cours année littérature anglaise classe de 1ère l …...- préparer le dossier bac. cours année...

Cours Année Littérature anglaise Classe de 1ère L Séquence n°1

©Cours Académiques

INTRODUCTION

L’épreuve : L’épreuve de Littérature En Langue Etrangère (LELE) se prépare sur deux ans. C’est une épreuve orale de 10 minutes coefficient 1.

5 minutes pour présenter le dossier portant sur la thématique choisie par l'examinateur et pour justifier son choix de documents.

5 minutes de conversation conduite par l'examinateur, qui prend appui sur votre exposé. En terminale, vous devrez préparer deux dossiers contenant trois documents autour de deux thèmes que vous choisirez parmi les six thèmes enseignées au cours de ces deux années : 1. L'écrivain dans son siècle 2. La rencontre avec l'autre, l'amour, l'amitié 3. Le personnage, ses figures et ses avatars 4. Le Je de l'écrivain et jeu de l'écriture 5. Voyage, parcours initiatique, exil 6. L'imaginaire

Le niveau : Passer du niveau seuil B1 au niveau avancé B2 dans l'échelle du Cadre européen

commun de référence pour les langues (CECRL).

Les objectifs : Lire des œuvres intégrales (deux par an)

Ecrire : écrire à la manière de…, introduire un personnage supplémentaire dans le récit, changer de point de vue…

Interpréter : transformations d'une œuvre, d'un mythe ou d'un personnage.

Ecouter et Regarder : lectures publiques, livres audio, adaptations radiophoniques, cinématographiques, théâtrales ou musicales

Acquérir un grand degré d’autonomie en lecture

Comprendre l'essentiel de messages oraux élaborés (débats, exposés, émissions radiophoniques ou télévisées, films de fiction ou documentaires) et de textes longs, sur une gamme étendue de sujets

Suivre une argumentation complexe énoncée dans un langage standard

Effectuer un travail interprétatif qui, au-delà de l'explicite, vise une compréhension de l'implicite

Identifier le point de vue du locuteur. En production, vous devrez être capable :

De vous exprimer de manière détaillée et organisée sur des sujets relatifs à vos centres d'intérêts ou à vos domaines de connaissance

De présenter, de reformuler, d'expliquer ou de commenter, de façon construite, avec finesse et précision, par écrit ou par oral, des documents écrits ou oraux comportant une information ou un ensemble d'informations, des opinions et points de vue

De défendre différents points de vue et opinions

De conduire une argumentation claire et nuancée. En interaction, vous devez être capable :

De participer à une situation de dialogue à deux ou plusieurs personnes, en s'exprimant avec spontanéité et aisance, y compris avec des locuteurs natifs

De participer à des conversations assez longues tout en réagissant aux arguments d'autrui et en argumentant.



VOS OUTILS PERSONNELS

Manuel : Discovering Literature 1re / Terminale série L – Édition 2012 Livre de l'élève

Directeur : F. Grellet

Collection : Discovering literature – Parution : Mai 2012

Grammaire :

Auteurs : Berland-Delépine Serge ISBN : 9782708014497 Broché 416 pages

Date de publication : Avril 2016

Dictionnaire en ligne : www.wordreference.com

Dictionnaire papier :

Harrap's Grammaire anglaise Broché – 23 juin 2010

Editeur : Harrap’s

LECTURES

Deux lectures obligatoires au cours de l’année de 1ère :

1. Jane Eyre, Charlotte Brontë

2. Animal Farm, George Orwell Vous lisez en autonomie, à votre rythme puis vous remplirez une fiche de lecture en fin d’année.

Autres lectures : William Shakespeare : A Midsummer Night's Dream

Yann Martel : Life of Pi

Herman Melville : Billy Budd

Langston Hughes : Selected Poems

Willa Cather : My Antonia

Ted Hughes : Poetry in the Making

http://www.wordreference.com/



Virginia Woolf : A Haunted House and Other Short Stories

Hanif Kureishi : The Budha of Suburbia

Doris Lessing : The Fifth Child

Roy Arundhati : The God of Small Things

Beverley Naidoo : The Other Side of Truth

Mary Ann Shaffer, Annie Barrows : The Guernsey Literary and Potato Peel Pie Society

ORGANISATION DES COURS

Vous êtes en première L et cette année vous permettra de vous préparer à l’épreuve de Littérature En

Langue Etrangère que vous passerez en Terminale. Trois thèmes seront étudiées en 1ère :

1. L'écrivain dans son siècle 2. La rencontre avec l'autre, l'amour, l'amitié 3. Le personnage, ses figures et ses avatars

Dans chaque séquence, vous aurez à votre disposition tous les outils vous permettant de progresser : du vocabulaire, des méthodes de travail, des «landmarks » (repères chronologiques), des «literary trails» (pistes littéraires) suivis d’exercices auto-correctifs que vous étudierez

soigneusement avant d’aborder les textes, des conseils ou des rappels de cours pour vous aider, 3 textes suivis de questions, des vidéos ou des textes audios vous seront proposés sous forme de lien. C’est une partie importante

du programme qu’il ne faut pas négliger.

Quatre devoirs par séquence devront être envoyés au professeur, le dernier étant une tâche

finale.

Vous constituerez un dossier type «bac» afin de vous entraîner à l’épreuve finale en

suivant une méthodologie qui vous sera donnée et vous pourrez demander de l’aide à votre

professeur. Légendes

Vidéos ou textes audio

Une aide vous est proposée

Rappel de cours

A retenir



TOOL BOX

Avant de commencer la 1ère séquence, apprenez le vocabulaire littéraire ci-dessous :

a character = un personnage a novel = un roman a play = une pièce de théâtre excerpt = extract a translation = une traduction

according to the author = selon l'auteur to suggest = suggérer to deal with/to be about = traiter de to build up a sense of = créer un sentiment de.. for the purpose of = dans le but de.. so as to = afin de he stresses the fact that… = il met l'accent sur le fait que.. the document conveys a message = le document est porteur d'un message to bring out = faire ressortir to point out = remarquer to qualify =nuancer to understate = minimiser to underscore = souligner, mettre en évidence

at the beginning, at the end midway through the text = au milieu du texte towards the end = vers la fin throughout the text = tout le long du texte

a trope = une figure de style a simile = une comparaison a metaphor a metonymy an understatement = un euphémisme a pun = un jeu de mots an image to symbol = to be emblematic of to depict = dépeindre to enhance = mettre en valeur

an incident/ a twist in the plot = une péripétie the plot = l'intrigue prolepsis = prolepse flashback

humorous, irony, a satire on, a caricature, funny, hilarious, formal (soutenu), informal (peu soutenu), colloquial (familier), oratorical (pompeux), informative, controversial (polémique)...

meaningful (significatif), relevant (pertinent), unobtrusive (discret), plain (clair, simple), picturesque (pittoresque), devoid of (dénué de), improper (incorrect)...

Mots de liaison : roughly (approximativement), actually (en fait), thoroughly (complètement, tout à fait), not even (même pas), for lack of (par manque de), owing to (en raison de), according to (selon)…

* en rouge = faux amis (deceptive words) Une fois le vocabulaire appris, faites l’exercice autocorrectif n°1.



Exercice autocorrectif n°1 – corrigé en fin de séquence

Find the equivalent of :

1. a short part taken from a speech, book, film =

2. underline =

3. the story of the book =

4. a humorous use of a word or phrase that has several meanings or that sounds like another word =

5. A figurative or metaphorical use of a word or expression =

6. The presentation of something as being smaller or less good or important than it really is =

7. Intensify, increase, or further improve the quality, value, or extent of =

8. Closely connected or appropriate to what is being done or considered =

9. Entirely lacking or free from =

10. Done in accordance with convention or etiquette; suitable for or constituting an official or

important occasion =

11. In a manner lacking gentleness; harshly or violently =

12. Not decorated or elaborate; simple or basic in character =

13. Make something more evident; emphasize something =

14. In fact, or really =

15. (of language) used in ordinary or familiar conversation; not formal or literary =

16. Relating to the art or practice of public speakin =

17. Having meaning =

18. Not in accordance with accepted standards, especially of morality or honesty =

19. Communicate (a message or information) =

20. An unexpected development of events =



SEQUENCE 1 :

Thème : L’écrivain dans son siècle | The writer in his time

Thématique : Feminine voices

Problématique : Quel est le rôle des femmes du point de vue d’auteurs féminins au 19ème et au 20ème

siècle ? | What is the status of women from the point of view of female writers in the 19th and 20th centuries?

Supports : 1. Landmarks

2. Literature trails

3. Anticipation

4. TEXTE 1 : Jane AUSTEN – Pride and Prejudice (incipit) – page 91

5. TEXTE 2 : Kate CHOPIN – The Story of an Hour - page 93

6. TEXTE 3 : Edith Warton – The House of the Mirth - page 96

7. LE DOSSIER BAC

Objectifs :

A la fin de cette séquence, vous saurez :

- associer auteurs et mouvements littéraires du 19ème et 20ème siècle jusqu’à la 2nde guerre mondiale,

- maîtriser le vocabulaire,

- présenter un document iconographique en rapport avec la thématique,

- étudier un texte littéraire,

- préparer le dossier bac.



1. LANDMARKS Read page 15/17 + page 19/20/21 + page 23/24/25/26 in your book.

Let’s recap!

19th century, The Romantic Age (1780 – 1832)

A turbulent age

Three revolutions 1. The American revolution (1776) 2. The French revolution led to hope and dreams which had an impact on the literature of the time 3. The industrial revolution brought dramatic changes to the country

The Romantic movement

A reaction against the Age of Reason (early 18th century) with its respect of literary conventions and traditions.

The Romantics : 1. Privileged instincts and passions 2. Put the subjectivity of the individual or of the writer himself, his inner vision, the exploration of the human mind, at the heart of the text 3. Affirmed the creative and regenerative powers of the imagination 4. Saw nature - unspoilt civilization - as divine 5. Admired all forms of idealism or rebellion Jane Austen’s novels are not romantic in spirit but mock any excess of sentimentality. They are novels of manners which examine the society of her time with irony and detachment, condemning pretension and hypocrisy while defending moral values, compassion and love.

Writers

- Radcliffe - Austen

Video

https://youtu.be/OiRWBI0JTYQ (If you have difficulties to understand, you can click on “subtitles” to help you)

19th century, The Victorian Age (1837 – 1901)

A period of profound changes

- Britain was becoming a rich and powerful country, the financial centre of the world with a growing division between the rich and the poor. - The feeling of wealth and progress often resulted of pride in the Puritan ideals and respectability of the middle class, in complacency and self -confidence. - They were an increasing sense of anxiety reflected in the somber view of fate to be found in Thomas Hardy’s novel.

https://youtu.be/OiRWBI0JTYQ



The novel

- The novel became very popular during the Victorian period, often appearing in serialized form. - The Brontë sisters’ novels show the influence of the Romantic and Gothic* movements. They describe complex, passionate characters often in desolate settings. - Dickens’s characters are picturesque or grotesque, close to caricature. He wanted his novels to reform society and used them to criticize poverty, overcrowded slums, the exploitation of children and the absurdities of the law. - Many other novelists wrote about the society of their time. - Kate Chopin wrote short stories about the feminine condition of the 19th century.

Gothic* novels appeared in the late 18th century. They are influenced by sentimentalism with sensitive heroines and their fears amid old castles and abbeys, dark tunnels, ghosts… It is very much a literature for women.

Writers

- Brontë - Dickens - Eliot - Kipling - Hardy - Thackeray - Carroll - Stevenson - Conrad

20th century until World War II (1901-1944)

After the World War

- The south of Ireland became a free state in 1921 - Anxiety was present after the horrors of the war - This is reflected by anguish and ironical distance in literature

Novels

Period of modernism characterized by : - a break with Victorian tradition - radical experiments with language - a focus on the study of inner life and perceptions partly due to Freud’s discoveries about the working of the human mind

Writers

- Conrad - James Joyce - Virginia Woolf - Forester - D H Lawrence - Huxley

Exercice autocorrectif n°2 - corrigé en fin de séquence

Après avoir appris la leçon, faites l’exercice : 1. You have just study three periods of the history of English Literature. What period do these writers

belong to ? Jane Austen : Brontë : Virginia Woolf : Joseph Conrad : Lawrence : Stevenson :Kipling : Radcliff : Dickens :

Caroll :

2. What do you know about romanticism ?



2. LITERARY TRAILS

Read page 90 in your book. Let’s recap!

Feminine voices Women appeared in the English literature at the beginning of the 19 century.

In the 19th century, Jane Austen’s novels are “comedies of manners*” set in the country gentry* that she knew. Her heroines are young women who gradually come to a better understanding of themselves and obtain marriage and social status. The absurdities and pretentions of society are denounced with wit and irony. Charlotte Brontë is one of the most famous female writers. Women didn’t have time to write because they were busy with the work in their family. Others changed their name into a man’s name to write. For example, George Eliott whose real name was Mary Ann Evans. In the 20th century, Virginia Woolf denounced the women’s conditions of life in the past. She wrote an essay A Room of one’s Own to show women were deprived of freedom. With the Equal Franchise Act of 1928, women over 21 were able to vote and they finally achieved the same voting rights as men. Other women writers appeared in the second part of the century : Iris Murdoch, Muriel Spark or Doris Lessing. In the USA, only men were writers until the end of the 19th century. Kate Chopin was the first to write about women’s conditions and she shocked the country with her references to sexuality. It is after World War II that feminine movements appeared. * “comedies of manners” : a comedy that deals with the behavior of people in a satiric tone * gentry : persons of high birth or social standing; aristocracy


Après avoir appris la leçon et lu le texte ci-après 3 fois, répondez aux questions : 1. What were the living conditions of most of the women Ethel knew?

Pick out 6 words or groups of words to justify your answer.

2. What is Ethel’s opinion concerning votes for women? Explain in your own words and justify with one quote from the text.

Pour répondre aux questions avec pertinence, vous devez formuler votre réponse en trois étapes : 1. Je réponds à la question 2. J’argumente (j’explique)

3. Je justifie en citant le texte.

Ainsi, je rédige une réponse complète. Attention de ne pas paraphraser : je rédige avec mes propres mots. J’utilise des mots de liaison. Je mets les citations entre guillemets.

Vous pourrez repérer chaque étape grâce aux couleurs dans le corrigé.



5

Her angry feminism had set as hard as concrete during years of living alongside the tough, hard-working, dirt-poor women of London's East End. Men often told a fairy tale in which there was a division of labor in families, the man going out to earn money, the woman looking after home and children. Reality was different. Most of the women Ethel knew worked twelve hours a day and looked after home and children as well. Underfed, overworked, living in hovels*, and dressed in rags, they could still sing songs, and laugh, love their children. In Ethel's view one of those women had more right to vote than any ten men.

10

She’d been arguing this for so long that she felt quite strange when votes for women became a real possibility in the middle of 1917. As a little girl she had asked: "What will it be like in heaven?" and had never got a satisfactory answer.

Parliament agreed to a debate in mid-June. "It's the result of two compromises," Ethel said excitedly to Bernie when she read the report in The Times. "The Speaker's Conference, which Asquith called to sidestep the issue, was desperate to avoid a row."

15

Bernie was giving Lloyd his breakfast, feeding him toast dipped in sweet tea. "I assume the government is afraid that women will start chaining themselves to railings again."

Ethel nodded. "And if the politicians get caught up in that kind of fuss, people will say they're not concentrating on winning the war. So the parliamentary committee recommended giving the vote only to women over thirty who are householders or the wives of householders. Which means I'm too young."

20 "That was the first compromise," said Bernie. "And the second?"

25

"According to Maud, the cabinet was split." The War Cabinet consisted of four men plus the prime minister, Lloyd George. "Curzon is against us, obviously." Earl Curzon, the leader of the House of Lords, was proudly misogynist. He was president of the League for Opposing Women’s Suffrage. "So is Milner. But Henderson supports us." Arthur Henderson was the leader of the Labour Party, whose M.P.s supported the women, even though many Labour Party men did not. "Bonar Law is with us, though lukewarm."

"Two in favor, two against, and Lloyd George as usual wanting to keep everyone happy."

"The compromise is that there will be a free vote." That meant the government would not order its supporters to vote one way or the other.

30 "So that whatever happens it won't be the government's fault."

"No one ever said Lloyd George was ingenuous."

"But he's given you a chance."

"A chance is all it is. We've got some campaigning work to do."

Ken Follet, Fall of Giants, 2010

*hovels = taudis



3. ANTICIPATION

“The Governess” - Richard Redgrave (1844) Oil on canvas - Source : http://collections.vam.ac.uk/

Present and describe the document. What were governesses ’ conditions of living in the 19th century and explain the painter’s purpose.

The governess’s life : https://www.bl.uk/romantics-and-victorians/articles/the-figure-of-the-governess

Méthodologie et vocabulaire à réviser et à retenir :

IDENTIFIER UN DOCUMENT :

1. Nature & date de publication : This picture is an ad (publicité), a poster (affiche), a photo, a comic-strip (bande dessinée), a cartoon (dessin humoristique), a painting, a drawing (dessin), part of an awareness campaign (campagne de sensibilisation)… This picture was published on + date complete (on September 1st ) / in + année et/ou mois (in September, 1998).

2. Identifiez la source :

a) It probably appeared in a magazine / a newspaper / on a billboard (panneau publicitaire). b) Si c’est une photo : it was taken by… c) Si c’est un dessin : it was painted by…. d) Si c’est un dessin : it was drawn by… OU BIEN : The photographer / the advertiser / the artist (peintre) / the cartoonist is …

3. Identifiez le sujet général : It deals with … / It is about ….


http://collections.vam.ac.uk/

https://www.bl.uk/romantics-and-victorians/articles/the-figure-of-the-governess



4. TEXTE 1 : Jane Austen, Pride and Prejudice Listen to the text and read it in your book (Discovering literature, page 91/92). https://www.youtube.com/watch?v=16sMHLLUxTo

Vocabulaire à retenir

Acknowledged = reconnaître Single = célibataire Tiresome = pénible Surrounding = environnant Rightful = légitime Design = motif Therefore = donc Delighted = ravi, enchanté To give over = arrêter de A chaise and four = un cabriolet tiré par quatre chevaux + les mots du livre page 92

4.a | Read :

Source Mission Terminale Bordas

https://www.youtube.com/watch?v=16sMHLLUxTo

https://www.youtube.com/watch?v=16sMHLLUxTo



Révise et retiens :

The incipit is the beginning of the novel... Beginnings must capture the readers' attention and prevent them from abandoning. It gives information about places and dates, about the relation between the characters and the plot. Irony is a contrast or discrepancy between what is said and what is meant or between what happens and what is expected to happen in life and in literature. In verbal irony, characters say the opposite of what they mean. In irony of circumstance or situation, the opposite of what is expected occurs.

4.b | Analysis of the text : With the first sentence of the book, Austen establishes the major theme and tone of Pride and Prejudice. She states: « It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife." This sentence introduces the theme of marriage, which is central to the novel's plot, and introduces the tone of irony, which Austen will use both verbally and structurally throughout Pride and Prejudice. The news that a wealthy young gentleman named Charles Bingley has rented the manor known as Netherfield Park causes a great stir in the neighbouring village of Longbourn, especially in the Bennet household. The Bennets have five unmarried daughters, and Mrs. Bennet, a foolish and fussy gossip, is the sort who agrees with the novel’s opening words: “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” She sees Bingley’s arrival as an opportunity for one of the girls to obtain a wealthy husband, and she therefore insists that her husband call on the new arrival immediately. Mr Bennet refuses and his attitude infuriates his wife. This incipit is composed of a dialogue, Austen’s typical technique to make the characters reveal their traits and attitude. Mrs Bennet is very excited whereas Mr Bennet is a wit who refuses to follow his wife in her madness. There is little physical description of the characters so the reader can only understand their personality by reading their words.



DEVOIR N°1 - à envoyer à la correction

Durée : 1h30 Texte : Discovering literature page 91/92

1. How good an incipit is this text ? What do we learn ?

About the Bennet family About Mr Kingley About the main subject of the novel About the social background.

[8 points] 2. Irony : the very first sentence of the novel is very famous, largely because of its irony.

Explain why it is ironic. [4 points] 3. Characterization through contrast : contrast the way Mr and Mrs Bennet speak. What does it reveal about their characters ?

Who talks more ? Why ? Is direct speech used for both of them to report the dialogue ?

[3 points] 4. Give examples of irony. Who uses it ? How is it received ? [5 points]

Revoyez les consignes données pour l’exercice autocorrectif n°3 avant de commencer à répondre aux questions.

Remember :

Direct speech : au style direct, la personne parle. Indirect speech : le style indirect sert à rapporter les paroles de quelqu'un.



5. TEXTE 2 : Kate Chopin, The story of an hour

Listen to the text and read it in your book (Discovering literature, page 93/94/95). https://www.youtube.com/watch?v=_AMglrGuDF8

Vocabulaire à retenir :

To conceal = to prevent something from being seen or known Exhaustion = the state of being very tired Faintly = slightly, not strongly. To twitter = to make a series of short, high sounds (for a bird) To shudder = shake suddenly with very small movements because of a very unpleasant thought or feeling + les mots du livre page 95

5.a | Read :

American author Kate Chopin (1850–1904) wrote two published novels and about a hundred short stories in the 1890s. Most of her fiction is set in Louisiana and most of her best-known work focuses on the lives of sensitive, intelligent women. Her short stories were well received in her own time and were published by some of America’s most prestigious magazines—Vogue, the Atlantic Monthly, Harper’s Young People, Youth’s Companion, and the Century. The story of an Hour was written in 1894 and published in Vogue.

Chopin was independent spirit who smoked cigarettes, walked alone through the city, and argued passionately with others about politics and social problems. She wrote about life and people in Louisiana and focused her attention on love, sex, marriage, women, and independence.

5.b | Analysis of the text : Mrs Louise Mallard is a woman whose husband is reportedly killed in a train accident. When

Louise hears the news, she is secretly happy because she is now free. She is filled with a new lust* for life, and although she usually loved her husband, she cherishes her newfound independence even more. She has a heart attack when her husband, alive after all, comes home.

In “The Story of an Hour,” independence is a forbidden pleasure that can be imagined only privately. Kate Chopin represents a negative view of marriage by presenting the reader with a woman who is clearly overjoyed that her husband has died. Despite the love between husband and wife, Louise views Brently’s death as a release from oppression.

Suddenly, Mr. Mallard who was not in the train came in. When Mrs. Mallard saw him, she had a tremendous shock and died. The doctors said she had died of heart disease of joy. But was it joy ?

*Lust = a very powerful feeling of wanting something


TROPES or rhetorical figures in your book Discovering literature page 153. Quand vous avez corrigé votre exercice, apprenez les définitions.

https://www.youtube.com/watch?v=_AMglrGuDF8




Durée : 1h30 Texte : Discovering literature page 93/94/95

1. The structure

There are two turning points in the story. What are they ? [2points] 2. Is it joy that kills Mrs Mallard?

[2 points] 3. What outside elements bring about the change in Mrs Mallard? What are they symbolic of?

[2 points] 4. In the paragraph which precedes the first turning point (‘She was young...’line 42), find four words

which characterize her life as a married woman. What do they have in common? [2 points]

5. Mrs Mallard does not immediately feel free. What are the different steps in her new awareness?

[3 points] 6. Show that the story is built around a number of oppositions.

Inside/outside Up and down Stiffness/movement

[1.5 points] 7. What is the double meaning of Mrs Mallard’s ‘heart trouble’?

[1.5 points] 8. Why is the story deeply ironic? What is Kate Chopin’s message in this short story?

[2 points]

9. Match the following expressions and the corresponding figures of speech: a. the storm of grief b. a monstrous joy c. joy that kills d. a breath of rain paradox – hyperbole – metaphor – oxymoron

[4 points]



6. TEXTE 3 : Edith Warton, The House of the Mirth Read the text in your book (Discovering literature, page 96/97).

Vocabulaire à retenir :

Fate : the power by which events are thought to be decided; destiny: Petty : of little or no importance Mere : minor or unimportant Heap : a great or large quantity or number To bid (bade, bidden) : to command someone to do something + les mots du livre page 97

Révise et retiens :

Point of view – Your book page 156


Exercice in your book page 156-157 n° 1 a / c

6.a | Read Edith Wharton’s biography : Edith Wharton,( 1862 – 1937), an American author and Pulitzer Prize winner, is known for her ironic and polished prose about the aristocratic New York society into which she was born. Her protagonists are most often tragic heroes or heroines portrayed as intelligent and emotional people who want more out of life. Wharton's protagonists challenge social taboos, but are unable to overcome the barriers of social convention.

6.b | Analysis of the text : Lily has two main goals in the book: marriage and wealth. It is her hope to marry a rich man, thereby securing her place in society, but due to her own indecision, Lily spends much of her time staying at the Bellomont. As a guest, she is expected to take part in the evening's activities – like bridge. The text reveals that Lily has developed a weakness for bridge, a card game for which she has neither talent nor luck and has lost a lot of money. Lily dresses for bed without notifying her maid. She realizes that she and her maid are in the same circumstances with the exception of one major difference: The maid is paid on a regular basis. Lily looks in the mirror and sees two age lines by her mouth. .Her life is a tragedy. Wharton's novel is a satire of New York City' society.


Durée : 1h30 Texte : Discovering literature page 96/97

1. Questions page 97 n° 1-2-3-4-5-6-7

Question 1 [2 points] Question 4 [1 point] Question 7 [5 points] Question 2 [3 points] Question 5 [1 point] Question 3 [4 points] Question 6 [4 points]



7. LE DOSSIER BAC La première séquence est finie. Nous allons pouvoir constituer notre premier dossier pour l’épreuve du bac. C’est un entraînement très important qui vous donnera de l’expérience pour la terminale. Ne le négligez pas ! Préparer la page de couverture : nom, classe, année, établissement, votre problématique

Thématique : Extrait 1 : Extrait 2 : Document personnel :

Puis : Photocopie du texte1 Photocopie du texte 2 Le document complémentaire.

Comment choisir votre document complémentaire ? Il pourra s’agir :

- d’un extrait de critique, d’une adaptation ou d’une réécriture (penser aux films, animations, chansons,

BD ou graphic novels), d’illustrations iconographiques (peintures, 1ères de couvertures, posters de

films…).

- d’un autre extrait d’une des œuvres étudiées en classe.

- d’un extrait d’une autre œuvre du même auteur (vous devrez alors montrer les liens entre les œuvres

choisies).

- d’un extrait de l’œuvre d’un autre auteur qui rappelle le thème développé dans les œuvres

précédemment choisies.

Où trouver votre document personnel ? - En faisant appel à vos connaissances personnelles

- En cherchant sur internet (moteur de recherche)

- En recherchant dans un manuel d’anglais, une encyclopédie…

- Si vous choisissez un film, imprimer un poster du film, ajouter le casting et le résumé.

Votre commentaire oral 1. Introduction

- Phrase « d’accroche » pour présenter la thématique - Présenter la problématique - Introduiser vos documents : To answer this question, I relied on three documents : the first… + presentation ( titre, auteur,

date, le theme du texte) The second is… The last is…. .

2. Développement

Deux paragraphes pour répondre à votre problématique. Il faudra comparer les trois documents.

3. Conclusion Une synthèse + réponse à la problématique + ouverture.



DEVOIR N°4 – TACHE FINALE - à envoyer à la correction

1. Constituez votre dossier 2. Rédigez le commentaire que vous présenterez à l’oral (5 minutes) 3. Enregistrez-vous et envoyez votre enregistrement par mail à votre professeur.

a. Pour vous enregistrer, vous pouvez utiliser la vidéo ou l’enregistreur vocal de votre ordinateur. b. Si vous n’avez pas la possibilité de vous enregistrer, vous enverrez votre commentaire écrit.



CORRECTION DES EXERCICES AUTOCORRECTIFS

EXERCICE AUTOCORRECTIF N°1 | CORRECTION

1. a short part taken from a speech, book, film = an excerpt / an extract 2. underline = underscore 3. the story of the book = the plot 4. a humorous use of a word or phrase that has several meanings or that sounds like another word = a pun 5. A figurative or metaphorical use of a word or expression = a trope 6. The presentation of something as being smaller or less good or important than it really is

= understatement 7. Intensify, increase, or further improve the quality, value, or extent of = enhance 8. Closely connected or appropriate to what is being done or considered = relevant 9. Entirely lacking or free from = devoid 10. Done in accordance with convention or etiquette; suitable for or constituting an official or

important occasion = formal 11. In a manner lacking gentleness; harshly or violently = roughly 12. Not decorated or elaborate; simple or basic in character = plain 13. Make something more evident; emphasize something = bring out 14. In fact, or really = actually 15. (of language) used in ordinary or familiar conversation; not formal or literary = colloquial 16. Relating to the art or practice of public speakin = oratorical 17. Having meaning = meaningful 18. Not in accordance with accepted standards, especially of morality or honesty = improper 19. Communicate (a message or information) = convey 20. An unexpected development of events = a twist


1.

Romantic Age Victorian Age 20th century

Austen Joseph Conrad Virginia Woolf

Radcliff Kipling Lawrence

Stevenson

Brontë

Dickens

Caroll

Si vous avez plus de 3 erreurs, revoyez le cours. 2. Romanticism began in 1780 and ended in 1832. It is in opposition with the Reason Age which was conventional. Romanticism is concerned with the individual more than with society. It privileged instincts and passions. Among the aspects of the romantic movement may be listed sensibility, power of imagination and idealism.




1. Ethel knew that the living conditions of most of the women were extremely difficult. Actually, the scene takes place at the beginning of the 20th century when women were not free and had hard life. The author points out they were “dirt-poor women” (line 2) and that they worked “twelve hours a day” (line 4). He adds that they” looked after home and children” (line 4-5) and lived in “hovels” (line 5). They were “dressed in rags” (line 5) and were “underfed” (line 5).

2. Ethel thinks women probably deserve the right to vote at least as much as men do. The writer explains

Ethel’s point of view: “one of those women had more right to vote than any ten men.”


« The governess » was painted by Richard Redgrave in 1844 in Great Britain. It is an oil on canvas. It represents a pale lady who is sitting in a classroom. She is holding a letter in her hand. She may have just received news from her family she has not seen for long. Three pupils can be seen in the background. In Victorian Ages, the governess was a familiar figure and could be seen in many books, such as Charlotte Brontë’s Jane Eyre in 1847. It was one of the few profession open to middle-class women of modest means. It was often a lonely and difficult life because her social status was ambiguous. She was not a servant but she was not equal to the members of the family. She was not paid. They instructed children and they can live in the family’s house. They accepted this job because it was respectable. On Redgrave’s painting the bright colours on the right may represent the little girls’ happiness. The governess is positioned in a black and dark place on the left. So it appears that the governess is sad. In those times, the governesses had hardly never news from their family except when a death happened. The painter shows one aspect of women’s conditions of life in the 19th century. He wants to denounce women’s poor conditions when they had to work for their living.


Corrigez votre exercice puis apprenez les définitions. Refaites le si vous avez plus de deux erreurs. Anagram: 10 / f Anaphora: 12 / h Antithesis: 6 / i Apostrophe: 5 / d Chiasmus: 1 /g Euphemism: 13 / l Hyperbole: 8 / m Litotes, understatement: 7 / k Oxymoron: 11 / a Palindrome: 4 / b Paradox: 2 / c Personification: 9 / j Pun: 3 / e




1.a et 1.c

Internal focalization External focalisation

First-person point of view

Hemingway (the narrator’s point of view: see the detailed description of the river) Coe (the narrator’s point of view : I found)

Third-person point of view

I. Murdoch (Annette’s point of view: we follow her thoughts “We should… ?”

J. Austen (we are told about the character of both Mrs Bennet and Mr Bennet)

Advantages Disadvantages

Internal point of view

You see things through the eyes of one character end therefore feel closer to him/her.

The view is limited; you cannot know what other characters think; you cannot know what happens in places where the main character isn’t.

External point of view

More can be told or explained to the reader.

You feel more remote from the characters, as if you saw them from above.

AUTO-EVALUATION

Quand le professeur correcteur vous rend un devoir, il explique le type d’erreur que vous avez faite. La grille suivante vous aidera à vous rappeler vos fautes habituelles et à ne pas les répéter. Vous pourrez ajouter des lignes autant que nécessaire. N’oubliez pas de la consulter avant de rédiger vos devoirs. Vous mettez une croix à chaque fois que vous commettez l’erreur. Le but est de ne jamais avoir deux croix pour une même faute. Votre professeur pourra aussi vous aider à la compléter.

Erreurs Correction X

« s » à la 3ème personne du singulier au présent

Prétérit mal conjugué (verbes irréguliers)

Forme interrogative ou négative mal construite.

Confusion Présent simple/présent progressif

Confusion temps du passé (Prétérit/ present perfect/ pastperfect)

Concordance des temps.

BV/ infinitif complet/ BV+ing

ING après une préposition



Erreurs Correction X

Les modaux (emploi et conjugaison)

Postposition après verbe

Proposition infinitive

Phrase mal construite

Mauvais emploi des déterminants

Adjectifs qualificatifs invariables

Emploi du génitif



DEVOIR A ENVOYER N°1 | CORRECTION

1. We learn that Mr and Mrs Bennet have five daughters who are « grown up » but not married.

Mr Bingley is single and rich “four or five thousand a year” which was quite a large fortune at the beginning of the 19th century. He has decided to rent Nerherfield Park. The name of the house evokes a large property. Other details show he is rich, for instance the fact that he came in a ‘chaise and four’. The main subject of the novel is likely to be courtship and marriage. The allusion to “surrounding families” suggests that several young people might be involved, not just Mr Bingley and the Bennet daughters. The social background focuses on the importance given to money right from the beginning shows the weight of economic concerns and the mention of gossip ( ‘Have you heard’... ‘Mrs Long has just been here’) shows the importance of the community An incipit gives information about places and dates, about the relation between the characters and the plot. We therefore say that the incipit is good because we learn a lot within one page. [8 points]

2. This sentence has the appearance of authority: because it is the first sentence in the novel, because of the words ‘truth’ and ‘universally’ and because it has the form of a maxim or an epigram. However, the rest of the text shows: – that there is nothing universal about the statement: indeed, in the second sentence we are told that little may be known about the views of “such a man”. The rest of the passage shows, it is the reverse which is true: a single woman is in want of a man with a good fortune. But it would not be proper to say so (it is the man who courts the woman, however necessary it might be for a woman to look for a man with a fortune, she cannot say so.) [4 points]

3. The way Mr and Mrs Bennet speak contrast. Mrs Bennet talks more because she is talkative and has a

story to tell. She is a typical gossip, who already imagines what might happen. There is a shift* in tenses:

from the past to the present then to modals with a projection into the future (‘it is very likely that he may’,

‘you must visit him’) Mr Bennet speaks little and only to elicit an answer from his wife (‘I have no objection

to hearing it’, then a series of short questions.)

At the beginning, the narrator twice uses narrative and reported speech instead of quoting Mr Bennet’s words (‘Mr Bennet replied that he had not’/ Mr Bennet made no answer.’) This contrasts with Mrs Bennet’s eagerness to speak and emphasizes his reluctance to answer her. *shift= changement [3 points] 4. Mr Bennet uses irony and sarcastic humour, but Mrs Bennet does not seem conscious of the irony of his

words. For example, he says ‘Is that his design in settling here?’, which she answers as if it were what he

really meant. And when he says that Mr Bingley might like her best, she believes it is flattery. Mr Bennet

therefore seems clever, witty and fairly detached from what is going on, almost a mere spectator. His wife,

on the contrary seems impatient, almost stupid and obsessed with her daughters ‘marriage.

[5 points]




1. There are two main turning points in the story. What are they? The first one begins with ‘There was something coming to her’ and introduces the sense of liberation that takes hold of her. The movement is therefore from shock and sadness to freedom and happiness. The second turning point is to be found at the very end of the story when her husband comes back. [2 points]

2. It is only the doctor’s assumption. It is in fact the reverse. When her husband comes back, she realizes that she will not have the freedom that she had had a glimpse of and the shock kills her. But society assumes that a wife’s feelings can only be of joy in such circumstances. The expression is therefore ironic. [2 points]

3. The window represents freedom (also evoked by her gazing “away off yonder”). The trees are ‘aquiver’ with spring life (the renewal of life); the rain (a fertilizing force); the cries of the peddler and the song of the bird (life) and the blue sky. [2 points]

4. The four words which characterize her life as a married woman are Repression, strength, dull, suspension (of intelligent thought).Their common point is stagnation, lack of impulses and spontaneity. [2 points] 5. The realization that she is now free gradually fills Mrs Mallard with excitement. – First she feels something “creeping out of the sky” and guesses what it is. – Not used to independence, she fights back against it (‘beat it back’) – Then she abandons herself to it. It leads to a sort of epiphany (‘brief moment of illumination’). [3 points]

6. - Inside / outside: inside represents repression, outside freedom: note the recurrence of the adjective ‘open’. - Up and down: the room with the open window is up, then she ‘descended the stairs ‘to find her husband. - Stiffness / movement: ‘suspension ‘before (‘sank ‘into the armchair is followed by the coursing of her blood and her rising bosom.). [1,5 points]

7. Mrs Mallard has a weak heart, which leads to her death at the end of the story. But the expression also refers to the repression of her feelings in marriage. Note the way ‘the coursing blood warmed and relaxed every inch of her body’ when she begins to feel free. [1,5 points]

8. The chief irony of the story comes from the fact that Mrs Mallard dies at the very moment when she has realized the importance of living (‘a quick prayer that life might be long’). It is perhaps to show, symbolically that a woman can never be free. Mrs Mallard’s marriage is not a bad one, her husband dotes on her (‘the kind, tender hands folded in death; the face that had never looked save with love upon her’) but marriage in the late 19th is still stifling and oppressive. [2 points]

9. a. the storm of grief: hyperbole b. a monstrous joy: oxymoron

c. joy that kills: paradox d. a breath of rain: metaphor [4 points]




1. We have an exterior narrator, who seems omniscient, at least as far as Lily Bart’s thoughts are concerned. In the second paragraph, we follow these thoughts directly at times (‘No; she was not made for mean and shabby surroundings’). [2 points] 2.a. A possibility of escape is marrying Mr Gryce lines 1 to 5 and lines 57 to 60 What I s wrong with it is that Mr Gryce is boring (‘boring her for life’) 2.b. Lily Bart gives three reasons why that possibility of escape might be necessary.

lines 6 to 20: she wants luxury and therefore money lines 21 to 45: she has lost money recently lines down to ‘But the odious things’: she will soon lose her beauty

Lily Bart starts considering Percy Gryce, and ends up with him again. In between she moves from one problem to the next. She feels trapped, she must do something but she sees no satisfactory solution. We sense an intelligent mind trying to work her way out of a problem. [3 points] 3. That society (and Lily) is obsessed with …

money: In the passage about card-playing we find the words taxes / pay / lost / needed / every penny / showered money on her / pocketed / five hundred / afford

clothes: the vocabulary of clothes and texture is quite rich: dressing gown / slippers / dresses / trinkets /wardrobe / lace / embroidered

appearances: Lily notices that she is beginning to look old (‘hollow and pale’, ‘two little lines’) and links this to ‘failure’. She speaks of ‘flaws’, as if she had to be a perfect picture. Lily is intelligent and sensitive, as is shown by her reflections; she wants to assert her own self but is hindered by a society which requires a woman to be feminine and desirable, to be a mere façade. It is also a society in which status is proportional to wealth: Lily feels that money controls her life.

[4 points] 4. The two semantic fields which are contrasted in the second paragraph are those of wealth and poverty. [1 point] 5. Lily feels that she is not free: she has to please society, her hostesses, in order to keep being invited and survive financially. This is why she has to play cards (is ‘expected to’). She feels no better than a paid servant. [1 point] 6. The Bible tells us that we are fools if we are too concerned with mirth, with superficial matters. Lily Bart wants material opulence, she lives in the house of mirth: she is therefore a fool, and we can guess that the novel will not have a happy outcome for her. She could be happy if she accepted to marry Lawrence Selden, the man she loves, but she won’t find the courage to accept someone who is poor. [4 points] 7. What aspect of American society is shown here? Written in 1905, at the end of the Gilt Age (the last quarter of the 19th century, when the gap between the rich and the poor became wider), Edith Wharton’s novel reflects the transition between the restrictions and the repressions of a woman’s life in the 19th century and the beginning of a more open, tolerant age. Lily longs for independence and love but has been conditioned by society to worship money and status. The passage also reflects the influence of Darwinism, of surviving. Lily uses the vocabulary of survival and war when she says that her beauty is her only ‘defence’. [5 points]



DEVOIR A ENVOYER N°4 – TACHE FINALE | CORRECTION

Pour chacune des quatre colonnes, situer la prestation du candidat à l’un des quatre degrés de réussite et attribuer à cette prestation le nombre de points indiqué (sans le fractionner en décimales) de 0 à 5.

LV1 LV2 Présentation du

dossier Niveau de lecture des

documents Culture littéraire Expression orale

0 ou

1 pt

0 ou

1 pt

Description sommaire de l’ensemble du dossier, ajout d’un ou plusieurs documents plus ou moins pertinents, pas de lien explicité avec la thématique du dossier.

Explication partielle ou confuse de la nature et de l’intérêt des documents.

Aucune référence à l’environnement littéraire des documents (genre, courant, figures emblématiques, …).

Exposé hésitant, vocabulaire pauvre, syntaxe erronée. Interaction difficile.

2 pts 3 pts

Description correcte de l’ensemble du dossier, ajout d’un ou plusieurs documents plutôt pertinents, thématique du dossier explicitée mais difficulté à justifier le choix des documents ajoutés.

Explication acceptable du sens et de l’intérêt des documents.

Références sommaires à l’environnement littéraire des documents.

Exposé clair mais vocabulaire simple, syntaxe élémentaire. Comprend les questions simples et peut répondre.

4 pts 5 pts

Description précise de l’ensemble du dossier, exposition claire de la thématique, ajout d’un ou plusieurs documents pertinents, début d’argumentation du choix autour de la thématique.

Explication nuancée du sens et de l’intérêt des documents, avec recours à des outils méthodologiques pertinents.

Essai de mise en perspective des documents dans leur(s) environnement(s) littéraire(s).

Exposé clair, vocabulaire précis, syntaxe courante maîtrisée. Bonne interaction.

5 pts

Description riche et précise de la thématique et de l’ensemble du dossier, ajout d’un ou plusieurs documents pertinents, justification claire et argumentée du choix autour de la thématique, expression d’une appréciation esthétique et/ou d’un jugement critique personnels.

Explication nuancée du sens et de l’intérêt des documents, avec recours à des outils méthodologiques pertinents : perception de l’implicite.

Mise en perspective pertinente des documents dans leur(s) environnement(s) littéraire(s).

Exposé très clair, vocabulaire précis, étendu et varié, syntaxe complexe. Interaction riche.

Note : …… / 5 Note : …… / 5 Note : …… / 5 Note : …… / 5

cours année littérature anglaise classe de 1ère l …...- préparer le dossier bac. cours année...

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