Anglais 2e

A2 ➜ B1

LIVRE DU PROFESSEUR
Sous la direction de
Jean-Louis HABERT

Romain BERLIER, Agrégé d’anglais

Lycée Joffre, Montpellier
IUFM Montpellier
Stéphanie CIALONE, Agrégée d’anglais
Lycée Docteur Lacroix, Narbonne
IUFM Montpellier
Marina GUIBERT
Agrégée d’anglais
Lycée privé d’Alzon, Nîmes
Jean-Louis HABERT
Agrégé d’anglais, Docteur en linguistique
Montpellier
Martine HOYET, Certifiée d’anglais
Lycée Albert-Camus, Nîmes
Dominique RIBEYRE, Certifiée d’anglais
Lycée Henri IV, Béziers
NEW
IUFM Montpellier
Joanna WISTREICH, Certifiée d’anglais
Lycée Alphonse Daudet, Nîmes

Avec la collaboration de
Linda CHARRIERA-STIMSON, Certifiée d’anglais
Lycée de la Chambre de Commerce, Nîmes
Sommaire

Introduction : les f iches 3

1 City Life 10

2 Food & Drink 23

3 Conservation 37

4 Families 48

5 United we Stand 60

6 Leading the Way 72

7 As Others See Us 84

8 Visions 96

Fiches de travail 107

Toutes les références à des sites Internet présentées dans cet ouvrage ont été vérifiées attentivement à la date d’impression. Compte tenu de la volatilité des sites et du détournement possible
de leur adresse, les éditions Belin ne peuvent en aucun cas être tenues pour responsables de leur évolution. Nous appelons donc chaque utilisateur à rester vigilant quant à leur utilisation.

Le code de la propriété intellectuelle n’autorise que « les copies ou reproductions strictement réservées à l’usage privé du copiste et non destinées à une utilisation collective » [article L. 122-
5] ; il autorise également les courtes citations effectuées dans un but d’exemple ou d’illustration. En revanche « toute représentation ou reproduction intégrale ou partielle, sans le consente-
ment de l’auteur ou de ses ayants droit ou ayants cause, est illicite » [article L. 122-4]. La loi 95-4 du 3 janvier 1994 a confié au C.F.C. (Centre français de l’exploitation du droit de copie, 20, rue
des Grands Augustins, 75006 Paris), l’exclusivité de la gestion du droit de reprographie. Toute photocopie d’œuvres protégées, exécutée sans son accord préalable, constitue une contrefaçon
sanctionnée par les articles 425 et suivants du Code pénal.

© Éditions Belin, 2010 ISBN 978-2-7011-5700-9


A propos des wordf ile
les f iches Wordwork
• L’enrichissement lexical est l’une de nos idées fixes ! On
trouvera donc, avec chaque double page ou page de documents,
une fiche d’activités lexicales dont le but est double : faire le
point sur ce que les élèves savent dans le champ lexical du
thème étudié, et enrichir leurs connaissances sur ce sujet.
• Ces activités prennent des formes différentes et peuvent
être données à travailler soit à la maison en amont du cours
prévu, soit au début de ce dernier. Elles sont téléchargeables et
imprimables à partir du site On Target et figurent aussi en fin de
ce livre du professeur.
• Il conviendra bien entendu de veiller à ce que ce lexique soit
réemployé le plus souvent possible lors des activités proposées
dans le manuel, ainsi que sur les fiches teamfile et dans les
Projects proposés en fin de cours.
• Dans le même esprit d’aide lexicale systématique, nous
avons ajouté en fin de manuel une partie Lexique permettant
aux élèves de vérifier rapidement le sens des mots qu’ils ne
connaissent pas ou de trouver la traduction anglaise d’un mot
français, toutes les classes n’étant pas équipées de banque de
dictionnaires.
A propos des teamf ile :
les f iches Interact
• Chaque double page ou page de documents proposée dans
New On Target est assortie d’une option Interact de travail
de groupe. Notre objectif est d’offrir ainsi plusieurs parcours
d’apprentissage pour un même document.
• En effet, le professeur choisit, selon sa classe et son projet,
d’avoir recours ou pas à cette activité. En d’autres termes,
l’enseignant peut soumettre aux élèves les tâches du Read ou
du Listen du manuel, d’une façon que l’on pourrait qualifier de
« traditionnelle », ou bifurquer vers les activités de Interact,
plus guidées, générant plus d’oral de la part de plus d’élèves.
De la même façon, le professeur a le choix de concevoir sa
séquence en intégrant ou pas la réalisation actionnelle appelée
Project. Mais nous rappelons néanmoins que les IO préconisent
d’utiliser une approche actionnelle.
• La section Interact, présentée sous forme de fiches
photocopiables, est un travail précis, car chaque équipe se voit
assigner une tâche spécifique sur le document ou une seule
partie du document ; de nombreux exercices ont pour consigne
Tick the right answer, ce qui signifie que les élèves sont exposés
à de nombreux items lexicaux parmi lesquels il faut choisir le ou
les plus pertinents. L’expérience de la pratique de ces fiches
Interact dans nos classes nous encourage à suggérer des
équipes de trois ou quatre élèves maximum afin que chacun soit
sollicité à la fois pendant la phase de préparation en groupes, et
dans l’activité de compte-rendu oral à la classe qui suivra.
• Quatre équipes de trois ou quatre élèves, cela fait une classe
de douze ou seize... effectif peu vraisemblable, sauf en situation
de « modules ». Plusieurs solutions s’offrent au professeur. Par
Introduction : les fiches
exemple deux équipes peuvent travailler la même fiche, l’une
vérifiant le compte-rendu oral de l’autre. Si chaque équipe est
doublée on travaille avec huit groupes de quatre, pratique pour
une classe d’une trentaine d’élèves.
• Interact, c’est également un travail minuté, une quinzaine de
minutes maximum suffisant à chaque groupe pour cocher les
bonnes cases ou préparer quelques phrases de réponses ou de
présentation. Pendant la réflexion des groupes, le professeur
circulera et s’assurera de la pertinence des réponses et du
travail fourni, en anglais dans toute la mesure du possible. Il
pourra aussi apporter des précisions phonologiques.
• Il ne faut pas craindre le bruit généré par cette phase : d’une
part il peut être contenu dans une limite supportable que le
professeur aura indiquée en amont de l’activité, d’autre part il
est le signe que les élèves sont intellectuellement actifs, ce qui
n’est pas toujours le cas en cours frontal traditionnel.
• Le délai imparti écoulé, le professeur exigera un retour au
silence. Le groupe 1 se lève (les autres suivront), et prend la
parole pour livrer ses informations à la classe ; celle-ci a pour
tâche de prendre des notes, qui, de fait deviendront souvent
la base de la trace écrite du cours. Il ne s’agit pas de dicter des
réponses qu’on lit mais bien de transmettre des informations en
s’assurant que l’auditoire suit et comprend.
• Le travail de préparation/restitution suppose bien sûr de faire
en amont un travail méthodologique, que l’on pourra pratiquer
à l’aide des fiches Méthodologie qui se trouvent à la fin du
manuel.
Corrigé des f iches teamf ile
(Interact)
• Il s’agit ici d’un travail de groupe, guidé certes, mais néanmoins
effectué en semi-autonomie ; les productions et restitutions
orales seront faites dans la spontanéité, ce qui suppose
maladresses, erreurs, hésitations, omissions, reprises et auto-
correction. Il est évidemment impossible de prévoir à l’avance
les productions effectives des élèves.
• C’est pourquoi, et nous y insistons, les corrigés des fiches
teamfile proposés dans ce livre du professeur n’ont pas valeur
de modèle intangible des productions attendues : il s’agit ici
de suggestions de réponses possibles. Chaque corrigé de
fiche propose donc des énoncés pouvant être éventuellement
produits par chaque groupe d’élèves. Toutefois, les pistes qui
sont proposées dans les fiches elles-mêmes, ainsi que les
banques d’aide – lexicale notamment – dirigent les élèves vers
des réponses envisageables et acceptables, la logique de leur
propos étant la clé de l’acceptabilité de celui-ci. Différentes
réponses peuvent donc faire sens selon les cas et il conviendra
de faire le point des réponses proposées lors des phases de
mise en commun.
• Enfin, on notera utilement que le corrigé d’une fiche peut
également servir dans un premier temps à orienter les élèves
dans la phase de prise de parole/restitution qui suit la préparation
en équipe du travail sur fiche.
Introduction 3
 Introduction : les fiches
A propos des Projects
• Il y a trois Projects par chapitre : ce sont les dernières
activités des pages « Compréhension de l’écrit », « Expression
autour d’un document visuel », et « Compétence culturelle
(Magazine) ». Le principe qui sous-tend ce travail est le transfert
des connaissances acquises lors du cours à des situations
de communication courantes dans lesquelles les élèves
doivent jouer un rôle précis ou se mettre « dans la peau » d’un
personnage, le Project consistant à effectuer le mieux possible
la tâche donnée.
• Un Project de type actionnel doit faire l’objet d’une consigne
incluant des contraintes à respecter : durée de chaque phase
(conception, validation, préparation, réalisation), niveau de
langue, « règles du jeu »... Certes, c’est à l’imagination, à
l’originalité et la créativité des élèves que nous faisons ici
appel afin qu’ils puissent trouver une réelle motivation dans la
tâche qui leur est confiée ; mais c’est la contrainte (voire les
contraintes) dans la consigne qui les guidera et les aidera à
s’imprégner de la tâche proposée.
• Par ailleurs, comme dans toutes les activités de classe de
langue, on demandera aux élèves de réinvestir les contenus
manipulés et appris en cours.
• En résumé, dans les activités « théâtrales » des Projects et
autres jeux de rôles, il ne s’agit en aucune manière de faire
l’acteur dans le vide, gratuitement, sans raison et sans but.
Évaluation possible des phases Interact
et des Projects actionnels
Nous vous fournissons ici des fiches d’évaluation critériées « clé
en main » parfaitement adaptées aux activités proposées dans
le manuel (Interact et Projects actionnels) et dans les fiches de
travail téléchargeables correspondantes (teamfile).
Fiche d’auto-évaluation
d’un travail en teamwork
• L’auto-évaluation, dont l’intérêt n’est pas à démontrer, est
nécessaire. Nos élèves s’en servent comme d’un véritable levier
d’apprentissage, et une fiche, claire et composée d’un nombre
restreint de critères formulés positivement, est facile à manipuler
par les élèves d’une part (elle est très rapide à renseigner avec
efficacité et justesse) et par les enseignants d’autre part (elle se
[re]lit en un clin d’œil). Ces phases évaluatives permettent aux
élèves de dresser des bilans ponctuels de leur apprentissage et
les incitent à s’investir encore davantage dans le travail mis en
place et proposé par le professeur, tant la volonté d’obtenir une
« bonne note » tout en évitant de « perdre la face » dans l’activité
tellement « exposée » d’interaction orale est prégnante. En effet,
tout élève, quel que soit son niveau, peut obtenir un résultat
honorable, voire, dans la majorité des cas, satisfaisant grâce à
cette fiche d’évaluation, à condition bien sûr qu’il travaille avec
dynamisme et bonne volonté, cela va sans dire.
4 Livre du professeur New On Target 2e
• Cette fiche d’auto-évaluation est une fiche photocopiable à
l’infini, transférable, réutilisable, quelle que soit l’activité Interact
choisie.
Fiche I’m a referee today!
• Nous préconisons également, de manière régulière,
l’intervention de quelques élèves jury (quatre élèves, chacun
d’entre eux étant chargé d’évaluer une équipe) dans le cadre de
la phase Interact. Chaque jury dispose de la grille I’m a referee
today! pour observer et évaluer une équipe de façon équitable.
• Il s’agira ici d’inter-évaluation, sur un total de dix points (tout
comme la fiche d’inter-évaluation proprement dite). L’évaluation
de type paritaire permet aux élèves de se jauger les uns les
autres et leur en apprend beaucoup sur les attitudes diverses de
leurs camarades face au travail, comme dans une micro-société
à part entière.
Fiches d’inter-évaluation
• Cette grille d’évaluation prend en compte le fait que la plupart
des Projects proposés dans le manuel, reposent sur une
prestation orale (la plupart, mais c’est loin d’être une règle
rigide, la perspective actionnelle mettant notamment en exergue
la créativité, l’imagination et l’implication des élèves).
• Pour évaluer saynètes, sketches, et mini-pièces de théâtre
impliquant une prise de parole en continu ou en discontinu,
nous proposons deux fiches : l’une concernant la phonologie/
grammaire et le lexique, la deuxième la communication et
l’interprétation théâtrale. La prestation des élèves pour réaliser
la mission confiée est généralement tellement remarquable, au
sens premier du terme, que nous ne pouvons raisonnablement
pas « faire l’économie » d’une évaluation. Tout travail mérite
salaire !
• Concernant les Projects basés sur un travail écrit, il sera
judicieux d’opérer un savant dosage entre différents critères
d’évaluation tels que le contenu des informations apportées,
leur clarté, les réemplois de lexique et structures vus au cours de
l’unité, ainsi que l’orthographe, le soin, la lisibilité, la créativité,
l’attractivité et les illustrations éventuelles réalisées.
Fiche End-of-class Assessment
• La grille évaluative End-of-class assessment a pour but de
« réveiller », de décupler l’attention des élèves en cours en leur
demandant de réfléchir au contenu de celui-ci a posteriori. En le
confrontant à son apprentissage « tout frais », nous permettons
à l’élève de conceptualiser ce qu’il vient de faire. Le but est
évidemment de lui faire prendre conscience de ses acquis et de
ses éventuelles lacunes afin d’y remédier très rapidement, sans
attendre.
• Bien entendu, il est envisageable, à terme, d’évaluer cette fiche
qui est souvent riche en enseignements pour le professeur !
 FICHE D’AUTO-ÉVALUATION D’UN TRAVAIL EN INTERACTION

À la fin de l’heure de cours passée en Interact, remplissez ces deux parties de tableau pour obtenir votre note sur 10 du jour, celle de
votre « prestation en interaction orale » !

Évaluation du travail de préparation avec mon équipe

Oui Non
Nous avons travaillé sérieusement, sans perdre de temps, et avons accompli notre tâche en totalité. 1 0
Nous avons bien joué le jeu et toujours parlé en anglais (entre nous et avec le professeur, 2 0
quand nous lui demandions de l’aide).
Nous avons pris des notes non rédigées en vue de la restitution orale. 1 0

Évaluation de ma prestation orale personnelle

Oui Non
J’ai capté l’attention en parlant clairement, suffisamment fort et sans lire mes notes. 1 0
J’ai été attentif (sans bavarder) et réactif à ce que disaient les autres équipes. 2 0
J’ai fait des efforts pour prononcer et accentuer correctement. 1 0
J’ai utilisé des gap fillers et des amorces et structures de la fiche de méthodologie. 1 0
J’ai corrigé mes interventions ou celles de mes camarades lors d’erreurs commises. 1 0

MA NOTE : / 10

Livre du professeur New On Target 2e 5

 I’M A REFEREE TODAY!
Mon prénom : ..................................................................... Date : ................................ Je m’occupe de suivre l’équipe......................
.
Membres de l’équipe : ...............................................................................................................................................................................................

PENDANT LE TRAVAIL DE PRÉPARATION DE L’ÉQUIPE

Oui Non Remarques
Tous les membres de l’équipe étaient concentrés et ont participé activement 1 0
et sérieusement au travail commun.
Tous les membres de l’équipe ont bien géré le temps imparti et préparé avec 1 0
soin la phase de restitution orale.
Tous les membres de l’équipe ont réussi à parler seulement en anglais entre 2 0
eux et avec le professeur.

PENDANT LA RESTITUTION ORALE DE L’ÉQUIPE

Oui Non Remarques
Tous les membres de l’équipe ont pris la parole équitablement et sans 1 0
« coller » à des notes rédigées.
Ils ont parlé à voix haute, distinctement et assez lentement, en regardant 1 0
régulièrement leur auditoire.
Ils ont fait des efforts fréquents pour atteindre une prononciation et une 1 0
accentuation satisfaisantes.
Ils ont fait des efforts de correction grammaticale (et d’auto-correction) en 1 0
produisant des énoncés oraux.
Ils ont toujours fait en sorte de s’exprimer en anglais entre eux et avec leur 2 0
auditoire en interaction.
BONUS éventuel : leur intervention orale était agréable à suivre et leur 1 0
message est clairement passé.

RELEVÉ DES ERREURS CONSTATÉES / ENTENDUES

GRAMMAIRE PHONOLOGIE
(syntaxe, formes verbales, accords...) (prononciation, accentuation...)

LA NOTE DE L’ÉQUIPE : __________/ 10

Commentaire : ............................................................................................................................................................................................................

......................................................................................................................................................................................................................................

Livre du professeur New On Target 2e

 FICHE D’INTER-ÉVALUATION
Mon nom : .............................................................................................................................. Évaluation de : ................................................

Type de projet et intitulé : ...................................................................................................... Date : ................................................................

Phonologie et grammaire
Oui Non Exemples entendus
Efforts faits sur l’accentuation 1 0
(accents de mot ou de phrase bien marqués)
Efforts faits sur la prononciation 1 0
(spécificités de l’anglais : « r », « th »... diphtongues...)
Rythme et musicalité de la langue 1 0
(discours produit « tonique » ou pas)
Efforts faits sur la correction grammaticale 2 0
Complexité de la langue 1 0
(énoncés produits : simples ou complexes)

Lexique
Oui Non
Réutilisation de lexique vu en cours 2 0
Qualité globale du lexique (simple ou complexe) 1 0
Réemploi de lexique « fonctionnel » (Classroom English, phrases de communication, d’interaction) 1 0

BONUS
Apports lexicaux personnels pour enrichir le script 1 0

Commentaire et points à améliorer : .......................................................................................................................................................................

......................................................................................................................................................................................................................................

......................................................................................................................................................................................................................................

TOTAL DES POINTS : __________/10

Livre du professeur New On Target 2e

 FICHE D’INTER-ÉVALUATION
Mon nom : .............................................................................................................................. Évaluation de : ................................................

Type de projet et intitulé : ...................................................................................................... Date : ................................................................

Communication
Oui Non Exemples entendus
Aisance (la communication « passe » ou pas) 1 0
« 100% ANGLAIS » (aucun mot de français prononcé du début à la fin) 1 0
Mémorisation du script : qualité de l’apprentissage (lecture, oublis... ou 2 0
bien « déclamation » réussie)
Voix (puissante et claire, ou pas) 1 0

Interprétation théatrale
Oui Non Exemples entendus
Intensité du jeu d’acteur (implication théâtrale, totale, et de bout en bout) 2 0
Body language (gestuelle, mimiques, regards, attitudes) 1 0
Ton adapté à la situation (plat ou vivant : comique, tragique, ironique, etc.) 1 0
Mise en scène (préparation, objets, costumes) 1 0
BONUS : créativité et originalité, humour 1 0

Commentaire et points à améliorer : .......................................................................................................................................................................

......................................................................................................................................................................................................................................

......................................................................................................................................................................................................................................

TOTAL DES POINTS : __________ /10

Livre du professeur New On Target 2e

 END-OF-CLASS ASSESSMENT
Name : ........................................................................................... Form : ................................... Date : .........................................................

Cette grille vous permet de récapituler ce que vous avez fait et appris pendant l’heure d’anglais qui vient de s’écouler.
En la remplissant avec soin et précision, vous allez pouvoir établir un bilan ponctuel de votre apprentissage.

Activité langagière pratiquée ce jour ❑ compréhension de l’oral

❑ expression orale
❑ interaction orale
❑ compréhension de l’écrit
❑ expression écrite
❑ interaction écrite
Type d’exercice proposé ❑ PPC (= production orale en monologue)
❑ exercice lacunaire (= texte à trous)
❑ Recap oral du cours précédent
❑ écriture dun compte-rendu
❑ News report
❑ team(/group)work
❑ exposé speed dating
❑ projet actionnel
❑ évaluation
Document proposé / distribué / annoté ❑ fiche de méthodologie
❑ fiche de grammaire
❑ fiche de vocabulaire
❑ fiche de phonologie
❑ communication
❑ consigne de projet actionnel
❑ worksheet
❑ autre : .....................................................................................................................
Support utilisé ❑ extrait vidéo ❑ enregistrement audio ❑ texte ❑ document iconographique
❑ BD ❑ presse écrite ❑ carte ❑ autre :.................................
Thème de la séquence en cours .....................................................................................................................
AUJOURD’HUI, J’AI RETENU... 1 .................................
➜ 4 mots de vocabulaire nouveaux : 2 .................................
3 .................................
4 .................................
1 .........................................................................................................................
➜ 2 structures nouvelles :
2 ..........................................................................................................................
1 .................................
➜ 2 symboles phonétiques :
2 .................................
HOMEWORK pour le cours suivant ..........................................................................................................................

❑ Jai été attentif/attentive en cours et cela se voit sur cette fiche !

❑ Pour progresser, je dois mieux suivre et mimpliquer dans le cours.

Livre du professeur New On Target 2e

1 City Life
Pages d’ouverture (p. 10-11)
SPEAK (p. 11)
• Nous conseillons de confier cet ensemble de questions
à six groupes d’élèves dont chacun travaillera sur une des
photographies. Les groupes rendront ensuite compte de leur
travail à l’ensemble de la classe.
• Il s’agit surtout d’introduire la thématique de la vie en ville
aujourd’hui. On veillera donc à mener les activités avec une
certaine célérité.
• Une fiche d’aide lexicale distribuée à tous les groupes peut
se révéler plus qu’utile. La liste suivante est fournie à titre
d’exemple. Elle est non exhaustive et donnée délibérément dans
le désordre pour forcer les groupes à faire le tri après recherche
du sens des mots inconnus.
students • school uniforms • hang about/around • relax after a
hard day’s work or an exam • basketball court • park • multi-
racial • ice rink • ice skating • downtown • city centre • caps
• hoods • windbreakers • tracksuits • inner city • suburbs •
immigration • graffiti • working class district • upper class/posh
district • sneakers • BMX bike • at a loose end • baggy clothes •
whistle • street art • after school • drop-outs • beanies
The Survivor (p. 12-13)
SPEAK (p. 12)
Corrigé
 We can easily recognise the place in New York where the World
Trade Center was attacked. Two planes crashed into the Twin Towers
on September 11, 2001. About one hour after the attack, the towers
collapsed before the eyes of millions of people who saw it live on
screen. It is now referred to as the 9/11 attack.
We are struck by the amount of ash, dust and soot everywhere.
In the foreground, a group of three policemen seem to be at a
loss as to what to do. One of them is covering his mouth with a
handkerchief. Other policemen are heading off on bikes towards
what remains of the towers. The place is in total chaos.
 Given the title, the text must be about a person who
survived the 9/11 attack. It might be autobiographical or totally
fictitious.
 The scene takes place in Lower Manhattan, New York City.
After the attack, the place was called Ground Zero (a military
term that designates the point where an explosion has occurred)
but now New Yorkers call it The World Trade Center site.
READ (p. 12)
• Faire lire les questions avant de lancer les élèves dans la
lecture. Autre forme d’anticipation du contenu. Cette étape
n’est pas nécessaire si l’on choisit l’option du travail en groupe
(Interact).
• Le document est extrait du bestseller The Good Life écrit par
Jay McInerney en 2006. Une partie du succès de ce roman vient
probablement du fait que l’auteur fut un des premiers à intégrer
l’attentat du 11 septembre 2001 dans une œuvre de fiction. Cinq
10 Livre du professeur New On Target 2e
ans après, la destruction du World Trade Center – vécue en direct
à l’époque par des millions de gens rivés à leur poste de TV– était
encore très présente dans la mémoire collective. Jay McInerney
a su mêler fiction et réalité et nous replonge dans le New York
meurtri du 11 septembre à travers quelques personnages dont
le destin sera bouleversé par l’évènement.
• Ce document a été choisi pour faire le bilan d’un attentat qui
aura marqué l’histoire du monde, mais également pour inciter
les élèves à effectuer des recherches sur le nouveau projet
d’une ville résolument tournée vers l’avenir.
• Pour davantage d’informations sur le roman et son auteur :
http://en.wikipedia.org/wiki/Jay_McInerney
http://en.wikipedia.org/wiki/The_Good_Life_(novel)
http://www.jaymcinerney.com/
Corrigé
 The two characters are Corrine and a man, whose name is
not mentioned in the text.
 They have never met before.
 Another character is mentioned: his name is Guillermo. We
suppose that he died during the attack. (Windows on the World
was a restaurant at the top of the North Tower. See picture at:
http://en.wikipedia.org/wiki/Windows_on_the_World.
WRITE (p. 12)
Corrigé (exemple)
“I was supposed to meet my friend Guillermo at Windows on the
World.”
“Yesterday?”
“Er, yes. Yesterday, at 9 am. I hadn’t seen him for ages. You know,
the restaurant, at the top of the north tower.”
“Nice restaurant, yeah.”
“Used to be. He was supposed to tell me about his coming
exhibition. An exhibition of paintings.”
“Your friend’s a famous painter? And you haven’t heard from
him since yesterday?”
“Nothing. I left hundreds of messages on his voice mail. Can’t
get in touch with the police either...”
“Keep hoping. Rescuers are digging day and night for survivors.
Your friend might be one of them.”
WORDWORK wordfile-p13
• Rappeler que l’identification de la nature des mots permet
d’aider les élèves dans leur choix. Par exemple :
– en 1, had a des chances d’être suivi d’un participe passé ;
– les mots se terminant en –ly sont presque toujours des
adverbes, ce qui donne une indication de leur place dans la phrase,
et peut permettre l’identification de leur sens, si celui-ci est oublié
ou inconnu. Rappeler la transparence (écrite) de certains mots,
mais aussi l’existence de nombreux faux-amis.
Corrigé
1. warned • bombers • determined • regardless
2. emergency • cope • casualties • critically • in shock
3. threat • scared • risk • went off • survival
4. warning • fatalities• worried • danger
 livre du professeur

INTERACT (p. 13)  e/ T. Line 20: “...afraid she might scare him” Line 28: “Are
Corrigé you... all right?”
f/T. Line 24: “Corinne held out a bottle of Evian”
Team 1 teamfile-p13-1
g/F. Line 21: “...a little spooked herself... the street and sidewalks
A. /F. At the bottom of the text: ‘From Jay McInerney, The Good deserted...”
life, 2006’. h/T. Line 32: “She supposed he was in shock or something.”
/F. Line 11: “He paused to lean against a Mercedes...” Line 
15: ‘His knees showed through the ripped legs...’. The other Corrine said: Are you... all right?
character, Corrine, is clearly identified (line 20, line 24...). You’re the first person I’ve seen.
He finally said:
/F. Line 11: ‘He paused to lean against a Mercedes.’ Unless I’m imagining you.
No, no. At least I don’t think you are. It’s
/T. Line 21: “...the street and sidewalks deserted, as if they She replied:
hard to tell, though. What’s real, I mean.
were the last two people on earth.”
He inquired: Can you still smell it here?
/F. Line 42: “I was supposed to meet my friend Guillermo at The smoke?
Windows on the World.” Line 44: “Yesterday?” The scene takes She asked:
Have you been... digging?
place the day after the attack and he is in shock because he I was supposed to meet my friend Guillermo
He said:
probably does not know where his friend is. at Windows on the World.
/F Probably not, for he hasn’t heard from his friend since the She finally asked: Yesterday?
attack. He must be one of the casualties.
B. (Exemple)
B. (Exemple)
 When Corrine first saw the man, he was leaning against a
The passage is an extract from the novel The Good Life, by Jay
Mercedes, a yellow respirator dangling from his neck. His face
McInerney. The book was published in 2006. The scene takes
was covered with dust and his trousers were torn. Corrine
place the day after the 9/11 attack when the World Trade Center
approached but felt worried for him. She wanted to help him and
collapsed. The two characters present are Corrine and a man
she held out a bottle of Evian to him. The place was deserted and
who is not clearly identified. The streets are deserted and the
spooky. The way he looked made her think he was in shock.
characters feel isolated. The man is in shock: he was supposed to
meet his friend, Guillermo, the day of the attack and has probably  When Corrine saw him, she asked him if he was all right.
not heard from him since then. He finally said she was the first person he had seen unless he
was imagining her. She replied he wasn’t or at least she didn’t
Team 2 teamfile-p13-2
think he was because it was hard to say what was real or not. He
A.  Duane Street, West Broadway. inquired if she could still smell it there and she wanted to know
 1/F. Line 4: “Her first feeling was that he was at least a day if it was the smoke he was talking about. She asked him if he
late.” had been digging and he replied he had been supposed to meet
2/F. Line 6: ”...thousands had made this same march up West his friend Guillermo at Windows on the World. She finally asked
Broadway,...” if he had been supposed to meet him the day before. On peut
3/F. Line 5: “Yesterday morning, and well into the afternoon [...] ajouter : The man had obviously lost track of time.
fleeing the tilting plume of smoke...”  Le texte est court, les élèves prendront leur temps pour
4/T. Line 8: “...covered in the same gray ash...” restituer cette partie de la scène et soigneront l’intonation.
5/T. Line 9: “....as the cerulean sky rained paper down on them.”
Team 4 teamfile-p-13-4
B. (Exemple)
A.  The World Trade Center
After the 9/11 attack, ash had covered an impressive area from
the World Trade Center, along Broadway up to Duane Street. Built in 1970
When Corrine first saw him, she thought that the man was at To tip of the antenna/spire: 1,727 ft
= 526,3m
least a day late, when thousands of people had walked up West Height To roof: 1,368 ft = 417 m (North tower)
Broadway all morning and a part of the afternoon to flee the To roof: 1,362 ft = 415 m (South tower)
ash, dust and smoke. They were covered with dust, and paper Number of storeys 110
was falling down on them as they headed north. Number of companies 430
working there
Team 3 teamfile-p13-3 Number of people 50,000
A.  a/F. Line 11: “He paused to lean against a Mercedes.” working there
b/F. Line 12: ”...a yellow respirator dangling from his neck like a Number of daily visitors 140,000
talisman...”
The 9/11 attack
c/F. Line 13: “...the creases of his face highlighted by the gray
Location Manhattan, NYC.
powder.”
Time 9/11/2001, 8 to 10 a.m
d/F. Line 15: “His knees showed through the ripped legs of...”
Casualties 2,823
Line 23: “The hard hat looked anomalous...”
1. City Life 11
1 City Life
Distance from which the attack was WOMAN: My ideal city would be a combination of London and
20 miles = 32,2 km New York City with Irish countryside around it.
visible in miles/kms
Number of days workers were digging PRESENTER: Here’s one from Karl, who’s 15:
230 MAN: My perfect town would be blue, everything would be
at Ground Zero
blue. I would ban cars so there would be no accidents.

PRESENTER: Mandy, who’s 13, has this to say:
Name of the main tower The Freedom Tower WOMAN: My ideal city would be full of young children with
Architect David Childs big palaces full of gold, and footpaths for slow people and
Number of storeys 82 footpaths for other people. There would be loads of nightclubs
Height to roof
1,368 ft = 417 m. The same as the roof and castles.
of the old WTC. PRESENTER: This is from Helena, aged 14:
1,776 ft = 541 m. The same number WOMAN: My city would have the world’s biggest library. And all
Height to tip of spire as the year of the Declaration of soaps would be banned from TV!
Independence (July, 4th 1776). PRESENTER: Now, from Brian, aged 15:
Cost $ 2,000,000,000 MAN:My ideal city would be litter-free and you could stay out
all night.
B. A partir des données chiffrées, les élèves feront des phrases PRESENTER: From Naomi, 16:
complètes qu’il est souhaitable de ne pas rédiger pour garder un WOMAN: My city would be like Hollywood. There would be no
minimum de spontanéité dans la restitution. poverty but many places to keep kids out of trouble.
PRESENTER: The next mail is from Harry, who’s 15:
PROJECT (p. 13)
MAN: Where I live there is no public transport so you have to
• On profitera de l’exercice pour réviser les structures du drive everywhere you go. So, in my city you’d be able to walk
questionnement. Les questions devront être courtes, claires et everywhere or there’d be a bus to take you there... for free!
formulées simplement. PRESENTER: Annie, 15, writes:
• Questionnaire n°1 (On peut envisager un yes or no WOMAN: There would be no need for a police force because
questionnaire). Le personnel de soutien psychologique posera everything would be perfect: no crime, no litter in the streets,
des questions sur les détails de la catastrophe, l’état physique no bubble gum crushed on the pavement, and no graffiti!
et psychologique des survivants et leurs besoins immédiats. PRESENTER: William is 16, and he says:
• Questionnaire n°2. Les survivants poseront des questions sur MAN: In my ideal city, no one would live on the street. The
leurs amis ou membres de famille proches impliqués dans la weather would be great, there would be loads of sports
catastrophe également, et la prise en charge éventuelle. facilities, cinemas and theatres and music shops. Of course,
it would be unpolluted and plants and trees would grow

Teenagers’ Ideal City

(p. 14)
SPEAK (p. 14)
Corrigé
 The teenagers interviewed here may want to live in a
“greener” environment. In their ideal city, they may want places
to make them forget the drawbacks of urban living (e.g. more
open spaces where they could play sport and be away from
exhaust fumes.)
 When city life is discussed, people usually think of the
problems created by street violence, gangs, drug-dealing,
traffic jams, poverty or social inequalities. The teenagers
interviewed may dream of a city where all those problems would
be solved. They may also tell us why they enjoy living in a city
(e.g. more cultural events, more museums, more libraries, more
opportunities, more entertainment facilities...)
LISTEN (p. 14)
TAPESCRIPT tapescript1 p14, tapescript2-p14
(track 1)
PRESENTER: Here are some reactions we received by mail. This
is from Jennifer, who is 16:
everywhere.
PRESENTER: Finally, a mail from Betsy, who’s 15:
WOMAN: I’d build a city so that everyone would have to be
polite and kind to others, so there would be no violence.
PRESENTER: More on this after the break!
(track 2)
PRESENTER: Welcome back. We’ve had a call from Paddy, who
seems to have given more thought to the problem. Let’s hear
from her.
PADDY: I’ve been thinking about my ideal town and what it
would contain to make it an ideal place for me to live in. This
is what I’ve come up with:
1. I’d like a square: a green area where we could meet and chat,
have a cup of tea or coffee and just watch what’s going on.
2. A cinema would be great – with two or three screens – it
wouldn’t have to be too big because my ideal town has a
small but neighbourly population. Not nosey mind you!
3. A “green” system of transport around the town would
be nice – bicycles, some kind of tram system, something
unobtrusive and nonpolluting.
4. A bookshop with comfortable chairs.
5. The streets in my town would be wide enough to have a

12 Livre du professeur New On Target 2e


green area in the middle, with trees of course.
6. No litter anywhere.
7. There would definitely have to be a bypass for traffic! No
through traffic allowed. Only local traffic.
8. Our primary school would have character to it. It would be
an example to all as to how environmentally-friendly building
techniques can be used effectively.
9. Secondary education would be top class. Exams would
be continual assessment not one final big set of tests. I’d
include more time for the pupils to get career guidance, to
have classes in personal development, road safety skills
and so on.
10. A huge DIY shop with really low prices!
11. An open-air market area would add life to the town:
organic foods, unusual things to buy, and all the fun of the
fair!
12. No McDonalds, Burger King or Super Macs thank you!
13. A properly-equipped medical centre with doctors, dentists,
specialists, surgeons... – all free!
14. Law enforcement would be minimal.
15. All the people in my ideal town would have a home to live
in – house, an apartment, whatever – somewhere nice to
live.
16. We’d have a beach nearby to visit during the summer.
17. Internet access would be free for all.
18. We’d have a river flowing through our town, ideal for
boating, canoeing, swimming, fishing, snorkelling, and so
on. The water would be crystal clear because it wouldn’t be
polluted.
19. Beautiful architecture, monuments, museums, statues...
showcasing the talents of our townspeople.
20. A university to develop our minds would be a bonus –
free of course!
• L’enregistrement utilise des réponses authentiques d’ado-
lescents.
• Commencer par faire décrire la photo p. 14. Cela donnera
l’occasion aux élèves de se préparer à l’écoute et de faire le lien
avec les sections précédentes si elles ont été travaillées.
• Préparation à l’écoute : faire lire les questions avant de lancer
l’enregistrement ; s’assurer qu’elles sont toutes bien comprises.
(On s’apercevra vite qu’il est plus facile – et plus rapide – de se
servir des fiches Interact pour obtenir une synthèse des idées
résumées par les questions de compréhension).
Corrigé
 A clean environment and a safe, crime-free city.
 Those who want the city to be blue (!) or those who would
like a city full of golden castles and night clubs with no curfew.
 Those who talk about a city where poverty and crime would
be banned as well as those who think in terms of culture, sports
and the environment.
 Jennifer, Harry, Annie, William.
 Annie and Betsy.
livre du professeur
 Brian’s.
 No one talks about schools or health facilities.
Paddy sounds much more mature and she seems to have a
much more profound approach to the problem. She comes up
with common-sense and well-thought-out solutions to almost
all the problems one has to solve in a modern city. She’s given a
lot of thought to education, which the others didn’t.
WRITE (p. 14)
• Cette activité peut être proposée comme devoir à faire à la
maison et une synthèse orale rapide en début du cours suivant
peut être envisagée. Les productions écrites pourraient aussi
donner lieu à une évaluation de l’expression écrite.
• Il pourrait être demandé aux élèves de réutiliser les mots du
Wordwork si ces activités ont été faites au préalable.
WORDWORK wordfile-p14
Corrigé (B)
alley/ruelle • basilica/basilique • block/pâté de maisons • bridge/
pont • building/bâtiment • by-pass/rocade • cathedral/cathédrale
• church/église • condominium/appartements (en copropriété)
• department store/grand magasin • downtown, town centre/
centre-ville • high rise building, tower block/tour • hospital/
hôpital • inner city/quartier déshérité • intersection, crossroads/
carrefour • movie theater, cinema/cinéma • outskirts/faubourgs
• overpass, flyover/pont autoroutier • row of houses/rangée de
maisons • shop window/vitrine • shopping mall/centre/centre
commercial • skyscraper/gratte-ciel • square/place • stadium/
stade • station/gare • stock exchange/bourse • stop light,
traffic lights/feux de circulation • store, shop/boutique • street/
rue • suburb(s)/banlieue • subway, underground, tube/métro •
terraced houses/maisons ouvrières • tunnel/tunnel • underpass/
souterrain • water tower/château d’eau
PRONOUNCE pronfile-p14
Corrigé
B. 3 US states: Arkansas, Illinois, Ohio.
5 UK cities/shires: Hertford(shire), Leicester(shire), Derby-
(shire), Worcester(shire), Cambridge(shire).
2 cities not in the USA or the UK: Melbourne (Australia), Vancouver
(Canada).
INTERACT (p. 14)
• Préciser qu’on ne prend que des notes télégraphiques.
Corrigé
Team 1 teamfile-p14-1
A.
Name age opinions
Jennifer 16 Mixture of London, NYC and Irish countryside.
Karl 15 A blue city with no cars, and so no accidents.
Lots of golden castles and nightclubs, and
Mandy 13
footpaths.
Helena 14 A huge library and no soaps on TV.
Brian 15 A litter-free, curfew-free city.
1. City Life 13
1 City Life
Team 2 teamfile-p14-2 l’industrie qui l’entoure et les effluves qu’elle dégage, occupent
A. l’essentiel de l’espace dans ce tableau.
Name Age Opinions • Les personnages sont bien présents mais ils ont l’aspect de
Naomi A Hollywood-like city without poverty and filaments fragiles, menacés par leur environnement.
16 facilities to keep kids out of trouble.
• Il serait intéressant de proposer aux élèves de comparer
Harry A city with only public transport and where la photo de la double-page précédente (The Survivor) et A Street
15 everything is within walking distance.
Scene : la composition présente de surprenantes similitudes
Annie 15 A super clean, crime-free city.
et la menace diffuse du tableau de Lowry préfigure la terreur
William A city where everyone has a shelter, with lots of authentique du cliché pris le 11 septembre.
16 sports and entertainment facilities.
Betsy 15 A peaceful city with polite inhabitants. La fiche d’information bonusfile123-p15
• Une fiche d’information est téléchargeable. Elle fournit des
Team 3 teamfile-p14-3
renseignements sur le peintre, le background et le tableau.
A.
relevant irrelevant
Pour ceux qui disposent du manuel numérique, ces textes sont
disponibles également en version enregistrée.
1. green areas and places for people to meet
2. cinemas no nosey people SPEAK (p. 15)
3. non-polluting transport • On peut suivre pas à pas les pistes indiquées dans le manuel et
4. comfortable bookstore
pour lesquelles il ne peut bien entendu pas y avoir de corrigé type.
5. wide thoroughfares with lots of trees
• On peut aussi opter pour une approche visant l’interaction
6. a litter-free city
entre les élèves, en utilisant les trois textes du bonusfile et en
7. no through traffic procédant comme pour une activité Interact (divisions de la
8. nice energy-efficient primary school classe en groupes, étude d’un seul texte du bonusfile par chaque
9. top class secondary schools curriculum and groupe, compte-rendu...).
career guidance
10. huge cheap DIY store PROJECT (p. 15)
Team 4 teamfile-p14-4 • Il paraîtrait bien irréaliste de proposer un «corrigé» de ce
A. projet. Toutefois notons que le site : http://images.google.
fr/images?hl=fr&source=hp&q=lowry&aql=&oq=&gs_
relevant irrelevant
rfai=&um=1&ie=UTF-8&sa=N&tab=wi offre une grande variété
11. an open market organic food
de tableaux du peintre qui permettront aux élèves d’imaginer
12. no fast food restaurants
facilement l’environnement qu’il dépeint ainsi que les couches
13. a proper medical centre sociales de la population qui habitent ces villes.
14. minimal law enforcement
(police presence) Les élèves trouveront une carte du Lancashire sur : http://www.
15. shelter and nice homes for everyone itraveluk.co.uk/maps/england/county/lancashire- map.png qui
16. nearby beach les aidera à situer la ville de Salford.
17. free internet access La situation des villes de l’Angleterre industrielle (industrial
18. clean, pollution-free river heartlands) est décrite sur : http://en.wikipedia.org/wiki/Great_
19. nice architecture, museums, monuments Depression_in_the_United_Kingdom
20. a university free tuition Même si l’article contient quelques imprécisions, les élèves y
trouveront l’essentiel de ce qu’ils ont besoin de savoir.
A Street Scene (p. 15) • Les interviews qu’on demande aux élèves de réaliser devront
bien entendu être l’écho des connaissances acquises lors de
• Depuis toujours la ville a fasciné les hommes, et tout l’étude des documents trouvés sur les sites indiqués.
particulièrement les artistes. Le peintre L. S Lowry, natif du
Lancashire, a trouvé l’inspiration en regardant autour de lui : sa
ville de Salford est en effet abondamment représentée dans ses Language Corner (p. 16-17)
œuvres. Le present perfect en be + V-ing (p. 16)
• Le tableau proposé ici est en parfaite harmonie thématique
Observation
avec le contenu du chapitre, comme son titre l’indique.
• Le but de la PRL est de bien attirer l’attention des élèves sur
• Si la scène peut sembler ordinaire – Lowry disait de lui, If
le fait que l’emploi de cette forme permet d’additionner les deux
people call me a Sunday painter I’m a Sunday painter who paints
valeurs du present perfect et de l’aspect be + V-ing. Noter que
every day of the week! – la représentation qu’en fait le peintre
les linguistes considèrent aussi que le present perfect n’est pas
n’est pas pour autant banale : la ville, ses bâtiments imposants,
un temps mais un « aspect ». Ici nous voulons faire comprendre

14 Livre du professeur New On Target 2e


que le choix de cette forme verbale par l’énonciatrice montre que
son esprit a fait, au moment de parole, un bilan de la situation et
de l’état dans lesquels l’homme se trouve.
Corrigé
 Description : have + participe passé de be (auxiliaire de
la forme en be + V-ing) + participe présent du verbe conjugué
(dig). Le tout employé à la forme interrogative.
 L’énonciatrice est Corinne qui, le lendemain du 11 Septembre,
voit arriver vers elle un homme hagard couvert de cendre,
exténué et assez mal en point.
 L’interlocuteur (ou co-énonciateur) est l’homme en question.
 Valeurs de l’aspect be + V-ing : les élèves vont sans doute
dire qu’il sert à décrire ce que font les gens à un moment précis
puisque c’est la première chose qu’ils apprennent concernant
cette forme que l’on traduit alors par « en train de ». Mais on voit
bien ici que cette explication ne va pas convenir. D’où la question
qui suit.
 Non, il est en train de... marcher !
 La question vise à aider l’élève à bien visualiser la scène.
Et compte tenu de la longue description de l’état dans lequel
se trouve l’homme, il est clair que c’est cet état qui interpelle
Corinne.
 C’est donc bien l’état dans lequel se trouve l’homme qui
l’intéresse, pas la durée de ce qu’il a fait, mais le résultat présent
de cette action (dig) sur lui. (On fait bien sûr référence aux
nombreux volontaires qui sont allés aider les pompiers à essayer
de dégager des survivants éventuels, souvent à mains nues).
Nous insistons bien sur le mot « ici ». Dans un autre contexte
la valeur de ce present perfect/be + V-ing, ou « continue » comme
on l’appelle toujours dans les grammaires anglaises, pourrait
être totalement différente. Ici, le present perfect/be + V-ing
indique que l’énonciatrice suppose qu’elle connaît la cause de
l’état de l’homme. Elle en demande juste confirmation. La glose
serait : « vu l’état où vous êtes, je suppose que vous avez passé
la journée et la nuit à creuser à la recherche de survivants. » La
fin du texte permet d’expliquer d’ailleurs pourquoi l’homme a
sans doute passé tout ce temps dans les ruines : il avait rendez-
vous avec un ami intime au restaurant Windows on the World
qui se trouvait au sommet de la tour. C’est son retard qui lui a
sauvé la vie.
Application
Exercice 1
• Le but de l’exercice est de rappeler que la valeur sur laquelle on
a conduit la PRL ci-dessus n’est pas la seule.
Corrigé
a. • I must say I haven’t been sleeping too well recently. État du
sujet (fatigue, anxiété, nervosité)
• After these attacks, I have been keeping my gun real close.
Just in case. État du sujet, voir ci-dessus.
• These firefighters look like ghosts this morning. They have
been looking for survivors all night. Circontances, le travail a
duré toute la nuit. Mais la nuit est... finie.
livre du professeur
• It’s impossible to breathe downtown. The acrid smoke has been
drifting north-east since yesterday morning. Circonstances, on
décrit où va la fumée et depuis combien de temps elle dérive.
• I’ve been thinking and this is what I’ve come up with: we should
turn this place into a memorial park. Le fait que l’énonciateur a
beaucoup réfléchi et la conclusion à laquelle il est arrivé. On ne
dit rien des circonstances de cette réflexion.
b. C’est le cas dans une seule de ces cinq énoncés : It’s impossible
to breathe downtown. The acrid smoke has been drifting north-
east since yesterday morning.
c. Traduction.
• Il faut bien dire que je ne dors pas très bien ces temps-ci.
• Après ces attentats, je garde mon pistolet à portée de main.
Au cas où.
• Ce matin on dirait des fantômes ces pompiers. Ils ont cherché
des survivants toute la nuit.
• Au centre ville, il est impossible de respirer. Cette fumée acre
dérive vers le nord-est depuis hier matin.
• J’ai bien réfléchi et voici la conclusion à laquelle je suis
arrivé(e) : nous devrions faire de cet endroit un parc à la
mémoire des disparus.
Exercice 2
• Ceci n’est pas un simple exercice de « grammaire », mais une
mise en situation d’expression qui met l’élève dans la peau d’un
véritable énonciateur. La notion d’intention de communiquer est
donc sous-jacente dans tous les exemples retenus, ainsi que la
notion de commentaire apportée par be + V-ing.
Corrigé
a. Have you been drinking (again)? (autres formulations en be
+ V-ing acceptables).
b. How long have you been studying here?
c. It looks to me as if you have been painting your hair too.
d. But Caroline, what on earth have you been doing?
Exercice 3
• Nous ne renonçons pas à l’exercice de version ! C’est donc le
moment d’attirer l’attention des élèves sur les problèmes de
traduction des « temps ». Nous essayons de contextualiser
l’exercice en nous servant de la thématique de la double page
dont l’extrait est tiré. Il ne sagit donc pas de traduire des
phrases isolées, mais de véritables énoncés échangés dans des
situations réelles ou plausibles.
Corrigé
a. Elle se comporte de façon bien étrange depuis qu’elle est
sortie vivante de cette tour.
b. Voilà deux jours que Corinne aide les équipes de secours. Pas
étonnant qu’elle ait l’air si fatiguée.
c. Voyons, qu’est-ce qui ne va pas, Mr. Brown ? –Je fais des
cauchemars (depuis quelques temps).
d. Quels genres de cauchemars ? –Je rêve que j’étais serveur au
Windows on the World quand le premier avion a percuté la tour.
e. Mais vous ne travaillez pas à Manhattan, si ? –Non. Dieu merci.
Je travaille dans le Queens. J’y travaille comme éboueur depuis
à peu près cinq ans.
1. City Life 15
1 City Life
f. Je crois que vous vous sentez coupable parce que,
contrairement à tous ces pauvres gens, vous êtes toujours
en vie. C’est une réaction psychique assez courante chez les
survivants.
Le modal would (p. 17)
Observation
• Même si la traduction des énoncés qui contiennent ce modal
entraîne le plus souvent l’utilisation du conditionnel en français,
nous cherchons à éviter l’étiquette « auxiliaire du conditionnel »
qui ne permet pas de couvrir tous les emplois de would en
anglais, et qui peut donc faire obstacle à l’accès au sens de
certains énoncés.
Corrigé
 Forme passée de will.
 L’irréel.
 L’idée de volonté et/ou d’intention et de refus : tous les
would ici contiennent en partie cette idée puisque l’énonciateur
exprime ses goûts et ce qu’il ferait s’il en avait le pouvoir.
L’idée de certitude absolue (prédiction) : aucun car tout est
soumis à la volonté de l’énonciateur.
L’idée d’une action soumise à une condition hypothétique : tous
puisque tout ce qui est dit est soumis à la condition «if I had my
say...».
L’idée d’action passée répétée voire habituelle : aucun exemple
de forme dite «fréquentative» ici.
Nous n’allons pas plus loin dans l’analyse à ce niveau (A2-B1).
Mais le précis grammatical offre un approfondissement de la
question si on le souhaite.
 What would your ideal town look like if you could have your
say?
 My ideal city would be a combination of London and New
York City exprime ce que serait la situation si la condition à
laquelle elle est soumise était réalisée. My ideal city will be a
combination of London and New York City exprime la volonté ou
la certitude de l’énonciateur, tout dépend du contexte.
 Would est suivi d’une base verbale, had d’un participe
passé.
 Oui : « Ma ville idéale serait un mélange de Londres et de New
York. Je construirais une ville de telle façon que chacun serait
obligé d’être courtois et aimable avec les autres, et ainsi il n’y
aurait pas de violence. Ce serait bien s’il y avait un cinéma. »
Application
Exercice 1
• Ici aussi nous essayons de mettre l’élève en position
d’énonciateur. L’exercice reste très simple. Mais on peut aider
les élèves à complexifier un peu les énoncés.
Corrigé
a. In my ideal city there would be no crime, no litter in the streets,
no bubble gum crushed on the pavement, and no graffiti !
b. In my ideal city, there would be public transport, so people
wouldn’t have to drive everywhere they go.
16 Livre du professeur New On Target 2e
c. We would have a bookshop with comfortable chairs.
d. Only local traffic would be allowed and through traffic would
be banned.
e. I would build a huge DIY shop with really low prices.
f. McDonalds, Burger King and Super Macs would also be
banned.
g. I would make sure we had a properly-equipped medical centre
with doctors, dentists, specialists, surgeons... all free!
h. I would insist on having beautiful architecture, monuments,
museums, statues... showcasing the talents of our
townspeople.
i. And in my ideal city, there wouldn’t be any curfew, so you
could stay out all night.
EXERCICE 2
Corrigé (exemples)
Their city would be very clean and quiet (no litter, no through
traffic).
Traffic would be very light thanks to public transportation.
People would have access to culture (bookshop, museums...).
It would be easy to improve or restore one’s home cheaply (DIY
shop with low prices).
People would be much healthier and obesity would disappear
(no fast food places, medical center...).
People would enjoy walking in/visiting a beautiful city.Etc.
Exercice 3
Corrigé
a. Dans ma ville idéale il n’y aurait pas de déchets (sur les
trottoirs) et on pourrait rester dehors toute la nuit.
b. On n’aurait pas besoin de police car tout serait parfait.
c. J’aimerais qu’il y ait un square, une aire de verdure où l’on
pourrait se rencontrer et bavarder.
d. Il y aurait pour sûr un contournement de la ville.
e. Il y aurait une plage pas très loin où nous pourrions nous
rendre en été.
London, Disasters
& Hopes (p. 18-19)
• Les cinq compétences sont travaillées dans cette double page
magazine y compris l’interaction grâce au sujet du Project.
• Les thématiques de la ville, de l’histoire et de l’avenir sont
également couvertes.
• Le registre des supports à la compréhension de l’écrit est
celui du style journalistique. L’originalité de l’ouvrage dont ces
documents sont tirés est de présenter l’intégralité de l’histoire
des Îles Britanniques sous forme d’articles de journaux relatant
les faits tels qu’ils le seraient aujourd’hui. Nous faisons donc
coup double ici à la fois en évoquant le passé et l’avenir de la
capitale et en mettant l’élève en contact avec l’anglais écrit des
journalistes.
• La description des documents iconographiques entraîne l’élève
à la prise de parole en continu, tout comme le font les demandes
de compte-rendu liées aux activités de compréhension de l’écrit
et de l’oral.

• La présence de quatre documents et des quatre images
nous incite à recommander ici un travail en groupes, chaque
groupe étant chargé de l’un d’eux et recevant pour tâche de
préparer un compte-rendu des faits pour le reste de la classe.
Aucune fiche « interactive » n’est fournie ici car nous visons
la compréhension de l’essentiel et ne souhaitons pas faire de
nos pages « magazine » des « pages de cours ». Les élèves
ont des tâches simples à accomplir qu’ils peuvent mener à bien
en prenant des notes succinctes sur les points signalés. Ces
notes non rédigées serviront d’appui à la PPC (Prise de Parole
en Continu).
The Great Plague of London (p. 18)
La fiche d’information bonusfile4-p18
• Une fiche d’information est téléchargeable. Elle fournit des
renseignements complémentaires sur tout ce que nous savons
de la Peste. Pour ceux qui disposent du manuel numérique, ce
texte est disponible également en version enregistrée.
• On trouvera sur les sites suivants des informations plus
détaillées si on le souhaite :
http://www.channel4.com/history/microsites/H/history/
plague/index.html
http://london.allinfo-about.com/features/plague.html
ainsi que des documents iconographiques nombreux en tapant
the great plague of London/images.
READ (p. 18)
Corrigé
a. All we know is that the plague was thought to be due to a
miasma emanating from the earth. In other words, at the time,
not much was known about what caused an epidemic.
b. All those who could fled the city, apparently leaving the
inhabitants to shift for themselves. Talk about charity, courage
and cowardice!
c. The death toll was extremely high: between 70,000 and
100,000 dead.
The Blitz (p. 18)
• Il nous est apparu nécessaire (devoir de mémoire) de rappeler
aux élèves les souffrances endurées par les Londoniens durant
la Seconde Guerre Mondiale, et de rendre un hommage appuyé
à leur fortitude. Il serait bon de rappeler aussi que pendant près
de deux ans, la Grande-Bretagne a contenu seule les assauts de
l’Allemagne nazie.
• Faire décrire rapidement la photo et faire imaginer le pourquoi
de la fumée : quelle est la cause de l’incendie ? St Paul’s est-elle
reconnue ? Qu’y a-t-il de symbolique dans le fait que la cathérale
semble être épargnée par les bombes ? Etc.
LISTEN (p. 18)
TAPESCRIPT tapescript4-p18
MAN: What was the Blitz exactly?
WOMAN: It was the intensive bombing of London and other
British cities during the Second World War. German bombers
came over by day and by night. One third of London was
livre du professeur
destroyed.
MAN: What does “Blitz” mean?
WOMAN: It’s a shortened form of the German word “Blitzkrieg”,
meaning lightning war.
MAN: I see. And when did the Blitz start?
WOMAN: On the 7th September, 1940.
MAN: And it went on continuously after that?
WOMAN: It hardly stopped for about nine months. During the
first month, the German air force dropped 5,300 tons of
bombs on London in just 24 nights.
MAN: So most of the air raids took place at night?
WOMAN: Yes, they did.
MAN: And how were people warned that an air raid was about
to take place?
WOMAN: There were air-raid sirens that made a very loud, long
warning signal. For an alert, the siren rose and fell in pitch;
the “All Clear” was a continuous sound. When people heard
the siren they would stop what they were doing and make
for a shelter.
MAN: What other places were bombed apart from London?
WOMAN: Many towns and cities were bombed. One terrible raid
on Coventry in 1940 was the biggest air-raid the world had
ever seen.
MAN: How many people died during the Blitz in Britain?
WOMAN: About 32,000 civilians were killed and about 87,000
were seriously injured. Two million houses were destroyed.
• Les informations que les élèves doivent repérer lors de
l’écoute de ce document peuvent être complétées par l’étude
de documents trouvés en ligne :
http://www.eyewitnesstohistory.com/blitz.htm
http://www.historyonthenet.com/WW2/blitz.htm
http://en.wikipedia.org/wiki/The_Blitz
http://images.google.fr/images?hl=fr&source =hp&q=the%20
blitz&aql=&oq=&gs_rfai=&um=1&ie= UTF-8&sa=N&tab=wi
• Afin, ici aussi, de mettre en place une situation favorable à
l’interaction, nous conseillons de demander aux groupes qui
écouteront le compte-rendu de leur camarades de prendre
des notes pendant qu’ils parlent, puis de faire écouter
l’enregistrement à l’ensemble de la classe pour vérifier que rien
n’a été oublié ou mal compris.
• À l’aide des photos trouvées sur le dernier site cité, on peut
demander aux élèves de préparer une présentation de cette
page de l’histoire contemporaine en expliquant les faits et en
mettant l’accent sur la vie de tous les jours des Londoniens
durant cette période.
WORDWORK wordfile-p18
• Ce travail lexical est plus particulièrement relié à ce qui est
dit dans le second enregistrement (p. 19) et aux avantages que
la population tirera de la réhabilitation des espaces où le site
olympique sera implanté.
Corrigé
People still think of cities as dirty, but things have changed a
lot. In my city, there are litter bins on most street corners and
domestic garbage is collected every day. Cities are also safer
1. City Life 17
1 City Life
than they used to because there’s less street crime. My local
council has installed brighter street lighting and more CCTV
cameras, which means that there are fewer muggings than
before.
I have everything on my doorstep: a convenience store which is
open 24-7, a delicatessen where I can get food from all over the
world, a dry cleaner’s that does same-day cleaning, a Chinese
takeaway, and, if I don’t want to go out to do my shopping, I
can phone any one of a dozen pizza or sushi restaurants who
deliver to your door.
I’m not saying everything is wonderful: you have to watch out
for the winos – when they’re really drunk they can be abusive
or aggressive. And there are more and more homeless people
sleeping rough in doorways or on benches, which is terrible.
And of course there is still the noise and pollution from traffic,
although with our new park and ride system, more people
use public transport within the city and there are a number of
pedestrian zones where not even bicycles are allowed.
The Great Fire of London
La fiche d’information bonusfile5-p19
• Une fiche d’information est téléchargeable. Elle fournit des
renseignements complémentaires sur les causes de l’incendie.
Pour ceux qui disposent du manuel numérique, ce texte est
disponible également en version enregistrée.
• On trouvera sur le site suivant des informations plus détaillées
si on le souhaite : http://www.luminarium.org/encyclopedia/
greatfire.htm.
READ (p. 19)
Corrigé
a. London in 1666. One Sunday morning in early September
someone spotted smoke pouring from a bakery.
b. I think we can say the Lord Mayor was negligent and
irresponsible, to say the least. But contrary to what had
happened during the Great Plague, the King and his brother did
everything possible to get the fire under control. Relief was also
promised to those who had lost everything.
c. A large part of London was ravaged (about two hundred
hectares); many churches and thousands of houses were burnt
to the ground. Miraculously, if one may say so, only 9 people are
said to have lost their lives.
The Olympic Games 2012
• Des informations complémentaires peuvent être utiles à la
discussion : http://en.wikipedia.org/wiki/2012_Summer_Olympics.
• Il paraît utile de travailler avec une carte de l’agglomération
londonienne.
• Encourager les élèves à expliciter les bénéfices que la
population est en droit d’attendre de la construction du site
olympique et à s’interroger (au sens réfléchi du verbe !) sur
l’aspect financier d’une telle entreprise dans un contexte de
crise économique. Le pour, le contre.
18 Livre du professeur New On Target 2e
LISTEN (p. 19)
TAPESCRIPT tapescript5-p19
MAN : We have Helena Jefferson with us in the studio today to
answer some questions you are probably asking yourselves
about the coming Olympics. Ms Jefferson, what about the
2012 Olympic Games and housing for instance?
WOMAN : The main focus of the London Olympic bid is the
regeneration of the Lower Lea Valley in East London to create
the Olympic Park. At the moment this area is one of the
most deprived regions in Britain. The land is contaminated
and underused, and the community suffers from high
unemployment and poor housing. The London Development
Agency estimates that 9,000 new homes will be built in the
Olympic Park alone. Many of these houses will be affordable
to local people.
MAN : And what kind of facilities will these people have access
to?
WOMAN : Well, there will be new hospitals, new schools, family
health services and other community facilities. Actually, the
Olympic and Paralympic Games in 2012 are an essential
part of the long-term plans for London.
MAN : Having absorbed the equivalent of the population of
Sheffield in the last 15 years, London is expected to expand
by the equivalent of the population of Leeds over the next
decade. How are you planning to deal with that?
WOMAN : It is dealt with in the London Plan, which was drawn
up by the former mayor, Ken Livingstone. The plan is there
to make sure that expansion doesn’t encroach on existing
green areas, and that the quality of life of Londoners is
maintained and improved.
PROJECT (p. 19)
• Le site http://en.wikipedia.org/wiki/2012_Summer_Olympics
pourra aider les élèves à comprendre comment la sélection de la
ville qui accueillera les Jeux Olympiques se déroule. Cela pourra
aussi les guider dans la construction des arguments plaidant en
faveur de la ville qu’ils essaient de promouvoir dans ce Project.
• Les élèves qui habitent une région rurale devront choisir une
ville qu’ils connaissent et apprécient.
Checkpoint (p. 20-21)
Compréhension de l’oral
• Cet extrait, intitulé I Love NY, est tiré du recueil des chroniques
de l’humoriste américain Art Buchwald, While Reagan Slept,
1983. Ce recueil est une mine de textes amusants rédigés sur
une toile de fond de culture américaine de tous les jours.
• Les élèves découvriront avec plaisir la justesse d’analyse et la
verve d’Art Buchwald, qu’ils retrouveront p. 22 du manuel pour
une autre partie de cette chronique.
LISTEN (p. 20)
TAPESCRIPT tapescript6-p20.
“Where are you staying?”
“Down in Gramercy Park,” I said.

“You weren’t planning on going out at night, were you?”
“I was hoping to. I understand there’s a lot to see in New York
City at night.”
Someone said, “It depends on where you go. Always walk
on a lighted street near the curb, and if they ask for your
money, give it to them without arguing.”
“Better still, don’t walk anywhere. Take a taxi, and tell the driver
to wait until you get into the hotel lobby,” a friend added.
“It is all right to go to the theater?” I asked.
“It’s all right to go. But coming back is when you could get
into trouble. Whatever you do, stay off Eighth Avenue. That’s
where all the crazies hang out.”
“Before you go, put all your valuables in the hotel safe, and
be sure when you get back to your hotel to double-lock your
door. I know a guy who was sleeping in one of the best hotels
in the city and found someone going through his trousers
looking for his wallet.”
“I think I’d better take notes,” I said. “I hear the restaurants
are pretty good in New York.”
“It depends if they know you or not. If you go to one of the better
ones, make sure you slip the headwaiter a twenty-dollar bill, or
you’ll be standing at the bar until eleven o’clock at night.”
“When you’re leaving for the airport during the rush hour,
give yourself two hours. If one car breaks down on the East
Side Drive, you’re a dead duck.”
“Gosh,” I said. “This sounds like a tough city.”
“Why do you say that?” someone asked defensively.
“No reason,” I replied, realizing I was on dangerous ground.
“That’s the trouble with you out-of-towners. You’re always
knocking New York because you don’t live here. It’s the
greatest place in the world.”
“I wouldn’t live anywhere else,” another friend added. “I love
New York.”
“I’d better get going,” I said.
“Why? It’s only four o’clock.”
“Well, if I’m going to get beaten up with a tire iron, I better
allow some time to go to the hospital.”
“If you go to the emergency room on Sunday,” a friend said,
“make sure there’s an English-speaking doctor on duty.”
Corrigé
1. He was planning to visit New York City by night.
2. His friends advise him always to walk on a well-lit street and
not to try to resist muggers, should he be attacked.
3. Mainly the danger is of being robbed of his valuables whether
on the street or in his hotel.
4. Eighth Avenue seems to be the favorite haunt of the city’s
“crazies” – all the weird people you might meet in a big city.
5. He should put his valuables in the hotel safe.
6. He should double-lock the door against intruders.
7. a. He’d better bribe the waiter if he wants a table fast.
b. He should give himself a two-hour head start, just in case an
accident blocks the traffic.
c. He should make sure there is an English-speaking doctor on
duty, which suggests that most doctors on duty on Sundays are
not American.
livre du professeur
8. He thinks New York is a pretty tough city.
9. They seem offended by his remark and argue that New York is
the greatest place in the world to live.
10. It’s full of irony. The narrator is making fun of New Yorkers.
Compréhension de l’écrit
• Tiré d’un blog qui suivit les attentats de Londres en juillet 2005,
cet extrait reprend la thématique du texte p. 12. Nous sommes
à nouveau dans le thème de la mémoire mais aussi d’une autre
forme de vivre (ou mourir ?) ensemble.
READ (p. 20)
• La compréhension de l’écrit est la compétence visée en
priorité mais le libellé des questions montre que l’on peut aussi
demander aux élèves qui travaillent sur ce document de se
préparer à le présenter à leurs camarades.
Corrigé
 Rachel is referring to the London Tube and bus bombings of
July 2005. “The 7 July 2005 London bombings, also known as
7/7, were a series of coordinated suicide attacks on London’s
public transport system during the morning rush hour. The
bombings were carried out by four British Muslim men, three of
Pakistani and one of Jamaican descent, who were motivated by
Britain’s involvement in the Iraq War.
At 08:50, three bombs exploded within fifty seconds of each other
on three London Underground trains, a fourth exploding an hour
later at 09:47 on a double-decker bus in Tavistock Square. The
explosions appear to have been caused by home-made organic
peroxide-based devices, packed into rucksacks and detonated by
the bombers themselves, all four of whom died. 52 other people
were killed and around 700 were injured.” (Wikipedia)
 Because they did not manage to scare Londoners away
from the public transport systems. Rachel’s example is a case in
point. (They should have done their homework and learned the
history of the Blitz. They would have learned it takes more than
bombs to break the morale of the British!)
 She has obviously been in shock but seems to be recovering
pretty fast, considering. And she is determined to go on living
as usual.
 Because Londoners didn’t give way to panic and they seem
to be experiencing the same feelings as she does.
Expression écrite
• Apparaissent ici les concepts de « ville à deux visages », de
pollution, de pauvreté et de survie à/dans la ville au premier
plan de l’analyse à dominante « négative » à faire de la photo.
On peut envisager un travail sur le film Slumdog Millionaire en
amont de cette évaluation ou, en tout cas, valoriser les copies qui
évoqueraient ce film en parallèle à l’image. Primé aux Oscars en
2009, Slumdog Millionaire est adapté du roman de Vikas Swarup
paru en 2005 sous le titre original de Q & A, roman dont nous
recommandons la lecture.
1. City Life 19
1 City Life
Corrigé (exemple)
This picture is of Mumbai, India. From the wet soil, it seems to
be monsoon season. It shows the two faces/the paradoxical
situation of this Indian megalopolis: in the background we
can see a row of white buildings in which thousands of people
probably live. These people are undoubtedly luckier than the
people who can be seen in the lower part of the picture. They
live in a slum/shantytown made up of derelict/ramshackle/
dilapidated shelters with broken roofs, doors and windows,
covered with corrugated iron or canvas. A river separates the
two ways of life. A few trees can be seen and are probably the
only positive element in this picture. The overall perspective
given is one of contrast/inequality between the (lives of) the
poor and the rich in India.
The people living in the slum are without doubt extremely poor.
They may have tried to find somewhere better and safer to live
with their families (we can see some children in the picture) but
they probably can’t afford to live anywhere else. A few women
wearing saris (the traditional dress in India) and some animals
can be seen. The people here are probably unemployed or have
part-time jobs that bring them very little money. They may have
come here from rural areas looking for work. On the other hand,
the people who live in the tower blocks must be quite well-off.
What is particularly surprising/striking and shocking here is the
contrast between the row of buildings in the background, with
their whiteness, cleanliness and solidity/sturdiness, and the
frail dirty slums in the foreground.
The slums look filthy, like a garbage dump. Living conditions
can’t be very hygienic. There are probably no toilet or waste
disposal facilities, meaning that disease will spread quickly and
rats and cockroaches will breed just as fast.
I wouldn’t like to live there for the world! It makes me feel very
ashamed when I see how terrible living conditions are in this picture.
I don’t know how people can let this sort of situation happen. No one
seems to be doing anything to solve it/find a solution.
Expression orale
• L’unité 1, construite sur le thème de la ville, évoque aussi
l’idée de survivre dans la ville. Ce document iconographique fait
référence au 11 septembre 2001 et a fait le tour du monde. Il nous
renvoie avec beaucoup de réalisme l’atmosphère étouffante et
tragique du moment.
Corrigé (exemple)
 The picture shows a man covered with dirt and ash. His hair
is streaked with ash, his eyebrows are grey with ash too. He is
covering his mouth with a handkerchief in order not to inhale
ash and dust. His suit is spattered with mud and dirt. His shirt
is no longer white but coated with dirt and ash too. The street is
strewn with debris and he is slogging through the rubble. He is
probably a businessman, or a white-collar worker in a company
with its headquarters in the area.
 The background of the picture is blurred: this is a disaster
zone full of smoke, fumes, dirt and ash. The picture must have
been taken on September 11, 2001 near what used to be The
World Trade Center, New York City.
20 Livre du professeur New On Target 2e
 He has just come from the area where the attack took place.
We do not really know where he is going. He is just walking away
from the disaster zone.
 The man is in shock. He looks dazed and must find it hard to
understand what has happened. He probably wonders how he
can still be alive or why he was spared.
 Réponse personnelle.
Ateliers (p. 22-23)
• Nous entrons ici dans une partie du manuel qui vise avant
tout l’entraînement à l’acquisition des cinq compétences. Les
documents et les tâches proposés ne doivent donc pas être vus
comme s’ils servaient de supports à un exercice d’évaluation,
mais comme un ensemble fabriqué pour entraîner. D’où
l’apparition du mot guidelines devant chaque type d’activité.
• On s’aperçoit aussi que si pour des raisons pratiques (maté-
rielles, gestion des locaux et emploi du temps), il n’a pas été
possible d’organiser les classes en groupes de compétences,
on peut néanmoins faire travailler ces dernières à l’intérieur
d’un même groupe classe subdivisé en cinq groupes et dont la
composition « tournera » au fur et à mesure que l’on avancera
dans l’année.
Atelier 1 (p. 22)
• On est parfois surpris de l’intérêt que nos élèves manifestent
pour la musique pop des années 60. Nous faisons donc à
nouveau œuvre de mémoire en évoquant cette page de culture
populaire. On verra aussi dans l’extrait vidéo que la notion de
vivre ensemble n’est pas absente de ce document, loin de là.
• On peut exploiter un document vidéo de plusieurs façons.
Celle du manuel vise avant tout la compréhension globale du
message. Mais la fiche de travail, elle, vise une compréhension
plus détaillée.
• On peut préparer cette compréhension en faisant, dans un
premier temps, visionner l’extrait sans le son, pour rendre les
élèves conscients de l’importance de l’image mobile dans la
communication, et leur faire émettre des hypothèses que le
guidage des tâches qui suivent permet de vérifier.
TAPESCRIPT dvdscript-p22
VOICEOVER: Abbey Road was the last Beatles’ album to be
recorded before the group broke up in 1970. Recorded in
the Abbey Road studios in London it is considered to be one
of the best rock albums of all time, and its cover – of the
four Beatles crossing the road near the studios – is just as
famous. Today, on the 40th anniversary of the photo shoot,
Beatles fans are holding a celebration in Abbey Road.
AMERICAN: I came here because it’s 40 years ago today that the
Beatles crossed the road in Abbey Road here and it’s just a
very exciting memorable moment for me and I’m glad to be
landmarking it. I’ve... months ago... I’ve been planning this...
coming here and, you know, it’s just very exciting. I’m a huge
Beatles fan and I played the Cavern last week and I’ve been
touring Liverpool, you know, seeing where all the Beatles

grew up and, you know, so to be here today is like just being
attached to that history...
ENGLISHMAN: They hadn’t had a photo session for about six
months or so, since probably January of 69. So Paul organised
the session and they all came down from his house just
dressed in what they were wearing that day: nothing special,
no stylising, no make-up or anything... And the photographer
just set up his camera on the stepladder on the island there
and a policeman just stopped the traffic for about ten minutes
and they just walked across, maybe four times, and that was
it.
VOICEOVER: People have come from all over the world just to walk
across Abbey Road today. [...] There is even a replica of John
Lennon’s psychedelic Rolls Royce. [...] The main event of the
day is when a group who make their living playing Beatles
music and trying to look like the Beatles, cross the road for
the photographers and the crowd.
Questions du manuel (p. 22)
Corrigé
 People have come to celebrate the 40th anniversary of the
photo taken for the cover of the album Abbey Road.
 The first one is American and a huge Beatles fan. He’s been
planning this trip for a long time. He sounds as if he’s here on a
sort of pilgrimage. The second man is English and he explains in
what circumstances the famous picture was taken.
DVD Worksheet dvdfile-p22
• Il est important dans une optique d’entraînement de donner la
fiche à lire avant de faire revisionner le document.
Corrigé
/a/b/e.
 What makes this report special is that it was made on the
40th anniversary of the photoshoot for the last Beatles’ rock
album Abbey Road in front of the Abbey Road recording studios,
just before the group broke up in 1970.
 The man is American, judging from his accent. He is a guitar
player and a Beatles’ fan. Today he feels very excited to be at
Abbey Road because he has been planning this trip for a long
time. He’s also visited the Beatles’ home town, Liverpool, and
played at the Cavern.
 a. Liverpool, b. the Cavern.
 a. January 1969, b. Paul, c. On a stepladder, d. He stopped
the traffic for 10 minutes, e. Four.
 False, it’s only a replica.
 They are a rock group who play Beatles music. They try to
look like the Beatles and are having their picture taken as they
cross the famous street.
Atelier 2 (p. 22)
• Art Buchwald, récemment décédé, est une figure de la presse
américaine dont les élèves de Seconde vont pouvoir ici découvrir
la justesse d’analyse et la verve. L’humour et la finesse d’esprit
de ce satiriste reconnu et respecté se retrouvent dans ce texte,
livre du professeur
extrait de la compilation de ses chroniques des années 1980
parue sous le titre While Reagan Slept.
Questions du manuel (p. 22)
Corrigé
 The scene is set in New York City, as we can see right at
beginning of the text (“NEW YORK – New Yorkers”) and in line
6: “Queens” (Queens is one of the five New York boroughs, along
with Manhattan, the Bronx, Brooklyn and Staten Island). It takes
place either in someone’s house/apartment or in a coffee house
where some friends are gathered.
 The people present are the narrator and some “friends” of
his (see line 6).
 The two “categories” of people mentioned in the text are New
Yorkers, in other words the local inhabitants, and the “foreigners”,
mainly tourists coming from outside New York to the “Big Apple”
for a visit. The narrator is definitely not a New Yorker, as the
following quotations clearly show: “we “foreigners” would have
no idea what was going on unless New Yorkers told us” (ll.3-4);
“I had occasion to visit New York on a Sunday recently” (ll.5-6)
and “They wait all day for people like you” (ll.21-22).
 “They” refers to all the dishonest people in New York City who
are out to “get you”, i.e. rob or attack you.
 Some examples: “You can’t take the subway!” (l.10),
“dangerous to take it when it isn’t crowded” (l.13), “If they don’t
get you, the subway will” (line 15), “It’s always breaking down.
You could be stuck [...] all night long” (ll.17-18).
 This passage is obviously not supposed to be taken seriously
as it exaggerates for humorous effect the problems of living in
New York City. The way the conversation builds up, listing more
and more dangers for the visitor to the city, makes what the
people say more and more ridiculous. All of this should be taken
with a pinch of salt.
Atelier 3 (p. 23)
• On rappellera ici aux élèves quelques principes de base
inhérents à l’écriture d’une carte postale :
– le texte doit être court, les énoncés simples, le contenu positif.
Le point d’exclamation est d’usage courant ;
– l’élève parlera des endroits qui l’ont marqué lors de sa visite de
la ville et pourra évoquer brièvement une anecdote personnelle.
Enfin, il encouragera le destinataire à venir lui aussi découvrir
New York.
Atelier 4 (p. 23)
• Le choix de ce document iconographique publié en 2001
dans l’hebdomadaire Télérama est bien sûr loin d’être anodin.
Dégageons-en les deux aspects principaux : la grande ville
de gratte-ciels et sa puissance d’un côté, cette puissance
mise à mal avec une représentation symbolique des tours
jumelles du World Trade Center, le titre Still Standing apportant
une nuance, un clair message d’espoir et d’optimisme face au
chaos du 11 septembre 2001. Soyons toutefois vigilants : des
élèves de seconde (âgés de 15 à 17 ans en moyenne) auront
1. City Life 21
1 City Life
vraisemblablement peu de souvenirs, donc de connaissances
de cet événement qui nous a tous marqués...
• Ce dessin permet des rappels et des passerelles avec un certain
nombre des documents de l’unité (pp. 12, 13, 20, 21).
Corrigé (exemple)
This drawing by Mike Ritter entitled Still Standing is a view of New
York City from New Jersey. It shows the legs of a giant standing
where the World Trade Center Twin Towers used to stand. This
site is now known as Ground Zero. We can see the Hudson River
in the lower part of the picture and a row of tower blocks behind
it. The highest one (to the left) is the Empire State Building.
The two legs belong to Uncle Sam, the symbolic figure of the
USA. The man’s trousers are striped, and an American would
immediately associate striped trousers with those of Uncle Sam
(the stripes would be red and white, like the American flag, if the
picture were in colour).
A huge cloud of smoke is rising from under the giant’s feet,
billowing to the right.
This cartoon illustrates the attacks which took place on the Twin
Towers of the World Trade Center in New York on September 11th,
2001. This event will always remain in all memories as the day
when the impressive towers collapsed.
The title Still Standing shows that, in spite of this terrible event,
the USA, symbolised by Uncle Sam, is still on its feet. The
clenched fist symbolises the USA’s strength and determination.
It will never surrender and will not let terrorists get the upper
hand. The message sent by the artist to the whole world may be
that nothing can destroy the USA’s indomitable power.
In my opinion, this is a very interesting cartoon, inasmuch as it
represents the consequences of a real event in a symbolic way.
The Twin Towers which collapsed on September 11th have been
replaced by another even more powerful presence, somehow
indestructible. From my point of view, it is a rather impressive and
successful picture which deals with a scary subject: how hurtful
and dreadful terrorism can be.
Atelier 5 (p. 23)
• Ce travail vient en écho à la page 14. Les élèves devraient donc
avoir un certain nombre de repères sur lesquels s’appuyer. En
outre, l’aide indirectement fournie grâce aux propositions de
lieux parmi lesquels les élèves peuvent choisir doit leur mettre
le pied à l’étrier. Ils pourront ainsi, dans le temps qui leur sera
imparti, développer leurs arguments selon leurs goûts et leur
vécu. On acceptera ici les choix, les idées, les propositions les plus
sérieux mais aussi les plus loufoques ou irréels, tant que ceux-
ci sont justifiés et clairement exposés. L’interaction orale doit
d’ailleurs apporter des éclairages sur l’argumentation de chaque
élève, chacun devant être assez naturellement questionné ou
poussé dans ses retranchements par son partenaire n’ayant pas
nécessairement les mêmes envies ni les mêmes attentes de sa
ville idéale. Ce type de travail n’est pas sans rappeler le format
de l’épreuve proposé à l’examen de certification Cambridge en 2e
section européenne au niveau B1. Ajoutons que la consigne dans
la deuxième guideline présuppose la maîtrise de la méthodologie
22 Livre du professeur New On Target 2e
de l’interaction orale à laquelle nos élèves seront déjà habitués,
à travers l’élaboration et l’utilisation fréquente d’une fiche de
méthodologie/de lexique « fonctionnel ».
Oliver Discovers London (p. 24-25)
Corrigé
 When Oliver arrived in Barnet there was nobody around
because it was early in the morning. After a while, the streets
began to fill with people. Oliver was in an appalling state (“bleeding
feet” l.8 , “covered with dust” l.8) but nobody around him seemed
to care. Some people passed by and stared at him but they did
not offer to help him. (“none relieved him” l.13). No one seemed
to feel sorry or to show the least sympathy for him. No one lent a
helping hand. This may show that the people in the cities care less
about others/are more selfish than country people.
 His first impressions of London are overwhelmingly negative.
Oliver experiences London with all his senses. He can see that
the streets are dirty, he can smell “filthy odours” (l.51), he can
hear people shouting. He also has to walk along muddy streets.
What the child sees is so revolting that he is thinking of running
away (“Oliver was just considering whether he hadn’t better run
away” l.57).
 The place where the Dodger takes Oliver seems to be well-
protected since the children need a watchword to enter. The
absence of light conveys a feeling of insecurity (“for the light
of a feeble candle gleamed on the wall at the remote end of the
passage” ll.64-65). The building seems to be old and dirty (ll.74-
75). A man called “the Jew” might be running this place. He is
surrounded by children who sleep on makeshift beds (“Several
rough beds made of old sacks, were huddled side by side on the
floor.” l.82) and who behave more like adults than like children.
(“smoking long clay pipes, and drinking spirits with the air of
middleaged men” l.84-85).
 The narrator makes Fagin seem loathsome (“was a very old
shrivelled Jew, whose villainous-looking and repulsive face was
obscured by a quantity of matted red hair” l.80-81). One might
initially think that he is a cook (“some sausages were cooking;
and standing over them, with a toasting-fork in his hand, was a
very old shrivelled Jew” l.78) but then it becomes obvious that
the children are under his sway. He may be manipulating them
and making them commit crimes. (Fagin is in fact a criminal
who forces homeless children to steal for him.)

incorrect/slang correct
How are you/things?/
What’s the row (l.19)?
What’s up?
a ’spectable old genelman as a respectable old gentleman lives
lives there, wot’ll give you there, who will give you lodgings
lodgings for nothink (ll.40-41) for nothing
There’s two on you (l.68) There are two of you
Who’s the t’other one? (l.69) Who’s the other one?

2 Food and Drink
Pages d’ouverture (p. 26-27)
• L’éducation à la santé fait partie du programme des classes
de lycée. Nous lui consacrons un chapitre qui met l’accent sur
l’hygiène alimentaire et, dans la double page « Ateliers par
groupes de compétences », sur les dangers du tabagisme.
• Les deux dessins de notre double page d’ouverture donnent le ton.
Mais ce sont surtout les deux photographies qui vont permettre de
faire l’inventaire de ce qui est plus ou moins sain d’ingérer.
• La comparaison des aliments de deux familles de cultures
différentes sera source d’échanges.
SPEAK (P. 27)
• Nous conseillons de traiter rapidement cette activité et de la
faire dans l’esprit d’une approche communicative en confiant
chaque question à un groupe d’élèves différent.
Productions possibles
 The Kuwaiti family is made up of eight members. The parents
are dressed in rather traditional clothes whereas the children
(four girls and two boys) seem to be dressed as most children
in the western world are. The family looks happy and rather
well-off. The quantity of food displayed also shows that we are
not dealing here with a working-class family. The British family
consists of only four members: the parents and two young
teenage sons. They look like a typical middle-class family. There
seems to be less food on display here, but this maybe simply be
due to the fact that this is a smaller family than the other one.
 A lot of similar things are on display in both kitchens in
spite of the cultural differences. In both cases, it is clear that
food makes up a large part of the family’s budget. And in both
cases there are a lot of processed foods. There are, however, a
few significant differences. For example, it seems the Kuwaitis
eat much more vegetables and fruit than the British, and much
fewer sweets. Also, there are no alcoholic drinks on the Kuwaiti
table and there is much less fattening food. The British family
doesn’t seem too keen on fish either.
 All in all I would say that the Kuwaiti family has the healthier
diet.
 The other two pictures are illustrations of a hamburger and a
hot dog. They represent modern junk food which is all too often
the staple diet of many people these days, especially in the USA.
The Secret of the French
(p. 28-29)
• Mythe ou réalité ? La réputation de la cuisine française et
des habitudes alimentaires françaises fait toujours beaucoup
parler dans les pays anglo-saxons plus touchés que nous – pour
l’instant – par les problèmes d’obésité.
• Le succès outre-atlantique de Mireille Guiliano et de son best-
seller French Women Don’t Get Fat, suivi par French Women
livre du professeur
For All Seasons 2010 en est une des nombreuses preuves.
Pour davantage d’informations, des exemples de recettes
diététiques, etc, vous pouvez consulter sur internet le site
http://mireilleguiliano.com.
SPEAK (P. 28)
• Les questions de cette première étape seront l’occasion de
mettre en place le lexique utile à la compréhension du document
mais également nécessaire pour construire l’expression autour
de ces documents.
• Vous pouvez faire chercher le mot diet dans un dictionnaire
unilingue ou proposer les différents contextes d’utilisation de ce
terme au vidéoproprojecteur. Voici ce que l’on peut trouver sur un
dictionnaire en ligne, http://dictionary.reference.com/ :
Diet (noun):
– the foods eaten by a particular person
– a particular selection of food designed or prescribed to improve
a person’s physical condition or to prevent or treat a disease
Diet (verb used with object):
– to regulate the food of, esp. in order to improve the physical
condition
Diet (verb used without object):
– to select or limit the food one eats to improve one’s physical
condition or to lose weight
Diet (adjective):
– suitable for consumption with a weight-reduction diet; dietetic:
diet soft drinks
Corrigé
 The Le Moine family from Montreuil, France is/are posing in
their living-room (as can be guessed from the furniture in the
background) surrounded by a week’s worth of groceries. There
are four people in this family; the parents and their two teenage
daughters.
 Their diet seems well-balanced and all the different food
groups seem to be equally represented. Yet they apparently
indulge in chocolate and Nutella. Even though they sometimes
eat takeaway food, they prefer to choose healthy options like
sushi and spring rolls.
 Their diet seems to suit them since they look healthy, neither
too thin nor too chubby, simply healthy-looking. The parents
appear to have kept their figure(s) despite their age.
READ (P. 28)
Corrigé
 This is an extract from an article (which was [written]) by
Caroline Wyatt who works as a BBC correspondent in Paris. It
was published on the BBC news website on July 27th, 2004. It is
about how the French manage to stay slim.
 The three people interviewed are Clemence de Bodinat,
mother of four, Dr Françoise L’Hermite, a nutritionist, and British
2. Food & Drink 23
2 Food & Drink
chef Richard Robe, who works at Taillevent, a Michelin three-star keep one’s figure garder la ligne
restaurant in Paris. the complexion le teint
 The secret of the de Bodinats’ diet is healthy meals and no plain sans beauté
fizzy drinks (ll. 11-14) or sweets (l. 17). INTERACT (P. 29)
 Dr L’Hermite’s secret is exactly the same as the de Bodinats’: • Les fiches de teamwork seront l’occasion d’injecter du lexique
to sit down with friends or family for a meal, to eat three times supplémentaire dans le domaine de la nourriture.
a day at regular intervals (ll. 22-24), not to snack, not to eat in
Corrigé
front of the television, plus to eat slowly and savour both the
food and the company (ll. 24-26). Team 1 teamfile-p29-1
 Richard Robe’s secret is in portion sizes (ll. 31-32). A.1/F, 2/T, 3/F, 4/F, 5/T, 6/F, 7/F, 8/F.
B. (exemple)
WRITE (P. 28)
Even if the French sometimes eat fatty foods like creamy
• Voici trois liens utiles : sauces and cheese, only a small percentage of the population
– http://eatfamilystyles.com/wp-content/uploads/2010/02/fast is obese. As a result, the French have a longer life expectancy.
foodspending.jpg But this does not mean that they are not interested in fast food
– http://www.bordbia.ie/industryservices/alerts/PublishingImages/ restaurants or junk food and have no taste for sodas/fizzy
2009/Aug/7th%20August/US%20consumers.PNG drinks.
– http://sas-origin.onstreammedia.com/origin/gallupinc/Gallup
Team 2 teamfile-p29-2
Spaces/
Production/Cms/POLL/092v8tf11uedg7u53ztcja.gif A. White fish, tomato, cucumber, Greek-style yoghurt, tap water
or their equivalents are mentioned in the text.
• Les élèves peuvent également se reporter à la page 34 de leur
manuel et utiliser le document 2 de la section magazine. B. (exemple)
The de Bodinats usually eat healthy foods such as white fish,
WORDWORK wordfile-p.29 tomato, cucumber salad and Greek-style yoghurt. They drink
• Suite à cette activité, il serait bon de proposer aux élèves tap water mainly. One could imagine they would also indulge in
d’organiser ces termes en une fiche lexicale. Soit proposer white meat, lettuce, soya organic yoghurt or fat free yoghurt.
aux élèves de réfléchir à une organisation et un classement Team 3 teamfile-p29-3
possible des termes en groupe ou de façon individuelle, soit A. How to stay slim: eat at a proper table, have three meals a
profiter de la correction de cet exercice pour faire une activité day, have meals at regular intervals.
méthodologique sur l’organisation des fiches lexicales et la
mémorisation du lexique (prononciation, nature grammaticale, How to get fat: binge on chips, drink red wine every day and
synonymes, antonymes, définition, exemple d’utilisation, at every meal, eat both cheese and pudding, eat in front of the
traduction, paragraphe rédigé, dérivation, le tout organisé television, eat quickly, eat snacks any time of the day.
alphabétiquement, en carte heuristique...). B. (exemple)
Corrigé The main features of a healthy diet are to eat at a proper table
tall grand (par la taille) and have three meals a day at regular intervals. Conversely, if
short petit (par la taille) you binge on chips, drink red wine every day and at every meal,
pale, wan blême if you eat both cheese and pudding, eat in front of the television,
ugly laid if you eat quickly or eat snacks any time of the day, you are
slim mince most likely to get fat.
well-built solide, costaud Team 4 teamfile-p29-4
be overweight avoir trop de kilos A. 1/b, 2/c, 3/c.
(= être en surpoids) B. (exemple)
plump, stout dodu, potelé
What the chef explains is that the secret of the French diet is
good-looking, handsome,
in the portion size. Even if you are served seven courses in a
attractive beau
three-star restaurant, you won’t feel bloated because the size
ruddy rougeaud
of the portions is very small. He adds that it’s easier to eat more
the figure la silhouette
healthily in France than in England because there aren’t as
waist (tour de) taille
many markets in England as (there are) in France.
thin, skinny maigre
wrinkle ride PROJECT (p. 29)
smooth lisse
gaunt décharné • Ce project sera l’occasion de rebrasser le lexique mis en
puffy bouffi place lors de l’étude de la fiche Wordwork et du document The
Secret of the French, ainsi que les arguments et les statistiques

24 Livre du professeur New On Target 2e

 livre du professeur

de l’article. Cependant, il est évident que les élèves devront home cooking cuisine maison
reformuler les différents arguments pour se les approprier. ready-cooked prêt à manger
• Insistez sur le fait que la participation à un talk show ne peut B. Verbs
pas être assimilée à l’écriture d’une saynète. En effet, il s’agit ici cook cuisiner
de travailler l’interaction orale et la spontanéité. starve mourir de faim
• Il sera bon de diviser la classe en cinq groupes de travail – wolf down engloutir
un par rôle, afin que les élèves préparent les arguments qu’ils taste goûter, déguster
souhaitent utiliser et qu’ils décident du ton qu’ils veulent put on weight prendre du poids
employer lors de leurs interventions. On pourra leur proposer go on a diet faire un régime
d’envisager de décider au préalable avec quels intervenants ils eat out manger au restaurant
seront susceptibles d’être d’accord et avec quels intervenants ils snack grignoter
seront forcément en désaccord. Par exemple, la mère de famille slim down maigrir
sera susceptible d’être d’accord avec le ou la nutritionniste et en C. Adjectives
désaccord avec l’adolescent et le chef.
sweet doux, sucré
• Une phase de plusieurs speed-dating (au moins trois rounds) healthy bon pour la santé
sera une occasion pour les élèves de tester leurs arguments et organic bio
de s’entraîner « en direct » à l’exercice. wholesome sain
• Il est évident que pour plus de spontanéité et d’authenticité, il home-made fait maison
serait préférable que les élèves qui participent au talk show ne savoury salé
se soient pas rencontrés lors des rounds de speed-dating. fatty gras
low-fat allégé
Supersize me! (p. 30-31)
fat-free
overweight
sans matières grasses
en surpoids
• L’enregistrement que nous proposons dans cette section slim mince
est basé sur le contenu de Supersize Me!, film dans la lignée tasteless insipide
des films de Michael Moore et dont le but est de dénoncer balanced équilibré
la responsabilité des chaînes de restauration rapide dans la fattening qui fait grossir
dégradation de la santé des Américains en particulier. Pour tout
renseignement complémentaire sur le film, voir http://www. SPEAK (P. 30)
imdb.com/title/tt0390521/ • On aura ici une belle occasion de montrer aux élèves que
• Nous avons retenu les opinions divergentes des invités à ce talk contrairement à ce qu’on lit parfois, même le verbe love peut se
show afin d’aider les élèves à ne pas se laisser enfermer dans rencontrer à la forme be + V-ing, ce qu’un groupe de rock célèbre
des clichés faciles et de leur apprendre à saisir les motivations des années 80 avait déjà montré (Scorpio, Still Loving You). En
diverses des auteurs de ce type de film documentaire. grammaire aussi il faut se méfier des idées toutes faites...
• Nous conseillons un travail lexical approfondi (Toolbox Corrigé
et Wordwork) avant de lancer les groupes dans les tâches The picture is/seems to be a film poster. In this case that of a film
d’écoute. called Super size Me! It shows the face of a man stuffing himself
with french fries (chips) and it clearly gives the feeling that the
WORDWORK wordfile-p.30 man is going to choke himself to death with such a mouthful.
Corrigé Two sentences can be seen on this poster. The one at the top
A. Nouns is a quote from Rolling Stone Magazine and the sentence at the
frozen food nourriture surgelée bottom is the tag line which plays on the words “portions” and
tinned food conserves “proportions”.
processed food nourriture transformée
junk food mal bouffe
LISTEN (P. 30)
starter entrée • Il va sans dire que cet exercice sera facilité si on opte pour une
main course plat principal approche actionnelle et communicative en utilisant les fiches de
dish plat Interact.
eating disorders troubles d’alimentation TAPESCRIPT tapescript7-p30
meal repas MAN 1: Tonight we’re discussing Supersize Me, a documentary
figure silhouette written, produced, directed by, and starring Morgan Spurlock.
snack casse-croûte Jennifer, can you tell us a little about it?
diet régime WOMAN: Yes, well, it was filmed over 30 days and, during that
fast-food restaurant un fast-food time, Spurlock ate at McDonald’s restaurants three times a day,

2. Food & Drink 25

2 Food & Drink
“super-sizing” his meal every time he was asked. – le but de l’expérience,
MAN 1: “Super-sizing” is what exactly? – les résultats au cours des 30 jours qu’elle a duré,
WOMAN: It means ordering the biggest portion on the menu. – l’avis d’un médecin,
MAN 1: And what was the result of this rather unusual diet? – la réaction de McDonalds à l’expérience,
WOMAN: Well, he gained over 11 kilograms. He also experienced – les hypothèses de Peter sur les motivations de Spurlock.
mood swings, sexual dysfunction, and liver damage. It took
him fourteen months to lose the weight he gained. WRITE (P. 30)
MAN 1: Peter, you’ve been looking closely at the rules that • Cet exercice pourrait être proposé à des groupes de deux ou
Spurlock observed. trois élèves, le texte étant rédigé en cours, puis la mise en page et
MAN 2: Yes, while the film was being made, he had to stick to le design en général fait à la maison. La tâche permet aux élèves
several rules: d’exploiter leur potentiel créatif et leur habileté informatique afin
1. To consume three McDonald’s meals per day. de produire un travail de qualité qui pourrait mettre en valeur les
2. To sample every item on the McDonald’s menu at least once élèves qui ont moins de facilités en langue.
over the course of the 30 days. • Le langage utilisé doit être succinct, direct et persuasif.
3. To consume only items on the McDonald’s menu. Any and all
other food was prohibited. PRONOUNCE pronfile-p30.pdf
4. To “super size” his meals if, and only if, he was asked. Corrigé
5. To walk as much as a typical American – that is, about 5,000
A. word stressed syllable []
steps per day.
addicted 2 1
MAN 1: So let’s talk about the effects in more detail. Jennifer?
emphasis 1 2
WOMAN: Well, apart from the weight increase, Spurlock soon
interview 1 2
found himself with a feeling of depression, and he claimed
lethargy 1 2
that his bouts of depression, lethargy, and headaches were
restaurant 1 2
relieved by a McDonald’s meal. One doctor described him as
“addicted”. B. word stressed syllable []
MAN 1: And how did McDonalds react to all this? regularly 1 3
WOMAN: Well, they discontinued the Super Size option and now discontinued 3 2
more emphasis is being put on healthier menu items such as experience 2 4
salads, but they say that these changes were not introduced documentary 3 4
because of the film. INTERACT
MAN 1: But Spurlock seemed to prove that if you eat regularly at
McDonald’s you’ll get fat and have other health problems too. • Penser à faire lire les tâches avant de lancer l’écoute.
MAN 2: Well, that’s not quite true. It depends how you define Corrigé
“regularly”. Spurlock was eating three meals a day there. Team 1 teamfile-p30-1
Now, although 72% of McDonald’s customers eat there maybe A. 1/c, 2/b/d, 3/c.
once or twice a week, and 22% eat there just about every day, 4. Three times a day.
I have interviewed scores of McDonald’s customers and have 5. It means ordering the biggest portion on the menu.
found no one who eats there three times a day! 6. He gained over 11 kilos
MAN 1: So what’s your view of this whole thing? 7. d/f/g.
MAN 2: I think Spurlock’s own motivations have to be 8. 14 months.
examined. For one thing, his girlfriend is a vegan, and, for Team 2 teamfile-p30-2
another, the film was made against the background of a legal A. 1/b/d/e/g/h.
action that two girls were taking against McDonald’s for more 2. 5,000.
or less causing their obesity. I think it’s difficult to believe
Team 3 teamfile-p30-3
that Spurlock’s point of view is unbiased.
A. 1/c/d/f/g.
Corrigé 2. He ate some more Mcdonalds.
 Three people are talking: two men and a woman. One of the 3. He was addicted
men is the presenter and the other is called Peter. The woman’s 4/c/d.
name is Jennifer. 5. No. They said that the changes were not introduced
 This recording is of a radio talk show/discussion show. because of the film.
 The topic of this conversation is a film, a documentary about Team 4 teamfile-p30-4
the dangers of a fast food diet. A. 1. No because he said it depends on how you define
‘regularly’.
 Parmi les détails que l’on peut aider les élèves à repérer :
2. 72%.
– la durée de l’expérience, 3. Every day.

26 Livre du professeur New On Target 2e


4. No one.
5/b/c.
6/a.
An Election Entertainment
(p. 31)
• William Hogarth (1697-1764), peintre et graveur anglais majeur
du XVIIIe siècle, est ici l’objet de notre attention, à travers une
œuvre dont la richesse esthétique est indéniable. Plutôt connu
pour ses séries de tableaux évoquant les parcours londoniens
parfois chaotiques de personnages emblématiques (Industry
and Idleness, A Rake’s Progress ou encore A Harlot’s Progress,
par exemple), Hogarth nous offre ici sa vision, satirique s’il en
est, de ce qui semble être un déjeuner ou un dîner électoral peu
de temps avant un scrutin local important, avec tout ce qu’un
tel déjeuner implique. An Election Entertainment (1755) est la
première partie d’une série de quatre intitulée The Humours of
an Election (Four Prints of an Election) représentant la campagne
d’un Member of Parliament de l’Oxfordshire en 1754. Illustrant
des gens simples et/ou connaissant une ascension sociale digne
d’intérêt, Hogarth se plaisait à traiter des sujets moraux ou des
thèmes de société. La théâtralité de ses œuvres est clairement
unique en son genre. D’ailleurs, nombre de ses peintures ou
gravures sont nées de (ou ont donné lieu à) des romans ou
pièces de théâtre, tant elles dévoilent des scènes visuellement
riches et expressives. Le travail de Hogarth est d’ailleurs
cousin de la littérature de Daniel Defoe, son contemporain.
Hogarth faisait, en son temps, partie de l’avant-garde culturelle
de Londres et passait énormément de temps en compagnie
des artistes de l’époque. Il fut certainement le premier peintre
anglais à donner à son pays une identité picturale en tant que
telle, autrement qu’associée aux productions européennes de
l’époque. Nous vous recommandons, si ne vous le connaissez
pas et avez l’occasion de vous y rendre, la visite du fort peu
connu et néanmoins passionnant « Sir John Soane’s Museum » à
l’occasion d’une prochaine escapade dans la capitale britannique.
Vous pourrez y admirer Four Prints of an Election.
LES FICHES D’INFORMATION (BONUS)
• Trois fiches d’information sont téléchargeables. Elles
fournissent des renseignements sur le peintre, le background
et le tableau :
bonusfile1-p31
bonusfile2-p31
bonusfile3-p31
Pour ceux qui disposent du manuel numérique, ces textes sont
disponibles également en version enregistrée.
SPEAK (P. 31)
Corrigé
 Pour cette première question, en guise d’introduction, les
éléments suivants sont susceptibles d’être produits par les
élèves, productions qu’il faudra clarifier et organiser. L’émission
d’hypothèses doit venir assez rapidement, notamment grâce à
l’utilisation de modaux du plus ou moins certain :
livre du professeur
– a lunch/luncheon/dinner/banquet/tavern dinner/inn dinner; a
gathering of people sharing a copious meal,
– a disorganised, noisy and shocking scene; a lack of harmony in
the situation shown; a rowdy violent scene; people doing everything
but eating; lots of different activities at the same time...,
– a parody of/a distorted/satirical representation of The Last
Supper and Other Biblical Feasts,
– possible subjects of the various conversations during this
dinner are the forthcoming election (in Oxfordshire), the
candidates’ political platform/proposals, the promises made
by them, people’s everyday life and living conditions and how
to improve them, the general disillusionment with the role of
politicians, the food which is being served...
 La description des lieux doit permettre ici de se concentrer
ponctuellement sur des détails qui ne seraient peut-être pas
apparus dans une étude plus dirigée vers la scène elle-même
et les actions se déroulant au cours de ce dîner. Les détails
sur lesquels il s’agira de mettre le doigt peuvent, pour certains,
s’avérer importants. La fiche de méthodologie de la description
et analyse de document iconographique (p. 144) doit permettre
aux élèves de donner des indications précises quant aux
différents éléments et endroits du tableau :
– an inn/a tavern/a restaurant/the banqueting rooms of the
Town Hall...,
– a dark room with two tables (rectangular and round) brought
together for a special occasion; lots of food and drink being served,
– chairs, stools, benches; chamber pots here and there,
– furniture being thrown out of the window,
– political banners (such as used in demonstrations),
– a defaced/torn painting/frame hanging on the back wall; a
portrait of the King : symbolical element.
 Le terme entertainment devra forcément avoir été élucidé
s’il n’est pas connu des élèves à qui l’on demande ici d’établir un
lien entre le titre du tableau et son contenu :
– the scene is probably taking place a few days/weeks before/
prior to an important election,
– providing entertainment was a way of persuading people to
vote for you.
 Des formes verbales en –ing sont attendues ici pour faire
référence au mot entertainment :
– eating (meat, oysters...)
– drinking alcohol (gin, beer, wine, rum...),
– singing, playing musical instruments (violin, cello...), listening
to music,
– telling and listening to funny stories,
– flirting with the opposite sex.
 The two candidates are sitting next to each other at the far
left of the rectangular table. They are both wearing powdered
wigs and are dressed smartly. They are getting very familiar
with local people in order to get their votes.
One of them (rather effeminate) is talking to/kissing an ugly
toothless, pregnant/dumpy woman. The other one is listening
to two drunks.
They stand out in this gathering because they are sober/not
drunk; they have to talk people into voting for them.
2. Food & Drink 27
2 Food & Drink
The Mayor is sitting at the opposite end (strategic position:
host?); seems to be sick: may have eaten too many oysters
(empty shells on the table), unable to speak and do anything
because he doesn’t feel too well/has collapsed/fainted/
passed out (from eating too many oysters, stomach ache or
headache?); a doctor/physician is taking care of/trying to
revive him (by bleeding his right arm).
 Outside (the scene can been through the window):
– a Tory demonstration/procession
– banners and signs being held up
– bricks/rocks being thrown into the tavern through the broken
window
– a few demonstrators’ heads can be seen
– sticks/rifles being carried?
– people inside have armed themselves with stools and chamber
pots.
 Drunken people, glasses, flutes, tumblers, cups, alcohol
being spilt on the table or on the ground, a tub of punch/rum,
barrels/casks large wooden containers. Gin being poured from
a bottle into the head wound of a man...
PROJECT (p. 31)
• Pour la réalisation de ce projet de type actionnel mêlant
productions écrite et orale dans un deuxième temps, la
description et l’analyse du tableau de Hogarth auront été un
nécessaire préalable. Cela dit, bien qu’ils doivent réinvestir du
lexique utilisé pour décrire et commenter l’œuvre de Hogarth,
les élèves pourront approfondir leurs récentes connaissances
des plaisirs de la table dans l’Angleterre du dix-huitième siècle à
travers des recherches sur internet.
• Certains sites intéressants donnent des indications précises
quant à ce que l’on mangeait et buvait à cette époque :
http://www.umich.edu/~ece/student_projects/food/foods.htm
http://www.umich.edu/~ece/student_projects/food/rules.htm
http://www.ballindalloch-press.com/society/food.html
http://www.bl.uk/learning/langlit/booksforcooks/1700s/
1700sfood.html
• Il s’agira d’encourager les élèves à réaliser deux exemples
fidèles aux habitudes alimentaires et de l’époque tout en
mettant l’accent sur la réalisation phonologique des produits
sélectionnés dans la perspective de la présentation orale.
• Ne pas hésiter à montrer et à faire manipuler des menus et
cartes de restaurant authentiques aux élèves au préalable afin
que leurs créations soient attractives, esthétiques et claires,
comme si elles étaient réservées à de véritables clients.
Pourquoi, d’ailleurs, ne pas imaginer des saynètes entre
serveurs et clients de restaurant/taverne/salle de réception ou
bien faire jouer la scène représentée sur le tableau à l’entrée des
convives encore sobres avec un travail parallèle sur les formules
de politesse et/ou le langage utilisé par les différentes classes
sociales dans l’Angleterre du XVIIIe siècle ?
• Deux élèves travaillent en binôme et il y a deux menus à créer.
On pourra donc imaginer que chaque élève aura un menu à
présenter (pour des raisons de simplicité de réalisation de la
28 Livre du professeur New On Target 2e
tâche), sauf si les deux élèves souhaitent présenter leurs deux
menus en parallèle. Encourageons les élèves à mettre sur pied
une mise en scène autour de leur présentation orale (serveurs,
patrons de pub ou de taverne, personnel de l’agence pour la
santé publique de l’époque, etc.).
• Concernant l’évaluation du projet, on peut envisager deux notes
sur 10 s’ajoutant pour chaque élève, leurs réalisations écrites
étant préalablement relevées et évaluées par le professeur
sur 10 points grâce à un nombre restreint de critères objectifs,
avant la prestation orale ne s’appuyant sur aucune note écrite
et au cours de laquelle les élèves feront en sorte de suivre les
consignes du professeur en terme de structure, de réemplois
lexicaux, etc. (des contraintes ou passages obligés à respecter,
tout en dédramatisant les erreurs linguistiques potentielles).
• La dimension esthétique et la créativité (production écrite), le
dynamisme et la clarté (production orale) seront pris en compte
dans l’évaluation, avec possible attribution de bonus. Enfin, on
peut songer à un débriefing avec la classe, voire à l’organisation
d’un vote argumenté pour élire les meilleurs menus sélectionnés
pour l’ouverture d’une taverne londonienne. Il s’agirait ainsi ici
d’un Entertainment Election !
Language Corner (p. 32-33)
La détermination du nom :
emploi de Ø, a, the (p. 32)
Observation
• Le but de cette PRL est d’aider les élèves à percevoir le concept
de degré de détermination : détermination minimale (Ø), faible
(a/an) ou forte (the). Le professeur jugera s’il est bon, à ce
niveau d’étude, et selon son public s’il est pertinent d’employer
des termes linguistiques (ex : Ø = renvoi à la notion). Pour notre
part, nous avons préféré employer des périphrases claires pour
l’élève. Comme toujours les énoncés sur lesquels s’appuie la
PRL sont tirés du document étudié (p. 29).
• Dans la logique d’une grammaire de la communication, on peut
essayer de faire comprendre l’opposition entre a et the, le premier
servant à l’énonciateur pour présenter à son interlocuteur
des faits qu’il suppose inconnus de lui, et le second servant à
renvoyer à ce qui a déjà été dit ou à ce qui est culturellement
identifiable par l’interlocuteur. Ainsi en 2 ci-dessous, le fait de se
retrouver dans le contexte de la cuisine d’une famille, implique
que l’on comprenne d’emblée de quoi il s’agit quand on parle du
réfrigérateur, même s’il n’en a pas été question auparavant.
Corrigé
 • Parler de façon générale (détermination minimale).
Ø devant foie gras, creamy sauces, cheese, fizzy drinks, ordinary
water. Il s’agit en effet de renvoi à une catégorie de nourriture en
général, qu’on soit au singulier ou au pluriel. Pour le quatrième
exemple, voir plus bas.
• Introduire la mention d’un élément pour la première fois
(faible détermination). Les linguistes parlent ici de phase 1,
mais ne chargeons pas la mémoire de nos élèves à ce niveau.
 livre du professeur

Nous préférons la notion de présentation d’un élément, ce qui Comme Ø dessert. Noter la similitude
with a plain yoghurt for
n’exclut pas celle de quantification, « un » s’opposant à « des ». d’emploi de Ø ici : notion de dessert, et non
Ø pudding
En 1, l’énonciateur est bien en train de présenter à des lecteurs un dessert particulier.
supposés ignorants du fait, en quoi consiste le régime de « pas de + Ø »
they do not have Ø
Le français à la forme négative fonctionne
nombreux Français (Despite a diet). En 2, on est bien aussi dans sweets, they do not
comme l’anglais dans le cas de l’article
une phase de description dont le but est de faire visualiser par le have Ø sugar, they do
partitif à la forme négative. Comme en 7 &
not have Ø sodas
lecteur ce qu’il y a sur la table (on the table sits a carafe). 8, on parle de choses en général.
• Faire référence à un élément aisément identifiable. Cet make sure you sit Ici aussi il s’agit de la notion de famille et
down with Ø friends or d’amis et non de personnes particulières
élément a déjà été mentionné (phase 2 des linguistes) ou est Ø family déjà mentionnées.
culturellement identifiable par le co-énonciateur. The fridge :
Absence d’article en français également
il a été question de la famille De Bodinat et de ses habitudes at Ø regular intervals (« à intervalles réguliers ») ; il ne s’agit
alimentaires. Tout le monde sait que les aliments sont conservés pas d’intervalles particuliers
dans le réfrigérateur familial. C’est comme ça chez tout le monde.
those French who tuck Steak & chips en général ; renvoi à ces
De même the table est identifiable comme celle des De Bodinat in to Ø steak and Ø chips types de nourriture.
puisqu’on est chez eux. Quant à the French secret, il est clair que
with Ø lashings of Ø red De grande quantités indéfinies d’une
l’expression renvoie au mystère qui vient d’être décrit et à son wine boisson générique et non spécifique.
explication. Tout lecteur comprend de quel secret il s’agit. followed by Ø cheese
Mêmes explications que plus haut pour 6 ;
 • La présence de the devant French dans le troisième and Ø crème caramel
les références au type de nourriture.
exemple. Il s’agit de la substantivation de l’adjectif French par for Ø lunch
l’article the, l’ensemble désignant l’intégralité des Français. Ø British chef Richard Voir ce qui est dit dans « Observation » sur
Robe le cas du nutritionniste et docteur.
Puisqu’il s’agit de tous, on sait de qui on parle.
Ø French cuisine is La cuisine française en général, et
• L’absence d’article devant nutritionist dans le quatrième exemple. made up of Ø very small absence d’article au pluriel (quantités
Dans le quatrième exemple, c’est le nom propre qui détermine portion sizes indéfinies).
nutritionist et Dr. On n’est donc pas dans un cas de détermination it’s the equivalent of
Des endroits non précisés, non
minimale malgré l’emploi de Ø devant nutritionist et doctor. maybe two courses in Ø
identifiables.
other places
L’énonciateur pourrait très bien faire référence à cette personne
In Ø France than Ø Pas d’article devant les noms propres qui
en disant the nutritionist (sans son nom ni son autre titre) à
England sont autodéfinis.
condition d’en avoir parlé auparavant. En profiter pour rappeler la
and it is easier to find Ø Des produits frais en général, on ne sait
règle d’emploi : si un titre est suivi du nom de celui qui le porte, on fresh produce pas lesquels exactement.
n’emploie pas the (Prince Charles, mais the Prince of Wales).
EXERCICE 2
Application Corrigé
EXERCICE 1 British chef Richard Robe
Corrigé EXERCICE 3
• C’est une occasion pour rappeler quelques règles supplé- • Avant de lancer les élèves dans la traduction, leur donner le
mentaires... temps de réfléchir et de vous soumettre leur choix.
Exemple Explication • On peut aussi confier chacune des phrases à traduire à
just 11% of Ø French Les adultes français en général pas des différents (groupes d’) élèves et les inviter ensuite à échanger
adults are obese adultes dont on aurait déjà parlé. leurs points de vue et les solutions qu’ils suggèrent. (Les faits
a whopping third of Ø de langue se discutent en français).
Même explication.
Americans
Corrigé
l’article indéfini n’existe pas au pluriel,
The French have Ø lower et ici non plus on ne fait pas référence  As Great Britain and Ø other countries in Europe worry about
death rates à des taux de mortalité dont il aurait été the increasing number of obese among adult and children...
question auparavant.
– Ø Great Britain : nom propre de pays = auto-détermination
from Ø heart disease Les maladies cardiaques en général. – Ø other countries : on ne nous dit pas lesquels = détermination
their ever-growing minimale (confirmée par la présence de l’indéfini other).
appetite for Ø fast food Deux types (génériques) « d’aliments ».
and Ø fizzy drinks – Ø obese (people) : détermination minimale.
– Ø adults and Ø children : généralisation = détermination
Les noms/heures des repas sont
Ø Lunchtime in Paris minimale (en anglais).
quasiment des noms propres.
« du poisson » On est ici en présence de  My children are like all children. If you let them, they will spend
a healthy meal of Ø
l’équivalent de l’article partitif français qui their time eating sweets/candy in front of the TV/television.
white fish
ne se traduit pas. – all Ø children : détermination minimale (en anglais), confirmée
par l’indéfini all ; les enfants en général, pas de référence à des
enfants précis déjà mentionnés.

2. Food & Drink 29

2 Food & Drink
– the TV/television : référence à un objet culturellement connu
de tous = forte détermination.
– Ø sweets/candy : détermination minimale (renvoi aux
sucreries en général).
 Visits to McDonald’s are limited to two a year.
– Ø visits : détermination minimale (on ne parle pas de visites
spécifiques).
– a year : expression idiomatique de la fréquence.
 In Scotland we had/used to have a quick snack for lunch,
then came tea-time, then another snack, a mountain of chips/
french fries, pasta and fish fingers.
– Ø Scotland : nom propre de pays = auto-détermination.
– a quick snack : faible détermination (l’énonciateur présente la
situation).
– Ø lunch et Ø tea (time) sont des moments fixes de la journée, de
véritables nom propres en quelque sorte = auto-détermination.
– a mountain of : faible détermination (l’énonciateur expose une
situation inconnue du co-énonciateur).
– Ø chips, Ø pasta, Ø fish fingers : faible détermination, et
caractère partitif de l’article Ø en anglais = de, du, de la des.
Expression de la restriction ou du contraste
(p. 32/33)
Observation
• On renvoie ici à la partie « phrase complexe » du précis
grammatical, qu’il est bon de faire relire afin de réviser les
diverses façons d’exprimer les deux concepts étudiés.
Corrigé
 C’est la préposition despite ici qui introduit l’idée de contraste/
restriction dans une phrase simple (une seule proposition).
 In spite of a diet heavy on foie gras, creamy sauces and
cheese, just 11% of French adults are obese.
The French follow a heavy diet of foie gras, creamy sauces and
cheese, yet just 11% of French adults are obese.
Even though they follow a heavy diet of foie gras, creamy sauces
and cheese, just 11% of French adults are obese.
Although they follow a heavy diet of foie gras, creamy sauces
and cheese, just 11% of French adults are obese.
Application
EXERCICE
Corrigé
Quelques propositions :
a. Although the de Bodinat girls were used to a strict diet, their
mother sent them a package of sugar-rich candy when they
were in Scotland.
The de Bodinat girls were used to a strict diet, yet their mother
sent them a package of sugar-rich candy when they were in
Scotland.
Juger si on va jusqu’à proposer : In spite of her daughters being
used to a strict diet Mrs De Bodinat sent them...
b. The restaurant serves seven-course meals. Yet, customers
don’t feel bloated when they leave the place.
30 Livre du professeur New On Target 2e
Although the restaurant serves seven-course meals, customers
don’t feel bloated when they leave the place.
c. Despite their generally being slimmer than the Americans,
recent figures have shown that the French are getting bigger.
Although the French are generally slimmer than the Americans,
recent figures have shown that they are getting bigger.
The French are generally slimmer than the Americans. Yet recent
figures have shown that they are getting bigger.
d. Although I spent two months in Scotland eating fast food and
fish and chips, I didn’t gain a single pound.
Despite my two-month stay in Scotland eating fast food and
fish and chips, I didn’t gain a single pound.
e. In spite of/despite the strict sugar-free fat-free diet imposed
by their mother, the de Bodinat girls do not bear her any
grudge.
Although their mother imposes a strict sugar-free fat-free diet,
the de Bodinat girls do not bear her any grudge.
Their mother imposes a strict sugar-free fat-free diet. Yet the de
Bodinat girls do not bear her any grudge.
La voix passive et le passif en be + V-ing
(p. 33)
Observation
• Nous souhaitons attirer l’attention des élèves sur des emplois
de la voix passive qui ne sont pas traduisibles littéralement en
français.
Corrigé
 it was filmed ; every time he was asked ; while le film was
being made ; his headaches were relieved by
 Dans tous les cas on a la structure be + participe passé. Seul
l’énoncé 4 mentionne l’agent de l’action. L’énoncé 3 combine le
passif et la forme en be + Ving.
 (1) L’agent n’est pas mentionné, mais il est facile à deviner :
les cinéastes.
(2) L’agent n’est pas mentionné, mais il est ici aussi facile à
deviner : le serveur ou la serveuse.
(3) L’agent n’est pas mentionné, mais il est facile à deviner : les
cinéastes.
(4) L’agent du soulagement est le « repas » McDonald.
Comme suggéré ci-dessus l’agent n’est pas mentionné ici parce
qu’il est évident.
Dans d’autres cas, la raison de son absence pourrait être très
différente (ignorance, refus de préciser, etc.).
 (1) On ne peut pas dire qu’un film « subisse » ou « bénéficie »
de sa fabrication... Se méfier, donc, des définitions traditionnelles
et toutes faites.
(2) C’est Spurlock l’objet de la question. C’est à lui qu’elle s’adresse.
On ne peut pas dire non plus qu’il la subisse (contrairement à ce
qui se passerait s’il était aux mains de l’Inquisition...).
(3) Même remarque que pour N°1.
(4) Ce sont tous les maux de Spurlock qui, structuralement,
subissent l’action (bienfaisante) de la médecine McDo. En fait
c’est Spurlock qui en bénéficie...
 livre du professeur

 being est l’auxiliaire du passif (be made) ; was est l’auxiliaire A Weight problem? (p. 34-35)
de la forme en be+ing.
 (1) Oui, à vrai dire, le tournage a duré 30 jours/le film a été • Cette double page se prête facilement à un travail de groupe,
tourné sur 30 jours, et durant ce temps Spurlock a pris ses repas mais il faut moins guider les élèves que dans les activités
chez McDonald trois fois par jour. d’interaction. En laissant une plus grande liberté d’action, on
(2) ... acceptant une ration supplémentaire à chaque fois qu’on peut obtenir un résultat moins « guindé », moins scolaire, plus
le lui proposait. naturel.
(3) Oui, pendant qu’on tournait le film, il dut se soumettre à • Carte à consulter : http://visualizingeconomics.com/2007/
plusieurs règles... 08/11/united-states-poverty-map/. On indiquera aux élèves
(4) Il affirma que ces coups de bourdon, sa léthargie et ses maux que la répartition ethnique se superpose assez précisément
de tête étaient soulagés par un repas McDonald. avec ces données. La relation entre obésité, pauvreté et, hélas,
En français, seul les verbes transitifs directs peuvent être mis à origine ethnique apparaît donc très étroite.
la voix passive. En anglais, tous les verbes peuvent l’être. Voir le SPEAK (p. 34)
précis grammatical p. 158.
Corrigé
Enfin même si théoriquement on peut dire (3) « Pendant que
le film était en train d’être tourné », il est évident que pour des  The highest levels of obesity are in Wales, the North-West
raisons de style, ce n’est pas cette traduction littérale qui sera (Tyneside), the industrial north around Manchester, Leeds and
retenue. Sheffield, the West Country (Cornwall) and East Kent. There is an
obvious relationship between obesity and poverty.
Application  Poverty is often related to unemployment and (former)
EXERCICE 1 industrial areas, which is the case in the north from Liverpool
Corrigé across to the east coast in Tyneside and in South Wales. Rural
areas are also affected (Cornwall, the Highlands of Scotland...)
a. ceux qui avaient mis au point l’expérience.
because standards of living tend to be lower and, in times when
b. La direction de McDonald
farmers are having to cope with low returns, they often fall below
c. La direction de McDonald
the official poverty line. London is different: the capital tends to
d. Par ceux qui veulent juger cette expérience sans a priori.
attract the homeless and the disaffected, thereby putting up the
e. Les auteurs du film
poverty figures for the area, which otherwise has the highest
EXERCICE 2 incomes per capita in the UK.
Corrigé  Canada in general has a much lower level of obesity than the
a. Today the documentary Supersize Me is being discussed. USA. Canadians, although very influenced by American culture,
b. He was described (by one doctor) as addicted. also have strong European roots (France and the UK). Those
c. Well, the Super Size option was discontinued. from a French background may have a more balanced diet, those
d. Well, that’s not quite true. It depends how “regularly” is from a British background may have a more positive attitude to
defined. taking exercise – although this may be creating stereotypes
e. Legal action was being taken against McDonald’s by two girls where they don’t exist.
for more or less causing their obesity while Spurlock’s film was
 The areas of worst poverty in the USA are definitely associated
being made.
with obesity: the southern states, especially Louisiana, have
EXERCICE 2 high levels of unemployment particularly among the Afro-
Corrigé American community.
a. I have been asked to say what I thought of fast food restaurant
WORDWORK wordfile-p34
menus.
b. When my opinion was published in the papers... Corrigé
c. ... I was theatened with legal action for libel. A.
d. And yet everybody knows that obesity is largely caused by
above for with holes
junk food. headgear underwear footwear
the waist women for the legs
e. While I was being interviewed, others lodged complaints/took jeans
legal action against several fast food chains. (were lodging, beret blouse tights skirt slippers
Bermuda
were taking : recevable). hat top stockings dress shoes
shorts
cap shirt panties frock socks
trousers
B.
1/D, 2/F, 3/H, 4/A, 5/B, 6/C, 7/E, 8/G.
1. un pull avec un col en V
2. une jupe plissée

2. Food & Drink 31

2 Food & Drink
3. des chaussures à talons hauts
4. une chemise à manches courtes
5. un jean(s) taille basse
6. des bas-résille
7. une robe de mariée
8. une braguette à boutons
Young, Fat and Fabulous (p. 35)
SPEAK (p. 35)
Corrigé
 The woman in the picture is wearing a miniskirt, a raincoat
and high heels. She is also wearing jewellery (necklace,
bracelets, rings, earrings). She is plump. She is smiling broadly
and seems to be glowing with happiness.
 This article is probably about young women who are
corpulent but who are not bothered by their weight.
 The fashion world never used to pay much attention to
corpulent women. But now that more and more overweight
women have created their own style blogs, the clothing industry
is starting to take more notice/take careful note of what they
say and how they feel about fashion.
 Christine Lewis is a 24-year-old young woman. She works
as a graphic designer and lives in Maryland. Even though she
is a US size 24, she is not afraid to wear sexy clothes (“body-
con miniskirt”) or unconventional outfits (“PVC dress”, “studded
waistcoat”).
 When Christina says that she is “fat and fancy”, she means
that her corpulence does not stop her from being fashionable
or from dressing smartly. “Fat and fancy” sounds a bit like a
slogan meant to encourage fat women to wear what they want
even if it means showing wobbly body parts.
PROJECT (p. 35)
• Un travail pluridisciplinaire peut être envisagé ici avec le
professeur d’arts plastiques pour élaborer les croquis.
• L’activité se déroulera en deux étapes. Dans un premier temps,
les élèves seront répartis en groupes de trois pour simuler la
réunion de travail entre Christina Lewis et ses deux assistants/
assistantes. Guider ce travail d’expression orale en encourageant
les élèves à utiliser les mots et expressions contenus dans le
Wordwork (p. 34) et à émettre des propositions. Si nécessaire,
donner la Toolbox suivante :
Making suggestions
• We could... (+ V)
• Why don’t you/ we... (+ V)
• What/How about... (+ V-ing)
• I suggest we... (+ subjunctive [= V]/+ should + V)
• Cette simulation de « réunion de travail » terminée, chaque
groupe présentera à la classe le/les résultat(s) obtenu(s).
Proposer aux élèves « spectateurs » de prendre des notes et de
remplir la grille suivante :
32 Livre du professeur New On Target 2e
What I don’t
Description What I like is...
really like is... Best outfit
of the outfits because...
because...
Checkpoint (p. 36-37)
Compréhension de l’oral
LISTEN (p. 36)
• Cet extrait est tiré d’un blog internet.
TAPESCRIPT tapescript6-p36
Hi there. Well, I’ve just seen a video here by the girl who calls
herself “fat chick on youtube”. Now, I’m a large girl myself. I
can’t just walk into any store and find clothes to fit me. So I
looked at the video of this other large girl dancing and when I
looked at the comments, I was... well, I suppose I was prepared
for something that was hurtful or even a bit cruel – I know
what it’s like to be chubby and you wouldn’t believe the sort of
comments you get in the street – but some of the comments
about the video were so abusive, so offensive, I felt I just had
to have my say.
The point is, remarks against fat women aren’t only directed at
fat women, they’re directed at all women. And I’ll tell you why.
If you think a woman who is chubby is somehow disgusting
and worthless, just because she has weight problems, you are
saying that thin women have more value than fat ones, that
they are somehow more important. I hate that. I can think of
so many things that make women beautiful, so many things
about the feminine nature: being sensitive, kind, generous...
sexy. When you judge a chubby woman only on her physical
appearance – and have society back this up in the media, on
youtube, in magazines, anywhere – you are telling her that she
doesn’t contribute as much to her own community, to society,
as other women. You’re telling her she’s worth less than other
women. Now I have trouble managing my weight but that doesn’t
make me any less of a person. In fact it makes me more of a
person, because I am struggling with something. I am struggling
to manage my weight. But I’m not hiding. Just because I’m
overweight doesn’t mean that I should shut my mouth and
hide away until I look like, I don’t know, some skinny model in a
fashion magazine. Why should I?
Corrigé
 A girl with a weight problem is talking, a “chubby” girl.
 She defines herself as “large”.
 She finds it difficult to find clothes to fit her and often suffers
negative comments in the street.
 She was shocked by the abusive and offensive comments
made about the video of a large girl dancing.
 She thinks society treats overweight people as being
worth less than thin people, as being less important, and as
contributing less to the community.

 She thinks women are sensitive, kind, generous and sexy.
 Yes, she does because they are considered lesser people and
this is backed up by the media, on youtube, and in magazines.
She reckons that having a weight problem makes her more
of a person because she has to struggle and because she is not
trying to hide anything/something.
Compréhension de l’écrit (p. 36)
• Dans cet extrait de On the Label, l’auteur britannique Felicity
Lawrence met en opposition deux types de sociétés : celles qui
restent attachées aux rites du repas perçu comme un moment
de partage privilégié et celles qui, prises dans la frénésie de leur
quotidien, ont perdu tout sens de la convivialité à table. Ce sont
ces deux conceptions que l’exercice proposé va mettre en avant.
READ (p. 36)
Corrigé
 The narrator feels that the French attach much more value to
culinary culture than the British. Meals are an important part of
French everyday life.
 One drawback to this approach is that women spend a great
deal of time preparing meals in the kitchen.
 She thinks eating is “a serious business” in countries where
food is not “available in excess”, where eating is not just a
question of feeding oneself but a precious moment when you sit
together – a moment of socialising.
 The British seem to have lost the significance of meals
because eating has just become a human need to find energy
again in the middle of a busy day. Ritual is now absent from
meals, which tend to be simply a process of feeding oneself.
 Adults can share opinions and children can develop their
skills at expressing themselves and communicating.
EXPRESSION ÉCRITE (p. 37)
• Greg Evans est le talentueux créateur des aventures de
Luann, adolescente peu sûre d’elle, parfois égoïste, impulsive,
pas vraiment organisée, et très attachante... une adolescente,
vraiment, donc. Les bandes dessinées publiées dans les
journaux la montrent dans les situations de la vie courante, en
famille ou avec ses amis, au lycée.
• Le document proposé ici est simple et efficace. Il invite à
l’identification et s’intègre parfaitement dans un chapitre
consacré à la famille et aux problèmes d’alimentation.
• Les activités qui ont précédé dans le chapitre ont bien entendu
posé des jalons permettant aux élèves de réaliser cet exercice
d’évaluation de façon convenable.
• Le travail sur les iconographies d’ouverture ainsi que sur
le tableau de Hogarth (éventuellement même sur l’affiche
de Supersize Me) ont entraîné la classe à la description ainsi
qu’à l’analyse de documents visuels. Pour rappel, la partie
« Méthodologie » en fin de manuel propose des outils simples
et pratiques permettant de dépasser un modeste compte-rendu
fragmentaire.
livre du professeur
• Enfin les questions frontales posées permettent aux élèves
de rédiger un commentaire organisé dont nous proposons ici
une piste de corrigé (qui excède les 150 mots demandés dans
le manuel mais nous y avons ajouté du lexique et des tournures
que le professeur pourra lui-même intégrer lors de la correction
en classe).
WRITE (p. 37)
Corrigé
 The comic/cartoon strip is entitled Luann and was created
by the American cartoonist Greg Evans. It recounts one of the
adventures of Luann, a teenage girl. The story also involves
Luann’s brother, Brad, and their mother.
 Frames 1 to 3 take place in the kitchen at home just after
Luann’s mum has been shopping. Frame 4 takes place in a
supermarket. Luann and her brother are always together except
in Frame 1, because they share the same disappointment about
the food their mother has just brought back home. Both are
furious in Frame 3, and obviously sulking in Frame 4. As typical
teenagers, Luann and Brad are often hungry and probably
always want something to nibble (Frame 2). Yet they criticise
their mum for buying things they just don’t fancy, like diet bars
and carrots.
 I can identify quite closely with the two teenagers as I don’t
like diet bars, carrots or oatmeal. I really enjoy a big hamburger
with tons of fries, a huge can of Coke and a giant chocolate
sundae, although I’m very much aware that this kind of food is
not the best for my body/health/figure.
 The cartoonist is criticising two things: first(ly) the
irresistible attraction of junk food for teenagers; second(ly) the
fact that they don’t do much at home and will never be satisfied
with what they’ve got.
 I find the cartoon amusing and true to life. I tend to side with
Luann and Brad because I would do what they did.
EXPRESSION ORALE (p. 37)
• Les activités proposées dans le chapitre ont très souvent
conduit les élèves à prendre la parole pour informer la classe
des recherches de groupes ou pour décrire un document
iconographique. Il est donc naturel d’envisager une évaluation
de l’expression orale.
• Le support choisi ici est le poster du film Fast Food Nation de
Richard Linklater, inspiré de l’enquête éponyme du journaliste
Eric Schlosser, film atypique dénonçant l’impact de l’économie
et du profit sur la (médiocre) qualité des produits agro-
alimentaires.
• Les questions frontales posées ici ont pour objet de guider la
prise de parole. Voici quelques pistes de corrigé.
SPEAK (p. 37)
Corrigé
 This is a poster for a film entitled Fast Food Nation.
 It is made up of two main elements. First, in the foreground
2. Food & Drink 33
2 Food & Drink
there is a toddler seen from behind, wearing the US flag as a
diaper. He’s stretching his arms out toward the other element,
in the upper part of the poster: two burgers which seem gigantic
compared to the baby.
 The baby is wearing the American flag as a diaper. He seems
to be trying very hard to reach the burgers. This could be taken
to suggest that Americans eat junk food from a very early age...
 We only see the lower part of the burgers, and their shape
evokes that of a woman’s breasts. Only here the mother’s milk
has been replaced by beef and onions...
 The poster is quite puzzling but also provocative (the diaper),
and may very well encourage people to go and see the movie,
which probably deals with health and food.
 The “truth” concerns the food we eat, and, more specifically,
fast food. The sentence “the truth is hard to swallow” is written
between the baby’s arms and the burgers. The verb swallow is
to be taken both literally (eating the burgers is hard) and as a
metaphor (the truth is not pleasant to hear).
Ateliers (p. 38-39)
Atelier 1 (p. 38)
TAPESCRIPT dvdscript-p38
VOICEOVER: Bananas are rich in certain vitamins and a staple
food in some countries, but, as researchers at the University
of Nottingham have dicovered, they can also have a use that
may surprise you...
JOEL: Well, the idea for briquettes came from a trip to Ghana
where I saw vast quantities of residue such as sawdust in piles
and I was thinking what else could you do with this. The idea of
making banana briquettes in particular came from Rwanda on
a conference there. A guy presented a paper on biogas – using
banana residues to make biogas – and he was talking about
the large quantities of banana waste. In fact, you only use
about 10 to 20 per cent of the banana.
MAN: The benefits of Joel’s work are that we’ve come up with
something that can be made by anyone in their backyard with
no tooling at all really. So you just leave some bananas to rot
down, mash them up a little bit and combine them with any
dry matter you’ve got. So no big tooling, no heavy presses, no
technology at all really. [...] There’s been loads of interest from
all around the world, particularly from Africa, and South-East
Asia as well. India is the world’s largest producer of bananas
and there’s a great need for cooking fuel there.
Questions du manuel (p. 39)
Corrigé
 First you leave some bananas to rot down. Then you mash
them and combine them with some dry matter (e.g. paper or
sawdust). You press them in your hands to make them into
briquettes and leave them to dry out.
 The main advantage is that countries that produce a lot of
bananas but no olives, rape or other sources of cooking oil, can
use banana residues to make cooking fuel. Also, the production
34 Livre du professeur New On Target 2e
of briquettes is simple and requires no machinery or other
technology: anyone can do it.
DVD Worksheet dvdfile-p38
Corrigé
/b/d.
 Joel got the idea for making briquettes when he was in
Ghana. While he was there, he saw a lot of residue, like piles of
sawdust for example, and he wondered what it could be used
for. Then, when he went to Rwanda he heard about biogas made
from banana waste.
/a/d. (NB. He implies that they are not very expensive
[answer b], but does not actually say so.)
 (possible answer) You mash rotten bananas and then mix
them with shredded paper. You shape the mixture into briquettes,
squeeze out all the moisture, and then leave the briquettes to
dry out completely.
 Because they produce a lot of bananas and are short of
cooking fuel.
Atelier 2 (p. 38)
• Il s’agit ici d’un atelier d’entraînement à l’expression écrite
dont le support est un document visuel. Le professeur choisit,
ou pas, d’accompagner l’exercice d’une fiche de guidage (qui
comporterait des éléments lexicaux à réutiliser par exemple,
sélectionnés peut-être dans le corrigé proposé) et de faire
réaliser cet entraînement seul ou en binômes.
Corrigé
 This is a poster advertising the movie entitled Thank You for
Smoking, based on a best-selling novel). Taking up most of the
space on the poster is the upper body of a man dressed in a
white shirt, jacket and tie. There is a lighter in his right hand and
his face and neck have been replaced by a cigarette. Above are
written the names of the principal actors in the movie, and the
title is in black and red capital letters. The letter O in the title has
a cigarette in the middle.
 The man is wearing a lapel badge saying “a slashingly
hilarious comedy”, so the movie is a comedy. Its title is
provocative enough to make the potential audience impatient to
see it. Moreover, the sentence written in the top left of the poster:
“Nick Naylor doesn’t hide the truth ... he filters it” plays on the
word “filters” which has obvious associations with cigarettes
and indicates that Nick Naylor, probably the main character, is a
liar who manipulates people. The movie is probably about a man
whose job consists of/in persuading people to smoke.
 The hero is almost certain to be a businessman (because of
the suit and tie) who works for a tobacco company.
 Making fun of this serious topic does not prevent people from
thinking seriously about health issues. On the contrary it could
encourage them to look at things from another angle.
Atelier 3 (p. 38)
• Nous avons ici affaire à une lettre écrite à un magazine fictif

par une femme obèse. Les différentes questions pourraient être
distribuées parmi les élèves de différents groupes ou chacune
traitée par chaque élève ou groupe.
Corrigé
 I was a chubby girl (l. 23).
She’s “proud” (l. 4) and she feels her weight is “natural” (l. 21).
 She thinks the words (‘overweight’ and ‘obese’, l. 5) sound
as if the person is either abnormal or sick (has a medical
condition).
 The problem for fat people is the way society sees them and
discriminates against them.
 She wrote to the magazine to vent her anger at the article
written for the May issue of the magazine Health Matters which
suggested that obesity is costing society too much money.
 She suffers from prejudice/discrimination.
 No, it started when she was a girl at school.
 She wants to point out that it is not her fault that she is
large, that people should not make fun of her and make cruel
comments, but should react like the ice-cream seller – with
kindness.
Atelier 4 (p. 39)
• Pour parler familièrement, David Wiley ne fait jamais « dans
la dentelle ». Sa façon de passer des messages rappelle les
publicités choc des Britanniques. La série de cartoons qu’il
publie dans un grand nombre de journaux américains sous
le titre Non Sequitur est un modèle du genre. Hélas la toile de
fond culturelle qui lui sert la plupart du temps de support est
souvent trop « américaine » pour que nos élèves puissent (pour
l’instant !) apprécier le message passé en profondeur. Mais dans
le cas présent les choses sont plus explicites !
• Pour plus d’information(s) sur le dessinateur et ses produc-
tions :
http://en.wikepedia.org/wiki/wiley_miller
http://www.amazon.com/Legal-Lampoon-completely-accu-
rateSequitur/dp/0740726730/ref=pd_sim_b_1
http://www.amazon.com/Non-Sequitur-Survival-Guide-Nineties/
dp/0836217853/ref=pd_sim_b_2
http://www.amazon.com/Lucy-Danae-Something-Silly-Co-mes/
dp/0740750992/ref=pd_bxgy_b_img_c
• Le document n’est pas récent (1999), mais qui peut dire qu’il
n’est plus d’actualité ?
Corrigé
 The character goes from a clean, healthy-looking teenager to
a sickly, greenish, dying, then dead individual.
 Smoking makes you look cool. It makes you look like a movie
star. It’s good for the economy. It helps farmers grow tobacco
instead of food. It helps tobacco executives make lots of money
and give kickbacks to sympathetic politicians (those who do
not pass anti-smoking laws). Not only does it help the general
economy, it also helps morticians to earn a living. (L’humour
noir utilisé ici n’est pas sans rappeler le responsable à la sécurité
livre du professeur
routière britannique qui, dans les années 30, disait déjà : It’s the
overtaker that keeps the undertaker busy.)
 The art of the cartoonist consists of/in drawing pictures that
actually negate what the pro-tobacco lobby says.
 (Students’ own answers.)
 First(ly) because the drawings show a teenager and the
bubbles contain “teenage English”.
 The message is that tobacco companies target teenagers
because they (officially) have a longer lifespan, so will smoke
for a long time before tobacco catches up with them.
 This cartoon was published on July 4, which is the American
National Holiday known as Independence Day (the thirteen
British colonies declared their independence from Britain on July
4. 1776). The pun is based on the deliberately wrong spelling
of “independence”: a “dunce” is an idiot (i.e here, the one who
believes the tobacco companies’ arguments).
Atelier 5 (p. 39)
• Cinq questions, cinq groupes. Les questions posées peuvent
paraître provocatrices mais y aurait-il débat sans provocation ou
sans sujet sensible ?
• Organiser à l’intérieur de chaque groupe deux sous-groupes,
les pros et les antis.
• Donner le temps nécessaire à chaque équipe pour rassembler
les idées et les metre en forme. On peut conseiller de ne
pas rédiger intégralement les réponses afin d’obtenir une
communication plus naturelle au moment du compte-rendu
(et non de l’écrit oralisé). Encourager par contre les élèves à
utiliser les expressions relatives au débat, aux notions d’accord
ou de désaccord, voire de nuance et de restriction. Les fiches de
méthodologie 2 (p. 140), 3 (p. 141), et 6 (p. 143) peuvent offrir
une aide précieuse.
• Pendant la phase de réflexion et de formulation, passer entre
les groupes et fournir l’aide nécessaire.
• Distribuer à tous les élèves une fiche de prise de notes sur
laquelle ils écriront l’essentiel de ce que leurs camarades
auront dit sur tel ou tel point. Pour ce débat précis, pour chaque
question, elles peuvent prendre la forme suivante :
QUESTION 1
Arguments « pour » Arguments « contre » Position de notre
du groupe 1a du groupe 1b groupe
• Inviter les groupes « auditeurs » à émettre un avis sur le point
traîté par le groupe « rapporteur ».
• Procéder ensuite à une synthèse pour chaque point et
éventuellement à un vote. Demander qui a changé d’avis après
avoir écouté les arguments des uns et des autres.
2. Food & Drink 35
2 Food & Drink
Shelter (p. 40-41)
• Le héros du roman The Street Lawyer, est un riche avocat
dont la vie bascule suite à une crise conjugale. Cette nouvelle
situation l’incite à remettre en question ses principes de vie
professionnelle et sociale (riches clients, honoraries élevés,
vie de luxe...) et à se tourner vers l’aide aux démunis suite
à la rencontre d’un confrère, Mordecai, qui, lui, a choisi de
travailler « pro bono » pour des clients désargentés et les
déshérités.
• Dans l’extrait que nous avons retenu, notre avocat se rend
pour la première fois de sa vie dans le sous-sol d’une église qui
sert d’abri et de soup kitchen à une association locale dirigée
par Mordecai. Il découvre un monde dont il ne soupçonnait
pas les conditions d’existence et sur lequel il avait de forts
préjugés.
• Pour plus d’informations sur ce roman : http://en.wikipedia.
org/wiki/The_Street_Lawyer
36 Livre du professeur New On Target 2e
Corrigé
 The two main characters are the narrator and Mordecai. Both
men are lawyers.
 The action takes place in a shelter for the homeless and
destitute located in the basement of a church.
 These people are being given a light supper that will keep
them from starving. The two lawyers are here to supervise and
help with the distribution of food.
 The narrator is obviously the one who is new here. He is
described as astonished by what he sees and the poverty of
these people (“gawked in amazement”), and Mordecai explains
how he can make himself useful (“you catch on quick”).
 Several details show that we are in the dead of winter.
 Because the weather has suddenly turned very cold, sending
the homeless into the warmth of the shelter (“a big, snow, a cold
snap”).
 The social problem dealt with here is that of utter poverty
and helplessness and how to deal with it.

3 Conservation
Pages d’ouverture (p. 58-59)
• Ce chapitre est consacré, comme les cinq images de cette double
page le montrent, à tous les aspects de l’écologie et de la protection
du patrimoine, qu’il soit naturel ou du fait de l’homme. Comme dans
chacune de nos doubles pages « d’entrée », nous avons retenus
des documents qui illustrent tous la notion de contraste.
• Nous conseillons de mener les activités d’introduction assez
vite afin de ne pas lasser les élèves. Néanmoins, le contenu de
la partie Speak de cette double page incite d’emblée à organiser
les élèves en groupes, dont chacun se verra confier une des cinq
images et la question ou la tâche qui l’accompagne. L’image n° 3
à elle seule permet aussi de créer des groupes supplémentaires,
autant qu’il existe de photos « dans la forêt » !
• Comme à l’habitude chaque groupe présentera le résultat de
ses travaux au reste de la classe.
Corrigé
 The first picture is a very simple drawing that could be the
work of a (gifted) child! In this drawing the tree trunks look like
factory stacks. One of the trunks has been cut off for obvious
industrial reasons as shown by the smoking chimney in the
middle of the picture. The message is clear: industry destroys
nature, at least it does unless strictly controlled.
 The second picture is a photograph showing an abandoned
factory in a no less abandoned industrial area. Judging by the
logs/timber lying on the ground, this might well have been a
saw-mill. The windows are either broken or boarded up and
it seems no one has been here in a long long time. It seems a
pity to leave old buildings like this go to ruin when they could be
restored and in this case, maybe, turned into a small museum
exhibiting log-cutting or sawing machines from days gone by.
 This is by far the biggest and most complex picture of the
group. It is a montage whose aim is to illustrate how man’s
activities harm nature. The forest is the symbol of unpolluted
nature and each picture “hung” on the trees represents one
aspect of the havoc man is wreaking on the environment, i.e
deforestation, water poisoning, air pollution, CO2 emissions,
illegal dumpsites, oils spills, and radioactive pollution. So the
message is clear: man was given a spotless environment and
he seems to be intent on finding all the possible ways to destroy
it... and destroy himself in the process.
 The case of the Tate Modern in London is an example to follow.
It shows that an old, disused and derelict factory building can
be given a new lease of life. The rehabilitation of the old factory
into a (much visited) museum (of Modern Art) has proved a
success. It is striking that the silhouettes of the buildings in
pictures 2 and 4 look alike, which makes one wonder why the
one in picture 2 has not been restored. The Tate is evidence that
our industrial heritage can and should be preserved.
livre du professeur
 The point the man in picture five is making is clear enough,
and his way of conveying it is rather witty/original/amusing.
Instead of marching to “save the polar bears”, the man has
dressed up in a polar bear costume and is marching to “save
the humans”, meaning that if polar bears (and other species)
become extinct man’s turn will soon come.
The Case of Yellowstone
(p. 44-45)
• Michael Crichton est mort en 2008 à l’âge de 66 ans. Écrivain
de science-fiction de renommée mondiale, il a vendu plus de
100 millions d’exemplaires de ses romans, écrits sur une période
de 40 ans, traduits en 30 langues et parmi lesquels on trouve
une dizaine de best-sellers. Il a aussi écrit pour la télévision,
produit et réalisé des films. C’est un écrivain facile d’accès pour
les élèves en vue d’une possible lecture cursive. En effet, que ce
soit au travers de ses livres, films ou séries télévisées, Crichton
fait déjà partie de l’univers culturel des élèves. De plus, les
thèmes qu’il traite dans ses différents romans et la façon dont il
les aborde sont autant d’éléments facilitateurs pour qu’un public
adolescent y trouve un intérêt. Cependant, il est clair que le sujet
abordé dans cet extrait pourra surprendre par son austérité –
tout en restant très facile d’accès.
• Pour résumer l’intrigue, on peut dire : Here’s the plot of Crichton’s
State of Fear in a few words. In this novel, the characters talk a
great deal about global warming and its effects and the villains
are eco-terrorists who try to create disasters like floods and
tsunamis to publicise their cause.
SPEAK (p. 44)
Corrigé
 (1) elk, (2) trout, (3) wolf, (4) beaver, (5) moose, (6) otter
 Natural enemies: the beaver and the otter are the natural
enemies of the trout. The wolf is the natural enemy of the elk.
 The title of the chapter is “conservation”, that of the passage
“the Case of Yellowstone”, which is a National Park, and the
pictures on page 45 all show wild animals, so I suppose we
will be reading (and talking) about wild life conservation and
nature.
READ (p. 44)
• Comme pour les autres deuxième et troisième doubles pages,
vous avez le choix entre une approche traditionnelle (les quatre
tâches sont soumises à la classe entière) ou à une approche
communicative (en utilisant les fiches de la section Interact.
• Vous pouvez indiquer aux élèves d’autres textes véhiculant les
mêmes thèses dans une optique de lecture cursive :
Playing God inYellowstone: The Destruction of America’s First
National Park par Alston Chase, publié en 1987, est un ouvrage
3. Conservation 37
3 Conservation
qui développe cette idée. Vous trouverez ci-dessous une critique HOW TO
de cet ouvrage publié dans le Library Journal. PROTECT ELK

Chase argues convincingly that Yellowstone National Park

is slowly being destroyed. He details how the Park Service’s
preservationist policies have driven most of the native wildlife from Solution 1:
Stop the killing
Solution 2:
Shoot and poison Prohibit Indians from
the park, while allowing some animals to propagate far beyond the wolves
of elk
hunting

the land’s capacity to sustain them. He meticulously documents

his charges, showing how easily science can be subverted
by politics and ideology. Surprisingly, environmentalists are
implicated in the destruction. Chase critiques, with devastating
Results:
effect, the multitude of organizations that have made a religion Elk herds explode

of protecting the environment, while ignoring the fundamental

question of man’s place in nature. A challenging, compellingly
readable account. Highly recommended.
Effects on vegetation:
Corrigé Certain trees and grasses are
completely eaten by elk

 This passage is an excerpt from a novel entitled State of Fear,

written by Michael Crichton and published in 2004.
 There are two characters present in this extract: Bradley and
Effects on animals:
Kenner. Beavers disappear

 They are talking about the concept of “untouched wilderness”

and of the difficulty of preserving wilderness using the example
of Yellowstone Park.
Effects on animals:

 This quotation means that the difficulty of protecting

Effects on vegetation: Effects on vegetation:
Disapearance
Meadows dry up Soil erosion
of the trout and otter
nature and wildlife was underestimated and it thus implies that
preserving wilderness was not the success they had expected/
that they failed in their attempt at preserving Yellowstone’s
wilderness untouched. WRITE (p. 44)
• Les sites officiels des park rangers et des parcs nationaux
INTERACT (p. 45) sont très bien conçus et faciles d’accès.
• Lors de la réalisation du teamwork et si l’équipement • Il est tout à fait envisageable de profiter de ce homework pour
informatique de la salle le permet, il sera peut-être utile de organiser une micro-mission et faire faire des recherches sur les
proposer aux élèves d’affiner leur réponse en les guidant vers différents parcs nationaux américains en vue d’un affichage dans
des sites Internet sur Yellowstone. la salle de cours avec différentes prises de parole en continu.
Corrigé
Team 1 teamfile-p45-1 WORDWORK wordfile-p45
A. 1/e, 2/a, 3/a. Corrigé
B. a/b/c. (96 % of the park is in Wyoming, 3 % in Montana, and A. shelter abriter
1 % in Idaho.) breed se reproduire
Team 2 teamfile-p45-2 mammal mammifère
1/a, 2/b, 3/c, 4/a. mate s’accoupler
Team 3 teamfile-p45-3 thrive prospérer
1. Their first mistake was to believe the elk were about to become lay an egg pondre un œuf
extinct (l. 29-31) and needed to be protected from their natural poacher braconnier
predators (the wolves and the Native Americans). become extinct être en voie d’extinction
endangered en danger
2. (voir schéma colonne de droite).
support a species faire vivre une espèce
3. In the 1920s, the park rangers were eventually obliged to kill
B. (exemples)
elk because they were too many and presented a real danger for
furry bear
the balance of the ecosystem.
scaly lizard
4. No. The damage was done and nothing could be done to undo it. poisonous snake
high-necked giraffe
Team 4 teamfile-p45-4 four-winged insect
eight-legged spider
1/b, 2/a, 3/a/b, 4/a/b.

38 Livre du professeur New On Target 2e

 livre du professeur

long-fanged wolf SPEAK (p. 46)

sharp-clawed tiger
Corrigé
long-limbed gazelle
long-nosed ant-eater 1. The landscape shown in picture 1, that of Planet Pandora,
looks entirely natural, like a virgin rainforest untouched by
C. (exemples)
humans. It looks a little dark and mysterious too with the clouds
are blind or almost blind? bats
rising from the lower tree tops towards the taller trees.
have a sting? wasps, bees
have a beak or a bill? ducks 2. The second image is indeed very upsetting and shocking. It
have stripes? tigers makes us feel very angry that humans can be so selfish as to
have spots? leopards destroy such natural beauty.
have gills? fish TAPESCRIPT tapescript11-p30
have a hump (or several)? camels Avatar is set in the year 2154 on the distant planet Pandora. It’s
can change colour? chameleons being colonised by Earthlings in need of a rare mineral called
can “talk”? parrots unobtainium – no, I’m not joking – a major source of energy which
eat nothing but bamboo shoots? koala bears alone can save our planet from extinction. The humans cannot
live in extremely cold regions? polar bears survive in the atmosphere of Pandora and must wear oxygen
have the longest wing span? albatrosses masks. The natives, however, are very much at home there. They’re
live underground? moles the Na’vi, a tribe of agile, slender, blue-tinted, saucer-eyed, 10-foot-
have antlers? deer tall people, who resemble a joint project by Picasso, Giacometti
live in a burrow? rabbits and the Easter Island sculptors.
move very slowly? sloths Underlying Avatar is the story of the colonisation of the Americas
move sideways? crabs and the destruction of the native population and their culture
move backwards? lobsters between the arrival of Columbus through the massacre at
are man’s close relatives? apes Wounded Knee up to the bulldozing of the Amazon rainforests.
Avatar is overlong, dramatically two-dimensional, smug and
PROJECT (p. 45)
simplistic. It preaches a sermon about our duty towards the
• Attention, ce project sera plus difficilement réalisable si l’on n’a preservation of the environment while leaving the biggest trail
pas abordé l’étude du document principal via le Interact. of carbon footprints since Godzilla trampled New York. But the
• On peut envisager une mission plus libre, de l’ordre de la imagery is often breathtaking, the ferocious battles brilliantly
debating society en demandant aux élèves de préparer une liste staged and technically it pushes the medium forward, though
d’arguments qu’ils choisiront ou non d’utiliser pour contrecarrer not necessarily in a direction that everyone, myself included, will
les arguments de la partie adverse. Diviser la classe en plusieurs approve of. And let’s hope 3D doesn’t become the norm rather than
groupes pour et plusieurs groupes contre afin qu’ils élaborent the exception.
des arguments. Avec une classe de niveau faible, distribuer dans Corrigé
un premier temps différents arguments à chaque groupe en
demandant de sélectionner ceux qui correspondent à la position.
 The historical events mentioned are the colonisation of the
Americas, from the arrival of Columbus through the massacre
Avant de passer au débat public, on pourra mettre en place une
of the native population at Wounded Knee to the present day
phase d’entraînement en réorganisant les groupes de travail et
bulldozing of the Amazon rainforests.
en les composant cette fois de deux élèves pour et deux élèves
contre, chaque binôme testant ainsi ses arguments « en direct ».  “The imagery is often breathtaking”; “the ferocious battles
• Autre possibilité : proposer à certains élèves de tenir le rôle de brilliantly staged”; “technically it pushes the medium forward”.
jury et d’évaluer les performances de leurs camarades. Ce peut  It’s “overlong”; dramatically two-dimensional”; “smug and
être une bonne manière non seulement de les impliquer dans simplistic”; it leaves a very big trail of carbon footprints.
l’écoute, mais également d’acquérir le recul et les compétences  Les réponses vont dépendre des goûts de chaque élève.
nécessaires à une auto-évaluation de leur propre performance. S’ils diffèrent ce sera l’occasion de mettre en place un débat, le
point principal, à notre avis, étant le bien fondé du choix de la
Avatar (p. 46) technique « 3D ».
• L’enregistrement proposé est une critique cinématographique WRITE (p. 46)
de l’œuvre de James Cameron.
• Il est souhaitable que les élèves puissent reproduire le style
• C’est bien sûr l’aspect « conservation vs destruction de l’état de la critique qu’ils ont entendue. Ils pourraient aussi en lire
naturel d’un lieu de vie » qui a retenu notre choix, ainsi que celui quelques unes sur internet. Le fait qu’ils n’ont que 150 mots à
des photos figurant p. 46 qui servent de support à la phase écrire devrait les empêcher de recopier une critique déjà faite et
d’anticipation à l’écoute. les forcer à construire une synthèse !

3. Conservation 39
3 Conservation
INTERACT (p. 46)
Corrigé
Team 1 teamfile-p46-1
A. 1/d, 2. Planet Pandora, 3/b, 4/b/c, 5. Saving Earth from
extinction.
Team 2 teamfile-p46-2
A. 1/a (réponse probable et logique)
2. oxygen masks
3. Na’vi
4/b
5. Physically, humans have skin that goes from white to almost
black whereas the Na’vi have blue skin. The tallest adult humans
are under 7 feet tall, but the Na’vi grow to about 10 feet.
6. a. agile, b. slender, c. saucer-eyed, d. blue-tinted, e. 10-foot-
tall.
7. Picasso, Giacometti (and the Easter Island sculptors).
Team 3 teamfile-p46-3
A. 1. a. overlong, b. dramatically two-dimensional, c. smug,
d. simplistic.
2. The film tries to tell us that we have a duty to preserve the
planet but the very making of it caused a huge carbon footprint,
that is, the making of it was not very environmentally conscious
(a little bit like some famous photographers who travel
thousands of kilometres in helicopters to show us how man’s
activities help create the greenhouse effect).
B. 1. a. the imagery is breathtaking, b. the battles are brilliantly
staged, c. the technology is in advance of other films.
2. No. “Let’s hope 3D doesn’t become the norm rather than the
exception.”
Team 4 teamfile-p46-4
A. 1. the Americas; the native population; culture; Columbus; the
massacre at Wounded Knee; the Amazon rainforests
PRONOUNCE (p. 46)
TAPESCRIPT tapescript12-p46
1. hell, 2. men, 3. age, 4. Ed, 5. late, 6. Janey, 7. pen, 8. saint.
WORDWORK wordfile-p46
Corrigé
A. 4th-15th century = The Medieval period/The Middle Ages
15th-16th centuries = The Renaissance
16th century = The Reformation
17th-18th century = The Age of Enlightment
18th-19th centuries = The Industrial Revolution
1900-1945 = The Machine Age
B. Elizabethan = during the reign of Elizabeth I (1558-1603).
Jacobean = during the reign of James I (1601-1625).
Georgian = during the reign of the four King Georges (1714-1830)
but sometimes just to the reign of the first three (1714-1820).
Regency = during the Regency of the future George IV (1811-
1820), when George III was judged unfit to rule.
Victorian = during the reign of Queen Victoria (1837-1901).
40 Livre du professeur New On Target 2e
Edwardian = during the reign of Edward VII (1901-1910).
C. (exemples)
Elizabethan = during the reign of Elizabeth I (1558-1603).
Jacobean = during the reign of James I (1601-1625).
Georgian = during the reign of the four King Georges (1714-1830)
but sometimes just to the reign of the first three (1714-1820).
Regency = during the Regency of the future George IV (1811-
1820), when George III was judged unfit to rule.
Victorian = during the reign of Queen Victoria (1837-1901).
Edwardian = during the reign of Edward VII (1901-1910).
The Hay Wain (p. 47)
• Dans ce chapitre consacré au thème Conservation, le peintre
John Constable a parfaitement sa place. En effet, il apparaît
comme la figure marquante de la peinture paysagiste, il est
celui qui fait de la nature même le sujet de ses tableaux. The
Hay Wain, comme bon nombre des œuvres de Constable, est
l’illustration bienveillante d’un quotidien paisible et peut-être
aussi quelque peu idéalisé. La citation soumise en question 3
à la réflexion des élèves est à ce titre très pertinente : elle invite
à une réflexion qui mettrait en perspective cette peinture et la
notion de « conservation », entendue comme préservation,
protection d’une tradition et/ou d’une culture.
• À la différence des peintures proposées dans les chapitres 1
et 2, il ne se passe rien en quelque sorte dans ce tableau : on
n’y trouve ni les créatures filiformes de Lowry ni la pléthore de
personnages de Hogarth. S’il y a bien une présence humaine,
elle est presque anecdotique au regard de la nature qui l’entoure,
même si la première contribue à façonner la deuxième. Cela
constitue à la fois une des spécificités de la peinture de
paysages, et aussi un écueil pour des élèves plus habitués à des
images qui bougent, et dans lesquelles l’action prévaut.
Les fiches d’information (bonus)
• Trois fiches d’information sont téléchargeables. Elles
fournissent des renseignements sur le peintre, le background
et le tableau :
bonusfile1-p.47
bonusfile2-p.47
bonusfile3-p.47
Pour ceux qui disposent du manuel numérique, ces textes sont
disponibles également en version enregistrée.
SPEAK (p. 47)
• On peut procéder de façon classique et frontale, c’est à dire
soumettre à la classe entière les quatre questions du manuel.
On peut aussi utiliser les bonusfiles téléchargeables pour une
activité visant l’interaction avant d’entrer dans l’étude de ce
tableau. Quelle que soit l’option retenue, nous recommandons
de rappeler aux élèves que la Toolbox donne des éléments
lexicaux clefs qui seront faciles à ré-employer dans les réponses
à la question 1. C’est aussi l’occasion de (re)voir le lexique du
commentaire de tableau et/ou quelques prépositions de lieu.
• Il conviendra également d’accompagner les élèves si leurs réponses

à la question 2 restent minimales : par exemple en proposant un
choix d’adjectifs dont tous ne seront pas pertinents : peaceful,
hectic, noisy, relaxing, harmonious, untroubled, disturbed... Les
couleurs choisies par Constable viendront corroborer le choix des
adjectifs, puisque les couleurs froides dominent.
• La citation dans la question 3 nécessite une reformulation qui
peut tout à fait venir des élèves, même de façon maladroite.
Le message véhiculé par l’expression « the England that he
knew » ou « the England the Englishmen think they knew »
renvoie au patrimoine, à ce qui constitue la campagne anglaise
de l’époque. Des termes tels que traditional, acknowledged,
voire widespread ou epitome entre autres peuvent être rappelés
ou plus vraisemblablement apportés par le professeur qui les
assortira de définitions.
• Enfin la question 4 ne saurait se limiter à des réponses du
type I don’t like it because it is old. Là encore un rebrassage de
toutes les gradations de l’expression du goût seront rappelées
par le professeur (sous forme de fiche lexicale ré-utilisable de
nombreuses fois en cours d’année, par exemple). Et les élèves
peuvent être invités en homework à chercher – y compris dans des
peintures, dessins, des photographies personnels ou pas – des
paysages qui leur plairaient davantage, en expliquant pourquoi.
Corrigé
 The painting represents a country landscape. A cloudy wind-
swept sky with blue patches occupies the upper right-hand
part while a mill by a river with trees nearby occupies the lower
left-hand part of the painting. The mill has a sloping roof. In the
foreground a horse-drawn cart (the hay wain) is standing in the
shallow water of the stream. Two men are sitting in it. One of
them is pointing towards the mill on the left; maybe they have
stopped to let the horses drink. A rowing boat can be seen on the
far bank, on the right. (Si vous regardez le tableau sur internet,
d’autres détails peuvent être remarqués : Haymakers are
working in the meadow on the right. A woman beside the mill-
house is drawing water from the river.)
 The atmosphere is rural and peaceful/untroubled/
harmonious. The dark grey sky with its threatening clouds
and small patches of blue indicates the possibility of rain. The
prevailing colours of the stream and the mill-house are dark too
(brown and grey) but the painter has used a few dashes of red
for the harnesses (and the men’s scarves).
 Constable was interested in painting the reality surrounding
him. Many of his paintings portray scenes from his own life
(here from his childhood). Such scenes were common at the
time in rural areas of Britain. Constable never went abroad, and
his finest works portray the places he knew and loved best,
particularly Suffolk. He was obsessed with the idea of painting
the changing light or the movements of the clouds in the sky
as faithfully as possible. A quote from Constable himself: “The
sound of water escaping from mill dams, willows, old rotten
planks, slimy posts and brickwork, I love such things. These
scenes made me a painter.”
 (Students’ own answers.)
livre du professeur
PROJECT (p. 47)
• Pas de corrigé-type pour ce project mais des sites utiles et
assez bien faits sur la peinture anglaise de cette époque :
http://en.wikipedia.org/wiki/John_Constable
http://www.artcyclopedia.com/artists/constable_john.html
http://www.ibiblio.org/wm/paint/auth/constable/
http://en.wikipedia.org/wiki/Romanticism
• La présentation en interaction des différents tableaux peut
tout à fait faire l’objet d’une évaluation, dont nous donnons ici ce
qui pourrait constituer les grandes lignes :
Prononciation
B1 Intelligible malgré un accent étranger.
A2 Difficultés de prononciation, qui conduisent parfois au
malentendu.
Grammaire
B1 Quelques fautes qui n’altèrent pas la clarté du propos.
A2 Fréquentes erreurs de grammaire qui gênent ou pourraient
gêner la compréhension.
Vocabulaire
B1 Vocabulaire approprié, voire recours à des reformulations
pour éclairer son propos.
A2 Vocabulaire limité et souvent peu approprié.
Aisance
B1 Débit assez fluide, voix bien posée.
A2 Hésitations dommageables au propos, voix pas toujours
audible.
Compréhension
B1 Compréhension satisfaisante même s’il faut répéter une
question ou deux.
A2 Les questions et remarques de l’auditoire sont rarement
comprises et nécessitent des répétitions ou des
reformulations.
Language Corner (p. 48-49)
Les « relatifs doubles » : ce qui, ce que,
ce dont = which ou what (p. 48)
• Le but est de rappeler que, contrairement aux relatifs anglais
qui les traduisent, les relatifs doubles français changent de forme
selon leur fonction et non selon le rôle qu’ils jouent (annonce
ou rappel). On peut rappeler que le changement de forme selon
la fonction s’appelle une « déclinaison ». Les latinistes et
germanistes parmi nos élèves le savent déjà.
Observation
Corrigé
• ...annonce ce qui va suivre : what
• ...rappelle ce qui précède : which
Ajouter que la fonction du relatif n’influe pas sur sa forme ici.
«what actually happened.” → what sujet de happened
«Which was this: the early park managers...» → which sujet de
was.
3. Conservation 41
3 Conservation
Application
EXERCICE 1
• Accepter bien entendu tout autre arrangement recevable.
• On peut aussi faire souligner la partie de chaque phrase reprise
respectivement par what ou which.
Corrigé
a. What he explained was that Yellowstone Park was the first
wilderness to be set aside as a natural preserve anywhere in
the world.
b. “ Well,” Bradley said, “our knowledge has increased with time.”
“No, it hasn’t,” Kenner said, which is my point.
Ou :
What Bradley says is that our knowledge has increased with
time, which Kenner denied.
c. It’s a perpetual claim that we know more today, which is not
borne out by facts.
Ou :
What is not borne out by facts is that we know more today.
d. What also became increasingly clear is that the Indian
hunters of old had exerted a valuable ecological influence on
the park lands.
Ou :
The Indian hunters of old had exerted a valuable ecological
influence on the park lands, which also became increasingly
clear.
EXERCICE 2
Corrigé
a. Ce qu’il expliqua/expliquait c’est que le Parc de Yellowstone
fut la première région sauvage/inhabitée au monde qui fut
sélectionnée pour en faire une réserve naturelle.
b. « Eh bien, dit Bradley, notre savoir s’est accru avec le temps. »
« Non, pas du tout, répliqua Kenner, c’est ce que je veux faire
comprendre. »
Ou :
Ce que Bradley dit c’est que notre savoir s’est accru avec le
temps, ce que Kenner conteste.
c. On prétend sans cesse que nous en savons davantage
aujourd’hui, ce que les faits ne démontrent pas.
Ou :
Ce qui n’est pas démontré par les faits, c’est que nous en savons
davantage aujourd’hui.
d. Ce qui devint aussi de plus en plus clair c’est que les chasseurs
indiens de l’époque exerçaient une influence écologique non
négligeable sur le territoire des parcs.
Ou :
Les chasseurs indiens de l’époque exerçaient une influence
écologique non négligeable sur le territoire des parcs, ce qui
devint également de plus en plus évident.
EXERCICE 3
Corrigé
a. The Federal Government didn’t set an example in this field,
which explains why Californians are determined to make things
change/change things.
42 Livre du professeur New On Target 2e
b. What explains why Californians want things to change is the
Federal Government’s lack of action.
c. What prompted me to run for Governor was that I thought my
energy could help the cause of ecology.
d. The Governor believes that the planet can be saved, which
explains his personal commitment.
Formation des adjectifs composés (p. 48-49)
• Sujet inépuisable puisque relié au domaine lexical sur lequel il
ne faut pas hésiter à revenir dans d’autres contextes.
Observation
Corrigé
 Blue-tinted, saucer-eyed, 10ft-tall.
 Leur fonction : épithètes de people.
 blue-tinted : blue (adj) + tint (nom) +-ed,
saucer-eyed : saucer (nom) + eye (nom) + -(e)d,
10ft-tall : 10 (adj. numéral cardinal + ft pour foot (nom) + tall
(adj.).
 La complémentation, comme souvent en anglais, se fait de
la droite vers la gauche. Le mot de gauche complète celui qui est
à sa droite.
 ten foot tall : car l’ensemble ten + foot devient un adjectif et
donc reste invariable → a ten-dollar bill.
Application
EXERCICE 1
Corrigé
blue-tinted: the Na’vi’s skin had a blue tint/colour/was tinted
blue.
saucer-eyed: The Na’vi’s eyes were shaped like saucers.
10ft-tall: These people were ten feet tall.
EXERCICE 2
Corrigé
(exemples)
The Na’vi were high-browed, flat-nosed, thick-lipped creatures.
They were also black-haired, long-armed, blue-eyed...
EXERCICE 3
Corrigé
a. The Na’vi are blue-skinned humanoids.
b. Sigourney Weaver plays the part of a red-haired scientist.
c. Jake Sully is a thirtyish/thirty-something/thirty-year-old or
so former US Marine.
d. Colonel Miles Quaritch is a scar-faced character.
Notions de quantité :
beaucoup, tant, plus, trop, etc. (p. 49)
• Autre sujet sur lequel nous savons qu’il faut sans cesse revenir.
Utiliser les tableaux 7 et 8 (p 167-168) du Précis grammatical.

Observation
Corrigé
 so much, too many, more.
 so much : so (adv. exclamatif) + adj. indéfini de quantité
much (car la phrase pourrait s’arrêter là, ce qui n’est pas le cas
si on remplace par so many) = they ate such a lot of...
too many : too (adv. d’estimation) + many (adjectif indéfini de
quantité) complétant le nom pluriel (invariable !) elk.
more : comparatif irrégulier de l’indéfini de quantité much.
 so much : abondance, too many : trop grande abondance,
more : (plus) grande quantité.
 Seul more indique une comparaison.
 Too many et so much.
Application
EXERCICE 1
Corrigé
a. They ate so little that the ecology of the area didn’t change. Ils
mangeaient si peu que l’écologie de l’endroit ne changea pas.
b. It has become clear that there are too few elk in this park today. Il
est devenu clair qu’il y a trop peu d’élans dans ce parc aujourd’hui.
EXERCICE 2
Corrigé
a. There are too few beavers in Yellowstone’s rivers.
b. There are so few of them that you can’t see any dams across/
barring the rivers.
c. There are too few wolves to restore the natural balance.
d. There are so many elk that some species of trees are
disappearing/dying out.
The Eden Project (p. 50-51)
LISTEN (p. 50)
TAPESCRIPT tapescript14-p50
Hello and welcome to the Eden Project. It’s hard to believe that as
recently as October 17th 1998 what you see behind me was a
derelict clay pit. It was seeping mineral waste and full of water. It
was the end of the world. What we wanted to do was to transform
– to regenerate if you like – a pit to create a symbol of optimism
to show that ordinary people working together could do the nearly
impossible.
And why that’s important is the challenges that are going to be
facing us over the 21st century will require the very best of us
and part of that need that we are going to have is to realise that
we are a part of nature not apart from nature. And I hope that, by
looking at the world through the lens of plants, we can take you on
a journey that, while it is about science and the natural world, is
essentially about the most important species on it, it’s humans, it
is us, it is our story.
Corrigé
 Its purpose is to show people the incredible variety of plants
of Earth and how plants and people need each other.
livre du professeur
 It is astonishing because it used to be a disused clay pit and
now it is a major tourist attraction with over a million plants on
display.
Une fiche d’information (bonus)
• Une fiche d’information est téléchargeable. Elle fournit des
renseignements complémentaires sur le Eden Project :
bonusfile4-p.50
Pour ceux qui disposent du manuel numérique, ce texte est
disponible également en version enregistrée.
READ (p. 51)
Corrigé
(exemples)
a. It looked really terrible because it was full of mineral waste
and water.
b. He believes that human beings are part of nature not apart
from it, i.e. we are all in the same boat: humans and plants alike.
WORDWORK wordfile-p50
Corrigé
When people need stone, they generally dig into the face of a
mountain and start what is called a quarry. Unfortunately, this
often ends up by disfiguring the landscape. Such operations are
frequently accompanied by massive deforestation. Hundreds
of thousands of trees are felled and used for timber.
It has always seemed natural for men to tap nature’s resources
in order to fulfil their needs. But they often do it regardless of the
damage done to the flora and fauna, or, if they do care about the
danger to living things, they generally only realise the damage
they have done when a specific species is close to extinction.
Then the most environmentally-conscious of them try to buy
land to turn into nature reserves where endangered species
can be protected. But greed turns many people into poachers,
especially in poor countries, and many animals that belong to
protected species such as tigers, rhinos and elephants, are still
being killed in large numbers.
Farmers the world over also share the responsibility for the
depletion of natural resources or for destroying nature. In Brazil,
for example, people continue to destroy the rain forest and turn
thousands of acres into farmland where they practise extensive
farming instead of planning crop rotation and even leaving land
fallow for a few years. The uncontrolled use of pesticides (for
getting rid of insects) and fertilizers (for acclerating growth)
also contributes to the degradation in the quality of the earth.
It seems that science fiction writer Isaac Asimov was right when
he said over 40 years ago that “man has become the cancer of
the planet”.
3. Conservation 43
3 Conservation
Checkpoint (p. 52-53)
Compréhension de l’oral (p. 52)
LISTEN (p. 52)
• Nous avons affaire ici à un reportage sur les espèces menacées.
TAPESCRIPT tapescript15-p52
Almost a third of the world’s wildlife has been lost in the past 35
years, a report reveals.
The number of animals per species fell an average 27 per cent
between 1970 and 2005 - with land animals down 25 per cent,
marine 28 per cent and freshwater 29 per cent.
And one of the big reasons is the expansion of humankind - our
population is up to 6.5 billion from 4 billion and we are using 25
per cent more resources than we replace.
Jonathan Loh, author of the report, said the fall was “unprecedented
in terms of human history”, adding: “You would have to go back to
the extinction of the dinosaurs to see a decline as rapid as this.”
The main threats to species are pollution, habitat destruction,
over-exploitation, invasive species and climate change.
The Living Planet Index, produced by WWF, the London Zoological
Society and the Global Footprint Network, tracks 4,000 species
including nearly 241 fish, 83 amphibian, 40 reptile, 811 bird and
302 mammal species.
Marine species such as swordfish and hammerhead sharks fell 28
per cent. Marine birds suffered a fall of 30 per cent and tropical
land-based species fell 46 per cent. The Yangtze River Dolphin
may have been lost altogether.
But there were glimmers of hope that such trends can be reversed.
After campaigns since 1970, the population of Amur tigers now
stands at 30, up from 10. And a sharp decline in whales has been
turned into a gradual increase.
Colin Butfield of WWF-UK said: “Biodiversity has an impact on us
all.”
Corrigé
 Almost a third.
 Freshwater animals have been the worst hit with a 29 % fall.
 The main reason is the explosion in the population of humans.
Humans are now using 25 % more resources than they replace.
Humans are also causing pollution, habitat destruction and over
exploitation.
 The situation is being compared to the extinction of the
dinosaurs.
 Swordfish and hammerhead sharks fell by 28 %; marine
birds by 30 %; tropical land-based species by 46 %.
 The situation could be improving – there are “glimmers of
hope” in some areas.
EXPRESSION ÉCRITE (p. 52)
• Nous nous concentrons ici sur un cartoon illustrant les
conséquences du réchauffement climatique avec, en particulier,
l’exemple du continent africain.
• Les questions (pro)posées successivement peuvent être
44 Livre du professeur New On Target 2e
traitées en tant que telles mais aussi être considérées comme
des pistes, des « passages obligés » visant à aider les élèves
à n’oublier aucun élément essentiel dans l’analyse de cette
image.
• Faites lire la caption (légende) et faites remarquer l’emploi de
la préposition before et non pas under qui viendrait sans doute
plus naturellement à l’esprit des élèves...
Corrigé
 Most of them live in Africa as the background landscape
tends to indicate. From left to right, we can see the following
animals: a rhino(ceros), a gorilla, an ostrich/emu, a tiger, an
elephant, a zebra, a leopard and a monkey.
 Tigers usually live in Asia/on the Asian continent. Leopards,
elephants and rhinos live in Africa as well as in Asia.
 All these animals are shown together here because they are
unfortunately concerned by the same threat: extinction. They
are all to some degree endangered species.
 The second and third pictures show the gradual
disappearance of the animals shown in the first picture, the
final and rather tragic result being their total absence from the
landscape.
 It could be due to unrestrained illegal hunting/poaching or to
drastic changes to the environment brought about by man, such
as changes in temperature (global warming) or the clearing of
forests.
 The caption implies that we can all see that this is happening
but we don’t do anything to stop it or slow it down. A lot of
people don’t feel personally concerned and close their eyes to
ecological disasters.
 They are cruel/heartless/self-centred... What they do is
revolting/unacceptable/unbreabale... They are threatening
the survival of our planet by doing irreversible damage to the
animal world. They should be punished severely.
EXPRESSION ORALE
(p. 53)
• Les élèves pourront se servir des wordfiles p. 45 et p. 50
pour faire cet exercice. Ils devraient penser à structurer leur
présentation, commençant avec une introduction sur le thème
en général, parlant de ce qu’ils ont appris du chapitre, faisant
une description ou un traitement de ce qui est explicite et puis
en développant le côté implicite du cartoon.
Corrigé
(exemple)
There is much concern these days about conservation and
the protection of endangered species. There is international
pressure on certain countries to behave as the others in these
matters.
In this cartoon, we can see a tree in whose branches three men
are sitting with saws in their hands about to saw off the branch.
At the base of the tree are some other people and other animals
which remind us of those who took refuge in Noah’s Ark. The
people and animals at the bottom of the tree are looking up at

the men in the branches with apprehension. In the top left-hand
corner there is a dense grey cloud with the sun peeking out from
behind.
The three men represent three important countries, the USA,
China and India. America is saying he will stop when the other
two countries do, and the other countries reply by saying they
won’t stop unless America does. The situation seems to be
in deadlock, suggesting that the tree, a symbol for forests or
nature in general, is doomed and that these countries just want
to make as much profit as they can from the wood they will cut.
Also, the three men will fall if they cut their branches which
suggests that the survival of these countries is doomed too. The
people and animals at the bottom represent the ones who will be
affected if the forests are cut down but they are powerless; they
can only look on in fear. The sun could represent God; it looks
angry, surrounded by the grey cloud. Maybe the sun represents
a ray of hope.
COMPRÉHENSION DE L’ÉCRIT (p. 53)
• L’extrait du roman de Pat Conroy proposé ici s’inscrit
naturellement dans la thématique des pages précédentes. En
effet, le narrateur, un adulte, évoque les côtes de Caroline du
Sud, et se souvient de son enfance au cœur d’une nature à la
fois respectée et mutilée.
Corrigé
 The narrator is a man remembering his childhood (“As a
boy...”, l. 9).
 The events related in the extract take place in South Carolina, a
southern state of the United States. It borders Georgia to the south,
North Carolina to the north and the Atlantic Ocean to the east.
Colleton County is in the south east of the state.
 The extract mentions “the blazing South Carolina heat” so we
understand that the climate is hot, even subtropical.
 As he worked outside on a boat, the narrator’s arms were
suntanned.
 Sentences like “I grew up slowly beside the tides and
marshes”, “I could pick a blue crab”, “I had killed my first deer »
and “I was happy above the channels” show that he lived close
to the nature around him.
 He killed a bald eagle, just for fun.
 His father beat him.
When he killed a deer, it was to feed his family. Hunting was
not some kind of sport but a necessity – something he was
expected to do to help his family.
In the extract, the narrator as a young boy killed an eagle,
which was against the law. Because his father believed in
the expiation of sin (i.e. paying the penalty for a sin you have
committed), and because he considered that killing an eagle
was a sin (against nature or against God/the Gods...), he
punished his son for it.
livre du professeur
Ateliers (p. 54-55)
Atelier 1 (p. 54)
TAPESCRIPT dvdscript-p54
VOICEOVER: Most people’s perception of an eco-friendly home
conjures up images of wind turbines and grass roofs. But English
architect Paul Lavelle has proved you can design and build a low-
energy luxurious home by using some very simple yet ingenious
eco principles.
LAVELLE: The real key to the eco-credential(s) of
this property is actually the simplest: it is completely air-tight. It is
the most misunderstood point of keeping a property low-energy.
We’ve actually built the roof and the walls in a completely different
way. We have a totally air-tight membrane that comes all the way
down the roof, all the way down the walls, on both sides – from
the inside and the outside – so no air can penetrate at all. And the
humidity (to start with) we have no humidity inside the property
with the special air system. All the joinery that we have has also
been specially made. It’s very simple: we just put a fascia all the
way around the door, that you can see, which means that there’s
absolutely no draught. And the result is a property that has no loss
of heat through air change.
You’ve got twenty large solar panels. They produce heat all the
year round at different times. Every little drip (sic) of heat we
get we stick it in the ground, and it’s stored in the ground and we
take it out whenever we need it. And what’s amazing is that you
can actually store it in the ground in the summer and use it in the
winter. That’s how the whole property is heated. All the heat comes
from these panels.
Because you’re airtight, you would end up with a stale air situation
if you weren’t changing the air. We actually change the air in the
property once every two hours by taking the air and dumping it
outside and bringing fresh air in. But the outgoing air heats up the
incoming air so you don’t lose the heat of the property. So you
actually end up with a situation with very fresh air all the time,
but the other main advantage is you end up with very very low
humidity which has huge health benefits amongst other things
but also makes a very pleasant environment to live in. We achieve
25 % humidity inside the property which is getting on to desert-
type humdidy, which is gorgeous.
The rain that runs off the roof comes down the normal downpipes
and, instead of just disappearing into the ground or wherever you
put it, we put it into a tank and then that comes in... is pumped
back into the house to feed washing machines, loos, etc. Massively
reduces the water consumption of the property. Again, anyone can
do it; it’s low-cost, simple.
VOICEOVER: This is obviously a luxurious home, but you could build an
ordinary family house that uses all this technology right now, and
for exactly the same price as an ordinary house. Think about it.
3. Conservation 45
3 Conservation
QUESTIONS DU MANUEL (p. 54)
Corrigé
 Air. It is air-tight. An air-tight membrane means that no air
can penetrate at all. There is a special air system that eliminates
all humidity. The air is changed every two hours.
Heat. There is no loss of heat through air change. Heat is
produced by solar panels which produce heat all the year
round.
Water. Rainwater from the roof supplies the house with water for
washing machines, loos (toilets), etc.
 (exemple) Everything has been done to use the minimum
amount of fossil fuels: solar panels, recycled rainwater, etc.
Most importantly, the house is air-tight: the determining factor
in reducing energy consumption to a minimum.
DVD WORKSHEET dvdfile-p54
Corrigé
 /c.
 The solar panels produce heat all (the) year round. The
principle is that you store heat in the ground in (the) summer,
and use it in (the) winter.
 (exemple)
The air is changed once every two hours when fresh air is
brought in to replace the existing air. The outgoing air heats up
the incoming air so you don’t lose the heat of the property.
 It is remarkably low at 25 %, which is about the same
as the humidity of a desert. This makes for a very healthy
environment.
 /a/d/e/g.
 /a.
Atelier 2 (p. 54)
• Le sujet est original : peu de gens savent que la première
version du célèbre London Bridge se trouve maintenant en
plein désert de l’Arizona. Les élèves sont donc appelés à réagir
de façon personnelle mais éclairée sur un projet pour le moins
spectaculaire.
• Les questions proposées ont l’avantage de proposer un plan
organisé sur la prise de parole en continu :
– exposer le sujet dans quelques énoncés d’introduction,
– faire la liste des informations intéressantes qui retracent
l’historique du pont originel. On proposera aux élèves les sites :
http://en.wikipedia.org/wiki/London_Bridge_(Lake_Havasu_City)
http://www.roadtripamerica.com/places/havasu.htm
– donner ensuite son avis sur la question, en restant focalisé
sur le fait divers lui-même.
– élargir le sujet à la question plus large de la conservation du
patrimoine et expliquer jusqu’où on peut aller sans tomber dans
le ridicule (canaux de Venise reconstitués dans le quartier de
Venice Beach à Los Angeles, à deux pas du trafic autoroutier,
copie des universités anglaises sur les campus américains
46 Livre du professeur New On Target 2e
beaucoup plus récents, reconstruction du cloître de Saint-
Guilhem à New York, etc.).
Corrigé
 Here we have a picture showing London Bridge now located
in the middle of the Arizona desert. It was sold by the City of
London to Robert P. McCulloch in 1967. McCulloch wanted to bring
money and tourists to a retirement home complex he had built.
 (exemple) Personally, I think that spending so much money
on transferring the bridge to the US is totally ridiculous. What’s
the point of relocating London Bridge in the middle of a desert
in the USA?
 (exemple) Relocating old monuments without taking
geographical features into account is in really bad taste.
Atelier 3 (p. 54)
• Cet atelier d’expression écrite a pour but d’entraîner les élèves
à la rédaction construite d’un essai en 180 mots. Il conviendra de
rassurer celles et ceux qui seraient inquiets devant l’ampleur de
la tâche en leur donnant des consignes précises d’organisation.
• Travail de recherche préalable
– Relever sur les sites indiqués ci-dessous les informations
demandées sur une espèce associée aux grands espaces
américains et sur laquelle les élèves n’ont qu’une connaissance
très approximative mais qui devrait éveiller leur curiosité : http://
www.defenders.org/wildlife_and_habitat/wildlife/bison.php#
http://www.nhptv.org/natureworks/americanbison.htm
– Repérer sur la carte qui se trouve à la fin de leur manuel où se
situe l’état du Montana et quels sont les états voisins.
– Pour des informations sur le grand parc national de Yellowstone
qui s’étend sur les trois états du Wyoming (principalement), du
Montana et de l’Idaho, aller sur : http://www.nps.gov/yell/index.
htm
– Vérifier avec les élèves le sens du mot epic à l’aide de
synonymes (extraordinary, impressive...)
• Travail de rédaction en deux parties
1. Reformuler les informations données par les sites internet : on
insistera particulièrement sur ce point en indiquant au passage
que personne ne peut se satisfaire d’une copie de « copier-
coller ».
2. Donner son avis personnel en argumentant :
Personally, I think that...
I firmly object to (+ V-ing...)
I totally disapprove of (+ V-ing...)
I have mixed feelings about...
We should(n’t)...
Atelier 4 (p. 55)
Il s’agira ici de sensibiliser les élèves à une pratique peu connue
mais extrêmement dangereuse pour l’environnement : le
prélèvement abusif et incontrôlé de sable sur les plages des
Caraïbes afin de produire du béton pour construire des hôtels
accueillant les touristes de plus en plus nombreux dans cette
région du monde...

Corrigé
 Its amazing white sandy beaches and crystal-clear waters
make it attractive. Tourists are looking for exotic, postcard-
like scenery which makes a complete change from their daily
environment.
 There are more and more flights to and from lots of
Caribbean islands to allow the tourist industry to flourish.
Some islands are fast becoming more and more popular/
touristy because of this.
 It means undeveloped and practically unchanged from its
original state.
 The need for accommodation and all the raw materials
needed to create it, including sand for cement.
 It is partly responsible because some people steal and sell
sand from beaches, completely disregarding the damage done
to the natural environment. All that interests them is making
money.
 It consists of taking/removing huge amounts/quantities of
sand from a beach in order to sell it as raw material for cement.
This practice has existed for over 30 years, but is now becoming
more and more widespread.
 There is more risk of damage from water (flooding, tidal
waves, rough seas...) and from high winds. The practice also
threatens certain species of flora and fauna.
Atelier 5 (p. 55)
• Diviser la classe en groupes de quatre et placez-les en mini-
cercles. Chaque groupe sera constitué comme suit :
– un élève qui a travaillé sur le texte Illegal Sand Mining et qui en
résumera le contenu à ses camarades,
– un élève dont la tâche sera de présenter les avantages à
développer les zones touristiques dans ces sites,
– un élève dont la tâche sera d’argumenter contre un tel
développement,
– un élève chargé de proposer des sanctions éventuelles
aux promoteurs immobiliers qui ne respectent pas l’équilibre
écologique de tels emplacements.
• Une fois les rôles définis, on peut laisser à chacun quelques
minutes pour une prise de notes éventuelle qu’il conviendra
de ne pas lire mais qui serviront de base à un réel exercice
d’intercommunication.
The Forest Service (p. 56-57)
• La thématique de la conservation est reprise avec un humour
grinçant mais néanmoins bon enfant avec ce texte de Bill
Bryson. En effet, il permet de réaliser que « l’enfer est pavé
de bonnes intentions » et que parfois les efforts humains en
matière de protection et de gestion de l’environnement sont à
l’origine des pires catastrophes naturelles.
livre du professeur
• On trouvera sur Internet, et en particulier sur les sites de video.
google et de youtube une série d’interviews de l’auteur qui
peuvent permettre d’élargir les connaissances de l’élève et de
faire plus ample connaissance avec cet écrivain sympathique.
• Les différents écrits de Bill Bryson pourraient à eux seuls
permettre de construire un manuel traitant de tous les thèmes
des programmes culturels des classes de lycée. Sa bibliographie
à elle seule suffirait à convaincre les sceptiques. Consulter son
site officiel (http://www.randomhouse.com/features/billbryson)
pour une bibliographie complète et voir aussi Wikipedia pour sa
biographie (http://en.wikipedia.org/wiki/Bill_Bryson).
• Le texte proposé en lecture cursive est lexicalement riche. Les
élèves disposent donc d’une copieuse Toolbox qui leur évitera de
longues recherches dans un dictionnaire.
READ (p. 56-57)
Corrigé
 Forests in the USA still cover wide expanses of land. Forests
actually cover a third of the USA: 728,000,000 acres, that is
almost 300,000,000 hectares. The state of Maine alone has
forests covering an expanse bigger than Belgium. Careful
though: the fact that only 2 percent of the US is classified as
“built up” does not mean that the remaining 98 per cent are
covered with forests!
 The US Forest Service is a government agency founded at
the end of the 19th century. Its initial function was to manage
US timber resources at a time when people were worried about
the depletion of forests.
 The paradox is that in fact the Forest Service seems intent
on destroying what it is supposed to protect. In fact, as noted
ironically by the author, it looks like the Service is more active
in building roads and allowing the exploitation of forests than
in protecting them. Among its activities, the author mentions
mining, oil and gas extraction, building ski resorts, condiminium
developments, motor sports, road building and, of course,
logging.
 Although the subject is a serious one and in spite of the
fact that there is a lot to say about the way the Forest Service
carries out its duties, and a lot that could make people angry or
indignant, the author’s tone remains calm and marked by irony
and some humour, e.g. “the deep pleasure of doing noisy things
in the woods with big yellow machines...” He has chosen this
tone instead of that of a violent diatribe, which, paradoxically,
seems to make his case even more convincing.
 What he is attacking is the destruction of what ought to be
protected and preserved for obvious economic reasons. Another
of his targets is the greed of some people.
 This extract is closely related to the theme of conservation
because it focuses on what people do but should not do to
natural resources.
3. Conservation 47
4 Families
Pages d’ouverture (p. 58-59)
• La thématique du « vivre ensemble » nous incite à commencer
par la vie de famille puisque c’est la première communauté que
les enfants connaissent, du moins pour la majorité d’entre eux.
Les faits nous rappellent néanmoins que ce n’est pas le cas
de tous, hélas, malgré les efforts faits par certains couples,
comme celui que l’on reconnaît sur l’image 6. Avançons donc
prudemment aussi sur ce terrain.
• Compte tenu de l’environnement dans lequel l’enfant grandit,
la notion d’appartenance (ou non) à une communauté de vie
ne tarde pas à apparaître. Il sera intéressant de montrer si les
photographies choisies reflètent ou non, de la part des enfants
ou des adolescents, ce sentiment d’appartenance.
• Nous disposons de six images et de cinq tâches (Speak), ce
qui nous incite à une organisation en cinq ou six groupes. Si
l’on choisit de s’appuyer sur six groupes, la tâche n° 4 pourra
être traitée sous forme de synthèse de la description des six
photos.
SPEAK
Corrigé (synthèse)
(p. 59)
• Picture 1 shows a man who is old enough to be a grandfather.
Whether he is the child’s grandfather is another matter. He could
be a friend of the child’s family, or a member of an adopted or
foster family. The architecture of the building in the background
suggests that the picture was taken in England on some festive
occasion such as the Notting Hill Carnival, as illustrated by the
child’s red wig and the presence of a man whose origins might
well be West Indian. But of course it could have been taken
almost anywhere. Both man and child seem to be having a good
time.
• Picture 2 looks like a British Christmas dinner judging by the
food and the crackers on the table, and the paper hats some
people are wearing. The atmosphere is that of a happy family
meal, but it looks like people are busier eating than talking...
• Picture 3 shows a family of six standing on a pavement as
they come out of a store (probably a garden centre) where they
have been doing some shopping. They all look happy enough
but the plate and spoon in the hand of the little girl in the orange
sweatshirt look rather out of place here.
• Picture 4 was taken in a garden or a park around lunch time.
Three families of different ethnic backgrounds but all obviously
belonging to the middle or maybe upper-middle class have met
for a picnic on a sunny summer’s day. This reminds one of the
traditional potluck get-togethers that Americans often have, in
which each family brings one or several dishes of its own and
shares their food with the others. The atmosphere here is happy
and friendly. One man is in charge of broiling/barbecuing/
cooking the meat, another one plays with the children while the
third one is filming the scene as people do on happy occasions.
The women seem busy getting everybody’s plates ready. All are
smiling and enjoying the moment.
48 Livre du professeur New On Target 2e
• Picture 5 was taken in a family’s living-room. Here too there is
a lot of happiness and laughter. The family are watching a home
movie whose stars seem to be two of the little girls in the room.
The camcorder is on the coffee table which means that the film
may have been recently shot and that everyone was anxious to
see it. The girl with the Asian features may be a friend of the two
other young girls or their adopted sister. Be that as it may, they
all seem to belong to ‘one big happy familyî.
• Everyone will recognise the parents in picture 6. They may well
be wearing sunglasses, but there is no mistaking them for an
ordinary couple with an ordinary family. Actors Angelina Jolie
and Brad Pitt are famous for their large family of six children,
some of them their own, the others having been adopted. The
children’s faces have been blurred for obvious reasons and it is
hard to say whether the children look happy or not. But knowing
what adoption saved some of them from, it is hard to imagine
that they might not be.
• What all these pictures have in common is that they show
happy people and illustrate the feeling of belonging.
Mum gets Computer-savvy
(p. 60-61)
• Ce document est un extrait humoristique qui met en évidence
le décalage des générations à l’ère de l’informatique. Le ton est
rapidement donné : le décalage n’est qu’apparent car, à la grande
surprise de sa fille, cette maman s’est mise au goût du jour en
se familiarisant avec l’outil informatique et semble être devenue
une inconditionnelle du shopping par Internet et donc de eBay
qui n’a plus de secret pour elle.
• La fiche de Wordwork sera corrigée avant de traiter les
questions de compréhension : le thème sera ainsi lancé et les
termes techniques rapidement élucidés. Les élèves faibles
seront sollicités en priorité pour la correction de cette liste qui
ne devrait pas poser de problème particulier.
• On en profitera pour élucider le mot savvy et l’expression
computer-savvy. Toujours dans une démarche d’inter-
communication, un élève se voit confier un dictionnaire et devra
ensuite donner une explication plausible en anglais : Mum gets
computer-savvy = Mum now knows a lot about computers/Mum
becomes an expert in computer use, etc.
• L’extrait est tiré d’un des romans, souvent hilarants, parfois
grinçants, de Sophie Kinsella. On peut demander à plusieurs
élèves d’accéder à l’un des sites suivants pour apporter
davantage d’information à la classe sur l’auteur :
http://www.randomhouse.com/bantamdell/kinsella/
http://www.randomhouse.com/bantamdell/kinsella/books/
display.pperl?isbn=9780385342353
http://www.youtube.com/watch?v=lL1ClGIHpfs (interview)
http://video.google.com/videoplay?docid=-605807352079223
0401 (interview)
• Les interviews vidéoscopées que l’on trouve sur internet
permettent de créer des activités de compréhension de l’oral
intéressantes.
 livre du professeur

SPEAK (p. 60) • Enfin, à la manière des grands champions qui cherchent
à améliorer leur performance, on peut proposer aux élèves
Corrigé (exemple)
volontaires de les filmer et d’analyser en feedback, les points
The title of the extract and the cartoon make us think that the forts et les points à améliorer.
text is going to be about computers, the tensions that computer Team 1 teamfile-p61-1
use at home may trigger off, etc. Team 2 teamfile-p61-2
Team 3 teamfile-p61-3
READ (p. 60)
Team 4 teamfile-p61-4
Corrigé
 Three characters are present: Becky, her mother and Janice, WORDWORK wordfile-p61
a friend of Becky’s mother’s. Corrigé
 The scene takes place in the kitchen of Becky’s house. A. mouse mat small computer pad for the computer
 The characters are talking about Internet shopping on eBay. mouse to roll on
bid offer a price for something
 a. When Becky hears the oven timer she thinks her mother eBay a web site where you can buy second-
has been cooking something. (But, in fact, her mother put the hand objects
oven timer on in order to be reminded to check eBay.) firewall Internet security barrier
b. Becky is very surprised to learn that her mother knows what modem device that enables you to connect to the
eBay is and intends to do some Internet shopping. Internet
c. When her mother talks about a firewall, Becky is ashamed to domain servers groups of computers that manage network
admit that she does not know what a firewall is. traffic
broadband system allowing a large amount of data to
WRITE (p. 60) travel
Corrigé get through connect
(exemple de production attendue) Internet shopping buying things on the Internet
be down be no longer in working order
A. Dear (+ name of magazine),
B. 1. screen, 2. DVD player, 3. speaker, 4. mouse, 5. printer,
Let me tell you something: my mum has become computer-
6. keyboard.
savvy. With her best friend, Janice, she did a computer course
and wanted to install a firewall on my laptop but I didn’t have a PROJECT (p. 61)
clue what she was talking about!
Corrigé
Honestly, I felt so frustrated!
Everything I do, she can do better! Take exercising for example: (exemples)
she is fitter than I am. And she speaks better French – she goes Sending an email (with attachments):
to evening classes and now wants to go to Paris to practise!  Log onto the email server installed in your computer.
How can I feel good about myself with such a superwoman as a  Key in your email address and your password.
mother? I feel desperate. Please, help me.  Key in the email address of the person you want to write an
Becky, from the UK. email to.
B. Dear Becky,  Compose your message.
I really don’t think you have a problem. It should be great to have  If you want to attach a file to your email, click on ‘Attachments’
a mother who wants to keep up with the times and look good. and select it by double-clicking on it.
You mustn’t think of her as a rival and you shouldn’t try and  Click on ‘Send’.
compete. If I were you, I would stop seeing everything she does Buying something from an online shop:
as some sort of personal attack. You should be concentrating on  Log onto the website of the online shop you want to buy
living your own life, so pay less attention to her. Each generation items from.
has its moments of happiness and frustration. Believe me.  When you have found the items you want to buy, add them
INTERACT (p. 61) to your shopping cart.
 When you have finished shopping, your items are totalled,
• Le travail proposé consiste à mettre les élèves en situation
then the tax and shipping costs are added.
de role play. Le support est identique dans les quatre groupes
mais la situation diffère. C’est donc le ton, l’intonation, l’accent
 Key in your credit card number, the expiry date and the CVV
number which is the Credit Card Verification Number (a three-
de phrase qu’il faudra travailler.
digit number printed on the back of your card).
• On encouragera les élèves à mémoriser le passage afin
 Click on ‘Enter’.
d’obtenir plus de spontanéité et on n’exigera pas, évidemment,
 Print your receipt/copy of the order.
une restitution mot pour mot.

4. Families 49
4 Families
A Good Mother? (p. 62-63)
SPEAK (p. 62)
Corrigé
 The photo was taken in some kind of recording studio,
possibly a radio station. It may have been taken in order to have
an image to match the voice that will be recorded.
 On the right of the photo, we can see a middle-aged woman
who is talking into a microphone. She is wearing headphones
and she is also gesturing with her hand. She looks quite serious
and concerned by what she is discussing. On the left, with his
back to the photographer there is a young man who is also
wearing headphones and is talking into a red microphone. He is
sitting behind a mixing desk.
LISTEN (p. 62)
TAPESCRIPT tapescript16
INTERVIEWER: Good Morning and welcome to another ‘Family Hourî, in
which we discuss family problems, family secrets, family plans...
If you have a problem you wish to discuss, if you would like some
friendly advice, if you have some tips to share with us – whatever
interests you about family relationships –we are here for you at
‘Family Hourî! Today we have a guest and her name is Alison. Hello,
Alison and welcome to ‘Family Hourî!
ALISON: Hello.
INTERVIEWER: Now Alison, I believe you have two children.
ALISON: That’s right: Steven, who is twelve and Jonathan, who is
eight. Two wonderful sons.
INTERVIEWER: I’m sure they are, Alison! You must love them very
much!
ALISON: Yes I do, very much! But recently, to be honest, I have been
wondering if I am a good mother. It sounds silly perhaps, but I have
become a little too competitive with my own children.
INTERVIEWER: Competitive? In what way?
ALISON: Well, I realise that lately, whenever we all play together, I
haven’t always been very fair. It’s as if I need to win every time...
INTERVIEWER: Do you play a lot of games with your children?
ALISON: Oh yes! I’ve always considered that it’s important to spend
quality time together. As a working mother I know it’s sometimes
difficult to have enough time to spend with the children but it’s so
important to have fun together!
INTERVIEWER: I quite agree. So when you say that you aren’t always
very fair, what do you mean exactly?
ALISON: Well, for example, if we play cards or a board game or
something like that, I tend to get obsessed with winning! I become
overenthusiastic, almost aggressive – as if I need to prove I can
win!
INTERVIEWER: And how do the children react to this? Do they laugh
at you?
ALISON: Sometimes they find it very funny, I must admit! But
sometimes they get so frustrated or angry that they stop
playing.
INTERVIEWER: And how do you feel when that happens?
ALISON: Well I feel frustrated too – and a bit ashamed. I can see myself
acting like a child and I’m supposed to be the adult! I sometimes
50 Livre du professeur New On Target 2e
wonder if other parents act this way or if I am the only one, which
is why I decided to talk about it on your radio programme.
INTERVIEWER: Have you ever tried to understand why you react in this
way?
INTERVIEWER: Do you think that you have lost your childhood
enthusiasm now that you are an adult?
ALISON: It’s very strange; I’ve never lost my enthusiasm. But
sometimes I feel that I’m losing something I once had – my youth
perhaps.
INTERVIEWER: But you’re still a young mother! Do you really feel such
a victim?
ALISON: Oh no! Not a victim! But seeing the boys growing up has
simply reminded me that I’m not as young as I was, and of course
there is perhaps also the fact that they’re boys. For the last five
years my work colleagues have been almost predominantly men.
It’s not always so easy. I often have to prove that I am at least as
good as they are. But I don’t want to be this way with my family!
INTERVIEWER: Well, Alison, let’s see if there are any other parents
out there who would like to add their own experiences. If you are
listening to ‘Family Hour’ and you wish to give us your opinion or
some advice to Alison you can call us on...
Corrigé
 It is a discussion programme for parents.
 It is called ‘Family Hourî.
 Alison, a mother of two sons, is being interviewed.
 She is talking about the fact that she always wants to win
against her children when she plays games with them.
WRITE (p. 62)
• Préparation à la production orale ou écrite, ce bref sujet peut-
être donné en devoir à la maison et donner lieu à évaluation
(chiffrée ou non).
• Suggérer des domaines dans lesquels les parents peuvent
entrer en compétition avec leurs enfants (sports, mode, etc.).
PRONOUNCE (p. 62)
Corrigé
A. There is usually more than one way of pronouncing vowels,
whether they be single letters like the ‘o’ of ‘mover’ and ‘cover’ or
double letters like ‘ea’ and ‘ouî.
B. 1. cover, 2. heard, 3. rough, 4. though.
WORDWORK wordfile-p62
Corrigé
A. Harmony: be on good terms, easy-going, trustworthy, get on
well
Trouble: have words, have an argument/a row, stand up to, scold,
sulk, nag, shut others out
B.
break up, split up se séparer
bride la mariée
bridegroom le marié
bring up/raise children élever des enfants
court, woo courtiser
 livre du professeur

dump
get a divorce
laisser tomber (quelqu’un)
divorcer
The Tornado (p. 63)
grant legal custody accorder la garde légale • La peinture choisie ici revêt un double intérêt : outre la
have an affair avoir une liaison dimension artistique de l’œuvre et son angle bien particulier
honeymoon lune de miel nous faisant découvrir une famille américaine dans une situation
propose to (somebody) demander (quelqu’un) en mariage d’urgence, trois sous-thèmes (mémoire : héritages, sentiment
witness le témoin d’appartenance : singularités et solidarités ; créations)
apparaissent clairement, en lien avec les nouveaux programmes
INTERACT (p. 62) de la classe de Seconde (« l’art de vivre ensemble »).
Corrigé • Au même titre que Grant Wood – auteur du célèbre American
Team 1 teamfile-p62-1 Gothic en 1930 – et Thomas Hart Benton, Curry est considéré
comme l’un des principaux artisans du mouvement artistique dit
A. 1/c, 2/b, 3/c.
« régionaliste » qui a connu une période faste dans la première
B. 1. The interviewer says the title of the programme.
moitié du vingtième siècle.
2. Alison tells the interviewer the age of the children.
3. Alison realises she hasn’t been fair with the children. Les fiches d’information (bonus)
4. Alison considers it’s important to have quality time with one’s
• Trois fiches d’information sont téléchargeables. Elles four-
children.
nissent des renseignements sur le peintre, le background et le
5. The interviewer asks Alison about the children’s reactions.
tableau :
6. Alison admits to her own feelings.
bonusfile1-p.63
Team 2 teamfile-p62-2 bonusfile2-p.63
A. 1/b, 2/c, 3/a. bonusfile3-p.63
B. 1. Alison thinks the children are wonderful. Pour ceux qui disposent du manuel numérique, ces textes sont
2. Alison wonders if she is a good mother. disponibles également en version enregistrée.
3. Alison finds she is being too competitive.
4. Alison feels it’s important to spend quality time with her SPEAK (p. 63)
children, as a working mother. Corrigé
5. Alison notices that she gets frustrated and ashamed. 1. The scene takes place on a farm in a rural area of Kansas. A
6. Alison seems to have lost her childhood enthusiasm. family has realised that a tornado is about to strike. We can see
7. Alison sounds as if she regrets losing her youth, no longer it in the background, looming up. The head of the family is trying
being a child. his hardest to get his wife and children to safety. They are going
Team 3 teamfile-p62-3 underground into a tornado shelter. The shelter is at the back of
A. 1/c, 2/a. the farmhouse which is a wooden building with steps down from
3. busy because she’s a working mother the back porch into the yard. A tin water barrel/vat collects rain
worried that she isn’t a good mother water from the roof. There are four children, including a baby
concerned about her children not always having fun which is being held in its mother’s arms. Several animals can
frustrated because she doesn’t feel she’s acting like an adult also be seen: horses in the distance behind the fence, a cat, a
preoccupied by her self-questioning dog, a hen in the foreground, and several puppies that the eldest
nostalgic for her youth boy is holding. In the bottom left-hand corner is a wooden trolley,
probably belonging to one of the younger children.
B. 1. ... Alison’s sons are wonderful.
2. ... has been too competitive with her children. 2. The members of this family are going ‘underground’ because
3 ... it’s important to have fun with one’s children. a tornado generally destroys everything in its path: houses,
4. ... the children sometimes find it funny that she wants to win. pylons, cars, crops: basically everything on the earth’s surface.
5. ... she regretted her childhood days. 3. It shows that it is the parents’ role to protect their children
Team 4 teamfile-p62-4 and illustrates the traditional view that it is the father’s role to
A. 1/a, 2/b c, 3/b. be the strongest member of the family and take the lead. This
B. 1. It’s a programme about anything which concerns the is why the man in the picture is shown as physically strong and
family. dominating the situation. His wife and children look up to him,
2. To have fun together. trust him, and look to him for leadership and protection.
3. She wants to share her problem of feeling she always has to 4. Tornadoes are some of nature’s most violent storms. They
win when she plays games with her children. must always be taken very seriously because, even though they
4. She feels ashamed and frustrated. are very spectacular to watch, they are extremely dangerous.
5. She says she feels she is losing her youth and she has worked Tornadoes can even sometimes be deadly. They are caused by
in a male environment for the last five years where everyone is powerful thunderstorms and appear as rotating, funnel-shaped
very competitive and she has had to prove herself as a woman. clouds. Tornado winds can reach 300 miles per hour. They

4. Families 51
4 Families
cause huge damage when they touch down on the ground. They The wind was blowing in chilly gusts.
have the ability to damage an area one mile wide and 50 miles It was blistering hot/cold this morning!
long. Every American state is subject to tornadoes, but states The sea breeze is always enjoyable during a heatwave.
in “Tornado Alley” (Texas, Oklahoma, Kansas, Nebraska, Iowa, The hurricane was soon followed by a flood which devastated
Missouri, Arkansas and Louisiana) are at highest risk. Tornadoes the area.
can form any time of the year, but the tornado season usually Heavy rain poured down on us this morning.
runs from March to August. The ability to predict tornadoes is • Les mots et expressions grisés peuvent servir à la description
extremely limited. Usually a community will have at least a few de la peinture page 63.
minutes warning to get away from the area hit by a tornado.
Corrigé
The most important thing to do is take shelter when a tornado
is nearby. If you are in a car, it is essential that you seek shelter A. Wind and storms breeze, hurricane, lightning, gale, gust,
in a nearby building. thunder
(Voir aussi http://www.nssl.noaa.gov/edu/safety/tornadoguide. Produced by clouds flood, heavy, hail, pour, shower, sleet,
html) snow
Temperature chilly, icy, freezing, frosty, blistering,
5. Kansas is located in ‘the American Heartlandî. It is a highly
sweltering, heatwave
agricultural state, producing huge quantities of wheat and
sunflower each year. The capital is Topeka but its largest city B. rainy (adj.) pluvieux
is Wichita. It has a humid continental climate, with cold winters changeable variable
and hot summers and is the tenth sunniest state in the country. a cloud un nuage
It is highly vulnerable to strong thunderstorms which can result cloudy nuageux
in tornadoes, one of which struck in June 1929 although it only a shower une averse
caused minor damage.However, a much more important event hail (n., v.) la grêle, grêler
took place in 1929: the Wall Street Crash, when the value of stock cloudless sans nuage
market shares suddenly fell dramatically and ruined thousands a rainbow un arc-en-ciel
of investors and companies. This led to high unemployment and pour (v.) pleuvoir à seaux
millions of people were reduced to living in dreadful poverty. a heatwave une vague de chaleur
The atmosphere of pessmism and despair that predominated sultry lourd, étouffant
in 1929 contrasts sharply with Curry’s painting which portrays thunder le tonnerre
mankind as a force strong enough to conquer nature... lightning la foudre
a flash of lightning un éclair
PROJECT (p. 63) a storm un orage
• Il est essentiel, dans les consignes données aux élèves, de rumble (v.), roar (v.) gronder
leur faire exprimer au maximum les sentiments et réactions overcast couvert
des divers membres de la famille dans la situation, tels que nasty, foul mauvais, affreux
la surprise, la peur et la panique, mais aussi le sens des whirl (v.) tourbillonner
responsabilités et le sang-froid. freeze (v.) geler
snow (n., v.) neige, neiger
• Il est envisageable de travailler avec la classe sur les champs
a hurricane un ouragan
lexicaux de ces notions avant de lancer les différents groupes
a gale un vent fort
dans l’écriture du script à jouer. Rappelons que l’imagination et la
a flood une inondation
créativité des élèves sera valorisée ici aussi. On insistera sur la
situation d’urgence qui s’exprime ici. Le background culturel qui
aura été traité grâce aux recherches des élèves et à l’analyse du Language Corner (p. 64-65)
tableau de John Curry devra aussi être ré-investi en contexte.
• Ne pas hésiter à confier les diverses tâches à divers groupes
• On attendra également des élèves des réemplois de structures et afin de conserver l’habitude d’interaction, même dans le contexte
de lexique vus pendant la leçon, l’utilisation d’adjectifs variés pour de réflexion sur la langue, et bien sûr en français.
qualifier la situation et le ressenti des différents personnages.
Emploi du subjonctif (p. 64)
WORDWORK wordfile-p63
Observation
• Les termes de la partie A, donnés dans le contexte du travail
Corrigé
à venir sur la tornade et ses effets sur une famille du Kansas,
ont besoin d’être répertoriés de façon rigoureuse en étant  C’est l’absence de « s » en premier lieu qui devrait interpeler
préalablement compris et en indiquant leurs catégories les élèves, et/ou l’absence de concordance des temps. En fait
grammaticales respectives. Et ce afin de préparer au mieux leur l’anglais montre une fois de plus sa grande logique : l’action
utilisation contextualisée dans la partie B de l’exercice. Exemples nommée par give n’existe pas au moment de parole (au moment
de phrases pouvant être produites : où la suggestion est faite). On ne trouve donc pas de trace de

52 Livre du professeur New On Target 2e


conjugaison (‘s, -ing, -ed) et on utilise tout simplement la base
verbale (renvoi à la notion).
 b. Give renvoie à une action non réalisée au moment de
parole.
 ask, demand, insist, order, request, require, ...
Application
EXERCICE 1
Corrigé
a. My mother insisted that I learn to use eBay.
b. The boss demanded that she turn off her computer before
leaving the office.
c. He also ordered that all employees switch off lights before
leaving the office.
d. I suggest you stop spending time and money on eBay.
e. My mother’s boss requested that she follow a new computer
course to upgrade her expertise.
f. Nowadays finding a job often demands that people be
computer-literate.
g. Mother suggested that my brother help me with my web
research.
h. Most companies require that potential employees master
computer technology.
EXERCICE 2
Corrigé
a. I insisted that she did not help him/her.
b. I suggest you follow a computer course and that your mother
go with you.
c. Today’s world requires that children know/learn how to use a
keyboard as early as primary school/soon as they enter primary
school. We still have a long way to go!
e. The computer science teacher demands that we look only at
the monitor and not at the keyboard when we key in/type (in)
a text.
EXERCICE 3
Corrigé
I suggest you keep your foam cups away from the keyboards.
I suggest you start showing me how busy you really are.
I suggest you get back to work before your coffee gets cold. Etc.
• Faisons confiance aux élèves pour trouver d’autres exemples.
La phrase complexe (p. 65)
• Cette PRL a pour but d’aider les élèves à réviser les différentes
sortes de propositions et de les aider à bien différencier
relatives, conjonctives et interrogatives, les mots de liaisons qui
les introduisent (Ø, that, mots en wh-) pouvant être selon les
cas tantôt des relatifs, tantôt des conjonctions, tantôt des mots
interrogatifs (adverbes ou pronoms).
Observation
Corrigé
 (principales en caractères gras)
(1) Good morning, and welcome to another ‘Familyhourî, in
which we discuss family problems.
livre du professeur
(2) If you have any problem you wish to discuss, [...] we are
here for you.
(3) Now, Alison, I believe you have two children.
(4) I have been wondering if I am a good mother.
(5) Whenever we all play together, I haven’t always been very
fair.
(6) It is as if I need to win every time.
(7) Sometimes they get so frustrated that they stop playing.
(8) And how do you feel when that happens?
(9) ... which is why I decided to talk about it. (Pas vraiment de
principale dans cet extrait : la subordonnée conjonctive de
cause complète une proposition introduite par un relatif,
mais cette dernière jour de rôle de principale par rapport à
la subordonnée )
(10) I am at least as good as they are.
&
a. Subordonnées relatives :
(1) in which we discuss family problems.
(2) (any problem) ø you wish to discuss,
(9) ... which is : relative qui reprend tout ce qui précède : I
sometimes wonder if other parents act this way or if I am
the only one, ... On a vu que cette relative elle-même, jouait
ensuite le rôle de « principale » par rapport à la subordonnée
de cause. Elle le serait totalement si la ponctuation avait
différé : I sometimes wonder if other parents act this way or
if I am the only one. This is why...
Toutes les relatives ont la fonction complément de l’antécédent
du pronom relatif.
b. Subordonnées conjonctives :
(3) Ø you have two children (conjonctive COD).
(5) Whenever we all play together (conjonctive circonstancielle
de temps).
(6) as if I need to win every time (conjonctive circonstancielle
de comparaison).
(7) (so frustrated) that they stop playing (conjonctive
circonstancielle de conséquence).
(8) ... when that happens? (conjonctive circonstancielle de
temps).
(9) why I decided to talk about it (conjonctive circonstancielle
de cause). Mais on n’est pas loin ici d’une structure relative :
which is the reason why... dans laquelle why est un relatif.
(10) as they are (conjonctive circonstancielle de comparaison).
c. Subordonnées interrogatives indirectes (un seul cas dans
cette liste) :
(4) ... if I am a good mother
(fonction : COD → What do you wonder?).
Toutes les interrogatives indirectes ont la fonction COD.
 Ci-dessus if est adverbe interrogatif.
 Mots de liaison omis.
(2) If you have any problem (that) you wish to discuss, (that :
relatif)
(3) Now, Alison, I believe (that) you have two children. (that :
conjonction)
4. Families 53
4 Families
Application
EXERCICE 1
• Il sera nécessaire de faire réfléchir sur la notion de relative
définissante et non définissante (PG p. 179).
Corrigé
a. Who parce que l’antécédent désigne un humain et parce que
les relatifs ont la fonction « sujet ». Virgule, car nous sommes
dans des relatives non-définissantes : les antécédents étant
des noms propres, ils sont auto-définis.
b. Who parce que l’antécédent désigne un humain et parce que
le relatif a la fonction “sujet”. Pas de virgule ici car la relative
sert à définir une catégorie particulière de parents ; elle est
définissante.
EXERCICE 2
• Mise en pratique immédiate de l’observation et de la PRL qui
ont précédé.
Corrigé
a. Circonstancielle de condition, if.
b. COD, that.
c. COD. that.
d. Circonstancielle de comparaison, as.
EXERCICE 3
Corrigé
• Les subordonnées sont soulignées.
a. I sometimes wonder if other parents act this way. Structure
affirmative : sujet + verbe + complément.
b. Have you ever tried to understand why you react in this
way? Structure affirmative : sujet + verbe + complément. Le
point d’interrogation appartient à la principale, c’est qui a une
structure interrogative.
EXERCICE 4
• À rapprocher des paragraphes traitant du discours indirect (PG
p. 183).
Corrigé
a. ...in what way she feels competitive.
b. ...if she plays a lot of games with her children.
c. ...what she means exactly.
d. ...how the children react to this.
e. ...if they laugh at her.
f. ...why she reacts in this way.
Famous Families (p. 66-67)
• Les pages magazine sont conçues comme une respiration dans
la progression du manuel. Les documents proposés permettent
à nouveau un travail de groupes si le professeur le souhaite.
La mise en commun est faite à l’oral et peut faire l’objet d’une
prise de notes très succincte qui pourrait servir de base à un
homework du type : ‘Be able to speak for one minute about the
families mentioned on these pagesî.
54 Livre du professeur New On Target 2e
READ (p. 66)
• Le travail sur les deux documents p. 66 permet aux élèves
d’évoquer une famille télévisuelle qu’ils connaissent en général
assez bien, et de découvrir qu’elle est aussi née en réaction
contre une autre famille fictionnelle très populaire en son temps,
et très politiquement correcte, ce que ne sont résolument pas
The Simpsons.
• Probablement l’une des meilleures séries télé produites ces
dernières années, The Sopranos (photo p. 67) a durant six
saisons passionné de très nombreux spectateurs aux États-
Unis et ailleurs, a raflé de nombreuses récompenses, célébrant
la qualité d’écriture de David Chase, entre autres, le soin
des mises en scène, et le talent des acteurs. Ce qui est très
intéressant ici c’est de faire remarquer aux élèves comment
le thème de la famille – ici mafieuse et italo-américaine –
parcourt l’univers américain et permet des déclinaisons
surprenantes. Le clin d’œil graphique dans la composition
Sopranos/Simpsons en est d’ailleurs la preuve. Le dessin des
Simpsons est l’illustration – au sens propre comme au sens
figuré – de ce qu’est un pastiche. Les personnages de la série
d’animation sont venus se superposer aux figures sombres et
torturées de la famille au sens mafieux du terme. Le message
serait-il que les conflits et les secrets sont inhérents même au
concept de famille ?
Corrigé (exemple)
 Both shows are American. Both families are made up of
five people: the parents and three children. Contrary to the
Andersons, the Simpsons are not an idealised family. While the
Andersons are a middle-class family, the Simpsons are working-
class. Unlike Jim Anderson, described as wise, all-knowing and
morally superior, Homer is crude, incompetent, thoughtless
and lazy. He’s also a couch potato who drinks a lot of beer and
eats anything fried. Finally, both shows were or are extremely
popular.
 Its composition is based on contrasts:
In the foreground a man is sitting at home in his living-room. He
is alone looking at something to his right.
In the background a group of people, his family probably, are
standing just outside the french windows which are open. Most
of them are looking at him.
The feature common to all of them is their blank look: their faces
are expressionless, they are lost in their thoughts, they seem
unable to communicate.
What we can deduce is that even though the people in the
background are the man’s family, they keep away from him. The
composition of the photo makes us feel closer to the man in the
foreground and, like him, rather alienated from the others.
(pour ceux qui connaissent le feuilleton) The picture well
illustrates the main theme of The Sopranos which is about the
head of an Italian-American family who has trouble reconciling
an apparently respectable life with running an illegal business
as a mob godfather. His family is kept at a distance from many
aspects of his life and many of them regard him as the black
sheep.
 livre du professeur

(pour ceux qui ne connaissent pas le feuilleton) I have no idea Name Profession Typical family? Reasons
what the series is about, but maybe it is about family feuds (Yes/No) (a-e)
because it looks as if the man in the foreground is hiding things Robert Kovacs
from his family. One can assume that there are a lot of subplots Will Miller
as well as a lot of sudden twists in the main plot, as in most long- Patricia Abelson
running serials. James L. Brooks
 This picture is obviously a pastiche of the picture of The Vicki Rosenstreich
Sopranos on the facing page. Both show a man sitting alone • La tâche consiste à :
in an armchair turning his back on the rest of his family who 1. associer correctement énonciateur et énoncé (inscrire la
are standing in the background, and in both cases everyone bonne lettre dans la dernière colonne)
looks either blank or unfriendly. Some details are deliberately 2. pointer l’avis de chaque intervenant : Does he/she think the
borrowed from the original picture such as the lamp, the window Simpsons are a typical family? (inscrire Yes ou No dans la
and the coffee table. The message seems to be that, no matter troisième colonne)
what the breadwinner does or how hard he tries to please his 3. compléter la profession de chaque intervenant (deuxième
family, they are never satisfied. colonne).
LISTEN (p. 66) Corrigé
TAPESCRIPT tapescript19-p66 Name Profession Typical Reasons
PRESENTER: Some of our listeners left messages on our machine. family?
They wanted to help us answer the question: ‘Are the Simpsons a Robert Kovacs M.D. (= doctor) and No e
typical American family?’ Let’s listen to them. Child and Adolescent
MAN 1: My name’s James L. Brooks, I’m a TV director and I think Psychiatrist
the Simpsons are the normal American family in all its beauty and Will Miller doctor Yes a
horror. Patricia Abelson family therapist Yes b
WOMAN 1: Hi, this is Patricia Abelson, I’m a family therapist. For me James L. Brooks TV director Yes c
the Simpsons are a typical American family in the sense that it’s a Vicki Rosenstreich Family Life Education Yes d
happy family – because they obviously love and care about each Counsellor
other. It’s also an enormous relief to families everywhere to know
that things don’t have to be perfect in a family to work.
READ (p. 67)
MAN 2: Robert Kovacs, M.D. and Child and Adolescent Psychiatrist. • Il s’agit de faire un sommaire bilan de ce que les élèves savent
No. I don’t think they’re typical at all. It’s important to contradict sur Roméo et Juliette ; il est tout à fait envisageable de les lancer
the ‘father knows best’ idealisation of family, but this is too much sur une recherche Internet (en homework), à condition de poser
to the other extreme. To young kids, Bart’s behaviour will look as if des questions précises et de les envoyer sur des sites (ils sont
it’s cool to be antagonistic to parents. innombrables) reconnus par le professeur comme les plus
WOMAN 2: Vicki Rosenstreich, Family Life Education Counsellor. Yes. pertinents.
I think they’re typical because they display attributes of many
WORDWORK wordfile-p67
families. They have values; they care about each other. They’re not
always nice to each other. But visit any family! Corrigé
MAN 3: Dr Will Miller speaking, I reckon American viewers see a A. 1. uncle, 2. sisters, 3. niece, 4. cousin, 5. nephew, 6. sister-in-
cracked-mirror version of their own families in the Simpsons. law, 7. aunt, 8. great niece, 9. brother-in-law, 10. niece.
• Pour travailler la compréhension de l’oral, photocopiez et B. siblings = frères et sœurs
distribuez les messages dans le désordre, ainsi qu’une grille à great-grandson = arrière-petit-fils
compléter : godfather = parrain
a. ...American viewers see a cracked-mirror version of their own twins = jumeaux
families in the Simpsons. godmother = marraine
b. ...because they display attributes of many families. They have
values; they care about each other. They’re not always nice to Checkpoint (p. 68-69)
each other. But visit any family!
c. ...I think the Simpsons are the normal American family in all Compréhension de l’oral (p. 68)
its beauty and horror. • L’extrait est tiré du roman de Jay McInerney, The Good Life,
d. ...it’s a happy family – because they obviously love and care 2006, premier roman à notre connaissance dont l’intrigue se
about each other... déroule immédiatement après les attentats du 11 septembre
e. ...this is too much to the other extreme. To young kids, Bart’s 2001. (Voir aussi le texte The Survivor, p. 12, où un autre extrait
behaviour will look as if it’s cool to be antagonistic to parents. est proposé dans le cadre de la thématique de la ville.)

4. Families 55
4 Families
• Contexte : la fille de Luke, adolescente, a fugué suite aux
difficultés de couple que Luke et sa femme Sasha ont depuis
quelques mois. Elle s’est réfugiée chez Nora, sa grand-mère
paternelle. Apprenant enfin où sa fille se trouve, Luke décide
d’aller lui rendre visite.
LISTEN (p. 68)
TAPESCRIPT tapescript20-p68
NORA: My handsome boy, you’re so thin. You’ve lost that horrible
business-dinner bloat. How are you, Luke? It’s all right.
LUKE: You look good.
NORA: About like an old saddle that’s been left in the sun. Not that it
matters. Ashley’s out back.
LUKE: How does she seem?
NORA: Well... pretty fair, considering. Though just now she’s nervous
as a housefly on a window pane. She’s been kind of a wreck about
the prospect of seeing you. Don’t worry, you look fine. Just be
sweet to her. This isn’t the moment to get all disciplinarian.
LUKE: What – do you think I’ve been beating her?
NORA: No, quite the opposite. I think you’ve let her run a little too
free.
LUKE: Like you did with me.
NORA: That’s true. But your dad was always there to crack the
whip.
LUKE: I’m just grateful she had sense enough to come here.
NORA: She’s welcome to stay as long as she wants. Or as long as her
mother will let her. How is Sasha?
LUKE: She’s fine, I suppose. Actually, I don’t really know any more.
I think she’s having an affair, or at least she was. It doesn’t really
matter at this point.
NORA: I’m sorry, Luke.
LUKE: It’s all right, I’m the one who should be sorry for you. I know
what you’ve put up with all these years.
NORA: I only ever wanted you to be happy.
LUKE: I thought I was for a while. And then I got used to being less
than happy.
NORA: We can talk about it later. Right now, you should go find your
daughter.
Corrigé
 At Nora’s.
 Luke (the father) has come to visit Nora, his mother.
 Ashley is Luke’s daughter and Nora’s grand-daughter.
 Ashley has obviously been through a lot of stress, but is
holding on, according to her grandmother. Nora adds that the
girl is nervous at the prospect of meeting her father (after
disobeying him on several occasions).
 She advises him not to get all disciplinarian and to be sweet
to her.
 She has run away from her parents’ and has obviously taken
refuge at her Granny’s.
 Sasha is Luke’s wife, and we get the feeling that the couple
has seen better times.
They will talk about Luke’s marriage.
56 Livre du professeur New On Target 2e
Expression orale (p. 68)
• Greg Evans est le talentueux créateur des aventures de
Luann, adolescente peu sûre d’elle, parfois égoïste, impulsive,
pas vraiment organisée, et très attachante une adolescente,
vraiment, donc. Les bandes dessinées publiées dans les
journaux la montrent dans les situations de la vie courante, en
famille ou avec ses amis, au lycée.
• Le document proposé ici est simple et efficace, il appelle au
contraste et à la comparaison et clôt parfaitement le chapitre
consacré à la famille.
SPEAK (p. 68)
Corrigé
 In both frames we can see Luann and her mother. In the
first they are in front of the school. Luann is a small child who
is reluctant to leave her mum to go to the pre-school seen on
the right. She shouts ‘Don’t go, Mommy! Come with me!’ and her
mother is staring at her, looking sad. In the second one, Luann
is a teenager and her mother is driving her to high school. Luann
says: ‘Just drop me off a block away from school, ok?’ She is
probably ashamed of being driven to school by her mother or
simply ill-at-ease in case her schoolfriends see her mother.
Her mother’s facial expression shows she’s used to such an
attitude.
 Luann as a young child depends on her mother, and is afraid
of the world outside. She finds it hard to leave her mother’s love
and protection. Luann the teenager is independent and wants to
get rid of/shake off her parents’ authority.
 (exemple) I identify with Luann because I do the same. I don’t
like having my parents with me when I go to school. School and
family are two separate worlds. I find the cartoon strip amusing
because it is simple and speaks the truth.
Compréhension de l’écrit (p. 69)
READ (p. 69)
• Ce document est extrait du recueil True Tales of American Life
du célèbre auteur américain Paul Auster. D’abord destinées
à être lues à l’antenne dans le cadre d’émissions radio, ces
histoires personnelles qui dressent un portrait de la société
américaine contemporaine, ont été publiées en 2001.
• Le nombre toujours croissant et le succès des œuvres de et
auteur (romans, poème et scripts de films) font de lui un des plus
grands écrivains de la littérature contemporaine américaine.
• Nous avons ici un extrait qui ne manqué pas de cynisme et qui
met en scène une grand-mère acariâtre dont le petit-fils n’a pas
trouvé de meilleur moyen pour se venger que d’inonder la sale de
bains. Le cynisme atteint son apogée lorsque le grand-père fait
comprendre à son petit-fils qu’il a réalisé sa propre vengeance.
Corrigé
 Characters presen : the narrator (Eric), his grandmother, his
grandfather and the guests. Events: The bathroom is flooded
and the grandmother loses her temper and starts screaming
(bloody murder).

 The child turned on the taps on purpose because he wanted
the bathroom to be flooded.
 The people present try to protect Eric and prevent the
grandmother from getting close to her grandson.
 The grandfather cannot hide the fact that his grandson did
exactly what he would have liked to do himself: take revenge on
his wife! It would be interesting to imagine why so many family
members would like to get back at the grandmother.
Expression écrite (p. 69)
WRITE (p. 69)
• Si le point de grammaire a été abordé, on pourra encourager les
élèves à utiliser dans leur production des énoncés complexes
(cf. p. 65 et Précis grammatical p. 177).–
Corrigé
 Life – especially when being a teenager – can be full of
unexpected and difficult situations. The person that I would
go and see in such cases would depend on the situation. If I
encountered a problem that most teenagers have to face and
if I needed advice, I think that I would take refuge at my best
friend’s house. People your own age can easily understand what
you feel because they usually go through the same difficulties.
They can empathise and advise you to take a certain course of
action. However, if I were in dire straits, I think I would go and see
an adult member of my family – my grandmother, my uncle...
someone I feel close to. Some situations are so tricky that only
adults can help us overcome them. It might be more difficult to
open up with adults but most of the time they will come up with
good solutions to our problems.
 It is always comforting to know that some people care
about you and that you always have somebody to run to in an
emergency. We should keep in mind that not everybody is lucky
enough to know someone who can help them overcome tough
situations. However, if I were in the predicament of not having
anyone to look to for help, any problems would be bottled-up and
perhaps become disproportionately troublesome. The situation
might get worse for teenagers whose parents are having their
own problems and nobody to talk to. They might withdraw into
themselves and their life might get even worse. If they’ve done
something wrong or if they get into bad ways and have no one
to talk to, they might get caught in a never ending spiral of
troubles.
 (Students’ own answers.)
Ateliers (p. 70-71)
Atelier 1 (p. 70)
TAPESCRIPT dvdscript-p70
VOICEOVER: Stunt men and women make up a very small family
in the USA. They are highly paid and very protective of their
close-knit community. So, getting into the business is not
easy. However, the Stunt Clinic in Las Vegas provides a way for
newcomers to learn the skills of this very secretive world.
livre du professeur
TRAINER 1: Women or men, it don’t matter. If you come out, you
come out for the one reason of passion that is in you and you
love performing, live or in front of a camera, and you love the
action and you’re not there for the money, number one, (you’re
in it) for the passion like most people are and other things will
come.
TRAINEE 4: Again, again!
TRAINEE 1: There can be, you know, five to ten performers that
you’re up against, hundreds, possibly thousands, depending
on the movie itself and the budget of the film.
TRAINEE 2: I started working on it two years ago and before that
I was interested (in it) for about a year before I found a way in,
‘cos it’s a very closed shop.
TRAINEE 3: A lot of it is who you know. It’s not about what you can
do or what role you want. It’s all about who you know.
TRAINER 2: It might be 25 per cent talent, 75 per cent politics
and that sort of thing, and there’s still some nepotism going
on – not as much as it used to be – but the stunt community’s
pretty tight and basically a pretty conservative lot.
TRAINEE 4: I’m very excited just to have the opportunity to learn
from the best in the business. The top ten stunt coordinators
in the United States are here today. I’m getting the best
instruction, and that helps, mentally, when you know that
you’re getting, you know, the best.
TRAINEE 5: That’s not how you do it!
VOICE OFF: Looked good.
TRAINEE 6: If your heart’s into it, they can tell right away so I don’t
think it matters if you’re a guy or a girl. If you’re good at what
you do, someone’s going to help you out. (cascade)
VOICE OFF: You’re really pro!
TRAINER 4: I think the future really holds a lot for the women,
actors and stunt people, to really shine and show what they
can do.
Questions du manuel (p. 70)
Corrigé
 The main difficulties are that it is a close-knit community –
a closed shop – there are too many people competing for too
few jobs, and it’s often who you know rather than what you can
do that determines whether you get work or not. It is a milieu in
which politics and nepotism is involved, and one which is very
conservative.
 It’s a way of learning the skills you will need to get into
this closed community, and you can learn from the best in the
business: the top 10 stunt coordinators in the USA.
DVD WORKSHEET dvdfile-p70
Corrigé
 /c/d.
 a. You have to love performing and love the action.
b. Passion.
c. Money.
 1/c, 2/d, 3/f, 4/a, 5/e, 6/b.
4. Families 57
4 Families
 She’s getting the best instruction possible from the top
instructors in the USA.
 She believes that if you’re good at what you do, this is what
counts and people will help you (i.e. employ you) no matter who
you are.
 I think the future really holds a lot for the women, actors and
stunt people, to really shine and show what they can do.
Atelier 2 (p. 70)
• Outre l’aspect culturel, le but ici est linguistique : entrainer
les élèves à lire et commenter un tableau ou une carte. Il serait
nécessaire alors de faire réviser la façon dont on exprime les
dates, les décennies, les pourcentages et la forme comparative.
Les élèves pourraient compiler ensemble un Toolbox.
Corrigé
1. (exemples) The number of single-parent families in the UK
in the twenty-first century is four times as great as it was in in
nineteen seventy-two.
The USA is the country which has always had the greatest
percentage of single-parent families and it is the south west of
the country which is particularly affected. The east and west
coasts of the USA do not have so many.
2/3. Il existent de nombreux sites que les élèves peuvent
consulter, dont :
• http://www.census.gov/prod/2004pubs/p22-553.pdf
• http://family.jrank.org/pages/1581/Single-Parent-Families.html
Les élèves pourraient se diviser en groupes pour discuter les
différents aspects : demographic trends, mother-only and
father-only families, the effects on children, public assistance
for single-parent families, etc.
Atelier 3 (p. 70)
• La question posée ici comporte deux parties : dans une première
partie les élèves doivent décrire l’image et puis réfléchir au sens
de generation gap et puis sur les relations entre les enfants et
leurs grand-parents et les raisons pour lesquelles ces relations
sont souvent plus faciles qu’avec leurs parents. Ces deux parties
pourraient être traitées par deux groupes différents.
Corrigé (exemples d’énoncés)
In the photo we can see five people sitting in a hammock: four
children of different ages and ethnic origins and an older white
man. The man seems to be showing the children something on
his laptop. The children all seem very involved in what he is doing
and both young and old are obviously enjoying this moment
together. It looks as if the term ‘generation gap’ does not apply
here, because not only are young and old sharing the same
experience but we can see that the older man is using a laptop
computer which is often associated with younger people.
Within the family, children often have an easier relationship with
their grandparents than with their parents. This may be because
they do not see them very often and because grandparents
indulge their grand-children when they do see them and do not
have to face everyday problems together. Children may find it
58 Livre du professeur New On Target 2e
easier to confide in their grandparents because there is more of
a distance between them.
Atelier 4 (p. 71)
• Les relations familiales, y compris dans les familles éclatées,
sont le thème central du roman The Divide (2005) de Nicholas
Evans (auteur de The Horse Whisperer). Abbie, une jeune fille
de bonne famille se laisse entraîner dans un tourbillon militant,
subjuguée qu’elle est par un activiste qui a su la séduire et la
convaincre de sa cause pour finir par plonger dans la clandestinité
après avoir été la complice involontaire d’un meurtre. Considérée
comme terroriste écologique, pourchassée par le FBI, elle finit
par faire appel, après de longs mois de silence, à son amie Katie,
à son frère Josh, puis à sa mère (séparée de son père) pour
trouver un peu d’argent. Toutes les relations d’Abbie se savent
étroitement surveillées par le FBI.
• Le passage que nous avons retenu est celui où Katie, l’amie
d’enfance d’Abbie, contacte son frère Josh pour lui remettre une
enveloppe qu’Abbie a réussi à lui transmettre.
Remarque : L’illustration est proposée pour aider les élèves à
anticiper la situation qui va être décrite dans le texte. Rien de
bien original ici, mais un petit coup de chapeau à l’illustratrice qui
a su rendre facile l’identification des personnages, la situation
dans laquelle ils se trouvent, leurs sentiments ainsi que le cadre
dans lequel la rencontre a lieu.
• Le professeur choisit selon le degré d’autonomie des élèves
d’exploiter sommairement en amont cette illustration. Les
productions pourraient ressembler à ce qui suit :
The scene shows what looks like a secret meeting held on
a bench on a university campus, judging by the style of the
buildings in the background. Two young women are sitting on
this bench. The one on the left is obviously trying to hide who
she is, as she is wearing dark glasses (maybe not such a good
idea if you want to look inconspicuous). She has a determined
look, and the blonde girl on the right looks rather worried,
maybe even frightened. The books resting on the bench beside
her suggest that she is attending classes at the college in the
background. The two girls look as if they are engaged in some
illegal activity. The girl with the dark hair is giving the other one
a brown envelope which the other one seems reluctant to take.
We might even go as far as saying that the former is practically
forcing the envelope into the latter’s hands.
Corrigé
 There are two characters in this passage, Katie and Josh. We
can infer from his attitude that Josh is closely related to Abbie.
He is probably her brother and, like Abbie, a close acquaintance
of Kathie’s. Abbie is mentioned by both characters but she is
absent from the scene.
Josh mentions his parents in lines 27-28, while Katie speaks
of Abbie’s grandfather. Rolf seems to be a man Abbie is in love
with.
 The FBI is watching her family because she must have done
something illegal.

She lives with a person called Rolf.
She is on the run (l. 22 “Why doesn’t she give herself up?”).
Her family is under close surveillance.
She wants Josh to help her get a few thousand dollars for her. (l.
28-32) and she has asked her friend Katie to give a mysterious
envelope to her brother Josh.
 Abbie is not alone; she lives with Rolf, and she is still trying to
contact her brother, her grandfather and her friend Katie.
 Katie said: ‘I love Abbie, or the person she was’ (l. 43).
 She doesn’t want Josh to try and make contact with her ever
again. She doesn’t want her parents involved in Abbie’s troubles.
She doesn’t want to see her life ruined for helping a fugitive. (l.
40-46, l. 48)
 The envelope contains a message, which is a typical device
to create or increase suspense in a thriller. Moreover the note
written by the mysterious Abbie invites Josh to a secret meeting
that makes the reader want to know more. What’s more, the
meeting represents a risk: Abbie or Josh – or both – might be
followed and arrested by the police.
Atelier 5
(p. 71)
• Pendant l’écoute du groupe qui a travaillé sur le texte, le reste
de la classe peut prendre des notes et penser à des questions
qu’il pourrait poser à ce groupe.
• Pour la partie « débat », il serait bien de faire rappeler aux
élèves toutes les expressions pour donner son opinion, être
accord ou pas d’accord (voir Méthodologie, p. 148-149). Les
élèves prépareront leurs arguments en avance, en groupes.
No time for goodbye (p. 72-73)
• Grand succès d’édition, ce roman policier n’a d’autre ambition
que de distraire un lecteur bienveillant et friand de suspense et de
rebondissements. La page proposée est la première du roman.
livre du professeur
• L’objectif visé ici est bien de faire lire les élèves, de les
encourager à lire sans passer au crible du dictionnaire chaque
mot non compris, voire de prendre plaisir à se satisfaire d’une
gratifiante compréhension globale de l’extrait.
READ
(p. 72)
Corrigé
 Cynthia wonders whether she is late for school. The house is
still. She can hear none of the usual breakfast noises downstairs
in the kitchen nor the loud rock music her brother listens to while
getting ready for school. Finally when she climbs down the
stairs, she finds an empty kitchen, and no note explaining the
weird situation.
 The evening before, she had started her math homework
but had not finished it because she had gone out to meet her
boyfriend, someone older. She drank too much. Her father found
her later on, forced her to go back home and they had a row
about it.
 Cynthia and her father argued about her being out (without
permission) to meet her boyfriend. The narrator also mentions
that her father is often away on business.
Cynthia does not share much with her brother, they are not
close at all.
The narrator does not say much about Cynthia’s mother except
that she is good at leaving notes.
 This is definitely taken from a thriller because the typical
features are there: things that seem strange and puzzling
both to the main character as well as to the reader, notably
that the house is empty so early in the morning without any
explanation.
 I guess Cynthia is going to check outside or in the garage to
see if the family’s cars are there, or ask the neighbours whether
they saw her parents and brother leave because of some
emergency. If she does not get any explanation then she will
probably call the police.
4. Families 59
5 United We Stand
Pages d’ouverture (p. 74-75) institutrice dont les propos blessants et discriminatoires ne
pourront que choquer.
• Le titre donné à cette unité parle de lui-même. Il sera question • Pour en savoir plus sur l’auteur :
ici d’une notion qui dépasse celle du « vivre ensemble » pour http://www.nytimes.com/2006/07/12/arts/12uhnak.html
aller jusqu’à celle de solidarité mais parfois aussi à celle de http://www.guardian.co.uk/news/2006/jul/27/guardian
conflit, autre forme du vivre ensemble... obituaries.booksobituaries
• Les photos retenues, comme pour les autres premières • Travaillez avec vos élèves la fiche lexicale avant le travail de
doubles pages illustrent la façon contrastée avec laquelle nous compréhension du texte car les thèmes de l’amour et de la haine
souhaitons aborder les problèmes. Nous voyons ici des gens sont directement associés à la situation décrite.
qui luttent ensemble (et forcément contre quelque chose ou
quelqu’un) mais aussi qui s’amusent et font la fête ensemble... WORDWORK wordfile-p77
regardless of colour. Corrigé
• On peut choisir de créer quatre groupes d’élèves, chacun
d’eux étant chargé de préparer un compte-rendu de la question
qui leur aura été confiée, ou bien six groupes qui traiteront les
quatre questions à partir d’une des photos. Nouns: love, reconciliation,
Nouns: hate, hostility, resentment,
sympathy, friendship, affection,
disgust, animosity, contempt,
SPEAK (p. 75) tenderness, endearment,
antipathy
passion, fondness, kindness
Corrigé Verbs: dislike, loathe, detest,
Verbs: reconcile, like,
despise, can’t stand or can’t bear,
(exemples) appreciate, enjoy, admire, have
resent
a liking for, relish
 Pictures 1, 2 and 3 show labour disputes or social unrest.
You might think picture 5 was an assembly of workers taking a Translations
vote by a show of hands but, in fact, if you look at picture 4, it’s resentment = ressentiment
the same event, and it is obvious in picture 4 that this is some sympathy = compassion
sort of celebration or festival. contempt = mépris
endearment = affection
 Pictures 4, 5 and 6.
fondness = penchant, affection, tendresse
 We see policemen in pictures 2 and 6. It has to be said that kindness = gentillesse, bonté
there appears to be little difference between their attitude in reconcile = réconcilier
either case. In picture 2, they are not wearing riot gear and carry loathe = dé tester, haïr
no weapons. They seem to be observing. In picture 6, they are despise = mépriser
mingling with the crowd. can’t stand/can’t bear = ne pas supporter
 The title of the chapter is the first half of the proverb “United relish = trouver du plaisir à
we stand, divided we fall”. This is very much the principle behind resent = être contrarié par, être indigné de, ne pas accepter
the rise of the trade union movement of the 19th century when
the working classes found out that concerted protest was SPEAK (p. 76)
effective in the face of exploitation. It is therefore appropriate Corrigé
as a comment on the pictures of demonstrations, the idea being  (exemple) The photo shows a group of people joining hands
that solidarity or “standing together” can bring about change. In in the middle of a street. The Israeli flag and the American flag
a slightly different sense, the expression can also be applied to that we can make out behind it indicate that the photograph
solidarity between the different ethnic groups that make up one was taken in the USA in a Jewish neighbourhood. Judging from
community. This is one of the principles behind events like the the cars parked along the street, it seems probable that the
Notting Hill Carnival (illustrated in three of the pictures). scene is taking/takes place in the early fifties.
 (exemple) The two flags side by side emphasise the idea
Hate (p. 76-77) that the Jewish community in America has a double culture but
• La discrimination et le mépris et donc le sentiment profond that its members are as much American as they are Jewish.
d’injustice qui en résulte sont les thèmes majeurs de ce passage
émouvant extrait du roman The Ryer Avenue Story de Dorothy
READ (p. 76)
Uhnak. Voici un des propos recueillis par le New York Times Corrigé
en 1977 lors d’une interview avec l’auteur : I write about very  Characters present: Deborah and her brother, Ben, and
hard situations and in a strong way. La situation décrite dans their parents, Mr. and Mrs Herskel. Characters mentioned: Miss
l’extrait devrait en effet susciter bien des réactions car la scène Hewitt (Deborah’s schoolteacher), the goyim cops, the Catholic
rapportée met en opposition deux générations et deux cultures kids, the Polack janitor (Stachiew).
dans le Bronx new-yorkais des années 50 et met au centre une  The scene takes place in the USA in the 20th century.

60 Livre du professeur New On Target 2e


 The conversation is about the schoolteacher’s humiliating
words after Deborah (had) recited her poem. Miss Hewitt didn’t
hide the fact that she resented Deborah’s Yiddish accent.
WRITE (p. 76)
• Rappelez aux élèves que le narrateur n’a que dix ans et qu’il
convient donc d’en tenir compte dans le style et le registre de
langue choisis.
• Insistez aussi sur le fait qu’un extrait de journal intime n’est
pas une lettre ; il n’y a donc pas de signature mais un récit rédigé
sous sa forme la plus simple.
• Encouragez les élèves à utiliser des adjectifs qui traduisent
l’état émotionnel dans lequel se trouve la petite fille.
Corrigé
(exemple de production)
March 9, 1952
Today has been the worst of my life. When Miss Hewitt asked me
to recite my poem, I first felt so proud! I thought she had chosen
me because she knew I would recite it properly. I have always
liked reciting poems. Mum says I have such a good memory!
But what happened next made me feel so sad, so humiliated!
She made fun of my accent, she said ‘that old singsong Yiddish
accent.’ I didn’t dare (to) look at the girls around me. Only Sarah
could feel what I was feeling. When I came back home, I couldn’t
hide how depressed I was. Mum wanted to know what was
wrong, and Dad was there too, but when I explained what had
happened and that Miss Hewitt was always saying nasty things
to me and to Sarah, they just didn’t really care. They said things
like: ‘It’s not a big deal... bla bla bla...’. I can’t bear it any more,
Ben can’t bear it either, the way they just let goyim people say
nasty things to other people just because they are Jews. What
difference does that make? When Ben heard what Mum and Dad
said, he rushed into the street. I have no idea where he is now.
He was so angry! He even said he didn’t want to be a Jew. I think
I don’t want to be a Jew either.
INTERACT (p. 77)
• Pour la partie B de chaque fiche, rappeler aux élèves qu’ils ne
doivent en aucun cas lire leurs notes mais se prêter au jeu d’une
réelle intercommunication orale, phase délicate pendant laquelle
les membres du groupe doivent s’assurer de la compréhension
des élèves à qui ils s’adressent. Il s’agira de reformuler plutôt
que de répéter, voire de solliciter la classe pour reformuler à son
tour.
Corrigé
Team 1 teamfile-p77-1
A. 
first name Deborah
surname Herskel
age ten
physical details tall, thin, grey eyes/grey-eyed
grade at school fifth
academic level A (bright)
religion Jewish
livre du professeur
 Miss Hewitt, Deborah’s schoolteacher, asked Deborah to
recite her poem and when she did so, she reproached her for her
Yiddish/Jewish accent in front of all her classmates.
 (1.) The small mouth quivered (l. 11); (2.) the tears flowed
from the rapidly blinking eyes (l. 11-12); 3. her pain (l. 29).
 humiliated
Team 2 teamfile-p77-2
A. 
five years of American education, my smartest
...objective
girl, How many children are Americans?
...preconceived that old singsong Yiddish accent, What is it with
ideas you people..., How many Jewish?
 a. Jewish people
b. The expression is extremely disdainful. It puts two peoples in
opposition: the Jewish people and the American people. It also
implies that there is something wrong with being Jewish.
c. She thinks that Jewish people are different from Americans.
d. Hasn’t five years of American education changed that?
 hard, strict, disrespectful, scornful, disdainful, contemptuous,
insulting, haughty.
Team 3 teamfile-p77-3
A.  Sketch A (ll. 6-7)
 (dans l’ordre) Mr H, Mrs H, D, B.
 The two groups in opposition are the parents and their
children. They are sitting face to face.

mother So, okay. So, not so terrible. Just words.
So you are American and Jewish, both things. So, what’s
father
the big deal?
/a.
 Ben thinks his parents are too lenient and submissive.
They seem to accept being insulted by other people about their
religion. They minimise what people say about them.
Team 4 teamfile-p77-4
A.  sensitive or hypersensitive, easily influenced.
 rotten, miserable, hating.
 He does not intend to continue with Hebrew school and
refuses to be bar mitzvahed. He does not consider himself a
Jew any more.
 He reproaches his parents for never reacting when they
are insulted or humiliated. He says they accept everything just
because they don’t want any trouble. He blames them for being
very generous and getting nothing in return but humiliation. He
thinks they lose their dignity by being so indulgent.
PROJECT (p. 77)
• Au-delà d’une mission éducative contre toute forme de
discrimination, le project a ici pour but d’obliger les élèves à
utiliser des formules brèves mais percutantes. L’impératif est un
outil grammatical possible mais ce n’est pas le seul. Pour ceux
5. United we stand 61
5 United We Stand
qui souhaiteraient « pousser » un peu la mise en scène, on peut
inciter les élèves à défiler quelques minutes dans la cour et créer
ainsi l’effet de surprise. On peut également afficher quelques
slogans au CDI ou plus tard dans la salle de classe, bien sûr.
The Detroit Riots, 1967 (p. 78)
• Dans cette unité axée principalement sur la reconnaissance
et la défense des droits fondamentaux de tous, nous avons
choisi une page d’histoire (mémoire) et évoquons les émeutes
raciales de Détroit de 1967 survenues en pleine lutte pour les
droits civiques.
• À noter que le roman de Jeffrey Eugenides, Middlesex (2002),
fait une place non négligeable aux événements dont il est
question dans l’enregistrement.
SPEAK (p. 78)
• La photographie retenue et sa description orienteront les élèves
vers une anticipation précise du contenu de l’enregistrement.
À ce stade on peut également lancer les élèves dans le travail
lexical qui leur est proposé dans la fiche Wordwork. Cela les
aidera dans la description générale de la photo.
Corrigé (exemple)
The scene takes place in an American city judging by the
police cars parked on either side of the street – which are
obviously American. On close inspection you can see that the
police officers are carrying rifles or shotguns, indicating that
something serious is happening here in this deserted street.
The heavy plumes of dark smoke in the background show that
several buildings, maybe a whole neighborhood, are on fire and
that the fire is far from being under control. One might easily
assume that riots have erupted in this part of town.
LISTEN (p. 78)
TAPESCRIPT tapescript21-p78
REPORTER: The last few days in Detroit have been particularly
violent and tonight, Mike, our studio guest, is here to tell us
about his own experience of these terrible riots. Mike, when did
it all begin for you?
MIKE: Well, it was early on the first morning. A friend of mine
called my home – at about 6.30 I would think - He was
panicking a little.
REPORTER: And what did he tell you?
MIKE: Well, in fact he spoke to my daughter – must have thought
it was my wife, I suppose – and he said: “Tell Mike to get down
to the restaurant. The coloureds are rioting!”
REPORTER: That must have been a rude awakening!
MIKE: Yes, it was... although I must say I haven’t been sleeping
too well recently. I have been keeping my gun real close.
REPORTER: So what did you do?
MIKE: I just scrambled out of bed and into my clothes – no time
for socks or underwear! – and then I jumped into the car and
sped off towards Woodward. Everyone there was still asleep.
REPORTER: And when did you first catch sight of the events?
MIKE: I suppose the first thing I saw was the smoke – I could see
62 Livre du professeur New On Target 2e
it in the distance right in front of me – a thick black column of
smoke. It was very different from the usual industrial smog we
get here, you know. You could tell that something was on fire.
REPORTER: And did you notice anything else?
MIKE: Yes, people! All of a sudden there were people everywhere
– some of them were walking or running around, others
speeding past in their cars, others trying to flag them down. I
could hear sirens too – and then there was a police car – they
signaled me to turn back but, well, I couldn’t, could I?
REPORTER: And when you reached the district where the riots
were taking place...
MIKE: Kids! Ten-year-olds! I couldn’t believe it! I have always
known that part of town – since when I was a kid - I knew
everyone who lived there. It was always so calm and friendly
– we all helped each other out, you know.
REPORTER: And the children? What were they doing?
MIKE: They were running all over the place like wild things,
carrying bricks and throwing them through store windows and
such like... And they were laughing, as if it were some kind of
game! It was terrifying!
REPORTER: I guess you were pretty shocked!
MIKE: Yeah. So much so that I ran my car into something...
Corrigé
• Indiquer que les formes verbales sont parfois au passé parce
qu’employées dans l’enregistrement sous cette forme.
 The city in question is Detroit (Michigan) and the events
referred to are the 1967 riots.
 Mike was awakened by a phone call from a friend.
 Because there must have been signs of an imminent crisis,
such as tension between the communities.
 He was asked to rush down to where his restaurant stood
because the black population was rioting there.
 He realized something serious was happening when he saw/
caught sight of a column of smoke ahead of him and in the
direction where he was headed.
 What he describes sounds like a picture of utter chaos, with
people running in every direction and police cars converging on
the place where the trouble had started.
 He was astounded at the sight of young children (10-year-
olds) throwing bricks at shop windows and probably looting the
shops. He was terrified because up until that day the various
people living there tended to help one another rather than fight
or destroy one another’s property.
WRITE (p. 78)
• Nous souhaitons ici évoquer un autre épisode du même type
mais qui s’est déroulé un quart de siècle plus tard. Cet écart
amènera sans doute les élèves à des conclusions concernant
l’évolution de la situation sociale des afro-américains et ce dans
diverses parties du pays.
• Mettre en garde les élèves contre la tentation du copier-coller.
De toute façon, la masse d’informations et de détails qu’ils
trouveront sur internet les forcera à construire un résumé
 livre du professeur

des événements. Les aiguiller vers http://en.wikipedia.org/  When you look at the figures, it is clear that they illustrate
wiki/1992_Los_Angeles_riots. Des liens tels que http://video. a massive exodus of the white population. They wanted to flee
google.com/videoplay?docid=8111059671541821226 leur from the violence, hence the use of “flight” from the verb “flee”.
donneront une occasion de visionner les scènes de violence  a. the number of people per square mile was double that of
qui ont eu lieu. On en profitera pour enrichir le vocabulaire the city itself.
permettant la description de ces images. b. 6 to 8 families came to live where only 2 used to.
INTERACT (p. 78) Team 4 teamfile-p78-4
Corrigé A. • In 1967, the Mayor, Jerome Cavanagh, was far from optimistic.
Team 1 teamfile-p78-1 He lamented the damage done to the city and its people, and
also blamed his lack of foresight.
• Nous limitons la recherche à la première journée d’émeutes.
Rien n’empêche de complexifier la fiche proposée et de l’étendre • In 1974, Coleman Young (the first Black mayor) wrote that
à l’ensemble des événements. Detroit had suffered a major setback in the loss of jobs, taxes,
development and tourism dollars.
A.
• Thousands of white people fled the city within two years. By
Time Event the end of 1969 more than 200,000 had moved out.
Clairmount Avenue. A “blind pig” is an establishment that
3:34 am • The riots had a strong impact on popular culture. Singers,
sells alcohol illegally.
6:30 am Twelfth street. wrote about it, and up until recently novelists still have placed
noon Rumours of police brutality. their plots in that period.
6:13 pm Crowds grow. More fires. 400 State Police arrive. À cette adresse http://www.songfacts.com/detail.php?id=7711
6:30 pm 4,000.
les élèves trouveront les paroles de la chanson du Canadien
6:30 pm From 9 pm to 5 am.
9:00 pm
Gordon Lightfoot (Black Day in July). On peut leur demander
ce qui explique qu’elle ait été finalement interdite des ondes
Team 2 teamfile-p78-2 américaines.
A.  The cover is a summary of the events. Stores are on fire,
and people are shown running down the street with their arms WORDWORK (p. 78)
loaded with items that they have stolen from two local stores. Corrigé
The picture of the police officer with his riot gun illustrates the • public dissatisfaction and agitation = unrest
violence and repression. The three people on the right represent • rush about in a wild or agitated manner = go on the rampage
the officials that dealt with the situation. • a public display of group feelings towards a person or a cause
 5/6 days = a demo(nstration)
 a. 43, b. 10, c. 33. • collective violent behaviour in a public place = a riot
 a. 182, b. 167, c. 83. • a substance which when dispersed into the atmosphere
results in blinding of the eyes with tears = tear gas
 a. 6,528, b. 703, c. 6,403, d. 824.
• something held by policemen to protect themselves = riot
. 2,509. shields
 388. • a gun which fires electrified darts that immobilise a person
$40 to 80 million (in “1967” dollars) = a taser
Team 3 teamfile-p78-3 • a special unit trained to control agitated crowds = riot police
A.  Detroit’s white population during the 1950s declined by • a person who takes direct action in support of or in opposition
25 %. to one side of a controversial issue = an activist
• stop work in order to force an employer to accept demands
 Correspondingly, the percentage of non-whites rose from
= go on strike
16.1 % to 29.1 %.
• someone who physically prevents another person from going
 During the decade the number of black inhabitants increased to work during a period of action against an employer = a picket
from 303,000 to 487,000.
• a large destructive crowd of people = a mob
 The black population of Detroit represented 40 % of the total
• an act of popular violence often against an established
population by 1967.
government = an uprising
 • the act of stealing valuable things during war or disasters
1940 1950 1960 = loot(ing)
Whites 98.7% 62.8% 3.8% • a police weapon which is not sharp like a knife and does not
Non-whites 1.3% 37.2% 96.2% fire like a gun = a truncheon

5. United we stand 63
5 United We Stand
PRONOUNCE (p. 78)
Corrigé
A. The words in both groups are all plurals. They all end in “s”.
In the words in Group 1, the final “s” is pronounced like a “z” [z].
(It is voiced.) In Group 2, it is pronounced like the letter “s” or a
double “s” [s]. (It is unvoiced.)
B. These plurals are all pronounced “is” [Iz] at the end. This is
the third way you can pronounce the final “s” or “es” of words
(in plurals and third person singular forms of verbs). The rule
is that, if the preceding consonant or group of consonants has
the sound [s], [z], [c], [tc] or [dÂ], then the final “s” or “es” is
pronounced [Iz].
Daniel Boone (p. 79)
• Le tableau montre un groupe disparate et néanmoins soudé.
United we stand, titre du chapitre, pourrait très bien s’appliquer à
cette œuvre d’un peintre américain assez peu connu en France,
George Caleb Bingham, peut-être parce ses peintures ne sont
exposées qu’aux États-Unis, principalement au Museum of Art
de St Louis, Missouri.
• Même s’il est l’aîné de Mark Twain (une vingtaine d’années les
séparent), il est aisé de reconnaître dans l’œuvre de Bingham
des postures, des paysages (les bords des fleuves) ou des
figures typiques (les trappeurs) de l’Ouest décrits par Twain
dans ses romans les plus célèbres.
• Ce document visuel permet de travailler la compétence
commenting on a painting, mais aussi d’aborder un moment de
l’histoire américaine : celui où la nation se construit et s’étend
résolument vers l’Ouest.
• Le coeur du tableau forme une pyramide d’humains et
d’animaux domestiques bien groupés autour du cheval blanc
qui capte la lumière et la renvoie sur les êtres vivants autour
de lui. Autour, la forêt est compacte et sombre, les troncs sont
coupés et menaçants ; les cieux sont chargés de nuages. Il
faudra amener les élèves (par le biais des questions posées
et l’étoffement guidé des réponses attendues) à prendre
conscience de la lutte entre les forces en présence.
LES FICHES D’INFORMATION (BONUS)
• Trois fiches d’information sont téléchargeables. Elles fournissent
des renseignements sur le peintre, le background et le tableau :
bonusfile1-p79
bonusfile2-p79
bonusfile3-p79
Pour ceux qui disposent du manuel numérique, ces textes sont
disponibles également en version enregistrée.
SPEAK (p. 79)
• La Toolbox permet aux élèves de répondre à cette question.
Il conviendra de s’assurer de la qualité de la prononciation des
termes utilisés, d’une part parce qu’ils sont donnés avec leur
transcription phonétique et d’autre part parce que le professeur
par un simple clic peut les faire entendre à la classe s’il a opté
pour le manuel numérique.
64 Livre du professeur New On Target 2e
• La question 2 est l’occasion pour les élèves de revenir en
arrière et de feuilleter, par exemple, la double d’ouverture qui
montre des gens en groupes, rassemblés pour s’opposer ou
pour s’exprimer, tout comme le document de l’atelier 3 (page 87)
ou encore des gens debout, eux-mêmes meneurs de foules,
icônes et pionniers (au sens politique cette fois) des pages 82
ou 83. Des termes étudiés (peut-être) dans la wordfile intitulée
Love and Hate (p. 77) seront les bienvenus dans la réponse à
cette question, par exemple : hostility, resentment, sympathy,
disgust, friendship, animosity, contempt, affection, tenderness,
antipathy...
• Pour la question 3, la fiche de méthodologie figurant en fin
de manuel (p. 144) et intitulée « Étudier une image » fournit
un premier cadre au commentaire du tableau lui-même, qui
est encore affiné si l’on donne accès au bonusfile (partie The
Painting).
• Enfin (question 4) les élèves sont invités à donner leur opinion.
Comme toujours, toutes les opinions sont les bienvenues, à
condition qu’elles soient exprimées en anglais et justifiées. Un
développement intéressant et stimulant pourrait consister à
donner en homework un still ou photogramme d’un western et/
ou d’une série comme Deadwood par exemple et demander aux
élèves de comparer.
Corrigé
 This is an oil painting of a group of figures in wild surroundings.
They are emerging into the sunlight having gone through what
looks like dark hills. They are coming towards us. The sky in the
background is heavy with clouds. A storm has either just passed
or is approaching.
On the left of the group is a hunting dog. In the centre is a white
horse carrying a woman wearing a dark cape. Next to the horse
is a man with a rifle over his shoulder who looks like a guide
and who appears to be escorting the group. He is wearing light-
coloured clothes. Two other men are in the foreground: one is
holding a rifle, the other is lacing up his shoes. In the background
we can see the well-lit face of young woman as well as a couple
of other people whose faces are shadowy. To the left and right,
strangely-shaped dead tree trunks and branches look rather
threatening.
 The theme of the painting is the way in which explorers
and settlers were gradually acquiring more and more land for
the United States. Because it shows a large group of settlers
arriving in “unsettled” territory, this suggests that they will only
be successful if they work together. One family making the trip
alone would have very little chance of survival.
 The man in the centre is Daniel Boone, and the woman on
the white horse is his wife Rebecca. It is interesting to compare
these two figures with paintings of the Flight to Egypt (Joseph
leading Mary and Jesus to safety). This, together with the fact
that the whole group can also be compared to paintings of the
Exodus, gives Daniel Boone the air of a saviour leading his people
to a Promised Land. The people around and behind Boone and
his wife are settlers going west.
 (Students’ own answers.)

PROJECT (p. 79)
• La tâche ici est un travail d’écriture. Les bonusfiles (parties The
painter et The background) constituent déjà un fond documentaire
minimal permettant aux élèves d’avancer sur le projet.
Les sites suivants peuvent se révéler précieux :
http://picturinghistory.gc.cuny.edu/?p=760
http://en.wikipedia.org/wiki/George_Caleb_Bingham
http://www.artcyclopedia.com/artists/bingham_george_caleb.
html
http://www.slam.org/index.aspx?id=134&obj=14
http://www.lucidcafe.com/library/95nov/boone.html (about Daniel
Boone)
• Il est indispensable de préciser au mieux vos attentes. Quelques
exemples :
– nombre de mots,
– ré-emploi lexical,
– exigences langagières et grammaticales,
– utilisation des données historiques.
Language corner (p. 80-81)
Structures causatives (p. 80)
• La traduction de l’expression française « faire faire » pose
de sérieux problèmes à cause des multiples situations dans
lesquelles elle est employée. Nous révisons ici l’un des premiers
emplois que les élèves rencontrent dès la classe de 4e : la
structure avec make + COD + BV.
• Nous complétons dans la partie « application » l’étude de la
structure « laisser/faire faire ». Le Précis grammatical offre aux
élèves une possibilité d’étude plus complète.
• Dans un premier temps (« Observation »), nous veillons à bien
faire expliciter le contexte : Qui fait quoi ? Qui force qui à quoi
faire ? Etc.
Observation
Corrigé
 made him cry; make you feel so bad
 La première.
 La seconde.
 a. (1) Miss Hewitt est la cause (de ce qui n’a pas eu lieu), (2)
Ce qui a été dit (les paroles de Miss Hewitt) cause le sentiment
de mal-être de l’enfant.
b. Sur l’enfant dans les deux cas.
c. Sujet.
d. COD de had et sujet potentiel de cry.
 Non, rien ne dit qu’ici quiconque ait forcé qui que ce soit à
faire quoi que ce soit. Miss Hewitt n’est que la responsable des
événements qui suivent.
Application
EXERCICE 1
• On aura remarqué la forme donnée à l’exercice de grammaire :
on ne fait pas travailler une structure pour la structure elle-
livre du professeur
même mais pour ce qu’elle permet à l’énonciateur de dire dans
une situation de communication plausible spécifique et qui
reste contextualisée par rapport aux énoncés qui ont donné
départ à la PRL. On peut donner quelques éléments lexicaux
pour stimuler l’inspiration au cas où elle viendrait à manquer :
insult, bully, swallow words, apologise, etc.
• Accepter tout énoncé contenant une structure causative
correcte, même si le temps utilisé est moins complexe que
celui qui est proposé ici. Nous ne parlons pas à ce stade de la
structure causative « passive », mais si par chance un élève
proposait, au sujet de Miss Hewitt par exemple, I would have her
fired/dismissed, on en profitera pour élargir la réflexion.
Corrigé
a. Miss Hewitt : (exemples) I would have let her know what I
thought of her methods. I wouldn’t have let her insult or bully my
children. I would have made her swallow her racist words. I would
have made her apologise. I would have/make her apologise. I
would have her Principal take action to stop such practices.
Deborah : (exemples) I would try to make her understand it was
no use eating one’s heart out on something like this. I would try/
have tried to make her feel better/to forget the whole thing. I
wouldn’t let her go back to that school.
Ben : (exemples) I wouldn’t have let him leave the table
unexcused. I would have made him stay.
b. (exemples) I’m not going to let her bully us any more. I won’t
let her insult my people any more. I will make her regret what
she said.
EXERCICE 2
• Nos élèves pensent en français avant de s’exprimer, ne
nous voilons pas la face. Nous pensons donc que l’exercice de
traduction n’est pas à exclure. Toutefois, nous prenons soin
de le penser dans un contexte proche de celui qui a permis de
réfléchir sur les structures travaillées.
Corrigé
a. Words wouldn’t be enough to make the father angry./It would
take more than just words to make the father angry.
b. If I were Deborah, I would never let anyone humiliate me.
c. Ben reproaches his parents for letting other Americans walk
all over them./for not making other Americans respect them.
d. In fact they let local policemen/police officers eat two helpings
for the same price/for the price of one instead of making them
pay for what they really eat.
e. They let Catholic children steal (the store’s) candy instead of
making them pay for it.
f. They never make the janitor pay for his newspapers.
Must : obligation ou quasi-certitude ? (p. 81)
• Les élèves ont tous rencontré l’emploi pragmatique/radical
du modal must aux trois formes de la conjugaison. Il n’est pas
rare de découvrir qu’ils ne connaissent pas ou manipulent
difficilement son emploi épistémique/assertif. (Il ne nous
viendrait pas à l’esprit d’employer la langue des linguistes avec
nos élèves. On parlera de contrainte, d’obligation dans un cas et
de grande certitude dans le second.)
5. United We Stand 65
5 United We Stand
• La PRL proposée a pour but de les faire réfléchir sur le sens
ambigu de « devoir » en français également.
Observation
Corrigé
 (sujet grammatical) + must + BV de have + participe passé
de think.
(sujet grammatical) + must + BV de say.
(sujet grammatical) + must + BV de have + participe passé de
be.
 Le second.
 Les premier et troisième.
 Le second porte sur le présent. Les premier et troisième sur
le passé (présence de l’auxiliaire have et du participe passé).
 Il a dû penser que c’était ma femme. Il faut dire/Je dois dire
que je ne dors pas très bien depuis quelques temps. Ça a dû être
un réveil brutal.
Dans les premier et troisième énoncés, l’ordre des auxiliaires
est inversé, « devoir » est conjugué en français, must ne peut
pas l’être en anglais. C’est sur « devoir » que porte la notion de
temps en français. L’anglais considère que c’est l’action dont
il est question qui est passée (si elle a bien eu lieu). Must reste
logiquement invariable puisqu’il marque la notion de certitude de
l’énonciateur au moment de parole, et ce moment est toujours le
présent !
Application
EXERCICE 1
• Les énoncés retenus restent placés dans le contexte des
événements étudiés. Ne pas hésiter à faire traduire les
résultats.
Corrigé
a. Mike must get down to the restaurant at once.
b. You must keep your gun within reach, Mike.
c. You can’t go through, sir. You must turn round and head
home.
d. You must have been pretty shocked.
e. I wasn’t sleeping very well at the time. I must have felt
something was going to happen.
EXERCICE 2
• Cet exercice est lui aussi placé dans un contexte de
communication plausible. L’élève se voit attribuer un rôle.
Corrigé
a. Oh, it was very early. It must have been around 5 am.
b. Let me think. It must have been the smoke.
c. At first I thought the restaurant must be on fire.
d. I couldn’t really say exactly, but there must have been
hundreds.
e. It must be caused by the heat wave. It makes people jumpy,
you know.
f. Some must have seized the opportunity to loot the stores.
g. They must have thought it was fun and that they could get
away with it.
66 Livre du professeur New On Target 2e
EXERCICE 3
• Ici aussi, nous mettons l’élève en position d’énonciateur et non
devant un exercice de grammaire.
Corrigé
a. Mike must have been worried about his restaurant.
b. It must have been caused by the rioters.
c. I would say it must have been due to the fact that these people
were so poor/lived in such poverty.
d. They must have thought they could loot the stores and get
away with it/ that they would never be caught.
e. He must have felt very depressed.
EXERCISE 4
• Les phrases à traduire sont proposées dans le contexte
d’un dialogue tout à fait plausible dans la situation dont il est
question.
Corrigé
a. You mustn’t go beyond this line, sir.
b. But I must go and see what’s happening to/in my restaurant.
c. They must have set it on fire too.
d. There must be a good reason for all this hullabaloo.
Icons of the Black
Community
(p. 82-83)
• Le choix de ces deux icones ne surprendra personne. Le
parallèle entre l’élection du président américain Barack Obama
en novembre 2008 et les grandes lignes du combat civique
de Martin Luther King s’imposait. Barack Obama incarne
aujourd’hui l’espoir d’accomplir ce que Martin Luther King avait
entrepris dans les années 60 avant que son effroyable destin ne
le rattrape le 4 avril 1968.
• Encouragez les élèves à faire une petite visite virtuelle de
Washington, D.C. et de ses principaux monuments, en particulier
The Capitol, The Washington Monument et The Lincoln
Memorial.
LISTEN (p. 82)
TAPESCRIPT tapescript24-p82, tapescript25-p82
(track 24)
Five score years ago, a great American, in whose symbolic
shadow we stand today, signed the Emancipation Proclamation.
This momentous decree came as a great beacon light of hope
to millions of Negro slaves who had been seared in the flames
of withering injustice. It came as a joyous daybreak to end the
long night of their captivity. But one hundred years later, the
Negro still is not free. [...]
But there is something that I must say to my people, who stand
on the warm threshold which leads into the palace of justice :
In the process of gaining our rightful place, we must not be
guilty of wrongful deeds. Let us not seek to satisfy our thirst
for freedom by drinking from the cup of bitterness and hatred.
We must forever conduct our struggle on the high plane of
dignity and discipline. We must not allow our creative protest

to degenerate into physical violence. Again and again, we must
rise to the majestic heights of meeting physical force with soul
force. [...]
And so even though we face the difficulties of today and
tomorrow, I still have a dream. It is a dream deeply rooted in
the American dream. I have a dream that one day this nation
will rise up and live out the true meaning of its creed: «We
hold these truths to be self-evident, that all men are created
equal.» I have a dream that one day on the red hills of Georgia,
the sons of former slaves and the sons of former slave owners
will be able to sit down together at the table of brotherhood. I
have a dream that one day even the state of Mississippi, a state
sweltering with the heat of injustice, sweltering with the heat of
oppression, will be transformed into an oasis of freedom and
justice. I have a dream that my four little children will one day
live in a nation where they will not be judged by the color of
their skin but by the content of their character. I have a dream
today!
(track 25)
Hello, Chicago. If there is anyone out there who still doubts
that America is a place where all things are possible, who still
wonders if the dream of our Founders is alive in our time, who
still questions the power of our democracy, tonight is your
answer. [...] It’s the answer spoken by young and old, rich and
poor, Democrat and Republican, black, white, Hispanic, Asian,
Native American, gay, straight, disabled and not disabled,
Americans who sent a message to the world that we have never
been just a collection of individuals or a collection of Red States
and Blue States. We are, and always will be, the United States
of America. [...]
This election had many firsts and many stories that will be
told for generations. But one that’s on my mind tonight’s about
a woman who cast her ballot in Atlanta. She’s a lot like the
millions of others who stood in line to make their voice heard
in this election except for one thing: Ann Nixon Cooper is 106
years old. She was born just a generation past slavery; a time
when there were no cars on the road or planes in the sky; when
someone like her couldn’t vote for two reasons – because she
was a woman and because of the color of her skin. And tonight,
I think about all that she’s seen throughout her century in
America. [...] She was there for the buses in Montgomery, the
hoses in Birmingham, a bridge in Selma, and a preacher from
Atlanta who told a people that We Shall Overcome. Yes, we can.
Corrigé (exemples)
1. a. Martin Luther King delivered the “I have a dream” speech on
August 28, 1963 from the steps of the Lincoln Memorial during
the March on Washington, D.C. for Jobs and Freedom.
b. He wants all men – black or white – to be treated equally
and benefit from the same rights, “the unalienable rights of life,
liberty and the pursuit of happiness” written in the Declaration of
Independence by the Founding Fathers in 1776. He wants unity.
The American Dream will come true when African-Americans are
equal to white men.
King was a pacifist who thought that peaceful marches were
more effective means of obtaining justice than violent riots.
livre du professeur
Non-violence was his philosophy. (He took his cue from the man
he admired most: the Mahatma Gandhi).
c. King is regarded as an impressive orator. We can almost
hear him delivering his speech just by looking at the photo.
In the speech, the repetition of the phrase “I have a dream” to
thousands of civil rights supporters will remain in our minds
forever. Two hundred and eighty is the number of speeches he
delivered and anyone who was lucky enough to be there when
he spoke/was speaking will never forget the experience.
2. a. Barack Obama was speaking in his home city of Chicago,
Illinois, on the day of his victory when he was elected President
of the United States of America (November 4, 2008).
b. He mentions the young and the old, the rich and the poor, the
Democrats and the Republicans, the black, white, Hispanic, Asian,
Native American, gay, straight, disabled and not disabled people.
c. He mentions Ann Nixon Cooper because she was born one
generation after slavery ended and fought for civil rights. She
was witness to all the important historical events affecting
African-Americans and to all the progress they made.
d. At the end of his speech, Barack Obama is referring to God.
WORDWORK wordfile-p83
Corrigé
A. 1. defy, 2. disobedience, restore somebody’s rights,
4. enslave.
B. 1/f, 2/b, 3/c, 4/a, 5/e, 6/d.
a. boycottage, boycott
b. émeute
c. manifestation
d. sit-in
e. soulèvement
f. grève
C. freedom of the press = liberté de la presse
freedom of thought = liberté de pensée
freedom of worship = liberté du culte
freedom of information = liberté d’information
freedom of action = liberté d’expression
PROJECT (p. 83)
• En classe, avant de restituer le travail de groupe, il importe que
les élèves se soient bien répartis les tâches : dans quel ordre
se fait la prise de parole ? Qui prend en charge la projection des
photos ? Qui se préoccupe de vérifier que la classe comprend
l’information diffusée ? Qui écrit les mots clés au tableau ?
• L’exercice de report devant la classe est un exercice difficile qui
fait appel à des compétences très diverses et dont la réussite
dépend de l’application stricte de certains principes. Ces
principes font l’objet d’une fiche communiquée aux élèves en
début d’année (voir fiche n° 2, Méthodologie, p. 140) :
– make eye-contact,
– don’t read,
– rephrase what you have said but do not repeat word for word,
– make sure your classmates pay attention to you and
understand what you are saying, etc.
5. United We Stand 67
5 United We Stand
Checkpoint (p. 84-85)
Compréhension de l’oral (p. 84)
• La photo montre un gros camion (truck) et une jeune femme.
Les élèves pourraient réfléchir d’abord au lien entre la photo et le
titre de l’unité et donc pourraient être amenés à induire le sujet
de l’enregistrement. Ils devraient ensuite étudier le Toolbox, en
prononçant les mots pour se préparer au mieux.
LISTEN (p. 84)
TAPESCRIPT tapescript26-p84
MAN: You only recently gave up your government job to become
a trucker. What made you do it?
Woman: Well, it was simple work, for very simple pay. It was
mind-numbing and boring and I needed something more –
there just wasn’t much adventure in it. So, I’d say my main
motivators for change were adventure and pay.
Man: What percentage of professional truck drivers would you
say are women? Do you meet a lot of other ones on the road?
Woman: I honestly don’t know any of the factual statistics of
men versus women on the road. But I do see a lot of women out
here driving big trucks. If I had to guess, I’d say it’s creeping up
towards 25 to 30 %. But honestly, I see more guys than gals. I
always give a big smile to any other lady I see getting down out
The biggest drawback is being away from her family and
of a big rig driver’s seat, though. It makes me feel very proud to
be part of the female trucking revolution, so to speak.
Man: How many days are you usually away from home at a
time?
Woman: Well, up until this month I had been going out for two to
two-and-a-half weeks and going home for two to three days at
a time. I only make money when I’m tacking on miles. If I take
time off, I’m not making anything.
Man: Where do you stay when you’re on the road?
Woman: I live in my truck. Oh, don’t feel too bad for me – I do
have a lot of awesome conveniences in the truck. I have a fairly
comfortable bed, a small 12-volt fridge and a 12-volt cooker
that I can prepare my own hot meals in. I also have a closet in
which to hang my clothes and lots of little cubbyholes to store
all my various bits and pieces in. I would like it more if it had a
bathroom, but I make do. Occasionally, however, it is nice to put
myself up in a hotel for a night. And there is nothing quite like
going home to my own bed and bath.
Man: And what would you say are the biggest drawbacks to the
job?
Woman: The biggest drawback for me is being away from my
family and friends. When I do get my time off at home, I’m
always rushing to get things done like laundry and shopping
and visits with the family. It’s always tough to get everything
done in just a couple of days. But I make the most of all the
time I do get with my family and friends.
Man: What are the biggest perks?
Woman: Biggest perks? There are too many to list, really.
Waking up in a new city or state every day. Seeing places I may
never have had the opportunity to see otherwise. Learning that
I am capable of doing things I never thought I’d do or have a
68 Livre du professeur New On Target 2e
need to do. Discovering myself through inner reflection on long
road trips. Making the best paychecks I’ve ever seen in my life.
Being able to pay my bills, stay afloat financially, and know I’ve
got a real place in this career field. I could keep going, but those
to me are the most important.
Corrigé
 It’s an interview.
 A man is asking a woman truck-driver questions.
 First she worked for the government and now she’s a
‘trucker’. She changed jobs because she was bored, she wasn’t
paid enough and she wanted more adventure in her job.
 It is usually considered to be a man’s job.
 About 25 to 30 % of truck drivers are women.
 She feels proud to do her job.
 She is often away for up to two and a half weeks and then
only home for two or three days.
She survives on the road as she has lots of conveniences
although she misses most not having a bathroom and so
occasionally she stays in hotels. She looks forward to going
home after a long trip.
friends. There are many advantages: seeing new places, feeling
she is very capable, having time to reflect and discover herself,
and earning enough money to stay afloat financially.
Expression orale (p. 84)
• Nous avons affaire à une séries de questions sans support
iconographique. Les questions demandent aux élèves de donner
leur opinion sur le sexisme dans le domaine du travail.
• Nous ne proposons pas de barème pour cette évaluation. Le
professeur doit décider combien il veut évaluer le contenu et
combien la forme.
SPEAK (p. 84)
Corrigé (réponses possible)
 On the whole I think women can do the same jobs as men
except when the job demands too much muscle power.
 Some people think that men are better at leading and
managing others. These people tend to have sexist attitudes.
They think for example that women are better suited to working
with children or to jobs involving cleaning...
 I don’t think that men and women should be paid differently
for doing the same job. To my mind there should be laws against
this.
 No, it wouldn’t make any difference to me.

EXPRESSION ÉCRITE (p. 84)
• Nous nous appuyons ici sur un document iconographique assez
« parlant » et qui pourrait aussi servir de support à un exercice
d’expression orale. Les questions posées ont été choisies pour
guider l’élève dans son développement et on exigera bien sûr
un anglais et un développement plus structurés que s’il était
He decides to quit his job, pushes the block of ice down the
simplement dit.
WRITE (p. 84)
Corrigé (exemple)
The image is a poster featuring a miner looking pensive. He’s
wearing a cap and has a pair of goggles on his forehead. His
hands and arms look rather dirty, probably covered in coal dust.
He gives the impression of being alone and a little angry or bitter.
Maybe he is dissatisfied with his job or working conditions. In
the top left-hand corner of the poster is the question “organize?”
written in large orange letters. The man could be asking the
question to a trade union, wondering if they could help him to
better his conditions. The answer to his question is written in
big letters/large typeface at the bottom of the poster: “Of course
we will organize”. This suggests that the union will organize a
local branch where none existed before. “Organize?” is also a
question the man could be asking himself, meaning “Shall I join
a union?” This is a poster designed to recruit new members and
uses the argument that strength lies in numbers (in this case
more than one million as we can see from what is written across
the middle of the poster.
I think wage-earners should join a union so that, if they believe
they are being unfairly treated at work, they will have some
organisation to fight for their cause. Unions can provide an
important buffer between a worker and his or her boss to ensure
that the worker is not exploited. However, wage-earners should
make sure they exercise their voting rights within the union
especially if they do not always agree with the union’s policy.
Compréhension de l’écrit (p. 85)
• Nous avons ici un extrait du livre Paradise Alley écrit par
Sylvester Stallone, réalisateur et acteur à Hollywood. Il a
transformé son livre en un film qu’il a réalisé et dans lequel il a
joué en 1978. L’histoire a lieu dans les années ’40.
READ (p. 85)
Corrigé
 The story takes place in Hell’s Kitchen (l. 1) a neighbourhood
of New York’s Manhattan which was poor in the 40s. It was dirty,
(“permanent dirt” l. 2, “overturned trash cans” l. 3) and there
were immigrant kids and tramps in the streets (“mick kids” l. 7,
“bums” l. 7).
 No. (l. 10-11)
 He suddenly feels “bothered”, unhappy about it. (l. 13)
 It must be the height of summer (“it was a hot day” l. 15) and
the people are screaming for ice.
 Victor’s job consists of delivering large blocks of ice to
customers.
livre du professeur
 The people are desperately waiting for their blocks of ice.
 On the stairs, he slips on an empty wine bottle, falls, and
gets hurt by the block of ice.
When he reaches the top landing, he is trembling all over; he
cannot hear his thoughts only the cries for ice.
stairs and walks out of the building, collecting his dog on the
way.
 Possible titles for this passage: “Enough is enough,” “Not
worth the sweat.”
Ateliers (p. 86-87)
Atelier 1 (p. 86)
TAPESCRIPT dvdscript-p86
VOICEOVER: These elephants and their riders, called mahouts,
are on their way to what is probably the remotest and most
unusual world championship on the planet: the World Elephant
Polo Championship held in Nepal.
ENGLISHMAN 1: It actually started in a bar at the St Moritz
tobogganing club in Switzerland. A friend of mine said,
“Edwards, why don’t we play polo on elephants? You own the
elephants, I’ve got the long sticks.”
ENGLISHMAN 2 : It’s... It looks familiar [sic] to horse polo but it’s
certainly a completely separate sport. Our rules began using
some of the horse polo rules but we’ve developed it a long way
since then. [...] Well, the elephant really is the star of an elephant
polo tournament, so when you’re playing elephant polo, the
elephant is the lead player. If you have a quick elephant, you
have a big advantage. If you have a small elephant, you have a
smaller stick, you have a big advantage. So the elephant has got
to be the number one player. The mahout, however, is the man
who takes the elephant to the ball and positions you according
to where the ball is in the field of play, so unless you have a
mahout who’s technically experienced at team sports events,
you have a problem. Finally, you have the player himself. Now
we’re the ones who score the goals and get the glory but, at the
end of the day, it really is... it really is a big team event.
Questions du manuel (p. 39)
Corrigé
 It started in a bar at the St Moritz tobogganing club in
Switzerland when one man suggested to another that they
should play polo on elephants. The man owned some elephants,
so it was not a joke! You don’t need much equipment: just polo
sticks and (as you can see from the video) some protective
clothing and... goalposts.
 The elephant is the star: everything depends on the elephant’s
size and speed. The mahout directs the elephant to where the
ball is; he has to have experience in team sports events. The
player strikes the ball and, hopefully, scores goals.
It is a good example of working together because no goals can
be scored unless all three “elements” work together in harmony.
No one element can function independently of the other two.
5. United We Stand 69
5 United We Stand
DVD Worksheet dvdfile-p86
Corrigé
 Name of the event = the World Elephant Polo Championship
The country where it takes place = Nepal
 It originated as the result of a conversation in the St Moritz
tobogganing club in Switzerland when one man suggested to
another that they should play polo on elephants.
/a/d/e.
/b/c/e.
 The mahout is the person who takes the elephant to the
ball and positions you according to where the ball is in the
field of play, so, unless you have a mahout who’s technically
experienced at team sports events, you have a problem.
 Score goals; get the glory.
 It is a big team event, i.e. you need to work well as a team in
order to win.
Atelier 2 (p. 86)
Corrigé
 Erin Gruwell is a (university) professor involved in a
program(me) which consists in establishing links/creating
a partnership between (her) university students and
underprivileged high school students.
 Ms Gruwell believes that working together as a team is better
for everyone, mostly for disadvantaged youngsters, in order for
them to acquire more knowledge, know-how and experience for
their future lives and careers and reach their goals because it
allows her students to share whatever talent or knowledge they
may have with them. It is also the opportunity to create social
ties between the various team members, which is an asset/plus
point/positive feature for them in their current and future lives.
As far as the Freedom Writers are concerned, they also share
their own experience with their tutors.
 She decided to launch a concrete program by organising
evening meetings/sessions putting together her students at
National University and some Freedom Writers in teams of three
in the form of a mutual cooperation program/partnership.
 Each of her university students taking part in the program
took on the function of a mentor/tutor for two high school
students. The job/task of these students, who themselves
aimed at becoming teachers, was to help some Freedom
Writers become more self-confident and more knowledgeable
by assisting them with their studies but also, and maybe more
importantly, by helping them discover some professional
aspects of the job market.
 Various clues such as “Dear Diary,” the book’s title and two
short quotations in lines 6-7: “we would all learn from each
other” and in line 11: “My partner was named Becky” make
us understand that the narrator is a Freedom Writer – male or
female, the text does not give any real indication about gender.
70 Livre du professeur New On Target 2e
 Sara took the narrator (one of the two students assigned
to her) to a laboratory specialising in aeronautics in Pasadena,
California, in order for the narrator to get a better idea of the
job he/she wanted to do. She used her own car for this ride,
which shows how involved tutors are. They do this for selfless/
altruistic reasons, which the Freedom Writers quickly realise. It
is this mutual benefit that makes the whole thing work so well.
Atelier 3 (p. 87)
Corrigé
 The man on the right must be the boss of a company/firm
or a “white collar” worker, that is to say someone working in
an office and who does not get dirty when doing their job. He
is wearing a grey jacket (which looks like a suit jacket) and a
white shirt.
 The hand on the left-hand side of the picture is inside a thick
safety glove which tends to indicate that this hand belongs to a
“blue-collar” worker. It may be that of a man working in a factory
or on a construction site.
 The safety glove represents manual and menial work which
can sometimes be dangerous for the worker, like for example
cutting sharp objects, lifting heavy, sharp items or being in
contact with hot, dangerous or inflammable products. So the
glove means protection.
 The handshake is a symbolic gesture possibly showing
mutual respect, solidarity and – as the caption indicates – the
idea of togetherness. It means that it is possible – and probably
necessary – for white- and blue-collar workers to work together
as a team for the well-being of a company. It seems to be a
frank, manly handshake.
 The third hand to be seen on top of the other two belongs
to Uncle Sam, symbolic figure of the United States. We can
see white stars on a blue background, as well as white and
red stripes, just like the American flag. It looks like a kind of
protective hand, a moral support which guarantees the validity
of the agreement between the two men who are shaking hands.
Another possible interpretation is that it stands for the role
trade(s) unions or works councils play in American companies
in protecting workers’ rights. Finally, one could consider this
hand as the hand of God coming from above to give his approval
to the harmony reached here. It looks like a divine blessing.
 This poster must have been designed in wartime. It may be
the expression of the suspension of any form of social unrest in
the interest of the nation, and the pursuance of a national war
effort. The message it conveys is that everyone should unite
and overcome their disagreements in order to give the image
of a united country to those who seek to put its safety and
harmony at risk.

Atelier 4 (p. 87)
Corrigé
• Exemple de production possible, bien que plus longue et plus
ambitieuse que celles attendues des élèves, mais donnant
diverses pistes possibles de description et d’interprétation.
This cartoon is a satirical one with socio-political import/
significance drawn by Terry C. Wise in August 2007. There are four
characters. Two of them are in the background on the left-hand
side of the picture, whereas two others can be seen on the right-
hand side and in the foreground of the cartoon. The ones on the
left are almost certainly illegal workers coming from a Spanish-
speaking country – possibly Mexico – as the scene seems to be
taking place in the USA. The man is wearing a cap and is holding
a board or instruments which he is using to perform his job. The
woman on the far left may be a cleaning lady or a secretary. The
characters on the right could be company bosses/CEOs (Chief
Executive Officers). One of them – who could be a foreman – is
holding a notepad with various figures, statistics and lists written
on a piece of paper. He is wearing a shirt and a tie. We can’t see
the other man’s face but they are talking together and seem to be
friends or colleagues. The man who is dressed smartly is talking
to his “friend” about the Latino guy on the left in a rather negative/
pejorative/disparaging/derogatory manner, saying that this man
is no American citizen/is an illegal worker but that he is doing a
useful job no one else wants to do. That is probably why he is not
turning him in to the authorities to send him back to his country of
origin. There is no compassion in his speech, just self-interest. He
adds ironically that the worker is not a threat to what could be called
“good Americans” (like them!) on the job market. There is a lot of
scorn/disdain and disrespect in his words. The man is extremely
cynical: it shows the underlying racism of some people when
talking about workers who are very useful to them and receive no
gratitude. As far as the illegal worker is concerned, he thinks to
himself that one day he will have better working conditions and
maybe climb the social ladder (“not today, Gringo... not today.”).
“Gringo” is a disparaging/pejorative term in Spanish used in
Latin America to refer to a foreigner, usually a North-American.
Therefore, both the white American and the Hispanic show by their
language that they are equally prejudiced. The difference is that
the white American is the one guilty of exploitation. Exploitation is
still extremely widespread/frequent in the working world because
it allows many companies to get the work done without spending
too much money on wage packets.
Atelier 5 (p. 87)
• Gageons que ce sujet ne laissera personne indifférent et que
le débat entre ceux qui vont vouloir défendre leurs droits, leurs
acquis ou leurs revendications, et ceux qui vont arguer pour la
liberté de travailler et de se déplacer sera fourni.
• Prendre les précautions nécessaires ici pour organiser un
débat contradictoire mais qui devra rester courtois avant tout.
• Avant de répartir les élèves en deux groupes rappeler donc
les règles du débat entre gens bien élevés et civilisés. Savoir
écouter, savoir être.
livre du professeur
Les guidelines proposées montrent que dans un premier temps
on peut organiser quatre groupes qui mèneront les recherches
indiquées et préparerons le compte-rendu de leur travail. Quand
ces informations et faits précis auront été établis, diviser la
classe en deux groupes (for or against) et laisser du temps pour
la mise en forme des idées qui ne devront pas prendre la forme
de phrases toutes rédigées afin de préserver la spontanéité des
échanges oraux qui suivront. Le professeur pendant cette phase
passe entre les groupes et fournit de l’aide à la demande.
The Non-working Week(p. 88-89)
READ (p. 88)
Corrigé
1. The narrator does not side with either. He says he doesn’t
have a side, he “vacillates” (l. 2). However, he also wants to be
Mr. Nice Guy and is too easy-going on his secretaries.
2. When he’s overwhelmed with work, he hires a temporary
secretary to help him catch up with his mail and paperwork.
3. Linda is probably not a real person but an imaginary character
used here to represent a stereotypical employee who does not
do her job properly.
4. Linda claims she needs the job to help pay her rent but in the
end we learn that she only took the job in the hope she would
meet some of the people involved in the evening news show.
5. Linda is already late for her first day’s work. She arrives at
9.22 instead of 9 am. Linda “waltzes” in suggests that she is
not feeling ashamed of being late, that she is not taking her job
very seriously.
6. First Linda goes to the “ladies” room’ to freshen up her make-
up; next she goes down to the cafeteria and after a while she
comes back up with her coffee and pastry and then proceeds to
eat and drink while reading the newspaper. After that she makes
a phone call to her mother and makes other phone calls.
7. The situation gets even worse over the next three days as
Linda spends most of her time receiving phone calls.
8. Linda wants to be a Broadway actress or at least be an
anchorwoman on the network evening news show.
9. At the end of the first week, Linda does not come to work but
calls in to say she has to go to the dentist.
10. Temporary secretaries all seem to need to go to the dentist
a lot.
11. In fact the narrator is really making fun of himself and
his incapacity to impose himself and his working standards
on his temporary secretaries. He does not show his anger, he
uses a lot of understatements, playing down Linda’s obviously
unacceptable behaviour.
5. United We Stand 71
6 Leading the Way
Pages d’ouverture (p. 90-91)
• Ce chapitre sur les précurseurs commence par un exercice
d’appariement entre les sept photos proposées et les
personnages qu’elles représentent. Nous avons délibérément
choisi des domaines aussi divers que possibles de gens qui ont
marqué leur époque qu’il s’agisse du présent ou du passé. La
thématique de la mémoire et de l’héritage culturel est donc ici
omniprésente. La notion de contraste que nous tenons à garder
présente dans tous nos chapitres est représentée ici par la
variété des domaines dans lesquels ces personnages ont agi.
SPEAK (p. 91)
Corrigé
 Rosa Parks: the instigator of a movement against
segregation.
 Mahatma Gandhi: the politician who liberated his country
(India).
 Alexander Graham Bell: the inventor of the telephone.
 William Shakespeare: the most famous playwright of all
time.
 Bill Gates: the creator of a computer empire.
 Mary Quant: the fashion designer who created the mini-
skirt.
 Einstein: the scientist who developed the theory of
relativity.
Abraham Lincoln (p. 92-93)
• Parmi les hommes et les femmes qui ont « montré la voie »,
notre choix s’est porté sur celui qui a mis fin à l’esclavage aux
États-Unis d’Amérique. Il y a de fortes chances que les élèves
connaissent le personnage de nom, mais là s’arrêtera sans
doute leur savoir. Nous avons donc décidé d’ouvrir une page
d’histoire et de l’étudier avec eux.
SPEAK (p. 92)
• Le Lincoln Memorial à Washington, D.C. est un monument est
très important dans l’héritage des Américains. On le retrouve sur
le billet de 5 dollars et le revers de la pièce d’un cent. Il a été le
lieu d’où ont été prononcés plusieurs discours dont le célèbre I
Have a Dream de Martin Luther King. Il a été inauguré en 1922.
• Pour la question n° 2, si les élèves ne le savent pas encore, il
faut les aider à deviner que Lincoln était président. On pourrait
demander combien de présidents ils peuvent nommer et
essayer de situer Lincoln entre ceux qu’ils connaissent. (Lincoln
était le 16e.) Ils pourront peut-être dire quelle importante guerre
a secoué les États-Unis et menacé leur union au cours du
XIXe siècle.
• On peut saisir cette occasion pour faire « jouer » les élèves
en leur proposant un choix de réponses selon le modèle d’une
émission télévisée célèbre. Par exemple :
72 Livre du professeur New On Target 2e
Abraham Lincoln was...
a famous writer.
a famous explorer.
a US president.
a famous US general.
He lived in the...
16th century.
17th century.
18th century.
19th century.
He is remembered for having...
led the War of Independence.
conquered a part of Mexico.
abolished slavery.
been the first man on the moon. Etc.
Corrigé
The picture shows a white statue of a man sitting on a kind of
throne. He looks very serious and important, dressed in a long
coat, waistcoat and bow tie. It’s Abraham Lincoln. The statue is
in Washington DC at the Western end of the National Mall.
 (Voir ci-dessus.)
 The government website has the words “history” and
“presidents” so we can expect to read about past presidents and
their life stories – in this case Lincoln. Being a government website
(i.e. almost certainly run by permanent government officials/civil
servants and not by politicians), it’s likely to be mainly factual
and one would expect it to present an objective point of view.
READ (p. 92)
Corrigé
 The text is mainly written in the third person and so we can
say it is biographical although it should be noted that lines 4 to
16 are a quote written in the first person, which gives this part
of the text an autobiographical aspect.
 The text covers his whole life, from birth to death.
 He was not from a privileged background, indeed in his
eighth year he lived in a “wild region” and as a young man he
had to work on a farm and work in a shop (“keeping store”) to
support himself while completing his education.
 He is looked upon in a favourable way: “he built the Republican
party into a strong national organization” (l.30), “the president
was flexible and generous” (l. 35), “with Lincoln’s death, the
possibility of peace with magnamity died” (l. 40).
 He was assassinated like James Garfield, William McKinley
and John F. Kennedy. Six other presidents survived assassination
attempts: Andrew Jackson, Theodore Roosevelt, Franklin
Roosevelt, Harry Truman, Gerald Ford and Ronald Reagan.
WORDWORK wordfile-p93
• Nous recommandons d’introduire ce vocabulaire avant que les
élèves lisent le texte. Le travail servira comme une introduction
au sujet même si les élèves n’ont pas besoin du lexique pour
comprendre le texte.
 livre du professeur

Corrigé PROJECT (p. 93)

1/b/d, 2/e, 3/b, 4/b, 5/b, 6/c, 7/c, 8/b. • Ce Project peut être mené à bien soit en classe, soit à la
maison. Quelle que soit l’option choisie, les élèves auront besoin
INTERACT (p. 93)
de temps pour réunir les informations demandées avant de les
Corrigé présenter aux autres groupes. Ces informations étant diverses,
Team 1 teamfile-p93-1 tous les groupes auront une raison d’écouter leurs pairs dans le
A.  He moved to Indiana. 8 cadre d’une prise de notes visant à établir une fiche synthèse
His mother died. 10 sur le sujet de la Guerre de Secession.
He was first elected president. 51 • Le plus simple est d’envoyer les élèves chercher les
He abolished slavery in the confederacy. 53 informations sur internet ou dans des livres d’histoire. On
He was elected president for the second time. 55 leur rappellera que cette recherche ne doit pas se limiter à un
He was assassinated. 56 copier-coller intempestif, mais que les informations recueillies
 (Students’ own answers) devront être triées, organisées, synthétisées de telle façon
qu’elles servent de base (non rédigée, d’où l’inutilité du copier-
 a. removed from, b. undistinguished, c. come of age, coller) à la présentation que chacun devra faire du résultat de
d. cipher. son travail. Les groupes auditeurs seront invités, lors de la
 a. His parents were of undistinguished families. mise en commun, à poser des questions, à demander de plus
b. It was a wild region with many bears and other wild animals. amples informations, etc. On encouragera aussi les élèves à
c. he could read, write and cipher but that was all. une recherche iconographique dont le fruit viendra illustrer les
Team 2 teamfile-p93-2 connaissances acquises. On imagine aisément l’intérêt qu’il
peut y avoir à utiliser un TBI dans ce cas de figure.
A.  a. come of age, b. attain, gain, c. keeping store,
d. legislature, e. ride the circuit of courts, f. run against. • Sites recommandés :
http://en.wikipedia.org/wiki/American_Civil_War
 a. did not know much (l. 13) http://americancivilwar.com/
b. Lincoln made extraordinary efforts to attain knowledge while http://sunsite.utk.edu/civil-war/
working (l. 17-21) http://www.whitehouse.gov/about/presidents/ulyssessgrant
c. and rode the circuit of courts for many years (l. 24 -25) http://www.youtube.com/watch?v=0uuuneGkmwo
 (5) He was elected president for a second term. http://www.youtube.com/watch?v=fwEM0Cak_5w
(2) He became famous for his ability to debate. http://americancivilwar.com/south/lee.html
(1) He tried unsuccessfully to become a senator. http://www.confederatestatesofamerica.org/
(3) The Republicans chose him as their presidential candidate. http://en.wikipedia.org/wiki/Battle_of_Gettysburg
(4) He developed the new Republican party. • Il paraît difficile, compte tenu de la photographie présentée
Team 3 teamfile-p93-3 p. 93, de ne pas aussi lancer une recherche sur cette bataille
A. /c, /c. décisive.
 a. The Confederacy, b. The Union, c. triumphs, d. herald, e. lay
down arms. Emmeline Pankhurst (p. 94)
 a/F : “only in the Confederacy” SPEAK (p. 94)
b/T : “Union military triumphs”
• Si les élèves ont de la difficulté à dater l’image, l’on pourrait
c/T : “encouraging southerners to join speedily in reunion”
leur demander à quel type d’image ils ont affaire ici : a painting, a
d/F : “with Lincoln’s death the possibility of peace with
sketch or a photo? Lorsqu’ils ont repéré qu’il s’agit d’une photo,
magnanimity died” (Soyons prêts à expliquer le sens de
ils peuvent éliminer deux des réponses.
« magnanime » en français...)
Corrigé
/b.
 This is a photo so the lady cannot have lived in the 18th
Team 4 teamfile-p93-4
century or before 1700. Judging from the hairstyle and the collar
A. a. 1619, b. 1865, c. 1820. that she is wearing we can guess that she lived around the turn
d. Sugar, tobacco, cotton and rice. of the last century (the end of the 19th century and beginning
e. Domestic servants; work in commerce, trade and industry. of the 20th).
f. The 13 states where slavery was still legal in 1860: Texas,
Louisiana, Arkansas, Missouri, Kentucky, Tennessee, Mississippi,  The other picture is also a photo. We can see British policemen
Alabama, Georgia, Florida, South Carolina, North Carolina, Virginia. and some women marching. It doesn’t look as if the policemen
The four states with the greatest percentage of slaves: Alabama, are arresting the women so maybe they are demonstrating
South Carolina, Louisiana and Mississipi. together. Maybe the women are demonstrating for women’s
g. 3,950,000; about 8 %. rights and the policemen are accompanying them.

6. Leading the Way 73

6 Leading the Way
LISTEN (p. 94) France 1944
USA 1920
TAPESCRIPT tapescript27-p94 tapescript28-p94
Canada 1917
(track 27) Australia 1902 (non-aboriginal women)
Part one. New Zealand 1893
I do not come here as an advocate, because whatever position • Il serait intéressant de noter que le Universal Declaration of
the suffrage movement may occupy in the United States of Human Rights (UDHR) de 1948 a rendu illégale la discrimination
America, in England it has passed beyond the realm of advocacy des femmes, donc théoriquement toutes les femmes dans le
and it has entered into the sphere of practical politics. It has monde pouvaient voter à partir de 1948.
become the subject of revolution and civil war, and so tonight I
• Les élèves peuvent noter la date tardive de la France par
am not here to advocate woman suffrage. American suffragists
rapport aux autres pays.
can do that very well for themselves. I am here as a soldier who
has temporarily left the field of battle in order to explain – it INTERACT (p. 94)
seems strange it should have to be explained – what civil war
Corrigé
is like when civil war is waged by women. I am not only here
as a soldier temporarily absent from the field of battle; I am Team 1 teamfile-p94-1
here – and that, I think, is the strangest part of my coming -– I A.  revolution, civil war, field of battle, waged, law courts,
am here as a person who, according to the law courts of my adjudged, dangerous person, sentence, penal, convict, prison,
country, it has been decided, is of no value to the community soldier.
at all; and I am adjudged because of my life to be a dangerous  War: revolution, civil war, field of battle, waged, soldier.
person, under sentence of penal servitude in a convict prison. Law: law courts, adjudged, dangerous person, sentence, penal,
So you see there is some special interest in hearing so unusual convict, prison.
a person address you. I dare say, in the minds of many of you
– you will perhaps forgive me this personal touch – that I do /c/e.
not look either very like a soldier or very like a convict, and yet /c.
I am both...  I am here as a person who [...] is of no value to the
(track 28) community.
Part Two. Team 2 teamfile-p94-2
Now, I want to say to you who think women cannot succeed, A. /c, /c, /c.
we have brought the government of England to this position,
that it has to face this alternative; either women are to be killed  a. so tonight I am not here to advocate woman suffrage
or women are to have the vote. I ask American men in this b. I am here as a soldier
meeting, what would you say if in your State you were faced c. I am adjudged [...] to be a dangerous person
with that alternative, that you must either kill them or give d. I am here [...] to explain [...] what civil war is like when civil
them their citizenship, – women, many of whom you respect, war is waged by women
women whom you know have lived useful lives, women whom Team 3 teamfile-p94-3
you know, even if you do not know them personally, are A.  a/T. you who think women cannot succeed
animated with the highest motives, women who are in pursuit b/T. either women are to be killed or women are to have the vote
of liberty and the power to do useful public service? Well, there c/F. I ask American men in this meeting
is only one answer to that alternative; there is only one way
out of it, unless you are prepared to put back civilisation two or
/b/d/e/f/h.
three generations; you must give those women the vote. Now  Unless you are prepared to put back civilisation two or three
that is the outcome of our civil war. generations, you must give those women the vote. Now that is
Corrigé the outcome of our civil war.
1. She sounds as if she’s about 50 and has got an English Team 4 teamfile-p94-4
accent. A.  a. Emmeline Goulden, born in Manchester in 1858, died
2. The United States of America and England. aged 70.
b. Achieving women’s suffrage in Britain.
3. In America.
c. She married Richard Pankhurst, a barrister who supported
4. For women to have the vote. women’s right to vote.
d. The Women’s Franchise League, the Independent Labour
WRITE (p. 94)
Party, the Women’s Social and Political Union. The women
• Les élèves peuvent être dirigés vers le site : http://en.wikipedia. smashed windows and assaulted police officers and in prison
org/wiki/Women %27s_suffrage où ils trouveront une liste de they went on hunger strikes and used arson.
tous les pays : e. They were repeatedly sent to prison and the use of arson

74 Livre du professeur New On Target 2e


caused two of Emmeline’s daughters to leave the WSPU which
then caused a rift in the family never to be repaired.
 Emily Davidson threw herself at the King’s horse at the races
and was killed – she did it to draw attention to the suffragette
movement.
WORDWORK wordfile-p94
Corrigé
A. 1. the Chancellor of the Exchequer, 2. the Front Bench, 3. the
Speaker, 4. the House of Commons, 5. the Foreign Secretary,
6. the Home Office, 7. the Prime Minister, 8. an MP, 9. Whitehall,
10. Downing Street, 11. backbenchers, 12. the Treasury.
B. 1. the Republican party, 2. the Tories, the Conservative party,
3. New Labour (the Labour party), 4. the Tories/the Conservative
party, 5. the Liberal Democrats (the Lib Dems)
PRONOUNCE (p. 94)
TAPESCRIPT tapescript29-30-p94
(track 29)
A. war, so, motive, order, according, only, law, court, all, both,
vote, brought, your, know, those.
(track 30)
B. 1. a. lawn, b. loan, c. learn.
2. a. court, b. coat, c. cut.
3. a. turn, b. torn, c. tone.
4. a. floor, b. flow, c. fur.
5. a. wall, b. wool, c. hole.
Corrigé
A. [ô:] : 1. war, 4. order, 5. according, 7. law, 8. court, 9. all,
12. brought, 13. your.
[eυ] : 2. so, 3. motive, 6. only, 10. both, 11. vote, 14. know,
15. those.
B. 1/a (lawn), 2/a (court), 3/b (torn), 4/a( floor), 5/a (wall).
The Fighting Temeraire (p. 95)
• Les précurseurs, inventeurs et créateurs sont les héros
de cette unité. À côté de William Shakespeare et d’Albert
Einstein, Joseph Mallord William Turner est à sa place. D’abord
très controversé, il est aujourd’hui reconnu comme un peintre
majeur, empruntant aux classiques leurs thèmes préférés – par
exemple, le portrait de héros en marche (Hannibal crossing the
Alps) mais renouvelant de façon spectaculaire la technique, ce
faisant ouvrant la voie aux Impressionnistes, ou choisissant de
représenter les progrès techniques de son siècle (Rain, steam
and speed). Certains critiques le placent comme peintre-pivot
entre les deux Claude : Le Lorrain et Monet.
• Ce document visuel permet au professeur de travailler la
compétence sharing essential information mais aussi d’aborder
un moment de l’histoire durant lequel le Royaume-Uni et la
France ne vivaient pas, tant s’en faut, une entente cordiale. Le
tableau évoque en pointillés la Bataille de Trafalgar.
• Si le collègue d’espagnol est intéressé, il peut avec le professeur
livre du professeur
d’anglais envisager une recherche sur les raisons qui ont amené
cette bataille, et un échange sur les acteurs en présence ainsi
que sur le bilan humain et les conséquences politiques .
• Si la classe n’a jamais été entraînée au travail sur un tableau,
peut-être faut-il différer les activités sur cette œuvre de Turner,
atypique pour l’époque et pour des regards non-avertis. En effet
il serait alors difficile de pointer puis de mesurer l’écart entre
une peinture classique et celle-ci.
• Certains éléments sont en effet contradictoires dans ce
tableau : le nom du vaisseau renvoie clairement à son passé de
marin vainqueur d’une flotte pourtant aguerrie, cependant ce
que le peintre nous donne à voir, c’est son dernier voyage avant
son désarmement dans un blême soleil couchant, le navire
n’étant qu’un fantôme, à l’arrière-plan derrière le remorqueur.
Voilà un point qu’il faudra amener les élèves à remarquer dans
leur observation puis dans le compte-rendu qu’ils en feront.
SPEAK p. 95
• Pour la première question, inviter les élèves à réutiliser les
mots donnés dans la Toolbox, en insistant sur leur prononciation.
Guider également la classe sur les volumes : en effet le ciel
occupe les trois quarts du tableau, le bateau de ce fait en paraît
presque écrasé.
• Traiter les questions 2 et 3 en parallèle. Turner a beaucoup
travaillé l’effet de reflet dans ce tableau, la lumière du couchant
inonde la partie supérieure droite du tableau, mais son éclat
est présent sur la mer aussi et trouve un écho dans la flamme
de la tuyère du remorqueur. Ce traitement des couleurs, du
moment de la journée, et de l’espace, amène le spectateur à
ressentir de la tristesse et de la solitude. On peut suggérer de
noter les réponses aux questions 2 et 3 dans un tableau, puis
de faire mettre en phrases le rapport de cause à effet entre
les choix picturaux de Turner et les émotions suscitées chez le
spectateur.
• Pour la question 4, on ne saurait se limiter à des réponses du
type I don’t like it because it is old. Là encore un rebrassage de
toutes les gradations de l’expression du goût seront rappelées
par le professeur (peut-être sous forme de fiche lexicale
réutilisable de nombreuses fois en cours d’année). Quelques
pistes autres que like et love sont : I really appreciate..., I’m
really impressed by..., ...appeals to me very much, ...leaves me
cold.
• Vous trouverez quelques intéressantes pistes pour amener
les élèves à répondre à la question 5 en consultant le
sondage organisé par la BBC (http://news.bbc.co.uk/2/hi/
entertainment/4214824.stm). On peut organiser un sondage
similaire avec les élèves de la classe, concernant leurs
préférences parmi les tableaux exposés en France.
Corrigé
 (production possible) This painting shows an old battleship
being led by a tugboat to her final berth where she will be
dismantled. The scene takes place on a river, probably the
Thames. The sky takes up about three-quarters of the painting.
The sun is setting on the right and, because of its reflection in
6. Leading the Way 75
6 Leading the Way
the water, it looks as if the sky is everywhere in the painting. http://en.wikipedia.org/wiki/Battle_of_Trafalgar
The subject of the painting itself – the ship – is a rather ghostly http://en.wikipedia.org/wiki/The_Fighting_Temeraire#
white form on the left, behind a reddish tugboat whose funnel is Symbolism
emitting reddish-brown smoke in stark contrast with the white • La présentation du slideshow peut tout à fait faire l’objet d’une
Temeraire. évaluation, dont nous donnons ici ce qui pourrait en constituer
/. (Le tableau pourrait ressembler à celui qui suit.) les grandes lignes.
Elements Prononciation
Remarks Emotions
observed B1 Intelligible malgré un accent étranger.
Light brown, yellow, The lack of bright colours Difficultés de prononciation , qui conduisent parfois au
white (NB. white for makes us feel a little sad. A2
Colours malentendu/
the ship), patches The Temeraire, being white,
of blue sky. looks like a ghost ship
The sunset bears the Grammaire
connotation of something B1 Quelques fautes qui n’altèrent pas la clarté du propos.
Time of the
Sunset dying or coming to an end. It
day Fréquentes erreurs de grammaire qui gênent ou
symbolises the end of an era A2
in British Naval history. pourraient gêner la compréhension.
As above, an impression of
Weather Cloudy, misty...
ghostliness. Vocabulaire
The ghost vessel – alone in
this vast space – conveys Vocabulaire approprié, voire recours à des reformulations
B1
Atmosphere Peaceful, tranquil... an idea of loneliness, of pour éclairer son propos.
singularity, but also of A2 Vocabulaire limité et souvent peu approprié.
majesty.

 (Students’ own answers.) Aisance

 (production possible) Britain is an island and has a long B1 Débit assez fluide, voix bien posée.
naval history. Children at school learn how England managed Hésitations dommageables au propos, voix pas toujours
A2
to retain or gain power by naval victories, notably over the audible.
Spanish Armada in 1588, and over Napoleon in 1805 at the
battle of Trafalgar. Such battles therefore contribute greatly to Contenu culturel
national identity and pride. This is particularly true today when
many Britons fear a loss of sovereign power (because of the Satisfaisant : l’essentiel a été retenu et exprimé à la
B1
classe.
EU) and a loss of national identity (because of immigration and
multicultural policies). Sommaire , avec quelques maladresses dans le choix des
A2
informations retenues.
LES FICHES D’INFORMATION (BONUS)
• Trois fiches d’information sont téléchargeables. Elles fournissent
des renseignements sur le peintre, le background et le tableau : Language Corner (p. 96-97)
bonusfile1-p.95
bonusfile2-p.95
That : démonstratif, adverbe,
bonusfile3-p.95 relatif, conjonction ? (p. 96-97)
Pour ceux qui disposent du manuel numérique, ces textes sont • Notre but est d’aider les élèves à faire le tri dans les quatre
disponibles également en version enregistrée. natures de that afin de faciliter la compréhension des messages
reçus. On va voir que le problème n’est pas aussi simple qu’il
PROJECT (p. 95) peut y paraître de premier abord.
• La tâche proposée ici consiste d’abord en une recherche
Observation
Internet en groupes, qui doit aboutir à une prise de parole
fluide pendant une séance diapositive (ou Powerpoint) et enfin Corrigé
une sélection d’informations clefs qui seront transformées  but that was all : démonstratif (pronom).
en posters affichés autour du tableau exposé en classe. Voici he gained a national reputation that won him : relatif.
quelques sites utiles : who thought that he was helping : conjonction.
http://www.artgallery.co.uk/news/the_story_behind_the_ Nature manquante : l’emploi adverbial (d’intensité).
fighting_temeraire  Exemple tiré du précis grammatical p. 167 : It’s not that late.
http://www.j-m-w-turner.co.uk/ (= pas aussi tard que ça/cela). That est le plus souvent accentué
http://en.wikipedia.org/wiki/Romanticism dans ce type d’emploi.
http://en.wikipedia.org/wiki/J._M._W._Turner

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Application Les tournures exclamatives (p. 96)

EXERCICE 1
• Révision de connaissances normalement vues tôt au collège.
Corrigé
 a. Pronom démonstratif. Observation
Les suffragettes américaines/ceux qui se battent pour que les Corrigé
femmes aient le droit de vote peuvent très bien faire cela toutes  so unusual a person
seules/tous seuls.
 Structure : adverbe so + adjectif unusual + article indéfini
b. Pronom démonstratif. + nom.
Je suis ici, et cela, je crois, est ce qu’il y a de plus étonnant dans
ma venue. Mot principal : person.
c. Conjonction. Mot accentué : unusual (épithète).
J’ose dire/Je suppose que je n’ai pas vraiment l’air d’un soldat,  une personne si inhabituelle
ou d’un repris de justice. « Qui sort tellement de l’ordinaire » serait préférable dans
d. Pause de réflexion ici. De prime abord, on pourrait croire qu’on une version, mais nous nous concentrons sur la structure la
a affaire à un relatif dont position serait l’antécédent. À y regarder plus courante. En français l’épithète accentuée est placée
de plus près, on s’aperçoit qu’on est en face d’une expression immédiatement après le nom. An unusual person Æ so unusual
qui rappelle the fact that dans laquelle that est une conjonction a person.
puisqu’il pourrait fonctionner sans the fact : The fact that she  such an unusual person
came to America and was allowed to make speeches is incredible
in itself. = That she came to America and... Donc, ici, nous sommes Application
en face de l’équivalent de : and the governent’s position is that it EXERCICE 1
has to face this alternative... Ne pas confondre donc avec : The
Corrigé
position that they assumed was totally unheard of.
a. Emmeline was considered so dangerous an activist that they
Conjonction.
finally jailed her.
Nous avons mis le gouvernement anglais dans une situation
b. But many people didn’t think she was such a dangerous
telle qu’il est obligé de choisir entre...
woman.
(Notons qu’une autre traduction est possible en français qui, elle,
c. She was so stubborn a woman that she fought to the bitter
entraîne l’emploi d’un relatif : « Nous avons mis le gouvernement
end.
anglais dans une position où il est obligé de... »)
EXERCICE 2
e. Même situation ici. Les élèves cette fois devraient normalement
la reconnaître. Corrigé
Conjonction. a. She showed such determination that her activism finally paid
Que diriez-vous si, dans votre État, vous étiez confrontés à une off.
alternative telle que (mais on acceptera forcément où/dans Occasion d’attirer l’attention sur ce qui se passe dans le cas d’un
laquelle) vous seriez obligés de choisir entre les tuer ou leur nom indénombrable.
donner tous les droits d’un citoyen ? b. Men at the time were such stubborn creatures that they didn’t
see what advantages could be derived from giving women the
f. Adverbe (intensifieur).
vote.
...car elle n’était pas si dangereuse que ça si on la juge selon les
c. Late 19th-century/early 20th-century America was such a
critères d’aujourd’hui.
conservative society! (America at the time ..)
EXERCICE 2 d. She represented such a danger that they had to expel/deport
Corrigé her.
a. A revolution? That’s not what Emmeline wanted (to do).
b. That she wanted more equality for women is indisputable/not Les conjonctions pour l’argumentation :
to be doubted/one cannot doubt. even if, unless (p. 97)
c. But she’s not the woman (that) I’m talking about. • Il nous paraît important, dans le cadre d’une approche
d. She was jailed? She didn’t deserve that harsh a punishment/ actionnelle et communicative, de donner aux élèves les
such a harsh sentence. moyens d’exprimer les concepts introduits par ces conjonctions
e. But she was not to be the last woman who would be/to be et qui reviennent souvent dans les contextes de débat et
treated that way. d’argumentation. Notre préoccupation est donc plus centrée sur
f. If we’d had to put all the women that had fought for equality la communication d’idées précises que sur l’aspect purement
between the sexes in jail/gaol, we wouldn’t have had enough grammatical des choses.
prisons.
g. You’re not going to visit that... that shrew in jail, are you?

6. Leading the Way 77

6 Leading the Way
Observation
Corrigé
 Supposition ou condition. Notion introduite par unless :
condition sine qua non
 Ces conjonctions ne sont pas interchangeables ici. Elles
peuvent l’être ailleurs avec une transformation du sens.
Application
EXERCICE 1
Corrigé
a. The British authorities were not prepared to release Emmeline
Pankhurst unless she promised to put an end to her activism.
Condition sine qua non : pas de promesse, pas de libération.
Mais on ne peut pas refuser (a. bis) The British authorities
were not prepared to release Emmeline Pankhurst even if she
promised to put an end to her activism.
Supposition : même en supposant que...
On voit que la nuance est faible ici.
b. Emmeline Pankhurst wouldn’t put an end to her subversive
activities unless women were granted the right to vote.
Condition sine qua non : pas de droit de vote, pas de pause dans
les revendications.
Le sens devient différent avec even if : (b. bis) Emmeline
Pankhurst wouldn’t put an end to her subversive activities even
if women were granted the right to vote.
Même en supposant que : militante je suis, militante je reste.
c. No other woman would go through Emmeline’s ordeal unless
she believed strongly in her ideals.
Condition sine qua non : pas de détermination sans conviction
profonde.
Mais ici aussi rien n’interdit (c. bis) No other woman would go
through Emmeline’s ordeal even if she believed strongly in her
ideals.
Même en supposant que : même si la condition était remplie cela
ne suffirait pas ; ce qui ici tend à faire d’Emmeline Pankhurst
une personne vraiment exceptionnelle, hors du commun. On voit
bien qu’on est plus dans une logique de message passé que de
correction grammaticale.
EXERCICE 2
Corrigé
a. Les autorités britanniques n’étaient pas prêtes à libérer
Emmeline Pankhurst, à moins qu’elle promette de mettre un
terme à ses activités. Æ Condition à la libération. Æ autorités
prêtes à la conciliation.
a. bis. Les autorités britanniques n'étaient pas prêtes à libérer
Emmeline Pankhurst, même si elle promettait de mettre
un terme à ses activités. Æ Refus de libérer sous quelques
conditions que ce soit = intransigeance des autorités.
b. Emmeline Pankhurst, refusait de mettre un terme à son
activisme à moins que les femmes se voient accorder le droit de
vote. Æ Militante conciliante.
b. bis. Emmeline Pankhurst, refusait de mettre un terme à son
activisme même si les femmes se voyaient accorder le droit de
vote. Æ Militante intransigeante.
78 Livre du professeur New On Target 2e
c. Aucune (autre) femme ne passerait par où Emmeline
Pankhurst est passée à moins de croire fortement en ses
idéaux. Æ condition incontournable pour que...
c. bis. Aucune (autre) femme ne passerait par où Emmeline
Pankhurst est passée même s'il elle croyait fortement en ses
idéaux. Æ caractère exceptionnel d'Emmeline Pankhurst.
On attirera l'attention des élèves sur le changement de temps
et de mode dans les subordonnées conjonctives des énoncés
français.
EXERCICE 3
Corrigé
a. You will remain locked up/in jail/in gaol unless you promise to
leave the country immediately.
b. Even if you put an end to your activism, you will remain under
close police surveillance for a lon g time.
c. We ought to get rid of this woman, unless that would cause
even more trouble.
d. You know perfectly well that even if one gets rid of a/one
agitator/trouble-maker, another one shows up to take his/her
place immediately.
Larger than Life (p. 98-99)
• Nous proposons ici quatre œuvres célèbres dont les
personnages font partie du patrimoine culturel commun grâce,
en particulier pour nos élèves, aux nombreuses adaptations
cinématographiques qui en ont été faites.
LISTEN (p. 98)
TAPESCRIPT tapescript31-34-p98
(track 31)
I had worked hard for nearly two years, for the sole purpose
of infusing life into an inanimate body. For this I had deprived
myself of rest and health. I had desired it with an ardour that far
exceeded moderation; but now that I had finished, the beauty
of the dream vanished, and breathless horror and disgust
filled my heart. Unable to endure the aspect of the being I had
created, I rushed out of the room.
(track 32)
I only slept a few hours when I went to bed, and feeling that I
could not sleep any more, got up. I had hung my shaving glass
by the window, and was just beginning to shave. Suddenly I felt
a hand on my shoulder, and heard the Count’s voice saying to
me, “Good morning.” I started, for it amazed me that I had not
seen him, since the reflection of the glass covered the whole
room behind me. In starting I had cut myself slightly, but did not
notice it at the moment. Having answered the Count’s salutation,
I turned to the glass again to see how I had been mistaken. This
time there could be no error, for the man was close to me, and I
could see him over my shoulder. But there was no reflection of
him in the mirror! The whole room behind me was displayed, but
there was no sign of a man in it, except myself.
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(track 33) WORDWORK wordfile-p99

She was just going to leave the room, when her eye fell upon a Corrigé
little bottle that stood near the looking-glass. “I know something A.
interesting is sure to happen,” she said to herself, “whenever I
eat or drink anything; so I’ll just see what this bottle does. I do autobiography
The Catcher in the Rye (J. D. Salinger)
hope it’ll make me grow large again, for really I’m quite tired of (fictional)
being such a tiny little thing!” autobiography
It did so indeed, and much sooner than she had expected: My Side (David Beckham)
(non-fictional)
before she had drunk half the bottle, she found her head biography
The Luck of Barry Lyndon (W. M. Thackeray)
pressing against the ceiling. She hastily put down the bottle, (fictional)
saying to herself “That’s quite enough – I hope I shan’t grow biography
Marie Antoinette: the Journey (Antonia Fraser)
any more – As it is, I can’t get out at the door – I do wish I hadn’t (non-fictional)
drunk quite so much!’ crime novel Murder on the Orient Express (Agatha Christie)
Alas! It was too late to wish that! Still she went on growing, and, fairy tale Snow White (the Brothers Grimm)
as a last resource, she put one arm out of the window, and one fantasy novel
Harry Potter and the Philosopher’s Stone
foot up the chimney, and said to herself “Now I can do no more, (J. K. Rowling)
whatever happens. What will become of me?” play (comedy) The Importance of Being Ernest (Oscar Wilde)
(track 34) play (tragedy) Romeo and Juliet (William Shakespeare)
WOMAN: How camest thou hither, tell me, and wherefore? romantic novel Pride and Prejudice (Jane Austen)
The orchard walls are high and hard to climb, short story Lord Arthur Savile’s Crime (Oscar Wilde)
And the place death, considering who thou art, B.
If any of my kinsmen find thee here. hyperbole I’m so hungry I could eat a horse.
MAN: With love’s light wings did I o’er-perch these walls; epithet They swam at midnight in the wine-dark sea.
For stony limits cannot hold love out, euphemism He touched me on... on the place where I sit down.
And what love can do that dares love attempt; malapropism Michelangelo painted the Sixteenth Chapel.
Therefore thy kinsmen are no let to me. metaphor That man is a pig.
WOMAN: If they do see thee, they will murder thee. onomatopoeia The bee buzzed around his head.
MAN: Alack, there lies more peril in thine eye oxymoron He’s a very wise fool.
Than twenty of their swords. personification The moon is smiling at us.
Corrigé pun Reading while sunbathing makes you well-red.
Identifying the characters simile He eats like a pig.
1. Romeo and Juliet (the photo is a still from the 1968 Zeffirelli synecdoche Friends, Romans, countrymen, lend me your ears!
film), 2. Alice in Wonderland (the photo is a still from the 2010 understatement It’s a bit chilly today: 20 degrees below zero.
Tim Burton film), 3. Frankenstein’s monster (NB. Frankenstein is
the name of the “mad scientist”, not the name of the monster), PROJECT
4. Dracula. (p. 99)
Identfying the extracts • Renvoi aux capacités créatrices des élèves et entraînement à
In track 31, the narrator is talking about how disgusted he was la PPC.
when he first realised what a horrible being he had created. The • Dans un premier temps la réflexion et la recherche sur les
extract comes from Frankenstein. œuvres adaptées pour l’écran devront amener à une prise
In track 32, a man (Jonathan Harker) is talking about the first de parole en continu exposant les différences entre œuvres
realisation that the Count (Dracula) is not like other men. He has littéraires et adaptations cinématographiques.
no reflection in a mirror. The extract comes from Dracula. • La deuxième étape sera celle de la création en groupe (on peut,
In track 33, a girl, who has become very small, drinks something comme dans la double page retenir quatre œuvres et confier
and suddenly becomes very tall. The extract comes from Alice in chacune à un – ou deux – groupes).
Wonderland.
• La présentation du résultat donnera à nouveau l’occasion de
In track 34, a young woman is asking her suitor/lover how he
prendre la parole en continu.
managed to get into her garden over the high walls. He replies
that nothing can stop love from being fulfilled, neither high walls
nor the young woman’s relatives who, if they see him here, might Checkpoint (p. 100-101)
well kill him. The extract comes from Romeo and Juliet.
Compréhension de l’oral (p. 100)
• La place de Toni Morrison dans cette unité n’étonnera personne.
L’enregistrement fait écho aux personnalités dont on parle dans
le magazine.

6. Leading the Way 79

6 Leading the Way
TAPESCRIPT tapescript35-p100
Toni Morrison was born on February 18th 1931 in Lorain, Ohio,
the second of four children in a working-class family. She was a
very bright student and, in 1949, went to Howard University to
study English. She got her B.A. in 1953, then went on to get an
M.A. in English, two years later, from Cornell University.
She started her career by teaching English at Southern
University in Houston Texas, then, in 1957 she married a
Jamaican architect, Harold Morrison and had two children. The
marriage broke up in 1964; they got divorced and Toni moved
to New York where she got a job as an editor.
In 1970, she published her first novel entitled The Bluest Eye,
which received much critical acclaim. Three years later, her
second novel Sula was nominated for the National Book Award
in fiction.
She became a lecturer at Yale University, and later New York
State University, and went on writing at the same time. After
Song of Solomon, which came out in 1977 and won several
awards, she was appointed by President Carter to the National
Council on the Arts.
Other novels and a play followed. The novel Beloved won
the prestigious Pulitzer Prize for fiction in 1988. Then,
after publishing Jazz, she was awarded the Nobel Prize for
Literature in 1993. She was the first black woman ever to
win this prize. More recently she has written children’s fiction
and was prominent in endorsing Senator Obama in the 2008
presidential elections.
LISTEN (p. 100)
• Comme d’habitude, conseiller aux élèves de lire les tâches et
de s’assurer qu’ils les comprennent avant de se lancer dans
l’écoute. On pourra aussi leur demander de noter quel élément
de l’enregistrement les a guidés vers telle ou telle réponse.
Corrigé
 The recording is a brief biography of Toni Morrison.
 She was born in 1931 in Ohio, USA.
 She was born into a working-class family. She had 3 siblings.
 She graduated from Cornell University.
 She published her first novel in 1970 and her second in 1973.
 She won the Pulitzer Prize for her novel entitled Beloved.
 She won the Nobel Prize for literature in 1993.
(Réponse ouverte.)
COMPRÉHENSION DE L’ÉCRIT (p. 100)
• Il s’agit ici de tâches de compréhension, nous n’attendrons donc
pas des élèves qu’ils se livrent à un exercice de composition.
Ainsi, des réponses sous formes de repérages non rédigés
peuvent convenir, dans la mesure où la compréhension du texte
est effectivement démontrée grâce à des citations adaptées.
READ (p. 101)
Corrigé
 a. George Washington was a rather imposing person. In the
letter:
80 Livre du professeur New On Target 2e
“muscles” (l. 1),“his walk majestic” (l. 6), “a splendid horseman”
(l. 6), “firmly” (l. 8).
b. He commanded respect. In the letter: “he looks you full in
the face, is deliberate, deferential...” (l. 3-4) “dignified” (l. 5),
“a splendid horseman” (l. 6). In the book extract: “dedicated
love of country, a patriotism...” (l. 1), “self-respecting” (l. 4),
“combativeness” (l. 6), “the more firmly [...] to defend [his
country]” (l. 8), “the greater his ambition” (l. 9), “his courage”
(l. 10), “courage and will” (l. 11), “his fortitude” (l. 14), “the
American cause” (l. 16-17), “sound judgment” (l. 17)
c. He was not authoritarian. The very last sentence proves this
point rather clearly: “He would listen to half a dozen proposals”
(l. 20).
 (Il n’est pas demandé ici de citer : nous attendons donc que
l’esprit de synthèse des élèves se manifeste.)
His strongest qualities were courage/bravery/resilience (his
courage is mentioned several times throughout the text), a strong
will/ambition/ambitiousness, his prudence/cautiousness/care-
fulness and open-mindedness/progressiveness and fortitude.
Some people questioned his courage because he sometimes
“hesitated to attack” and feared his army might lose a battle,
which could be seen as not very manly an attitude for a
Commander in chief.
EXPRESSION ORALE (p. 101)
• Le célèbre tableau de Rockwell a lui aussi « montré le chemin »,
comme le fait cette enfant noire qui se rend, encadrée par quatre
US marshals, dans une école jusque là réservée aux enfants
blancs. On notera la noblesse de la démarche de la fillette et la
conscience évidente qu’elle a d’être « la première ».
• Comme pour tous nos exercices d’expression, les questions
posées visent à guider les élèves dans la construction de leur
prise de parole en continu. Les lignes qui suivent ne sont qu’un
exemple du type d’énoncés qu’on essaiera d’aider les élèves à
mettre au point.
SPEAK (p. 101)
Corrigé
The picture is a famous painting by the 20th century artist
Norman Rockwell, entitled The Problem we all live with, painted
in 1964.
 The picture shows a young black girl obviously walking to
a “white” school under the protection of four US Marshals. They
are walking past a greyish wall defaced by racist graffiti. She is
walking calmly, with her head held high in spite of having things
thrown at her like the tomato we can see lying squashed on the
pavement.
 In 1964 the Civil Rights Movement had been going for
almost 10 years. The movement aimed at abolishing racial
discrimination against African American citizens and actually
restoring suffrage in the Southern states. People like Martin
Luther King and Rosa Parks led non violent campaigns asserting
their rights. The girl painted by Rockwell here actually existed:
her name is Ruby Bridges and she was one of the first children
involved in the beginnings of school desegregation.

 She is leading the way in that she is determined to fight for
her rights as well as for all the little black girls in her situation and
is one of the first to do so. One must remember that at the time
many black families still hesitated before sending their children
to a previously “all-white” school for fear of reprisals from the
parents of white students. So it really took courage (guts, some
people would say) to take the step this girl and her family have
taken.
 The four men are US marshals whose job it is to enforce
federal law. The authorities, quite rightly, expected trouble when
the law was put into effect and the marshals are protecting the
little girl against possible aggression.
 One can only admire the dignified way the little girl is
behaving. I found the painting all the more moving in the light of
recent developments in the USA: the election of the first mixed-
race President. When you think about it, Barack Obama is of the
same generation as the little girl in the picture.
EXPRESSION ÉCRITE (p. 101)
• Dans cette phase de production écrite, il s’agira pour les
élèves d’écrire un portrait globalement élogieux de leur héro/
héroïne préféré(e). L’étude de la double page d’ouverture du
chapitre et un travail effectué en parallèle sur un super-héro,
pourraient s’avérer utiles pour construire des points de repère
transférables pour les élèves. On attendra des explications
précises, des exemples parlants et une description détaillée
utilisant des adjectifs qualificatifs en nombre suffisant.
• Les 150 mots demandés sont évidemment flexibles dans la
fourchette 135-165 mots.
• Pas de corrigé-type, bien évidemment, ni de proposition de
production, tant la marge de manœuvre laissée aux élèves
dans le choix de leur personnage préféré est grande. En
revanche, des caractéristiques physiques et psychologiques
sont attendues.
• Voici des suggestions d’adjectifs qui auront pu être manipulés
en amont et donneront du relief aux descriptions des élèves :
amazing, astonishing, astounding, attractive, awesome,
credible, entertaining, enthralling, fabulous, fantastic,
fascinating, impressive, inspiring, lovely, massive, moving,
pleasant, popular, powerful, profound, refined, superb, symbolic,
wonderful.
• De plus, les critères appliqués pour l’évaluation de cette
expression devront permettre de bonifier les copies qui emploie-
ront des structures exprimant la notion d’admiration, du type :
How amazing (he/she is)!
He/She is such an incredible person!
He/She’s the most marvellous... I’ve ever...
I am filled with/lost in admiration for...
I am a huge fan/admirer of...
I am particularly impressed by...
No one can compare to him/her.
I want to be just like him/her.
I can’t help marvelling at him/her because...
No one can beat him/her.
livre du professeur
• Afin de ne pas oublier l’aspect nuancé de la description (le
héros/l’héroïne et ses failles), ne pas hésiter à faire mobiliser des
mots de liaison exprimant le contrepied négatif d’un argument :
However, ..., No matter what..., Yet, ...
On the other hand, ...
Even if/though... , Despite..., In spite of...
WRITE (p. 101)
Corrigé
(exemple)
My hero is Robin Hood, the famous medieval outlaw. Although he
probably never existed, people think of him as if he did. We will
always need someone to defend the poor and the oppressed,
and this is just what Robin Hood does – even now when society
is supposedly fairer than it was in the time of cruel barons, rich
bishops and poor serfs, he is more popular than ever. He lives a
natural life in the forest with his merry men and Maid Marian,
has a good sense of humour, and only robs the rich to give to the
poor. He’s very skilled with the longbow, and beats the wicked
Sheriff every time not only by force but, more importantly, by
using his intelligence. He can vanish into the trees because he
knows the greenwood like the back of his hand. But he does
have his faults... For instance, he gets into arguments with
his men – particularly huge Little John. Yet this just shows
that he’s not a leader everyone’s frightened of: the outlaws are
quite democratic in their way, and Little John is often rude to
him. Sadly, my mythical hero was killed by treachery in the end;
again, that makes him even more human.
Ateliers (p. 102-103)
Atelier 1 (p. 102)
TAPESCRIPT dvdscript-p102
VOICEOVER: This is the workshop of fashion designer Zandra
Rhodes. After over 30 years of making dresses for celebrities
and, above all, having been the favourite designer of Princess
Diana, today, Zandra will become a CBE: a Companion of the
British Empire, an honour that will be conferred on her by the
Queen at Buckingham Palace.
ZANDRA: I think I characterise my fashion as a touch of the exotic.
I started off as a print designer so I have done (a) new type
of – well, they were new in the sixties – where I thought about
designs that were totally led along by the prints and the way
the prints are cut around the fabric, and my dresses are all
specifically thought of in terms of how the pattern and colour
lay themselves out. I think it’s difficult to survive in any field
if you get to the top of it, because once you get to the top not
[only] are you bombarded with the publicity that goes with it
and everything like that but you have to find the space to then
keep designing and keep trying to think anew. And all of those
things mean it’s much more difficult to keep going. I hope other
designers are pleased about me getting the CBE and feel it’s
the right recognition – you never know what people say behind
their [sic] back and what they say to your face but it would be
wonderful if they feel so and I do now sometimes feel a bit like
6. Leading the Way 81
6 Leading the Way
a “grande dame” because it’s so sad that Jean Muir’s no longer
here, Bill Gibb’s not here, Ozzie Clarke’s not here and I feel that,
in a way, I’m one of the old warriors staggering on. [...] Feeling
quite excited now, very excited. [...] Well, when I come out next
time, I’m going to have a medal pinned somewhere. I’m not
sure where. [...] It’s beautiful.
Questions du manuel (p. 102)
Corrigé
 Today she is receiving the award called the Companion of
the British Empire (the CBE). We assume it is for her contribution
to British fashion industry – and thus to the economy and the
prestige of British design – over a period of more than 30 years.
 She wears what one might call eccentric clothes which
are not “High Street fashion”: they are very individual and
unconventional, using bold colours and patterns. Her designs
are rather like the clothes she wears, although she also designs
more mainstream clothes for Marks & Spencer’s...
DVD Worksheet dvdfile-p102
Corrigé
 a. Zandra has been a fashion designer for more than 30 years.
b. Her most famous client was Princess Diana.
c. Today, she is going to a palace.
d. She is going to meet the Queen.
e. She is going to receive an honour.
 a. A print is a coloured pattern which is printed on to a piece
of fabric.
b. Zandra’s dress designs are based on the pattern and colours
of her prints.
/a/d.
 a. She hopes they will feel pleased that she is getting the
honour.
b. They are all famous British dress designers who are now
dead. They were contemporaries of Zandra Rhodes and became
famous in the late 1960s.
 She is excited when she arrives and proud and happy when
she leaves.
Atelier 2 (p. 102)
• Les explorateurs sont par définition des « leaders » ! Nous
avons retenu pour illustrer ce type de leader, l’explorateur
britannique Scott qui finit par perdre la vie lors de l’une de ses
expéditions dans l’Antarctique.
• Le texte proposé aux élèves est extrait de la lettre que Scott a
écrite à sa femme tout au long de son périple et sur les derniers
jours de sa vie, quand il comprit qu’il n’y a avait plus d’espoir
d’atteindre son but.
• La forme que prend les guidelines montre bien dans quel
esprit cette activité est conçue. Il s’agit d’entraîner, de guider.
On demande donc aux élèves de lire le texte en recherchant des
informations précises. On peut leur demander de dire ce qui,
dans le texte, les a guidés vers la ou les bonnes informations.
82 Livre du professeur New On Target 2e
Corrigé
 This letter is addressed to the explorer’s wife. It sounds like
a farewell letter (“to my widow”, “dearest Darling”, “the boy will
be your comfort,”...)
 He obviously loves his wife very much (“the worst aspect ...
is the thought that I shall not see you again”) and he tries to
prepare her for the news of his death as softly as he can.
 The author of the letter is on an expedition in some extremely
cold land (“70 degrees [Fahrenheit] below zero”).
 It was written in several stages, probably every day when
the explorers stopped for the night (“Since I wrote the above”,
“since writing the above”). It wasn’t written in one go because
he was forced to stop writing because of the cold. People do not
write with their gloves on!
 It is also clear that as the letter proceeds and the days go by,
the situation deteriorates (“Poor Titus Oates has gone,” “we have
a chance to get through but...”, “we have got to within 11 miles
of our depot with one hot meal and two days’ cold food,” “I think
the best chance has gone,”...)
 He faces his fate courageously and even with a certain
serenity (“Painless, don’t worry”). He and his friends have
chosen to fight to the last instead of committing suicide. (Note
that some might say this is the stereotypical Edwardian upper-
class attitude; others might say that the true gentleman would
have shot himself before meeting death by starvation which
might be considered undignified.)
Atelier 3 (p. 103)
• Pour cet atelier, nous conseillons un travail sur poste infor-
matique car les élèves n’auront pas accès aux connaissances
requises pour répondre au questionnaire proposé. Autre
éventualité, distribuer un document de travail aux élèves avec
des informations sommaires (attention, il ne s’agit pas ici d’un
atelier centré sur la compréhension écrite, même si les deux
activités langagières peuvent évidemment être liées) afin qu’ils
se concentrent véritablement sur leur tâche de production,
laquelle aura une forte coloration culturelle.
Corrigé (productions possibles)
 The picture shows a nuclear explosion. The central element
is a mushroom cloud, one of the typical features of a nuclear
explosion. It was probably detonated under water as we can see
an island with palm trees and water surrounding it. It may be
a photo of the nuclear tests carried out by France in the South
Pacific in the 1990s.
 The scientific breakthroughs of the 1930s made the creation
of nuclear weapons possible. A-bombs were developed jointly by
the USA, Canada and Great Britain during World War II in what
was called the Manhattan project, launched to counter the Nazi
atomic bomb project.
(L’atelier 4 de cette double page propose un travail plus précis
sur la biographie de Robert Oppenheimer.)

 Several experiments were carried out in the 1930s. In 1945,
two of these bombs were dropped on Japan – on Hiroshima and
Nagasaki – causing the death of more than 200,000 people and
ending the war in the Pacific.
 The eight countries which officially possess this device
are the United States, Russia (formerly the USSR), the United
Kingdom, France, China, India, Pakistan and North Korea. Israel
is also believed to have it, though this has never been officially
admitted.
 When a country threatens to use nuclear power against a
rival country, then it is using it as a deterrent. This means of
maintaining peace has often worked in times of crisis since
the end of the Second World War, but it is feared that some
countries might act irresponsibly and make wrongful use
of nuclear weaponry, with no regard for any possible tragic
consequences.
Atelier 4 (p. 103)
• Pour la première question, les élèves devront effectuer des
recherches et se préparer à en faire une synthèse. Le mieux est
que divers groupes se répartissent les tâches (quatre) et c’est la
mise en commun qui permettra de répondre à la seconde partie de
la tâche : what do they have in common? En fait il s’agit bien sûr
du rôle que chacun de ces scientifiques a joué dans la maîtrise et
la domestication de l’atome, mais aussi, hélas, dans la conception
et la mise au point de la bombe atomique. Ce qui nous amènera
tout naturellement à la seconde tâche qui, à elle seule, pourrait
être le sujet d’un débat comme ceux organisés dans l’Atelier 5.
http://en.wikipedia.org/wiki/Albert_Einstein
http://en.wikipedia.org/wiki/Frédéric_Joliot-Curie
http://en.wikipedia.org/wiki/Enrico_Fermi
http://en.wikipedia.org/wiki/J._Robert_Oppenheimer
• Avant de répondre à la deuxième question, il serait bon
d’enrichir les connaissances des élèves :
http://en.wikipedia.org/wiki/Manhattan_Project
http://www.atomicarchive.com/History/mp/index.shtml
http://www.google.fr/images?hl=fr&q=nagasaki&um
=1&ie=UTF-8&source=univ&ei=iGz1S9nKOYL2-AaS-
LjUCA&sa=X&oi=image_result_group&ct=title&resnum=4&ved
=0CD8QsAQwAw
On peut aussi consulter des archives photographiques et
montrer le résultat de ces recherches (photos d’Hiroshima et
Nagasaki) sans oublier, peut-être, les arguments de certains
qui maintiennent que le recours à l’arme atomique a permis de
raccourcir d’un an (et de faire l’économie d’un million de vies)
la guerre du Pacifique, ni que... c’est le Japon qui a agressé
l’Amérique et non l’inverse. Fair is fair.
Atelier 5 (p. 103)
• Pas moins controversé que l’utilisation militaire de l’atome,
son exploitation « civile » fait toujours débat.
• Attendons-nous à des prises de positions fermes. On veillera à
ce qu’elles s’appuient sur des faits scientifiques avérés et non
sur des prises de position de principe.
livre du professeur
• Il semble normal d’attendre que les élèves du groupe 1
apportent des faits historiques et scientifiques précis avant de
lancer la discussion « pour ou contre ». Quand les groupes 2
et 3 prennent la parole, les élèves « auditeurs » prennent des
notes afin de pouvoir ensuite demander des précisions, ou faire
éclaircir tel ou tel point. Les élèves du groupe 1 décident ensuite
de quel côté ils penchent. On demandera aussi si dans les
groupes 2 et 3 certains élèves souhaitent « changer de camp ».
To Russia... with Love (p. 104-105)
• On peut se demander ce que viennent faire James Bond et
son « père » Ian Fleming dans ce chapitre. En fait, nous avons
considéré que dans le domaine de la littérature d’espionnage
Ian Fleming était lui aussi une sorte de pionnier et que son
héros a ensuite servi de modèle à beaucoup d’autres écrivains
du genre, un peu comme tous les super-héros de bandes
dessinées ont gardé quelques unes des caractéristiques de
Superman, l’original. On peut en dire autant du domaine du film
d’espionnage. Ian Fleming led the way!
READ (p. 104)
Corrigé
 The seven characters mentioned in the passage are:
James Bond (also known as 007), May his housekeeper, a man
who keeps knocking at Bond’s door to sell him a television set;
Bond’s boss called M, M’s secretary named Ms Moneypenny, a
British spy who is the head of Station T in Instanbul called Kerim
and a female Russian spy.
 James Bond, otherwise known as 007, is a British spy who
works for M. The Russian girl works in intelligence and Kerim
being the head of station T, must also be a spy. The mysterious
“television man” may be a spy too. May and Miss Moneypenny
are probably not spies.
 The man who keeps calling at Bond’s flat raises our suspicions
because he has called six times already with the feeble excuse
of selling TVs. Bond evidently does not believe his story. The
Russian girl is also suspicious because she says she’s in love
with Bond but he doesn’t seem to know who she is.
 In the second line we learn that Bond has had “almost a year
of peace” and that he feels strange and unhappy because he’s
a man of action. In line 41 we learn he is “soft” after months of
peace and quiet. Then suddenly he is given a job, a call from
M and we learn in line 56 that “he felt the soft life, the time of
peace was over.” So the passage represents the transition from
inaction into action for Bond.
 James Bond is a man of habit: “he always took the Times”
(l. 15), “I’m very comfortable here. I don’t want to move” (l. 35),
“Every day he had two cups of very strong coffee...” (l. 43-44).
6. Leading the Way 83
7 As Others See Us
Pages d’ouverture (p. 106-107)
• Comment les autres nous voient-ils et comment nous
voyons-nous ? La question de l’observation des citoyens par
les autorités, l’apparence physique, le désir de ne pas vieillir
et les façons de retarder l’effet du temps sont donc les thèmes
développés dans cette unité. On reste bien entendu dans la
thématique de l’appartenance et de la singularité.
• Pour permettre aux élèves d’anticiper sur le contenu du chapitre,
on peut confier l’exploitation des images à cinq groupes différents
et la mise en commun du résultat des tâches entraînera, sous
forme de synthèse, l’exploitation de la question 6.
• Description des images : donner aux élèves le lexique dont ils
vont avoir besoin sous forme de liste de mots dans laquelle ils
iront « piocher » pour décrire l’image qui leur aura été confiée.
Chaque professeur jugera du contenu de cette liste selon ce qu’il
sait du niveau global de sa classe.
SPEAK (p. 107)
Corrigé
- Picture 1 is a trick picture. Depending on which way you
look at it, you will see either the face of an attractive young
woman or that of an ugly old one.
Picture 2 is taken at the nerve centre of a closed-circuit television
network. We can see the operator at his desk, surrounded by
screens, each of which show an image of one sector of the area
that is under surveillance.
Picture 3 is a painting. A woman with white hair is standing on
the bank of a river or a lake, looking down into the water at her
own reflection. The image that she sees is not the same as how
we see her: the image in the water has brown hair, different
clothes and white socks. It’s obviously the woman as she looked
when she was younger. The meaning could be that people like
to look at themselves, like Narcissus in Greek mythology, but,
unlike him, they do not always like what they see in the mirror,
and may bear a heavy grudge against Time for making them
age.
Picture 4 shows a good-looking young man in evening dress
who is covering or uncovering the portrait of a hideous, rather
frightening man. (It is a still from the 1948 film of the Oscar
Wilde book The Picture of Dorian Gray. It is the man’s own portrait:
it has aged over the years whereas he has not.)
Picture 5 shows a woman with what appears to be an elastic
neck. She seems to be pulling her neck upwards, stretching
it. It looks as if she is looking in a mirror. (It is Meryl Streep in
a scene from the 1992 film Death Becomes Her. Although she
is clinically dead, a magic potion has given her eternal youth.
When her bones are broken or, as in this case, her head has been
twisted to face the other way, she simply has to put the pieces
back in the right place...)
 Each picture illustrates the literal or figurative meaning of
the chapter title, which is the second half of the expression
“seeing ourselves as others see us”. Picture 2 shows, literally,
how others see us these days – by means of CCTV. Pictures
84 Livre du professeur New On Target 2e
1 and 3 both touch on the theme of seeing what you want to
see, or being blind to what others can see. For example, once
you have seen the pretty girl in picture 1, it is very difficult to
see the old woman, and vice versa; and, in the case of picture
3, the woman chooses not to see how she has changed and
aged – she prefers to think of herself as younger. This is similar
to picture 4 which puts the emphasis on the importance of not
growing old in certain societies and of doing everything possible
to “keep one’s image” (especially, of course, in the milieu of show
business). Picture 5, or rather the story behind it, takes this to
the absolute – and paradoxical – extreme: the maintenance of
youth by means of death.
How Useful is CCTV?(p. 108-109)
• Le Royaume-Uni est devenu le pays d’Europe le plus équipé
en caméras de vidéosurveillance et Londres la ville la mieux
surveillée du pays. Le phénomène s’est étendu à de nombreux
autres pays du continent mais plusieurs rapports aujourd’hui
remettent en cause l’efficacité du système. Scotland Yard parle
même d’échec complet. En effet, malgré les millions de livres
sterling investis dans des équipements de vidéosurveillance
parfois très sophistiqués, seuls 3 % des délits ont été résolus
grâce au système.
• Owen Bowcott, journaliste au Guardian, dénonce dans cet article
l’inefficacité des caméras. En complément sur Internet : YouTube
‘Every Step You Take’ trailer. CCTV in Britain Documentary.
SPEAK (p. 108)
Corrigé
 The pictures shown here are stills/frames from CCTV cameras,
either recorded or live.
 The people are being filmed without their knowing/
knowledge.
READ (p. 108)
Corrigé
 As we said before, the pictures have been retrieved from CCTV
cameras. The one on the right shows a man standing in a bus.
The picture on the left shows a group of men entering a brick
building. The photos may have something to do with terrorism/
suspected terrorists. The camera number, the date and the
exact time can be seen on all photos. The text is a press article
from The Guardian and dates back to May 6, 2008. It deals with
the proliferation of CCTV cameras in England and their alleged
inefficiency.
 The link is that, in spite of pictures showing delinquents or
suspected terrorists, the police do not manage to prevent street
robberies or bomb attacks.
/b. The journalist wants to show that the proliferation of CCTV
in the UK has not been effective in preventing crime because
people do not fear CCTV cameras. They think they are not
working. Moreover, the police have never known exactly how to
use the images from these cameras.
 livre du professeur

WRITE (p. 108) entrer par effraction (NB le nom s’écrit avec un trait
break in
• Ce travail peut-être donné sous forme de devoir à la maison et d’union: break-in)
être évalué. micro caché (n.) ; dissimuler des micros, mettre sur
bug
Corrigé table d’écoute (v.)
(exemple de production attendue) evidence preuve(s)
Dear Mr Brown, infringe enfreindre, transgresser

I have just learnt that the School Board has voted in favour of infringement infraction, transgression, violation
the installation of CCTV in our school. I think this is an appalling keep an eye
surveiller qn
decision and my friends and I are all shocked by it. Our school is on so.
not a prison: we do not need surveillance systems as in/like the keep so. in
ne pas perdre qn de vue
sight
ones in airports, and we don’t like the idea of being spied on. If
the police had access to these cameras or if parents could view monitor écran de contrôle (n.) ; surveiller (v.)
extracts from the footage on the school website, that would be/ overhear surprendre, entendre par hasard
would constitute an invasion of privacy. We are, of course, aware survey enquête, étude (n.) ; faire une enquête sur (v.)
of the arguments in favour of CCTV cameras: that cameras can suspect suspect (n. & adj.) ; soupçonner (v.)
dissuade pupils from behaving badly and doing stupid things,
suspicious méfiant, soupçonneux, suspect
that they increase security and are there for the pupils’ own
good. But everybody today knows how ineffective CCTV cameras INTERACT (p. 109)
are in crime prevention: introducing more and more of them in
big cities has not reduced crime levels. Corrigé
A lot of pupils share my opinion and have signed a petition in Team 1 teamfile-p109-1
support of it, which will be handed to you shortly. The petition A.
asks for the School Board to take another vote on the issue, but
Settings (left) In the street. (right) In a bus.
only after hearing representatives of the student body.
I hope you will take all these points into consideration and look Times (left) 8:10:39 (right) 12:52:57
forward to discussing them with you in the coming week.
(left) An older man in the foreground and three younger
Yours sincerely, People men behind; a cyclist in the background.
Steven Hurd (right) A man.

Year 12 (left) The man in the foreground is standing by himself,

possibly waiting for the bus. The three men behind him
WORDWORK wordfile-p93 are walking towards the entrance to building and are
Action about to enter it.
Corrigé (right) The man is standing with his back to the camera.
He is by himself and is probably walking towards the
Adjectives or inquisitive, intrusive, private, back of a bus.
expressions suspect, suspicious, unwelcome
including /b/(probably) e.
adjectives
 Advantages : a/b/d/f/h; Disadvantages: c/e/g/i.
Nouns breach of privacy, bug, control,
detector, evidence, fire alarm, guard, Team 2 teamfile-p109-2
infringement, inspection, intruder, A. 
intrusion, loss of privacy, mistrust,
monitor, recorder, scan, scanning CCTV cameras surveillance cameras
device, screen, security camera, prevent stop
supervision, surveillance, survey, crime offence, illegal act
suspect, track, transgression, impact effect
violation, watch pilot test
Verbs or break in, bug, control, detect, warn notify
expressions eavesdrop on so., examine, follow, solve resolve
including verbs guard, have a suspicion, infringe,
inspect, interfere, keep an eye on so.,  a. The amount of money spent on the new technology/on
keep so. in sight, keep watch on so., CCTV cameras to prevent crime.
mistrust, monitor, observe, overhear, b. The percentage of street robberies in London solved using
scan, screen, spy on, survey, suspect, CCTV cameras.
track, transgress, violate, watch We can deduce that the proliferation of CCTV cameras does not
have a significant impact on solving or even preventing crime.

7. As Others See Us 85
7 As Others See Us
 a/T. CCTV stands for Closed-Circuit Television. CCTV cameras 
show what is happening in real time.
Arguments put forward by CCTV Arguments put forward by
b/T. l. 1 : Massive investment in CCTV cameras [...] in the UK. advocates opponents to CCTV
c/F. l. 2 : billions of pounds spent
d/T. l. 1 : to prevent crime in the UK • they are no longer afraid to go out • cameras can easily be
shopping abused and used by the
e/F. l. 3-4 : Only 3 % of street robberies were solved • they feel safer wrong people
f/T. CCTV cameras show everything live, images of offenders as •in some places crime has dropped • cameras can be used by
well. • offenders admit crime immediately the government to control
g/F. l. 5 : Britain has more security cameras than any other after having been videotaped people
country in Europe  (réponse personnelle) Exemples d’amorces : Personally, I
Team 3 teamfile-p109-3 think that... I have mixed feelings about... I strongly object to...
 a. Visual Images, Identifications and Detections Office.
PROJECT
b. Headquarters of the Metropolitan Police Service in London.
(p. 109)
c. Closed-Circuit Television
d. International event which focuses on security document • Rappel : le but des projects étant de développer l’autonomie
issues. langagière, on encouragera vivement les élèves à ne pas
réaliser une enquête factice mais bien réelle. Il convient donc de

les informer suffisamment à l’avance du travail à effectuer pour
What? What for? obtenir un résultat intéressant.
1. use new technology developed by the sports • Pour la mise en œuvre, on peut mettre les élèves en groupe
advertising industry to track and afin qu’ils préparent leur questionnaire ensemble. Les tâches
2. put images of suspects on the Internet identify seront ensuite réparties : un élève interrogera le proviseur, les
3. create a national CCTV database with pictures of offenders
convicted offenders and unidentified suspects autres leurs parents, d’autres encore les professeurs, etc.
• Exemples de questions à faire figurer sur le questionnaire :
/a/c/d.
What do you think of the proliferation of CCTV cameras in public
Team 4 teamfile-p109-4 places?
A.  Do you think CCTV has prevented crime?
Number of CCTVs installed How do you think the police can or should use CCTV images?
more than 4,000,000 Are you for or against the installation of CCTV in schools?
in Britain
Ratio (number of CCTVs/ Some people say CCTV cameras are totally ineffective. Do you
1/15
population) agree with that?
shopping centres, schools, public Do you think that CCTV cameras are a breach of people’s
areas, housing estates, car parks, privacy?
public facilities, phone booths, vending
Where?
machines, cash machines, Central
Business Districts, hospitals, red light
districts, buses, motorways...
Big Brother is Watching You
Chance of being filmed (p. 110)
300 times a day • Le document est un extrait du roman contre-utopique 1984
every day
Percentage of London’s de George Orwell. Big Brother est le surnom du chef du parti
street robberies solved 3% fictionnel. Le nom Big Brother est devenu synonyme de tout
using CCTV images système de surveillance. Orwell a écrit 1984 en 1948. À cette
between 150 and 300 million pounds époque, 1984 représentait un avenir assez lointain. Orwell a
Amount of money invested
per year basé l’ambiance du livre sur celle de l’URSS de Staline. L’idée de
Growth in the market 15 to 20% annually la haute surveillance telle qu’elle a été décrite dans 1984 est
devenue de plus en plus une réalité dans l’ère post-1984, surtout
 Marijuana smoking, drug use, racial harassment, sexual en Angleterre du XXIe siècle. Il est donc intéressant d’étudier ce
harassment, loitering, disorderly behaviour, burglary, assault, livre dans le contexte de What tomorrow will bring.
car theft, ‘anti-social’ behaviour, littering in public, urinating in
public, traffic violations, obstruction, drunkenness, underage SPEAK (p. 110)
smoking, evading meters in parking lots... Corrigé
 People are not scared of being filmed because the images  The picture is in black and white and features a man standing
are blurred and are not used effectively. Some people think the against a wall on which there is a poster with the head and
cameras are not working. Crime has been displaced to areas with shoulders of another man, larger than the first. The man on the
fewer CCTV cameras. Statistics about the so-called efficiency of poster is pointing his finger at the viewers. We can make out the
CCTV cameras are not reliable. lettering of the words/sentence: Big brother is watching you.

86 Livre du professeur New On Target 2e

 livre du professeur

 The man in the overalls looks worried, shocked and NARRATOR: said the voice. He heard Julia snap her teeth together.
frightened. He looks as if he has been caught in a spotlight or JULIA: I suppose we may as well say goodbye.
a searchlight. The poster is in the style of the 1940s – the time NARRATOR: she said.
when the book was written. TELESCREEN: You may as well say goodbye.
 It must be dark outside/night-time because the man is lit up NARRATOR: said the voice.
by a source of artificial light. TELESCREEN: And by the way, while we are on the subject,“Here
comes a candle to light you to bed, here comes a chopper to
 He has got Stalin’s moustache and Hitler’s hairstyle. chop off your head!”
LISTEN (p. 110) Corrigé
TAPESCRIPT tapescript36-p110  The four voices are a woman (Julia), a man (Winston),
JULIA: I’m hungry, a woman narrator and the synthetic/mechanical/robotic-
NARRATOR: she said. sounding voice of the Telescreen.
JULIA: Let’s make some more coffee. Damn! The stove’s gone  Dramatic, menacing, frightening
out and the water’s cold.
NARRATOR: She picked the stove up and shook it. WORDWORK wordfile-p110
JULIA: There’s no oil in it. Corrigé
WINSTON: We can get some from old Charrington, I expect.
1. protagonists, 2. inciting moment, 3. plot, 4. denouement,
JULIA: The funny thing is I made sure it was full.
5. turning point, 6. story, 7. climax, 8. ellipsis, 9. peripeteia,
WINSTON: Do you remember...
10. exposition.
NARRATOR: he said
WINSTON: ...the thrush that sang to us, that first day at the edge PRONOUNCE (p. 110)
of the wood?
TAPESCRIPT tapescript37-38-p110
JULIA: He wasn’t singing to us.
NARRATOR: said Julia (track 37)
JULIA: He was singing to please himself. Not even that. He was Let’s make some more coffee. Damn! The stove’s gone out and
just singing. the water’s cold.
WINSTON: We are the dead. (track 38)
NARRATOR: he said. 1. Who’s got Mrs Wilson’s address?
JULIA: We are the dead. 2. It’s been a month since his mother’s death.
NARRATOR: echoed Julia dutifully. 3. She’s often wondered where the cakes are made.
TELESCREEN: You are the dead. 4. Frank’s dog, whose name’s Rover, hates postmen.
NARRATOR: said an iron voice behind them. They sprang apart. 5. Let’s find out if he’s still there.
TELESCREEN: You are the dead Corrigé
NARRATOR: repeated the iron voice.
A. Contracted forms: Let’s, stove’s, water’s.
JULIA: It was behind the picture.
NARRATOR: breathed Julia. Full forms: Let us, stove has, water is.
TELESCREEN: It was behind the picture. ’s is also the genitive (e.g. Mary’s dress).
NARRATOR: said the voice. B.
TELESCREEN: Remain exactly where you are. Make no movement
sentence ’s function
until you are ordered.
NARRATOR: There was a snap as though a catch had been turned 1. Who’s got Mrs Wilson’s who’s contraction: who has
address? Wilson’s genitive
back, and a crash of breaking glass. The picture had fallen to
the floor, uncovering the telescreen behind it. 2. It’s been a month since It’s contraction: it has
his mother’s death. mother’s genitive
JULIA: Now they can see us.
3. She’s often wondered She’s contraction: she has
NARRATOR: said Julia.
where the cakes are
TELESCREEN: Now we can see you. made.
NARRATOR: said the voice. 4. Frank’s dog, whose Frank’s genitive
TELESCREEN: Stand out in the middle of the room. Stand back to name’s Rover, hates name’s contraction: name is
back. Clasp your hands behind your heads. Do not touch one postmen.
another. 5. Let’s find out if he’s still Let’s contraction: Let us
NARRATOR: There was a sound of trampling boots below, inside there. he’s contraction: he is
the house and outside. The yard seemed to be full of men.
WINSTON: The house is surrounded. WRITE (p. 110)
NARRATOR: said Winston. • Pour une biographie d’Orwell, les élèves peuvent consulter les
TELESCREEN: The house is surrounded. sites :

7. As Others See Us 87
7 As Others See Us
– http://en.wikipedia.org/wiki/George_Orwell, • Les professeurs d’anglais que nous sommes n’ignorent certes
– http://www.gradesaver.com/author/george-orwell/. pas qu’Edward Hopper (1882-1967) est un peintre réaliste et
graveur américain qui exerça essentiellement son art à New-
• Parmi les événements historiques et les mouvements
York, lieu où se trouvait l’atelier dans lequel il travaillait. Hopper
politiques qui ont influencé Orwell, l’on trouve le colonialisme
s’est rendu célèbre pour sa manière si caractéristique de peindre
(l’empire britannique), le communisme et en particulier le
la vie quotidienne des classes moyennes. Il se consacra vite aux
stalinisme, la guerre civile en Espagne, la grande dépression
paysages américains puis devint un témoin attentif, fascinant
et la deuxième guerre mondiale – sa femme a travaillé dans les
et digne de confiance des mutations sociales aux États-Unis. Il
services de la censure.
réalisa un grand nombre d’huiles sur toile, mais aussi d’affiches,
• Pour un résumé de 1984 : http://www.angelfire.com/id/ de gravures en eau-forte et d’aquarelles. La majeure partie de
audreyspage/1984.html son œuvre exprime la nostalgie d’une Amérique passée, ainsi
• Le site http://www.his.com/~phe/farm.html donne une courte que le conflit entre nature et monde moderne. Ses personnages
biographie et un résumé de l’histoire de Animal Farm. sont souvent esseulés et mélancoliques. Le tableau étudié ici
ne fait pas exception à la règle.
INTERACT (p. 110)
Corrigé SPEAK (p. 111)
Team 1 teamfile-p109-1 Corrigé
1/b, 2/b, 3. dead, 4/b, 5. surrounded.  The scene is set in a movie theater/cinema – which is most
Team 2 teamfile-p109-2 probably situated/which must be located in New York, according
to the title of the painting – in 1939. This date corresponds to
 She suggests making more coffee. the very beginning/outbreak of World War Two in Europe. At that
/c. time/Back then, the USA had not got involved in the war yet.
/a. T : I made sure it was full  The woman on the right is an usherette. Her job/function
b/F : he wasn’t singing to us is to show people to their seats, to make sure everyone is
comfortable and to sell them ice-creams, candy bars, chocolate
c/F : It was behind the picture
bars, popcorn or soft drinks. In a word, she takes care of the
d/T : Now they can see us customers. There are hardly any more usherettes in movie
e/T : I suppose we may as well say goodbye theaters these days/nowadays.
Team 3 teamfile-p109-3  The usherette is leaning against the wall. She looks bored and
 Behind the picture. weary because her job must be quite repetitive. Even if she gets
to see and talk to many people on a daily basis, it may be rather
 a/F : remain exactly where you are
monotonous and dull because nothing much happens. Maybe
b/T : Make no movement until you are ordered
she can’t stand it any more and would like to do something else
c/F : Stand out in the middle of the room
for a change. She is resting her head in her right hand, probably
d/F : Do not touch one another
as a sign of tiredness/fatigue/exhaustion and boredom. Her
 Here comes a candle to light you to bed and here comes a face is totally expressionless/inexpressive and she seems to be
chopper to chop off your head. lost in her thoughts. She might be dreaming of a better/brighter
 That they will either be killed or silenced (i.e. metaphorically future for herself, unless she is picturing herself as one of the
have their heads cut off.) actresses she sees in the movies all day long...
Team 4 teamfile-p109-4  Hopper may want us to feel the contrast between – on the
1/b 2/c, 3/c, 4/b/e, 5/a. one hand – the cinema audience/moviegoers who are there to
relax, to get away from the problems of their everyday lives,

New York Movie

and who seem to be absorbed in the movie they are watching
(p. 111) and – on the other hand – the usherette who shows no sign of
interest or energy/vivacity. However, there are not many people
LES FICHES D’INFORMATION (BONUS)
in the audience (only a man and woman can be seen) and the
• Trois fiches d’information sont téléchargeables. Elles four- auditorium looks a bit like an empty shell. The atmosphere is
nissent des renseignements sur le peintre, le background et le one of solitude/loneliness and emptiness.
tableau :
 As far as colours are concerned, red – the colour of life
bonusfile1-p.111 – appears in various elements: the curtains leading to the
bonusfile2-p.111 movie theater, the seats, the lampshades and a stripe on the
bonusfile3-p.111 usherette’s outfit. Yellow/Beige is also present on the walls and
Pour ceux qui disposent du manuel numérique, ces textes sont ceiling, due to the corridor lights which make the usherette the
disponibles également en version enregistrée. main/the most important element in the painting. The rest of

88 Livre du professeur New On Target 2e


the movie theater is quite dark, with dimmed electric lights in
the auditorium. It is the usherette who is in the spotlight here,
although she is shown frozen, almost lifeless.
 The lines used by the painter clearly express a separation
between two worlds. There is a vertical dividing line between the
world of dreams (the auditorium) and real life (the usherette in
the corridor) which splits the painting in half. A discontinuous
horizontal line includes the screen and the upper part of the
usherette’s body, maybe as symbol of her daydream/reverie.
The people on their seats and the usherette’s legs are just
passive/motionless, waiting for the movie to come to an end.
 There may be a line of people/people queuing up/standing
in a line, waiting to buy tickets for the next screening/showing.
They may be talking/chatting with their children and friends,
laughing, looking forward to the movie, enjoying themselves...
This is in contrast to the usherette who here, at the bottom of
stairs, may symbolise the descent towards an underground
world of quiet, a passage from the lively city to a soundless,
almost death-like atmosphere. Alternatively, the semblance of
luxury in the room – gilt surfaces, red plush, a patterned carpet
– could be an illusion of safety compared to the danger of the
streets above.
Nous attendrons ici des élèves qu’ils utilisent un maximum
d’adjectifs permettant d’exprimer leurs goûts et réactions.
Exemples d’adjectifs connotés positivement : fascinating,
fantastic, fabulous, awesome, impressive, realistic, powerful,
amazing, moving, symbolic, superb, profound...
Exemples d’adjectifs connotés négativement : far-fetched,
pathetic, old-fashioned, saddening, odd, dull, dark, puzzling,
outdated, frightening, unbelievable, appalling...
Les structures suivantes – entre autres, à l’appréciation du
professeur – pourront également être valorisées :
I find it particularly...+ adjectif
I think this painting is a real masterpiece because...
What a ... work of art!
I just love this painting because...
I was particularly struck by ... when I first saw it.
PROJECT (p. 111)
• À l’issue de la préparation de ce projet telle qu’expliquée dans
la consigne, la simulation d’entretien professionnel proposée ici
pourrait se dérouler sous forme de speed dating, dans la mesure
où certains élèves préparent leur rôle d’ouvreuse, les autres
« entrant dans le personnage » du directeur du cinéma. On peut
donc envisager, notamment dans la perspective d’une évaluation
de la performance, de faire répéter plusieurs fois la prestation
des élèves afin qu’ils puissent s’exercer et ainsi acquérir des
repères. Il s’agira ici pour eux d’utiliser, encore une fois, un
maximum d’adjectifs descriptifs permettant aux ouvreuses
d’exprimer leurs émotions – à dominante négative, il semblerait
– et d’adopter le ton approprié à la situation. Les « patrons »
utiliseront la forme interrogative à foison, et pourquoi pas des
constructions incluant le modal should pour exprimer leurs
conseils éventuels, voire des structures à l’impératif, selon leur
ton et l’évolution de l’entrevue. L’ouvreuse pourra, au cours de cet
livre du professeur
« entretien de carrière », être amenée à se plaindre, s’énerver
de sa situation, demander un changement de poste, une hausse
de salaire, une promotion ou, « tout simplement », ouvrir son
cœur, s’épancher au sujet d’un travail dans lequel elle ne trouve
aucun épanouissement professionnel et qui la mure dans une
ambiance mortifère. Il faudra bien évidemment travailler les
registres de langue, celui de son employeur étant certainement
assez élevé, le moyen d’expression de l’ouvreuse étant plus axé
sur son ressenti, ses émotions, ses frustrations. Ne pas négliger
l’aspect anecdotique et « faire raconter » certains moments
marquants de sa carrière, notamment à travers l’exemple de
spectateurs singuliers et/ou inoubliables – nous encourageons
ici les élèves à faire preuve d’inventivité et de créativité, comme
le CECRL nous y invite.
Language Corner (p. 112-113)
La traduction de « on »
et le passif sans agent (p. 112)
• Cas d’école sur lequel on ne reviendra jamais assez. La fré-
quence de l’emploi du passif en anglais incite à revenir sans cesse
sur les réalisations de ses manifestations ! On peut demander
aux élèves une étude préalable du Précis grammatical.
Observation
Corrigé
 Formes verbales passives : you are ordered, as though a
catch had been turned back.
 Actions : order, turn back.
 Ce sont les personnages présents dans la pièce qui reçoivent
l’ordre ; c’est le loquet qui est tiré.
/ L’agent de l’action n’est pas mentionné car il est évident :
dans les deux cas, ce sont les soldats.
 Atmosphère créée : tension, suspense, crainte.
 La première phrase ne peut pas être traduite littéralement :
le verbe « ordonner à » (quelqu’un de faire quelque chose) n’est
pas transitif direct en français. La seconde phrase peut l’être
car le verbe « tirer » est transitif direct, mais on choisira sans
doute de garder la version en « on » pour conserver la même
atmosphère que celle créée par le texte anglais.
Application
EXERCICE 1
Corrigé
 A new database of images which is expected to use
technology... = Une nouvelle base de données d’images dont on
s’attend à se qu’elle utilise une technologie...
while the technology required to carry out automated searches
is refined = pendant que l’on affine la technologie nécessaire à
la mise en place de recherches automatisées
7. As Others See Us 89
7 As Others See Us
EXERCICE 2
Corrigé
a. They had been watched/spied upon for weeks.
b. Everything they did was being watched/spied upon.
c. Even their most private thoughts were detected.
d. They ended up (by) being suspected.
e. And finally they were arrested and placed in detention for
thought crime(s).
EXERCICE 3
Corrigé
a. I have been advised to read 1984.
b. My drawers have been gone through/rummaged through/
searched.
c. The house has been ransacked.
Divers emplois du participe passé (p. 112)
• Cette section est là pour aider les élèves à bien différencier
les emplois du participe passé : avec have ou avec be, sachant
que l’emploi de be implique automatiquement le passif ; et aussi
pour faire faire la différence entre le participe passé d’un verbe
au passif et un participe passé employé comme adjectif.
Observation
Corrigé
 Participes « actifs » :
– The stove’s gone out. (= has gone out).
– The picture had fallen to the floor. (auxiliaire have).
Participes « passifs » :
– The house is surrounded. (auxiliaire be ; encerclée par...),
– Despite billions of pounds spent on the new technology... (=
that have been spent = auxiliaire du passif conjugué au present
perfect),
– Only three percent of street robberies were solved using CCTV
images. (= by the police).
 Spent, bien que près d’un nom (mais à sa droite ! comparer
avec convincted dans l’exercice qui suit) n’est pas un adjectif ; on
est dans un cas où l’on a fait l’économie de la relative that have
been spent... Dans spent on the new technology, on a affaire à
une subordonnée participiale.
Application
EXERCICE 1
Corrigé
Participes passés : drawn up, required, refined (verbe be présent
ou sous-entendu).
Adjectifs : convicted, unidentified, automated (épithètes).
EXERCICE 2
Corrigé
La constitution d’une base de données nationales d’images
de vidéo-surveillance comprenant des images de délinquants
(déjà) condamnés comme celles de suspects non identifiés....
Les plans pour cette réalisation ont été mis au point mais sont
gardés sous le coude en attendant que la technologie nécessaire
à la mise en place de recherches automatisées.
90 Livre du professeur New On Target 2e
Bien identifier les formes en -ing (p. 113)
• Les multiples emplois de la désinence -ing pose des problèmes
d’identification et donc de compréhension. Nous essayons
d’aider les élèves à faire le tri.
Observation
Corrigé
 Noms verbaux (ou gerunds) : shouting (COD de resist),
putting.
Simples noms dérivés de verbes ou non : the warning, muggings.
Adjectifs verbaux à sens actif dérivés de verbes : advertising.
Participes présents construits à partir de la base verbale à
laquelle on a ajouté le suffixe –ing : piloting (sujet : senior police
officer Æ proposition participiale), using (= en utilisant, gérondif
français), working (emploi de la forme be+ing).
Autres mots (préposition, conjonctions...) : according to.
 Il est difficile de se retenir de crier : « je vous l’avais bien
dit ! »
Un officier supérieur de police qui pilote (en charge de) une
nouvelle base de données a mis les gens en garde : « les
investissements massifs qui ont été faits en matériel de vidéo-
surveillance ont échoué ».
Seuls 3 % des vols à la tire à Londres ont été résolus grâce à des
images de vidéo-surveillance...
L’avertissement vient du responsable de VIIDO à Scotland Yard.
Une nouvelle base de données d’images dont on s’attend à ce
qu’elle utilise une technologie mise au point par l’industrie de la
publicité sportive...
Le fait de poster sur internet des images de gens suspectés
d’agression, de viols ou de cambriolages...
Ils croient/pensent que les caméras ne fonctionnent pas.
On s’aperçoit que le français ne traduit pas littéralement les
participes présents, adjectifs verbaux ou gérondifs. Il a souvent
recours à l’infinitif (shouting, putting), à des relatives (piloting),
ou à des noms (advertising).
Application
EXERCICE 1
Corrigé
using (l. 13) : participe présent/gérondif (en utilisant)
building (l. 20) : nom verbal/gérondif
incorporating (l. 20) : adjectif verbal
going (l. 32) : participe présent
EXERCICE 2
• On aura remarqué que les énoncés choisis ne l’ont pas été au
hasard : leur traduction aidera les élèves à s’exprimer pour ou
contre la vidéo-surveillance lors du project proposé p 109, par
exemple.
Corrigé
a. Some people think that using CCTV will help reduce/curb
crime.
b. Filming people without their knowing doesn’t seem really
ethical to me.

c. I (for one) am sure it will yield stunning results.
d. And I’m telling you it is the end of our individual liberty/
liberties.
e. Some tabloids think they help curb crime by publishing the
pictures and wherabouts of the most dangerous delinquents.
f. One realises that the system isn’t working as well as planned/
it was thought it would.
With Us or Against Us?
(p. 114-115)
SPEAK (p. 114)
Corrigé
(exemples)
 There seem to have been several different motives. It is
difficult to know which one was the most important.
Firstly, Henry wanted a son and Catherine, his first wife, was
now almost certainly too old to have any more children. Anne
Boleyn could give him a son and he needed a divorce in order
to marry her. The Pope refused to grant the divorce (probably
because he was at the time a prisoner of Charles V, who was
King of Spain, Holy Roman Emperor and Catherine’s nephew)
so Henry divorced Catherine anyway, under his own authority,
thereby rejecting the Pope as head of the Church in England.
Secondly, he wanted to get his hands on the Church’s wealth. By
becoming head of the Church, he had control of Church lands,
income, gold and other wealth and could do what he wanted
with them.
Thirdly, he desperately wanted Anne Boleyn. It is said that she
refused to sleep with him unless they were married.
 (exemple)
I would have sworn the oath even if I had believed that the Pope
was the only true head of the Church. I think, when your life and
family are threatened, it is what is in your heart that counts, not
what you say. No one would have been harmed by my taking the
oath; on the contrary, several lives would probably have been
saved.
 (1) They could answer yes and be sure of keeping their jobs
and reputation. However, they would have to divulge the names
of colleagues with Communist sympathies and would probably
lose a great many friends.
(2) They could refuse to answer the question (which was their
right) but would almost certainly lose their jobs.
(3) They could say no, but in doing so were accepting that the
committee had the right to ask the question.
 (exemple)
If I had been an actor at the time and if I had been asked the
question I would have refused to answer. I would have said that
such a question was unconstitutional and that, if I answered yes,
I would incriminate myself which, under the Fifth Amendment, I
could refuse to do. In this way, I would have hoped not to lose
any friends and would hope that some studios would still employ
me.
livre du professeur
DEUX FICHES D’INFORMATION (BONUS)
• Deux fiches d’information sont téléchargeables. Elles
fournissent des renseignements complémentaires sur Henri VIII
et sur le sénateur McCarthy.
bonusfile4-p.114
bonusfile5-p.115
Pour ceux qui disposent du manuel numérique, ces textes sont
disponibles également en version enregistrée.
PROJECT (p. 115)
• Nous restons dans la thématique de la « chasse aux sorcières »
ou de toutes les attitudes intolérantes qui mènent certains à
rejeter les autres pour une raison ou une autre ou à les forcer
à penser comme la majorité et à adopter « la pensée unique ».
Notre monde actuel offre de nombreux exemples de cette
attitude souvent liberticide (quand elle se limite à cela) ! Le
rôle des media dans le façonnement de la pensée des citoyens
mériterait un chapitre à lui tout seul.
• Nous renvoyons donc les élèves vers le passé (devoir de
mémoire) pour qu’ils comprennent que ce travers n’est pas
nouveau et a été la cause de bien des persécutions. Nous
conseillons de les faire consulter diverses pages sur internet
avant de se lancer dans le jeu de rôle qui nécessitera temps de
préparation et aide du professeur :
http://en.wikipedia.org/wiki/Salem_witch_trials
http://www.google.fr/search?hl=fr&source=hp&q=witches+of
+salem&aq=f&aqi=g1&aql=&oq=&gs_rfai=
http://www.nationalgeographic.com/salem/
• Les rôles sont clairement distribués. Les élèves trouveront sur
les sites indiqués des noms de victimes des tristement célèbres
procès de Salem et des informations sur les Puritains.
• Nous conseillons aussi d’aider les élèves à repérer le fait
que les Puritains de Nouvelle-Angleterre étaient devenus des
spécialistes dans l’art d’espionner leurs voisins (sans CCTV !)
et d’essayer de voir ce qui se cachait sous les apparences de
chacun. Nous restons ainsi entièrement dans le thème de
l’unité.
• On commencera donc par la recherche, puis la rédaction
d’un script suivra. Et un élève jouera le rôle du journaliste qui
conclura sur l’importance de cette chasse aux sorcières dans
l’histoire américaine.
Checkpoint (p. 116-117)
Compréhension de l’oral (p. 116)
• Nous écoutons ici un programme radiophonique, Tonight
in Westminster, qui prend la forme d’un entretien avec une
femme politique membre du parti en opposition. Elle critique le
gouvernement pour sa politique de surveillance, et son projet
d’introduire les cartes d’identité qui n’existent pas au Royaume-
Uni. (L’introduction des cartes d’identité est un sujet qui ne cesse
d’être soulevé par certains journalistes et hommes politiques.)
7. As Others See Us 91
7 As Others See Us
LISTEN (p. 116)
TAPESCRIPT tapescript39-p116
PRESENTER: Hello and welcome to Tonight in Westminster with
our special guest Gillian Harrington, opposition spokesperson
on home affairs. Ms Harrington, our topic tonight is personal
privacy, which I believe you have fairly strong feelings about.
GILLIAN: Not just myself, but my party as a whole. For years now,
the government has been building up mammoth databases –
for the police, the National Health service, the Internal Revenue
– all the major government departments in fact – and has been
encouraging these departments to share their data with each
other.
PRESENTER: Well, isn’t that what people want? I mean, there
are stories in the press every day about terrible tragedies
that happen because of the lack of communication between
different services: children abused, people killed or seriously
injured, just because some civil servant hasn’t thought
to pass on a file... Surely more information means better
protection?
GILLIAN: Not at all. People want to feel safe, yes, of course they
do. But, up to now, this mania for databases has only succeeded
in being intrusive and enormously expensive. It’s certainly not
more effective. You cannot deliver frontline public services by
creating a “database state”. You need human judgment and
human care.
PRESENTER: So what are you proposing in order to counteract this
“database state”?
GILLIAN: Well, basically, it boils down to restricting the personal
information that the government can hold. For example, not
being allowed to keep a person’s DNA on file if they are not
convicted of the crime they’re charged with. Not being allowed
to keep records of people’s phone calls, texts or emails without
having special permission to do so...
PRESENTER: What about ID cards? I believe the government is
once again under pressure from the police to introduce them.
GILLIAN: Quite honestly, I cannot foresee the day when we shall
ever have ID cards in Britain. That would mean creating a national
identity register. Can you imagine the cost involved? And for
what? As a way of clamping down on illegal immigration?
PRESENTER: Well, that’s an argument that’s often used.
GILLIAN: It’s hardly a valid one. Spending billions on a national
identity register just to send couple of thousand people home?
Is that reasonable?
PRESENTER: Well, what about the prevention of terrorism?
GILLIAN: If anyone could possibly believe that a terrorist would be
deterred from setting off a bomb just because he or she didn’t
have an ID card, then I don’t know what world they’re living in.
Certainly not in the real world, that’s for sure.
Corrigé
 Gillian Harrington is the opposition spokesperson for/on
home affairs.
 She’s accusing the government of collecting too much data
on people’s private lives and of making it available to all the
different government departments.
92 Livre du professeur New On Target 2e
 Child abuse; people being killed; people being seriously
injured.
 It’s intrusive, very expensive and not very effective.
 She thinks the government should restrict the information
it can hold. For example, it should not be allowed to hold DNA
details of people who have not been actually convicted and
it should not keep records of phone calls, text messages or
emails.
 No, she doesn’t, she thinks it would be too expensive to put
in place and would have very little effect – identity cards would
not deter terrorists or have much effect on the numbers of illegal
immigrants.
Compréhension de l’écrit (p. 116)
• John Kampfer was a foreign correspondent for nearly a decade
before becoming one of Britain’s most prominent political writers,
commentators and pundits. As Editor of the New Statesman, he
took the magazine to 30-year circulation highs and won a series
of awards. He is now Chief Executive of Index on Censorship, one
of the world’s leading free expression organisations. His three
previous books include Blair’s Wars, a devastating survey of the
former Prime Minister’s foreign policy. He lives in London.
READ (p. 116)
Corrigé
 This extract deals with the security measures implemented
during Blair’s premiership.
 The author says that Tony Blair will be remembered for
drastically strengthening the laws on security, thus turning
Great Britain into the most authoritative “surveillance state” in
the democratic world. (l. 2-3)
 L’élève choisira cinq éléments parmi les exemples suivants :
– police and security forces were given greater powers of arrest
and detention (l. 8),
– all institutions of state were granted increased rights to snoop
(l. 9),
– individuals were required to hand over unprecedented forms
of data (l. 10-11),
– abroad, the government colluded with the transport of terrorist
suspects by the US government to secret prisons around the
world (l. 12-14),
– at home, new crimes were created, such as glorifying terrorism
or inciting religious hatred (l. 15),
– control orders were imposed on people deemed a security
threat (l. 16),
– Anti-Social Behaviour Orders (ASBOs) were imposed on people
for actions that were not illegal in themselves (such as visiting
a part of town deemed out of bounds or talking to certain people
deemed dangerous) (l. 19-22),
– double jeopardy was removed for serious offences, meaning
that people could be tried for a second time even after being
acquitted (l. 25-26),
– the government also tried to cut back the scope of trial by jury
(l. 26-27).

 (Réponse personnelle.)
 Even if the public thought that many of those measures
would not be effective, they seemed to agree with the idea of a
more powerful surveillance state.
 The author asserts that the population supported most of
those measures partly because people did not understand what
they meant and what they implied. He blames the government
for not clearly explaining to the public what they were doing
and for being too authoritarian. He therefore disagrees with the
measures mentioned above.
Expression écrite (p. 117)
• Comment peut-on voir une terroriste en cette gamine ? Telle
est la question que pose le peintre dont le but est d’illustrer les
dérives où peuvent mener les idéologies trop sécuritaires.
• Nous guidons l’expression écrite en deux temps ici :
– description/interprétation,
– mise en forme de l’opinion.
• On n’exigera pas un développement trop long. 150 mots de la
part d’élèves de seconde paraît une longueur raisonnable.
Corrigé (exemple)
This picture is a mural by the British painter Banksy. It shows
a British policeman with a truncheon frisking/searching a little
girl as if she were a dangerous terrorist. When she was stopped,
she was probably on her way either to or from school and was
carrying her school bag and a teddy bear. It may have been
these items that attracted the policeman’s attention/aroused
the policeman’s suspicions. It is absurd to think that a girl that
age would be carrying a booby-trapped bag or toy on her way
to school!
I generally approve of the measures that are being taken to
deter criminals of all sorts because they are meant to protect
citizens and ensure their safety. Therefore, I have no problem
with the checking of suspicious bags or baggage. But here the
situation has gone beyond the limit. It is not only ridiculous, it
is offensive and downright shocking. I think authorities should
think twice before enforcing measures that will create paranoid
behaviour in either citizens or police officers.
Expression orale (p. 117)
SPEAK (p. 117)
Corrigé
It’s just before Christmas and probably in the middle of a
shopping centre/mall. Children are visiting Santa and telling
him what they want for Christmas. Santa is talking to a little boy
and is telling him that he’s been keeping an eye on him this past
year by means of the surveillance camera hidden in the toy he
gave him last year. He’s warning him not to misbehave or else –
we assume – he will not get a present this year.
The idea of planting a camera in a child’s toy is ridiculous
because small children do not pose any threat to society.
Furthermore, in many countries, spying on children would
be an infringement of child protection laws. The cartoonist
livre du professeur
is denouncing the excessive use of surveillance cameras in
modern society.
Ateliers (p. 118-119)
Atelier 1 (p. 118)
TAPESCRIPT dvdscript-p118
VOICEOVER: Do you ever have nightmares? Do you ever wake
up screaming in the middle of the night? Well, perhaps this
research institute at Bexhill-on-Sea on the south coast of
England has the answer to your problems.
MAN 1: The Dream Director is an interactive installation
designed to sculpt the narrative of participants’ dreams
throughout the night. So sounds will be played as they’re
dreaming that can be incorporated and alter the narrative
of their dreams as they occur throughout the evening. [...]
Below we’ve got 20 sleep pods and this evening the public
will come in and get ready for bed and they’re going to wear
special sleep masks that measure when our participants are
in Rapid Eye Movement – or REM – stage of sleep. And when
our computer knows that that person is dreaming, we’ll play
them a special sound sample that will affect the content of
their dreams.
SLEEPER 1: I’m really excited about my pod and excited about my
dreams I’m going to have as well. I hope they’re dramatic and
exciting.
SLEEPER 2: Night, night.
VOICEOVER: During the night...
MAN 2: We think it could have a great clinical potential because
we’ve had problems for years with people who have really bad
nightmares or post-traumatic stress disorder and get these
horrible recurrent dreams. And, of course, by being able
to steer dreams, by being able to change the path of them,
through introducing sound samples, this could help them
have better dreams.
SLEEPER 1: I had three dreams and they were quite distinct. I
don’t think any of them were caused by the things that I heard
though.
Questions du manuel (p. 118)
Corrigé
 People come to sleep in the Institute for the purposes of
research. While they are asleep, different sounds are played to
them. The theory is that the sounds influence their dreams.
 It could be useful in helping people who have horrible
recurrent dreams.
7. As Others See Us 93
7 As Others See Us
DVD Worksheet dvdfile-p118 Atelier 3 (p. 118)
Corrigé • Défier la vieillesse et la mort, tout simplement, voilà l’idée
1. a. nightmares, c. wake up, e. screaming, f. wake up, qu’accepte le narrateur inventé par Hanif Kureishi dans cette
h. research, i. Bexhill-on-Sea. nouvelle intitulée The Body, et où il apparaît que, même rajeuni
2. par des moyens on ne peut plus discutables, ce corps, jeune ou
vieux, reste une prison de laquelle on ne peut s’échapper.
original word changed to
1. sculpt direct • Ce texte présente quelques difficultés lexicales, que lève la
2. throughout during Toolbox ; il se situe aussi au moment troublant où le personnage
3. sounds noises Ralph est dépeint comme un vieil homme tout d’abord, puis un
4. as while jeune homme à la fin de l’extrait... Situation inhabituelle s’il en
5. incorporated integrated est.
6. alter change • Vous pouvez accompagner les élèves dans la découverte puis
7. narrative content la compréhension de l’extrait en les renvoyant à l’aide lexicale
8. occur happen (Toolbox), mais aussi en pointant la différence entre les propos
 a. pods, masks, b. Rapid, Movement. tenus par les divers personnages ou rapportés par les divers
personnages, sachant que l’un d’eux est le narrateur. (First
 She hopes she will have dramatic, exciting dreams.
person narrative).
 (exemple) They may be able to help people who have horrible • Les réponses aux questions 4, 5, 6 peuvent être rapportées
nightmares by introducing sound samples while they sleep
sous forme de notes dans un tableau pour que les faits soient
which enable them to have better dreams.
bien clairs :
 (Students’ own answers.) Ralph Man (line2)
Job doctor
Atelier 2 (p. 118) Interest(s) Theatre, culture Theatre, culture
• Pour aider les élèves à effectuer cet exercice, on pourra leur age Old (l. 5) Young (l. 2)
proposer les activités suivantes : Corrigé
 Fill in the following grid.  The pronoun “he” (l. 1) refers to Ralph: the person the
The reasons why I would take the The reasons why I would refuse narrator is listening to.
chance never to grow old. to remain young forever.
 Ralph tells about a conversation he had with a doctor who
said that some kind of miracle was taking place: some rich old
people’s brains were transplanted into the dead bodies of young
people.
 First such an operation seems technically impossible: a
 Check the meaning of the following words or expressions brain is not an organ you can take out alive from a body. Second
and circle those which introduce the reason or explanation for the idea of old people using young bodies to live forever sounds
something. unnatural/abnormal/perverse/immoral to say the least.
• on account of • unlike • although • because • even if • since  The following quotes (l. 30-32) prove that Ralph is now a
• consequently • that’s why young man or rather an old man living in the body of a young
 To answer the question in your book, follow the steps below. man, eager to make his story sound real/realistic to the narrator:
a. Write a few introductory words. (If you’re stuck, answer this “Have a good stare”, “Touch me if you want”.
question: Have scientists found a way to stop the aging process?)  He must look young. The narrator uses the comparison “like
b. State your opinion and use the following prompt: “But, if I were the flesh of any young man” (l. 34).
given a chance never to grow old, I would...”
 The narrator must be in his 50s or 60s because Ralph says: “I
c. Give your reasons using what you wrote in the grid and the
have followed your life from the beginning”. We also understand
words or expressions you selected in Step 2.
the narrator is a well-known writer/playwright and Ralph – giving
Corrigé (exemple) him so many details about the “miracle” – is trying to talk Adam
Even if many experiments have been carried out to find out into (à élucider en classe) having his old brain transplanted into
how to stop the aging process, it is currently impossible to stop a young body and so to become himself a “newbody”.
growing old. But, if I were given a chance to never grow old,  Ralph looks young but he is a “newbody”: an old man who
I would turn down the offer because getting old is part of the has undergone the transplant. (On peut saisir l’occasion de
natural cycle of life. I would not like to see my children looking cette réponse pour revoir l’expression du contraste par exemple :
older than I do. That’s why I would refuse to look forever like a (Even) though Ralph looks young he is an old man/Ralph looks
twenty-year old. twenty however/yet he is older than the narrator.

94 Livre du professeur New On Target 2e


No, the narrator is incredulous/skeptical/unconvinced/
disbelieving: “difficult to believe” (l. 40), “fairy stories, tall
stories” (l. 41).
Atelier 4 (p. 119)
Corrigé
 This is a picture from the popular TV series Nip & Tuck. It
shows two men, probably in their thirties, dressed as surgeons,
a statue of Milo’s Venus and a shop-window dummy. Both the
statue’s and the dummy’s arms have been cut off from the rest
of the body, but it seems the two men are preparing to repair
the damage done to the dummy. The picture shows a room in a
museum but also a number of surgical instruments that clearly
indicate what the men’s jobs are.
 They are obviously surgeons, judging by the clothes and
masks they are wearing, and by the work they are about to
do: reconstruction work. They are surgeons who specialise in
cosmetic/plastic surgery, as shown by all the instruments that
can be seen here.
 Nip & tuck is a colloquaial expression. If two opponents
are “nip and tuck” in a competition, it means they both have
an equal chance of winning. This may be a hint regarding the
boisterous love life of the two surgeons who often compete for
the same prize... But in the present case, “nip” and “tuck” refer
more to what plastic surgeons do: they make small cuts (=nip)
into their patients’ skin and pull and fold (= tuck) it to make it
appear tighter as when someone has his or her face lifted.
 The central figure is the blond, long-legged, full-breasted,
flat-bellied dummy that represents today’s canons of beauty. A
glance at the famous statue behind the dummy will show that
these canons have changed since ancient times.
 (Réponse libre.)
Atelier 5 (p. 119)
• Le débat porte sur la controverse générée par certains tabloids
britanniques de publier photos et autres renseignements, y
compris l’adresse, de criminels ou prédateurs avérés.
• La classe sera divisée en deux groupes : pour et contre.
Chacun des deux groupes sera chargé dans un premier temps
de rassembler les arguments correspondant au parti pris par
le groupe. Pour ce faire, passez entre les groupes et fournissez
l’aide lexicale nécessaire à la demande ou préparez une liste de
vocabulaire dans laquelle les élèves devront « piocher » pour
formuler leurs opinions.
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• Comme d’habitude, il ne sera pas question de rédiger de
longues phrases complètes, afin de préserver le naturel de la
communication avec ses hésitations, reprises, corrections, etc.
The Portrait (p. 120-121)
• Nul besoin de présenter Oscar Wilde à des anglicistes
chevronnés. Mais on pourra néanmoins envoyer les élèves
chercher des renseignements sur cet auteur qui défraya la
chronique en son temps.
(http://en.wikipedia.org/wiki/Oscar_Wilde)
• L’étude du still final du film de 1948 présenté en double page
d’ouverture aura peut-être permis d’éclairer le contexte dans
lequel la fin du roman évolue. En tout cas quelques précisions
sur les grandes lignes de l’œuvre aideront les élèves à voir
clair dans ce texte. Compte tenu de l’engouement actuel des
adolescents pour les histoires extraordinaires, le texte devrait
retenir leur attention. On pourra aussi demander aux élèves de
justifier la présence de cet extrait dans ce chapitre.
READ (p. 120)
Corrigé
/b/c/e.
 He breaks it because it shows beauty and youth, the two
things that have ruined his life even though he wanted them
beyond all other things.
 It is different because it reflects the life of its subject. If the
subject does something terrible, the portrait becomes a little
uglier, and as the subject gets older, so the face in the portrait
gets older. At the same time, the subject neither ages nor
changes in any way physically.
 It is too horrible to show in public, and if people saw it change
over the years, they might suspect something strange was
going on.
 He is hurt and angry to see that it has not changed for the
better, whereas he thought he was becoming a better person. On
the contrary, it showed some cunning that was not there before,
suggesting that Dorian’s change for the better was not a serious
attempt to change his ways.
 Dorian intends to destroy the painting and thereby free
himself from its association with him: a sort of purification.
However, when he stabs the heart of his image in the portrait, it
is in fact himself that he stabs. He takes on the features of the
hideous old man in the portrait, and the portrait returns to its
original state: the portrait of a beautiful young man.
7. As Others See Us 95
8 Visions
Pages d’ouverture (p. 122-123)
• Ce dernier chapitre va nous permettre de faire voyager les
élèves dans l’avenir, et l’expérience montre qu’ils sont assez
friands de ce type de voyage. Ces visions d’avenir seront
néanmoins et paradoxalement un moyen pour nous de rappeler
l’héritage littéraire et cinématographique des XIXe et XXe siècles.
• Les six photographies retenues pour cette double page
d’ouverture évoquent clairement et de façon contrastée les
diverses façons dont les auteurs ont envisagé cet avenir. Nous
commencerons donc par un bref rappel cinématographique qui
prend la forme d’un quiz de connaissances.
• Les élèves sont ensuite invités à trier les documents selon
qu’ils offrent une vue optimiste ou pessimiste de l’avenir.
SPEAK (p. 123)
Corrigé
 Pictures 1 & 3 : 2001 A Space Odyssey
Picture 2: Metropolis
Pictures 4 & 6: Blade Runner
Picture 5: The Time Machine
. Background information
Metropolis, directed by Fritz Lang, was made in the Machine
Age, when modernism was in fashion and many people thought
that mechanisation and automation were vehicles of prosperity
and happiness. Others thought that industrialisation increased
the risk of social unrest. The film is set in a future world where
there are two social groups: the masters (owners of capital,
thinkers and planners) who live above ground, and the workers
who live underground and run the machines. An analogy can be
made with the origins of the Eloi and the Morlocks in The Time
Machine (see pages 136-137) and with the two social classes
of Blade Runner. Metropolis paints a harsh picture of a future
where machines have become too important.
Part of 2001, directed by Stanley Kubrick, shows a near
future where commercial space travel is almost an everyday
occurrence. It also shows space exploration controlled by a
computer (“Hal”) that refuses to obey instructions from the
crew. Mankind has therefore created machines that contain the
seeds of its own destruction.
Blade Runner, directed by Ridley Scott, shows a decaying future
world full of reminders of the past. Despite technical advances
that, for example, have created flying cars and brought about
the colonisation of space, this is a world full of pollution, junk
and unwelcome advertising. “Replicants”, who closely resemble
humans and who were intially designed to help colonise other
planets, have turned out to be a threat to human life.
The Time Machine, directed by Simon Wells (the great-grandson
of H. G. Wells, author of the original book) is very loosely adapted
from the book. In the world of the far-distant future (the year
802,701), life has become primitive once again and, although
the Eloi seem to have an idyllic, peaceful existence, they are the
prey of the Morlochs, who live underground.
96 Livre du professeur New On Target 2e
Fact or Fantasy? (p. 124-125)
• Dans le cadre de la thématique « visions d’avenir : créations
et adaptations » (nouveaux programmes culturels de la classe
de seconde), appréhendée sous différents angles, nous nous
penchons ici sur la question des nano- et biotechnologies.
• Parmi les problématiques retenues : comment la science est-
elle en train d’élaborer des techniques de pointe pour explorer
le corps humain afin de mieux en saisir l’infinie complexité,
de pouvoir suivre son évolution et de traiter au mieux ses
évolutions dégénératives ? Stopper la maladie et enrayer la
vieillesse : proche réalité ou illusions lointaines ? De quoi faire
rêver ou, au contraire, effrayer... Aux élèves de choisir ce que
cette « évolution » leur inspire...
• Cette double page nous rappelle, notamment à travers son
titre sous forme d’interrogation, à quel point science et science-
fiction peuvent se trouver étroitement liées.
• Les documents sont courts, informatifs et très actuels, dans la
mesure où science et médecine notamment sont en constante
évolution avec des avancées permanentes.
• Cette thématique moderne est susceptible de fédérer
l’attention d’élèves de tous horizons quels que soient leurs
centres d’intérêts divers et variés, tant les sujets évoqués ici
sont captivants.
SPEAK (p. 124)
Corrigé
 The four pictures show either scientific elements (the two
pictures on the left-hand page) or funny elements supposed
to illustrate the subjects of the short texts. On page 124, the
picture on the left looks like a translucent robot and the one on
the right looks like some kind of pill containing two transparent
brains. On page 125, the picture on the left shows identical
Barbie Doll faces, illustrating the theme of physical perfection/
flawlessness. The black-and-white picture on the right shows
several smiling babies using sheets or diapers/nappies to
parachute down to Earth, ready to be born. A stork can be seen
flying away in the top right-hand corner.
 The link between the pictures and the title of the double page
seems quite obvious as some pictures are linked to hard facts
and scientific reality and some others may seem more related
to fantasy, fiction or science fiction than to actual facts.
READ (p. 124)
Corrigé
/ Voir les réponses proposées dans la correction des fiches
de la partie Interact.
 The paragraph entitled The cherry robot describes what
might happen in the near future. But this scenario is somewhat
shocking/pathetic ridiculous if you consider the last sentence.
The paragraph entitled The Intelligent Pill depicts what is
happening nowadays/what will happen in the near future. It
is quite an encouraging step, if you consider people fighting
cancer.

The short text entitled Genetic Engineering describes something
that will never happen. This scenario is not only appalling to
most people but also preposterous/absurd and scary. Boy or
girl? You choose! depicts a situation which has been going on
(on a different level though) for some time in certain countries
around the world (for instance China or India). The studies
mentioned must have been thought-provoking when they were
published.
WRITE (p. 124)
• Ce travail (à la maison ou à réaliser en salle informatique)
donnera l’occasion de s’informer davantage et de se forger une
opinion argumentée à ceux des élèves qui auraient du mal à se
faire un avis sur la validité, voire l’existence de ces avancées
scientifiques et médicales.
• Pour ceux qui choisiraient l’option cinématographique, une
pléthore de films pourront être cités à bon escient par des
élèves souvent très cinéphiles.
INTERACT (p. 125)
• Travail de groupe, notes succinctes, mise en parole et prise de
notes sont ici au rendez-vous de l’activité proposée.
• Remarque : les fiches proposées ici pour quatre (ou deux
fois quatre) groupes d’élèves, très guidées et construites sur
un modèle identique, peuvent être utilisées comme fiche de
compréhension détaillée extrêmement complète dans le cadre
d’un travail plus frontal.
• Pourquoi ne pas envisager, également, l’étude de deux de ces
textes en classe, d’un troisième comme entraînement avant de
se servir du quatrième comme support d’évaluation ?
Corrigé
Team 1 teamfile-p125-1
1/a, 2/c, 3/c, 4/bc, 5/b, 6/c/f (réponse personnelle cependant) :
It is rather encouraging because it will enable more reliable
diagnoses to be made. The style of the article makes it rather
funny as well.
Team 2 teamfile-p125-2
1/a, 2/a, 3/a/a, 4/c, 5/a, 6/c (réponse personnelle cependant) :
It is encouraging because it is an easy/a practical/a painless
way of getting detailed information about what is happening
inside the human body.
Team 3 teamfile-p125-3
1/b, 2/b, 3/a/c, 4/ réponse et justification(s) personnelles selon
le point de vue de chaque élève, 5/c, 6/b/c/f les plus probables
mais réponse personnelle également : Such an evolution is a
frightening development in science, even if, in a way, it can be
seen as an encouraging step. Being able to create the human
being of one’s choice is absolutely ridiculous as well!
Team 4 teamfile-p125-4
1/c, 2/c/a, 3/b, 4/b/d/f probables mais réponse et raison
personnelles à fournir : It is both ridiculous and frightening
to choose to have a boy at all costs since the world would be
peopled by far more boys than girls, which would disrupt the
livre du professeur
whole organisation of society, not to mention the short-term
demographic consequences.
WORDWORK wordfile-p125
Corrigé
1/f, 2/m, 3/a, 4/g, 5/d, 6/b, 7/k, 8/j, 9/l, 10/h, 11/e, 12/i, 13/c.
PROJECT (p. 125)
• Nous misons ici beaucoup sur l’aspect humoristique du travail
demandé. Le concept de mad scientist évoque immédiatement
le Dr Folamour ou le Dr Moreau et autres exemples tirés de la
comédie ou de l’épouvante en littérature comme au cinéma.
Aux élèves de faire leur choix : le savant bon mais ridicule ou le
scientifique mauvais mais intriguant dans son inventivité.
• Ici encore, la rhétorique adoptée devra être l’élément central,
les contraintes posées par la consigne étant claires : comment
captiver et convaincre un jury, un mécène, un organisme ou une
agence gouvernementale de financer un projet de recherche.
On attendra donc des arguments « choc », des exemples
frappants, un point sur l’état des recherches (de préférence bien
avancées !) et de l’originalité, voire une vraie mise en scène,
avec une stratégie discursive et... vestimentaire pour coller au
rôle choisi !
• Toute latitude est laissée aux groupes de 3 ou 4 élèves pour
s’organiser : savants associés sur un projet précis, collègues,
rivaux, assistants, tant que la cohérence du projet soumis est
acceptable.
Eerie Planet (p. 126)
SPEAK (p. 126)
Corrigé
 The picture is a poster for the film The Red Planet showing two
astronauts in trouble on planet Mars. They are overshadowed by
something. They have taken off their helmets. The man looking
up looks worried and incredulous
 (L’on peut remarquer le sous-titre The colour of Fear. Il faut
limiter le temps ici car cet exercice ne représente qu’une mise en
ambiance pour le document oral qui n’est pas basé sur ce film.
L’on pourrait donner à chaque groupe de trois ou quatre élèves
juste cinq minutes pour produire une petite histoire inspirée
par l’image et le titre. Pour un résumé de l’intrigue du film, voir
http://www.imdb.com/title/tt0199753/plotsummary)
 They suggest that the two men are about to be “surprised”
by something very dangerous and terrifying.
LISTEN (p. 126)
TAPESCRIPT tapescript40-p126
JACKSON: So this is it. This is the Red Planet. Not so different from
Arizona. Arizona without the cactus. What’s so funny, Seeger?
SEEGER: I just imagined us finding a cactus behind that big rock,
Captain.
JACKSON: I’ll tell you what we’ll find behind that big rock: another
rock, and it’ll be coloured the same red. Nothing but rocks as
8. Visions 97
8 Visions
far as the eye can see. And all dead. A great, dead plain... amount of money and we’d do better to spend that money on
SEEGER: Mandeville, sir. sorting out our own planetary problems.
JACKSON: Yup, maybe we’ll find Mandeville. But it’s been three
years, Seeger. There might not be a single trace of him, what WORDWORK wordfile-p126
with the solar heat and winds and coyotes. That was supposed Corrigé
to be funny, Seeger. Coyotes. You never laugh when I’m trying  An astronaut or cosmonaut is a person trained on a human
to be funny. Seeger? spaceflight program to command, pilot or serve as a crew
SEEGER: Out there. member of a spacecraft.
JACKSON: What?
SEEGER: That silver kind of spot. Out there.
 Weightlessness is a phenomenon experienced by people
during free-fall. It can happen during an orbital maneuver in
JACKSON: Clean your helmet, Seeger. You got fluff on the glass.
a spacecraft or during the launch phase when rocket engines
SEEGER: See that bright bunch of stars, Captain? Bring your eye
provide thrust.
down until you hit that long shadow. Just to the left. A silver
kind of...  Skylab was the first orbital station the United States
JACKSON: Flash. I’ve just seen it flash. It’s metallic. Cigar-shaped. launched into space. The current supply vehicle is the space
Just like something out of an old sci-fi comic. Crazy! shuttle.
SEEGER: Mandeville? His helmet?  A spacesuit is designed to keep a person alive and
JACKSON: If his head was cigar-shaped and the size of a bus, comfortable in the harsh environment of outer space when
affirmative. But it was round, and about the same size as your they are moon walking for example. It must provide a low,
head, Seeger. Small. stable internal pressure to allow for greater mobility and avoid
SEEGER: You can’t tell the size. There’s nothing to compare it with, decompression sickness.
just rocks. It might be smaller than you think, Captain. It might Pronounce
even be an optical illusion. Some kind of reflection...
JACKSON: We’ll take a closer look. (p. 126)
SEEGER: Shouldn’t we go fetch some weapons out of the ship, TAPESCRIPT tapescript42-p126
first? B. 1. fun, fern.
JACKSON: Now you’re believing it! Go fetch ’em, but quick. 2. hut, hurt.
SEEGER: Captain. 3. bun, burn.
JACKSON: Scared, Seeger? 4. duck, Dirk.
SEEGER: The ship? Where’s the ship? 5. cub, curb.
JACKSON: Right there. It ain’t moving. 6. cut, curt.
SEEGER: I mean our ship, Captain! 7. shut, shirt.
JACKSON: Don’t worry. It’s just another illusion, for sure. 8. sermon, summon.
Corrigé Corrigé
1. The scene takes place on The Red Planet or Mars. We can hear A. Contracted forms: Let’s, stove’s, water’s.
two characters – they are Seeger and the Captain (Jackson Full forms: Let us, stove has, water is.
in the script). Their voices sound distorted because they are
’s is also the genitive (e.g. Mary’s dress).
wearing helmets.
B. Pour les exemples 1 à 7, le premier mot de chaque paire
2. They seem to have seen something strange although they
contient le son [◊], le deuxième contient le son [π:]. Pour
talk about an optical illusion. Both of them sound scared at the
l’exemple 8, c’est inverse.
end when they can no longer see their ship.
3. In the film plot, a team of astronauts is/are making the first INTERACT (p. 126)
manned expedition to the Red Planet. Here we have just two Corrigé
characters and we learn that Mandeville came here three years
Team 1 teamfile-p126-1
before. There are certainly differences in the two personalities.
They also have doubts about the existence of what they see. 1. The Red Planet, 2/c, 3/a, 4. a. Nothing but rocks as far as
the eye can see, b. A great dead plain, 5/a/d, 6. shadow, flash,
WRITE (p. 126) 7. stars.
• Pour préparer les élèves à cette tâche, l’on pourrait organiser Team 2 teamfile-p126-2
un débat ou au moins un échange d’idées pour et contre. 1/b, 2. flash, metallic, cigar-shaped, 3/d.
Exemples : scientists might discover that humans could live 4/b cigar-shaped, the size of a bus
there so that in the future when the earth is overpopulated, 5/a/T : it might even be an optical illusion
people will be able to go and live on Mars. Scientists think they b/F : we’ll take a closer look
might find water or they might find out more about the origins c/T : Shouldn’t we go fetch some weapons out of the ship, first?
of the universe. However, a manned mission costs an enormous d/F : don’t worry, it’s just another illusion for sure

98 Livre du professeur New On Target 2e


Team 3 teamfile-p126-3
1. avuncular, at ease.
2/c.
3. that was supposed to be funny, you never laugh when I’m
trying to be funny.
4. a/T : Clean your helmet, you got fluff in the glass
b/T : about the same size as your head (= small)
c/F : Go fetch ’em
d./F : Don’t worry, it’s just another illusion
Team 4 teamfile-p126-4
1. Mandeville
2. a/T : maybe we’ll find Mandeville
b/F : it’s been three years
c/T : there might not be a single trace of him, what with the solar
heat and winds
3. his helmet
4/c.
The Lady of Shalott (p. 127)
• L’œuvre proposée ici, plutôt originale et mystérieuse pour des
élèves de seconde, s’inscrit dans les ponts préconisés par les
instructions officielles entre culture et histoire des arts. Le cours
d’anglais ne saurait échapper à cette direction, la peinture étant
un excellent moyen d’accéder à la culture des pays anglophones
pour les élèves, la composante visuelle étant un repère fort et
créateur de sens, à travers la (re)construction active qu’elle
propose.
• Comme ses frères pré-raphaélites, Waterhouse nous gratifie
de codes intéressants à déchiffrer : la référence médiévale,
l’aspect légendaire quelque peu cryptique et une certaine
touche romantique. La mise en abyme que cette création
réalise (Waterhouse peint ici la figure centrale d’un poème de
Tennyson écrit en 1833) montre une nouvelle fois qu’une œuvre
d’art repose sur des pré-requis dont la connaissance, loin d’être
évidente pour des élèves de seconde, s’avère fort éclairante.
LES FICHES D’INFORMATION (BONUS)
• Trois fiches d’information sont téléchargeables. Elles fournissent
des renseignements sur le peintre, le background et le tableau :
bonusfile1-p.127
bonusfile2-p.127
bonusfile3-p.127
Pour ceux qui disposent du manuel numérique, ces textes sont
disponibles également en version enregistrée.
SPEAK (p. 127)
Corrigé
 The woman is sitting in a small boat. She is wearing a long
white dress with long sleeves that are very wide near the wrists,
in medieval style. Her long, fine red/auburn hair is almost waist-
length. It is parted in the middle and held in place by a circlet/
band. Her dress has a black belt or sash at the waist. She seems
to be in a sort of dream: her eyes are half-closed and she looks
livre du professeur
anxious about something. She could be singing something. In her
right hand she is holding the chain that normally ties the boat to
the river bank. It looks as if she is about to let it go/cast off.
The boat is shaped like a canoe with some decorative carving
at the bow which suggests that it belongs to someone of high
rank. Draped over the boat is an elaborate piece of embroidery/a
tapestry in shades of red and pink.
The river is calm and bordered by green fields and trees, with
rushes in the foreground. We are deep in the heart of the English
countryside.
 This is a history painting (a genre which includes legendary
subjects as well as real ones). It is not a landscape because
the landscape is not as important as the figure and what is
happening. And it cannot be called a portrait either, since this
is obviously not a real person and, anyway, the action is more
important than the the woman’s face.
 Judging from what her right hand is doing, the woman is about
to (cast off and) let the boat drift down the river. There is no sail
and no oars either, so she is simply going to let the current take
her. Perhaps she is going to try and sell the tapestry, perhaps
the tapestry is just to make the boat more comfortable to sit in.
She looks as if she is in another world, a world of her own, so she
might be contemplating suicide in the river...
 (Students’ own answers.)
PROJECT (p. 127)
• L’objectif de cette activité est de donner aux élèves une
véritable raison de rechercher des informations sur le tableau de
Waterhouse et sur le mouvement pré-raphaëlite en général.
• Les équipes, composées de trois ou quatre élèves, devront
travailler efficacement, éventuellement en se partageant le
travail demandé qui implique les étapes/tâches suivantes :
– travailler sur la force de conviction, la rhétorique, le discours
de vente (de type sales pitch avec des slogans et arguments
accrocheurs) visant à convaincre de potentiels acheteurs en
leur mettant « l’eau à la bouche » grâce à une argumentation
choc ;
– préparer toute une série de questions potentiellement posées
par les internautes ne connaissant vraisemblablement pas le
tableau et auxquelles il s’agira de répondre en temps réel avec
rapidité et efficacité ;
– préparer, par incidence, les réponses à ces questions (un
travail de recherche s’impose donc, à moins que les trois fiches
annexes ne soient ici utilisées).
• On imagine que l’organisation de simulations de vente
(pourquoi ne pas penser à une vente aux enchères publique dans
laquelle nous aurions un commissaire-priseur et des acheteurs
potentiels, de même que l’actuel propriétaire du tableau avec
un jeu de questions-réponses et des offres successives) serait
un plus et donnerait de la profondeur au projet, même si cette
forme s’éloignerait quelque peu du projet initial.
• L’aspect interactif de ce projet apparait très clairement, chacun
faisant de son mieux pour convaincre l’autre. Savoirs et savoir-
être se trouvent donc intimement mêlés.
8. Visions 99
8 Visions
Language Corner (p. 128-129)
Les subordonnées temporelles (p. 128)
• C’est sur l’emploi du présent dans les subordonnées de temps
en anglais que nous allons faire réfléchir les élèves.
• L’accent sera mis sur le fait que l’anglais emploie un temps
présent (ou passé dans les contextes passés) dans les
subordonnées de temps, comme le fait le français dans les
subordonnées de condition. On a là une façon de montrer que ce
qui se passe dans les subordonnées de conditions est étendu
en anglais à celles de temps.
• En fait si les élèves n’ont pas dans l’esprit que will n’est pas
l’auxiliaire du futur mais la forme présente d’un modal servant
à prédire (entre autres valeurs), alors on peut leur faire
comprendre qu’en fait l’anglais respecte lui aussi une certaine
concordance des temps dans ce type de phrases : présent de
will dans la proposition dont dépend la temporelle et présent du
verbe utilisé dans la subordonnée.
• La même remarque peut être étendue à l’emploi de would et
du prétérit lorsqu’on a affaire à un contexte passé, au discours
indirect, etc. (I said I would call as soon as we arrived).
Observation
Corrigé
 (propositions subordonnées en caractères gras) :
Nanobots will be used when you are sick.
When you have an upset stomach, you will swallow a very small
robot tasting of cherries...
 Futur.
 On utilisera des robots miniaturisés quand les gens seront
malades.
Quand vous aurez mal à l’estomac, vous avalerez un tout petit
robot qui aura un goût de cerise...
 En français : futur dans les deux propositions. En anglais :
présent de will et présent du verbe conjugué. Conclusion :
chacune à sa façon, les deux langues respectent la concordance
des temps.
 Remplacement de when par if dans le premier énoncé :
Nanobots will be used if you are sick. Traduction de l’énoncé
obtenu : « Des robots miniaturisés seront utilisés si vous êtes
malade(s). » Conclusion avec if/si, les deux langues emploient
le présent dans la subordonnée.
Application
EXERCICE 1
Corrigé
 as, as soon as, as long as, while, until, after, before, once.
EXERCICE 2
• L’exercice reste contextualisé. Plusieurs solutions seront
parfois possible : indiquer aux élèves que l’on retient tout ce qui
fait sens. Et la forme que nous lui donnons est communicative :
il s’agit de s’entraîner à prédire l’avenir, et non pas de faire un
exercice de grammaire structural.
100 Livre du professeur New On Target 2e
Corrigé
a. As soon as/Once the technology is available, people will
choose the sex of their children.
Dès que/Une fois que cette technologie sera accessible, les gens
choisiront le sexe de leurs enfants.
b. As/Once/While the nanobot travels through the body, it will
take pictures of the inside of the patient.
Au fur et à mesure que/Une fois que/Tandis que le robot
voyagera/avancera à travers le corps, il prendra des photos de
l’intérieur du patient.
c. Once/After/As soon as the capsule is swallowed, its tiny
camera will start taking pictures at the rate of 2 per minute.
Une fois que/Aussitôt que/Après que la capsule sera/aura été
avalée, sa minuscule caméra commencera à prendre des photos
à la vitesse de deux à la minute.
d. Once/As soon as people can choose the sex of their children
the balance between sexes will be upset.
Une fois que/Aussitôt que les gens pourront choisir le sexe de
leurs enfants, l’équilibre entre les sexes sera affecté.
e. Relax! What is being predicted on some websites will not be
achieved before/until tremendous progress is made.
Détendez-vous ! Ce que l’on prédit sur certains sites web ne
verra pas le jour avant que/jusqu’à ce que d’énormes progrès
soient réalisés.
Accepter : What is being predicted on some websites will not be
achieved as long as tremendous progress is not made.
Indiquer si on le souhaite que l’emploi de la conjonction unless
donne aussi un sens à la phrase, même si nous ne sommes plus
dans un contexte de temps.
f. As/While the capsule travels through the patient’s body,
doctors will watch the images on a monitor.
Comme/Au fur et à mesure que/Pendant que la capsule voyagera
à travers le corps, les médecins observeront les images sur un
écran (télé).
EXERCICE 3
• Noter que les énoncés proposés à la traduction aideront, une
fois corrigés, les élèves à exprimer des avis lors de moments
d’interaction ou d’expression.
Corrigé
a. People won’t be allowed to choose the sex of their children
until/before the law makes it legal (to do so).
b. As soon as it becomes legal, most couples will choose a boy
as their first child, people say.
c. We will know whether it’s a boy or a girl when the baby is born.
That will be the surprise!
d. I (for one) predict that, once certain genetic engineering
practices begin to be made legal, we will manufacture monsters,
as in Huxley’s Brave New World.
e. When will some scientists stop playing God? When it is too
late?
f. As long as research is used to prolong life, I will keep making
donations to the various institutes/labs...

g. But as soon as research is used to transform life, I will keep
my money for other causes.
Les modaux : degrés de certitude (p. 129)
• Nous préférons l’expression « degrés de certitude » de
l’énonciateur qui permet d’illustrer le fait que le modal exprime
uniquement l’idée de celui qui l’emploie, plutôt que la notion de
probabilité qui, elle, a un côté objectif.
• Les énonciateurs qui emploient les différents modaux dans
leur valeur épistémique/assertive expriment donc divers degrés
de certitude, de la très faible à la certitude absolue. Ce qui ne
veut pas dire que les faits ne viendront pas contredire l’opinion
de l’énonciateur.
Observation
Corrigé
 Might et can’t.
 Might exprime une possibilité. Can’t exprime soit une
impossibilité soit la certitude.
 Modaux exprimant une possibilité (selon l’énonciateur) :
could, might, may.
Modaux exprimant une certitude : must, can’t, will, won’t.
 Parce qu’il est généralement considéré comme n’ayant pas
cette fonction à la forme affirmative. Mais cette façon de voir les
choses n’est pas unanimement retenue : A tornado can wipe out
a whole city. Æ Avons-nous affaire à l'expression des pouvoirs
naturellement destructeurs d'une tornade ou bien à l'expression
du risque des dégâts qu'elle peut causer ? Le débat reste ouvert
chez les linguistes.
Application
EXERCICE 1
• L’exercice est une fois de plus placé dans le contexte du
document du sujet d’étude.
Corrigé
a. This could/might almost be Arizona, don’t you think?
b. If it is, there must be cactus (ou cacti, ou même cactuses)
somewhere.
c. You can’t/won’t find cactus/cacti/cactuses on this planet,
captain.
d. Mandeville? He must be dead.
e. He may/might/could be hiding somewhere.
f. That may/might/could be his helmet over there.
g. It can’t be, Seeger. Our heads aren’t cigar-shaped.
EXERCICE 2
• La contextualisation est facile ici et la mise en situation de
communication aussi : on se sert de ce que l’élève ne connaît
justement pas de façon certaine. Il exprime donc davantage son
opinion qu’il ne fait un exercice de grammaire.
• Donner du temps aux élèves pour qu’ils notent leurs idées et les
inviter à comparer les énoncés produits. On les invitera ensuite
à réfléchir sur ce qui devrait devenir alors évident : l’emploi du
modal peut dépendre de l’élève et de son degré de certitude.
livre du professeur
Corrigé
a. It may/might/could/must take place on a distant planet.
b. They must be astronauts on a mission.
c. They may/might/could must be looking for someone.
d. He must be the person they are looking for. He might be an
astronaut who disappeared on a previous mission.
e. He may/might/could have been abducted by aliens.
f. It may/might/could be coming from some alien weapon.
g. It may/might/could suddenly be dangerous for them to stand
there.
h. She may/might/could/must have been vaporised by the flash
they saw.
EXERCICE 3
• On garde une certaine forme de contextualisation et de mise
en situation de communication. Les énoncés obtenus pourront
servir lors d’un commentaire ou d’un échange d’opinion sur la
situation des deux personnages.
Corrigé
a. I think this dialogue could/might be an extract from a sci-fi
movie.
b. It could/might also come from one of Wells’s novels.
c. Our ship is no longer here? That may/might/could only be an
optical illusion.
d. What about this cigar-shaped thing, then? It must be a Martian
spaceship.
e. It can’t be. There’s no life on Mars.
f. It could/might be coming from some other planet.
g. We might not be alone here.
h. You may/might/could be right, Seeger.
Sci-Fi in the Movies (p. 130-131)
• La science-fiction, genre littéraire majeur dans les pays anglo-
saxons, se devait d’avoir une place de choix dans une unité
intitulée Visions. Pour cet angle d’approche, voici quelques
citations d’Isaac Asimov qui donneront un éclairage aux
documents déclinés sur cette double page :
“Individual science fiction stories may seem as trivial as ever to
the blinder critics and philosophers of today – but the core of
science fiction, its essence has become crucial to our salvation
if we are to be saved at all”
“It is change, continuing change, inevitable change that is the
dominant factor in society today. No sensible decision can be
made any longer without taking into account not only the world
as it is, but the world as it will be.”
“Science fiction writers foresee the inevitable, and although
problems and catastrophes may be inevitable, solutions are not.”
• Ce dossier offre encore une fois l’occasion à l’enseignant de
construire le cours à partir des connaissances des élèves et de
leur (dé)montrer à quel point ils sont immergés dans la culture
des pays anglo-saxons dans leur vie de tous les jours. Dans cette
optique, nous avons retenu des auteurs et des films connus d’un
large public afin de favoriser la prise de parole des élèves.
• Des prolongements sont possibles à travers l’étude d’extraits
vidéo ou d’articles concernant des œuvres moins connues du
8. Visions 101
8 Visions
public francophone, et pourtant cultes pour un public anglo-  Ce travail sera l’occasion pour les néophytes de se mettre
saxon : Doctor Who, série de la BBC qui débuta en 1963 et est à la page et pour les fans de mettre en avant leurs références
entrée dans le Guinness World Records comme the longest- culturelles sous forme de prises de parole en continu. Il s’agit
running science fiction television show in the world, Red Dwarf, bien évidemment ici de homework ou bien de recherche à faire
Battlestar Galactica, Star Trek, Babylon V (pour les Etats-Unis) en salle informatique.
ou Farscape (pour l’Australie).
PROJECT (p. 131)
QUATRE FICHES D’INFORMATION (BONUS)
• Ce projet allie créativité (réflexion autour d’un projet, invention
• Quatre fiches d’information sont téléchargeables. Elles four- d’un titre) et tâche d’écriture d’imagination (synopsis) assortie
nissent des renseignements complémentaires sur les auteurs. d’une prise de parole (pour défendre le projet avec conviction
bonusfile4-p.130 à l’oral). À noter la présence ici d’un réel scénario pédagogique
bonusfile5-p.130 (voir consigne) puisqu’il s’agit de se préparer pour un entretien
bonusfile6-p.130 face à un panel de producteurs hollywoodiens. Des millions de
bonusfile7-p.130 dollars sont en jeu, sans parler de l’amour propre des créateurs
Pour ceux qui disposent du manuel numérique, ces textes sont qui ont à cœur de voir leur projet bien reçu par la profession !
disponibles également en version enregistrée. • Il est tout à fait envisageable de mettre en place une activité de
SPEAK (p. 130) type speed dating dans le cadre de cette activité, préalablement
à l’audition des différents projets face à la classe, ce qui préparera
Corrigé
et sécurisera les élèves dans l’aboutissement de leur projet.
 A = H.G. Wells, B = Isaac Asimov, C = Philip K. Dick, D = Michael • Suivant ses exigences et la progression de sa séquence, le
Crichton. professeur pourra également faire réaliser une affiche aux
On attend des élèves apports personnels et commentaires. élèves qui en auront ici étudié quatre. Il y aurait donc matière
Nous espérons ici des prises de paroles spontanées. Nous à une production de ce type, les élèves ayant acquis des
nous trouvons en effet au cœur d’un aspect de la culture des connaissances techniques en la matière, ce qui viendrait ainsi
pays anglophones, la langue étant un moyen d’accès à cette valoriser et étayer le projet proposé originellement.
culture, peu importent les erreurs linguistiques potentiellement
commises dans les prises de parole. Fiches biographiques à WORDWORK wordfile-p131
utiliser ici le cas échéant. Corrigé
 Jurassic Park = Michael Crichton A. 1. Artificial Intelligence, 2. Computer Generated Images, 3.
I, Robot = Isaac Asimov Unidentified Flying Object.
Blade Runner = Philip K. Dick
B.
The Time Machine = H.G. Wells
 Pour la présentation des affiches ici présentes, voici les Places Characters Tools
éléments lexicaux attendus : unknown planets aliens machines
unknown worlds extraterrestrials time machine
• Jurassic Park outer space androids flying saucer
logo, theme park, jungle, tree line, immense, huge, impressive, robots spacecraft
dinosaur, Tyrannosaurus Rex, skeleton, creepy, blood-red, dark, superheroes spaceship
unknown, gloomy, frightening, scary... researchers ray gun
• I, Robot scientists
mutant
determined, defiant, alone, hero, antihero, leather coat, shield, time traveller
(police) badge, lines, rows, as far as the eye can see, light in the
distance...
• Blade Runner Checkpoint (p. 132-133)
weapon, cigarette, sweat, worried, cold, emotionless, android,
mysterious, threat, danger, dark, futuristic, megalopolis, Compréhension de l’oral (p. 132)
skyscrapers, spaceship, lights... TAPESCRIPT tapescript43-p132
• The Time Machine PHILLIPS: Ladies and gentlemen, this is Carl Phillips again, out at
fearless, heroic, modern-looking, evil-looking, machine, dish, the Wilmuth farm, Grover’s Mill, New Jersey. I just got here. I
ray of light, energy, fierce, threat, danger, unknown... haven’t had a chance to look around yet. I guess that’s it. Yes,
 Si les élèves n’ont aucune connaissance de ces différents I guess -- that’s the thing, directly in front of me, half buried in
films, cette question pourra se transformer en recherche à a vast pit. Must have struck with terrific force. The ground is
faire en homework. Dans le cas contraire, ce sera l’occasion de covered with splinters of a tree it must have struck on its way
valoriser les connaissances personnelles des élèves et de poser down. What I can see of the object itself doesn’t look very much
des bases lexicales utiles à la réalisation du projet. like a meteor, at least not the meteors I have seen. It looks more
like a huge cylinder. Here’s Mr. Wilmuth, owner of the farm here.

102 Livre du professeur New On Target 2e


He may have some interesting facts to add. Mr. Wilmuth, would
you please tell the radio audience as much as you remember of
this rather unusual visitor that dropped in your backyard?
WILMUTH: Well, I was listening to the radio.
PHILLIPS: Closer and louder please, sir.
WILMUTH: Pardon me?
PHILLIPS: Louder, please, closer.
WILMUTH: Yes, sir. I was listening to the radio and kinda
drowsin’...
PHILLIPS: Yes, Mr. Wilmuth, and then you saw something?
WILMUTH: Well not first off. I heard something.
PHILLIPS: And what did you hear?
WILMUTH A hissing sound. Like this: sssssss – kinda like a fourth
of July rocket.
PHILLIPS: Yes, then what?
WILMUTH: I turned my head out the window and I seen a kinda
greenish streak and then zingo. Somethin’ smacked the
ground. Knocked me clear out of my chair.
PHILLIPS: Well, were you frightened, Mr. Wilmuth?
WILMUTH: Well, I ain’t quite sure. I reckon I was kinda riled.
PHILLIPS: Well, thank you, Mr. Wilmuth. Thank you, very much.
WILMUTH: Want me to tell you some more?
PHILLIPS: No, that’s quite all right – that’s plenty. Professor
Pierson?
PIERSON: Yes, Mr. Phillips?
PHILLIPS: Do you still think it’s a meteor, Professor?
PIERSON: I don’t know what to think. The metal casing is definitely
extraterrestrial – not found on this earth. Friction with the
earth’s atmosphere usually tears holes in a meteorite. This
thing is smooth and, as you can see, of cylindrical shape.
PHILLIPS: Just a minute. Something’s happening. Ladies and
gentlemen, this is terrific.
VOICES: The top’s loose... Look out there! Stand back!...
PHILLIPS: Ladies and gentlemen, this is the most terrifying thing I
have – I’ve ever witnessed. Wait a minute! I can see peering out
of that black hole two luminous disks. Are they eyes? It might
be a face. It might be...
LISTEN (p. 132)
• Il s’agit d’extraits d’une émission de radio de 1939. Les
dialogues ne sont pas toujours faciles à comprendre à cause
de la qualité technique de l’enregistrement. Le scénario est
néanmoins un grand classique du genre et l’émission elle-
même est sans doute l’émission de radio la plus célèbre de tous
les temps parce que des milliers de personnes (surtout celles
qui n’avaient pas entendu le début de l’émission...) pensaient
qu’il s’agissait d’un vrai reportage – un véritable atterrissage par
un vaisseau spatial extraterrestre – et que c’était le début d’une
invasion par des monstres venus d’ailleurs...
Corrigé
 Carl Phillips/Philips : reporter/journalist.
Mr Wilmuth: farmer.
Professor Pierson/Pearson: scientist/expert on meteorites.
. It’s a huge metal cylinder which has a top to it.
/e/b/d/c/f/a.
livre du professeur
 No, he doesn’t, but he doesn’t know what it is. It is definitely
extraterrestrial because the metal is not found on Earth, but it is
probably not a meteorite because it is smooth and cylindrical.
Meteorites do not arrive on Earth with such a regular shape
because friction tears holes in them.
 The tube opens/The top of the tube comes off and the
spectators can see that there is something inside, something
that looks as if it has two eyes because two luminous disks
appear. Everyone is very frightened. They think this is a creature
from outer space/an alien.
 It is fiction but it is in the style of a news report with very
natural acting. The intention could be to make radio audiences
believe that this is really happening, or at least to show them
what they would hear on the radio if it really did happen.
Expression orale (p. 132)
SPEAK (p. 132)
Corrigé
 As indicated by the title above the picture, this colour
photograph is likely to come from the movie entitled The Fifth
Element, directed by Luc Besson. It is a still from the film. We
can see 6 blue cars with headlights and flashing lights on, flying
above a futuristic city with brownish buildings and facades in
the background.
 The movie belongs to the science-fiction genre as what we
see is not realistic at all, even though the nightmarish traffic
may seem true to life.
 I wouldn’t like to live in such an environment because it looks
overpopulated, stressful, noisy and polluted.
Compréhension de l’écrit (p. 133)
READ (p. 133)
Corrigé
 The story is written as a series of extracts from newspaper
articles over a period of 18 years.
 The main character is John Wilkinson, a physicist, winner of
the Nobel Prize for Physics in 2034.
 Negative energy and an unusual curvature of space near
one of Jupiter’s moons, Europa, were spotted in 2037. It shrank
in size for 10 years, as did other moons of Jupiter. An enormous
structure was noticed around Jupiter, built from the shrinking
moons.
 There were scientific reasons, i.e. NASA said that data can be
interpreted in different ways, but also reasons to do with self-
interest and politics. If the Californian Astronomical Society had
recognised the claims of a graduate student to have observed
something that no established astronomer had previously
noticed, they would look very silly indeed. The government, in
denying the rumours of a structure being built around Jupiter,
were obviously attempting to stop any fear and panic resulting
from talk about aliens.
8. Visions 103
8 Visions
 Matter taken from the moons of Jupiter is being used to
construct something around the planet, maybe to extract gas
from it.
Expression écrite (p. 133)
• Cet exercice suscite l’imagination des élèves, mais nécessite de
faire au préalable l’analyse de l’extrait de la page 133. Pour écrire
la suite de cette nouvelle, les élèves devront se mettre dans la
peau de David Taub et penser à conserver certains éléments
contenus dans le texte initial. Il est donc préférable d’inciter les
élèves à faire le travail de compréhension de l’écrit proposé sur
cette même page avant de se lancer dans la rédaction de la suite
de l’histoire.
• Afin de guider les élèves dans cette activité ou pour qu’ils
évaluent leurs productions, un travail d’évaluation en pairwork
peut être envisagé ici. On pourra leur proposer la grille
suivante :
Nom de l’élève : .................................
Classe : .................................
Nom de l’élève « jury » : .................................
Le devoir se présente sous la forme de plusieurs articles de
journaux (titre accrocheur + date cohérente + article court).
Vocabulaire scientifique précis et varié (donner des
exemples).
Adverbes et adjectifs utilisés pour commenter la situation.
Référence à des faits révolus. Utilisation du prétérit
(cf PG p. 155).
Les propos de certains scientifiques (John Wilkinson
par exemple) sont cités. Utilisation du discours direct
(cf PG p. 182).
Les propos de certains scientifiques sont rapportés
(pour créer une certaine distance entre celui qui a parlé
et le lecteur). Utilisation du discours indirect (cf PG p. 183).
La curiosité du lecteur est suscitée (incertitude à propos
de ce qui s’est passé). Utilisation des modaux combinés
avec l’aspect have + pp (cf PG p. 159-160).
Originalité des idées. (Expliquer ce qui vous a plu/déplu.)
La fin de la nouvelle. (Expliquer ce qui vous a plu/déplu.)
Total
• NB. Cette grille peut être adaptée et donnée aux élèves au
préalable. Elle aura ainsi pour but de les préparer au travail
d’expression écrite demandé. Cette solution peut être envisagée
si le travail de compréhension de l’écrit de la page 133 n’a pas
été effectué par les élèves.
• En dernier lieu, les élèves pourront comparer leurs
productions avec celle de David Taub sur le site de COSMOS
Magazine (www.cosmosmagazine.com/fiction/online/1025/
gas-giant) et décider quelle production se rapproche le plus de
la version originale, qui a une fin plutôt tragique : un neutrino
storm bombarde la Terre, il y a plusieurs milliards de victimes
et la couche ozone est détruite. Selon Wilkinson, cet orage
serait un accident, résultat d’une fuite d’énergie causée par
les extraterrestres autour de Jupiter.
104 Livre du professeur New On Target 2e
Ateliers (p. 134-135)
Atelier 1 (p. 134)
TAPESCRIPT dvdscript-p134
VOICEOVER: Glossop in Derbyshire is home to about 15,000
people, a very large number of sheep, and a man called Andy
Loring who has a most unusual hobby...
ANDY: I remember watching the first Star Wars film, back in ‘77
I believe it was, and, as a young man sat in the pictures, that
first opening scene where the spaceship came overhead and
it seemed to go on forever – it looked so real, big, it was hard
to believe it was just a model that was being filmed, and from
that moment I was hooked on the Star Wars films. [...] Most of
the parts for R2D2 have come from America and a good few
from Australia as well. There are some parts that I’ve had made
locally. A friend of mine has helped me out a good deal with
this but, to be honest, most of them have to be imported and
specially made.[...] When you need plans, as usual you turn to
the Internet. There is an R2 builders’ club on the Internet which
is based in America but has members from all over the world.
Access in that club will give you blueprints for R2D2 which
Note have been meticulously measured from one of the original
droids and we take it from there. [...] R2D2 and CP30 from the
....../3 films reminded me very much of Laurel and Hardy. The banter
that went on between the two characters was fantastic – it was
....../3
hilarious, so they were always my two favourite characters
....../2 but, in particular, R2D2. Always had a soft spot for him. [...] My
fiancée, Lynne, has got a soft spot for R2D2, there’s no doubt
....../2
about that. She tolerates the noise and the mess and the space
taken up in her house. I think sometimes she believes that my
....../2 financial priorities are mistaken. I’m sure she’d rather have a
new kitchen than an astromech droid wandering around the
house but she does tolerate it. And work colleagues and friends,
....../2
I think generally – they think I’m nuts, but they’ve come to
accept it. When it comes to work, I’m a traffic policeman so I
....../2 suppose I’m supposed to be a bit on the sensible side but this
keeps me sane off duty. Keeps me out of mischief.
....../2
....../2 Questions du manuel (p. 134)
....../20 Corrigé
 He first got interested when he saw the film in 1977. A lot
of people share his interest because there is a club for R2D2
builders in the USA with members from all over the world.
 It must have been quite expensive because Andy says his
fiancée thinks his financial priorities are “mistaken”. It was easy
to get plans for the robot and to get certain parts, but, because
he had some parts made locally, this would suggest that they
were hard to come by.
 His fiancée “tolerates” it because she has a soft spot for
the robot too, but she obviously thinks it’s rather an expensive
hobby. His work colleagues and friends accept it too but they
think he’s a little bit crazy.

DVD Worksheet dvdfile-p134
Corrigé
 Name Andy Loring
Town and county of residence Glossop, Derbyshire
Occupation traffic policeman
Marital status engaged
Partner’s name Lynne
Hobby Making a model of R2DR ,
the astromech robot from
the Star Wars films.
 a. America, b. Australia, c. his home town, where a friend of
Andy’s has helped him out by making some parts.
 Mr Loring became hooked on Star Wars over 30 years ago.
His favourite character was R2D2 and he has now built a model
of the robot using blueprints from the Internet. His fiancée
tolerates the model even though it takes up a lot of space; she
has a soft spot for it. Mr Loring’s work colleagues think he’s nuts
but he believes his hobby keeps him sane and out of mischief.
 (exemple) He takes it “for a walk” along the streets of Glossop,
in a shopping centre, and even in the country. Sometimes people
look twice at it when it goes by, others are fascinated because
it seems to be on its own, without anyone controlling it. A few
people just ignore it. Sheep seem to react when R2D2 makes its
electronic noises.
Atelier 2 (p. 134)
• Il s’agit ici d’une activité langagière d’expression orale : la
proposition de corrigé ci-dessous ne constitue donc qu’une
possibilité de production du contenu attendu, rédigée pour plus
de commodité mais ne constituant en rien un corrigé-type.
Recommandez aux élèves de ne pas rédiger de phrases complètes
pendant leur préparation afin que ladite expression ne devienne
surtout pas de l’écrit oralisé, ce qui dénaturerait l’exercice.
Corrigé
(exemples)
 The different colours on the three maps represent the
different levels of water supply in the world. The green areas
are out of danger as far as water shortage is concerned, even
if a negative evolution can be noticed in time for some areas –
the time span studied here being 1970-2025, that is to say a
projection into the not-so-distant future. Yellow indicates a low
percentage of natural water reserves and orange and above all
red show areas with alarmingly low water resources.
 In 2025, countries such as Canada, Australia, New Zealand
and Russia seem to have fewer reasons than others for worrying
about this phenomenon. Scandinavia, Greenland and South
America (apart from Argentina) should not suffer too much from
the way in which the situation is forecast to develop, contrary to
most of the North and East African countries and the Middle East
in particular. However, some areas which could have seemed
quite safe – or at least not so endangered – may face similar
livre du professeur
threats, namely South East Asia, the entire African continent, the
Indian subcontinent, Mexico, China, Western Europe and even, to
a lesser degree, the USA. To sum up, areas at the extremes of
the Northern and Southern hemisphere seem to be doing fine,
unlike the areas north and south of the Equator.
 The link between what these maps show and the economy of
the various countries is obvious. Most of the endangered areas
are developing countries or countries in which most people live
below the poverty line. In Africa and the Middle East where the
climate is hot and dry, a factor which aggravates water supply
problems, the situation is extremely worrying. On the other
hand, in some developed countries like the USA and the Western
European countries, people tend to waste water because they
are not sufficiently aware of its value. So it all depends on how
governments and people deal with it, use it, recycle it and save it.
 Sea and ocean water could be treated in order to be made
drinkable or else a new drink could be invented to replace
water, even if it seems rather unlikely. To be more realistic, the
world’s population should be made aware of the situation and
governments should find ways to make everyone play a part
in economising on drinking water. Technological developments
could also make it possible to bring water to those who don’t
have it, don’t have enough of it or don’t know how to gain access
to it and make proper use of it. This would result in far fewer
deaths – 10,000 people die every day from bad water or no
water – and a more rational use of water.
Atelier 3 (p. 134)
• Cet exercice fait appel à ce qui est aujourd’hui encore de
l’ordre du fantasme, celui de participer à un vol touristique dans
l’espace. La rédaction d’une lettre doit respecter un certain
nombre de codes qui peuvent être rappelés aux élèves sous
cette forme :
——————————————————————————————————
General recommendations for writing your 150-word letter
• your address
• the date
• the name and/or the post of the person you are writing to
• the name and address of the company
• Dear Mr/Ms (+ surname),
• Mention the reasons why you are applying for the trip, your
motivation, etc.
• Ask for information about the price and the physical and health
requirements.
• Ask for details about the safety measures.
• Thank the reader for his/her time and consideration
• Yours sincerely,
• your name (signed by hand then printed)
——————————————————————————————————
Atelier 4 (p. 135)
• L’extrait proposé ici invite à un voyage mystérieux sur une
planète qui fascine et enflamme l’imagination. Voici quelques
pistes de réponses aux questions page 135.
8. Visions 105
8 Visions
 We know that Mandeville is an astronaut because he is
wearing a helmet and because the narrative states quite
clearly that he is on Mars where he has discovered a spaceship
he wants to investigate. His own background seems to be a
privileged one: he mentions the gates of an estate which kept
poor people out of the parties that were held there. The fact that
he has survived alone here shows he must have strength of
character, despite his initial fear and the continuing nightmares
and headaches.
 He is on a discovery mission. In the extract he is trying to
open a spaceship he has discovered on the planet.
 The planet is covered with red dust (l. 1) and the landscape
is a vast desert with deep gorges and no living creatures. There
is no air on Mars, and so the red planet is also a silent world.
 When he discovers the vessel, he gasps (l. 17). We feel his
fear growing particularly when the hatch opens: he adopts a
“crouched, fully-armed position” (l. 33).
 “Dust slipped down” (l. 1-2) indicates that the craft has been
there for a long time, because it has a coating of dust.
 The words are “frightened”, “nightmares” and “trembling”.
They all show that Mandeville found it very hard to be alone on
this strange planet.
 “noisy breathing inside the helmet’s bubble” (l. 22)
“having no air” (l. 29)
The narrator starts with what seems to be a fairly ordinary
activity in a science fiction context: a man taps on the hull of
a spacecraft. Then we find out that the man is alone, and on
Mars. The loneliness of the planet is emphasised as is the man’s
own fear. Then we suspect that, since the vessel is unknown to
Mandeville, it must come from somewhere other than Earth. The
final sentence adds to the mystery, the fear and the loneliness
that the narrator makes us feel.
Atelier 5 (p. 135)
• Il s’agit ici de lancer un débat dont il faudra évidemment
permettre la réalisation grâce à une préparation dont nous
donnons ici certaines pistes et directions.
• L’aspect éthique sera bien évidemment à soulever, avec des
références historiques à la colonisation : de quoi s’agit-il, est-
ce quelque chose de « normal », de « moral », pour qui, à qui
cela profite-t-il, quelles peuvent en être les connaissances, les
méfaits, quels intérêts et enjeux sont soulevés, comment ce
genre d’entreprise finit-elle souvent, etc. ?
• Certains élèves peuvent se concentrer sur les aspects « terre-
à-terre » du type « pourquoi aller voir ailleurs quand nous avons
beaucoup de travail chez nous » : problèmes environnementaux,
de pauvreté, économiques, sociaux, etc.
106 Livre du professeur New On Target 2e
• Mettons l’accent sur l’aspect théâtral de ce débat puisque
chaque élèves ou groupe d’élèves aura une position à défendre,
position ne correspondant d’ailleurs pas forcément à la sienne/
la leur à l’origine...
• Enfin, une ouverture est à envisager avec des points nuancés,
plus positifs ?
• Fiches méthodologiques 13 et 14 à utiliser... sans limite !
(p. 148-149)
The Time Machine (p. 136-137)
• Premier roman de H. G Wells, commencé en 1888 lorsqu’il
avait 21 ans et considéré comme un classique du genre sur le
voyage dans le temps, c’est le récit d’un savant qui prétend être
le premier voyageur dans le temps. Il raconte ses aventures à
ses amis dans sa maison à Londres.
• Dans cet extrait, les conclusions tirées par le Voyageur sur
la nature des relations entre Eloi et Morlocks ne sont pas les
bonnes ; c’est le Voyageur lui-mème qui s’en rend compte au
moment de découvrir que les Morlocks se nourrissent des Eloi.
• Le raisonnement qui conduit le Voyageur à ses premières
conclusions révèle la pensée de Wells qui était socialiste et très
préoccupé par le climat social de l’époque : le widening gap entre
employeurs et employés dans l’industrie lourde.
READ (p. 136)
Corrigé
 The narrator is puzzled because he cannot see any evidence
of machinery that might have been used to make all the
beautiful clothes the young people are wearing. There did not
seem to be any evidence of the people having created anything,
it seemed, or any shops where they might have bought their
produce. It was impossible to see how things kept going. The
people seemed only to “play” and not “work”. They were also
terribly afraid of the dark, which was strange.
 He finds out that there are other creatures living here apart
from the Eloi. They live underground and look frightening, a little
like human spiders. The entrances to their world are through
shafts in the ground.
 He sees the Eloi as a once superior strain of the human race
that has now degenerated in size and strength, though not in
beauty. On the other hand, the Morlocks have become creatures
with an appearance that is barely human.
He concludes that society has divided into two parts : the
“Haves”, i.e. the leaders and masters, and the “Have-nots” – the
workers. The division has been so complete that the two sections
of society live completely apart: the Haves above ground, living
a life of leisure, and the Have-nots underground, doomed to a
life of hardship and darkness.