`1   
`23-llceranme`1
braille intgral

    baccalaurat gnral

   preuve d'enseignement
        de spcialit

        session `2023

    langues, littratures
    et cultures trangres
        et rgionales

           anglais

    mardi `21 mars `2023

     dure de l'preuve:
        `3 heures `30

      braille intgral
         cbfu `2008



a`1                         `2
  l'usage du dictionnaire
unilingue non encyclopdique
est autoris. la calculatrice
n'est pas autorise.

  ds que ce sujet vous est
remis, assurez-vous qu'il est
complet.
  ce sujet comporte `10 pages
numrotes de `1/10  `10/10
dans la version originale et
`28 pages numrotes de `1 
`28 dans la version en braille
intgral.

  le candidat traite au choix
le sujet `1 `;page
braille `3' ou le sujet `2
`;page braille `17'.
  il prcisera sur la copie
le numro du sujet choisi

  rpartition des points:
  synthse: `16 points
  traduction ou transposi-
tion: `4 points
`2                          `3
          sujet `1


  le sujet porte sur la th-
matique "expression et
construction de soi".

        `1^re partie.
     synthse en anglais
         (`16 points)

  prenez connaissance de la
thmatique ci-dessus et du
dossier compos des documents
a, b et c et rpondez en
anglais  la consigne sui-
vante (`500 mots environ):
  paying particular attention
to the specificities of the
three documents, show how they
interact to underline the
links between belonging to a
community and one's identity.



a`2                         `4
         `2^e partie.
   traduction en franais
         (`4 points)

  traduisez en franais le
passage suivant du document a
(lignes `24  `30):

  this was truly her; this
was the voice with which she
would speak if she were woken
up from a deep sleep during an
earthquake. still, she resol-
ved that if the amtrak woman
responded to her accent by
speaking too slowly as though
to an idiot, then she would
put on her mr agbo voice,
the mannered, overcareful pro-
nunciations she had learned
during debate meetings in se-
condary school when the
bearded mr agbo, tugging at
his frayed tie, played bbc
recordings on his cassette
player (...)b.
`3                          `5
         document a


  "may i ask who i'm
talking to?"
  "my name is ifemelu."
  he repeated her name with
exaggerated care. "is it a
french name?"
  "no. nigerian."
    l. `5
  "that where your family ca-
me from?"
  "yes." she scooped the
eggs onto a plate. "i grew up
there."
  "oh, really? how long have
you been in the us?"
  "three years."
  "wow. cool. you sound to-
tally american."
    l. `10
  "thank you."



a`3                         `6
  only after she hung up did
she begin to feel the stain of
a burgeoning shame spreading
all over her, for thanking
him, for crafting his words
"you sound american" into a
garland that she hung around
her own neck. why was it a
compliment, an accomplishment,
to sound american? she had
won; cristina tomas, pallid-
faced
    l. `15
cristina tomas under whose
gaze she had shrunk like a
small, defeated animal, would
speak to her normally now.
she had won, indeed, but her
triumph was full of air. her
fleeting victory had left in
its wake a vast, echoing spa-
ce, because she had taken on,
for too long, a pitch of voice
and a way of being that was
not hers. and so she finished
eating her eggs and resolved
b`3                         `7
to stop faking the american
accent. she first spoke
    l. `20
without the american accent
that afternoon at thirtieth
street station, leaning
towards the woman behind the
amtrak counter.

  "could i have a round-trip
to haverhill, please? re-
turning sunday afternoon. i
have a student advantage
card," she said, and felt a
rush of pleasure from giving
the t its full due in
"advantage", from not rolling
her r in "haverhill". this
was truly her; this was
    l. `25
the voice with which she would
speak if she were woken up
from a deep sleep during an
earthquake. still, she re-
solved that if the amtrak wo-
man responded to her accent by
c`3                         `8
speaking too slowly as though
to an idiot, then she would
put on her mr agbo voice,
the mannered, overcareful pro-
nunciations she had learned
during debate meetings in se-
condary school when the
bearded mr agbo, tugging at
his frayed tie, played bbc
    l. `30
recordings on his cassette
player and then made all the
students pronounce words over
and over until he beamed and
cried "correct!" she would
also affect, with the
mr agbo voice, a slight
raising of her eyebrows in
what she imagined was a
haughty foreigner pose. but
there was no need to do any of
these because the amtrak wo-
man spoke normally. "can i
see an id, miss?"


d`3                         `9
    l. `35
  and so she did not use her
mr agbo voice until she met
blaine. the train was crow-
ded. the seat next to blaine
was the only empty one in that
car, as far as she could see,
and the newspaper and bottle
of juice placed on it seemed
to be his. she
----------------------------`4
stopped, gesturing towards the
seat, but he kept his gaze le-
velly ahead. behind her, a
woman was pulling along a hea-
vy suitcase and the conductor
was announcing that
    l. `40
all personal belongings had to
be moved from free seats and
blaine saw her standing there
-- how could he possibly not
see her? -- and still he did
nothing. so her mr agbo
voice emerged. "excuse me.
are these yours? could you
a`4                        `10
possibly move them?"

  she placed her bag on the
overhead rack and settled onto
the seat, stiffly, holding her
magazine, her body aligned
towards the aisle and away
from him. the train had
    l. `45
begun to move when he said,
"i'm really sorry i didn't
see you standing there."

  his apologizing surprised
her, his expression so earnest
and sincere that it seemed as
though he had done something
more offensive. "it's okay,"
she said, and smiled. "how
are you?" he asked.

  she had learned to say
"good-how-are-you?" in that
sing-song american way, but
    l. `50
now she said, "i'm well,
b`4                        `11
thank you."

      chimamanda ngozi
      adichie, americanah,
      `2014.





















`5                         `12
         document b
       the world is
         witnessing
     nigeria's creative
         golden age


  it is the most populous
black nation in the world --
and now, thanks to a formi-
dable cast of creatives in
art, fashion, music, and lite-
rature, nigeria is on track
to be one of the most
influential.

  nigerians, of course, saw
it all along. the infiltra-
tion of world culture by the
sounds,
    l. `5
images, and styles of their
country has been building for
some time. the author and
photographer teju cole noti-
ces nigerian pop music when
a`5                        `13
he travels -- recently, in a
taxi in peru. the journalist
bim adewunmi remembers
finding a group of white bri-
tish kids in london singing
"oliver twist," a hit by
d'banj, down to the artist's
nigerian accent: oh-lee-
vah. "d'banj trumped `1
charles dickens in that mo-
ment," adewunmi
    l. `10
says. "and that made me feel
good!"
      `1. trumped: surpassed.

  perhaps the breakout moment
came in `2013, when beyonc
placed a spoken passage by the
nigerian novelist chimamanda
ngozi adichie, excerpted
from an essay on the social
conditioning of girls, at the
center of "flawless," her
empowerment manifesto set to a
bouncing houston funk groove.
b`5                        `14
queen bey's validation
    l. `15
turbocharged the ascent of the
author of americanah to her
status as a cross-cultural
(and stylish) feminist icon.
(...)b

  it's been a seeping, de-
centralized thing; to call it
a takeover would be hyperbole.
but the assertive nigerian
global influence today cannot
be denied, whether it's in li-
terature, music, fashion, or
art, with new talents appea-
ring at a relentless pace.

      siddhartha mitter,
      wmagazine.com,
      october `3, `2018.





`6                         `15
         document c
          `;image'


      flying girls,
      sculptural installation
      by nigerian artist
      peju alatise,
      `2015-2016, www.wesa.fm.

  `;description de l'image:'
  le document est la pho-
tographie d'une installation
artistique cre par l'artiste
nigriane peju alatise,
intitule flying girls et
prsente en `2015-2016.
  l'installation comporte
plusieurs sculptures, posi-
tionnes en cercle, conues 
partir d'un matriau sombre et
assez brillant. ces sculptu-
res reprsentent des jeunes
femmes debout regardant vers
le haut. elles ont toutes une
paire d'ailes dans le dos.
a`6                        `16
au-dessus d'elles, on
distingue une multitude de
sculptures reprsentant des
oiseaux en vol.
  au sol,  leurs pieds, on
distingue des sculptures
reprsentant des feuilles et
des fleurs relies entre elles
par des tiges.
  cet ensemble de sculptures
se trouve dans une pice aux
murs totalement blancs.














`7                         `17
          sujet `2


  ce dossier porte sur la
thmatique "arts et dbats
d'ides".

        `1^re partie.
     synthse en anglais
         (`16 points)

  prenez connaissance de la
thmatique ci-dessus et du
dossier compos des documents
a, b et c et rpondez en
anglais  la consigne sui-
vante (`500 mots environ):
  paying particular attention
to the specificities of the
three documents, show how they
interact to explore different
relationships between writers
and the act of writing.



a`7                        `18
         `2^e partie.
   traduction en franais
         (`4 points)

  traduisez en franais le
passage suivant du document a
(lignes `14  `19):

  how long it had been since
she'd woken up needing to wri-
te? god, how holly used to
need to write. now she needed
to write again. what time was
it? she was still in bed, or
in bed again. had she already
risen, looked in on her
daughter? or had that been a
dream? she'd come back to bed
and slipped again into sleep?
perhaps. now she didn't need
to open her eyes to know that
it was morning, that it was
snowing.
  was there a pen in this
room?

`8                         `19
        documento a


  :holly is a devoted mother
and a writer. she is waking
up late on christmas
morning.

  and then holly thought,
:i must write this down be-
fore it slips away. it was
that feeling she used to have
when she was younger -- the
almost panicked desire to wri-
te about something she'd half
glimpsed, to get it on the pa-
ge before it dashed away
again. sometimes it had felt
nearly nauseating, that desire
to yank it out of herself and
put it
    l. `5
into written words before it
hid away behind some organ
deep inside her -- some maroo-
nish, liverish, gillish organ
a`8                        `20
she'd have to pry behind, as
if fingering it out a turkey
carcass, ever to get at it
again. that's what writing a
poem used to feel like to
holly, and why she'd quit
writing poems.

  my god, though, this
thought was like a poem -- a
secret, a truth, just out of
reach.
    l. `10
holly would need this time to
pluck this out and examine in
the light, but it was in her,
whether she'd known or not
until now. like a poem, that
wanted to be written. a truth
insisting on recognition.
(...)b

  holly needed to write down
these things, this evidence!
(...)b

b`8                        `21
  how long it had been since
she'd woken up needing to wri-
te? god, how holly used
    l. `15
to need to write. now she
needed to write again. what
time was it? she was still in
bed, or in bed again. had she
already risen, looked in on
her daughter? or had that
been a dream? she'd come back
to bed and slipped again into
sleep? perhaps. now she
didn't need to open her eyes
to know that it was morning,
that it was snowing.

  was there a pen in this
room? if she found a pen be-
fore eric and tatiana woke
up,
    l. `20
would she be able to actually
sit down and write? that
broken habit. that abandoned
necessity.
c`8                        `22
  holly thought she could.
she would be able to write.
she could feel it -- the bit-
ter ache of it. there was so-
me awful pressure on her
lungs. there was, she felt,
something stoppered up in her
torso. she imagined vomiting
it out of herself, like vomi-
ting up a
    l. `25
swan -- something with a long,
tangled throat nestled inside
her own throat -- choking on
its feathers and all its bony
quills. how relieved she
would feel afterward, lying on
the bedroom floor beside the
swan she'd vomited out of
herself into the world.

      laura kasischke,
      mind of winter,
      `2015.


`9                         `23
         document b


  here in this rural-suburban
community in new jersey whe-
re i was born fifty-three
years ago, and where i have
lived with my dear wife,
irina, for more than seven-
teen years, i am known as
"andrew j. rush" --
arguably the most famous of
local residents, author of
bestselling mystery-suspense
novels with a touch of the ma-
cabre. (not an
    l. `5
excessive touch, not nasty-
mean, or disturbing. never
obscene, nor even sexist. wo-
men are treated graciously in
my mysteries, apart from a few
obligatory noir performances.
corpses are likely to be whi-
te adult males.) with my
third bestseller in the `1990s
a`9                        `24
it began to be said about me
in the media -- :andrew j.
rush is the gentleman's
stephen king.

    l. `10
  of course, i was flatte-
red. sales of my novels,
though in the millions after a
quarter-century of effort, are
yet in the double-digit mil-
lions and not the triple digit
like stephen king's. and
though my novels have been
translated into as many as
thirty languages -- (quite a
surprise to me who knows only
one language) -- i am sure
that stephen king's books
have been translated into even
more, and more profitably.
and
    l. `15
only three of my novels have
been adapted into (quickly
forgotten) films,
b`9                        `25
and only two into (less-than-
premium cable) tv dramas --
unlike king, whose adapta-
tions are too many to count.

  so far as money is
concerned there is no compa-
ring andrew j. rush and
stephen king. but when you
have made, after taxes, some-
where in excess of thirty mil-
lion
    l. `20
dollars, you simply stopped
thinking about money, as
perhaps, a serial killer
simply stops thinking about
how many people he has killed,
after a few dozen victims.







c`9                        `26
  (excuse me! i think that
must have been a callous `1
remark, which i'm sure would
provoke my dear irina to kick
my ankle in reprimand as she
sometimes does when i
misspeak in public. :i did
not mean to be callous at all
but only just 'witty' -- in my
    l. `25
clumsy way.)
      `1. callous: who feels
    no emotion.

      joyce carol oates,
      jack of spades,
      `2015.









`10                        `27
         document c
          `;image'


      photograph taken by
      earl theisen,
      :ernest hemingway in
      kenya, `1952.

  e. hemingway was an ame-
rican writer (`1899-1961) who
was awarded the nobel prize
for literature in `1954.

  `;description de l'image:'
  ce document est une pho-
tographie de l'crivain
ernest hemingway assis  une
table, en train d'crire avec
un stylo, sur une feuille po-
se sur un petit tas de feuil-
les dj remplies. la table
est installe en extrieur,
dans une espce de clairire
et, derrire l'crivain, l'on
aperoit le bas d'une tente de
a`10                       `28
camping et le bas de quelques
troncs d'arbres.
  hemingway a une cinquantai-
ne d'annes, il porte la barbe
et des lunettes  monture m-
tallique. il a le front d-
garni et les cheveux coiffs
vers l'arrire. il est v2tu
d'un long manteau et de bottes
en cuir. un chapeau est
accroch au dossier de sa
chaise. sur la table, il y a
une paire de jumelles, une
tasse  caf avec soucoupe,
plusieurs livres et papiers
poss les uns sur les autres,
et deux gros 9ufs d'autruche
dans une assiette.








