ou*ffiffi@www rewffi*^ro

Session 2008

BACCALAURÉAT GÉTUÉNNI

L'usage du dictionnaire et des calculatrices est interdit.

C o m p r é h e n s i o n Expression

Trad uction

14 points

6 points

Le sujet comporte s pages numérotées 1/s à s/5.

ANGLAIS Langue vivante 1

Série L

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U7

SANiLME/AG3-cor

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ln this passage, Arabella meefs her step-father whom she calls Dad, her hatf-brother and her teenage half-sister.

When they see me, Dad and Lucy turn and look at Teddy, who greets me with his arms open a n d h i s h e a d o n o n e s i d e , ' A r a b e l l a ! ' H e g i v e s m e a h u g

When he releases me I move back a pace, and find myself staring at Dad. He stares straight b a c k . ' H e l l o A r a b e l l a , ' h e s a y s a f t e r a w h i l e , a n d n o d s d e e p l y , w h i c h s e e m s to m e to be about t h e right level of gesture for now anyway.

L u c y h a l f s m i l e s . ' H i , '

s h e m u r m u r s . s h e l o o k s d o w n a t h e r fe e t .

We're standing together, a little island amidst a river of people, marooned, in spite of the strong current moving along the platform in the direction of the exits. Dad says, 'Where do we go from h e r e ? ' 'We I c a n s e e tw o m e a n i n g s f o r th a t , b u t n o w h e ' s talking a b o u t t h e jo u r n e y a c r o s s L o n d o n .

have to get the tube', I say.

' W e

n e e d to g o t o S o u t h K e n s i n g t o n . S o u t h K e n s i n g t o n . S W 7 ! ' D a d s h o u t s , a t t h e s a m e ti m e a s a l a t e t r a i n a n n o u n c e m e n t c o m e s o v e r th e P A s y s t e m .

H e d o e s n ' t s a y it t o m e e x a c t l y , j u s t into the air.

' Y e s .

W e h a v e to g e t t h e tube,' I say again. 'All of us do. lt's over there.'l point and we start w a l k i n g , T e d d y n e x t to m e , D a d ju s t behind u s w i t h L u c y c l o s e b y his side. We walk onto the main c o n c o u r s e ' , w h e r e l l o o k u p a t t h e c l o c k . E l e v e n o ' c l o c k . l c o u n t t h e h o u r s th e y ' l l b e h e r e , s o m e t h i n g I ' v e a l r e a d y d o n e s e v e r a l t i m e s th i s m o r n i n g .

Teddy said they'd be leaving about four o'clock. That's five hours from now. The responsibility for entertaining them until then makes me feel panicked. But then I remember that Dad and Lucy w o n ' t b e w i t h u s f o r l o n g . I'm nelieved a b o u t th i s a n d a n g r y at the same time, because D a d h a s n ; t r e a l l y c o m e to s e e m e . I n t h i s situation, I ' m in c i d e n t a l .

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25

l;m jealous of Lucy. Not only has she got her real dad, but she's ffin to be a real dancer, not

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40

around is too much and thëffi*ffis too alternative for him, I can see that.

I watch him as he catchlffi sight of two women with short spiky haircuts, one pink, and one pillar-box red. He looks away quickly, as if hairstyles are a disease that might be contagious.

I can see it's irritating to him that he doesn't know where he's going, and he has to rely on me.

As we near the tube station entrance, he strides out ahead. He turns his head back at tÉe top of the steps, 'Down

here?' . 'Yes,'

I say, and he sets off again, blinkering3 himself against shaven heads, piercings, tattoos, as if it's the only way to stay safe and survive.

l n t h e t u b e s t a t i o n I d i r e c t t h e m to t h e t i c k e t m a c h i n e a n d s h o w th e m how to use it. Then lfind a m a p a n d w e all stand round.

' W e ' r e

h e r e , ' l s a y , a n d show them where the Piccadilly l i n e is a n d h o w it takes them all the way there. ' B r e a k They have a little map that shows them how to get to the dance venueo from the tube.

a l e g , L u c y , ' l t e l l her, and explain h o w it ' s s a i d in s t e a d o f g o o d lu c k . lwish I'd brought h e r a m a s c o t o r s o m e t h i n g , b u t I d i d n ' t t h i n k o f i t e a r l i e r .

Teddy says, 'How do they get to your place?'

' M y plaee? | didn't know they were coming to my place., 'Yeah, aftenruards. That's alright with you, isn't it?'

' concourse: hall

' dodgy [dancer]: (here) a professional nightclub dancer, as opposed to a ballet dancer ' blinkering himself against: refusing to look at

*

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' Y e s ,

y e s , of course i t i s , ' I a s s u r e h i m . ' T h e

d a n c e p l a c e m i g h t c a l l a m i n i - c a b f o r y o u . ' ' O k a y , '

D a d s a y s . 'W e ' l l a s k th e m . ' â

55 'Would you feel bette

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Adapted from Fiona Dunscombe, The Triple point of water,2oo7

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317

Vous traiterez /es questions dans I'ardre, Lorsque la réponse doit être développée, En I'absence d'indications, yous répondre

C O M P R É H E N S I O N - E X P R E S S I O N

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Questions 1 and 2: read the whole text.

1 . Complete the following summary with words referring to places and characters.

( o n e blank = one word)

o t h e r c o m p a n y . L a t e r o n , th e y ' l l a l l m e e t a t h ' s place.

A r a b e l l a m e e t s t h r e e m e m b e r s o f h e r fa m i l y w i l l g o t o a d e i n S o u t h K e n s i n g t o n

i n a t r a i n s t a t i o n i n a . T w o o f t h e m , b and c , whereas the other two, f and q ,will keep each

e . v e n u e f / g A r a b e l l a / T e d d y

"Dad", "the narrator" à la place de "Arabella", a . L o n d o n

h . A r a b e l l a

b / c L u c y / D a d d . d a n c e

2. Whose point of view is expressed throughout the text? Arabetta's point of view. EE

Teddy takes Arabella in his arms, so he is very affectionate / glad to see contrary, o'Dad" has no physical contact with Arabelta, so he is cold / distant.

Q u e s t i o n 3 : f o c u s o n I i n e s 1 to 9.

3. Comment on the different ways the visitors greet Arabella, taking into account their words and gestures. (30 / 40 words)

N e p a s p é n a l i s e r " h e r stepfather" au lieu de

" c o m p e t i t i o n "

à l a p l a c e d e " v e n u e " .

s h e d o e s n ' t l o o k a t h e r half-sister / she murmurs / she half-smiles, so she i n h i b i t e d / s h y . ts par personnaqe 3X 3= 9

B o n u s p o u r u n é l è v e q u i évoque un contentieux e n t r e A r a b e l l a et son père.

Q u e s t i o n 4 : f o c u s o n l i n e s 10 to 21.

her. On the As for Lucy, is probably

Arabella's feelings about that visit.

2 0 ) a n d " a n g r y " ( l i n e 20) at the same time.

4. a) Say how long the visitors will stay in the city. They will stay five hours. l2 ptsl

S h e i s " p a n i c k e d " ( l i n e 1 9 ) , "r e l i e v e d " ( l i n e

l g x t = g p t s l

c) ln your own words, account for those feelings. (40 150 words)

First, she wonCerg hpw to l{eep jhem b.usv for five hours. But then she realises that she won't have to look after Dad and Lucv for so tonq because they'lt ne at ttre O-ance venue.

Yet, she is iealous because her stepfather didn't travel to London for her sake.

Q u e s t i o n s 5 a n d 6 : f o c u s on lines 22 to 41.

What does Arabella realise concerning the image she had of Lucy?

S h e r e a l i s e s t h a t s h e h a s been unfair towards Lucy (because she is probably going to have a better career) / she has a distorted image of Lucy.

Ne pas accepter simplement I'idée de jatous;s. F-pGl

b) Pick out two elements furlher down in the passage showing Arabella's new state of mind a b o u t L u c y .

S h e w i s h e s h e r g o o d luck and she regrets not bringing her a mascot (lines 42- 43 1.

6 . a ) l n y o u r o w n words, c o m m e n t o n L u c y ' s a n d D a d ' s r e a c t i o n s t o t h e i r e n v i r o n m e n t . gA I 50 words)

Ly"y is curioYs / jltqrgs,ted / gle3sed / excited I thrilled (accepter "nervous" si accompagné d ' u n a u t r e a d j e c t i f . . . ) . l t ' s p r o b a b l y the firgt time she's been in London (ou toute autre idée e x p r i m a n t s o n m a n q u e d ' h a b i t u d e à ce genre d'environnèrnent) a n O s o s h e ! s fascinated b y t h e p e o p l e a n d t h e p l a c e / city.

Dad hates it because there are too manv people, and him. He tries to shut out-t[e world around him because

o u r L u c v e t I ts pour Da

some of them are too eccentric for he feets threateneo.-

b) ln Arabella's opinion, what makes the situation worse for Dad?

Dad depends on Arabella (and he doesn't tike it at ail). EE

Q u e s t i o n s 7 a n d 8 : f o c u s on the passage from line 44 to the end.

7. a) Describe Dad's attitude tovuards Lucy in this passage.

He doesn't wait for her. (He doesn't hold her hand.y F-ptsl

b) ln your own words, say what Teddy means by "He's always been like that" (line 53).

He has always been distant / cold. / He is not used to being considerate towards other

people / his family. EE v

B. What is your interpretation of the last two lines of the text? (40 words) Exiger une explicitation de I'expression "definitely worse',.

- Maybe Arabella doesn't know what to answer first. Yet, on second thoughts, she realises that she would feel terrible if her father / Dad had been more affectionate towards Lucy.

- Perhaps Arabella doesn't want to tell the truth to her brother I she wants to avoid answering the question.

- Teddy probably asks a rhetorical question to his sister. He perfectly knows how she feels towards Lucy and her father. (Ajouter un bonus pour cette interprétation)

9. Choose one of the following subjects.

(250 words approximately. write down the number of words.) Subject 1

The four characters meet again later on that day. lmagine the scene.

On veillera à la cohérence et à la plausibilité de l'eêsai avec la situation de départ.

S u b j e c t 2

"He

looks away quickly, as if hairstyles are a disease that might be contagious." (lines 32) Do you think one's appearance always reflects one's personàlity? Discusé.

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T R A D U C T I O N

T r a n s l a t e i n t o F r e n c h f r o m li n e 1 4 ( " ' Y e s . W e h a v e to get the tube...") t o l i n e 2 3 ( " . . . w h a t ' s g o o d a b o u t h e r . " )

s a n c t i o n n e r l e s m a u v a i s c a l q u e s et veilter à I'unité du ton.

1 . ' Y e s . W e h a v e to get the tube,' I say again.

"(Ben)

oui. on doit / ll faut prendre le métro, dis-je à nouveau. EG 2 . ' A l l o f u s

O n d o i t to u s

3 . I p o i n t a n d w e start walking, Teddy next to me, Dad just behind us with s id e .

J e m o n t r e / J ' i n d i q u e l a d i r e c t i o n e t o n s e m e t en route, T e d d y à m e s c ô t é s , nous et Lucy tout près de lui. (sanctionner "avec

Lucy") gE

4 . W e w a l k o n t o the main concourse, w h e r e I l o o k up at the clock.

Nous arrivons dans le hall (principal), et je lève les yeux vers l'horloge EE Sanctionner une traduction littérale de "where"

5 . E l e v e n o ' c l o c k . I count the hours they'll be here, something t've t i m e s th i s m o r n i n g .

( l l e s t ) onze heures. J e c o m p t e le n o m b r e d'heures q u ' i l s vont passer plusieurs fois ce matin. EE

6. Teddy said they'd be leaving about four o'clock.

Teddy m'a dit qu'ils partiraient vers quatre heures / seize heures. m do. lt's over there.'

le prendre. (Accepter: "tous

les quatre" et sanctionner "ensemble".)

C'est là-bas."

L u c y c l o s e b y h i s Papa juste derrière

7. That's five hours from now.

C'est dans cinq heures / (Ça fait) encore cinq heures. F-pEl

8. The responsibility for entertaining them until then makes me feel panicked.

J e p a n i q u e / j ' a i u n s e n t i m e n t d e p i l r q u , e à I'idée de devoir m'occuper d ' e u x p e n d a n t t o u t c e temps. / Accepter : le fait de devoir... lg ptsl

9. But then I remember that Dad and Lucy won't be with us for long.

Mais à ce moment (-1il€-11e rappelle que Papa et Lucy ne resteront pàs / ne vont pas rester avec nous très longtemps. 16 ptsl

1 0 . l' m r e l i e v e d a b o u t t h i s and angry at the same time, because Dad hasn't realty come to s e e m e .

Me voilà à la fois soulagée et en colère / Je suis soulagée et, en même temps, ie ressens de la colère parce que ça n'est pas vraiment pour moi que papa est venu EE

already done several ici, ce que j'ai déjà fait

la moindre imporlance / je suis accessoire / 1 1 . ln t h i s s i t u a t i o n , I ' m i n c i d e n t a l .

Dans cette affaire / En la circonstance, je n,ai pas secondaire. F ptsl

R E C A P I T U L A T I F C O M P R E H E N S I O N - E X P R E S S I O N 1 4 0 p o i n t s

1 . 2 . 3 . 4 - a )

b ) c ) 5 . a ) b ) 6 . a ) b ) 7 . a ) b ) 8 . 9 .

T R A D U C T I O N

p o i n t s p o i n t s p o i n t s points p o i n t s p o i n t s p o i n t s p o i n t s p o i n t s po ints points p o i n t s p o i n t s

60 points

60 points

2 I 2 3 1 2 4 4 1 2 4 4 4 1 2

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