a castle
2. Close-up on Johnny English, who is running,
and about to break into the mansion. The
screen is split into 3 parts.
3. Downward view of Johnny English who is
pressing a wiggly giggly dog toy to get rid of
the guard dogs.
4. Johnny English still running to the house.
The split screen shows the hero in different
situations.
1. Bond-like music
1. Johnny English is interrupted while

searching the house by a very pretty brunette
with an Eastern accent and who is aiming a
gun at him
1. Voice off : Johnny English is Dashing

Romantic music
Woman: Agent One, you overestimate your
power over women.
De 019
033
2. The music reaches a climax.
3. Voice off: Johnny English is daring.

We can hear the squeaking toys. The dogs are
pacified.
4. Bond-like music again.
2. The girl is immediately bewitched, fascinated 2. Man: Id say that would be virtually
impossible.
by Johnny English and falls for him. He is
approaching his face towards her so as to kiss Voice off: Johnny English is
her
285
Minutage
Images
De 034
043
1. Extreme close-up on his lips, pretending

to kiss a woman. In fact, Johnny English
is dreaming he is kissing a very beautiful
brunette. He is woken up by one of his
colleagues.
2. Thereupon, the real secret agent comes in
and, with a very elegant and precise sweep of
the arm, throws his coat on to the coat stand.
3. The scene is blacked out and the trailer for
the film starts.
UNIVERSAL
1. dreaming.
1. Johnny English is seen in his underwear, on

the phone.
1. Man on the phone: This is Intelligence

Headquarters. Remember when I told you the
only way you would become an agent was
when all the other agents were dead.
2. (shooting) Well put some bloody clothes on
and get over here right away.
Man: Thank you Sir.
De 044
102
2. A blast is heard, then a coffin can be seen.
103 119
2. A voice (snapping): English!
3. Agent one: Gentlemen

Johnny English (with a tone full of admiration):
Agent One!
4. Music of the film again. A phone ringing.
3. Johnny English comes into

the room, trying to throw his coat the way
Agent One had done but fails.
4. His coat falls through the window into the
street and we hear the sound of a car accident
/ Johnny English looks ill-at-ease.
3. The song is starting: Youre unbelievable

J.E (proudly): Johnny English
1. A car violently runs through a carriage

entrance. Johnny English and his associate are
inside. Johnny English is driving.
2. We can see Johnny English training hard in
his flat, strangling a coat stand
3. Johnny English is searching some red velvet
curtains while discreetly looking at someone
off screen when he suddenly lays his hands on
the body of a woman who turns round shouting
at the top of her voice.
4. Johnny English takes a glass which slips
through his fingers.
5. Johnny English is chasing a thief and is
suddenly stopped short for his jacket gets
stuck in the door.
6. Close up on Johnny English who is claiming
with a very proud tone:
1. Johnny English: A good agent doesnt need

gadgets.
120 la n
1. We can see Johnny English living through
different tricky and funny situations: his gun falls
apart in full battle; the glare of a radar blinds
him; he uses a rocket to destroy the radar.
2. A man is playing a DVD which shows Johnny
English in his bathroom fighting with a plastic
duck.
4. Screeching sound; shattering glass.

Mooing.
2. A shout.
3. The only gadgets highly needed are a sharp
eye,
4. a finely tuned leer

5. and a slightly bigger brain that is strictly
necessary. (we can hear the banging of his
head against the door)
6. Oh Well, none of us is perfect.
Bond-like music overheard.
1. Voice off: This Summer, when the
future of England is threatened.
Woman: Get out there and save your country.
Voice off: British Intelligence is coming. (flash)
2. Man with French accent: I had his flat
bugged.
3. Downward view on Johnny

3. Voice off: Eventually.
English who is trying to catch the royal crown.
Extreme close-up on his associates worried face.
Johnny English giggling
286
Pas de difcults ici.
Formes de travail
1. en groupe ; 2. collective.
1. Le but de ltude de la bande-annonce est de faire

ressortir leffet comique qui rsulte du dcalage
entre les images et le commentaire. Dans la mesure
o il est trs possible que le lm Johnny English
soit connu des lves ou quils reconnaissent, en
regardant la photo page 161, Rowan Atkinson (ou
Mr Bean, le personnage qui la rendu clbre), deux
mises en uvre sont possibles.
a. Faire dcouvrir la photo page 161 lensemble
de la classe (ou la redcouvrir si les lves lont
dj vue, par exemple lors de ltude du texte page
160, si ce texte a t abord auparavant) :
partir de cette photo, recueillir le connu des
lves sur le lm et /ou sur lacteur et ce pourquoi
il est clbre ;
visionner la bande-annonce en collectif une premire fois pour collecter des lments de rponses
la question 1 ; mise en commun rapide ;
procder un deuxime visionnement avec deux
tches distinctes : un groupe dlves pourra se
concentrer sur les images, le second sur la bandeson ; mise en commun pour complter les lments
reprs lors du visionnement prcdent ;
recueillir ces complments donns par lun et
lautre groupe an de conclure sur le contraste entre
images et bande-son.
Des productions possibles sont donnes plus loin,
la suite de la mise en uvre alternative (b.).
ou
b. Ne pas faire dcouvrir la photo page 161
lensemble de la classe :
on privilgiera une salle multimdia o les lves
peuvent travailler sur des documents diffrents
en mme temps. La dcouverte diffrencie soulignera la non-adquation entre ce que lon voit et
le commentaire. La classe sera divise en groupes :
un premier groupe tudiera limage donne en
illustration dans le manuel et aura pour consigne
danticiper le contenu du lm, son genre, les caractristiques du personnage, etc.,
un deuxime groupe visionnera la bande-annonce
sans le son (vido 13),
le troisime groupe coutera la bande-annonce
sans limage ;
on veillera donc donner les consignes aux diffrents groupes sparment : il ne faudrait pas en
effet que le groupe 3, charg dcouter la bande son,
se doute quil sagit du trailer de Johnny English.
Consignes : Answer question 1 p. 161 with the elements
you will gather from:
a photogram from the lm (group 1)
the trailer with the sound off (group 2)
the soundtrack : (group 3)
on veillera ne pas se rfrer au manuel page 161,

ou au titre du lm :
indiquer uniquement que lon va tudier un document vido ;
transcrire la consigne gnrale (question 1) au
tableau ;
distribuer les tches aux trois groupes sparment
et faire en sorte que les groupes 2 et 3 ne sachent
pas quelle photo est tudie par le groupe 1 ; veiller
galement ce que le groupe 3 ne sache pas de quel
lm il sagit.
Laisser cinq minutes aux lves pour quils prennent
connaissance du document attribu leur groupe et
quils en tirent les lments essentiels.
Mise en commun : commencer par le groupe 3
("about a man who thinks he is a secret agent"), puis
donner la parole au groupe 1 ("a lm with Rowan
Atkinson / Mr Bean"), et enn au groupe 2 ("a parody
of James Bond").
Group 1: the photogram

Mr Bean/Rowan Atkinson/A man/Johnny
English dressed in white, holding a ute of
champagne.
Looks intrigued/worried. Smartly dressed.
Background is blurred. Focus on him. Detail:
the stem/the leg of the ute is broken. Pretends
to be at ease but he is not.
He is different from the others (dressed in
white).
Seems to be spying on someone.
A lm about a man who is different / the odd
one out/a mist
Ccl.: We expect to see a comic lm. A man
who pretends to be what he is not and this will
lead to funny situations. He is clumsy when
he shouldnt. A fake/a fraud. The scene takes
place in a posh background.
Group 2: with the sound off
Trailer for a lm?
Takes place in London.
A spy is on a mission and breaks into a big
house. He is taken red-handed by a woman who
is immediately attracted to him.
Turns out to be a man day dreaming/imagining he is a super hero/a secret agent.
Then he is on the phone but we dont really
know why. He stands up apparently surprised.
Several actions: the man is being silly/clumsy/
awkward/ doesnt look the part: his revolver
falls into pieces He makes blunders.
At the end we can see him snatching at a crown.
Ccl.: humorous lm / anti hero / a lm to be
released / out this summer
Film about an impostor/a fraud / a parody of
James Bond lms.
//
287
//
Group 3: the soundtrack

About a man who thinks he is a secret agent.
James Bond music
Suspense, danger
Romantic music: accent / kiss
Very rude / thank you sir.
Original / silly / zany /goofy
Future of England is threatened: onomatopoeia mainly
Ccl.: Adventures. It evokes James Bond. Johnny
English has to save England.
Eccentricity can be dened as a strange

way of behaving.
2. Le document est visionn de manire collective.
Eccentrics want to be/re-invent themselves

in a world where everybody feels obliged to
conform. They want to show their individuality
/ their uniqueness.
Laisser deux ou trois minutes aux lves pour

changer en binmes avant la mise en commun.
La confrontation de leurs travaux prcdents
(question 1) permettra aux lves dapprcier
limportance des jeux de miroir, dchos et de
contre-chos qui existent entre le son et limage
dans une bande-annonce. Ce sera loccasion de
conclure.
We can see a difference/gap/discrepancy
between what is said and what is seen. Sounds
completely silly, nonsensical, burlesque.
Humorous / a classic with a twist: inspired
from James Bond with humour of Mr Bean /
makes fun of/mocks JB debunks the myth
It emphasizes/highlights/underlines/lays
stress on smartness.
Sense of humour parody of an iconic gure:
James Bond / nonsense
Anti hero: the hero is not noble anymore but
is fallible, has many shortcomings. He makes
a fool of himself.
Recap
Dans la mesure o les changes ont beaucoup port
sur loral, le professeur privilgiera une forme crite
pour ce Recap. On demandera aux lves de noter
trois dnitions de lexcentricit britannique.
288
It lies in divergence/discrepancy between

appearance and reality.
People behave in unexpected/original/bold
ways that do not match who other people think
they are / who they are supposed to be.
Eccentricity is being clumsy when you must
save the world / wearing an outrageous hairdo
when you work in the city / not behaving as
people your age think they should behave / having bizarre tastes / telling nonsensical stories.
Eccentricity is a way of exerting ones freedom.

Thats why it can be seen as a mental safety
valve/ a good way of coping with social pressure and stress.
Paradoxically, eccentrics who appear mad
are perhaps saner than most people.
Une fois les dnitions rcoltes, le professeur

pourra les soumettre aux lves qui discuteront de
leur justesse et en choisiront cinq collectivement.
Cette tche aura pour intrt de motiver les lves
dans la mesure o, de leurs changes, dcoulera un
choix raisonn des meilleures dnitions.
Training Task 4: A flyer

Cette activit constitue le dernier entranement avant
la tche nale en production crite ; elle permettra
llve de faire le point sur tout le chapitre.
En groupes de trois, les lves commencent par
choisir la cause qui sera dfendue, lvnement qui
sera organis, et rpertorier les arguments quils
pourront utiliser pour convaincre les gens dy participer (laisser 15 minutes pour ce faire). Puis les groupes
raliseront leur production la maison dans un dlai
dune semaine. Annoncer la classe que les yers
pourront tre exposs dans les couloirs et que des
commentaires seront attendus des autres classes.

Manuel p. 162-163
WORDS
Describing heroic characters
1. astute, judicious = shrewd, perspicacious stupid, shallow, thick
2. strong-willed, resolute = determined, intent on weak-willed, hesitating
3. mild, unassuming = temperate, lowly erce, harsh, violent
4. stubborn, obstinate = unyielding, inexible broad-minded, yielding
5. rebellious, deant = disobedient, unmanageable obedient, compliant
The odd one out

1. conceal
2. deny
3. mask
4. exclude
Talking about British characters

a.
Occupation
Detective,sailor, seaman,
secret agent, fashion
designer, policeman, partner,
explorer, adventurer
Character traits
bold, eccentric, clumsy,
self-condent, funny,
clever, smart, composed,
phlegmatic, a mist,
strange behavior, patriotic,
never lose face, stubborn
British characters
Role
symbol, representation,
role models

Johnny English is a secret agent who succeeds in
saving the English crown even if he is clumsy. He is
quite self-condent and gives his young partner advice
to become an efcient agent. What is funny here is
the discrepancy between what he is and the way he
behaves. He never wants to lose face and stubbornly
clings to his own way of coping with danger. He represents the perfect caricature of James Bond.
Stress on negatives
ste 5
3
Wallace and Gromit are two partners. But what

is odd about them is that the dog is cleverer than
the man. They live quite a typical British life but
Wallaces naivety leads them to go through many
burlesque situations. Their home is traditional but
they always try to invent new things. For example

Gromit has designed a machine to help Wallace get
up in the morning. Its very efcient until the moment
when everything goes wrong and adventures begin.
In short, W and G live dangerously in a background
that should be quiet.
Pi
Tone
funny, burlesque,
strange, slapstick,
parody, caricature
Values
eccentricity, friendship,
observation, sense of
humour, obedience,
failure and success,
love for King/Queen
and country, tradition,
invention, fashion
Voir corrig dans la partie Workbook, ci-desous

dans ce guide.
289
Pi
ste 5
/s/
tourists,
eccentrics,
traditions,
castles, ships,
streets, symbols,
commonwealths,
germs
Have-en / had-en
-s in plurals
/z/
/iz/
citizens, gardens,
values, explorers,
sailors, heroes,
kids, lives,
adventurers,
wars, dreams,
hunters, pursuers,
messengers,
bearers, empires
places,
buses
GRAMMAR
Les formes verbales surlignes en bleu sont conjugues au past perfect: elles permettent deffectuer
un retour en arrire explicatif (ex.1) ou dassurer
la concordance des temps dans un contexte pass
(discours rapport, ex. 2 et 3).
Practise
Practise
Both of us had heard about the art dealer when
he contacted us and we couldnt believe he had
been robbed. He knew that Holmes had already
solved many cases, and he wanted him to investigate the case. Holmes asked the art dealer if
he had noticed anything strange the day before,
but apparently he had not. So far, Holmes has
managed to solve all the cases presented to him.
I have known him for years now, and I totally trust
him and his expertise.
1. Being a James Bond means loving adventure, not

fearing criminals and living dangerously.
Ive learnt that British characters often have to

deal with funny situations.
2. Being a hero implies being courageous and having

an amazing personality.
Ive learnt that British writers were the rst ones to

change the qualities of ctional heroes.
3. Reading novels, exercising every day and cooking

is not my cup of tea.
Ive learnt that many British characters feel proud

of their country.
4. Solving crimes requires the nding of lots of

clues rst.
Ive designed a yer to convince people to take part

in a fund-raising event.
I hadnt heard of this characteristic before.
Verb + -ing
Observe
Les formes en -ing permettent de former
- des verbes nominaliss/grondifs (being, eating),
- des noms (beginning, ending),
- des adjectifs (interesting, surprising, tempting,
appetizing).
Being French is not just about eating bread

and cheese, it is about living in a country that has
a fascinating history and amazing landscapes.
Defending our customs and our cuisine is for sure
important to us, but accepting others differences
is also essential.
Etc.
Workbook
I hadnt heard of Johnny English before.

I hadnt seen any British lm before.
I had already read Robinson Crusoe before we
studied it in class.
I had never heard about Beckie Sharp.
I had already seen Johnny English when the lm
came out in France.
p. 60
Pi
ste 5
3
Stress on negatives
Watson: You have not told me what is on your mind.

Holmes: The curious incident of the dog in the
night-time.
290
Observe
Les formes verbales surlignes en rose sont conjugues au present perfect: elles permettent dtablir
un lien entre une situation passe et la situation
prsente, quil sagisse du/des rsultat(s) prsent(s)/
observable(s) dun vnement pass (ex. 2), dun
bilan dune situation passe (ex.3), ou dune forme
de continuit entre le pass et le prsent (ex.1).
does absolutely nothing when someone breaks into

his masters house is not quite usual?
Watson: This mystery, this house and these people
are not quite usual
Watson: The dog did nothing in the night-time.
Holmes: No, they certainly are not but there is one

very simple reason why the dog did not do a thing
and
Holmes: That was the curious incident. Dont you

see that a dog that does not bark, does not move and
Watson: Of course there is! Dont tell me! Let me

tell you why the dog did nothing in the night time!
GRAMMAR
Have-en / had-en
Verb + -ing
1. Before he decided to visit Sherlock Holmes, Doctor

Watson had already heard about the art dealers case.
Reading thrillers is certainly one of the most

exciting activities for me, even if I nd it frightening
at times.
2. Holmes discovered that someone had managed to

break one of the doors open.
Watching detective stories is one of the most

exciting things in life.
3. Watson is surprised to learn that most of that mans

paintings have cost him a fortune.
Going to the mountains is exciting too.
4. They are thinking about investigating The Flat

Cap case, but they havent made up their minds yet.
Taking an exam is one of the most worrying things

to do at school.
5. Watson wanted to collaborate with him before,

however he had never had the opportunity to do so.
Getting a bad mark is one of the most worrying

things in life.
6. When Holmes explained how he had discovered

the truth, Watson replied that he had never doubted
his abilities to interpret clues correctly.
Riding a bike downtown is one of the most

worrying things in life.
STRATGIES
Manuel pp. 164-165
crire un texte explicatif

Objectifs
Le but de cette double-page dactivits est dentraner les lves rdiger une explication claire et
cohrente dun fait, dun phnomne, dune opinion
ou de sentiments. Pour cela ils devront :
- en binmes, lors du cours suivant : relecture des

plans proposs (environ 5 minutes) et ventuelles
suggestions.
Phase dcriture :
3. apprendre retravailler leur texte pour viter

les rptitions, prciser leur pense, contrler la
ponctuation et lexactitude de la langue employe.
- la rdaction partir des plans revus se fait

individuellement la maison,
- lors du cours suivant : change en binmes (10
min) ; chaque lve annote le travail de son camarade
en se rfrant aux premire et deuxime colonnes
du tableau 2 p. 165 ; il prcise quels conseils ont
t suivis ou non, sappropriant ainsi les critres de
lvaluation nale,
- la reprise du texte propos dans le troisime vous

( p. 165) est effectue individuellement la maison,
1. prparer et organiser leur explication en sinterrogeant sur le comment ou le pourquoi,

2. rdiger un texte cohrent,
Les lves devront mettre en uvre ces stratgies lors de la tche nale. Il est donc souhaitable
quils se soient entrans au pralable. Le sujet
propos pour cet entranement est adoss la
notion Mythes et hros tudie dans ce chapitre,
ainsi que dans les chapitres 4 et 5. On pourra envisager le travail sur cette double-page en deux temps :
- avant la tche dentranement p 155 du manuel :
phase prparatoire de lexplication. Les lves pourront ainsi transfrer les conseils donns pour la
prparation et lorganisation de lexplication (
p. 164) pour mener bien lexplication orale qui leur
est demande.
- avant la tche dentranement 3 : Portrait of a
genius, p. 159 du manuel travail sur la rdaction
proprement dite ( et pp. 164-165)
- lors du cours suivant, les propositions damlioration de ce texte font lobjet dune mise en commun
en classe.
Nouveau homework possible : les lves retravaillent
les paragraphes crits lissu du vous p. 165 et les
soumettent leur binme pour une nouvelle tape
de co-valution, en sappuyant sur les colonnes 1
et 2 du tableau .
Le professeur pourra ensuite relever un certain
nombre de ces textes pour complter la co-valuation.
Il pourra notamment tirer parti des besoins langagiers
mis en vidence par lexamen de lchantillonnage de
copies pour attirer la vigilance des lves sur tel ou
tel point lors de la phase de relecture.
tapes possibles :
Phase prparatoire :
- le plan est prpar individuellement la maison,
291
VALUATIONS
Corrigs
FINAL TASK 1. Writing . . . . . . . . .
FINAL TASK 2. Reading . . . . . . . . .
20pts
Suggestion de grille dvaluation :

Expression crite partir de recherches faites par
les lves. Il sagira de rdiger le portrait dun personnage que llve aura choisi parmi lensemble
des gures emblmatiques de la littrature britannique et dexpliquer son choix (en quoi ce
personnage reprsente-t-il la Grande-Bretagne ?
Quelles sont ses caractristiques ? Quels aspects
plaisent et pourquoi ? etc.)
Forme de travail
Individuelle.

Les lves devront en amont faire quelques
recherches : lectures sur internet ou visionnage de
documentaires au CDI ou la maison (par exemple
lmission de Sebastian Faulks, Faulks on Fiction
sur la BBC). La prparation consistera bien revoir
les pages Stratgies, manuel pp. 164-165 ainsi que
le vocabulaire et les points de grammaire tudis
lors de la squence.
Le jour de lvaluation, les lves amneront les
notes prises lors de leurs recherches. On prcisera
dans les consignes pralables que ces notes :
doivent tre trs succinctes (pas de phrases
rdiges),
ne doivent pas excder une page de cahier petit
format,
que cette page devra tre jointe la rdaction
nale.
Temps de rdaction (brouillon + mise au propre) :
45 minutes environ ; laisser 5 minutes la n pour
la relecture. Nombre de mots : autour de 200.
Manuel p. 166
10pts

Voir documents photocopiables pp. 297-298
de ce guide.
Recommander cinq lecteurs des personnages
de ction susceptibles de leur plaire. Associer les
posts o sont exprims leurs gots avec les rsums proposs (un de ces rsums ne correspond
aucun lecteur). Dans la grille de rponse, llve
associe chaque post un nom de personnage.
Forme de travail
Individuelle.

Prvoir 30 minutes environ en tout. On pourra
conseiller trois tapes distinctes si lon estime
que les lves ont besoin dtre guids dans la
ralisation de la tche :
lecture des posts en se concentrant sur les caractristiques demandes par chaque internaute,
lecture des rsums,
donner le nom du personnage de ction qui
correspond chaque post.
1. Le professeur distribue les ches aprs avoir

expliqu les trois tapes suivre. Les lves
prennent connaissance des cinq posts. Les lves
ont 10 minutes pour les lire, en souligner les
mots cl qui font rfrence aux caractristiques
demandes.
2. Les lves lisent les six rsums. Ils ont 20

minutes pour les lire, en souligner les mots cl
qui font rfrence au post.
3. Le professeur leur donne enn la grille de

rponse et les lves ont 2 minutes pour la remplir.
Corrig et barme
Posts
Names of heroic gures
a.
Miss Marple
b.
Bridget Jones
c.
Roderick Random
d.
Rob Roy
e.
Doctor Who
Monty Python
2 pts par bonne rponse (soit 10 pts).
292
VALUATIONS
Corrigs
Manuel p. 167
Documents supports
1. Communication du titre accompagnant lenregis-
Voir
trement : "My favourite ctional character", crire

au tableau.
CD2 Evaluations Piste 12

Ici, un seul document propos : une interview par
un journaliste de Ruth Rendell, crivain britannique,
au sujet de Sherlock Holmes. La question est de
savoir ce qui peut expliquer la clbrit absolue
de ce personnage britannique. Le propos est clair,
aucun lment priphrique ne vient gner la comprhension.
Forme de travail
Individuelle.
Passation

au brouillon:
coute 3

minutes pour rendre compte de ce quil a compris
en franais sur sa copie.
brouillon quon sera vigilant de ne pas regarder avant davoir valu le compte-rendu an de
pouvoir observer le passage entre les notes et la
restitution et ainsi pouvoir mieux aider les lves qui
auraient des difcults dans cette preuve.

Les critres apparaissant en colonne de gauche sont ceux du B.O. du 24 novembre 2011 ; les lments
proposs en face sont des lments de rponses possibles pour le document dont il est question ici.

My Favourite Fictional Character
Niveau
A1

Indices pour valuer la comprhension orale :
prestation le nombre de points indiqu (sans
le fractionner en dcimales) de 0 10 :
entourer la note choisie.
1 pt
malgr quelques mises en relation, ne lui ont
permis daccder qu une comprhension
superficielle ou partielle du document (en
particulier, les interlocuteurs nont pas t
3 pts

Thme superficiellement compris : interview, un
homme et une femme parlent de Sherlock Holmes.
293

interlocuteurs.
A2
5 pts
principaux de la discussion (contexte, objet,
interlocuteurs et, ventuellement, conclusion
de lchange).
B1
8 pts
Thme compris : une interview au sujet de Sherlock

Holmes ; lhomme pose une question et la femme
rpond en donnant plusieurs explications.
3 lments compris parmi les suivants :
- la femme vivait Londres prs de lendroit o habite
Sherlock Holmes dans les romans (221 Baker Street),
- beaucoup de monde lui demandait o se trouvait la
maison de Sherlock Holmes,
- les gens pensaient que Sherlock Holmes tait une
vraie personne,
- que Sherlock Holmes na peur de rien/ rien ne lui fait
peur, ne larrte.
Le contexte de lchange a t identifi : la femme
doit tre une spcialiste de la littrature et est
interviewe par un journaliste.
Les arguments principaux ont t clairement compris :
- lhomme demande pourquoi les gens pensent que
SH a vraiment exist.
- la femme avance plusieurs explications.
Tous les lments ci-dessus mentionns ainsi que 3
des lments suivants :
- il a une adresse relle au centre de Londres que tout
le monde connat,
- peu de personnages de fiction ont une adresse relle,
- il est capable daffronter un chien froce, quasi
surnaturel,
- il est capable dentrer par effraction chez les gens et
de se battre pour la bonne cause,
- difficile de trouver un hros plus courageux que lui.
Tous les lments dexplication ci-dessus ont t
mentionns.

B2
Comprhension fine.
10 pts
Note de llve note sur 10 x 2 =
/20
Expression orale
Voir
les consignes dans le manuel p.167.
Characterize each text. 2 pts
A passage from...
Text 1
Text 2
9
a fictitious story
a newspaper article

a spy agency website

an essay
a history book
a novel
Text 1
Voir document photocopiable p. 299-302 de ce guide.
Corrig et barme
1 pt
Both texts deal with James Bond, the secret agent
(2 pts) (James Bond suft).
294
Right or wrong? 2 pts par bonne rponse = 10 pts

a. James Bond is more heavily armed than his
enemies.
Wrong. Here was a man with a single underpowered
handgun (the Beretta, which, as a gunsmith told Fleming, was a ladys gun (l. 3-4) // himself against
enemies more numerous, better armed, (l. 6)
b. James Bonds aim is to serve his country.

Right. blindly patriotic (l. 7)
3 x 2 pts = 6 pts
c. James Bond never resorts to brutality.

Wrong. Bond would, if necessary, do ruthless things
to protect himself (l. 8)
optimistic Im ninety per cent sure hell believe

you (l. 18)
d.Thanks to James Bond, readers are made to

understand what spy do for citizens.
Right. we were being given a privileged look into the
world of those nameless men who unofcially made it
safe for us to sleep at night (l. 9-10)
e. Readers cant side with James Bond as he sometimes behaves like a criminal.
Wrong. it was not his or our fault that other people
were so scheming, so power-crazed and so murderously hostile towards us. (l. 12-13)
jeopardy: danger, risk 2 pts

Text 2
The text is about: : a spying scheme 1 pt
2 pts par bonne rponse x 5 = 10 pts
The scene takes place in Serbia. James Bond and
two Serbian policemen are watching an Irishman
and waiting for him to come out of a restaurant. They
want to know his identity and get whatever information is contained in his mobile phone, computers and
luggage. They also want to know where exactly he
is going to. While waiting, one of the policemen had
a beer. The Irishman is to be captured alive. Bond
has very carefully planned everything and thought
of every detail, except one.
Bonds feelings:
composed Its the pair of them, Bond said. (l. 26)

Same plan. OR Your enemys purpose will dictate
your response - Bond silently recited another maxim
from the lectures at Fort Moncktons Specialist Training Centre in Gosport. You must nd the adversarys
intention. (l. 61-62)
angry Another mans ego and greed can be helpful,
Bond believed, but incompetence is simply a useless
and inexcusable danger (l. 34-35)
Both texts
4 pts
a. Both texts 1 pt
: stress some of James Bonds uncelebrated traits
b. 1,5 pt par explication = 3 pts
Text 1 reminds the readers that James Bond / he
sometimes is / can occasionnally be cruel / ruthless
/ a bastard
Text 2 shows that James Bond does not anticipate
/ think of everything / James Bonds / his plans
sometimes do not work
Title for both texts: 2 pts
: A not so perfect spy
Expression crite
2 pts
The Irishman did not do what he absolutely had to. He
didnt leave. (l. 45)
295
UNIT 8
valuations
British characters
Name:
Class:
Final task 1
Writing
Manuel p. 166
Present your favourite British character

A2
B1-1
Traitement du sujet
(8 pts)
Cohrence et cohsion
(6 pts)
(6 pts)
Respecte partiellement
la consigne (trop bref ; oubli
des parties explicatives,
etc.).
Dcrit brivement
le personnage.
Juxtapose des noncs

et ne fait pas attention la
cohrence de la description.
Possde un rpertoire
structures simples.
Des erreurs
faisant obstacle la
comprhension.
2 pts
1 pt
2 pts
Rdige une description

de faon simple ; la trame est
cohrente et en adquation
avec le thme.
La partie explicative est
prsente mais succincte.
La description est peu

prs cohrente.
Est capable de faire des
paragraphes.

simple mais ne matrise
pas toujours les structures
courantes.
Est capable de relier des
ides de manire simple et
de faire des paragraphes.
3 4 pts
2 pts
3 4 pts
Description cohrente qui

facilite la lecture.
Est capable de suivre des
tapes successives et une
logique de lexplication.
crit un texte peu prs
structur et sans redites.
Est capable de relier ses

ides avec des mots de
liaison autres que and
et but ou avec des
propositions subordonnes.
Est capable dutiliser des
structures plus complexes
et du lexique diversifi
malgr quelques erreurs
ne faisant pas obstacle la
comprhension.
5 6 pts
3 4 pts
5 pts
Peut dcrire de faon claire

et dtaille en mettant bien
en valeur les raisons du
choix.
crit une explication

cohrente, labore, o
figurent des caractristiques
varies du texte explicatif.
Les caractristiques
de lexplication sont
respectes : introduction
du sujet, paragraphes,
exemples, tapes et logique
de lexplication, conclusion.

riche.
7 8 pts
5 6 pts
6 pts
Produit une description

du personnage nuance et
dtaille.
Est capable de donner des
exemples et de dvelopper.
B1-2 Peut intgrer des nuances
B1-3 dans lexplication.
B2
296
UNIT 8
valuations
British characters
Name:
Class:
Final task 2
Reading
Manuel p. 166
Help website visitors find their heroes

Read the following posts (a to e) published on a website dedicated to fictional
heroic figures focusing on the visitorstastes.
Then read the summaries. Underlying keywords will be useful.
After reading, match each visitor with the name of the character they would like
best.
Posts:
a. I have grown to enjoy characters who have a double-sided personality, who dont
really look the part, those who seem to be frail on the outside but are strong deep
down. Im a mystery fan too. Investigations are just fascinating to me. I try to spot
the culprit and scrutinize every single piece of evidence to be the first to know. Those
kinds of story are really challenging to me.
b. I like it when the hero or heroine is not typically glamorous, when he or she is the
kind of person you see walking down the street every day. I enjoy comedies, romances.
I like it when I can understand and sympathize with the character. I particularly like
heroes who flail around trying to fix a mistake, thereby making things worse and
worse, until somehow preferably because of their central weakness they find an
ultimate solution that allows them to come out the other side victorious and successful
in helping someone besides themselves.
c. What kind of heroes do I like best? Well, I must admit that I like adventurers very
much. I love the description of their exploits. I will admit one of the few attributes
that can be annoying is a very weak character. By this, I mean one who never tries to
achieve his goal and lets people around get the better of him.
d. What is of the utmost importance to me is the genre: I hate romance or schmaltzy

stories. I prefer action or science fiction. I like to feel involved in a thrilling story,
with fighting and all. But what pleases me most is when the hero is real or at least
inspired by someone who really existed. I dont care if he is good or bad providing he
is true to his convictions and heart, providing he tried to live his life as best he could.
e. Well, I acknowledge genre has a lot to do with it. I dont really like it when the story
is too realistic. I prefer films or books indulging in fantasy and imagination. The more
weird, the better. The hero has to be a bit wacky too. What I also like is when the hero
has a sidekick, a close friend to go along with.
297
UNIT 8
valuations
British characters
Name:
Class:
Summaries of novels and/or films:

Bridget is a plump 30-something woman. She makes a little fool out of herself in
front of the man she is supposed to seduce, and he seems to toss her aside. Later,
she is seen sitting alone in her apartment drinking and singing along to All by Myself.
A little after this, she starts her diary. Bridget Joness Diary is lled with moments of
truth and ashes of humor.
Miss Marple never married and has no close living relatives. She is able to solve difcult crimes as an amateur detective not only because of her shrewd intelligence, but
because St. Mary Mead, over her lifetime, has given her seemingly innite examples of
the negative side of human nature. No crime can arise without reminding Miss Marple of
some parallel incident in the history of her time. She can sometimes purposefully poke
her nose into peoples business. She often embarrasses the local "professional" police
by solving mysteries that have them stumped.
Monty Python was a British surreal comedy group who created their inuential Monty
Pythons Flying Circus, a British television comedy sketch show that rst aired on the
BBC on 5 October 1969. Loosely structured as a sketch show, it pushed the boundaries
of what was acceptable in style and content. The shows catchphrase was And now
for something completely different. They changed the way performers entertained
audiences. The Pythons creative control allowed them to experiment with form and
content, discarding rules of television comedy. Their inuence on British comedy has
been apparent for years.
Doctor Who is a British science ction television programme produced by the BBC that
has been aired since in 1963. It depicts the adventures of a time-travelling humanoid
alien known as the Doctor". Doctor Who explores the universe in an unreliable time
machine called the TARDIS that ies through time and space, and looks like a 1960s
blue police telephone box. Along with a succession of companions, he faces a variety
of foes while working to save civilisations, help people, and right wrongs.
Rob Roy is a 1995 historical drama lm directed by Michael Caton-Jones. Liam Neeson
stars as Robert Roy MacGregor, an 18th century Scottish historical gure who battles
with feudal landowners in the Scottish Highlands. Robert Roy MacGregor (baptised
7 March 1671 28 December 1734), usually known simply as Rob Roy or alternately Red
MacGregor, is a famous Scottish folk hero and outlaw of the early 18th century, sometimes known as the Scottish Robin Hood. A well-known and respected cattleman, Rob
Roy borrows money from the local nobility to buy more bulls and cows but the money
is stolen. As a result, he is branded an outlaw, and his wife and family are evicted from
their house at Inversnaid, which is then burned down.
The novel is set in the 1730s and 1740s and tells the life story (in the rst person)
of Roderick "Rory" Random, who was born to a Scottish gentleman and a lower-class
woman and is thus rejected by his fathers family. His mother dies soon after giving
birth and his father is driven mad with grief. Randoms paternal grandfather coerces
a local school master into providing free education for the boy, who becomes popular
with his classmates (some of whom he encounters again in subsequent adventures) and
learns Latin, French, Italian and ancient Greek. Finally Random is cast out after the tutor
exacts revenge for one of Randoms escapades and denounces him to his grandfather.
The naive Random then embarks on a series of adventures and misadventures. The
novel ends happily when Random is reunited with his now wealthy father in Argentina.
Write your answers in the following grid:
Posts
Names of heroic gures
298
a.
b.
c.
d.
e.
UNIT 8
valuations
British characters
Name:
Class:
TEXT 1
1
2
3
4
5
6
7
8
9
10
11
12
13
14
Eventually, I decided I would read all the Bond books in the order in which they had been
published. [] What impressed me about the books was a single thing: jeopardy. You
feared for the safety of the hero, all the time. Here was a man with a single underpowered handgun (the Beretta, which, as a gunsmith told Fleming*, was a ladys gun and
not a very nice lady at that), soft shoes, a short-sleeved shirt and really only his wits
and sts to defend himself against enemies more numerous, better armed, more cynical and more powerful than himself. But he had one other thing: cruelty. While blindly
patriotic and essentially fair-minded, Bond would, if necessary, do ruthless things to
protect himself and the national interest. There was the thrilling sense that we were
being given a privileged look into the world of those nameless men who unofcially
made it safe for us to sleep at night. We didnt not approve of what Bond did, necessarily,
but it was not his or our fault that other people were so scheming, so power-crazed and
so murderously hostile towards us. If Bond had occasionally to be a bastard, then we
would grimly acquiesce, because we lived in troubled times and he was our bastard.
Sebastian Faulks, Faulks on Fiction (2011)
* Ian Fleming (1908-1964) created the character of James Bond. He wrote a dozen Bond novels and several
Bond short stories.
TEXT 2
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
Bond looked again into the restaurant and saw that the Irishman was laying some
dinars* on the metal tray no traceable credit card, of course. The partner was pulling
on a jacket.
All right. Its time. Bond reiterated the plan. In the police car they would follow the
Irishmans Mercedes out of the drive and along the road until he was a mile or so from
the restaurant. The Serbian agents would then pull the car over, telling him it matched
a vehicle used in a drug crime in Novi Sad. The Irishman would be asked politely to get
out and would be handcuffed. His mobile phone, wallet and identity papers would be
placed on the boot of the Mercedes and hed be led aside and made to sit facing away
from the car.
Meanwhile Bond would slip out of the back seat, photograph the documents, download
what he could from the phone, look through laptops and luggage, then plant tracking
devices.
By then the Irishman would have caught on that this was a shake-down and offered a
suitable bribe. Hed be freed to go on his way.
If the local partner left the restaurant with him, theyd execute essentially the same
plan with both men.
Now, Im ninety per cent sure hell believe you, Bond said. But if not, and he engages,
remember that under no circumstances is he to be killed. I need him alive. Aim to
wound in the arm he favours, near the elbow, not the shoulder. Despite what one saw
in the movies, a shoulder wound was usually as fatal as one to the abdomen or chest.
The Irishman now stepped outside, feet splayed. He looked around, pausing to study
the area. Was anything different? hed be thinking. New cars had arrived since theyd
entered; was there anything signicant about them? He apparently decided there was
no threat and both men climbed into the Mercedes.
Its the pair of them, Bond said. Same plan.
Da.
The Irishman started the engine. The lights ashed on.
Bond oriented his hand on his Walther, snug in the D.M. Bullard leather pancake
holster, and climbed into the back seat of the police car, noticing an empty can on the
oor. One of his comrades had enjoyed a Jelen Pivo, a Deer Beer, while Bond had been
conducting surveillance. The insubordination bothered him less than the carelessness.
299
UNIT 8
valuations
British characters
Name:
Class:
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
The Irishman might grow suspicious when stopped by a cop with beer on his breath.
Another mans ego and greed can be helpful, Bond believed, but incompetence is simply
a useless and inexcusable danger.
The Serbs got into the front. The engine hummed to life. Bond tapped the earpiece of
his SRAC, the short-range agent communication device used for cloaked radio transmissions on tactical operations. Channel Two, he reminded them.
Da, da. The older man sounded bored. They both plugged in earpieces.
And James Bond asked himself yet again: had he planned this properly? Despite the
speed with which the operation had been put together, hed spent hours formulating
the tactics. He believed hed anticipated every possible variation.
Except one, it appeared.
The Irishman did not do what he absolutely had to.
He didnt leave.
The Mercedes turned away from the drive and rolled out of the car park on to the lawn
beside the restaurant, on the other side of a tall hedge, unseen by the staff and diners.
It was heading for a weed-riddled eld to the east.
The younger agent snapped, Govno! What he is doing? The three men stepped out to
get a better view. The older one drew his gun and started after the car.
Bond waved him to a halt. No! Wait. Hes escaping. He knows about us!
No - its something else. The Irishman wasnt driving as if he were being pursued. He
was moving slowly, the Mercedes easing forward, like a boat in a gentle morning swell.
Besides, there was no place to escape to. He was hemmed in by cliffs overlooking the
Danube, the railway embankment and the forest on the Fruska Gora rise.
Bond watched as the Mercedes arrived at the railtrack, a hundred yards from where
they stood. It slowed, made a U-turn and parked, the bonnet facing back towards
the restaurant. It was close to a railway work shed and switch rails, where a second
track peeled off from the main line. Both men climbed out and the Irishman collected
something from the boot.
Your enemys purpose will dictate your response Bond silently recited another maxim
from the lectures at Fort Moncktons Specialist Training Centre in Gosport. You must
nd the adversarys intention.
But what was his purpose?
Jeffery Deaver, Carte Blanche (2011)
* Serbian currency
Read the texts carefully then answer the questions.

Who do both texts deal with? ....................................................................................
Characterize each text. Tick the right answers.
A passage from...
a fictitious story
a newspaper article
a spy agency website
an essay
a history book
a novel
300
Text 1
Text 2
UNIT 8
valuations
British characters
Name:
Class:
Text 1
Right or wrong? Justify your answer by quoting the text.

a. James Bond is more heavily armed than his enemies.
.........................................................................................................................................................
b. James Bonds aim is to serve his country.
.........................................................................................................................................................
c. James Bond never resorts to brutality.
.........................................................................................................................................................
d. Thanks to James Bond, readers are made to understand what spy do for citizens.
.........................................................................................................................................................
e. Readers cant side with James Bond as he sometimes behaves like a criminal.
.........................................................................................................................................................
In the following list of words, underline two that correspond to the meaning of
jeopardy (l. 2). Quote one sentence in the text to justify your choice.
protection - glamour - vulnerability - safety - cruelty - danger risk - power - honesty
.........................................................................................................................................................
.........................................................................................................................................................
Text 2
Tick the right answer:

The text is about:
the arrest of a spy

a murder investigation
a burglary
a burglary
a spying scheme
Read the following summary and correct the five wrong details. Replace them
with the correct ones taken from the text:
The scene takes place in Ireland. James Bond and two Serbian policemen are watching
an Irishman and waiting for him to come out of a caf. They want to know his identity and
get whatever information is contained in his mobile phone, computers and luggage. They
also want to know where exactly he is coming from. While waiting, Bond and one of the
policemen had a beer. The Irishman is to be captured dead or alive. Bond has very carefully
planned everything and thought of every detail, except one.
Read lines 42-43: Hed anticipated every possible variation. Except one, it appeared.
What did he not anticipate? Quote the text.
.........................................................................................................................................................
Throughout the text, Bond expresses three different kinds of feelings. Circle the
words corresponding to them and quote from the text to justify your answer.
irrational - discouraged - angry - composed - impulsive - optimistic
.........................................................................................................................................................
.........................................................................................................................................................
.........................................................................................................................................................
301
UNIT 8
valuations
British characters
Name:
Class:
Both texts
a. Would you say both texts

give a stereotypical image of James Bond
question James Bonds moral values
stress some of James Bonds uncelebrated traits
b. Complete the following sentences to explain your answer (5-8 words for each
answer).
Text 1 reminds the readers that ....................................................................................................
.........................................................................................................................................................
Text 2 shows that ............................................................................................................................
.........................................................................................................................................................
Choose the most suitable title for both texts:

A perfect spy
A not so perfect spy
A detestable spy
A nave spy
Expression crite
An entry in a logbook
Bond describes what happened on that day and reports what happened next to the head of the
Secret Service. Write his memo (150 words).
Your opinion about British characters

ROYAL FAMILY TO ATTEND NEW
EST JAMES BOND
FILM WORLD PREMIRE
Read the headline above and write a conversation between two young people about this piece
of news starting:
I did not know the Royals were interested in James Bond.
Of course they are. They usually attend all James Bond lm rst screenings (150 words).
302
UNIT 9 News from the world

Notion : Lieux et formes du pouvoir
Activit langagire dominante : expression crite

Le thme gnral
Le chapitre sinscrit dans la notion Lieux et formes du pouvoir . Il se propose dexaminer lvolution des
medias de linformation au cours des dernires annes : explosion du phnomne internet, dclin de la
presse traditionnelle, prolifration des blogs On tudiera limpact de ces changements sur le mtier de
journaliste dune part, et sur le rle dvolu aux lecteurs/spectateurs dautre part. Lmergence de nouveaux
acteurs de linformation remet en question les positions et les valeurs des uns et des autres : rivalits
entre medias, lgitimit, abilit des faits quils publient.... Jusqu prsent, ce sont principalement la
presse et la tlvision qui dtenaient ce que lon appelle le quatrime pouvoir (the Fourth Estate), cette
capacit chercher et transmettre linformation, critiquer et surveiller les institutions, dfendre les
intrts des citoyens ; le journaliste tait ainsi investi dune mission fondamentale pour la dmocratie. La
gnralisation de laccs linformatique et internet a bouscul ce modle : tout lecteur peut dsormais
devenir commentateur, voire rdacteur, et par l-mme ragir, modier et transmettre un contenu informatif. Le contrle de ces ux rapides chappe aux canaux traditionnels et institutionnels car ils emploient
des vecteurs multiples : blogs, commentaires en ligne, rseaux sociaux, vidos postes sur des sites ou
transmises par tlphone... Les medias institutionnels doivent dsormais partager leurs prrogatives avec
dautres entits ; la disparition de nombreux journaux ces dernires annes a montr lurgence, pour eux,
de sadapter cette nouvelle ralit.
Comment les organes de presse ainsi que les journalistes peuvent-ils sadapter lmergence et la
concurrence de nouveaux mdias et de contributions multiples ? Tout citoyen est-il capable dtre un vecteur
dinformation ? Comment les lecteurs doivent-ils apprhender cette abondance dinformation ?
Toutes ces problmatiques seront souleves an denrichir la rexion et de permettre llve de sexprimer et dargumenter sur ce sujet.
En fin de parcours
- tche : crire un texte argumentatif participer une discussion sur un forum en ligne et donner son
opinion
- tche : slectionner un message (tweet) correspondant au contenu dun texte
valuations
comprhension dun reportage radiophonique,

expression orale sur lvolution de la presse et de son pouvoir,
lecture et comprhension de plusieurs documents (extrait de roman, article de journal et site web),
rdaction dun commentaire personnel post sur internet et dune lettre lditeur.
Parcours culturel
Parcours culturel
Documents
Notions :
Thme :
Les mutations dans lunivers des mdias
Problmatique
Comment voluent les mdias ? Qui est en mesure
dinformer ?
303
Les mutations rcentes pp.172-173
How do you get your news?

A new era
Lexplosion des sites dinformation pp. 174-175
Eric Alterman, Out of Print

Page du site dinformation scoop.nz
Le journalisme citoyen pp. 176-177
Charlie Beckett, Is new media killing journalism?
Le rle du journaliste professionnel pp. 178-179
Catherine OFlynn, The News Where You Are
John Grisham, The Last Juror
Activits langagires
Exprimer une opinion
et prendre en compte
dautres points de vue
Comprendre
linformation essentielle
et les arguments dans un
article de presse et un
texte narratif
Rendre compte de
faits loral et exprimer
son opinion
Tches dentranement
Stratgies
valuations nales
Mener et prsenter
crire un texte
Tche 1 :
une enqute sur les
argumentatif
Participer une
habitudes en matire
p. 182 discussion sur un forum
dinformation
p. 173
en ligne et donner son
opinion
Rdiger un
commentaire poster sur
un forum
p. 175
Rdiger un tweet pour
ragir un article de
presse
p. 177
crire une lettre de
candidature pour un poste
dans le journalisme
p. 179 Entranement
Tche 2 :
Comprendre un article
de presse et identifier le
tweet qui en rend compte
le plus fidlement
p. 184
valuation
Expression crite
p. 184
p. 185
Outils de la langue
Words
The press p. 173
Gullibility p. 173
Reliability p. 175
Editing p. 175
Exposure p. 175
Censorship/freedom p. 177
Contributing p. 177
Audience p. 179
Worth p. 179
Talking about the press p. 180
p. 68
Derived words
p. 68
Link words
304
Prononciation
Accentuation du contraste pass/
prsent p.180 et
p. 69
p Prcis de prononciation
p. 216
Prononciation du suffixe ate
p. 180
p Prcis de prononciation
p. 218
Grammaire
used to/would p. 181 et
p. 69
g Prcis grammatical 10 p. 200 et
13 p. 202
Laccroissement parallle : the
more... the more... p.181 et
p. 70

Lensemble du parcours permet aux lves dexplorer la thmatique en lien avec la notion Lieux et formes
du pouvoir et de sentraner la ralisation des tches nales dans les deux activits langagires plus
spciquement vises dans ce chapitre.
mais substantielle de la thmatique, les prparera galement la tche prvue pour lactivit dominante
du chapitre. Sont indiqus dans le tableau ci-dessous :
production crite : Have your say on an online forum.
Ces activits peuvent tre effectues la maison par la classe entire ou un groupe dlves et suivies dune
mise en commun classe entire. Elles peuvent aussi tre utilises pour les cours dapprofondissement
prvus en option.
PAGES INTRODUCTIVES
pp. 170-171
Changing times
How do you get your news?
p. 172
A new era
p. 173
Recap
p. 173
Training task 1: Conducting a survey
p. 173
The explosion of news websites

A shared enterprise
p. 174
Unprocessed and raw
p. 175
Recap
p. 175
Training task 2: Posting comments
p. 175
A participatory revolution
Is new media killing journalism?
pp. 176-177
Recap
p. 177
Training task 3: A tweet
p. 177
The professional journalists role

Who are we making the programmes for?
p. 178
Recap
p. 179
Training task 4: Applying for a new job
p. 179
Language tools
pp. 180-181
Stratgies
pp. 182-183
Final Task 1: Have your say on an online forum
p. 184
Final Task 2: Pick out the best tweet
p. 184
valuations
p. 185
305
Fiche Recap
Cette che rcapitulative permet deffectuer une trace crite sous forme de notes lissue des diffrents
Recaps et de faire la synthse en n de chapitre, de manire se prparer activement lpreuve orale
du baccalaurat :
Expression crite, manuel p. 72.
PAGES INTRODUCTIVES
Objectifs
Amener les lves identier le thme les

mutations en cours dans le domaine des mdias
et la problmatique du chapitre.
tape 1
Faire merger leurs questions en ce qui concerne les

bouleversements qui touchent les mdias traditionnels
depuis lclosion des supports numriques, les changements induits dans les modes de propagation de linformation, mais aussi dans la recherche dinformation.

La photographie met en regard deux ditions dun
mme quotidien : dans sa version papier et sur
tablette numrique.
Cr la n du XVIIIe sicle, le Times, quotidien
britannique de renom, a connu, comme beaucoup
dautres journaux de qualit (quality newspapers),
divers changements au cours des dernires annes
du XXe sicle. Depuis 2004, le journal nest plus
publi en grand format (broadsheet) : il a adopt un
format plus petit, similaire celui des tabloids,
devenant, pour le diffrencier de ceux-ci, un compact newspaper. Sa version en ligne existe depuis
1999. Depuis 2010, le journal exige le paiement de
2 pour un accs hebdomadaire au site. la suite
de lintroduction de cette forme dabonnement, le
lectorat en ligne du quotidien a chut denviron
90% ; toutefois, la direction sest flicite du succs
de linitiative.
Ce document voque donc lessor des mdias en
ligne, signe de la ncessaire adaptation ou transition
des supports traditionnels. On pourra attirer lattention des lves sur les points suivants :
les avantages lis la multiplicit des supports et
aux facilits daccs linformation qui en dcoulent,
les nouvelles habitudes de lecture et daccs
linformation.
Forme de travail
Collective et en binmes.
306
Manuel pp. 170-171
Laisser les lves prendre connaissance de la photographie et de sa lgende puis ragir.
This photograph shows two front pages of the

same daily/newspaper: one is the print edition
and the other is the online version of The Times.
It is a well-known/famous/reputed British
quality newspaper = it used to be printed in
broadsheet format.
It has an online version.
More and more people now prefer reading
their news online, on their smartphones or on
their laptops.

changes.
tape 2
Mettre en perspective limage, le titre et la problmatique de la squence :
React to the title of the chapter and the question
above.
The title suggests that newspapers have changed in recent years.
Newspapers have had to adjust to the rise of
the internet and online media.
They have created online versions of their
print edition.
They compete with other news websites and
blogs.
Readers know what is going on/happening in
the world at once/in the blink of an eye.
Thanks to online media, it is easier and faster
to have access to information.
tape 3
Demander aux lves ce quils savent et aimeraient
savoir sur les medias de linformation. Laisser un
temps de rexion en binmes.
that is to say a body which has an important political

and social power. Can you explain why?
Well, of course its important to know whats

going on in the world if we want to understand the world we live in, I mean you have to
know what has happened and why, to be able
to react and to act.
For example if the government want to pass
a law you have to understand why and also to
understand why some people disagree to make
up your mind about the issue.
Journalists relate objective facts but they also
comment on the news, so they give their own
opinions about the facts and then the information is not always fair / can be subjective/biased.
Journalists can be prejudiced/they can
inuence the readers or the audience a lot and
thats probably why they have such a power.
Were interested in learning about new media,

especially online media.
We would like to know more about why the
newsroom is / newspapers are changing.
We wish we could learn about how the news
is made.
ce stade, on pourra galement attirer lattention des

lves sur le lien entre la thmatique du chapitre et la
notion Lieux et formes du pouvoir . Ils pourront organiser leur rexion partir des questions suivantes :
Do you think its important to get news? Why?
The press is often referred to as the Fourth Estate,
Changing times
Manuel pp. 172-173
1. How do you get your news?
Manuel p. 172
DVD Vido 14

Le reportage vido met en lumire les habitudes
en matire daccs linformation des tudiants
de luniversit de Boston, aux tats-Unis. Il montre
labandon massif de la presse traditionnelle et le
glissement vers les mdias numriques chez un
public cens sinformer de faon rgulire. Les
jeunes gens interrogs se prononcent sur leur source
dinformation privilgie et sur la rgularit de leur

lecture de la presse traditionnelle.
Le graphique propos en bas de page conrme le
dclin de la presse crite aux tats-Unis. La chute
des tirages des principaux journaux est signicative :
il est rare dobserver un graphique dont les btons
sont tous orients vers le bas !
Squenage de la vido
Images
Soundtrack
Students on BU
campus walking/
using their laptops
Elizabeth McMahon
Brian Kimball
Lauren Kaufman
Nathan Cruz
Hadassa Levenson
Paige Fultz
Ahmad Khan
Peter Schwab
Ryne Hager
I get my news from...

- the new york times dot com //
- yahoo //
- the phenix //
- blog spots and cnndotcom //
- twitter and facebook //
- I dont really read any news //
- the financial times of London/ the financial times of India / the wall street journal/ the new
york times //
- I think more kids actually read online/ to be honest //
- its much more convenient for me/I have my phone with me wherever I go // I can pull it
out / look at it //
307
Laptop voice of
a boy
Ahmad Khan
- I feel internet is a big part of our community right now //

- very rarely do I watch news //
Elizabeth Greenberg - aint got cable // its just an expense we didnt feel was entirely necessary //
Ryne Hager
- if I didnt have cable / I dont think I would/I still would read it online //
Hadassa Levenson
Troy Wilson
Paige Fultz
Amanda Frias
Ryne Hager
(worried)
- the last time I opened a newspaper / oh gosh //

- many years ago // yeah/stone age //
- I honestly cannot remember //
- oh gosh // (laughter) its probably been like a few months //
- it was probably a year / no / this summer / last summer //
Deanna Falcone
Students with their
laptops, eating and
chatting
Ahmad Khan
- getting our news today is not really working / because I feel I cant have an educated
conversation with people // The best way to get news / I think// is using a bunch of different
sources// youre getting different kinds of stories / youre getting different topics //
- its very easy to stay with one news source or/you know / TV/but I dont really pay
attention to those // I get it from the newspaper or //
Amanda Frias
- maybe I should read the news more / I feel like I should/because Im definitely not that into
whats going on today //
Elizabeth Greenberg - you can live (like) in a full bubble here at bu / its easy to go through a year without ever
knowing anything else but / were going to have to be in the real world some day / so we
might as well/ I think its really important to know //
Les deux documents reprennent des termes introduits
et manipuls dans la double-page dintroduction.
Les difcults auxquelles les lves risquent dtre
confronts sont le rythme du dbit de parole ainsi
que la succession rapide des tmoignages. Chaque
intervention prsente un point de vue, et les images
guident peu lcoute en dehors des noms des tudiants.
Il faudra donc veiller prparer lcoute en revenant
sur les arguments voqus lors de lintroduction,
mais galement en numrant en anticipation des
noms de sites dinformation connus des lves. La
mise en jalon des termes dot com et cable permettra
un accs plus ais au sens.
Forme de travail
Collective.
Accs au sens
1. Anticipation sur le contenu de la vido en sappuyant sur le titre du document, la photographie et

sa lgende.
This video must be about:
- how American students get informed,
- how often they read newspapers,
- what TV channels they watch or what TV
programmes they prefer,
- what news websites they read.
Pour clore la phase danticipation, on pourra demander : What news websites do you know?, an de
308
recenser des noms qui pourraient ventuellement

tre voqus dans la vido.
2. Le premier visionnement de la vido dans son

intgralit devrait permettre dtablir :
que ce sont des tudiants qui sexpriment, et quil
sagit dune tendance rcente,
quils voquent leurs modes et sources dinformation privilgis,
que ce reportage constitue une radiographie des
habitudes de jeunes usagers nord-amricains.
This video shows a group of students on a
campus.
They talk about how they get informed/their
news.
I get the impression that they/most of them
use online media/the internet.
Some of them use different sources but I dont
think many of them read newspapers/news in
print/the printed press.
At the end, they talk about newspapers and
I think most of them dont read newspapers
often/frequently.
It seems the daily printed press is used less
frequently than the news websites/ the web
has overtaken the printed press as a source of
information.
3. a. Outre les medias cits (the news outlets

that people use), les lves devront se concentrer
sur leurs parts daudience et la frquence laquelle
les tudiants interrogs les consultent (how often
they use them). la suite de ce relev, on les

invitera classer dans lordre ceux qui semblent
les plus populaires (la frquence de citation des
sites dinformation en ligne tmoigne de leur
succs).
News outlets
How often
online (yahoo, cnn.

com, NYT.com)
social networks
(Twitter, facebook)
news in print (FT, the last time I read a newspaper
FT of India, NYT) many years ago; I cannot
remember; a few months ago;
last summer
cable (news
channels)
b. la suite de ce classement, les lves pourront

complter un diagramme (pie chart) reprsentant
p. 62 ou
ces tendances dans leur Workbook
sur www.didierpassword.fr.
Most students rely on the internet/online
media to get their news.
Some of them use social networks to know
what is going on around the world.
Only few of them read newspapers now or
watch news on television.
As far as Im concerned, I dont read the news
online: I prefer watching TV every evening to
get informed.
What I like about social networks is that you
immediately get the news, you dont have to
wait until the news bulletin.
4. Le titre du graphique "Stop the presses" annonce la

mort de lindustrie de la presse papier en rappelant
quavant de dsigner un ensemble de journaux, le
mot press est le nom de la machine (rotative) qui
les imprime. Il sera ncessaire dtoffer le lexique
que les lves connaissent pour dcrire la chute
(drop/fall/go down/plummet) de leurs ventes (le mot
circulation est donn en lgende).
Enn, on mettra en relation la vido et le graphique
pour amener les lves comprendre que lclosion
dinternet ainsi que latomisation de loffre dinformation ont pour corollaire la chute de la presse
traditionnelle.
Pie chart key

News outlet used by the students:
news in print
online news
In recent years, the number of newspapers sold

/ the circulation of American newspapers has
dropped/fallen/gone down (because of ) the
rise of online media:
- readers have / readership has turned to news
websites or social networks,
- as few people read newspapers now, many
papers have shut down/closed.
social networks
Pour conclure cette activit, on fera rpondre
la question pose : Conclude about the students
habits and compare with your own habits.
La manipulation de termes relatifs au domaine de la

presse sera ncessaire tout au long du chapitre, il parait
donc ncessaire dassimiler certains dentre eux en
amont an de faciliter lexpression par la suite. Nous
suggrerons de faire lexercice p.180 ce stade-l.
2. A new era
Analyse du document
Ce texte aborde plusieurs sujets, en particulier la
faon dont linformation a t vhicule travers
lhistoire, mais aussi la manire dont le grand public
sen empare.
LAmerican Press Institute, cr en 1946, est un
centre de formation aux mtiers du journalisme ;
il uvre galement pour la dfense des mdias, le
respect de leurs liberts et donc, pour la dfense
de la dmocratie.

On procdera la phase danticipation ainsi
qu une premire lecture en classe.
On demandera aux lves de faire le travail
de reprage de la question 3.a. en se reportant au Workbook
p. 62.
//
309
How they have had access to information

//
Les lves devront aussi se prparer reformuler oralement ce quils ont compris (3.b.).
1. access to news used to be a privilege : powerful

institutions dominated distribution
(= information was handed down from above)
2. a free press has served as an advocate for society
Lexique
Le rseau lexical est dense. En revanche, la morphologie du texte, o chaque paragraphe correspond
un mode dapprhension de linformation, ainsi que
les repres temporels clairement poss, devraient
contribuer lucider le sens. Les activits proposes dans le Workbook
pp. 62-63 permettront
dapprhender les termes les plus complexes de
ce document.
Forme de travail
Collective.
Accs au sens
1. Phase danticipation. On sarrtera sur lemploi de

new et on pourra tisser des liens avec les documents
tudis prcdemment, o les mutations en cours
dans lunivers des mdias auront dj t examines.
This article may/is likely to be about changes
in the media.
It was probably/must have been written by
journalists and academics.
It may explain how and why the media have
changed/ gone through major transformations.
2. lissue de cette premire lecture, on vriera

les hypothses mises.
This article denes several/various types/
kinds/categories of readers.
It describes how these readers like to be informed and how they look for information.
It also presents the evolution of the press and
the media throughout history.
3. a.
Different types of press readers
gullible people, who will read, listen to or watch
anything
people who need/require an intermediary (= news
outlets/media) to inform them
people smart enough to sort things out for
themselves, who do not need the media to tell them
what to think/make up their minds
310
3. this is the start of a new era: we are better

informed than ever before, but this generates anxiety
En cas de difcults
pp. 62-63. On invite les lves observer :

- les points communs entre les paragraphes
douverture de chaque review ;
- les mots employs pour prsenter et expliquer ides et arguments.
In the beginning of the article, three different
kinds of readers are dened/described:
- some people believe anything they read or
watch on tv / in print or on television, they
are gullible,
- other people rely on media they can trust/
trustworthy/dependable media to be informed
about events/current affairs,
- other readers do not need the media: they like
to nd out about what is going on alone.
This article also presents a chronology of
the press:
- In the beginning, only a few institutions had
access to information. They were powerful
enough to publish whatever they wanted without being challenged or questioned. Readers
thus only got incomplete/partial/unobjective/
biased information.
- Then after the development / with the emergence of newspapers, citizens were able to get
information from different sources. They were
better informed.
The press was no longer in the hands of a
few people supporting/condoning official/
established opinions only.
This gave rise to a form of enlightenment:
citizens became aware/conscious of their rights.
Today, citizens have free/easy access to a
vast amount/quantity of news, but readers are
overwhelmed: there is so much information
that it creates a tension for the audience.
It is difficult for the audience to know which
information is important or reliable.
4. Les commentaires sur cette partie du document

devront sappuyer la fois sur les reprages oprs
et sur les remarques faites propos de la vido How
do you get your news? (abondance et multiplicit des
sources, qui entrainent un foisonnement dinformations pour le rcepteur).
Information can easily be accessed thanks
to technology (the Internet) and democracy,
but this might/can be difficult for the readers/
audience.
Citizens have to select the news that are
important/that matters and what might be
inaccurate or false.
Readers are confronted with a rising/expanding and accelerating number of news events.
On the one hand, people are more informed,
but it does not mean they are better informed
Recap
Le texte A new era dressant un historique des
modes dinformation, il semble judicieux de planier
ltude du fait de langue sur la distinction entre used
to et would (p.181) avant le Recap.
Inviter galement les lves effectuer lactivit
Stress to contrast past and present (manuel p. 180) en
amont : ils pourront ainsi transfrer leur savoir-faire
lors de ce Recap qui oppose la situation prsente aux
situations passes.
Many newspapers have shut down/collapsed/
disappeared because/as people now read news
online.
Access to information is easier, faster (thanks
to the Internet) than it used to be.
Now, people can compare and check different
news outlets/sources/media.
In the past/before, access to information used
to be more difficult (censorship, distance).
People used to rely on one newspaper, now
they can nd news update almost anywhere.
Training Task 1: Conducting a survey

Le but de cette activit, qui se fera en dehors de la
classe, est de rebrasser les points abords dans
cette double-page, mais aussi de faire un inventaire
des moyens dinformation contemporains qui seront
revus tout au long du chapitre.
Pour permettre ltoffement des productions, on
proposera lexercice Newspaper sections, manuel
p. 180. Ainsi, les commentaires de ce sondage pourront inclure des rfrences au contenu de la presse
traditionnelle.
% read newspapers. They have always preferred this way of getting their news. (They
like to read an editorial or have a look at the
business section. / Many broadsheets/quality
newspapers provide coverage of national as
well as international events.)
% watch their news on television while
in the video, few students said they watched
TV.
% read their news online/on news websites. (Before) they used to read newspapers
but they nd these sites dependable/trustworthy.
% rely on social networks to get their news:
they believe it is much faster/easier/cheaper.
(Many of them include links to entertainment
news or sports events, which they used to nd
in their daily.)
The explosion of news websites
Manuel pp. 174-175
Deux sites dinformation en ligne sont prsents sur cette double-page. Ils pourront faire lobjet de travaux
de groupes mens en parallle.
1. A shared enterprise
La Une du magazine Forbes utilise en illustration de larticle montre Arianna Hufngton, fondatrice
du site dinformation Hufngton Post. Cr en
2005, ce site compile des articles rdigs par des
bloggers, des experts dans tous les domaines
(science, politique, sant, etc.), des clbrits,
Manuel p. 174
et reprend galement des articles publis sur
dautres medias. Son ouverture aux commentaires des lecteurs ainsi que ses liens avec des
rseaux sociaux ont nettement contribu sa
popularit.
Ce site a remport en avril 2012 le Prix Pulitzer
rcompensant le meilleur article dinvestigation jour-
311
nalistique de lanne aux tats-Unis, pour un reportage en dix volets sur le retour des soldats amricains
aprs les conits en Iraq ou Afghanistan. Ce prix,
obtenu sept ans aprs la cration du site, permet
ce dernier de prtendre la mme crdibilit que ses
homologues de la presse crite traditionnelle. La Une
de Forbes consacre donc lmergence du Hufngton
Post dans le paysage mdiatique et plus gnralement, le succs des medias en ligne.
Larticle Out of Print est un extrait du New Yorker ;
il analyse les modes de fonctionnement, les grands
principes et les spcicits du Hufngton Post dans la
collecte dinformation comme dans son traitement,
la varit des contributions et des publications, etc.
2. Unprocessed and raw

Le deuxime texte est extrait du site de Scoop, un mdia
en ligne no-zlandais qui revendique un traitement
minimal de linformation, sans intervention ditoriale ou
presque. Cette dclaration est une forme de manifeste
thique : le site garantit au lecteur une abilit accrue
en lui dlivrant dans les meilleurs dlais une information non traque . Ce media nest pas ncessairement destin aux lecteurs du grand public, mais se
positionne plutt comme un fournisseur dinformation
brute pour les autres mdias. Scoop peut dsormais
compter sur environ 25.000 lecteurs quotidiens.
Les deux sites sont donc sensiblement diffrents,
mme sils utilisent le mme support. Le Hufngton
Post, qui sest rapidement impos comme une alternative la presse quotidienne, sappuie en ralit sur
les mmes standards que les medias traditionnels en
relayant largement les informations trouves dans
ces derniers. Scoop, de son ct, puise son originalit
dans son refus de transformer et interprter
linformation la place des lecteurs.

On procdera la phase danticipation en
classe.
Aprs avoir partag la classe en deux
groupes, on demandera aux lves de faire le
travail de reprage de la question 2.a. en se
reportant au Workbook
p. 63.
Les lves devront aussi se prparer reformuler oralement ce quils ont compris (2.b.).
Lexique
La charge lexicale est plus concentre dans le document 1. Out of Print. Les activits proposes dans
p. 63 devraient
la partie Help du Workbook
permettre de lever certaines ambigits.
Quelques expressions, telles que repurpose, liberalleaning, chime in, pourront tre infres :
par la prxation en re- pour repurpose,
par le phnomne de composition avec tiret : liberal
renvoyant au domaine idologique, ladjectif compos
liberal-leaning pourra tre dduit comme ayant un
lien avec cette famille politique ;
312
Manuel p. 174
par le contexte pour chime in : readers can
renvoyant au domaine de la participation et de linteractivit, on pourra supposer quil sagit dune
contribution, au mme titre que opinionated posts.
Pour le document 2, la rcurrence du mot raw dans
le titre et le texte seront mettre en rsonnance
avec des synonymes tels que undigested ou unprocessed, lucids lors de la premire tape de laccs
au sens, et contraster avec dautres medias (in
the paper).
Formes de travail
1. collective ; 2. en groupes (ventuellement, pdagogie diffrencie) ; 3.collective ; 4. individuelle.
Accs au sens
1. Laisser les lves prendre rapidement connaissance des deux textes de la double-page, ainsi que
de leur introduction.
These texts are about online media/news
websites.
One of them is/seems to be successful as its
editor has become very famous.
They are expanding/growing: The Huffington
Post is opening websites around the world.
The other website is independent; it does not
use information from other sources.
Il faudra ds le dpart attirer lattention sur le mot

unprocessed (Scoop) et sur sa formation (racine et
prxe), an de comprendre le fonctionnement du
site (sa caractristique principale tant les donnes
brutes, sans remaniement).
2. La classe sera divise en deux groupes en fonction du texte choisi. charge pour chaque groupe
doprer des reprages prcis sur chacun des textes :
new sources,
how information is processed,
the purpose of the media.
En cas de difcult, on pourra demander aux
lves dutiliser le guidage prvu dans le Workbook
p. 63.
2. a. Workbook
p. 63
New sources of information:
Out of Print
Help
Scoop
news comes from the horses mouth,
not what the reporter heard (3)
Think about the different

sources of information these
internet-based news sites
rely on.
the majority of the stories originate

elsewhere, whether in print, on
television, or on someones video
camera or cell phone. (l. 25-30)
Pick out the types of news

that are released.
aggregating political news and gossip unprocessed and raw (3)

(l. 2-3)
( digested, regurgitated)
Focus on words indicating

writers drawn from Huffingtons
where the news comes from. alarmingly vast array of friends and
connections (l. 4-6)
relies on its readership (l. 59-60)
as opposed to other media, the material

is not regurgitated
( In the paper On the radio
The majority of Internet based news
services)
The way information is processed:
Help
Pick out references to
members of staff. Then
identify what they do or do
not do.
Out of Print
Scoop
the editors link to whatever they

believe to be the best story; they
repurpose it with a catchy headline;
they provide a comment section
beneath it (l. 30-36)
post of an apparently endless army
of both celebrity [] and non-celebrity
bloggers (l. 39-41)
It delivers news in a totally new way

unprocessed and raw; its raw news,
as it gets released. ( 3)
neither censorednor controlled
( 7)
Out of Print
Scoop
The purpose of the media:
Help
Focus on the explanation and To deliver news as a shared enterprise to deliver news in a new way by
beliefs expressed
between its producer and its consumer. providing an open forum
(l. 10-11)
to transform lives, to resolve conflicts
to propel ideas into political
consciousness
Pick out similarities and
differences between the
media you read about and a
traditional newspaper
Traditional media hand down news

from above, while this news site offers
information from other media or from
someones video camera or cell phone
readers can chime in (they are free
to comment)
In the paper you read digested news

-usually late. On the radio and TV you
receive sound-bite news compressed
to fit demographic formats
N.B : Si le professeur dcide de ne traiter que lun des deux textes ci-dessus, les trois points reprer demeureront identiques.
b. Laisser un temps en binmes au sein de chaque

groupe pour organiser les reprages et les reformuler.
3.a. Lors de la phase dchange dinformations,
on veillera encourager la participation du plus
grand nombre dlves, pour rendre compte de
ce quils ont compris mais aussi pour interagir
en compltant ou en demandant des claircissements.
b. la suite de la phase de restitution, on pourra

amener les lves enrichir lexpression pour constituer la trace crite. On insistera notamment sur les
connecteurs logiques.
While Scoop was designed for news-makers,
The Huffington Post is aimed at any kind of
reader.
The HP uses news that originates elsewhere
(in print, television or cell phones), as opposed
to Scoop, which only provides raw, unprocessed
information. (the good oil, from the horses
mouth)
(even if ) The Huffington Post allows bloggers to post comments/news, the editor checks
sources and facts. Scoop does not have/enforce
such a policy: any news can be posted: it is neither censored nor controlled.
313
4. Discuss what issues are raised by the explosion

of news websites.
Au terme de la phase daccs au sens, on pourra

conduire les activits Derived words et Link words,
p. 68, qui permettront de
dans le Workbook
revenir sur le lexique manipul et sur les connecteurs logiques.
Do free media and an easier access to the

internet mean/imply that citizens will be better
informed?
The reliability of these websites, the lack of
accuracy of the facts if they are not checked
(some sites do not vet/check their sources, unlike
professional reporters or newspapers): how can
audiences/readers identify dependable websites?
How do these news websites get their sources:
do they use material from other media or look
for their own?
The decline of the newspapers/the drop in
circulation: does a free access to information
guarantee that information will be trustworthy?
Recap
En termes de contenu, ce Recap sera loccasion de
faire merger toutes les innovations inhrentes
aux sites dinformation en sappuyant sur les textes
tudis mais aussi sur les connaissances des lves.
Laisser ceux-ci sexprimer librement loral et
Subjects
Sources
organiser les contributions sous forme de tableau

(comme ci-dessous par exemple), avant de complter
p. 71).
la page Recap Bac (Workbook
N.B : Les catgories indiques gauche ne sont
pas restrictives.
News websites
Newspapers
news originate elsewhere, some sites only

recycle information
some comments are based on hearsay and
rumours
it can be more trustworthy than tabloid
newspapers
journalists/reporters investigate, sometimes

they spend months in foreign countries to look
for clues
reporters and editors check/vet their sources
they make sure what is published is reliable/
trustworthy
journalists are trained/qualified
Contributors anyone can write, there are links to blogs

only one version (the journalists) is published,
readers have access to many/various viewpoints which cannot be questioned ; Readers are
supposed to take it for granted.
readers can post comments on what is
published what is posted is not necessarily
relevant or interesting for readers
we cannot check who generates the updates
Censorship
(nearly) anything can be published, yet some

governments manage to/ succeed in shut(ting)
down websites or deny(ing) access to google
(as in China)
some papers are owned/run by companies/

conglomerates what they publish reflects
the companys viewpoint / some articles are
censored
Speed
websites are faster: they can publish 24/7 /

around the clock, all year round.
what you read has been updated.
the editorial process takes time/is slower (factchecking before publishing) some news are
printed too late
Training task 2: Posting comments

Le commentaire de ce post devra comprendre
les productions recueillies lors des tapes prcdentes.
Sur le plan mthodologique, on aura au pralable travaill sur les pages Stratgies crire un
texte argumentatif, manuel p. 182. Le nombre de
mots exig tant relativement limit, on encoura-
314
gera lacquisition de rexes de travail (phases

et p.182), notamment par lanalyse pousse
de la problmatique et la recherche darguments.
Cette phase de recentrages mthodologiques
pourra tre mene en classe an de sassurer
que lactivit de rdaction repose sur des bases
solides.
Identiez
la problmatique
les mots cls : ceux relevant de lexpression dune opinion : post a comment,
you think, should be
le thme : the purpose of a newspaper
Rassemblez vos ides
mobilisez vos connaissances : to inform, to provide reliable news

trouvez des ides en faisant des associations :
- sur la fiabilit (trustworthy unreliable),
- sur le rle des dirigeants de journaux (vet, censor + check sources anything can
be written/published),
- sur le mtier de journaliste (ethics/morals, independence, investigate)
La rdaction pourra ensuite se drouler en autonomie, la maison, an de pouvoir y consacrer plus de temps.
A participatory revolution
Manuel pp. 176-177
Is new media killing journalism?

Le texte principal de cette double-page est un
extrait du quotidien britannique The Guardian crit
par un spcialiste des mdias, Charlie Beckett. Ce
journaliste et essayiste a publi des recueils sur les
mutations de la sphre des mdias ces dernires
dcennies (dont louvrage SuperMedia, auquel il est
ici fait rfrence), sur le phnomne Wikileaks ainsi
que sur le concept de networked journalism.
Insre dans le texte apparat une page daccueil
du site sud-coren Ohmynews, prcurseur dans le
domaine des mdias en ligne. Ce site a fait sienne
la devise tout citoyen peut tre un reporter et
offre une tribune toutes les contributions, sous la
vigilance de curators chargs de vrier le degr de
vracit des informations fournies.
La dfense de la dmocratie, longtemps revendique
par les organes de presse traditionnels, peut donc
dsormais tre prise en charge par les citoyens euxmmes, se saisissant des moyens technologiques
leur disposition pour transmettre linformation.
Les prrogatives jusquici rserves aux seuls journalistes se voient redistribues lensemble de la
communaut (blogosphre, rseaux sociaux).
Sur la page de droite, la photographie qui illustre
la training task souligne la thmatique de la doublepage : la participation citoyenne la diffusion de
linformation. Cette illustration pourra permettre de
faciliter laccs au sens de certains paragraphes du
texte (ex. : lappui des nouvelles technologies facilite
la diffusion de linformation).
Lexique
Le texte comporte un rseau de synonymes sur
le thme de limplication (citizen, news-gathering,
networked journalism).
La notion de crowd-sourcing est ici applique au

domaine de linformation, mais elle peut renvoyer
plus largement toute contribution intellectuelle et
crative bnvole destine amliorer le fonctionnement dune structure ou dun procd scientique.
Par ailleurs, labondance de termes relatifs au pouvoir et ses relations avec les mdias a donn lieu
un encart dans la partie Words sous le titre Censorship/freedom. Ce lexique pourra tre lucid en
mettant en parallle la situation dans divers pays
(voqus dans les 3 et 6) : le pouvoir rprime ou
censure ( 3) mais les contributions citoyennes
saffranchissent de cette rpression ( 6).
Formes de travail
1. individuelle ; 2. collective ; 3. et 4. individuelle
nouveau.
Accs au sens
1. La dnition de participatory journalism insre

dans larticle (encart fond bleu) est illustre par la
prsentation du site coren OhmyNews ; lexpression
citizen reporter pourra tre note au tableau an
dorganiser un brainstorming sur le fonctionnement
de ce concept :
Citizens anyone, people, readers can participate;
they can write articles
On amnera les lves formuler leurs rexions
sur ce que recouvre ce concept, sur les objectifs
de ces citoyens qui contribuent la mise en ligne
dinformations, et leur rle dans une dmocratie.
On les encouragera galement lucider les causes
de lessor de cet engagement. Cette phase permettra
danticiper sur certains arguments dvelopps dans
le texte (essor de la technologie, rseaux sociaux et
315
mergence dune blogosphre globalise). On pourra

aussi inciter rebrasser le lexique vu p.175, sur les
thmes de la abilit du travail dinvestigation et
ddition.
sions voquant la dfense de la dmocratie et de la

libert dexpression seront toutes retenues).
People/citizens can play a role/part in the
media.
They participate by providing reliable news.
They can/they have the power to promote
democracy and freedom of speech (by writing
about wars/conicts/strifes).
What is striking about Ohmynews is that more
than 26,000 people are registered as reporters,
it means that ordinary citizens probably collaborate/provide information/submit news to
this website although they are not professional
journalists.
The journalist who created this website
wanted to offer new sources of information / to
collect/ gather news from different sources. He
certainly believes the more we know, the more
powerful we are / knowledge is power. Before
Ohmynews was created, we can understand
that news in South Korea mainly came from
state-sponsored / politically controlled sources.
2. Lors de cette tape danticipation, il sera important de mettre en exergue les mots killing et partners,
et de souligner lopposition entre les deux types de
sources (professionnels et amateurs).
The text must be aboutcitizen reporters and
the part they play in collecting news/newsgathering.
The journalist raises the question of the
responsibility of online media in the death of
newspapers.
It deals with the collaboration of journalists
and citizens.
It may also raise the question of the journalists role.
Journalists and citizens could work together/

collaborate/share information.
Today, every citizen can use the web /
internet technology (mobile phones, social
networks) to send messages.
More information is available thanks to crowd
sourcing.
Thanks to these contributions, information
about countries at war or dictatorships could
circulate faster/more easily.
b. Pour mener bien ces reprages, les lves

pourront sappuyer sur le guidage propos dans le
Workbook
p. 65 si besoin.
En cas de difcults
Help
Focus on the rst paragraph: nd another
word for the public and complete the following equation:
Citizens + journalists = partnership/collaboration/working together to produce
news
- Use the context to identify who or what the
following words refer to:
focus on paragraph 5 (l. 44-57)

this (l. 44): networked journalism
it (l. 46-51): networked/participatory journalism
these techniques (l.54): crowd-sourcing, social
networking
focus on paragraph 6 (l. 59-70)

it (l. 59): participatory revolution/journalism
this (l. 64): capturing news and sending it
that (l. 70): capturing and sending news (about
demonstrations and beatings)
they-they (l. 85): the public
3. En fonction du droulement du cours, la phase de
it (l. 87): the public are part of the process
lecture et/ou de reprage pourra faire lobjet dun

travail la maison.
Focus on verbs and highlight:
a. Mettre en relation les ides repres avec les

hypothses mises lors de ltape danticipation :
les participants : anyone, all readers, any citizen
( professional/trained journalists)
les supports et moyens : the Internet, new technology, mobile phones
les objectifs ou raisons de ces actions : (ici, les
reprages seront peut-tre plus vagues ; les expres-
316
what the public can

do ( 6 and 8)
[colour 1]
blogging, capturing
(news), sending (it), are
part (of the process),
value.
what journalists
must do ( 5 and 7)
[colour 2]
shares, include, using

(crowd-sourcing),
require, accept.
//
//
Use what you have found out to identify what
networked journalism (l. 43 and 90) means.
Reporters and citizens can share/collaborate/work together.
The public can be part of the process
by capturing news and sending it to news
organisations.
//
Citizens can provide information reporters do not have access to.
Journalists must accept these contributions as trustworthy information.
Crowd-sourcing means that reporters
can rely on other sources to get their
facts.
Thanks to citizens, journalists can ght
for freedom/for civil rights/for freedom
of speech.
It will be harder for authoritarian
regimes/dictatorships to control/monitor them.
Training task 3: A tweet

La rdaction de ce message devra se conformer
certains paramtres de manire respecter les
caractristiques dun tweet :
140 caractres maximum le recours un traitement de textes sera conseill,
sur le fond, le message devra synthtiser la
fois une des notions contenues dans le texte et une
raction celle-ci.
Ces critres devront tre expliqus aux lves. Dans
la mesure o cette tche constitue une prparation
lcrit argumentatif propos en tche nale, on
veillera, lors de la mise en commun, prendre en
compte la plus grande varit de productions possible. La classe devra tre sensibilise la formulation
de ractions et de justications.
Le tableau suivant propose en colonne de gauche
une gamme dopinions qui pourront s'exprimer par
rapport larticle Is new media killing journalism?,
ainsi que des arguments pour les justier (colonne
de droite). Pour aider les lves les moins laise,
on pourra dans un premier temps distribuer la
liste des arguments et leur demander d'identier
lopinion que chacun exprime par rapport au texte.
Opinion
agree(ment)
Recap
Ce palier rcapitulatif pourra faire lobjet dune
prparation la maison.
It is harder for an authoritarian regime to control a multitude of citizens than to supervise/
constrain a few journalists.
Newspapers can be threatened or shut down,
while citizens can use several means to convey
information.
Well-informed citizens can provide reliable
information about what is going on in their
country.
Thanks to state of the art technology, anyone
can participate in news-gathering.
It can be easier to gather news for citizens
than for foreign correspondents who do not
necessarily speak the language.
People can learn about areas/countries where
reporters are not allowed to travel. Its a way to
secure freedom.
Citizens can send pictures of events as they
happen while newspapers sometimes publish
their news late.
Reporters no longer work alone, they can
have support from people who want facts to
get printed/published.
Crossing different information sources can
enable the reader to have a fairer view of the
situation.
Arguments
citizens can inform people
as well as professionals
disagree(ment)
citizen reporters can

challenge censorship
shock/surprise/
many news websites only
amazement
publish/rely on gossip
interest/ fascination only professional reporters
can provide reliable news
citizens are too subjective/
disbelief/ distrust
biased, they cannot be
trusted
confident/reliance/ peoples contributions
trust
could offer new perspectives
hope/optimism
fear/scare/
reluctance
in the future, citizens and

journalists could/might work
together
the quality and reliability
of newspapers will decline/
deteriorate/ worsen if
anyone can write and publish
comments or articles.
I agree with this journalist: citizens can inform
people as well/accurately as professionals
(thanks to technology).
I totally disagree: only professional reporters can provide reliable news. (Citizens could
spread gossip if they dont check their sources).
//
317
//
I hope that in the future, citizens and reporters could work together: they could offer new
perspectives on whats going on around the
world.
I fear that the quality and reliability of newspapers will deteriorate if anyone can publish
comments.
The professional journalists role
Manuel pp. 178-179
Who are we making the programmes for?

Lexique
Le texte propos sur cette double-page est un

extrait dun roman britannique publi en 2010,The
News Where You Are, qui se penche sur les mutations des mdias et plus particulirement sur la
dsaffection grandissante des tlspectateurs pour
les chaines de tlvision rgionales ou locales
lre dinternet. Catherine OFlynn, dont cest le
second roman, sest vue dcerner plusieurs prix
et nominations pour son premier ouvrage, What
Was Lost.
Le dialogue prsente des mots relatifs au journalisme (press releases, random jumbles of facts, viewing gures) dans divers registres, soutenu comme
familier. Cette htrognit de ton pourra freiner la
comprhension. Le travail propos dans le Workbook
p. 65 devrait permettre de faciliter laccs au
sens, en aidant les lves distinguer les prises de

parole, le ton employ par chacun des personnages
et les opinions exprimes.
Le personnage principal, Frank, prsentateur de

journal sur une chaine locale, sest toujours senti
investi dune thique journalistique et ressent un fort
attachement pour les tlspectateurs de sa rgion.
Le passage reproduit montre lopposition entre
Franck et une autre journaliste, Julia, avec qui il tente
de collaborer mais qui ne partage en rien ses vues,
ni sur le plan du traitement de linformation ni sur
lavenir de son mtier. Leur binme fonctionne sur
des compromis dans lesquels Julia ne se reconnat
plus, et son sens de la dontologie amne la journaliste remettre en question la ligne de conduite
impose par la direction de la chaine.
Formes de travail
La photographie qui accompagne ce document est

une scne du lm amricain Morning Glory, ralis
par Roger Michell en 2010, qui traite du mme phnomne outre-Atlantique. Lhrone est une jeune
journaliste recrute par une chaine de tlvision
pour amliorer laudience dun journal matinal dont
la politique ditoriale sest tellement dgrade que
linformation en a quasiment disparu. Elle dcide
dintgrer lquipe un journaliste chevronn pour
redorer le blason du programme. Un extrait de ce
lm pourrait tre diffus en guise danticipation
la lecture du texte. De nombreuses scnes illustrent la politique ditoriale oue de la chane et la
drive quotidienne vers linfotainment, un mlange
dinformation saupoudre de divertissements.
318
1. collective sur lanticipation ; 2. individuelle pour la

lecture ; 3. en groupe pour lanalyse ; 4. collective pour
la discussion sur les deux citations de Julia et Frank.
Accs au sens
1. En phase danticipation, lexplicitation du titre

pourra sappuyer sur une description de la photographie.
The text must be about journalists who work

for a TV channel / who present a TV programme.
We probably refers to/stands for these journalists/newscasters.
They are making programmes: for people
who want to know what is happening/going
on around the world / for regular viewers / for
their fans / for local people / for people with
different interests, etc.
2. Le compte rendu oral de la premire lecture pourra

permettre de dgager divers points (notamment les
sujets voqus par les deux personnages : leur travail,
leur public, ventuellement leurs dsaccords).
3. In groups.
The text is about two journalists who talk about
their job / about working for a TV channel.
They discuss what news they should present/
talk about.
They also mention their viewers/audience
and who watches their programme.
The characters disagree about their job, about
their audience, about the quality of their programme.
On procdera une lecture en deux groupes, chacun

se concentrant sur lun des personnages.
Le surlignage des domaines viewers, news content et journalists job conduira un dcoupage
logique des ides et arguments prsents.
Les lments reprs pourront tre rassembls
comme suit (en italiques gure un commentaire
qui sera amorc lors de la prise de notes pour
une classe nayant pas recours aux pages daide
du Workbook).
Julia
Frank
people do watch us there are viewing
figures (l. 17-18)
Viewers
People who are desperate to hear (l. 7-8)

People who demand no greater interactivity than
an email address on the screen? (l. 9-11);
People who cant focus on anything more than
one minute and a half (l. 11-12);
Maybe older people whove always watched us
(l. 20-21)
Comment
She thinks their audience is composed of old

people/regular viewers who are gullible / not
discriminating. They are happy with what they are
offered / whatever they watch.
They arent intelligent/clever either as their attention
span is limited.
Frank is confident; he believes the programme

is popular, that quite a few people find it
convincing/satisfactory.
News
content
repackage press releases from the fire service

(l. 8-9)
random decontextualised jumbles of facts and
faces (l. 13-14)
with stories that are neither specific nor broad
enough to interest anyone. (l. 40-41)
But regional news is important. The smallscale, the local that matters to people (l.
24-26)
sometimes we get it right (l. 37)
Comment
They should check their sources, not repackage/

recycle what other media released/ published.
What they broadcast is not important: they choose
insignificant/trivial/meaningless/ irrelevant facts.
Frank thinks/ argues that the programme

presents/offers relevant/meaningful news
about the area, which matters.
[regional news] matters to me. (l. 26);
Its just a time of transition [] The internet
has changed everything and were still trying
to work it out (l. 45-48).
The
journalists role
all we do is bombard people (l. 12-13)

Rarely, more by chance than design. Most of the
time were dicking about in no-mans land (l. 38-40)
deliberate policy of avoiding the news, of
reporting anything that actually matters (l. 41-44)
just utterly pointless. (l. 51)
But my work means everything to me. (l. 57-58)
If I think Im doing a shit job, I feel worthless
(l. 59-60)
Ive got to get out of here (l. 69-70).
Julia thinks that they do not do their job properly,
that they avoid the news that matters. They focus
on irrelevant facts and miss/fail to inform people.
He feels they achieve their goal/ fulfil their

mission.
Their job and peoples expectations have
changed because of the internet.
Comment
319
En cas de difcults
//
Les activits daide proposes dans le Workbook

p. 67 aideront claircir quel
personnage les pronoms font rfrence dans
un premier temps, puis les lments et arguments quils dveloppent.
deliberate policy of avoiding the news, of reporting anything that actually matters (l. 41-44);
just utterly pointless. (l. 51);
But my work means everything to me.
(l. 57-58);
If I think Im doing a shit job, I feel worthless
(l. 59-60);
Ive got to get out of here (l. 69-70).
She thinks that what she does is pointless/
worthless as the programme does not report
major facts or events but focuses on details
that dont matter.
She wants to quit/ nd another job.
Yes, Julia feels the programme does not
focus on major events and does not provide
newsworthy facts.
Deduce her opinion on what a journalists
role should be:
In her opinion, a journalist should focus on
the news that matter
He should help viewers understand what is
happening around the world and their country
(not only in their locality).
He should enlighten the audience, makes
people think.
Help
- Use the context to identify who or what
the following pronouns refer to throughout
the text :
he refers to their boss/the man in charge of
the programme.
she refers to Julia, one of the journalists/
newscasters.
we/us refers to both Julia and Frank.
they refers to the audience/ the viewers of
the programme.
Group 1
- Pick out the words Julia uses to refer to
viewers: what do you notice?
People who are desperate to hear (l. 7-8);
People who demand no greater interactivity
than an email address on the screen?(l. 9-11);
People who cant focus on anything more
than one minute and a half (l. 11-12);
Maybe older people whove always watched
us (l. 20-21)
Julia thinks her viewers are gullible and that
they dont pay attention to the programme.
- Observe the words and expressions she
uses to refer to news contents. Are they
positive, negative, neutral?
repackage press releases from the re service (l. 8-9);
random decontextualised jumbles of facts
and faces (l. 13-14);
with stories that are neither specic nor
broad enough to interest anyone. (l. 40-41)
All the words she uses are negative (the
sufxes in repackage and decontextualised, as well as the words neithernor all
give the impression that the news presented
is meaningless).
She believes a journalist should check
his sources instead of repackaging what
other media released/printed/published/said.
What can you conclude about her opinion?
Julia thinks that the news presented is not
relevant or newsworthy, that it is unreliable.
- Focus on lines 38-44 and on lines 51 and
59. What can you say about Julias opinion on
her job? Does it correspond to what you have
observed in the previous question?
all we do is bombard people (l. 12-13);
Rarely, more by chance than design. Most
of the time were dicking about in no-mans
land (l. 38-40);
//
320
Group 2
- Pick out words Frank uses to refer to
viewers: what do you notice?
people do watch us there are viewing
gures (l. 17-18)
Frank is quite optimistic about the number
of people who watch the programme regularly.
- Observe the words or expressions he uses
to refer to news contents. Are they positive,
negative, neutral?
But regional news is important. The smallscale, the local that matters to people
(l. 24-26); sometimes we get it right (l. 37).
They are positive: Frank has a positive outlook
on the news the programme features/presents.
However, he uses sometimes, which proves he
agrees with some of Julias arguments.
What can you conclude about his opinion?
Frank is proud of his job and of the quality/
standard of the news presented.
- Focus on lines 24-29 and on lines 45-50.
Deduce Franks opinion on what a journalists
role should be.
[regional news] matters to me. (l. 26);
Its just a time of transition [] The internet
has changed everything and were still trying
to work it out (l. 45-48).
Frank believes a journalist should focus
on local as much as national or global news.
He also believes that the current evolution in
the media has transformed their job.
According to him, journalists need to adjust/
adapt to this new situation.
4.a. Le mot pointless pourra tre lucid la lecture

du paragraphe o il apparat (l. 51-60), et o il est
mis en relation avec dautres qualicatifs : worthless
et shit job.
Sil pose problme, on pourra inviter consulter
rapidement lencart Words p.179, o dautres mots
comprenant le sufxe -less apparaissent en rseau
dantonymes (valueless, meaningless).
Julia feels her job is pointless because viewers
are not interested in the programme.
She thinks (that) the programme doesnt
offer reliable news but random facts. It doesnt
enable people to make up an opinion/ to think
/to understand what is at stake.
She believes the programme is only a noise in
the background, viewers dont watch it.
She has the impression that they avoid the
news that matter, that they only present entertainment.
b. Discuss the meaning of Franks nal statement

On pourra ici guider lanalyse en se concentrant sur
le dbut de la phrase (Im not sure), qui montre le
scepticisme de Frank.
Frank seems to be quite pessimistic/negative.
He believes that Julia will not be satised working for another TV channel / another media.
To him, whatever the media, journalists dont
have a choice, they need to deliver the news
people/readers/viewers want to see/read.
He thinks that it is the same everywhere:
that the internet has changed their job / that
most media present the same kind of news. TV
channels now compete with many other media.
He assumes/supposes/imagines Julia will
be disappointed/unhappy/dissatised with
her new job.
5. Il sagit ici de mettre en relation les deux cartoons

et le texte. Si lensemble de lactivit (description et
analyse) est ralise en classe, on pourra coner une
vignette chaque moiti de la classe pour allger
et acclrer lactivit.
In both cartoons, a TV viewer is sitting in
an armchair.
In the rst cartoon, a journalist is introducing / can be seen introducing a man she calls
an uninformed source. The way the man is
dressed makes him look ridiculous/inept.
//
//
He has a stupid/dumb smile on his face.
The journalist implies that those who are not
informed are unintelligent/ignorant/imbecile.
This in turn implies that she, as a journalist who
probably has informed sources, knows more
than most people / can decide what is newsworthy / can be trusted to give reliable information.
The cartoon exposes:
- the manipulative power of television: the
woman says she wants to be objective / give
another point of view (balance her commentary) but the man is obviously not able to
discuss anything;
- the lack of respect for viewers: what is also
implied is that those who do not watch her show
are as ignorant/unsophisticated as the man she
is introducing;
for the journalist, it is obvious / it goes without
saying / she takes it for granted that people are
uninformed.
In the second cartoon, a man seems to be
eating what is broadcast / he is being spoonfed by a TV set (which symbolises the media).
He looks passive/gullible / does not react.
It suggests/implies that this man believes
anything/ he is gullible/does not question what
he sees.
To a certain extent these two cartoons reect
what Julia expresses.
According to Julia, people are uninformed
because they dont focus on what they watch.
She thinks her audience is too gullible/naive
they take anything for granted and that viewers
trust the random jumble of facts and faces.
But unlike the journalist in the cartoon, she
does not think they are stupid she believes
the programmes they are offered/presented
with are uninteresting and not informative.
She thinks journalists are responsible for their
gullibility and apathy.
However, Frank does not share her views: he
believes/reckons people do choose to watch
the programme because they are interested in
local news and nd it dependable and meaningful. Both pictures do not seem in keeping with
what he says/claims.
Recap
Cette partie reprendra de nombreux lments
extraits du texte.
A journalist should be specic and provide

accurate facts in order to raise peoples/viewers
awareness. Only relevant news items should
be presented.
//
321
Reasons for quitting
//
He should check his sources not to print/
present unreliable data.
On the other hand, a journalist should focus
on local news to interest viewers.
Training task 4:
Applying for a new job
Le guidage propos induit quune partie des arguments manera du document (reasons for quitting)
et que la seconde en dcoulera (reasons for choosing
a new job).
Reasons for choosing

a new job
She wants to feel
useful, to achieve her
mission as a journalist.
She feels her job

is useless/pointless/
worthless.
She does not think

She wants to raise the
viewers are well informed. standards of the
programme she works for.
Viewers are mostly
interested in local news.
She would like to raise

viewers awareness
about global issues.
She contends viewers

are disregarded/
disrespected.
She feels her career is
reaching a dead end.
She wishes she could

involve viewers in the
programme.
She needs a more
challenging job, one she
can get fulfilled with.

Manuel p. 180-181
WORDS
Matching
Match the words below and their denitions.
1. news item
f. event recorded in the press
2. circulation
b. number of papers sold
3. a weekly
e. newspaper printed once a week
4. headline
c. short title
5. standfirst
d. explanatory text under the main

heading of a news article
6. news-stand
a. outside place where newspapers

are sold
entertainment: section dedicated to lms, concerts,

exhibitions
feature: prominent story in the news
business: news items about the economy, the
stock exchange
obituary: announcement of someones death, often
includes a biography
Talking about the press
a.
Verbs
represent
a counter-power / a force
denounce/expose
expose wrong-doings / a
counter power / political
scandals / provocative
comments / embarrassing facts
publish
provocative comments /
embarrassing facts / news /
stories / views / information
report
conflicts / demonstrations /
an event / views / conflicts /
stories / wrong-doings / political
scandals / embarrassing facts
/ provocative comments /
information
leak
information / political scandals /

embarrassing facts
Newspaper sections
Exercice dappariement (qui pourra ventuellement
tre projet au tableau et donner lieu une correction collective).
editorial: a piece of writing that gives the editors
opinion
agony column: advice given to readers about a
problem
review: a critical assessment of a lm or book...
horoscope: predictions based on zodiacal signs
sports: section dedicated to sport events, competitions...
national news: news coverage of a countrys current affairs
leaders: leading editorial in a newspaper
322
Complements
cover
GRAMMAR
news / specific geographic

areas / stories / political
scandals / embarrassing facts
provide
Used to / Would
views / information / news /

massive coverage
launch
press releases / a report
investigate
stories / political scandals /

wrong-doings
Observe
Les formes verbales surlignes renvoient des
actions passes, rvolues, sans lien avec la situation prsente.
used to marque une coupure nette avec la situation prsente,

The press has always represented a counterpower as it can denounce wrong-doings and defend
citizens (against oppression). It can also leak political, nancial or public health scandals (such
as the Watergate in the 1970s, or some banking
institutions behaviour, or the selling of dangerous
medicines and environmental pollution by industrial
companies) and expose the truth. However, the
press does not only publish provocative comments
it provides news on a daily basis by covering specic geographic areas, investigating stories and
reporting worldwide conicts.
Practise

1. People used to make long distance phone calls:
they would wait for ages and get no connection.
2. At that time, world citizens did not use to have
immediate knowledge of the political events that
would occur in faraway places.
3. My parents used to read their favourite newspaper
only, which would give them a limited point of view.
Pi
s te 5
7
Stress to contrast past and present
would exprime une habitude passe quavait le sujet

ou renvoie une action qui se droulait autrefois
rgulirement (on parle de would frquentatif ).
4. Tourists used to prepare trips abroad with printed

guides: they would have no access to various peoples
experiences.
1. Before the advent of technology, access to information was a privilege but now, most citizens in the
world have unlimited access to international news.
2. Centuries ago, it was not easy to know what was

going on in the rest of the world. Nowadays, information is but a click away.
3. Now this news website of the most inuential.

But when it was created in 2000, it was hardly
visited.
Pi
a. 1. Verbs: com
municate -
dominate -
educate o
riginate -
illustrate -
create
2. Adj.: im
mediate -
accurate - il
literate
desperate -
adequate -
passionate
b. On remarque que dans le cas des verbes, ate

est prononc avec sa forme pleine (ei) alors que dans
le cas des adjectifs, il est prononc avec sa forme
rduite ().
Pi
c.
s te 5
Verbs
in'vestigate
'advocate
'separate
le'gitimate
deliberate
'circulate
par'ticipate
co'operate
Adjectives
'separate
'delicate
le'gitimate
de'liberate
'intricate
'ultimate
'surrogate
'intimate
When I was young, I used to write e-mails and text

messages: that would take me hours to type them.
I would call your grandma without having the
possibility to see her: there did not use to be any
instant video cameras on our mobiles or computers.
The more, the more
Verbs and adjectives ending in -ate
ste 5
Observe
Les lments souligns dans les phrases 1 4
expriment lide dun accroissement parallle, dune
forme de cercle vicieux ou vertueux : les deuximes
parties des phrases sont directement lies aux
premires.
1. The more + nom plu. + GV, the more + nom plu. + GV
2. The fewer + nom plu., the less + nom sing.
3. The + adj au comparatif de supriorit, the + adj
au comparatif de supriorit
4. The more + nom sous-entendu, the + adj au comparatif de supriorit
Practise
The more media, the more competition, the lower

the prices and the salaries, the fewer the journalists,
the lesser investigation, the lower quality reports,
the more comments from the readers, the lesser
credibility.
323

The funnier stories we publish, the more interested our readers will be.
Workbook
The more copies we sell, the more impact on

school life we have.
Etc.
p. 68
Derived words
Synonyms
trustworthy
Antonyms
unreliable
Word(s) with the same root

trust trusting, trusted, trustful
biased
prejudiced
bias unbiased
impartiality
fairness
part partial, partiality, partially
pointless
noteworthy
point pointed, pointedly
influential
authoritative
influence influenced, influential
explanatory
enlightening
explain explanation, explainable
accurately
wrongly
accuracy accurate, inaccurate
Link words
b.
concession
2. though
6. even if
condition
consequence
1. if
4. so
5. thus
c.
1. Some people believe ideas can be spread provided/
as long as they are exposed and debated in the media.
2. Although/even if The Hufngton Post has a news
staff, the vast majority of the stories that it features
originate elsewhere.
3. Editors do their best to insure that reliable news
are posted on the paper websites however/yet many
posts go up before an editor sees them.
4. Scoop delivers news unprocessed and raw therefore/ thats why they are able to release it very quickly.
5. Citizens send news media images of important
events. Therefore/Thats why they contribute to
press freedom.
6. Even though media freedom is expanding, professional journalism is still constantly under threat.
GRAMMAR
Used to / would
I didnt use to work with photographers much but
I would interview people very often.
I used to cover many topics though I wouldnt
cover religious issues.
Etc.

Pi
ste 6
For the past two centuries, an independent press

has served as advocate for society and its right to
know. Today, it feels like a new era has been thrust
324
upon us an era of enlightened anxiety. We now

know more than we ever did, but our knowledge
creates anxiety over harsh truths and puzzling
paradoxes a feeling that our ancestors never
experienced before.
The more, the more
Stress to contrast past and present
paradox
3. but
The glossier the cover is, the better it will sell.

The more romantic stories they read about, the
more appealing it is to them.
Etc.
Manuel pp. 182-183
STRATGIES
crire un texte argumentatif
Objectifs
Le but de cette double-page dactivits est dentraner les lves rdiger un texte pour dfendre
un point de vue en sappuyant sur des arguments
susceptibles demporter ladhsion du lecteur. Pour
cela ils devront
1. rassembler leurs ides,
2. laborer un plan,
3. rdiger en veillant tout particulirement lorganisation et aux articulations logiques.
Les lves devront mettre en uvre ces stratgies lors de la tche nale. Il est donc souhaitable
quils se soient entrans au pralable. On pourra
envisager le travail sur cette double-page avant la
tche dentranement Posting comments, p. 175 du
manuel, ce qui permettra aux lves de rebrasser le
lexique introduit ce stade du chapitre et de sinterroger sur un aspect de la problmatique : le lien
entre la technologie et la qualit de linformation.
La tche nale constituera une nouvelle occasion
de transfert de ces stratgies sur lesquelles les
VALUATIONS
tapes possibles :
La recherche dides seffectue de manire individuelle la maison.
En binmes, lors du cours suivant : mise en
commun des ides et laboration dun plan (environ
15 minutes). Le professeur circulera pour aider les
lves trier et structurer leurs ides.
La rdaction se fait individuellement la maison
partir des plans labors en binmes.
Lors du cours suivant, nouvel change en binmes
(10 min) ; chaque lve annote le travail de son
camarade en se rfrant la premire colonne du
tableau p. 183 : il prcise quels conseils ont t
suivis ou non, sappropriant ainsi les critres de
lvaluation nale.
Le professeur pourra ensuite relever un certain
nombre de productions pour complter la co-valuation. Il pourra notamment tirer parti des besoins
langagiers mis en vidence par lexamen de lchantillonnage de copies pour attirer la vigilance des lves
sur tel ou tel point lors de la phase de relecture.
Corrigs
Task 1. Writing . . . . . . . . . . . . . . . . 20pts

lves devront sappuyer lors des preuves crites

du baccalaurat.
Voir documents photocopiables p. 330 de ce

guide.
Cette tche de rdaction dune argumentation
prend appui sur une page de forum sur internet
o la problmatique discuter est annonce (Who
should be called a journalist?) et suivie de trois
commentaires dinternautes. Ces amorces pourront servir de tremplin pour contextualiser et
nourrir lexpression (B.O. du 24 novembre 2011).
fournis dans les pages Stratgies (pp.182-183)

auront t mis en uvre en amont an daider les
lves raliser cette tche.
La premire phase de travail (1. Get ready), excute en groupes, permettra de dgager des axes de
rexion. Elle ne devrait pas excder 10 minutes.
Chaque lve utilisera ensuite le temps restant
pour rassembler et organiser ses arguments an
de construire un plan au brouillon, puis rdiger un
crit nuanc sur la question (200 mots).
Task 2. Reading . . . . . . . . . . . . . . . 20pts

Documents supports
Formes de travail
Manuel p. 184
Voir documents photocopiables pp. 331-332

de ce guide.
1. en groupes ; 2. individuelle.
La tche dentranement 1 Posting comments
(manuel p.175) et les outils mthodologiques
Cette tche de comprhension crite prend appui

sur un texte argumentatif extrait de The Observer. Le journaliste John Naughton revient sur le
325
succs de Twitter et fait le bilan des premires

annes de fonctionnement de ce mdia particulier,
qui permet de transmettre de vastes chanes
de followers , via les tlphones portables, des
informations ou des opinions sous la forme de
messages condenss (140 caractres). Larticle
retrace le dveloppement du procd, dcortique
ses avantages et ses limites, les critiques dont il a
fait lobjet et ses rpercussions actuelles, quelles
soient sociales, technologiques ou culturelles.
La tche propose demande une comprhension globale de larticle mais aussi de certaines
nuances, notamment dans lvolution de lutili-
sation et des perceptions attaches ce mdia :

en effet les tweets proposs la suite du texte de
John Naughton expriment diffrentes ractions
Twitter, et llve sera amen effectuer des
rapprochements entre ces ractions et les opinions
dfendues par Naughton.
Forme de travail
Individuelle.
Proposition de mise en uvre

Prvoir environ 30 minutes.
Corrig et barme :
Tweet
Barme
Ne correspond pas.
Tweet 4
If you fear Twitter will interfere with your ability to get 0 pt
your work done, youre not afraid of Twitter, youre
afraid of doing your work.
Tweet 5
I was reluctant from the very beginning but now I
have realized Twitter is a good means to get in touch
with celebrities.
Tweet 3
Originally, some people distrusted Twitter, but its
actually a clever way to keep abreast with whats
going on. Its a shame they enforce such a strict
censorship policy.
Tweet 1
Twitter is ephemeral, like conversation, but like
conversation it can lead to new thoughts and ideas if
you are open to them.
Tweet 2
After many criticisms, Twitter has become very
popular and even if tweets are very short, their
impact can be very powerful and lead to new
thoughts and ideas.
Des lments disparates du texte sont mentionns

mais le sens na pas t saisi.
2 pts
Une partie du message est comprise mais une partie
est errone.
5 pts
Le message correspond une partie du texte.

7 pts
Le message correspond au cur de sens du texte.

10 pts
Note de llve : total des points 2 = /20
VALUATIONS
Manuel p. 185
Document support
Voir
Un extrait dune mission de PBS (Public Broadcasting Service) est propos ici. Il est divis en deux
parties : une introduction assez longue du sujet par
326
le journaliste, suivie dune interview mene par le

mme journaliste. Le document sapparente donc
un dialogue.

Forme de travail
Individuelle.
minutes pour rendre compte de ce quil a compris,

en franais, sur sa copie.
Passation

brouillon quon sera vigilant de ne pas regarder
avant davoir valu le compte rendu an de pouvoir
observer le passage entre les notes et la restitution
et ainsi pouvoir mieux aider les lves qui auraient
des difcults dans cette preuve.

1. Communication du titre accompagnant lenregistrement : American journalism in peril, crire au tableau.

au brouillon :
coute 3

Les critres apparaissant en colonne de gauche sont ceux du B.O. du 24 novembre 2011, les lments proposs en face sont des lments de rponse possibles pour le document dont il est question ici.

American journalism in peril
Niveau

le nombre de points indiqu sans le fractionner
en dcimales de 0 10.
1 pt
A1

isols et des expressions courantes qui, malgr
quelques mises en relation, ne lui ont permis
daccder qu une comprhension superficielle
ou partielle du document (en particulier,
les interlocuteurs nont pas t pleinement
identifis).
3 pts

Thme partiellement compris : la presse/le
journalisme aux tats-Unis (cf titre).
Deux interlocuteurs, deux hommes sont
mentionns mais ne sont pas identifis.
A2

Le candidat a su identifier le thme de la
discussion et la fonction ou le rle des
interlocuteurs.
5 pts
Thme compris : le dclin de la presse aux

tats-Unis.
Interlocuteurs identifis: un journaliste/
prsentateur et un professeur (Robert Mc
Chesney nom de famille non exigible).
Le candidat a su relever les points principaux de

la discussion (contexte, objet, interlocuteurs et,
ventuellement, conclusion de lchange).
8 pts
Points principaux relevs.

Contexte : lentretien a lieu loccasion de la
publication dun ouvrage universitaire sur le sujet.
Objet : un universitaire annonce le dclin de la
presse crite et prdit sa disparition.
Interlocuteurs : un journaliste + un professeur
duniversit.
Conclusion de lchange : reprage de la notion
de libert (sans avoir le lien avec le phnomne
de disparition de la presse crite).
B1
327
Le candidat a saisi et relev un nombre suffisant

Comprhension fine.
10 pts
B2
Plus de dtails (4 des 6 points suivants ont t

compris) :
louvrage a t rdig par deux auteurs, dont lun
prend la parole dans lentretien ;
thme de louvrage : la fin dune tradition (les
mdias sous leur forme traditionnelle) ;
un processus de dsintgration rapide
(prvisions trs court terme) ;
des solutions envisages mais ne faisant pas
lunanimit (impts) ;
la presse numrique ne va pas arrter le dclin ;
lien tabli entre le dclin de la presse et la
les liberts individuelles (rpercussions du
phnomne dcrit).
Note de llve note sur 10 2 =
/20
Text 2
1,5 pt
Expression orale
Voir
a. The scene takes place on a plane. passen-

gers [] en route to New York/ aircraft / the pilot

was attempting an emergency landing on the tarmac
of the Los Angeles International airport (l. 1-4) (2 lments mentionns)
b. There was a problem on the plane. the pilot was

ce guide.
attempting an emergency landing (l. 2-3)
c. The passengers followed their ordeal live on television screens. 140 passengers [] unfolding before
their own eyes. (l. 5-6)
Right or wrong? 3,5 pts
a. The passengers appreciated following the events

Corrigs et barmes
Topic: ; changes in the newsroom 0,5 pt
1,5 pt
An extract from...
Text 1
an article
a news website
a novel
Text 2
Text 3
b. NBC executives on board delivered the story to
X
X
X
...another begins
The Seattle Post Intel- It will shift to an entiligencer will print its rely digital news product
nal edition
More about the new Last publication day seattlepi.com
at the P-I
Online-only P-I will be
What well remember a journalism adventure
about the paper
P-I memories
PDF of commemorative P-I page
328
their television station.

Right: A couple of NBC executives [] managed to set
up a mobile phone call to report the situation back to
NBC headquarters (l. 13-14)
c. Passengers delivered the story to a television
Text 1
3 pts (0,5 pt per detail)
One era ends...
live on television screens.

Wrong: it was absolutely terrifying it only exacerbated the situation and my fear (l. 8) (1 pt pour wrong
+ 1 citation correcte, 1,5 pt pour wrong et 2 citations
correctes.)
station.
Wrong: Instead of watching their mile-high ordeal
covered by someone else in a remote station, they
would have been the ultimate producer of their own
news, delivering the story to millions in real time
(l. 16-18)
Text 3
2 pts
a. The action takes place in: ; India

b. The narrator is: ; Singh - ; a journalist
c. Sarkar and Singh are: ; colleagues
a. Singh has been barred from his job for some time.
a. The aim of each text is to...

per detail)
Right: my suspension (l. 2)
b. The company Singh works for has changed a lot

recently.
Right: Theres been a lot of change since youve been
gone (l. 6)
c. Singh thinks computers are great machines.

Wrong: Its just a gloried typewriter, Sarkar (l. 15) /
what you really need is a machine [] but the computer
cant quite do that yet. (l. 17)
inform the readers
1,5 pt (0,25 pt
Text 1
Text 2
raise a topical issue
relate a special incident
Text 3
9
argue a point of view

9
tell a story
d. Sarkar is disappointed with Singhs reaction.

Right: His face darkened (l. 18)
e. Singh is interested in writing stories.

Right: my exemplary story on the woman who embodied the mystery and sorrow of India. (l. 22-23)
b. 1,5 pt
Changes
Positive opinions
Negative opinions
Document 1
(0,5 pt)
The nations largest daily

newspaper to shift to an
entirely digital news product
Document 2
(0,5 pt)
An emergency landing
broadcast live on the
screens
Absolutely terrifying (fear) for

the passengers
Document 3
(0,5 pt)
A fully computerized
newsroom (no more noisy,
dirty typewriters)
the stories come directly

into my computer and they
get sent to the editors []
(Sarkar)
a glorified typewriter
(Singh) = a machine without
brain nor intelligence
Expression crite
Voir document photocopiable p. 333 et p. 336 de
ce guide.
329
UNIT 9
valuations
Final task 1
News from the world
Name:
Class:
Writing
Manuel p. 184
Online messages
Traitement
du sujet
(8 pts)
Cohrence et cohsion
(4 pts)
Rpond partiellement la
question pose.
Juxtapose des ides sans les

organiser.
Possde un rpertoire
structures simples.
2 pts
1 pt
1 2 pts
La consigne est respecte

mais le sujet est trait de
manire superficielle.
Peut relier une srie

dlments en un discours qui
senchane.
La langue est comprhensible mme si des erreurs

subsistent.
3 4 pts
2 pts
3 4 pts
Peut illustrer ses arguments

laide dexemples et
dexplications.
Peut prendre en compte une
autre opinion exprime.
Organise ses ides de

manire logique en utilisant
les connecteurs adquats.
Organise ses ides en
paragraphes construits.
Possde un lexique assez

tendu et adapt.
Langue globalement
correcte.
5 6 pts
3 pts
5 6 pts
Peut prendre en compte les

diverses opinions exprimes
dans les documents fournis et
nuancer ses propos.
Peut produire un texte clair,

fluide et bien structur.
Utilise une gamme de

vocabulaire adapt et riche
ainsi quune syntaxe labore.
7 8 pts
4 pts
7 8 pts
A2
B1-1
B1-2
B1-3
B2
330
Recevabilit
linguistique
(8 pts)
UNIT 9
valuations
Final task 2
News from the world
Name :
Class :
Reading
Manuel p. 184
Pick out the best tweet

Read the following article.
Then read the different tweets: which one best corresponds to the article?
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
When a true genius appears in the world, wrote Jonathan Swift, you may know him
by his sign, that the dunces are all in a confederacy against him. Thus it was in July
2006 when Twitter appeared. It was a microblogging service that allowed one to
broadcast ones thoughts to the world, on one condition: that they should be expressible
in not more than 140 characters.
I thought it was a work of genius the rst moment I laid eyes on it.
But most normal people, and not a few of my friends, thought otherwise. The avalanche of incredulity, ridicule and scepticism that greeted anyone who came out as a
tweeter in those early days is hard to imagine now, ve years on. But it seemed real
enough at the time.
The situation got worse before it got better. When the mainstream media discovered
Twitter, it immediately took hold of the wrong end of the stick by focusing on celebrity
tweeters including Stephen Fry and Jonathan Ross and ignoring what was actually
happening, which was that ordinary people were beginning to make intelligent use of
a surprisingly powerful communication channel.
What sets Twitter apart from social networking services such as Facebook is the absence
of any expectation of reciprocity. If you decide to follow my twitterstream, then Im
under no obligation to follow yours. Unlike email, a tweet carries no expectation of a
reply, and so theres no heavy burden of obligation. []
The idea that a technology involving 140-character messages could become a serious
medium for conversation seems as absurd as the notion that one could have philosophical arguments using smoke signals. And yet as Twitter has evolved it has developed
a set of informal conventions that enable people to exchange opinions and to support
or challenge one another. Users can reply directly to tweets, often appending URLs
that support their position. More frequently, they will retweet tweets with which they
agree, so that an idea that is gaining currency among one group of users will suddenly
be launched into a completely different tweetstream with a completely different set of
followers. In this way, ideas disseminate across the ecosystem with astonishing speed.
Twitter was the way in which many people rst learned of the death of Michael Jackson,
for example; and of Hosni Mubaraks departure.
Recently weve discovered that Twitter has political uses too.
Because its easy to use on mobile phones, it has become an invaluable tool for dissidents and protesters everywhere. When WikiLeaks lost its DNS service, for example,
and suddenly web browsers were unable to nd the URL, the temporary IP addresses
circulated as tweets.
And when Egyptians found they couldnt access the net, a service called speak2tweet
enabled them to tweet by leaving voicemail messages on international phone numbers. So what once seemed like a joke has become deadly serious. And wed miss it
if it disappeared.
John Naughton, The Observer, 13 February 2011
331
UNIT 9
valuations
Final task 2
News from the world
Name:
Class:
Reading
Pick out the best tweet:

Tweet 1
Twitter is ephemeral, like conversation,

but like conversation it can lead to new
thoughts and ideas if you are open to
them
Tweet 2
After many criticisms, Twitter has

become very popular and even if tweets
are very short, their impact can be very
powerful and lead to new thoughts and
ideas.
Tweet 3
Originally, some people distrusted

Twitter, but its actually a clever way
to keep abreast with whats going on.
Its a shame they enforce such a strict
censorship policy.
Tweet 4
If you fear Twitter will interfere with

your ability to get your work done,
youre not afraid of Twitter, youre
afraid of doing your work.
Tweet 5
I was reluctant from the very beginning

but now I have realized Twitter is a good
means to get in touch with celebrities.
Best tweet is n
332
UNIT 9
valuations
News from the world
Name :
Class :
Text 1
Text 2
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
In a surrealistic bout of fate, passengers on JetBlue 292 en route to New York were
watching their aircraft broadcast live on the screens of the in-ight DirecTV. The pilot
was attempting an emergency landing on the tarmac of the Los Angeles International
Airport with its front landing gear, clipped at a wrong angle, jutting out of the fuselage.
While millions of viewers in America watched this nail-biting drama, 140 passengers
aboard the Airbus A320 found themselves the subject of live television news unfolding
before their own eyes.
It was absolutely terrifying, actually. Seeing the events broadcast made it completely
surreal and detached me from the event, said Zachary Mastoon in an interview with
The Associated Press. It became this television show I was inextricably linked to. It
was no longer my situation; it was broadcast for everyone to see. It only exacerbated
the situation and my fear.
A couple of NBC executives were also ying in the JetBlue plane and managed to set up
a mobile phone call to report the situation back to NBC* headquarters. What if the rest
of the passengers were able to hook up to a high-speed wireless network and report
the situation inside the aircraft back to a television station? Instead of watching their
mile-high ordeal covered by someone else in a remote station, they would have been
the ultimate producer of their own news, delivering the story to millions in real time,
including on JetBlues in-ight screens.
By Jean K. Min (2005)
www.nieman.harvard.edu
* NBC: National Broadcasting Company.
333
UNIT 9
valuations
News from the world
Name :
Class :
Text 3
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
I ran into Sarkar one afternoon near the Grand Hotel, and he smirked as he said that he
couldnt discuss my suspension until a labour committee had been convened. Whats
your problem, anyway, Singh? You are getting the cheques, arent you? Half pay for no
work sounds pretty good, if you ask me. He lowered his voice as if the crowds on the
pavement were listening eagerly to every word of his. If you really want my opinion,
Singh, perhaps its time for you to move on. Theres been a lot of change since youve
been gone have you noticed were painting the front? No? and it takes a certain mindset to be able to adjust to change. Were leasing out the ground oor to a foreign bank,
and so we have more money. Were fully computerized these days, Singh. No more noisy,
dirty typewriters in the reporting room, but clean and modern computers. The stories
come directly into my computer and they get sent to the editors in the newsroom only
after Ive checked each one personally. Its all very exciting, Singh, and I wish you could
sense the potential, the possibilities. Somehow, though, I feel youre not the type. Can
you use a computer?
Its just a gloried typewriter, Sarkar, I said. And its still not going to be able to write
an editorial for you, is it? What you really need is a machine with brains, with intelligence,
with perception, but the computer cant quite do that yet.
His face darkened and he clicked his ngers at his driver to bring the car forward. I walked
on past the pavement vendors, ignoring the thin men with their weighing machines and
their paper rats darting between the feet of slow-moving tourists. I walked home, pausing
at the stairway to check my letterbox for some sign that the magazine in Tbingen had
accepted my exemplary story on the woman who embodied the mystery and sorrow of India.
Siddharta Deb, Surface, 2005

What topic do these three documents deal with?
a journalists job
the power of the press
a TV programme
changes in the newsroom
Tick the words which characterize each text.

An extract from...
Text 1
Text 2
Text 3
an online article
a travellers diary
a letter
a news website
a detective website
a novel
a biography
Text 1
Pick out at least six details illustrating the title: One era ends, another begins.
Quote the text.
One era ends...
334
...another begins
UNIT 9
valuations
News from the world
Name :
Class :
Text 2
Justify the following statements by quoting the text.

a. The scene takes place on a plane.
..........................................................................................................................................................
b. There was a problem on the plane.
..........................................................................................................................................................
c. The passengers followed their ordeal live on television screens.
..........................................................................................................................................................
Right or wrong? Justify from the text:

a. The passengers appreciated following the events live on television screens.
..........................................................................................................................................................
b. NBC executives on board delivered the story to their television station.
..........................................................................................................................................................
c. Passengers delivered the story to a television station.
..........................................................................................................................................................
Text 3
Tick the right answers in the following statements:

a. The action takes place in:
Australia
India
the United Kingdom
Germany (Tbingen)
b. The narrator is:

Sarkar
Singh
a bank teller
an engineer
a tourist
a journalist
c. Sarkar and Singh are:

friends
relatives
colleagues
members of the same sports team
Right or wrong? Justify from the text.

a. Singh has been barred from his job for some time.
..........................................................................................................................................................
b. The company Singh works for has changed a lot recently.
..........................................................................................................................................................
c. Singh thinks computers are great machines.
..........................................................................................................................................................
d. Sarkar is disappointed with Singhs reaction.
..........................................................................................................................................................
e. Singh is interested in writing stories.
.........................................................................................................................................................
Compare the three texts: tick the right answers.

a. The aim of each text is to...
Text 1
Text 2
Text 3
inform the readers

raise a topical issue
relate a special incident
argue a point of view
Tell a story
335
UNIT 9
valuations
News from the world
Name :
Class :
b. Compare the changes described in each text and the opinions about these changes when they
are expressed.
Changes
Positive opinions
Negative opinions
Text 1
Text 2
Text 3
Expression crite
A contribution to an online forum.
Would you be ready to become a citizen reporter to cover an event you have witnessed? Give
your reasons, explaining what a newsworthy event is for you.
A letter to the editor

As a seatllepi.com reader write a letter to the editor telling him what you think about the changes
in the newspaper.
336

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Pour la langue orale et la grammaire

71, 72, 83, 84

Jupiter Images/Getty Images

Globe and mail.com

Phil Wiley, Ozemdia.com

Copyright Guardian News & Media Ltd 2011

dg Zubin Shroff/Getty Images

gd Carlo A/Getty Images

From The Secret History by Donna Tartt

David Lodge,The Independent, 28/03/2011

The New Kids Copyright 2011 by Boke Hauser

From The beautiful things that heaven bears by

Reprinted from Legend of a Suicide. Copyright

The story of Queen Victoria Jean Plaidy,1985

From Elizabeth the Queen: The Life of a Modern

From War Horse by Michael Morpurgo, 1982.

From Faulks on Fiction by Sebastian Faulks, 2011.

From Surface by Siddharta Deb, 2005 published

Couverture : Ellen Ggler

Les ditions Didier, Paris, 2012

LES CHOIX DIDACTIQUES ET PDAGOGIQUES

1. Les comptences culturelles

Construire la comptence culturelle

3. Les comptences linguistiques

lintrieur des chapitres : des parcours modulables

Password Tle propose diverses modalits dvaluation.

qui constitue une prparation aux preuves du baccalaurat.

Lvaluation des comptences de production

Lvaluation des comptences de rception

valuation formative / valuation intermdiaire

7. La construction des comptences

La construction des comptences langagires

LES OBJECTIFS DE PASSWORD Tle

2. Entraner avant dvaluer

La situation quotidienne de la classe est une situation dentranement

Limites et utilit de la dmarche dvaluation

Les implications de la dmarche dentranement

3. Guider par le sens

ncessairement comprises : si lon veut sassurer de la comprhension et si lon vise le dploiement du

Comprhension du contexte et de la situation

La place de lanalyse des formes

Dans un texte crit

III. EN CLASSE AVEC PASSWORD Tle

La formation des groupes

2. Tout anglais et interactivit

3. Statut de lerreur et correction des noncs

Les techniques de rptition

Ces rptitions ont pour but :

4. Aller du connu vers linconnu

Fiche dvaluation et de notation pour

A. Comprendre un document de type monologue ou expos

Le candidat na pas compris le document. Il nen a repr que des lments

B. Comprendre un document de type dialogue ou discussion

Instructions ofcielles, B.O. n 43 du 24 novembre 2011

Fiche dvaluation et de notation

Rpond et ragit de LV1 : 3 pts

Sexprime dans une

Produit un discours LV1 : 6 pts

Suggestion de grille dvaluation et de notation

Sexprime dans une

Sexprime dans une

0,5 2,5 pts