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Unit
7
Urban life
What about improving life
in the city?
final
task
You will present a project to the town
council.
You will enter a writing competition about
your ideal city.
London Today. . . . . . . . . . . . . . . . . . . . . . . . . . . p. 109
Your task
You ask or give street directions.
The Big Brother reality. . . . . . . . . . . . . . . . . . . p. 110
Your task You argue with the school director
about CCTVs in your classroom.
Commuting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 114
Your task You write an entry in your diary.
Street Art. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 111
Your task
You write a page in your diary.
The Notting Hill Carnival. . . . . . . . . . . . . . . . . p. 113
Your task You write an article about the Notting
Hill carnival.
Keywords
Nouns
l city
dweller: citadin
l townspeople: citadins
l pavement: trottoir
l town centre
l district = neighbourhood
/neIbəhυd/: quartier
l suburbs /sbbz/ /
outskirts: banlieue
l block: pâté de maisons
106
city: quartiers
déshérités du centre
l facilities /fəsIlItIz/:
équipements
l public transport
l traffic jam
l horn: avertisseur
l siren /saIərən/
l exhaust fumes
/Igzɔ:st fju:mz/: fumées
d’échappement
l inner
l green
space
homeless: les SDF
l shopping centre
l corner shop
l museum /mjuzIəm/ / art
gallery
l entertainment
/entəteInmənt/: distractions
l the
Adjectives
l busy
/bIzI/ = lively
l crowded
l safe
/kraυdId/
l trendy:
à la mode
Verbs & expressions
l go
shopping
l go sightseeing /saItsi:Iŋ/:
faire du tourisme
l hurry / hasten /heIsn/:
se presser
l commute /kəmju:t/: faire le
trajet banlieue-ville
l pollute
l mug: agresser
≠ unsafe
Language workshop ➔ p. 103
Living in the city
1. Which city is represented in this
painting? Justify by quoting two
elements.
2. What impressions does the painting
give of life in the city?
3. What are the advantages of living in
a city?
4. Would you like to live in such a
place? Why (not)?
toolbox
l traffic
Nouns
l road
sign /saIn/
l pedestrian
l crowd
l CCTV
/sisiti'vi/
camera: … de
surveillance
l helicopter
l skyscraper
l lamp-post
lights
building
l density
Verbs & expressions
Adjectives
l tower:
l office
l crammed
with: plein
de
l threatening:
menaçant
l optimistic
≠
pessimistic
l under
surveillance
/s:'veIləns/
dominer
l forbid
l be
crushed by
planer
l hover:
107
Listeners’ corner
1
2. Match each picture with one of these famous people.
Use the Toolbox to justify your choice.
ER'
C Listen
According to you, what are the unpleasant aspects and
the bright sides of living in such a big city as London?
You can use the Keywords page 106.
We have interviewed two Londoners about their
city. Listen to them. Your Workbook will help you
understand them.
CH
21-23
Méthodologie ➔ p. 000
ER'
20
1. Listen to the sentences. In your opinion, are these
statements true or false? Write down your answers on a
sheet of paper.
2. Now turn to your Workbook to get ready.
of the Victorian era. In Oliver Twist (1837), his
most famous novel, he defends children and
criticizes social injustice. The place where he
lived from 1837 to 1839 in the Bloomsbury and
Holborn district is now a museum.
CH
A The topic
B Open your ears
A This British novelist is considered the greatest
W orkbook ➔ p. 00
S
3. Look at the map on page 109 and find the places in
bold (en gras) in the biographies.
unit 7
S
1. Read the biographies of three well-known Londoners
and guess their names.
London today
TE A
Famous Londoners
TE A
Starting blocks
Urban life
D In your own words
With the help of your Workbook, try to rephrase
Pamela’s and Patrick’s main arguments.
B He was a fictional detective who lived with
his friend, a doctor, in a Victorian house in Baker
Street, between 1881 and 1904.
2
C
This serial killer, who brutally murdered
five prostitutes in the East London district of
Whitechapel in 1888, has intrigued generations
of crime buffs (mordus).
toolbox
Nouns
/bəUl/
/'lI/: ruelle
l corpse /kɔ:ps/: cadavre
l gate /geIt/: portail
l statue /sttju:/
3
function
l bowl
l alley
Adjectives
l gloomy:
lugubre
Verbs & expressions
l beg
for food: quémander de
la nourriture
l stare at: regarder fixement
108
Getting around
l Turn
box
left / right
l It is the next
street on the left /
right
l at the corner
l Walk straight
on to: Allez tout droit
jusqu’à
l Follow… stree
t until you get to
l Carry straight
on to / Go ahead
to: Continuez tout droit jusqu’à
l Walk along:
Longez
l You will pass
… on your right / left
l When you are
at the
crossroads…
Your
task
Pairwork Choose one of the following situations and decide
which character you want to be. Act out the conversation
(a or b) or record yourselves in the lab or on your digital recorder.
a. Student A Pamela is on Westminster Bridge and wants to cycle to
her friend’s place on Park Road near Regent’s Park. She calls him / her.
Remember she hates London.
Student B You answer the phone and help Pamela. Find the way on the map.
b. Student A You are a tourist in Trafalgar Square and you want to walk
to Kensington Palace. Ask a policeman the shortest way. You don’t know
London very well and you need precise details.
Student B You are a police officer. Use the map for directions.
109
1
Speakers’ corner
A Warming up
culture
key
First read the note about George Orwell.
Then read the title of the article. What do
you expect the article to be about?
ER'
S
The Big Brother reality
CH
TE A
Text
Urban life
24
Street art
unit 7
W orkbook ➔ p. 00
A Look and speak
George Orwell (1903-1950)
Big Brother is a fictional character in George Orwell’s novel
1984. In the totalitarian society that Orwell describes,
everyone is under complete surveillance by the authorities,
mainly by telescreens. The people are constantly reminded
of this by the phrase “Big Brother is watching you.”
More about Georges Orwell ➔ p. 000
1. Describe the picture with the help of the Toolbox.
2. Where can such a man usually be seen? What
could his job be?
3. Explain what is surprising about this photo.
B Going further
http://www.thisislondon.co.uk
Some people think that murals in city streets are a
disgrace. What is your opinion?
The Big Brother reality
A
ccording to the latest studies, Britain has 4.2 million CCTV1 cameras – one for every 14 people in the
country – and 20 per cent of cameras globally. It has been calculated that each person is caught on
camera an average of 300 times daily.
Use of spy2 cameras in modern-day Britain is now a chilling3 image of Orwell’s fictional world, created
in the post-war Forties in a flat overlooking4 Canonbury Square in Islington, North London.
On the wall outside Orwell’s former5 residence, an historical plaque commemorates the anti-authoritarian
author. And within 200 metres of the flat, there are 32 CCTV cameras, scanning every move.
Orwell’s view of the gardens is under 24-hour surveillance from
two cameras perched on traffic lights.
The flat’s rear windows6 are constantly viewed from two more security cameras outside a conference centre in Canonbury Place.
Close to Orwell’s favourite pub, a camera records every person
entering or leaving the pub.
The Big Brother nightmare of George Orwell’s 1984 has become
a reality - in the shadow of the author’s former London home.
March 31, 2007
What is the main idea of the article? Your Workbook
will help you to answer the question.
W orkbook ➔ p. 00
Nouns
l spray can: bombe (peinture)
/ə'tʃeI/ case
/'bəUlə/ hat
l discrepancy /dIs'krepənsI/: décalage
l graffiti /grə'fi:tI/ artist
l attaché
l bowler
l financial district
Adjectives
l colourful
/'kələfUl/
l typical
l (un)conventional
l unexpected
/ənIks'pektId/: inattendu
l (non)conformist
Verbs & expressions
l spray paint
l embody
1. /"sisiti'vi/ closed-circuit television – 2. espion – 3. effrayant –
4. donnant sur – 5. ancienne – 6. /rIə 'wIndəU/ fenêtre donnant sur l’arrière
B Reading comprehension
toolbox
/Im'bɒdI/: incarner
l forbid: interdire ≠ be allowed
l decorate
More
pictures
toolbox
l deter:
l privacy:
l fool:
dissuader
duper
l enforce law and order:
faire respecter la loi
l deliquency:
intimité
culture
délinquance
empêcher
key
l prevent:
C Going further
1. What is the use of installing so many CCTV
cameras in big cities?
2. Do you think that we live in a Big Brother society?
Why (not)?
110
20
CH
TE A
R CD
ER'
S
3. Savoir prononcer
YOU
D Language training
25
4. Pratiquer la grammaire
Language workshop ➔ p. 103
La voix passive
Les participes passés irréguliers W orkbook ➔ p. 00
Your
Your
task
Pairwork First take notes to
prepare your arguments then
act out the conversation.
Student A You are the director of a school
and you want to install CCTV cameras in
the classes.
Student B You are a student representative
and you strongly oppose the idea. You
have an argument with the director.
task
function
box
Expressing surprise
lI
couldn’t believe it / my eyes!
l You
can’t imagine what I saw!
l You won’t belie
ve me!
l It was surp
rising / amazing!
The City of London is a very small part of London (less
than 1 square mile). It is a leading world centre
of financial services.
Tell your story
Imagine that you are the photographer who took
the photo. You describe the scene to a friend. You can also
record yourself in the lab or on your digital recorder.
Use past tenses : I was walking in the street when I saw…
Précis grammatical ➔ p. 000
111
Video time
Outside In
Urban life
Writers’ corner
The Notting Hill carnival
DVD
Your
task
W orkbook ➔ p. 00
W
rite an article about the Notting Hill carnival for your school
magazine. (150-200 words)
A Get ready
1. What is represented in the cartoon?
2. What is the cartoonist’s message?
unit 7
A Préparez-vous
1. Aidez-vous du Culture key.
2. Vous parlerez des photos que vous avez prises.
B Watch the video
Watch an extract from Outside In (2003),
directed by Brian Percival. Your teacher
will give you a worksheet to help you
understand the video.
B Organisez votre article
3. Le paragraphe d’introduction est au prétérit : continuez en employant les
temps du passé.
When we got out of the tube, we followed everyone else. As we got closer,
we could hear music, drums and samba rhythms…
C In your own words
4. Construisez un paragraphe par photo.
Say what happens to Paul:
– At the beginning Paul is dreaming of…
– Then he gets ready to go to work…
– At the office a friend…
– Back home Paul watches a TV ad…
– In the supermarket…
– A few weeks later…
Photo 1 : Vous décrirez l’atmosphère générale.
When we reached the parade…
1
Photo 2 : Vous expliquez pourquoi le policier a pris la petite fille dans ses
bras.
Then something quite unusual happened…
Photo 3 : Quelle est la couleur dominante ? Que symbolise cette couleur ?
5. Concluez en résumant brièvement l’esprit du carnaval.
All in all it was a great moment of…
D Going further
3. Which adjectives would you associate
the extract with: optimistic – pessimistic –
realistic – poetic – romantic. Why?
4. What message does the story convey?
culture key ➔ p. 00
toolbox
Nouns
2
l band: orchestre
l percussion group
l bobby: agent de police
l float: char
3
l crown
toolbox
Nouns
Verbs & expressions
l skyscraper:
l gobble
gratte-ciel
l concrete /'kAnkrit/: béton
l contrast
Adjectives
l greedy:
rapace
l depressing = gloomy
l worrying: inquiétant
l alarming
l striking: frappant
112
l ribbon: ruban
up: engloutir
l destroy
l warn
sb not to do sth:
prévenir qqn de ne pas faire
qqch
l denounce /dI'naUns/
l encourage /In'krIdZ/ sb
to do sth
l resist /rI'zIst/
Adjectives
l golden
l colourfully dressed
l multicoloured
Verbs & expressions
l march: défiler
l beat drums: battre du tambour
l be dressed up as: être déguisé en
l cheer: acclamer
l share: partager
113
2
Moving
25
A Warming up
Where are these people?
What are they doing? Why?
How do you think they
feel?
30
35
Janet Street-Porter
(b. 1946)
is a TV presenter, columnist
and editor. For a long time she
was in charge of BBC’s Youth
and Entertainment Features.
For two years, she was editor
of The Independent on Sunday,
a prominent newspaper. Her
autobiography, Baggage: My
Childhood, is based on the first
twenty years of her life.
20
114
TE A
unit 7
Now, we weren’t in London, we weren’t in the countryside. We were
in a featureless, recently-built zone of housing estates, factories, pubs with
huge car parks, golf courses and football pitches4. Street after street was
empty all day, as all the inhabitants worked every hour God sent to pay their
mortgages5. This was suburbia, and I was going to have to like it or lump it.
[…]
For the next six years I would spend several hours each day commuting to
grammar school in Fulham, clubs in Soho6 and finally architectural college
in Bloomsbury7. I lost count of the time spent waiting on the platform of
North Acton Station for a West Ruislip train, shivering from the cold and
the grim8 realization that once again I’d be in the dog-house with Dad for
coming home after the permitted hour. Finally, one Friday night, I’d had
enough – I walked out with no money in my pocket and caught a train to
Earl’s Court. I had left suburbia, and my parents, for good.
TE A
CH
ER'
26
“We’re moving,” my father casually announced to my sister and me one
cold January evening at tea time in Fulham; “To Perivale.” He might as well
have said Afghanistan or Mars. I had no idea where my parents were talking
about. […]
Now, as usual, [my father] had just issued1 the children with the minimum
information necessary. That was his style: no chitchat, no discussion. Our
thoughts and opinions were of no consequence whatsoever2. […]
To this day I cannot believe how cruel this decision was: to uproot me
at 14 from the place where I had not only gone to school, worked in the
library at the end of our street, and belonged to the running club but, most
importantly, attended the youth club next to St Dionis Church. Fulham was
the epicentre of my entire world. I knew all the streets, the shops, the parks,
the local gangs. […]
I spent the next days wandering around in a haze3 of resentment. One
minute I was secure in my familiar world, with my close circle of friends,
my piano lessons, and my 15-minute walk to school under the railway
bridge in Parsons Green Lane each morning past the sweet shop and the
chip shop; the next I was plunged into commuting right across London for
hours on end, denied the possibility of hanging around the neighbourhood
after school, going to local events and just doing what every other teenager
at my school was doing – staring at boys outside the record shop, going to
cafés, buying a Wimpy. […]
Your Workbook will help you to understand the text.
1. How does the narrator feel about her father’s decision
and why? What kind of man is her father?
2. What did the narrator miss most after leaving Fulham?
3. Why did she go on commuting to Fulham for six years?
4. What didn’t she like about Perivale?
C Going further
5. Can you think of other reasons why the narrator left
Perivale for good?
6. Are there only drawbacks to living in the suburbs or are
there also advantages?
toolbox
Nouns
l roots:
racines
l habits: habitudes
l tie = connection
l peer pressure /pIə 'preʃə/:
pression du groupe
l dormitory suburb
Adjectives
at / about sth / with
sb = furious with
l upset: bouleversé
l disturbed: perturbé
l dull: morne / triste
l peaceful: paisible
l selfish: égoïste
l angry
l rebellious
D Language training
7. Savoir prononcer
R CD
21
CH
TE A
W orkbook ➔ p. 00
YOU
B Reading comprehension
ER'
S
15
Urban life
27
1. issue /'Iʃu:/ with: ici, fournir – 2. no… whatsoever: absolument
aucun(e) – 3. haze /heIz/: brouillard – 4. pitch: terrain –
5. mortgage /'mɔ:gIdZ/: emprunt – 6-7. Soho / Bloomsbury = quartiers
du centre de Londres – 8. grim: ici, désagréable
S
10
ER'
Janet Street-Porter, Baggage: My Childhood (2004)
Part
one
5
CH
S
Text
Part
two
28
a. Écoutez deux fois le passage de “For the next six years…”
(l. 00) jusqu’à la fin en prêtant attention à la prononciation de
ces mots et à la place de l’accent tonique :
commuting /kə'mjutIŋ/ – grammar /'grmə/ – finally
/'faInəlI/ – architectural /"@kI'tektʃərəl/ – college /'kɒlIdZ/
realization /"rIəlaI'zeIʃən/ – again /ə'gen/ – permitted /
pmItId/ – money /'mnI/ – pocket /'pɒkIt/.
b. Lisez le passage à haute voix et vérifiez ensuite à
l’écoute.
8. Enrichir son lexique
La ville W orkbook ➔ p. 00
9. Pratiquer la grammaire
Gérondif, Pluperfect, To and For W orkbook ➔ p. 00
/rI'beljəs/
l authoritarian
/"ɔTɒrI'tEərIən/
culture
key
London is a much larger city than Paris and it takes
hours for some Londoners to commute.
Verbs & expressions
London: nearly 8 million inhabitants.
l belong:
Paris: nearly 2.2 million inhabitants.
être à sa place
l be involved in: être impliqué
dans
l feel excluded / lonely
l lose one’s bearings
/'bEərIŋz/: perdre ses repères
l can’t bear / stand sb / sth
/ V-ing
l get along with: s’entendre
avec
l hate = loathe /ləUD/
Your
task
Creative writing Put yourself in the
narrator’s shoes: write an entry in your
diary in which you complain about commuting
to school everyday. Write what you do, see or think
during your long journeys to Fulham. (150 words)
Précis grammatical ➔ p. 000
115
Urban life
Language workshop
Grammaire de l ’oral
A Prononcer les formes passives
précis grammatical ➔ p. 000
A Observer et comprendre
1 Comparez l’énoncé actif (a) et l’énoncé passif (b).
a. “Big Brother is watching you.” (Culture key)
b. You are being watched.
Quel énoncé met le mieux l’accent sur celui qui subit l’action ? Quelle place occupe cet élément dans
l’énoncé ?
2 Observez ces énoncés passifs.
présent be+ing
prétérit
present perfect
modal à sens futur
3. Dans quel énoncé l’agent (celui qui fait l’action) est-il mentionné ? Par quel mot est-il introduit ?
Pourquoi l’agent n’est-il pas mentionné dans les autres phrases ?
4. Traduisez les énoncés en utilisant « on » chaque fois que c’est possible.
Faisons le point : Quelles sont les caractéristiques de la voix passive en anglais ?
B Pratiquer
3 Réécrivez l’énoncé à la voix passive en utilisant l’élément souligné comme point de départ.
(Il n’est pas toujours nécessaire d’introduire un complément d’agent.)
a. They solved thousands of crime investigations with the help of CCTV last year.
b. They often use cameras to scrutinize visitors.
c. They will film each person entering or leaving the pub.
d. We are using them in classrooms.
e. Teachers complain that somebody is watching them all the time.
f. They have recorded our conversation.
g. The police seized her mobile phone.
h. We’ve always taken their complaints very seriously.
4 Traduisez en utilisant la voix passive
a. 70 caméras ont été installées dans (throughout) l’école l’été dernier.
b. Plusieurs photos ont été prises. (present perfect)
c. La scène a été filmée par deux étudiants. (prétérit)
d. Dans cette école, on enregistre tout sur disque dur. (présent simple)
e. Toutes les vidéos seront envoyées à la presse.
f. On interroge (question) les étudiants. (présent be+ing)
CH
ER'
29
1. Pour chacune des formes verbales soulignées, quel est l’élément accentué ?
a. Everybody was caught on camera.
b. It has been recorded on hard disk.
2. Écoutez à nouveau et répétez les modèles.
Déduisez : Les auxiliaires sont-ils accentués dans les énoncés affirmatifs à la voix passive ?
B Reconnaître le passif à l’oral
6 Écoutez attentivement chaque énoncé afin de bien en comprendre le sens global.
Déduisez ensuite quelle est la forme verbale correspondante.
a. 1. was recording 2. was recorded
f. 1. was using
b. 1. were recording 2. were recorded
g. 1. is giving
c. 1. was writing 2. was written
h. 1. were giving
d. 1. was writing 2. was written
i. 1. was seeing
e. 1. are using
2. are used
j. 1. has seen
CH
ER'
S
a. “It has been calculated that each person is caught on camera an average of 300 times daily.” (l. 00)
b. “The flat’s rear windows are constantly viewed from two more security cameras […].” (l. 00)
c. The novel was written by George Orwell in 1948.
d. Three cameras will be installed in your flat.
e. You’re being filmed!
1. Quel auxiliaire apparaît dans toutes les formes verbales passives ? Le verbe est-il à l’infinitif ou au
participe passé ?
2. Associez à chaque forme verbale dans les énoncés ci-dessus l’une des étiquettes proposées.
5 Écoutez ces énoncés.
TE A
➔ Text 1 p. 110
TE A
La voix passive
présent simple
➔ Text 1 p. 110
S
Grammaire
Reconnaître la voix passive
unit 7
30
2. was used
2. is given
2. were given
2. was seen
2. was seen
À retenir : pour certains verbes, il est difficile de faire à l’oral la distinction entre actif et
passif car les formes se ressemblent :
a. These pictures were taken by foreign students.
b. Foreign students were taking pictures.
Il faut s’appuyer sur le sens global de l’énoncé et sur le contexte !
Lexique
La ville
➔ Keywords p. 106
7 Donnez les synonymes des mots suivants.
a. busy – b. townspeople – c. district – d. outskirts.
8 Donnez l’équivalent anglais des expressions suivantes.
a. quartiers déshérités du centre – b. fumées d’échappement – c. faire du tourisme –
d. pâté de maisons
9 Traduisez. (Les mots en gras sont dans les Keywords.)
a. Quand nous voulons faire des achats ou visiter un musée, nous allons au centre ville.
b. Ce q uartier à la mode est toujours bondé le jour, mais la nuit il n’est pas sans danger. Hier soir
un homme a été agressé.
c. Je ne supporte pas de faire le trajet tous les jours par les transports en commun.
Mais je ne peux pas prendre ma voiture car il y a trop d’embouteillages.
toolbox
Verbs
l handcuff:
menotter
/stʃ/: fouiller
l release /rI'lis/: relâcher
l search
Expressions
know what?
won’t believe it!
l I can’t get over it!
l I felt terribly…
Your
task
Tell your story
A young artist is painting a
street mural when the police
arrive and arrest him. You witness
the scene and feel very surprised.
Tell a friend what has happened. Use
passive forms as often as you can.
l You
l You
116
117
Urban life
Checkpoint
R CD
22-23
CH
ER'
S
1 A Comprendre des points de vue opposés
YOU
life in the city?
W orkbook ➔ p. 00
TE A
final
task What about improving
unit 7
32-33
Écoutez le document sonore sur votre CD.
Remplissez ensuite, en français, la fiche de votre Workbook et évaluez-vous en fonction
des critères proposés.
Debate about
projects for the city
Your group of friends has decided to present a
project to the town council in order to improve
life in the city. Unfortunately the town council
is particularly conservative and hostile to any
change. You take part in a debate at the town
hall.
Je me situe
par rapport
au CECRL
Lorsque j’écoute un enregistrement :
n Niveau A2 : Je peux comprendre des
informations précises et simples à l’oral.
Je peux comprendre le point essentiel de la
discussion.
n Niveau B1 : Je peux comprendre globale-
ment la position adoptée par les personnes
interviewées.
Je peux comprendre les points principaux
des arguments de chaque personne.
A Choose your group
n Group
1: You present a project for a car free city.
n Group 2: You are members of the town council
and opposed to a car free city.
n Group 3: You imagine a special place for young
people set up in the city centre. You present your
project.
n Group 4: You are members of the town council
and opposed to a special place for young people.
B Work in groups
Prepare your arguments and/or your counter
arguments and get ready to debate.
You must remain polite and understanding but you
must be convincing.
C Debate time
Group 1 and group 3 present their projects; group
2 and group 4 oppose them.
2
B Comprendre un blog
Lisez le texte ci-dessous.
Puis remplissez la fiche dans votre Workbook et évaluez-vous en fonction du barème
proposé.
function
Give your opinion
l In
my opinion…
l I agree but I…
l Surely not!
l Why don’t you…?
l I see your point but…
l Don’t you think that…
l I think you are wrong…
l Let me give you an
example…
l I suppose you’re right but…
l Don’t you think that…
box
Present
your arguments
http://www.londonskaters.com/article_ny_skate_in_london.htm
Skating in London
l Since…:
puisque
the reason why…
l For instance…: par exemple
l Let’s take the example of…
l We must weigh the pros
and
cons: peser le pour et le contre
l It is worth mentioning
that…: ça vaut la peine de
l In conclusion…
l All in all…: tout bien pesé
l That’s
I decided to go to London on the third week of March for my vacation (Hoping that
the weather would be good). I arrived on a cloudy Tuesday morning in March. The
first thing I noticed is that the streets in London are very narrow compared to the
wide streets here in New York. I decided to skate on the sidewalk (Or the pavement
as they call it in England). […]
Most of the skating that I did (half the time on the sidewalk, the other half on the
streets) I would not recommend unless you are really good at skating in traffic. […]
If there wasn’t any traffic on the road I would skate on the street. But as soon as
there was traffic coming behind me I would go on to the sidewalk. So at times it
was a constant zigzag. The reason I was doing this was because I was afraid that
I would get hassled by the drivers over there. As it turns out, the drivers in London
are much more “civilized” than drivers in New York. I only got honked three times
for the week I spent there. In Manhattan, I get honked the same amount in one day. A
writing competition
about your ideal city
People over there in general are much more polite in comparison to people in New
York. I wasn’t even stopped by the police while I was there.
The town council has launched a writing
competition: “Describe your ideal city in 150 words.”
You enter the competition.
Timothy
Je me situe
par rapport
au CECRL
118
Lorsque je lis un texte écrit dans une langue simple :
n Niveau A2 : Je peux comprendre l’inforn Niveau B1 : Je peux parcourir le texte pour
mation essentielle de ce texte.
y localiser une information cherchée.
Je peux suivre son déroulement.
Je peux réunir des informations provenant
de différentes parties du récit.
119
Webquest
Writers’ corner
A trip to New Zealand
Organize a trip
task
e is how to
You won! Congratulations! Her
. Your teacher
proceed to complete your mission
you.
will give you a worksheet to help
W orkbook ➔ p. 00
W
rite an article about the Notting Hill carnival for your school
magazine. (150-200 words)
1. Aidez-vous du Culture key.
2. Vous parlerez des photos que vous avez prises.
B Organisez votre article
3. Le paragraphe d’introduction est au prétérit : continuez en employant les
temps du passé.
When we got out of the tube, we followed everyone else. As we got closer,
we could hear music, drums and samba rhythms…
1. Decide on the time of year you will travel.
2. Compare airlines, prices, flight times, and choose.
3. Look for the customs (douane) formalities.
Auckland
1
4. Construisez un paragraphe par photo.
Photo 1 : Vous décrirez l’atmosphère générale.
When we reached the parade…
after your arrival in Auckland:
a. Around Auckland, in North Island.
b. Around Dunedin [d^n’i:dIn], in South Island.
c. Around Wellington, the capital city in North Island.
Photo 2 : Vous expliquez pourquoi le policier a pris la petite fille dans ses
bras.
Then something quite unusual happened…
C After choosing one region,
Photo 3 : Quelle est la couleur dominante ? Que symbolise cette couleur ?
follow the steps below:
4. Calculate how far it is from Auckland.
5. Find the prices of the different means of transport and
make a choice.
6. Find out about accommodation (hébergement) and
prices.
7. Choose at least two places of interest to visit and justify
your choice.
unit 7
A Préparez-vous
A You will fly from Paris to Auckland.
The Notting Hill carnival
Your
Your class has won the jackpot: a 3-week trip to New
Zealand! You are in charge of the organization.
B Choose one region you wish to visit
Urban life
5. Concluez en résumant brièvement l’esprit du carnaval.
All in all it was a great moment of…
culture key ➔ p. 00
Mount Taranaki, on the west coast of North Island
toolbox
Nouns
2
l band: orchestre
l percussion group
D Present your project to the class.
l bobby: agent de police
Web resources
Airlines, currency converter,
passports & visas:
l float: char
l ribbon: ruban
Adjectives
l www.newzealand.com
l golden
About New Zealand and travelling
in New Zealand:
l colourfully dressed
l www.newzealand.govt.nz
Verbs & expressions
l www.nz.com www.backpack-newzealand.com
Virtual tour and pictures of New Zealand:
l www.virtualoceania.net/newzealand
Climate:
l www.nz.com/new-zealand/guide-book
3
l crown
l multicoloured
l march: défiler
l beat drums: battre du tambour
l be dressed up as: être déguisé en
l cheer: acclamer
l share: partager
Where to stay and transport
120
l www.accommodation.nz.com www.bus.nz.com
121
Reading
Cross-examination
Read the text, stopping
at each box to answer
the question. You
teacher will give you a
worksheet to help you
understand the text.
The story takes place in a British court during a trial1. Venetia Aldridge is a
barrister2.
5
10
Phyllis Dorothy
JAMES
a.k.a. P. D. JAMES, was
born in Oxford in 1920. Her
first novel, Cover Her Face
(1962), featured Detective
Inspector Adam Dalgliesh,
her most popular
character. Dalgliesh, a poet
as well as a policeman,
went on to solve a number
of cases in P. D. James’s
later novels: A Mind to
Murder (1963), Unnatural
Causes (1967), Death of an
Expert Witness (1977).
In the second week and seventh day of the trial, they reached what, for
Venetia Aldridge, was the critical cross-examination3 of a prosecution witness4:
Mrs. Dorothy Scully, neighbour of the victim, a widow aged sixty-nine, the
woman who had told the police, and now the court, that she had seen Garry
Ashe leaving Number 397 at eleven-fifteen on the night of the murder.
“Can you hear me clearly, Mrs. Scully?”
The woman nodded5 and whispered “Yes”. Venetia smiled at her briefly. It
was enough. The question, the encouraging smile, the warmth of the voice said
it all: I’m a woman. We’re on the same side. These pompous men don’t frighten
us. You’ve nothing to fear from me.
“We come now, Mrs. Scully, to your identification of the defendant6 as the
young man you saw leaving Number 397 on the night of the murder. Did you
often see Garry leaving the house by the front door?”
“No, he usually used the back door and the garden gate because of his
motorbike.”
50
55
60
Why did Mrs. Scully need a new pair of
spectacles?
What is Garry Ashe accused of?
Who is Dorothy Scully and what is she doing here?
15
20
25
“I see…” Then, still quietly, still in the same interested, sympathetic voice:
“The spectacles7 you are wearing today, Mrs. Scully, are they new?”
The woman put up her hands to the frames8 as if uncertain that she was still
wearing them. “Quite new. I got them on my birthday.”
“Which was?”
“February 16th. That’s how I remember.”
“And you are quite sure about the date?”
“Oh yes.” She turned to the judge as if anxious to explain. “I was going to
have tea with my sister and I went into the shop to collect them on the way. I
wanted to know what she thought about the new frames.”
“And you are quite sure of the date, February 16th – five weeks after the
murder of Mrs. O’Keefe?”
“Yes, quite sure.”
When did Mrs. Scully buy a new pair of spectacles?
Was it before or after the murder?
30
35
And now the dangerous question, but Venetia knew what the answer would
be. Women who are struggling on a low income9 don’t pay for an eye test
unnecessarily or see their spectacles as a fashion accessory.
She asked: “Is that why you changed the spectacles, Mrs. Scully? Because
you wanted to try different frames?”
“No, it wasn’t. I couldn’t see properly with the old spectacles. That’s why I
went to the oculist.”
“What couldn’t you see specifically?”
“Well, the television really. It was getting so that I couldn’t see the faces.”
Why did Mrs. Scully need a new pair of spectacles?
40
122
45
“Where do you watch the television, Mrs. Scully?”
“In the front sitting-room.”
“Which is the same size as the one next door?”
“It must be. The houses are all alike7.”
“Not a large room, then. The jury have seen photographs of Mrs. O’Keefe’s
front room. About twelve feet square, would you say?”
“Yes, I suppose so. About that.”
“And how far do you sit from the screen?”
The first sign of slight distress, an anxious look at the judge, then she said:
“Well, I sit by the gas fire, and the telly’s in the opposite corner, by the door.”
“It’s never comfortable to have the screen too close, is it? But let’s see if we
can be more definite.” She looked at the judge, “If I may, my Lord,” and received
his confirming nod. Then she leaned
forward to Ashe’s solicitor11, Neville
Saunders. “If I ask this gentleman to
move slowly towards his Lordship, will
you tell me when the distance between
them is roughly the same as the distance
between you and the set?”
Neville Saunders, a little surprised,
got up from his seat and began his slow
game of grandmother’s footsteps. When
he was ten feet from the bench, Mrs.
Scully nodded. “About there.”
“Ten feet or a little less.”
65
70
She turned again to the witness.
“Mrs. Scully, I know that you are an
honest witness. You are trying to tell
the truth to help the court and you
know how important that truth is. The
freedom, the whole future of a young
life depends on it. You have told the
court that you couldn’t comfortably see your television set at ten feet. You have
stated on oath12 that you recognized the defendant at twenty feet on a dark night
and by the light of overhead street lighting. Can you be absolutely sure that you
weren’t mistaken? Can you be confident that it wasn’t some other young man
leaving the house that night, someone of roughly13 the same age and the same
height14? Take your time, Mrs. Scully. Think back. There’s no hurry.”
Why did Mrs. Scully need a new pair of spectacles?
75
80
85
There were only eight words the witness needed to speak: “It was Garry Ashe.
I saw him plainly15.” A professional criminal would have said them, would have
known that in cross-examination you stick to16 your story doggedly17, without
alteration, without embellishment. But professional criminals know the system;
Mrs. Scully was under the disadvantage of honesty, of nervousness, of the wish
to please. There was a silence, then she said: “I thought it was Garry.”
To leave it there or to go one step further? This was always the danger in
cross-examination. Venetia said: “Because it was his house, he lived there. You
would expect it to be Garry. But could you really see plainly, Mrs. Scully? Can
you be sure?”
The woman stared at her. At last she said: “I suppose it could have been
someone like him. But I thought at the time it was Garry.”
“You thought at the time it was Garry, but it could have been someone like
him. Precisely. It was a natural mistake, Mrs. Scully, but I suggest to you that it
was a mistake. Thank you.”
1. procès
2. avocat
3. contre-interrogatoire
4. témoin de l’accusation
5. hocher la tête
6. accusé
7. lunettes
8. monture
9. maigre revenu
10. semblable
11. avocat (ici, assistant de Venetia)
12. sous serment
13. à peu près
14. taille
15. distinctement
16. se cramponner à
17. sans en démordre
Why doesn’t Mrs. Scully stick to her story? Can you guess what happens next?
P. D. JAMES, A Certain Justice (1997)
123
culture
keys
Unit 2
Haiti
Haiti is situated on the island of Hispaniola in the
Caribbean Sea, east of Cuba. The Dominican Republic
shares Hispaniola with Haiti. Its total land area is 10,714
square miles (27,750 square km) and its capital is Portau-Prince on the main island.
Unit 1
Arthur Conan DOYLE (1859-1930) ➔ p. 30
He was born in Edinburgh, Scotland and started
working as a physician (médecin), but his income (revenu)
was so small that he began writing stories to make ends
meet (joindre les deux bouts). A Study in Scarlet, published
in 1887, introduced the most celebrated detective in the
history of fiction, Sherlock Holmes, along with his friend
Dr. John Watson. The second Holmes story was The Sign
1697: Spain ceded the western third (tiers) of
Hispaniola to France.
1791: A slave revolt was led by Toussaint Louverture.
1804: Haiti was one of the first countries of the
Americas to declare its independence, after the United
States. It became the world’s first Black republic, and
made a commitment (s’engager) to abolish slavery
everywhere.
Dashiell Hammett testifying before the US Senate Investigating
Committee (1953).
After 1934, Hammett devoted his time to left-wing
political activities and the defence of civil liberties.
During the McCarthy era of the late 1940s and early
1950s he was accused of being pro-Communist and
was briefly imprisoned for “un-American activities”.
Raymond CHANDLER (1888-1959) of Four (1890) and in 1891 Doyle began a series for Strand
Magazine, The Adventures of Sherlock Holmes.
Sherlock Holmes has become known worldwide as
a tall and lean (maigre), pipe-smoking, violin-playing
detective. He lived at 221 Baker Street in London, where
he was often visited by Watson, his associate in his
many adventures.
Despite the success of the Sherlock Holmes
adventures, Doyle got bored with his hero’s popularity
and “killed” him by sending him plunging to his death,
locked in the arms of his arch-enemy, Professor Moriarty.
But in response to frustrated readers’ protests, Doyle
resurrected the detective in his next story explaining
how he had miraculously survived. Holmes continued
his exploits almost to the end of Doyle’s life.
Dashiell HAMMETT (1894-1961) 124
Chandler also wrote film
scripts for Billy Wilder and
Alfred Hitchcock. Among
his best-known: Double
Indemnity (1944), The Blue
Dahlia (1946) and Strangers
on a Train (1951).
Haiti is the poorest country in the Western hemisphere
and has been governed by corrupt dictators for most of
its history.
Committee (1953).
➔ p. 31
He was born in Chicago but spent much of his
childhood in Britain. In the 1930s, influenced by Dashiell
Hammett, he began writing short stories for pulp crime
magazines and became a major writer of hard-boiled
detective novels, introducing the character of the tough
detective Philip Marlowe in The Big Sleep (1939). It was
followed by six novels, all with Marlowe: Farewell, My
Lovely (1940), The High Window (1942), The Lady in the Lake
(1943), The Little Sister (1949),
The Long Goodbye (1953) and
Playback (1958).
which traps heat. As a result, global temperature
increases, throwing off balance (déséquilibrer) the
world’s climate.
What might happen?
Some changes brought about by global warming will
certainly be beneficial. Warmer temperatures might be
welcome in cold countries, with people feeling more
comfortable and crops (récoltes) growing better than
before.
Committee (1953).
Global warming ➔ p. 45
What is it?
Average (moyenne) global temperature has increased
by 0.6° C over the past century and scientists expect it
to increase an additional 2° to 3°C over the next hundred
years. The increase in the average temperature of the
earth’s atmosphere and of the oceans is called global
warming.
What is it due to?
➔ p. 31
He was born in Maryland, USA. He left school at 13
and did various low-paying jobs before working as a
detective for the Pinkerton agency. He then began to
publish short stories in pulp magazines before writing
The Maltese Falcon (1930), generally considered his
finest work. It is a classic of the genre, which initiated
the hard-boiled school of detective fiction. The Maltese
Falcon introduced Sam Spade, Hammett’s famous
detective. Hammett also wrote The Glass Key (1931) and
The Thin Man (1932).
➔ p. 45
Hollywood star Humphrey
Bogart played Philip
Marlowe and
established the
archetype for all
hard-boiled heroes
to follow.
This increase is due to the greenhouse effect (effet de
serre). Greenhouses work by storing up heat (chaleur)
from the sun. The glass panels of the greenhouse let in
light but keep heat from escaping, which causes the
greenhouse to heat up.
“Greenhouse” gases include carbon dioxide, methane
and chlorofluorocarbons (CFCs). They are generated by
industry, the burning of fossil fuels, modern agricultural
methods and deforestation. These gases thicken
(épaissir) the natural blanket of gases in the atmosphere,
But climate change will also affect people’s health.
For example, heat stress and other heat-related
health problems are caused directly by very warm
temperatures and high humidity. Indirectly, ecological
disturbances (air pollution for instance) might also
affect human health.
Global warming is expected to cause massive
changes in weather and a rise (élévation) in sea level
(due to the melting [fonte] of polar ice) that could flood
(inonder) coastal cities and plains. In the warmer areas
of the globe, the increase in temperature may also
result in droughts (sécheresses) which could cause
food shortage and starvation (famine).
Climate change may alter the world’s ecosystems
which depend on a delicate balance of rainfall,
temperature and soil type.
125
culture Keys
Unit 2
Unit 1
Arthur Conan DOYLE (1859-1930) Haiti
➔ p. 30
Haiti is situated on the island of Hispaniola in the
Caribbean Sea, east of Cuba. The Dominican Republic
shares Hispaniola with Haiti. Its total land area is 10,714
square miles (27,750 square km) and its capital is Portau-Prince on the main island.
He was born in Edinburgh, Scotland and started
working as a physician (médecin), but his income (revenu)
was so small that he began writing stories to make ends
meet (joindre les deux bouts). A Study in Scarlet, published
in 1887, introduced the most celebrated detective in the
history of fiction, Sherlock Holmes, along with his friend
Dr. John Watson. The second Holmes story was The Sign
of Four (1890) and in 1891 Doyle began a series for Strand
Magazine, The Adventures of Sherlock Holmes.
1697: Spain ceded the western third (tiers) of
Hispaniola to France.
1791: A slave revolt was led by Toussaint Louverture.
1804: Haiti was one of the first countries of the
Americas to declare its independence, after the United
States. It became the world’s first Black republic, and
made a commitment (s’engager) to abolish slavery
everywhere.
Sherlock Holmes has become known worldwide as
a tall and lean (maigre), pipe-smoking, violin-playing
Committee (1953).
After 1934, Hammett devoted his time to left-wing
political activities and the defence of civil liberties.
During the McCarthy era of the late 1940s and early
1950s he was accused of being pro-Communist and
was briefly imprisoned for “un-American activities”.
Raymond CHANDLER (1888-1959) detective. He lived at 221 Baker Street in London, where
he was often visited by Watson, his associate in his
many adventures.
Despite the success of the Sherlock Holmes
adventures, Doyle got bored with his hero’s popularity
and “killed” him by sending him plunging to his death,
locked in the arms of his arch-enemy, Professor Moriarty.
But in response to frustrated readers’ protests, Doyle
resurrected the detective in his next story explaining
how he had miraculously survived. Holmes continued
his exploits almost to the end of Doyle’s life.
Dashiell HAMMETT (1894-1961) 126
➔ p. 31
He was born in Maryland, USA. He left school at 13
and did various low-paying jobs before working as a
detective for the Pinkerton agency. He then began to
publish short stories in pulp magazines before writing
The Maltese Falcon (1930), generally considered his
finest work. It is a classic of the genre, which initiated
the hard-boiled school of detective fiction. The Maltese
Falcon introduced Sam Spade, Hammett’s famous
detective. Hammett also wrote The Glass Key (1931) and
The Thin Man (1932).
➔ p. 45
Committee (1953).
➔ p. 31
He was born in Chicago but spent much of his
childhood in Britain. In the 1930s, influenced by Dashiell
Hammett, he began writing short stories for pulp crime
magazines and became a major writer of hard-boiled
detective novels, introducing the character of the tough
detective Philip Marlowe in The Big Sleep (1939). It was
followed by six novels, all with Marlowe: Farewell, My
Lovely (1940), The High Window (1942), The Lady in the Lake
(1943), The Little Sister (1949),
The Long Goodbye (1953) and
Playback (1958).
Chandler also wrote film
scripts for Billy Wilder and
Alfred Hitchcock. Among
his best-known: Double
Indemnity (1944), The Blue
Dahlia (1946) and Strangers
on a Train (1951).
Haiti is the poorest country in the Western hemisphere
and has been governed by corrupt dictators for most of
its history.
which traps heat. As a result, global temperature
increases, throwing off balance (déséquilibrer) the
world’s climate.
What might happen?
Some changes brought about by global warming will
certainly be beneficial. Warmer temperatures might be
welcome in cold countries, with people feeling more
comfortable and crops (récoltes) growing better than
before.
Committee (1953).
Global warming ➔ p. 45
What is it?
Average (moyenne) global temperature has increased
by 0.6° C over the past century and scientists expect it
to increase an additional 2° to 3°C over the next hundred
years. The increase in the average temperature of the
earth’s atmosphere and of the oceans is called global
warming.
What is it due to?
Hollywood star Humphrey
Bogart played Philip
Marlowe and
established the
archetype for all
hard-boiled heroes
to follow.
This increase is due to the greenhouse effect (effet de
serre). Greenhouses work by storing up heat (chaleur)
from the sun. The glass panels of the greenhouse let in
light but keep heat from escaping, which causes the
greenhouse to heat up.
“Greenhouse” gases include carbon dioxide, methane
and chlorofluorocarbons (CFCs). They are generated by
industry, the burning of fossil fuels, modern agricultural
methods and deforestation. These gases thicken
(épaissir) the natural blanket of gases in the atmosphere,
But climate change will also affect people’s health.
For example, heat stress and other heat-related
health problems are caused directly by very warm
temperatures and high humidity. Indirectly, ecological
disturbances (air pollution for instance) might also
affect human health.
Global warming is expected to cause massive
changes in weather and a rise (élévation) in sea level
(due to the melting [fonte] of polar ice) that could flood
(inonder) coastal cities and plains. In the warmer areas
of the globe, the increase in temperature may also
result in droughts (sécheresses) which could cause
food shortage and starvation (famine).
Climate change may alter the world’s ecosystems
which depend on a delicate balance of rainfall,
temperature and soil type.
127
Méthodologie
S’exprimer à l’écrit
W orkbook ➔ p. 00
CONSEILS
D Les différents types de sujets
Lorsque vous rédigez, pensez à :
1
Corrigez les erreurs dans ces phrases et expliquez (en
français) vos corrections.
a. They are in New York since last month.
b. I’ve met Jenny and his brother last week.
c. Where your brother went last summer?
d. My friend go often to the cinema on weekends.
Groupe verbal
1
l
l
Le verbe doit être conjugué : attention aux temps du
passé. Méfiez-vous en particulier du passé composé
français. précis ➔ p. 000 - 000
Une phrase interrogative se construit avec un auxiliaire,
sauf lorsque who ou what sont sujets. précis ➔ p. 000 000
Groupe nominal
2
l
l
l
L’article défini est beaucoup moins fréquent en anglais
qu’en français. précis ➔ p. 000 - 000
Attention aux adjectifs courts et longs lorsque vous formez des comparatifs et superlatifs.
En anglais, l’adjectif possessif s’accorde toujours avec le
possesseur.
Ordre des mots
3
l
128
On ne sépare pas le verbe de son COD. En particulier, les
adverbes de fréquence (always, often, never...) se placent
soit avant le verbe (sauf be), soit après le premier auxiliaire.
n
n
He always drinks tea in the afternoon.
She will never forget what he told her.
Relevez les mots-clés dans le sujet suivant. Dites (en français) quels temps vous utiliserez en priorité et pourquoi.
John has decided to travel across India for two months.
Imagine his life on the road and the people he meets.
l
l
l
Au génitif, l’ordre des mots est : possesseur +’s ou ’ +
élément possédé. précis ➔ p. 000
l
B Penser à la ponctuation
Quelle différence de sens y a-t-il entre ces deux phrases ?
a. My brother who lives in London is a doctor.
b. My brother, who lives in London, is a doctor.
Les signes de ponctuation facilitent la lecture. La plupart ont
le même rôle qu’en français.
C Enrichir sa production
Comment pouvez-vous améliorer les phrases suivantes ?
a. Martin kept laughing. It annoyed Jane intensely.
b. Your computer is complex. Mine’s very simple.
c. Last night, I watched a good TV programme.
1
Propositions relatives
Une proposition relative permet d’identifier l’élément dont
on parle ou d’apporter une précision. Le pronom which
permet également de reprendre la proposition précédente.
précis ➔ p. 000
2
Mots de liaison
Ils sont essentiels pour bien articuler ses idées.
3
Mots passe-partout
Évitez les mots passe-partout ; utilisez des synonymes.
l
Écrire une lettre
Relevez les mots-clés dans le sujet suivant. Dites (en français) quel sera le niveau de langue et pourquoi. Quelles
formules de début et de fin de lettre faut-il utiliser ?
The next day, Danny, 16, writes to his parents about his
plan to go to the United States.
good ➔ excellent, great, fine, pleasant…
2
Il y a différentes façons de commencer et finir une lettre.
n Début :
- formel : Dear Sir, / Dear Madam,
- informel : Dear Paul, / My dear(est) Sarah,
n Fin :
- formel : Yours sincerely, / Yours truly, / Yours faithfully,
- informel : All the best. / Love from… / I can’t wait to
hear from you / see you.
Vous devez vous aider du contexte.
n Si la lettre est écrite par un personnage du texte, respectez le niveau de langue et le ton employés dans le
texte.
n Que savez-vous de la période, des personnages, lieux,
événements, etc. ?
n Quelles sont les relations entre la personne qui écrit et
le destinataire ?
Mettre les paroles entre guillemets et aller à la ligne à
chaque changement de locuteur.
l Varier les verbes introducteurs :
n say, tell, ask, answer, explain, add, insist, reply, exclaim,
agree, admit, declare, wonder, etc.
l Enrichir les phrases à l’aide d’adverbes :
n angrily, kindly, lovingly, quietly, etc.
l Utiliser une langue orale :
n réponses courtes : I don’t think so. / I hope not. / So do
I. précis ➔ p. 000
n formes contractées : I can’t wait. / I’ve got to go.
n tags : You’ll help me, won’t you? précis ➔ p. 000
n gap fillers : Well… / You know…
Un récit comporte certaines règles.
n Introduisez la situation de départ : lieu(x), époque, personnages...
n Utilisez les temps de la narration : prétérit simple, prétérit be+ing, pluperfect.
n Employez des mots de liaison pour montrer la chronologie des événements.
l
Certains sujets font appel à votre expérience personnelle.
Illustrez votre récit à l’aide d’exemples précis.
l
D’autres sujets vous demandent d’imaginer une histoire,
une suite ou une fin : respectez le style et le ton du
texte.
Rédiger un essai
4
Expliquez (en français) la tâche à accomplir dans chacun
des sujets suivants.
a. “Don’t judge a book by its cover.” Do you agree?
b. Should parents give their children total freedom? (Justify
your opinion with examples.)
l
Dans un essai, vous devez argumenter, commenter une
citation ou formuler une opinion sur un sujet précis, dans
une langue formelle. Pensez à utiliser les expressions de
l’opinion (p. 133) et à illustrer vos idées à l’aide d’exemples
empruntés à votre expérience et culture personnelles.
l
L’essai répond à des règles précises.
n
L’introduction présente la problématique du sujet /
l’idée générale.
Rédiger un dialogue
Lisez le sujet suivant et relevez les indices importants.
Imagine a dialogue between Fiona, 16, and her friends
about the advantages and drawbacks of spending a year
abroad.
Imaginer un récit
3
1. conjuguer les verbes ; 2. accorder un verbe en fonction de l’auxiliaire qui le précède ;
3. introduire un auxiliaire aux formes négative et interrogative ;
4. ajouter un s à la 3e personne du singulier du présent
simple (sauf pour les modaux) ;
5. placer l’adjectif épithète (invariable) avant le nom qu’il
qualifie ;
6. ne pas mettre d’article défini devant un nom pris dans son
sens général ;
7. ne pas séparer le verbe de son complément.
A Rédiger des phrases correctes
important ➔ major, essential, serious…
l interesting ➔ motivating, thought-provoking, exciting…
l problem ➔ topic, issue, question...
l speak ➔ deal with, mention, refer to, focus on…
l
Les idées doivent être liées de façon logique par des
transitions et des mots de liaison.
n
Faites des paragraphes et exprimez une seule idée par
paragraphe.
n
n
La conclusion répond à la question posée / au sujet.
l
E Rédiger un essai : expressions utiles
Les expressions suivantes vous aideront à vous exprimer
de façon riche et variée. Elles vous fourniront également
des points de départ et liaisons qui vous permettront de
développer vos idées.
Organiser son essai
1
l
Présenter le sujet / l’idée générale
n
In most cases (Dans la plupart des cas)
n
Most of the time
n
In general / generally speaking
n
It deals (traite) with
129
Méthodologie
A Rédiger des phrases correctes
permet également de reprendre la proposition précédente.
précis ➔ p. 000
Groupe verbal
1
l
l
sauf lorsque who ou what sont sujets. précis ➔ p. 000 -
Ils sont essentiels pour bien articuler ses idées.
l
Évitez les mots passe-partout ; utilisez des synonymes.
l
l
l
problem ➔ topic, issue, question...
l
speak ➔ deal with, mention, refer to, focus on…
l
possesseur.
Ordre des mots
3
l
D Les différents types de sujets
Relevez les mots-clés dans le sujet suivant. Dites (en français) quel sera le niveau de langue et pourquoi. Quelles
formules de début et de fin de lettre faut-il utiliser ?
The next day, Danny, 16, writes to his parents about his
plan to go to the United States.
l
Début :
- formel : Dear Sir, / Dear Madam,
- informel : Dear Paul, / My dear(est) Sarah,
Fin :
- formel : Yours sincerely, / Yours truly, / Yours faithfully,
- informel : All the best. / Love from… / I can’t wait to
hear from you / see you.
n
l
Si la lettre est écrite par un personnage du texte, respectez le niveau de langue et le ton employés dans le texte.
Que savez-vous de la période, des personnages, lieux,
événements, etc. ?
n
a. My brother who lives in London is a doctor.
b. My brother, who lives in London, is a doctor.
Quelles sont les relations entre la personne qui écrit et
le destinataire ?
n
Les signes de ponctuation facilitent la lecture. La plupart ont
le même rôle qu’en français.
Lisez le sujet suivant et relevez les indices importants.
Imagine a dialogue between Fiona, 16, and her friends
about the advantages and drawbacks of spending a year
abroad.
Comment pouvez-vous améliorer les phrases suivantes ?
130
Propositions relatives
Une proposition relative permet d’identifier l’élément dont
on parle ou d’apporter une précision. Le pronom which
Rédiger un dialogue
2
C Enrichir sa production
1
Vous devez vous aider du contexte.
n
Quelle différence de sens y a-t-il entre ces deux phrases ?
a. Martin kept laughing. It annoyed Jane intensely.
b. Your computer is complex. Mine’s very simple.
c. Last night, I watched a good TV programme.
Il y a différentes façons de commencer et finir une lettre.
n
n She will never forget what he told her.
B Penser à la ponctuation
Écrire une lettre
1
n
l
l
Imaginer un récit
Relevez les mots-clés dans le sujet suivant. Dites (en français) quels temps vous utiliserez en priorité et pourquoi.
John has decided to travel across India for two months.
Imagine his life on the road and the people he meets.
Un récit comporte certaines règles.
n Introduisez la situation de départ : lieu(x), époque, personnages...
n Utilisez les temps de la narration : prétérit simple, prétérit be+ing, pluperfect.
n Employez des mots de liaison pour montrer la chronologie des événements.
l Certains sujets font appel à votre expérience personnelle.
Illustrez votre récit à l’aide d’exemples précis.
l D’autres sujets vous demandent d’imaginer une histoire,
une suite ou une fin : respectez le style et le ton du
texte.
l
4
Dans un essai, vous devez argumenter, commenter une
citation ou formuler une opinion sur un sujet précis, dans
une langue formelle. Pensez à utiliser les expressions de
l’opinion (p. 133) et à illustrer vos idées à l’aide d’exemples
empruntés à votre expérience et culture personnelles.
l L’essai répond à des règles précises.
n L’introduction présente la problématique du sujet /
l’idée générale.
n Les idées doivent être liées de façon logique par des
transitions et des mots de liaison.
n Faites des paragraphes et exprimez une seule idée par
paragraphe.
n La conclusion répond à la question posée / au sujet.
l
l
Mettre les paroles entre guillemets et aller à la ligne à
chaque changement de locuteur.
E Rédiger un essai : expressions utiles
l
Varier les verbes introducteurs :
Les expressions suivantes vous aideront à vous exprimer
de façon riche et variée. Elles vous fourniront également
des points de départ et liaisons qui vous permettront de
développer vos idées.
l
say, tell, ask, answer, explain, add, insist, reply, exclaim,
agree, admit, declare, wonder, etc.
n
Enrichir les phrases à l’aide d’adverbes :
n
In most cases (Dans la plupart des cas)
n
Most of the time
n
In general / generally speaking
n
It deals (traite) with
n
It focuses (porte principalement) on
n
This is a topical (d’actualité) subject
n
This is an essential question / issue (problème)
n
To begin with / Firstly / First of all
n
Secondly
n
Then / Thirdly
n
Lastly / Finally / Eventually (Finalement)
n
Last, but not least, (Enfin, et c’est un point très important)
F Rédiger des phrases correctes
Rédiger un essai
Expliquez (en français) la tâche à accomplir dans chacun
des sujets suivants.
a. “Don’t judge a book by its cover.” Do you agree?
b. Should parents give their children total freedom? (Justify
your opinion with examples.)
Organiser son essai
1
l
important ➔ major, essential, serious…
interesting ➔ motivating, thought-provoking, exciting…
n
3
good ➔ excellent, great, fine, pleasant…
l
Groupe nominal
l
Mots passe-partout
3
000
2
Mots de liaison
2
angrily, kindly, lovingly, quietly, etc.
l Utiliser une langue orale :
n réponses courtes : I don’t think so. / I hope not. / So do
I. précis ➔ p. 000
n formes contractées : I can’t wait. / I’ve got to go.
n tags : You’ll help me, won’t you? précis ➔ p. 000
n gap fillers : Well… / You know…
Groupe verbal
1
l
l
sauf lorsque who ou what sont sujets. précis ➔ p. 000 000
Groupe nominal
2
l
l
l
possesseur.
Ordre des mots
3
l
l
n
n
She will never forget what he told her.
131
Précis grammatical
2
1
Le présent be+ing
A Formes
Le présent simple
l On utilise l’auxiliaire be à toutes les formes.
On accole -ing au verbe.
A Formes
l Formes
naffirmative : I am sleeping. – You are sleeping. –
He / She is sleeping. – We / You / They are sleeping.
ninterrogative : Am I sleeping? – Are you sleeping? –
Is he / she sleeping? – Are we / you / they sleeping?
nnégative : I am not sleeping. – You are not sleeping. –
He / She is not sleeping. – We / You / They are not sleeping.
l À la forme affirmative, on utilise la base verbale et on ajoute s à la 3e personne du singulier. Pour
les questions et les négations, on emploie l’auxiliaire do / don’t (does / doesn’t à la 3e personne du
singulier) suivi de la base verbale.
.I know him and he knows me. Je le connais et il me connaît.
Does he know me? Est-ce qu’il me connaît ?
l Formes
naffirmative :
I / You like him. – He / She likes you. – We / You / They like him.
ninterrogative :
Do I like him? – Does he / she like me? – Do we / you / they like them?
nnégative :
I don’t like you. – He / She doesn’t like you. – We / You / They don’t like him.
Contractions de be
À l’oral, on contracte le plus souvent be.
n
am se contracte en ’m. am not se contracte en ’m not.
I’m British. I’m not English. Je suis britannique, pas anglais.
n
is se contracte en ’s. is not se contracte en ’s not ou isn’t.
n
.are se contracte en ’re. are not se contracte en ’re not ou aren’t.
What’s this? It’s not / isn’t mine. Qu’est-ce que c’est ? Ce n’est pas à moi.
Les verbes do (faire) et have (avoir)
Ils se conjuguent aussi aux formes interrogative et négative du présent simple avec l’auxiliaire do.
Does he often do it? Est-ce qu’il le fait souvent ?
I don’t have any money. Je n’ai pas d’argent.
They’re not / aren’t here; they’re at the cinema. Ils ne sont pas là ; ils sont au cinéma.
B Emplois
B Emplois
l On emploie le présent be+ing pour décrire :
nune action en cours de déroulement dont on est témoin.
Listen! The phone is ringing! Écoute ! Il y a le téléphone qui sonne !
nla position de quelqu’un.
She is sitting on her bed. Elle est assise sur son lit.
l On emploie le présent simple pour :
ndéfinir une personne ou un objet (métier, goûts, opinion, etc.).
He works on a farm. Il travaille dans une ferme.
He likes animals. Il aime les animaux.
nmentionner une action habituelle ou fréquente.
They always come back. Ils reviennent toujours.
nexprimer une vérité générale.
The earth revolves around the sun. La terre tourne autour du soleil.
l On utilise aussi le présent simple pour donner des informations lorsque :
on raconte une histoire (présent de narration).
Then he stops and looks at them. Et puis il s’arrête et les regarde.
non s’informe sur ce qui va se passer.
What happens after that? Qu’est-ce qui se passe après ?
Who speaks next? Qui parle ensuite ?
l On emploie également le présent be+ing pour :
nfaire un commentaire (positif ou négatif) sur le sujet de l’énoncé.
She’s always nagging at me! Elle n’arrête pas de m’embêter !
nexprimer la volonté du sujet (intention ou refus).
I’m not talking to her. Je refuse de lui parler.
n
3
Présent simple ou présent be+ing ?
l Les verbes suivants (verbes d’état) ne peuvent normalement pas s’utiliser à la forme be+ing : be,
have, agree, believe, belong, hate, know, like, look, mean, prefer, remember, see, seem, sound, think,
understand, want.
What do you want? Qu’est-ce que tu veux ?
l Parmi ces verbes, certains peuvent changer de sens et être utilisés au présent be+ing lorsque l’on
parle d’une situation particulière.
132
133
Précis gammatical
1
Le présent simple
2
Le présent be+ing
A Formes
A Formes
l À la forme affirmative, on utilise la base verbale et on ajoute s à la 3e personne du singulier. Pour
les questions et les négations, on emploie l’auxiliaire do / don’t (does / doesn’t à la 3e personne du
singulier) suivi de la base verbale.
.I know him and he knows me. Je le connais et il me connaît.
Does he know me? Est-ce qu’il me connaît ?
l On utilise l’auxiliaire be à toutes les formes.
On accole -ing au verbe.
l Formes
naffirmative : I am sleeping. – You are sleeping. –
He / She is sleeping. – We / You / They are sleeping.
ninterrogative : Am I sleeping? – Are you sleeping? –
Is he / she sleeping? – Are we / you / they sleeping?
nnégative : I am not sleeping. – You are not sleeping. –
He / She is not sleeping. – We / You / They are not sleeping.
l Formes
naffirmative :
I / You like him. – He / She likes you. – We / You / They like him.
ninterrogative :
Do I like him? – Does he / she like me? – Do we / you / they like them?
nnégative :
I don’t like you. – He / She doesn’t like you. – We / You / They don’t like him.
Contractions de be
À l’oral, on contracte le plus souvent be.
n
Les verbes do (faire) et have (avoir)
am se contracte en ’m. am not se contracte en ’m not.
I’m British. I’m not English. Je suis britannique, pas anglais.
Ils se conjuguent aussi aux formes interrogative et négative du présent simple avec l’auxiliaire do.
Does he often do it? Est-ce qu’il le fait souvent ?
I don’t have any money. Je n’ai pas d’argent.
n
is se contracte en ’s. is not se contracte en ’s not ou isn’t.
n
.are se contracte en ’re. are not se contracte en ’re not ou aren’t.
What’s this? It’s not / isn’t mine. Qu’est-ce que c’est ? Ce n’est pas à moi.
They’re not / aren’t here; they’re at the cinema. Ils ne sont pas là ; ils sont au cinéma.
B Emplois
l On emploie le présent simple pour :
ndéfinir une personne ou un objet (métier, goûts, opinion, etc.).
He works on a farm. Il travaille dans une ferme.
He likes animals. Il aime les animaux.
nmentionner une action habituelle ou fréquente.
They always come back. Ils reviennent toujours.
nexprimer une vérité générale.
The earth revolves around the sun. La terre tourne autour du soleil.
B Emplois
l On emploie le présent be+ing pour décrire :
nune action en cours de déroulement dont on est témoin.
Listen! The phone is ringing! Écoute ! Il y a le téléphone qui sonne !
nla position de quelqu’un.
She is sitting on her bed. Elle est assise sur son lit.
l On emploie également le présent be+ing pour :
nfaire un commentaire (positif ou négatif) sur le sujet de l’énoncé.
She’s always nagging at me! Elle n’arrête pas de m’embêter !
nexprimer la volonté du sujet (intention ou refus).
I’m not talking to her. Je refuse de lui parler.
l On utilise aussi le présent simple pour donner des informations lorsque :
non raconte une histoire (présent de narration).
Then he stops and looks at them. Et puis il s’arrête et les regarde.
non s’informe sur ce qui va se passer.
What happens after that? Qu’est-ce qui se passe après ?
Who speaks next? Qui parle ensuite ?
3
Présent simple ou présent be+ing ?
l Les verbes suivants (verbes d’état) ne peuvent normalement pas s’utiliser à la forme be+ing : be,
have, agree, believe, belong, hate, know, like, look, mean, prefer, remember, see, seem, sound, think,
understand, want.
What do you want? Qu’est-ce que tu veux ?
l Parmi ces verbes, certains peuvent changer de sens et être utilisés au présent be+ing lorsque l’on
parle d’une situation particulière.
134
135

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