 La version numrique du sujet fournie en fichier texte (format *.txt) doit tre ouverte en tant que braille informatique. Elle sera affiche en braille 6 points. Lapplication  bloc-notes  des ordinateurs courants, ou des logiciels spcialiss peuvent tre utiliss.  dfaut, reportez-vous  la version en papier. 
Le candidat doit rdiger ses rponses sur un second fichier, et peut demander  un assistant ou  un secrtaire de recopier sa production de faon manuscrite sur une copie.
Un fichier en format *.pdf est galement fourni.
La page du document originale est indique par  PO 1  pour  page originale n1 . Les rfrences aux pages braille (sommaire, rfrences en cours de sujet) font rfrence au sujet braille imprim. 

po `1
`24-llceranan`1 sa
braille intgral
baccalaurat gnral
preuve d'enseignement de spcialit
session `2024
langues, littratures et cultures trangres et rgionales
anglais
dure de l'preuve: `3h30
code braille franais
l'usage du dictionnaire unilingue non encyclopdique est autoris.
l'usage de la calculatrice ou de tout autre objet lectronique ou connect n'est pas autoris.
ds que ce sujet vous est remis, assurez-vous qu'il est complet.
dans la version originale, ce sujet comporte `7 pages numrotes de `1/7  `7/7.
dans la version en braille intgral, le sujet comporte `23 pages numrotes de `1  `23.
le candidat traite au choix le sujet `1 ou le sujet `2.
il prcisera sur la copie le numro du sujet choisi.
rpartition des points
-- synthse: `16 points
-- traduction ou transposition: `4 points
po `2
sujet `1
sujet `1
le sujet porte sur la thmatique "expression et construction de soi"
partie `1 (`16 pts): prenez connaissance des documents a et b et traitez le sujet suivant en anglais:
write a commentary (`300 words): taking into account the specificities of the two documents, analyse how they interact to illustrate the impact of war on the self.
partie `2 (`4 pts): traduisez le passage suivant du document a en franais:
you don't see or hear like you used to. your brain chemistry changes. you take in every piece of the environment, everything. i could spot a dime in the street twenty yards away. i had antennae out that stretched down the block. it's hard to even remember exactly what that felt like. i think you take in too much information to store so you just forget (...)b. (l. `19-23)
po `3
document a
so here's an experience. your wife takes you shopping in wilmington. last time you walked down a city street, your marine on point went down the side of the road, checking ahead and scanning the roofs across from him. (...)b
in wilmington, you don't have a squad, you don't have a battle buddy, you don't even
l. `5
have a weapon. you startle ten times checking for it and it's not there. you're safe, so your alertness should be at white, but it's not.
instead, you're stuck in an american eagle outfitters. your wife gives you some clothes to try on and you walk into the tiny dressing room. you close the door, and you don't want to open it again.
l. `10
outside, there're people walking around by the windows like it's no big deal. people who have no idea where fallujah is, where three members of your platoon died. people who've spent their whole lives at white.
they'll never get even close to orange. you can't, until the first time you're in a firefight, or the first time an ied `1 goes off that you missed,
`1. ied `" improvised explosive device
and you realize that everybody's life,
l. `15
everybody's, depends on you not fucking up. and you depend on them.
some guys go straight to red. they stay like that for a while and then they crash, go down past white, down to whatever is lower than "i don't fucking care if i die." most everybody else stays orange, all the time.
here's what orange is. you don't see or hear like you used to. your brain chemistry
l. `20
changes. you take in every piece of the environment, everything. i could spot a dime in the street twenty yards away. i had antennae out that stretched down the block. it's hard to even remember exactly what that felt like. i think you take in too much information to store so you just forget, free up brain space to take in everything about the next moment that might keep you alive. and then you forget that moment, too, and l. `25
focus on the next. and the next. and the next. for seven months.
phil klay, redeployment, `2014
po `4
document b
our brains ache, in the merciless iced east winds that knive us...
wearied we keep awake because the night is silent...
low drooping flares confuse our memory of the salient...
worried by silence, sentries whisper, curious, nervous,
l. `5
but nothing happens.

watching, we hear the mad gusts tugging on the wire,
like twitching agonies of men among its brambles.
northward, incessantly, the flickering gunnery rumbles,
far off, like a dull rumour of some other war.
l. `10
what are we doing here?

the poignant misery of dawn begins to grow...
we only know war lasts, rain soaks, and clouds sag stormy.
dawn massing in the east her melancholy army
attacks once more in ranks on shivering ranks of grey,
l. `15
but nothing happens.

sudden successive flights of bullets streak the silence.
less deadly than the air that shudders black with snow,
with sidelong flowing flakes that flock, pause, and renew,
we watch them wandering up and down the wind's nonchalance,
l. `20
but nothing happens.

pale flakes with fingering stealth come feeling for our faces--
we cringe in holes, back on forgotten dreams, and stare, snow-dazed,
deep into grassier ditches. so we drowse, sun-dozed,
littered with blossoms trickling where the blackbird fusses.
l. `25
--is it that we are dying?

slowly our ghosts drag home: glimpsing the sunk fires, glozed `1
`1. glozed `" covered with
with crusted dark-red jewels; crickets jingle there;
for hours the innocent mice rejoice: the house is theirs;
shutters and doors, all closed: on us the doors are closed, --
l. `30
we turn back to our dying.(...)b 

wilfred owen, exposure, `1918
po `5
sujet `2
sujet `2
le sujet porte sur la thmatique "voyages, territoires, frontires"
partie `1 (`16 pts): prenez connaissance des documents a et b et traitez le sujet suivant en anglais:
write a commentary on the two documents (about `300 words): taking into account the specificities of the documents, analyse how they deal with the issue of irish heritage.
partie `2 (`4 pts): traduisez le passage suivant du document b en franais:
instead, they returned to ireland when i was four, my brother, malachy, three, the twins, oliver and eugene, barely one, and my sister, margaret, dead and gone.
when i look back on my childhood, i wonder how i survived at all. it was, of course, a miserable childhood: the happy childhood is hardly worth your while. (l. `2-5)
po `6
document a
"belfast" review: a boy's life
in this charming memoir, kenneth branagh recalls his childhood in northern ireland through a rose-tinted lens.
romanticism reigns in "belfast," kenneth branagh's cinematic memoir of his childhood in a turbulent northern ireland. from the lustrous, mainly black-and-white photography to the cozy camaraderie of its working-class setting, the movie softens edges and hearts alike. the family at its center might have health issues, money worries and an outdoor toilet, but this
l. `5
is no ken loach-style deprivation: in these streets, grit and glamour stroll hand-in-hand.
viewed largely through buddy's eyes, "belfast," which opens in august, `1969 (after a brief, colorful montage of the present-day city), is about the destruction of an idyll. mere minutes into the film, a hail of molotov cocktails ignites the friendly neighborhood where catholics and protestants live amicably side-by-side. a swirling camera conveys buddy's confusion
l. `10
and terror; yet, even as the barricades go up and the local bully-boy (colin morgan) tries to draw buddy's protestant family into his campaign to "cleanse the community" of its catholic residents, the movie refuses to get bogged down in militancy. instead, we watch buddy play ball with his cousins; moon over a pretty classmate; watch "star trek" and westerns on television; and spend time with his loving grandparents (judi dench and ciarn hinds).
l. `15
drawing from his own experiences, branagh crafts nostalgic, sentimental scenes suffused with some of van morrison's warmest songs. (...)b snippets of television news play in the background, but the growing troubles that would tear the country apart are not the story that branagh (whose family moved to england when he was nine) wants to tell.
so while "belfast" is, in one sense, a deeply personal coming-of-age tale, it's also a more
l. `20
universal story of displacement and detachment, located most powerfully in
balfe's `1 fierce,
`1. caitr/ona balfe is an irish actress. she plays the part of buddy's mother in the film.
shining performance. (...)b branagh's remembrances may be idealized, but with "belfast" he has written a charming, rose-tinted thank-you note to the city that sparked his dreams and the parents whose sacrifices helped them come true.
jeannette catsoulis, :the new york times, nov. `11, `2021
po `7
document b
my father and mother should have stayed in new york where they met and married and where i was born. instead, they returned to ireland when i was four, my brother, malachy, three, the twins, oliver and eugene, barely one, and my sister, margaret, dead and gone.
l. `5
when i look back on my childhood i wonder how i survived at all. it was, of course, a miserable childhood: the happy childhood is hardly worth your while. worse than the ordinary miserable childhood is the miserable irish childhood, and worse yet is the miserable irish catholic childhood. (...)b
above all -- we were wet.
l. `10
out in the atlantic ocean great sheets of rain gathered to drift slowly up the river shannon and settle forever in limerick. the rain dampened the city from the feast of the circumcision to new year's eve. it created a cacophony of hacking coughs, bronchial rattles, asthmatic wheezes, consumptive croaks. it turned noses into fountains, lungs into bacterial sponges (...)b
l. `15
from october to april the walls of limerick glistened with the damp. clothes never dried: tweed and woolen coats housed living things, sometimes sprouted mysterious vegetations. in pubs, steam rose from damp bodies and garments to be inhaled with cigarette and pipe smoke laced with the stale fumes of spilled stout and whiskey and tinged with the odor of piss wafting in from the outdoor jakes where many a man puked 
l. `20
up his week's wages.
the rain drove us into the church -- our refuge, our strength, our only dry place. at mass, benediction, novenas, we huddled in great damp clumps, dozing through priest drone, while steam rose again from our clothes to mingle with the sweetness of incense, flowers and candles.
l. `25
limerick gained a reputation for piety, but we knew it was only the rain.
franck mccourt, angela's ashes, `1996

