# data[].attributes.body
sociétaux

économiques

politiques

géopolitiques

culturels

scientifiques et techniques

du monde anglophone contemporain

# data[].attributes.body
Thème : idéologie économique dominante, relations entre pays

# data[].attributes.attachment_link.title
What is Hong Kong’s relationship with China? | CNBC Explains

# data[].attributes.body
la presse écrite et audiovisuelle

des extraits de publication scientifiques

des discours de politiques

des statistiques et des infographies

des reportages et des documentaires

# data[].attributes.body
des exposés

des débats

ou des échanges informels

# data[].attributes.body
analyse critique,

argumentation,

synthèse,

traduction

# data[].attributes.headline
Et plus particulièrement celles axées sur :

# data[].attributes.subject
Et plus particulièrement celles axées sur :

# data[].attributes.body
Tu aimes l'anglais et tu souhaites approfondir tes compétences linguistiques

# data[].attributes.body
Tu envisages une mobilité européenne ou internationale pour étudier ou travailler

# data[].attributes.body
les sciences politiques

le droit

le journalisme

l'économie

le commerce international

le tourisme

le marketing (communication et publicité)

les langues : traduction, interprétariat

les filières scientifiques

# data[].attributes.headline
Tu perfectionnes ton anglais oral et écrit

# data[].attributes.subject
Tu perfectionnes ton anglais oral et écrit

# data[].attributes.body
Tu t'intéresses à l'actualité et aux évènements qui façonnent notre époque et leurs implications

# data[].attributes.body
Thème 1 : Education, égalité des chances, accès aux études

# data[].attributes.body
Si arrêt

Les notes du contrôle continu : coefficient 8

Niveau attendu : B2 (niveau Bac)

# data[].attributes.body
Thème : Biologie et intelligence artificielle

# data[].attributes.body
Thème : Changement climatique et  développement durable

# data[].attributes.attachment_link.readable_text
Sciences Po Bordeaux fait partie des 10 Instituts d'Études Politiques français. Créé en 1948 dans la capitale girondine, l'établissement compte aujourd'hui près de 2.300 élèves, de la première année à l'école doctorale en passant par les préparationnaires aux concours et la formation continue.

Pôle majeur de la recherche en science politique en France, Sciences Po Bordeaux compte 2 Unités Mixtes de Recherche (UMR) en sciences humaines et sociales de réputation internationale.

# data[].attributes.attachment_link.description
Sciences Po Bordeaux a été créé en 1948 et compte aujourd'hui plus de 10.000 diplômés. Pluridisciplinarité et internationalisation sont les piliers de la formation de l'Institut d'Études Politiques bordelais.

# data[].attributes.attachment_link.readable_text
Dans le dossier déposé sur Parcoursup, le projet de formation doit faire ressortir une volonté affirmée d'étudier le droit dans un contexte internationalisé et sera rédigé en anglais. L'étudiant pourra ainsi tirer le plus grand profit d'une troisième année de licence réalisée en mobilité à laquelle il est préparé.

# data[].attributes.attachment_link.description
Dans le dossier déposé sur Parcoursup, le projet de formation doit faire ressortir une volonté affirmée d'étudier le droit dans un contexte internationalisé et sera rédigé en anglais. L'étudiant pourra ainsi tirer le plus grand profit d'une troisième année de licence réalisée en mobilité à laquelle il est préparé.

# data[].attributes.body
Disciplines :

Droit, Economie et Gestion

Sciences et Technologies

Santé

Sciences de l'Homme

Science de la Vigne et du Vin

# data[].attributes.attachment_link.description
L'université de Bordeaux propose plus d'une soixantaine de programmes internationaux de formation, à tous les niveaux : Licence, Master et Doctorat.

# data[].attributes.body
Thème : parlementarisme et démocratie

# data[].attributes.attachment_link.readable_text
LONDON - Brexit has breached the gates of Buckingham Palace.

The battle over the United Kingdom's departure from the European Union has rocked some of the country's most cherished institutions. It has dominated the political debate, paralyzed parliament, pitted Tory against Tory, Labour against Labour and threatened the integrity of the Union. Then late last month, it reached out and touched the queen.

Queen Elizabeth II is the least politically assuming of any sovereign before her. Promoted in the line of succession by the abdication of her uncle, the 93-year-old monarch has spent her more than six decades on the throne cultivating a neutral and institutional role.

"The queen's personal view is to stay out of politics," said Robert Lacey, a royal historian and historical consultant on Netflix series "The Crown." "It's her nature to be shy. It's her nature not to intervene. She doesn't believe it's the constitutional monarch's role to make interventions, to change the rules or change things."

But when Boris Johnson - the 14th prime minister to serve under her reign - asked her to shut down parliament for four weeks, she couldn't avoid being dragged into the political fray.

The queen had little choice in the matter. Tradition dictates she grant the prime minister his requests. But with Johnson's move seen as an effort to prevent parliament from blocking a no-deal Brexit and the country so deeply divided between Leave and Remain, any answer she gave was bound to infuriate one side or the other.

And some of the reaction was, indeed, furious.

"The. Queen. Did. Not. Save. Us," tweeted Labour MP and former frontbencher Kate Osamor. Shortly afterwards she added: "The queen should look at what happened to her cousin Tino ex-King of Greece when you enable a right-wing coup! Monarchy abolished!"

A petition launched by the anti-Brexit campaign group Best for Britain asking the queen to refuse the request from Johnson quickly racked up more than 50,000 signatures, and the sovereign was soon fielding requests from Labour leader Jeremy Corbyn and Liberal Democrat leader Jo Swinson to meet with them and hear their complaints about the decision.

"A lot of people half hoped that the queen would somehow come riding in on a stallion or one of her corgis to save the day," said Adam Wagner, a human rights lawyer and expert on constitutional law. "But the idea that the sovereign plays any substantial role in this farce is complete nonsense."

Medieval trappings

In another political context, Queen Elizabeth's decision to follow with tradition and grant Johnson's request would have passed unremarked.

While the monarchy retains much of its medieval trappings, its power has been in decline ever since King John signed the Magna Carta in 1215.

According to protocol, the queen appoints the prime minister and accepts his or her resignation. She opens parliament almost every year with "the Queen's Speech," outlining the government's program. The arcane tradition sees her leave Buckingham Palace in a horse-drawn carriage and ride to the Houses of Parliament, escorted by the Household Cavalry.

Once there, she leads the Royal Procession through the House of Lords, wearing the Imperial State Crown and the Robe of State. An official to the Lords, known as Black Rod, goes to the Commons to summon members and take them to the Lords Chamber. When he reaches the door of the Commons it is shut in his face and he has to knock three times to gain entry - to symbolize the authority of the Commons over the Lords. The MPs file into the upper chamber and listen as the queen reads out the government program for that parliamentary session from a throne.

But formalities like these aside, the British monarchy has lost almost all of its real authority. The queen neither writes, nor necessarily agrees with the contents of, the Queen's Speech. The last monarch to dismiss a prime minister was King William IV, who sacked William Lamb in 1834. It did not go well for him. His chosen replacement, Robert Peel, could not command the confidence of the Commons and an election was called, which Lamb won.

And the last time a British monarch refused to follow the advice of their government was in 1936 when King Edward VIII wanted to marry American socialite Wallace Simpson, said Robert Hazell, a professor of government and the constitution at University College London. Edward was forced to abdicate after holding the throne for just 12 months.

The monarchy's few remaining powers include "the right to claim ownership of any unmarked mute swan swimming in open waters," the titular ownership of any whales or porpoises swimming in British waters, and the right to drive without a license.

"It is no longer acceptable for a modern monarch in a parliamentary democracy to have any political power," said Hazell, noting a similar decline of power in constitutional monarchies elsewhere in Europe.

"They are all now in effect neutered monarchs in that they no longer exercise any real political power and they have all become much less assertive," he said.

Rule of law

Because the country has no written constitution, the queen's role in public life and what her ceremonial powers really mean exist in a grey area. A small number of people clearly thought Elizabeth could have - and maybe should have - refused Johnson's request to suspend parliament. But had she done so, it would have triggered a constitutional crisis.

Constitutional experts have also been quizzed in recent weeks over whether the queen might have to intervene and dismiss the prime minister if Johnson lost a confidence vote but refused to resign. The Commons would have to give a clear signal that another candidate could command a majority in order for her to do so.

Some Brexiteers have also suggested that the government neuter efforts by parliamentary rebels to delay Brexit by refusing to send their legislation for "Royal Assent," the process by which the queen agrees to turn a bill into law. The process once required the monarch's signature, but it is now a quick formality that does not involve her directly.

One legal expert said the constitution would be thrown into "crazy territory" if the government tried to pull such a move.

And so it's perhaps not surprising that Johnson's maneuver - and the queen's involvement in it - has fueled calls for putting the constitution down on paper.

"We can't run a country like this, we need a written constitution," said Conservative MP Rory Stewart. "We're only able to survive with an unwritten constitution because people behave, but as people push the limits more and more we need to clarify this stuff."

Labour MP and shadow Treasury minister Clive Lewis went a step further and called for a constitutional convention.

"We have a political constitution that is barely fit for the 19th century, let alone the 20th or 21st," Lewis said. "It's high time, once the dust has settled on Brexit, that this country really begins to understand that a democratic constitutional convention is necessary to work out what structure we are going to have for the United Kingdom."

One of the key questions in any such venture would be the role of the monarch. "I'm not sure what the appetite is for a republic but I think that should be on the agenda as something we should discuss," said Lewis.

While few are calling for an end of the monarchy, the creation of a written constitution could curtail its powers for good.

"On one hand, you could have a written constitution that puts the monarch as a purely titular head of state that does not even have the formal power that she has now," said Wagner, the human rights barrister and constitutional law expert. "Or you write exactly what powers the monarch has into the constitution. You could also have a president, and the queen could be a figurehead rather than have any political role at all."

Anthony Barnett, the author and co-founder of the OpenDemocracy website, argues that the informal checks and balances that used to work in the unwritten British constitution - of Cabinet, government and the civil service, among other things - have been broken by a succession of prime ministers eager to bend the rules in their favor.

Johnson's involvement of the queen to close down parliament was just the latest example of many.

"With our historic norms crumbling, even ardent monarchists will see that only a written constitution can preserve the decorative role of the crown while protecting the rest of us from prime ministers acting like absolutist kings or queens," he said.
Charlie Cooper contributed reporting.
This article is part of POLITICO 's premium Brexit service for professionals: Brexit Pro. To test our expert policy coverage of the implications and next steps per industry, email [email protected] for a complimentary trial.

# data[].attributes.attachment_link.title
A royal mess: How Brexit has tarnished the crown

# data[].attributes.attachment_link.description
LONDON - Brexit has breached the gates of Buckingham Palace. The battle over the United Kingdom's departure from the European Union has rocked some of the country's most cherished institutions. It has dominated the political debate, paralyzed parliament, pitted Tory against Tory, Labour against Labour and threatened the integrity of the Union.

# data[].attributes.body
Thème :  Technologie , choix artistique, débat

# data[].attributes.attachment_link.readable_text
On a stage in front of a couple of hundred spectators at PromaxBDA's The New Normal event - a kind of TED Talks for TV - graffiti artist Chu is giving us a guided tour of Chutopia. With a gesture of both his arms, he goes from being the size of a squirrel to being the height of a brontosaurus. Chutopia grows and shrinks with him.

Chutopia, of course, isn't a physical place and Chu actually stands as tall as he always did. Chutopia exists as a creation in Tilt Brush - Google's creative tool for HTC Vive. It took Chu some four days to build the town, a place he says was created purely to destroy, and members of the audience will get their chance to do so later.

Those worried about such wanton destruction needn't worry - he made creating objects and shapes look incredibly straightforward, spinning round the world he created with enviable ease. Asked by an audience member to solve the imaginary town's equally imaginary crime problem, he flies up to the sky and paints a bat signal - it sits proudly alongside a VR carrot he sculpted in the sky to help another audience member "see in the dark".

Chu is joined on the stage by Dr Lee Bofkin, CEO of Global Street Art - a company that aims to promote the art form around the world. At first, this appears like an odd double act: Bofkin's business celebrates real-world art, while Chu - as of this moment - is defacing a virtual world. Bofkin contends that this isn't as big a leap as it might first appear. "There's been an overlap between street art and the digital for a long, long time," he tells me later. "Most street art is by its very nature ephemeral, and the digital file is often the only record that lasts, because the wall disappears, the building is knocked down, and sometimes all you have left is the photo."

It's these photographs that his company celebrates, and it's hard to imagine his business existing without the ubiquitous world of social media we all now occupy. Global Street Art has around 350,000 fans across its various social media platforms ("you kind of have to be diverse," Bofkin later tells me). With a click of the mouse, a series of quirkily painted animals in Pachuca is suddenly accessible around the world - well beyond the Mexican town's 276,000 population.

"We have a massively unfair advantage in that we've got all of this content we can share, that looks absolutely amazing, that people not only want to see, but don't get to see that much," Bofkin explains. The organisation prides itself on highlighting the thriving art scene in areas you don't know about. "We'd rather be the first people to show you that there's a street art culture in Afghanistan or a small city in India," he says.

In the days before social media, sharing street art was a tough process. Once wall art ceased to be the sole preserve of the church, Bofkin tells me, artists would have to be their own limited publicists, physically posting photographic evidence around the world. The ubiquity of social media makes that process a lot quicker, and a lot louder. "If you're painting something amazing or something that really captures people's' attention, it doesn't matter where in the world you paint it - if you've got enough followers to give it a bit of oomph, then people will see it."

"The digital file is often the only record that lasts, because the wall disappears, the building is knocked down, and sometimes all you have left is the photo."

And people like it? I put it to Bofkin that street art has a tendency to be a touch divisive. "I wouldn't expect me to like most street art," he says. But he thinks such criticism is more of a conversation to be had when street art reaches 5% of walls, rather than than the >0.1% he estimates there is now. "There's something beautiful and kind of valuable to have more people participating and shaping their own public space. That democratisation of what your public space looks like is valuable, even if you're not a fan of the art work per se. The culture of expression behind it has an inherent value in itself."

So beyond social media, where does technology come into this? Bofkin reckons there are plenty of ways Tilt Brush could help the movement. "I think Tilt Brush is a really powerful tool for letting people imagine what a painted city could look like." And on a more basic level: "Without putting too much behind it, Tilt Brush is an awful lot of fun."

Throughout the day, I watch various people - under Chu's guidance - donning the Vive headset, visiting Chutopia and drawing away to their heart's content. Some people seem to pick it up immediately; others are less sure, physically limboing underneath their virtual work to avoid knocking it over.

"The techniques employed by the Tilt Brush are very similar to the techniques I use and teach with the aerosol," Chu tells me, explaining that it's about co-ordinating every bone and muscle. "I think it's built into everyone anyway. Everyone's got spacial awareness, everyone's got the urge to impact the world somehow - it's an ideal opportunity."

As mentioned, Chu designed Chutopia was built to be destroyed ("constructive vandalism" is how the artist himself describes it). Has his wish come true? "Smashed to bits," he says delightedly. "Even the police have moved out now!" That's okay, though, because he has plenty more to do with it: "I've got to do the river, the underground system, the drainage, the housing estate... I could go on." At the time, Chutopia represented just 5% of the maximum file size Tilt Brush allowed.

"Dr Bofkin's business has been transformed by the ease with which static images can be shared via social media, while Chu's creation is limited by the technology that created it."

But examining the two figures who shared a stage four hours earlier provides an interesting contrast: Dr Bofkin's business has been transformed by the ease with which static images can be shared via social media, while Chu's creation is limited by the technology that created it. Very few people have access to an HTC Vive on account of its astronomical £759 price tag. "For Tilt Brush and immersive artwork, there's no substitute for actually being in that 3D space and putting on the Vive," Bofkin concedes. He's right: there's a world of difference between exploring the world with the headset and viewing the video feed, or pictures on this article, though I'm sure that many real-world graffiti artists feel that way about how their work is viewed through a haze of Instagram filters too.

Even if you do have access to an HTC Vive, it's a sadly solitary experience. Chutopia is essentially a gated community, with only one person able to visit at a time. Everyone else is a 2D spectator, forced to spy via monitor. "Although VR still feels very solo as an experience, give it a year and we all know that's going to change," says Bofkin. "The headsets will become wireless, you'll be able to collaborate with different artists in real time in the same virtual space even though you're physically thousands of miles apart. Virtual reality is clearly quite a solo experience now, but social virtual reality will be a really interesting thing in future."

Chu agrees. "That's where it needs to be," he says. "I think it's on everyone's radar. If you've got three grand's worth of gear, and you're the only one who can see it... I mean, spot the flaw! No-one's going to want that in their home, if only one person can be smiling."

"There's a comparison with VR being like the CD-ROM, you know? It's like Encarta released a CD-ROM that had videos, pictures and sound... it sounds old-fashioned. But this will sound old-fashioned in three years. 'A cable on a headset?!'"

Both men are convinced of the medium's future in any case, and Bofkin in particular is adamant that VR needs art more than art needs VR. "When the best artists share their content, people finally get it. If you or I jump on Tilt Brush, we make squiggles and swirls, and it's all fun and games, but you can't really see what people do with the tool," he says.

"But put it in the hands of a really competent artist, then people see how this can be incredible. That's why VR needs artists. When everyone puts on the headset and walks through Chu's cityscape, you really do get that wow factor."

# data[].attributes.attachment_link.title
How technology is transforming how street art is made and enjoyed

# data[].attributes.attachment_link.description
On a stage in front of a couple of hundred spectators at PromaxBDA's The New Normal event - a kind of TED Talks for TV - graffiti artist Chu is giving us a guided tour of Chutopia. With a gesture of

# data[].attributes.body
1ère : 4 heures/semaine

Terminale : 6 heures/semaine

# data[].attributes.body
Epreuve écrite : 3h30

dossier de documents guidé par des questions ou consignes portant sur une des thématiques au programme

Traduction / transposition

Epreuve orale : 20 minutes

dossier personnel présenté par le candidat

Niveau visé en anglais : C1 (niveau avancé)

Coefficient : 16

# data[].attributes.body
Thème 1 : Savoirs, Création & Innovation

Axe 1 : Production & Circulation des Savoirs

Axe 2 : Science & techniques ; promesses et défis

Thème 2 : Représentations

Axe 1 : Faire entendre sa voix

Axe 2 : Informer et S’informer

Axe 3 : Représenter le Monde et se représenter

# data[].attributes.attachment_link.readable_text
Forte de son réseau d'alumni et d'entreprises partenaires, l'INSEEC accompagne chaque année de nombreux étudiants venant de tous horizons. En favorisant l'alternance école/entreprise, l'INSEEC leur donne les clés de la réussite professionnelle et leur permet de construire leur avenir professionnel.

Comment financer ses études à l'INSEEC ?

À l'INSEEC, nous pensons qu'alterner les périodes d'école et d'entreprise est la clé de votre future réussite professionnelle.

Découvrez-en plus sur les modalités de financement, l'alternance et le coaching mis en place par nos équipes des Relations Entreprises.

Une école de commerce en Management

L'INSEEC est une école de commerce en Management qui délivre 4 types de programmes : BBA (Bac à Bac +4), MSc&MBA (Bac + 4 à Bac +5), Grande Ecole (Bac +3 à BAC +5) et Bachelor (Bac à Bac +3). Etudiants en parcours classique, ou professionnels en reconversion, tous les apprenants peuvent trouver une formation à l'INSEEC qui correspond à leurs critères et choix de parcours pédagogiques. Plusieurs outils d'aide à l'orientation sont disponibles sur notre site. Les études peuvent être suivies sur nos campus en France : Bordeaux, Chambéry, Lyon, Paris ou Beaune.

Des formations généralistes ou spécialisées en Bachelor, Master, Master of Science ou MBA

Les formations dispensées à l'INSEEC diplôment à niveau Bachelor (Bac +3 ou Bac +4) ou Master/MSc/MBA (Bac+5). Elles peuvent être généralistes ou spécialisées, elles sont dans tout les cas professionnalisantes. Les 10 spécialisations possibles sont : finance, business et commerce, marketing, sport, immobilier, communication, digital et data, luxe et vin, international, RH et santé.

L'employabilité, maître mot à l'INSEEC

Permettre à nos étudiants de trouver un emploi facilement à la fin de leurs études, tel est notre leitmotiv. Notre pédagogie valorise le rythme alterné école/entreprise via l'alternance (contrat de professionnalisation ou apprentissage), le stage en France ou à l'international et la création d'entreprise. Evénements dédiés, coaching personnalisé, enseignement professionnalisant, recrutement pour nos entreprises partenaires... Tout est mis en place pour faciliter le placement de nos étudiants en entreprise et ainsi améliorer leur CV et leur posture professionnelle.

L'International au cœur de nos formations

En plus de nos campus nationaux, les formations de l'INSEEC peuvent être suivies à l'international : Londres ou San Francisco. Echanges académiques, doubles et triples diplômes permettent également à nos étudiants de partir à l'étranger suivre un cursus dans nos établissements partenaires. Nombre de nos formations sont également accessibles en 50% ou 100% anglais, elles permettent ainsi à nos étudiants de parfaire leur LV1 et de cibler des carrières internationales. Toutes nos formations accueillent les étudiants étrangers, une aide est mise en place pour les aider dans leurs formalités administratives.

# data[].attributes.attachment_link.title
L'alliance école/entreprise, au service de l'employabilité des étudiants - INSEEC

# data[].attributes.attachment_link.description
Forte de son réseau d'alumni et d'entreprises partenaires, l'INSEEC accompagne chaque année de nombreux étudiants venant de tous horizons. En favorisant l'alternance école/entreprise, l'INSEEC leur donne les clés de la réussite professionnelle et leur permet de construire leur avenir professionnel. À l'INSEEC, nous pensons qu'alterner les périodes d'école et d'entreprise est la clé de votre future réussite professionnelle.

# data[].attributes.body
https://kedge.edu/

# data[].attributes.body
Thème 1: La recherche médicale aux USA

# data[].attributes.body
Thème 2: L'indépendance éditoriale