Vous êtes sur la page 1sur 480

Meeting Point 2 de

Josette STARCK
Lycée Richelieu, Rueil-Malmaison
Formateur IUFM Versailles

Pascale CAMPS-VAQUER
Collège Les Vallées, La Garenne-Colombes
Formateur IUFM Versailles

Dominique SANTONI
Collège-Lycée Buffon, Paris

Isabelle ZIMMER
Lycée Léonard de Vinci, Saint-Michel-sur-Orge

Paul LARREYA
Professeur de linguistique anglaise

Avec la participation de Ruth PHAN,


Lycée Charles de Gaulle, Poissy
Conception maquette : Marc et Yvette
Mise en page : Isabelle Vacher, Graphisme
Illustrations : Pénélope Paicheler - Anthony Cocain (2010)
Cartographie : Corédoc
Édition : Catherine de Bernis

© Hatier – Paris, 2010 ISBN : 978-2-218-94430-7

Toute représentation ou reproduction, intégrale ou partielle, faite sans le consentement de l’auteur, ou de ses ayants droits, ou ayants
cause, est illicite (article L. 122-4 du Code de la Propriété Intellectuelle). Cette représentation ou reproduction, par quelque procédé que
ce soit, constituerait une contrefaçon sanctionnée par l’article L. 335-2 du Code de la Propriété Intellectuelle. Le Code de la Propriété
Intellectuelle n’autorise, aux termes de l’article L. 122-5, que les copies ou reproductions strictement réservées à l’usage du copiste et
non destinées à une utilisation collective, d’une part, et, d’autre part, que les analyses et les courtes citations dans un but d’exemple et
d’illustration. Une représentation ou reproduction sans autorisation de l’éditeur ou du Centre Français d’Exploitation du droit de Copie
(20, rue des Grands-Augustins, 75006 Paris) constituerait une contrefaçon sanctionnée par les articles 425 et suivants du Code Pénal.
S O M M A I R E

Avant-propos p. 4

Unit 1 SONG OF MYSELF p. 11

Unit 2 HALL OF FAME p. 27

Unit 3 MAKE A WISH p. 42

Unit 4 HEROES p. 61

Unit 5 CITY OF GLASS p. 86

Unit 6 WILD WILD WEST p. 109

Unit 7 ROBOT DREAMS p. 128

Unit 8 TRUE BRITS p. 149

Unit 9 DESTINATION LIVERPOOL p. 174

Unit 10 LIFE IS ART p. 202

Unit 11 A WORLD OF GEEKS p. 225

Unit 12 MOTHER EARTH p. 245

Unit 13 ALL THE WORLD’S A STAGE p. 260

Unit 14 A MIND TO MURDER p. 278

Unit 15 OVER THE RAINBOW p. 296

Unit 16 JAMAICAN COLOURS OF LONDON p. 316

Fiches d’évaluation (fiches photocopiables) p. 342


Reading corner (fiches photocopiables) p. 383
Exploitation du DVD-Rom p. 409
Fiches d’exploitation des dialogues du site compagnon p. 457

3
AVANT-PROPOS

I. Nos choix
Plusieurs objectifs majeurs ont présidé à la conception de Meeting Point 2de.

1) Nous avons tout d’abord voulu mettre en œuvre le CECRL, qui vise à faire évoluer les
pratiques en matière d’enseignement et d’évaluation. Nous nous sommes posé plusieurs
questions. Comment réellement mettre en pratique le CECRL ? Comment renouveler nos
pratiques ? Comment motiver les élèves ? Comment s’aider du CECRL ?
Pour s’adosser aux programmes officiels et rendre notre enseignement plus communicatif,
nous avons conçu des projets pédagogiques qui s’articulent autour d’une tâche et d’un
contenu culturel. Chaque séquence met en jeu différentes activités langagières et permet
d’enseigner une langue de culture et de communication.
2) Le pilotage par la tâche est au cœur de nos préoccupations. Cette démarche actionnelle
donne du sens à tout l’apprentissage au cours de l’unité. C’est pourquoi elle est annoncée
dès le début de l’unité. Les contenus culturels, la tâche et les objectifs linguistiques sont
étroitement liés.
La tâche se définit comme la mise en œuvre de compétences données (skills) pour parvenir
à un résultat concret, identifiable, observable.
La tâche doit être une vraie situation de communication, une situation authentique et aussi
naturelle que possible. Elle doit permettre à l’élève de mobiliser et réinvestir tout ce qu’il a
appris. Elle permet de s’entraîner, mais aussi de s’approprier et de mémoriser ce qui a été
introduit auparavant.
Il est important de souligner que la tâche détermine l’activité langagière dominante.
Dominante ne veut cependant pas dire exclusive. Toutes les autres activités langagières
peuvent être travaillées au cours d’une unité.
3) Le but de l’apprentissage en classe de seconde est de passer d’un niveau A1 ou A2
à un niveau B1.
4) Quelles conséquences ces objectifs ont-ils sur notre enseignement ?
k La tâche détermine l’activité langagière travaillée au cours de la séquence et
oriente ainsi tout le projet. L’activité langagière privilégiée sera le fil conducteur de l’unité.
Elle s’appuiera sur les autres activités sans les exclure.
k Des micro-tâches, tâches intermédiaires (jeux de rôles, comptes rendus de textes,
de documents iconographiques par exemple) devront préparer la mise en place de la tâche
finale. Toutes les compétences ne sont pas nécessairement travaillées au cours de l’heure.
k Ceci impose d’alterner les activités langagières travaillées dans chaque projet.
k Les cinq activités langagières, pas seulement celles de compréhension et de production
écrite, seront travaillées. L’expression orale et ses deux volets (en continu et en interaction)
sont importants dans un enseignement communicatif : ceci implique de développer la parole
de l’élève et par conséquent de limiter le questionnement magistral.
k La langue devient alors un moyen de réaliser une tâche et n’est plus un objet d’étude en soi.
k L’objectif est de construire une pratique communicative : pourquoi lit-on, pourquoi
parle-t-on ? Le but est de développer l’oral en particulier, de donner de vraies raisons
d’apprendre, de communiquer (information gap) et de prendre la parole.
k L’approche choisie a pour but de dédramatiser la parole de l’élève avec des aides à la
prise de parole et une auto-évaluation positive (des descripteurs positifs : je peux, je sais).
Le projet, qui est centré sur la tâche, permet de donner aux élèves les moyens de
s’exprimer, de les remettre au centre de leur apprentissage.

4
k Notre souci a aussi été de répondre à l’hétérogénéité des classes de Seconde en
offrant des documents très divers et de difficulté variable.
k Il nous apparaît important de diversifier les activités, de ne pas privilégier l’analyse
de texte et le commentaire de texte. Tout texte n’est pas à « essorer ». Certains serviront
uniquement à une récolte d’informations et ne mériteront pas que l’on s’y attarde.
k Nous n’avons pas négligé l’acquisition lexicale (lexique et phonologie sont liés) et
syntaxique par un entraînement régulier tout au long de l’année.
k Notre préoccupation constante a été de préserver, en l’enrichissant et en l’élargissant, une
démarche que les professeurs connaissent et maîtrisent bien : approche méthodologique,
ainsi que la réflexion sur la langue en contexte.
Avec Meeting Point nous avons donc cherché à concevoir un manuel novateur qui, tout en
tenant compte des acquis antérieurs dans l’enseignement des langues, s’inscrit résolument
dans une mise en œuvre réaliste et très concrète du CECRL.
Nous avons aussi voulu tenir compte des acquis de collège : un professeur de collège et
un autre, à cheval sur les deux cycles, nous ont guidés dans cette démarche et nous ont
permis de construire un parcours très progressif.

II. La structure du manuel


Le manuel s’ouvre sur une évaluation diagnostique dans les cinq activités langagières qui
servira à faire le bilan des acquis en début d’année. Ces différentes évaluations permet-
tront la constitution des groupes de compétences. Pour se préparer à chaque évaluation
l’élève pourra s’entraîner et s’auto-évaluer à l’aide de la grille et du barème fournis.
Le manuel comporte cinq grandes parties correspondant aux cinq activités langagières
dominantes. La première comprend quatre unités, les quatre autres seulement trois.
1) Ces cinq modules permettent un travail équilibré des cinq activités langagières du
CECRL.
Pour travailler la prise de parole en continu, la première et la deuxième unités sont plus
courtes, ce qui facilitera la transition avec le collège. Ces unités s’appuient sur des thèmes
étudiés au collège, exigibles au niveau A2 : parler de soi, de ses goûts, de ses capacités
et savoir développer une description physique.
2) Chaque module est encadré par des pages spécifiques :
– une double page d’ouverture (y figurent un sommaire des thèmes travaillés ainsi que
les tâches finales à réaliser) ;
– une double page de méthodologie pour aider l’élève dans l’activité visée (nous avons
d’ailleurs consacré quatre pages à l’expression écrite). Ces pages ont été conçues pour
permettre à l’élève d’être actif : il observe, compare, déduit et s’entraîne (les conseils ne
viennent pas du professeur, mais l’élève est invité à tirer les conclusions de son observation).
➼ Nous avons en effet accordé une importance particulière à l’aide méthodologique
et aux savoir-faire que l’élève doit acquérir pour être autonome.
3) Chaque unité comprend trois pages de Language at work pour travailler la phonologie,
le lexique et la grammaire.
4) Chaque unité se clôture par une double page Your task, permettant de réaliser la tâche
finale.

5
5) Chaque groupe d’unités se termine sur une évaluation sommative de l’activité langa-
gière dominante. Un entraînement avant l’évaluation finale est proposé à chaque fois.
Ce galop d’essai aidera l’élève à faire le point sur ses acquis avant l’évaluation sommative.
6) La fin du manuel comprend des pages de lecture suivie (Reading corner), un renfor-
cement lexical, un précis grammatical, une liste de verbes irréguliers, une double page de
phonologie et quelques pages de méthodologie (Commenter une scène de film, Commenter
un document visuel, Comprendre les consignes).
Tout au long du manuel, nous avons eu à cœur de rester réalistes et concrets : enseignants
sur le terrain, nous avons testé les unités et les documents en classe ; les mises en œuvre
du Fichier pédagogique et les productions proposées ont été élaborées en cours.

III. Développer la parole de l’élève


1) Sept unités sont consacrées à l’expression orale (prise de parole en continu et en
interaction), en outre trois unités sont centrées sur la compréhension orale, ce qui permet
à l’élève de s’entraîner régulièrement.
2) L’aide à l’élève est notre souci permanent, c’est pourquoi :
k l’entrée dans le projet pédagogique est la plupart du temps visuelle (exemple : Tune in!
p. 72) ;
k les textes sont courts ou, s’ils sont plus longs, nous les avons fractionnés (exemple :
p. 214) ;
k les fiches de compréhension écrite et orale du Workbook sont des fiches d’entraînement
et non d’évaluation ;
k l’aide lexicale fournie dans les rubriques Help! est organisée en parties en fonction du
support et par nature de mots (ceci afin de faciliter la mémorisation et l’expression orale) ;
k des amorces sont fournies pour aider les élèves les plus fragiles à se lancer à l’oral
(exemple : p. 187).
3) Mise en œuvre des documents
Tous les documents peuvent être mis en œuvre soit de façon classique avec tout le groupe
classe, soit de façon plus communicative. L’enseignant est libre de privilégier telle ou telle
démarche en fonction de ses objectifs et du profil de la classe.
k Nous avons donné au professeur la possibilité de choisir son approche, de constituer
des groupes au sein de la classe et de confier à chaque groupe un document, s’il le désire.
Ainsi on peut organiser un travail par binômes ou par groupes sur :
– un texte (exemple : p. 64) ;
– des parties de texte (exemple : p. 118) ;
– des images (exemple : p. 86 et 87).
k Des fiches d’analyse des documents iconographiques ont été conçues (exemple : p. 159).
k Des mini-tâches, simulations de role play ou act it out, sont aussi proposées (exemple : p. 46).
k Faire le compte rendu d’un document écrit ou oral est un exercice fondamental (exemple :
p. 216) auquel nos élèves doivent être entraînés.
k Réciter un poème (exemple : p. 40) ou jouer une scène de théâtre (exemple : p. 178)
permet de mettre en place et d’automatiser bien des règles de phonologie sans que l’élève
s’en aperçoive.

6
4) Consolidation des acquis
k Le travail phonologique est intégré dans les unités pour que l’élève prenne confiance.
La rubrique Improve your pronunciation permet de travailler la prononciation des mots clés de
l’unité. Ces rubriques sont téléchargeables sur le site compagnon pour permettre à l’élève de
préparer ces exercices à la maison tout en écoutant un modèle phonologique authentique.
k Le travail lexical (Build up your vocabulary) ainsi que le renforcement lexical (p. 251
à p. 254) est aussi étroitement lié à la thématique et à la tâche finale. L’apprentissage du
lexique se fait en contexte et a pour but d’aider l’élève à enrichir sa palette lexicale.
k La double page de Language at work consacrée à la grammaire a deux finalités :
examiner le fonctionnement de la langue en contexte, observer des faits de langue, en
déduire des règles de fonctionnement. Ensuite, opérer un transfert et manipuler ces faits
de langue dans des contextes différents pour vérifier que les connaissances étudiées sont
bien utilisées. Nous avons intégré à chaque fois un document iconographique afin que la
grammaire soit tout le temps utilisée en contexte.
k De nombreuses fiches du Workbook sont suivies d’une rubrique Action! pour un
guidage de la prise de parole et incitent les plus faibles à se lancer à l’oral.
➼ Tous ces types de mise en œuvre amènent à limiter le questionnement magistral
et à développer la parole de l’élève.
5) Ouvrir l’élève au monde de l’art
k En plus de l’unité 10 (Life is Art) et des différents supports iconographiques qui jalon-
nent le manuel nous avons souhaité prolonger le projet sur New York (unité 5 : City of
Glass) et faire travailler les élèves sur des représentations de la ville mythique par des
artistes de différentes époques. Ce Art Project a pour but de découvrir des œuvres
d’art, d’acquérir des repères historiques et culturels, de situer ces œuvres dans le temps et
de s’interroger sur le sens de ces tableaux ou photos.

IV. Développer l’autonomie de l’élève


k Le développement de cette autonomie passe notamment par la lecture de textes plus
longs (Reading corner). Nous avons pensé au tremplin vers la Première avec des textes plus
longs en fin de manuel, des textes variés (une nouvelle sur un pionnier aux États-Unis, un
poème, une chanson, des textes littéraires classiques, une nouvelle policière), avec fiches
d’entraînement dans le Fichier pédagogique.
k Douze compréhensions orales sont téléchargeables sur le site compagnon avec
fiches d’évaluation, corrigés et scripts disponibles dans ce Fichier et sur le site Internet.
Elles sont reliées à la thématique de l’unité et peuvent constituer un entraînement individuel à
la maison.
k Les aides méthodologiques sont récurrentes dans le manuel. Chaque groupe d’unités se
clôture sur une double page de méthodologie de l’activité langagière dominante.
k Pour faciliter l’apprentissage, nous avons créé des pages d’aide à :
– l’utilisation d’un dictionnaire (p. 97) ;
– l’exploitation d’une vidéo (Commenter une scène de film, p. 279-280) ;
– l’étude d’un document iconographique (Commenter un document visuel, p. 281-282) ;
– la compréhension des consignes (Comprendre les consignes, p. 283-284).
k Le précis grammatical, volontairement court, permet à l’élève de consolider ses bases,
compléter ses connaissances, mieux comprendre le fonctionnement de la langue anglaise.
k Les verbes irréguliers ont été enregistrés sur le CD classe n° 3 (piste 33) pour offrir
un modèle phonologique et faciliter l’apprentissage des élèves.
7
V. Différencier entraînement et évaluation
Le Workbook est un outil pour que l’élève devienne autonome lorsqu’il s’agit d’activités de
réception, compréhension écrite et orale et production orale.
1) C’est pourquoi les fiches fournies sont des fiches d’entraînement et non d’évaluation.
Les fiches proposées ne visent pas à obtenir la bonne réponse, à vérifier tout de suite la
compréhension. Elles partent du repérage que les élèves peuvent faire, puis du classement
d’informations / données. Une fois ce repérage effectué, l’élève peut essayer de tisser des
réseaux de sens. Comprendre est un cheminement, implique de bâtir du sens. Lorsqu’il
écoute un document sonore, l’élève perçoit des chaînes de sons et repère des indices,
qu’il va mettre en relation. Il va émettre des hypothèses à partir des indices repérés, des
mots porteurs de sens. L’activité de compréhension orale consiste à faire émerger du sens.
Il faut donc encourager l’élève à repérer et s’appuyer sur le connu, à classer les éléments
entendus, et accepter l’idée d’une reconstitution progressive du sens. Il s’agit également
pour l’élève d’acquérir des stratégies pour gérer l’inconnu ; il nous faut donc l’entraîner à
se forger des stratégies d’écoute qui lui permettent de devenir autonome.
Il est aussi essentiel de faire prendre conscience aux élèves des parallèles avec la compréhension
écrite. Certains processus mentaux sont communs et peuvent donc être transférables d’une
compétence à l’autre. La démarche est la même en compréhension écrite : repérer certains
éléments clés, tisser des réseaux de sens, s’appuyer sur la dérivation, la composition, le contexte
pour deviner le sens des mots inconnus. Là aussi, il y a des zones d’ombre à accepter.
Pour que l’élève soit actif, nous prévoyons des tâches qu’il aura à accomplir pendant l’écoute.
Ces tâches encadrent l’écoute, facilitent la concentration et dirigent son attention sur les
points essentiels.
2) Les rubriques Action! du Workbook visent à encadrer la parole de l’élève, à lui donner les
outils suffisants pour prendre la parole en cours. Elles renforcent l’autonomie de l’élève et le
mettent en confiance pour lui permettre de prendre la parole. Cette phase est capitale.

VI. Les périphériques


1) Un DVD-Rom propose 12 vidéos d’une durée totale de 25 minutes, rattachées aux
unités, accompagnées de fiches d’entraînement, de corrigés, de pistes d’exploitation
pédagogique, de scripts et d’informations complémentaires (le Fichier présent réunit les
exploitations pédagogiques et les fiches). La partie Rom du DVD propose un appareil
pédagogique complet, permettant de voir simultanément les vidéos, les scripts et les
différentes ressources pédagogiques. Grâce à cet outil multimédia, l’enseignant peut
prendre connaissance facilement de toutes les ressources proposées pour l’étude d’une
vidéo lorsqu’il prépare son cours, puis de les vidéoprojeter en classe pendant la séance.
2) Seize transparents et leur livret d’accompagnement sont également disponibles.
3) Les trois CD classe comprennent des documents authentiques, tous les
enregistrements nécessaires à la réalisation des activités du manuel, les verbes irréguliers
et toutes les rubriques Help!
Les unités du manuel ont été testées et les mises en œuvre proposées et détaillées dans
ce Fichier sont le fruit de nos expériences en classe.
Nous sommes très intéressés par vos remarques, suggestions et critiques sur cet ouvrage.
(Meeting Point, Éditions Hatier, 8 rue d’Assas, 75278 Paris Cedex 06)
Les auteurs
8
Unités du manuel
UNIT
1 SONG OF MYSELF

Song of myself
S’exprimer à l’oral en continu :
les descripteurs du CECRL
Niveau A2 Niveau B1
Grille d’auto- Je peux utiliser une série de phrases ou Je peux m’exprimer de manière
évaluation d’expression pour décrire en termes simple pour raconter des
simples ma famille et d’autres gens, expériences et des événements.
mes conditions de vie, ma situation Je peux donner brièvement les
actuelle. raisons de mes opinions et projets.
Ma prononciation, parfois encore Je peux raconter l’intrigue d’un livre
hésitante, me permet de me faire ou d’un film et exprimer mes réactions.
comprendre en général. Ma prononciation est assez bonne
pour me faire comprendre.
Étendue Possède un répertoire restreint, Montre une bonne maîtrise du
du lexique peut communiquer en termes vocabulaire, malgré des erreurs
simples sur des situations concrètes lorsqu’il s’agit d’exprimer une
de la vie quotidienne (informations pensée plus complexe. Peut
personnelles et familiales), peut décrire combiner de nouvelles expressions.
son environnement proche. Utilise des Peut se servir avec une correction
structures élémentaires, des blocs suffisante de tournures et d’expressions
lexicalisés et des phrases simples. fréquemment utilisées et associées
à des situations plutôt prévisibles.
Phonologie La prononciation est en général La prononciation est clairement
suffisamment claire pour être intelligible même si un accent
comprise malgré un net accent étranger est quelquefois perceptible
français, mais l’interlocuteur devra et si des erreurs de prononciation
parfois faire répéter. surviennent occasionnellement.
Correction Utilise des structures simples Peut se servir avec une correction
correctement, mais fait encore des suffisante d’un répertoire
erreurs élémentaires qui ne gênent de tournures et expressions
pas le sens. fréquemment utilisées et associées
à des situations plutôt prévisibles.
Discours Peut raconter une histoire ou décrire Peut enchaîner quelques points
structuré quelque chose avec une simple liste de et donner des explications.
et organisé points successifs.
Les connecteurs logiques utilisés sont
simples : « et », « mais » et « parce que ».
Aisance Peut se faire comprendre dans Peut s’exprimer avec une certaine
à l’oral une brève intervention, même si aisance, malgré quelques problèmes
les pauses et les faux démarrages de formulation ayant pour conséquence
sont nombreux. A recours à des des pauses et des redémarrages.
reformulations et des gestes pour Peut faire un exposé s’il a été
combler le manque de lexique. préparé à l’avance.

UNIT 1 • 11
UNIT
1 SONG OF MYSELF

Nous avons choisi de commencer l’année avec deux unités plus courtes pour faciliter
la transition avec la classe de troisième. Parler de soi, de ses goûts a été traité au collège
et doit donc être familier aux élèves. Ce vocabulaire concret sera rebrassé et approfondi
au cours de l’unité. Nous avons en outre sélectionné des thèmes qui devraient intéresser
les adolescents de cette tranche d’âge : musique, téléréalité…

Manuel Workbook Fiches


photocopiables

Tâche finale Se présenter, parler de soi, de ses goûts,


de ses passe-temps et des raisons pour
lesquelles on souhaite participer au casting
d’une émission de télévision

Objectifs Échanges • Lien social


culturels

Lexique k se présenter, présenter les autres (nom,


âge, nationalité...) (p. 18) X X
k se décrire physiquement (p. 18)
k parler de soi (p. 18-20) X
k parler de ses goûts (p. 19-20) X
k parler de ses loisirs (p. 19-21)
k parler de ses habitudes (p. 22)
k les émissions de téléréalité américaines
(p. 21)
k Check your vocabulary (p. 19) X

Grammaire k le présent simple (p. 22)

Phonologie k repérage des mots accentués (p. 20) X


k repérage des liaisons (p. 20) X

Structures de k désirs et souhaits


communication k exprimer ses goûts
k capacité

12 • UNIT 1
Activités langagières dominantes

Manuel Workbook Fiches


photocopiables

Lire k Personality quiz (p. 19)


k “I am” poems (p. 20) X
k Real TV, émissions de téléréalité
aux États-Unis (p. 21)

Prendre k Tune in, passeports authentiques


la parole (p. 18) X X
en interaction k faire connaissance avec quelqu’un (p. 18) X
k Personality quiz (p. 19)
k commenter un document iconographique
(p. 20-21)

Prendre k présenter quelqu’un (p. 18)


la parole k se présenter, parler de soi et de ses
en continu goûts (p. 18 et 23)
k réagir à un quiz (p. 19)
k lire un poème à haute voix (p. 20)
k faire un compte rendu oral d’un document
sonore (p. 21)
k Your task (p. 23)

Écrire k écrire un “I am poem” (p. 20) X


k écrire un paragraphe sur la vie quotidienne
(p. 22)

Écouter k Get ready, p. 18


k Train your ears, p. 20
k A man for the job (p. 21) X
k site compagnon, Please meet Kareem X

Écouter Poor Little Rich Girls, extrait d’une émission


et regarder de téléréalité (p. 21) X
(vidéo)

N. B. : les titres en gras indiquent les documents à étudier afin de réaliser la tâche finale.
Nous vous rappelons que les Help! sont enregistrés sur le CD classe.

UNIT 1 • 13
UNIT
1 SONG OF MYSELF

MANUEL k P. 18
TUNE IN!
> Mise en œuvre : cette activité de sensibilisation pourra être menée rapidement.
1. Get ready
Dans un premier temps, on demandera aux élèves de lire rapidement les passeports p. 18.
Ils doivent repérer les informations principales concernant les personnes.
a. Écoute et prise de notes : on fera écouter quatre courts enregistrements et on demandera
aux élèves de prendre des notes pour identifier les enregistrements correspondant aux deux
passeports. Pour aider les élèves dans leur prise de notes, on pourra fournir la grille suivante.

Full name
Nationality
Date of birth
Age
Place of birth
Residence
Job
Date passport
was issued
Date passport
will expire

Cette grille pourra être (rétro)projetée à l’aide d’un transparent ou d’un vidéoprojecteur. On
pourra donner un transparent à un élève qui complétera la grille au fur et à mesure de l’écoute.
On reprendra la grille et on la complètera, en la corrigeant collectivement au fur et à mesure.

> Script de l’enregistrement


1. I’m Sheila Hutchinson and I’m Jamaican. I was born on February 29th, 1981 in Kingston,
which is the capital of this country. I don’t live in Jamaica because I’m studying in the USA
to become a lawyer. My passport was issued in 2002 because I’m very fond of travelling.
I love visiting foreign countries! I go abroad every summer.
2. My name is Shani Robinson and I was also born in Jamaica on February 29th, but in 1989,
in Manchester, which is also in the southern part of Jamaica. I’m an actuary, though at the
moment, I work in France in a lycée. I needed a passport to go to France, that’s why my
passport is fairly recent: It was issued in July 2008 and will expire in 2018. I hope to have
visited many European countries by that time!
3. My name is Sarah Kendal Stine, and I am an American citizen. I was born on January 7th,
1986 in Alabama. My passport was issued in New Orleans, Louisiana because it is the state
where I live and study now. My passport was issued in 2003 and is valid for ten years.
4. I’m Debbie Steiner. I was born on June 7th, 1981 in New Orleans, and I’m Anglo-American.
I live and work as a teacher in Montgomery, Alabama which is famous because Martin Luther
King was born there. I don’t really like travelling but I needed a passport to visit my English
family next summer, so my passport is brand-new: It was issued in January 2009 and will
hopefully last until 2019 if I don’t lose it before then. I’m so careless!

14 • UNIT 1
b. Synthèse : les élèves doivent maintenant présenter les deux jeunes personnes qu’ils ont
écoutées à l’aide de leurs notes. Cela donnera lieu à une prise de parole en continu sur
chaque personne qui pourra servir de base à la trace écrite.
Productions possibles : Shani is Jamaican / a Jamaican citizen / comes from Jamaica,
a Carribean island. She was born in Manchester, on February 1989, she is in her twenties,
early twenties. She is an actuary (a statistician of an insurance company who calculates risks
and premiums). Her passport is valid until 2018.

2. Tell me more
> Mise en œuvre
k Avec une classe fragile il sera peut-être utile de réviser les constructions interrogatives.
On pourra commencer par un brainstorming afin de revoir rapidement les questions les plus
usuelles (nom, âge, adresse, nationalité, téléphone…) que les élèves manipulent depuis la 6e.
k On utilisera ensuite la fiche ci-dessous, soit (rétro)projetée, soit distribuée en copie
à la classe.

Find the questions with the help of these prompts.


Name What…?
Age How…?
Date of birth When were \wEr\…?
Place of birth Where \weEr\…?
Nationality What…?
Residence Where…?
(address) What…?
Height How tall \tO…l\…?
Family (brothers / sisters) How many…?
Parents’ occupation What’s your…? Where does… mother / father?
Music What… favourite…?
Books What…?
TV series What is…?
Travels What English-speaking countries…? Where…? Have…?
Hobbies How… your free time?
Dreams What…? (dream of + V-ing / hope to + V)
Qualities What are…?
Defects What are…?

k Travail en binômes : les élèves pourront s’interroger pour apprendre à mieux se connaître.
Vous pourrez utiliser la grille page suivante (fiche photocopiable sur le site compagnon).
N. B. : tous les élèves auront la même fiche de travail.

UNIT 1 • 15
UNIT
1 SONG OF MYSELF

1. Before speaking, work on your own. You have two minutes to fill in the grid with
information about yourself. You will use these elements to answer your friend’s questions.
About me:
Name My…
Age I am…
Date of birth I was born...
Place of birth I…
Nationality I…
Residence I live in a town \taÁn\, in a village \"vIlIdZ\, in a city.
(address) I live at…
Height I am… tall.
I have…
Family (brothers / sisters)
… only child / the eldest… / older than… / younger than...
My… a…
Parents’ occupation
My... works in / for...
Music My favourite…
Books My...
TV series I love / enjoy…
Travels I have visited / been…
Hobbies
Dreams
Qualities I think I am...
Defects I am...
2. Interview! Ask your friend about himself / herself and fill in this grid.
About my friend:
Name
Age
Date of birth
Place of birth
Nationality
Residence
(address)
Height
Family (brothers / sisters)
Parents’ occupation
Music
Books
TV series
Travels
Hobbies
Dreams
Qualities
Defects

16 • UNIT 1
k Présentation croisée : enfin les élèves pourront présenter leur partenaire à la classe. Ils
pourront ainsi utiliser la troisième personne du singulier : s/he lives, s/he hopes, s/he has...

3. What about you?


On demandera aux élèves de remplir la fiche de renseignements les concernant dans le
Workbook p. 5. Cette activité pourra servir de « fiche de début d’année » faite en classe
ou donnée comme travail à la maison.
Travail de groupe / module : on pourra aussi demander aux élèves une prise de parole en
continu (se présenter en s’appuyant simplement sur cette fiche remplie).

1. PERSONALITY QUIZ MANUEL k P. 19

Anticipation à partir de l’illustration


On demandera aux élèves de formuler des suggestions quant au contenu du texte qu’ils
vont lire.
Productions possibles : I can see three young boys sitting on a bench, in a park. I can see
teenagers relaxing in a park. I can see three teenagers listening to an iPod/music. They
share headphones so they can listen to the same music. They may be listening to new types
of music. The scene must take place at the weekend or after school because the boys look
relaxed / because they don’t wear uniforms. They seem to have plenty of time to enjoy
themselves / to have fun. They look like any teenagers. They are dressed like any teenagers
with jeans and T-shirts. Their clothes are casual. We / I can easily identify with them because
they behave as we / I do. The text may deal with teenagers’ tastes and activities. It may
be about music / listening to music. The text may be about teenagers’ behaviour. The text
deals with what teenagers do in their free time. The topic may be teenagers and their leisure
activities / hobbies / pastimes.

1. What’s your music personality?


> Mise en œuvre
k Lecture silencieuse. Les élèves liront le quiz et répondront aux questions puis prendront
individuellement connaissance de l’analyse correspondant à leur résultat.
k Dans le cadre d’une classe fragile, ou si certains élèves ont des problèmes de
compréhension, on pourra demander de trouver les équivalents anglais des mots suivants
(dans l’ordre du texte) :
– paroles d’une chanson (lyrics) – genre de musique (kind of music)
– passer du temps (spend time) – se moquer de (don’t care)
– air / mélodie (tune) – se préoccuper de (be concerned with)
– groupe / orchestre (band) – apprendre à connaître (get to know)
– rechercher des informations – atteindre ses objectifs
(researching information) (achieve one’s goals)

UNIT 1 • 17
UNIT
1 SONG OF MYSELF

2. React
Productions possibles : The quiz is well-made, relevant, too obvious, too simple…
Prolongements possibles :
1. La question 5 (What is the role of music in your life?) pourra être davantage exploitée
et donner lieu à un sondage.
a. Mise en œuvre du sondage : on pourra faire bâtir un sondage à la classe en dehors
des heures de cours, les résultats pourront être donnés en classe et commentés par tous.
Voici quelques pistes.
– When do you listen to music? While you are doing your homework, on your computer, on
your way to school, in your bathroom, in your room, during the breaks at school?
– What influences you in your choice of music? Your friends, ads on TV, magazines, TV
shows, the radio stations you listen to?
– What is your favourite type of music?
b. Exploitation du sondage : les résultats pourront être présentés à la classe et commentés
à l’aide de transparents ou d’un PowerPoint élève.
c. Trace écrite possible : Listening to music plays an important part in our lives. We spend
a lot of time / of our spare time listening to music or even singing. We are addicted to music,
we can’t do without our iPod / without listening to music every day. We listen to music when
we are feeling depressed, stressed, nervous, when we are in a good / bad mood… We are all
music lovers / very keen on music…
2. Appropriation et mémorisation du lexique du quiz grâce à la fiche ci-dessous (fiche
photocopiable sur le site compagnon).

Check your vocabulary


1. Donnez les équivalents anglais de ces mots.
a. paroles d’une chanson : g. genre de musique :
b. passer du temps : h. se moquer de :
c. air / mélodie : i. se préoccuper de :
d. répéter (un spectacle) : j. apprendre à connaître :
e. groupe / orchestre : k. atteindre ses objectifs :
f. rechercher des informations :
2. Traduisez ces phrases.
a. Quelle sorte de musique aimes-tu ?
b. Je me moque de ce que les autres pensent de mes goûts.
c. Il faut du temps pour apprendre à connaître quelqu’un.
3. Classez ces mots en fonction de la voyelle -a- soulignée. Attention : il y a un intrus.
appreciate • favourite • party • equally • chatting • bad • about • name • started •
information • attractive • able • taste • same • care

\œ\ cat \eI\ snake \A…\ shark \E\ gorilla

18 • UNIT 1
4. Lisez la transcription phonétique, puis écrivez le mot correspondant.
\mju…"zISEn\ \"kØltSEr\ \Æp∏…sE"nœlIti\
\"O…gEnaIzd\ \E"tSi…v\ \mIs"tIErIEs\
\"bIznIs\ \E"pIErEns\
5. Travaillez sur la formation des mots et complétez le tableau qui suit. Puis vérifiez
à l’aide d’un dictionnaire.
Rappels
1. Au début d’un mot (= préfixe) 2. À la fin d’un mot ( = suffixe)
k Adjectif : un-, dis-, im-, in- k Adjectif ou adverbe : -ly
( = préfixes négatifs) k Adjectif : -ed, -y
k Nom : -ness, -(at)ion, -ance, -(i)ty

Nom Adjectif (positif) Adjectif (négatif) Adverbe

important

honesty

organized

tidy

fitness

loyal

CORRIGÉ
1. a. lyrics g. kind of music
b. spend time h. not care
c. tune i. be concerned about
d. rehearse j. get to know
e. band k. achieve one’s goals
f. search information
2. a. What kind of music do you like?
b. I don’t care about what other people think about my tastes.
c. It takes time to get to know somebody.
3.
\œ\ cat \eI\ snake \A…\ shark \E\ gorilla
chatting • bad favourite • name • party • started appreciate • equally
information • able • • about • attractive
taste • same

L’intrus est le mot care \k”Er\.

UNIT 1 • 19
UNIT
1 SONG OF MYSELF

4. \mju…"zISEn\ musician \"kØltSEr\ culture \Æp∏…sE"nœlIti\ personality


\"O…gEnaIzd\ organized \E"tSi…v\ achieve \mIs"tIErIEs\ mysterious
\"bIznIs\ business \E"pIErEns\ appearance
5.
Nom Adjectif (positif) Adjectif (négatif) Adverbe
importance important unimportant importantly
honesty honest dishonest honestly
organization organized disorganized
tidiness tidy untidy tidily
fitness fit unfit
loyalty loyal disloyal loyally

2. “I AM” POEMS MANUEL k P. 20


> Mise en œuvre possible
On pourra exploiter les deux illustrations en posant la question suivante : What sort of person
does each picture correspond to?
k Cette question pourra être traitée individuellement, en binômes, ou collectivement.
k On laissera aux élèves un temps de réflexion pour chercher des idées et produire des
énoncés (sous forme de notes).
k Un élève, ou un rapporteur de binômes, prendra la parole en continu. Une reprise
collective pourra avoir ensuite lieu.
Productions possibles : The first picture corresponds to someone who loves solitude,
deserted beaches, being on his / her own, being lonely, away from civilization. This person
certainly enjoys going on holiday on an exotic island, fishing, swimming, sailing, scuba-diving.
This person loves nature, living close to nature, in the wilderness. It’s about a surfer, someone
who enjoys taking risks / having thrilling adventures.
The second picture corresponds to somebody who loves sportscars and surfing. It reminds
me of California or Hawaii because we can see beaches and palm trees. This person enjoys
surfing and speed.

1. Me, myself and I


Les élèves liront ensuite silencieusement les deux poèmes et remarqueront la structure de
chacun d’entre eux.
On pourra alors procéder à un exercice de mémorisation. On demandera aux élèves de
mémoriser un vers chacun dans le premier (facile) ou le second poème (plus difficile). À la
chaîne, ils réciteront ensuite le vers qu’ils ont mémorisé, et l’on pourra aussi reconstituer
tout le poème.

20 • UNIT 1
2. Train your ears
Ce travail sur l’accentuation et les liaisons consonne-voyelle préparera l’activité 3. b.

3. Over to you
a. Les élèves échangeront sur les raisons de leur préférence pour tel ou tel poème. Insister pour
qu’ils justifient leurs choix. Cette activité pourra être menée en binômes ou en groupes.
Productions possibles : I prefer the first poem because I’m like the first teenager, I enjoy
travelling to new places, discovering the world. Unlike / Contrary to the second teenager
I’m very tidy and I’m sporty.
I prefer the second poem because I’m just like her. I love going to the beach and I can get
angry when people laugh at me. However I hate jazz. I prefer listening to R&B / rap music.
b. Les élèves liront à haute voix le poème de leur choix. On pourra faire un enregistrement
de leur lecture en salle multimédia pour qu’ils travaillent leur prononciation.
c. L’écriture du poème pourra être réalisée en individuel ou en binôme, en classe ou à la maison
avec ou sans l’aide de la fiche du Workbook, p. 6.
Une fois les poèmes rédigés, le professeur pourra en choisir un, l’écrire ou le faire écrire
sur un transparent, le (rétro)projeter et le corriger collectivement. Les meilleurs poèmes
pourront être affichés dans la classe.

Production possible :
Pragmatic but zany1
I am pragmatic but zany
I’d like to learn the tango which originated in Argentina
I must read more Dickens who is one of Britain’s greatest authors
I mustn’t be impolite since that is unbecoming of a lady
I am pragmatic but zany
I dream of becoming a playwright
I try to be well-informed
I worry about my grandmother who is 85 and lives alone
I remember Hurricane Gilbert which ravaged the Caribbean
I am pragmatic but zany
I can be angry when I disappoint myself
I can be friendly when I am at a party
I feel sad when it is overcast
I feel moved when reading Baudelaire
I believe in living within one’s means
I love pineapple juice and Jane Austen novels
1. crazy or unusual in a way that is amusing
Shani Robinson, 2009

UNIT 1 • 21
UNIT
1 SONG OF MYSELF

3. I AM THE MAN OF YOUR FUTURE MANUEL k P. 21


1. Get ready
> Exploitation de la photo : Speaker’s Corner
k On pourra demander aux élèves de faire une recherche rapide sur Speaker’s Corner.
k La reprise en classe donnera lieu à une prise de parole en continu.
Productions possibles : Speaker’s Corner is an area in the northeast corner of Hyde Park
in London, where ordinary people can go, especially on Sunday mornings, to make a speech
about any subject, and other people listen to them and sometimes argue with them. People
often stand on a box to make their speeches. For over 150 years it has been one of London’s
most unique and eccentric attractions. It is an open forum. Speakers are allowed to speak as
long as the police consider their speeches lawful. It is one of Britain’s most famous places for
public debate and discussion.
a. Productions possibles : The man is standing on a ladder and is holding a board. He is standing
on a ladder because he wants to be seen and heard by the crowd. The message is very clear.
This man is not gullible, he doesn’t trust anybody. He must be cautious, diffident, very suspicious.
He must also have a good sense of humour to write this tongue-in-cheek message.
b. Réponses : 1d • 2a • 3b • 4e • 5f • 6c

2. A man for the job


> Script de l’enregistrement
➼ Part 1
Teachers, friends and fellow classmates, I stand before you today to promote myself as a
potential candidate for class president.
➼ Part 2
Do you feel that your needs, opinions and ideas go unnoticed? Would you like to make
changes around the school? Cheaper prices in the cafeteria? Longer breaks between
classes? Less homework? Well, I am just the person to voice these ideas and to get them
moving. Your vote will bring the changes you want to this school.
➼ Part 3
But you may be asking, why vote for me? I am a highly reliable and responsible person.
Working as a referee forces you to make important decisions and apply the rules equally
to everyone. You can count on me to carry out your plans. A vote for me is a vote for your
future.

CORRIGÉ DE LA FICHE DU WORKBOOK, P. 7-8


I. A man for the job
➼ PART 1

1. teachers • friends • classmates • candidate • class • president

22 • UNIT 1
2.
Who is Sebastian speaking to? What for?
teachers • friends • classmates candidate • class president

➼ PART 2

3. changes • prices • cafeteria • breaks • classes • homework


4. k cheaper – longer – less
k prices – breaks – homework
k When elected as class president, Sebastian will do his best to have cheaper products
at the cafeteria, longer breaks between classes and less homework.

➼ PART 3

5. But you may be asking, why vote for me?


6. a. reliable • responsible
b. referee • important • decisions • apply • rules • count • carry out • plans • vote •
future
7.
Job outside school Role played in his job Qualities needed
referee apply rules • reliable (you can count on him) •
make important decisions responsible
8. You can count on me to carry out your plans. A vote for me is a vote for your future.

II. Action!
k Recap 1: Sebastian plans to promote himself as a future candidate for class president.
That’s why he addresses his friends and fellow classmates and teachers too.
k Recap 2: Sebastian is ready to support his schoolmates to make changes at school. He
wants to promote their needs, opinions and ideas because many students are not satisfied
and think the prices in the cafeteria are too expensive, the breaks between classes are too
short and they are given too much homework.
k Recap 3: As a referee, Sebastian often makes important decisions. He has to apply the
rules to everyone. So he is a responsible young man and his school friends can trust him
and count on him: He is reliable. Because of all his skills and qualities, Sebastian can voice
other people’s opinions and get them moving.

3. Recap
> Mise en œuvre
k L’élève s’appuiera sur ses notes et les amorces données dans le manuel.
k Pendant qu’un élève prendra la parole, on pourra demander aux autres de prendre des
notes sur ce qui est dit sur un transparent. Ces derniers pourront avoir des tâches ciblées,
repérer les erreurs de prononciation, lexique et grammaire. On pourra procéder à une
reprise collective avec correction des erreurs les plus importantes. Les notes prises sur
le transparent pourront être (rétro)projetées et corrigées collectivement. Elles pourront
ensuite servir de base à une trace écrite.

UNIT 1 • 23
UNIT
1 SONG OF MYSELF

Productions possibles : The recording deals with Sebastian’s plan to promote himself
as candidate for class president.
First, he explains that he can be a spokesperson for his friends. He voices his friends and
fellow classmates’ ideas, needs, opinions and demands. Then, he asks them if they would
like to make changes around the school because he wants to have cheaper prices at the
cafeteria, for example. He can defend them and improve their working conditions. Finally he
mentions the fact that he works as a referee in his free time so he’s used to applying the rules
to everyone and to making important decisions.
He also wants to convince them he’s the right person for the job. He insists on his skills and
qualities because he wants to be sure his classmates know he’s responsible, trustworthy and
reliable. He gives the reasons why he wants to become class president.
k La prestation de l’élève pourra être évaluée par ses camarades. Ils trouveront p. 54 et
55 du manuel les structures utiles pour commenter ce qui a été dit.
k On pourra aussi se servir de la grille fournie p. 55 pour évaluer la prise de parole.

4. REAL TV MANUEL k P. 21
1. Read and match
Réponses : 1B • 2C • 3A

2. Watch a video
Voir p. 412-413 et 431-432.

LANGUAGE AT WORK MANUEL k P. 22


> Le présent simple
1. Sujet (3e personne du singulier) + verbe + s
Sujet (autres personnes) + verbe
2. Forme affirmative : I come
Formes négatives : I don’t understand / she is not
Formes interrogatives : do you come? does it mean? does she do?
On utilise un auxiliaire aux formes interrogative et négative (does à la troisième personne
du singulier, do aux autres personnes). On n’utilise aucun auxiliaire à la forme affirmative.
3. twice a year • every summer • always • never
Le temps utilisé est le présent simple. Il exprime la répétition d’une action, la récurrence
d’une action qui en devient habituelle.
4. Il n’y a pas d’indication explicite de temps car cela n’est pas nécessaire. On comprend grâce
au contexte (au sens du verbe entre autres) que l’action évoquée est une caractéristique
du sujet (enjoy renvoie aux goûts du sujet qui ne sont pas soumis à un changement fréquent,
de même pour live, on ne déménage pas tous les jours ; quant au verbe look, il évoque là
clairement une caractéristique du sujet de l’énoncé).

24 • UNIT 1
5. a. On utilise le présent simple pour faire le portrait de quelqu’un, pour parler de ses goûts
(1. a), de son apparence (4. a), de tout ce qui le caractérise (4. c).
b. On emploie aussi le présent simple pour parler d’une habitude, d’une action qui se
répète (3. a, b, c et d).

> Practice
Productions possibles : When they arrive at work, my masters always check their e-mails.
After that, their secretary gives them their mail, they open it and read it. Then they check
their diary to see what appointments or meetings they have and they start working. At around
10:00, I know they never miss the break and they have tea or coffee with their colleagues.
They occasionnally phone each other. After the break they usually go to their meetings or
appointments outside. They are always stressed / freaked out when they have to present a
new project in front of their partners or rivals!
At lunchtime they manage to eat out twice a week together so they go to a nice restaurant to
unwind / relax. Or they have lunch at the cafeteria with the rest of the staff they work with.
In the afternoon, they start working again and it’s really hectic as they say they never have
time to rest.
Every day they go back home at 8:00. They have dinner at 8:30. They only eat out at weekends
because they are exhausted. They never go to bed before 11:30 because the only moment
when they can talk and sort out everyday problems is in the evening.

YOUR TASK MANUEL k P. 23


> Mises en œuvre possibles
k Exploitation de l’image : prise de parole en continu
Productions possibles : The young lady seems upset. She may be crying. She’s hiding her face
because she has tears in her eyes / because she’s ashamed of herself. She knows she won’t be
able to face the millions of spectators. As she was too stressed, she may have forgotten the lyrics
of the song she was about to sing / she may be unable to sing. It was probably the first time she
was singing in front of an audience and she couldn’t face the situation. She must have been too
stressed. She may also be crying out of joy because she has just won an important contest.
k Travail autonome : écoute du document oral sur le site compagnon (Please meet
Kareem) et travail sur la fiche de compréhension orale (voir p. 458).
k Travail en modules
L’heure de demi-groupe pourra être utilisée pour permettre à plusieurs élèves, voire toute la
classe, de prendre la parole en continu.
k On donnera un temps de préparation de dix à quinze minutes. L’élève suivra les étapes
suggérées dans le manuel et relira les conseils donnés avant de se lancer.
k Pendant qu’un élève prendra la parole, on pourra donner aux autres des tâches ciblées
(repérer les erreurs de prononciation, lexique et grammaire).
k La prestation de l’élève pourra être évaluée par ses camarades. Ils trouveront p. 54 et
55 du manuel les structures utiles pour commenter ce qui a été dit.
k On pourra aussi se servir de la grille fournie p. 55 pour évaluer la prise de parole et
attribuer une note.

UNIT 1 • 25
UNIT
1 SONG OF MYSELF

k Si l’établissement est équipé d’un labo multimédia


• Les élèves liront les consignes et les conseils afin de s’assurer qu’ils ont bien compris
la démarche à suivre. On insistera sur le fait qu’ils ne doivent rédiger aucune phrase mais
uniquement prendre des notes pour leur prestation.
• Ils disposeront ensuite de 30 à 40 minutes pour rassembler leurs idées et préparer leur
présentation.
• Ils pourront ensuite s’enregistrer en salle multimédia. Ils auront 10 à 15 minutes pour
s’entraîner et procéder à l’enregistrement final qui ne devra pas dépasser 2 minutes et que
le professeur copiera sur sa clé USB pour en faire la correction.

> Évaluation de la tâche


À titre indicatif, nous proposons la grille suivante. Le professeur sera bien sûr libre d’élaborer
sa propre grille ou de faire évoluer le nombre de points attribué à chaque critère.

Nom : Classe :

Critères d’évaluation de la prise de parole en continu Oui Non


1. Prise en compte de l’auditoire
a. A regardé l’auditoire en s’adressant à lui. 1 0
b. A parlé sans lire ses notes. 1 0
c. A parlé distinctement et assez fort pour qu’on l’entende. 1 0
2. Qualité du discours
a. A essayé de garder la parole, en limitant les pauses et les faux démarrages. 1 0
b. A fait un exposé précis, complet et clair. 2 0
c. A enchaîné plusieurs phrases à la suite, avec des liens logiques. 1 0
d. A donné son point de vue. 1 0
e. A utilisé des gap fillers en cas d’hésitation. 1 0
3. Langue orale employée
a. A fait attention à accentuer les mots porteurs de sens. 2 0
b. A respecté les groupes de souffle. 1 0
c. A respecté le rythme (formes pleines et réduites). 1 0
d. A pris garde à prononcer correctement les phonèmes des mots nouveaux. 1 0
4. Lexique et grammaire
a. A utilisé un lexique approprié et précis. 2 0
b. A eu recours à des périphrases pour compenser le lexique inconnu. 2 0
c. A limité ses erreurs, qui ne gênent pas la compréhension. 1 0
d. A été capable de s’auto-corriger. 1 0

Total = / 20 points

26 • UNIT 1
UNIT
2 HALL OF FAME

Hall of fame
Nous poursuivons ici la phase de révision et d’approfondissement initiée avec l’unité 1,
Song of myself. C’est pourquoi cette unité ne compte que six pages, comme la précédente.
Nous introduisons ici un texte littéraire authentique de Sue Townsend (p. 26-27 du manuel)
avec fiche d’entraînement à la compréhension écrite. L’étude de documents iconographiques
pourra aussi être abordée au cours de ces pages, notamment grâce à l’illustration du texte
littéraire et au tableau de Rockwell servant de follow-up work au texte et reproduit dans le
Workbook ainsi que sur un transparent.
N. B. : pour les descripteurs du CECRL se rapportant à l’expression orale en continu, voir p. 11.

Manuel Workbook Fiches


photocopiables

Tâche finale Créer une galerie de héros / célébrités


admirés par la classe. Défendre son choix
devant la classe.

Objectifs Échanges • Lien social


culturels

Lexique k genres cinématographiques (p. 24)


k description physique (p. 25)
k relations parents / enfants (p. 26-27)
k tristesse et solitude (p. 26-27)

Grammaire k comparatif des adjectifs (p. 28)


k le prétérit : temps du récit (p. 24
et 26-27)

Phonologie k accentuation des mots porteurs de


sens : Prepare your task (p. 24, 25 et 27)
et Your task (p. 29)

Structures de k exprimer ses goûts


communication k exprimer son accord et son désaccord
k donner son point de vue
k comparer

UNIT 2 • 27
UNIT
2 HALL OF FAME

Activités langagières dominantes


Manuel Workbook Fiches
photocopiables

Lire k Happy Birthday, extrait de roman X X


(p. 26-27)

Prendre k Tune in, Your favourites (p. 24) X X


la parole k The Actors Studio (p. 25) X
en interaction

Prendre k faire le compte rendu oral d’un document


la parole sonore (p. 24)
en continu k décrire et comparer (p. 25)
k faire le compte rendu oral d’un récit
(p. 27)
k commenter un tableau de N. Rockwell,
(p. 27) X
k présenter quelqu’un de façon
convaincante (p. 29)

Écrire k un paragraphe sur une affiche de film


ou sa star préférée (p. 24)

Écouter k Tune in, Your favourites (p. 24) X X

N. B. : les titres en gras indiquent les documents à étudier afin de réaliser la tâche finale.
Nous vous rappelons que les Help! sont enregistrés sur le CD classe.

TUNE IN! MANUEL k P. 24

1. Your favourites
> Mise en œuvre
I. EXPLOITATION DES DEUX AFFICHES
a. Le professeur fera observer en silence les deux affiches.
b. On pourra diviser la classe en deux et donner à chaque groupe une image à observer
de près. On demandera ensuite aux élèves de fermer leurs livres et de dresser la liste
de tous les éléments qu’ils auront remarqués et mémorisés sur leur affiche.
Pour localiser les différents éléments sur l’affiche, les élèves pourront se reporter aux
p. 281-282 du manuel (« Commenter un document visuel »).

28 • UNIT 2
On pourra classer ces éléments dans une grille de ce type.
Title
People / Characters
Striking elements
Actors
Date
Dominant colours

Productions possibles :
k Affiche 1
Title Pirates of the Caribbean / The Curse of the Black Pearl
People / Characters girl, three men (two young men, an older man)
pirates, sword, boat, ship, fight, battle, boats on fire, skulls, lying
Striking elements
on the ground, headband, a hat, a ring
Actors Johnny Depp and Keira Knightley
Date July 9
Black and red (the sea seems to be on fire), there’s very little
Dominant colours
light, the whole picture is very dark.

k Affiche 2
Title Juno
People / Characters Two teenagers
– A brown sweatshirt, yellow shorts, mid-calf socks, black snea-
kers, yellow wristband, yellow headband
– Boy taller than the girl
Striking elements
– An orange and white striped T-shirt, a pregnant teenager,
blue jeans, a brown skirt, black sneakers with orange shoelaces,
brown leather jacket
Actors Ellen Page and Michael Cera
Dates December
Dominant colours Yellow, orange and green

c. Ce sera le moment privilégié pour introduire ou réactiver du Classroom English : I don’t


know, I can’t remember, What’s the English for…?, How do you say… in English?, Can you
spell it please?, Could you repeat?, I think, I suppose...
d. Les élèves pourront alors définir le genre cinématographique de ces films, à l’aide du Help!
p. 24 et de la p. 279 du manuel (« Commenter une scène de film »).
L’exercice 1 de la p. 279 pourra d’ailleurs être donné en travail à la maison afin d’introduire
ou de revoir le lexique du cinéma.
Enfin, les élèves pourront définir l’angle de prise de vue utilisé en se référant à la p. 280
de leur manuel (paragraphe « Plans et angles »).

UNIT 2 • 29
UNIT
2 HALL OF FAME

II. ÉCOUTE DE L’ENREGISTREMENT


À l’aide de la fiche d’entraînement du Workbook (p. 9-10), les élèves repéreront les indices
clés et pourront citer les titres de film évoqués.
Les deux premiers enregistrements ont été divisés en deux parties. Si les élèves ont trouvé
le titre du film à la fin de la première partie, il est inutile de leur faire entendre la seconde.

> Script de l’enregistrement


1. Part 1
In my favourite movie the main character is a sailor who’s very funny. There is also one
actor who plays the good guy stereotype. He’s a sword maker and is also very good at
sword fighting. And of course there is also the beautiful young lady who is the daughter
of the governor of an island. She’s also very independent.
Part 2
The basic plot of the movie is this: The young lady is kidnapped by the cursed crew of a ship
and the good guy sets out to get her back. The sailor helps them throughout this adventure
and they all end up finding out what the curse of the ship is all about. My favourite character
in the movie is the sailor because he is very funny and his wit and his intelligence help him to
beat many of his enemies.
2. Part 1
One of my favourite films is about a young boy who must go on a long journey to save his
country and his people. They are in danger and threatened by evil people and creatures and
he must destroy a very powerful piece of jewellery which can only be destroyed in one way
and in one specific place. However the jewellery has evil powers and tries to lure the boy
into becoming evil.
Part 2
The hero is of average height with bright blue eyes, curly brown hair and pointed ears.
He’s a good-hearted person, soft-spoken, a little naïve but kind. He has a companion
shorter than he is, and a bit plump with blond hair. He is also less wise but he has good
intentions, and is a loyal friend.
3. My favourite movie is very witty and the dialogue is well-written. The movie is about a
teenage girl who gets pregnant and decides to have the baby and give it to a good family.
My favourite character is the teenage boy because he reminds me of my friend Cole
from high school. I also loved the movie because it used music from one of my favourite
musicians and her old band.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 9-10)


> TRACK N° 1
➼ PART 1
1. a) main – sailor – actor – good guy – sword-maker – lady – island – daughter – governor –
independent b) Pirates of the Caribbean

➼ PART 2
2. young lady – kidnapped – crew – ship – good guy – get back – sailor – help – adventure
Clues: ship, sailor, island Title: Pirates of the Caribbean

30 • UNIT 2
> TRACK N° 2
a) boy – long – journey – save – country – evil – people – creatures – powerful – jewellery –
powers b) Who? young boy Goals? long journey to save his country and his people and
destroy a very powerful piece of jewellery which has evil powers Enemies: evil people and
creatures Clues: adventure, quest, fiction Title: The Lord of the Rings

> TRACK N° 3
1. favourite – movie – dialogue – teenage girl – pregnant – decide – baby – give – character –
teenage – boy – reminds – friend – high school – band – music – favourite – musicians
2. Main character: teenage girl Turning point: gets pregnant Decision: have the baby and
give it to a good family Clues: teenage girl gets pregnant Title: Juno

Approfondissements possibles :
1. The first person speaks about the film Pirates of the Caribbean. She mentions / introduces
three characters: a sailor, the good guy, and the lovely girl. The first one is played by Johnny
Depp, the second is Orlando Bloom, and Keira Knightley is the pretty girl. She sums up the
film plot / the story of the film in a few words. It’s all about the girl being kidnapped, and the
adventures that follow.
2. The second interview is about the film The Lord of the Rings; she says she loves Frodo
who is of average height with bright blue eyes, curly brown hair and pointed ears. He is a nice
person. He has got a good friend who is shorter and a bit plump with blond hair. He is very
naïve, but very loyal.
3. The third interview deals with the film Juno. The two main characters are teenagers. First,
there is a girl who gets pregnant and decides to have the baby and give it to a good family,
then there is a boy who is on the poster.

III. RÉACTION PERSONNELLE À CHAQUE AFFICHE


k Production possible : The first poster is more striking, more mysterious, the man in the
middle looks intriguing.
k Les élèves qui ont vu le(s) film(s) pourront en raconter l’histoire (voir résumés ci-dessous).
Pirates of the Carribean: Elizabeth Swann, the daughter of Governor Swann is kidnapped
by a group of pirates led by Captain Barbossa, and taken aboard their ship, The Black Pearl.
Will Turner, the young man who loves Elizabeth, is determined to rescue her. But he can’t do
it alone, so he asks the ship’s captain, Jack Sparrow, to help him. Together they try to find The
Black Pearl. But they soon discover that the captain and crew aren’t average pirates. They have
been cursed to remain between the living and the dead. When they learn that the only thing that
can break the curse is Elizabeth’s blood, Jack and Will race against time and fight to save the
Governor’s daughter.
Juno: The story takes place in the autumn. Juno, a 16-year-old high school junior in Minnesota,
discovers she is pregnant and is going to have a baby with her boyfriend, Bleeker. In the waiting
room of an abortion clinic, Juno decides to give birth and to place the child with an adoptive couple.
She finds a couple, contacts them, then tells her father and step-mother. She carries on going to
school. The chosen parents, trendy yuppies, meet Juno, sign papers, and the year unfolds.
k On enchaînera avec l’opinion des élèves sur ces films et sur le genre cinématographique
qu’ils préfèrent. On se servira du Help! On en profitera pour réviser l’expression du goût et
de la préférence.

UNIT 2 • 31
UNIT
2 HALL OF FAME

Productions possibles : I haven’t seen this film yet but I have heard it is very good. / I don’t
know this movie.
I quite like this film but I much prefer... I enjoyed watching it last summer.
As for me I am very fond of adventure films because they are so relaxing. I recommend... /
I can’t stand romantic comedies and I usually watch thrillers.

Informations complémentaires
Voici les définitions de trois genres cinématographiques et quelques exemples.
k Action films usually include high energy, physical stunts and chases, possibly with
rescues, battles, fights, escapes, destructive crises (floods, explosions, natural disasters,
fires, etc.), non-stop motion, and adventurous, often two-dimensional “good-guy” heroes
(or recently, heroines) battling “bad guys”.
Examples: 48 Hours, Die Hard, Air Force One, Jurassic Park, Speed, The Terminator, Twister...
k Adventure films are usually exciting stories, with new experiences or exotic searches
or expeditions for lost continents, “jungle” and “desert” epics, treasure hunts, disaster films,
or searches for the unknown.
Examples: Apollo 13, The Deep, Indiana Jones and the Temple of Doom, Little Big Man,
Lawrence of Arabia, Robinson Crusoe, Water World...
k Epics (historical dramas, war films) often cover a large expanse of time and deal with an
historical or imagined event, mythic, legendary, or heroic figure. War films show the horror
and heartbreak of war, and actual combat fighting.
Examples: Shakespeare in Love, Bridge on the River Kwai, Butch Cassidy and the Sundance
Kid, Ghandi, Gone with the Wind, Schindler’s List...

2. Your choice
> Mise en œuvre 1
k Cette première tâche intermédiaire (Prepare your task) peut être préparée à la maison
ou en classe. On demandera aux élèves d’apporter un poster, une photo de film ou d’un ac-
teur et de préparer une prise de parole en continu sous forme de mots clés, par exemple :
– Name of the film / star – His / Her personality
– Sort of film – Quick summary of the plot
– Physical description of the hero – Reasons for my choice
Le temps de parole sera d’une minute, une minute trente.
k Pendant qu’un élève s’exprime, on pourra demander aux autres de prendre des notes
sur un transparent, éventuellement en se concentrant sur des points spécifiques (repérer
les erreurs de prononciation, de lexique et de grammaire). On pourra procéder à une
reprise collective avec correction des erreurs les plus importantes. Les notes prises sur le
transparent pourront être (rétro)projetées et corrigées collectivement. Ces notes pourront
ensuite servir de base à une trace écrite.
k Cette question pourra aussi donner lieu à un travail d’expression écrite (80 mots).

32 • UNIT 2
> Mise en œuvre 2
On pourra diviser la classe en deux groupes, ou former des paires d’élèves. Le groupe A ou
l’élève A sera chargé de parler de son film favori ou de sa star préférée au groupe B ou à
l’élève B. Ensuite, ce sera le tour de ce dernier.
k Si la classe est organisée en pairwork, on distribuera la grille ci-dessous (fiche téléchargeable
sur le site compagnon) afin que les élèves s’interrogent mutuellement (révision de la forme
interrogative).
k On procèdera enfin à une présentation croisée : chaque élève récapitulera ce qu’il a
appris des goûts de son voisin (passage à la 3e personne) : X likes… very much because…
he / she thinks… looks…

Pairwork
GRID A
1. Fill in the first column in silence. Find a title in each of the 4 categories (either in
English, or in French).
2. Interview your friend and fill the column “My friend’s opinion”. Ask your friend if he /
she likes or does not like the films selected, and why or why not.

Film selection My friend’s opinion


Type of film Title of a film A F I Because...
Romantic comedy
Horror film
Detective story
Series

GRID B
1. Fill in the first column in silence. Find a title in each of the 4 categories (either in
English, or in French).
2. Interview your friend and fill the column “My friend’s opinion”. Ask your friend if he /
she likes or does not like the films selected, and why or why not.

Film selection My friend’s opinion


Type of film Title of a film A F I Because...
Adventure film
Science-fiction
Dance film
Comedy

UNIT 2 • 33
UNIT
2 HALL OF FAME

1. THE ACTORS STUDIO MANUEL k P. 25


> Objectifs
k Compétences : production orale en continu et / ou en interaction
k Communication : décrire et comparer des personnes

1. Bruce and George


> Mise en œuvre : avant de lancer cette activité, il serait peut-être utile de réviser
en amont le lexique de la description physique (parties du corps, du visage, adjectifs
qualificatifs), grâce à la fiche ci-dessous (téléchargeable sur le site compagnon).

Check your vocabulary


1. Faites correspondre ces mots aux numéros de l’image. Utilisez un dictionnaire
si besoin. 1
Example: head = 1 12
11 7
arm = back = 2
elbow = hand = 8{
14 3
leg = finger = 4
neck = ankle = 17
9 6
shoulder = belly-button =
knee = thumb =
13 5
chest = fist = 16 10
15
toe = foot (pl.: feet) =
2. Placez les numéros correspondant à ces parties du corps sur le dessin ci-dessous.
1 = nose 7 = chin
2 = cheek 8 = lip
3 = forehead 9 = ear
4 = eyebrow 10 = eye
5 = mouth 11 = tooth (pl.: teeth)
6 = face 12 = hair
3. Pouvez-vous retrouver les mots correspondant à ces définitions ?
a. hair some men grow under their nose =
b. hair men grow on their chin =
c. an accessory you use when you can’t see well enough =
d. women often use it to make their lips red or their eyes darker =
e. old people have a lot of these lines around their eyes and mouth =
4. Lisez ce texte et dessinez le visage de cette personne. Utilisez un dictionnaire si besoin.
This person’s face is round and plump. She has got long wavy chestnut-brown hair.
Her large blue eyes are bright and her mouth is thin and pink. Her cheeks are covered
in freckles. Her nose is slightly crooked. She’s got a little mole on her chin. She is not
very cute, but she looks nice and lively.
5. Retrouvez ces adjectifs retranscrits en phonétique.
a. \"pOIntId\ d. \streIt\
b. \"k∏…li\ e. \"sØntœnd\
c. \"hœnsEm\ f. \E"trœktIv\

34 • UNIT 2
CORRIGÉ DE LA FICHE
1. arm = 7 back = 5
elbow = 6 hand = 8
leg = 13 finger = 12
neck = 2 ankle = 17
shoulder = 3 belly-button = 9
knee = 14 thumb = 11 3
chest = 4 fist = 10 4
10 9
toe = 16 foot (pl.: feet) = 15
2.

3.
1 = nose
2 = cheek
3 = forehead
4 = eyebrow
5 = mouth
6 = face
7 = chin
8 = lip
9 = ear
10 = eye
11 = tooth (pl.: teeth)
12 = hair
a. moustache b. beard c. glasses d. make-up e. wrinkles
6
{ 2

5
1

7
11 8
12

4.

5. a. pointed
b. curly
c. handsome
d. straight
e. sun-tanned
f. attractive

> Mises en œuvre possibles


a. Travail de toute la classe sur les deux caricatures.
b. Travail par moitié de classe : le groupe 1 prendra en charge Bruce Willis tandis que le
groupe 2 traitera la caricature de George Clooney.
k Lors du récapitulatif en groupe classe, les élèves devront écouter attentivement leurs
camarades parler de la caricature qu’ils n’ont pas étudiée et prendront des notes. Par
exemple, ils peuvent noter l’ordre dans lequel les parties du visage sont mentionnées, puis
réagir et donner leur opinion.
Productions possibles : I can see Bruce Willis’ caricature; his face is distorted. It makes me
laugh / smile because his forehead is so big. It is much bigger than in reality / on the photo.
His ears are larger.
As for Clooney’s caricature, he looks (far) more stupid, sillier than in real life. He is wearing
a white coat, just like when he was in E.R. His cheekbones are prominent, and his chin is not
as big in the photo. I think he looks ugly.
k Ensuite, après une reprise collective, les élèves listeront les points d’entente et de
désaccord.
Productions possibles : We both agree that the caricatures are funny. But we disagree on
which one is the best. X thinks B. Willis is ridiculous, but I consider Clooney’ caricature far better.
k Enfin, on amènera la classe à comparer les deux dessins, et à dire quelle caricature ils
préfèrent, en justifiant leurs réponses.

UNIT 2 • 35
UNIT
2 HALL OF FAME

Productions possibles : Clooney is pale and clean-shaven, whereas Willis is sun-tanned and
he is growing a beard.
The first drawing is effective because it makes fun of B. Willis, but I think the second one is
far-fetched.
I don’t agree: I think it is hilarious, pathetic, because he has lost all his charm. He is no longer
handsome, a sex symbol. He looks ridiculous.

2. Guess who?
Cette activité pourrait donner lieu à un jeu de Who’s Who? en binômes ou en groupes.
Un élève décrit l’une des quatre caricatures au reste de la classe (dont les livres sont fermés)
et ses camarades doivent deviner de qui il s’agit.
Réponses (de gauche à droite) : Angelina Jolie – Mr Bean / Rowan Atkinson – Britney
Spears – Amy Winehouse
Productions possibles :
– Angelina Jolie: The American Hollywood star is portrayed with full and sensual lips. She
looks ugly, although she is glamorous and one of the world’s most beautiful women.
– Mr Bean / Rowan Atkinson: We are immediately struck / We immediately notice Mr Beans’s
bushy eyebrows and black hair. The caricature of the British comedian and actor is close to
reality. He is said to be bug-eyed and weak-chinned.
– Britney Spears looks like a bimbo (an attractive but unintelligent young woman). She looks
like a sex bomb with her low-necked tank top. She is holding a can of Coke.
– Amy Winehouse: The British singer and song-writer, looks gothic. She is dressed in dark
clothes, wears heavy make-up. I quite like this caricature of a famous singer who has got dark
hair and black eyes. Her head and her mouth are distorted, whereas her body is tiny. She
looks like a rebel. Her make-up is too heavy. She looks weird, drunk, stoned.

Informations complémentaires
Mr Bean became a cult favourite in the British series Blackadder, and an even bigger star in
big screen comedies including Four Weddings and a Funeral and Love Actually.

Prolongement possible : on trouvera à l’adresse suivante www.magixl.com/heads/cliparts.php


toute une série de caricatures. Après avoir procédé à une sélection, on pourra s’en servir pour
une production écrite, ou encourager les élèves à choisir une star et à en dresser le portrait à
l’écrit ou en prise de parole en continu.

2. HAPPY BIRTHDAY MANUEL k P. 26-27


N.B. : l’enregistrement de ce texte se trouve sur le CD classe n°1, piste 8.
> Exploitation de l’illustration
Cette photo servira de sensibilisation au thème abordé et permettra d’introduire du lexique
utile pour reformuler l’implicite du texte. Il faudra néanmoins veiller à fournir ces quelques
mots au préalable : sweatshirt, a hooded (fleece) jacket, a pair of jeans.
On demandera aux élèves de décrire l’image dans un premier temps, avant de passer à son
interprétation.

36 • UNIT 2
Productions possibles : A teenager is seen from behind. He is wearing a hooded (fleece)
jacket and jeans. He is watching the pedestrians, the passers-by walking in the street. He is
on his own / alone / by himself.
He looks lonely / lonesome, isolated, cut off from the others, miserable, depressed, gloomy.
He seems to be an outsider, a misfit, on the fringe of society. He seems to be an outcast
(a person who is rejected or excluded from a group or from society). He is without friends.
As he is seen from behind, we can suppose he symbolizes teenagers who feel rejected by
their friends and families. There is a huge gap between him and the passers-by. This gap may
suggest this young boy has problems communicating with others.

1. Get ready
Une première lecture rapide du texte (skimming) devrait permettre aux élèves de repérer
rapidement des informations clés.
Réponses : a. Adrian Mole, 16 b. Saturday April 2nd; it’s his birthday. c. Manchester d. his
parents, a waitress, the dog, three policemen, a desk sergeant e. a fish lorry, Manchester
railway station café, a park bench, in the vicinity of the Blood Transfusion Headquarters

2. Understanding the text


La fiche d’entraînement du Workbook fera l’objet d’un travail en classe ou à la maison. Pour
mieux comprendre les consignes données dans le Workbook, on conseillera aux élèves de
s’aider des p. 283-284 du manuel (« Comprendre les consignes »).

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 10-12)


I. Understanding the text
➼ PART 1
1. they = Mum and Dad; We = Adrian Mole and his dog; It = Adrian’s dog
2. “the railway station café” (l. 7)
3. Happy Birthday
4. well / happy / unhappy
5. Happiness: life and laughter
Affection: darling / love / admiring / loving
6. It’s his birthday. / He has run away from home. / He feels cheerful.
7. “Come home son.”
8. No he doesn’t. Nobody said “Happy Birthday” to him.
➼ PART 2
9. Time references: 6 o’clock news / night
Location: in the open / park bench / vicinity of Blood Transfusion Headquarters
Feelings: isolated / miserable / can’t face another night in the open / there is never one
around when you need one.

UNIT 2 • 37
UNIT
2 HALL OF FAME

10. “There was nothing about me on the six o’clock news.” (l . 26)
11. Size and build: small for his age
Face and hair: mousey hair / disfigured skin
Clothes: green school blazer / orange waterproof trousers / a blue shirt / balaclava helmet /
brown Doc Martens
Pet: mongrel dog
The words are negative.
12. Adrian Mole / The police officer, desk sergeant

II. ACTION!
➼ RECAP PART 1
1. He’s miserable, so he pretends to have run away.
2. We are told that it is his 16th birthday and he is the eldest child of the family.
3. His mongrel dog is his friend.
4. He feels miserable because nobody has said “Happy Birthday” to him. So, he writes himself
a birthday card because he feels lonely and wants to celebrate his birthday. He thinks his
parents miss him.
5. All alone in the streets.

➼ RECAP PART 2
6. He feels anxious and miserable because he is going to spend another night on the streets.
7. He’s afraid of spending one more night alone on the streets. He wants to say he has been
reported missing by the police. He seems anxious because no one has reacted.
8. His portrait and that of his dog are negative because he is not self-confident. We realize
that he has run away to cry for help.
9. Not reported missing.

N. B. : les synthèses proposées dans le Workbook pourront être traitées au fur et à mesure
(c’est-à-dire après l’étude de chaque partie du texte) ou à la fin de l’élucidation du texte.
La synthèse partielle pourra se faire individuellement ou par binômes. Un élève ou un
rapporteur de binôme pourra faire la synthèse à l’oral. Si la synthèse est faite à l’écrit, le
professeur pourra donner à un ou deux groupes un transparent qu’il (rétro)projettera et l’on
corrigera collectivement. Cette synthèse pourra servir de base à une trace écrite.

3. Story telling
> Mise en œuvre
On encouragera la classe à utiliser le Help! On pourra aussi se servir du Action! du Workbook
pour préparer la prise de parole en continu visant à résumer le texte.
Dans le cadre d’une classe fragile, on divisera la classe en deux. On demandera à chaque
groupe de préparer un résumé oral de ce qu’il a lu. Le premier parlera de la matinée et de
l’après-midi du jeune héros, alors que le second s’attachera à la soirée d’Adrian Mole.

38 • UNIT 2
Chaque groupe écoutera les autres avec attention et prendra des notes. Il pourra intervenir
à tout moment pour demander des explications et corriger si nécessaire.
Productions possibles : The hero is a teenager who is quite small, not so strong and who is
wearing a green school blazer and orange trousers. He’s got a dog.
He left his home because he felt lonely. He hitch-hiked Manchester Railway Station and was
so embarrassed he pretended to be asleep.
We learn it is his birthday today. But he is alone / lonely / isolated and miserable. He went to
the railway café to get some food, but could not stay and he feels both angry and sad.
Indeed, he keeps thinking about his parents and their reaction when they realise he has run
away. Maybe they will take no notice, won’t care a damn about him.
So he writes himself a birthday card and writes his own message inside to cheer himself up.
I think he can’t stand his parents’ indifference towards him. They probably haven’t got any
present for him.
He feels so desperate that he hides his situation: He doesn’t want anyone to see he is neglected.
Yet he decides to call the police and ask for help. However they don’t care.They think it is a
practical joke, he is joking / kidding, he is taking them for a ride, pulling their legs.

4. Follow-up work
En début d’année le travail sur le tableau de Norman Rockwell pourra être mené en classe.
Les élèves s’aideront des p. 281-282 du manuel (« Commenter un document visuel ») pour
localiser les objets et les personnages.
Le tableau pourra être étudié en s’appuyant sur la fiche du Workbook ou (rétro)projeté en
couleur grâce au transparent n° 1.
On peut fournir les aides lexicales suivantes.
Atmosphere People’s description Place Actions
friendly a uniform at the counter order a drink
relaxed cap stool: tabouret have a break
tense holster floor: sol chat
inquisitive boots lean over
casual clothes smile at sb
tiny: minuscule
bulky: volumineux
strong
well-dressed
well-behaved
clean-shaven: rasé de près

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 13)


1. – The atmosphere is cheerful and relaxed in the painting, whereas it is gloomy and sad in
the text. Indeed the characters are all smiling in the picture.
– In the text, the policeman is sarcastic and makes a laughing stock of the boy. On the
contrary, the policeman seems friendly and ready to help in the painting.
– The waitress was hostile and makes Adrian leave the café while the barman in the painting
looks amiable and takes his time to listen to the little boy.

UNIT 2 • 39
UNIT
2 HALL OF FAME

2. BOY: “Good afternoon, can I have a glass of milk please?”


BARMAN: “Certainly you can. Are you travelling on your own?”
BOY: “Yes sir.”
POLICEMAN: “Hello young man, have you lost your way, can I be of any help?”
BOY: “It’s OK, I’m just on my way to my grand-ma.”
POLICEMAN: “Well, does she live around here? Do you want me to get you there?”
BOY: “Oh no, she is in Chicago!”
BARMAN: “Chicago, that’s quite some distance, miles away from here! Are you walking?”
BOY: “Yes, Dad always says exercise is good for you. Anyway, I want to live with her because
she is much nicer than my Mum and Dad. And she can cook real good cakes!”
POLICEMAN: “Oh I see you are a runaway, a big adventurer, a man on the move.”
BOY: “That’s it. I want to see a city before school starts. This country life is too boring for
me.”
BARMAN: “But your parents will be dead worried, won’t they?”
BOY: “ Oh, I don’t think so, I left them a message on the kitchen table, so they’ll know.”
POLICEMAN: “Well boy drink up this glass of milk, and we’ll give them a call, just in case, and
see what we can do then.”

Ensuite, on amènera la classe à comparer les deux fugitifs, celui du texte et celui du tableau.
Les deux ambiances sont très différentes.
Productions possibles : The runaway in the painting looks cheerful and relaxed, whereas
Adrian Mole is ill-at-ease and sad. I think Adrian Mole is more desperate and unhappy. The
little boy is neither scared nor anxious. He is not as worried as the teenager.
The policeman in the painting looks nice and understanding, whereas in the text the police
officer sounds bored and uninterested.

LANGUAGE AT WORK MANUEL k P. 28


> Le comparatif des adjectifs
2.
Comparatif de supériorité Comparatif d’infériorité Comparatif d’égalité
younger than not as thrilling as as funny as
more attractive
better than
smarter
funnier than
bigger than

3. Comparatif de supériorité : adjectifs courts (1 syllabe) k adjectif + -er + than


adjectifs longs (2 syllabes et plus) k more + adjectif + than
Comparatif d’infériorité : négation + as + adjectif + as
Comparatif d’égalité : as + adjectif + as
4. – good • nice • funny • big
– Better est un comparatif irrégulier.

40 • UNIT 2
– Devant -er, le -y final précédé d’une consonne se transforme en -i : funnier.
– Les adjectifs courts contenant une voyelle suivie d’une consonne doublent leur consonne
finale : bigger.
– La règle orthographique de redoublement des consonnes ne concerne pas les consonnes
suivies d’un -e muet.

> Practice
1. a. James Bond is more attractive and better-looking than Indiana Jones.
b. The kids in South Park are lazier and funnier than the Simpsons.
c. Cinderella is more romantic and prettier than Ugly Betty.
d. Ironman is more energetic and stronger than Spiderman.
e. Terminator is more determined and crazier than Mr Bean.
2. The black woman is trendier than the old fair-haired woman. She is slimmer / thinner. She is
happier too. She is obviously younger and taller than the lady on the left. Her hair is thicker.
She looks livelier than the fair-haired lady. She is more outspoken than the old lady.
The old woman is not as fashionable as the black woman. She is fatter. She is not as slim /
thin as the young woman. She is older. She is uglier than the black woman. She is sadder too.
She is more old-fashioned.
The man on the left is not as young as the man on the right. He is shorter. He is not as tall.
He is colder because it’s raining. He is quieter than the young man.

YOUR TASK MANUEL k P. 29

k Évaluation de la tâche : vous pouvez utiliser la grille d’évaluation p. 26 de ce Fichier


Pédagogique, même si vous êtes bien entendu libre d’élaborer votre propre grille ou de
modifier le nombre de points attribué à chaque critère.

UNIT 2 • 41
UNIT
3 MAKE A WISH

Make a wish
Au travers de cette unité, nous avons souhaité aborder tous les types de rêve : construire un
monde de paix et de fraternité, connaître une existence meilleure, pouvoir vivre de sa passion…
Nous avons également voulu familiariser les élèves avec différents types de documents (bande
dessinée, chanson, texte littéraire, enregistrement audio authentique, article de journal,
poèmes, discours politique…).

N. B. : pour les descripteurs du CECRL se rapportant à l’expression orale en continu, voir p. 11.

Manuel Workbook Fiches


photocopiables

Tâche finale Choisir un poème ou un extrait de discours,


l’apprendre par cœur et le réciter après
avoir justifié son choix

Objectifs Mémoire • Lien social • Création


culturels

Lexique k rêves et réalité (paix et harmonie entre


les hommes / peuples, vie meilleure,
différences sociales)
k oppositions parents / enfants (p. 30
et 36)
k monde du cinéma (p. 35)
k rêves de jeunesse et trajectoires de vie
(p. 35 et 36)
k cauchemars (p. 40)

Grammaire k prétérit simple : valeur imaginaire (p. 38)


k phrases conditionnelles : If… (p. 38)

Phonologie k accent de mot (p. 37)


k mots accentués et non accentués (p. 37)

Structures de k donner son opinion


communication k exprimer la cause
k aimer / ne pas aimer

42 • UNIT 3
Activités langagières dominantes

Manuel Workbook Fiches


photocopiables

Lire k bande dessinée, Calvin and Hobbes (p. 30)


k chanson, Imagine (p. 32) X
k extrait du discours I have a dream
(p. 33)
k extrait de roman, Bums in the Attic (p. 34) X
k poème, Dreams (p. 35) X
k article de journal, The New Generation
Gap (p. 36)

Écrire k une strophe commençant par Imagine


ou I have a dream (p. 33)

Écouter k une interview, Childhood dreams (p. 35) X


k un poème et travailler sur sa
pronunciation (p. 35) X

N. B. : les titres en gras indiquent les documents à étudier afin de réaliser la tâche finale.
Nous vous rappelons que les Help! sont enregistrés sur le CD classe et que les exercices
Improve your pronunciation sont téléchargeables sur le site compagnon.

TUNE IN! MANUEL k P. 30-31

1. Understanding the comic strip


a. On pourra projeter la bande dessinée de Calvin and Hobbes en transparent en se concentrant
tout d’abord sur la 1re vignette pour identifier la situation. Puis, livre ouvert, on laissera aux
élèves le temps de prendre connaissance de l’ensemble du document en se concentrant
sur la deuxième vignette et en s’aidant des mots spaceman et planet Mok. On s’assurera
que la situation est claire pour tous les élèves, et qu’ils ont notamment compris que Calvin
et Spaceman Spiff sont un seul et même personnage.
b. On se penchera à nouveau sur la 1re vignette, en la comparant à la dernière et on demandera
à différents élèves de décrire les lieux, personnages et actions.
Productions possibles : The scene takes place in a spaceship. Vile monsters like larvae or
lice can see Spaceman Spiff is approaching and want to attack / to open fire on him whereas
in the last frame, Calvin, a little boy, is having a bath and his mother is washing his hair but
Calvin is thrashing around, he is angry / cross and calls his mother a fiend.
L’opposition entre les vignettes 1 et 8 fera ressortir l’idée du rêve. On pourra alors espérer
des productions du type : He must be dreaming. It’s a fantasy. He dreams he is a super
spaceman with super powers.

UNIT 3 • 43
UNIT
3 MAKE A WISH

c. k On reprendra ensuite l’ensemble du document en invitant les élèves à utiliser le Help!


On leur laissera le temps nécessaire pour préparer un résumé de la situation.
k Dans une approche plus communicative, on pourra partager la classe en deux :
le groupe 1 résumera les vignettes 2 à 4 et le groupe 2 les vignettes 5 à 7.
k La vignette 8 sera reprise et complétée à la lumière du résumé de ces aventures.
Productions possibles : In his dream, Calvin is a hero, an astronaut flying in his spaceship
and living incredible adventures but he has a problem with his spaceship and must land on
planet Mok. He crashes on the planet and is immediately attacked by the space monsters.
As he is brave and bold, reckless and fearless he opens fire on them. He is nevertheless
made prisoner by the monsters and is sent to jail. The vicious monsters want to torture him,
make him speak and make fun of him. He endures ordeals. We understand that Calvin is
dreaming. Washing his hair is like torture to him. He hates having a bath. He sees his mother
as the enemy who wants to force him to wash his hair.

2. Re-order the text


a. On fera lire le texte des bulles aux élèves avant de leur accorder quelques minutes pour les
associer aux vignettes correspondantes. Ce travail se fera individuellement.
b. Puis on demandera à un maximum d’élèves de donner leurs réponses en les justifiant à l’aide
des mots clés qui leur ont permis de trouver la solution. Ceci permettra d’insister sur les
mots : crash landing, taken prisoner, dungeon (qui est un faux ami dans ce contexte), daring
(à rapprocher de bold dans le Help!), interrogation room et ominous (à rapprocher de sinister).
Corrigé : A6 (monster) • B5 • C4 • D6 (Calvin) • E7 • F3

3. Dreams versus reality


a. On réactivera l’expression du contraste et de l’opposition. Pour les élèves en difficulté,
on mettra au point un énoncé basé sur la 3e case du Help! (section Dream) : Calvin is
dreaming: He wishes he could fly in a spaceship. Puis on fera rebrasser cette structure.
Productions possibles : Calvin is dreaming: He wishes he were a hero, he identifies with
Spaceman Spiff and he wishes he could fight with the space monsters. He wishes he lived
thrilling adventures. He is daydreaming! He certainly wishes his mother didn’t wash him / he
didn’t have to wash his hair, to obey.
b. On passera ici à un élargissement personnel avec appel au vécu. Cette prise de parole sera
préparée en classe ou donnée en travail à la maison. On pourra préciser la consigne avec
les questions suivantes : What about? How often? In what circumstances?

1. A BETTER WORLD? MANUEL k P. 32-33

1. Get ready
> Mise en œuvre possible :
k Le travail pourra être mené collectivement ou donner lieu à un travail en binômes suivi
d’une reprise collective.

44 • UNIT 3
k En début d’année quelques questions pourront aider les élèves à analyser le document :
– What are people doing?
– What does this gap / chasm symbolize?
– What are the artist’s goals? Is the message optimistic or pessimistic? Why?
Productions possibles : We are immediately struck by the bridge that is being built over a
chasm. We can see men and women building a bridge over a huge and deep chasm between
two high and steep mountains. It could represent people living in two different worlds, countries
or continents. The gap / the great divide may symbolize the limit between the North and South,
developing and developed countries, different ethnic groups or religious groups, people who
are enemies, borders between countries. It may symbolize cultural differences: food, lifestyle,
religion, values. Everyone is participating / giving a hand. They are helping one another. It’s a
common achievement. They are trying to bridge the gap, that is to say to overcome prejudices,
to have relations / contacts / exchanges with people on the other side. These people are trying
to break down barriers. It seems to be a long and difficult process that will take a long time.
The message is quite optimistic because it means that everything is possible when we make
an effort and try to overcome our differences. This illustration is idealistic and hopeful. I believe
this dream could come true if everybody tried. The themes of the song may be peace and
communion between people.

2. Understanding the text


> Mises en œuvre possibles :
k Approche collective : l’ensemble de la classe travaillera sur toute la chanson.
k Travail en binômes ou en groupes : le professeur partagera la classe en deux groupes.
Le groupe 1 se concentrera sur les strophes 1 et 2, alors que le groupe 2 se concentrera sur
le refrain (en strophes 3 et 5) et la strophe 4. Après un travail de préparation (en classe ou à
la maison), un rapporteur sera désigné pour chaque question. Les réponses à la question c.
seront synthétisées à l’aide d’une grille tracée au tableau ou (rétro)projetée.
Corrigé :
a. – He wants us to forget about good and evil. – He wants people to be free from all judgements.
b. “You” refers to us, the listeners of the song.
c.
Dreams Consequences
Stanza 1 There’s no heaven All the people living for today
No hell
Only sky
Stanza 2 There’s no countries Nothing to kill or die for
And no religion too All the people living life in peace
Chorus (Stanzas 3 and 5) Someday you’ll join us The world will be as one
Stanza 4 No possessions No need for greed or hunger
A brotherhood of man
Sharing all the world

UNIT 3 • 45
UNIT
3 MAKE A WISH

d. This a committed song. John Lennon denounces all the causes of division and the sources
of conflict, the selfishness, violence and greed of man. He refers to / hints at conflicts and
invasions of territories, we can imagine soldiers, heads of states led by jingoism, and extremism
leading to wars. He also denounces religious intolerance. In stanza 4, he criticizes the feeling of
jealousy between men, due to their possessions and their desire to always own more and more
things instead of sharing things and living like brothers in harmony.

3. Recap
k Ce Recap se fera à l’aide de la fiche correspondante du Workbook p. 14 tout en insistant
sur la structure de cette prise de parole grâce aux mots de liaison proposés.
k Ce travail pourra faire l’objet d’une préparation à la maison.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 14)


1. a. In this song, John Lennon first opposes reality with dreams / the dream of a world in
which all men could live together and in harmony. In a world without nationalism /
jingoism there won’t be any wars, any casualties, any disputes over territories, no
reason to kill.
Secondly, he underlines the contrasts between the different countries and beliefs /
religions in the world.
He then denounces the materialistic world in which we live and which leads men to
envy and jealousy.
Finally, he urges people to dream / keep dreaming and accept others as they are and
to live in a unified and peaceful world.
He’s optimistic because he knows he is not the only one to dream: He can urge other
people to dream of a better world too, therefore he hopes he can persuade other
people to dream like him / with him, to act for peace.
He believes in a better world in which everyone can live in harmony, that’s why he
gives the image of a world “as one” / he repeats “imagine” in his song.
2. He would like to abolish all borders / barriers between countries and religions / eradicate
all jealousy and rivalry between men.
He would like people to help one another / live peacefully / with no rivalry / like brothers
and not enemies.
He dreams of a better world in which solidarity would be the rule. He hopes to urge people
to believe in this dream and dream with him.
He wishes he could convince as many people as he can. He wishes people were more
respectful / open-minded / generous / kind with one another. He wishes people believed
in this dream / a peaceful world.
He hopes his dream will come true one day. He is confident / optimistic in the future.
He longs / yearns for a better world.
3. I believe that this is a utopia / idealistic / naïve / this is not possible.
To my mind if everyone tried to be a bit more friendly with one another, the world would be
a better place / this vision is too optimistic: Politics and religion are too important in the
world. This dream represents an ideal; I’d like to believe in it.
It is an anti-religious, anti-national and anti-capitalist song.
It is a protest song, the song of a peace activist.

46 • UNIT 3
Grille d’évaluation de la prise de parole
Compte rendu clair et audible 0 1 2
Compte rendu complet et organisé 0 1 2 3 4 5
Prononciation 0 1 2 3 4
Correction de la langue 0 1 2 3 4
Richesse de la langue 0 1 2 3 4
Utilisation des gap fillers 0 1
Total des points / 20

Prolongements possibles :
k On pourra évidemment faire écouter la chanson de John Lennon.
k Les professeurs qui le désireront pourront donner (ou demander aux élèves de trouver)
quelques données biographiques sur le chanteur, notamment dans la seconde partie de sa
vie, marquée par son militantisme pour la paix.
k Par ailleurs, une partie de l’unité 9 du manuel, Destination Liverpool, traite de la carrière
des Beatles.

4. “I have a dream”
Objectifs :
k faire ressortir les similarités entre cet extrait du célèbre discours de Martin Luther King
et la chanson de John Lennon ;
k préparer les élèves à découvrir un autre extrait de discours, p. 40.

> Mises en œuvre possibles :


k travail individuel en classe ou à la maison ;
k travail en binômes ou en groupes, avec un ou plusieurs rapporteurs, prise de parole en
continu et reprise collective.
Productions possibles : Martin Luther King lists the problems he was confronted with at
that time in the USA: He mentions the colour of his skin. He also mentions Alabama which is a
southern state where segregation and racism were very strong. The Civil Rights Act was only
signed in 1964. At the same time, his vision is peaceful and optimistic. He wants his children not
to be judged by the colour of their skin, on racist grounds but for themselves and who they are.
He believes people are created equal by God. I believe King and Lennon share similar goals and
are both optimistic: They both want people to realize that adults or children are all equal and
can live like brothers and sisters / that love should motivate people and not hatred. The image
of joining hands reminds me of Lennon’s song and of the illustration. Lennon wants people
to believe in a world “as one” and King refers to an ideal nation where everyone could live in
harmony with the rest of the population. Lennon urges people to join him in his dream when he
repeats “imagine” and King repeats “I have a dream” as if to convince people. He dreams of a
day when all barriers between people will be abolished and when the colour of one’s skin will
not make any difference. I believe it is beautiful to finish on an optimistic note with the word
“today”: He wants to act for peace now.

UNIT 3 • 47
UNIT
3 MAKE A WISH

Prolongement possible : on pourra faire rechercher des informations complémentaires


sur Martin Luther King, par exemple sur le site suivant :
www.nobelprize.org/nobel_prizes/peace/laureates/1964/king-bio.html

5. Song writing
> Mises en œuvre possibles :
k travail individuel, en binômes ou en groupes ;
k travail en classe ou à la maison ;
k les poèmes pourront être (rétro)projetés, commentés et corrigés en classe ;
k on pourra élire le meilleur poème, l’afficher, l’imprimer dans le journal du lycée, ou le mettre
sur le site du lycée, s’il y en a un.
k On trouvera des exemples de poèmes à l’adresse suivante :
www.globalclassroom.org/mlk.html
Grille d’évaluation de la production écrite
Respect de la forme 0 1 2 3 4
Poème original et intéressant 0 1 2 3 4 5
Richesse de la langue 0 1 2 3 4 5 6
Correction de la langue 0 1 2 3 4 5
Total des points / 20

2. BUMS IN THE ATTIC MANUEL k P. 34

1. Get ready
Exploitation du tableau : la préparation pourra être individuelle ou donner lieu à un travail
en binômes ou en groupes.
Écrire quelques questions au tableau pourra aider à analyser le tableau :
– What is this young woman doing?
– What impressions are given?
– What explains her attitude?
On demandera aux élèves d’observer l’image accompagnant le texte pour en faire ressortir
les lieux et le personnage, ce qui aidera à la compréhension de la première phrase du texte :
a house on a hill.
Productions possibles : This painting is entitled Christina’s World and was painted in 1948
by Andrew Wyeth. In the foreground, a young woman is turning her back to us and is half lying
on a field facing two huge houses in the background. Although she is not looking at us, we can
almost feel she is staring at these houses. The huge gap between the woman and the houses
in the distance suggests she is an outsider, she does not belong to this world or that she may
be estranged from this world. She may be envying these people. She may have been rejected
by her family. She may feel lonely and miserable. She may be desperate because she has
nobody to talk to, who can understand her.

48 • UNIT 3
Informations complémentaires
The woman crawling through the tawny grass was the artist’s neighbor in Maine, who,
crippled by polio, “was limited physically but by no means spiritually”. Wyeth further
explained, “The challenge to me was to do justice to her extraordinary conquest of a
life which most people would consider hopeless.” He recorded the arid landscape, rural
house, and shacks with great detail, painting minute blades of grass, individual strands of
hair, and nuances of light and shadow. In this style of painting, known as magic realism,
everyday scenes are imbued with poetic mystery.
www.moma.org

Corrigé : The narrator must be a young boy or girl whose father works for rich people / whose
father is a gardener and who dreams of having a beautiful / comfortable / luxurious house
like rich people. She / He must be poor / belong to the working-class.

2. Understanding the text


> Mises en œuvre possibles :
k Approche collective : élucidation du texte avec l’aide de la fiche du Workbook en
classe entière.
k Travail en binômes ou en groupes : la préparation pourra être faite à la maison à l’aide
de la fiche du Workbook. Les binômes ou groupes confronteront ensuite leurs résultats.
Un ou plusieurs rapporteurs prendra la parole en continu tandis que le reste de la classe
prendra des notes. On procédera enfin à une reprise collective avec enrichissement des
énoncés.
N. B. : ce texte est enregistré sur le CD classe n°1, piste 12.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 14-16)


I. 1. The narrator, his or her Papa and Mama and Nenny who might be the sister or
grandmother.
2. The father works as a gardener (“the gardens where Papa works”, l. 2) in rich houses
“on hills” (l. 13).
3. Sunday corresponds to the father’s day off when he doesn’t work.
4. “I” (l. 1): the narrator, a child
“We” (l. 3): the narrator’s family / the narrator and his / her parents
“You” (l. 4): the narrator
5. “stuck-up” (l. 6) and “ashamed” (l. 8).
6. “stare” (l. 8)
7. … we will buy a house like these too / we will not only dream but live our dream
8. sleep: rich people who live in houses on hills
forget: rich people
live: poor people like the narrator’s family
don’t look down: rich people
have nothing to do: rich people
9. the rich and the poor
10. These two words (“One day”, l. 21) refer to the narrator’s future when she / he is an adult.

UNIT 3 • 49
UNIT
3 MAKE A WISH

11.
Possessions Actions
will own won’t forget • will ask • will offer • will ask… to stay • will sit •
will squeak • will ask • will say • will be happy
12. k “passing bums” (l. 23), “them” (l. 24)
k “happy” (l. 29)
II. 1. He / She belongs to a poor, working-class family who must live in dire straits. The narrator
is only a child and envies the houses where his / her father works. He / She looks forward to
having such a house one day, to being generous and giving shelter to bums.
2. For the narrator, a house on a hill corresponds to the world of the haves, an impossible
world he / she cannot afford to buy and live in.
He / She must be eager to have such a house.

Approfondissement possible : He / She is envious of wealthy people who own big and
comfortable houses. He / She has stopped going for walks in these neighbourhoods because
he / she can’t tell his / her family he / she is ashamed of their attitude, he / she is tired of it,
he / she is embarrassed and resentful. He / She is aware of the gap between the haves and
the have-nots. He / She is aware that rich people look down on him / her, ignore those who are
worse off. They are selfish, self-centered. They don’t have to live in awful conditions. That’s why
the narrator will never forget his / her origins / past. When he / she owns his / her own house,
he / she will help the homeless, the underdogs. He / She will be generous and warm-hearted.

3. Speak in chains
a. Les élèves s’appuieront sur leurs notes dans le Workbook ; chaque élève fournira une phrase,
le suivant enchaînera et devra écouter ce qui vient d’être dit. On veillera à ce que les phrases
s’enchaînent assez vite.
b. Ici, on rebrassera (ou mettra en place) les structures de l’opinion.
Productions possibles : In my opinion the woman in the painting and the narrator both look
envious, they both stare at houses on the hills. They are outsiders, are cut off from people.
The woman has a long way to go, has difficulty reaching her goal. It gives an impression of
loneliness. There is a parallel between the two situations.

3. DREAMS MANUEL k P. 35

1. Understanding the poem


k On exploitera tout d’abord l’illustration accompagnant le poème en demandant aux
élèves leurs impressions.
Productions possibles : It makes me think of a peaceful landscape. I can see a field covered
in snow, it must be dawn or dusk as the sun is ready to rise or set. I like the bluish colour of
the photograph. In the background, the sun is like a golden dot, a light in this cold and yet
peaceful atmosphere. There’s a general impression of quietness and serenity, as if we were
the only ones to witness this scene. The sun may symbolize hope / a glimmer of hope / the
promise of better days.

50 • UNIT 3
k Après lecture du texte, les élèves se tourneront vers leur Workbook pour étudier ce court
poème et en apprécier la forme.
k Concernant la question b., qui constitue une mini-tâche, on s’aidera du Action! de la fiche
du Workbook qui apporte toute l’aide nécessaire. Un élève proposera ses réponses et le reste
de la classe les complétera.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 16-17)


I. 1. The poem is composed of two stanzas of four lines each.
2. k have in one’s hand: hold k because: for
k firmly, tightly: fast k not fertile: barren
3. a field
4. broken-winged = participe passé (past participle) + nom (noun) + -ed
It means a bird with wings that are broken.
It conveys an image of despair, death, of a handicap.
5. “Frozen” is the past participle of the verb “freeze”.
It is associated with “field” and also “life”.
6. The narrator is speaking to everyone, potential and real dreamers.
7.
Life without dreams Advice given
a broken-winged bird • that cannot fly • hold fast to dreams
a barren field • frozen with snow
II. The message of the poem is to continue to dream / keep dreaming because without
dreams, life is not worth living. The poet urges everyone to dream if they want to see their
dreams come true.
Approfondissement possible : In this poem the poet stresses that dreams are the soul
of life. Without dreams life is not worth living. It is a powerful incentive, a driving force.
The narrator urges us to keep dreaming, to keep struggling if we want to make our dreams
come true or make them turn into reality, if we want to fulfil our dreams. Dreams give us
a glimmer of hope. Thanks to them we remain optimistic, energetic, hopeful. Even if it is
hard / No matter how hard it is, we must keep on dreaming. However hard it is we must
keep struggling.

2. How to pronounce
k Grâce au CD classe n° 1 piste 13, les élèves pourront travailler spécifiquement sur la
prononciation de ce poème avant de se lancer dans sa lecture à haute voix, cette lecture
pouvant faire l’objet d’une évaluation.
k Il est vivement conseillé de faire lire le poème à haute voix ; cet exercice est un bon
entraînement à la prise de parole car il permet aux élèves de prendre conscience de la
mélodie de la langue anglaise et de mettre en place plusieurs phénomènes phonologiques.
k Le poème peut aussi être appris par cœur et récité en classe.

UNIT 3 • 51
UNIT
3 MAKE A WISH

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 17-18)


1. k die k winged k barren k frozen
2. The words in bold letters correspond to the stressed words / the essential words to understand
the message.
3. For if dreams die
Life is a broken-winged bird
4. \tE\
5. Hold fast to dreams 3
For if dreams die 3
Life is a broken-winged bird 3
That cannot fly. 5

Critères d’évaluation (proposition de barème)


Voix claire et audible 0 1 2
Implication personnelle, ton juste 0 1 2 3
Intonation 0 1 2 3
Réalisation des liaisons consonne-voyelle 0 1 2 3 4
Accentuation des mots porteurs de sens 0 1 2 3 4
Prononciation correcte 0 1 2 3 4
Total des points /20
Prolongement possible : on pourra travailler avec le transparent n° 2 qui propose deux
illustrations sur ce poème. On pourra demander celle qui illustre le mieux le poème, ce qui
donnera lieu à une prise de parole en continu, ou à une évaluation écrite ou orale.

3. More about Langston Hughes


k Ce travail pourra se faire à la maison, au CDI ou encore au laboratoire multimédia.
k Le professeur divisera la classe en deux groupes qui travailleront chacun sur un des
deux sites indiqués.
k Puis, en classe, des rapporteurs de chaque groupe donneront les résultats de leurs
recherches catégorie après catégorie (dates, ethnic group…). Les autres élèves pourront
ainsi compléter avec les informations repérées.

4. CHILDHOOD DREAMS MANUEL k P. 35

a. Avant de travailler sur cette compréhension orale, le professeur invitera les élèves à décrire
et commenter l’image de la p. 35 en leur demandant d’émettre des hypothèses quant au
contenu de l’interview.
Productions possibles : I can see a boy who is daydreaming in a tree. He is barefoot and
is looking up at the sky. He looks quiet and may be dreaming about his life, his future or his
goals. Maybe he wants to become an astronaut or an explorer. I think everyone needs to have
peaceful moments to reflect on what they want in life.

52 • UNIT 3
Le professeur pourra ensuite demander aux élèves ce qu’ils savent de George Lucas
(a famous American director / directed Star Wars…).

> Script de l’enregistrement


➼ Part 1
I was a terrible student in High School and the thing that the auto accident did – and it
happened just as I graduated, so I was at this sort of crossroads – but it made me apply
myself more, because I realized more than anything else what a thin thread we hang on in
life, and I really wanted to make something out of my life.
➼ Part 2
And I was in an accident that, in theory, no one could survive. So it was like, “Well I’m here,
and every day now is an extra day. I’ve been given an extra day so I’ve got to make the most
of it.” And then the next day I began with two extra days. And I’ve sort of – you can’t help in
that situation but get into a mind set like that, which is you’ve been given this gift and every
single day is a gift, and I wanted to make the most of it.
➼ Part 3
Before, when I was in High School, I just sort of wandered around. I wanted to be a car
mechanic and I wanted to race cars and the idea of trying to make something out of my life
wasn’t really a priority.
➼ Part 4
But the accident allowed me to apply myself at school. I got great grades. Eventually I got
very excited about anthropology and about social sciences and psychology, and I was able
to push my photography even further and eventually discovered films and film schools.
➼ Part 5
I decided to go to film school because I loved the idea of making films. I loved photography
and everybody said it was a crazy thing to do because in those days nobody made it into
the film business. I mean, unless you were related to somebody there was no way in. So
everybody was thinking I was silly. “You’re never going to get a job.”
➼ Part 6
But I wasn’t moved by that. I set the goal of getting through film school, and just then focused
on getting to that level because I didn’t – you know, I didn’t know where I was going to go
after that. I wanted to make documentary films, and eventually I got into the goal of – once I
got to school – of making a film. One of the most telling things about film school is you’ve got
a lot of students in those days especially, it’s not quite so much today, but wandering around
saying, “Oh, I wish I could make a movie. I wish I could make a movie.” You know, “I can’t get
in this class. I can’t get any this or that.”
➼ Part 7
The first class I had was an animation class. It wasn’t a production class. I had a history class
and an animation class. And, in the animation class they gave us one minute of film to put
onto the animation camera to operate it, to see how you could move left, move right, make
it go up and down. It was a test. You had certain requirements that you had to do. You had
to make it go up and had to make it go down, and then the teacher would look at it and say,
“Oh yes, you manoeuvred this machine to do these things.” I took that one minute of film and
made it into a movie, and it was a movie that won like, you know twenty or twenty-five awards

UNIT 3 • 53
UNIT
3 MAKE A WISH

in every film festival in the world and kind of changed the whole animation department.
Meanwhile all the other guys were going around saying, “Oh, I wish I could make a movie.
I wish I was in a production class.” So then I got into another class and it wasn’t really a
production class but I managed to get some film and I made a movie. And, I made lots of
movies while in school while everybody else was running around saying, “Oh, I wish I could
make a movie. I wish they’d give me some film.”

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 18-20)


1. people in High School: students

results at an exam High School at the end of the studies: graduated

positive = negative =
pass fail
What you get after each test: grades
1. 2. terrible • auto accident
3. when he graduated
4. Réponse libre
5.
Type of student Turning point Consequences
a terrible student a bad auto accident made him apply himself more • wanted
to make something out of his life
6. a) an extra day • an extra day • two extra days
b) Réponse libre
c) He felt lucky he was given extra days to live and do something with his life.
7. before
8. gift
9. mechanic • race • wasn’t
10. Before the accident, he wanted to become a car mechanic and was only interested in race.
11. but the accident
12. m’appliquer
13.
Topics of interest Discovery
anthropology • social sciences • films • film schools
psychology • photography
14. photography • unless • related
15. a) Réponse libre
b)
School he decided
Why? People’s reaction? Why?
to go to
film school – loved the idea of making films – said it was a crazy thing
– loved photography – thought he was silly

54 • UNIT 3
16. a) I wish I could make a movie.
b) The other film students said that.
c) not moved
d) focused
17. a) animation • class • minute • operate • camera • test • award • festival • manage to
b) His first class was an animation class and he had one minute to operate a camera. It was
a test. He made a movie based on this one minute film and won awards in film festivals with
that film. Then he managed to make other movies.

b. Les élèves jouent le rôle d’un journaliste et doivent, en utilisant leurs notes, présenter en
une minute le parcours du réalisateur George Lucas.
Conseillez-leur d’inventer le nom d’une radio et de penser à une phrase de lancement.
Ils doivent s’entraîner à adopter un ton vivant pour leur présentation qui pourra se faire
de plusieurs façons : en classe devant les autres élèves, au labo de langues ou encore à
la maison en s’enregistrant et en remettant ensuite l’enregistrement au professeur.
Productions possibles : Everybody knows George Lucas, who is a famous film director. But
did you know that he had a terrible auto accident during his childhood. After that, he decided to
apply himself more at school and to make something out of his life. Although everybody said it
was a crazy idea, he kept dreaming about going to film school to make films. He persevered /
never lost hope, he was determined and believed in himself. He stuck to his dreams to make
films, he held on to his dream. He fulfilled his dream when he made a one-minute film for his
animation class and it became his first film which won many awards. It is very encouraging to
hear George Lucas share his personal experience and prove that you can succeed if you believe
in yourself.

Informations complémentaires
This recording reminds us of Henry David Thoreau: “Go confidently in the direction of your
dreams! Live the life you have imagined.”

Critères d’évaluation (proposition de barème)


À titre indicatif, nous proposons la grille suivante. Le professeur sera bien sûr libre d’élaborer
sa propre grille ou de faire évoluer le nombre de points attribué à chaque critère.

EXPRESSION ORALE EN CONTINU


Clair et audible 0 1 2
Reprise des informations données dans le document 0 1 2 3 4
Richesse du lexique et des structures 0 1 2 3 4 5
Prononciation 0 1 2 3 4 5
Correction de la langue 0 1 2 3 4
Total des points /20

INTERACTION
Questions posées correctement 0 1 2 3 4 5
Total des points /5

UNIT 3 • 55
UNIT
3 MAKE A WISH

5. THE NEW GENERATION GAP MANUEL k P. 36

1. Get ready
a. On demandera tout d’abord aux élèves de parcourir des yeux l’ensemble du document.
Dans le cas d’une classe fragile, on pourra éventuellement attirer leur attention sur certains
éléments en leur donnant quelques mots : Kind of text? Source? Illustration? Beginning of
the text?
Productions possibles : It’s a press / newspaper article. / It’s an article from a magazine.
It dates back to 2008. A photograph illustrates the article whose headline is “The daughters
of immigrants often make career choices their moms don’t understand.” The article may
deal with this woman’s life and dreams. She must be a singer / an artist and maybe she has
dreamt of becoming a singer since she was a child. Perhaps her mother disapproves of /
objects to her choice and doesn’t understand why / her motives.
b. On demandera ensuite aux élèves de lire les deux premières phrases de l’article et d’y réagir
immédiatement en affinant leurs hypothèses.
Productions possibles : The article may deal with the problems girls have with their mothers
who have immigrated from foreign countries when they choose a job their parents don’t accept.
Mothers may want their daughters to marry or have great jobs. Maybe they want them to become
doctors or lawyers. Perhaps parents, especially mothers, had different dreams or expectations
for their daughters. They may want a better life for them.

2. Understanding the text


> Mises en œuvre possibles :
k Approche collective : on demandera aux élèves de lire les questions a. à e. et de lire
le texte pour y répondre en leur donnant le temps nécessaire pour le faire. Ceci peut faire
l’objet d’un travail à la maison.
k Travail en groupes / en binômes : on divisera la classe en deux groupes. Le groupe 1 se
concentrera sur les questions a. et b. tandis que le groupe 2 répondra aux questions c. à e.
Dans chaque groupe, un ou plusieurs rapporteurs procédera à une prise de parole en continu,
pendant que les autres élèves prendront des notes et poseront des questions si nécessaire.
Productions possibles :
a. The girl in the picture is Sparlha Swa, she is 27.
b. – Her mother is called Juliet Hart and she is from Jamaica. She broke her back and worked 16
hours a day.
– Sparlha was a brilliant / an excellent student / a straight-A student and majored in
anthropology in Stanford, a prestigious American university.
– Her dream was to become a musician. She dreamed of being a musician and making a living
out of her passion for music.
– She believes her mother sacrificed herself for her children and wants to honour her, that’s
why she wrote a song for her. Her mother has become her biggest fan, so they must really get
on well and have a special / very close relationship.
c. Words referring to music: passion (l. 20) • singer-songwriter (l. 20) • performed (l. 21) •
songs (l. 21) • lines (l. 22) • fan (l. 24)

56 • UNIT 3
d. Words connected with conflict: clash (l. 5) • conflict (l. 5) • painful (l. 6) • inexplicable (l. 14)
e. The word “dream” is repeated four times.
Approfondissement possible : The mother expected her daughter to go to university. She
was looking forward to seeing her daughter climb the rungs of the social ladder. For the mother
who is an immigrant, education is a way of escaping poverty, a chance of improving one’s
living conditions, of changing classes. Her dream was shattered when Sparlha announced she
wanted to become a musician. The mother may think being a singer is a risky job. She may
be disappointed. Sparlha realizes her mother had sacrificed her life for her sake, to give her
children better prospects. She dedicated her life to her children. She never fulfilled her own
dreams. That’s why the daughter wants to seize the opportunity she is given and honour her
mother at the same time.

3. Invent a dialogue
k Le professeur divisera la classe en deux groupes : ceux qui joueront le rôle du ou de la
journaliste (et devront donc s’inventer une identité avec un nom de chaîne et préparer leurs
questions en accord avec ce qu’ils ont appris dans l’article) et ceux qui joueront Sparlha.
Ces derniers devront donc revoir leurs notes pour répondre aux questions.
k On privilégiera le naturel de l’interview en faisant préparer les questions (ce qui fera l’objet
d’un travail à la maison) sans que les élèves qui joueront Sparlha en prennent connaissance
à l’avance.
k Critères d’évaluation (proposition de barème) : voir grille p. 55.

LANGUAGE AT WORK MANUEL k P. 37-39

> Improve your pronunciation


1. success • succeed • difficult • difficulty • purpose
2. b.
Première syllable Deuxième syllabe Troisième syllabe
obstacle advantage • achieve • opportunity • optimistic
prevent • fulfil • determined
3. Mots non accentués :
– is • than
– You • do • the • you • you • do
– or • is • the • to • our
À mettre particulièrement en relief :
– imagination • knowledge
– must • thing • cannot
– effort • key • potential
Ces mots apportent les informations essentielles.

UNIT 3 • 57
UNIT
3 MAKE A WISH

> Build up your vocabulary


1. failure • unsuccessful • disadvantage / drawback • easy • dangerous
2. a purpose • a means to • an attempt • willpower • abandon • optimistic
3. His dream was fulfilled / came true.
4. a. She succeeds in all she does.
b. We haven’t made up our minds about going abroad yet.
c. I have taken to playing the guitar lately.
d. They met with a lot of difficulties during their trip.
5. a. He overcame / has overcome a lot of difficulties.
b. Nous vaincrons un jour.

> Le prétérit simple : valeur imaginaire


Les phrases conditionnelles : If…
1. Chaque forme verbale soulignée est composée d’un modal (will ou would) et d’une BV.
a.2 b.1 c.3
if + présent will + BV
if + prétérit would + BV
2. a. Si elle gagne au loto, elle achètera sa propre maison.
b. Si elle gagnait au loto, elle achèterait sa propre maison.
c. Si elle avait une maison bien à elle / sa propre maison, elle serait plus heureuse.
3. a. Pour le verbe be, on n’a pas was mais were, à toutes les personnes.
b. Elle appartient à la langue courante.
4. Le verbe wish exprime le regret de la situation présente.
C’est un prétérit qui est utilisé.
Ils regrettent de ne pas avoir d’argent pour faire ce qu’ils veulent.
Elle regrette de ne pas vivre dans une maison plus confortable.
La mère regrette que sa fille soit chanteuse.
La mère regrette que sa fille ne soit pas professeur d’université.
L’enfant regrette que ses parents ne lui permettent pas de faire ce qu’il veut.
On observe que le français utilise une infinitive après « de » et le subjonctif après « que »
et une formulation inverse de celle de l’anglais : négative quand on a une forme affirmative
en anglais et affirmative là où on a une forme négative.
5. If only she could fulfil her dreams!
If only I owned my own house!
6. Il est temps que tu arrêtes de rêver.

> Practice
1. 1.E 2.D 3.A 4.B 5.C
2. – If I were as small as a fly, I would be practically invisible and would go everywhere and spy
on people.

58 • UNIT 3
– If I won the lottery, I would have a big party with all the people I love and would travel around
the world / abroad, I would buy a lovely house, I would buy lots of presents for my friends.
– If I didn’t have to work later, I would spend my time helping people / I would do just what I want!
– If my teachers were replaced by computers, I wouldn’t have to go to school.
– If only more women were managers, business would change.
– If school wasn’t compulsory, I would stay in bed for hours in the morning / I would not learn
anything.
– If guns disappeared, the world would be a better place / fewer people would die!
3. – If I were Paris Hilton, I wouldn’t have to work.
– If work didn’t exist, people would be on holiday all the time.
4. It will be terrible if I lose my mobile phone.
It will be a disaster if my mother forgets to wake me up in the morning.
It will be terrible if I don’t have good grades in English!
It will be terrible if nobody speaks to me.
5. I wish …
– pupils were able to have all their afternoons free.
– the cafeteria served fries and ice creams everyday / the food was better, the place was
not as noisy.
– I didn’t have any homework to do. / I only had homework in the subjects I like.
– I could create my own timetable: I would only work from 10 to 12 in the mornings and 2 to 4
in the afternoons.
– teachers didn’t give us any work to do and didn’t complain about our being lazy, would be
happy with us all the time.
– I didn’t have to learn but knew everything automatically!

YOUR TASK MANUEL k P. 40-41

> Mise en œuvre


k Le professeur rappellera que le poème le plus long fera l’objet d’un bonus de 2 points
au moins pour « prise de risque ».
k La lecture des trois extraits pourra faire l’objet d’un travail à la maison.
k Les enregistrements se trouvent sur le CD classe n° 1, pistes 15 à 17 et sur le site
compagnon, U3–Your task (1), (2), (3).

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 21)


I. 1. Les mots accentués (mis en relief) sont en gras.
Last night, while I lay thinking here, |
Some Whatifs crawled inside my ear |
And pranced and partied all night long |
And sang their same old Whatif song: |
Whatif I’m dumb in school? |
Whatif they’ve closed the swimming pool? |
Whatif I get beat up? |

UNIT 3 • 59
UNIT
3 MAKE A WISH

Whatif there’s poison in my cup? |


Whatif I start to cry? |
Whatif I get sick and die? |
Whatif I flunk that test? |
Whatif green hair grows on my chest? |
Whatif nobody likes me? |
Whatif a bolt of lightning strikes me? |
Whatif I don’t grow tall? |
Whatif my head starts getting smaller? |
Whatif the fish won’t bite? |
Whatif the wind tears up my kite? |
Whatif they start a war? |
Whatif my parents get divorced? |
Whatif the bus is late? |
Whatif my teeth don’t grow in straight? |
Whatif I tear my pants? |
Whatif I never learn to dance? |
Everything seems swell, and then |
The nighttime Whatifs strike again! |
2. Listen to the MUSTN’TS, child, |
Listen to the DON’TS |
Listen to the SHOULDN’TS |
The IMPOSSIBLES, the WON’TS |
Listen to the NEVER HAVES. |
Then listen close to me – |
Anything can happen, child, |
ANYTHING can be. |

I chose to run for president at this moment in history | because I believe deeply that
we cannot solve the challenges of our time | unless we solve them together| – unless
we perfect our union by understanding that we may have different stories, | but we
hold common hopes; | that we may not look the same | and we may not have come
from the same place, | but we all want to move in the same direction | – towards a
better future for our children |and our grandchildren.

Critères d’évaluation (proposition de barème)


Mémorisation du poème / de l’extrait 0 1 2 3 4 5
Respect de la prononciation 0 1 2 3
Intonation et groupes de souffle 0 1 2 3
Justification du choix :
– opinion 0 1 2
– réutilisation du vocabulaire 0 1 2
– structures 0 1 2
Aisance à l’oral 0 1 2 3
Total des points /20

60 • UNIT 3
UNIT
4 HEROES

Heroes
L’objectif de cette unité est, d’une part, de faire connaître aux élèves des personnalités dont
ils n’ont pas forcément entendu parler (Sir Edmund Hillary, Cathy Freeman, Dian Fossey…)
et, d’autre part, de parler de types de héros très différents (défenseur de l’environnement ou
des droits de l’homme, détenteur de records, héros du quotidien…) afin d’aborder et / ou de
rebrasser des champs lexicaux extrêmement variés. Enfin, choisir des héros proches de l’âge
des élèves (Bethany Hamilton, Sebastian Clover, Ishmael Beah, Mattie Stepanek) ne devrait
pas les laisser indifférents.

N. B. : pour les descripteurs du CECRL se rapportant à l’expression orale en continu, voir p. 11.

Manuel Workbook Fiches


photocopiables

Tâche finale Présenter un héros à l’oral en gardant


la parole le plus longtemps possible

Objectifs Mémoire • Lien social


culturels

Lexique k biographies (p. 43 et 46 à 48)


k courage, bravoure (p. 45)
k espèces en voie de disparition (p. 46)
k sport, alpinisme (p. 47)
k conflits armés et droits de l’Homme
(p. 48)

Grammaire k superlatif (p. 50)


k verbes être et avoir (p. 50)

Phonologie k réalisation des formes faibles are, was,


were (p. 49)
k accentuation des mots porteurs (p. 44,
47, 53) X
k liaisons consonne-voyelle et schémas
intonatifs (p. 44) X

Structures de k exprimer son admiration


communication k comparer
k exprimer la capacité
k donner son opinion

UNIT 4 • 61
UNIT
4 HEROES

Activités langagières dominantes

Manuel Workbook Fiches


photocopiables

Prendre k faire le compte rendu oral d’un texte


la parole (p. 44 à 48)
en continu k faire le compte rendu oral d’un document
sonore (p. 47) X
k role play (p. 42, 45 et 46)
k lire un poème à haute voix (p. 44) X
k convaincre un auditoire (p. 53)

Prendre k Tune in (p. 42) X


la parole
en interaction

Lire et prendre k Role models, biographies (p. 43) X X


la parole en k On being a champion, poème (p. 44) X
interaction k Little big man, article de presse (p. 45) X
k Gorillas in the mist, page d’un site
Internet (p. 46) X
k Over oceans and mountain tops,
article de presse (p. 47) X
k War and peace, couverture et extrait
d’un livre (p. 48) X X

Écrire k une quatrième de couverture (p. 43) X


k un plan détaillé pour une prise de parole
(p. 45, 46, 47)
k une biographie (p. 53)

Écouter k On being a champion, poème (p. 44) X


k Who’s your hero?, interview (p. 47) X
k War and peace, extrait littéraire (p. 48)
k site compagnon, U4–Dialogue: Great
inspiration

Écouter Mountain Gorillas, documentaire (p. 46)


et regarder
(vidéo)

N. B. : les titres en gras indiquent les documents à étudier afin de réaliser la tâche finale.
Nous vous rappelons que les Help! sont enregistrés sur le CD classe et que les exercices
Improve your pronunciation sont téléchargeables sur le site compagnon.

62 • UNIT 4
TUNE IN! MANUEL k P. 42

1. React to this book cover


> Mise en œuvre
L’analyse de la photo pourra être préparée en classe ou à la maison.
a. On peut s’attendre à ce que les élèves associent l’homme de la photo à un acteur (Ben Affleck
dans le film Pearl Harbor, Tom Cruise dans Top Gun, Christopher Reeve dans Superman…), ou à
Saint-Exupéry.
Productions possibles : The man in the picture makes me think of Ben Affleck starring in
Pearl Harbor. This man who is standing proudly reminds me of... He is wearing his pilot’s
gear, a leather jacket, a helmet, goggles, and gloves. He is standing still, motionless, upright
and erect. He looks ready to go on another mission. He seems to be just back from a battle.
b. L’objectif est ici de lister les qualités intrinsèques d’un héros.
Productions possibles : This is a low-angle shot. Its impact on the viewer is quite obvious:
The man looks taller and even more courageous. I think he seems to be triumphant and
fearless. The low-angle shot conveys the impression the man is tough, strong, impressive,
well-built, muscular, brave and courageous. He looks all the more heroic because of the
low-angle shot. He seems to have a little smile on his face because he has achieved his goal.
I like this man who is handsome and sporty. He looks really attractive to me. He may be a
womanizer when we see the blond girl drawn on his jacket. He is the kind of person ready
to risk his life for others and who never gives up till he has overcome all the difficulties.

2. Role play
> Mise en œuvre
k Au préalable, le professeur peut procéder à un brainstorming afin de déterminer quelles
expressions peuvent être utilisées lorsqu’un bureau éditorial se réunit.
Productions possibles : Good afternoon, we have to decide today what picture would be
best for the book How to Be a Hero. Look, I’ve found this super shot: What do you think? He
looks handsome, doesn’t he?
Suggérer aux élèves d’utiliser des gap fillers ainsi que des mots de liaison pour articuler les
cinq arguments à trouver.
k On pourra mettre en place l’activité intitulée Just a minute sur le site de l’Académie de
Caen (rubrique : « Débats Citoyens, Quelques activités d’entraînement possibles »). Un
premier élève doit essayer de parler pendant une minute. Il ne doit pas se répéter, être hors
sujet ou hésiter (mais peut et doit même utiliser des gap fillers). S’il ne respecte pas ces
règles, le premier élève qui brandit une carte « Hésitation », « Répétition » ou « Déviation »
prend la parole et le time-keeper remet son chronomètre à zéro.
k On pourra également demander aux élèves d’apporter la photo de la personne qui, à
leurs yeux, illustrerait au mieux ce livre.
k Le lexique de la rubrique Help! pourra être fixé à l’aide de la fiche suivante (disponible
sur le site compagnon en version photocopiable).

UNIT 4 • 63
UNIT
4 HEROES

Check your vocabulary


1. Traduisez les phrases suivantes. (Les mots en gras se trouvent dans le Help!, p. 42)
a. Cette photo me rappelle Ben Affleck dans Pearl Harbor.
b. Il a l’air fier, déterminé, impressionnant.
c. Il semble prêt à risquer sa vie et surmonter de nombreuses difficultés.
d. Il a l’air satisfait de lui-même.
2. Donnez les adjectifs dérivés des racines suivantes.
a. enterprise b. courage c. triumph d. fear e. sport
3. Donnez le contraire de ces mots.
a. fail (échouer) b. go on = continue

CORRIGÉ

1. a. This photo reminds me of Ben Affleck in Pearl Harbor.


b. He looks proud, determined, impressive.
c. He looks ready to risk his life and overcome many difficulties.
d. He looks self-satisfied.
2. a. enterprising b. courageous c. triumphant d. fearless / fearful e. sporty
3. a. achieve (one’s goals) b. give up / stop / cease

1. ROLE MODELS MANUEL k P. 43

Objectifs :
– compétences langagières : compréhension écrite, expression écrite, production orale
en continu et / ou interaction ;
– compétences linguistiques : amener les élèves à parler plus longtemps en étoffant leurs
productions grâce à des éléments biographiques.

1. Do you know them?


> Mise en œuvre possible
a. Avant de faire ouvrir le manuel, le professeur peut noter au tableau (ou sur un transparent
pour rétroprojecteur) les noms des huit personnages évoqués sur cette page. Puis il
demandera aux élèves s’ils en connaissent certains. M.L. King, C. Freeman et N. Armstrong
seront probablement cités. On encouragera alors les élèves à dire ce qu’ils savent de ces
héros. Pour les autres personnages, nous suggérons de mettre en place un jeu rapide de
Who’s Who? Les élèves interrogeant leur professeur tout en prenant des notes (Is he / she still
alive? When did he / she live? What is / was his / her nationality? Where does / did she work?
What did he / she explore / discover?)

64 • UNIT 4
b. et c. Corrigé : A5 • B 6 • C8 • D4 • E1 • F7 • G3 • H2
Productions possibles : Alexander Fleming was a scientist as it was a bacteriologist.
He became famous because he discovered penicillin and he is now considered the father
of modern medicine. He must have been a very persevering man.
Prolongement possible : on pourra suggérer un Follow-up work en demandant aux élèves de
faire de brèves recherches sur l’un de ces héros et de se préparer à le présenter à la classe
pour le cours suivant.

2. Pairwork
Le Pairwork (Workbook, p. 22, activité I) permettra aux élèves d’identifier les informations
devant figurer dans une biographie et de travailler les questions qui s’y rapportent : When was
he / she born? When did he / she die? What is / was he / she famous for? Il est nécessaire
que la classe ait bien compris au préalable les règles d’un travail en binôme : le français
est à proscrire et il faut écouter son / sa camarade en lui demandant de répéter si besoin.
Plusieurs schémas d’organisation sont possibles : partager la classe en groupes de 2 (un
élève A, un élève B) ou en 2 groupes (l’équipe A et l’équipe B). Laisser les élèves travailler
en autonomie environ 5 minutes. Le Recap qui permet de clore les échanges individuels et
de recentrer l’attention de la classe peut servir à constituer la trace écrite du cours ou à faire
un travail écrit individuel.

3. Writing a book cover


> Mise en œuvre possible
k En préparation à cette activité, on pourra utiliser le texte à trous du Workbook (p. 22,
activité II, exercice 1).
k Le professeur pourra ensuite demander aux élèves de s’appuyer sur les exercices 2
et 3 du Workbook (p. 23), qui leur fourniront des amorces et des aides à la prise de parole
en continu.
k La rédaction de la quatrième de couverture pourra se faire individuellement ou en
groupe, en classe, à la maison ou en salle multimédia où l’on pourra réaliser une véritable
mise en page.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 22-23)


1. 1: generous • 2: determined • 3: devoted • 4: hopeful • 5: enterprising • 6: fearless /
brave • 7: inspired • 8: fearless
2. Example M.L. King: 20th • 1929 • 1968 • American • Human Rights fighter • fought for
equality / against discrimination
3. Example A. Fleming: he was a leading bacteriologist / scientist • father of modern
medicine • dedicated • clever • he discovered penicillin / helped save thousands of lives

Prolongement possible : on pourra faciliter la mémorisation du lexique de la rubrique


Help! grâce à la fiche page suivante (téléchargeable sur le site compagnon). Tous les mots
demandés se trouvent p. 42-43 du manuel.

UNIT 4 • 65
UNIT
4 HEROES

Check your vocabulary


1. Retrouvez les synonymes et les antonymes de ces mots.
a. well-known = f. defeated ≠
b. devoted = g. selfish ≠
c. courageous = h. stingy ≠
d. fearless = i. lazy ≠
e. intelligent =

2. Complétez par le mot approprié.


a. Someone who enjoys physical activity and knows about sport rules is considered
.
b. M. Luther King received many titles. He was the Nobel Peace
Prize in 1964.
c. A is used by bikers and soldiers: It protects the head in case
of impact.
d. Emilia Earhart had to fight hard and many hardships to become
a pilot.
e. Michael Phelps is the most famous American in swimming
competitions.
3. Entourez la syllabe accentuée de ces mots.
a. nineteenth c. difficulties e. accomplish
b. achieve d. energetic f. explorer
4. Classez ces mots dans le tableau suivant la prononciation de la voyelle -o-.
hero • discover • sporty • born • devoted • shot • become • goggles • gloves
\Å\ comme dog \O…\ comme horse \EÁ\ comme boat \Ø\ comme sun

CORRIGÉ
1. a. famous d. daring g. selfless
b. dedicated e. clever h. generous
c. brave f. triumphant i. energetic
2. a. sporty b. awarded c. helmet d. overcome e. record-breaker
3. a. nineteenth c. difficulties e. accomplish
b. achieve d. energetic f. explorer
4.
\Å\ comme dog \O…\ comme horse \EÁ\ comme boat \Ø\ comme sun
shot • goggles sporty • born hero • devoted discover • become •
gloves

66 • UNIT 4
2. ON BEING A CHAMPION MANUEL k P. 44

Objectifs :
– compétences langagières : compréhension écrite et orale, production orale en continu
et / ou en interaction ;
– compétences linguistiques : s’entraîner à repérer les éléments accentués de la chaîne
parlée ainsi que s’approprier des schémas intonatifs et accentuels.

1. Get ready
> Mise en œuvre possible
k On pourra commencer par exploiter l’illustration en renvoyant les élèves à la p. 280
de leur manuel (paragraphe : « Plans et angles »).
Productions possibles : This photo looks intriguing. It takes time to realize it is a low-angle
shot. It is taken in a glacier, in the middle of a crevasse, people are climbing up a cliff, we
can see shoes with crampons, the climbers in the background are holding ice axes. It must
be very dangerous, these people are reckless, daredevils. It requires a lot of skill / courage /
determination to go up this wall of ice. It must be thrilling / exhilarating / scary / a fantastic
experience.
k On écoutera ensuite l’enregistrement du poème en entier (CD classe n° 1, piste 20). Le
professeur pourra demander de repérer les mots clés. Les élèves trouveront assez facilement
champion, winner, hero, spirit, life mais aussi peut-être challenge, optimist, game.
k Avec une classe faible, l’enseignant peut concevoir une étape préliminaire d’anticipation :
il fournira les transcriptions phonétiques des mots à repérer, en y glissant des intrus
(pessimist, live, willing, shampoo…) pour guider le travail de repérage lors de l’écoute.

2. Understanding the poem


Corrigés : a. a champion is • someone who • even when • if we live as
b. a champion is a hero, someone who never gives up
c. solidarity • hope • courage • determination • willpower

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 23)


I. 1. a champion is • someone who • even when • if we live as
2. Success: champion • winner • hero • winning • overcome • optimist • hopeful •
hopeful spirit
Difficulties: gives up • gets rough • challenges
Qualities: never gives up • creative solution • optimist • hopeful • plays the game
3. Everybody can be a hero: “There can be a champion in each of us,” (l. 13)
4. Life is the biggest challenge: “Even when the game is called life.” (l. 12)
5. friendship • hope • solidarity • energy • joy • courage

UNIT 4 • 67
UNIT
4 HEROES

3. Recap
Pour le récapitulatif on demandera aux élèves de s’appuyer sur les amorces de la p. 44
du manuel et sur l’exercice Action! p. 24 du Workbook. Ces réponses pourront donner lieu
à un travail individuel, en binômes ou en groupes, être préparées en classe ou à la maison.
La prise de parole en continu d’un élève ou d’un rapporteur sera suivie d’une reprise de la
classe.
a. Productions possibles : Anybody can be a hero provided he / she is ready to get involved,
be committed, to fight to achieve his / her goals. Heroes are not necessarily famous people,
they can be ordinary, average citizens who resist, try to overcome difficulties.
The qualities needed are optimism, energy, willpower. Heroes need to be determined, strong-
willed, wilful, resolute, defiant, strong-minded. Fighting against pressure entails / implies /
requires a lot of moral courage. A hero is someone who wants to win life’s battles and who
has enough courage to face any challenges and hardships, such as illness, suffering, personal
problems, unhappy love stories or failures... He or she embodies courage, determination,
positive thinking, energy, which means a hero must be brave, strong-willed, active... He /
She can’t be complaining all the time, asking others for help, or waiting for better times. He /
She has to face the problems of life and find solutions. It’s a person who is never grumpy or
sad; on the contrary he / she is always optimistic and creative. Besides, Mattie thinks a hero
doesn’t act alone because human beings are members of a group; your actions can help
others. Therefore solidarity, friendship and mutual aid are important values.
b. Pour faciliter la recherche d’idées on pourra poser une question-relais : “Can you think
of ordinary heroes?”
Productions possibles : Firefighters, policemen, doctors, nurses are ordinary heroes because
they are able to sacrifice their own safety and sometimes even their lives. Firefighters can be
admired for their courage, generosity and sense of sacrifice. They are as courageous as French
Doctors or people working for relief organizations.
c. Productions possibles : Mattie has become a hero because this young boy had a tragic
fate, he fought against his disease very courageously. He wrote poems that are worth reading
and learning, because he is the living example of an ordinary hero, he embodies all the qualities
he praises. He has become a role model for many American teenagers. He never gave up and
fought till the end.
d. Les structures se rapportant à likes et dislikes seront rebrassées ici. Réponse libre.
e. Réponse libre.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 24)

II. 1. a winner / an optimist • determined and courageous • gives up • fights • life is difficult •
accepts the challenges of life • everybody
2. Réponse libre.

68 • UNIT 4
4. Speak up
> Mise en œuvre possible
k Il est vivement conseillé de faire lire le poème à haute voix ; cet exercice est un bon
entraînement à la prise de parole car il permet aux élèves de prendre conscience de la
mélodie de la langue anglaise et de mettre en place plusieurs phénomènes phonologiques.
k La lecture oralisée peut se faire en alternant à chaque vers une voix de fille et une voix
de garçon. On peut imaginer d’autres organisations (un élève dit un vers, son voisin le suivant,
et ainsi de suite, de la façon le plus naturelle possible).
k Le poème peut aussi être appris par cœur et récité en classe.

Critères d’évaluation (proposition de barème)

Voix claire et audible 0 1 2


Implication personnelle, ton juste 0 1 2 3
Intonation 0 1 2 3
Réalisation des liaisons consonne-voyelle 0 1 2 3 4
Accentuation des mots porteurs de sens 0 1 2 3 4
Prononciation correcte 0 1 2 3 4
Total : / 20

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 24)

III. 1. \I\ winner • hero • require • spirit • even • live \aI\ require • life \i…\ team • each
2. et 3. A champion is a winner, 3
A hero... 3
Someone who never gives up 3
Even when the going gets rough. 5
A champion is a member of 3
A winning team... 3
Someone who overcomes challenges 3
Even when it requires creative solutions. 5
A champion is an optimist, 3
A hopeful spirit... 3
Someone who plays the game, 3
Even when the game is called life. 5
There can be a champion in each of us, 3
If we live as a winner, 3
If we live as a member of a team, 3
If we live with a hopeful spirit, 3
For life. 5

UNIT 4 • 69
UNIT
4 HEROES

3. LITTLE BIG MAN MANUEL k P. 45

1. Understanding the text


> Mises en œuvre possibles
➼ PREMIÈRE VARIANTE

À la maison ou en classe, faire lire le texte en entier.


– Dans le cadre d’une classe fragile, on pourra avoir recours à la fiche d’entraînement du
Workbook p. 25-26.
– Si la classe est solide, les questions du livre pourront servir de guidelines dans la recherche
des informations essentielles.
– Dans le cadre d’une pédagogie différenciée, les élèves les plus fragiles pourront se servir
de la grille du Workbook, les plus solides uniquement des questions du manuel.

➼ DEUXIÈME VARIANTE

– Diviser la classe en 3 groupes, avec un rapporteur pour chaque groupe. Le groupe A lira le
premier paragraphe, le groupe B le paragraphe Heroic Rescue, et le groupe C le paragraphe
Rewards for Bravery. Chaque groupe traitera la partie correspondante du Workbook.
– Lors du Recap, toute la classe devra écouter avec attention les rapporteurs des autres
groupes et prendre des notes. Bien sûr les autres membres de l’équipe peuvent intervenir
à tout moment pour aider le rapporteur et compléter son compte rendu. L’histoire pourra
ainsi être résumée à la chaîne.
– L’illustration du texte pourra servir de prise de parole en continu en début de cours suivant.
L’élève devra commenter la photo et réutiliser ce qui a été dit au cours précédent.
Corrigé :
a. – New York • Wesley Autrey • Cameron Hollopeter.
– 50 = Autrey’s age • 20 = Hollopeter’s age
– subway • train • subway station • platform • track
b. – Autrey: 50 • construction worker • Navy veteran • 2 young daughters
– Hollopeter: 20 • New York Film Academy student
– 1: He jumped off the platform. 2: He rolled with the victim between the tracks.
3: He protected the victim with his body. 4: He didn’t move while five cars passed.
c. – Michael Bloomberg: New York City Mayor • Donald Trump: businessman
– $10,000 from Donald Trump • $5,000 from the New York Film Academy • a trip to
Disney World • one year of free subway rides
– Subway superhero • real-life Superman • an angel • a great man
Productions possibles (Recap) : The hero happened to be in the subway waiting for a train
when he saw a young man fall onto the tracks as a train was entering the station. The victim
was a young man called Hollopeter, a 20-year-old student who nearly died. Autrey, an army
veteran, certainly a very fit man, jumped onto the track in-between the rails and used his
body to protect the young man. As he stepped back onto the platform he became an instant
hero and received many rewards, such as the city bronze medallion and thousands of dollars.
But most amazingly, Autrey declared he is not a hero, just a plain citizen who acted without
thinking twice.

70 • UNIT 4
CORRIGÉ DE LA FICHE DU WORKBOOK (P. 25)
➼ PART 1
1. a) Wesley Autrey • Cameron Hollopeter b) New York c) 50: Autrey’s age • 20: Hollopeter’s
age d) subway • train • subway station • platform • track e) male • 20

➼ PART 2
2. – construction worker – Navy veteran – has 2 young daughters
3. 1. He jumped off the platform. • 2. He rolled with the victim between the tracks. •
3. He protected the victim with his body. • 4. He didn’t move while five cars passed.
4. (from left to right and from the top downwards) platform • car • tracks

➼ PART 3
5. 1. Michael Bloomberg, Mayor 2. Donald Trump, businessman
6. 10,000: 10,000 dollars award Donald Trump gave Autrey • 5,000: 5,000 dollars award
the New York Film Academy gave Autrey
7. a trip to Disney World • a year of free subway rides
8. Subway superhero • real life Superman • an angel • a great man

2. Role play
> Mise en œuvre
k On pourra utiliser le Action! du Workbook p. 26 qui fournit des amorces et des noms
de radios new-yorkaises.
k Les élèves peuvent préparer leur script à la maison, mais il faudra les prévenir qu’ils
ne pourront pas lire leurs notes lors de leur prise de parole mais seulement des mots clés.
k Certains élèves souhaiteront peut-être s’enregistrer ou se filmer et ajouter des jingles
et des bruitages. Il faudra les y encourager et les amener à jouer leur rôle de façon
convaincante.
k On peut aussi accepter d’autres scénarios : une interview entre un journaliste et un
témoin de l’accident, un adjoint au maire de New York, ou Autrey en personne.
k Voici un exemple de fiche qui a servi d’amorces à la prise de parole d’élèves.

Description: Description:
Description:

Description:

Description: Description: Description:

UNIT 4 • 71
UNIT
4 HEROES

Prolongement possible : après cette activité, les élèves pourront comparer leurs productions
à la réalité en visionnant l’interview de Wesley Autrey disponible sur YouTube.

4. GORILLAS IN THE MIST MANUEL k P. 46

1. Get ready
> Mise en œuvre
a. k Le professeur pourra demander aux élèves de faire une recherche préalable sur Dian
Fossey et de présenter ces informations lors d’une prise de parole en continu en début
de séance.
k Sinon, l’enseignant procédera à une anticipation sur les gorilles ; il notera au tableau
Gorillas? et demandera à la classe ce qu’elle sait.
Productions possibles : They are big monkeys living in Africa. I think they are an endangered
species. They live in groups or communities with one male leader. They are wild and fearless.
Males usually bang their chests with their fists to deter enemies from approching the group.
k Ensuite le professeur pourra se servir de l’encadré jaune en haut de la page du manuel.
Nous suggérons d’en faire une copie sur transparent ou de noter ces informations au
tableau afin que la classe se concentre sur les gorilles avant de s’intéresser à Dian Fossey.
Le professeur demandera aux élèves de le lire en silence en mémorisant le maximum
d’informations. Puis l’enseignant cachera l’encadré ou fera fermer le manuel. Il pourra
noter au tableau des amorces du type : Gorillas are / do… because / which means / so…
Compared to human beings, they… Les élèves diront ce dont ils se souviennent.
k L’anticipation sur les gorilles avec l’encadré jaune en haut de la page du manuel peut aussi
se faire en binômes ou en groupes. Seule une partie de la classe a accès aux informations sur
les gorilles. Le reste de la classe doit préparer des questions pour le premier groupe. Suivant
les compétences de la classe, le professeur pourrait envisager deux types d’amorces :
– Groupe assez autonome : food? lifespan? size? weight (kg)? protection status?
– Groupe plus fragile : What food ... eat? How long ... live? How tall ...? How heavy ...?
.... protected?
Les élèves procéderont à une récapitulation en groupes.
Productions possibles : They are omnivorous, which means they eat anything from meat to
plants, either fish or berries. They can live up to 35 years which is longer than cats and dogs.
What is amazing is their size; they can be up to 1.8m standing which is as tall as a grown-up
man, but they weigh from 135 to 220kgs, so much heavier than us. Sadly they are greatly
endangered, hunted down for their meat, their heads and hands which are collected as
trophees. They also suffer from deforestation which destroys their habitat.

72 • UNIT 4
Informations complémentaires
Mountain gorillas are found in the Virunga volcanic mountains of Central Africa (south-west
Uganda, north-west Rwanda, eastern Democratic Republic of Congo and Uganda’s Bwindi
Impenetrable Forest). They are threatened by poaching, loss of habitat, and disease.
– Poaching: They have been killed for their heads, hands, and feet, which are sold to
collectors. Infants are sold to zoos, researchers, and people who want them as pets.
Poaching for meat is particularly threatening in regions of political unrest. Most of them
live in areas of war and political unrest in central Africa.
– Habitat loss: The forests where mountain gorillas live are surrounded by rapidly
increasing human settlement. The resulting deforestation limits the gorillas’ territory.
– Disease: Humans and gorillas are genetically quite similar, so gorillas are vulnerable to
many of the same diseases as humans. Groups visited by tourists have the greatest risk.

b. On demandera ensuite à la classe de réagir à la photo. On peut, par exemple, écrire au


tableau Who? Where? How many? Attitude?
Productions possibles : I can see a woman surrounded by a group of gorillas who seem to
be friendly enough. Dian Fossey was probably a photographer, an animal rights fighter, an
earthkeeper. She worked in Africa, in the forest. I think she became friends with a group of
gorillas. She doesn’t seem to be scared or threatened by them.

2. More about Dian Fossey


Quant au texte, on demandera à la classe de le lire et de retrouver l’ordre chronologique
de la biographie en s’appuyant sur les dates, les connecteurs logiques, les marqueurs de
temps et la ponctuation (voir corrigé de la fiche du Workbook, page suivante, exercice I).

3. Watch a video
Voir p. 414-415 et 433-435.
Prolongements possibles :
k D’autres vidéos sont disponibles sur le site de l’association Dian Fossey Gorilla Fund :
www.gorillafund.org/gorilla_videos/index.php
k En Follow-up work, les élèves pourront présenter une espèce menacée (en faisant
un clip pour une association de protection) ou une personne ayant consacré sa vie à la
protection d’une espèce (Jane Goodall et les chimpanzés, Roxanne Kremer et les dauphins,
Alan Rabonowitz et les jaguars…). Pour plus d’informations :
www.myhero.com/myhero/go/directory/directory.asp?dir=earthkeeper

4. Role play
Voir corrigé de la fiche du Workbook page suivante (exercice II).

UNIT 4 • 73
UNIT
4 HEROES

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 26-27)


I. 1G • 2D • 3B • 4F • 5H • 6C • 7E • 8A
II. Hello everybody, it’s nice to see you, it’s been quite a while… Guess what I’ve just watched.
Right, I’ve seen the most fascinating story about gorillas. There was this woman, Dian
Fossey, who devoted her whole life to these massive monkeys. After college she went to
Rwanda and Zaire, and spent months in the jungle making friends with them. She learnt a
lot, and did her best to protect them from poachers. She was first-rate, the bravest woman
I’ve ever heard of! Of course many people opposed her work and she was threatened many
times. Poor woman, she died because of her work! Right, she was murdered in Rwanda and
nobody was arrested for it. She’s one of the heroes of the twentieth century because now
gorillas are protected, and everybody knows about her fight. Come on guys, let’s rent the
film Gorillas in the Mist for tonight. It’s going to be great, we’ll have fun and learn something
at the same time. And why don’t we adopt a gorilla? It would help raise money and we
would do something concrete to save these animals. Don’t you think it’s a good idea?

5. OVER OCEANS AND MOUNTAIN TOPS MANUEL k P. 47


Ici aussi l’enseignant pourra commencer par une anticipation thématique en demandant
aux élèves de préparer un mini exposé sur un des héros sportifs qu’ils apprécient.

1. Understanding the text


> Mise en œuvre
On divisera la classe en deux groupes. Le premier lira le début du texte (juqu’à “the region”,
l. 16) avec l’aide de la fiche du Workbook correspondante p. 27-28 (Part 1). Le second grou-
pe se concentrera sur la fin du texte (à partir de “He never liked”, l. 17) et la fiche d’aide à
la lecture, appelée Part 2. On demandera à chaque groupe de préparer un résumé oral de
ce qui a été lu. Le premier parlera de l’aventure sportive et du Himalayan Trust, alors que le
second s’attachera à la modestie du personnage et aux valeurs qu’il chérissait. Pour guider
les élèves on peut noter des amorces au tableau pour chaque groupe :
– Group 1: – Group 2:
✓ 29, May 1953 ✓ Pastime
✓ Previous attempts ✓ Nicknames
✓ Himalayan Trust ✓ His values and philosophy

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 27-28)


➼ PART 1
1. 1953 • Everest
2. Sir Edmund Hillary • Sherpa Tenzing Norgay • Queen Elizabeth II
3. New Zealand • Nepal
4. He was the first man to reach the Everest peak.
5. “… huge accomplisment against nature as many attempts had previously failed.” (l. 7)

74 • UNIT 4
6. New Zealander

➼ PART 2
7. “humanitarian work” (l. 22)
8. “modest abilities” (l. 24) • “ordinary person with ordinary qualities” (l. 28)
9. In private: Ed Public figure: a quintessential Kiwi • Sir Ed
10. determination • humility • generosity
“ordinary person with ordinary qualities” (l. 28)

Corrigé :
– Edmund Hillary is from New Zealand.
– He was the first man to reach the Everest peak on May, 29 1953.
– “... devote much of his life to aiding the mountain people of Nepal and set up the Himalayan
Trust through which he built schools, hospitals and bridges in the region.” (l. 15) “... he wished
to be remembered mostly for his humanitarian work.” (l. 21)
– “He never liked to be known as a hero, preferring to be called ‘Ed’ and considering himself
just an ordinary beekeeper.” (l. 17) “Adventuring can be for the ordinary person with ordinary
qualities, such as I regard myself,” (l. 28)
Ensuite on incitera les élèves à dire ce qu’ils ont appris dans ce texte, en utilisant les amorces
fournies en bas de la p. 47 du manuel.
Productions possibles : Sir Edmund Hillary was a famous New Zealander, or a Kiwi, if you
prefer. He became famous in 1953 when he reached the top of Mount Everest / because he
was the first man to reach the top of Mount Everest. It was a tremendous achievement / a huge
victory because people had tried and failed again and again. He used his international fame
to help the people of Nepal get a better life. He was so generous that he gave / he devoted
much of his time and money to building schools, hospitals and roads. Yet he was a very humble
man who enjoyed beekeeping and regarded himself as an ordinary person even though he had
become the most famous mountaineer of the 20th century.

2. Who’s your hero?


> Script de l’enregistrement
➼ Part 1
Journalist: Good afternoon Susie, welcome. I’ve heard you intend to be in one of the next
expeditions to Mount Everest.
Susie: Yes, we’ll be going next Spring... climbing the North-East ridge.
J: ... And this is for charity!
S: Indeed, we will be raising money for Cancer Link.
➼ Part 2
J: How, well, why did you become a climber, a mountaineer? Why Mount Everest which is
a legend?
S: When I was little, I read a book about Sir Edmund Hillary and he’s been my hero ever
since. I remember watching an interview in which he recalled his boyhood: As a child he
dreamed a lot and read a lot of books about adventure. Then he became a competent
mountaineer and went off to the Himalayas, doing a lot of climbing.

UNIT 4 • 75
UNIT
4 HEROES

J: Apparently he also joined expeditions to the Antarctic.


S: Right, he was a real adventurer, but as he grew older, he devoted much of his life to
helping the Sherpas of Nepal. He was more involved in organizing, raising funds or leading
expeditions... He became less active, less sporty maybe.
➼ Part 3
J: But he got more and more interested in humanitarian causes, didn’t he?
S: Oh definitely! He built up very close friendships with the people of the Himalayas.
Through his efforts, schools, bridges, roads and hospitals were built. At the end of his life,
he became more and more worried about the huge number of tourists who leave tons of
rubbish behind. He also became very much involved in environmental matters. So, his
major interests were then in people and in the environment. He is an inspiration to me
because he was an explorer who fulfilled his dream and took risks to achieve his goals.
J: Thank you, that was fascinating.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 28-29)


➼ PART 1
1. welcome • intend • expeditions • Mount Everest • going • next • Spring • climbing •
North-East • ridge • charity • raising • money • cancer
2. Plans: intend • next climbing expedition • going next Spring
Where? Mount Everest • North-East • ridge
What for? charity • raising money for Cancer Link
3. She is a mountaineer who is going to climb the North-East ridge of the Everest.

➼ PART 2
4. When I was little, I read a book about Sir Edmund Hillary and he’s been my hero ever since.
I remember watching an interview in which he recalled his boyhood.
5. the Himalayas • the Antarctic
6. adventure • adventurer • funds • involved • raise
7. read • books • competent • mountaineer • climbing • helping • organizing • leading •
less • more active • sporty
8. Childhood: dreamed a lot • read books about adventure
Youth: competent mountaineer • did a lot of climbing
Later years: helping Sherpas • raising funds • leading expeditions

➼ PART 3
9. interested • humanitarian • friendships
10. k buildings: schools • hospitals k transport: roads • bridges k protection of the
environment: environmental matters • huge number of tourists • rubbish
11. At the end of his life he became involved in humanitarian causes and in the protection of
the environment, especially in Nepal.
12. inspiration • explorer • fulfilled • dream • risks • achieve • goals

76 • UNIT 4
3. A famous Kiwi
Les élèves pourront s’appuyer sur le Action! du Workbook p. 30.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 30)


1. This $5 New Zealander bank note is very colourful! I like it because it is quite unusual, I can
see Sir Edmund Hillary in the middle. He is quite young. He is smiling. It represents him when
he was a mountaineer at the summit of his fame. Indeed, Mount Everest is in the background.
So they have selected the Everest conqueror as a popular icon for their 5$ banknote.
2. Edmund Hillary was born in 1919 in New Zealand. He died in 2008. He is a real hero because
he was the first to climb the Everest peak in 1953. He succeeded where so many other
trained athletes had failed. He certainly overcame many hardships to get there. In his old
age, his interests became both humanitarian causes and the protection of the environment,
especially in Nepal.
3. Therefore he became a symbol for New Zealand and is a national and international hero.
He is greatly admired for his victory and numerous climbing successes and for his humble
temperament. Indeed he thought he was no hero, just a normal Mr Everybody led by
determination and generosity. He embodies the true hero, generous at heart, with no
self-pride who devotes his life to others / who turns his personal success into a means to
help other human beings. He thought anyone can become a hero if he or she is generous,
determined and humble.

6. WAR AND PEACE MANUEL k P. 48

1. War times
> Mises en œuvre possibles
➼ PREMIÈRE VARIANTE
On pourrait demander aux élèves d’observer rapidement la couverture du livre et de dire de
quoi il parle à leur avis. Ils auront certainement repéré les mots true story et child soldier et
fait le lien avec la photo du jeune Africain portant un fusil. Ils rempliront ensuite la fiche du
Workbook p. 31-32.

➼ DEUXIÈME VARIANTE
La découverte du livre et de l’histoire d’Ishmael Beah peut se faire en groupes ou en
binômes. L’équipe ou l’élève A se concentrera sur la couverture du livre et fera les activités
du Workbook intitulées Part 1 et Part 2, l’équipe ou l’élève B lira le texte Rebel with a cause
et travaillera la Part 3 du Workbook. Chaque groupe ou élève récapitulera ce qu’il a appris
pendant que le reste de la classe ou le second élément du binôme prendra des notes avec
l’aide de l’enseignant (voir grille de Pairwork du Fichier Pédagogique p. 79-80).

UNIT 4 • 77
UNIT
4 HEROES

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 31-32)


➼ PART 1
1. a) title = 3 • subtitle = 1 • illustration = 5 • book reviews = 2 + 8 • author = 4 • extract = 6 •
summary = 7
b) The title of the book, a part of the extract, the summary, the names of the newspapers
and the illustration are in colour.
The dominant colours are black and red.

➼ PART 2
2. a) everybody = people in Sierra Leone • you = Ishmael • I = Ishmael Beah • us = US children
b) Sierra Leone • Africa
c) an autobiography
d) 12 = Beah’s age • fifty = conflicts all over the world • 300,000 = number of child soldiers •
one = Ishmael, one of the child soldiers
e) war and violence: fighting • attacking • violent • terrible act • fought • rebels
the army: conscripted • AK-47 • soldiers
➼ PART 3
3. a) I = Ishmael Beah • us / we = children in Sierra Leone
b) tâches • se venger
c) k loss: perte k starvation • survive
d) Key problem: civil war
Consequences on children: families are killed • surviving children starve • they have to
join the army • children become soldiers
Reasons for joining the army: they lost their families • starvation • they want to belong
to a group / to take their revenge
e) Past: joined the army to survive • wanted to avenge the deaths of his family • had to get
some food • was to be part of the army
Present: have been rehabilitated • not a soldier anymore but a child
f) children all over the world: “it’s a global issue” (l. 10), “all over the world” (l. 11)

2. Rebel with a cause


Il s’agit ici de synthétiser ce qui a été appris lors de la phase d’échange entre groupes ou
élèves, par exemple grâce à la grille de Pairwork page suivante (téléchargeable sur le site
compagnon).
N. B. : ce texte peut être écouté sur le CD classe n° 1, piste 22.

78 • UNIT 4
Pairwork
PUPIL / GROUP A
1. Work in silence! Write your answers with information collected in the extract.
Sort of book
Beah’s age when it happened
His companions of war
His actions in the conflict
Reason for his endurance
His decision
His new school friends’ interests
Number of child soldiers

2. Work in silence! Prepare questions to ask your partner on the extract.


My questions: My friend’s answers:
Major disaster
What was ?
in Sierra Leone?
Consequences
What were ?
for children?
New job to survive? How did ?
Causes of Beah’s
What ?
enrolment?
What ?
His obsession?
(be obsessed with)
Beah’s opinion What ?
on his role? (think of)
The change in his life? How ?
His new fight? What ?

3. Speak! Get ready to ask the questions written in your grid.

PUPIL / GROUP B
1. Work in silence! Write your answers with information collected in the extract.
Major disaster in Sierra Leone
Consequences for children
New job to survive
Causes of Beah’s enrolment
His obsession
Beah’s opinion on his role
The change in his life
His new fight

UNIT 4 • 79
UNIT
4 HEROES

2. Work in silence! Prepare questions to ask your partner on the front and back covers.
My questions: My friend’s answers:
Sort of book? What ?
Beah’s age when
How ?
it happened?
His companions
Who did ?
of war?
His actions in the
What ?
conflict?
Reason for his How ?
endurance? (survive on + name / live on)
What ?
His decision?
(decide / choose to + BV)
His new school What ?
friends’ interests (be interested in + V-ING)
Number of child
How many ?
soldiers
3. Speak! Ask the questions written in your grid, and answer your partner’s questions.

Productions possibles :
a. A Long Way Gone is an autobiography written by young Ishmael Beah. It is definitely a true
and sad story. He was just 12 years old when war started in Sierra Leone and his whole family
was slaughtered. He was an orphan who lost all his family in the war. He explains he was
forced / drafted into the army to survive, to get food and clothes and to defend himself. Like
many other children he felt vulnerable / desperate / miserable. He couldn’t fend for himself.
He was not self-sufficient and he depended entirely on adults. As he says, “the need to be
safe and to be part of something” explains why he felt hopeless / helpless / defenceless /
weak. That’s the reason why the army gave him a sense of belonging. He was also eager to
take his revenge and strike back. Like 300,000 other child soldiers he was made to kill and
torture. He was mistreated / ill-treated / brutalised. Adults drugged him to prevent him from
rebelling or running away. When children are drafted into the army, they are compelled to
do the most dangerous jobs. Children were manipulated, brainwashed and had to endure a
terrible ordeal.
b. When eventually he escaped he became a spokesperson for ill-treated and defenceless
children enrolled into armies all over the world. He feels it is his duty to defend their rights /
speak out for children. His aim is to put an end to the use of child soldiers / to the exploitation
of children in conflicts. A huge number of children are involved in wars. It is a widespread
phenomenon, a global problem, that’s why he spoke before the United Nations. The exploitation
of children should be banned and the law should be enforced. Children should be protected and
prevented from being involved in conflicts all over the world.

3. Role play
On s’appuiera sur le Action! du Workbook p. 32.

80 • UNIT 4
LANGUAGE AT WORK MANUEL k P. 49-51

> Improve your pronunciation


On fera relire toutes ces phrases à haute voix pour en fixer la prononciation.

> Build up your vocabulary


1. a.
Nom Adjectif Participe passé Verbe
death • life • birth • dead • successful lived • born • die • live • work •
work • belief • worked believe • succeed
success
b. My hero is Abraham Lincoln; he was born 1 in 1809. He worked 2 all his life 3 […]
He believed 4 […] His biggest success 5 was winning the Civil War. He was shot in
Washington where he lived / died 6 . His death 7 in 1865 was a real shock for the nation.
2. a. En ajoutant le suffixe -ful à un nom, on peut fabriquer un adjectif.
b. honourable (honorable) • peaceful (paisible) • respectful (digne de respect / respectable) •
adventurous (aventurier / qui aime l’aventure) • hopeful (plein d’espoir) + hopeless (désespéré,
qui a perdu tout espoir) • faithful (fidèle) + faithless (infidèle) • thoughtful (réfléchi) + thoughtless
(irréfléchi) • painful (douloureux) + painless (indolore) • famous (célèbre) • joyful (joyeux) •
skilful (habile)

> Le superlatif
1. the fastest • the most intelligent • biggest • the prettiest • the worst • the richest •
the most successful • the best • the most generous
2.
Adjectifs ayant
Adjectifs courts Adjectifs longs
un superlatif irrégulier
fast • big • pretty • rich intelligent • successful • bad • good
generous

Pour exprimer le superlatif de supériorité (= « le plus… »), on emploie :


– the + terminaison -est pour les adjectifs d’une syllabe et ceux de deux syllabes se
terminant par -y
– most + adjectif pour les autres adjectifs.
3. – -y devient -iest s’il est précédé d’une consonne.
– une consonne finale qui suit une voyelle est doublée.
4. Par la préposition of ou in.

> Être ou avoir


1. a. – He was only five feet three tall : Il ne mesurait qu’un mètre soixante.
– There were many jobs : Il y avait beaucoup de boulots / d’emplois.
– He was not afraid : Il n’avait pas peur.
– He was lucky : Il a eu de la chance.

UNIT 4 • 81
UNIT
4 HEROES

– He was 78 years old : Il avait 78 ans.


Toutes ces expressions contiennent le verbe be en anglais, mais sont traduites en français
par un autre verbe (le plus souvent « avoir »).
b. Ces verbes sont au prétérit car il s’agit de la biographie d’une personne décédée, on est
donc dans le révolu.
2. – Ishmael’s a peace-maker : verbe be
– Ishmael’s book is entitled A Long Way Gone : génitif
– He’s just read a book on the Himalayas : have contracté

> Script de l’enregistrement


a. Edmund Hillary’s commitment to sport, Human Rights and nature is incredible.
b. He’s the most generous person I’ve ever heard of.
c. He could have enjoyed a quiet life after his victory, but he’s chosen to get involved.
d. Indeed he’s used his fame and his money to build hospitals in Nepal.
e. And he’s said to be very humble, considering himself an ordinary man.
f. The Queen’s speech about his victory over Everest shows how impressed she was.
g. He’s such a national symbol that New Zealand has chosen to portray him on a banknote.
h. Well I consider him a hero who’s become a symbol of determination and willpower.

’s = génitif (expression
’s = is (be) ’s = has (have)
de la possession)
b•e•g a•f c•d•h

> Practice
1. a. the tallest • the most honest
b. the youngest • the best • the most important
c. the fastest • the bravest • the youngest
2. a. There are many / a lot of records held by Americans.
b. When he was twenty (years old) he wrote his first novel.
c. My hero has (got) brown hair.
d. Shackleton was never cold and never scared / frightened!
e. You are right, he was lucky not to have died / not to die.
3. Margaret Brown became famous as one of the lucky survivors of the Titanic tragedy and
was then nicknamed “The Unsinkable Molly”. She was born in Missouri in 1867. Later she
moved to Colorado where she met her husband James who worked for the silver mines.
He struck it immensely rich and the family went to live in Denver. Molly travelled around
the world. She was on her way home on the transatlantic liner Titanic when the ship hit an
iceberg and sank. During the disaster she helped victims and everybody acclaimed her
heroism. Back home she gave money to poor immigrants who were on board. She was
an incredible woman who spoke her mind and joined many causes such as the rights of
women or the education of all children.
4. Terry Fox was both a Canadian humanitarian, an athlete and a cancer activist, certainly one
of Canada’s greatest heroes. He was born on July 28, 1958 in Winnipeg, Manitoba and spent
his childhood near Vancouver. Unfortunately he discovered he had bone cancer in 1977,

82 • UNIT 4
when he was only 19 years old. He had to have his right leg cut off above the knee. He was
such a brave young man that in hospital, he decided to run across Canada and raise money
for cancer research. He called his long journey “the Marathon of Hope”. He wanted to get
attention and collect money. He actually managed to raise $1 from each Canadian citizen.
It took him 18 months, 5,000 kilometers (3,107 miles) to prepare his long race. Eventually,
on April 12, 1980, he left from St John’s, Newfoundland and managed to run 42 kilometers
(26 miles) every day through Quebec and Ontario. He stopped running on September 1,
1980 after 143 days and 5,373 kilometers (3,339 miles). Terry Fox died on June 28, 1981.
In 2005, he was the first Canadian to be portrayed on coins and the Terry Fox dollar was
issued to honour this great hero’s memory. Today, the Terry Fox Run is organized around
the world every year in order to raise money for cancer research.

YOUR TASK MANUEL k P. 52-53

Corrigés :
1. a.
Exprimer son admiration Structurer le discours Donner son opinion
– such a lovely lady – and – He inspires me because
– both beautiful and the most – also – For me, she is a symbol of
generous person I’ve heard and – for example – She is a true inspiration
read about – sadly to me
– so good-looking – to conclude
– I wish I could be as good as him. – that’s why
– I think he’s awesome!
– the most courageous woman
– an amazing person
– she received many awards

b.
Exprimer son admiration Structurer le discours Donner son opinion
– he / she’s incredible – consequently – in my opinion
– he is a great guy – later on – to my mind
– he / she’s a tremendous hero – that’s how
– what a genius! – thanks to him / her
– eventually

2. A. a. “My hero is a young surfer called Bethany Hamilton. She intended to become
professional and was very talented. She was surfing with friends on Halloween morning
in sunny Hawaï when a 14-foot tiger shark bit and took off her left arm. Her courage
was tremendous: Not only did she swim to safety and save her life, but she went back
surfing a month later with only one arm. She turned a negative into a positive and she
was my age, only 14, when it happened. She inspired me to go on with my dream. I am her
biggest fan!”
B. a. Seuls figurent les mots porteurs. Les signes prennent la place du verbe être ou des
connecteurs logiques.

UNIT 4 • 83
UNIT
4 HEROES

> Script de l’enregistrement


Sebastian Clover sailed across the Atlantic solo when he was only 15 years old, in 2003.
He is the hero I have selected because he was the youngest person to cross the ocean
alone and that’s terrific, isn’t it? He left Tenerife and reached Antigua 24 days later. He
recalled his most fantastic moments were when he saw dolphins and whales swimming
near his little boat. Wow! But he also remembered that worst day when the weather was
bad and his mast nearly broke; he spent 20 long and anxious hours repairing. Gosh, that
must have been awful! During the whole crossing, he would dream of sleeping in a real bed
and eating a lot of chocolate, so would I! I definitely admire him because I love sailing and
I know how difficult and dangerous this sport is. I think he was both courageous and strong
to succeed in this awesome experience!
N. B. : avant la réalisation de la tâche, on invitera les élèves à écouter l’interview sur le site
compagnon, (U4–Dialogue: Great inspiration).
Critères d’évaluation de la tâche : à titre indicatif, nous proposons la grille suivante.
Le professeur sera bien sûr libre d’élaborer sa propre grille ou de faire évoluer le nombre
de points attribué à chaque critère.

Nom : Classe :

Respect des consignes (tous les points sont traités) 0 1 2 3


Temps de parole (l’élève a essayé de parler le plus longtemps possible) 0 1 2 3
Qualité de la langue orale
– accentue des mots porteurs de sens
– veille à l’accentuation des mots longs 0 1 2 3 4 5
– veille à la correction des phonèmes
Savoir communiquer avec naturel
– prestation audible
– limite les faux démarrages et les redites 0 1 2 3
– utilise des gap fillers
– recherche le contact visuel
Richesse de l’expression et du lexique
– réutilise des acquis du cours
– varie les expressions 0 1 2 3
– prend des risques
Correction de la langue
– évite les calques du français
– évite les phrases inintelligibles (mots oubliés, inventés...) 0 1 2 3
– évite les erreurs élémentaires et récurrentes
Total des points / 20

84 • UNIT 4
PRENDRE LA PAROLE EN CONTINU MANUEL k P. 54-55

CORRIGÉ

A. 2. a. Mots accentués dans l’extrait a : greatest • hobby • soccer • absolutely • love •


sport • involved • long • time
Mots inaccentués dans l’extrait b : in • and • in • I • I • on • and • are • my
k Tous les mots d’une phrase ne sont pas accentués. On accentue les mots porteurs de
sens, c’est-à-dire les mots lexicaux (noms, verbes, adjectifs, adverbes, etc). Certains mots
d’une syllabe, appelés mots grammaticaux, sont inaccentués.
b. surprisingly • Canadian • really • hockey • very much • don’t enjoy • American
football • either
c. Les groupes de sens sont marqués | à l’intérieur d’une phrase et || à la fin d’une phrase.
I like to travel | and have visited many parts of Europe and North America ||. It’s fun to see
new places | and experience different cultures and languages ||. I like going to the movies |
and when I go | , I usually watch comedies or action movies ||.

3. Les groupes de sens sont marqués | à l’intérieur d’une phrase et || à la fin d’une
phrase. Les mots porteurs de sens sont en gras.
When I’m not watching soccer on TV | , I like to watch crime shows | like CSI: Las Vegas. ||
My other guilty pleasure is | video games ||. I’ve always loved playing console games |
with friends | or playing computer games | on my own. ||

PRENDRE L A PAROLE EN CONTINU • 85


UNIT
5 CITY OF GLASS

City of glass
Comprendre à l’écrit : les descripteurs du CECRL

Niveau A2 Niveau B1
Grille d’auto- Je peux lire des textes courts Je peux comprendre des textes
évaluation et simples : lettres personnelles simples dont la langue est
simples, cartes postales, prospectus, courante, des textes narratifs,
menus, horaires et trouver un des textes informatifs liés à la vie
renseignement spécifique dans des quotidienne.
documents de la vie quotidienne Je peux comprendre des lettres
courants et familiers. personnelles qui décrivent des
expériences et impressions.
Lire pour Peut comprendre des textes courts Peut comprendre un texte lié au
s’informer et simples, le message simple d’une programme scolaire ou à un sujet
et discuter lettre ou d’une carte postale qui qui l’intéresse particulièrement
lui est adressée ainsi que quelques et repérer les informations
informations contenues dans une essentielles.
annonce, un prospectus, un menu, Peut comprendre rapidement les
une notice sur des sujets qui lui informations principales contenues
sont connus. dans une lettre, un prospectus, un
Peut identifier le sujet d’un texte, court document officiel.
d’une lettre ou d’un article de Peut comprendre les points
journal. principaux contenus dans un récit,
Peut identifier la nature d’un texte. une lettre ou un article de presse
Peut comprendre un texte court et relatant des faits.
simple ou descriptif sur un sujet Peut prélever et réunir des
lié au programme scolaire, à la vie informations dans différentes
quotidienne ou à un fait divers. parties d’un texte ou plusieurs
Peut repérer et comprendre les textes pour accomplir une tâche
informations importantes contenues spécifique.
dans un texte, une lettre ou un Peut comprendre les principaux
article sur un sujet qui est familier. arguments d’un article de presse,
Peut comprendre des règlements d’un texte narratif, ou d’un extrait
et des instructions lorsqu’ils sont de roman contemporain avec l’aide
énoncés clairement. d’un dictionnaire si nécessaire.
Peut comprendre un récit simple.

86 • UNIT 5
Nous avons souhaité parler de New York, car c’est un lieu d’échanges, à la fois sociaux et
culturels, par excellence. C’est en outre une ville extrêmement moderne pourtant marquée du
sceau du passé. Ses monuments emblématiques ainsi que bien sûr Ellis Island et les différentes
vagues d’immigration qui s’y sont succédé permettent d’aborder le passé et par là le thème de
la mémoire. Le titre même de l’unité s’est imposé comme un clin d’œil à l’ouvrage homonyme
de Paul Auster, paru en 1985, qui constitue le premier volet de The New York Trilogy.

Manuel Workbook Fiches


photocopiables

Tâche finale Évaluer sa compréhension d’un document


écrit (un prospectus authentique sur la
Statue de la Liberté)

Objectifs Mémoire • Échanges • Création


culturels

Lexique k monuments de New York (p. 60-61)


k immigration aux États-Unis (p. 62-63
et 66)
k paysages urbains (p. 64-65)
k histoire des origines de New York (p. 69)
k dérivation des mots (p. 67 et 71)
k adjectifs composés (p. 67)
k ordre des adjectifs dans la phrase (p. 67)
k Check your vocabulary (p. 64, 65 et 67) X

Grammaire k forme passive (p. 68)

Phonologie k réalisation de la voyelle -o- (p. 67)


k différenciation des accents américain
et britannique (p. 67)

Structures de k exprimer le but


communication k exprimer désirs, souhaits et intentions
k exprimer la cause
k donner son opinion

UNIT 5 • 87
UNIT
5 CITY OF GLASS

Activités langagières dominantes

Manuel Workbook Fiches


photocopiables

Lire k Your task, prospectus (p. 70-71) X

Lire et prendre k Tune in, textes courts sur différents


la parole lieux connus de New York (p. 60-61) X X
en continu k The Ellis Island Experience, extrait
d’un roman (p. 63) X X

Lire et prendre k Scenes of New York City, extraits


la parole en de romans (p. 64-65) X X
interaction k rendre compte d’un document sonore
(p. 61 et 62)
k rendre compte d’un texte (p. 63)

Écrire k The making of an immigrant, écrire


une histoire à partir d’illustrations (p. 66) X
k décrire une photo tirée d’un film (p. 69)

Écouter k The Empire State Building (p. 61) X


k The history and role of Ellis Island
(p. 62) X
k site compagnon, U5–Dialogue: Portrait
of a New Yorker X

Écouter The Journey, reportage (p. 62) X


et regarder
(vidéo)

N. B. : les titres en gras indiquent les documents à étudier afin de réaliser la tâche finale.
Nous vous rappelons que les Help! sont enregistrés sur le CD classe et que les exercices
Improve your pronunciation sont téléchargeables sur le site compagnon.

88 • UNIT 5
TUNE IN! MANUEL k P. 60-61

Anticipation
On pourra procéder à un brainstorming sur New York de différentes manières.
k Noter « New York » au tableau et demander aux élèves de réagir.
Productions possibles : Although New York is one of the most famous cities in the United
States, it is not the capital. The capital is Washington D.C. New York is famous for its world-
famous monuments such as the Statue of Liberty, the Empire State Building... New York is also
well-known because of the terrorist attacks which occurred on September 11th, 2001. The Twin
Towers collapsed when two planes crashed into them, killing thousands of people. New York is
well-known because of its big financial district with Wall Street and the Stock Exchange.
k Ajouter « City » à « New York » et demander aux élèves de réagir.
Productions possibles : We say New York City because New York is located in the state of
New York. Its capital is Albany.
Demander aux élèves de situer cet État ainsi que la ville d’Albany sur la carte des États-Unis
dans leur manuel (rabat arrière).
k Montrer (au rétroprojecteur par exemple ou avec la caméra de table du labo multimédia)
une carte de New York avec les cinq boroughs afin que les élèves identifient Brooklyn, le
Bronx, le Queens, Staten Island et qu’ils visualisent que Manhattan est une île. Voici deux
adresses de sites où trouver des cartes :
www.en.wikipedia.org/wiki/Borough_(New_York_City)
www.students.ithaca.edu/%7Ekyeung1/week07/lab05/lab05.html

1. Which is which?
> Mise en œuvre possible
L’objectif étant de repérer les informations essentielles et d’inférer le sens des mots inconnus
à partir du contexte, de la dérivation et de la composition, ce travail pourra être mené en
binômes avec récapitulation collective. Dans le cadre d’une classe fragile, on pourra former
cinq groupes et confier un monument à chaque groupe. À l’intérieur du groupe, les élèves
travailleront individuellement ou en binômes.
k Anticipation des difficultés : avant de commencer les activités de la p. 60, on s’assurera
que les noms des monuments sont prononcés correctement grâce à un exercice rapide de
matching (voir fiche page suivante, téléchargeable sur le site compagnon).
k À l’issue des activités a. et b., on proposera aux élèves de faire une synthèse des
informations essentielles concernant chaque monument afin qu’ils les mémorisent. Un
tableau récapitulatif pourra être complété à la maison puis projeté en classe pour faciliter
la correction (voir fiche page suivante, téléchargeable sur le site compagnon).

UNIT 5 • 89
UNIT
5 CITY OF GLASS

1. Faites correspondre le mot écrit à sa transcription phonétique.


a. Guggenheim Museum 1. \ju…"naItId "neISEns "hedkwO…tEz\
b. Flatiron Building 2. \"kraIzlEr ou "kraIslEr "bIldIN\
c. Times Square 3. \"gÁgEnhaIm mju…"zIEm\
d. United Nations Headquarters 4. \"flœtaIEn "bIldIN\
e. Chrysler Building 5. \taIms skw”Er\

2. Complétez ce tableau (toutes les cases ne pourront pas être pas remplies).

Chrysler Guggenheim UN Flatiron


Building Museum Headquarters Building
WHO Who built
it ?
WHEN When was
it built?
WHAT What is it
MATERIAL made of?
WHAT What shape
SHAPE is it?
WHERE Where is it
located?
HOW How tall is
TALL it?

Corrigé proposé (keywords) :


a. 1. C: spire • crescent-shaped steps made of steel • car radiators
2. A: triangular • iron • front of a cruise ship
3. B: simple geometric form • absence of historical references • glass walls
4. E: a white ribbon curled around a cylinder, wider at the top than at the bottom
5. D: intersection • huge number of animated neon and flashy billboards
b. et c. Voir corrigé de la fiche du Workbook page suivante.

90 • UNIT 5
CORRIGÉ DE LA FICHE DU WORKBOOK (P. 33-34)
1.

BROADWAY
E. 89 ST.
The Guggenheim Museum

LEXINGTON AVENUE
CENTRAL

FIRST AVENUE
FIFTH AVENUE
PARK

BR
OA
DW
AY
The Chrysler Building

SEVENTH AVENUE
Times Square
E. 43 ST.

W. 42 ST. E. 42 ST.

LEXINGTON AVENUE

East R
The United Nations
BRO
W. 34 ST. E. 34 ST.

A
Headquarters
DW

er iv
AY

FIRST AVENUE
The Flatiron W. 23 ST.
FIFTH AVENUE
E. 23 ST.

M A N H AT TA N
W. 14 ST. E. 14 ST.

ST.
W. HOUSTON ST. E. HOUSTON
Hu
dso

BROADWAY
nR
ive
r

B R O O K LY N

NEW
JERSEY

Scale : 1 km

2. 1. The Chrysler Building


a. surely • Art Deco • completed • symbol • style • crescent • tower • radiators • perfect •
enter
b.
Base + suffixe Nature grammaticale Sens prévisible
quick + ly adverbe rapidement
excite + ment nom enthousiasme
recogniz + able adjectif reconnaissable

UNIT 5 • 91
UNIT
5 CITY OF GLASS

c.
Composition Nature grammaticale Sens prévisible
sky + line nom horizon
sky + scraper nom gratte-ciel
the + tall + est adjectif au superlatif le plus haut, le plus grand
crescent + shaped adjectif composé en forme de croissant
car + radiators nom composé radiateurs (de voiture)
auto + maker nom composé constructeur automobile
2. The Flatiron
a. Réponses libres.
b.
Composition Nature grammaticale Sens prévisible
un + usual adjectif inhabituel, étrange
bare + leg + ed adjectif aux jambes dénudées

2. The Empire State Building


a. Productions possibles : It’s sunset. I can see the famous giant gorilla King Kong who is holding
the young woman he is in love with in his hand. He is at the top of a skyscraper since we can see
a city (probably New York) lying in the background. She looks tiny compared to him. He is looking
at her lovingly and she is staring back. He doesn’t look dangerous / harmful and she doesn’t look
frightened. She seems to be expecting something but I don’t know what.
b. Productions possibles : I think the recording will deal with the story of the film / movie King
Kong since it is set in New York and we are studying this city.
c. Corrigé : gorilla • strapping • guess • spire • designed • dock • urban • climber
d. Voir corrigé de la fiche du Workbook ci-dessous.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 35 À 37)


I. 2. ninth • eightieth • floor • first • second
➼ PART 1
1. k 443 meters high k New York state, “the Empire State” k New York k United States
k tallest k high / skyscraper
2.
Type of monument Height Rank Origin of the name
skyscraper 443 meters 1st in the city tallest building in “the
high 2nd tallest in the USA Empire State”
9th tallest in the world

3. Back in 1930, the chairman of General Motors Corporation hired architect William Lamb
to design the world’s tallest building and Lamb based his design on the simple shape of a
sharpened pencil.

92 • UNIT 5
➼ PART 2
4. business • money • office
5. empty • unoccupied
6. “the Empty State Building”
7. windy • covered in fog
8. top / spire designed for Zeppelins to dock there • impossible • because of windy conditions

➼ PART 3
9. bomber • Zeppelins • crashed • killing • elevator • operator • fell • survived
10. 1945 • 79th-80th • 300 meters
11.
Date First accident Consequences Final result
1945 bomber crashed – 3 crew members and 11 office the building was
into the 79th floor workers died reopened for business
– the elevator fell 300 meters the following Monday
– the elevator operator survived

➼ PART 4
12. climb • climbed • climber
13. gorilla (King Kong) • French climber (Alain Spiderman Robert)
14. climbed • reached • warning • nets • safety • devices
15. A French climber climbed up the Empire State Building without warning and without any
security device.
➼ PART 5
16. k 86 (th floor): observation deck k 1576: number of steps to reach the top k 10 (minutes):
record to climb up the steps k 73: number of elevators
17. athletic • jog • run up race • climb
18. You may go on top of the building and see the view / various coloured lights.
II. ➼ RECAP 1 AND 2
a) In 1930, the chairman of the car company General Motors hired an architect, William
Lamb, to design the world’s tallest building. It was nicknamed “the Empire State Building”
and had the shape of a sharpened pencil.
b) It should have be nicknamed “the Empty State Building” because many offices were
unoccupied when it opened.
➼ RECAP 3
One day, a bomber crashed into the Empire State Building and unfortunately 14 people were
killed in the accident. It’s unbelievable that the elevator operator survived after the elevator
fell 300 meters.
➼ RECAP 4
King Kong and Alain Robert have one thing in common: They have both climbed up the
building to reach the top using only their hands and feet, with no nets and no safety devices.
Unlike Alain Robert, King Kong is a fictitious character; Alain Robert is a real man!

UNIT 5 • 93
UNIT
5 CITY OF GLASS

> Script de l’enregistrement


➼ Part 1
What do a giant gorilla and a strapping Frenchman have in common? You can think of your
guess while I tell you a little bit about the Empire State Building. Listen and learn more about
the Empire State. Named for the state of New York, which is known as the Empire State,
this 443 metre high skyscraper is the tallest building in the city, the second tallest in the
United States after Chicago Sears Tower and the ninth tallest in the world. Back in 1930 the
chairman of General Motors Corporation hired architect William Lamb to design the world’s
tallest building and Lamb based his design on the simple shape of a sharpened pencil.
➼ Part 2
On May 1st, 1931, the Empire State Building opened for business. For years, the Observation
Deck brought in more money than the office space though. Some people joked that it should
be called the “Empty State Building” because so many offices were unoccupied. The spire at
the top of the building was designed so that Zeppelins might dock there but because of windy
conditions, this idea was abandoned. The top of the building is sometimes covered in fog!
➼ Part 3
And in 1945 a World War II B25 bomber actually crashed into the 79th floor, killing all three
crew members and eleven office workers. At that moment an elevator operator named Betty
Lou Oliver was on the 80th floor. Her elevator fell 300 metres while she was still inside!
Miraculously she survived and set a world record that still stands today. The building survived
too and was opened for business the following Monday.
➼ Part 4
Have you guessed what the gorilla and the Frenchman have in common? Well… they both
climbed the exterior of the Empire State Building and reached the top using nothing more
than their hands and feet. The gorilla King Kong was pure Hollywood fantasy; the second
though, the Frenchman, was a real person and an urban climber named Alain Spiderman
Robert. In 1994 the Frenchman, without warning, started to climb on street level and
reached the top without the use of any nets or safety devices.
➼ Part 5
When you visit this Art Déco beauty there are two much safer ways to reach the Observation
Deck which is on the 86th floor. If you are feeling athletic you can jog up 1,576 steps. Many
people actually do this during the annual run up race. Can you believe the fastest time for this
climb is just under 10 minutes! But if you are like me you can choose one of the 73 elevators
instead. However you get there, the view from this famous observation platform is spectacular,
day or night. At night you might notice the coloured lights at the top of the building which are
often a special colour to celebrate a holiday or other notable events. And of course the lights
are red, white and blue on July 4th.

94 • UNIT 5
1. ELLIS ISLAND MANUEL k P. 62-63

1. Get ready
Corrigé :
c. sight • embodiment • thought • deportation • expectedly
d. close • inside
e. eventually • however
N. B. : l’illustration de cette page fait l’objet du transparent n° 4.

2. Listen and learn

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 37 À 39)

I. ➼ PART 1
1. dream • America
2. millions • arrived • island • dream • life • came • true • doomed • remain
3.
Number What? Where? Types of immigrants?
millions arrived at Ellis Island America – those whose dream came true
– those who were doomed to stay there

➼ PART 2
4. place • disappointment • symbol • hope
5. Ellis Island is the place where all the people who wanted to enter the United States of America
to live the American Dream arrived. It could be a place of disappointement even if it was near
a symbol of hope.
6. She appears like a recurring thought, suddenly, unexpectedly, the embodiment of the American
Dream, so tantalizingly close and yet so far away for those who were confined here.
7. “She” refers to the Statue of Liberty, “embodiment of the American Dream”.
8. Ellis Island was a place of disappointment. The Statue of Liberty was the embodiment
of the American Dream / hope.

➼ PART 3
9. a) k 60: number of years immigrants have arrived at Ellis Island k 12,000,000: number
of immigrants who have entered Ellis Island k 1,100: number of immigrants who arrived
in one day at Ellis Island (1907) k 1: one day (1907)
b) 1892 and 1907
10.
Number of immigrants When? How long?
– total: 12 million – first arrival: 1892 for 60 years
– most massive arrival: – most massive arrival:
11,000 on one day 1907

UNIT 5 • 95
UNIT
5 CITY OF GLASS

➼ PART 4
11. climbed • stairs • doctors • examined • decided • free • hospital • deportation
12. 1954 • museum
13. They had to be examined by doctors.
1) They could be sent to the hospital to be held for treatment and possible deportation.
2) They could be free to go.

II. ➼ RECAP 1
Millions of people arrived at Ellis Island because they wished to achieve their American
Dream. On the one hand, some of them managed to have their dream come true. On the
other hand, for others, this dream remained unfulfilled.

➼ RECAP 2
Ellis Island sometimes represented disappointment because immigrants were confined there
and eventually deported. They were forbidden to enter the United States where they hoped to
start a new life. On the contrary, for sixty years, the Statue of Liberty has symbolized the hope
for freedom and a better life. Even if they were confined on Ellis Island, the immigrants still
considered the Statue of Liberty the embodiment of the American Dream.

➼ RECAP 3
Before, Ellis Island was an immigrant processing centre where people were examined by
doctors. They were either sent to hospital or sent back home when they were not allowed
to enter the USA. Nowadays, Ellis Island is a museum.

N. B. : les productions des élèves liées au Action! du Workbook constitueront la trace écrite
sur ce document audio.

Informations complémentaires
If the immigrant’s problem was curable, immigrants were sent to the island’s hospital. If it
was not, the steamship company that brought them would have to pay to send them back.
Those who were ill, too old, weak or unable to read in any language were sent back to Europe.
In 1911, for example, approximately two percent of those who came were deported. In a few
cases, families were even split up, hence the nickname: the “Isle of Tears”. Families were torn
apart / broken up / separated.

> Script de l’enregistrement


➼ Part 1
For most of the millions who arrived at Ellis Island, the dream of a new life in America
eventually came true. For some however, that dream was doomed to remain only a dream.
➼ Part 2
M. A. (inaudible) takes us to a place of disappointment within sight of a towering symbol of
hope. She appears like a recurring thought, suddenly, unexpectedly, the embodiment of the
American Dream, so tantalizingly close and yet so far away for those who were confined here.

96 • UNIT 5
➼ Part 3
She beckons the tired, the poor, the huddled masses of the world and for more than sixty
years beginning in 1892 they spilled onto the docks of Ellis Island, twelve million of them all
together. Once in 1907 more than eleven thousand arrived in one day.
➼ Part 4
The immigrants climbed the steep stairs into the Great Hall. Doctors examined them and
decided who was free to go and who was sent to the south side of the island to the hospital
to be held for treatment and possible deportation. Off-limit to the public, it is this extraordinary
place we would like to show you. Ellis Island finally closed in 1954. The immigrant processing
centre was restored and is now a museum.

3. Watch a video
Voir p. 416-417 et 436.

4. The Ellis Island experience


> Mise en œuvre possible
On fera lire les différents paragraphes du texte p. 63 du manuel avant de faire remplir la fiche
de compréhension du Workbook (p. 40-41). Une fois celle-ci corrigée et le texte remis dans
l’ordre, on demandera aux élèves de récapituler ce qu’ils ont retenu en utilisant le Action!
du Workbook (p. 41-42). Pour faciliter les échanges on divisera la classe en groupes et on
attribuera
un paragraphe à chaque groupe. Tous les groupes réagiront et interviendront pour compléter
ou rectifier certaines informations.
N. B. : ce texte est enregistré sur le CD classe n° 1, piste 31.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 40 À 42)

➼ PARAGRAPH A
1.
Medical
Questioning Result
examination
doctors registration desk • interpreter • could not answer • allowed to sit •
name • nationality • occupation • try again • immigrants detained for
read • write • prison • money • further questioning
going

2. those: immigrants who failed • the others: immigrants who had gone through the medical
inspection • them: immigrants who had gone through the medical inspection • your: the
immigrant who is questioned
3. undergo = subir (clue: a medical exam)
flustered = bouleversé (clue: so flustered that they could not answer, allowed to sit and rest
and try again)

UNIT 5 • 97
UNIT
5 CITY OF GLASS

➼ PARAGRAPH B
4. busy + -est: superlative form. The word is an adjective. Meaning: le plus fréquenté, le plus actif.
5. landed = débarquaient • glimpse = aperçu
6. The travelling conditions were appalling, yet it was the only way for immigrants to fulfil the
American Dream.
Approfondissement possible: After so many dark days on board crowded ships, the Statue
of Liberty was the symbol of all the immigrants’ dreams / freedom to start out a new life / to
start from scratch. The USA represented the Promised Land, a land of plenty and enterprise.
The Statue of Liberty symbolized the Golden Door.

➼ PARAGRAPH C
7.
Where? Number of immigrants Number of doctors Goals?
inspection numerous: they 2 check diseases,
hall formed long lines infections, physical
and mental
abnormalities

8. aroused = éveillait (clue: suspicion) • further: plus ample (clue: further inspection)
➼ PARAGRAPH D
9. immigrants • crossed • Atlantic • steerage • crowded • uncomfortable • deck

➼ PARAGRAPH E
10.
Illness Medical acts
blinding disease • infections • contagious pull up • medical detentions • look
and infectious diseases • symptoms beneath • swift movement • grab eyelid

11. swift = quick • he would grab = il attrapait à chaque fois

➼ PARAGRAPH F
12. 1) “... they were herded onto special ferryboats...”
2) “... the immigrants had numbered identity tags pinned to their clothing.”
3) “Officials hurried them along...”
13. It is the preterite. Infinitive: hurry. Meaning: pressai(en)t

II. ACTION!
1. 1§ D • 2§ B • 3§ F • 4§ C • 5§ E • 6§ A
2. ➼ PARAGRAPH A
a) ... you had to undergo a thorough medical exam.
b) ... you moved on to the registration desk.
c) ... you were allowed to sit and rest and try again.
d) ... you could be detained for further / additional examinations or questioning.

98 • UNIT 5
➼ PARAGRAPHS B, C
The Statue of Liberty first symbolized freedom and many immigrants fled persecutions.
They also expected a better future and the Statue of Liberty represented numerous
opportunities. They could start a new life and give a better education to their children.
If some diseases were suspected after the first examination, the immigrants received a chalk
mark and had to go through further inspection and undergo a thorough medical exam.

➼ PARAGRAPH E
American authorities feared the newly-arrived could contaminate American citizens. They
were afraid of contagious diseases and infections. That’s why they decided to have some
immigrants detained, to separate them from the others to receive a specific treatment
which may enable them to be cured and enter the States.

➼ PARAGRAPH F
To my mind / To me, they were treated like cattle. I don’t think they deserved such inhuman
treatment. It’s really disturbing. I don’t see why they should be treated so badly / why
everything (money, past life...) should be checked so precisely.
I don’t agree with you, I can understand why they were treated this way because too many
immigrants wished to enter the States. The authorities tried to check as many details as
possible to avoid problems.

Informations complémentaires
k Legal inspection
A legal inspector had about two minutes to ask you a series of twenty-nine questions. Here
are some of them:
– What’s your name?
– Where do you come from?
– Why did you come here?
– How much money do you have? Where did you get it? Let me see it.
– Do you have any friends here? Any relatives? Anybody to sponsor you, to come out here
and take care of you?
– Are you an anarchist?
– Who paid for your passage?
– Did you have a contract in Europe to work in America?
k The Great Hall known as the Main Registry Hall
Once on Ellis Island, the immigrants climbed the stairs to the Great Hall for medical and legal
examinations. Doctors stood at the top of the stairs and watched the new arrivals for signs
of illness as they climbed the staircase leading to the Great Hall, where they would face a
barrage of questions and examinations. Doctors processed immigrants by the thousands.
They checked immigrants without their knowing, they tracked down diseases, because the
state feared they might be a burden on the economy and would bring in diseases, illiteracy,
radical ideas. They also wanted to select the strongest and the fittest workers. The US
needed a strong and healthy labour force. At that time this hall was covered by a network of
metal railings: Bars divided the floor area into alleys and passageways. And the immigrants
would have to stand there holding their children and their luggage and move down from one
medical examination to the next. The Great Hall was the large waiting room of Ellis Island.

UNIT 5 • 99
UNIT
5 CITY OF GLASS

Immigrants waited here for their interviews with legal inspectors after finishing their medical
exams. It was inhumane.
k The voyage
The passengers that had to come to Ellis travelled in steerage, that is to say the bottom part
of the steamship that is underneath the waterline. There were no windows, no ventilation,
the ceiling was very low (5 or 6 feet high), the passengers slept on triple bunk beds. And
the largest steamships could hold 1,500 to 2,000 passengers. Third-class passengers were
packed / crammed in steerage. It was an ordeal because the boat was overcrowded. They
travelled in appalling / dreadful / awful conditions. They could catch contagious diseases.
It took them two weeks to get to New York City.

Prolongements possibles :
k Un extrait de Titanic de James Cameron ou de America, America d’Elia Kazan (plus
particulièrement vers la fin du film, lorsque le héros arrive à Ellis Island) permettra aux
élèves de mieux visualiser les lieux et les événements évoqués.
k La photographie de la p. 62 du manuel pourra servir de synthèse à cette double page,
par le biais d’une prise de parole en continu, et permettra de vérifier les acquis des élèves.
Productions possibles : The immigrants are having their first glimpse of the Statue of
Liberty. They can be seen from behind. A small child is pointing at the Statue of Liberty in
the background. They are turning their backs to Europe and the old world. They are looking
forward to the future, to starting a new life in America. The young boy stands for the future
generations who will have a higher standard of living, better prospects. His parents may flee
poverty, may emigrate for economic, religious or political reasons. The Statue of Liberty
represents a shelter for the oppressed. These immigrants have not been to Ellis Island yet.

2. SCENES OF NEW YORK CITY MANUEL k P. 64-65

> Mises en œuvre possibles


➼ APPROCHE COLLECTIVE

On demandera aux élèves, en classe ou à la maison, de lire les textes et de compléter la fiche
de leur Workbook (p. 42 à 44). Ils feront ensuite un compte rendu des textes en s’appuyant
sur la rubrique Recap p. 64 du manuel. On leur demandera enfin d’étudier les documents
visuels de la p. 65 du manuel (en répondant aux questions et en s’aidant de la rubrique Help!)
et de les associer aux textes.
➼ APPROCHE COMMUNICATIVE

On pourra diviser la classe en six groupes (chaque groupe se chargeant d’un document,
soit écrit soit iconographique).
– Les groupes A, B et C travailleront sur les textes, en classe ou à la maison, complèteront
la fiche de compréhension du Workbook et répondront aux questions du Recap du manuel.
– Les groupes 1, 2 et 3 travailleront sur le tableau et les deux photos en s’appuyant sur le
Help!. Ils auront pour tâche de présenter ces documents au reste de la classe.
Un rapporteur sera choisi dans chaque groupe et il / elle fera une présentation orale de
une à deux minutes du document sur lequel son groupe aura travaillé.

100 • UNIT 5
Des élèves pourront être désignés pour prendre des notes et faire un compte rendu écrit
de la séance.

1. Understanding the text

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 42 À 44)


➼ TEXT A
1. The narrator is a child. “Momma said, just look!” (l. 1)
2. Central Park. Clue: “the park was still green”
3. k first snow / trees had lost their leaves
k the wind had blown away their leaves. So we can deduce it is winter time.
4. “You” refers to anybody. Meaning: on pouvait voir... / on voyait
5. cycling • skating
6. a) beautiful
b) It’s a positive vision.
c) The narrator is impressed by the park at this time of the year. She / He is excited /
thrilled / elated / exhilarated because it is a lovely day. She / He looks forward to going to
Central Park. She / He is eager to go out and walk in the park, or go skating. This text gives
a very positive image of a bustling park. The little girl / boy is fascinated by this lively and
hectic town. The description gives an impression of energy, space and teeming life.
7. I would use light colours as in a watercolour. I would use green, blue and white for the snow.
➼ TEXT B
1. Queens and Manhattan
2. we: the inhabitants of Brownsville city: New York
its: New York’s ours: the people who live in Brownsville
3. raw, remote, cheap + est (superlatives) k le plus défavorisé
4. – age: young – origins: immigrants – social background: poor
5. foreign • brilliant • unreal
➼ TEXT C
1. subway • frightened • get lost • stranger • bus-stop. The main topic of the text is urban
environment, especially the underground / subway and the feelings that such a life can arouse.
2. irrationnel • entrée
3. Peu importe que le métro soit bon marché ou rapide, il est, quoi qu’on en dise, effrayant.
4. Those who take the subway (“people entering the subway”) and those taking the bus
(“people waiting at the bus-stop”).

Informations complémentaires
Brownsville is a neighbourhood of Brooklyn. It is located in eastern Brooklyn, New York.
Brownsville has a population over 65,000. Over half the population lives below the poverty
line and receives public assistance. Brownsville is predominantly African American and
West Indian including people from Jamaica, Guyana, Trinidad and Tobago, Puerto Rico,
Barbados, Haiti, and the Dominican Republic. The vast majority of households are rented.

UNIT 5 • 101
UNIT
5 CITY OF GLASS

Prolongement possible : on pourra demander aux élèves de chercher eux-mêmes


des informations sur Brownsville sur le site de Wikipedia.

2. Recap
Productions possibles :
Text A: In this passage / excerpt a mother and her child may be looking at Central Park
through a window in a building nearby. It is the beginning of winter because the mother says
that it is “the first snow of the season”. Also, the tall trees have lost their leaves and yet what
is described is both colourful and beautiful. There are a lot of people who are busy in the park:
taxi drivers, skaters, cyclists and children who are visiting the zoo. The narrator, who is the
child, seems to enjoy the view and to be fascinated by what he / she sees.
Text B: The narrator is a young child of an immigrant. He / She is poor / poverty-stricken /
destitute. For him / her, New York is a “foreign city” because he / she doesn’t live in Manhattan;
he / she lives in a ghetto far from the skyscrapers / cut off from the city. He / She feels
excluded / rejected: “We were the end of the line.” He / She feels he / she is an outsider, he /
she is on the fringe of society. He / She belongs to the world of the have-nots, the underdogs who
are excluded from the consumer society, a world of wealth / affluence. The city attracts him /
her like a magnet. Skyscrapers fascinate him / her because they symbolize wealth and power.
He / She is probably envious of the life people live in Manhattan. He / She probably wishes he /
she could integrate into this society but he / she feels like a foreigner. He / She knows he /
she doesn’t belong in the city. He / She is aware of the gap between wealthy people and poor
immigrants. He / She is also aware that he / she is at the bottom of the social ladder.
Text C: According to this text, the New York subway is terrifying and scary because it is easy
to lose one’s way and being lost in New York City is a serious problem. It’s a grim vision of
the subway and urban life. People seem to be lonely and we feel pity for them. We can easily
understand why some of them prefer to take the bus because it is less frightening even if it is
not as cheap and as fast. This text gives a depressing, gloomy, scary and frightening image of
the subway.

3. Observe and speak


Productions possibles :
Picture 1: We are immediately struck by the woman in the centre of this painting. She looks
scared, worried, bewildered, miserable, desperate, gloomy, downhearted and dejected.
Behind her, there are two men (who may be following her). On the right, there is a turnpike
and the ceiling is very low, the scene may take place in a subway corridor. On the left, there
are men who seem to be phoning or hiding. All the people seem to be trapped in a prison-like
world, in a soulless landscape. They all look like ghosts. The world they live in is dehumanized,
cold and grey. Commuters seem to be isolated / lonely. They live in a world of concrete,
ugliness and solitude, in a narrow and monotonous world. All the commuters look alike, they
are wearing the same brown raincoat and carrying the same case. They seem to be lost in a
maze, trapped / imprisoned like rats in a cage. This painting is scary and oppressive; it gives
a depressing view of the New York City subway. It corresponds to text C.

102 • UNIT 5
Picture 2: This photo was taken in Central Park; indeed, in the background, I can see some
buildings. In the foreground, some people are ice-skating. It is sunny although it is winter. The
trees have almost lost their leaves. It seems to be a lot of fun, I would like to go there. This
photograph converys a very positive vision of the city. It corresponds to text A.
Picture 3: This is a photo in black and white. It was taken in New York City, in Manhattan, as
in the middle, there’s the Empire State Building. This photo wasn’t taken recently because
there are no other skyscrapers on the photo whereas, on the map, the Empire State Building is
surrounded by other buildings. In the foreground there is a little girl who is peeping / peeking
through a hole between two boards. Maybe she lives in a ghetto, in Harlem and she isn’t
allowed to go to the other neighbourhood in Manhattan. She may feel excluded and lonely. She
seems tiny compared to the skyscraper in front of her. The wooden board symbolizes the social
divide / gap between the haves and the have-nots. It may also symbolize segregation which was
abolished in the sixties. This photo is very geometrical and doesn’t give a very positive image of
the city. It corresponds to text B.

3. THE MAKING OF AN IMMIGRANT MANUEL k P. 66

> Mises en œuvre possibles


k On pourra organiser la classe en groupes et distribuer à chacun d’eux un transparent
sur lequel écrire leur production. La correction sera menée en projetant ces productions
(au rétroprojecteur, au vidéoprojecteur ou sur le TNI). L’ensemble de la classe réagira alors
aux productions des différents groupes.
k Afin de faciliter l’expression écrite, on pourra proposer la fiche ci-dessous (téléchargeable
sur le site compagnon). Les mots extraits de cette fiche sont en gras dans les productions
possibles page suivante.

Organize your story using the following expressions and the vocabulary below.
For two weeks At the end of the day
On December 10, 1859 On the following day
During the day One week later
At noon After a few weeks
First Every month
Then All day long

Drawing 1 Drawing 2 Drawing 3


stressed \strest\ deck: pont accommodation: logement
scared \skeEd\ = frightened skyline: horizon confused
moved: ému fog: brouillard lost
cry = sob: pleurer harbor, harbour (GB) lonely
pack: faire ses bagages \"hA…rbEr\: port
disembark \ÆdIsIm"bA…k\
leave shore: rivage
look for
miss (example: I miss my excited
family: ma famille me make out: apercevoir
manque)

UNIT 5 • 103
UNIT
5 CITY OF GLASS

Drawing 4 Drawing 5 Drawing 6


assembly line \E"sembli\ garret \"gœrEt\: mansarde duty \"dju…ti\: devoir
\laIn\: chaîne de montage picture frame: cadre à relative \"relEtIv\: parent
factory = plant: usine photos breadwinner
bleak: sinistre nightmare \"naItm”Er\: bank bill: billet de banque
tiny \"taIni\: minuscule cauchemar salary = wages
desperate \"despErEt\ cramped \krœmpt\: à proud \praÁd\: fier
exhausted = very tired l’étroit responsible
be crushed \krØSt\: être messy glad = very happy
écrasé homesick support one’s family:
nostalgic subvenir aux besoins de
lonely sa famille
sleepless
stare at: regarder fixement

Productions possibles :
1. It was a heart-rending decision to make, but on December 10, 1859, Luigi decided to leave.
He couldn’t possibly go on living this way. With no regular job, it had become very difficult to
pay for the children’s studies. His wife, though heartbroken and moved, tried not to show her
sorrow and helped him to pack. Luigi was stressed and scared but he had made up his mind
even though he was sure to miss his family.
2. For two weeks he had been on board a ship as a steerage passenger in unhealthy living
conditions. Finally Luigi reached freedom in the harbour of this beautiful, gigantic city. He
was really excited when he made out the shore from the deck.
3. Luigi first felt confused, lost and lonely. How would he manage to look for a job and
accommodation in this city where he knew no one?
4. And yet on the following day, he found a job in a factory on an assembly line. Even if
the environment was bleak, Luigi was no longer desperate. He would be able to survive and
help his family.
5. Luigi had found lodgings in a cramped, messy garret. Because he was sleepless he could
not help staring at the picture frame with the photo of his family. And of course he felt lonely,
nostalgic and homesick.
6. After a few weeks, Luigi was proud and glad to send the first bills / banknotes to his
relatives. He had eventually become the breadwinner now. He knew it was his duty to
support his family. He was the only one who could possibly give them money. So he only
kept a very small amount of his wages to pay his rent and his food.

LANGUAGE AT WORK MANUEL k P. 67-69

> Improve your pronunciation


2.
UK US
a•b•d•e•h•j•k•m c•f•g•i•l

104 • UNIT 5
> Build up your vocabulary
1. a.
Nom Verbe Adjectif Adverbe
height heighten high highly
length lengthen long
width widen wide widely
tallness tall
strength strengthen strong strongly
depth deepen deep deeply
thickness thicken thick thickly

b. Les suffixes -ght, -th et -ness sont ajoutés au mot noyau pour former un nom. Le suffixe
-en est ajouté pour former un verbe (et indiquer une transformation) tandis que le suffixe -ly
est ajouté pour former un adverbe.
2. a. crescent-shaped = nom + nom-ed • horse-drawn = nom + participe passé • barelegged =
adjectif + nom-ed • nationwide = nom + adjectif
b. Le premier mot détermine / qualifie le second.
c. – star-shaped • steel-made • a worldwide problem
– dégradé par les intempéries • balayé / recouvert par les eaux • les yeux grands ouverts /
écarquillés • qui a le mal du pays
3. a. Dans toutes ces phrases, c’est le premier adjectif qui exprime le point de vue subjectif
de l’énonciateur.
Quand on utilise plusieurs adjectifs devant un nom, on place en premier celui ou ceux qui
exprime(nt) le point de vue subjectif de l’énonciateur.
b. Ces mots sont invariables car ils sont ici employés comme adjectifs.

> La forme passive


1.
Présent Present perfect Modal will Prétérit
a. is divided d. has been rehabilitated c. will be rebuilt b. was destroyed
e. are concentrated e. have been constructed

k Les formes verbales en gras sont composées des éléments grammaticaux suivants :
auxiliaire BE + participe passé du verbe.
k L’auxiliaire BE est l’élément conjugué.
2. Dans l’énoncé a, on s’intéresse en premier lieu à celui qui a fait construire.
Dans l’énoncé b, on s’intéresse en premier lieu à l’objet construit.
L’agent est Donald Trump.
Il est introduit par la préposition by.
3. – L’agent est seulement mentionné dans l’énoncé a.
– La Trump World Tower a été conçue par l’architecte polonaise Marta Rudzka.
On a beaucoup admiré ce bâtiment.
L’équivalent anglais d’une forme française en « on » est souvent une forme passive.

UNIT 5 • 105
UNIT
5 CITY OF GLASS

4. a. Dans cette forme verbale, on trouve un auxiliaire modal + be + participe passé du verbe.
b. Ce sont les éléments have + been qui expriment le passé.
– pour faire référence à un fait présent, la forme verbale se compose de : auxiliaire modal +
be + participe passé du verbe.
– pour faire référence à un fait passé que l’on juge possible ou probable, la forme verbale
se compose de : auxiliaire modal + have + been + participe passé du verbe.

> Practice
1. a. The place where New York is located was discovered by Giovanni da Verrazano in 1524.
b. The area where New York is now situated was occupied by the Algonquins in the 16th century.
c. A trading post (named New Amsterdam) was established by the West Indian Company on
the island of Manhattan in 1624.
d. The island was bought by the settlement’s first governor for a small sum of money in 1626.
e. New Amsterdam was renamed New York by the English after they seized the city in 1664.
f. The city was taken by George Washington after the end of the hostilities with the English in
1783.
2. a. Central Park was created according to the plans drawn up by Frederick Law Olmsted and
Calvert Vaux.
b. The Chrysler Building was built in 1930. It was the tallest skyscraper in the world then.
c. Fake crowns of the Statue of Liberty can be bought on the ferryboat.
d. The Flatiron is known all over the world because of its strange shape.
e. Many neighbourhoods of New York like DUMBO (Down Under the Manhattan Brooklyn
Overpass) have been rehabilitated over the past few years.
f. Many movies / films are shot in New York because it is a romantic city.
3. We can see New York and we can recognize the United Nations Headquarters and the
Empire State Building. The city might have been struck / hit by heavy rain / a twister /
tornado. Now it is hit by a violent storm with heavy rain. The city will soon be submerged
by a huge tidal wave and it will probably be completely flooded. People will be drowned
under this enormous wave. Most of the inhabitants may have been evacuated already but
some of them may have stayed in the city. Some skyscrapers will be knocked down by the
wave and will collapse. Some inhabitants will probably be injured and be drowned and they
will be rescued only if a hero(ine) is courageous enough to risk his / her life to organize help!

YOUR TASK MANUEL k P. 70-71

> Mise en œuvre


k L’activité 1 se fera en classe pour s’assurer que la démarche d’étude du prospectus,
en entier et en autonomie, est assimilée.
k Les élèves feront les activités 2, 3 et 4 chez eux.
k On leur demandera de remplir la grille page suivante (téléchargeable sur le site
compagnon) pour vérifier qu’ils ont fait leur travail de lecture.
k Cette grille pourra faire l’objet d’une évaluation de la compréhension écrite. Avec une
classe fragile, on demandera aux élèves de remplir la grille livre ouvert. Avec une classe
plus solide, on demandera le même travail, mais livre fermé et en 30 minutes.

106 • UNIT 5
Project
– idea associated with the monument? 1
– “The New Colossus”?
• what 1
• subject 2
– sculptor’s goal? 2
– financed by? 2
Who…
– first thought of a monument to liberty? 1
– sculpted it? 1
– designed its internal framework? 1
– decided to raise funds to build its pedestal? 1
When…
– was it erected in New York? 1
– was it declared a national monument? 1
– was the statue’s restoration completed
(explain the date)? 1
Where…
– was the Statue of Liberty first seen? 1
– is it situated (as many details as possible)? 1
How…
– tall is the statue (torch included)? 1
– long is its nose? 1
– thick is the statue’s “skin”? 1

Total des points : /20

CORRIGÉ

Project – The idea associated with the monument is freedom.


– idea associated with – The New Colossus is a poem written by Emma
the monument? Lazarus in 1883 engraved on the pedestal of the
– The New Colossus? Statue of Liberty. It celebrates the immigrants
• what and the USA and deals with the reasons why they
• subject emigrated.
– sculptor’s goal? – The sulptor designed a colossal statue to produce
– financed by? an emotion in people’s heart / breast so that
they associate the enormous size with the idea
interpreted by the monument.
– The construction of the statue was financed by
private fund-raising.

UNIT 5 • 107
UNIT
5 CITY OF GLASS

Who…
– first thought of a monument to – Laboulaye and Bartholdi first thought of creating
liberty? a monument to liberty.
– sculpted it? – Bartholdi sculpted the statue.
– designed its internal framework? – Eiffel designed its internal framework.
– decided to raise funds to build its – Pulitzer decided on nationwide fund-raising for its
pedestal? pedestal.
When…
– was it erected in New York? – It was erected in New York in 1886.
– was it declared a national – It was declared a national monument in 1924.
monument?
– was the statue’s restoration – The statue’s restoration was completed on July
completed (explain the date)? 4th, 1986 for the statue’s centennial celebration.
Where…
– was the Statue of Liberty first – It was first seen in Paris in 1880.
seen?
– is it situated (as many details as – It is situated on Liberty Island, which used to be
possible)? named Bedloe’s Island, on star-shaped Fort Wood.
How…
– tall is the statue (torch included)? – The statue is 92.99 metres high from the ground
to the top of the torch.
– long is its nose? – Its nose is 1.48 metre long.
– thick is the statue’s “skin”? – The skin is 2.37 millimetres thick.

Prolongements possibles :
On pourra proposer de courtes webquests sur chaque personnage célèbre mentionné
dans le prospectus.
• Auguste Bartholdi
www.inventors.about.com/library/inventors/blliberty.htm
– When was he born and when did he die? – What was his job?
– What feeling(s) did he want to show the United States? – What is he famous for?
• Gustave Eiffel
www.en.wikipedia.org/wiki/Gustave_Eiffel
– When was he born and when did he die? – What was his occupation?
– What was his major achievement in France?
– How did he contribute to the building of the Statue of Liberty?
• Emma Lazarus
www.jwa.org/exhibits/wov/lazarus/
www.en.wikipedia.org/wiki/The_New_Colossus
– When was she born and when did she die?
– What is her most famous poem? What is its subject? Quote a few lines.
• Joseph Pulitzer
www.en.wikipedia.org/wiki/Joseph_Pulitzer
www.en.wikipedia.org/wiki/Pulitzer_Prize
– When was he born and when did he die? – Where did he come from? – What is he famous for?

108 • UNIT 5
UNIT
6 WILD WILD WEST

Wild Wild West


Souhaitant aborder les fondements historiques des États-Unis, nous avons choisi de nous
focaliser sur le périple de Lewis et Clark, qui constitue un point clé dans l’émergence et
la constitution du pays. Ces deux personnages permettent d’aborder quelques aspects
primordiaux de la civilisation américaine : la notion de Frontière et son influence sur les
mentalités, les relations entre « l’homme blanc » et les Indiens ainsi que le rôle joué par
les minorités religieuses, comme les Mormons par exemple. Enfin, cette unité permettra
bien évidemment de (re)voir quelques notions géographiques de base. Le titre de l’unité,
homonyme du film de Barry Sonnenfeld sorti en 1999, se veut évidemment humoristique.
N. B. : pour les descripteurs du CECRL se rapportant à la compréhension écrite, voir p. 86.

Manuel Workbook Fiches


photocopiables

Tâche finale Préparer un quiz afin de tester les


connaissances acquises par la classe

Objectifs Mémoire • Échanges


culturels

Lexique k paysages, faune et flore de l’Ouest


américain (p. 72)
k histoire de la conquête de l’Ouest (p. 73
à 75)
k guerres indiennes, relations avec
« l’homme blanc » (p. 76 à 78)
k Les Mormons : trajet vers l’Utah (p. 82)

Grammaire k le passé : prétérit simple et past perfect


(p. 80-81)

Phonologie k prononciation de la terminaison -ed


(p. 79)
k prononciation de was et were (p. 79)
k lire des chiffres complexes (p. 79)
k accent de mots : suffixes -ion et -ian
(p. 79)
k s’appuyer sur les mots porteurs pour
comprendre un message oral (p. 74)

Structures de k se plaindre
communication k exprimer l’incapacité
k exprimer l’obligation
k exprimer la cause et la conséquence

UNIT 6 • 109
UNIT
6 WILD WILD WEST

Activités langagières dominantes

Manuel Workbook Fiches


photocopiables

Prendre kTune in (p. 72) X


la parole
en interaction

Lire et prendre k How it all began (p. 73) X


la parole en k An Epic Journey West (p. 74-75) X
interaction k Chief Joseph Speaks (p. 76-77) X X
k The Mormon Trail (p. 82)

Prendre k faire le compte rendu oral d’un texte


la parole (p. 73 à 77)
en continu k faire le compte rendu oral d’un document
sonore (p. 74)

Écrire k une biographie (p. 77)


k un article de presse (p. 78)

Écouter k Who were they? (p. 74) X


k site compagnon, U6–Dialogue: Cherry
Buffalo, a Black Feet X

Écouter Lewis and Clark, documentaire (p. 75) X


et regarder
(vidéo)

N. B. : les titres en gras indiquent les documents à étudier afin de réaliser la tâche finale.
Nous vous rappelons que les Help! sont enregistrés sur le CD classe et que les exercices
Improve your pronunciation sont téléchargeables sur le site compagnon.

TUNE IN! MANUEL k P. 72

> Mises en œuvre possibles


k Le professeur commencera par faire localiser les États de l’Ouest américain. Les élèves
pourront se référer à la carte des États-Unis sur le rabat arrière du manuel. Ils devront
faire la différence entre West, South-West, the Great Plains et the Middle West. Ce sera
aussi le moment de faire repérer the Rocky Mountains, the Cascade Range et Mount Rainier
(4 390 m).
k Après avoir rappelé le vocabulaire nécessaire : car plate / car number / number plate
(GB) / license plate (US), le professeur demandera ensuite aux élèves s’ils ont déjà vu
des plaques minéralogiques américaines et ce qu’elles ont de particulier. Ils répondront

110 • UNIT 6
probablement qu’y figurent le nom de l’État, et une image symbolique de celui-ci (ainsi, un
cow-boy orne fréquemment les plaques du Texas, du Nevada, Rodeo State, et du Wyoming),
ou un paysage caractéristique de la région, comme Crater Lake pour l’Oregon ou le Mont
Rushmore pour le Dakota du Sud.
➼ VARIANTE 1 : PRISE DE PAROLE EN CONTINU AVEC PRISE DE NOTES
– Après l’observation et la mémorisation des éléments clés de la page, un élève peut décrire
dans les grandes lignes l’une de ces plaques ; son voisin, ou les élèves de son groupe, ont
leurs livres fermés et doivent deviner de quel État il s’agit.
– On pourra lancer une recherche Internet sur les différents États mentionnés p. 72, leur
devise, leur symbole :
www.50states.com/
www.globalcomputing.com/states.html
Productions possibles :
– Arizona: This plate is beautiful and makes me think of the desert because I can see a cactus
in the bottom left-hand corner and several little cacti in the background. There’s a yellow glow
over the mountain range. This probably shows a typical dry landscape in the South-West of the
USA where the sun is burning hot. In fact most of the state is desert.
– Washington: I can tell this state is by the ocean; indeed the plate is all blue and there is a
whale jumping out of the water. Indeed whales are swimming not far from the shores in Seattle
bay. The motto says “Endangered Wildlife” certainly because people try to protect them.
– Colorado: The plate is blue (for the sky) and white. There is a big mountain range covered
in snow. It must be the Rocky Mountains / Rockies. Right in the centre there is the American
national emblem: the bald eagle with spread wings.
N. B. : l’aigle mérite à lui seul une recherche.
The eagle represents freedom. It became the national emblem in 1782 when the great seal
of the USA was adopted. It shows an eagle bearing / with a shield on its breast. In his right
talon he is holding an olive branch, in his left a bundle of arrows, and in his beak he is carrying
a scroll inscribed with the motto: E pluribus Unum. The olive branch and arrows denote the
power of peace and war which is exclusively vested in Congress (compare this to the phrase
common today: “war and peace”). The thirteen arrows tightly aligned are a symbol of strength
in unity. An accurate translation of the motto is: “Out of many, one”.
– Idaho: This plate is less colourful than the others; it is brown, beige and dark-green. I can
see a man on the left grooming or planting a young tree. The Idaho state tree is the Western
white pine. The man seems to be dressed in a park ranger uniform. In the background there
are fir trees. Indeed forests are the greatest asset of the North-West states and cover 2/3
of Idaho. Lumber is one of its main resources.
– Utah: I love this number plate! There is a stony arch in the middle, on orange sandy ground.
It is characteristic of Arches National Park which preserves over 2,000 natural sandstone
arches, like the world-famous Delicate Arch, as well as many other unusual rock formations.
Delicate Arch has become the state symbol. This rock formation is surprising. I remember
similar landscapes from westerns. The sky is blue and there is either white dust or some
clouds on the skyline. Utah is a desert state and its most famous city, Salt Lake City, was
founded by the Mormons.
➼ VARIANTE 2 : PAIRWORK
On pourra organiser un travail en binômes grâce à la fiche page suivante, téléchargeable
sur le site compagnon.

UNIT 6 • 111
UNIT
6 WILD WILD WEST

A. More about western states


1. Before speaking, match these transcriptions with words from the grid below.
Learn how to pronounce them correctly.
a. \"aIdEÆhoÁ\ d. \"wA…SINtEn\ g. \ÆkœlI"fO…niE\
b. \E"lImpiE\ e. \"O…rIgEn\ h. \"kreItEr\
c. \"bOIzi\ f. \ÆsœkrE"mentoÁ\ i. \"seIlEm\
Entered State Famous
State name Capital city
the Union nickname monument / scenery
California September 1850 Golden State San Francisco Sacramento
Golden Gate Bridge
Idaho July 1890 Gem State Nez Perce National Boise
Historical Park
Oregon February 1859 Beaver* State Crater Lake Salem
* castor
Washington November 1889 Evergreen – Seattle Olympia
State – Space Needle

2. Ask your partner for the missing information to fill in this grid and answer your
partner’s questions with the elements you know.
Entered State Famous
State name Capital city
the Union nickname monument / scenery
Utah
Colorado
Arizona
Montana

3. Get ready to recap what you have learnt about these four western states.

B. More about western states


1. Before speaking, match these transcriptions with words from the grid below.
Learn how to pronounce them correctly.
a. \mA…n"tœnE\ c. \ÆkA…lE"rœdoÁ\ e. \ÆœrI"zoÁnE\
b. \"ju…tO…\, \"ju…tA…\ d. \"fi…nIks\ f. \sO…lt\
Entered State Famous
State name Capital city
the Union nickname monument / scenery
Utah January 1896 Beehive* State – Bryce Canyon Salt Lake
* ruche – Zion National Park City
Colorado August 1876 Centennial State Rocky Mountains Denver
Arizona February 1912 Grand Canyon Grand Canyon Phoenix
State
Montana November 1889 Big Sky Country Glacier National Helena
Park

112 • UNIT 6
2. Ask your partner for the missing information to fill in this grid and answer your
partner’s questions with the elements you know.
Entered State Famous
State name Capital city
the Union nickname monument / scenery
California
Idaho
Oregon
Washington

3. Get ready to recap what you have learnt about these four western states.

1. HOW IT ALL BEGAN MANUEL k P. 73

1. Get ready
Exploitation de l’image : We are immediately struck by the stagecoach and horses galloping
at full speed to escape a group of Indians. This is a typical scene from a western: The Indians
outnumber the Whites. The travellers are besieged by Indians on a dangerous journey. The
Indians use arrows and spears to kill the people in the stagecoach. This painting is striking
because it is full of movement, it conveys an impression of danger and isolation. This scene
is a typical western drama.

Informations complémentaires
In 1966 Norman Rockwell made his only appearance as an actor in a Hollywood movie.
Norman Rockwell played poker player “Busted Flush” in the 1966 remake of John Ford’s
classic hit Stagecoach. Rockwell painted twenty oil portraits, one preliminary and one final,
of each of the movies’ ten stars, as well as this image of the stagecoach on its perilous
journey to Cheyenne. The film relates the story of nine people aboard a stagecoach en route
to Cheyenne, Wyoming, during an Indian uprising. A group of unlikely travelling companions
find themselves on the same stagecoach to Cheyenne.

Productions possibles : The term “Wild West” immediately makes me think of the Conquest
of the West, westerns, Indians and the US cavalry, settlers going west in their waggons, the
Gold Rush and miners hunting for gold, trappers, fur-traders, cowboys and ranchers raising
cattle, Frontier heroes such as David Crockett or Buffalo Bill, sheriffs tracking outlaws, the
massacres of Indians.

2. Understanding the text


Voir corrigé de la fiche du Workbook page suivante.

UNIT 6 • 113
UNIT
6 WILD WILD WEST

3. Recap
Les élèves les plus solides se serviront des mots donnés dans le manuel, tandis que les plus
fragiles rempliront le résumé à trous proposé dans le Workbook p. 46

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 45-46)

> I. Understanding the text


➼ PART 1
1. – “a miner with a long beard and a hat panning gold in a creek” (l. 4)
– “a frontier town with horses tied to a hitching post in front of a saloon with swinging
doors” (l. 3)
– “a stagecoach pulled by a team of horses” (l. 2)
– “covered wagons, loaded with pioneers and all their belongings” (l. 5)

➼ PART 2
2. a) – settlement (l. 7) – settlers (l. 9)
b) – colonists (l. 12) – wilderness (l. 12)
c) expect; a verb; s’attendre à
d) travel
3. a) west • European • East coast • inland • America • New World • colonies
b) early 1800s
c) People: Europeans • settlers
Transport: covered waggons • stagecoach
d) “in search of land, natural resources like water, and animals to hunt” (l. 9)
“to start a new life” (l. 10)
“Colonists wanted to claim a piece of the wilderness before someone else did.” (l. 12)
“They wanted good fertile land that could be farmed and hunted.” (l. 12)
“Most people were lured to the West by the promise of land, the hope of finding gold or
the idea of a place where they could practise their religion without persecution.” (l. 14)
e) posters (broadsides) • advertisements • letters from family and friends
f) a geographical limit between a settled and developped territory and the wilderness

> II. ACTION!


1. the Frontier
2. 1 attracted 2 waves 3 magnet 4 looked for 5 gold 6 land 7 farm 8 settled 9 freedom
of religion

114 • UNIT 6
2. AN EPIC JOURNEY WEST MANUEL k P. 74-75

A. Jefferson’s mission
UNDERSTANDING THE TEXT
> Mise en œuvre
k Lecture individuelle en classe ou à la maison.
k Confrontation des résultats par binômes et prise de parole en continu d’un ou plusieurs
rapporteurs.
Productions possibles : President Thomas Jefferson had just bought a huge area of land
west of the Mississippi River. He chose Lewis and Clark to lead the expedition, explore that
area and find the most direct route to the Pacific. He thought it would make it easier to
transport goods from one side of the country to the other. The explorers also had to collect
information about plants, animals, climate and geographical features along the way.

B. The members of the expedition


1. WHO WERE THEY?

> Script de l’enregistrement


➼ Part 1
William Clark once called the expedition a fast enterprise; large, multi-faceted, planned
meticulously, it was the product of many minds, many hands, hopes, dreams and many
ambitions. Its planning reflected the restless intellect of President Thomas Jefferson, his
cabinet and some of the best scientific minds of the day. Once launched, the enterprise
depended on the sweat and toil of roughly 50 people, including one African American,
several men of both European and Native American descent and eventually one Native
American woman and her infant son.
➼ Part 2
Lewis was just 29 years old, Clark 33, both single. Like the men they recruited, they were
brave, resourceful and tough. They were both army veterans, skilled hunters, experienced
backwards travellers and they were smart. Each, in his own way, possessed an avid
curiosity, a hunger for knowledge, a doggedness about chasing down the facts. They were
also funny, bawdy, psychological, fond of satire and occasional sarcasm. They must have
been good company.
➼ Part 3
Lewis had more formal education both in childhood and as President Jefferson’s personal
secretary. Thanks to Jefferson he had training in a variety of scientific disciplines. He was
also a confident, practical doctor and understood the medicinal quality of plants. Clark was
the cartographer, the map-maker, the better boatman and apparently the more consistent
journalist. He had the more level head, the sunnier temperament and he led a longer,
happier life.

UNIT 6 • 115
UNIT
6 WILD WILD WEST

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 46-47)


➼ PART 1
1. enterprise – planned – planning – product – mind – meticulous
2. expedition • enterprise • planned • large • planned • meticulously • product • minds •
hands • hopes • dreams • ambitions
3. expedition • enterprise • planned meticulously • product • ambitions • planning •
intellect • President • cabinet • scientific • African American • European • Native
American descent • European • Native American
4. Type of expedition: scientific enterprise
Who was at the origin?: President Jefferson
Members of the expedition: 50 people (explorers, one African American, several men of
both European and Native American descent, one Native American woman and her infant son)

➼ PART 2
5. Lewis: 29; Clark: 33
6. bachelors
7. resourceful • tough • veterans • hunters • travellers
8. clever
9. curiosity • knowledge
10. Réponse libre.
11. Lewis and Clark, the leaders of the expedition, were officers in the US Army, were smart
and experienced. They were enterprising and had a taste for adventure. They also both had
a friendly and humorous personality.

➼ PART 3
12. education • childhood • Jefferson’s secretary • training • scientific disciplines • confident •
doctor • medicinal • plants • cartographer • map-maker • boatman • journalist • level
head • sunnier temperament • longer, happier life
13.
Lewis Clark
Education – formal in childhood Job – cartographer
– Jefferson’s personal secretary – map-maker
– boatman
– journalist
Specialized in scientific discipline Personality – level-headed man,
– happy temperament
Job doctor
Other quality understood medicinal plants

Recap : les élèves s’appuieront sur leurs notes dans le Workbook pour faire un compte rendu
de cette compréhension orale.

116 • UNIT 6
Grille d’évaluation de la production orale
Reprise des informations données dans le document 0 1 2 3 4
Récit au prétérit 0 1 2 3 4
Compte rendu clair et audible 0 1 2 3 4
Prononciation 0 1 2 3 4
Correction de la langue 0 1 2 3 4
Total : / 20

2. FOCUS ON SACAGAWEA
> Mises en œuvre possibles
k Travail collectif de toute la classe sur l’ensemble du texte.
k Diviser la classe en deux moitiés et donner à chaque moitié une partie du texte seulement.
À l’intérieur du groupe, le travail peut se faire individuellement ou par binômes. Lors de la
prise de parole en continu du rapporteur, le reste de la classe prend des notes.
k La question 11 de la p. 49 du Workbook peut être utilisée pour une récapitulation ou un
contrôle des connaissances en début de cours.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 48-49)


➼ PART 1
1. Four: Sacagawea • Toussaint Charbonneau • Lewis • Clark
“the Shoshone Indians from the Rocky Mountains” (l. 1) • “Indians from the Plains” (l. 2)
2. Idaho: northwest of the USA, south of the Canadian border • North Dakota: a border state
with Canada
3. k 1788: Sacagawea’s date of birth k 12: age when she was kidnapped
k 16: age when she started the expedition k 1804: Lewis and Clark hired her husband
for the expedition k 6: she was 6 months pregnant
4. The expedition was viewed as peaceful because they had Sacagawea and her child with
them. She helped the explorers communicate with Native Americans.
Friendly / peaceful: because she was a woman, and she was carrying her baby with her.
Quotes: “because Sacagawea had her infant son with her”, “no woman ever accompanies
a war party” (l. 7)
5. Sacagawea was a Shoshone Indian born in about 1788, kidnapped at the age of 12 and
forced to marry a French trapper. She was part of the Lewis and Clark expedition because
she could establish contact with the native tribes. She took her baby son on the journey.

➼ PART 2
6. to Lewis and Clark
7. Sacagawea’s asset / advantage: She spoke American and two Native American languages.
Role in the expedition: interpreter, translator, guide
Why?: She was born and raised in the Shoshone tribe, lived with the Minitari and married
a Canadian trapper.
8. “foraged for roots, nuts and berries” (l. 13) • “taught Lewis and Clark the medicinal value
of native plants” (l. 15)

UNIT 6 • 117
UNIT
6 WILD WILD WEST

9. clever • information about something that is written down


10. his admiration for her: “she is described as a smart and helpful woman” (l. 16) • “she saved
records and instruments from being lost” (l. 17)
11. 1 As a young girl, more exactly at the age of twelve, she was kidnapped by another Indian
tribe from the Plains. 2 She was eventually sold to be married to a French Canadian fur
trapper. 3 She accompanied him on the Lewis and Clark expedition. She helped the Corps
of Discovery through unknown areas, especially the Rockies. 4 She was considered a
valuable help in the expedition. She was a guide, a translator, and negotiator for them
because she knew the land, the languages, customs and tribes. She was largely responsible
for the success of the whole expedition.

3. A WHO’S WHO GAME


Proposition de corrigé :
He was 33 and single / not married at the beginning of the expedition. He was one of the two
leaders, Mr Lewis’ friend, a skilled hunter, boatman, cartographer. He was a former soldier
and lived on the Eastern coast. I have chosen to speak about him because he is one of the
leaders / I think he was charismatic and resourceful.
N. B. : les élèves les plus faibles pourront s’aider du Action! p. 50 du Workbook.

C. The expedition
Voir p. 417-418 et 437-439.

3. CHIEF JOSEPH SPEAKS MANUEL k P. 76-77

> Mise en œuvre


Pour la lecture du texte de la p. 76, on pourra choisir :
– soit une démarche classique, toute la classe lisant le texte, en classe ou à la maison ;
– soit une mise en œuvre plus communicative en divisant la classe en trois groupes, chaque
groupe lisant une partie du texte.

1. Memory game
Ce premier contact avec le texte passera par la lecture et la mémorisation.
a. Les mots qui sont attendus sont :
– Part 1: Lewis and Clark, Nez Perce, gold, mountains, bloodshed, government, peace…
– Part 2: tired, killed, death, no food, sick, sad, fight...
– Part 3: live in peace, laws, brothers, equal rights, country, animal, race, men...
b. En plus des titres des trois parties, les élèves auront repéré Washington D.C., 1877 et 1879.

2. Understanding the text


On utilisera la fiche d’entraînement du Workbook pour guider la lecture des élèves et les
préparer à reformuler ce qu’ils ont appris.

118 • UNIT 6
CORRIGÉ DE LA FICHE DU WORKBOOK (P. 50-52)
➼ PART 1
1. k “your”: White people k “our”: Indian (country) k “them”: Lewis and Clarkk “their”: Nez
Perce’s (country)
2. Lewis and Clark
3. made friends • agreed to let them pass • never to make war • promise
4. peacefully
5. this time / period of peace
6. a) “But” (l. 4) b) “men have found gold in the mountains”
7. a) war • trouble • bloodshed • avenged • killed b) make friends • never to make war •
live in peace
8.
Compromise Hope Results
– “and agreed to let them – “thinking that then we – “We were mistaken.” (l. 7)
pass through their country and could have peace” (l. 7) – “The white men would
never to make war on white not let us alone.” (l. 7)
men” (l. 2)
– “We gave up some of our
country to the white men” (l. 6)

9. – helpful: “made friends” (l. 2), “agreed to let them pass through their country” (l. 2)
– faithful: “This promise the Nez Perce have never broken.” (l. 3)
– peaceful: “never to make war” (l. 3), “we lived quietly” (l. 4), “wishes to live at peace” (l. 10)
– reliable: “labored hard to avoid trouble” (l. 6)

➼ PART 2
10. Weather conditions: “cold” (l. 12), “perhaps they are freezing to death” (l. 18)
The Indians’ living conditions: “no blankets” (l. 13), “no food” (l. 17), “The little children
are freezing to death.” (l. 13)
Chief Joseph’s feelings: “tired” (l. 11), “my heart is sick and sad” (l. 20)
Chief Joseph’s decision: “I will fight no more against the white man.” (l. 22)

➼ PART 3
11. a) He is on a visit to Washington D.C. He is speaking to the American government
b) all
12. He uses the passive voice to underline that Indians are victims, what they have to undergo.
13. treat all men alike • the same laws • an even chance • all brothers
14. “All men were made by the same Great Spirit Chief.” (l. 26) • “The earth is the mother of
all people” (l. 26)

Dans le cadre d’une classe fragile, on demandera à chaque groupe de préparer un résumé
oral de ce qu’il a lu dans sa partie du texte et qui répondra aux questions du manuel p. 77.
Un rapporteur désigné pourra faire la synthèse à l’oral. Chaque groupe écoutera les autres
avec attention et prendra des notes. Il pourra intervenir à tout moment pour demander des
explications et corriger si nécessaire.

UNIT 6 • 119
UNIT
6 WILD WILD WEST

Si la synthèse est faite à l’écrit, le professeur pourra fournir aux élèves un transparent qui
sera (rétro)projeté et l’on corrigera collectivement. Cette synthèse pourra servir de base à
une trace écrite.
Corrigés du manuel :
a. Recap: Part 1
– The first explorers were Lewis and Clark and their party.
– The Indians were friendly, peaceful and welcoming. They were faithful friends, kept their
promises and thought the Whites were trustworthy. We can imagine they were curious and
eager to meet the newcomers.
– The turning point in their relationship happened when gold prospectors arrived, invaded the
territory and scanned the area to find gold. Their greed for more land had no limit and they drove
the Indians away from their territory.
– The Indians tried to remain peaceful at all costs accepting any sacrifice imposed on them.
They desperately tried to keep their promise because they were as good as their word.
Besides they feared the Whites might retaliate if the Indians became violent. They did their
best to avoid war. But they were deceived, deluded.
b. Recap: Part 2
– The Indians have just been defeated and have surrendered in the Bear Paw Mountains after a
last fight. Now their situation is appalling because they have been driven out of their lands. They
are needy / in dire straits. We can presume another truce was broken, driving the Indians into
battle. Unfortunately the Nez Perce are left starving and freezing to death. They are destitute
and the white man feels no compassion.
– Of course Chief Joseph feels betrayed, desperate, cheated, sick at heart and hopeless. He
can’t trust the white men any longer and knows his tribe is doomed. He has given up the struggle.
This is a very emotional speech meant to arouse sympathy and compassion. He focuses on the
fate of little children who live in dreadful conditions.
– Consequently he has decided to give up his lands and surrender / yield to the white man’s
power. He has to stop fighting and accept his enemy’s decision, come what may.
– We can draw a parallel between this sad testimony and the photo of the Nez Perce leader.
Indeed his sad and hopeless expression matches his words. This is a real photo of an Indian chief.
He has got earrings and necklaces, probably to show his high rank in the tribe. What strikes me
most is his sad expression. He looks both tired and desperate, sad / unhappy and hopeless.
c. Recap: Part 3
– At that time the Indians were considered second-class citizens, “savages” who had fewer,
limited rights. There was this saying often heard in old western movies: “The only good Indian
is a dead Indian”, this excused any violence or murder.
– Chief Joseph dreams of being treated on an equal footing, of being given the same rights as
white men. He resents the white men’s attitude. Chief Joseph’s main claims are for justice and
equality for both Whites and Native Americans. He asks for legitimate dignity and respect. He
wishes the men of his tribe could be regarded as equals and could live in harmony with Nature
and other human beings. The loss of land entails the loss of religious and cultural values.

Exploitation de la gravure p. 76 :
Cette image peut servir au contrôle des connaissances en début du cours suivant et donner
lieu à une prise de parole en continu sur la partie 2 du texte. Le professeur pourra noter au
tableau les amorces suivantes : weather? people? transport? situation? colours? / atmosphere?

120 • UNIT 6
On peut aussi décider de (rétro)projeter la gravure et de fabriquer des caches qui serviront à
isoler des parties de l’image. On pourra ainsi guider l’observation de la classe. On montrera :
1) un groupe d’Indiens, 2) la moitié gauche du document, 3) le cavalier sur le cheval blanc,
4) le tableau en entier.
Productions possibles : This painting shows a group of people plodding through the snow.
Their march seems to be difficult because they are struggling through bad weather. A strong
wind is blowing in their faces and slowing them down. Even the horses are bending their heads.
The people at the front are Indians / Native Americans wearing leather clothes.
I think it shows a tribe moving away, with children and baggage in a cart. They are followed /
guarded by soldiers on horseback, dressed in blue and black uniforms. There is a long line of
soldiers and Indians. This could be a picture of an Indian deportation into a reservation. They
had to leave their lands for the white men and stay in restricted zones. It reminds us of the Trail
of Tears. American troops forced hundreds of Cherokee Indians to leave their homes in Georgia
and move to the “Indian Territory” of Oklahoma. In 1838, about 7,000 American troops moved
in and began the forced removal. Many Native Americans suffered from exposure, disease,
and starvation while en route to their destinations. The journey was hard, and many Cherokee
suffered or even died, for example 4,000 of the 15,000 relocated Cherokee. Many cried. That’s
why this journey is called the “Trail of Tears”.

3. Writing workshop
Cette production écrite se fera soit en classe soit à la maison, et soit individuellement soit
par équipe de deux rédacteurs.
k Faire ressortir les grandes parties de l’article à écrire, par exemple : Chief Joseph’s
identity – the Nez Perce tribe’s location in the US – meeting Lewis and Clark – gold
prospectors – fights and surrenders – cold, hunger, starvation – visit to Washington D.C.,
1879.
k Ramasser les articles pour les faire lire au reste de la classe. On peut imaginer soit de
redistribuer les articles en désordre à chacun, soit de les afficher, soit encore de former
des groupes de lecteurs (4 à 5 élèves) qui auront en charge de sélectionner le ou les deux
meilleurs articles. Chaque groupe ira voir un autre groupe et ensemble ils affineront leur
sélection pour qu’en fin de course il ne reste que deux ou trois favoris.
k Au rétroprojecteur, l’enseignant pourra faire une correction linguistique ciblée d’articles
sélectionnés.
k Tous les articles pourront aussi être évalués.
On trouvera un article très bien fait sur le site suivant, qui pourra servir de corrigé aux élèves :
www.powersource.com/gallery/people/joseph.html

Grille d’évaluation de la production écrite

Les événements clés sont traités 0 1 2 3 4 5


Lexique et structures 0 1 2 3 4 5 6 7
Maîtrise des temps 0 1 2 3 4
Correction de la langue 0 1 2 3 4
Total : / 20

UNIT 6 • 121
UNIT
6 WILD WILD WEST

4. Reading aloud

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 52-53)


1. Les mots en italique correspondent aux formes réduites (inaccentuées).
2. Les mots en italique sont des prépositions, auxiliaires, pronoms personnels compléments.
La voyelle est réduite.
3.
\i…\ \aI\ \I\
chiefs • freezing tired • fighting • white killed • little • hills • sick

4. réduites
5. I am tired of fighting. Our chiefs are killed. It is cold and we have no blankets. The little
children are freezing to death. My people – some of them have run away to the hills and
have no blankets and no food. No one knows where they are – perhaps they are freezing to
death. Hear me my chiefs, my heart is sick and sad. From where the sun now stands I will
fight no more against the white men.
6. I am tired of fighting. Our chiefs are killed. It is cold and we have no blankets. The little
children are freezing to death. My people – some of them have run away to the hills and
have no blankets and no food. No one knows where they are – perhaps they are freezing to
death. Hear me my chiefs, my heart is sick and sad. From where the sun now stands I will
fight no more against the white men.
7. I am tired of fighting. Our chiefs are killed. It is cold and we have no blankets. The little
children are freezing to death. My people – some of them have run away to the hills and
have no blankets and no food. No one knows where they are – perhaps they are freezing to
death. Hear me my chiefs, my heart is sick and sad. From where the sun now stands I will
fight no more against the white men.

Prolongement possible : on pourra faciliter la mémorisation du lexique des p. 76-77 grâce


aux exercices suivants (fiche photocopiable disponible sur le site compagnon).

Check your vocabulary


1. Retrouvez les adjectifs dont les lettres ont été mélangées.
a. adsprteee b. vedediec c. leblirale
2. Retrouvez les adjectifs dérivés de ces noms.
a. greed = e. hope =
b. faith = f. need =
c. friend = g. trust =
d. despair = h. help =

3. À quelle personnes ces adjectifs correspondent le mieux ? Classez-les dans le tableau.


Attention : certains mots peuvent aller dans plusieurs colonnes.

122 • UNIT 6
vengeful • accepting • furious • peaceful • successful • defeated • understanding •
interested • anxious • disregarded • confident • hostile
Gold prospectors Nez Perce White farmers Lewis and Clark

4. Traduisez ces phrases.


a. Les Indiens mouraient de froid.
b. Ils n’étaient pas considérés avec respect.
c. Ils étaient fatigués de se battre.
d. Ils souffraient de la faim.
e. Ils voulaient éviter les ennuis.

CORRIGÉ
1. a. desperate b. deceived c. reliable
2. a. greedy c. friendly e. hopeless (accepter aussi hopeful) g. trustworthy
b. faithful d. desperate f. needy h. helpful
3. Gold prospectors: successful • interested • hostile
Nez Perce: accepting • furious • peaceful • defeated • anxious • disregarded
White farmers: vengeful • furious • successful • interested • confident • hostile
Lewis and Clark: peaceful • successful • understanding • interested
4. a. The Indians starved / were starving to death.
b. They were not considered / regarded with respect.
c. They were tired of fighting.
d. They suffered from hunger.
e. They wanted to avoid trouble.

4. THE WEST GAZETTE MANUEL k P. 78

Cette activité d’écriture pourra se faire en travail individuel ou en groupes.

> Mises en œuvre


1) Avec une classe assez solide
k En classe entière, on procédera au choix des temps (prétérit et past perfect) ainsi qu’à
la mobilisation des connaissances, du lexique et des structures nécessaires, notamment
les marqueurs de temps :
– In Spring / Summer / Autumn (the Fall) / Winter / the 19th century / those days...
– One day...
– A few years later...
– After a while... (Au bout d’un moment)

UNIT 6 • 123
UNIT
6 WILD WILD WEST

– Meanwhile... (Pendant ce temps-là)


– Little by little... (Petit à petit)
– Eventually
– Finally / Lastly
k Faire écrire l’article individuellement ou en équipe de deux. Cette étape pourra se faire
en classe, à la maison ou en salle informatique.
k Ramasser les articles pour les faire lire au reste de la classe. On peut imaginer soit de
redistribuer les articles en désordre à chacun, soit de les afficher, soit encore de former
des groupes de lecteurs (4 à 5 élèves) qui auront en charge de sélectionner le ou les deux
meilleurs articles. Chaque groupe ira voir un autre groupe et ensemble ils affineront leur
sélection pour qu’en fin de course il ne reste que deux ou trois favoris.
k Au rétroprojecteur, l’enseignant pourra faire une correction linguistique ciblée d’articles
sélectionnés.
k Tous les articles pourront aussi être évalués.

Grille d’évaluation de la production écrite

Respect des consignes (nombre de mots et cadre) 0 1 2 3


Récit pertinent et bien documenté 0 1 2 3 4 5
Mots de liaison 0 1 2
Maîtrise des temps 0 1 2 3
Richesse de la langue 0 1 2 3 4
Correction de la langue 0 1 2 3
Total : / 20

2) Avec une classe fragile


k En préalable à l’activité, le professeur demandera aux élèves d’observer les quatre
images de leur manuel en silence ou les (rétro)projettera dans l’ordre. Pour commencer,
on demandera ce que ces images évoquent. Elles doivent faire écho aux textes lus
précédemment. On acceptera de simples éléments ou des phrases courtes. Puis on pourra
enrichir l’expression pour la trace écrite en réactivant le lexique vu. On peut organiser le
travail sur les images de façon classique (toute la classe intervenant dans la description),
ou en groupes. Le professeur divisera la classe en 4 et chaque quart devra présenter un
tableau au reste de la classe.
Productions possibles :
1. I think this shows Lewis and Clark’s arrival somewhere along the Missouri or Platte River. The
Whites are dressed as Europeans with broad-rimmed hats, long jackets, whereas the group of
Native Americans have animal pelts / skins. The two groups are facing one another but they
don’t seem to be hostile. This makes me think of Chief Joseph’s text, at the beginning when he
mentions...
2. This must be a party of gold prospectors. Indeed the man in the middle is panning gold in a
river. He looks like a ruffian, he hasn’t shaved for months. He looks very determined as well.
He is not alone; there are other gold prospectors in the river, all deep in the water, concentrated
on their findings. Beyond them, there are rough settlements on both banks of the river. We have
learnt that prospectors cut deep into Indian lands disregarding treaties and laws to find the
precious nuggets.

124 • UNIT 6
3. I can see a group of riders galloping in a desert. They look like regular cavalry soldiers of
the US army. They may be charging a group of enemies. Some have guns or rifles ready for
the shoot. It may show a battle scene during the Indian Wars.
4. This painting is quite spooky. There is a person on horseback, but I can’t tell if it’s a man or
a woman, but he or she looks tired and miserable. He or she belongs to a group of travelling /
fleeing people. On another horse there is a bag or a cover and a skinny dog is following. They
look cold to death walking on white ground, probably snow. This could be a group of Indians
going to a new reservation, leaving behind their homes and favourite hunting grounds.
k On passera ensuite à la rédaction de l’article proprement dite. Cet entraînement à
l’expression écrite sera à faire en devoir à la maison, en s’inspirant des images travaillées,
ou en classe. On renverra aux conseils p. 80 et 260-261 du manuel quant à l’usage
des temps du récit. Comme l’article est un récit à la première personne, il semble important
que les élèves incluent des sentiments, des émotions, des impressions.

LANGUAGE AT WORK MANUEL k P. 79-81

> Improve your pronunciation


1. \d\ followed • travelled
\t\ pushed • asked • stretched • helped • walked • cooked
\Id\ wanted • ended • loaded • decided • started • expected
2. a. prononciation faible \wEz\
4. a. ( ( ( ✓( c. ( ( ✓( e. ( (
✓(
b. ( ( ✓( d. (
✓( f. (✓(
Les terminaisons -ian et -ion sont des suffixes contraignants, l’accent de mot tombe sur
la syllabe qui les précède.

> Build up your vocabulary


1. resist = fight back • avenge oneself = retaliate • defy = challenge • fight against =
struggle against • give up = yield • flee = escape • horrible = dreadful
2. buffalo • tribe • tepee • clash • warpath • slaughter • battle • defeat
3. 1 heroes 2 see 3 describe 4 maps 5 pioneers 6 animals 7 plants 8 trade 9 journey
10 challenges 11 through 12 travelled 13 succeeded 14 shared 15 knowledge

> Le passé : prétérit et past perfect


1. a.
Forme affirmative Forme négative Forme interrogative
heard • learned • was (x 5) did not reach did some people want…?
• could • were • made •
started • travelled • took •
died

UNIT 6 • 125
UNIT
6 WILD WILD WEST

Ces trois formes sont au prétérit :


– affirmation = suffixe -ed ajouté au verbe régulier, ou verbe irrégulier ;
– négation et interrogation = did + base verbale.
b. – Verbes réguliers = learned (learn), started (start), travelled (travel), died (die).
– Verbes irréguliers = heard (hear), was (be), could (can), were (be), made (make), took
(take).
Concluez : pour une narration de faits passés, révolus on utilise le prétérit.
Le prétérit simple sert à parler d’événements situés dans le passé et il exprime une rupture
avec le présent.
3. a. Ces expressions sont des marqueurs de durée associés au prétérit.
b. – Les pionniers vécurent dans un chariot bâché pendant six mois.
– Dans les grandes plaines ils marchaient pendant des jours sans voir aucun arbre ou
aucune forêt.
4. a. had + participe passé
b.

Passé 2 Passé 1 = At the end of the day Moment présent


(had) milked
(had) fetched
(had) collected
c. avaient trait, étaient allés chercher, avaient ramassé
Concluez : le past perfect permet de parler d’événements antérieurs à un autre événement ex-
primé au prétérit. Il exprime donc un « retour en arrière » par rapport à un moment du passé.

> Practice
1. a. How long was the journey to Oregon?
b. What was the best time of the year to start the trip?
c. Why did some people want to travel all the way to Oregon?
d. What happened if you met Indians on the way?
e. How did the Indians make buffalo meat last a long time?
2. The US government encouraged people to settle in Oregon. Half a million people crossed
the Rocky Mountains, deserts and rivers to settle there. They had to leave the Mississippi
River in spring to arrive before the first snows. Approximately twenty thousand people died
along the way. They endured extreme weather, illness, and attacks by Native Americans.
The construction of the railroad brought an end to the waggon trains.
3. I’d like to tell you about Crazy Horse who was both a visionary Indian / Sioux chief and a
brilliant leader. He was considered a brave warrior by his tribe and a man of supreme courage
by his enemies. He devoted his whole life to fighting for freedom and defending the values
and traditions of the Lakota tribe. He was born in 1849, and was known to have stolen horses
from other tribes before the age of 13, which shows what a daredevil he was. From 1865 to
1868 he started fighting against white settlers in Wyoming because they were trespassing
on the tribe’s land. The major event of these years of battle was in 1867 when his warriors
destroyed W.J. Fetterman’s brigade at Fort Phil Kearny. Of course he became a real hero
when he led the charge against / attacked troops led by the famous General Custer in 1873.

126 • UNIT 6
Crazy Horse became the leader of the Indian resistance and worked on an alliance with
another Indian tribe, the Cheyenne in, 1876. Together they triumphed at Little Bighorn on June
17, 1876 which ended up with the destruction of Custer’s Seventh Cavalry eight days later
and with the General’s death. Unfortunately he could not win, but he was the last important
chief to surrender on May 6, 1877. In September 1877, he was arrested by General George
Crook. But he did not accept his fate easily and struggled / fought against the guards on the
way to jail. As a consequence, a soldier stabbed him in the back.
4. a. When the expedition was over, they had walked / covered 3,700 miles.
b. They had discovered 122 animals and 178 plants unknown at that time.
c. They had explored a huge territory and made detailed maps.
d. Jefferson was thrilled because they had fulfilled all the goals he had set for them.

YOUR TASK MANUEL k P. 82-83

> Mises en œuvre


N. B. : cette mise en œuvre s’inspire de l’article de F. Patard sur le site de l’académie de
Nancy-Metz concernant le défi lecture.
➼ VARIANTE 1

– Diviser la classe en deux moitiés : une équipe jury et une équipe de candidats. Inverser
les équipes au bout de quinze à vingt minutes.
– Chaque équipe possède sa feuille de questions préparées (en classe ou à la maison). Elle
dispose ou non du manuel, du cahier de notes et du Workbook selon le choix du professeur.
– La réponse doit être donnée tout de suite, à l’oral ou à l’écrit.
– L’équipe candidate peut choisir le niveau de difficulté souhaité (activité à 1, 2 ou 3 points).
– Le professeur peut fixer le nombre de questions minimum à poser.
– Les échanges doivent se faire uniquement en anglais.
– L’équipe jury attribue les points au fur et à mesure des questions.

➼ VARIANTE 2

– Former des équipes de quatre (deux jurys, deux candidats) et suivre les mêmes modalités
que ci-dessus.
– Le professeur passe de groupe en groupe pour vérifier que les échanges se font bien en
anglais et que le jury comptabilise bien les points.
Corrigés :
Exemple 1. 1b • 2b • 3c
Exemple 2. 1d • 2a • 3e • 4c • 5b
Exemple 3. ACROSS: 1) Missouri 3) emigrant 7) leader 9) jail 10) persecution 11) mob
DOWN: 2) settlement 4) Utah 5) trail 6) Wyoming 8) wagon

UNIT 6 • 127
UNIT
7 ROBOT DREAMS

Robot dreams
Nous avons choisi ce thème des robots car il permet d’aborder et / ou de rebrasser le
vocabulaire lié à l’ensemble des avancées technologiques actuelles, ce qui sera notamment
très utile aux élèves se destinant à une filière STI. Ce sujet ouvre en outre la voie à une
réflexion sur les rapports entre hommes et robots et au-delà sur la conception d’une société
de plus en plus mécanisée, voire robotisée.

N. B. : pour les descripteurs du CECRL se rapportant à la compréhension écrite, voir p. 86.

Manuel Workbook Fiches


photocopiables

Tâche finale Lire des articles concernant des robots,


en sélectionner un et justifier son choix

Objectifs Mémoire • Échanges • Lien social •


culturels Création

Lexique k les adjectifs composés en -ed et -ing


(p. 91)
k la composition des mots : antonymes
(p. 91)
k les robots et leur fonctionnement
k les différentes tâches effectuées par
les robots dans notre société : tâches
ménagères et tâches à haut risque...
k les rapports humains-robots
k la science-fiction
k Check your vocabulary (p. 86 et 87)

Grammaire k les pronoms relatifs (p. 92)

Phonologie k repérage des syllabes accentuées (p. 91)


k réalisation des lettres -o-, -our, -ea- et
-or (p. 91)

Structures de k comparer
communication k exprimer désirs et rêves

128 • UNIT 7
Activités langagières dominantes

Manuel Workbook Fiches


photocopiables

Lire k That’s Sci-fi!, article de presse (p. 85)


k A Prophet, extraits de roman (p. 88 à 90) X X

Prendre k Humans and Robots, illustration (p. 87) X


la parole k A Prophet, extraits de roman (p. 88
en interaction à 90) X X
k Your task, trois articles (p. 94-95) X

Prendre k Tune in, photographie (p. 84)


la parole k faire le compte rendu oral d’un texte
en continu (p. 85, 89 et 90)
k May I help you?, cartoon (p. 86) X
k faire le compte rendu oral d’un document
sonore (p. 86)

Écrire k un court rapport (p. 89)


k la suite d’un résumé de film (p. 93)

Écouter Feel and touch (p. 86) X

Écouter Modern Times, extrait du film X


et regarder de Charlie Chaplin (p. 85)
(vidéo)

N. B. : les titres en gras indiquent les documents à étudier afin de réaliser la tâche finale.
Nous vous rappelons que les Help! sont enregistrés sur le CD classe et que les exercices
Improve your pronunciation sont téléchargeables sur le site compagnon.

TUNE IN! MANUEL k P. 84


Révision du lexique nécessaire : En préalable à cette activité, on pourra faire réaliser aux
élèves un vocabulary network lié au vocabulaire des tâches ménagères pour introduire le
maximum de mots dont ils auront besoin.
people:

objects used: chores / housework verbs ( activities):


– –
– –
– –

UNIT 7 • 129
UNIT
7 ROBOT DREAMS

> Mises en œuvre possibles


k Travail individuel ou en binôme : on demandera aux élèves de répondre aux questions
en s’appuyant sur le Help!, puis de faire un compte rendu à la classe.
k Une moitié de classe (A) pourra garder le livre ouvert et décrire à l’autre groupe (B) la photo.
Les élèves du groupe B dessineront au fur et à mesure, puis compareront leur dessin à la photo.
Cela permettra aux élèves de rebrasser le lexique vu précédemment et de localiser les objets
dans l’espace. Ils pourront s’aider pour cela de la p. 281 du manuel (« Commenter un document
visuel »).
k Ce document visuel est reproduit sur le transparent n° 5.

1. React to this picture (questions a. et b.)


Productions possibles :
– The scene is set in a kitchen. A young woman is leaning on a kitchen counter, doing nothing.
She is idle, resting / having a rest. She stares at something we cannot see. Her eyes are blank.
She looks bored. She doesn’t seem interested in doing the housework. In the background we
can see a sink and cupboards which are spick-and-span. Everything is sparkling in this kitchen,
thanks to the robots. It’s state of the art equipment.
– The robots are doing all the household chores / the housework. Some of them are dusting,
some are washing up / doing the dishes, some are cleaning / wiping the cupboards with a
sponge. One is hoovering the floor, one is watering the plant and a pair of robots is sweeping the
floor collecting the dirt with a dustpan. One robot plays the part of a maid because he is waiting
on the woman / is bringing her a drink on a tray. The robots look like toys and astronauts. They
seem to be wearing a space suit. They look modern.

2. Give your opinion (question c.)


Productions possibles : These robots are useful for busy people because they are labour-
saving / time-saving. They alleviate our workload. They make housework less tedious. People
can relax. They do not waste time on dull, uninteresting tasks. When people are overwhelmed
with work, they do not have to worry about cleaning the house. Robots are more reliable than
human beings and some housekeepers, because they are programmed to do the work and are
never ill, they never complain.
I think this scene is a dream. It’s quite unrealistic. These robots may exist one day / in a near
future but they may be too expensive. Only big firms may be able to buy these robots, not a
family.
I think this photo is quite humorous because one robot should be sufficient to do all the chores.
There’s no need to have all these robots!
Name: House fairies
Catchphrase: I need somebody’s help!

130 • UNIT 7
1. THAT’S SCI-FI! MANUEL k P. 85
> Mises en œuvre possibles
Le repérage des informations essentielles pourra donner lieu à un travail individuel à la maison.
Les élèves pourront rapidement confronter leurs réponses avant une reprise collective. Le Go
further portant sur l’implicite pourra être traité en classe, en binômes par exemple, puis être
suivi d’une reprise avec toute la classe. Pour réagir aux propos de leurs camarades les élèves
s’aideront de la fiche d’évaluation de la prise de parole en interaction p. 181 du manuel.

1. Understanding the text


Réponses :
a. – iRobot Corporation • 1990 • Boston
– Helen Greiner
– Science-fiction
b. – Genghis, Ariel, My Real Baby, the Pyramid Rover
– Mars, underwater, Egypt (the Great Pyramid)
– 2002
– Genghis is used to work on / explore Mars. Ariel is used to detect mines underwater. My
Real Baby is a doll. The Pyramid Rover was used to climb the Great Pyramid and to enter a
chamber no one had ever opened.
c. – vacuum / hoover, wash floors, clean gutters
– “Three million” refers to the number of robots called Roomba that are used in American
homes and “40” refers to the percentage of revenue of the firm that comes from defense
contracts signed with the army.
d. The journalist is referring to robots that will be created in the future.
e. – Greiner wants to help the disabled and the elderly / old people (remind them to take their
medication, help find their glasses, check to see if they’re okay).
– The family will worry less because robots will take care of the ill or old person.

2. Go further
Productions possibles :
a. Hoovering and washing are dull activities. They can be tiring for old people. Cleaning gutters
may be a dirty job. Detecting mines and opening a new chamber in a pyramid or exploring Mars
can be dangerous. Helping to find glasses is a dull activity but it’s not tiring. Reminding someone
to take medication is neither tiring nor dangerous nor dirty but it can be boring sometimes.
Checking on someone’s health is reassuring.
b. The scientists will use Genghis and the Pyramid Rover. The military will use Ariel. Everybody can
use Roomba, Scooba and Looj and My Real Baby. Specific robots will be used by the elderly and
the disabled.

3. Watch a video
Voir p. 419-420 et 440-441.

UNIT 7 • 131
UNIT
7 ROBOT DREAMS

2. MAY I HELP YOU? MANUEL k P. 86


> Mise en œuvre commune des p. 86 et 87
Ce cartoon peut bien évidemment être étudié tout seul, mais on peut également l’exploiter
en parallèle avec le document de la p. 87 (Humans and robots). On divisera alors la classe
en deux groupes et l’on donnera à chaque groupe un document à étudier.
Les élèves répondront aux questions de l’activité 1 Observe and speak de chaque document
et présenteront à l’autre groupe un compte rendu de leur étude. Les plus fragiles pourront
traiter le cartoon p. 86 et s’aideront de la rubrique correspondante dans le Workbook (p. 54).
Les élèves des deux groupes utiliseront ensuite la rubrique Action! du Workbook (p. 56-57)
qui constitue une aide à l’expression permettant de faire la comparaison et la synthèse des
deux documents.

> Mise en œuvre de la p. 86


k On pourra procéder à une anticipation grâce à une approche morcelée.
– On (rétro)projettera le cartoon en dissimulant le robot et la légende et en demandant aux
élèves de réagir (on écrira au tableau who? ou tout autre déclencheur de parole : Whom do
you expect...).
Productions possibles : It’s a big firm / corporation. There should be a receptionist. We
should see a woman because most of the time women are hired as receptionists in firms.
I expect to see a secretary. The secretary is the person who welcomes / greets the people
who want to meet the boss / the manager. She can be in an office next to her manager’s
office. The receptionist tells the manager that the client he is working with has arrived for the
appointment.
– On révélera ensuite le cartoon dans son intégralité et on demandera aux élèves de réagir.
Productions possibles : I expected a woman as a receptionist but I can see a robot instead.
The human secretary has been replaced by a robot. That’s weird! I was surprised to see a
robot because a machine has no soul and I don’t think a machine could be good at social
contact, or replace human beings.
I was sure it was something unusual because the two characters in the background look
puzzled.
k On pourra également analyser le document dans son entier et faire travailler les questions
du Observe and speak individuellement ou en binômes avant de demander une prise de parole
devant la classe pour rendre compte du document.

1. Observe and speak


Productions possibles :
a. The scene takes place in an office or maybe in a hall, at the entrance of a firm.
b. The presence of a robot strikes me because it is unexpected and unusual. I expected to see a
real person especially since being a receptionist implies having social contacts.
c. The robot doesn’t look like a human being at all because he has wires on his head. He looks like
a human being because he has a big smile. He looks friendly and his wires look like curly hair.
d. The boss may be speaking. He says he tried to hire humans but they were unpleasant. They
didn’t respect the clients, they were rude to them so he decided to fire them. And instead of

132 • UNIT 7
hiring humans, he decided to hire robots because they were nicer than human beings, well-
behaved, welcoming, friendly, polite. They were not grumpy.
e. The two characters in the background may be spying on the robot (the new receptionist).
They must be curious to see how he deals with the job. They may be jealous because he
was hired for the job and not them. They may be envious bcause the robot’s job is not as
exhausting as theirs.
One of the two characters may be the person speaking, the boss. He’s checking to see if
everything is all right with this new, unusual clerk. He wants to see if the robot is doing well / if
he has no problems / if he is nice enough. He wants to be sure he has made the right decision/
choice.

2. Go further
On incitera les élèves à échanger leurs opinions et leurs réactions sur le message du dessin
humoristique au cours d’une discussion. Pour évaluer leurs camarades, les élèves pourront
s’appuyer sur la fiche concernant la prise de parole en interaction p. 181 du manuel.
Ces questions pourront donner lieu à un travail individuel, en binômes ou en groupes si la
classe le permet.
Il faut insister pour que les élèves expriment une opinion personnelle (cela leur permettra
de rebrasser les structures de l’opinion, en gras ci-dessous).
Productions possibles :
a. In my view the cartoonist may want to denounce the predominant role played by robots in
our society. Working conditions are getting tougher and tougher, I mean, if people are not
competitive enough, robots replace them on the spot. Robots can work long hours without
complaining, without asking for a salary or a rise. Robots are submissive and never rebel
against any decision. In other words, they are obedient, contrary to some people who go on
strike and have many demands, always ask for more.
I don’t agree with you. I feel the cartoonist wants to warn workers against the dangers of
becoming too demanding. By requiring rises, fewer working hours, ideal working conditions,
they may choose to follow a dangerous path. Bosses may want to get rid of them and to use
robots instead, because robots are submissive, obedient and they never complain.
In my opinion, the cartoonist just wants to emphasize the fast development of new technology.
To me, the cartoonist wants to say that managers want to replace men by robots because
they do not have to pay them. So it is a way of saving money.
To sum up, I’d say the cartoonist foresees hardships for workers who can easily be
dismissed / be made redundant. He seems to say that the future in store for workers is
rather dark / gloomy. Unskilled, illiterate people will be laid off. Although the cartoon is
humorous, it is not very optimistic / it’s pessimistic for human beings.
b. I cannot deny that robots’ presence is more and more prevailing in industry but I don’t
understand why the cartoonist shows us a robot as a clerk. I really think it’s science-fiction:
Robots are mainly used to accomplish dull / boring, dangerous, tiring and dirty tasks. As far as
interesting jobs are concerned, I don’t think that they will be able to replace men. In other words,
I know it is impossible to see robots make decisions, initiate awareness campaigns, have social
relationships, invent up-to-date products, negotiate with people, plan long-term projects as they
cannot think. All the jobs requiring psychology cannot be carried out by robots. Do you see what
I mean? To me a human brain cannot be replaced so easily. To sum up I’d say I can’t imagine

UNIT 7 • 133
UNIT
7 ROBOT DREAMS

robots as a threat. Robots are only an empty shell. They have no soul, no feelings, no thoughts.
They only represent helping hands for humans.
I don’t believe they can reach independence, autonomy yet.
I disagree with you. I don’t see why they shouldn’t replace men in the near future, as long as
a scientist discovers a programme that enables robots to adapt to different situations.
Don’t you think that it’s not so easy?
N. B. : cette partie sera synthétisée grâce à l’exercice Action!, p. 56-57 du Workbook, et
pourra servir de trace écrite. Les élèves plus solides pourront faire leur compte rendu écrit
eux-mêmes.
Prolongement possible : on pourra faciliter la mémorisation du lexique de la rubrique Help!
grâce à l’exercice suivant.

Check your vocabulary

Traduisez ces phrases. Les mots en gras se trouvent dans le Help!, p. 86.
1. Il veut se débarrasser de cet employé de bureau.
2. Ces gens sont envieux, curieux et jaloux.
3. Ils viennent d’embaucher une personne très obéissante.
4. Certains prévoient que de nombreux travailleurs se révolteront contre leurs patrons.
5. Il nous a avertis du danger, mais nous n’avons pas écouté.

CORRIGÉ
1. He wants to get rid of this / that clerk.
2. These / Those people are envious, curious and jealous.
3. They have just hired a very obedient person.
4. Some people foresee that many workers will rebel against their bosses.
5. He warned us against the danger but we didn’t listen to him.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 54)


I. Observe and speak
The scene is set in an office and I’m immediately struck by the presence of a robot
working as a receptionist / clerk. The robot replaces a human being. Indeed it has
wires on its head. It looks happy and friendly. The two characters at the door seem to
spy on the robot. They may want to have the robot’s job. The caption suggests a robot is
replacing human beings because the machine does a better job than them, so they may
be envious / jealous / scared too.
II. Go further
1. The cartoonist seems to foresee a dark future and wants to warn workers about the
dangers of hiring robots. Managers will get rid of / fire / dismiss men and will use
machines instead, because they are convinced they won’t rebel against them. Contrary
to workers who are disobedient, machines are obedient, they never complain so the
companies will hire them.

134 • UNIT 7
2. I find this cartoon worrying and shocking because it shows that human beings can be victims
of unemployment because they can be replaced by robots / they have defects. I don’t think it
is science-fiction because robots are more and more elaborate / sophisticated. I understand
why robots could be used by managers instead of men because robots never rebel against
them. They don’t think that working conditions are painful or difficult!
I find this cartoon amusing because I know it is impossible to replace men, as robots cannot
be creative. I think it is science-fiction because robots cannot plan a project.
I don’t find this cartoon amusing. I find it scary.

3. Feel and touch


> Script de l’enregistrement
➼ Part 1
Jason: Hello everybody! Welcome to your favourite programme “Into the Future”. I’m Jason
McKinley live from London where an exhibition about robots is taking place. Today I’m
interviewing Robin Duffle, the famous scientist about the latest discoveries in robotics.
➼ Part 2
Jason: Hello Mrs Duffle. Tell me more about this project you’ve been working on for several
years now. Are robots becoming more and more humanlike? I’ve been told a robot called
Marvel has a sense of touch just like ours.
Mrs Duffle: As you may know, today’s robots still have trouble doing very simple things such
as tying shoelaces or grabbing small objects. In fact they are as clumsy as a six-year-old, just
because their sense of touch is not good enough. That’s why we’ve decided to give Marvel a
chance.
Jason: That sounds interesting! What have you done?
➼ Part 3
Mrs Duffle: We have created an artificial surface that looks like skin to improve Marvel’s
sense of touch. This skin is thin enough to wrap around the robot’s fingers. Once its hands
are covered in the new material, Marvel can detect pressure and temperature, and he will
be able to take on complicated jobs.
Jason: Can’t believe it!
Mrs Duffle: Well there’s a chance the new skin will be better than human skin because
it may be able to detect if the environment is light or dark or if it’s noisy. This may really
improve how robots work in the real world.
Jason: Unbelievable! That was worth listening to. Thanks for everything Mrs Duffle. See you
tomorrow for a new visit to Robotland with a new guest.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 54-56)


2. a) thin – artificial – complicated
b) scientist – robotics
3. \mE"tIEriEl\ material (tissus)
\"temprEtSEr\ temperature
\skIn\ skin
\rœp\ wrap (envelopper)
\"s∏…rfIs\ surface

UNIT 7 • 135
UNIT
7 ROBOT DREAMS

➼ PART 1
4. k Jason McKinley is a journalist / a reporter. k Robin Duffle is a scientist.
5. favourite • programme • London • exhibition • robots • taking • place • discoveries •
robotics
6.
What are they speaking about? Where?
robots • discoveries • robotics London • exhibition

➼ PART 2
7. robots • becoming • humanlike
8. He has a sense of touch that is like ours, that is to say human.

➼ PART 3
9. skin • thin • wrap • fingers • covered • detect • pressure • temperature • complicated •
jobs
10.
New material? Bodypart ? How? What for?
thin skin fingers wrap • covered detect pressure, temperature •
do complicated jobs

11. There’s a chance the new skin will be better than human skin because it may be able to
detect if the environment is light or dark or if it’s noisy.

> ACTION!
➼ RECAP PART 1 (INTRODUCTION)
The two people are Jason McKinley, a journalist and Robin Duffle, a famous scientist.
They are at the London Robot Exhibition about robots. Jason McKinley is interviewing
Robin Duffle about her latest discoveries in the programme Into the Future.

➼ RECAP PART 2 (COMPARISON)


Today’s robots.
Some can be compared to humans / human beings because they have a sense of touch
which is equivalent to a human sense of touch.
Robin Duffle has been working on this project for several years.
She and other scientists have created a robot called Marvel.

➼ RECAP PART 3 (REAL PROGRESS)


If the robots’ hands / fingers are wrapped / covered with an artificial surface / a new
material / a thin skin, the robots will be able to detect pressure and temperature.
Finally they will be able to take on complicated jobs.
It’s a possible improvement because this thin skin may be better than human skin.
They will soon be able to detect if the environment is light or dark or if it’s noisy.
Consequently their work will be improved in the real world.

136 • UNIT 7
3. HUMANS AND ROBOTS MANUEL k P. 87

N. B. : cette illustration a également été utilisée par le groupe Queen en couverture de son
album News of the World, sorti en 1977.

> Mises en œuvre possibles


k Anticipation (approche morcelée) : on pourra (rétro)projeter l’illustration en cachant
le robot et en demandant aux élèves de décrire la scène et d’émettre des hypothèses sur
ce qui s’est passé.
Productions possibles : A man has been wounded, he is lying unconscious. He seems to
be dead. He has a gaping wound. He may have been shot, or stabbed. He may have been
wounded in a war, in a terrorist attack, injured in a car accident…
k Découverte et analyse du document dans son entier : travail sur les questions du
Observe and speak individuellement ou en binômes. Prise de parole devant la classe pour
rendre compte du document et confronter les différents points de vue.

1. Observe and speak


Productions possibles :
a. I am struck by the huge robot. He looks like a giant and he looks powerful. He is oversized
and compared to him, the human that he is holding in his hand is belittled / tiny. He looks
defenceless / weak / powerless. The man looks like a puppet in his hand.
b. To me the robot has just wounded / killed the man, because I can see blood on the man’s
clothes. He may have been the robot’s master / owner. However I don’t know how he killed
him. He may have held him too tight. He might / must have taken power over his master and
he may have decided to get rid of him. It may have been an accident.
It seems to me he has tears in his eyes. He seems upset / bewildered at what he has done.
In my opinion, he hasn’t killed the man on purpose. However he feels responsible for the
crime he has committed. He seems to feel guilty. The robot is really humanized.
I don’t see it that way. I don’t think he has killed this man. He is upset because he has found a
dead body (the man may have been someone he knew) but he doesn’t know who the murderer
is. He is so upset that he is on the verge of crying.
c. The cartoonist used a low-angle shot so that the robot looks very impressive, powerful and
scary. The viewer feels threatened too.
d. This illustration reminds me of King Kong. A parallel can be drawn between King Kong (the huge
gorilla) and this robot. He also held a tiny, defenseless human being in his hand. He was also
humanized because he had fallen in love with this young, beautiful woman and because this love
was impossible. Only humans can experience love, and only humans can be murderers.
The artist also expresses here our fear of machines, of the future. He hints at the fact that
human values may be threatened by progress and technological advances. He may want to
defend man against technology. Machines may take over from us / take our place.

UNIT 7 • 137
UNIT
7 ROBOT DREAMS

2. Compare
On organisera ici un travail de groupe. Le résumé dans le Workbook (question a., p. 56)
s’adresse aux élèves plus fragiles. Les plus solides traiteront la question b. La correction
pourra se faire à l’aide d’un transparent rétroprojeté ou d’un tableau numérique interactif.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 56-57)


a. The two documents deal with the relationships between robots and human beings.
In the cartoon men hire robots and use them as machines to do the harassing, boring
work. Robots are submissive / obedient and never rebel because they have no feelings /
conscience.
In the illustration, the robot has taken power over from men. On the one hand, the robot is
scary because he is huge and powerful. That’s why he could kill a man, so he is dangerous.
The man in the robot’s hand seems defenceless and can be compared to a puppet.
On the other hand, we realize the robot is humanized in the illustration, because he has
tears in his eyes and feels upset about what he has done. He probably feels guilty too.
b. Productions possibles :
In both documents we can see disturbing / frightening visions of the relationships
between robots and human beings.
The most striking document is the second one because the robot has taken power over
men and the consequences are terrible for men.
The most striking document is the first one because although it is humorous, the cartoonist
conveys a threatening message to men who could be fired because robots could easily
replace them.
The message conveyed in these documents is unrealistic / incredible / unconvincing /
threatening.
Currently robots are not elaborate, so there’s no need to worry.
The message conveyed in these documents is puzzling. It made me think of the important
part played by robots in our society.
Le lexique pourra être mémorisé grâce à la fiche suivante (les mots en gras se trouvent
dans la rubrique Help! de la p. 87).
Check your vocabulary
Traduisez les phrases suivantes.
a. Il était si bouleversé que les larmes lui montaient aux yeux.

b. Il est blessé (deux mots) et ressemble à une marionnette sans défense.

c. Il se sent coupable et responsable de cette situation.

d. Ce puissant robot est effrayant et dangereux.

e. Ce robot a pris le pouvoir sur les hommes.

f. Il l’a blessé. L’a-t-il fait exprès ?

138 • UNIT 7
CORRIGÉ DE LA FICHE
a. He was so upset that there were tears in his eyes.
b. He is wounded / harmed and looks like a defenceless puppet.
c. He feels guilty and responsible for the situation.
d. This powerful robot is scary and dangerous.
e. This robot has taken power over men.
f. He has wounded / harmed / injured him. Has he done it on purpose?

4. A PROPHET (PART 1) MANUEL k P. 88-89


N.B. : l’enregistrement de ce texte se trouve sur le CD classe n° 1, piste 42.

Informations complémentaires
Isaac Asimov (1920-1992) was a Russian-born American writer and professor of
biochemistry, best known for his works of science-fiction and for his popular science books.
Asimov was one of the most prolific writers of all time, having written or edited more than
500 books. He is also regarded as a master of the science-fiction genre all over the world.
Asimov’s most famous work is the Foundation series. His other major series are the Galactic
Empire series and the Robot series.

> Mises en œuvre possibles


k Les élèves pourront préparer les questions de compréhension sur le texte (Understanding
the text) et repérer les informations essentielles à la maison.
k On pourra procéder à la correction des questions a. et b. du Recap de façon collective.
k On divisera ensuite la classe en plusieurs groupes pour traiter les questions restantes
du Recap, car elles portent sur l’implicite du texte.
– Le groupe A traitera la question c.
– Le groupe B fera la question d. en s’aidant du Help! (élèves plus fragiles).
– Le groupe C répondra à la question e. en s’aidant du Help! et des Prompts p. 89.

1. Get ready
Productions possibles :
a. I expect to find the words tough, flames, risky and hostile.
b. The text will deal with robots working in a hostile environment, doing tough jobs. Humans
are no longer taking risks since robots replace them and are doing risky tasks. They replace
firemen in the fight against fire. It will help save human lives.

2. Understanding the text


a. The characters present in the scene are Dr Susan Calvin, a robotics expert, Linda Rash, a new
employee at US Robots, and Elvex, a robot.

UNIT 7 • 139
UNIT
7 ROBOT DREAMS

b. – “They” refers to the robots Elvex saw. “Some” refers to a certain category of robots.
– “They are working, Dr Calvin. I see some who are mining in the depths of the earth,
and some who are laboring in heat and radiation. I see some who are laboring in factories
and some who are working undersea.” (l. 6)
c. Dr Calvin asks these two questions.
d. The phrases in bold letters reveal that Elvex is very young (he must have been built recently).
He has little experience of the outside world since he has not left the testing station yet.
That’s why we can conclude that Elvex is clear-sighted. Though he has seen very little, he
knows a lot about his fellow robots. So Elvex must be very careful and observe a lot.
e. – The activities mentioned in the text are mining and laboring in heat and radiation.
– They are working in the depths of the earth, in factories and undersea.
I would say these activities are harassing / tough, dull, dangerous / risky, dirty and boring.
f. The robots are “bowed down with toil and affliction, weary of responsibility and care” and
they need “rest”.

3. Recap
Productions possibles :
a. We learn that Elvex is a newly-built robot because he is only ten days old. He has been
constructed recently and he is very young. Elvex hasn’t left the testing station yet, so some
things in his system can still be fixed. He hasn’t got much experience about life and the
outside world, and yet Elvex knows a lot already, especially about his fellow robots.
b. In Elvex’s dream, robots are working in hostile environments: undersea, in the depths of
the earth. They are doing tough, dangerous, risky jobs such as mining and they are doing
dull tasks because they work in factories. Consequently they are bowed down with toil and
affliction. They labour a lot and feel depressed. They are weary of responsibility and care.
They have a lot of responsibilities and they have much to take care of. No wonder they should
be exhausted. They are hard-working, painstaking so they need to have some rest. The robots
are oppressed and subservient to men.
c. Elvex is a clear-sighted robot who realizes that robots are exploited. That’s why he exposes /
denounces / questions the way robots are treated. He complains about their working conditions.
As he realizes robots must protect their lives, we can say Elvex is caring.
He could become a leader guiding the robots’ rebellion.
d. clear-sighted • denounces / exposes • complains • protect • caring • leader • rebellion
e. Dr Calvin is the expert, so she is responsible for Elvex. She is the one who has to check on Elvex
to see if everything is all right. Therefore she investigates what Linda Rash reported. She wants to
know what Elvex dreamt of exactly. She wants to discover if Elvex is dangerous or not. She asks
questions to see if Elvex knows a lot about the robots’ working conditions. Her questions reveal that
she is clever: She knows how to get the useful information. She is worried / anxious, concerned,
alarmed at hearing Elvex. She fears that sooner or later Elvex may feel superior to human beings.
She feels that Elvex knows too much already and could start a rebellion. She dreads his reaction.
She may decide to destroy Elvex. She may decide to send him to jail. She may change his
programme / system so that he can no longer dream.

140 • UNIT 7
4. Creative writing
Les élèves pourront faire cette rédaction à la maison en s’aidant des p. 222-224 de leur
manuel. Voici une proposition de corrigé.
February 25th, 2009
Dear Sir,
I obeyed your orders, I questioned the newly-built robot called Elvex whose registration number
is 226708. He answered all my questions and I’m afraid I must report an alarming problem.
Although Elvex hasn’t left the testing station yet, he seems to be a clear-sighted robot and
knows a lot about the robots’ working conditions. He keeps dreaming about his fellow-robots
labouring in hostile, risky environments. He clearly exposed the robots’ living conditions as
awful.
That’s why I’m really worried about his future reactions. I fear that he may urge the other robots
to rebel against us. He sounded as if he had human feelings because he said the robots needed
rest. I feel he could be a potential leader.
What shall I do? / What do you advise me to do? I think we have to make a quick decision
before it’s too late and we have trouble with him and the other robots.
Dr Calvin

4. A PROPHET (PART 2) MANUEL k P. 90


N.B. : l’enregistrement de ce texte se trouve sur le CD classe n° 1, piste 44.

> Mises en œuvre possibles


k Travail individuel ou en binômes sur l’illustration, puis sur le texte.
k Dans le cadre d’une classe très hétérogène les élèves les plus solides pourront traiter
l’illustration à l’aide du transparent n° 6 sur lequel figure également une partie de la fresque
de Michel-Ange. Ils pourront anticiper la suite de l’histoire à partir de ces deux œuvres.
Ils devront faire un compte rendu oral de l’illustration au reste de la classe et écouter ce
que dira l’autre groupe pour voir si leurs hypothèses ont été confirmées et dire pourquoi ils
avaient tort ou raison.
Productions possibles :
This photo reminds me of the famous fresco painted by Michelangelo in the Sistine Chapel in
Rome. It represents a biblical scene, God and Adam and their forefingers touching to symbolize
light, the life that God gave to man. God is the creator of mankind. We can draw a parallel
between the fresco and this photo.
The two artificial hands were created by man. But man’s creations might challenge man’s
power one day. Man may be overtaken by his own creations. Robots may feel equal to men
one day.
Elvex may be associated with God, and the other robot is one of the robots who are exploited
by human beings. All the robots may be ready to defy / stand up against / overthrow man.
Men may be enslaved, overwhelmed by robots. The text deals with the showdown / clash
between man and Elvex, the plot between Elvex and the other robots against man.

UNIT 7 • 141
UNIT
7 ROBOT DREAMS

5. Understanding the text

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 57-58)


I. Understanding the text
1. Linda Rash asks this question.
Dr Calvin answers this question.
2. “Its” refers to the gun Dr Calvin removed from her pocket.
“That” refers to the fact that Elvex must or must not be destroyed. “My” refers to Dr Calvin.
“It” refers to Dr Calvin’s decision.
3.
Object Owner Capacity Target For Against
gun Dr Calvin neutralize with robotic cranium Dr Calvin Linda Rash
one burst of its positronic brain
electrons paths

4. “They” refers to human beings.


“Man” refers to a leader / Elvex.
5. a) Elvex says “Let my people go!”
b) “My people” refers to the robots.
c) « Laissez partir mon peuple ! » « Libérez mon peuple ! »
6. Elvex will play the role of the guide to freedom. If we refer to the Bible, he embodies the
leader / prophet who is going to set his people free. Elvex rebels against oppression and
slavery. He can’t stand / He resents being a slave. He questions man’s authority because
he wants a world of justice and equality for all.
7. Elvex says that he was the man.

N. B. : la rubrique Action! du Workbook p. 58 reprend les questions b. c. et d. du manuel.


Productions possibles :
b. Elvex dreams of changing the world he lives in. He dreams of setting the robots free. He
hopes to abolish slavery. He hopes to put an end to the robots’ exploitation. He wants the
robots to be free. He wishes he could help his fellow robots to be free. He would be a leader.
c. They are discussing if Elvex can challenge / defy / threaten the human race.
Dr Calvin is old and experienced. That’s why she thinks he can become dangerous and
uncontrollable. With the other robots, he could rule over / dominate the world. She fears a
showdown between men and robots in the long term. On the contrary Linda is fascinated /
impressed and is worried about Elvex because it’s a major / an important discovery.
d. In the end, Linda Rash might set Elvex free and hide him so that she can work on his system
and improve his programme to turn him into a real man. Then he would no longer side with
the other robots. Like the other human beings, he would exploit the robots and make them
work for his own profit / benefit.
In the end, Dr Calvin may kill Elvex with her electron gun for fear he may become disobedient
and threaten men’s authority.
k Après que les élèves aient émis des hypothèses sur la fin du texte, on pourra leur fournir
la dernière phrase de l’auteur : “And Susan Calvin at once raised her electron gun and fired,
and Elvex was no more.” On leur demandera alors de réagir librement.

142 • UNIT 7
Productions possibles :
I can understand her reaction. First she is frightened because she is experienced and responsible
for Elvex so if anything happened she would be considered guilty. Then Elvex can really be
dangerous for human beings because he is very clever and has already understood that robots
are exploited by men and he could lead a rebellion against men.
I don’t agree with you. / I don’t see things that way. I find it awful that she can get rid of Elvex
so easily. I think she should have carried out a more thorough investigation / a more detailed
investigation to understand what had really happened. She should have tried to examine his
system before killing him.
Prolongement possible : on pourra faciliter la mémorisation du lexique des p. 88 à 90
du manuel grâce à la fiche suivante (téléchargeable sur le site compagnon).

Check your vocabulary


1. Complétez cette grille avec les mots correspondant aux définitions ci-dessous.
1 6 Across
1. someone who has too much
work is …
2
2. someone who is forced into
doing things is …
3. someone who is careful,
industrious is …
3 4. someone who takes care of
people is …
5. someone who doesn’t respect
4
rules or orders is …
Down
6. being in a position of being
5 blamed for loss, mistakes, etc.
means being …
2. Trouvez les synonymes ou antonymes des mots suivants.
a. anxious = f. inferior to ≠
b. expose = g. obedient ≠
c. rule over = h. controllable ≠
d. hypnotized = i. imprison ≠
e. defy = j. submit to ≠
3. Complétez ces phrases avec les mots qui conviennent.
a. He was enough to anticipate what was going to happen in the near
future.
b. Though she did not want to about her employee, she had to report
her to the boss after all the mistakes she had made.
c. Because he behaved as a he was held responsible for the whole
situation and condemned.
d. She was really by all he had already learnt in such a short time.
e. She realized he was enough to incite all the other robots to rebel.

UNIT 7 • 143
UNIT
7 ROBOT DREAMS

CORRIGÉ

1. Across: 1. overworked 2. oppressed 3. painstaking 4. caring 5. disobedient


Down: 6. responsible
2. a. worried b. denounce c. dominate d. fascinated e. challenge f. superior to g. disobedient
h. uncontrollable i. set free j. rebel against
3. a. clear-sighted b. complain c. leader d. impressed e. clever

LANGUAGE AT WORK MANUEL k P. 91-93


> Improve your pronunciation
1.
Première syllabe Deuxième syllabe Troisième syllabe Quatrième syllabe
dangerous decision fascination responsibility
factories determined radiation
different appeared
eventually
2.
\E\ (banana) \∏…\ (bird) \Å\ (dog)
radiation • electron • working • research • robot
protect • station • labour • earth • earlier • words
captor • sensor

> Build up your vocabulary


1. – A robotic arm which can lift weight is a weight-lifting robotic arm.
– A robot that works hard is a hard-working robot.
– An android which is the size of a human is a human-sized android.
– A device which helps us save time is a time-saving device.
– A robot which is powered by battery is a battery-powered robot.
– A doll whose heart beats is a heart-beating doll.
– A device whose shape is round is a round-shaped device.
– A vacuum cleaner which moves slowly is a slow-moving vacuum cleaner.
– A device which is led by sensors is a sensor-led device.
2. invulnerable • unreliable • useless • insensitive • invisible • untiring • unusual •
unpleasant • disobedient • powerless

> Les pronoms relatifs


1. OBSERVEZ.

1. Les sujets des formes verbales soulignées sont les pronoms relatifs which, that et who.

144 • UNIT 7
2. Les pronoms relatifs which, that et who remplacent a machine, a robot et the scientist. On
appelle ces groupes nominaux des antécédents parce que le pronom relatif les remplace
et qu’ils sont placés avant ce pronom.
3. Dans l’énoncé a, l’antécédent désigne un non-humain (a machine). Dans l’énoncé b,
l’antécédent désigne un non-humain (a robot). Dans l’énoncé c, l’antécédent désigne un
humain (the scientist).
Lorsque l’antécédent fait référence à un humain, on emploie who.
Lorsque l’antécédent fait référence à un non-humain, on emploie that ou which.
4. Dans l’énoncé d, le pronom relatif est where. Il sert à préciser le lieu.
5. Dans l’énoncé e, le pronom relatif est whose. Il permet d’établir un lien de possession entre
robot et dream. Ici, l’équivalent français de whose est « dont ».
k Déduisez
– On utilise des pronoms relatifs pour remplacer des groupes nominaux et pour relier
deux propositions dans une même phrase.
– Lorsque le pronom relatif est sujet, on utilise who pour remplacer un nom désignant un
humain.
– Lorsque le pronom relatif est sujet, on utilise that ou which pour remplacer un nom
désignant un non-humain.

2. OBSERVEZ.

– Le pronom relatif est sujet du verbe dans l’énoncé c.


– Le pronom relatif est complément du verbe dans l’énoncé a.
– Le pronom relatif « zéro » est utilisé dans les énoncés b et d.
– Le pronom relatif « zéro » est complément dans ces deux énoncés.
k Déduisez
– Lorsque le pronom relatif est sujet du verbe, il ne peut pas être supprimé.
– Lorsque le pronom relatif est complément du verbe, il peut être supprimé.

3. COMPAREZ.

a. De plus en plus de robots remplacent les travailleurs, ce qui est inquiétant.


b. Ce qu’Asimov prédit est impossible.
k Déduisez
– Le relatif what sert à annoncer quelque chose que l’on va ensuite préciser.
– Le relatif which sert à reprendre la proposition qui précède.

> Practice
1. a. The robotics expert has created an amazing robot which / that looks very much like him.
b. The scientist who designed a robot thinks he is God.
c. This robot works on batteries which / that can be replaced easily.
d. I’ve seen a robot which / that has very sensitive sensors and almost feels emotions.
e. I’ve just read an article on robots used in Cambodia which / that can find and destroy
landmines.
f. The visitors who spent all afternoon playing with robots were astonished.

UNIT 7 • 145
UNIT
7 ROBOT DREAMS

2. a. The robots which / that / Ø the army owns often intervene in dangerous places.
b. The miniature robots which / that / Ø doctors tested are really reliable.
c. The android which / that / Ø I saw will talk in the very near future.
d. The autonomy of the robot which / that / Ø I bought lasts twenty-four hours.
e. The humanoid which / that / Ø was presented yesterday in Tokyo offers incredible resources.
3. a. The man who decided to create Frankenstein was a doctor. He wanted to give birth to a
perfect human being who would surpass any other being. In order to give life to this creature
he used body parts that / which he found in cemeteries or mortuaries, where he spent most
of his nights.
The creature, whose name was Frankenstein, turned out to be ugly, so ugly that his master
felt disgusted and ran away from it.
The monster, who had feelings, resented his situation. He wanted to make friends with people,
who kept rejecting him, because they were frightened by him. Frankenstein was ravaged by
sadness and wished to take revenge on his master, who had left him alone.
b. On pourra donner ce travail à faire à la maison et l’évaluer.

YOUR TASK MANUEL k P. 94-95

> Mise en œuvre


k Travail à faire en classe
– Les élèves liront les consignes 1, 2 et 3 p. 94 en classe et s’assureront qu’ils comprennent
bien ce qui leur est demandé.
– Les élèves feront l’activité 2 b. en classe et appliqueront cette méthode de lecture aux
trois articles qui leur sont proposés.
k Travail à la maison
– Les élèves liront les trois articles et rempliront une fiche récapitulative sur chacun des
robots, ce qui permettra de vérifier que la lecture a été faite et que l’article a été compris.
– Les élèves choisiront le robot qu’ils trouvent le plus utile, le plus étonnant ou le plus
innovant. Ils devront justifier ce choix.
– Ils pourront expliquer ce choix par oral (ce qui pourra entraîner une discussion entre les
élèves) ou par écrit.
– On pourra leur donner une semaine pour réaliser ce travail.
– On pourra évaluer la compréhension en ramassant et en notant les trois fiches de la page
suivante (téléchargeables sur le site compagnon). On attribuera des points aux différentes
rubriques proposées.

146 • UNIT 7
NEW ROBOT PUPPET “HAS A HEART”
Name
Potential users
Designer’s name
Physical description
Physical reactions
Emotions / feelings
Main characteristic

RESEARCH SEEKS TO REPLACE SERVICE DOGS WITH ROBOTS


Disadvantages –
of service dogs –

Name of robot’s designer

Potential users

First device created

How does this device


work?

How does the robot work? –


ANDROIDS TO LIFT GRANDMA


What?

Potential users?

Robot’s skills? –

Designer’s name?

Where?

Height and weight? –



Specific characteristics –

UNIT 7 • 147
COMPRENDRE UN TEXTE MANUEL k P. 96-97

CORRIGÉ

A. 2. Faites les premiers repérages.


a. Ce document est un extrait de roman.
b. Les personnages sont Harry et les trois Dursley : les parents (Uncle Vernon et son
épouse) et leur enfant Dudley. Il y a aussi le reporter à la télévision qui mentionne le
personnage de Black, un prisonnier extrêmement dangereux qui s’est évadé.
c. La scène se situe dans la cuisine des Dursley au moment du petit déjeuner.
d. table • television • present • fixed • continually • large • moustache • sign • enter •
public • armed • dangerous • special • immediately
e. Les Dursley sont en train de prendre leur petit déjeuner en regardant la télévision que
Dudley a reçu en cadeau pour fêter son retour à la maison. En effet, il ne cessait de se plaindre
de la trop grande distance qui séparait la télévision du réfrigérateur. C’est l’anniversaire d’Harry
mais personne ne se soucie de lui. Il se sert à manger tout en regardant les informations. On
annonce qu’un prisonnier armé et dangereux vient de s’évader.
3. Inférez le sens des mots inconnus.
a. loud + -ly = bruyamment (tout haut) • beef + -y = costaud
b. brand + new= flambant neuve • half + way = au milieu
c. – un cadeau pour fêter son retour à la maison pour les vacances
– convict : prisonnier (indice : escaped) • warn : prévenu (indices : public, armed, dangerous,
hotline, should be reported)

B. 2. Repérez la structure de cette entrée d’un dictionnaire bilingue.


1c • 2a • 3d • 4b
3. Combien de sens a le mot screen ?
Le mot screen a trois sens en tant que nom : paravent, écran et crible (tamis), et trois en tant
que verbe : masquer, projeter et passer au crible.
4. À quoi correspondent ces abréviations ?
n : nom • vt : verbe transitif • fig : au figuré • sb : somebody • sth : something • cpd :
compound word • med : médical
5. Lisez ces phrases.
a. nom • verbe • verbe conjugué • participe passé du verbe
b. – Il est collé / scotché à son écran. / Il ne peut se détacher de son écran.
– Elle portait un chapeau pour protéger / abriter son visage de / contre la pluie.
– Ils ont passé au crible tous les candidats / postulants à l’emploi.
– Ce patient a subi un test de dépistage de maladies contagieuses.
6. À votre tour !
– N’utilisez que de l’essence sans plomb.
– Il était semblable à un éléphant dans un magasin de porcelaine.
– Elle a fini par se rendre / Finalement, elle s’est rendue à la bibliothèque pour emprunter
des bandes dessinées.

148 • COMPRENDRE UN TEXTE


UNIT
8 TRUE BRITS

True Brits
Comprendre à l’oral : les descripteurs du CECRL

Niveau A2 Niveau B1
Grille d’auto- Je peux comprendre un message Je peux comprendre les éléments
évaluation simple et clair me concernant, principaux d’une émission de
concernant ma famille, mon télévision ou de radio sur des
environnement proche, mon travail. sujets d’actualité ou sur des sujets
Je peux comprendre un message concernant la vie quotidienne si on
contenant des mots et des me parle lentement et en articulant.
expressions sur des sujets Je peux comprendre des informations
familiers. factuelles si le message est court
et si la personne s’exprime dans un
anglais standard.
Comprendre Peut repérer l’information Peut comprendre les informations
des émissions essentielle d’un passage court essentielles d’un document
de radio et sur un sujet courant. Les locuteurs authentique, sur des sujets familiers
enregistrements doivent parler lentement et et si le locuteur s’exprime dans
articuler. un anglais standard et parle assez
lentement.
Comprendre en Pas de descripteurs. Peut suivre un exposé court
tant qu’auditeur et structuré sur un sujet familier
et dont l’anglais est standard.
Comprendre une Peut identifier le sujet de la Peut suivre les points essentiels d’une
interaction entre discussion à condition que les longue discussion si les locuteurs
locuteurs natifs locuteurs parlent lentement et s’expriment dans un anglais standard
articulent. et articulent.

UNIT 8 • 149
UNIT
8 TRUE BRITS

Il nous a semblé tout à fait indispensable de désamorcer certains stéréotypes attachés au


Royaume-Uni et à ses habitants. Parallèlement, nous avons trouvé intéressant de familiariser
les élèves avec d’autres aspects emblématiques de la culture britannique qu’ils ne connaissent
pas forcément, qu’il s’agisse d’œuvres (tableau de Constable, poème de Wordsworth), d’une
région (le Lake District) ou de codes sociaux (table manners, stiff upper lip). L’objectif étant bien
entendu de consolider leurs connaissances du pays.

Manuel Workbook Fiches


photocopiables

Tâche finale Prendre la parole en continu à propos


d’un symbole britannique à choisir

Objectifs Mémoire • Lien social • Création


culturels

Lexique k symboles, clichés et stéréotypes


(p. 102-103)
k nourriture et plats typiques (p. 104)
k codes sociaux, politesse (p. 105)
k paysages, relief, nature (p. 106-107)

Grammaire k détermination du nom (p. 110-111)

Phonologie k prononciation des noms de plats


(p. 104) et de lieux (p. 106-107)
k s’appuyer sur les mots porteurs pour
comprendre le sens d’un message oral
(p. 103, 104 et 113)
k prononciation du th (p. 109)
k tongue twisters (p. 109)

Structures de k comparer / opposer


communication k permettre /interdire
k exprimer la cause et le but
k exprimer l’accord et le désaccord

150 • UNIT 8
Activités langagières dominantes

Manuel Workbook Fiches


photocopiables

Écouter k Listen: reactions to a cartoon (p. 102) X


k Listen: reactions to paintings (p. 103) X
k A radio programme on cooking (p. 104) X
k The Daffodils (p. 107)
k site compagnon, U8–Dialogue: A street X
survey
Écouter
Marco’s Great British Feast (p. 104) X
et regarder
(vidéo)

Prendre k The perfect Brit, clichés et


représentations collectives (p. 102) X X
la parole
en interaction
k Food, glorious food, plats et recettes
britanniques (p. 104) X
k Do’s and don’ts, codes sociaux (p. 105) X

Prendre
k faire le compte rendu oral d’un document
sonore (p. 102-104)
la parole
en continu
k National symbols, stéréotypes
et symboles nationaux (p. 103) X
k jeu de rôles : incarner un guide de musée
(p. 103)
k jeu de rôles : raconter une réunion
à laquelle on a assisté (p. 108)
k faire le compte rendu oral d’un texte
(p. 108)

Écrire
k les légendes d’un cartoon (p. 102)
k un texte sur les codes sociaux français
(p. 105)

Lire
k Experience the Lake District, extrait
de guide touristique (p. 106)
k The Daffodils, extrait du poème de
Wordsworth (p. 107)
k I don’t understand!, extrait de roman
(p. 108) X X

N. B. : les titres en gras indiquent les documents à étudier afin de réaliser la tâche finale.
Nous vous rappelons que les Help! sont enregistrés sur le CD classe et que les exercices
Improve your pronunciation sont téléchargeables sur le site compagnon.

UNIT 8 • 151
UNIT
8 TRUE BRITS

TUNE IN! MANUEL k P. 102

L’étude de cette page peut se préparer avec l’aide du Workbook, p 59. Au préalable,
le professeur pourra montrer la carte des îles Britanniques disponible sur le rabat avant
du manuel, au cas où les élèves auraient une vision floue de ces notions géographiques.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 59)


The two islands are called the British Isles. The biggest one is Great Britain. The British Isles
are composed of the United Kingdom and the Republic of Ireland.
Great Britain includes England, Scotland and Wales.
England is situated in the South East of Great Britain. It is the smallest entity of the British
Isles.
The United Kingdom is composed of Great Britain and Northern Ireland.

Prolongements possibles :
k Nous engageons vivement les élèves à visiter le site de l’école Woodlands, dans le
Kent, qui propose une mine d’informations (cartes, rappels historiques simples, blasons,
symboles nationaux, historique des devises anglaises, écossaises et galloises, drapeaux…).
Concernant les îles Britanniques, il faut se rendre directement à l’adresse suivante :
www.woodlands-junior.kent.sch.uk/customs/questions/britain.html
k Les élèves pourront préparer des mini exposés sur tous ces sujets à partir de recherches
faites à la maison ou en salle informatique.

Informations complémentaires
Il est important que les élèves prennent conscience des différentes entités constituant le
Royaume-Uni pour éviter de froisser les susceptibilités lorsqu’ils se rendront outre-Manche.
Ils devraient ainsi savoir que le nom complet du Royaume-Uni est the United Kingdom of
Great Britain and Northern Ireland depuis 1922 (le Pays de Galles fait partie de l’Union depuis
1536, l’Écosse depuis 1707 et l’Irlande depuis 1801). Le drapeau s’appelle d’ailleurs the
Union Jack et est constitué par une superposition des croix de saint Georges, saint Patrick
et saint Andrew, les saints patrons du Pays de Galles, de l’Écosse et de l’Irlande. L’Angleterre
constitue le plus grand pays de l’Union : 130 410 km2 (sur un total de 244 023 km2) et
abrite environ 84 % de la population. Depuis 1707, la capitale du Royaume-Uni est Londres
où siègent la plupart des institutions. L’anglais est la langue commune à tous les habitants,
même si de nombreux habitants parlent écossais ou gallois.

1. The perfect Brit


> Mise en œuvre
k Ce visuel est reproduit sur le transparent n° 7.
k Une fois toutes ces notions géographiques fixées, l’enseignant demandera aux élèves
d’observer attentivement le cartoon, puis de fermer leur manuel et de dire ce dont ils
se souviennent. On pourra noter les questions suivantes au tableau : how many? who?
nationalities? jobs? weather?

152 • UNIT 8
k Pour une classe plus fragile qui aurait des lacunes lexicales, on peut distribuer une fiche
avec différents noms de métier et demander aux élèves de souligner ceux qui apparaissent
sur le dessin. Si nécessaire, on procédera de la même manière pour les adjectifs.
k Après avoir rouvert le manuel, le professeur encouragera les réactions. Il pourra ainsi
demander oralement ou noter au tableau : Right? Wrong? Opinion? Any reaction? On incitera
les élèves à utiliser les adjectifs listés en question b et les expressions du Help!
k Pour une classe en difficulté il faudra, peut-être, passer par une étape lexicale intermédiaire
d’association des adjectifs avec leur contraire (humble ≠ arrogant, generous ≠ stingy…).
Productions possibles :
Different types of Britons are portrayed / caricatured.
– The cartoon says the Royal family is humble. But the drawing represents haughty people.
They seem to be full of themselves / think much of themselves. They don’t look humble at
all: They are not smiling, they are pulling faces, they look bored and aloof. I think they look
haughty / contemptuous / superior / arrogant, posh and snobbish.
– The drawing shows people holding an umbrella because it is raining, yet it says “Welcoming
as the weather”, so it’s quite the opposite. British weather is generally considered awful, rainy
and very wet. “It’s raining cats and dogs” or “It’s pouring” are commonly used.
– It is funny because the cartoon says the perfect Brit should be as polite as a punk, but
punks are not polite at all / anything but polite. They are seen as rude, violent, boisterous
people who can’t behave.
– English food is said to / thought to / believed to be inedible, tasteless; people have no
culinary talents. I’ve heard about / tasted boiled mutton with mint sauce, for example.
– The Union Jack, in the middle, may suggest / imply that people are jingoistic (a jingo is a
person who combines excessive patriotism with contempt for other countries).
– British judges are portrayed as drunkards. We immediately recognize them because they
wear wigs.
– The Horse Guards are never relaxed, they have to keep standing for hours without showing
any emotions or feelings. They are as stiff as wood.
– Scottish people are believed to be misers / tight-fisted people.
– Welsh people are said to speak a dialect, which is very hard to understand, almost
incomprehensible.
To sum up this drawing is humorous / ironic / satirical. It is based on a contrast between
the caption and the drawing. It makes fun of the most famous British clichés / prejudices.

2. Creative writing
> Mise en œuvre
On pourra diviser la classe en deux groupes ou en binômes. Chaque groupe ou élève du
binôme serait chargé de trouver entre 5 et 10 stéréotypes soit sur les Français, soit sur les
Britanniques. Lors de la mise en commun des informations, les groupes décideront de lister
les clichés du plus fréquent au moins répandu, ou du plus farfelu au plus réaliste. Le site de
l’école Woodlands regorge également d’idées sur ces clichés :
www.woodlands-junior.kent.sch.uk/customs/questions/stereotypes.htm

UNIT 8 • 153
UNIT
8 TRUE BRITS

Productions possibles :

French stereotypes British Stereotypes


– They are seen as very chatty.* – They are viewed as heavy beer drinkers.
– They use their hands a lot when they speak. – Tea with milk is just like water to them.
– They like dressing-up well and spend a lot of – Most football fans are hooligans
money on clothes, they love fashion shows. – They are said to be difficult to get on with
– In the countryside men wear the same because they can’t communicate with others.
clothes all year round: a beret, a striped – They are light-skinned and easily sun-burnt.
T-shirt... Yet they love sitting in the sun because they
– Their staple diet is bread and cheese. don’t get any.
– They often eat frogs’ legs and garlic. – The Royals spend fortunes everyday
– They always kiss one another’s cheeks and have no idea how “normal” people live.
to say hello. – Food is a sad story, half fast food, half
– They don’t like working much and spend boiled, tasteless dishes.
a lot of time sitting at cafés discussing the – National hobbies are cricket and
world. gardening.
– Food is more of a national treasure than
anything else in the world.

* Les mots en gras peuvent être notés au tableau pour servir d’amorces.
On peut prolonger ce travail en groupes par un atelier d’écriture (et d’illustration le cas échéant).
Les deux meilleurs textes seront mis en regard et serviront de trace écrite commune à la classe.

3. Listen
> Script de l’enregistrement
➼ Part 1
Tania: To me this cartoon is not amusing at all. Well... I mean it is based on stereotypes
only. Well… Let’s take the example of the Queen: She is viewed as arrogant, aloof, unable
to share feelings. And we all know this is not the truth!
➼ Part 2
She has to follow a very strict protocol and cannot behave as she likes. I remember all the
big hype after Princess Diana’s sudden death. All she wanted was to protect the young
princes from the media and she ended up being accused of being too distant! I don’t think
it’s fair! It seems to me this cartoon gives a negative image of British people. Foreign people
are convinced that the Scots are stingy or English cooking is disgusting. I’m fed up with all
these clichés! I didn’t even smile once! It’s a tourist’s vision of Great Britain.
➼ Part 3
Ruth: I don’t agree with you! This cartoon is hilarious. This is how irony works! Caricature is
an essential ingredient to make people laugh! Things have to be exaggerated and provoking
to make people react. And honestly, you can’t deny there are some true aspects in this
cartoon, can you?

154 • UNIT 8
➼ Part 4
I mean the royal family are not funny on any level and are a bunch of upper-class snobs.
Besides they live at public expense! Look, I love the rain, but you can’t say we live in a very
sunny country and Welsh is also very difficult to understand... When it comes to being sober,
I think there is still progress to be made! Don’t you think so? What about binge drinking at
weekends? We’ve heard all this many times, but I quite like this tongue-in-cheek message.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 60-61)


➼ PART 1
1. cartoon • not amusing
2. share • stereotypes • feelings
3. a) the Queen b) arrogant • aloof • unable to share feelings
4. Tania doesn’t think the cartoon is amusing at all. She blames the cartoon for being too
stereotyped and biased. She doesn’t think the Queen is arrogant, aloof, and unable to share
her feelings.

➼ PART 2
5. follow • protocol • death • protect • media • accused • distant
6.
Incident Goal Interpretation
Princess Diana’s death protect the princes from the Queen was viewed
the media as distant

7. a) British • Scots • English


b) Scots = stingy: negative
English (cooking) = disgusting: negative
8. She is fed up with prejudices, with clichés. She can’t smile when she sees such a cartoon.
She doesn’t find it funny. She thinks it conveys too many negative stereotypes.
Stressed words: negative • image • fed up • cliché • smile • tourist’s vision
9. Tania blames this cartoon for being based on prejudices. She criticizes the cartoonist for
being biased. She resents the cartoonist’s biased vision.

➼ PART 3
10. don’t agree
11. hilarious • provoking • exaggerated • react
12. Ruth has a positive point of view because she thinks “this cartoon is hilarious.” She thinks
this because it is provocative and exaggerated, it makes people react. She thinks it is true
up to a point.

➼ PART 4
13. k Royal Family k upper-class k rain • not very sunny k Welsh k difficult to understand
k sober • binge drinking • progress
14. a) “I like this tongue-in-check message.”
b) « J’apprécie ce message ironique. »

UNIT 8 • 155
UNIT
8 TRUE BRITS

> ACTION!
➼ RECAP PARTS 1 AND 2
Tania doesn’t find the cartoon amusing because she thinks it is biased. She defends the Queen
because she doesn’t think she is insensitive. She supports the Queen’s attitude after Princess
Diana’s death because all she wanted was to protect the young princes from the media, though
it was interpreted in a negative way. She was said to be distant and aloof. Tania protests against
the vision of Great Britain which is full of clichés, stereotypes and prejudices against British
people. She’s fed up with clichés / stereotyped visions. She concludes by saying that she
doesn’t find it fair!
➼ RECAP PARTS 3 AND 4
Contrary to / Unlike Tania, Ruth thinks / finds that the cartoon is hilarious because it is
exaggerated. Because the cartoon is provocative, she is certain that people will react to it.
In her opinion the aspects viewed in the cartoon are true. She gives several examples which
she considers are not just clichés, such as Welsh as a difficult language, or binge drinking at
weekends. Even if all this has been heard many times, she thinks the tongue-in-cheek message
is effective.

1. NATIONAL SYMBOLS MANUEL k P. 103

1. Get ready
> Mise en œuvre possible
k Le professeur demandera aux élèves de relever dans le texte les noms de nationalité
et leur fera remarquer la présence d’un mot français. Ceci devrait les aider à identifier le
point de vue adopté ici. Ensuite, il fera classer les images associées au mot English en deux
colonnes :

Positive points Negative points

Les élèves réagiront ; il se peut que tous ne connaissent pas la maladie de la vache folle et
que ce ne soit pas un symbole prépondérant à leurs yeux. Il faudra les encourager à trouver
d’autres symboles de l’Angleterre qui leur semblent plus évidents : Big Ben, les taxis londoniens,
Buckingham Palace, par exemple.
k Après avoir lu le texte de Stephen Clarke, l’enseignant pourra diviser la classe en 3 groupes
chargés de trouver d’autres symboles britanniques. Le groupe 1 s’attachera aux lieux et
monuments ; le 2 aux personnes célèbres, réelles ou imaginaires ; le 3 aux objets typiques.
Le travail de recherche peut se faire à la maison. Là encore, le site de l’école Woodlands est
très riche. En classe, après quelques minutes de réflexion, on demandera une récapitulation
collective. Après chaque prise de parole, le reste de la classe réagira et complétera, si
nécessaire.

156 • UNIT 8
Productions possibles :
a. The point of view given here is a French one. When people think of England, or the UK,
most of them quote the Queen or David Beckham as people who embody the nation.
b. I don’t agree with the narrator because the Rolling Stones are not as famous as the Beatles.
For me, another strong symbol is Big Ben which represents London. What comes to mind first is
a cup of tea with milk.

Places and monuments People Objects


– Big Ben – the Beatles – double-decker buses
– Buckingham Palace – Queen Victoria – London cabs
– Windsor Castle – Oliver Twist – Rolls-Royces
– London Tower – Robin Hood – fish and chips
– Westminster – Sherlock Holmes – London underground
– Oxford & Cambridge – Sean Connery – Christmas pudding
– Stratford – Peter Pan – sheep

Prolongement possible : on peut imaginer une activité de Follow-up où la classe devra


écrire un texte similaire sur les symboles de la France comme la tour Eiffel, Molière,
Amélie Poulain, le vin rouge, la haute couture… et les classer en points positifs ou négatifs.

2. Observe and listen


> Mise en œuvre possible :
a. k On pourra diviser la classe en deux moitiés et donner un tableau à étudier à chaque
groupe. À l’intérieur de chaque groupe, les élèves pourront travailler seuls ou en binômes.
Un rapporteur, ou plusieurs, sera / seront désigné(s) et prendra / prendront la parole en
continu. Le reste de la classe prendra des notes et complètera ce qui a été dit.
k Avec une classe fragile, on peut imaginer une anticipation phonologique consistant
à faire reconnaître les mots retranscrits en phonétique puis à les faire répéter : \"rIvEr\ •
\fi…ld\ • \strÅN\ • \"mÅnEk\ • \drO…\ • \kA…t\ • \hO…s\ • \"kÅtIdZ\.
Productions possibles :
– The first painting represents a countryside scene. There is a cart drawn by a horse, a river...
all this makes me think of a quiet and peaceful place / of the good old days when there was
no car, no rush, no pollution. It conveys an impression of peace, tradition. It’s picturesque.
Britain is famous for its landscape.
– The second painting is impressive: King Henry VIII is standing proudly in a palace. He looks
authoritative, imposing, stern, domineering, powerful and mighty. I think the painter wanted to
glorify the king and the British monarchy. He was a very strong leader who shaped the history
of his country. The Royals are vivid images of Britain even today.
Informations complémentaires :
k The Hay Wain (conservé à la National Gallery) représente un paysage du Suffolk,
Flatford Mill sur la rivière Stour, cher à John Constable.
k Henry VIII montre le célèbre monarque en costume d’apparat dans le palais de Whitehall.

b. Pour la compréhension orale, les élèves pourront utiliser la fiche d’entraînement du Workbook,
p. 62-63, et le Action! pour récapituler ce qu’ils ont appris des symboles nationaux.

UNIT 8 • 157
UNIT
8 TRUE BRITS

> Script de l’enregistrement


➼ Part 1
Tania: To me, Henry VIII symbolizes England.
Ruth: What do you mean, this portrait symbolizes England? Come off it! This is just another
cliché about England! Who cares about monarchy nowadays? Tell me... What role does the
monarch play? Honestly... The Prime Minister and the government rule the country, not the
monarch! They make the important decisions, they discuss international problems and so
on with other world leaders. So down with monarchy and its privileges! I tell you what...
I’m glad the monarch has to pay taxes like any other British citizen. And anyway that’s what
they should do: They’re British citizens just like you and me!
➼ Part 2
Tania: Er... I see your point. Fair enough! Look, Ruth! Look at this painting then... Constable’s
painting. Don’t you think it conveys true English values: simplicity, authenticity, love of Nature...
Ruth: You must be joking! What about London and its modern architecture: the Gherkin,
the Tate Modern? This is twenty-first-century England, not Constable’s painting! Again this
painting is just a stereotype of England; something you can only see on Christmas cards.
I can’t believe it Tania! How can you possibly imagine England like this? Of course rural
England still exists, but I don’t think the countryside best represents modern England.
Tania: You’re always contradicting me!

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 62-63)

➼ GET READY
1. symbolizes • cliché • monarchy • government • international • privileges
2. 1 Head of State 2 monarch 3 rule 4 duties 5 role 6 taxes 7 citizen

➼ PART 1
3. a) k monarchy k the Prime Minister and the government rule the country.
Ruth thinks that monarchy is old-fashioned nowadays because the monarch doesn’t play
any significant political role as far as important decisions or international problems are
concerned. The monarch cannot be compared to a world leader such as Barack Obama.
The Prime Minister is the person in charge of political issues. The monarch is just a symbol.
4. angry

➼ PART 2
5. true • modern • simplicity • authenticity • architecture
6. the Gherkin, the Tate Modern • 21st century • Constable • Christmas
7. Stereotypes: simplicity • authenticity • countryside • rural England
Reality: modern architecture • modern England
8. Of course rural England still exists but I don’t think the countryside best represents modern
England.

158 • UNIT 8
> ACTION!
➼ PART 1
Tania is fed up with the monarchy because she thinks it is old-fashioned. She thinks
monarchs are just puppets because they do not play any significant political role. She
thinks monarchs are useless as far as important political decisions are concerned. Only the
Prime Minister and the government rule the country. The monarchy is just another cliché
about Great Britain. To her, all British citizens should be equally treated. So she finds it fair
that the Queen should pay taxes like any other British citizen.
➼ PART 2
Tania and Ruth are discussing the stereotyped representation of England. They disagree
with each other. Their vision is contradictory. On the one hand, Tania thinks that Constable’s
painting that represents rural England best conveys what England’s values really are:
simplicity, authenticity. On the other hand Ruth thinks that this vision is old-fashioned, that
London architecture is very modern and best represents her country. According to Tania, love
of Nature is an important value. To Ruth it doesn’t represent 21st-century England.

3. Recap
Avant de mettre en place le jeu de rôles, on pourra faire une première synthèse des tableaux.
Productions possibles : The portrait of Henry VIII glorifies England because he represents
England’s power. The portrait shows that England is a domineering nation. The dagger
conveys the idea that England is ready to fight to defend its territory if it is attacked by
enemies. Henri VIII embodies a powerful nation because the King looks impressive and
imposing. The other painting by Constable symbolizes England’s peaceful countryside.
This vision shows that England is a rural country / England before the Industrial Revolution.

> Mises en œuvre possibles :


k On demandera aux élèves de scénariser leur prise de parole en jouant le rôle d’un guide
de musée qui présente soit un des deux tableaux, soit les deux tableaux à des touristes.
k Ce Recap peut également prendre la forme d’un jeu de Vrai / Faux. Séparer la classe
en groupes. Les élèves de chaque groupe font part d’informations sur le tableau qu’ils ont
étudié, mais y glissent aussi quelques erreurs que le reste de la classe devra déceler.
Productions possibles : So, ladies and gentlemen, we are now standing in front of Holbein’s
most famous portrait of King Henry VIII, painted in Hampton Court in 1537. The king was at the
height of his power and wanted a representation of his might and power. Yes, I agree with you
Madam, he looks proud! Don’t forget that England was one of the richest and strongest countries
in Europe. Another good question Sir! Indeed he probably wanted to look more powerful than his
rivals Charles Quint and François I. Some say this is the symbol of British monarchy at its height.
I would say this is an old-fashioned picture of a long-gone institution. Nowadays what role does the
monarch really play? Honestly... The Prime Minister and the government rule the country, not the
monarch! They make the important decisions, they discuss international problems and so on with
other world leaders. You may think I am a radical... Let’s move on to this beautiful painting by...
Prolongement possible : on pourra faciliter la mémorisation du lexique des p. 102 et 103
grâce à la fiche suivante (fiche téléchargeable sur le site compagnon).

UNIT 8 • 159
UNIT
8 TRUE BRITS

Check your vocabulary


1. Retrouvez les synonymes ou les opposés de ces mots.
a. quiet = c. elegant = e. artificial ≠
b. despise = d. powerless ≠ f. polite ≠
2. Retrouvez les mots dont voici la transcription phonétique.
a. \ÆdÅmI"nIErIN\ c. \Im"bœrEst\ e. \"œrEgEnt\
b. \"O…fEl\ d. \"kINdEm\ f. \"glO…rIfaI\
3. Traduisez ces phrases en anglais.
a. On dit des Écossais qu’ils sont avares.
b. La reine incarne la monarchie britannique.
c. Ce tableau donne l’impression que la campagne est paisible.
d. Les Britanniques sont souvent considérés comme de mauvais cuisiniers.
e. Le Royaume-Uni est composé de deux parties : la Grande Bretagne et l’Irlande du Nord.

CORRIGÉ
1. a. quiet = peaceful c. elegant = stylish e. artificial ≠ natural
b. despise = show contempt d. powerless ≠ powerful f. polite ≠ rude
2. a. domineering c. embarrassed e. arrogant
b. awful d. kingdom f. glorify
3. a. Scottish people are said to be stingy.
b. The Queen embodies the British monarchy.
c. This painting conveys the impression that the countryside is peaceful.
d. The British are often considered bad cooks.
e. The United Kingdom is composed of two parts: Great Btritain and Northern Ireland.

2. FOOD, GLORIOUS FOOD MANUEL k P. 104

1. Guessing game
> Mises en œuvre :
1. PREMIÈRE VARIANTE

k On commencera par faire lire en silence puis à haute voix les mots du Help! (voire à les
faire écouter) pour s’assurer de leur compréhension et de leur prononciation.
k Ensuite on demandera à la classe de décrire les photos. Attention, nous conseillons de ne
pas donner les noms des plats tout de suite pour laisser la porte ouverte à des suppositions
et des réactions.

160 • UNIT 8
k Les élèves choisiront une image et diront ce qu’elle leur inspire, sans en indiquer le
numéro. Le reste de la classe devra trouver de quelle photo il s’agit. On incitera les élèves
à donner leur opinion et à dire si cela leur semble appétissant (ou pas). L’enseignant
pourra noter au tableau cette amorce : Yummy or yukky? en l’expliquant et en l’étoffant
éventuellement avec : It looks good. It’s worth trying. It’s disgusting / revolting / special.
It makes my mouth water. Have a go / a try. No thank you. It tastes sweet / salty / spicy...
k Le professeur notera les meilleures productions au tableau et suggérera des expressions
pour enrichir les phrases.
Productions possibles :
– Picture 1: This photo shows a delicious dessert made of apples and served with either cream,
custard or vanilla ice cream. I wish I could have some today at the canteen, fat chance!
– Picture 2: There are a cup and a tea pot in the photo. It all looks good / scrumptious. You
can serve the drink with a little cake called a scone which is cut in half. People put butter and
raspberry jam on them, and sometimes even cream. It may be very fattening but so yummy!
– Picture 3: This is the traditional British fast food. It is composed of fish in batter and chips.
I have had it before and it is excellent, you’d be surprised.
– Picture 4: This dish is composed of slices of meat with what looks like potatoes or doughnuts.
I think the meat is either beef or pork. It could be a main dish. There are green vegetables as
well, such as peas and broccoli.
– Picture 5: It looks like an Indian dish with an orange creamy sauce and rice. I think it can be
served hot or mild. It looks interesting.
– Picture 6: This looks like a dessert or some ice cream. I think it’s vanilla with strawberry and
cream. I have never tried this before, but I could.
– Picture 7: Traditional English breakfasts are a real meal composed of bacon and eggs,
sometimes baby sausages, mushrooms and baked beans, yuk! You’re not hungry anymore
after that.
– Picture 8: I can see a plate with some cheese and wholemeal bread. Is it a snack? There is
some fruit and salad as well. It looks really good.
k Enfin, le professeur donnera les noms des plats et la classe tentera de les associer aux
images.
1. apple pie 2. cream tea 3. fish and chips 4. roast beef and Yorkshire pudding = roast dinner =
traditional Sunday dish 5. chicken tikka massala (It has become a British national dish.) 6. trifle
7. cooked breakfast 8. ploughman’s lunch

2. SECONDE VARIANTE

Le professeur peut diviser la classe en deux groupes ou en binômes. Le groupe ou l’élève 1


s’occupera des images 1 à 4 et le groupe ou l’élève 2 des images 5 à 8. Les élèves devront
décrire les plats dans le désordre pour que leurs camarades devinent duquel il s’agit. On
peut aussi leur distribuer la grille suivante (téléchargeable sur le site compagnon).

UNIT 8 • 161
UNIT
8 TRUE BRITS

Pair work
1. Write: fill in this grid in silence.

Picture Food items I can see Sort of food? Kind of meal?


● sweet ● fast food ● breakfast
n° ...... ● savoury ● main course ● dessert
● spicy ● tea time
● sweet ● fast food ● breakfast
n° ...... ● savoury ● main course ● dessert
● spicy ● tea time
● sweet ● fast food ● breakfast
n° ...... ● savoury ● main course ● dessert
● spicy ● tea time
● sweet ● fast food ● breakfast
n° ...... ● savoury ● main course ● dessert
● spicy ● tea time

2. Speak and make your friend guess which dish you are describing.
Don’t mention either its number or its name if you know it.
EXAMPLE: “In this dish there is / are... I think it is quite sweet, and served for...”
3. Listen to your friend and guess which dish your friend is talking about.

Description A Description B Description C Description D


= dish number ...... = dish number ...... = dish number ...... = dish number ......

4. Together with your friend can you match these names with the photos?
cream tea = ploughman’s lunch = chicken tikka massala =
apple pie = trifle = cooked breakfast =
fish and chips = roast beef & Yorkshire pudding =

2. Yummy! Yucky!
Les élèves connaissent-ils la Marmite \"mA…maIt\ ? C’est peu probable, il ne faut donc pas
hésiter à les renvoyer au site. Mais avant, ils peuvent émettre des suppositions en regardant
simplement la photo du manuel. Le professeur pourra utiliser ces prompts, suivant le niveau
de la classe :
– classe faible : I think, I suppose, perhaps, maybe it is, it looks like…
– classe plus solide : It must be, It can’t be, It may / might be...
Il faut encourager les réactions et les commentaires du reste de la classe.
Productions possibles : It could be a sort of spread, maybe some jam, but the colour is
strange though. I don’t know any fruit of that colour.

162 • UNIT 8
Maybe it is the English Nutella, a kind of chocolate paste.
I don’t agree with you because the name doesn’t refer to anything sweet. Marmite makes me
think of a soup, or a cream for sauces.

Informations complémentaires
Née en 1902, la Marmite est une marque britannique de pâte à tartiner à base de levures,
substances végétales naturelles et très riches en vitamine B1. La Marmite peut se
consommer étalée sur des toasts, ou encore servir de base à des sandwiches. Marmite
est un indénombrable en anglais : I hate / love Marmite.

3. Listen
La compréhension orale se fera à l’aide de la fiche d’entraînement du Workbook, p. 63-64.
La recette évoquée ici est celle du trifle.

> Script de l’enregistrement


Matthew: This recipe is worth it! It serves 6 to 8 people. Well Linda, you’ve prepared all the
ingredients, haven’t you?
Linda: Of course! Everything is ready!
Matthew: Look it’s very easy! First I break the sponge cakes in pieces, like this, so the
pieces aren’t crushed and I spread a little raspberry jam on each piece. Then I put them
into a large glass bowl and sprinkle the raspberries and sherry over them. Linda, would you
mind giving everything a good stir to soak up the sherry?
Linda: No problem Matthew... as long as I find the spoon... Where is it? Ah, here it is!
Matthew: Well done, Linda! How about making the custard now! While you heat half a pint
(that’s 275ml) of double cream in this small saucepan, I blend the egg yolks, sugar and
cornflour together thoroughly in a basin. Linda, when the cream is hot, pour it over the egg
mixture, stirring the whole time. That’s it! Don’t go too fast, don’t slow down so it’s well
blended.
Linda: OK!
Matthew: Now I return the custard to the saucepan and stir over a very low heat until thick.
Then I remove it and allow it to cool. Linda? Could you peel the bananas and slice them
thinly please? Thank you. Sprinkle them in amongst the raspberries. And now look, I pour
the custard over the sponge cakes.
Linda: What about the remaining half pint of cream?
Matthew: I whip it up and spread it over the top. And finally I decorate it with the flaked
almonds. The only thing to do now is cover and chill it for 3 or 4 hours before serving!

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 63-64)


1. F•E•B•D•A•G•C
2. n° 6

UNIT 8 • 163
UNIT
8 TRUE BRITS

4. Recap
Lors du récapitulatif oral, les élèves devront classer les plats du plus appétissant au moins
appétissant et justifier leur choix. Ils pourront s’aider de la rubrique Action!, p. 64 du Workbook.
Productions possibles : I think I’d love to taste the trifle because I’ve got a sweet tooth and
it’s nearly teatime.
I don’t fancy the roast beef because I’ve heard it is over-cooked in Britain and I love my meat
rare. The puddings look delicious. I’d like to try exotic dishes because they must be spicy.
Prolongements possibles :
1. Does it ring a bell? Read this recipe.
Mince 1lb (450gr) of lamb meat. Chop or dice 1 onion, 1 carrot, 10 mushrooms, then cook them
in oil for a couple of minutes. Add 1 tablespoon of flour, then some ketchup or some stock. Bring
to the boil, stirring constantly. Put in the meat. Spoon the mixture into a baking dish.
Peel 2 ½ lb (1.1kg) potatoes, and boil them. Drain them and mash with hot milk and butter.
Pour on top of the meat mixture in the dish. Bake in the oven for 35-40mn until bubbling
(heat 180°C).
a. What French dish does it remind you of?
b. Which of the following names correspond to the recipe?
Steak and kidney pie Mince meat Mixed potato salad Sweet bread Shepherd’s pie
Corrigé: les élèves découvriront la recette du Sherperd’s pie ou Cottage pie qui fait penser à
notre hachis parmentier, à l’exception des viandes utilisées : du mouton dans le plat anglais
et du bœuf haché en France.
2. On pourra faciliter la mémorisation du lexique étudié p. 104 grâce aux exercices suivants
(fiche téléchargeable sur le site compagnon).

Check your vocabulary


1. Classez ces mots dans le tableau suivant la prononciation de la /des voyelle(s) en gras.
beans • chicken • rice • pie • cream • chips • Marmite • beef • pudding
\i…\ comme sea \I\ comme fish \aI\ comme my

2. Barrez l’intrus dans ces listes.


a. apple pie • trifle • ice cream • shepherd’s pie • cherry cake
b. ketchup • cream • custard • jam • honey
c. mutton • veal • sheep • pork • beef
d. broccoli • green peas • salad • carrots • leek
e. stiring • cycling • boiling • pouring • baking
3. Trouvez les mots qui correspondent à ces définitions.
a. You only eat the roots from this plant. It can be mashed, boiled, fried, eaten cold or hot.
b. The leaves of this plant from India are boiled to make a famous British hot drink.
c. A small, soft and round bread-like cake made of flour and sugar, and eaten at teatime.
d. A seed or grain grown in wet tropical places and eaten as basic food in India and Asia.
e. This sweet spread is made of fruits. When made with oranges it is called “marmalade”.

164 • UNIT 8
CORRIGÉ
1. \i…\ comme sea \I\ comme fish \aI\ comme my
beans • cream • beef chicken • chips • pudding rice • pie • Marmite

2. a. shepherd’s pie b. ketchup c. sheep d. carrots e. cycling


3. a. potato b. tea c. scone d. rice e. jam

5. Watch a video
Voir p. 420-421 et 442-443.

3. DO’S AND DON’TS MANUEL k P. 105

1. Basic social codes


> Mise en œuvre possible :
k On pourra commencer la séance par une anticipation sur les codes sociaux en France.
On demandera aux élèves ce qui est considéré comme poli ou impoli chez nous. Le professeur
pourra noter au tableau comme titre : When in Rome, do as the Romans do, et proposer la liste
suivante :
– saying “tu” to your boss or a person you don’t know well
– speaking with your mouth full of food
– arriving 10 minutes late when you are invited to dinner
– holding the door open for a person following you
– refusing to shake hands when someone new is introduced to you
– speaking of politics with someone you don’t know well
– putting your hands on the table when eating lunch
Avec une classe faible, il est conseillé de guider les élèves pour qu’ils utilisent correctement
les auxiliaires modaux : You should / should not / must / mustn’t / can / can’t…
k Puis l’enseignant demandera à la classe de lire en silence le tableau et de dire ensuite ce
qui convient de faire dans chacune des quatre situations proposées. Les élèves reconnaîtront
certains codes.
Productions possibles :
1. In Britain, when you are waiting for the bus you should stand in line behind the people who
have arrived first, and wait for your turn to get on. It is considered very improper to group in a
circle with your friends and jump on the bus as quickly as possible.
2. When you meet someone for the first time, it is very rude to hug him / her, kiss on the cheeks
or slap him / her on the back to show you are happy to see him / her. Quite the opposite, you are
expected to shake hands only when first introduced and say “hello”, or “good morning” at other
times.

UNIT 8 • 165
UNIT
8 TRUE BRITS

3. When people win a game, they should not boast and look superior. On the contrary, fair
play and modesty are well-regarded. That’s why a good player would say: “I was just lucky,
and my team was helpful.”
4. If you are walking in a corridor, keeping right is a must to avoid blocking the way of people
walking in the other direction. You would never see people walking at random and sliding from
left to right to avoid others in the opposite direction.

2. Table manners
Le professeur pourra distribuer la fiche du Workbook (p. 64-65) avec les deux tableaux
nécessaires au pair work et l’utiliser en activité de lecture.

3. Stiff upper lip


Corrigé des questions du manuel :
b. succumb to the evidence of fear • terror, anger, grief
c. “Control yourself!” • “Keep smiling!” • “Be strong!” • “Carry on with your job!” • “Hide
your feelings!”
d. rester impassible, garder son flegme
Pour une classe qui éprouverait des difficultés à lire ce texte, on peut proposer la fiche
suivante.

a. Find a part of the human face.


b. What adjectives are associated with it?
– Read the word “upper” from right to left: find the suffix and underline the root (racine).

– Given the context tick the correct translation for the word “stiff”.
● mince ● strict ● immobile ● impassible
c. What is your face like when you “keep a stiff upper lip”?
● smiling ● irritated ● expressionless ● scared
d. Pick out situations when people experience negative feelings.
e. List the attitudes linked with “keeping a stiff upper lip”.
Recap
a. Explain in your own words what “keep a stiff upper lip” means / is. Use the following
words.
courageous • self-control • master • overcome (vaincre) • resist • show no signs •
reveal • strong
b. List the situations when you should “keep a stiff upper lip”. Use the following words.
confronted with • dramatic • be frightened • be cross / furious with • upset • miserable

166 • UNIT 8
CORRIGÉ
a. lip
b. upper and stiff
– suffix: -er + root: up (upper means supérieur)
– impassible
c. expressionless
d. They are frightened. They are afraid of taking risks. They feel it is dangerous.
e. They don’t show emotions. They hide the fact that they are terrified or angry or miserable
or disappointed. Their faces betray no emotions. They always keep a stiff upper lip.

➼ RECAP

Productions possibles :
a. They show no signs of weakness. They do not want to reveal that they are panic-stricken,
scared to death, furious or sad. They want to master their emotions and feelings. They only
display self-control. They want to prove to themselves and others that they are courageous
in any circumstances. It’s a way of overcoming weaknesses or emotions.
b. When I’m confronted with a dramatic situation such as an accident, I should try to be
calm and dial 999 so that the person can be rescued as quickly as possible.
When I feel upset because someone has made fun of me, I should try not to show I have
been hurt because there’s no point in being cross with this person. I’d better ignore him /
her in the future.
When I feel frightened because I’m alone, I should try to keep a stiff upper lip to give the
impression that I’m not an easy prey.

Informations complémentaires (photo p. 105)


This black and white photo was taken just after Neville Chamberlain decided to make war
on Germany (September 3, 1939). “Your” is underlined because this poster brings a message
of hope and determination to the nation. The victory depends on people’s resistance to
the enemy, their willpower, and fighting spirit. Cheerfulness reminds us of the expression
“keeping a stiff upper lip”. In times of war, people’s characters will be tested. In spite of
the war, the bombings, the Blitz, people should remain hopeful, optimistic, shouldn’t feel
discouraged. The directions to the nearest shelters can be seen at the bottom of the wall.
It will lead them to Victory, the word Victory is in big capital letters.
The word victory reminds us of the speech by Winston Churchill : “I have nothing to offer but
blood, toil, tears and sweat. We have before us many long months of struggle and suffering.
You ask what is our policy? I will say it is to wage war by sea, land and air, with all our might,
with all our strength that God can give us. That is our policy. You ask what is our aim? I can
answer in one word: victory. Victory at all costs! Victory in spite of all terror! Victory however
long and hard the road may be.”

UNIT 8 • 167
UNIT
8 TRUE BRITS

4. EXPERIENCE THE LAKE DISTRICT MANUEL k P. 106-107

> Mise en œuvre


Avant même que les élèves ne lisent individuellement le texte, extrait d’un guide touristique,
le professeur annoncera que celui-ci donnera lieu à un quiz.

2. Guessing game
Productions possibles :
It can’t be the first photo because although we see that the mountains are not very high,
the vegetation is dry and it looks like a desert.
It can’t be the second photo because we can see high, snowy peaks in this photo and I don’t
think there is snow in the Lake District.
It must be the third photo because we can see a lake, and the mountains are not very high.
It looks peaceful and I’m sure it’s a nice place to go hiking.

3. Key information
Corrigé :
a. area = 885 square miles • highest peak = 3,210 feet (equivalent in French = 978,40 m) •
number of lakes = 16
b. – On April 15, 1802 Wordsworth and his sister saw beautiful daffodils.
– In 1951 the Lake District National Park was created.
– In 1804 Wordsworth wrote his most famous poem The Daffodils.
c. Hiking and boating (sailing) are mentioned in the text. Tourism is the main economic
activity in the region.
Prolongement possible : une fois ces informations essentielles repérées, un élève pourra
faire une prise de parole en continu et rendre compte de cet extrait de guide touristique.

4. The Daffodils
Productions possibles :
a. The biggest photo, the one on the left, best matches the stanza I’ve just listened to / I’ve
been listening to.
b. The narrator is in the Lake District.
He’s probably gone for a walk in the mountains as lines 1 and 2 suggest “wandered, high o’er
vales and hills”. He’s near a lake and under trees (“beside the lake, beneath the trees”).
It must be Spring because he can see flowers and daffodils grow in April in England.
The narrator feels “lonely” at the beginning of the stanza but after discovering the flowers,
he seems soothed and delighted because the image conveyed by the daffodils is an image
of lightness and cheerfulness and life “fluttering and dancing”.
Prolongement possible : cette strophe pourra être apprise par cœur et récitée en classe.

168 • UNIT 8
5. Quiz
Pour cette activité on pourra diviser la classe en deux. Les élèves prépareront des questions
qu’ils poseront aux membres de l’autre groupe qui devront répondre livre fermé. On pourra
attribuer un, deux ou trois points selon la difficulté de la question. L’équipe qui aura le plus de
points sera déclarée gagnante. Pour ce mini défi lecture, les réponses se feront uniquement
en anglais.
Productions possibles :
– Who wrote the famous poem The Daffodils?
– What is the main economic activity in the Lake District?
– Where is the Lake District located?
– Why is it called the Lake District?
– When was a national park created in the Lake District?
– Can you quote the first line of the poem?
– Can you remember another line from the poem?
– Can you remember the name of one county that is part of the park?
– How many major lakes are there?
– Can you name another famous English poet?
– Who was Wordsworth with when he saw these beautiful daffodils?

5. I DON’T UNDERSTAND! MANUEL k P. 108

> Mise en œuvre


Avant de faire lire le texte, le professeur pourra demander aux élèves ce que le titre du
texte et l’image leur suggèrent. Ils devraient sans difficulté évoquer les difficultés de
compréhension, de communication, notamment entre anglophones et non anglophones.
Exploitation de la photo : An executive wearing a black striped suit is answering the phone.
This man is headless, has no identity. He is a non-person, maybe because he is ruthless,
adamant, has no feelings, no compassion, is cold, aloof, and considers people are at his beck
and call. He uses people like pawns or puppets, people may be revolted by his attitude and
have difficulty communicating with such a boss.
La fiche d’aide à la compréhension du texte dans le Workbook pourra être travaillée soit à la
maison, soit en classe. Afin de récapituler ce qui a été compris, on s’appuiera sur le Action!
du Workbook, p. 66, et sur le vocabulaire du Help!
N. B. : ce texte est enregistré sur le CD classe n° 2, piste 8.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 65-66)

I. Understanding the text


1. The narrator is a young Englishman, a London marketing agent, Paul West, 27, starting
a new job in Paris.
2. Paul, the narrator who is British, Bernard and Jean-Marie, his French colleagues
3. k I = Paul West • them = the French colleagues
k them = French colleagues • my = Paul’s (name)

UNIT 8 • 169
UNIT
8 TRUE BRITS

k I = Paul West • I = Paul West (as a rock star)


k we = British / English-speaking people
4. k “You’re very young”
k “I’m not criticizing”
k “I’m Bernard”
k “I’m responsible for the communication”
k “I’m looking forward to working with you.”
5. a) He thinks they are talking Hungarian (“… some people were allowed to speak Hungarian?”,
l. 10)
b) “Bernard of Budapest” (l. 11)
“I don’t speak any Central European languages” ( l. 15)
6. a) “Bernard of Budapest carried on in the same incomprehensible vein for a couple of
minutes...” (l. 11)
b) amazed • shocked • contemptuous • puzzled
7. Comment se fait-il ? • Attends une seconde !
8. ironic • critical: “How come some people were allowed to speak Hungarian?” (l. 9) +
“started to enunciate something which, to judge by the look of acute constipation on his
face, was of great importance.” (l. 12) + “It’s English, Jim, but not as we know it.” (l. 16)

II. Action!
2. ROLE PLAY
Productions possibles : Hello, I just thought I could give you a quick call to tell you about
the most hilarious meeting I’ve just had with my collègues français Bernard, Jean-Marie and
the others. Yes, I’m fine, I just wonder how we are going to work together. You see they all
think they can speak English well, but I thought they were speaking Hungarian, no kidding!
I am not making fun of them, well, not really. Wait until they ask me to speak French. They
were so embarrassed when they realized I could not understand them. It was pathetic...
yes, they had difficulty introducing themselves. Everybody was so ill-at-ease. They really
should attend English lectures, otherwise we won’t be able to work together. I hope the
company will pay for that!

Prolongement possible : on pourra faciliter la mémorisation du lexique étudié p. 108 grâce


à l’exercice suivant (fiche téléchargeable sur le site compagnon).

Check your vocabulary


Traduisez les phrases suivantes. Tous les mots en gras sont dans le Help!, p. 108.
1. Paul West est intrigué par ses collègues français. Il se demande s’ils parlent une langue
d’Europe centrale.
2. Lors de la réunion il est abasourdi.
3. Il se moque de leur épouvantable prononciation.
4. Il se moque d’eux, les trouve nuls.
5. Ils ont beaucoup de mal à parler anglais.
6. Ils sont pris de panique, mal à l’aise, très embarrassés.
7. Es-tu bon en langues ?

170 • UNIT 8
CORRIGÉ
1. Paul West is puzzled by his French colleagues. He’s wondering if they are speaking a Central
European language.
2. During the meeting he is astounded.
3. He makes fun of / laughs at their awful / dreadful pronunciation.
4. He makes fun of / laughs at them and find them pathetic.
5. They have difficulty speaking English.
6. Thet are panic-stricken, ill-at-ease, very embarrassed.
7. Are you good at languages?

LANGUAGE AT WORK MANUEL k P. 109-111

> Improve your pronunciation


th se prononce comme dans that \D\ quand il est en début de mot (+ dans les mots
grammaticaux) ou quand il est au milieu d’un mot (sauf dans les mots d’origine grecque),
et il se prononce comme dans thanks \T\ en fin de mot.
N.B. : les tongue twisters proposés dans l’exercice 2 pourront servir de warm up, de mise
en bouche en début de cours. La pratique des tongue twisters facilite en effet la prise de
parole en continu.

> La détermination du nom : a, the, « l’article zéro » = Ø


1. a. Le premier groupe souligné (tea) renvoie à une généralité et à un indénombrable. Le
deuxième groupe (a national drink) renvoie à un élément parmi d’autres et à un dénombrable.
b. Le groupe souligné (Chips with vinegar) renvoie à un ensemble et à un dénombrable.
c. Le groupe souligné (a bridge) renvoie à un élément parmi d’autres et à un dénombrable.
On emploie a / an pour désigner un élément parmi d’autres.
Pour parler de quelque chose « en général », on emploie l’article zéro (Ø) si le nom est un
dénombrable au pluriel, ou si le nom est un indénombrable au singulier.
2. On emploie a devant les consonnes, sauf « h » non prononcé comme dans hour. (Autres
mots commençant par un h non prononcé : heir, honour, honest et leurs composés.)
Devant unique, on utilise l’article indéfini a, parce que, dans sa forme orale, unique commence
par une consonne (\j\).
Explication plus détaillée : le mot unique se transcrit \ju…"nIk\. Même si \j\ ressemble au son
« i », c’est une consonne, que l’on trouve également au début du mot yes, ou, en français,
au début du mot yeux ou encore dans le mot pied (prononciation différente de celle de
pillé). On a également cette dualité « consonne / voyelle » avec les sons proches du « ou » :
consonne dans won \wØn\ et dans le mot français oui (\wi\), voyelle dans good \gÁd\ et
dans le mot français oubli \Ábli\.
On emploie an devant les autres mots commençant par une voyelle.

UNIT 8 • 171
UNIT
8 TRUE BRITS

Remarque générale sur le choix entre a et an, et sur le choix entre \Di…\ et \DE\ pour the : ce qui
détermine ce choix, c’est la prononciation (la forme orale), et non la forme écrite ; il arrive qu’un
mot commence dans sa forme écrite par une voyelle mais dans sa forme orale par une consonne
(exemples : unique, one k a unique situation, a one-eyed man), et inversement (hour \aÁEr\).
3. Sherlock Holmes est détective.
À la différence du français, on emploie l’article indéfini (a / an) lorsqu’on indique la catégorie
à laquelle appartient quelque chose ou quelqu’un, donc devant les noms de métier.
4. a. Pour les premier et deuxième groupes de mots soulignés (the name + the bell), on emploie
the, car ces mots sont définis par ce qui suit. Pour le troisième groupe de mots soulignés (the
Houses of Parliament), on emploie the, car le mot fait référence à un élément connu de tous.
b. Pour le premier groupe souligné (the chime), on emploie the, car le mot est défini par ce
qui suit. Pour le deuxième groupe de mots soulignés (the sound), on emploie the, car le mot
est défini par le contexte. Pour le troisième groupe de mots soulignés (the New Year), on
emploie the, car le mot fait référence à un élément connu de tous.
c. Pour le premier groupe de mots soulignés (the clock), on emploie the, car le mot est défini par
le contexte. Idem pour le deuxième groupe de mots soulignés (the time).
d. Pour le groupe de mots the Millenium Bridge, on emploie the, car le mot fait référence à
un élément particulier et bien défini qui est connu de tous.
5. Les noms de pays au singulier s’emploient sans article. Les noms de pays au pluriel sont
précédés de l’article défini the.

> Practice
1. a. Ø Pubs • Ø People • Ø friends • Ø Pub food • Ø restaurant food • the bar • Ø Beer •
a popular drink
b. The people • a festival
c. an island • the sea
d. Ø milk • Ø cream • Ø butter • Ø cheese • Ø apples • Ø cider • a popular drink
2. Ø Miniskirts • the British designer • Ø Miniskirts • Ø controversy • Ø car crashes •
the symbol • Ø London • the pop culture capital • the world
3. Ø Scotland’s capital • The heart of Edinburgh • the castle • the kings of Ø Scotland •
Ø centuries • a busy cultural life • an International festival • Ø Musicians • Ø actors •
Ø singers • the world • Ø Australia • Ø Canada • Ø Japan • the United States •
the Netherlands • the city • the evening • the opera house • the theatres • the concert
halls • the cafés • the pubs • Ø small groups • Ø poetry
4. a. Brick Lane is a famous street in Great Britain. Immigrants coming from Bangladesh and
India settled there.
b. Monica Ali is a novelist, she wrote a novel about that area.
c. Londoners go to Brick Lane to eat a curry / have a curry.

172 • UNIT 8
YOUR TASK MANUEL k P. 112-113

> Mise en œuvre


k On lira en classe la p. 112 et on expliquera la démarche à suivre aux élèves.
L’entraînement sur l’icône du Globe p. 112 peut se faire au lycée en salle informatique
ou multimédia (en binômes par exemple) afin de s’assurer que les élèves ont bien compris
ce qui leur est demandé.
S’il n’y a aucun moyen informatique au lycée, les élèves devront faire cette première étape
au CDI ou chez eux. On vérifiera que les consignes ont été bien comprises.
k Les élèves pourront s’entraîner chez eux grâce au site compagnon et évaluer leur
compréhension orale en écoutant le fichier MP3 (U8–Dialogue: A street survey).
k On pourra renforcer les opérations mentales mobilisées en compréhension orale en
travaillant la double page « Comprendre un document oral », p.138-139.
k Une fois le choix du symbole national fait, les élèves prépareront chez eux ou au CDI
leur prestation orale en s’appuyant sur les rubriques du tableau de la p. 112.
k On organisera ensuite une séance d’évaluation de la tâche.
– Si l’on dispose d’un labo, les élèves pourront s’enregistrer et le professeur pourra
récupérer tous les fichiers. Il choisira ceux qui lui semblent les plus intéressants pour les
faire évaluer par la classe, qui devra commenter les différentes prestations.
– Dans le cadre de la classe, plusieurs élèves présenteront leur travail. Le reste de la classe
devra écouter, remplir la fiche ci-dessous pour chaque prestation, commenter et enfin
évaluer chaque prestation.
La prise de notes pourra se faire à l’aide de la grille proposée dans le manuel, puis être projetée,
corrigée et complétée par la classe entière. Ces notes pourront servir de trace écrite.

Critères d’évaluation de la tâche finale : à titre indicatif, nous proposons la grille suivante.
Le professeur sera bien sûr libre d’élaborer sa propre grille ou de faire évoluer le nombre de
points attribué à chaque critère.

Nom : Classe :

Respect du temps de parole demandé (deux minutes) 0 1 2 3 4


Exposé audible 0 1
Qualité de la prononciation 0 1 2 3 4
Contenu clair, structuré, bien documenté 0 1 2 3 4 5
Utilisation des gap fillers 0 1 2
Réactions aux questions des camarades 0 1 2 3 4
Total des points / 20

UNIT 8 • 173
UNIT
9 DESTINATION LIVERPOOL

Destination Liverpool
Nous avons choisi Liverpool car cette ville est rarement traitée dans les manuels d’anglais.
Or, son patrimoine est extrêmement riche et permet d’aborder différents aspects de l’histoire
et de la culture britanniques : la musique des Beatles, le racisme dans les stades de football,
ou encore le commerce triangulaire des esclaves sur lequel la richesse de Liverpool fut
fondée au XVIIIe siècle.

N. B. : pour les descripteurs du CECRL se rapportant à la compréhension orale, voir p. 149.

Manuel Workbook Fiches


photocopiables

Tâche finale Évaluation de la compréhension orale


à partir d’un podcast de musée

Objectifs Mémoire • Échanges • Lien social •


culturels Création

Lexique k lieux publics dans une ville, directions,


signalétique routière, monuments (p. 114-
115)
k musique, célébrité (p. 116)
k racisme, comportement dans un stade
(p. 117)
k transport maritime, commerce,
marchandises (p. 118-119)
k esclavage, contrainte (p. 120)

Grammaire k obligation / interdiction / absence


d’obligation (p. 122)
k capacité / permission (p. 122)

Phonologie k réalisation des voyelles -o-, -oo-


et -i- (p. 121)
k suffixe contraignant -ous (p. 121)
k s’appuyer sur les mots porteurs pour
comprendre un message oral (p. 115 à 119)

Structures de k exprimer la cause, la conséquence, le but


communication k dire ce qu’on n’aime pas
k faire des reproches
k exprimer son admiration

174 • UNIT 9
Activités langagières dominantes

Manuel Workbook Fiches


photocopiables

Écouter k un dialogue (p. 115, 116 et 119) X


k un témoignage (p. 115 et 117) X
k site compagnon, U9–Dialogue: A slave
ship: The Enterprise X
k Your task (p. 124-125) X

Écouter Dear White Fella, publicité (p. 117) X


et regarder
(vidéo)

Lire et prendre k Liverpool, Capital of Culture (p. 115)


la parole k The Fab Four, Liverpool et les Beatles
en interaction (p. 116) X
k I wanna see a game, poème (p. 117) X X
k Liverpool and the Slave Trade, histoire
du commerce transatlantique (p. 118-119) X

Prendre The Middle Passage, illustrations sur


la parole l’esclavage (p. 120) X
en interaction

Prendre k faire le compte rendu oral d’un texte


la parole (p. 115 à 119)
en continu k faire le compte rendu oral d’un document
sonore (p. 115 à 119)
k participer à un jeu de rôles (p. 116 et 117)
k lire un poème à haute voix (p. 117)

Écrire k un script pour un spot radiophonique


(p. 117)
k un texte à partir d’images (p. 120)

N. B. : les titres en gras indiquent les documents à étudier afin de réaliser la tâche finale.
Nous vous rappelons que les Help! sont enregistrés sur le CD classe et que les exercices
Improve your pronunciation sont téléchargeables sur le site compagnon.

UNIT 9 • 175
UNIT
9 DESTINATION LIVERPOOL

TUNE IN! MANUEL k P. 114-115

1. The capital of the North


Vérifier l’emplacement géographique de Liverpool sur la carte du manuel permettra de
réactiver des notions (the United Kingdom, Ø Great Britain, Ø England) ainsi que des
localisations (in the north…).
On pourra également demander aux élèves ce qu’ils connaissent de Liverpool (football club…).

2. Understanding the text


N. B. : les élèves utiliseront la photographie pour deviner le sens de harbour dans la question c.
Corrigé
a. remarkable • modern • cosmopolitan • forward-thinking
b. – 1208: the birth of the city
– its growth to become one of the world’s famous port cities / the second city of the Empire
– after WW1: from its economic downturn to its current renaissance
– 2008: a new chapter, the European Capital of Culture for a year
c. port • maritime • waterfront
d. Cette phase de récapitulation pourra donner lieu à une prise de parole en continu.
e. Cette phase orale pourra être suivie d’une production écrite individuelle ou en binômes, qui
pourra être projetée (rétroprojecteur ou vidéoprojecteur), corrigée et enrichie collectivement.
Productions possibles : Liverpool was selected to be Capital of Culture 2008 because
this city, located in the north of England, is a major harbour on the Irish Sea and has a rich
historical heritage. It is famous for sports, music, the arts and its maritime life. It was founded
in the 13th century, and has developed economically ever since. Today the city is a favourite
destination and attracts thousands of tourists every year.

3. At the tourist information desk


> Mise en œuvre :
a. On s’assurera que l’ensemble de la classe a repéré le Tourist Information Centre (en bas à
gauche du plan, à côté du numéro 08). Le professeur ou un élève indiquera son emplacement
au reste de la classe. On demandera ensuite d’utiliser la troisième colonne du Help!
k Première variante : avec la classe entière, divisée en deux. Le premier groupe donne
les bonnes directions à l’autre moitié qui suit sur le livre et peut faire répéter et / ou
demander des précisions.
k Deuxième variante : ce travail se fera par binômes. À tour de rôle, un élève indique
l’itinéraire à emprunter tandis que son camarade suit sur son livre jusqu’à parvenir au bon
endroit. On pourra vérifier en faisant passer 4 groupes.
b. Le professeur fera écouter l’enregistrement plusieurs fois en prenant soin de faire les pauses
nécessaires. Sur leur Workbook, les élèves traceront le chemin suivi par les deux touristes.
À noter que le plan de Liverpool est reproduit sur le transparent n° 8, ce qui permet une
correction collective des deux activités.

176 • UNIT 9
> Script de l’enregistrement
Clerck: Good morning Sir, what can I do for you?
Tourist 1: Hi! I’m afraid I’ve got lost. I’d like to go to The Cavern Club but I’m not sure about
the way.
Clerck: Alright, we’re here: Maritime Museum and you want to go there: The Cavern Club.
You could walk there, it’s not very far.
Tourist 1: Sure!
Clerck: Actually, if you’re a Beatles fan, you’re not very far from The Beatles Story, it’s really
worth visiting.
Tourist 1: Oh, I’ve been there already.
Tourist 2: Sorry to interrupt, I heard you mention The Beatles Story, am I far from there?
Clerck: Not at all, make a right immediately after leaving the Desk, walk straight ahead and
turn right again into Gower Street.
Tourist 2: Thanks very much.
Clerck: Now, back to you: To go to The Cavern Club, you’ll have to take Hartley Quay, turn
left, then turn right into James Street, that leads to Lord Street, then turn left into North
John Street and on your right is Matthew Street.
Tourist 1: Thank you very much!
Tourist 2: Excuse me. I was thinking about going to St. George’s Hall after The Beatles
Story.
Clerck: Oh, that’s quite a distance! You could take the Merseyrail or a taxi.
Tourist 2: Oh, no, I’d rather walk.
Clerck: Once you are at The Beatles Story, you will head East, leave Gower St, cross
Wapping Avenue, take Paradise Street on your left, then turn right into Hanover Street. You
could stop at the Neptune Theatre on your way. It is worth the detour.
Tourist 2: Really? OK, I could do that.
Clerck: Then keep going down Ranelagh Street, turn left in Lime Street and continue along
the street. There you are: on your right, you’ll have the Empire Theatre and the Odeon Cinema
and on your left St. George’s Hall.
Tourist 2: This is very helpful, thanks a lot! Goodbye!

UNIT 9 • 177
UNIT
9 DESTINATION LIVERPOOL

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 67)

Tourist 1 Tourist 2

4. A testimony
> Script de l’enregistrement
➼ Part 1
I am an exiled Liverpudlian. I left the city in 1986, aged eighteen, and have returned only
infrequently ever since. The Liverpool I grew up in was harsh, with limited opportunities
and unemployment was very high. The place was untidy and litter was commonplace.
I was fortunate enough to gain a place at university, and this proved to be my escape route.
If I hadn’t escaped, I would probably have been trapped there for life – as indeed has
happened to my own parents and I am sure to many of my peers.
➼ Part 2
In the early days after leaving, I remember my visits were particularly depressing, the inbound
train passing through suburbs containing row upon row of identical, two-up, two-down
terraced houses. My own grandparents lived in such a house, and I remember the toilet was
outside until the house was modernised in 1982. Their situation was by no means unique.
I made the same train journey up there in mid-2008, and saw the same streets and the same
houses, and the same litter. By all appearances, time had stood still.

178 • UNIT 9
➼ Part 3
But time hasn’t stood still. Liverpool has long been notorious for its violence. On my last
visit I picked up the local paper and read of four fatal shooting incidents on the first three
pages! Even at this time, there is an ongoing court case of an eighteen-year-old accused
of shooting dead an eleven-year-old boy. These events contribute significantly to how many
people perceive Liverpool, and certainly I would be very unlikely to volunteer my place of
birth in a conversation. I am also relieved that my accent has become much reduced in the
years since I left.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 68-69)

➼ PART 1
1. exiled • Liverpudlian • 1986 • eighteen • returned • infrequently
2. limited • unemployment • untidy • litter • fortunate • place • university • escape
3.
Economic situation Living conditions Turning point in Peter’s life
limited • unemployment untidy • litter fortunate • place • university • escape

➼ PART 2
4. depressing
5. b) row upon row • identical • two-up • two-down • same
6.
Whose? Characteristics Date of renovation
his grandparents’ house no indoor toilet • modernised 1982

➼ PART 3
7. 4: shooting incidents • 3: first pages • 18: shooting • 11: dead
8. The example of an 18-year-old accused of shooting dead an 11-year-old contributes
to giving Liverpool a negative / tarnished image.
9. I am relieved that my accent has become much reduced in the years since I left.

> ACTION!
1. Peter left Liverpool in 1986 when he had a place in university / went to university.
2. His visits were infrequent because he still saw litter and unemployment everywhere.
3. Today in the newspapers, you can read about shooting incidents that give a tarnished
image of Liverpool.
4. Peter feels relieved he has got rid of his accent, because he felt ashamed of his hometown.
Approfondissement possible : Peter gives a very negative vision of Liverpool, he portrays a
grim reality. He gives a gloomy, unflattering vision of Liverpool. This town was notorious for
its slums in the nineteenth and first half of the twentieth centuries. Going to university was
a way out of poverty; he used to live in a poor community. People used to live in dilapidated,
shabby, squalid houses. They lived in cramped conditions. That’s why he longed to flee a
world of misery and want.

UNIT 9 • 179
UNIT
9 DESTINATION LIVERPOOL

1. THE FAB FOUR MANUEL k P. 116

1. Get ready
a. On insistera sur le fait que l’on recherche des prénoms et on donnera le temps nécessaire
aux élèves pour relever les quatre prénoms des Beatles qui se trouvent dans le texte 2,
ligne 7 (John, Paul, George and Ringo).
b. Productions possibles : I can see four men painted on a bus, their faces more precisely.
They look young and have 60s hairstyles. They must be the Beatles: John, Paul, George and
Ringo.Liverpool is their native town. The Beatles’ fans are making a pilgrimage to Liverpool
to see the musicians’ birthplace. This bus must be taking them to Penny Lane, the Cavern…

2. Past and present


> Mise en œuvre possible :
a. Diviser la classe en deux, attribuer à chaque groupe un texte et la fiche correspondante
dans le Workbook (p. 69 à 71). En cas de classe hétérogène, confier le premier texte aux
élèves plus fragiles.
b. On s’aidera de la fiche Action! du Workbook et on demandera aux élèves de trouver des
titres correspondant aux deux textes en s’appuyant sur le vocabulaire vu.
Titres possibles :
Text 1: An Amazing Concert / An Extraordinary Event!
Text 2: The Myth Remains / Success over the Years

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 69-71)

➼ PART 1
1. I: the narrator • a Beatles’ fan • a witness of the scene
that: such an atmosphere • such reactions • such a show
2. The public was waiting for the Beatles.
“The four lads” refer to the group.
3. k place: the theatre (l. 8) k city: Britain’s second city (l. 13)
4. k balcon: balcony (l. 8) k fauteuils d’orchestre: stalls (l. 7)
k scène: stage (l. 4) k rangées: rows (l. 8)
5. terrific (l. 2) • on and on (l. 2) • screams (l. 3) • frantic (l. 3)
6. secouristes: First Aid men (l. 6)
7.
Who is here to control the public? Number of victims Action
First Aid men (l. 6) • police officers (l. 6) “Many female fans fainted, patrolled (l. 7)
and up to thirty were
evacuated” (l. 9)

180 • UNIT 9
8.
Type of reaction Consequences
fainted (l. 9) • shouting their love (l. 10) were evacuated (l. 9)
9. amazing • extraordinary • incredible • eventful • unusual
10. they were carried away by their emotions
➼ PART 2
11. k 1961: first year when the Beatles played in the Cavern Club k 1963: last year when
they played in the Cavern k 275: number of gigs played by the Beatles in the Cavern
k 40: forty years later
12. k Name of the club: the Cavern k Type of equipment: a sound system k Type of music:
the “Mersey beat” / pop music
13. k stardom: suffix = -dom + root = star = célébrité
k unparalleled: prefix = un- + suffix = -ed + root = parallel = inégalé / sans égal
14. Mathew Street (l. 12) • Abbey Rd Oyster Bar (l. 15) • Abbey Rd shop (l. 15) • Lucy in the
Sky with Diamonds café (l. 16) • Lennon bar (l. 17)
15. “Abbey Road” and “Lucy in the Sky with Diamonds” must be / are two of their songs.
16. The Cavern Club has been restored as it was before.

> ACTION!
➼ PART 1
This concert was crazy and amazing!
It provoked extreme and enthusiastic reactions among the fans.
For example some women were hysterical, shouted and fainted.

➼ PART 2
The Beatles’ success started in 1961 when they were spotted in the Cavern Club.
Their influence was / marked the development of the Mersey beat and they have
remained popular in Liverpool. Their myth has persisted and a lot of shops make
money from their names.

3. Top of the Pops


a. L’entraînement à la compréhension orale pourra être précédé d’une recherche sur les Beatles :
www.thebeatles.com/core/home/
La classe sera divisée en groupes et chaque groupe se verra confié un point de recherche
précis :
– Formation of the band / careers
– New band: hairstyles / looks
– Different periods
Prolongement possible : on pourra, si on le désire, faire lire l’article intitulé On this day
(July 1964) Beatlemania arrives in the US, disponible sur le site de BBC News (www.news.
bbc.co.uk).

UNIT 9 • 181
UNIT
9 DESTINATION LIVERPOOL

> Script de l’enregistrement


➼ Part 1
Journalist: Welcome to Music Fans! Today in the studio I have with me Julie Brown who has
just written a book on the Beatles. Why this passion for the Beatles?
Julie Brown: I think they changed the world for generations to come.
Journalist: How did everything begin?
Julie Brown: It all began in March 1957 in Liverpool. John Lennon was attending Quarry
Bank Grammar School in Liverpool. There he formed his own band. Lennon heard Paul
McCartney play the guitar in July 1957, and decided to add him to the group. Eight months
later, McCartney suggested a new member...
Journalist: George Harrisson?
Julie Brown: Exactly! He had made friends with Harrison on the morning bus ride to the
Liverpool Institute. When George Harrison joined the band in 1958 he was only 14. He was
a brilliant guitarist. They finally became The Beatles, a catchy name.
➼ Part 2
Journalist: Did they immediately become stars?
Julie Brown: No, they first played in and around Liverpool. Then they started out in
Hamburg, in Germany, and became true showmen. In February 1961, they made their first
appearance at The Cavern Club in Liverpool and from 1961 to 1962, the Beatles made 292
appearances at the club!
➼ Part 3
Journalist: Then Brian Epstein helped them, didn’t he?
Julie Brown: You’re right. Brian Epstein was a record store owner in Liverpool. He heard about
them and went to watch them perform one night. He was immediately enthusiastic. He loved
their energy. He then became their manager. The only member of the band he didn’t like was
their drummer. Epstein asked Ringo Starr to replace him and completed the band.
➼ Part 4
Journalist: What explains their success?
Julie Brown: Their new look was also a big hit: Their suits and hairstyle were unusual, the
Beatles were unconventional. Besides, they were charming, humorous and creative. They
hopped, sang and played and people loved it! Although their songs were simple, the public
found them touching and the tunes were very catchy. Beatlemania spread all over the world.
➼ Part 5
Journalist: Did they experience tensions?
Julie Brown: Yes, indeed. Tensions appeared gradually. Finally, the growing tensions put an
end to the band. Their end officially came on December 29th 1970.
Journalist: What happened afterwards?
Julie Brown: The four men embarked on solo careers. John became famous for his political
activism, fought for peace between nations. Later, in December 1980, he was murdered in
Manhattan. Paul enjoyed a successful career and continues to produce albums.
Journalist: Well, thank you very much Julie, we feel we know more about the Beatles now!

182 • UNIT 9
CORRIGÉ DE LA FICHE DU WORKBOOK (P. 71-73)
➼ PART 1
1. The interviewee is a Beatles’ specialist. Keywords: written a book.
2. – March 1957 – July 1957 – 1958
3. – John – Paul – George Harrison
4. guitar
5. John Lennon formed the band.
John heard him play the guitar and added him to the band.
Paul McCartney suggested a new recruit.
He asked Harrison to join the group.
6. John (Lennon) met Paul (McCartney) at school.
McCartney had made friends with Harrison on the morning bus ride to the Liverpool Institute.
7. They all met when they were at school and, after John founded his band, he added Paul and
then Harrison. They became the Beatles.

➼ PART 2
8. – Liverpool – Hamburg, Germany – Cavern Club
9. – February 1961 – 1962
10. “292” corresponds to the number of their appearances at the Cavern Club.
11. They started playing in Hamburg but made their first appearance at the Cavern Club in Liverpool.

➼ PART 3
12. Keywords in the journalist’s question: Brian Epstein • helped • them
13. record • owner • watch • enthusiastic • energy • manager • drummer • replace
14. Brian Epstein was a record store owner and was immediately impressed by the Beatles.
He was struck by their energy and charisma.
Ringo Starr became the drummer of the band.
The Beatles were very successful.
➼ PART 4
15. k the Beatles’ appearance: new look • unusual • suits and hairstyle
k their personality: unconventional • charming • humorous • creative
16. – hopped – sang – played
17. simple, touching, catchy songs
18. The Beatlemania was the success they had with the audience who loved their new look,
their personalities and songs.

➼ PART 5
19. \E"fISEli\ officially • \E"pIEr\ appear • \"A…ftEwEdz\ afterwards
20.
End of the group Reasons John Paul
December 29th 1970 tensions – famous for political activism – successful career
– fought for peace – continues to
– murdered in Manhattan produce albums

UNIT 9 • 183
UNIT
9 DESTINATION LIVERPOOL

21. Tensions appeared and put an end to the band in 1970. Then, they started solo careers but
John was murdered after fighting for peace and only Paul continues to produce albums.

b. Le professeur renverra les élèves à la rubrique Action! au bas de la p. 73 du Workbook


et reverra avec eux la démarche à suivre pour réussir leur enregistrement.
k On insistera sur la nécessité de ne préparer que des notes (et non pas des phrases
complètes pour ne pas avoir la tentation de lire pendant l’enregistrement) et d’adopter
un ton vivant et enthousiaste.
k L’enregistrement se fera en salle multimédia ou à la maison (sur clé USB).
k Les élèves pourront endosser un rôle. On leur proposera différentes possibilités en
leur demandant de se présenter au début de leur enregistrement :
– a singer who discovered the Beatles a long time ago and can speak of their musical
influence
– a fan who has liked their music for a long time
– a teenager who found his parents’ records and discovered the Beatles
– someone who went to Liverpool, visited the Beatles’ museum and knows about their career
k Les élèves devront faire toutes les révisions nécessaires pour développer leur expression,
en revoyant notamment leurs notes sur les deux textes de Past and present.
k Le professeur pourra revoir avec eux les grands points à inclure dans leur présentation
en reprenant les questions du manuel :
– Beginning of their career (Cavern Club) and further development (Brian Epstein)
– Success
– Fans’ reactions during concerts
– Style and influence
– End of the “story” / separation
– The singers’ lives afterwards
k Leur conclusion devra inclure leur opinion en tant que fan en respectant la nature de leur
rôle.

Critères d’évaluation (proposition de barème)


Exposé structuré, cohérent 0 1 2 3
Ton convaincant et enthousiaste / expression du jugement 0 1 2 3
Réutilisation des acquis du cours 0 1 2 3 4 5 6
Prononciation 0 1 2 3 4
Correction de la langue 0 1 2 3 4
Total : / 20

Prolongement possible : une chanson des Beatles pourra être étudiée (Help, Strawberry
Field, Eleanor Rigby…).

184 • UNIT 9
2. SHOW RACISM THE RED CARD MANUEL k P. 117

1. Listen to a football fan


> Mise en œuvre
k En anticipation à l’écoute, on peut aussi utiliser la photo en bas de page, ce qui permettra
d’introduire le lexique nécessaire à l’étude du poème et à la compréhension orale. Les élèves
ne manqueront pas de faire le lien entre red card et le carton rouge que brandit l’arbitre pour
exclure un joueur ayant commis une faute grave.
Productions possibles : These football fans are holding red cards that say “Show Racism the
Red Card”. In other words, racism is forbidden, racial hatred and prejudices cannot be tolerated.
These football fans are denouncing racism, intolerance, racial abuse, monkey chants, racial jeers
in the stadium. They can’t stand spectators hurling abuse at players. They want to fight against
bigotry, jingoism (extreme chauvinism) and exclusion. They are committed to promoting tolerance.
k On pourra demander aux élèves s’ils connaissent les mouvements Show Racism the Red
Card ou Kick Racism out of Football. On pourra trouver des informations complémentaires
sur les sites : www.theredcard.org, www.srtrc.org et www.liverpoolfc.org.
k À l’aide de la fiche d’entraînement du Workbook les élèves repéreront les indices clés
et pourront comprendre le témoignage de ce supporter.

> Script de l’enregistrement


➼ Part 1
Journalist: Good evening, Mr Winterbottom you’re on the air!
Fan: Good evening, I’m calling because I totally agree with Liverpool Football Club’s policy
against racism in football. I love football but I was so shocked in 2000, when Emile Heskey
suffered a torrent of racist abuse, monkey noises and spitting from a section of Yugoslavia
supporters while playing for England in Barcelona; and it does happen again and again…
➼ Part 2
Journalist: What sort of racist acts have you personally witnessed?
Fan: Well you know, I’ve seen those jerks, usually in groups, who think players are inferior
because they are a different colour, or from another country or part of the world; they feel
they are safe and all-powerful; they keep on threatening, abusing or insulting or making
gestures. No need to tell you the words, of course.
➼ Part 3
Journalist: I understand that racism is against the law, so surely the police and stewards
can take action…
Fan: That’s right, and they do. But it’s not enough! Fans and people in the stadium must feel
concerned and watch out as well. Do you remember this player, John Barnes? He was a target
for racist fans when he first joined Liverpool; he has called for all fans – particularly white
fans – to make a stand if they hear racist abuse from supporters whether they’re watching
Liverpool home or away. That’s what I mean.
➼ Part 4
Journalist: And what should happen to anyone found guilty of racist behaviour at the match?
Fan: They should be ejected from the ground, arrested or even have their season ticket
taken off them for life. That sounds pretty radical, but it’s the only way!

UNIT 9 • 185
UNIT
9 DESTINATION LIVERPOOL

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 74-75)


I. 2. The main topic is racism.
3. condemns • racism • abuse • cause • offence • report • telephone • incident • place
4. k abuse k offence k steward
5. – you = people going to matches – we = Liverpool Football Club
6. report (any act of racial abuse or behaviour) to the nearest steward or telephone free on
the Anti-Racism Incident Line
7. They condemn racism and ask supporters for help.
➼ PART 1
8. 2 voices: supporter and journalist
9. agree
10. shocked • abuse • monkey • noises • spitting • Barcelona • England
11. Racist acts: abuse • noises • spitting Countries: Spain • England
12. He was a victim of racist abuse.
➼ PART 2
13. k inferior k threaten k abuse k gesture
14. k being different: colour k verbal violence: abusing, insulting
15. “they are safe and all-powerful”

➼ PART 3
16. Barnes started playing for Liverpool and was abused. Some fans were racist, but Barnes
kept his temper. He never reacted publicly to the taunts but proved his worth with talent
and dignity. Barnes was one of the first Blacks to play for the English national team. He
broke the colour barrier quietly.
17. Incident: suffered from racist abuse Reactions: called for white fans to stand against racism
➼ PART 4
18. k ejected k ground
19. be expelled from the stadium • be put in prison • be banned from stadiums for ever

Approfondissement possible : The supporter is calling the radio station to tell people he
sides with / he supports Liverpool Football Club’s stand against racism. He has witnessed
racist acts in and around the stadium and feels people should fight against discrimination
and help the stewards. He recalls how shocked he was in 2000 when a player E. Herskey
was a victim of prejudice. Never ever should this happen again. Indeed, racist supporters
should be forbidden from either spitting, throwing abuse or making rude gestures because a
player doesn’t match their ideal physical appearance or ethnic origin. He voices his opinion
that such people are a disgrace to sport and football. Radical measures should be taken,
such as expelling the guilty ones from the stadium and taking their season tickets off them
for ever, if need be. Yet legal action is not enough as long as supporters themselves don’t
stand by the authorities and make racists feel like outsiders. Indeed, everybody should try
and curb racist extremists by having a positive attitude and reporting unlawful behaviour.

186 • UNIT 9
2. Understanding the poem
> Mise en œuvre : le professeur pourra utiliser la fiche du Workbook pour guider les élèves.
Puis lors du récapitulatif il demandera de répondre aux cinq questions du livre. À noter que le
texte est enregistré sur le CD classe n° 2, piste 15.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 76)


1. k I = the poet, a football supporter k We = supporters
2. I want to see
3. – 20,000: number of fans in a stadium – 1: a single comment – 90: minutes before violence
starts
4. k crowd k think
5. racist • hassle • harm • monkey chanting
6. Violence and racism in football are useless and stupid. They spoil the game.

Productions possibles :
a. I can see it’s a poem because the end of the lines rhyme / have the same sound: like “basis”
and “racist” or “understood” and “good”. The lines all start with capital letters, even in the
middle of a sentence. It’s free verse.
b. I think “wanna” is colloquial; it corresponds to “I want to”. Just the same, “cos” is familiar for
“because”. I think “not one comment that’s said is racist” would be “there is not any comment
which is said to be racist” in standard English.
c. The target of the poem are young football fans. The author himself is certainly a football fan.
He wants the young supporters to share his views on “good games”. He wants to denounce
violence and racism, to promote tolerance, to make people aware of an acute problem, a
widespread phenomenon. He dreams of a better world and wants people to evolve and get rid of
their prejudice.
d. That is certainly the reason why he uses substandard English, to make himself understood,
to speak the same language as young football fans. Indeed youngsters often use those
familiar expressions in songs as well.
e. A “good game” is a football match devoid of any violence or aggression. The poet thinks a
match is a kind of friendly or brotherly meeting where thousands of people share in the positive
mood of the physical contest. Racism, violence, discrimination, prejudice, insults, foul language
or abuse are out of place in the arena. Therefore a “good game” is 90 minutes of sheer
pleasure, fun and support for a town, a city or a country’s team.

3. Invent a radio spot


> Mise en œuvre :
k Cette tâche intermédiaire peut être préparée à la maison ou en classe. On demandera
aux élèves de préparer un script d’émission de radio, c’est-à-dire une prise de parole en
continu sous forme de mots clés, par exemple.
k Le vocabulaire donné dans le Help! en bas de page devra être réutilisé.
k Le professeur pourra se servir du Action! du Workbook (p. 76) qui suggère les points à
inclure dans la prestation.

UNIT 9 • 187
UNIT
9 DESTINATION LIVERPOOL

Critères d’évaluation (proposition de barème)


Exposé clair et audible 0 1 2 3
Spot intéressant, convaincant et original 0 1 2 3
Richesse de l’articulation du discours / Richesse de la langue
0 1 2 3 4 5 6
et des structures
Prononciation 0 1 2 3 4
Correction de la langue 0 1 2 3 4
Total : / 20

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 76)


1. A football fan must go by the rules and accept football as a game between well-meaning
groups. He or she must behave as a supporter, not a street fighter.
2. During a match Liverpool vs OM, a group of supporters from the west stand stood up and
started abusing some players because they disagreed with...
3. Liverpool Football Club policy on racism is very clear and simple: No excuse for racism and
violence which are forbidden and strongly punished.
4. Supporters must go by the rules / learn tolerance / behave; they can’t throw abuse /
insult other fans or players.
Stewards are allowed to arrest people / expel hooligans / take season tickets off
supporters / call the police in.
The police are there to make supporters respect the rules / to make them abide by
the law.
5. Possible sanctions are: being expelled from the stadium / being fined / having their season
ticket taken away / being arrested.
6. – No racist in our midst! – Friendly fans and football’s fun!
– Free football from fanatic foes! – Cheer and clap, good football’s back!
– I wanna see a game I won’t be ashamed of! – Respect’s out! Watch out!
– Racists give way, fair play today! – It’s cool to go by the rule!

4. Watch a video
Voir p. 421-422 et 444-446.
Le vocabulaire de cette page pourra être fixé à l’aide de la fiche suivante (téléchargeable
sur le site compagnon).

188 • UNIT 9
Check your vocabulary
1. Retrouvez les synonymes de ces mots.
a. cheer = c. insult (verb) = e. colloquial =
b. be careful = d. impolite = f. despise =
2. Complétez le tableau avec des mots de la même famille ; utilisez un dictionnaire
si besoin.
Verbes Noms Adjectifs
protect protection protective
threaten
respectful
hatred
support
convinced
pride

3. Trouvez les mots correspondant à ces définitions.


a. the action of greeting a friend and often inviting him / her to your house /
home =
b. a big group of people gathered =
c. in football it lasts 90 minutes, but in rugby it is only 80 minutes =
d. a piece of paper you have to show the steward when entering the stadium =

e. a person who likes a team and encourages it in the stadium =

CORRIGÉ
1. a. encourage b. watch out c. abuse d. rude e. familiar f. show contempt for
2.
Verbes Noms Adjectifs
threaten threat threatening
respect respect respectful
hate hatred hateful
support support / supporter supportive
convince conviction convinced
pride pride proud

3. a. welcome b. crowd c. match / game d. ticket e. supporter

UNIT 9 • 189
UNIT
9 DESTINATION LIVERPOOL

3. LIVERPOOL AND THE SLAVE TRADE MANUEL k P. 118-119

L’objectif culturel de cette double page est de comprendre comment fonctionnait le


commerce triangulaire, quelles étaient les étapes du voyage et d’où venaient les profits
qu’il engendrait.

1. The Transatlantic Slave Trade


> Mise en œuvre :
k Exploitation de la carte : la carte p. 118 pourra servir de sensibilisation au thème du texte
et permettra de visualiser les déplacements des navires du commerce transatlantique. Avec une
classe faible il faudra peut-être amener les noms de lieux comme western Africa, the Caribbeans,
the West Indies… Ce sera l’occasion de revoir l’absence de détermination devant les noms de
continents et la plupart des noms de pays. Voici quelques mots utiles à fournir au départ : head
for, be bound for, cross, empty / fill the bulk of a ship, a cargo load.
Productions possibles : Ships left Europe bound for western Africa. They intended to
buy black slaves from traders who were meeting them on the coast. This first trip was the
shortest. Then, once the captain had a cargo load of slaves, he headed for the Caribbeans
where they were sold. For the last crossing back home, the bulk of the ship was filled with
precious goods from America much needed in Europe.
a. On pourra diviser la classe en trois. Chaque groupe lira une partie du texte avec l’aide de
la fiche d’entraînement du Workbook correspondante. Ce travail pourra se faire en classe
ou à la maison.
k On choisira un rapporteur pour chaque texte et le reste de la classe prendra des notes
qui permettront de renseigner la rubrique Action! du Workbook.
k Chaque partie du Action! pourra servir de synthèse partielle, si on veut fractionner la
récapitulation.
k Si la synthèse est faite à l’écrit, le professeur pourra fournir aux élèves un transparent
qui sera (rétro)projeté et l’on corrigera collectivement. Cette synthèse pourra servir de
base à une trace écrite.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 77-78)

➼ PART 1
1. Europe • America 2. in America 3. k slavery k colonists
4. un système structuré à grande échelle 5. k slavery k slaves
6.
Where did the Production?
Who needed What characterized
What for? workforce come
workers? this agriculture?
from?
the Europeans to exploit the from Africa – cotton, coffee, tobacco
American colonies – needed a large workforce,
but was very profitable

190 • UNIT 9
➼ PART 2
7. – successful – sweetened – owner
8. vast personal fortunes • wealth • invest • banking • profits • benefited
9. slave owners • people from the working class
10. iron • coal • banking
11. tobacco • coffee • chocolate • sugar
people from the working class
12. The British economy was changed: “changed • increased • demand”
13. Colonists sold their tobacco or cotton crops to European traders.
More and more people in Europe wanted coffee or sugar.
Planters planted more cotton to make up for the demand.
A cheap labour force was more and more needed.

➼ PART 3
14. k 1699: date when the slave ship Liverpool Merchant sailed to West Africa
k 1740: date when Liverpool merchants led the British slave trade
k 1.5 million: number of Africans Liverpool was responsible for transporting
k 10 per cent: percent of slaves transported through Liverpool
15. suffix = -ly + root = cheap = à moindre coût, de façon peu onéreuse
16. k lead k bring
17. impliqués
18. a slave ship • from Liverpool to West Africa
19.
Reasons for the expansion of Liverpool Who took part in the trade?
– located in Britain’s new industrial – the city’s merchants
heartland – citizens
– a harbour on the Atlantic – mayors

b. Corrigé :
Part 1
– Europe, Africa and America were involved in the trade.
– Three groups of people are mentioned: the Europeans, slaves (human beings treated as
property) and European colonists in the Americas.
– Cotton, coffee, tobacco, sugar were grown in the colonies and required a lot of field hands.
– These crops were highly profitable because the workers were not paid for their hard work.
Part 2
– amass vast fortunes, wealth, grand houses, profits, benefited
– Bankers decided to invest the slave trade money in the iron or coal industry, and build big
houses.
– People could buy coloured cotton, tobacco, coffee, chocolate, sugar.
– Slaves helped colonists grow new products that were cheap. These goods were sold in
Europe for a good profit. The money from sugar and tobacco was spent on buying new slaves
who could grow more sugar to be sold in Europe and match the growing demand.

UNIT 9 • 191
UNIT
9 DESTINATION LIVERPOOL

Part 3
– It was the first slave ship to sail from Liverpool to West Africa.
– In October1699 the Liverpool Merchant left the Mersey River, in Liverpool.
1.5 million Africans were transported into slavery by Liverpool slave ships.
In the 1740s, Liverpool was the leader of the British slave trade.
– Liverpool became one of the main trading cities because of its location in Britain: It was a
harbour on the Irish Sea (international trade) and at the same time national trade with the
inland was made easy by the many rivers and canals connected to the city.
– “Nearly all the principal merchants and citizens of Liverpool, including many of the mayors,
were involved.” (l. 51)
c. On encouragera la classe à utiliser le Help! et à se servir du Action! du Workbook pour
préparer la prise de parole en continu qui récapitule le texte. Les élèves peuvent se reporter
à la p. 54 du manuel (« Prendre la parole en continu ») où ils trouveront une liste de gap fillers.
Approfondissement possible : The Transatlantic Slave Trade was a well-organised and highly
profitable business. Colonists from America could grow new products which would sell well in
Europe, such as cotton, coffee, sugar or tobacco. Yet these crops needed many field hands
to grow. Therefore African slaves were brought to the New World to work for free, and this
enabled plantation owners to become immensely rich. Indeed the slave owners managed to
export these exotic crops to Europe and cash in vast profits while their spending on manpower
remained reasonable. By and by, the European working class came to enjoy these plantation
goods and rely on their regular arrival in Britain. The more they bought, the more slaves arrived
in the colonies to enlarge the plantation fields. A whole system was born; Liverpool (or Nantes
in France) was a leading city in Europe for the trade. Thousands of African slaves travelled on
Liverpool ships and many well-known citizens took part in this ghastly human bondage.

2. The Essex, a slave ship from Liverpool


a. En anticipation à l’écoute, on demandera à la classe de décrire le tableau de la p. 119.
Ce sera peut-être le moment de réactiver la description d’image ; si besoin, les élèves
s’aideront des p. 281-282 du manuel (« Commenter un document visuel »). Attention à bien
préciser qu’on utilise le pronom personnel she pour les navires.
Productions possibles : This painting was completed at the turn of the 19th century and
shows a sailing ship in the middle. I can see the Union Jack both at the front / on the first
mast / on top of the foremast (mât de misaine) and at the rear / behind the third sail / on
the mizzenmast (mât d’artimon); so it must be a British ship. I can guess she is a slave ship
but the cargo is not visible. There are other boats around, probably heading for the harbour.
Besides, there are houses and walls behind the main ship and I presume it is the city of
Liverpool. She is about to unload her trading goods from the colonies / her hull must be full
of sugar and tobacco bags. Yet there can’t be any slaves on board because I’ve read that no
African slave ever travelled to Europe; they were meant to work in the colonies.
Cette tâche intermédiaire est le dernier entraînement de l’unité avant la tâche finale. Les
élèves écouteront l’interview et pourront travailler avec la fiche du Workbook qui les aidera
à comprendre les étapes du voyage de ce bâtiment négrier.

192 • UNIT 9
> Script de l’enregistrement
➼ Part 1
Journalist: So Mr Potter, you have found an incredible document in your father’s attic.
Mr Potter: Indeed. My ancestor’s ship’s log. Captain Peter Potter entered the ship’s
routine, destination, trading accounts, everything that happened on board The Essex.
➼ Part 2
Journalist: Could you give us some details?
Mr Potter: Well, I’m afraid to say The Essex was a slave ship built in Liverpool in 1770.
Journalist: Oh really? What exactly do you know about this ship?
Mr Potter: She left Liverpool on June 13th 1783, with 33 sailors and a big cargo for trading
with African chiefs: mainly coloured beads, razors and tea. On July 16th, a month later, she
stopped at Cape Verde islands for water and fresh food. She arrived at Bassa Cove, on the
west coast of Africa on August 18th. They stayed there for 7 months...
Journalist: Gosh, that’s a long time!
Mr Potter: Yes, trading with the African chiefs was very slow. Eventually the ship left Africa
on March 25th 1784 with 330 slaves on board.
➼ Part 3
Journalist: How long did the passage last?
Mr Potter: The passage took 51 days. Unfortunately 48 Africans died during that horrible
crossing. They stayed in the Caribbean 70 days, about 2 months and a half, and left for
Europe on July 15th.
➼ Part 4
Journalist: What happened to the slaves afterwards? Do we have any information?
Mr Potter: Oh yes, everything is carefully registered in the ship’s log. Apparently the
auction took place on July 12th and they sold badly because they were not in good health.
Anyway there was enough money to make a substantial profit and to get sugar and ivory
back home to England.
Journalist: When did she arrive in Liverpool?
Mr Potter: She was towed into the docks on September 1st 1784, one year and 47 days later.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 79-80)

➼ PART 1
1. descendant of the Captain of The Essex, Peter Potter 2. in his father’s attic
➼ PART 2
3. Liverpool. Built in 1770 4. June 1783 5. the number of sailors
6. cargo • chief • coloured • beads • razors • tea • July 16th • 1 month later • water •
food • August 18th • 7 months
7. Products from England: beads • tea • razors
Stop over at the Cape Verde: what for?: for water and fresh food
After leaving Africa: left on March 1784 with 330 slaves on board, and the passage took
51 days

UNIT 9 • 193
UNIT
9 DESTINATION LIVERPOOL

➼ PARTS 3 AND 4
8. k 51: number of days the passage took k 2.5: months they stayed in the Caribbean
k 48: number of Africans who died k July 12th: the day when the auction took
k 70: number of days they stayed place
in the Caribbean k July 15th: the day when they left for Europe
9. not in good health
10. Departure date from Africa: July 15th Number of slaves on board: 330
Number of days at sea: 1 year and 47 days What happened to some slaves: 48 died
Number of days in the Caribbean: 70 days Departure date for Britain: July 15th
11. Anyway there was enough money to make a substantial profit and get sugar and ivory back
home to England.

b. On s’appuiera sur le Action! du Workbook pour aider les élèves à reformuler leurs notes.
Corrigé :
– The trip took the ship from Europe to Africa, with one stop for water and food on the way. She
stayed 7 months anchored along the western coast of Africa for the trading of slaves. Then she
left for the Caribbeans. But 48 slaves died during the horrible passage and nearly all the others
arrived in bad health. They were sold and the money used for trading sugar. The round trip took
The Essex back to Europe one year and 47 days later with a new, highly profitable cargo.
– She left Liverpool on June 13th 1783 with 33 sailors led by Captain Peter Potter.
– The sailors had a big cargo of coloured beads, razors and tea to exchange for slaves, once
in Africa.
– She arrived on the west coast of Africa on August 18th and stayed there for 7 months.
The ship left Africa on March 25th 1784 with 330 slaves on board.
– The ship arrived in the Caribbeans 51 days later / in mid-April. Of the 330 slaves taken
in Africa, 48 had died during the crossing, so there were 282 slaves on board.
– She left for Europe on July 15th with sugar and ivory.

4. THE MIDDLE PASSAGE MANUEL k P. 120

1. Observe these pictures


> Mise en œuvre :
Le professeur demandera aux élèves d’observer les trois images dans leurs manuels ou les
(rétro)projettera l’une après l’autre.
a. On ne demandera que les premières impressions. Puis on pourra enrichir l’expression pour
la trace écrite en utilisant le Help! de la page.
Le travail pourra se faire en divisant la classe en trois groupes, chacun se concentrant sur
une image. Un rapporteur présentera ensuite les impressions de son groupe au reste de la
classe qui prendra des notes.

194 • UNIT 9
b. L’association picture / aspect of the slave trade se fera également avec l’aide du Help!
L’expression on board aura été vue lors de l’étude des p. 118-119 ou sera donné par
le professeur ; forced march et transport below deck seront repérés dans le Help!
c. On reprendra ici les éléments fournis en b. en étoffant ce qui deviendra la trace écrite.
d. On insistera sur la nécessité d’exprimer une opinion personnelle et de la justifier.
Productions possibles :
Picture 1. We can see a ship at sea. The corpse of a black man is floating in the water on the
left. Maybe the other two black spots in the water are other corpses. The scene looks peaceful
but then you see the corpses, it’s shocking! This corresponds to the Middle Passage, on board
ship from Africa to America. To me, this picture is the worst because of the presence of the
corpses in the ocean. Something terrible must have happened, maybe they were killed by
traders.
Picture 2. Strong, muscular black slaves, men and women, are standing, chained and wearing
shackles. They look resigned. On the left, a white man, a trader, is standing with an arm / a rifle
in his hand. He looks mean. The scene is cruel and is probably set in Africa: It’s a forced march
before boarding the ship. This picture is the most revolting: The slaves look big and strong but
have been captured and are chained and treated like prisoners to be dragged away from Africa.
It’s the end of freedom for them.
Picture 3. Slaves are lying on bunk beds: they are chained even at night. They have no living
space to move. This illustrates the transport below deck on board ship. This picture shocks me
most because the slaves are presented like merchandise / goods on shelves. It’s inhumane!
Prolongement possible : on pourra rapprocher l’image 1 du tableau de Turner, The Slave
Ship, et montrer les correspondances entre les deux œuvres.

2. Writing workshop
> Mise en œuvre :
k Cet entraînement à l’expression écrite pourra donner lieu à un travail individuel en
classe ou à la maison. On peut aussi envisager un travail en binômes ou en groupes.
k On pourra exiger que tous les mots du Help! soient réemployés et soulignés dans la
production écrite.
k On pourra subdiviser la production écrite en trois parties :
– in Africa: chains and shackles / attitudes
– on board ship to America: conditions and traders’ attitudes
– what happened to the slaves during the Passage
Prolongement possible : le vocabulaire pourra être fixé à l’aide de la fiche suivante
(téléchargeable sur le site compagnon).

UNIT 9 • 195
UNIT
9 DESTINATION LIVERPOOL

Check your vocabulary


1. Ces mots ressemblent au français. Lesquels sont des mots transparents ? Lesquels
sont des faux amis ? Classez-les dans le tableau et donnez la traduction des faux amis.
capture • port • cruel • passage • profitable • chain • consume • sensitive

mots transparents faux amis

2. Fabriquez des noms composés en prenant un mot dans chaque colonne.


heart • work • hand • ware • water • sea cuffs • land • house • force • man • front

a. d.
b. e.
c. f.
3. Complétez avec les mots appropriés.
The majestic three-mast The Enterprise set from Liverpool in Spring 1798.
Her sailors travelled in bad conditions: They slept on below .
Her Captain, John Ravenger, was a man who treated his men harshly:
He often used his to punish them when they did not .
Any sailor who challenged him was in a cell and lived with
on his wrists and on his feet to prevent him from escaping.

CORRIGÉ

1.
mots transparents faux amis
capture • port • cruel • profitable • passage = traversée • consume = consommer •
chain sensitive = sensible
2. a. heartland b. workforce c. handcuffs d. warehouse e. waterfront f. seaman
3. The majestic three-mast The Enterprise set sail from Liverpool in Spring 1798. Her sailors
travelled in bad conditions: They slept on bunk beds below deck. Her Captain, John
Ravenger, was a cruel man who treated his men harshly: He often used his whip to punish
them when they did not obey. Any sailor who challenged him was locked in a cell and lived
with handcuffs on his wrists and shackles on his feet to prevent him from escaping.

196 • UNIT 9
LANGUAGE AT WORK MANUEL k P. 121-123

> Improve your pronunciation


1. \Å\ : dock • shop \∏…\ : world • work \EÁ\ : cope • growth • role • sold
2. \Ø\ : flood \u…\ : boom • Liverpool • troop \Á\ : look
3. \I\ : ship • river • famine \∏…\ : first \aI\ : tide
5. Les terminaisons -ous sont réduites en \Es\ (et l’accent se place sur la syllabe qui précède).
6. On utilisera le site compagnon pour le respect des groupes de sens et des mots accentués.

> Build up your vocabulary


1. Town: boom town • migrant group • shipbuilding • warehouse • townspeople • exhibition tour
Seaside: quayside • seaman • dock reconstruction
Slavery: shipping line • tradesman • lifeboat
2. Ils sont tous constitués de deux noms séparés ou attachés. Le dernier nom est le nom
principal. Le premier nom ajoute une précision et est en général accentué.

> Obligation / interdiction / absence d’obligation


1. Obligation : a et d Interdiction : c Absence d’obligation : b
k Ces modaux sont invariables et sont suivis de la base verbale du verbe.
2. Obligation : have to Interdiction : is forbidden to Absence d’obligation : don’t have to
3. a. une opinion personnelle de l’énonciateur b. une simple constatation
4. Passé : a. had to (obligation) b. were forbidden to (interdiction) c. didn’t have to (absence
d’obligation)
Avenir : d. will have to (obligation)
– Obligation : have to – Absence d’obligation : not have to – Interdiction : be forbidden to

> Capacité / permission


Capacité Permission
Présent can (sing) can (clap)
Passé were never able to could (wear)
Avenir will be able to will be allowed to

> Practice
1. a. Présent : phrase 1. Passé : phrases 3 et 4. Avenir : phrase 2.
Obligation : phrases 2 et 3. Interdiction : phrase 4. Permission : phrase 1.
2. 1 must 2 can’t 3 needn’t 4 will be able to 5 can 6 must

UNIT 9 • 197
UNIT
9 DESTINATION LIVERPOOL

3. a. 1 had to 2 had to 3 couldn’t


b. 1 had to 2 could 3 could 4 didn’t have to 5 had to 6 could
4. Cette activité réactivera toutes les formes, modales et équivalentes, vues auparavant pour
l’expression de l’autorisation, la permission et l’interdiction et fera l’objet d’un travail à
la maison. On renverra les élèves à la p. 213 pour la bonne mise en forme du dialogue.
Au préalable, le professeur pourra demander à la classe de prendre connaissance du
document à droite General Information et de repérer les rubriques qui correspondent aux
questions du dialogue.

YOUR TASK MANUEL k 124-125

ENTRAÎNEZ-VOUS
> Script de l’enregistrement
Everybody has heard about the tragedy of the Titanic. But how much do you really know
about it? Titanic, then the largest ship in the world, left Southampton for New York on
Wednesday 10 April 1912. On board were 922 passengers, later rising to 1,316 after stops
at Cherbourg and Queenstown, Ireland. With her crew of 892 she carried 2,208 people
in all. Her 20 lifeboats could only carry about half of the people on board. At 11.40 p.m.
on the night of Sunday 14 April she struck an iceberg to the south-east of Newfoundland,
which fatally damaged the hull. The ship sank over two and a half hours later with the
loss of over 1,500 lives. Titanic was registered in Liverpool and so carried the city’s name
on her stern, but she sailed from Southampton, and never visited Liverpool. Besides, the
Titanic had strong links with her home port. Did you know? Captain Smith of the Titanic
lived in Waterloo, near Liverpool, for 40 years, before moving to Southampton in 1908.
The eight heroic musicians in the Titanic’s band were recruited by music agents of Liverpool.
Fred Clarke, as well as all the other musicians, famously kept playing while the Titanic sank.
The Liverpool-based Cunard liner Carpathia rescued all 705 survivors of the Titanic disaster.
J. Bruce Ismay, chairman of the White Star Line, had fine houses in Liverpool and on the
Wirral. He escaped from the Titanic by climbing into one of the last lifeboats to be lowered,
but only after helping many other passengers into boats. Fred Fleet, the Titanic’s lookout
who spotted the iceberg, was originally from Liverpool. He always said that if he had been
supplied with binoculars, the ship might have been saved.
Corrigé :
1. b. a3 • b2 • c5 • d4 • e12 • f6 • g9 • h8 • i7 • j10 • k11 • l1
2. b. 10 (April) 1912 • 922 • 1,316 • 892 • 2,208 • 20 • 11.40 (p.m.) • 14 (April) • 1,500 •
40 • 1908 • 705
c. 1. Nombre de passagers à Southampton : 922 5. Nombre de passagers au total : 1,316
2. Nombre de canots : 20 6. Nombre de victimes : over 1,500
3. Heure : 11.40 p.m. 7. Nombre de membres d’équipage : 892
4. Date du départ : Wednesday 10 April 1912 8. Date de la tragédie : Sunday 14 April
3. a. captain • musician • chairman • lookout
b. captain: Edward Smith • musician: Fred Clarke • chairman: Bruce Ismay • lookout: Fred Fleet

198 • UNIT 9
4. 1. Right 2. 8 3. Wrong (he had lived in Waterloo, near Liverpool, for 40 years, before moving
to Southampton in 1908). 4. 705 5. Southampton

LES ÉTAPES À SUIVRE


> Script de l’enregistrement
➼ Part 1
John Murden: Hello. My name’s John Murden and I’m curator of Liverpool history at the
Liverpool National Museum. I’m going to tell you something about “Magical History Tour:
The Story of Liverpool”, the special exhibition at Merseyside Maritime Museum that has
been put together to celebrate the 800th birthday of Liverpool’s foundation.
➼ Part 2
Liz Stewart: Hi there, I’m Liz Stewart, I’m curator of archaeology for the Museum of
Liverpool. I’m just going to tell you a little bit about this first section of the gallery, “Life before
Liverpool”. This is where we really start to explore the very early history of Liverpool because
although we’re celebrating our 800th anniversary this year [sic 2007] since the Liverpool
Charter or “Letters Patent”, there were actually people living around the Mersey for around
9,000 years. The Mersey itself, or the Pool of Liverpool, was formed around 8,000 years ago
as the ice receded after the last Ice Age. That pool, and the one over on the Wirral, started to
become the key areas where people started to settle in the Prehistoric period.
➼ Part 3
John Murden: The star attraction here is the actual 1207 charter that founded Liverpool,
signed by King John on 28th August 1207. King John planned Liverpool as a place from which
troops and supplies could leave England to invade Ireland. The new town had seven streets
laid out near the old pool. It provided John with both a safe harbour and a source of income
from his tenants.
➼ Part 4
Increasing trade in the 1690s and early 1700s meant that the old tidal Pool of Liverpool was
struggling to cope with increasing amounts of trade and shipping. He converted the Pool
into a dock with quaysides and a river gate. Completed in 1715, the dock made it possible
for ships to load and unload whatever the state of the tide, and was the first commercial
wet dock anywhere in the world.
Of course one of the most important things that underpinned much of Liverpool’s growth
at this time was its significant role in the transatlantic slave trade. You can find out about
some of this in Magical History Tour and in the new International Slavery Museum, also at
the Maritime Museum.
➼ Part 5
Some of the displays around the dock reconstruction explain how Liverpool became a
boom town in the 18th and 19th century. There’s exhibits that look at Liverpool’s role in
the development of the railways and the canals, in the development of dock technology, in
shipping lines and in shipbuilding. There’s also a reconstruction of an 18th century shop
with some of the things that were made, bought and sold in Liverpool, from matches in the
matchmaking factories that were important in Liverpool, to the importation of tobacco and
sugar and Liverpool’s role in the development of banking, insurance and finance.

UNIT 9 • 199
UNIT
9 DESTINATION LIVERPOOL

➼ Part 6
Liverpool grew from a town of around 77,000 people in 1801 to a bustling city of almost
700,000 people in 1901. It explores some of the impacts that this tremendous growth had in
terms of health, in terms of jobs and in terms of education and in terms of housing. This sec-
tion of the exhibition also looks at the experience of some of the people who flooded into this
booming city in the 19th century. It looks at the experience of the Irish, the most significant
migrant group to settle in 19th century Liverpool; what they experienced in terms of escaping
famine and arriving in Liverpool. How many came as part of a journey to the New World but
remained, forming strong communities that would have a significant impact upon the city’s
accent, culture, politics and religious beliefs. The exhibition also looks at the other communi-
ties who arrived in Liverpool at this time and made it one of the most multicultural cities in Bri-
tain by 1900. The role that Liverpool ships played on the emigration routes to America meant
that millions of migrants passed through the city. Some came from Africa, some came from
Russia and China. Others came from closer to home, from Wales and from Scotland and from
the Lancashire area. This made Liverpool a truly world city because escaping famine, persecu-
tion or in search of work, many diverse communities chose to make Liverpool their home.

> Fiche d’évaluation de la tâche d’écoute (téléchargeable sur le site compagnon)

Family name, first name:


Class: Date:

1 Tick the correct answer.


a. Where does the exhibition take place? • the Merseyside Maritime Museum
• the International Slavery Museum • the Museum of Liverpool 1
b. This exhibition celebrates: the 2008 capital of culture • the annual city
festival • the 800th birthday of the city • the 600th birthday of the city 1
/2
2 a. What period of time is Liz Stewart speaking about? 1
b. How long have people lived around the Mersey? 1
/2
3 Find information about the charter (charte).
a. When exactly was it written? 1
b. Who signed it? 1
c. What was the city used as? 2
d. How many streets were there? 1
/5
4 a. What problem was the city confronted with? 1
b. What was renovated? the cathedral • the docks • the market place 1
c. When was the work finished? 1
d. What other trade helped the city develop? 1
/4

200 • UNIT 9
5 a. What centuries are mentioned? – – 2
b. Name two means of transportation which helped the city grow.
– – 2
c. Pick out three objects made or sold in Liverpool.
– – – 3
d. What economic sectors developed fast?
– – – 3
/ 10
6 Find information about:
a. the number of inhabitants in 1801 = in 1901 = 2
b. the country of origin of a major group of immigrants: 1
c. the century they migrated to Liverpool: 1
d. the reason for emigrating: 1
e. the impact they had on the city:
– –
– – 4
f. Where did the other waves (vagues) of immigrants come from? Name:
– one continent:
– two countries:
– three areas in the UK:
– – – 5
g. Reasons for emigrating:
– – – 3
/ 17

Total : / 40 points

Corrigé :
1. a. the Merseyside Maritime Museum b. the 800th birthday of the city
2. a. Life before Liverpool / the very early history of Liverpool. b. There were actually people
living around the Mersey for around 9,000 years.
3. a. 1207 b. King John c. a place from which troops and supplies could leave England to
invade Ireland d. seven streets
4. a. The population of the city was increasing and shipping developped very fast.
b. the docks c. in 1715 d. the Transatlantic Slave Trade
5. a. – 18th century – 19th century b. – the railways – the canals c. – matches – tobacco –
sugar d. – dock technology – shipping lines – shipbuilding
6. a. inhabitants in 1801 = 77,000, in 1901 = 700,000 b. Ireland c. 19th century
d. escaping famine / on their way to the New World e. – accent – culture – politics –
religious beliefs f. – Africa – Russia and China – Wales, Scotland, Lancashire
g. – escaping famine – persecution – in search of work

UNIT 9 • 201
UNIT
10 LIFE IS ART

Life is art
Nous avons choisi de travailler le Pop Art car les élèves sont en général très sensibles à
cette forme d’art, dont les thèmes font partie de leur quotidien, sans même qu’ils en aient
conscience. Ces œuvres sont faciles d’accès et permettent de déclencher la parole. Grâce
à cette approche artistique, certains élèves que l’on n’entend jamais s’expriment enfin
en classe.

N. B. : pour les descripteurs du CECRL se rapportant à la compréhension orale, voir p. 149.

Manuel Workbook Fiches


photocopiables

Tâche finale Choisir le meilleur audioguide et justifier


son choix

Objectifs Mémoire • Création


culturels

Lexique k la société de consommation


k le vocabulaire lié à l’art (techniques,
couleurs)
k la description physique (p. 127, 132,
133)
k exprimer ses réactions et sentiments

Grammaire k la modalité épistémique : must, may /


might, can’t

Phonologie k l’accentuation de mots (p. 133)


k les suffixes contraignants : -ion / -ic
(p. 133)
k les groupes de souffle (p. 133)

Structures de k exprimer le but


communication k aimer / ne pas aimer
k comparer
k préférer

202 • UNIT 10
Activités langagières dominantes

Manuel Workbook Fiches


photocopiables

Écouter k Listen and draw (p. 126) X


k Listen to an art fan (p. 127) X
k The Swinging Sixties (p. 130) X
k An audio guide of Sixteen Jackies (p. 130) X
k Your Task (p. 136-137) X
k site compagnon, U10–Dialogue: In a X
museum shop

Prendre k Tune in, A. Warhol, E. Ruscha (p. 126)


la parole k Supermarket Lady, D. Hanson (p. 127)
en interaction k Big Splash, D. Hockney (p. 129)
k Eddie Diptych, R. Lichtenstein (p. 132)
Prendre
la parole
k President Elect, J. Rosenquist (p. 130)
en continu
k Sixteen Jackies, A. Warhol (p. 131)

Lire Mountains o’ Things, T. Chapman (p. 128-129) X

Écrire M-Maybe, A. Warhol (p. 135)

N. B. : les titres en gras indiquent les documents à étudier afin de réaliser la tâche finale.
Nous vous rappelons que les Help! sont enregistrés sur le CD classe et que les exercices
Improve your pronunciation sont téléchargeables sur le site compagnon.

TUNE IN! MANUEL k P. 126

1. Listen and draw


– Cette première activité permettra de revoir en contexte toutes les prépositions nécessaires à
la localisation dans l’espace. Les élèves pourront se référer à la p. 281 du manuel (« Commenter
un document visuel »).
– On pourra également utiliser le transparent n° 9 sur lequel est reproduite l’œuvre en
question de Wesselmann.

> Script de l’enregistrement


One of the main elements in this painting is the fridge which is on the left, next to the sink.
On the fridge there are three bottles of soda all in a row.
In the background, through the window, we can see a very high tower standing among other
buildings on a hill.
On the window-sill there is a plant and two enormous oranges.

UNIT 10 • 203
UNIT
10 LIFE IS ART

In front of the sink we can see a table which is covered with all sorts of food ready to be eaten.
In the foreground we can see a huge yoghurt, and in the bottom right-hand corner a very
big tin of sliced pineapple.
On the left, next to the yoghurt, there is a hot dog and behind it, pancakes with honey on them.
A loaf of bread which has been opened can be seen between the pancakes and the tin of
pineapple.
Completely on the left there is a piece of bacon and behind it a carton of milk, a glass and
some fruit.
On the far side of the table (beyond the pancakes), we can see cereals in a big cardboard
box, and also different sorts of cereals, all in small boxes, and a red pot in between.
There is some coffee in a coffee-pot on the cooker.

2. Observe and speak


> Mise en œuvre possible : diviser la classe en deux, chaque moitié étudiant une peinture.
À l’intérieur de chaque groupe les élèves pourront travailler individuellement ou en binômes.
Si l’activité a été préparée à la maison, on pourra passer tout de suite à la confrontation des
réponses et à la reprise collective. Pendant qu’un ou plusieurs rapporteurs prennent la parole, on
fixera des tâches d’écoute ciblées aux autres élèves (lexique, phonologie, grammaire, contenus).
L’exercice proposé dans le Workbook (p. 82) permettra de faire une synthèse des deux
peintures, du mouvement du Pop Art et de ses objectifs.
N. B. : le nom Ruscha se prononce « Rooshay ». On peut l’écouter sur Internet à l’adresse
suivante www.forvo.com/word/ed_ruscha/
Productions possibles :
k Five Coke Bottles, Andy Warhol
Coke is a dominant feature of America / is the most popular and biggest-selling soft drink in
history, the best-known trademark in the world. It has become the official drink of the USA.
It is now the cultural icon of the USA.
We are struck by the row of five Coca-Cola bottles. The bottles all look similar / identical.
They embody mass consumption / the consumer society. This object of our everyday life
is immediately recognizable / is part of a mass culture. Moreover the brand stands out in
red. This everyday life object embodies the American way of life. Coke has thus become an
aspect of the American Dream. Anybody can afford a Coke. It also suggests uniformity, the
standardization of tastes and monotony. The Coca-Cola label is famous / universal. The
design is simplistic and yet it is eye-catching.
k Standard Station, Edward Ruscha
We are struck by the dominant red colour, the corporate name “Standard”, the red pumps,
the white building in the background. The gas station stands against a blue sky. The painting is
very geometrical. This painting symbolizes the incursion of corporate signs into the American
landscape. The blue sky reminds us of California and of Los Angeles in particular. L. A. is a world
of parking lots, wide roads and gas stations. The artist focuses on a banal gas station.

Informations complémentaires
Ruscha took photographs of gas stations on the legendary Route 66 highway which
connects Oklahoma to Los Angeles. The view of the road has an economic aspect.
This painting gives an impression of a cold and dehumanized world.

204 • UNIT 10
CORRIGÉ DE LA FICHE DU WORKBOOK (P. 82)

II. Observe and speak


a) Pop Art is a visual art movement from the 1960s and 1970s. Pop Art is short for Popular Art.
It used everyday objects, consumer products as well as popular images used in advertising
and product packaging and the media. Images of Pop Art were familiar, recognizable and
included such things as gas stations and Coke bottles. Pop artists, such as Andy Warhol,
said they wanted to portray America as it was. They used bright colours to present mass
consumption products.
b) Coke is the most popular soft drink in the USA. It has become a symbol of America.
Warhol painted bottles of Coke because they are symbols of the American way of life and
our consumer society. It also suggests uniformity and standardization. It is cheap and
everybody can afford a Coke. This explains the success of this product. However, it also
means monotony and the standardization of tastes.

Informations complémentaires
Sur le site du musée Andy Warhol de Pittsburgh, on trouvera une mine d’informations
et de documents sur le Pop Art à utiliser en classe. Citons notamment :
– un PowerPoint remarquable qui peut être téléchargé à l’adresse suivante :
www.edu.warhol.org/20c_ppt.html et faire l’objet d’un travail au vidéoprojecteur
ou en salle multimédia ;
– une chronologie interactive : www.edu.warhol.org/20c_timeline.html

1. SUPERMARKET LADY MANUEL k P. 127

1. Over to you
> Mise en œuvre
k Ce travail pourra être préparé à la maison. De retour en classe les élèves pourront
confronter rapidement leurs réponses en binômes. Une prise de parole en continu pourra
ensuite avoir lieu et être suivie d’une reprise collective.
k Si nécessaire, les élèves les plus fragiles traiteront la question a., tandis que les plus
solides s’attaqueront à la question b. qui est plus abstraite.
k L’analyse pourra être complétée en écoutant l’enregistrement rattaché à la question 2
(Listen to an art fan).
Productions possibles :
a. What I find the most striking / incredible / impressive / unpleasant is that… What strikes
me most is…
The sculpture is in the middle of a room in an art gallery. It is surprising to see a hyper realistic
sculpture. This woman looks real.
She is a plump housewife pushing her trolley in a supermarket. She is in her thirties or forties /
is middle-aged. She is wearing a tight blue skirt and a pink T-shirt. She is still in her rollers.

UNIT 10 • 205
UNIT
10 LIFE IS ART

Her trolley is full to the brim. This woman seems to be overfed / to overeat. The trolley is
full of big cartons, cans, bottles, we can even recognize the brands of the products she has
bought.
b. It is a mirror of our consumer society. This woman embodies the American way of life, a
society based on consumption. The artist uses objects from our everyday life. He certainly
wants to denounce overconsumption. People are brainwashed into buying more and more.
TV commercials urge us to buy more and more.
The artist denounces / exposes our consumer society. He wants to make us aware of an
ugly reality. We are shopaholics. This sculpture warns us about the dangers of our consumer
society. It is a satire of today’s society.

2. Listen to an art fan


> Mise en œuvre
On procédera à une écoute avec prise de notes. Dans la mesure où de nombreux éléments
sont connus, il ne nous a pas paru nécessaire de fournir ici une fiche détaillée d’aide à
l’écoute.
La grille proposée dans le Workbook pourra être rapidement remplie.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 83)

Description
Feelings Why?
of the woman
First shocked, it’s gross – plump woman pushing realistic and cruel
her shopping cart
– fat American
housewife
Afterwards – shocking and revolting – typical housewife – makes people aware
– realistic and cruel – cart full to the brim of the danger of
– ugly scene consumer society
– a mirror of our – doesn’t want to look
consumer society like this woman in a few
years

> Script de l’enregistrement


Journalist: What was your initial reaction to the sculpture and why?
Julia: The first time I saw it I was shocked. I thought: “How gross!” What’s the point of
showing a plump woman pushing her shopping cart? I thought it was real. Then I realized it
was a sculpture. I wondered why Duane Hanson modelled a rather fat American housewife.
When you come to think of it this work of art is both realistic and cruel.
Journalist: What makes you think it is both realistic and cruel?

206 • UNIT 10
Julia: It’s realistic because it is an everyday scene, a very commonplace situation. This
woman is a typical housewife in her rollers, her tight skirt, and with her cigarette. Her cart
is full to the brim: cans, bottles, bags. She’s bought loads of food, and piles of junk food.
She’s just bought all this food to feed her family. We can actually read all the brand names.
It is also cruel because this scene is really ugly, but that’s what we can see every time we
go to the supermarket. It’s a mirror of our consumer society. Consumers want to buy more
and more. The artist is very clever. It is so shocking, so revolting, it makes you aware of our
consumer society and all its drawbacks. And honestly I don’t want to look like this woman
in a few years.
Prolongement possible : on pourra faciliter la mémorisation du lexique de la rubrique Help!
grâce à l’exercice suivant.

Check your vocabulary


Traduisez les phrases suivantes. Tous les mots en gras sont dans le Help!, p. 127.
1. Cette sculpture est une critique acerbe de notre société de consommation.
2. Elle montre les défauts de notre société de consommation.
3. Cette femme est laide.
4. La pile de produits est écœurante / dégoûtante.
5. Pour dénoncer les défauts de notre société, l’artiste a exagéré certains points.
6. L’artiste dénonce une société où les gens ont des caddies pleins à ras bord. Il veut que
les gens soient conscients de cette situation.

CORRIGÉ
1. The / This sculpture is a harsh criticism of our consumer society.
2. It shows the drawbacks of our consumer society.
3. The / This woman is ugly.
4. The stack of products is gross.
5. To denounce the drawbacks of our society, the artist exaggerated a few points.
6. The artist denounces a society in which people have shopping carts / trolleys that are full
to the brim. He wants people to be aware of this situation.

UNIT 10 • 207
UNIT
10 LIFE IS ART

2. I WANT MORE MANUEL k P. 128-129

1. Get ready
Productions possibles : It’s ugly! Very kitschy! The statue is tiny compared to the bank notes.
The woman is sitting on a pile of money. Does she really have a huge fortune, or does she
dream of making big money? She wishes she won the lottery / married a millionaire / earned
a lot of money / inherited a fortune.
The song may be about a person dreaming of a better future, a woman who has lost a lot of
money gambling or on the stock exchange. It represents the American Dream. The narrator
may be an immigrant who is attracted to the States and dreams of new and better opportunities.

2. Understanding the lyrics


> Mise en œuvre
k La chanson pourra être traitée en entier et collectivement.
k Dans la mesure où cette chanson se compose de deux parties qui s’opposent mais se
répondent, le texte pourra aussi être divisé en deux. Un groupe s’occupera des strophes
1, 2 et 3. L’autre moitié de la classe traitera les strophes 4, 5 et 6, que l’on réservera aux
élèves les plus solides. Chaque groupe remplira la partie correspondante du Workbook et
prendra des notes sur la partie qu’il n’a pas étudiée. La synthèse (Action!) sera faite par
toute la classe.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 83 À 85)


I. Understanding the lyrics
➼ PART 1 (stanzas 1, 2 and 3)

1. I guess I’ll never have the life I’ve always wanted.


2. “Always” and “want” are opposed to “I’ll never have” (l. 2).
3. I’ll have a boss. + I’ll always obey my employer’s orders.
4. They refer to the future.
5. k “A life of ease” (l. 5) k “I’m in my grave” (l. 4)
6. “life of ease” (l. 5) • “mountains oh mountains o’ things” (l. 6-7) • “big expensive car” (l. 8) •
“drag my furs” (l. 9) • “have a maid” (l. 10) • “Champagne and caviar” (l. 18)
7. envy (l. 12) + greed (l. 13)
8. k “you”: Prince Charming
k “me”: a worker + the narrator
k “we”: the have-nots + needy people + unprivileged people
9. “know what money’s worth” (l. 22)
10. “mountains o’nothing” (l. 24) # “mountains o’ things” (l. 7)

208 • UNIT 10
➼ PART 2 (stanzas 3, 4 and 5)

11. rich
12. k “they”: people with morals
k “my”: the narrator
k “you”: the narrator (the rich / wealthy man)
13. “you”: the consumer society.
14. “it”: the narrator’s funeral / burial
15.
Material life Solitude
– all those material things (l. 29) – lonely (l. 36)
– Consume more than you need (l. 32) – I feel lonely (l. 40)
– queen (l. 35) – my sadness and loneliness (l. 48)
– all my mountains o’ things (l. 39)

II. ACTION!
➼ RECAP 1 (stanzas 1, 2 and 3)

1. The narrator is probably a needy person. She may be poor, underpaid, badly off, even
destitute.
2. She belongs to the working-class, the have-nots, the underprivileged. She feels excluded
from the world of wealth and affluence. She must be in dire straits.
3. She dreams of becoming rich / wealthy /well-off, of belonging to the upper class, of living
in a mansion. She wishes she could enjoy wealth, material comfort, a high standard of
living / have better living conditions. She wishes she were able to afford luxurious things
such as caviar and champagne, more consumer goods. She wishes someone could wait
upon her. She wishes her dreams came true, were fulfilled.
She can’t bear / put up with her life any longer. She craves for a new life, a higher social
status. She wants to escape poverty, a life of misery. She feels bitter, trapped, hopeless
and frustrated. She longs to have a better future.
Approfondissement possible : The first narrator must belong to the working class; indeed
he / she is an employee. In the first stanza, the narrator voices his / her bitterness, his / her
resentment. He / She wishes he / she could become his / her own boss to be able to make
his / her own schedule. He / She may be sick and tired of being at someone’s beck and call.
The narrator’s dreams will never come true; he / she won’t be able to achieve his / her life-
long dream. He / She might not even be able to retire and enjoy some well-deserved holidays
(“I’ll be working till I’m in my grave”). No wonder he / she is bitter! We notice that his / her
dreams were very materialistic and that he / she aimed at impressing others. If he / she had
been well-off, he / she would have boasted to make other people envy him / her. In the last
paragraph, we understand that the narrator contends that fate has been unfair to him / her
because, more than anybody else, he / she knows the worth of these material rewards. This
narrator doesn’t only speak in his / her name, he / she is a spokesperson for all the hard-
working people who are poorly-paid and who will never manage to fulfil their dreams.

➼ RECAP 2 (stanzas 4, 5 and 6)

4. A wealthy person speaks in this part, he / she belongs to the upper class, has made a
fortune / big money.

UNIT 10 • 209
UNIT
10 LIFE IS ART

5. He / She lives in a consumer society where people are brainwashed, are told to keep buying.
He / She lives in a material world where people throw away things very easily. He / She lives
in a world with no spiritual values. Consumerism dominates / prevails, money rules the world.
6. Despite all his / her possessions and his / her social status, he / she feels lonely and
miserable.
Approfondissement possible : The second narrator might be a company manager or a
factory director. At any rate, he / she must have been other people’s boss and not a very
kind, flexible and understanding boss, since the word “exploiting” is used. He / She doesn’t
seem to be remorseful or to have pangs of conscience.
Nevertheless, he / she listens half-heartedly to religious people who remind him / her that
being very rich is a sin and that God’s Kingdom belongs to poor people. They advise him /
her to give away his / her fortune; they might not be utterly disinterested.
Lines 33, 34, 35: In our consumer society, people consume more and more; either they
become richer (queen) but they take the risk of losing their souls because they have a
material life and not a spiritual life or they become poorer and get into debt (“pauper”)
and they live in their dreams.
As the saying goes, money can’t buy happiness and indeed, this person doesn’t seem fulfilled.
He / She feels lonely / lonesome (“keep my sadness and loneliness at bay”); maybe even
more so as he / she is growing older. In the past, he / she may have befriended some people
but he / she may have taken advantage of them to achieve some professional goal (“good
people are only my stepping stones”) so these friendships didn’t last. Because he / she
treated people unfairly and ruthlessly, he / she has enemies that he / she dreads (“keep all
my enemies away”).
The lyrics of this song are quite depressing. Both narrators are bitter and sad. The first one
wishes he / she had become his / her own boss in order to enjoy more freedom and to earn
more money. He / She doesn’t mention any personal achievement that might have made
his / her life worth living for. The second one had money, but he / she earned it in a morally
questionable way so that, as he / she is growing older, he / she finds himself / herself lonely.

3. Recap
Voir corrigé de la fiche du Workbook, ci-dessus et page précédente.

4. Go further
a. Voir corrigé de la fiche du Workbook, ci-dessus et page précédente.
b. Productions possibles :
– It is better to be poor than to be rich with no friends.
– Money doesn’t make you happy.
– Money doesn’t create happiness when you gain it by exploiting others.
– The narrator prefers being poor (and to keep dreaming) to losing his / her soul.
Prolongements possibles :
– Si l’on dispose de la chanson de Tracy Chapman, on pourra la faire chanter en karaoké.
– Ce texte peut être mis en parallèle avec le poème de Edwin-Arlington Robinson, intitulé
Richard Cory, mis en musique par Simon and Garfunkel sur l’album Sounds of Silence (1966).
Ce poème reprend les mêmes thèmes que ceux évoqués dans les trois dernières strophes.

210 • UNIT 10
3. BIG SPLASH MANUEL k P. 129

> Mise en œuvre


Les questions a. et b. peuvent être traitées en même temps.
Productions possibles :
a. b. We are immediately struck by a luxurious house and a huge swimming-pool. We can also
notice palm trees in the background, which suggests that the scene takes place in a very hot
area. It could be California, Florida, or even Arizona or New Mexico. It is a cloudless, sunny
day. It must be midday when the sun is highest in the sky judging from the shadow under the
chair. The dominant colours are blue, white and yellow. These colours are very cold. They
suggest a very artificial lifestyle. This painting reminds me of some famous stars’ houses in
Malibu or in American TV series.
c. The folding chair suggests a film producer lives in this house. The atmosphere is eerie / weird
because no human being is around. It conveys the idea that the owner of the house may feel
lonely / lonesome. Somebody has just dived from the diving board. However, the water is still.
There is no motion / movement. The empty chair makes us think the person has vanished, he or
she may have committed suicide. This painting may represent the artificial world of Hollywood.
It may also represent a world of leisure, a Golden Age, a symbol of the American Dream, of
material happiness, of wealth. The house and the pool are emblems of the Californian lifestyle.
d. This house is certainly the house the first narrator dreams of, the type of houses he / she sees
in glossy magazines. The second narrator might live in this house and suffer from solitude /
loneliness. He / She might crave for company.
e. Réponse libre.

4. FAME MANUEL k P. 130-131

1. President Elect
N. B. : on trouvera une excellente analyse de ce tableau sur le site suivant :
www.blackdogonline.com/media/books/pdf/pop_art_book_spreads.pdf
Productions possibles : President Elect can be divided into three parts with, from left to right,
are a close-up of John F. Kennedy’s face / a portrait from an election poster, a woman’s hands
holding a slice of cake, and a portion of an automobile.

Informations complémentaires
In President Elect, Rosenquist uses ads for Swans Down Devil’s Food Mix from 1954 and a
Chevrolet car advertisement, and juxtaposes them.
Kennedy was the first presidential candidate to use the power of the media to political ends.
The consumer products selected represent American symbols of affluence, technological
success and middle class standards of living – the typical promises of politicians.
The artist wants to warn us about a growing emphasis on marketing, consumerism and
packaging. As Rosenquist explains, “The face was from Kennedy’s campaign poster. I was
very interested at that time in people who advertised themselves. What did they put on an
advertisement of themselves? So that was his face. And his promise was half a Chevrolet
and a piece of stale cake.”

UNIT 10 • 211
UNIT
10 LIFE IS ART

2. The Swinging Sixties

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 85-86)


➼ PART 1
1. k 1961 and 1969
k America and the Soviet Union
k the Cold War
2. a) Jackie is the President’s wife, the First Lady.
b) glamorous and young
3. optimism and vitality
4. a) JFK • election • expression • sworn in • US President • 1961 • welcomed • fresh air •
glamorous young wife • optimism • vitality • promised • beat • Soviet Union • Space Race •
Neil Armstrong • land • moon • Cold War • safer • free world • segregation • abolished
b)
Historical period Key dates Changes expected
– 1960s – 1961: election of JFK, US – promised fresh air, optimism,
– Cold War President vitality
– 1964: segregation is abolished – safer, freer world
– 1969: Neil Armstrong landed – beating the Soviet Union
on the moon in the Space Race

➼ PART 2
5.
Characteristics Consequences
– dynamic: “nearly half of America’s could participate in mass culture
population was under 18 years old”
– consumer society = rich

➼ PART 3
6.
How many? Role played Impact
95% of homes had TV brought images of war, incredible change in the
poverty, racism way people reacted to
political decisions

7.
Who? For Against
individual Americans advocated peace, justice, rebelled against the
became activist leaders freedom, equality involvement of US troops
in the Vietnam War

212 • UNIT 10
> Script de l’enregistrement
➼ Part 1
Journalist: Why the Swinging Sixties?
A history teacher: Well... I’ll try to answer this question as best I can. First I think John
Kennedy’s election has much to do with this expression. When he was sworn in as US
President in January 1961, he was welcomed as a breath of fresh air. He and his glamorous
young wife, Jackie, seemed to sum up the optimism and vitality of the new decade. He
promised America could beat the Soviet Union in the Space Race. Remember Neil Armstrong
landed on the moon in 1969. America was in the middle of the Cold War. And Kennedy
promised a safer, freer world. Don’t forget that segregation was abolished in the USA in 1964.
➼ Part 2
Journalist: Why was America so dynamic? What were the other important factors?
A history teacher: First in 1960, nearly half of America’s population was under 18 years
old. And secondly, this generation was also rich and could take part in mass culture with
all its characteristics: movies, television, radio, advertising, toys, forms of art, photography,
games, etc.
➼ Part 3
Journalist: What about television? Did it have an impact on people’s lives?
A history teacher: It certainly did. The other striking phenomenon of the Swinging Sixties
was TV. Colour TV arrived in the early 60s. By the end of the decade, 95% of homes had at
least one TV, bringing newly visible images of war, poverty and racism. And of course, it was
not surprising to see an incredible change in the way people acted and reacted to political
decisions, for example.
Journalist: What exactly do you mean by this?
A history teacher: Political activism built up so quickly during the ’60s, and many individual
Americans became activist leaders. They called for peace, justice, freedom and equality,
and many people rebelled against the involvement of American troops in the Vietnam War,
for example.

b. et c. Voir « Informations complémentaires » p. 211.

3. Kennedy’s assassination
a. President Kennedy was killed in Dallas on November 22, 1963. The USA was in shock.
b. et c. Voir corrigé de la fiche du Workbook ci-dessous.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 86-87)

➼ PART 1

1.
Event Role played Device used Interpretation
JFK’s event largely – silkscreens of all the the assassination was
assassination covered by personalities of his day covered by the media all
the media – repetition of the same over the world = big hype
image around the event

UNIT 10 • 213
UNIT
10 LIFE IS ART

➼ PART 2
2. Type of photograph: news photographs that appeared in the media. Photographs were taken
from Life Magazine.
3. 4: The couple drove through the city.
2: Lyndon Baines Johnson took the oath and became President.
1: They landed at the airport.
3: Jackie Kennedy attended a ceremony in Washington.
4. standing stunned • grieving • in mourning • she is beaming
➼ PARTS 3 AND 4
5. \Ti…m\ = theme • \"aIkÅn\ = icon • \"hO…ntId\ = haunted • \"trœdZIk\ = tragic
6. combines • important • themes • Warhol • work • fascinated • stars • public figures •
mass media • people
7. Warhol painted stars to show the influence of the media on people.
8. time • death
9. happy • smiling • grieving
10. Warhol was also haunted by time and death. Time passes and stars are also mortal.

> Script de l’enregistrement


Part 1
Andy Warhol created Sixteen Jackies in response to the November 1963 assassination of
President John F. Kennedy. This event was largely covered by the media and struck many
people around the world. Warhol painted many public figures. He made silkscreens of all the
personalities of his day. The repetition of the same image clearly suggests Jackie Kennedy was
famous all over the world and that the images of the assassination could be seen everywhere
on newspapers and TV screens.
Part 2
The portrait is divided into four parts. The four images of Jacqueline Kennedy were
enlargements of news photographs that appeared in the media. These photographs were
taken from Life Magazine. From top to bottom you can see four important scenes:
– First Jackie is leaving the plane after their arrival in Dallas.
– Then we have a close-up of the First Lady. She is standing stunned beside L.B. Johnson
while he takes the oath just after John Kennedy’s death.
– Later we can see a widow grieving and in mourning at the Capitol in Washington, D.C.
– Finally she is beaming in the limousine before the assassination.
Part 3
Sixteen Jackies combines a number of important themes in Warhol’s work. He was fascinated
by stars, public figures and American icons. That’s why he was interested in the mass media
and their impact on people.
Part 4
He was also haunted by time and death. This painting tells a tragic story. Before her husband’s
death, Jackie was a happy and smiling young woman. After the assassination she was a grieving
widow. Time passes and stars are also mortal.

214 • UNIT 10
Prolongement possible : Choose an icon representative of your country or our times. Then create
an original Pop Art repetitive portrait of the icon you have chosen.

5. PLEASE MANUEL k P. 132

Observe and speak


1. Cette question pourra être traitée collectivement.
Productions possibles : This painting reminds us of a comic strip because of the speech
balloon / bubble at the top. The composition is also characteristic of this painter. He uses
flat primary colours (red, yellow and green), dark lines and thick outlines (as in classic comic
strips). The young girl who may be in her late twenties or thirties is fair-haired / has blond
curly hair. She is wearing red lipstick. She looks sad and miserable. A black-haired woman,
who looks more mature / older, is speaking to her / is comforting her / cheering her up.
It’s a close-up shot of a mother and her daughter.

Informations complémentaires
Roy Lichtenstein often used “Ben-day dots”. The Ben-day dots printing process, named
after illustrator and printer Benjamin Day, is similar to Pointillism. Depending on the effect,
colour and optical illusion needed, small coloured dots are closely-spaced, widely-spaced
or overlapping.

2. La classe pourra être divisée en deux moitiés, qui chacune traitera une partie du tableau.
Productions possibles :
a. – On the left-hand side we are given the girl’s stream of consciousness, her interior
monologue: “I tried to see things from Mom and Dad’s viewpoint.”
– She is thinking about her boyfriend, she is trying to forget him, to put this affair out of her
mind. However, she can’t, she is still in love with him, she can’t help thinking about him.
She wishes they were still together. She feels lost and lonely, desperate, down-hearted and
depressed.
– She has just split up with her boyfriend.
b. – On the right-hand side the daughter doesn’t feel like eating, she’d rather be alone. She
wishes her mother could leave her alone. The mother wants to cheer her up because she is
worried about her daughter’s health.
– The mother is worried about her daughter and tries to comfort her / cheer her up whereas
the girl wants to be left alone.
3. a. The girl must have been dumped, or she may have dumped her boyfriend. They may have
quarrelled, and decided to split up.
b. Cette question donnera lieu à un roleplay. On laissera aux élèves quelques minutes pour
préparer leur dialogue. On vérifiera qu’ils n’ont bien que des notes sous les yeux et non des
phrases complètes.
Productions possibles :
“You should forget this boy. He is not worth it! You’d better forget him. Go out, see your
friends, meet people, do what you like.”

UNIT 10 • 215
UNIT
10 LIFE IS ART

“I feel drained, I can’t go out, I have no energy left. I don’t want to go out. Don’t you understand
that I need some time to get over all this?”
“Of course we do, darling. But you need some fresh air and new faces.”
“Oh, please, give me a break!”
The girl leaves the room and slams the door.
c. The girl may forget Eddie and fall in love with somebody else. They may also make it up and
be happy ever after.
4. This is a very familiar situation / a real-life situation / a classic and romantic situation. It is
an everyday life / ordinary crisis. It is quite humorous to read these words, to see this kind
of situation represented in a painting. It is a parody of romantic love stories.
5. Les élèves pourront faire des montages qu’ils présenteront à la classe et qui seront commentés.
Prolongements possibles :
k Une fois le tableau étudié, on pourra demander aux élèves de préparer une prise de
parole en continu : You are a museum guide and you explain this painting.
k On pourra demander aux élèves de dessiner / créer un portrait à la manière de Roy
Lichtenstein. Le logiciel suivant leur sera très utile : www.photofiltre.com
k Les élèves les plus motivés pourront découvrir un document PowerPoint sur Roy Lichtenstein
à cette adresse : www.teachnet-uk.org.uk/2006 Projects/Art-Presentations/Presentations/
Une fois sur cette page, cliquer à droite sur l’onglet PowerPoint, puis en bas de la page sur The
Work of Roy Lichtenstein.

LANGUAGE AT WORK MANUEL k P. 133-135

> Improve your pronunciation


1. Accentuation sur la première syllabe : photograph • public • figure • icon • contrast (nom) •
popular
Accentuation sur la deuxième syllabe : success • ideal
2. a. Tous ces mots ont un suffixe commun : -ion et s’accentuent donc sur la syllabe qui précède
ce suffixe.
b. Tous ces mots ont un suffixe commun : -ic et s’accentuent donc sur la syllabe qui précède
ce suffixe.

> Build up your vocabulary


1.
Techniques used Colours
identical • contrast • repetition • replicate • bright • vivid • garish • gaudy
blurred • silkscreen painting

2. The man is bald, pot-bellied, plump, stout, bearded, sloppy and slouching.
The woman is slim = slender, skinny, tall, attractive, smart = elegant, fashionable, made-up
and long-haired.

216 • UNIT 10
> Le quasi-certain, le possible et l’impossible : must, may / might, can’t
1. Must n’exprime pas la quasi-certitude dans les énoncés b et d.
Les deux valeurs de must sont la quasi-certitude et l’obligation.
2. Valeur de can’t dans la 1re phrase : impossibilité, dans la 2e phrase : impossibilité.
3. a.
Quasi-certain Possible / peu probable
– The house is empty. The owner must be – There are palm trees in their garden –
outside. they may live in Malibu.
– The girl looks quite young – she must be – She may change her mind and call him.
in her twenties. – They might make it up one day, but I
– The girl has not spoken a word for days. doubt it.
Her parents must be worried.

b. – The house is empty. The owner is certainly outside. La maison est vide. Le propriétaire
est sûrement dehors.
– There are palm trees in their garden – perhaps they live in Malibu. Il y a des palmiers dans
leur jardin. Ils habitent peut-être à Malibu.
– The girl looks quite young. She is certainly in her twenties. La fille a l’air assez jeune. Elle a
sûrement / certainement entre vingt et trente ans.
– Perhaps she will change her mind and call him. Elle va peut-être changer d’avis et l’appeler.
– The girl has not spoken a word for days. Her parents are certainly worried. La fille n’a pas
parlé depuis des jours. Ses parents doivent être inquiets.
– Perhaps they will make it up one day, but I doubt it. Ils pourraient se réconcilier un jour,
mais j’en doute.
4. a.
Porte sur le passé Porte sur le présent Porte sur l’avenir
• She doesn’t want to call • The artist may want to warn • She may find
Eddy – they must have us against overconsumption. another solution soon.
quarrelled. • She doesn’t want to see him
• There is nobody at home – anymore – she must be fed up
they may have gone shopping. with him.
• He’s such a nice person • She may be dreaming.
– he can’t have said such
horrible things.

b. On utilise :
– le modal + base verbale pour parler d’un fait situé dans le présent ou l’avenir
– le modal + be + V-ING pour parler d’une action qui se déroule au moment où l’on parle
– le modal + have + participe passé pour parler d’un fait situé dans le passé.

UNIT 10 • 217
UNIT
10 LIFE IS ART

> Practice
1. a. Elle est sans doute fâchée. k must
b. Elle écoutera peut-être ses conseils. k may
c. Elle ne sait pas trop si elle va lui téléphoner. k may / might
d. Elle va peut-être lui téléphoner. k may
e. Il se peut qu’il achète ce tableau. k may
f. Ce tableau ne peut pas être à la Tate Modern, il est trop ancien. k can’t
g. Ce tableau est sûrement au Museum of Modern Art. k must
2. a. He must be lonely.
b. Her parents must be supportive.
c. Her parents may manage to cheer her up.
d. The woman may be in her forties.
e. He may be abroad.
f. They may know the truth.
g. They must know the truth.
h. He may tell her the whole truth.
3. a. Il doit être cinéaste.
b. Elle a dû blesser ses sentiments.
c. Il va peut-être lui écrire pour /et s’excuser.
d. Il a peut-être eu une aventure / liaison avec une autre femme.
e. Elle pourrait lui pardonner. / Il se pourrait qu’elle lui pardonne.
4. Cet exercice pourra être traité à l’écrit ou à l’oral.
Productions possibles :
a. The painter is Roy Lichtenstein. This painting is charcacteristic of his style. It looks like a
comic strip with the bubble at the top. The composition is also characteristic of this painter:
He uses flat primary colours, dark lines and thick outlines.
b. The girl may be in an appartment / flat / a loft in Manhattan. There are stairs in the left-
hand corner of the painting. She may be in Manhattan since we can see skyscrapers in the
background. She is obviously thinking about her boyfriend / lover. She is expecting him and
he must be late. He hasn’t turned up. She wonders why he is late.
c. She is wearing gloves because it may be cold / freezing outside. She may also be going to
a party and has to be well-dressed / dressed up. She is also wearing a white raincoat over a
blue low-necked dress / T-shirt.
d. She may be in her late twenties or thirties. She may belong to the upper middle-class since
she lives in a loft in Manhattan. She looks worried / anxious.
e. The man she is waiting for must be an actor or a film director, or a photographer since she
mentions the studio.
f. The man may have been delayed, may have had an accident, may be stuck in a traffic jam,
may still be working because he may be dreadfully / desperately overworked and behind in
his work.
g. He may turn up in a few minutes and apologize / he may call her to tell her he will come
soon or to tell her he is through with her, that he is fed up with her and wants to break up /
finish with her.

218 • UNIT 10
YOUR TASK MANUEL k P. 136-137

1. Avant l’écoute
On complétera la grille qui sera (rétro)projetée (disponible sur le site compagnon).

Audio guides 1 2 3 4
1. Introduction
– nature (painting, sculpture, drawing, date, name of the artist,
art movement)
– dominant theme(s)
2. Striking elements
– who? famous? unknown?
– probable job / occupation
– age
– looks
– clothes
– accessories
3. Techniques used by the artist
– repetition, contrast, collage
– dominant colours
4. Interpretation
– what do the different elements symbolise?
– links with other Pop Art works of art?
– what are the goals of the artist?
– impressions given
5. Overall impressions
– informative
– convincing ≠ unconvincing
– well-organized
– complete
– shallow = superficial
– accurate

2. Pendant l’écoute
Il s’agit de procéder à une écoute avec prise de notes en parallèle. Avant d’écouter les
audioguides sur Duane Hanson, on fournira le mot suivant : burden et sa signification :
fardeau. Dans le cadre d’une classe fragile, on pourra distribuer aux élèves les fiches
récapitulatives suivantes.

UNIT 10 • 219
UNIT
10 LIFE IS ART

1. TEN MARILYN

Date
Fascination for?
Technique used
Goal
Main characteristics
Interpretation
– Repetition
– The black and white portrait

2. TEN MARILYN

Date
Fascination for?
Origin of the portrait
Why was Marilyn chosen?
Technique used
Goal
Main characteristics
Interpretation
– Repetition
– The black and white portrait

3. YOUNG WOMAN SHOPPER

Made of?
Characteristics
Who?
Goals?
Impressions Duane Hanson
wanted to give?

4. YOUNG WOMAN SHOPPER

Made of?
Characteristics
Who?
Goals?
Impressions Duane Hanson
wanted to give?

220 • UNIT 10
3. Après l’écoute
On travaillera sur les critères retenus en confrontant les points de vue et en exigeant
toujours une justification du choix.

> Script de l’enregistrement


Ten Marilyn, audio guide 1
1. Ten Marilyn was painted in 1967. Warhol was fascinated by movie stars such as Marilyn
Monroe. Warhol painted a contemporary figure, a Hollywood icon, a sex symbol. He replicated
the picture several times. The multiple portrait is a comment on our consumer society. We
can’t help noticing the bright, garish colours. We are mesmerized by the portraits. Marilyn
is reduced to her essential features: namely her dyed hair, her heavy make-up, her full and
sensual mouth. The woman is striking because she is reduced to essential features. The
repetition suggests the actress is famous all over the world, is to be seen everywhere, is
omnipresent. It is a clear reference to the star system. The artist is also clearly obsessed by
time and death. One portrait is blurred. The last one is in black and white. The painter also
conveys the impression of a mask, which is perhaps a death mask.
Ten Marilyn, audio guide 2
2. Ten Marilyn was painted in 1967. Warhol was fascinated by stars such as James Dean
or Michael Jackson. Warhol is best known for his portraits of Marilyn Monroe. He chose
a publicity photo from 1953 and silkscreening to make multiple portaits of the star. He
transformed an ordinary publicity photo into a myth. He painted a contemporary figure, a
Hollywood icon, a sex symbol. He replicated the picture several times. It is meant to make
it impossible for the viewer to feel any emotion. Warhol considered emotion contrary to
art. Marilyn looks lifeless, and doesn’t seem to have any feelings. The multiple portrait is
a comment on our consumer society. We can’t help noticing the bright, garish colours.
Marilyn is striking because she is reduced to her essential features: namely her dyed hair,
her heavy make-up, her full and sensual mouth. The repetition suggests the actress is
famous all over the world, is to be seen everywhere, is omnipresent. It is a clear reference
to the star system. Warhol glorifies the star, and at the same time ridicules the star system
and its mass media consumption. He hints that the viewers are fascinated by appearances
only, that people are turned into consumer goods. The artist is also clearly obsessed by
time and death. One portrait is blurred, and the last is in black and white. The painter also
conveys the impression of a mask, which is perhaps a death mask. It underlines the passing
of time and that stars are also mortal. Pop Art is the art that focused on modern myths.
Young Woman Shopper, audio guide 1
3. This is a life-size sculpture made of synthetic resin. Duane Hanson added human hair,
dressed the model in real clothes, and gave it real bags to carry. The artist portrays ordinary
Americans. He chose to sculpt average citizens, working-class or middle-class people such as
tourists or shoppers. He wanted to portray real America. People are frozen in their activities.
The sculpture is so realistic that the woman can be mistaken for a living person. The artist
wants to show the effects which the consumer society and lifestyle have on people. When
describing this sculpture Duane Hanson said: “I like the physical burdens this woman carries.
She is weighed down by all her shopping bags and purchases, and she has almost become a
bag herself. She carries physical burdens – the burdens of life, of everyday living.” With her
sad eyes and worn clothes, this woman looks lonely, isolated, and resigned.

UNIT 10 • 221
Young Woman Shopper, audio guide 2
4. This is a life-size sculpture made of synthetic resin. Duane Hanson added human hair,
dressed the model in real clothes and gave it real bags to carry. The artist portrays ordinary
Americans. People are frozen in their activities. The sculpture is so realistic that the woman
can be mistaken for a living person. When describing this sculpture, Duane Hanson said:
“I like the physical burdens this woman carries. She is weighed down by all her shopping
bags and purchases, and she has almost become a bag herself. She carries physical
burdens – the burdens of life, of everyday living.” With her sad eyes and worn clothes, this
woman looks lonely, isolated, and resigned. We are shown slices of real life. For Duane
Hanson, men live lives of quiet desperation. The sculptor focuses on the resignation and
despair of ordinary lives.

COMPRENDRE UN DOCUMENT ORAL MANUEL


k P. 138-139
CORRIGÉ

A. 1. Anticipez avant l’écoute.


a. L’enregistrement n° 1 va parler de la victoire de cyclistes anglais aux Jeux olympiques de
Pékin. Cet enregistrement va parler de sport, de cyclisme, des Jeux olympiques de Pékin.
b. Réponse libre.
c. des informations à la radio • une remise de médaille ou de récompense
2. Jouez au détective.
a. On entend une musique joyeuse dans un cadre public, des cris de joie, des applaudissements
et des sifflets.
b. Il y a trois voix adultes, une voix féminine et deux voix masculines.
c. Elles traduisent des sentiments de joie. La première voix est également solennelle.
d. L’accent britannique domine, notamment chez la jeune femme.
e. La scène se passe en Angleterre, au moment d’une remise de prix. Les personnes présentes
sont les membres de l’équipe féminine de cyclisme, même si une seule d’entre elles prend
la parole. Sont également présents le présentateur de la cérémonie et la personne qui annonce
le nom du gagnant et remet le trophée.
3. Affinez votre compréhension.
a. team • gold • silver • bronze • medallist • honour • sporting • heroes • bikes • strong •
successful
b.
Cycling Athletes Rewards Competitions
team • bikes sporting • heroes gold • silver • bronze • honour • strong •
medallist successful
c. Victoria Pendleton a dû gagner la médaille d’or aux Jeux olympiques.
d. we, us = the cycling team • they = the support team
e. Elle parle au nom de toute l’équipe de cyclisme et les remercie pour la récompense
qui leur a été attribuée. Elle se dit honorée d’être en présence de tous ces champions.
Elle tient aussi à remercier toute l’équipe qui les soutient et leur permet de remporter des
succès.

222 • COMPRENDRE UN DOCUMENT ORAL


> Script de l’enregistrement
Presenter: Mr Hanson, put your glasses on and tell us the results.
Mr Hanson: The team of the year is... the British Olympic cycling team!
Music, cheers, applause
Presenter: I…’ll hold it for you if you want…
V. Pendleton: Oh well…
Presenter: You can say a few words…
V. Pendleton: Thank you very much, I think I am speaking on behalf of, you know, the whole
Olympic team, the gold medallist, the silver medallist, the bronze medallist and also everyone
who did fantastically well in the Manchester World Championship. It’s an honour to be here
among so many sporting heroes and champions… um… But it’s not only for us and those who
ride our bikes, but everyone behind us as I’ve mentioned. Our support team is very strong and
they give us as much as we do to make us as successful as we are. So I’d like to say thank
you to those guys as well, I’m sure the rest of the team will agree.
Presenter: Victoria Pendleton and the Olympic cycling team!

B. 1. Repérez des chiffres.


c. Voir mots en gras dans le script ci-dessous.

> Script de l’enregistrement


The resident population of the UK was 60,975,000 in mid-2007. England is the most populous
part of the UK, with 49 million inhabitants. Almost one third of England’s people live in the
southeast, around London. 5 million people live in Scotland. 75 percent of the population in
Scotland is concentrated in the lowland area where Glasgow and Edinburgh are located. Wales,
with 2.9 million people, is also mountainous. Since 1997, the government has been pursuing
a policy of devolution, leading in 1999 to an elected Scottish parliament and Welsh assembly.
In 2000, Londoners elected their first mayor and assembly. The 2001 census counted more
than 2.5 million Asians (mostly Indians and Pakistanis) and 1.1 million Blacks (from Africa and
the Caribbean). The life expectancy is 78. The literacy rate is 99 percent.
2. Repérez les mots utilisés.
Voir mots en gras dans le script ci-dessous.

> Script de l’enregistrement


1. There are so many traffic jams. 7. You’ve just missed him.
2. Their father is abroad. 8. You’re an angel.
3. They’re on holiday. 9. Your glasses are in the kitchen.
4. He has just left. 10. Who’s that man over there?
5. He is so funny. 11. Whose idea is it?
6. His sense of humour is wonderful. 12. Who’s just phoned?
3. Repérez le ton de voix utilisé.
1c • 2a • 3d • 4b • 5f • 6e

COMPRENDRE UN DOCUMENT ORAL • 223


> Script de l’enregistrement
1. What on earth is going on here? Behave yourself for God’s sake!
2. Oh, did you have to be so rude with her? She is an old person you know.
3. He’s such a poor actor. He doesn’t even learn his part and he looks like an idiot.
4. Well I never thought he could be qualified! Him, of all people...
5. How nice of you, I’m thrilled.
6. Too bad, it’s a pity you can’t stay. Everybody says it’s going to be fun.
4. Repérez les liaisons.
a. When I was a child, we used to move a lot throughout the country. After moving to a new
town, we would immediately go to the library to get membership and as many books as we
could.
b. After that, we would do nothing but read all day long and we enjoyed listening to my
mother reading to us in the evening. That’s how I got a passion for books and all kinds of
literature.

C.
> Script de l’enregistrement
My parents did not have the benefit of college. They didn’t get to go to college. They were
from a very rural part of the Middle West. College to them was always a dream. For us, it
was always a requirement. We knew – because they told us – we’d go to college. And they
worked very hard to pay for it, and to provide it for all four kids. And I was the first member
of my family to graduate from college, and to get a degree in physics, and to start teaching.
And my parents were very proud. To me, that’s the American Dream, for one generation to
keep building the dream for later generations.

224 • COMPRENDRE UN DOCUMENT ORAL


UNIT
11 A WORLD OF GEEKS

A world of geeks
S’exprimer à l’oral en interaction :
les descripteurs du CECRL
Niveau A2 Niveau B1
Grille d’auto- Je suis capable d’interagir avec Je peux développer une argumentation
évaluation assez d’aisance dans des situations claire en élargissant et confirmant
structurées et de courtes mes points de vue par des arguments
conversations à condition que et exemples pertinents (sujets
l’interlocuteur m’aide le cas échéant. d’actualité, de débat…).
Je suis capable de faire face à des Je peux prendre part sans
échanges courants simples. préparation à une conversation
Je peux poser des questions, sur des sujets familiers, d’intérêt
répondre à des questions et échanger personnel ou qui concernent la vie
des idées et des renseignements quotidienne.
sur des sujets familiers dans des Je peux intervenir pour vérifier et
situations prévisibles de la vie confirmer le détail d’une information.
quotidienne (travail, loisirs…). Je peux engager, soutenir et clore
Je suis capable de comprendre une conversation en tête à tête sur
suffisamment pour alimenter la des sujets familiers ou d’intérêt
conversation. personnel.
Cohérence Discours peu développé, les Produit un discours simple, clair et
du discours / connecteurs logiques utilisés sont cohérent. Peut enchaîner quelques
contenu simples : « et », « mais », et « parce points et donner des explications,
que ». présenter des arguments.
Interaction Peut répondre à des questions Peut comprendre son interlocuteur,
simples, peut suivre une soutenir une conversation (la
conversation simple sans pouvoir commencer, la poursuivre, la clore)
l’alimenter. sur des sujets familiers.
Peut répéter une partie de ce que
quelqu’un a dit pour confirmer la
compréhension ou rebondir sur les
arguments.
Peut faire de brefs commentaires
sur les points de vue des autres
pendant une discussion.
Adaptation Peut communiquer lors d’un échange Sait utiliser des formules de politesse
au contexte simple et direct sur des sujets familiers. pour entrer en contact avec l’autre.
Aisance Peut se faire comprendre dans une Peut parler relativement longtemps
à l’oral brève intervention, les pauses avec un débit assez régulier malgré
et les faux démarrages sont quelques problèmes de formulation
acceptés. avec des pauses.
Peut continuer à parler sans aide.

UNIT 11 • 225
UNIT
11 A WORLD OF GEEKS

Niveau A2 Niveau B1
Phonologie Prononciation en général Prononciation clairement
suffisamment claire pour être intelligible même si un accent
comprise malgré un net accent étranger est quelquefois perceptible
français, mais l’interlocuteur devra et si des erreurs de prononciation
parfois faire répéter. surviennent occasionnellement.
Correction Utilise des structures simples Peut se servir avec une correction
grammaticale correctement, mais fait encore des suffisante d’un répertoire
erreurs élémentaires qui ne gênent de tournures et expressions
pas le sens. fréquemment utilisées et associées
à des situations plutôt prévisibles.

Afin d’ouvrir la partie du manuel consacrée à l’expression orale en interaction, nous avons
choisi un thème à propos duquel les élèves ne manqueront pas de trouver facilement des
arguments et sur lequel ils auront forcément un avis. En outre, il nous semblait impossible
de traiter les points « Échanges » et « Lien social » du programme sans aborder le domaine
des ordinateurs, des téléphones portables et autres jeux vidéo.

Manuel Workbook Fiches


photocopiables
Tâche finale Participer à un débat sur les nouvelles
technologies
Objectifs Échanges • Lien social
culturels
Lexique k actions quotidiennes liées aux
technologies : Internet, ordinateur
et téléphone portable (p. 144)
k avantages et inconvénients du
téléphone portable (p. 146-147)
k addiction à l’ordinateur (p. 145)
et aux jeux vidéo (p. 148-149)
Grammaire k la forme V-ing (p. 152-153)
Phonologie k les sons \i…\ et \I\ (p. 151)
k l’accentuation des mots à suffixe
contraignant -ian, -ion, -ic,-ity et -ible
(p. 151)
k dictée (p. 151)
Structures de k donner son opinion / argumenter
communication k convaincre
k donner des conseils

226 • UNIT 11
Activités langagières dominantes

Manuel Workbook Fiches


photocopiables

Lire k Are you a geek?, quiz (p.144)


k Cellphone mania, articles de presse
(p.146) X
k Computer kids, article de presse
(p.148) X

Prendre k discuter des résultats du quiz Are you


la parole a geek? (p. 144)
en interaction k commenter un document iconographique
(p. 145, 146, 147, 148, 149 et 150) X
k débattre des avantages et
inconvénients des téléphones portables
(p. 147)
k role play (p. 147)
k débattre de l’addiction aux jeux vidéos
(p. 149) X
k échanger des points de vue sur un
cartoon (p. 150)
k Your task (p.154)

Prendre k présenter les résultats du quiz Are you


la parole a geek? (p. 144) X
en continu k commenter un document iconographique
(p. 145, 147, 148, 149 et 150)
k faire le compte rendu d’un article (p. 147)

Écrire k décrire et commenter un cartoon (p. 153)

Écouter k Growing up online (p. 149) X


k site compagnon, U11–Dialogue: X
A techie chef

N. B. : les titres en gras indiquent les documents à étudier afin de réaliser


la tâche finale. Nous vous rappelons que les Help! sont enregistrés sur le CD classe et
que les exercices Improve your pronunciation sont téléchargeables sur le site compagnon.

UNIT 11 • 227
UNIT
11 A WORLD OF GEEKS

TUNE IN! MANUEL k P. 144

1. Are you a geek?


Cette activité sera menée rapidement.
k On insistera sur la bonne prononciation du mot geek et on demandera aux élèves de le
traduire ou de l’expliquer en anglais. On pourra proposer les définitions suivantes :
– A person who is interested in technology, especially computing and new media. The word
“geek” is a slang term, noting individuals as “a peculiar or otherwise odd person, especially
one who is perceived to be overly obsessed with one or more things including those of
intellectuality, electronics”.
– A computer expert or enthusiast (a term of pride as self-reference, but often considered
offensive when used by outsiders).
k Puis on laissera le temps nécessaire aux élèves pour répondre individuellement aux
questions du quiz sur leur cahier ou une feuille de brouillon.

2. Confront your results


> Mises en œuvre possibles : nous vous suggérons ici un travail en groupes (les groupes
étant constitués selon le désir du professeur) plutôt qu’en binômes, car les échanges seront
plus riches.
a. Les membres de chaque groupe se consultent et confrontent leurs résultats, puis un élève
de chaque groupe joue le rôle de rapporteur pour rendre compte d’au moins trois résultats
révélateurs de son groupe (en utilisant la première série d’amorces données dans le manuel).
Productions possibles : In my group, only one of us doesn’t own a computer but we all have
a mobile phone.
Three students out of five spend more than two hours a day on their computer.
We spend about two hours a day checking e-mails or chatting on the computer.
To me, it’s amazing to see how many hours we spend chatting on our mobiles!
b. À tour de rôle, chaque rapporteur prend la parole et le reste de la classe réagit aux conclusions
des uns et des autres en utilisant la seconde série d’amorces.
La trace écrite sera construite à partir des énoncés produits par les élèves.
Productions possibles : In the class, thirty-two students out of thirty-six have a cellphone. We
use it at night or in the evening to talk with our friends. We use it at the weekend when we go
out to ask our parents to come and pick us up after a party. We also use our cellphones to listen
to music and to wake us up in the morning, as an alarm clock.
In my group, everybody has a computer at home. X plays video games five hours a day. She
spends too much time on her computer. We come back from school at 5 p.m. and we go to bed
at 10.30 p.m. so, on average, we have 5 hours a day when we are not at school. If we spend
five hours on the computer, we don’t have time to do our homework or to eat. So we have bad
marks at school and we eat junk food in front of the computer.
Video games are time-consuming, when we start playing, we can’t stop. Video games are
addictive. Some people are addicted to video games, but not everybody, because X only plays
on weekends. It is true that these games are captivating.

228 • UNIT 11
Prolongement possible : on pourra enfin procéder à un travail de mémorisation du lexique
de base en demandant aux élèves de fermer leur livre et de traduire, à l’écrit ou à l’oral, les
phrases suivantes.
1. J’ai mon propre ordinateur.
2. J’utilise mon ordinateur pour chercher des informations.
3. As-tu un téléphone portable ? (pour « téléphone portable », demander un mot britannique
et un mot américain)
4. J’envoie souvent des messages à mes amis.
Corrigé
1. I have my own computer.
2. I use my computer to search information.
3. Do you have a mobile / mobile phone (GB), cellphone / cell / cellular phone (US).
4. I often send messages / text messages to my friends. / I often text my friends.

1. THE HIKER MANUEL k P. 145

N. B. : ce document iconographique est reproduit sur le transparent n° 10 et est accompagné


d’une fiche d’exploitation.

1. Get ready
Si ce travail n’est pas préparé à la maison, on pourra laisser aux élèves un temps de réflexion
pour trouver des arguments. Ils pourront s’appuyer sur la p. 88 du Workbook.
On pourra organiser la classe en trois groupes :
– the do-nothing type of vacation
– sports-orientated people
– cultural / educational holidays
Pour préparer à la tâche finale, on encouragera les élèves à confronter leurs points de vue
en reprenant les structures de l’accord et du désaccord. Si nécessaire, les renvoyer aux
expressions de la p. 154 du manuel qui seront utiles au débat.
Productions possibles : I’m not sports-orientated, I love sunbathing, bathing, lying in the
sun on a beach. I love blue skies, palm trees, blue waters, deckchairs, swimming-pools,
reading a book by a swimming-pool and getting tanned.
I enjoy hiking, hill-walking, mountaineering, walking along deserted trails, breathing some
fresh air, being away from it all. Being on holiday means physical exercise and life in the open,
camping, rock-climbing.
I prefer visiting a country, going sightseeing, seeing monuments with my own eyes, visiting
museums, meeting the natives, discovering exotic places, new customs.
Les différents arguments seront synthétisés au tableau et constitueront la trace écrite.

UNIT 11 • 229
UNIT
11 A WORLD OF GEEKS

2. Observe and speak


a. On invitera les élèves à travailler individuellement et à ne prendre que des notes en trace
écrite, pas des phrases entières. Ils utiliseront le Help! ainsi que le tableau proposé dans le
Workbook p. 88. Ce travail peut aussi être préparé à la maison.
Attention, beaucoup d’élèves prendront cette illustration au premier degré et en concluront
que cet homme a besoin de s’isoler pour étudier dans le calme.
Productions possibles : The cartoon is based on a contrast between the man and his
surroundings. He should enjoy the peace and quiet of the place, enjoy nature, have a rest, a real
break from work and his office. He should relax / unwind. On holiday, people usually want to
escape the routine of their daily life, to have a change from home. He should be lying in the grass
and looking at the magnificent landscape behind him. It looks so peaceful. And yet he is turning
his back on the beautiful scenery and is typing on his computer while hiking. He has carried all the
necessary equipment in his backpack, which must have been very heavy: his laptop, his webcam,
his headphones... He looks ridiculous. This situation is absurd / preposterous. The cartoonist
underlines that this man is a computer addict. Instead of enjoying nature, he is engrossed in
working on his computer. This man is a geek, a computer nerd. With his headphones on, he can’t
hear the bird singing next to him. He is pathetic and hopeless. He needs a cold-turkey treatment as
soon as possible. He will certainly suffer from withdrawal symptoms.
b. et c. Ces deux questions pourront être traitées en même temps.
k On reprendra préalablement les quatre exemples donnés dans la bulle des amorces et
on les fera compléter par quelques élèves en insistant sur la forme be + ing lorsqu’elle est
nécessaire et sur la forme négative.
Productions possibles : This hiker shouldn’t carry his laptop in the mountains / when he
goes hiking. This geek should listen to the birds. He’d better look at the landscape. He should
be walking and enjoying nature.
k On demandera ici aux élèves de trouver au moins trois conseils à donner au randonneur.
Ceci peut se faire collectivement.
k On pourra également mettre en place un jeu de rôles : The man is talking to a friend who
disapproves of his behaviour and gives him advice.
Productions possibles : Are you nuts / crazy / mad? This is incredible! You had better stop
immediately and enjoy nature and fresh air. I’m sure you can do without your computer for a
few days.
You are addicted to your work or games on your laptop. You should have a break.
If I were you, I would breathe and look around instead of doing something you can do at
home. Stop this immediately!
k Enfin, on demandera aux élèves de trouver un titre à ce cartoon.
Productions possibles : A computer nerd – Logged on in nature – Preposterous behaviour –
What a shame!

230 • UNIT 11
2. CELLPHONE MANIA MANUEL k P. 146-147

Anticipation
k Les illustrations de la p. 136 pourront donner lieu à un entraînement à la prise de parole
en continu et à un jeu Just a minute inspiré de l’Académie de Caen (Débats Citoyens, Quelques
activités d’entraînement possibles). On divisera la classe en deux moitiés et on attribuera une
image à chaque groupe. À l’intérieur du groupe, les élèves travailleront individuellement ou par
binômes. Un rapporteur prendra la parole et le reste du groupe complètera éventuellement
ce qui a été dit. On demandera aux rapporteurs de parler pendant une minute sans s’arrêter.
Il / Elle peut hésiter et employer des gap fillers, mais ne doit pas se répéter. Un time-keeper
vérifiera que toutes ces règles sont suivies. Si un élève ne parvient pas à tenir le temps
demandé ou à respecter les règles, on recommencera avec un autre rapporteur.
k On pourra demander à des élèves de prendre des notes, qui pourront ensuite être
(rétro)projetées pour être corrigées et enrichies par la classe entière.
Productions possibles :
– First picture: The girl’s eyes and mouth are replaced by mobile phones. That may mean
that she cannot speak and see by herself anymore. She is addicted to her phone, she can’t
do without it. She and her friends don’t communicate directly anymore, only on / through the
phone. She has no eyes, no brain, she has become a non-person, she is no longer a human
being, she has lost her freedom / is alienated.
– Second picture: The wall has got eyes watching the shadow of a teenager / girl. These eyes
might symbolize parents or friends always knowing where you are, thanks to the mobile phone.
The eyes are threatening. This reminds me of George Orwell’s Big Brother: It is an authoritarian
regime, a dictatorship. Big Brother is watching citizens all the time and tracking them. It reminds
me of the Thought police who arrest Winston in the book. With this device, nothing can go
unnoticed, people can’t escape / flee. This seems to be an eye detector that could prevent
everyone from doing what they want freely. People have no private life, no inner life.

1. Understanding the articles


Le professeur divisera la classe en deux groupes et demandera à chaque groupe de lire un
texte puis de recopier la grille de la p. 147 sur leur cahier ou une feuille de brouillon et, bien
sûr, de la remplir.
Productions possibles :

UNIT 11 • 231
UNIT
11 A WORLD OF GEEKS

A virtual girlfriend Surveillance


Specificity of offers a virtual girlfriend – Cellphones are tracked by
this cellphone satellite and enable parents
to watch their children thanks
to the Internet.
– Parents can program
their children’s phones with
boundaries not to be crossed.
Potential irritated men, tired of finding the right anxious parents
buyers girlfriend
and users
Advantages – She goes wherever you go. – Parents can monitor their
of this new – You can take her wherever you want. children’s location.
device – She loves to be given virtual flowers / – Make sure your children
doesn’t need to be given real flowers arrive safely at school or at
or chocolates. friends’.
– If you travel, she can translate six – Parents get text messages /
languages. are warned if their children are
– She lives in a virtual world. not within the right perimeter
– You can practise before having a real anymore.
girlfriend.
Problems – People can think it’s for losers. – Parents can be too intrusive
caused by – You don’t have a real girlfriend. in their children’s lives.
this device – It’s like Big Brother.
– Children are tracked.
– (It might not always work.)
Your opinion totally ludicrous / pathetic / funny / disrespectful / useless
on this device original

2. Pros and cons


k À partir de cette synthèse, on pourra demander un compte rendu oral au rapporteur de
chaque groupe.
Productions possibles :
– Text A: Our article deals with a cellphone device which offers a virtual girlfriend for / to
men who have difficulty finding the right girl for them / are tired of looking for the right girl.
This device allows you to take her wherever you want. The virtual girlfriend is always available,
agrees with everything you do, loves being pampered, can speak different foreign languages.
The designer praises the advantages of such a device.
– Text B: Our article deals with a device that allows / enables parents to follow their children
thanks to the Internet or programs in their cellphones. With this device, parents can follow
their children on their way to school or to a friend’s. One mother has mixed feelings about it.
On the one hand she feels reassured, but on the other hand she fears she might infringe upon
her daughter’s freedom. Parents will know the exact location of their children and are warned

232 • UNIT 11
if their children are not in the right place. It reminds us of Big Brother. Besides, a kid might be
fed up and want to get rid of this chain.
k La discussion sur les avantages et les inconvénients donnera lieu à un travail en groupes
ou en binômes. Un rapporteur (ou plusieurs) sera choisi dans chaque groupe et les éléments
de réponses seront synthétisés par les élèves soit dans leur cahier, soit au fur et à mesure
dans la grille fournie page précédente (rétroprojetée à l’aide d’un transparent ou reproduite
au tableau).
k On peut aussi mettre en place une activité proposée par l’Académie de Caen et intitulée
Circular debate. On fixe un nombre impair d’élèves (5 par exemple) dans chaque groupe et
chaque élève avance un argument qui est immédiatement contredit par l’élève qui a parlé
avant lui.
k Enfin, on peut organiser un Yes-but game. Deux rangées d’élèves A et B se font face.
L’élève A avance un argument et retourne à la fin de la file des A. L’élève B qui lui fait face doit
avancer un argument contraire et va lui aussi à la fin de la file des B. L’équipe gagnante est
celle qui a trouvé le plus d’arguments lorsque le jeu est déclaré terminé par le professeur (dès
que celui-ci sent que les élèves sont à court d’idées).
k Quel que soit le type de débat, on encouragera les élèves à utiliser les expressions de
communication de la p. 144 et on utilisera la p. 89 du Workbook pour enrichir l’expression.

Productions possibles :
– Debate text A:
“I believe it’s a shame! Boys don’t need to have a virtual girlfriend, it’s ludicrous, they’d better
chat real ones up! This is absurd / nonsense / rubbish! No way!”
“Exactly, this is pathetic: Teenagers had better be nice to their girlfriends and try to understand
them.”
“Why don’t they find real girlfriends and learn how to deal with them?”
“I see your point but, on the other hand, it can be useful to get good ideas for your future
girlfriend.”
“You must be joking! If I were the girlfriend of a boy who uses this device, I wouldn’t let him
use it: It would be the device or me!”
“I believe that some very shy people may find it handy / reassuring, it could give them more
confidence afterwards in real life.”
– Debate text B:
“Parents had better try to talk more to their children.”
“It is alarming! Some parents feel the need to have this kind of device instead of trusting their
own children.”
“I totally disagree, they can trust them but still want to use modern technology for security /
safety reasons. What’s more, parents always worry and want to know where their kids are.”

3. Role play
a. L’analyse de cette image pourra donner lieu à une prise de parole en continu en début de
cours par exemple.
Productions possibles : The boy with a flashy and colourful shirt has a mobile phone around
his neck. It’s locked around his neck with a chain that could symbolize his attachment to the

UNIT 11 • 233
UNIT
11 A WORLD OF GEEKS

phone, maybe his dependence. He probably cannot live without it. He’s like a dog with his
lead: never out of reach and constantly attached to his phone. He can be contacted at any
time even in the middle of the night. His phone must be on all day long. He is the symbol of
an addict. It’s humorous but effective. We can’t see his face, and the photographer did it on
purpose, because many people can identify with him.
b. Le professeur partagera la classe en deux groupes. Chacun préparera des arguments pour :
– un(e) ami(e) qui veut un(e) petit(e) ami(e) virtuel(le) ;
– des parents intéressés par le nouveau type de surveillance décrit dans le texte B.
Les amorces proposées dans le Workbook p. 89 (question 2 b.) ainsi que le vocabulaire
du Help! p. 147 du manuel aideront les élèves à enrichir leur expression.
Productions possibles :
– To your friend who wants a virtual girlfriend or boyfriend
Come off it! You can’t possibly compare a real girlfriend and a virtual one. It’s a total waste of
money!
If you choose a virtual girlfriend, you will practise before having a real one.
Do you see yourself with a virtual programme, talking to it and pretending it’s your girlfriend?
It’s just a substitute, you can’t live in a world of fantasy!
How can you imagine it’s the same thing as building a relationship and having a real girlfriend?
Have you ever thought about the loss of time / fun it could be?
Why don’t you try it for a while and see what you think about it?
Why don’t you get out more often and try to find yourself a real boyfriend and build a relationship?
Such a device is risky if you spend too much time on it. There is a real lack of warmth, it’s not
a real relationship.
Be careful, you can become cut off from the real world instead of facing reality.
– To parents who want to adopt cellphone surveillance
You always are on my back, trying to trace me wherever I go!
I understand you want to feel reassured because you’re afraid of losing me but I will feel
watched and tracked.
I know it’s for my safety and your peace of mind and you think this is for my own good but
I am reliable.
But I think it’s too disrespectful. This will limit my freedom and you will be spying on me!
Don’t you think that it could be easier to trust me and not prevent me from going where I want
when I want?
What about my freedom and sense of responsibility?
Stop worrying and imagining the worst!

3. TURN IT OFF! MANUEL k P. 148-149

Anticipation
On utilisera l’image de la p. 148 du manuel en anticipation.
Productions possibles : The boy in the foreground is fascinated by the game he is playing.
He is computer-addicted. He is glued to the screen. He is hooked on computer games. He is
the perfect image of a couch potato. He is sitting comfortably in a huge green armchair. He
can’t spend much time outside. He can download all the software programmes he wants and

234 • UNIT 11
may have no contact with the outside world. He lives in a virtual world which has replaced the
real one. He may be computer-dependent. It may have consequences on his health, he may
become overweight, obese if he doesn’t do any exercise / practise any sport. The two boys
are not playing with each other, but with computers. Their computers may isolate children
from one another, from their brothers and sisters, from their parents.

1. Understanding the text


a. Corrigé proposé :
– Amsterdam: a clinic in Amsterdam (l. 4)
– Utrecht: Tim, 21, is from Utrecht (l. 15)
– Britain: Two teenagers from Britain will be treated in the clinic (l. 6)
– America and Asia: Where other sufferers come from (l. 7)
– China and South Korea: Two countries where people are particularly passionate about
computer games (l. 21)
b. Pour classer les expressions, on pourra les noter en deux colonnes au tableau d’après les
réponses des élèves, puis donner une minute de préparation pour la recherche d’un titre
approprié pour chaque colonne.
Corrigé proposé :

Addiction and its consequences /


Forgetting the computer / Treatment
Isolation due to video games
– some have given up school (l. 10) – parachuting trip (l. 12)
– don’t speak to their parents (l. 10) – meditation, fitness training and group
– whose lives have been taken over by therapy (l. 13)
an addiction (l. 8)
– no friends (l. 10)

c. Pour la recherche d’informations concernant Tim, on pourra demander à plusieurs élèves


de répondre dans l’ordre aux items, puis à un autre élève de reprendre le tout en Recap
et d’en faire une phrase.
Productions possibles : Tim is a 21-year-old Dutchman and is obese, he weighs more than
31 stone. His parents are worried about him and frightened of him. His only hobby is to play
computer games.

2. Follow-up work
a. Productions possibles :
– Could you live without video games?
– How many hours a day do you play?
– Don’t you miss your friends if you don’t see them?
– What is the most important thing for you: hanging out with your friends or playing video
games?
– Do you think you lead a normal life?
– Do you see yourself as an addict?

UNIT 11 • 235
UNIT
11 A WORLD OF GEEKS

b. Corrigé : shy • withdrawn • self-centred • ill-at-ease • awkward • immature


Ces adjectifs pourront faire l’objet d’une mémorisation avant d’être utilisés dans des phrases.
c. Productions possibles : In their everyday lives, these teenagers don’t even care about their
relationships anymore; some drop out of school, others become withdrawn and don’t have
friends at all or don’t speak to their parents anymore. Even their comfort doesn’t matter
anymore: They don’t tidy up their rooms and they may eat junk food. They probably don’t
care about their appearance and dress sloppily. Their health must be jeopardized: Their eyes
must ache after spending hours in front of a screen and they must suffer from headaches.
No physical exercise may endanger their health / could have consequences on their health.
Such addicts are likely to have heart diseases particularly if they keep putting on weight. They
are so self-centred that they are not interested in anything else. They must be furious / mad
if someone interrupts their game.
d. Les propositions de solutions pourront se travailler d’abord individuellement, puis en
confrontant ses idées à celles des autres élèves du même groupe ou du reste de la classe.
Productions possibles : I reckon that parents could try to reduce the number of hours their
children spend in front of the computer. They should force themselves and exercise a little.
Even if it’s difficult, why don’t they go away for a weekend with their family? Yoga might be
a good solution for them. It would compel them to focus on what is really important. They
should do some physical training / practise a sport. If I were them, I’d go on a diet / I’d stop
eating junk food / I’d start going out with some friends.

3. Discuss
Les amorces fournies p. 90 du Workbook ainsi que le vocabulaire du Help! et les amorces
p. 149 du manuel constitueront une aide précieuse dans le cadre de ce premier mini débat.
Celui-ci donnera lieu à un travail écrit ou oral.
k Travail écrit : on pourra diviser la classe en deux et demander à chaque groupe de trouver
un maximum d’arguments. La production d’un élève pourra être (rétro)projetée, corrigée et
enrichie collectivement.
k Travail oral : les mises en œuvre décrites p. 233 pourront être réutilisées ici (Circular
debate, Yes-but game).
Productions possibles :
– Yes, computer games can be addictive
“Recent studies suggest / prove / show that spending too much time playing computer
games can really become an addiction. Today we know that it can become an addiction
like alcohol or drugs or other illegal substances. Just imagine the damage! It’s a distracting
activity, worse than watching TV! If you spend too many hours playing, then you will become
more and more obsessed. Playing too much on your computer may become addictive if
nobody is there to stop you and your mood can change but don’t you think that an addiction
is something serious and, as such, can be harmful?”
“Indeed, it may be unhealthy because you don’t go out so much, see your friends or do any
other activity.”
“You’re right, what’s more, teenagers who have no limits can become addicted like junkies:
They need to continue the game and they just can’t stop!”
“It can be dangerous for your psychological and emotional health and lead to health disorders.
You can become moody and the consequences for your social life can be huge / dramatic!”

236 • UNIT 11
– No, computer games aren’t addictive
“It can become addictive but only if you exaggerate and spend all your time playing.”
“I see your point but ‘gamers’ are not like junkies, it’s not a drug! Don’t you think that people
exaggerate when they say it’s like taking drugs? It’s entertaining first of all, you can have fun
whenever you want, even if your friends are not around. On the other hand, it can develop
your imagination and certain skills or reflexes.”
“I totally believe that it depends on how long you play. If you know when to stop, it’s funny and it
can increase your imagination. Youngsters / Young people can really enjoy themselves / have
a great time thanks to computer games. They can take pleasure in playing and discovering new
adventures and new graphics corresponding to new worlds!”

4. Growing up online
Productions possibles (exploitation de l’image) :
It’s a close-up shot of a teenager’s face. What immediately catches the eye are the purple and the
green colours. Our attention is also focused on the eyes. The teenager’s eyes look like a screen:
They are square. He / She is expressionless. The atmosphere is spooky. This person is glued to
the screen. The light is artificial. His / Her nose looks weird because it has lost its shape. This
makes the teenager look dehumanised. It may suggest she / he is addicted to the screen and has
lost contact with the real world. It may also mean that computer addicts are alienated.

> Script de l’enregistrement


➼ Part 1
Journalist: Why are Facebook or social networking sites so popular?
Doctor: It is fun to meet people in cyberspace, to communicate with other people who have
the same interests throughout the world. Humans need to communicate. Computers also
offer us a form of escape and diversion, which can be healthy to a certain extent.
Journalist: Where are the dangers then?
Doctor: Some online users may begin living artificial lives. They can create their own virtual
world. They can have different personalities online. Teenagers who are shy and insecure
can hide their appearance, and assume a completely different personality. They don’t feel
inhibited. It raises their self-confidence. Actually the computer has become an outlet for
self-expression.
➼ Part 2
Journalist: What about parents? Do they have any control?
Doctor: Online teenagers are out of their reach. They can’t control who their kids are talking
with, what they are saying or doing, what photos or videos they are showing to other peole,
what websites they’re visiting. There is no parental control. Kids have relationships that are
totally invisible to parents. They live in a world that is hidden from their parents.
➼ Part 3
Journalist: How do parents react to this?
Doctor: They fear for their kids’ safety.
Journalist: You mean who’s at the other end?
Doctor: Absolutely, they wonder if this person is normal, or if the person their children are
chatting with is a psychopath or a potential murderer. Some parents don’t know their kids
have an online personality. Nobody watches what they do. So some of them think they can

UNIT 11 • 237
UNIT
11 A WORLD OF GEEKS

do whatever they want, show any photo or video of themselves and their friends. Some can
be shocking and some parents wonder if wicked people can’t have access to these photos
and do their kids harm. Some kids are addicted to the Internet, because they no longer feel
complete without computer interaction and their online personalities.
Journalist: Thank you very much.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 90-91)


➼ PART 1

1. Question 1: networking • popular Question 2: dangers


2. meet • communicate • interests • escape • diversion • artificial • create • virtual •
insecure • self-confidence
3.
Advantages of these sites Drawbacks of these sites
meet • communicate • interests • artificial • create • virtual • insecure
escape • diversion • self-confidence

4. It is fun to meet people in cyberspace and to communicate with other people who have
the same interests throughout the world.
Computers offer a form of escape and diversion.
Some users may begin living / live artificial lives and create virtual worlds and have
different personalities online.
Teenagers who are insecure can assume a completely different person.
Computers have become indispensable for shy people because it raises their self-
confidence.

➼ PART 2

5. control
6. out of reach • parental
7. Activities online – are talking
– showing photos or videos
– visiting websites
Relationships with parents – are out of reach (of their parents)
– totally invisible relationships with their parents

➼ PART 3

8. a. fear • safety
b. psychopath • a potential murderer
c. Some parents fear for their children’s safety.
9. Activities Consequences
– have an online personality they think they can do whatever they want
– show photos
– show videos
– nobody’s watching what they’re doing

238 • UNIT 11
4. TECH I.T. EASY MANUEL k P. 150

1. Observe and speak


> Mise en œuvre
Ce travail peut être préparé à la maison ou donné en classe entière. Si l’on opte pour un
travail de groupe :
– diviser la classe en quatre groupes qui se concentreront chacun sur un cartoon
– demander ensuite à au moins deux rapporteurs dans chaque groupe de faire un compte
rendu oral et d’analyser les intentions du dessinateur
– demander éventuellement aux élèves qui écoutent de prendre des notes et de les
reformuler au style indirect. On invitera les élèves à utiliser les amorces suivantes : You said
that… You told us that… You mentioned that… May I ask you why you said that… You made a
good point when you said that…
– charger certains élèves de remplir une grille, une partie remplira la colonne similarities
tandis que l’autre complètera la colonne differences.
N.B. : les structures du but seront introduites et / ou rebrassées : The cartoonist’s goal is
to inform the viewer / to sensitize us to / to alert us to / to make us aware of / to warn the
public about the dangers of...
Productions possibles :
– Cartoon 1: The first character mentions to the other one that he’s trying to overcome
his computer addiction by having a CD-ROM put as a patch on his shoulder. This victim of
computers is aware of his addiction and wants to get rid of it. He must quit playing video games
or surfing on the Internet for his health. In the first cartoon, the cartoonist aims at making fun of
players by comparing them to heavy smokers who need to quit their bad habit. He also wants
to alert us to the dangers of computers / to the fact that computers have deeply transformed
people’s lives / to a serious issue: computer-addiction.
– Cartoon 2: In the second cartoon, the artist’s goal is to highlight the intrusion of computers
in our everyday life. It has an impact on people’s love life. The mother adapts a new version of
a classic like Romeo and Juliet, she gives her boy an updated version of the story. Nowadays
a lot of people meet online in a chat room and develop a relationship. Finally, technology and
more precisely the computer is at the origin and the end of the relationship: It’s totally virtual
and even a classic like Romeo and Juliet could be transformed to meet modern standards.
The artist certainly wants to make fun of love relationships on the Internet. Romantic stories
no longer exist, because our lives are dominated by machines.
– Cartoon 3: As for the third cartoon, the artist underlines the invasion of the mobile phone
in our daily lives. The man is running away from his phone which seems to bounce after him.
The man looks scared and yells: He only wants a few minutes of peace and quiet. He is fed
up. He can’t stand being disturbed all the time. His mobile phone keeps ringing and drives
him mad. Mobile phones infringe upon our privacy. The cartoonist underlines / emphasizes /
points out / stresses the man wants to be left alone. The artist wants to warn us about a real
danger, mobile phones have become a new scourge.
– Cartoon 4: A young boy is sitting in his room reading a book. His room is filled with
state-of-the art equipment, all the modern appliances we can think of. Instead of joining
chat rooms, browsing on the web, being glued to his screen, he’d rather read a book. He is
engrossed in his reading. He is different from many of his peers. It is quite unusual / odd to

UNIT 11 • 239
UNIT
11 A WORLD OF GEEKS

see a teenager neglect his computer. He is not addicted to his computer although there are
many temptations. The cartoonist may suggest that some kids can resist temptation and stick
to more traditional pastimes. The balloon may refer to what his friends tell him when they
make fun of him.

Similarities Differences
– the invasion of technologies in our lives – The first character, like the third and
– the desire to fight against these addictions fourth characters, admit they are hooked
for the characters in the first, third and on their computer or cellphone and want
fourth cartoons to get rid of them whereas the mother
in the second cartoon is keeping up with
modern technology.

2. Your point of view


Productions possibles : To me, cartoon 2 is the most critical because it involves a mother
and her child and it represents the next generation that could stop reading and just be obsessed
by e-mails or new forms of communication.
I believe that cartoon 3 is the funniest. It’s preposterous: The man is chased by his own mobile!
He has no control over his life.
The least true-to-life is the first cartoon because nobody would do this but it’s also funny
because it’s so ridiculous!

LANGUAGE AT WORK MANUEL k P. 151-153

> Improve your pronunciation


1.
\i…\ \I\
screen • disease • peaceful • geek • chip • responsible • print • bit • kid •
beep • breathe • decent ridiculous • video • device • listen

2. a. tech"nician • co"nnection • a"ddiction • elec"tronic • elec"tricity • com"patible •


compati"bility • se"curity
b. Pour les mots se terminant par -ian, -ion, -ic, -ible et -ity, l’accent principal tombe sur la
syllabe qui précède le suffixe.
3. a. Bill Gates started programming at age 13.
b. He left Harvard to devote all his energy to a company he had begun with Paul Allen. He believed
that a computer would be a valuable tool in every home and developed software for personal
computers.
c. It was the beginning of a revolution in communication technology, which has radically changed
the way we live.

240 • UNIT 11
> Build up your vocabulary
1. a. keyboard = dessin n° 3 (accepter également le clavier des n° 2 et 4) b. mouse = n° 5
c. laptop = n° 4 d. desktop = n° 2 e. screen = n° 1 (accepter également l’écran des n° 2
et 4) f. click = n° 5 g. plug in = n° 2 et 4 h. scroll = n° 5.
2. I spend a lot of time surfing on the Internet. Sometimes, I log in my password to read my
e-mails. I can browse everywhere because I have a wireless connection. It is also fast thanks
to the broadband connection. Sometimes, I download some videos. It’s awful when my
computer crashes.

> La forme V-ing


1. Ces mots en -ing sont formés à partir d’un verbe.
2. a. Books est un nom et reading un gérondif (forme V-ing) ; tous deux sont compléments
d’objet du verbe loves.
b. He can’t stand life without his cellphone.
3. Ces prépositions sont suivies d’un gérondif / de V-ing.
4. Ces quatre verbes expriment un goût.
k Après des verbes exprimant un goût, on utilise un gérondif / une forme V-ing.
5. Le premier verbe souligné est au présent simple et le second à l’impératif.
Les marqueurs de temps sont a few days ago et tonight after work.
Dans la première phrase, l’énonciateur se situe après l’action désignée par le verbe en gras,
alors que dans la deuxième, il se situe avant l’action.
k Après remember, si l’action reste à faire, on utilise un infinitif.
Si l’action est déjà réalisée, on utilise un gérondif.

> Practice
1. a. I can’t stand seeing him skipping meals to play on his computer.
b. If you go on / keep spending so much time in front of your computer, you’ll have a headache.
c. I love designing games for children / children’s games.
d. Instead of going out with her friends, she browses on the Internet every night.
e. Having a computer in your bedroom stops / prevents / keeps you from doing your homework.
f. I’m looking forward to having an MP3 player.
2. Cette activité pourra faire l’objet d’un travail écrit. On s’assurera au préalable que les
élèves ont bien repéré le nom de Calvin dans le vocabulaire donné en aide et bien compris
qu’il s’agit du nom du petit garçon. On leur demandera également de réviser tout ce qui a
été fait dans Language at work.
Productions possibles : This is a Calvin and Hobbes cartoon drawn by Bill Watterson in 1988.
First, Calvin and Hobbes are watching TV, they seem to be enjoying themselves. Calvin loves
spending his time in front of TV, even during the weekend. When his father arrives, he stops
them from watching TV. He can’t stand seeing his son spending all his free time like the rest of
his generation in front of a screen; he is fed up with seeing them glued to a screen instead of
playing outside, exercising and enjoying the beautiful day they have. That’s why he throws them
out. Once they are out, Calvin and Hobbes seem to agree but in fact they go to Susie’s, a friend
of Calvin’s, to watch TV with her. What is funny here is that when Calvin is out, we imagine he’s

UNIT 11 • 241
UNIT
11 A WORLD OF GEEKS

going to have fun like a little boy of his age but finally he just meets his friend to keep watching
TV. They look forward to watching more and more programmes. They are so used to watching
TV passively that the little girl even mentions Calvin has to hurry up because it’s a commercial,
as if it were vital! They can’t help being attracted to TV and spending a lot of time in front of it
whereas they could spend time playing, cycling or just chatting together.

YOUR TASK MANUEL k P. 154-155

> AVANT DE VOUS LANCER


1. Les expressions fournies ici auront déjà été vues et utilisées dans les Prepare your task
(p. 144, 145, 147 et 149). On demandera aux élèves de les relire (en insistant sur la bonne
accentuation) et de les apprendre par cœur. À noter que p. 181, les élèves trouveront
également des structures leur permettant notamment d’interrompre leur interlocuteur
ou de demander des éclaircissements.
2. Ce travail d’expression de l’opinion pourra être préparé à la maison. On pourra faire
travailler les élèves en binômes et mettre en place l’activité intitulée « Argument /Contre
argument » sur le site de l’Académie de Caen : « Chaque élève écrit un argument, remet sa
feuille à son homologue qui doit alors proposer trois contre arguments. Ils échangent leurs
feuilles et chacun doit proposer un nouvel argument pour chacun de ceux avancés. »
Productions possibles :
– Cellphone: “I agree with the quote, I like to feel reassured and know that I could contact
my parents if I had a problem.”
“On the other hand, if my parents want me to call them wherever I am, that means they don’t
trust me!”
– mp3 player: “I don’t understand this sort of prejudice. My mp3 is a good thing for me: I can
listen to music whenever I want and this isn’t harmful.”
“I couldn’t agree more with that quote: Sometimes my friends aren’t even listening to what
I’m saying, they are hooked on their phone or mp3!”
– Texting: “In my opinion, texting doesn’t take too long, you are not cut off from the world!”
“Instead of texting, they could enjoy the holidays and do other more entertaining things!”
– New technologies: “I believe new technologies are helping people to communicate better.
They enable us to get in touch with people quicker and from anywhere. It’s a real revolution!”
“Teenagers had better go out more and stop living in a virtual world with virtual relationships!”
3. > Mise en œuvre possible :
k On formera des groupes de quatre élèves. Chacun choisira son rôle et un sujet, puis
préparera ses arguments et ses exemples.
k Le professeur choisira également un time-keeper dont le rôle consistera à surveiller le
temps de parole de chacun et à redistribuer la parole si nécessaire.
k On fera lire les règles du débat en classe pour s’assurer qu’elles soient vues par tous et
l’on présentera à cette occasion la grille d’évaluation du manuel p. 181.
k Pendant qu’un élève s’exprime, les autres pourront prendre des notes qui seront pré-
sentées par la suite à l’écrit ou à l’oral et évaluer leurs pairs conjointement au professeur.
k Le professeur demandera aux groupes de tourner.
k On pourra disposer les élèves en suivant le schéma de la page suivante :

242 • UNIT 11
Time-keeper

Parents Children
Elèves qui Elèves qui
prennent des prennent des
notes et évaluent notes et évaluent
Psychologists Video game designers

Productions possibles :
– PARENTS
NO
“You know, that could sound surprising but my kids really don’t exaggerate with new
technologies. They have mobile phones but don’t use them too often and the Internet is not
an obsession for them.”
“I couldn’t agree more: My kids enjoy playing with video games and they don’t spend too
much time playing, they just have fun!”
YES
“As far as I’m concerned, if we’re talking about mobile phones, I believe they use it far too
much. All day long, they’re hooked to them! And video games… my son has changed, he has
become moody and doesn’t want to do anything else!”
“You’re right, the phone has become an obsession. My daughter can’t help checking her text
messages all the time!”
– CHILDREN
NO
“My parents gave me my first mobile phone. They said they felt reassured to know where I was
and I don’t think it means they don’t trust me.”
“I believe playing video games is what got me interested in graphics and I have so much fun
playing with friends! I’m not isolated at all.”
YES
“I disagree: My mother is always calling me! If I switch my phone off, she becomes nervous.
It’s as if she were spying on me! I had to explain to her I switch if off when I’m at school / for
classes.”
“You must be joking! My parents don’t trust me, they think I live in a world of fantasy because
I play video games and they’re worried about my social life. I’m reliable!”
– PSYCHOLOGISTS
NO
“That all depends on what you’re talking about: The Internet can be a very good tool for curious
teenagers and so can video games if they improve their skills and imagination. Video games can
develop creative and imaginative minds.”
YES
“On the other hand, teenagers who have no limits can become addicted to their phones or
their computers and this can become harmful and cause damage for their health and their
mood. It can become a real and serious addiction!”
“Parents should be more cautious with their children and limit their access to the Internet.
They don’t realize how harmful this can be.”

UNIT 11 • 243
UNIT
11 A WORLD OF GEEKS

– VIDEO GAME DESIGNERS


NO
“As a teenager, the first video games I discovered helped me develop my imagination, they
improved my skills: My reflexes have become highly developed.”
“We always try to imagine new graphics so that kids take pleasure in discovering new
adventures and graphics! And parents play too!”
YES
“In my opinion, some designers are not careful enough. My company tries to respect a certain
quality of graphics and is against violence.”
“That’s why we try not to be distracting. Our goal is to see them having fun!”

244 • UNIT 11
UNIT
12 MOTHER EARTH

Mother Earth
L’ensemble de cette unité est fondé sur des documents visuels très frappants et facilement
décodables qui devraient permettre de déclencher facilement la parole. Le thème choisi,
la défense de l’environnement, sera familier aux élèves voire leur tiendra à cœur. Ce sujet
d’actualité fait désormais partie intégrante du « Lien social » qui se tisse, notamment entre
les pays industrialisés et ceux du Sud.
N. B. : pour les descripteurs du CECRL se rapportant à l’expression orale en interaction,
voir p. 225-226.

Manuel Workbook Fiches


photocopiables

Tâche finale Choisir la publicité la plus efficace


et défendre son choix

Objectifs Échanges • Lien social • Création


culturels

Lexique k environnement et pollution


k Check your vocabulary (Help! p. 157) X
k Check your vocabulary (Help! p. 158) X
k Improve your pronunciation (p. 164)
k Build up your vocabulary (p. 164)

Grammaire k « faire faire » et « laisser faire » (p. 162)


k verbes + prépositions (p. 162)

Phonologie k réalisation des voyelles -a, -ea et -o


(p. 164)
k accentuation de mots (p. 164)
k association graphie / phonie : dictée
(p. 164)

Structures de k exprimer le but


communication k aimer / ne pas aimer
k comparer
k préférer

UNIT 12 • 245
UNIT
12 MOTHER EARTH

Activités langagières dominantes

Manuel Workbook Fiches


photocopiables

Lire k Poison in the well, chanson (p. 158) X


k Turning green, articles (p. 160)

Prendre k Tune in!, cartoons (p. 156-157)


la parole k Turn the song into a dialogue, jeu de rôles X
en interaction (p. 158)
k Your task (p. 165-167)

Prendre k Analyser une publicité et défendre


la parole son choix (p. 159) X
en continu k Commenter une campagne publicitaire
(p. 165)

Écrire Penguin, analyse de cartoon (p. 163)

Écouter k site compagnon, U12–Dialogue: Save our


planet

Voir et écouter Two commercials (p. 157) X


(vidéo) k It all comes back to you (WWF)
k What does your car say about you?
(Greenpeace)

N. B. : les titres en gras indiquent les documents à étudier afin de réaliser la tâche finale.
Nous vous rappelons que les Help! sont enregistrés sur le CD classe et que les exercices
Improve your pronunciation sont téléchargeables sur le site compagnon.

TUNE IN! MANUEL k P. 156-157

1. Danger ahead
> Mises en œuvre possibles
1. Le professeur pourra traiter les trois documents à la fois ou choisir le(s) cartoon(s) à traiter
avec toute la classe.
2. On pourra aussi diviser la classe en trois groupes. Chaque groupe se verra confié un
document à travailler à l’aide des questions p. 156 et de la colonne correspondante du Help!
p. 157. Au sein de chaque groupe, le travail se fera, au choix du professeur, individuellement
ou à deux. Chaque binôme comprendra alors un rapporteur qui prendra la parole devant la
classe entière. On pourra charger un élève de prendre des notes sur transparent, puis
(rétro)projeter ces notes, les corriger et les enrichir. Elles pourront servir de trace écrite finale.

246 • UNIT 12
a. Productions possibles :
– Cartoon 1: The first cartoon deals with the plundering of the Earth / of the Earth’s resources.
Men are holding hammers and are hammering at the Earth. The Earth is compared to a piggy
bank which greedy men are trying to break to get all its treasures. These men are smiling /
grinning. They are wearing suits that remind us of CEOs, executives in big firms who are
unaware of the consequences of their acts. Each man may symbolize a continent / countries
looking for gold, oil, diamonds, gas, or raw materials to feed their industries. They are involved
in a global race for raw materials. This cartoon is pessimistic, and alarming. It hints that one
day the piggy bank will be empty and we will have exhausted the resources of the planet. The
pig looks dumbfounded, its eyes are wide open and its ears folded. It may suggest that the
Earth is paralysed, powerless in the face of man’s madness. The Earth is a treasure-trove ready
for the taking. But man’s greed, carelessness and selfishness will lead to a disaster. Men are
responsible for the destruction of the planet. The whole world is responsible.
Title: The piggy bank
– Cartoon 2: We are immediately struck by a skinny little boy who meets a polar bear. The
boy may be from Africa and meets a bear who is supposed to live at the North / South pole.
The cartoon is based on a discrepancy between Africa and the poles. It warns us about the
dangers of global warming. Nature’s balance has been upset. The earth is cracked / parched,
it has become a desert, which implies that there is a shortage of water / a severe drought.
People try to escape drought and move from one continent to another. The polar bear is
threatened with extinction, wildlife is endangered. Humanity is on the verge of extinction.
The whole world is at stake. It is a strange encounter. The man and the animal are the
only survivors. It is a very pessimistic vision, an apocalyptic vision. Man is confronted with
extinction. In my opinion it is not realistic / it is over-exaggerated.
Title: Strange encounter
– Cartoon 3: Man’s evolution is represented in the cartoon. The different stages are clear:
the fish, the dinosaur, the monkey, the Neanderthal man, then the Homo sapiens. Man has
dominated / tamed the planet. The man in red trousers looks bewildered. He is the only man
left, the only survivor of a civilization. The traces of this civilization are a truck sinking into the
sea, with an oil drill, rockets / nuclear missiles, a gas station, a plant releasing / belching
black fumes into the air and a building. The wheel of the truck symbolizes nuclear waste, toxic
waste dumped into the sea. Exhaust pipes symbolize cars that pollute the air. The island has
become a wasteland. The Earth has become a rubbish dump / a dumping site. It’s scary,
alarmist.
Title: Look at this mess!
b. La comparaison entre les trois documents sera l’occasion de rebrasser les structures
de la comparaison, de la préférence et de l’opinion.
Productions possibles : The three cartoons raise topical / environmental issues / crucial
problems. They all focus on the danger of pollution. They are striking / provocative / thought-
provoking.
Prolongement possible : pour vérifier l’acquisition du lexique du Help! p. 157, on pourra
proposer la fiche suivante (téléchargeable sur le site compagnon).

UNIT 12 • 247
UNIT
12 MOTHER EARTH

Check your vocabulary


Traduisez les phrases suivantes. Tous les mots en gras sont dans le Help!, p. 157.
1. Beaucoup de gens ont pris conscience du réchauffement climatique.
2. Avons-nous épuisé les ressources de la Terre ?
3. Les gaz à effet de serre, les marées noires et les fumées d’usine menacent la planète.
4. Nous nous rendons compte que nous sommes tous responsables de la pollution et que
nous sommes tous impliqués dans la lutte contre le réchauffement climatique.
5. De nombreuses espèces (species) animales sont mises en danger par le réchauffement
climatique.
6. De nombreuses personnes risquent (may) de mourir de faim à cause de la sécheresse.
7. La planète ne peut pas être transformée en décharge.
8. L’artiste veut avertir le lecteur des dangers des déchets nucléaires.
9. Ces dessins sont réalistes, mais effrayants. Je préfère celui-ci car il est plein d’humour.

CORRIGÉ
1. Many people have become aware of global warming.
2. Have we used up the Earth’s resources?
3. Greenhouse gases, oil spills and factory fumes threaten our planet.
4. We realize that we are all responsible for pollution and that we are all involved in the fight
against global warming.
5. Many animal species are endangered / threatened by global warming.
6. Many people may die because / as a result of drought
7. The planet / Earth can’t be turned into a rubbish dump.
8. The artist wants to warn the reader about the dangers of nuclear waste.
9. These drawings are realistic, but scary. I prefer this one because it is humorous.

2. Watch a video
Voir p. 423-424 et 447.

3. Oral account
Voir p. 447.

248 • UNIT 12
1. ALERT MANUEL k P. 158-159

1. Get ready
> Mise en œuvre possible : la lecture des deux articles du Workbook (p. 92) pourra
se faire à la maison, si le professeur le souhaite. La synthèse des textes pourra être menée
à l’aide de la grille fournie dans le Workbook (p. 93).

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 93)


Causes Consequences
– Lack of safe water and sanitation – The world’s single largest cause of illness.
(1.2 billion people in the world don’t have In 2002: 42% of households had unsafe
access to safe drinking water; 2.4 billion water and lacked of basic sanitation facilities.
lack proper sanitation facilities.) – The toll on children is high. About 4,500
children die each day. Others are often ill
and can’t work or get a proper education.
The young and the old are vulnerable / the
victims.
– The poor: In sub-Saharan Africa, 36% of
the population can have access to hygienic
sanitation.
– Urban-rural disparities: In 2002, 37% of
people in the country had access to basic
toilets, against 81% of people in cities. In
particular Latin America and the Caribbean.
– Women have to fetch water, consequently
they have no time for other work. Girls can’t
be educated.
– Between 1990 and 1995, global water – Water shortages: Nearly 1.8 million kids
consumption rose six-fold due to industrial die every year of diarrhoel disease.
demand + changes in our diet.

2. Understanding the text

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 93-94)

1. Narrator: stanzas 1, 3, 5, 7, 8, 9, 10
The authorities: stanzas 2, 4, 6, 11
➼ STANZAS 1 AND 2
2. k What’s happening?: “what’s going on?” (l. 6)
k Is anyone responsible?: “Who’s to blame?” (l. 6)
k There is no water: “dry as paper” (l. 4)

UNIT 12 • 249
UNIT
12 MOTHER EARTH

k we are all equal: “just the same as you” (l. 8)


k without being informed: “in the dark without a clue” (l. 7)
➼ STANZA 3
3. k pollution: poison • untidy • spill
k a small quantity: a drop
4. This stanza is repeated 3 times.

➼ STANZA 5
5. knew • they let us just drink on
Approfondissement possible : The narrator relates a personal experience. One day someone
discovered there was no water. He wondered what was happening / what the problem was.
He was surprised, puzzled. He asked his neighbour what was going on. Nobody knew. They
asked the authorities who replied that there had been a minor incident, but the inhabitants
shouldn’t worry. They used an understatement (a figure of speech in which a person
deliberately makes a situation seem less important or serious than it is). The narrator is ironic
and sarcastic. The authorities denied the truth, they said it was just a drop. The narrator
denounces the hypocrisy of the authorities / big companies who knew the water supply had
been contaminated, that it was a mass poisoning. The narrator accuses them of lying, of
manslaughter. He wants to report a crime. He asks them to acknowledge the truth. They kept
people uninformed, and did it on purpose.

➼ STANZAS 6, 7 AND 8
6. “in a week” (l. 23) • “the week is over” (l. 24) • “it’s grown into years” (l. 25)
7.
Promise Reality Victims
– “they’ll have it cleaned up – “But the week is over” (l. 24) – “But I drank that water
in a week” (l. 23) – “and now it’s grown into for years, my wife and my
– “since I was told that I years” (l.25) children!” (l. 28-29)
should be calm / there’s
nothing to fear” (l. 26-27)

➼ STANZA 9
8. fight (l. 31) / fought (l. 32)
9. bear + able (suffix) = supportable
10. Who can help me now? + We are condemned. (see: lost, l. 32)
Approfondissement possible : The authorities promised they would take measures / steps.
They promised they would cope with the problem and that it wouldn’t take long. However they
didn’t keep their promises. They tried to reassure the population, to comfort them. But they
didn’t do anything, although everybody was concerned that women and children were the
victims / casualties. The narrator is trapped / defenceless / powerless / weak against the
authorities. He is helpless / hopeless / crushed by powerful people. He is fed up to the back
teeth. / He can’t stand their lies anymore. Their answers are stereotyped. The population has
been deluded / deceived for ages. People are puppets in the hands of unscrupulous people,
of hypocrites. This is a committed song. It denounces the situation in developing countries
or in countries where people are sacrificed to economic profits. No country is mentioned,
no name is given, it can happen anywhere in the world.

250 • UNIT 12
Prolongement possible : pour vérifier l’acquisition du lexique du Help! p. 158, on pourra
proposer la fiche suivante (téléchargeable sur le site compagnon).

Check your vocabulary


Traduisez les phrases suivantes, tous les mots en gras sont dans le Help! p. 158.
1. Quelle est l’étendue des dégâts ?
2. La pénurie d’eau menace l’humanité.
3. Vont-ils bientôt s’attaquer à ce problème ?
4. Ils sont sans scrupules, racontent des mensonges et veulent tromper la population.
5. Ils sont coupables, car ils n’admettent pas la vérité.
6. Ils ne tiendront jamais leurs promesses.
7. Le narrateur est perplexe, révolté, car il se sent pris au piège.
8. Les gens faibles sont trompés et en ont assez de tous ces mensonges.
9. Le narrateur dénonce l’hypocrisie des autorités.

CORRIGÉ
1. What is the extent of the damage?
2. The water shortage threatens / endangers mankind.
3. Are they going to cope with / tackle this problem soon?
4. They are unscrupulous, tell lies, and want to deceive the population.
5. They are guilty, because they deny the truth.
6. They will never keep their promises.
7. The narrator is puzzled, revolted, because he feels trapped.
8. Weak people are deceived / deluded and fed up with all these lies.
9. The narrator denounces the hypocrisy of the authorities.

3. Turn the song into a dialogue


Ce jeu de rôles pourra être préparé en classe ou à la maison. Il permettra de rebrasser
en contexte les acquis du cours ainsi que le lexique étudié. Les élèves s’appuieront sur
les traces écrites du cours. Les plus faibles pourront se préparer avec la rubrique Action!
du Workbook p. 94-95.

UNIT 12 • 251
UNIT
12 MOTHER EARTH

4. Choose the best illustration

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 95-96)


➼ PICTURE A
1. a) This document is an advertisement.
b) – We are immediately struck by the man standing in the middle of the picture behind
a black and dirty wall. He is blindfolded, he is looking down, he is wearing a white T-shirt.
His hands are chained behind his back. He has been sentenced to death and is going to /
about to be shot dead by the death squad. We are witnessing his final moment.
– It is a full shot.
N. B. : pour trouver le plan utilisé les élèves se réfèreront à la p. 261 du manuel.
– The scene is seen through the eyes of the soldiers who are ready to shoot / pull the trigger.
2. a) governments • the lack of sanitation • industrialists
b) Victims of the sanitation problems
Approfondissement possible : The gloved hands are not holding pistols but glasses of
water. The lack of water and sanitation is a major cause of illness and death. Young people
in particular die from unsafe water and basic sanitation facilities, particularly in developing
countries. Young people are hard hit because they do not have access to safe drinking water.
3. a) – Make people aware of widespread sanitation problems.
– The goal is to alert the public, the authorities that many people die or could die if nothing
is done.
– The goal is to sensitize the authorities and make them take drastic measures / steps to
fight this problem.
b) Pessimistic message. The man is sentenced to death.
The picture is in black and white to suggest death / that the man is doomed. He is wearing
a white T-shirt to underline he is an innocent victim.
4. It is a very forceful ad because an innocent and young victim is sentenced to death, although
he hasn’t committed any crime. The advertisers resort to a shock tactic to alert us, to warn us
about an acute problem.
➼ PICTURE B
1. a) This document is an advertisement.
b) The sewer is lying in the middle of the picture and looks huge / enormous.
Sewage is important / dominates the scene / is flowing in the middle of a city.
The river looks dirty / filthy / polluted.
The city is densely populated / overpopulated / in a developed or Western country /
huge / sprawling.
2. a) chemicals • waste disposal • industries that dump toxic waste anywhere
b) The city looks like a rubbish dump / a dumping site / an open air sewer.
3. a) The WWF wants to influence the public opinion / denounce the indifference of industrialists,
their lack of concern. Their only goal is to make money. The WWF wants to protest against the
impact of industrialization on the environment. It conveys the impression of a squalid and filthy
river, a world of grime and darkness.
b) The message is pessimistic, the population seems powerless. We are all concerned by
waste disposal, it endangers people’s health / lives. Industrialists who pollute our rivers
with chemicals should be prosecuted.
4. Réponse libre.

252 • UNIT 12
2. TURNING GREEN MANUEL k P. 160-161

Cette double page sera traitée très rapidement par une classe solide. Une classe fragile
s’appuiera sur les images p. 161 pour trouver les mots manquants.

1. Read and guess


Corrigé :
Text 1. Word = paper k illustration C
Text 2. Word 1 = meat Word 2 = bovine k illustration A
Text 3. Word 1 = drive Word 2 = driver k illustration D
Text 4. Word 1= plastic Word 2 = bag k illustration B
Prolongements possibles
1) Après la lecture des articles, on pourra demander à chaque groupe de faire la synthèse des
arguments qu’il vient de lire. Le rapporteur de chaque groupe procédera à une courte prise de
parole pour rendre compte de chaque texte. La synthèse pourra être faite par chaque groupe
sur un transparent qui sera (rétro)projeté.

Situation today Solution Consequences


Article 1 900 million trees turned into Buy more – Save water and
paper every year. recycled paper. energy.
– Trees help fight
against pollution.
Article 2 – Hamburgers more Become Carbon footprint can
responsible for global a vegetarian. be reduced by up
warming than cattle. to almost 1.4 ton of
– Meat industry = 18% of carbon dioxide per year.
greenhouse gas emissions
due to digestion of cattle.
– Meat production will double
k more energy used.
Article 3 80% of people drive to work – Car pool. – Fewer vehicle trips
alone. – Walk. every morning.
– Bike. – Gas saved.
– Bus. – Reduction of pollution.
Article 4 – 500 billion plastic bags BYOB = bring Reduce pollution.
distributed every year. your own bag.
– 3% are recycled.
– Greenhouse gases in
landfills.

2) Grâce à la fiche suivante, on pourra demander à chaque groupe de repérer dans chaque
article des mots qui seront ensuite réutilisés dans le role play.

UNIT 12 • 253
UNIT
12 MOTHER EARTH

Words to remember
Find the English equivalent of (in the order of the text) :
Text 1 Text 3
consommation: règle:
transformer en: inciter qqn à:
économiser: voyage:
de plus: banlieusard:
Text 2 Text 4
dans l’ensemble: de plus:
chiffre: tissu:
dû à: épicerie:
habitude:
nocif / nuisible:
empreinte écologique:
jusqu’à:

CORRIGÉ
Text 1 consumption Text 3 rule
turn into urge sb to
save trip
furthermore commuter
Text 2 on the whole Text 4 moreover
figure cloth
due to grocery store
habit
harmful
carbon footprint
up to

2. Role play
Le jeu de rôles permettra de réutiliser de façon personnelle et vivante tout ce qui a été vu
précédemment. Les élèves pourront s’appuyer sur des photos p. 161 pour nourrir le débat.
Ils pourront également s’inspirer du document audio Save our planet téléchargeable sur le
site compagnon. Ils pourront ainsi aller plus loin et proposer d’autres solutions, dont voici
quelques exemples :
– Check your tyres can improve gas mileage.
– Consume less, share more, live simply.
– Have your house insulated, change your lightbulbs.
– Hang up your clothes on a clothes line to dry them rather than load them in a dryer.

254 • UNIT 12
LANGUAGE AT WORK MANUEL k P. 162-164

> « Faire faire » et « laisser faire »


1. – Sujet des verbes encadrés : this ad est sujet de makes et the authorities est sujet de let.
Sujet des verbes soulignés : me est sujet de laugh et people est sujet de drink
Le pronom utilisé dans la phrase a (me) est à la forme complément.
– Le verbe utilisé pour signifier le déclenchement d’une action est make.
Le verbe utilisé comme équivalent de « laisser faire » est let.
k Déduisez : Make / Let + nom ou pronom + base verbale.
c. Make indique ici une contrainte exercée par le gouvernement sur la société pétrolière.
2. – Quel énoncé indique qui nettoiera ? 1
– Quel énoncé met l’accent sur la transformation subie ? 2
– L’entreprise fera contrôler la qualité de l’eau (mais on ne dit pas qui s’en chargera).
Cleaned est un participe passé.
k Déduisez : la structure employée est have + nom ou pronom + participe passé.

> Verbes + prépositions


1. Les problèmes auxquels nous devons faire face sont énormes.
Nous sommes témoins de changements climatiques spectaculaires.
Le dessinateur veut que nous regardions l’état de la planète et que nous réagissions.
Qu’est-ce qui explique le réchauffement climatique ?
Pour s’attaquer au problème de la pollution les pays industrialisés doivent réduire leur
consommation de pétrole.
Approuvez-vous la campagne « Utilisez / Prenez votre propre sac » ?
Nous espérons tous un avenir meilleur.
Pourquoi les gouvernements n’écoutent-ils pas plus souvent les écologistes ?
k Déduisez : en anglais ces verbes s’utilisent avec une préposition, alors qu’en français
ils se construisent sans préposition.
2. Nous devons tous prendre part au combat contre le réchauffement climatique.
De quoi les écologistes se préoccupent-ils ?
Vous souciez-vous suffisamment de l’état de la planète pour vous impliquer dans sa
sauvegarde ?
k Déduisez : en anglais comme en français ces verbes sont suivis d’une préposition.
N. B. : on pourra demander aux élèves d’apprendre par cœur la construction des verbes
utilisés dans ces phrases.

> Practice
1. a. Environmentalists want to make consumers shut off their computers after each work
session.
b. The new boss won’t let us leave our offices without making sure our computers, printers,
desklights are turned off. The goal is to make us save energy and reduce gas emissions.
c. Environmentalists suggest drivers should have their tyres regularly checked and properly
inflated to reduce their gas consumption.
d. The price of oil makes people walk or bike or ride public transport to go to work.
e. To consume less energy my parents will have our house properly insulated.

UNIT 12 • 255
UNIT
12 MOTHER EARTH

2. a. The goal of this ad is to make the viewer / spectator react.


b. This article made me think and change my habits.
c. My grandmother had all the bulbs in her house changed.
d. This picture made me aware of the dangers of pollution.
e. You should have your house insulated.
3. Cette activité pourra donner lieu à un travail oral (prise de parole en continu) ou écrit,
il pourra être fait à la maison ou en classe, individuellement ou en groupe.
Productions possibles : We are struck by / We can see a penguin standing on an island in
the middle of the ocean. Instead of walking on the ice and living at the North / South pole,
the penguin is alone on a tropical island. It seems to be the only survivor left. It looks helpless
and hopeless. The cartoon is both pessimistic and humorous. The cartoonist wants the viewer
to realize that many species are endangered and will soon become extinct. The goal is to
make us aware that some species will soon be wiped off the surface of the Earth. We can’t
let people destroy the environment. The artist wants us to be concerned about the state of
the planet. It is a very gloomy vision of the world. The problem is acute. Citizens must make
governments react and take measures to cope with this problem.

> Improve your pronunciation


1. \eI\ \eE\ \A…\ \E\ \O…\ \œ\
hurricane aware disaster global • hurricane (plutôt UK) • warn impact
(plutôt US) alert • about

impact (nom), mais impact (verbe)


2. threat et measure comme dans bed \e\ • earth comme dans bird \∏…\.
3. advertiser • advertising • advertisement
4. La voyelle de leur première syllabe est prononcée comme la première voyelle de banana.
5. a. Different kinds of pollution threaten our planet’s future.
b. If measures are not taken to control pollution, our existence is threatened.
c. Many species are endangered and will soon become extinct. All sorts of animal species
are being wiped off the surface of the Earth or at least badly endangered.
d. Industrialized countries are responsible for climate changes.
e. Droughts, storms and hurricanes are more frequent and severe. Humans are to blame
and must take action.
f. Nowadays, we’re damaging the planet, depleting its resources, upsetting nature’s balance.
Our exploitation of resources is reckless.

> Build up your vocabulary


a. We are immediately struck by the Earth that has been turned into a garbage can. The
cartoonist’s goal is to make us aware of the enormous amount of waste we produce every
day. The problem of waste disposal is acute because litter is dumped everywhere, and is
polluting rivers and oceans. Our waste should be recycled or burnt. The message is clear:
Our blue planet is threatened with extinction because man has destroyed the environment.
We should all fight for the protection of the Earth.

256 • UNIT 12
b. We will soon be confronted with an energy crisis. The world’s demand for energy – oil,
coal, gas – is rising. More renewable sources of energy, like wind, solar and hydro power,
will be used in the next two decades. Governments want to develop public transport and
clean energy sources to reduce oil consumption and the greenhouse effect.

YOUR TASK MANUEL k P. 165-167

1. Entraînez-vous en analysant cette publicité.


Cette publicité pourra faire l’objet d’un travail individuel ou en groupe avant une reprise
collective devant toute la classe. Elle permettra de revoir les expressions du but.
Sur le site Internet d’Encams (l’entreprise chargée des campagnes de Keep Britain Tidy,
www.encams.org), on pourra trouver des compléments d’information utiles comme celui-ci :
“In 2005, a survey by Keep Britain Tidy revealed that smoking-related litter was found in 79%
of sites across England and it had increased by a staggering 20% over the last four years.”
Productions possibles :
The arrows correspond to: 1: slogan • 2: motto • 3: logo of the campaign group.
The advertisers target smokers who drop their litter/ cigarette butts / ends in the street,
encourage smokers to be more responsible about the way they dispose of their cigarette
butts. They target people who pay no attention / respect to the environment / who pollute
the environment because they are not concerned / responsible citizens / they are careless.
The goal / aim / purpose of this ad is to denounce / expose / condemn / criticize smokers
who have a selfish attitude. The advertisers want to draw the public’s attention to the litter
problem. They wish to make people aware that daily habits / gestures can pollute our
environment. They intend to alert the public / to sensitize people to what they do.
They encourage smokers to use cigarette bins and personal ashtrays.

> Mise en œuvre de la tâche


k Les élèves pourront s’aider de la p. 54 du manuel (« Enrichissez votre prise de parole »)
pour enrichir leur prise de parole, donner leur opinion, utiliser des gap fillers, vérifier qu’on
les a bien compris...
k P. 181 du manuel (« Prendre part à une conversation »), les élèves trouveront des structures
leur permettant d’exprimer leur accord ou leur désaccord, d’interrompre leur interlocuteur, de
demander des éclaircissements...
k On pourra former des groupes de 8 élèves et organiser 4 débats de 10 minutes environ
avant de permuter les élèves et les rôles.
k Disposition de la classe :
Time-keeper

Élèves qui Élèves qui


Reste de la classe Reste de la classe
débattent débattent

UNIT 12 • 257
UNIT
12 MOTHER EARTH

Pendant qu’un groupe de 8 élèves débat, on confiera aux autres diverses tâches :
– écouter et repérer les erreurs de lexique, prononciation, grammaire ;
– commenter ce qui est dit (voir structures utiles p. 55 du manuel) ;
– faire office de secrétaires de séance en prenant des notes qui pourront ensuite servir de
base à un compte rendu oral ou écrit ;
– faire office de time-keeper, c’est-à-dire distribuer la parole de la manière la plus équitable
qui soit.
Une fois toutes les équipes entendues, on pourra prononcer le vainqueur.

Productions possibles :
– Ad n° 1: Tarzan is going to crash, to land in a wasteland. All the trees have been logged.
Tarzan is going to kill himself because of deforestation / logging. It is very humorous and
at the same time it is a very gloomy vision of the future. The sky is dark: It suggests the end of
the world. It is a mixture of gloom and humour. We are doomed, but let’s laugh. The advertisers
resorted to humour and a shock tactic to alert us, to sensitize us to the state of the planet.
They want to shock us into awareness.
– Ad n° 2: In the foreground of this ad, we can notice a teenager lying on the beach. In the
background, two other people can be seen in the sea. They seem to be as young as the first
teenager. The clues / hints that show us that they’re on the beach are the sand and the sea.
The beach is littered with garbage, cans and bottles. What immediately catches our attention is
the garbage on the beach as well as the numerous / huge number of seagulls. They look as if
they are searching for food or as if they want to attack the teenager who is sunbathing. This ad
is symbolic because it asserts that humans, by threatening nature / upsetting nature’s balance,
are threatening themselves. They’re on the brink of disaster. The target of this ad is teenagers.
The advertisers chose to show the teenager’s back only in order to convey the message that it
could be any teenager. Everyone can identify with him. Every young person lying on the beach or
not has to be concerned and get committed to the protection of our planet. The caption with the
words “you’re rubbish” is a pun. They want to drive the message home. It’s a manner of saying:
“You’re responsible for the state of the planet, you are worthless, inconsiderate.” The goal of
the ad is to make people feel responsible for the state of the planet. If mankind upsets Nature,
Nature will retaliate. Man may also be threatened with extinction. The seagulls refer to / draw
a parallel between this ad and the movie Birds, by Alfred Hitchcock. It is scary and disturbing
because it looks as if the birds are about to attack the teenager.
– Ad n° 3: Our attention is immediately caught by a man looking at himself in a mirror and
frowning. We can’t help noticing his cracked skull. This is a very powerful visual device to
suggest that our planet is threatened with drought, with global warming. This young man,
maybe a yuppie, is obviously concerned with his appearance and wrinkles, and getting old.
He doesn’t care about the state of the planet, he is blind, he doesn’t worry about what is
happening in the rest of the world. He is not facing the problem, he is turning his back on the
problem of global warming. He may also be turning his back on the problem of developing
countries. He has blinkers, has a short-sighted, a short-term vision of the world. He is
unaware of reality, of what is going on. He is selfish / self-centred, trapped in consumption.
He is shallow. This ad is forceful, disgusting, it gives us the creeps. For some people the ad
is funny because the advertisers used a very smart / clever device. But it is grim humour.
For others it bothers them. It makes them feel uneasy, the ad gives them the creeps, makes
their hair stand on end, they find it scary / frightening / shocking / revolting / gross. This

258 • UNIT 12
ad is clearly an indictment of our selfishness, of consumers who are only worried by their
looks and appearances. The man stands for the average consumer in the developed world.
The advertisers call on us to join the fight against global warming.
– Ad n° 4: This striking image is a clear reference to floods, storms, hurricanes; it may also
be a reference to Katrina. It looks as if the environment were talking to us. The advertisers
resort to a visual device to make us aware of the link between floods, hurricanes and global
warming. They have resorted to a shock tactic to make us aware of the impending disaster /
an acute problem / the threat / the danger / the impact of global warming on our planet.
They want to alert us / sensitize us / shock us into awareness. The message conveyed is
clear: It’s high time we acted. We are on the brink of disaster, if we don’t act now we are
doomed. We are all concerned. They want to frighten us into acting / reacting. They want
to urge us to do something.

UNIT 12 • 259
UNIT
13 ALL THE WORLD’S A STAGE

All the world’s a stage


Notre objectif dans cette unité a été double :
– faire connaître aux élèves des textes classiques de la littérature britannique ;
– permettre de mettre en scène les scènes étudiées.
En effet, le théâtre est un merveilleux moyen de mettre en place des règles de phonologie
en contexte, d’apprendre un texte par cœur, d’exprimer des sentiments et des émotions
en anglais et enfin d’acquérir des qualités de communication qui pourront être réinvesties
en expression orale.

N. B. : pour les descripteurs du CECRL se rapportant à l’expression orale en interaction,


voir p. 225-226.

Manuel Workbook Fiches


photocopiables

Tâche finale Jouer une scène étudiée en classe

Objectifs Mémoire • Création


culturels

Lexique k vocabulaire du théâtre (p. 168) X


k surprise (p. 170 à 172)
k sentiments négatifs : mépris, colère,
reproche (p. 170 à 174)
k préjugés (p. 170 à 172)
k statut social (p. 170 à 172)

Grammaire k style indirect (p. 176-177)

Phonologie k lecture guidée de textes (mots porteurs


de sens, mots en relief, liaisons consonne-
voyelle, schémas intonatifs, accents de
mots, tons de voix)

Structures de k ordonner
communication k regretter, reprocher, se plaindre
k refuser

260 • UNIT 13
Activités langagières dominantes
Workbook Fiches
Manuel
photocopiables

Lire et prendre k
A suitable boy, Oscar Wilde (p. 170
et 172) X
la parole
en interaction k
The right decision, Jane Austen (p. 174) X
k lecture à haute voix (p. 170, 172, 174) X

Prendre k rendre compte d’un texte (p. 171, 173, 174) X


la parole k role play (p. 168 et 173)
en interaction k réagir à un document iconographique
(p. 169) X

Prendre k faire le compte rendu oral d’un texte


(p. 171, 173, 174)
la parole
en continu

Écouter
k site compagnon, U13–Your task (3),
(4), A suitable boy et Your task (5),The
right decision

Écouter k Shakespeare in a Supermarket, reportage X


et regarder (p. 173)
(vidéo)

N. B. : les titres en gras indiquent les documents à étudier afin de réaliser la tâche finale.
Nous vous rappelons que les Help! sont enregistrés sur le CD classe et que les exercices
Improve your pronunciation sont téléchargeables sur le site compagnon.

TUNE IN! MANUEL k P. 168

1. On stage!
Corrigé :
– giving a play at a theatre: performance
– person in a play: actor
– person who gives instructions to actors and actresses: stage director
– practice before playing in public: rehearsal
– accessories used on stage: props
– people who come to watch a play: spectators / audience
– all the actors in a play: cast
– clothes actors and actresses wear: costumes
– story of a play: plot
– place in which a play takes place: setting

UNIT 13 • 261
UNIT
13 ALL THE WORLD’S A STAGE

> Mise en œuvre :


On pourra opter pour une variante plus ludique avec la grille de mots croisés ci-dessous
(disponible en version photocopiable sur le site compagnon).

In your book (p. 158), read the review of A Midsummer Night’s Dream, a play by
Shakespeare written in 1595, which contains five of the words in the puzzle. It will help
you fill in the crossword below.
1
ACROSS 2 3
2. all the actors in a play
5. platform on which actors appear
4
6. giving a play at a theatre
8. person who gives 5 6

instructions to actors
and actresses 7

DOWN 8

1. practice before playing in public


2. clothes actors wear
3. person in a play
4. place / environment in which a play takes place
6. what an actor says or does
7. objects or pieces of furniture used in a play

Corrigé : ACROSS 2. cast 5. stage 6. performance 8. director


DOWN 1. rehearsal 2. costumes 3. character 4. setting 6. part 7. props

2. A quarrel
> Mise en œuvre :
k On laissera 5 à 10 minutes à la classe pour préparer un dialogue.
k Un ou plusieurs groupes joueront leur dialogue, le reste de la classe prendra des notes
et évaluera la prestation. Un groupe pourra s’occuper de la prononciation, un autre de la
grammaire, un autre du lexique.
k La classe commentera la prestation à l’aide de la p. 55 du manuel (« Réagissez à la prise
de parole de quelqu’un »).
Critères d’évaluation : à titre indicatif, nous proposons la grille suivante. Le professeur sera
bien sûr libre d’élaborer sa propre grille ou de faire évoluer le nombre de points attribué à
chaque critère.
Voix audible 0 1 2
Présence sur scène (occupe l’espace, exprime des sentiments) 0 1 2 3 4
Interaction avec le partenaire 0 1 2 3 4
Texte cohérent, intéressant, original 0 1 2 3 4
Correction de la langue 0 1 2 3
Prononciation 0 1 2 3
Total des points / 20

262 • UNIT 13
1. WEDLOCK MANUEL k P. 169

> Mises en œuvre possibles :


k Découverte et exploitation du document dans son intégralité ou approche morcelée :
ne montrer que les deux mains et faire émettre des hypothèses.
k Les élèves pourront préparer le document en classe ou à la maison à l’aide de la
fiche du Workbook p. 97-98 qui les aidera à décoder l’affiche et leur fournira les outils
nécessaires à l’expression orale.
Productions possibles :
a. We are immediately struck by / Our attention is immediately drawn by the chain around two
hands, the padlock in the middle standing out against the white background, and the word
“forced” written in big red capital letters.
b. At first we may think marriage is a sacred link, but the word “forced” and the sentence
“you have the right to choose” tell a different story. A bride and a bridegroom are going to get
married or may have just been married since we can see a white shirt at the top of the poster.
They have been forced, it may have been an arranged marriage. They may have been forced
by their parents. The padlock reminds us of prisoners who are unable to escape. These two
people did not marry out of love, did not fall in love.
c. The dominant colours are white and red. White is a clear reference to the wedding ceremony.
Red may symbolize pain, suffering. It may also be used to attract our attention, to make us read
and react.
d. This poster was published in Great Britain by the Forced Marriage Unit. This campaign poster
was printed to illustrate the issue of forced marriage because forced marriages have led to
suicides and murders. The targets are South Asians in Britain. It is to prevent people from
yielding / submitting to force, to warn them that they can get support and if they are trapped
in such a situation, to warn people that Great Britain is a country where basic Human Rights
are enforced.
e. Réponse libre.

Informations complémentaires
Britain’s Forced Marriage Unit, established in 2005, receives around 5,000 calls and deals with
about 300 cases each year – figures that officials fear are just the tip of a very large iceberg.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 97-98)


I. Two hands are not entwined, they are close, but the fingers do not touch. There is no feeling,
no sign of affection.
The padlock is to be seen in the middle of the poster.
The background is white, as well as the bridegroom’s shirt which is to be seen in the top
right-hand corner.
The slogan is written in big red capital letters at the bottom of the poster.
We also notice a sentence, a phone number and an address at the very bottom.
II. 1. The two hands stand for people who were forced to marry the partner their parents
chose for them. They stand for all the people who were obliged / compelled to marry
against their will, all the people who are obedient and submissive. We can’t see these
people’s faces so that the people who are concerned can easily identify with them.

UNIT 13 • 263
UNIT
13 ALL THE WORLD’S A STAGE

2. The padlock and the chain symbolize: prison • the lack of freedom • arranged marriages •
a trap • powerlessness • torture • oppression.
3. The parents are certainly responsible for this arranged marriage. It may also symbolize
the pressure of a whole community.
III. 1. This poster was published in Great Britain by Britain’s Forced Marriage Unit.
2. campaign poster • was printed • illustrate forced marriages • because • suicides and
murders
3. The targets: South Asians in Britain.
to prevent people from marrying against their will, to urge them to get support, to warn
about danger, to show that Great Britain = country where basic Human Rights are enforced
4. Réponse libre.
IV. Réponse libre.

2. A SUITABLE BOY (PART 1) MANUEL k P. 170-171

Exploitation de l’image : We are immediately struck by the imposing lady who is wearing
a fur coat, a string of pearls, earrings, and a hat. She looks stern / haughty / severe /
impressive / authoritative / aloof / curt. She is quite tall to reinforce the idea that she is
in full command of the scene. The young girl standing next to her may be her daughter. She
looks meek, submissive and obedient. The two women are both looking in the same direction.
The woman does not look satisfied at all. She looks quite scornful / contemptuous. Judging
from the background we may think this woman belongs to the upper class or the aristocracy.
The room looks big and luxurious, is overlooking a park. She may live in a mansion or a castle.
A waiter / butler can be seen standing in the background.

1. Understanding the text


> Mise en œuvre : le schéma de l’activité Action! (Workbook p. 99) pourra être distribué
sur un transparent qui sera rempli par un élève. Ses réponses seront (rétro)projetées
et serviront à une prise de parole en continu, puis à la construction de la trace écrite.
Ce type de schéma et de prises de notes pourra être réutilisé sur d’autres supports
et permet de s’assurer que l’élève ne prend la parole qu’à partir de notes.

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 98-99)


I. 1. Lady Bracknell, Gwendolen and Jack are present in the scene.
Lady Bracknell speaks most.
2. When Gwendolen tells her mother she is engaged to Mr Worthing, Lady Bracknell interviews
him. The mother wants to see / determine if Jack could be a suitable son-in-law / is an eligible
young man. She has a set of questions, and notes down all the answers he gives. She inquires
into his family background and seems to be pleased with the answers he gives at the beginning.
3. mamma \mE"mA…\ (UK)
It is a formal and upper class term.

264 • UNIT 13
4.
News Reactions
engaged to Mr Worthing disapproval • surprise • indignation
Pardon me • not engaged • I, or your father • will inform you

Approfondissement possible : The daughter announces she is getting engaged to Jack.


The mother is amazed / astonished / taken aback, because she does not know Jack and
has not given her consent yet. Her daughter is not allowed to choose the husband she
wants. She has to abide by the rules her parents have set.
5. Do you smoke? • How old are you? • What is your income?
6. Positive. “I am glad to hear it. A man should always have an occupation of some kind.”
(l. 20) + “That is satisfactory.” (l. 27)
II.
Gwendolen: engaged to Mr Worthing
News

Reaction
Mother: amazed • objects to Gwendolen’s decision •
parents must decide • cross / angry

Goal of the interview


To make sure / check Jack is suitable •
inquire into Jack’s family background

Key questions

Wants to know if he smokes, how old he is,


what his income is / if his income is sufficient

Result of the interview


i so ffar:
positive or negative?
Lady Bracknell: satisfied • his answers please her •
has no objections so far

2. Recap
On pourra greffer ici les questions du manuel.
Productions possibles :
a. She is looking for a son-in-law who belongs to the same social class / to the upper class or the
aristocracy, who is wealthy / well-off / who has enough income / who has good prospects.
She tries to determine if his social position / status is good enough for her precious daughter.

UNIT 13 • 265
UNIT
13 ALL THE WORLD’S A STAGE

b. Jack belongs to the same world as Lady Bracknell.


c. Jack gains her approval because he corresponds to the ideal husband she is looking for.
He has not disappointed her so far.
d. The parents in the cartoon have a lot in common with Lady Bracknell. The man has just
proposed to the daughter and to have the parents’ consent he has brought a huge box full
of / filled with pounds / banknotes. The parents look astonished and impressed by the huge
amount of money they see / the young man’s fortune. This wealth makes them change their
minds. They may have objected to their daughter’s choice, now they approve of this union.
They don’t care about / take into account their daughter’s feelings. Money is their only
value / concern.

3. You are the stage director


a. Corrigé :
GWENDOLEN: I am engaged to Mr Worthing, mamma. (Gwendolen announced loudly / defiantly.)
LADY BRACKNELL: Pardon me, you are not engaged to anyone. (She answered drily.) When you
do become engaged to someone, I, or your father will inform you of the fact. (She added
curtly / impatiently.) And now I have a few questions to put to you, Mr Worthing. (She
declared firmly.) While I am making these inquiries, you, Gwendolen, will wait for me below
in the carriage. (She ordered loudly / harshly.)
GWENDOLEN: Mamma! (She declared reproachfully.)
LADY BRACKNELL: In the carriage, Gwendolen! Gwendolen, the carriage! (She ordered loudly.)
GWENDOLEN: Yes, mamma. (She replied politely / shyly.)
LADY BRACKNELL: You can take a seat, Mr Worthing. (She declared curtly.)
JACK: Thank you, Lady Bracknell, I prefer standing. (He replied hesitatingly.)
LADY BRACKNELL: I feel bound to tell you that you are not down on my list of eligible young
men, although I have the same list as the dear Duchess of Bolton has. We work together,
in fact. However, I am quite ready to enter your name, should your answers be what a really
affectionate mother requires. (She asserted solemnly.) Do you smoke? (She asked curiously.)
JACK: Well, yes, I must admit I smoke. (He answered simply / replied calmly.)
LADY BRACKNELL: I am glad to hear it. A man should always have an occupation of some kind.
(She declared, relieved.) How old are you? (She asked curtly.)
JACK: Twenty-nine. (He answered / replied calmly / honestly.)
LADY BRACKNELL: What is your income? (She asked directly.)
JACK: Between seven and eight thousand a year. (He answered / replied calmly / honestly.)
LADY BRACKNELL: In land, or in investments? (She asked curiously.)
JACK: In investments, chiefly. (He replied sincerely.)
LADY BRACKNELL: That is satisfactory. (She announced, relieved.)
c. Le mime permet de travailler toute la gestuelle, l’occupation de l’espace. Cette étape
est nécessaire avant toute mise en scène. Le mime peut être travaillé à la maison.

4. How to pronounce
N. B. : ce texte est enregistré sur le CD classe n° 3, piste 4 (ainsi que sur le site compagnon,
U13–Your task (3)).

266 • UNIT 13
CORRIGÉ DE LA FICHE DU WORKBOOK (P. 99-100)
k Syllabes accentuées
Gwendolen: I am engaged to Mr Worthing, mamma.
k Mot(s) mis en relief
Lady Bracknell: Pardon me, you are not engaged to anyone. When you do become engaged
to someone, I, or your father will inform you of the fact. And now I have a few questions to
put to you, Mr Worthing.
k Mots porteurs de sens
While I am making these inquiries, you, Gwendolen, will wait for me below in the carriage.
k Intonation
Gwendolen: Mamma! 5
k Voyelle de la syllabe accentuée
Lady Bracknell: In the carriage, Gwendolen!
k Intonation
Gwendolen: Yes, mamma. 5
k Les groupes de souffle (nous avons utilisé ici une double barre en fin de phrase)
Lady Bracknell: I feel bound to tell you | that you are not down on my list of eligible young
men| , although I have the same list as the dear Duchess of Bolton has || . We work together,
in fact || . However| , I am quite ready to enter your name | , should your answers be | what
a really affectionate mother requires || .
k Intonation
Lady Bracknell: Do you smoke? 3 (interrogation fermée)
Jack: Well, yes, I must admit I smoke. 5 (déclaration positive)
k Liaisons consonne-voyelle entendues
Lady Bracknell: I am glad to hear it. A man should always have an occupation of some kind.
How old are you?
Jack: Twenty-nine.
Lady Bracknell: What is your income?
Lady Bracknell: In land, or in investments?
k Syllabes accentuées
Jack: In investments, chiefly.
Lady Bracknell: That is satisfactory.

Critères d’évaluation : à titre indicatif, nous proposons la grille suivante. Le professeur sera
bien sûr libre d’élaborer sa propre grille ou de faire évoluer le nombre de points attribué à
chaque critère.

Voix claire et audible 0 1 2


Implication personnelle, ton juste 0 1 2 3
Intonation 0 1 2 3
Réalisation des liaisons consonne-voyelle 0 1 2 3 4
Accentuation des mots porteurs de sens 0 1 2 3 4
Prononciation correcte 0 1 2 3 4
Total des points /20

UNIT 13 • 267
UNIT
13 ALL THE WORLD’S A STAGE

3. A SUITABLE BOY (PARTS 2 AND 3) MANUEL k P. 172-173

1. Understanding the text

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 100-101)


I. 1. parents (l. 3)
2. lose (l. 4, 6, 9, 15) • found (l. 16, 17, 19)
3. Mr Thomas Cardew (l. 18) • Worthing is a place in Sussex (l. 20).
4.
Parents Name given by? Reasons
– “... lost my parents. It would “Mr Thomas Cardew [...] “... because he happened
be nearer the truth to say that gave me the name of to have a first-class ticket
my parents seem to have lost Worthing,” (l. 18) for Worthing in his pocket
me…” (l. 15) at the time.” (l. 19)
– “I don’t actually know who I
am by birth. I was... well, I was
found.” (l. 16)

5.
In what? Where exactly? Reactions
“In a hand-bag.” (l. 24) “In the cloak-room at Victoria – “A hand-bag?” (l. 25)
Station. It was given to him in – “I confess I feel somewhat
mistake for his own.” (l. 30) bewildered by what you have
just told me.” (l. 33)

6. Jack: May I ask you then what you would advise me to do? I need hardly say I would do
anything in the world to ensure Gwendolen’s happiness.
Lady Bracknell: I would strongly advise you, Mr Worthing, to try and acquire some relations
as soon as possible, and to make a definite effort to produce at any rate one parent, of
either sex, before the season is quite over.
Jack: Well, I don’t see how I could possibly manage to do that. I can produce the hand-bag
at any moment. It is in my dressing-room at home. I really think that should satisfy you,
Lady Bracknell.
Lady Bracknell: Me, sir! What has it to do with me? You can hardly imagine that I and Lord
Bracknell would dream of allowing our only daughter – a girl brought up with the utmost care
– to marry into a cloak-room, and form an alliance with a parcel? Good morning, Mr Worthing!
II. Les mots clés sont en gras dans le texte ci-dessous.
Approfondissement possible : Jack explains he has no idea who his parents are, because he
was found in a hand-bag in Victoria station. He was adopted by Mr Cardew. Lady Bracknell
is stunned, shocked, outraged and indignant. She makes fun of Jack’s origins, she looks down
on him. She is very haughty and scornful. She is obviously prejudiced against people who
are below / beneath her and do not belong to the same social class. She is stand-offish and
snobbish. She has no compassion for him, she is heartless and callous. She doesn’t think
much of an orphan who was adopted. The only thing that matters is his social status. That’s
why she rejects Jack’s offer, she disapproves of such a marriage. Even if Jack is ready to do
his best / utmost to make Gwendolen happy, Lady Bracknell does not care.

268 • UNIT 13
Information complémentaire
The season (l. 39) is the London Season, i.e. a series of social events (Royal Ascot, etc.)
held every year in or near London and attended by people from the highest social class.

2. Recap
Les questions a. et b. seront traitées à l’aide du Workbook (rubrique Action!).
Productions possibles :
c. Jack must be disappointed, feel miserable, hopeless, at a loss. He must be devastated, he may
also feel humiliated. He answered honestly, was straightforward and outspoken: That’s why he
may resent being humiliated by Lady Bracknell. He is romantic and idealistic, but he only met
disdain. He realizes how snobbish Lady Bracknell is.
d. A really affectionate mother may want to know if Jack is really in love with her daughter
Gwendolen, what he likes, what his pastimes are. She may want to know what books he likes,
what sports he practises, she may want to know more about him and his father Mr Cardew.
The order in which she asks her questions is puzzling and reveals what her main concerns are.
She asks questions about secondary matters and comes to more serious matters afterwards.

3. Define the tone


Corrigé : a. sincerely b. hopefully c. contemptuously d. impatiently e. proudly f. angrily

4. Role play
Réponses libres ; les élèves s’appuieront sur leurs notes dans le Workbook et leurs réponses
aux questions du manuel.
Critères d’évaluation : à titre indicatif, nous proposons la grille suivante. Le professeur sera
bien sûr libre d’élaborer sa propre grille ou de faire évoluer le nombre de points attribué à
chaque critère.

EXPRESSION ORALE EN CONTINU


Clair et audible 0 1 2
Reprise des informations données dans le texte 0 1 2 3 4
Richesse du lexique et des structures 0 1 2 3 4 5
Prononciation 0 1 2 3 4 5
Correction de la langue 0 1 2 3 4
Total des points / 20

INTERACTION
Questions posées correctement 0 1 2 3 4 5
Total des points / 5

UNIT 13 • 269
UNIT
13 ALL THE WORLD’S A STAGE

5. How to pronounce
N. B. : ce texte est enregistré sur le CD classe n° 3 piste 6 (ainsi que sur le site compagnon,
U13–Your task (4)).

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 102-103)


III. • Syllabes accentuées
Lady Bracknell: Now to minor matters. Are your parents living?
Jack: I have lost both my parents.
• Groupes de souffle (nous avons utilisé ici une double barre en fin de phrase)
Lady Bracknell: To lose one parent, Mr Worthing, | may be regarded as a misfortune; |
to lose both looks like carelessness || . Who was your father? ||
Jack: I am afraid I really don’t know. || The fact is, | Lady Bracknell, | I said | I had lost my
parents || . It would be nearer the truth | to say that my parents seem to have lost me... ||
I don’t actually know who I am by birth. || I was... | well, | I was found. ||
• Mots porteurs de sens
Jack: The late Mr Thomas Cardew, an old gentleman of a very charitable and kindly disposition,
found me, and gave me the name of Worthing, because he happened to have a first-class ticket
for Worthing in his pocket at the time. Worthing is a place in Sussex. It is a seaside resort.
Lady Bracknell: Where did the charitable gentleman who had a first-class ticket for this
seaside resort find you?
• Intonation
Jack: In a hand-bag. 5 (déclaration positive) Lady Bracknell: A hand-bag? 3 (surprise)
• Prononciation des voyelles
Jack: Yes, Lady \eI\ Bracknell \œ\. I was \E\ in a hand \œ\-bag \œ\ – a somewhat large \A…\,
black \œ\ leather hand-bag, with handles \œ\ to it – an \E\ ordinary \E\ hand-bag in fact \œ\.
• Syllabe accentuée
Lady Bracknell: In what locality did this Mr James, or Thomas, Cardew come across this
ordinary hand-bag? Les mots soulignés ont en commun le schwa, forme réduite.
• Syllabe accentuée et liaison consonne-voyelle
Jack: Yes. The Brighton line.
Lady Bracknell: The line is immaterial. Mr Worthing, I confess I feel somewhat bewildered by
what you have just told me.
• Mots mis en relief
Jack: May I ask you then what you would advise me to do? I need hardly say I would do
anything in the world to ensure Gwendolen’s happiness.
Lady Bracknell: I would strongly advise you, Mr Worthing, to try and acquire some relations
as soon as possible, and to make a definite effort to produce at any rate one parent, of either
sex, before the season is quite over.
Jack: Well, I don’t see how I could possibly manage to do that. I can produce the hand-bag
at any moment. It is in my dressing-room at home. I really think that should satisfy you,
Lady Bracknell.
• Intonation
Lady Bracknell: Me, sir! 5
• Mots mis en relief
What has it to do with me? You can hardly imagine that I and Lord Bracknell would dream
of allowing our only daughter – a girl brought up with the utmost care – to marry into a
cloak-room, and form an alliance with a parcel? Good morning, Mr Worthing!

270 • UNIT 13
Critères d’évaluation : à titre indicatif, nous proposons la grille suivante. Le professeur sera
bien sûr libre d’élaborer sa propre grille ou de faire évoluer le nombre de points attribué
à chaque critère.
Voix claire et audible 0 1 2
Implication personnelle, ton juste 0 1 2 3
Intonation 0 1 2 3
Réalisation des liaisons consonne-voyelle 0 1 2 3 4
Accentuation des mots porteurs de sens 0 1 2 3 4
Prononciation correcte 0 1 2 3 4
Total des points /20

6. You are the stage director


> Mise en œuvre possible :
k On pourra fournir quelques suggestions de mise en scène :
– en entrant, Lady Bracknell prend le temps de regarder Jack de haut en bas, de le toiser
et de se montrer surprise ;
– avant que Jack ne prenne la parole après le départ de Gwendolen, Lady Bracknell peut
à nouveau le toiser et Jack peut baisser les yeux ;
– lorsque Jack préfère ne pas s’asseoir, Lady Bracknell peut poser son sac sans un mot
et le forcer à s’asseoir en lui tendant une chaise pour accentuer le comique ;
– elle peut regarder Jack droit dans les yeux ;
– lorsqu’elle dit That is satisfactory, elle peut marquer un temps d’arrêt : That is / satisfactory ;
– lorsque Jack raconte comment il a été trouvé, il peut jouer avec une chaise pour montrer
son embarras. Lorsqu’il dit I was found, il peut regarder le public ;
– la chaise peut être soulevée lorsqu’il dit : In a hand-bag et tomber lorsque Lady Bracknell
répond : A hand-bag?
– à la fin de la scène, Lady Bracknell doit être très calme et très dure, quitter la pièce
majestueusement sans un regard pour Jack.
k Pour l’activité de lecture à haute voix, on pourra appliquer les mêmes critères d’évaluation
que précédemment.
Prolongement possible :
More about Oscar Wilde
Visit the following website to collect information about Oscar Wilde:
www.//encarta.msn.com/text_761573798___2/Oscar_Wilde.html
a) When and where was he born?
b) Where was he educated (name of the two universities)?
c) Give examples of his eccentricity (clothes, environment).
d) What was the turning point in his life?
e) What is he famous for? Give the title of a famous novel, and his most famous poem.
f) When and where did he die?

7. Watch a video
Voir p. 425-426 et 448-449.

UNIT 13 • 271
UNIT
13 ALL THE WORLD’S A STAGE

4. THE RIGHT DECISION MANUEL k P. 174

1. Understanding the text

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 103)


I. 1. we = Mrs Bennet and Mr Collins • you = Mr Bennet • he + his = Mr Collins • her = Lizzy
2. “You must come and make Lizzy marry Mr Collins” (l. 2)
3. ‘‘Come here, child,’’ cried her father as she appeared. ‘‘I have sent for you on an affair
of importance. I understand that Mr Collins has made you an offer of marriage. Is it true?’’
Elizabeth replied that it was. ‘‘Very well – and this offer of marriage you have refused?’’
‘‘I have, Sir.’’
‘‘Very well. We now come to the point. Your mother insists upon your accepting it. Is it not
so, Mrs Bennet?’’
‘‘Yes, or I will never see her again.’’
‘‘An unhappy alternative is before you, Elizabeth. From this day you must be a stranger to
one of your parents. Your mother will never see you again if you do not marry Mr Collins,
and I will never see you again if you do.’’
II. When Mrs Bennet learnt that her daughter had just refused Mr Collins’s proposal, she
was amazed / outraged / aghast and disappointed. She didn’t expect her daughter to
refuse such an offer. Her dreams were shattered, because she expected her daughter to
be submissive, obedient and docile. She immediately went to see Mr Bennet to make Lizzy
change her mind, to make her obey, to oblige / compel / force her to marry Mr Collins /
to use his authority / to be the go-between and support her. However Mr Bennet does
not side with his wife, but his daughter. He does not want to interfere with his daughter’s
decision. He wants her to be independent. He respects her decision, he refuses to impose
a decision on her. Unlike Mrs Bennet he respects her / Lizzy’s choice, he is understanding
and tolerant. He knows his daughter is independent, mature enough to defend her own
interests. He cares about her feelings, whereas Mrs Bennet wants to marry off her daughter
and does not take her feelings into account.

2. Recap
Les élèves s’appuieront sur leurs notes du Workbook (cf. réponse ci-dessus).
Prolongements possibles :
k What are Mrs Bennet’s feelings at the end of the scene?
Productions possibles : She must be mad at her husband because he did not side with her /
support her. She is outraged at her daughter’s decision. She never thought Lizzy could challenge
her authority. She must be desperate and drained. She certainly resents her husband’s
decision. Both her husband and her daughter have offended and ridiculed her.
k Role play
– Mrs Bennet meets her best friend and tells her what has just happened.
– Lizzy narrates the scene to one of her sisters.

272 • UNIT 13
3. How to pronounce
N. B. : ce texte est enregistré sur le CD classe n° 3 piste 8 (ainsi que sur le site compagnon,
U13–Your task (5)).

CORRIGÉ DE LA FICHE DU WORKBOOK (P. 104)


k Mots porteurs de sens
‘‘Oh! Mr Bennet, you are wanted immediately; we are all in an uproar. You must come and
make Lizzy marry Mr Collins, for she vows she will not have him, and if you do not make
haste he will change his mind and not have her.’’
k Prononciation
from \frEm\ entered \"entErd\
k Syllabe accentuée
opinion. (-ion est un suffixe contraignant, et l’accent tombe sur la syllabe qui le précède)
k La voyelle -a
rang \œ\ and \E\ Elizabeth \E\ was \E\ library \E\
k Son en commun et liaisons consonne-voyelle
Les mots soulignés ont en commun le schwa, forme réduite.
‘‘Come here, child,’’ cried her father as she appeared. ‘‘I have sent for you on an affair of
importance. I understand that Mr Collins has made you an offer of marriage. Is it true?’’
Elizabeth replied that it was. ‘‘Very well – and this offer of marriage you have refused?’’
‘‘I have, Sir.’’
k Mots porteurs de sens et liaisons consonne-voyelle
‘‘Very well. We now come to the point. Your mother insists upon your accepting it. Is it not
so, Mrs. Bennet?’’
‘‘Yes, or I will never see her again.’’
k Mots mis en relief
‘‘An unhappy alternative is before you, Elizabeth. From this day you must be a stranger to
one of your parents. Your mother will never see you again if you do not marry Mr Collins,
and I will never see you again if you do.’’

Critères d’évaluation : on pourra reprendre la grille de la p. 267.

LANGUAGE AT WORK MANUEL k P. 175-177

> Improve your pronunciation


1. a. You are engaged! (surprise)
b. Oh! You are engaged to Jack! (ironie / mépris)
c. Don’t tell me you are engaged to Jack! (colère)
2. a. Lizzy has just refused a marriage proposal. Lizzy, et non sa sœur, vient de refuser une
demande en mariage.
b. Lizzy has just refused a marriage proposal. Lizzy vient à l’instant de refuser une demande
en mariage.
c. Lizzy has just refused a marriage proposal. Lizzy vient de refuser une demande en mariage
et personne ne s’y attendait.
d. Lizzy has just refused a marriage proposal. Lizzy a refusé une demande en mariage.

UNIT 13 • 273
UNIT
13 ALL THE WORLD’S A STAGE

> Build up your vocabulary


1. a. “Oh! Mr Bennet, you are wanted immediately,” Mrs Bennet shouted. (8)
b. “I will never see her again,” Mrs Bennet threatened. (2)
c. “What would you advise me to do?” Jack pleaded. (4)
d. “I was… well, I was found,” Jack stammered. (1)
e. “What is your income?” Lady Bracknell inquired. (3)
f. “Between seven and eight thousand a year,” Jack explained. (5)
g. “Lizzy declares she will not have Mr Collins,” Mrs Bennet complained. (7)
h. “Come here, child,” Mr Bennet asked. (6)
2.
Anger Happiness Worry
crossly • furiously cheerfully • hopefully • anxiously • hopelessly •
gladly miserably • nervously •
sadly • desperately

3. Adverbes Adjectifs Noms


kindly kind kindness
impatiently impatient impatience
scornfully scornful scorn
quietly quiet quiet / quietness
angrily angry anger
miserably miserable misery

> Le style indirect


1. Les paroles rapportées sont introduites par that ou Ø.
2. Lorsque l’on rapporte les paroles de quelqu’un, certains pronoms représentant des personnes
doivent être modifiés (dans l’ordre, your devient his, I devient she, you devient he, me
devient her).
3. Lorsque l’on rapporte une question au style indirect on rétablit l’ordre de la phrase
affirmative (il n’y a pas d’inversion sujet-auxiliaire, ni d’auxiliaire do / does / did,
ni de point d’interrogation). Pour rapporter au style indirect une Yes / No question,
on utilise if (whether dans un style recherché).
4. a. Lorsque le verbe introducteur est au prétérit on doit opérer les changements suivants :
– le présent devient un prétérit. Ainsi will devient would.
– le prétérit qui désigne une action antérieure au moment où l’on parle devient un past
perfect.
– un ordre, un conseil sera introduit par un verbe introducteur (tell, order, advise, urge…).
b. Les adverbes de lieu et de temps peuvent être modifiés :
– tomorrow k the following week
– before next week k before the following week / coming week
On en profitera pour revoir d’autres modifications possibles :
He said, “I will stay here until tomorrow.” (« Je vais rester ici jusqu’à demain. ») k He said
that he would stay there until the day after.

274 • UNIT 13
Autres changements de ce type :
– yesterday k the day before
– last week / month / year k the week / month / year before
– ago k before

> Practice
1. a. Gwendolen asked why she had to go into the carriage.
b. Lady Bracknell asked if she / Gwendolen had told her father she was engaged.
c. Lady Bracknell asked if she / Gwendolen was joking.
d. Gwendolen asked how her mother / Lady Bracknell knew Jack had been found.
e. Gwendolen asked if there was a solution.
2. LIZZY: “I will never marry Mr Collins. I was very polite but Mr Collins was too ridiculous and
self-centred.”
MRS BENNET: “That’s incredible! That’s amazing! How could you refuse such a proposal?
Mr Collins is quite wealthy.”
LIZZY: “I will never marry such an awful man!”
MRS BENNET: “Stop arguing and listen to me. Girls are not supposed to argue and have to
obey their parents. I will immediately speak to your father about it.”
3. Mr Bennet explained he had sent for Lizzy on an affair of importance. He added that he
understood that Mr Collins had made her an offer of marriage and asked if it was true.
Lizzy replied that it was.
Mr Bennet answered that it was very well and asked if she had refused this / that offer
of marriage.
Lizzy answered / told him she had.
Mr Bennet added they now came to the point. He added Lizzy’s mother insisted upon her
accepting it and asked Mrs Bennet if it was so / if it was true / if it was correct.
Mrs Bennet replied she insisted upon Lizzy accepting this offer or she would never see her
again.
Mr Bennet replied that an unhappy alternative was before her / Elizabeth. From that day
she must be a stranger to one of her parents. He explained that her mother would never
see her again if she did not marry Mr Collins, and he would never see her again if she did.
4. Calvin told his father that he had decided he wanted to be a millionaire when he grew up.
The father replied / answered that Calvin would have to work pretty hard to get a million
dollars. Calvin protested and declared that he wouldn’t, but his father would. The father was
astonished and Calvin explained that he just wanted to inherit his father’s fortune / money.

YOUR TASK MANUEL k P. 178-179

> Mise en œuvre :


k La préparation de la scène à jouer se fera en dehors du temps scolaire.
k Le travail phonologique se fera grâce au modèle fourni sur le site compagnon.
k Les élèves courageux pourront jouer la scène d’Oscar Wilde dans son entier.
k La grille d’évaluation pourra être confiée aux élèves qui commenteront chaque
prestation (voir manuel p. 55) et conseilleront leurs camarades (voir p. 179, 4).

UNIT 13 • 275
Grille d’évaluation de la performance : on pourra utiliser la grille p. 267.
Corrigés
1. a. Pardon me, you are not engaged to anyone.
What has it to do with me?
b. In the cloak-room at Victoria Station. \Et\ = forme réduite
I was in a hand-bag. \wEz\ = forme réduite
What would you advise me to do? \tE\ = forme réduite
We would never dream of allowing our only daughter to marry you. \Ev\ and \tE\ = formes
réduites
c. I must admit I smoke.
What is your income?
In land, or in investments?
d. A man should always have an occupation of some kind.
e. An old gentleman of a very | charitable and kindly disposition | found me |, and gave
me the name of Worthing, because | he happened to have a first-class ticket for Worthing |
in his pocket at the time.

PRENDRE PART À UNE CONVERSATION MANUEL


k P. 180-181

CORRIGÉ

A. 2. Classez les arguments de ces quatre adolescents en deux colonnes « pour »


et « contre ».
Pour Contre
– If a kid doesn’t go to school or breaks – It’s wrong to give rewards. (Tracy)
the school rules [...] I would tell the adults – Reward or no reward, I would be too
and take the reward. (Jason) scared to tell anybody. (Linda)
– It’s OK to reward informers (Mark) – I wouldn’t inform on a friend. (Mark)

3. Répérez les tournures utilisées.


– exprimer son accord ou son désaccord : I quite agree with you • I don’t agree at all
– donner son opinion à tour de rôle : It’s OK to…, but…
– demander des explications : What do you mean exactly?
– interrompre quelqu’un : Hang on
– manifester sa surprise ou son agacement : Are you kidding?

> Script de l’enregistrement


Tracy: I think it’s wrong to give rewards.
Jason: What do you mean exactly?
Tracy: Well, teenagers should tell adults because they think they have seen something bad,
and because they want to help, not because there is a reward.
Mark: Are you kidding? This is mad! I would never inform on a friend.

276 • PRENDRE PART À UNE CONVERSATION


Jason: I don’t agree at all. If a kid doesn’t go to school, it’s wrong. He should be punished.
Linda: Wait a minute, I’d be too scared to tell anyone!
Jason: So Mark, what would you do instead?
Mark: Well, actually, I would talk with the person and try to make him or her change.
Linda: I quite agree with you...
Jason: But you are wrong! I would tell the adults I know and take the reward.
Linda: Hang on, what if the pupil is mad at you later on and takes his or her revenge?
B. 2. Préparez cinq arguments (pour ou contre) et discutez-en avec vos camarades.

Pour Contre
a. – I would like to experience the freedom – It’s impossible because I need to keep in
of being on my own. touch with my parents in case they need me.
– I hate being tied to an object. – I can’t possibly imagine not keeping in
touch with my friends, even for a week.
b. – I know good from bad so I let anybody – I don’t want anybody to have access
have access to my Facebook page. to private information about me.
– I think privacy is important.
c. – It could help me go to bed earlier – I don’t want my parents to interfere
and sleep. with my private life. I’m old enough to be
– It could help me concentrate on my independent.
homework. – I need my access to the Internet to do my
– It could stop me spending hours chatting homework even at 11 p.m.
with unknown people.
d. – When we are all dressed the same – I don’t think it helps. Criminals want to
way, we go unnoticed. rob us of our MP3 players or up-to-date
– Not only to prevent racketing but also cellphones, smart phones.
to diminish social differences. – They are not really interested in clothes.

PRENDRE PART À UNE CONVERSATION • 277


UNIT
14 A MIND TO MURDER

A mind to murder
S’exprimer à l’écrit : les descripteurs du CECRL

Niveau A2 Niveau B1

Grille d’auto- Je peux écrire des textes courts Je peux écrire un texte simple
évaluation et simples : lettres personnelles et cohérent sur des sujets
simples, cartes postales, familiers ou qui m’intéressent
messages et notes sur des sujets personnellement. Je peux écrire
courants et familiers, formulaires. des lettres personnelles
pour décrire expériences et
impressions.

Production Peut écrire une série Peut écrire des textes articulés
écrite générale d’expressions et de phrases sur des sujets variés dans son
reliées par des connecteurs domaine, dont les éléments sont
simples (et, mais, parce que). connectés / reliés.

Écriture Peut écrire une suite de phrases Peut écrire des descriptions
créative et d’expressions simples sur simples et directes sur divers
sa famille, ses conditions de vie, sujets familiers.
des loisirs, le travail actuel ou le Peut faire le compte rendu
dernier en date. Peut écrire des d’expériences en décrivant ses
biographies imaginaires et sentiments et ses réactions dans
des poèmes courts et simples un texte simple et articulé.
sur les gens. Peut faire la description d’un
Peut écrire sur les aspects événement, d’un voyage récent,
quotidiens de son environnement : réel ou imaginé.
les gens, les lieux, le travail ou les Peut raconter une histoire.
études, avec des phrases reliées
entre elles. (niveau A2+)
Peut faire une description brève
et élémentaire d’un événement,
d’activités passées et
d’expériences personnelles.

278 • UNIT 14
L’objectif poursuivi dans cette unité est de rendre les élèves acteurs de leur enseignement
en leur demandant de trouver la solution d’énigmes policières (Tune in, The Wembly
Kidnapping), de remettre un texte dans l’ordre (Scream) ou d’écrire une histoire à partir
d’illustrations. Vu le succès actuel des différentes séries policières à la télévision, il y a fort
à parier que ce thème les motive. Enfin, cela leur permettra de découvrir deux grands noms
de ce genre littéraire : Sir Arthur Conan Doyle et Mary Higgins Clark.

Manuel Workbook Fiches


photocopiables

Tâche finale Écrire un épisode d’une histoire polici