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Site de l'écrivain de littérature pour enfants. accès à des vidéos pour les petits.

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I was born on May 7th 1946 in a place called Harrow, Middlesex. It was on a road called Roxborough Park, near Harrow-on-the-Hill tube station. My parents told me that the night I was born, the church next door to where we lived burned down. For the first eighteen months of my life, we lived in a flat at 30A Bridge Street, Pinner, Middlesex. Then until I was 17, we lived in a flat at 6A Love Lane, Pinner. Both these two flats are still there and they are flats over the top of shops. Out the back of the shops there was a wide alleyway where all the cars, vans and lorries came to deliver the things that were sold in the shops. It was also our playground. At one end of it, there was a builders' yard where carpenters, plumbers and painters prepared the windows, doors, pipes and things for the jobs they were doing in nearby houses. Their dump was my playground too.

I went to a nursery school called Tyneholme in Wealdstone, and then first of all I went to a primary school called Pinner Wood and then, in 1954, to one called West Lodge, where I was one of the first ever pupils there. All these three schools are still there.

I was brought up by my mum and dad. When I was born, my dad was in the American Army in Germany but when he came home, he became an English teacher in secondary schools. In 1948, when I was two, my mum trained to be a primary school teacher. When they were young, my parents had been very poor - my father especially. They had been brought up in what is now called Tower Hamlets, my mum in Bethnal Green and my father in Whitechapel.

Some of their parents and grandparents were immigrants from Poland, Russia and Romania and these people spoke a language that some Jewish people speak, Yiddish. My parents sometimes spoke bits of Yiddish too, though after English, my father's best language was French. He could also read Latin.

When I was a boy, I had three grandparents: my mother's parents who lived in Sandringham Road in Hackney, London, and my father's mother who lived mostly with my father's sister in Barking, East London. My father's father lived in America and my father didn't ever see him after my father was two years old because my father's mother came back to England from the USA to live with her mother and father and aunts and uncles in a tiny house in Nelson Street, behind the Royal London Hospital in Whitechapel, London. All these people were Jews, some were religious and some weren't.

My parents were very, very, very interested in education, schools, learning and books. They were very keen that my brother and I should do well at school. But at the same time, I have to say they were very funny, humorous people who loved jokes, stories and songs. My father loved to sing songs in lots of different languages as well as saying bits of poetry or plays - especially Shakespeare. This meant that my head was full of all kinds of words and expressions.

My brother is four years older than me and he was like a third parent. Anything they taught him at school, he thought he had to teach me. He was (and still is) a very funny person too. He was very good at imitating people he knew, including our mum and dad, which he liked to do in the bedroom we shared on the top floor at 6A Love Lane.

A good deal of my poems are about my life between the ages of about 2 and 12, so I won't say much more about that now. These poems are in such books as:

Mind Your Own Business (out of print, so you'd have to find this in a library)

Wouldn't You Like To Know? (out of print, so you'd have to find this in a library)

You Tell Me (with Roger McGough) (out of print, so you'd have to find this in a library)

The Hypnotiser (my son Joe filmed me performing all the poems from this book. You can watch them all here on this site)

Quick, Let's Get Out of Here (Puffin)

You Wait Till I'm Older Than You (Puffin)

Mustard, Custard, Grumble Belly and Gravy (Bloomsbury)

Michael's Big Book of Bad Things (coming out in 2009)

There is also a book for children about me with photos of where I lived called Michael Rosen's Scrapbook (in the Treetops series, for the Oxford Reading Tree)

And finally a book for children I've written about my life called All About Me (Collins Educational, due out in 2009 or 2010)

When I was 11, I went to a school called Harrow Weald County Grammar School. My brother was there already. It was a mixed school, with a grey school uniform. While I was there, I loved doing acting and writing stories and I started to write poems. I had some very good friends, especially someone called David, who was very interested in painting and jazz. In my spare time, I loved going to an acting club called the Young Questors at the Questors Theatre in Ealing, where I learned how to act and direct plays.

When I was 17, we moved house, so I moved schools to Watford Boys Grammar School. Around this time, I thought that I would quite like to be a doctor. A friend of ours who was a doctor said that I could carry on studying English, History and French, and I could start doing all the science and medical things when I went to medical school. So that's what I did.

So I went off to the Middlesex Hospital Medical School. But I wasn't happy and I hatched a plan: if I went to the same college as my brother, it would be fairly easy to change back to doing English. So I was very lucky and got into Wadham College, Oxford. I did one more year of medical things, and then changed to English Language and Literature. All the time I was at university, I spent many, many hours writing, acting and directing plays.

This was 1965-1969. All over the world this was a time of great change. People were rising up demanding freedom and rights - whether that was African Americans in the USA, all the peoples in the old Soviet Union and all the countries nearby, or many of the countries in Africa which were still ruled from Europe. At university, I got involved in these kinds of things too. I was arrested twice: once for demonstrating against the war in Vietnam; once for demonstrating against a hairdresser in Oxford who refused to cut black people's hair.

While I was at university, I wrote a play called 'Backbone' that was put on at the Royal Court Theatre, in London. This was my first ever book.

When I finished university, I went to work for the BBC. First of all I worked on radio plays and documentaries, then I went to work for a children's programme called 'Playschool' and after that, I worked in BBC Schools Television where I wrote a programme helping very young children to learn how to read. It was called 'Sam on Boff's Island'.

My first book for children was called Mind Your Own Business and it came out in 1974. Quentin Blake did wonderful line drawings for it.

Ever since then, I've been doing these things:

writing books

writing articles for newspapers and magazines

coming to schools, libraries and theatres and performing the poems in my books

helping children write poems and stories

making radio programmes, mostly about words, language or books

appearing on TV, either reading books, or talking about books

teaching at universities about children's literature

running workshops for teachers about poetry

In any week, I might be doing all of these things! To tell the truth, I don't really know what I'm doing tomorrow, unless I look in my diary to see.

More Info

For people wanting a complete list of my books up to the end of 2019, I have compiled my own comprehensive bibliography.

A list of Radio & TV Programmes I've made

Here's a Q&A with some children from Purbrook Infants School

A short interview about green matters for the Guardian
The Green Room

A mini-profile of me from The Independent 'My first job - as a chicken-plucker'

My profile on the Penguin website

My profile on the Bloomsbury Children's Books website

My profile on the Walker Books website

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I was born on May 7th 1946 in a place called Harrow, Middlesex. It was on a road called Roxborough Park, near Harrow-on-the-Hill tube station. My parents told me that the night I was born, the church next door to where we lived burned down.

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Il y a là deux manières d'envisager les choses et donc deux manières de procéder, selon moi.

L'enseignant peut en effet considérer qu'il est nécessaire de donner un éclairage historique avant d'aborder l'oeuvre, pour mieux la comprendre, ou alors que c'est le texte lui-même qui permettra à l'élève de découvrir la période.

L'oeuvre littéraire comme emblématique d'une ère de la civilisation anglo-saxonne

Si l'on choisit d'aborder l'oeuvre littéraire comme emblématique d'une ère de la civilisation anglo-saxonne, comme une illustration en quelque sorte, on pourra alors insérer l'étude de textes littéraires dans des cours ou des séquences à problématiques civilisationnelles et en amont de l'étude du texte littéraire, et fournir ainsi aux élèves un éclairage historique en abordant le contexte de l'écriture.

Ceci ne passe bien sûr pas nécessairement par une transmission magistrale d'informations dans le secondaire, comme c'est plus souvent le cas dans le supérieur lors des cours de civilisation. On peut envisager des activités de type " webquest " en salle informatique ou des exposés à partir de consignes bien précises et orientées vers l'étude d'extraits littéraires qui suivra.

a- Prenons par exemple dans la notion du programme " L'écrivain dans son siècle ", l'exemple de l'étude d'un passage de Steinbeck. J'ai choisi un extrait du chapitre 3 des Raisins de la colère. Afin que les élèves puissent saisir toute la subtilité de la métaphore de la tortue ayant tant de difficultés à traverser cette route, puis à escalader les talus, pour finir par se faire renverser et retourner par un conducteur de camion un peu chauffard, il est bien indispensable que les élèves aient eu un aperçu du contexte de la crise des années 30 après le crash de 29, qu'ils connaissent également la situation des " migrant workers " pendant la grande tempête de 1934, le Dust Bowl. A cette lumière là, la métaphore de la tortue comme symbole de la difficulté de la vie quotidienne et professionnelle des ouvriers agricoles pendant cette première moitié des années 30 prend tout son sens, ainsi que le champ lexical de l'effort, présent dans tout le passage, ou encore celui de la douleur. (Cf lines 28 to 43).

On a donc là une illustration de la bêtise humaine avec ce chauffeur chauffard tueur de tortue, qui peut faire référence à la sur-spéculation ayant mené à la crise de 29, mais également une belle leçon sur la force de la nature, plus forte que l'homme, qui s'impose à l'homme, surtout lors des catastrophes naturelles comme celle de 1934 , puisque notre tortue survit au chauffeur chauffard.

b- Un autre exemple pourrait être celui du Great Gatsby de Fitzgerald. Un point sur les Roaring 20s, le Jazz Age, permettra de mieux analyser l'extrait que je vous propose, issu du chapitre 3. Ici il peut être intéressant d'étudier l'exubérance des fêtes organisées par Gatsby à la lumière des ces Golden 20s, en réalisant une analyse fine de l'utilisation des cinq sens par l'auteur. Les multiples références à la musique pour l'ouïe bien sûr, mais aussi le champ lexical de la lumière, avec la multitude de verbes exprimant le scintillement, (to twinkle, to sparkle, to glisten, to glimmer) présents dans le texte, l'image des paniers de fruits pour le goût, le mouvement qu'il serait aussi très intéressant de faire repérer aux élèves pour le toucher et que l'on retrouve bien sûr dans le rythme du texte. Gatsby le Magnifique permet aussi à l'élève de visualiser l'image des Flappers aux travers de descriptions détaillées, avec Daisy, même si elle n'en est pas la meilleure illustration du roman.

Voici donc comment les textes peuvent être utilisés et étudiés avec un arrière plan historique comme illustration, ou voici donc comment la civilisation permet à l'enseignant de mieux aborder l'étude d'une œuvre littéraire.

L'oeuvre littéraire peut a contrario être utilisée pour découvrir une période ou un fait civilisationnel

Nous ne sommes donc plus du tout dans la même perspective. Pour Steinbeck et Fitzgerald que j'évoquais à l'instant, les élèves avaient eu connaissance du contexte historique avant l'étude du texte car nous considérions qu'il était difficile d'aborder ces extraits et d'en saisir pleinement le sens sans avoir d'éléments historiques.

L'approche peut être tout autre. On peut en effet parfois par l'étude d'un extrait faire déduire aux élèves les connaissances civilisationnelles que nous cherchons à leur apporter.

a- Dans l'incipit de Sula, de Toni Morrison, la simple description du lieu ou se déroulera l'intrigue, ce Bottom à la nature si ambivalente, en dit long sur les relations entre blancs et afro-américain des années 20 aux années 60. On a d'emblée la nature anéantie pour un green de golf, avec des noms des plantes éliminées qui portent en eux les adjectifs " black " et " night ", contre un sport évidemment réservé aux riches et donc aux blancs (l. 1 à 3).

La ségrégation est matérialisée géographiquement dans le texte avec l'opposition entre " The Valley " et " The Bottom ", avec toute l'ironie et la critique de Morrison puisque le Bottom est en fait en haut de la colline.

On a dans ce texte donc tous les éléments qui permettront à l'élève de comprendre la situation des afro-américains dans l'Amérique des années 20-30-40...

Outre la ségrégation géographique, il y a également deux classes sociales diamétralement opposées, le mépris illustré par la blague du fermier, le rappel de l'esclavage, la douleur et la difficulté de la vie de la chanteuse noire, que l'homme blanc ignore, bien sûr.

b- Chez Andre Brink, dans A Dry White Season plus précisément, on peut faire découvrir le comportement de la police blanche Afrikaner en Afrique du Sud pendant l'Apartheid avec le court passage que je vous propose, où la femme de Gordon pleure la mort de son mari, que la police dit s'être pendu, alors qu'il a manifestement été battu à mort. (Cf lignes 13 à 18) Cet extrait pourra être déclencheur de parole et faire dire aux élèves ce qu'il savent de l'apartheid avant une étude plus poussée.

c- Un dernier exemple pourrait être celui que je vous propose chez Jane Austen. Ici la description de ce qu'est une femme accomplie pour Miss Bingley est assez éloquente et drôle, d'autant plus qu'elle essaye de séduire Darcy qui, lui, est sous le charme d'Elizabeth, elle même étant loin de la femme accomplie décrite par Caroline. On a néanmoins là une description du rôle de la femme du 19eme siècle dans cette bourgeoisie et dans cette aristocratie britannique, qui doit avoir des passe-temps bien à elle, dessiner, être cultivée mais pas trop, avec en même temps la critique de cet idéal par l'ironie d'Elizabeth. On retrouve cette idée de sphère féminine et sphère masculine, très bien évoquée par Patricia Hollis dans son ouvrage Separate Spheres. Cet texte pourra donc permettre à l'élève de découvrir cette réalité d'un milieu spécifique par lui même.

Du sens pour qui ? Enseignant ? Elèves ?

Nous avons donc pu constater que l'interaction entre littérature et civilisation fonctionne dans les deux sens. La civilisation peut se mettre au service de la littérature lorsque l'éclairage historique est nécessaire, ou du moins facilitant, pour la compréhension d'une œuvre littéraire, mais également que par la littérature, l'élève peut souvent accéder à une période, telle que la ségrégation aux Etats-Unis, ou l'Apartheid en Afrique du Sud, mais également à des faits civilisationnels, des courants, comme le statut de la femme au 19ème siècle.

Pour finir cette première partie, je voudrais maintenant insister sur le fait que la littérature et la civilisation peuvent se mettre au service l'une de l'autre, et que bien sûr cela peut avoir du sens pour l'enseignant, qui utilisera alors parfois des textes littéraires pour illustrer une ère du monde anglophone, mais que cela sera également utile pour l'élève qui enrichira ses rédactions, ou ses oraux au niveau bac, ou ses dissertations et interrogations orales plus tard.

Quand je vous parlais de Jane Austen il y a une minute je vous disais que ce simple extrait permettait à l'élève de découvrir le rôle des femmes de la bourgeoisie aisée au 19e par lui même.

On notera donc pour conclure que les extraits littéraires ont souvent des vertus plus marquantes que les extraits de manuels de civilisation. L'élève, sur le statut de la femme et la vie des esclaves, retiendra avec aisance l'ironie et l'humour du discours/poème de l'esclave émancipée et porte parole des abolitionnistes Sojourner Truth lu pour la première fois en 1851 et intitulé " Ain't I a woman ". Ce texte est encore plus marquant si on l'écoute (Alice Walker, l'auteur de La Couleur pourpre, elle même féministe engagée, en fait une très belle lecture que l'on trouve facilement en ligne).

De la même manière, sur les Suffragettes en Grande Bretagne, on pourra choisir de faire étudier un passage de Falling Angels de Tracy Chevalier. Dans ce passage, on a à la fois le vécu des femmes au travers de l'histoire de cet homme respectable qui touche l'arrière train de Lavinia sans aucune gêne, et la panique qui suit pour Maude et pour Lavinia elle même. On a également la présence d'un personnage historique, Emmeline Pankhurst. L'intérêt de faire étudier ce passage dans lequel l'auteur fait parler Pankhurst est bien sûr le fait que le lecteur intériorise les sentiments et les actions du personnage. C'est là toute la magie de la fiction, et là encore donc, cela peut avoir un effet marquant pour l'élève. Il pourra d'ailleurs s'avérer intéressant de faire lire les " acknowledgements " aux élèves dans laquelle l'auteur nous dit : " Similarly, I have toyed with a few details in the suffragettes' history in order to bring them into the story. I have taken the liberty of putting a few words into Emmeline Pankhurst's mouth that she did not actually say, but I trust I have kept to the spirit of her numerous speeches ".

Voilà pour ce qui est de la stratégie " marquer l'élève pour l'enseignant ". C'est un peu terre à terre certes, et d'aucun diront que l'on dénature l'oeuvre littéraire en ne l'utilisant que comme illustration d'un propos concernant tel ou tel événement, mais pour aller encore plus loin je dirai qu'il est aussi fort stratégique pour l'élève d'utiliser des citations des textes étudiés en classe dans ses essays, et je pense que nous nous mentirions à nous même si nous n'admettions pas que ces essays là sont très agréables à lire !

Je viens donc de vous présenter ce que j'entendais par l'interaction entre littérature et civilisation en classe de langue et plus particulièrement en cours de LELE. J'aimerais ajouter que cette interaction ne me semble pas suffisante pour que l'élève puisse se construire une représentation mentale riche des périodes qu'il nous intéresse d'étudier avec eux. Je cite en effet le bulletin officiel : " L'enseignement spécifique de littérature étrangère en langue étrangère vise à développer le goût de lire et à augmenter l'exposition de l'élève à la langue en lui donnant accès à un certain niveau d'abstraction et de subtilité.
Les grands mouvements littéraires, parce qu'ils rejoignent les moments esthétiques, philosophiques et politiques, inscrivent la littérature dans le cours général de l'Histoire. Ils permettent de situer les œuvres et les auteurs dans une société vivante, et dans une chronologie porteuse de sens. "

Pour ce faire, pour que l'élève puisse situer les textes, les auteurs et leurs œuvres dans une société vivante et dans une chronologie porteuse de sens, il me semble très pertinent d'utiliser les regards croisés sur un même événement, une même période, un même fait.

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La clé des langues - Anglais - Littérature et perspectives civilisationnelles

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" It takes a great deal of history to produce a little literature ", écrit Henry James, et le sujet qui nous intéresse aujourd'hui est celui de la corrélation entre littérature et civilisation en cours de Langue vivante, à savoir l'appréhension de la civilisation dans des cours à problématiques littéraires, tout comme l'exploitation possible de la littérature dans des cours à problématiques civilisationnelles.

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interviews (articles) with contemporary authors

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interviews (articles) with contemporary authors

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Barnes & Noble

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Barnes & Noble

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Le centenaire de la bataille de la Somme

L'année 2016 a marqué après 2014 le deuxième temps fort des commémorations du centenaire de la Première Guerre mondiale. À cette occasion, 300 jeunes Français et 300 jeunes Britanniques ont participé à la cérémonie du 1er juillet 2016 au Mémorial de Thiepval.

Shakespeare et son œuvre

Shakespeare Lives 2016

Shakespeare Lives est un programme international célébrant l'œuvre de Shakespeare et son influence sur la culture, l'éducation et la société. Il a été lancé à l'occasion du 400ème anniversaire de la mort du dramaturge. Il est mis en œuvre dans plus de 140 pays et permet de participer à des projets en ligne, d'accèder à des ressources éducatives et d'assister à des nouvelles productions des pièces de Shakespeare, des projections de films, des expositions et des lectures publiques.

Dans ce cadre, le British Council et la Royal Shakespeare Company ont développé des ressources pédagogiques.

Voir le dossier pédagogique en français proposé aux enseignants sur les thèmes suivants :

Leadership et pouvoir : naît-on leader ou le devient - on ?

Familles et relations : les parents ont-ils toujours raison ?

Identité et égalité : tous les individus naissent-ils égaux ?

Destin et destinée : les individus ont-ils le contrôle de leur avenir ?

Justice et règles : sans règles, serait-ce le chaos ?

Voir le dossier pédagogique en anglais sur les mêmes thèmes :

Leadership and Power: Are leaders born or made?

Family and Relationships: Do parents always know best?

Identity and Equality: Are all people born equal?

Fate and Destiny: Do people control their own future?

Justice and Rules: Would there be chaos without rules?

"Science in Schools"

Le programme "Science in Schools" associe langues et sciences. Il consiste à accueillir des chercheurs britanniques chargés d'animer en anglais des ateliers scientifiques à l'école, au collège et au lycée. Des ressources numériques dédiées ont été créées. L'objectif est d'offrir aux enseignants des ressources utilisables avant, pendant et après l'atelier.

Les objectifs du programme :

sciences : présenter aux jeunes une image positive de la science ainsi que des métiers de la recherche ;

langues : permettre aux jeunes d'entendre et d'employer la langue anglaise dans un contexte "réel" et international ;

manipulations scientifiques : les ateliers pratiques rajoutent un élément concret à l'apprentissage des sciences et de l'anglais.

Ressources pédagogiques

Sont accessibles pour le second degré :

une banque de ressources numériques provenant des universitaires et équipes de chercheurs partenaires

des documents d'accompagnement (ex. des fiches d'activités élèves et enseignants)

des exemples de productions d'élèves

des entretiens avec des chercheurs.

Chaque lien ouvre sur une page récapitulative présentant les objectifs de la séquence, l'âge des élèves, les disciplines concernées et la préparation nécessaire

Atelier électricité

Au mois de mars 2014, l'Académie de Dijon a accueilli un atelier "Science in Schools" sur l'électricité à travers les effets de la foudre sur les carlingues d'avion.
Voir le dossier pédagogique de cet atelier qui comprend :

Trois clips vidéo

Trois plans de leçon pour accompagner chaque vidéo

Trois fiches d'activités pour travailler autour des vidéos

Pour d'autres exemples de mise en œuvre de ces ateliers dans les différentes académies, vous pouvez consulter la page "Science in Schools"

Vous pouvez également consulter la rubrique "Enseigner les langues vivantes"

"The World's Largest Lesson"

Lutter contre le changement climatique. Éradiquer l'extrême pauvreté. Mettre fin aux inégalités et à l'injustice.

Le 25 septembre 2015, 193 dirigeants de la planète se sont engagés à atteindre les 17 objectifs du millénaire pour le développement durable. " La plus grande leçon du monde " s'inscrit dans ce contexte et a pour objectif de sensibiliser les élèves de 8 à 14 ans à ces thématiques. Des ressources pédagogiques disponibles en plusieurs langues accompagnent cette initiative qui a lieu annuellement à la mi-septembre (semaine du 18 septembre) :

Toutes les informations, les documents et vidéos sont disponibles sur le site dédié
Exemples de projets de coopération éducative entre établissements

Le Ministère de l'éducation nationale a signé des accords de coopération avec les ministères en charge de l'éducation en Angleterre et en Écosse. Ces accords donnent un cadre institutionnel et juridique dans lequel les professeurs et les élèves français et britanniques développent des liens participent à des projets interdisciplinaires innovants et enrichissants.

Bénéficier d'un soutien financier pour vos projets scolaires franco-britanniques

Inscrire une dimension européenne et internationale dans les programmes scolaires et les apprentissages est une ambition partagée par les deux pays. Les bourses Lefèvre et Charles de Gaulle financent des projets de visites réciproques et un travail collaboratif tout au long de l'année entre des établissements partenaires.

- Les bourses Lefèvre s'adressent aux collèges et lycées pour des projets de mobilité de groupes d'élèves entre 11 et 19 ans.

- Les bourses Charles de Gaulle concernent la mobilité de jeunes entre 17 et 19 ans dans le but d'acquérir des compétences transversales favorisant l'employabilité. Elles visent particulièrement les sections technologiques et professionnelles.

Pour en savoir plus bourses de mobilité Lefèvre et Charles de Gaulle.

Shakespeare revisité

Le Collège Flora Tristan de l'académie de Toulouse et le South Holderness Technology College de Hull ont travaillé sur Roméo et Juliette, joué la pièce sur scène et réalisé un film bilingue.

Une séance d'aviron

Les élèves du collège George Sand de l'académie de Grenoble et de Haygrove School ont travaillé pendant un an sur un projet en géographie (environnement, géologie) et en histoire (légende du Roi Arthur et de la Table Ronde).

Durant leur visite en France, les groupes d'élèves ont notamment réalisé un film en commun faisant le bilan de l'échange notamment de la séance d'aviron bilingue.

Création d'un audio-guide

Dans le cadre du partenariat franco-écossais entre le Lycée Le Pince Ringuet, académie de Lyon et Breadalbane Academy en Écosse, Les élèves français ont réalisé, à l'attention de leurs correspondants écossais, un audio-guide en anglais du musée de la soie et des traboules de la Croix-Rousse.

La base de données "Classroom Resources"

Cette base de données destinée à soutenir la coopération éducative entre établissements propose de nombreuses activités, plans de cours et de séquences pédagogiques classés par thème, par âge et par mot clé.

Vous trouverez des dossiers complets en anglais sur des sujets aussi variés que Dickens, la Grande Guerre, le climat, le sport, le théâtre, la citoyenneté ...
Pour en savoir plus
Opération "Rivers of the World"

Le projet " Rivers of the World " piloté par la Mairie de Londres en liaison avec le British Council et l'académie

de Paris a associé arts plastiques et langue étrangère. Des collèges parisiens ont travaillé avec des établissements du grand Londres à la réalisation, avec le conseil d'une artiste britannique, de toiles géantes sur le thème de la rivière exposées le long de la Tamise et dans les mairies des 6ème, 13ème et 19ème arrondissements de Paris. L'ensemble des œuvres des participants ont été exposées au parc de Bercy à Paris en juin 2011 pour la fête de l'eau en partenariat avec la Mairie de Paris. Treize pays ont participé à cette opération.

Les collèges Claude Chappe, George Sand et Montaigne (œuvres de droite à gauche ci-contre) ont exposé une œuvre commune sur le thème de la France lors de la cérémonie de clôture des jeux olympiques de Londres en juillet 2012.

Des ressources pédagogiques dont un guide sont disponibles pour permettre aux établissements qui le souhaitent de s'inspirer de ce travail qui allie "langue et arts".
Pour en savoir plus sur l'opération "Rivers of the World"
.

Conférence franco-anglaise des jeunes

Les Accords de Paris signés par les ministres français et anglais de l'Éducation se donnent pour objectif d'intensifier la coopération éducative entre les deux pays, notamment en prenant l'initiative d'échanges et de partenariats scolaires. La conférence annuelle des jeunes est un des temps forts de cette action.

Entre 2004 et 2010, ces rencontres étaient organisées au niveau national sur les thèmes suivants. :

2004 : " L'identité européenne : mythe ou réalité ?"

2005 : " L'engagement citoyen"

2006 : " L'esprit d'initiative, le goût d'entreprendre"

2007 : " Sports, médias et éthique"

2008 : "Le changement climatique "

2009 : " Changement climatique et médias"

2010 : " Le changement climatique et l'eau "

Depuis juin 2010, ces conférences sont régionales et organisées par les académies et Local Authorities partenaires.
Pour en savoir plus sur la conférence 2010 et toutes les conférences depuis 2004
L'académie de Grenoble organise régulièrement une conférence "Munga" (Model United Nations General assembly) avec Oxford depuis février 2010. Pour en savoir plus

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L'année 2016 a marqué après 2014 le deuxième temps fort des commémorations du centenaire de la Première Guerre mondiale. À cette occasion, 300 jeunes Français et 300 jeunes Britanniques ont participé à la cérémonie du 1er juillet 2016 au Mémorial de Thiepval.

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We know that students learn best when they are truly engaged in what they are learning, when they have the opportunity to explore, debate, discuss, examine, defend, and experiment with the concepts and skills they are ready to learn.

Students learn best when instruction is:

Appropriately Challenging

Kids (and adults!) learn best when they start at their current level of understanding and are challenged - with support (teacher, peers, materials, etc.) - just beyond what they are comfortable doing on their own. (See Zone of Proximal Development)

The student's background knowledge and current skill level are more important than their age/grade level in determining what they are ready to learn.

Use a variety of data (assessment scores, classroom performance, etc.) to identify what each student is ready to work on and plan instruction accordingly, modifying content or activities as needed. Use daily informal formative assessment strategies to monitor student progress and verify that students are demonstrating a gain in understanding of the skills and concepts.

Based on Real-World Problems and Situations

Students need to understand how the skills and concepts they are learning fit into their lives. When will they need to use decimals? How does democracy affect them? How will they benefit from being able to better understand what they read? Connect the skills and concepts to things that already know. Make them relevant.

Purposeful

You (and your students) should be able to explain the purpose of each activity or assignments. Why is it worth spending time on? What are they expected to learn?

Meaningful and Interesting

We shouldn't be waiting until spring before we begin the "fun" activities. We know that these activities are the ones that students love, that they remember.

Use engaging activities all year:

Use science experiments to practice math skills

Use interesting current events or social studies projects to work on reading and language

Use art projects to practice math concepts such as ratio, proportion and patterns

Get kids moving!

Working on measurement? Go outside and measure how far kids can jump, how fast they can run. Measure shadows, the diameter of a light post, the distance around the building.

Talking about point of view? Have students stand on their chairs.

Reading out loud? Have students stand up and walk around the classroom in a circle as they read along.

Practice vocabulary or math facts as students walk, one per sidewalk square or stair step.

Kids will learn the basic skills better when they have the chance to practice them in a meaningful, interesting context... And these types of activities make teaching more fun and fulfilling, and make school a more pleasant place to be.

Remember: No one instructional method will work for all students, for all teachers, or in all subject areas. Think of these ideas as places to start in figuring out what works most effectively for you and your students.

Strategy Ideas:

Alternative Assessments:

"Assessment" can refer to end-of-unit tests or projects, quizzes and graded class assignments as well as informal progress checks throughout each day

Wide variety of possibilities, including:

Use of different checklists or rubrics, or similar rubrics with adapted scales

Use of different tests/assessments

Adapt existing test/assessment so that specific parts of the test only have to be completed by specific groups of students

Allow a student to respond to test questions orally instead of in writing, or typing on a computer instead of writing by hand

Allow a student to respond by demonstrating the skill (For example, a student may use a light bulb, battery and some wire to build an electric circuit rather than drawing a diagram or writing a paragraph about it.)
Assess what is most important for the student to know. Is is more important that he know what a circuit is or more important that he can write a description?

Minimal Prep Time Version: Include as part of the assessment several questions of varying complexity or focused on different aspects of the concept, and then allow students to make some choices about which ones they answer. (Example: Students are required to answer question 1 but can choose from questions 2-4 for their second response.)

Anchor Activities (or Sponge Activities):

Prep Time Varies; Monitor Progress, Work Together, Share Ideas & Opinions, Take Notes

Designed for students to work on either immediately at the beginning of class time or after their class work has been completed, so that their instructional time is maximized

Possibilities include:

Have students respond in writing or out-loud with a partner to a question on the board about the previous day's lesson

Have students draw a graphic organizer to be used for notetaking later in class

Provide students with notes or vocabulary to copy for use as a reference during the day's lesson

Beneficial for classroom management as well as instruction

Intended to extend or deepen understanding of a concept or skill, not just to be busy work

Resources, Examples and More Information

Appointment Clocks:

Requires Some Prep Time; Form Groups, Get Moving!, Work Together

Used to quickly put students in pairs or small groups

Make a copy of the clock for each student. The names of other students go at each hour mark around the clock so that asking students to find their "1 o'clock" partner puts the students in pairs, for example.

Allow students to choose partners for some times on the clock, but decide some of the partners ahead of time so that you know, for example, that the 2 o'clock partners are students with similar skills in reading or that the 5 o'clock partners have similar interests.

Centers (or Stations):
More Prep Time Required; Work Together, Adapt Content, Share Ideas & Opinions

Centers can be used to arrange various activities and assignments by level of difficulty or by interest.

By Academic Skill Level: Set up 3-4 experiments that deal with the same concept, but that vary in complexity. Lower-level students may work on the experiment with fewer steps while higher-level students work on a more complicated task.

By Learning Style: Set up stations focused on the same concept but designed for different modalities. Auditory learners may listen to a recording of text while visual learners examine maps and posters and kinesthetic learners use manipulatives.

By Interest: Set up stations focusing that provide additional information about and enrichment of specific components of the concepts being studied. Allow students to choose which component they spend their time working on.

Choice Boards:

Options posted for students to choice from after they have completed their classwork. Choices can be individualized based on student need or interest.

Helps with classroom management because students know what their choices are; less time wasted.

Print choices on cards and glue magnets on the back so the choices can easily be put up or taken down based on what's appropriate for the time available (ie., if student works requires a quiet room, choices may be limited to "silent reading" or "work on homework," etc.

Six commands or questions, written on the sides of a cube. Students roll the cube and respond. Cubes may be used to differentiate by readiness or interest.

Ideas:

Describe, Compare, Contrast, Apply, Predict, Imagine - Use with any two or three things/concepts/ideas (people from history, current events, mathematical formulas, elements from the periodic table, geometric shapes, countries, chocolate bars - the possibilities are endless!

Who, What, When, Where, Why, How - Have students come up with questions about a current topic of study. Students can exchange questions with others to answer.

Sample Cubing Lesson: Primary Reading - Concepts of Print

Create two or three different cubes, each with questions at different levels of complexity. Assign students to work in small groups and respond (on paper or out loud) to the questions on their assigned cube.

Use to determine where each student will start when rotating through multiple activities, to randomly create student groups for an assignment

Minimal Prep Time Version:Write the six commands/questions on the board, numbered 1-6. Have the students roll a dice to determine which one to respond to.

Curriculum Compacting:

Used for individual or small groups of students with advanced knowledge of the concepts or skills to be studied

Identify the skills or aspects of the concepts with which the students are already proficient. Spend less time on those parts of the curriculum, allowing the students to focus on what the really need to learn and understand.

Exit Ticket/Ticket Out the Door:

At the end of a class period ask students to take out a piece of scrap paper, or hand out blank index cards (keep a stack readily available) and ask students a question related to that day's lesson. Students write their responses on the paper or index card which they then hand to the teacher at the door as they leave the classroom.

See "Reflection and Response" for question ideas

Use the student responses to determine if they need additional practice on the skill/concept

Student responses may be used to create small groups for the next day's lesson - grouping students with similar levels of understanding of the skill/concept or with similar (or differing) opinions or views on the topic

On each wall of the classroom, post signs that say: "Strongly Agree," "Agree," "Disagree," "Strongly Disagree"

Present students with a statement related to a concept or topic currently being studied

Have students respond to the statement by moving and standing under the sign that represents their opinion

Give the students 1-2 minutes to discuss with in their groups why they chose that place to stand

Optional: Have students partner with someone from another side and try to persuade them to change their opinion

Small groups for an activity can be formed by having the students work with the others who chose the same side or by taking one person from each side to create groups of four with differing viewpoints.

Grade as You Go:

Use with classwork involving repetitive practice, such as a math or language worksheet

As students work (alone or with a partner), circulate around the classroom checking answers on the students' work. Mark correct answers on their papers with the tip of a colored marker (Crayola "Stampers" work particularly well).

Benefits:

Students get immediate feedback on what they are doing correctly.

Students can go back to the answers that weren't correct and try again. (This works well when the students are in partners; they can talk through what they've done and help each other.) Identifying their mistakes now will help reduce the chance of repeating the same mistakes again later.

If students are struggling, they will know that their answers aren't correct sooner rather than later and can work to identify the mistakes they're making instead of spending the class period repeatedly getting the problems wrong (and potentially reinforcing the incorrect way to solve the problem).

If a student is working quickly and getting all of the problems correct (demonstrating a good understanding of the skill), you may choose not to require him to complete the assignment, but to move on to something else instead.

You will know right away if the class as a whole is ready to move on to the next skill.

When the assignments are turned in, they're already graded!

Heads Together:

Works especially well for students already working in small groups, especially if they are sitting at a table or cluster of desks together

How It Works:

1. Present a question to the class. Announce "Heads Together!"

2. Students stand up and lean in toward the others in the small group - literally heads together!

3. In their group, students discuss answers to the question

4. After a minute or two, announce "Heads Apart!"

5. Students end their discussion and sit back down.

6. Follow up with whole group discussion and continue with the lesson.

Benefits:

Every student participates

Standing up - that little bit of physical activity - can be enough to increase student engagement and get their focus back on the work at hand

Leaning together helps keep the noise level down while so many student groups are having conversations at once

Can be used as needed with no prior planning - If a lesson is dragging, if students are distracted, tired, or not paying attention, use this strategy to get them back on track and refocused.

Homework Options:

Prep Time Varies; Monitor Progress, Adapt Content

Assign homework based on a student's level of readiness. All students may be working on the same concept or skill, but are assigned homework of varying level of difficulty.

Another option: Students may be given assignments focusing on different skills, based on their individual needs, to give them a chance to practice the skills each student needs most.

Works well with small groups needing to cover large amounts of material

Divide the material to be covered in 3-5 parts. Put the same number of students in each small group. One student is each group is assigned to cover one of the parts of the materials. The student's job is to become the "expert" on their portion of the material so that they can then share what they've learned with the rest of their group.

1. Students read their assigned material independently

2. Students meet with those from other groups that read the same material to discuss what was most important and what needs to be taught to their groups. (optional)

3. Students meet with their small groups and to share what they've learned with each other. Follow with whole group discussion of the most important points.

Columns: "What I Know," "What I Want to Know," and "What I Learned"

Can be used at the beginning of a unit to assess students' background knowledge and interest in the topic, or it can be used at various points throughout the unit to assess student progress. Students can track their own progress and help determine what they most need to work on next.

Learning Contracts:

Works well with individual students or small groups in need of a challenge

Detailed list of directions and assignments for the student to complete within a set period of time. Teacher and student work together to establish contract requirements and due dates. Can be effectively used to develop goal-setting.

Can be used to practice time-management as well. Provide students with a blank calendar have students schedule days/class periods when they will work on each part of the contract in order to meet the final due date. Students working on the same part of the contract during the same class perdiod may have the option of working togther.

Literature Circles:

Requires Some Prep Time; Compare & Contrast, Form Groups, Get Moving!, Work Together, Adapt Content, Share Ideas & Opinions

Small groups of students, arranged by readiness level or interest, reading and responding to a novel together

Idea: The whole class may be reading novels by the same author or that have similar themes, but each literature circle group has a novel that is specifically appropriate for them. This allows for whole group discussion as well as small group work.
A few times a year, allow students to choose their own groups. Present them with the novels to be studied for a particular unit (basic plot summary, reading level, book length, etc.) and let students choose which book they are each most interested in. They'll then work with others who chose the same book.

Encourage groups to move their desks into a circle, to sit together on the floor or to otherwise move out of their normal seating to encourage discussion and an emphasis on actively working as a learning team instead of more passively listening to a teacher

Menus (or Agendas):

List of assignments, activities, or projects a student will work on during a set amount of time (ie. one class period, one week, one unit). Students may choose the order which they complete the work.

"Main Course" Items: Assignments that the student is required to complete

"Side Dish" Items: Students choose 2-3 assignments from a list of options

"Dessert" Items: Optional items that students may choose for additional enrichment or practice

Agenda format may be structured more loosely, such as the low-prep example below

Like Learning Contracts, Menus/Agendas can be used to practice time-management as well. Provide students with a blank calendar have students schedule days/class periods when they will work on each part of the contract in order to meet the final due date. Students working on the same part of the contract during the same class period may have the option of working together.

Materials/Resources: Reading Agenda - Novel Study (Word)

Mini White Boards:

Provide each student with a small white board (10-12 inches square), a dry erase marker and a tissue (to wipe the board clean between questions). Ask a question or write a problem on the board. Ask students to respond on their white boards, which they hold up once they have an answer written.

Can also be used for questions based on opinion or that potentially have multiple right answers. After students hold up their answers, have them find a partner with a different answer. Give them each one minute to explain to their new parters why their own answer is the right one. Have the students come back together and discuss any changes in opinion.

Or, have students form small groups with others who gave the same or similar answers. Use these student groups for the day's lesson.

Benefits:

You will get immediate feedback about which students understand the concept or skill and which students may need some additional support.

All students participate. Holding up the answers increases the accountability and engagement for everyone.

Materials/Resources:

Cheaper White Boards: At your local home improvement store, buy a large, plain white piece of the material used for shower walls. Ask to have it cut into 10-12 inch squares (enough to have a class set). Cheap, but they can last for years.

Another Option: Instead of a white board, use a heavy-duty, clear page protector with white cardstock inside. As a bonus, you can layer the plain white cardstock with graph paper, a black-line master of a map, or a copy of whatever students need for the skill they're practicing.

Orbitals (Independent Study Projects):

3-4 week independent study projects intended to provide enrichment

Effective for use with individual students who have already mastered the concepts the class will be working on. Provides an opportunity for them to focus on a part of the concept or separate topic of particular interest to the student (possibility something he or she is passionate about). Allow the student to share with the class what he or she has learned at the conclusion of the project. For example, while the class studies the Civil War, a student who is already very knowledgeable about that war might focus on specific details related to a particular battle or person involved.

Question Choices:

Requires Minimal Prep Time; Monitor Progress, Form Groups, Adapt Content

During whole group discussions, include questions that everyone in the class is able to answer, as well as more complex questions that only a few students may be able to answer. Adjust the difficulty of the questions depending on which student will be called on to respond.

Also see Alternative Assessment Minimal Prep Time Version

Reading Buddies:

Pair each student with another of a different reading level (low with medium, medium with high) for partner reading and discussion

Also, pairing upper grade students with lower grade students, such as having a fourth grade class buddy up with a first grade class, provides reading practice for all students and can be fun and motivating for both groups.

Reflection and Response:

Provide opportunity for students to respond and reflect on day's learning. Helps you to know where they stand for planning next lessons. Increases memory retention for students.

Keep a stack of blank index cards on hand to give to students at the end of class. Have students respond on the card to something from the day's lesson.

Ideas:

Draw a sketch that demonstrates _______________ (a key concept from that day's lesson)

What one thing from today's lesson would you like to know more about?

What one thing from today's lesson did you find most interesting?

Ask a question from the day's lesson content.

Ask a question that requires higher-level thinking or connections to "real-life":

Which of the generals leading this battle showed the most bravery? Why?

How would this math skill would be used in science? in cooking? in construction?

Which of these people/ideas/concepts/events is the most important/useful/worth remembering? Why?

Scaffolding:

Works well with individuals and small groups when working on instruction of specific skills

Identify specific levels of complexity within the development of a particular skill/concepts. Match students, by ability, with the appropriate level of skill; students at the same level may work in flexible groups. The goal is to have each student move up at least one level.

Sticky Note Graphs:

Give each student a small stack of sticky notes (5-10 notes, depending on how many responses you anticipate)

Present students with a question related to the content. Questions with multiple correct answers or that ask for opinions or votes work well.

Students write one answer or response on each sticky note

Question Ideas:

Which animal is most important to sustaining the jungle ecosystem?

What are your three favorite books that you read last year?

What activities should we plan for our class picnic?

The Process:

After students finish writing their answers, have them place all of their sticky notes in a designated spot on a wall or white board.

Students work together to find and group sticky notes with the same or similar answers (stick the notes in clusters or in lines to create a bar graph)

Discuss which responses where most common and why

Optional: Leave the sticky notes on the wall during additional lessons on the concept/topic. After students have learned more, have give them the opportunity to change their response (and have them explain their reason for wanting to change their answer).

Think-Tac-Toe:

Requires More Prep Time; Compare & Contrast, Form Groups, Work Together, Adapt Content, Share Ideas & Opinions, Take Notes

Nine commands or questions, arranged like a tic-tac-toe board. Students choose three to complete, creating a row vertically, horizontally, or diagonally.

Student choice allows for differentiation by interest and/or learning style. Think-tac-toe boards for different levels of readiness can also be created and given to different groups of students.

Students may also be given choices as to which assignment square they complete during a particular class period. Students who choose the same assignment may form a small group for that day.

Materials/Resources: Think-Tac-Toe for middle grade novel study - 2 Levels (Word)

Think-Pair-Share:

Requires Minimal Prep Time; Monitor Progress, Compare & Contrast, Work Together, Share Ideas & Opinions

Provides opportunities for all students to respond and be involved during whole group discussion

1. Ask a question or propose a problem

2. Students first think of an answer or idea on their own (2-3 minutes)

3. Next, students share, and possibly revise, their responses by sharing with a partner

4. Then open discussion to the whole group to share and compare answers and ideas

Tiered Activities:

3-4 different activities of different levels of complexity and difficulty, but with a common goal or end result. For example, different groups of students may be working on science experiments of different levels of difficulty, but all with the purpose of learning about the food chain.

1. Begin by planning the mid-level activity, what you might normally plan for your whole class.

2. Then add a level of difficulty or complexity to make the same lesson more challenging for higher-level students.

3. Simplify or add resources to the original activity to better meet the needs and fill in any learning gaps for lower-level students.

Students may work in small groups with others at the same level for a particular lesson or throughout a particular unit.

Tiered activities can lead to effective whole group discussion and comparison of results.

Minimal Prep Time Version: Some curriculum come with leveled workbooks. There may be a "Reteaching" workshop that explains a skill step-by-step, a "Practice" workbook that provides problems to solve related to the skill, and an "Enrichment" workbook that extends the skill in some way. Assign students to the appropriate workbook page so that every student can practice the same skill at his or her own level of readiness. Or, briefly describe the assignments and then let the students choose which level they'd like to complete; their choices may provide some insight into their comfort level with the skill.

Tiered Rubrics:

2-3 rubrics are developed for one project, and given to students based on readiness. This provides all students with appropriate skills to focus on and a chance to be successful.

Ideas:

Include the same categories, but adjust the point value and/or required elements, or

Add additional categories or requirements to increase the challenge and take off or reduce the requirements (leaving only on what's most important for them to learn) for kids needing assistance

Use rubrics with increasing difficulty or requirements over successive projects as a means of identifying areas of student growth

Varied Organizers:

Provide 2-3 organizers of differing complexity

Example:

Students needing more guidance may be given a ready-to-use organizer with blanks for them to fill in.

Students ready for more independence may be given an incomplete organizer that requires them to fill in blanks as well as adding detail.

More advanced students may be given only a basic framework for the organizer (or a blank piece of paper) which they complete on their own.

Varied Products:

Possibly the easiest way to differentiate

Allow students to make choices about how they demonstrate what they've learned, whether they write an essay, make a poster, or act out a scene.

Be clear about your expectations, possibly using a rubric; then allow students to meet the requirements in their own way.

This also works well when you have limited resources because not all students need to same materials and equipment at the same time.

Varied Texts:

Provide resources at a variety of reading levels that provide students with information about the skill or concept being studied

Assign reading material to students based on skill level, or allow them to choose the text they are most interested in. Put students in small groups with other students reading the same material.

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Design for Deer Hunting Mural in the Cabaret Theatre Club, 1912, oil & chalk on paper by Spencer Gore (1878-1914), photo credit: Yale Center for British Art

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The Scottish Poetry Library is a unique national resource and advocate for the art of poetry, and Scottish poetry in particular.

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Idées de tâches finales et intermédiaires

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Idées de tâches finales et intermédiaires

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pistes pédagogiques, vidéos (Shakespeare et autres auteurs)

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Trailers, interviews and audience feedback

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A. Jambin IA-IPR

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Page non trouvée | Site des langues vivantes

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summaries, videos

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Exam board content from BBC Bitesize for students in England, Northern Ireland or Wales. Choose the exam specification that matches the one you study.

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travail de groupe, organiser ses idées

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poèmes enregistrés, articles

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The Poetry Archive needs your help to remain free-of-charge

Our supporters are very special people. They are poetry lovers who want to help others to share in the transformational power of the written word by ensuring the Archive can remain free-of-charge for everyone. We now attract over 5 million visits per year from teachers, children, poets and people just like you. If you can, please consider making a donation, signing up to our Insider, or becoming a Member today. Thank you!

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The Poetry Archive needs your help to remain free-of-charge Our supporters are very special people. They are poetry lovers who want to help others to share in the transformational power of the written word by ensuring the Archive can remain free-of-charge for everyone.

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Louisiana Channel

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Pola Oloixarac: Literature Between Pain and Pleasure

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"Sensual literature lets you feel the character's heartbeat..."

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News for Students and Teacher Resources
7–12 Grade Level (several subject areas available)

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The Journalism in Action website allows students to investigate the role journalism has played in U.S. history and what it means to have a free press.

Using the Library of Congress' databases, students analyze primary sources ranging from Civil War photographs to broadcasts of the Watergate hearings.

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poetry Archives - PBS NewsHour Classroom

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The Journalism in Action website allows students to investigate the role journalism has played in U.S. history and what it means to have a free press. Using the Library of Congress' databases, students analyze primary sources ranging from Civil War photographs to broadcasts of the Watergate hearings.

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séquence sur la littérature gothique

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Site d'Anglais de l'Académie de Grenoble

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CONTACTS Responsables de publication Marylène DURUPT, IA-IPR et Alain GIRAULT, IA-IPR marylene.durupt@ac-grenoble.fr alain.girault@ac-grenoble.fr Webmestre : Anne COOK webmestre.anglais@ac-grenoble.fr Rectorat de Grenoble 7 Place Bir Hakeim, 38000 Grenoble Tél : 04 76 74 70 00

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biographies, mouvements littéraire, poèmes en ligne classiques et contemporains

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Find the best poems by searching our collection of over 10,000 poems by classic and contemporary poets, including Maya Angelou, Emily Dickinson, Robert Frost, Juan Felipe Herrera, Langston Hughes, Sylvia Plath, Edgar Allan Poe, William Shakespeare, Walt Whitman, and more. You can even find poems by occasion, theme, and form.

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Idiot, The
by Fyodor Dostoevsky

Island of Doctor Moreau, The
by H. G. Wells

Jane Eyre
by Charlotte Brontë

Jungle Book, The
by Rudyard Kipling

Kidnapped
by Robert Louis Stevenson

Lady Chatterly's Lover
by D. H. Lawrence

Last of the Mohicans, The
by James Fenimore Cooper

Legend of Sleepy Hollow, The
by Washington Irving

Les Miserables
by Victor Hugo

Little Women
by Louisa May Alcott

Madame Bovary
by Gustave Flaubert

Merry Adventures of Robin Hood, The
by Howard Pyle

Metamorphosis, The
by Franz Kafka

Middlemarch
by George Eliot

Moby Dick
by Herman Melville

Northanger Abbey
by Jane Austen

Nostromo: A Tale of the Seaboard
by Joseph Conrad

Notes from the Underground
by Fyodor Dostoevsky

Of Human Bondage
by W. Somerset Maugham

Oliver Twist
by Charles Dickens

Paradise Lost
by John Milton

Persuasion
by Jane Austen

Picture of Dorian Gray, The
by Oscar Wilde

Pollyanna
by Eleanor H. Porter

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Idiot, The by Fyodor Dostoevsky Island of Doctor Moreau, The by H. G. Wells Jane Eyre by Charlotte Brontë Jungle Book, The by Rudyard Kipling Kidnapped by Robert Louis Stevenson Lady Chatterly's Lover by D. H.

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[Collection] [Contact & Donations] [Agreement] [Poetry] [Short Stories][Novels][About]
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Annabel Lee
by Edgar Allan Poe; read by Benjamin Greene
Danny Deever
by Rudyard Kipling; read by Jane Aker
A Dream Within a Dream
by Edgar Allan Poe; read by Benjamin Greene
Goblin Market
by Christina Rossetti; read by Jane Aker
Ode to the West Wind
by Percy Bysshe Shelley; read by Argos MacCallum
Rime of the Ancient Mariner
by Samuel Taylor Coleridge; read by Jane Aker
To the Virgins to Make Much of Time
by Robert Herrick; read by Argos MacCallum

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Collection] [Contact & Donations] [Agreement] [Poetry] [Short Stories] [Novels] [About] [Children's Stories] [Historical] Annabel Lee by Edgar Allan Poe; read by Benjamin Greene Danny Deever by Rudyard Kipling; read by Jane Aker A Dream Within a Dream by Edgar Allan Poe; read by Benjamin Greene Goblin Market by Christina Rossetti; read by Jane Aker Ode to the West Wind by Percy Bysshe Shelley; read by Argos MacCallum Rime of the Ancient Mariner by Samuel Taylor Coleridge; read by Jane Aker To the Virgins to Make Much of Time by Robert Herrick; read by Argos MacCallum

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Best Poems | The Famous Poems Encyclopedia

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The Best Poems is a free poetry site of famous poems ever written by poets in the world.

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article d'Anne Lhérété, IGEN

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Accéder à des ressources authentiques et aux œuvres en ligne - quelques sites d'intérêt

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Accéder à des ressources authentiques et aux œuvres en ligne - quelques sites d'intérêt

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British Library - 20th century literature

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British Library - 20th century literature

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biographies, interviews, présentation d'œuvres, interprétation...

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Discovering Literature: 20th century | The British Library

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Birthday Letters, a collection of 88 poems by the British poet Ted Hughes, was published to public and critical acclaim in 1998. Their subject is Hughes's relationship with the American poet Sylvia Plath, to whom he was married from 1956 until her death in 1963.

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Séquence : Disrupting the suspension of disbelief (A Midsummer Night's Dream

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British Library - Romantics and Victorian

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British Library - Romantics and Victorian

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1,200 Romantic and Victorian literary treasures, new insights by 60 experts, 25 documentary films, 30 teachers’ notes

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Discovering Literature: Romantics and Victorians | The British Library

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Discover 1,200 Romantic and Victorian collection items, 167 articles, 25 films, 30 teachers' notes and more. Discovering Literature has been supported since its inception by Dr Naim Dangoor CBE, Dangoor Education.

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3 bibliographies (œuvres littéraires, artistiques) + 1 séquence (Madness- bas de la page)

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Ressources sur les sites académiques et EDUSCOL

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Ressources sur les sites académiques et EDUSCOL

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séquence sur Pride and Prejudice, simulation d'épreuve

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LV1 et LV2

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Ministère de l'Education Nationale et de la Jeunesse

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Article 1 - Le programme d'enseignement spécifique de littérature étrangère en langue étrangère au cycle terminal de la série littéraire est fixé conformément à l'annexe du présent arrêté.

Article 2 - Les dispositions du présent arrêté entrent en application à compter de la rentrée de l'année scolaire 2011-2012 pour la classe de première et à la rentrée de l'année scolaire 2012-2013 pour la classe terminale.

Article 3 - Le directeur général de l'enseignement scolaire est chargé de l'exécution du présent arrêté qui sera publié au Journal officiel de la République française.

Fait à Paris, le 21 juillet 2010

LITTÉRATURE ÉTRANGÈRE EN LANGUE ÉTRANGÈRE

CYCLE TERMINAL DE LA SÉRIE L

Les objectifs de la discipline

L'enseignement spécifique de littérature étrangère en langue étrangère vise à développer le goût de lire et à augmenter l'exposition de l'élève à la langue en lui donnant accès à un certain niveau d'abstraction et de subtilité. L'étude de la littérature étrangère ouvre un nouvel espace pour une pratique accrue de la langue par l'entraînement et la mise en œuvre de toutes les activités langagières.

Il s'agit aussi d'initier les élèves aux réalités les plus structurantes de la littérature de la langue étudiée : les grands mouvements littéraires et les principales thématiques portés par de grands auteurs, dans le récit, la poésie et le théâtre.

Dans le temps imparti pour cet enseignement, il ne peut être question d'une approche exhaustive. Il s'agit essentiellement de construire des repères solides chez les élèves, de leur donner le goût et l'envie d'aller plus loin, de les familiariser avec la lecture et de les entraîner à la lecture suivie.

Les grands mouvements littéraires, parce qu'ils rejoignent les moments esthétiques, philosophiques et politiques, inscrivent la littérature dans le cours général de l'Histoire. Ils permettent de situer les œuvres et les auteurs dans une société vivante, et dans une chronologie porteuse de sens. Dès lors qu'ils traversent les cultures, ils offrent la possibilité de croiser les regards, les œuvres et les langues.

Ces mouvements littéraires sont abordés au travers du récit, de la poésie et du théâtre. L'importance respective de chacun de ces genres varie selon les cultures et les époques.

Cette double approche, historique et par genre, permet de dégager la façon spécifique dont chaque littérature s'est produite dans une histoire singulière, soit en inventant une forme qui lui reste propre ou au contraire la déborde, soit en s'emparant de formes nées ailleurs pour leur imprimer un tour particulier. Apparaissent alors des domaines d'influence et de confluence que l'approche comparative permet de mettre en évidence.

En fonction de leur histoire propre et des cultures dont elles sont l'expression, les littératures ont exploré de façon inégale les thématiques proposées ci-après. Le professeur choisit pour chacune des classes du cycle terminal un itinéraire cohérent et structurant.

- autobiographie, mémoires, journal intime ;

- l'écrivain dans sa langue, l'écriture comme jouissance esthétique, l'expression des sentiments, la mise en abyme.

La rencontre avec l'autre, l'amour, l'amitié

- le roman épistolaire, l'amour courtois, la poésie mystique, élégiaque ;

- les jeux de l'amour, le couple et le double.

Le personnage, ses figures et ses avatars

- héros mythiques ou légendaires, figures emblématiques ;

- héros et anti-héros, la disparition du personnage.

L'écrivain dans son siècle

- roman social, roman policier, la littérature de guerre et d'après guerre, l'essai, le pamphlet, la satire ;

- le débat d'idées, l'engagement et la résistance, la transgression, la dérision, l'humour.

Voyage, parcours initiatique, exil

- les récits d'exploration, d'évasion, d'aventure, le roman d'apprentissage ;

- le déracinement, l'errance, le retour.

- l'étrange et le merveilleux, le fantastique, la science-fiction ;

- l'absurde, l'onirisme, la folie, la métamorphose.

Les deux années du cycle terminal permettent d'amener les élèves à " entrer dans la lecture ", et notamment de les préparer à lire des œuvres intégrales. La lecture cursive autonome d'au moins une œuvre en langue étrangère dans l'année est recommandée. Les élèves tireront profit des ressources offertes par les centres de documentation et d'information, les bibliothèques et médiathèques.

La lecture d'extraits significatifs d'une même œuvre permet d'une part d'entraîner à la lecture cursive, d'autre part de découvrir des œuvres majeures représentatives.

Entendre ou voir une œuvre jouée facilite ou enrichit sa réception tout en développant la compréhension de l'oral. Les élèves tirent le plus grand bénéfice d'une confrontation à des supports et des situations variés. Les lectures publiques, les livres audio, les adaptations radiophoniques, cinématographiques, théâtrales ou musicales sont autant de moyens susceptibles de créer une sensibilité au fait littéraire.

L'œuvre est interrogée aussi par la manière dont elle est lue (critiques), interprétée ou adaptée (réécritures, mises en scène, chanson) au théâtre, au cinéma, à l'opéra, etc. On peut suivre ainsi les multiples transformations d'une œuvre, d'un mythe ou d'un personnage.

Des activités variées permettent une appropriation active de ce travail :

- mémoriser et mettre en voix un texte avec une illustration musicale ;

- enregistrer un feuilleton radiophonique à partir d'une nouvelle ;

- réaliser un message radiophonique ou télévisuel pour faire partager un coup de coeur pour un auteur ou un livre, annoncer la diffusion de l'adaptation cinématographique d'une œuvre littéraire ;

- interpréter un personnage de roman mis en scène dans un autre lieu, un autre contexte ou une autre époque, etc.

L'écriture est fondamentale dans la pratique de la langue : il s'agit de mettre en œuvre autour de tâches communicatives complexes les connaissances et les compétences que l'élève a acquises. L'apprentissage de l'écriture fait l'objet d'un entraînement méthodique et régulier, à travers des travaux variés tels que :

- écrire à la manière de. ;

- changer une clausule de chapitre ;

- étoffer un dialogue, une description ;

- introduire un personnage supplémentaire dans le récit ;

- changer de point de vue ;

- préparer, réaliser et rendre compte d'une interview de l'auteur ;

- animer un blog littéraire ou un café littéraire virtuel ;

- rédiger la quatrième de couverture ou l'avant-propos ;

- élaborer un scénarimage ou des didascalies pour l'adaptation au théâtre ou au cinéma ;

- exploiter des recherches complémentaires pour rédiger l'article du critique littéraire, etc.

Du niveau " seuil " B1 au niveau " avancé " B2

Passer du niveau seuil B1 au niveau avancé B2 dans l'échelle du Cadre européen commun de référence pour les langues constitue un progrès important dans la maîtrise de la langue apprise. Si ces deux niveaux relèvent bien de celui de l'utilisateur indépendant, la différence qui les sépare représente un degré de complexité et d'autonomie supplémentaires que l'on peut résumer comme suit :

En réception, l'élève est capable :

- de comprendre l'essentiel de messages oraux élaborés (débats, exposés, émissions radiophoniques ou télévisées, films de fiction ou documentaires) et de textes longs, sur une gamme étendue de sujets ;

- de suivre une argumentation complexe énoncée dans un langage standard ;

- d'effectuer un travail interprétatif qui, au-delà de l'explicite, vise une compréhension de l'implicite ;

- d'identifier le point de vue du locuteur ;

- d'un grand degré d'autonomie en lecture.

En production, l'élève est capable :

- de s'exprimer de manière détaillée et organisée sur une gamme étendue de sujets relatifs à ses centres d'intérêts ou à ses domaines de connaissance ;

- de présenter, de reformuler, d'expliquer ou de commenter, de façon construite, avec finesse et précision, par écrit ou par oral, des documents écrits ou oraux comportant une information ou un ensemble d'informations, des opinions et points de vue ;

- de défendre différents points de vue et opinions ;

- de conduire une argumentation claire et nuancée.

En interaction, l'élève est capable :

- de participer à une situation de dialogue à deux ou plusieurs personnes, en s'exprimant avec spontanéité et aisance, y compris avec des locuteurs natifs ;

- de participer à des conversations assez longues tout en réagissant aux arguments d'autrui et en argumentant.

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Programme d'enseignement spécifique de littérature étrangère en langue étrangère au cycle terminal de la série littéraire

# data[].attributes.attachment_link.description
Article 1 - Le programme d'enseignement spécifique de littérature étrangère en langue étrangère au cycle terminal de la série littéraire est fixé conformément à l'annexe du présent arrêté. Article 2 - Les dispositions du présent arrêté entrent en application à compter de la rentrée de l'année scolaire 2011-2012 pour la classe de première et à la rentrée de l'année scolaire 2012-2013 pour la classe terminale.

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Animations 2017  -  enseignement de la littérature en langue étrangère

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Animations 2017  -  enseignement de la littérature en langue étrangère

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Diaporama