Anglais TD

TD1
Correction
1.
This sequence is part of scene 4 of The Burning Balaclava , the play-within-theplay that the characters perform while waiting for the dead to rise in Creggan graveyard,
Derry, Northem Ireland. In this embeddeb play, written by Fionnuala McGonigle, alias Dido
Martin, drag queen of Derry Carthage, the Carthaginians play parts that enable them to find an
outlet for their pent-up feelings of grief, guilt, hatred, aggressiveness, self-disgust, fear of
death, ad suicide (which/that) they seem to have inherited from their first-hand experience of
Bloody Sunday. Indeed, the characters and the situation they perform in Dido's psychodrama
are caricatural or grotesque enough for them to distance themselves from the culture of
violent sectarianism and ideological oppression satirised in the play.
2.

* Seph agite un drap/linge blanc.

* C'est mon petit chien d'Ulster et il s'occupe de moi.
* Oh, quelle souffrance d'tre un gars de la classe ouvrire envoy ici pour opprimer la
classe ouvrire.
* a ne vaut pas le coup. C'est pas cher pay.
* Tu l'as tu, maintenant tu le bats comme pltre.
* Je l'ai ramen la maison dans une petite bote, attache avec de la ficelle.

3.
Doreen and Seph are performing a comical pantomime in which Speh acts the part of a
dumb/mute priest only able to communicate by waving white sheets. The short pantomime
can first be interpreted as a satire of the general collapse of communication in DerryCarthage, where violent sectarinism holds sway.
However, as Speh acts the part of a Catholic priest, the butt of the satire is mainly the
Catholic Church. This figure of the dumb priest may be interpreted as a satirical allegory of
the Catholic Church's inability to comunicate with its followers and convey (=communicate)
its message of peace and love : the priest's sheet-waving cannot prevent his sectarian Derry
flock from indulging in violence.
Doreen's praise of the priest's sermon ( you preach a lovely sermon (l.7)) also sends
up a desecrated relationship between Catholics and their clergy and cult : tha adjective
lovely is an inappropriate dabasing/desecrating praise for a sermon meant to/intended to
inspire awe and a longing for/ a desire for transcendence and spiritual salvation in the
worshippers. The expression wee prayer explicitly triviliases/debases prayer trhough and
religion, reducing it to a trivial event among other trivial events of profane customary acts
trhough which one may find affective (of libidinal?) comfort.
Futhermore, Dorreen's request, bye, bye Father. Say a wee prayer for us all mocks
Catholic religion's tradition of visarious prayer in which the woshipper entrusts a clergyman
wit his or her reponsability in the quest for a transcendence.
The passage thus echoes other passages subverting the Catholic cult, such as Mrs
Doherty's prayer to her Sacred Heart in her kitchen or Paul's vow/promise/commitment to kill
St Malachy the 12th century reformer of the Irish Catholic Church, at the end of scene 1.
4.
The other characters groan because they are shocked by the soldier's assertion that the
Britsh army never shoot on sight : as first-hand witness of the massacre of Bloody Sunday,
they can all testify against such an assertion./ they can all say that the soldier is lying.
5. a) The cross-dressed characters performing the Burning Balaclava and the comical
nonsense in the dialogue signal and emphasise carnival folly/madness and topsy-turviness, the
temporary chaos of carnival when established, serious order is overthrown.
Besides, the execution of Boomer, whose name connotes explosion and carnival chaos,
is a clear reference to the king of carnival. Before the execution, the dog is comically
humanised : Doreen's explanation why she called him Boomer of the soldier's question

whether Boomer belongs to the working class or not ar just as absurdly and comically
followed by Doreen's attempt to have her wee hound of Ulster sing a wee song for the
soldier. These exchanges ironically equate the dog to a nationalist Irishman who always
comes back to his Mammy : human patriotic faith and ideolofical commitment are
embodied by a dog, which constitutes a typically grotesque and carnivalesque reversal or
debasing of social values and hierarchies, as well as the biological order as tradionally
conceived.
b) The sequence can be interpreted as a satire both of British oppression in Northem
Ireland and Irish Catholic nationalism. Assimilating Irish patriotism to a dog's faithfulness to
its Mammy is an obvious way to presenting Irish nationalist patriotism as a conformist,
immature, slavish attitude : the Mammy Boomerang always runs back to can indeed be
understood to a reference to Mother Ireland, or the real Irishman's motherland.
The soldier's lack of real motive for shooting Boomer or for being stationed in
Notherm Ireland, alongside with his phoney lament that he is tormented by the agony of
being a working-class boy sent here to oppress the working-class , are also meant to deride
the irresponsability of the British army as well as the government's loss of control over the
situation in Ulster.

TD2
A wake for Same, by Harold Pinter (BBC televison).
Wake is celebration for someone who just die. Some kind of joy celebration in a way,
sadness, but jokes about sex etc...
Samuel Beckett is an irish writter, who wrote the novel about the state of mind when the
character's about to die played by Pinter in the video.
First view
1) Where, when, and on what occasion did Pinter first meet Samuel Beckett ?
When he first met Beckett, Pinter's play, The Crataker, was being produced by a theater
in Paris in 1961.
2) What does Pinter say about Backett's demenour ? (Demeneaour = bearing,
outward manner and behaviour, espacially towards others)
Beckett's discribed as a quick person : he walked quickly, strided quickly, he had a quick
handshake, he had a sharpe stride, he drove his little Citron quickly... With his quick
handshake, he apears extremely friendly. Beckett lived in Paris in that time, and then he use to
live in Roussillon.
3) What happened that night Pinter spent with Beckett ? Give detail.
Beckett drove his little Citron from bar to bar in Paris and at about four o'clock in the
morning, they ended up in a place in Les Halles to eat onion soup. By that time, Pinter was
feelng sick, he felt overcome with tobacco and alcohol and suffered for indigestion and
heartburn (= stomac-ache). He fell asleep on the table as Beckett had suddenly vanished. After
about 45 minutes, Pinter felt a jolt on the table and saw Beckett had returned ith a bag
containing a tin of bicarbonate of soda. He says the medecine worked wonders !
4) What's the document Pinter wants to read a paragraph for?
The document is a letter pinter had written in 1954, when he was 24 years old. It was
about Beckett and the friend he wrote it to remembered about it and sent it back to him.
Fill the gaps in Pinter's letter
The farther is goes, the more good it does me
I don't want philosophies, tracts, dogmas, creeds, way outs, truth, answers Nothing from the bargain basement

He's the most courageous remorseless writer going

And the more he grinds my nose in the shit, the more I'm grateful to him.
He's not fucking me about
He's not leading me up any garden
He's not sleeping me any wink
He's not flogging me a remedy, or a path, or a revelation, or a basement for a breadcrumbs
He's not selling me anything I don't want to/wanna buy,
He doesn't give a bollock whether I buy or not (= He doesn't mind whetherI agree with him or
not (and buy his books or got and see his plays))
He hasn't got his hand over his heart
Well, I'll buy his goods hook, line and sinker
bacause he leaves no stone unturned, and no maggot lonely.
He brings forth the body of beauty, his work is beautiful.
Vocabulary
- to end up (in a place/doing sthg) : se retrouver ..., atterrir etc.
- a heartburn : brlures d'estomac.
- a jolt/the table jolt/ he jolted the table :
mouvement/petit tremblement,la table bouge, il fit bouger la table.
- tablets/pills : pilules, plaquettes de mdicaments.
- a creed : something that u believe very strongly (cf credo)
- way out : something allows you to escape/ easy solution to invade problems,
not to face problems.
- the bargain basement : underground if a shop where u can found all
the
good bargains.
- to grind, ground, ground : moudre, craser... Ground coffee, to
grind a nose in the shit...
- to not fuck about : not cheatting, not lead where u
don't want to go.
- to lead up any garden : to lead illusions.
- to sleep a wink : to hypnotize.
- to flog : rouer de coups, fouetter.
- a path : a small way that u follow in a garden, in a forest.
- a breadcrumbs : des miettes de pain.
- to have ones hand over ones heart

TD3
Rappels grammaticaux
Groupe verbal
Temps et aspect : prsent simple, prtrit, present perfect, past perfect
( vb irrguliers et ngations)
Auxillaires modaux : may; must; should
Expressions de modalit : be bound to etc...
Groupe nominal
Dterminant : aucun; the; a/an; this/these; that/those
Quantificateurs : few/many; much/little; several/some...
Adjectifs : ne prennent jamais de "s", ils sont invariables.
* comparatifs (more than, -er aux plus d'1 syllabe, less than)
* superlatifs (most, -est)
* galit (as... as)
Types de noms : indnombrables, collectifs, obligatoires et facultatifs
> The police are here. (certains sont toujours au pluriel)
Adverbes, mots de liaison : hence; so; therefore; thus...
indeed, moreover, in addition, furthermore...

un

Syntaxe
Subordonne relative.
* The man that I met yesterday has left.
The man I met yesterday has left.
The man who/whom I met yesterday has left.
(NB : whom plutt anglais crit, fction de complment)
* The man who was talking yesterday has left ("who" sujet de was talking)
The man that was talking yesterday has left
* The car which I bought yesterday is green (which en tant que complment)
The car that I bought yesterday is green
The car I bought yesterday is green

Traduction de "dont"
* La maison dont le propritaire est dcd hier a dj t vendue.
> The house whose owner died yesterday has already been sold
* La maison dont je t'ai parl hier a dj t vendue
> The house about which I told you has been already sold
The house which I told you about... ("which" complment)
The house that I told you about...

NB : Present perfect tablit un lien avec le prsent, on utilise ici "died" et pas "has died"
puisqu'il y a une rupture avec le prsent.

Conjonctions de subordination et subordonnes circonstancielles

* Unless you come tomorrow, you won't see Sophie
> moins que...
* As long as you revise your grammar, you will improve your english
> tant que tu...
* While peut signifier "pendant que"/"alors que" en tant que subordonnant de
temps, ou signifier "bien que". Il peut ds lors tre synonyme de : although; even if;
trhough; even through
> While they were painting the bedroom, Jean was eating ice cream
> While he has revise his grammar, he hasn't improved at all
* Since : depuis que, depuis 1789... "depuis que" introduit une proposition
surbordonne. Il peut aussi se traduire par "puisque" et tre synonyme de "because"
ou encore "as"
> Since you have cut my tomato plants, I won't give you back your lawn-mower.
* Expression du but (to, in order to, so as to...). Dpend du degr de certitude/
probabilit : can tant le plus sr, must, would, should, may et surtout might tant le
dgr de certitude le plus moindre
Jack est all au cinma pour voir le dernier film de l'pouse de feu Raoul Ruiz
(les lignes de Wellington au passage, bien russi d'ailleurs!)
> Jack went to the cinema to watch the late Raoul Ruiz's wife's film
in order to watch
so as to watch
Jack a pris sa voiture pour que sa fille ne soit pas en retard
> Jack toos his car so (that) his daughter could not be late
would not be late
should not be late

He compels to play the violin eight hours a day so that he may become a great
player/violonist
He compels to play the violin eight hours a day so that he can become a great play/
violonist
*Complmentation des verbes
He rememberd taking his keys before he left > prsuppos, rtrospectif
He rememberd to take his keys before he left > mouvement, ralisation, causalit
Marc (j'arrive pas me relire donc bref, un prnom) wants Dido to leave the
graveyard > want sdy to : vouloir que qqun fasse....

TD5
Edward Bond fit ses premiers pas en tant que dramaturge professionnel il y a environ 50
ans. Peu de temps aprs avoir envoy une de ses pices Georges Devine, qui dirigeait le
Royal Court Theatre depuis quelques annes, Bond remporta un vif succs et s'avra
rapidement tre un crivain aussi sensible que stoque et impotoyable.
Edward Bond take his first step as (/started out as) a professional dramatist
(/playwright) about 50 years ago. Shortly after/ Soon after having sent one of his plays to G.
Devine, who had been directing/running the R.C.T. for several years, Bond quickly/instantly
met with success (/was successful; /became successful; /got quickly successful) and soon
turned out as sensitive a writer as he was unflinching and unforgiving. (/proved to be/ who
showed himself a writer who was as sensitive as unfliching and unforgiving.)
Quantifieurs
Few : fait toujours rfrence un pluriel. On ne dira pas a few time There are few
people in this room.
Little : There is little milk in this glass
Un peu /quelque :
There are a few people in this room.
There is a little milk in this glass. / a bit of
Past perfect + be + ing > synthse entre deux vnements du pass + be + ing pour
prsenter le processus en droulement (avec la forme simple d parfait perfect -, l'nonciateur
insiste sur le rsultat de l'action et non sur le processus.)
Depuis le dbut des annes 60, Edward Bond a crit une cinquantaine de pices, dont la
plupart traitent du thme de la violence : son exprience du Blitz et des bombardement
Londres entre 1940 et 1944 ont certainement influenc son uvre. Ce pendant il rejette l'ide
selon laquelle ses pices seraient ultra-violentes : d'aprs lui, aucune n'est aussi violente que
certaines sries tlvises o rgne le chaos destructeur.
Since the early 60's, Edward Bond had written around plays (/fifty-odd plays), most of
which deal with the theme of violence: his experience of the Blitz and the London bombings
between 1940 and 1944 has certainly influenced his work. However, he dismisses (/rejects)
the idea that his plays are ultra-violentes: according to him, none of them is as violent as
some TV serials in which mayhem prevails.
Present perfect avec des repres temporels reliant vnement pass au prsent de
l'nonciation. * Since 1965, for several years, over the past two years...
* Avec des repres comme 6 years ago ou tout datation explicite de l'vnement dcrit par
le verbe dans le pass last year, yesterday, in 1965 , une rupture est tablie par rapport au
prsent de l'nonciation > on emploie donc le prtrit)
Bien qu'il n'ait jamais voulu crire des pices la mode, Bond s'est toujours rjoui du
succs que ses pices remportaient et n'a jamais refus les prix, comme l'Obie qu'on lui
dcerna en 1976 pour Bingo. Ce devait tre le meilleur moyen pour lui de museler les

censeurs.
Although he has never wanted (/intended) to write in-plays, Bond has always rejoiced
himself (/been delighted with; /has always expressed; /voiced satisfaction) over the hit
(/success) of his plays, and has never refused award (/prize) such as the Obie which was
awarded to him in 1976 for Bingo. For him, it must have been the best way to gag
(/muzzle; /silence) the censors.
Present perfect avec des repres temporels parcourant une priode du pass incluant le
prsent : always ; never ; ever.
Have you ever been to britain ? Mais : last year he never managed to go to the theatre.
Last year introduit une rupture par rapport au prsent > prtrit pour manage
To award something to somebody : to award sdy sth. (verbe du type give sth/ give sdy sth)
Auxiliaire modal : must pour exprimer la quasi-certitude + forme du parfait du verbe
pour renvoyer au pass : it must have been... /he must have written very subversive plays... /
Bond a toujours t un dramaturge en phase avec son temps, ce qui l'a souvent amen
s'opposer radicalement au pouvoir politique et judiciaire britannique. De manire
mthodique et systmatique, il dnonce un ordre social inique totalement indigne d'une
socit prtendument dmocratique, tant et si bien que sa pice la plus clbre, Saved, fut
censure par le Lord de Chamberlain. Bond dcida malgr tout de braver l'interdiction et de
dfendre son point de vue lors d'un procs qui alait mettre fin aux fonction de censeur du
Lord Chamberlain avec le passages du Theatres Act 1968.
Bond has always been a dramatist in tune with his age, which has often led him to
radically stand up to (/stand against; /oppose) the british political and judicial power.

TD6
1) David Hare is introduced as one of the contemporary theatres most important
playwrights. His 2004 play, Stuff Happens is described as a riveting political thriller
which was the only political play about the american of Ira cat the time. It took a year
and a half for it to be taken from London to New York. The journalist assumes that it
may have been because i twas too controversial at the time theatre directors may
have feared riots or press bashing- but he wonders why it took so long to get to New
York.
2) Hare first explains that it did not take that long since there had already been a first
production in Los Angeles the previous summer. However, he contends that the theatre
establishment is generally very nervous about putting on staging controversial shows
as they fear losing subscribers. But Hare explians that though his play was highly
controbersial when it opened / premiered in London in 2004, a year later i twas not as
controversial as it first was : the debate had become quite mainstream. Besides, he
argues that when the theatre establishment agrees to meet their audience and produce
exprimental or controversial plays, they find that their audience is way ahead of them
/ much less conservative than the establishment.
3) Hare believes that too many American theatre directors have taken the mistaken
dcision to produce entertaining or escapist shows instead of broaching the
controversial issues of their time, especially since September 11th/ 9-11. Others have
chosen to move away from the spinster theatre that favours revivals of classics or
escapism and Entertainment : they dare to represent the contemporary society and put
on shows such as David Hares.
4)
To be way ahead of somebody = tre loin devant quelquun ou tre en avance sur quelquun.
He contends that = he argues that...

Subscribers / a subscription / subscription free

Broach an issue/ tackle an issue / deal with an issue
Spinster = vieille fille
Entertainment = le divertissement
To be mistaken = to make a mistake / a mistaken dcision
Stuff Happens means indefinate thing.

Essay Subject
Read the following text about the benefits of learning in another country. Then write a 500-word
essay in reaction to what youve read. Be sure to include some analysis of the points made in the
article and your opinions on this subject. You may use outside sources of information but YOU
MUST give those sources credit in your paper. This essay is due on the last day of class and is worth
50% of your final grade.
Ask any student what's the biggest difference between sixth form and university and they'll probably
answer: the number of contact hours. At school or college, you spend most of your time in class and
are regularly tested, graded and given targets. At university, this structure disappears.
A browse through the government's Unistats website shows that most undergrads will spend more than
half their time at university studying independently. Arts students have the least number of contact
hours those taking English at the University of Manchester, for example, can expect to spend no
more than 20% of their study time with lecturers or tutors. But does this really affect the way we
learn?
When I moved from my university in the UK to spend one year at the University of Alabama, I found
myself spending far more time in the classroom. The American college system favours teaching small
classes on a regular basis, even for subjects like English literature. Grades are calculated through a
system of continuous assessment. This means participation in debate, in-class quizzes, mid-term
exams and finals on top of two papers each semester. This may sound a little too rigorous. But, in
fact, I have found it to be a more effective means of learning than sitting silently in a lecture hall with
400 other students.
"Regular assessment," Dr Claire Major, professor of higher education at the University of Alabama
told me, "provides students with an opportunity to recall and to reflect on their learning. They
communicate their learning and make it tangible, which allows them to own it in their own way." By
choosing to test more often, it means we as students have more control over our learning. This also
helps us space out our studies.
Students are all too ready to begin work close to the deadline. This involves a process of cramming
information and taking in less of the content. But this way, we take in less of the content. By using
continuous assessment, learning becomes more gradual. We are forced to repeat and recall the
information we have learned in many different formats. In the US system, testing and papers are just
part of the process. They are seen as something that goes along with the learning experience. Really,
they're no big deal because they are carried out so regularly.
It's also a system that seems to get high satisfaction rates. Robert Christl, a third year political science
student, told me: "With this format of assessment you know exactly where you are at in terms of
academic achievement. I can feel myself progressing. That's the reward I need to keep going."
English is often a subject with less classroom teaching. But in recent years, it appears that British
universities are, in fact, beginning to apply many more in-class methods of tracking progress.
Dr Matthew Creasy, an English literature lecturer at Glasgow University, says that this year: "Students
are required to give a presentation, complete a mid-term exercise and hand in a paper as well as an
exam at the end of the year." This seems much closer to the classroom-style teaching in the US. The
level of variety in assessment reaches a broader spectrum of students. It promotes equality by catering
for different types of learning. Not only this, but it means a more collaborative approach. It involves
interaction with other students and more communication with professors.
Of course, more class and assessment time means more teaching hours, more resources and more
money. The question is: how much is our education worth?

Reflecting on the five months I have now spent in the US, I've realised how aware I have become of
the learning process. Alongside my education in literature, I am having a sort of education in learning
itself. That is a skill that will stay with me well beyond these classroom walls.