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https://crossref-it.info/articles/372/Jane-Eyre-worksheet-downloads

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https://france.flixlist.co/titles/70142825

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https://www.lelivrescolaire.fr/page/6727924

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https://drive.google.com/file/d/1wO1CyjliH7X7jbvPaVCW_59W8FcC49qC/view?usp=drivesdk

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Self
https://www.theatlantic.com/entertainment/archive/2016/03/how-jane-eyre-created-the-modern-self/460461/

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https://m.youtube.com/watch?v=2yATMYlgydA

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1.Jane Eyre

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https://www.bl.uk/romantics-and-victorians/themes/the-gothic#

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https://www.bbc.co.uk/bitesize/guides/z8jm39q/revision/1

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https://study.com/academy/lesson/jane-eyre-time-period-historical-context.html

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https://drive.google.com/file/d/1vvUI9z1G6EZjnfqH8wco6i82pv8OALxP/view?usp=drivesdk

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https://drive.google.com/file/d/1vvUI9z1G6EZjnfqH8wco6i82pv8OALxP/view?usp=drivesdk

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https://crossref-it.info/textguide/the-handmaids-tale/31/2176

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https://drive.google.com/file/d/1w0BT5c4X8wJBugH6z229CRtJ8eTQ8nW_/view?usp=drivesdk

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https://www.theguardian.com/lifeandstyle/2020/aug/27/laura-bates-on-the-men-who-hate-women-idolise-murderers?CMP=fb_gu&utm_medium=Social&utm_source=Facebook#Echobox=1598523964

https://m.washingtontimes.com/news/2020/aug/22/contact-tracing-app-at-michigan-college-is-a-surve/

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JANE EYRE

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Jane Eyre is a young orphan being raised by Mrs. Reed, her cruel, wealthy aunt. A servant named Bessie provides Jane with some of the few kindnesses she receives, telling her stories and singing songs to her. One day, as punishment for fighting with her bullying cousin John Reed, Jane's aunt imprisons Jane in the red-room, the room in which Jane's Uncle Reed died. While locked in, Jane, believing that she sees her uncle's ghost, screams and faints. She wakes to find herself in the care of Bessie and the kindly apothecary Mr. Lloyd, who suggests to Mrs. Reed that Jane be sent away to school. To Jane's delight, Mrs. Reed concurs.

Once at the Lowood School, Jane finds that her life is far from idyllic. The school's headmaster is Mr. Brocklehurst, a cruel, hypocritical, and abusive man. Brocklehurst preaches a doctrine of poverty and privation to his students while using the school's funds to provide a wealthy and opulent lifestyle for his own family. At Lowood, Jane befriends a young girl named Helen Burns, whose strong, martyrlike attitude toward the school's miseries is both helpful and displeasing to Jane. A massive typhus epidemic sweeps Lowood, and Helen dies of consumption. The epidemic also results in the departure of Mr. Brocklehurst by attracting attention to the insalubrious conditions at Lowood. After a group of more sympathetic gentlemen takes Brocklehurst's place, Jane's life improves dramatically. She spends eight more years at Lowood, six as a student and two as a teacher.

After teaching for two years, Jane yearns for new experiences. She accepts a governess position at a manor called Thornfield, where she teaches a lively French girl named Adèle. The distinguished housekeeper Mrs. Fairfax presides over the estate. Jane's employer at Thornfield is a dark, impassioned man named Rochester, with whom Jane finds herself falling secretly in love. She saves Rochester from a fire one night, which he claims was started by a drunken servant named Grace Poole. But because Grace Poole continues to work at Thornfield, Jane concludes that she has not been told the entire story. Jane sinks into despondency when Rochester brings home a beautiful but vicious woman named Blanche Ingram. Jane expects Rochester to propose to Blanche. But Rochester instead proposes to Jane, who accepts almost disbelievingly.

The wedding day arrives, and as Jane and Mr. Rochester prepare to exchange their vows, the voice of Mr. Mason cries out that Rochester already has a wife. Mason introduces himself as the brother of that wife-a woman named Bertha. Mr. Mason testifies that Bertha, whom Rochester married when he was a young man in Jamaica, is still alive. Rochester does not deny Mason's claims, but he explains that Bertha has gone mad. He takes the wedding party back to Thornfield, where they witness the insane Bertha Mason scurrying around on all fours and growling like an animal. Rochester keeps Bertha hidden on the third story of Thornfield and pays Grace Poole to keep his wife under control. Bertha was the real cause of the mysterious fire earlier in the story. Knowing that it is impossible for her to be with Rochester, Jane flees Thornfield.

Penniless and hungry, Jane is forced to sleep outdoors and beg for food. At last, three siblings who live in a manor alternatively called Marsh End and Moor House take her in. Their names are Mary, Diana, and St. John (pronounced "Sinjin") Rivers, and Jane quickly becomes friends with them. St. John is a clergyman, and he finds Jane a job teaching at a charity school in Morton. He surprises her one day by declaring that her uncle, John Eyre, has died and left her a large fortune: 20,000 pounds. When Jane asks how he received this news, he shocks her further by declaring that her uncle was also his uncle: Jane and the Riverses are cousins. Jane immediately decides to share her inheritance equally with her three newfound relatives.

St. John decides to travel to India as a missionary, and he urges Jane to accompany him-as his wife. Jane agrees to go to India but refuses to marry her cousin because she does not love him. St. John pressures her to reconsider, and she nearly gives in. However, she realizes that she cannot abandon forever the man she truly loves when one night she hears Rochester's voice calling her name over the moors. Jane immediately hurries back to Thornfield and finds that it has been burned to the ground by Bertha Mason, who lost her life in the fire. Rochester saved the servants but lost his eyesight and one of his hands. Jane travels on to Rochester's new residence, Ferndean, where he lives with two servants named John and Mary.

At Ferndean, Rochester and Jane rebuild their relationship and soon marry. At the end of her story, Jane writes that she has been married for ten blissful years and that she and Rochester enjoy perfect equality in their life together. She says that after two years of blindness, Rochester regained sight in one eye and was able to behold their first son at his birth.

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Jane Eyre: Full Book Summary | SparkNotes

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Jane Eyre is a young orphan being raised by Mrs. Reed, her cruel, wealthy aunt. A servant named Bessie provides Jane with some of the few kindnesses she receives, telling her stories and singing songs to her.

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https://www.facebook.com/groups/2270556013227628/permalink/2752390575044167/

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https://www.bbc.co.uk/bitesize/guides/zsfv34j

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https://www.nytimes.com/2020/08/09/us/evangelicals-trump-christianity.html?referringSource=articleShare

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http://www.loudlit.org/audio/jane_eyre/pages/23_13_jane_eyre.htm

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https://padlet-uploads.storage.googleapis.com/106461885/9f288134baf4077e9674a5025a0b26b7/Warm_Up.pdf

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https://view.genial.ly/5f49fba491252c0d5246dfa2/interactive-image-the-brontes

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Evaluation de l'enseignement de spécialité (LLCER/AMC) en classe de terminale

- Niveau visé : C1
- Calendrier : évaluation écrite se déroulant en mars et évaluation orale à la suite des écrits en mars.
- Organisation des corrections : Les corrections des écrits et les interrogations orales ne sont pas effectuées par le professeur des élèves. Des convocations sont émises par le SIEC. La correction des copies est dématérialisée.

EPREUVE ECRITE
- Durée : 3h30
- Les candidats auront le choix entre deux sujets, chacun sur une thématique différente du programme de terminale.
- Les sujets sont composés de 3 ou 4 documents de nature variée (LLCER, obligatoirement un texte littéraire, AMC obligatoirement un article de journal).
- Dictionnaire unilingue non encyclopédique  autorisé.
-Contenu de l'épreuve :
1) Synthèse du dossier documentaire en environ 500 mots - à rédiger en ANGLAIS
Pour AMC uniquement, il est possible d'avoir également une argumentation à rédiger en plus de la synthèse.
ATTENTION : il s'agit d'une synthèse guidée par une consigne, pas d'un commentaire littéraire ou de civilisation.
2) Traduction d'un  passage d'environ 6 lignes OU transposition de l'un des documents (= idées essentielles du
document) - à rédiger en FRANCAIS

EPREUVE ORALE
- Durée : 20 minutes sans temps de préparation - 10 minutes maximum de prise de parole en continu du candidat + 10 minutes maximum d'interaction avec l'examinateur
- L' oral prend appui sur le dossier personnel constitué par le candidat. Les documents sont donc au choix de l'élève dans le respect des consignes figurant au BO et rappelée dans le tableau ci-dessous.

Points de vigilance concernant le dossier :
- Les documents sont obligatoirement des documents d'auteurs des aires culturelles de la langue concernée.
- Le dossier doit être visé par le professeur qui a dispensé l'enseignement en classe de terminale. Prévoir de préférence une page de garde signée par le professeur, avec la liste des documents, et sur laquelle figure également le tampon de l'établissement.
- Les documents doivent être vierges de toute annotation, de tout surlignage, etc. Il faut donc différencier les documents utilisés en cours, sur lesquels des notes et repérages auront pu être ajoutés, des documents utilisés pour l'examen.
- Le candidat doit prévoir son dossier en double exemplaire : un pour lui, un pour l'examinateur.

A partir de la session 2022, le dossier comprend au minimum 3 documents (AMC) ou 4 documents (LLCER) :

| Spécialité LLCER  | Spécialité AMC
| - au moins un extrait ou une illustation des œuvres intégrales étudiées ; - au moins un texte littéraire, sans se limiter au genre romanesque ; le candidat peut prendre appui sur les annexes publiées avec les programmes du cycle terminal, mais peut, s'il le juge pertinent, enrichir son dossier de textes littéraires de son choix ; - au plus deux œuvres d'art visuel (affiche, caricature, dessin, extrait de film, peinture, sculpture, etc.) ; - au moins un texte non littéraire (article de presse, extrait de discours, d'essai, etc.). | - au moins un article de presse ; - au plus deux textes d'une autre nature ; - au plus deux documents iconographiques.

Précisions sur les documents :
- Pour les extraits des oeuvres au programme : pour les oeuvres textuelles, l'extrait est obligatoirement un écrit (pas la couverture qui compterait comme un document visuel) ; pour l'oeuvre cinématographique, cela peut par exemple être des images fixes tirées du film ("stills").
- Il n'est pas obligatoire de joindre une oeuvre visuelle/iconographique.
- Pour AMC, il faut entendre document iconographique dans un sens large : photo, affiche, caricature, carte, etc. Les textes d'une autre nature peuvent être tirés d'essais, de discours, de documents gouvernementaux ou non gouvernementaux, etc.

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https://www.facebook.com/groups/2270556013227628/permalink/2761074470842444/

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https://pedagogie.ac-nancy-metz.fr/grand-oral/

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https://m.youtube.com/watch?feature=share&v=tlOkWIxqqWs

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https://m.youtube.com/watch?v=wqiMASk5MIU

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https://view.genial.ly/5ee1da0d0cb7020cf4023911/interactive-content-le-grand-oral-du-baccalaureat

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https://www.facebook.com/groups/2270556013227628/permalink/2764475110502380/

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https://www.abc.net.au/news/2020-02-24/tradwives-women-say-the-movement-is-empowering-not-oppressive/11960910

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Dances With Wolves - Official® Trailer [HD]

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https://padlet.com/sandrinebonanni/o2jpo4f74h5w

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Ireland's emigrants sing songs of exile that echo through the generations

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Ireland's emigrants sing songs of exile that echo through the generations

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hen Mary Robinson became president of Ireland in 1990, one of her first, and most symbolic, actions was to light a lamp in the kitchen window of her official residence to acknowledge the many millions of Irish people overseas. Until then, Irish emigration had been one of the great unspokens of political life, while simultaneously being one of the great themes of Irish drama, fiction and poetry.

Robinson's inspiration was a poem by Eavan Boland called The Emigrant Irish. "Like oil lamps," it begins, "we put them out the back - of our houses, of our minds." The generations who left for a new life in Britain and America haunted Irish writing and song throughout the 20th century.

Both James Joyce and Samuel Beckett, the two towering modernists of Irish literature, chose exile, the former famously describing Ireland as 'the old sow that eats her farrow". Joyce also wrote that the Irishman was more respected abroad; "the economic and intellectual contradictions that prevail in his own country do not allow the development of individuality".

It was Beckett who gave voice to the exile's dilemma of not belonging. "It is suicide to be abroad," says a character in All That Fall, "but what is it to be at home?... A lingering dissolution."

This sense of spiritual as well as cultural displacement was evoked, too, by the poet Patrick Kavanagh, who walked the streets around Ealing Broadway in 1953 willing himself to remember his native Monaghan "until a world comes to life - morning, the silent bog". In the second half of that same decade, an estimated half a million people left Ireland to begin their lives all over again, abroad.

In the 1960s, a new generation of dramatists made emigration a central theme in their work. John B Keane's musical play, Many Young Men of Twenty, debuted in 1961 with its rousing chorus in the title song - "many young men of twenty said goodbye"- becoming an Irish hit for the Dubliners. The group articulated the often brutal urban experience of Irishmen abroad in songs such as McAlpine's Fusiliers and Poor Paddy on the Railway, both about Irish labourers in England.

In 1964, Brian Friel made his name with Philadelphia Here I Come!, a drama set on the evening before the main character's departure for America. Three decades later, with the globally successful Dancing at Lughnasa, Friel wove an extraordinary narrative of memory and myth around the figure of the returning exile, a constant trope in Irish writing.

In 1974, John McGahern tackled the same themes of cultural paralysis and exile as Joyce in his semi-autobiographical novel The Leavetaking, in which a schoolteacher loses his job in Ireland after getting involved with an American divorcee while on sabbatical in England.

The social and cultural constrictions of President Éamon de Valera's Catholic Ireland were by now being fractured. In 1987, a character in Roddy Doyle's debut novel, The Commitments, proclaimed "the Irish are the niggers of Europe", but, that same year, all that was about to change. After a decade in which mass emigration claimed at least two generations of young Irish people, U2 began their global ascendancy. The group stayed in Dublin, though, and, as they became the most successful rock group of the 1990s, the city, and Ireland, began its rapid transformation.

By then, the Irish diaspora had created new kinds of voices that reflected the experience of the Irish in England and America from within those hybrid communities. The Pogues, a London-based group, wrote songs that were hard-edged and unsentimental, featuring rent boys and hooligans, rather than romantic heroes dreaming of their lost homeland. Martin McDonagh, the son of a Sligo mother and Galway father, was raised in Elephant and Castle, London, and his plays about rural Ireland were as scabrous and searing as Shane McGowan's best songs.

Last year, as the Celtic Tiger economy began to implode, Colm Tóibín's critically lauded novel Brooklyn told the story of Eilis Lacey, a young woman who crosses the Atlantic to forge a new life in Brooklyn and is then lured back home. She is forced to choose between her old life in Wexford and the lure of the new world, between dull security and uncertainty. The novel was set in the early 1950s and seemed wilfully old-fashioned. It may yet prove prescient.

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Ireland's emigrants sing songs of exile that echo through the generations

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The loss of generations of young people abroad is rarely mentioned in political life, but is one of the dominant themes of Irish culture

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https://www.speakeasy-news.com/et-si-on-parlait-du-grand-oral/

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Supported by government programs and new picture magazines like LIFE, Dorothea Lange and other photographers of the 1930s and '40s created an indelible record of everyday life in difficult times. The Great Depression caused many photographers to consider the camera as an instrument of social change.

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https://m.youtube.com/watch?feature=share&v=Gc-E5kP4yi8

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https://the-handmaids-tale.fandom.com/wiki/The_Handmaid's_Tale_Wiki

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à partir de 3'02

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Literature provides Africa with a mirror to inspect itself- Nnedi Okorafor

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min 1 to 1'30

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When we left the dining-room, she proposed to show me over the rest of the house; and I followed her upstairs and downstairs, admiring as I went; for all was well arranged and handsome. The large front chambers I thought especially grand: and some of the third-storey rooms, though dark and low, were interesting from their air of antiquity. The furniture once appropriated to the lower apartments had from time to time been removed here, as fashions changed: and the imperfect light entering by their narrow casement showed bedsteads of a hundred years old; chests in oak or walnut, looking, with their strange carvings of palm branches and cherubs' heads, like types of the Hebrew ark; rows of venerable chairs, high-backed and narrow; stools still more antiquated, on whose cushioned tops were yet apparent traces of half-effaced embroideries, wrought by fingers that for two generations had been coffin-dust. All these relics gave to the third storey of Thornfield Hall the aspect of a home of the past: a shrine of memory. I liked the hush, the gloom, the quaintness of these retreats in the day; but I by no means coveted a night's repose on one of those wide and heavy beds: shut in, some of them, with doors of oak; shaded, others, with wrought old English hangings crusted with thick work, portraying effigies of strange flowers, and stranger birds, and strangest human beings,--all which would have looked strange, indeed, by the pallid gleam of moonlight.

"Do the servants sleep in these rooms?" I asked.

"No; they occupy a range of smaller apartments to the back; no one ever sleeps here: one would almost say that, if there were a ghost at Thornfield Hall, this would be its haunt."

"So I think: you have no ghost, then?"

"None that I ever heard of," returned Mrs. Fairfax, smiling.

"Nor any traditions of one? no legends or ghost stories?"

"I believe not. And yet it is said the Rochesters have been rather a violent than a quiet race in their time: perhaps, though, that is the reason they rest tranquilly in their graves now."

"Yes--'after life's fitful fever they sleep well,'" I muttered. "Where are you going now, Mrs. Fairfax?" for she was moving away.

"On to the leads; will you come and see the view from thence?" I followed still, up a very narrow staircase to the attics, and thence by a ladder and through a trap-door to the roof of the hall. I was now on a level with the crow colony, and could see into their nests. Leaning over the battlements and looking far down, I surveyed the grounds laid out like a map: the bright and velvet lawn closely girdling the grey base of the mansion; the field, wide as a park, dotted with its ancient timber; the wood, dun and sere, divided by a path visibly overgrown, greener with moss than the trees were with foliage; the church at the gates, the road, the tranquil hills, all reposing in the autumn day's sun; the horizon bounded by a propitious sky, azure, marbled with pearly white. No feature in the scene was extraordinary, but all was pleasing. When I turned from it and repassed the trap-door, I could scarcely see my way down the ladder; the attic seemed black as a vault compared with that arch of blue air to which I had been looking up, and to that sunlit scene of grove, pasture, and green hill, of which the hall was the centre, and over which I had been gazing with delight.

Mrs. Fairfax stayed behind a moment to fasten the trap-door; I, by drift of groping, found the outlet from the attic, and proceeded to descend the narrow garret staircase. I lingered in the long passage to which this led, separating the front and back rooms of the third storey: narrow, low, and dim, with only one little window at the far end, and looking, with its two rows of small black doors all shut, like a corridor in some Bluebeard's castle.

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JACK KEROUAC on THE STEVE ALLEN SHOW with Steve Allen 1959

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JACK KEROUAC on THE STEVE ALLEN SHOW with Steve Allen 1959

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JACK KEROUAC on THE STEVE ALLEN SHOW with Steve Allen 1959

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Three generations of one Windrush-descended family are struggling to prove that they are British in a protracted fight for documentation which has left a London-born woman facing homelessness with her two-year-old son.

Courtney Lawrence, 25, was denied emergency housing in May because officials said she needed to show a passport to prove she was eligible for council support, despite the fact that she was born in the UK and has never left the country. As a result of this refusal she was forced to sofa-surf with her son for five months; she has subsequently been given emergency accommodation in a Travelodge hotel.

Both her parents arrived in the UK from the Caribbean as small children more than half a century ago, and have never formally naturalised as British citizens. They did not realise that their immigration status was uncertain until their daughter told them she was having difficulty getting council support. The citizenship of Courtney's son, Kasion, also born in London, is now also in question.

The family's difficulties reveal the complex problems still being experienced by many Windrush descendants 18 months after the government apologised and promised to "do right" by those affected by the Home Office scandal.

Courtney's father, Joseph Lawrence, a retired construction worker, arrived in the UK from Jamaica in 1957 when he was three, and has lived in England for the past 63 years.

Her mother, Gillian St Rose, a former special-needs teaching assistant, came in 1969 aged five from Saint Lucia, and has not left Britain in the past 50 years. Since both Jamaica and St Lucia were British colonies when they left, they travelled as British subjects on Citizens of the UK and Colonies passports. Courtney was born in London in 1994.

Until April, she and her parents had not realised that there was any problem with their immigration status. They had all watched the news about the Windrush scandal in April 2018, but did not think that they might be affected by the government's mistreatment of thousands of Commonwealth-born citizens who were wrongly classified as illegal immigrants, despite being legally resident in the UK.

"I was very aware of it but I didn't think for a second that it would affect me," Courtney said. She was shocked when officials in the Newham council housing department questioned whether she was British. She showed her birth certificate and her National Insurance number to officials (which was what she had always shown prospective employers) but was told that this was not enough to prove that she was British and that she would need to bring her mother's and father's passports in order to prove her eligibility; neither parent has a British passport.

"They said the Home Office has said that you're not British. They said they wouldn't help me until I could prove I was British. It upset me. I was born here, I haven't left the country, I've done good jobs here and this has never arisen," Courtney, who has worked as a teaching assistant in nurseries and as a sales assistant, said. "This has made me depressed; I feel like I don't know who I am."

Courtney should be recognised as a British citizen, since she was born in the UK to British citizens, but because neither parent is currently able to prove their status as British citizens, she has struggled to persuade officials to believe her. Since changes to nationality legislation in 1983, just being born in the UK is not enough to make someone British; one or both parents must be British or have settled status in the UK. There are believed to be tens of thousands of children who were born here who were not automatically British at birth; many of them do not realise they have any immigration issues until adulthood, when they have difficulties accessing student loans or housing support.

As a result of the council's decision to refuse her emergency housing, she had nowhere to stay. "I made it clear to them I was homeless," she said. The council offered to refer her case to child services, but she was worried that this could result in her child being removed. "It sounded like they were offering services for my child and not for me." Even when she presented officials with a letter explaining that she was affected by the Windrush scandal, staff still refused to believe that she was eligible for support.

Her parents were equally unaware that their immigration status was vulnerable. Since they realised that they have to regularise their status, they have both felt very anxious about whether they will find themselves targeted by immigration enforcement officers. "I've been waiting for someone to ring and say, 'right, now you're evicted'. I've become paranoid and been waiting to be deported," Gillian St Rose said. "I've cried tears for her. I feel bad because it is my fault I didn't get a passport - which I didn't think I needed."

The council changed its position in October and gave Courtney and her son an emergency room in a Travelodge hotel. She is delighted to have a room, although points out that being housed in a hotel means it is only possible to cook things which can be heated up with boiling water from a kettle (packet soup, noodles), and that the space is not appropriate for a two-year-old. She is more concerned about the passport problems facing her son, if her own immigration difficulties are not resolved.

Bethan Lant, advice manager at the charity Praxis which has been helping the family, described the risks facing the son as "serious". "If he applies for a passport now, the Passport agency would want evidence of his mother's status and there is currently no proof of that," she said.

She helped Courtney Lawrence and her parents submit applications to the Windrush taskforce, and is waiting for a response. This unit was set up by the Home Office in the wake of the scandal last year, when the government was forced to apologise for criminalising thousands of legal UK residents, some of whom were wrongfully deported, detained, sacked from their jobs, evicted from their homes and denied access to healthcare.

Courtney has gathered extensive documentation from her childhood to try to prove to the Home Office that she has lived all her life in the UK. Her parents have collected photographs placing them in the UK in the 1960s; her mother has submitted a picture of herself in school uniform, details of her confirmation service, a primary school admission letter. Staff at Praxis are surprised at the length of time it is taking for the unit to respond to Courtney's application.

Sally Daghlian, the Praxis CEO, said: "The policies that created the so-called Windrush scandal are extending across the generations and all those who do not have a British passport risk being denied essential services and left in limbo."

The Home Office said staff would not routinely comment on individual cases. Newham councillor Charlene McLean said staff would be given more training to help them assess the eligibility of Windrush cases, as a result of the Lawrence family's experience. "I am embarrassed this has happened and apologise to Ms Lawrence on behalf of the mayor of Newham and the council," she said.

"We are hugely proud of all our migrant communities and that is why an important motion was passed last year to ensure the Windrush generation and their relatives would be fully supported by the council with all policies and procedures reviewed to reflect this. I am sorry this did not happen in this case. Although officers followed the law with regards to this particular case, this is not in line with usual procedure and more action could have been taken to check this resident's UK citizenship."

The council is now in the process of moving Courtney Lawrence into a flat.

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Three generations of Windrush family struggling to prove they are British

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Courtney Lawrence and two-year old son face homelessness in fight over documentation

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https://drive.google.com/file/d/1wKuc8thPmBw7b8wfnZHW9W37c7iNMaqq/view?usp=drivesdk

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Painting Tour: "Going and Coming" (1947)

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https://docs.google.com/document/d/1sBoAssajt516gFiQXGQo1ltBzblM65Bsd6_wlEZ0JRU/edit?usp=drivesdk

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https://docs.google.com/file/d/1lfB6rFik6yPqlhAvU-m7iMRbwbEE9-Wj/edit?filetype=msword

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https://quizlet.com/472020293/the-handmaids-tale-flash-cards/?x=1qqt

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à partir de 2'58

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Notting Hill carnival: a love letter to London's biggest parade

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Whitaker Center for Science and the Arts

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https://fr.padlet.com/Odds_and_ends/2ko16yhcovvg6t87

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Discovering the Author's life and times by Miss Dumont on Genially

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Think about it with your partner, Who is Margaret Atwood? 1)Watch the video 2)Do the online exercise 3)Take notes on your worksheet Raising awareness in the 20th century 1)Watch the video 2)Fill in the online timeline What does she write about?

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à partir de 4'13

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Windrush: 'Identity' | Migrant Sound Documentary | Ep 3 of 4 | Boiler Room

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https://drive.google.com/drive/mobile/folders/1iLAioiQMsYeweGbOfKfQBcfnsFfH0r8-?usp=sharing

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https://view.genial.ly/5f230f23a07dc10d6f8027aa/presentation-llce-terminales