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Compréhension de l’oral


Ruby Bridges Visits the President

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1
Avant l'écoute ➜ Lisez le titre ci-dessus et regardez le nuage de mots

a. Sur quoi peut porter cet enregistrement ? Faites trois hypothèses.


b. Trouvez cinq autres mots que vous pourriez entendre dans l’enregistrement.
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Nuage de mots

Obamawhitehouse.archives.gov
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2
Après l’écoute
En rendant compte, en français, du document, vous montrerez que vous avez compris les éléments suivants :
  • Le thème principal du document ;
  • À qui s’adresse le document ;
  • Le déroulement des faits, la situation, les événements, les informations ;
  • L’identité des personnes ou des personnages et, éventuellement, les liens entre elles / entre eux ;
  • Les éventuels différents points de vue ;
  • Les éventuels éléments implicites du document ;
  • La fonction et la portée du document (relater, informer, convaincre, critiquer, dénoncer, etc.).

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resident Barack Obama, Ruby Bridges, and representatives of the Norman Rockwell Museum view Rockwell’s The Problem We All Live With hung in the White House, 2011

Compréhension de l’écrit


Toni Morrison: ‘I’m writing for black people ... I don’t have to apologise’

Of all the mantles that have been foisted on Toni Morrison’s shoulders, the heaviest has to be “the conscience of America”. It’s both absurd-sounding and true. For almost half a century her subject has been racial prejudice in the United States, a story that she has told and retold with a steadiness of rage and compassion. Her latest novel, God Help the Child, is her 11th. [...]

Morrison turned 84 in February. Her many literary laurels include a Pulitzer in 1988 for Beloved, a Nobel in 1993, and, in 2012, the presidential medal of freedom, from her friend Barack Obama. [...]

Bride’s blackness is both the source of her childhood misery – her lighter-skinned mother is so horrified by it that she considers killing her baby – and of her adult success. She works in the fashion and beauty industry where, heeding one stylist’s dictum to dress only in white, she makes herself, “a panther in snow”, an exoticised “other”. The novel intimates that fetishising blackness, both for the observer and the observed, might be just as insidious as outright prejudice. There’s the ex-boyfriend, for example, who seems to claim her as some kind of racial trophy. When this young white man takes her home to his parents it’s clear “that I was there to terrorise his family, a means of threat to this nice old white couple. ‘Isn’t she beautiful?’ he kept repeating ... His eyes were gleaming with malice.”

“I’m trying to say,” Morrison tells me now, “it’s just a colour.” [...]

[She] began her publishing career 45 years ago. She has always talked about her first novel with disarming simplicity: it was the book she wanted to read and that did not exist. So, as a single working mother of two small sons, she rose at 4am every day and wrote it. Published in 1970, The Bluest Eye is the story of Pecola Breedlove, a young black girl who prays for blue eyes. Morrison wrote in a 2007 foreword that she wanted to focus “on how something as grotesque as the demonisation of an entire race could take root inside the most delicate member of society: a child; the most vulnerable member: a female”.

Most writers claim to abhor labels but Morrison has always welcomed the term “black writer”. “I’m writing for black people,” she says, “in the same way that Tolstoy was not writing for me, a 14-year-old coloured girl from Lorain, Ohio. I don’t have to apologise or consider myself limited because I don’t [write about white people] – which is not absolutely true, there are lots of white people in my books. The point is not having the white critic sit on your shoulder and approve it” – she refers to the writer James Baldwin talking about “a little white man deep inside of all of us”. Did she exorcise hers? “Well I never really had it. I just never did.”

[...] It was this self-assurance, too, that gave her the courage to split from her husband when she was pregnant with her second child and, that made her such an iconoclastic force as an editor at Random House where she propelled works by black writers such as Angela Davis and Toni Cade Bambara into the mainstream. Finally, of course, she herself became one of the publishing house’s most cherished names.


“Toni Morrison: ‘I’m writing for black people ... I don’t have to apologise’ ”, Hermione Hoby,
Guardian News & Media Ltd, 2015.
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Questions

a) Pick out as many elements as you can to make a brief presentation about Toni Morrison.


b) What sort of recognition did she receive in her lifetime?


c) List the expressions used to refer to black people in paragraph 3? Which stylistic devices are used? What is their purpose?


d) Rephrase the sentence in bold letters in your own words. What is implied?


e) True or False: Toni Morrison only writes about black people. Use a quote and justify in your own words.


f) How is Toni Morrison similar to or different from Ruby Bridges as an American icon?
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Expression écrite

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Choisissez un sujet et répondez-y en anglais.

SUJET A : Texte • “Freeing yourself was one thing, claiming ownership of that freed self was another.” Discuss this quote by Toni Morrison in the light of her life and work.



SUJET B : Texte, vidéo • How is art used to empower black communities, promote social justice and spread a message of hope?



SUJET C : Vidéo • React to the video and comment on Obama’s quote: “If it had not been for you guys, I might not be here and we would not be looking at this together.”

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Tips

Assurez-vous de faire la différence entre faits objectifs et opinions personnelles.

Donnez votre opinion et argumentez (justifiez avec des exemples et des idées personnelles).

Structurez votre réponse en utilisant des mots de liaison.


Méthode p. 246
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