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¨¨po `1
`24-¨¨llceranme`1
¨braille intégral
¨baccalauréat ¨général
¨épreuve d'¨enseignement de ¨spécialité
¨session `2024
¨langues, ¨littératures et ¨cultures ¨étrangères et ¨régionales
¨anglais
¨jeudi `20 juin `2024
¨durée de l'épreuve :`3 heures `30
¨l'usage du dictionnaire unilingue non encyclopédique est autorisé.
¨la calculatrice n'est pas autorisée.
¨dès que ce sujet vous est remis, assurez-vous qu'il est complet.
¨le sujet comporte `9 pages numérotées de `1 à `9 dans la version originale et `29 pages numérotées de `1 à `29 dans la version en braille intégral.
:¸¨le candidat traite au choix le sujet `1 ou le sujet `2. ¨il précisera sur la copie le numéro du sujet choisi. ¸
¨répartition des points:
-- ¨synthèse: `16 points
-- ¨traduction ou transposition: `4 points
¨¨po `2
¨¨sujet `1
¨thématique: "¨arts et débats d'idées"
¨partie `1: ¨synthèse du dossier, en anglais (`16 points)
¨prenez connaissance de la thématique ci-dessus et du dossier composé des documents ¨a, ¨b et ¨c et répondez en ¸anglais à la consigne suivante (`500 mots environ):
¨paying particular attention to the specificities of the three documents, show how they interact to reflect the ways in which artists are inspired by ¨new ¨york ¨city.
¨partie `2: ¨traduction, en français (`4 points)
¨traduisez en ¸français le passage suivant du document ¨a (lignes `9 à `14):
¨a very thin little path had been cleared on ¨eighty-second ¨street between ¨lexington and ¨third, just wide enough for two able-bodied people to squeeze through. ¨the snow was piled high on either side. ¨a small canyon, really, in the middle of the footpath. ¨on the street -- a quiet street at the best of times, if anything can be quiet in ¨new ¨york -- the cars were buried under drifts. ¨the telegraph wires sagged. ¨the underside of the tree branches appeared like brushstrokes on the air.
¨¨po `3
:¸¨documents ¨a and ¨b are excerpts from the same collection of stories, in which some famous people write about their experience of ¨new ¨york ¸¨city.
¨document ¨a
¨colum ¨mc¨cann
¨writer
¨arrived: `1982
¤(...)b ¨but ¨i truly fell in love with the city many years later, in the early `1990s, on my second stint, when ¨i wasn't quite sure if ¨i was meant to be here at all, and it was a quiet moment that did it for me, one of those little glancing shoulder-rubs that ¨new ¨york can deal out at any time of the day, in any season, in any weather, in any place -- even on
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the fiercely unfashionable ¨upper ¨east ¨side.
¨it had snowed in the city. ¨two feet of it over the course of the night. ¨it was the sort of snow that made the city temporarily magical, before all the horn-blowing and slush puddles and piles of dog crap crowning the melt.
¨a very thin little path had been cleared on ¨eighty-second ¨street between ¨lexington
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and ¨third, just wide enough for two able-bodied people to squeeze through. ¨the snow was piled high on either side. ¨a small canyon, really, in the middle of the footpath. ¨on the street -- a quiet street at the best of times, if anything can be quiet in ¨new ¨york -- the cars were buried under drifts. ¨the telegraph wires sagged. ¨the underside of the tree branches appeared like brushstrokes on the air. ¨nothing moved. ¨the brownstones
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looked small against so much white. ¨in the distance sounded a siren, but that was all, making the silence more complete.
¨i saw her from a distance halfway down the block. ¨she was already bent into the day. ¨she wore a headscarf. ¨her coat was old enough to have once been fashionable. ¨she was pushing along a silver frame ó`1.
`1: ¨a frame: here, a device used by people who have difficulty walking.
¨her walk was crude, slow, laborious. ¨with her
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frame, she took the whole width of the alley. ¨there was no place to pass her ¤(...)b.
¨as she got closer, ¨i noticed her gloves were beautifully stencilled with little jewels. ¨her headscarf was pulled tight around her lined face. ¨she shoved the silver frame over a small ridge of ice, walked the final feet, and stopped in front of me.
¨the silence of strangers.
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¨but then she leaned forward and said in a whisper: "¨shall we dance?"
¨she took off one glove and reached her hand out, and with the silver frame between us, we met on the pavement. ¨then she let go of my hand. ¨i bent to one knee and bowed slightly to her. ¨she grinned and put her glove back on, said nothing more, took a hold of her silver frame, and moved on, a little quicker now, along the corridor of
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snow and around the corner.
¨i knew nothing of her, nothing at all, and yet she had made the day unforgettable.
¨she was my ¨new ¨york.
¨still is.
¨colum ¨¨mccann in :¸¨my ¨first ¨new ¨york, ¨early ¨adventures in ¨the ¨big ¸¨city, `2010.
¨¨po `4
¨document ¨b
¨tom ¨wolfe
¨writer
¨arrived: `1962
¨i arrived in ¨new ¨york ¨city at four in the morning feeling very romantic. ¨i raised my fist -- "¨i'm going to conquer you yet!" -- the way ¨eugène de ¨rastignac does in ¨balzac's ¸¨le ¸¨père ¸¨goriot. ¨i was alone, so ¨i had breakfast at an ¨automat across the street from my hotel. ¨all the food was yellow: the eggs, the coffee, even the meat.
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¨i then headed off to the ¸¨tribune, just off ¨times ¨square, feeling more romantic the closer ¨i got to the paper. ¨suddenly ¨i heard this voice. "¨t.¨k.!" ¨those were my first two initials -- ¨thomas ¨kennerly. ¨it was an old girlfriend, and she said, "¨how would you like to come to a party tonight?" ¨the party was on ¨central ¨park ¨west, at an apartment that belonged to the p9t ¨robert ¨lowell, who had arranged a ¨summer apartment trade with people
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from ¨brazil. ¨there were these ¨brazilians, and the party was nice, maybe only twenty of us there. ¨all of a sudden the host said, "¨gilberto, can't you play something for us?" and the musicians started playing "¨the ¨girl from ¨ipanema."
¨this destroyed my whole fantasy, which was to come to ¨new ¨york alone, ready to take on the city. ¨i wanted to be a romantic figure, but ¨christ, it was over the first day: meeting
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an old friend, going to an incredibly cosmopolitan party. ¨over the next few months, ¨i discovered how unromantic the things ¨i had once found romantic were. ¨being on packed subways became a real nuisance. ¨i would be walking down the street and a gust of wind would blow a greasy newspaper around my leg. ¨i remember seeing so many stars of movies and music walking down the street. ¨that was exciting, until it
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dawned on me that these people had to live ¸somewhere.
¨but it was a much safer city back then, before the late `1960s. ¨i took the subway everywhere and never thought twice about it being dangerous, whether ¨i was going to the ¨bronx or the ¨rockaways.
¨tom ¨¨wolfe in :¸¨my ¨first ¨new ¨york, ¨early ¨adventures in ¨the ¨big ¸¨city, `2010.
¨¨po `5
¨document ¨c
¨elliott ¨¨erwitt, ¸¨new ¸¨york ¸¨city, `1955.
`;¨description de l'image;„'
¨cette photographie en noir et blanc d'¨elliott ¨erwitt date de `1955.
¨elle s'intitule ¸¨new ¸¨york ¸¨city.
¨au premier plan, une jeune femme se tient seule sur la terrasse extérieure d'un gratte-ciel, légèrement de dos, elle regarde, au second plan, la vue de ¨manhattan dans le brouillard.
¨on distingue clairement l'¨empire ¨state ¨building, surplombant tous les autres gratte-ciels.
¨¨po `6
¨¨sujet `2
¨thématique: "¨expression et construction de soi"
¨partie `1: ¨synthèse du dossier, en anglais (`16 points)
¨prenez connaissance de la thématique ci-dessus et du dossier composé des documents ¨a, ¨b et ¨c et répondez en ¸anglais à la consigne suivante (`500 mots environ):
¨paying particular attention to the specificities of the three documents, show how they interact to reflect on the impact of education on learners.
¨partie `2: ¨traduction, en français (`4 points)
¨traduisez en ¸français le passage suivant du document ¨a (lignes `18 à `22):
¨even though she was a teacher and had a professional role to fill, it made me realise that it shouldn't stop you from being human, from being caring. ¨it's something ¨i think about in my professional career. ¨it's so easy to be the cold professional with your job, but actually caring about the lives, achievements and successes of people around you d9sn't hurt your job. ¨if anything, it makes you work better with people.
¨¨po `7
¨document ¨a
:¸'¨she believed in every one of us': ex-pupils on their inspirational ¸teachers
"¨so bloody cool, so engaging." ¨that's how ¨adele described her ¨english teacher at ¨chestnut ¨grove school in ¨balham, south-west ¨london, ¨ms ¨mc¨donald, when asked who had inspired her. ¨answering a question from the actor ¨emma ¨thompson during ¨¨itv'-s :¸¨an ¨audience ¨with
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¸¨adele on ¨sunday, ¨adele said: "¨she really made us care, and we knew that she cared about us and stuff like that." ¨images of the singer breaking down in tears when ¨mc¨donald surprised her on stage at the ¨london ¨palladium have gone viral, triggering conversations about the impact teachers can have on the lives of their pupils.
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¨max ¨daniels, `28, a communications consultant who lives in ¨london, described how the humanity shown by his teacher ¨miss ¨coyle had a lasting impact. "¨miss ¨coyle was this upbeat, enthusiastic ¨irish woman who taught me ¨english and media studies," he said. "¨i could go on about how fun she made classes or how she injected life into her lessons, but the impact they had was far more personal.
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"¨my father passed away when ¨i was `14 and, during a parents' evening shortly after, ¨miss ¨coyle gave my mum a huge hug. ¨it was something that made me realise how much she cared about the lives of the people she taught.
"¨even though she was a teacher and had a professional role to fill, it made me realise that it shouldn't stop you from being human, from being caring. ¨it's something ¨i think
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about in my professional career. ¨it's so easy to be the cold professional with your job, but actually caring about the lives, achievements and successes of people around you d9sn't hurt your job. ¨if anything, it makes you work better with people.
"¨as the classic secondary school loser -- someone you could have pulled from ¸¨the ¸¨inbetweeners ó`2 --
`2: ¨the ¨inbetweeners: a ¨british ¨¨tv show which documents the lives of ¨british teenagers.
¨miss ¨coyle made me feel important even when people around me
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would make me feel the opposite." ¤(...)b
¨sophie ¨smith-¨tong, `37, a primary school teacher who lives in ¨london and the founder of a centre for educators and their families, ¨mindfulness for ¨learning, said her teacher ¨ms ¨rea changed her journey in education.
"¨we met at `13 when in a drama lesson she has dressed up a classroom as a police
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station," she said. "¨starting here, she has continued to inspire me throughout my life. ¨she is the reason that ¨i realised ¨i could apply to go to uni and that ¨i had something to offer even though ¨i felt so different to all of my peers.
"¨she took me to perform my first professional theatre production at the ¨edinburgh festival at `16. ¨she believed in every single one of us and it gave us the space to fly our
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own individual journeys. ¨we are still friends `24 years on and she still has a major impact on the life decisions ¨i make today. ¨she is the reason ¨i created ¨mindfulness for ¨learning."
¨jamie ¨grierson, ¸¨the ¸¨guardian, `22nd ¨november, `2021
¨¨po `8
¨document ¨b
¨the ¨logical ¨song
¨when ¨i was young, it seemed that life was so wonderful
¨a miracle, oh, it was beautiful, magical
¨and all the birds in the trees, well they'd be singing so happily
¨oh, joyfully, oh, playfully watching me

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¨but then they sent me away to teach me how to be sensible ¨logical, oh, responsible, practical
¨then they showed me a world where ¨i could be so dependable
¨oh, clinical, oh, intellectual, cynical

¨there are times when all the world's asleep
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¨the questions run too deep
¨for such a simple man
¨won't you please, please tell me what we've learned?
¨i know it sounds absurd
¨please tell me who ¨i am

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¨i said, now, watch what you say, they'll be calling you a radical
¨a liberal, oh, fanatical, criminal
¨oh, won't you sign up your name? ¨we'd like to feel you're acceptable
¨respectable, oh, presentable, a vegetable
¨oh, take, take, take it, yeah

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¨but at night, when all the world's asleep
¨the questions run so deep
¨for such a simple man

¨won't you please (oh, won't you tell me)
¨please tell me what we've learned?
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(¨can you hear me?) ¨i know it sounds absurd
(¨oh, won't you tell me) please tell me who ¨i am
¨who ¨i am, who ¨i am, who ¨i am

¨ooh, ¨hey

'¨cause ¨i was feeling so logical
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¨yeah
¨d-¨d-¨d-¨d-¨d-¨d-¨d-¨digital
¨yeah, one, two, three, five
¨oh, oh, oh, oh, yeah
¨ooh, it's getting unbelievable
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¨yeah
¨getting, getting, yeah, yeah
¨uh, uh, uh, uh. ¨richard ¨¨davies ´é ¨roger ¨¨hodgson (co-creators of ¨supertramp rock band), lyrics of "¨the ¨logical ¨song", `1979.
¨¨po `9
¨document ¨c
¨norman ¨¨rockwell, :¸¨the ¨spirit of ¸¨education, `1934.
`;¨description du document iconographique;„'
¨le document iconographique est une illustration dessinée par ¨norman ¨rockwell, datant de `1934, qui représente un enfant et une femme. ¨le garçon, 1gé d'une dizaine d'années environ, regarde droit devant lui, l'air mécontent. ¨il porte sur la t2te une couronne de lauriers. ¨il est v2tu d'une toge blanche sur laquelle il porte en bandoulière une écharpe imprimée de l'inscription: "¨the ¨spirit of ¨education". ¨il tient sous le bras droit un épais livre relié, et dans la main gauche, une fausse torche.
¨la femme est assise sur une chaise derrière l'enfant, l'une de ses mains posée sur l'épaule de l'enfant et l'autre sur son bras. ¨elle regarde par-dessus l'épaule du jeune garçon, le sourire aux lèvres. ¨elle est habillée de v2tements sombres et porte un chapeau.
¨sur la droite, sur une caisse en bois, sont posés des accessoires ainsi qu'une bo3te en métal ouverte

