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Axe 6 - Les Pays du Commonwealth: héritages, unité, diversité

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Axe 6 - Les Pays du Commonwealth: héritages, unité, diversité

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Objet d'étude: La littérature anglophone, témoignage de l’histoire et d’histoires

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Objet d'étude: La littérature anglophone, témoignage de l’histoire et d’histoires

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Objet d'étude: Les Parcs Nationaux, outils de préservation de la nature

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Objet d'étude: Les Parcs Nationaux, outils de préservation de la nature

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The concept of national parks was one of the most popular ideas the United States ever produced. It stemmed from the desire to protect special places for visitors' present and future enjoyment.

Since Yellowstone was designated in 1872, the concept of what constitutes a national park has expanded significantly. The original focus on natural wonders has evolved to include sites that chronicle human history, educate, and elevate the quality of life.

Origins of the National Park Idea

The grandeur of the American West inspired the idea of national parks. There, vast landscapes, still untouched by development filled the eye. Artists, authors, and scientists struggled to capture the beauty they encountered and to record and share their discoveries. But they worried. What would happen when westward expansion arrived on the doorstep of the wilderness?

Artist George Catlin, during an 1832 trip to the Dakotas, was perhaps the first to suggest a novel solution to this fast-approaching reality. Indian civilization, wildlife, and wilderness were all in danger, wrote Catlin, unless they could be preserved "by some great protecting policy of government...in a magnificent park.... A nation's Park, containing man and beast, in all the wild[ness] and freshness of their nature's beauty!"

A New View of the West

Encouraged by art, literature, and science, a powerful preservationist viewpoint gradually emerged. Even without a national policy or one designated agency, individual sites won protection.

In 1861, Congress appointed Ferdinand Hayden, head of the government's new geological survey, to lead a fact-finding expedition to the region at the headwaters of the Yellowstone River. The area, situated in the Montana and Wyoming territories, had been an attraction for explorers, trappers, and prospectors since the late 18th century.

There were numerous accounts of its strange features, geysers, hot springs, and holes of bubbling mud, but it was not until Hayden's team of geologists, botanists, and zoologists returned from their trip that the U.S. government had a full account of the area's wonders.

The First National Park Emerges

Hayden strongly advocated for setting the Yellowstone region aside as a national park, and it did not take long for him to convince Congress. Congress approved the legislation in early 1872, and on March 1st of that year, President Grant signed the bill designating 2.2 million acres of land as "a public park or pleasuring-ground for the benefit and enjoyment of the people."

The second section of the bill gave the Secretary of the Interior responsibility for "the preservation, from injury or spoilation, of all timber, mineral deposits, natural curiosities, or wonders within said park, and their retention in their natural condition."

Early Policies

The Forest Reserve Act of 1891 allowed presidents to proclaim permanent forest reserves on publicly-owned land-legislation that led to national forests. The Antiquities Act of 1906 gave presidents authority to protect sites of historic significance as national monuments.

Congress also authorized the preservation of four major Civil War battlefields during this era, designating them as National Military Parks.

Other parks followed: Sequoia (1890) Mt. Rainier (1899), Crater Lake (1902) and Yosemite (1890). Over time, the federal government established policies on the preservation of natural resources: Laws and presidential decrees, however, did not solve real-world administration problems.

In Need of Oversight

While some of the national monuments reserved under the 1906 Antiquities Act were located in areas controlled by the Department of the Interior (DOI), others were on land supervised by the Department of War or the Department of Agriculture. With responsibility divided among several departments, who would make the rules, and could they possibly be consistent?

The problem was no single federal agency had the authority to operate and advocate for these parks and monuments. Individual sites received uneven attention and minimal federal support.

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Origin of the National Park Idea (U.S. National Park Service)

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The concept of national parks was one of the most popular ideas the United States ever produced. It stemmed from the desire to protect special places for visitors' present and future enjoyment. Since Yellowstone was designated in 1872, the concept of what constitutes a national park has expanded significantly.

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Objet d'étude: Glasgow et Édimbourg - deux visages de l'Écosse en mutation.

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Objet d'étude: Glasgow et Édimbourg - deux visages de l'Écosse en mutation.

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Nigeria's civil war explained - BBC News

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Last year, Chimamanda Ngozi Adichie gave the inaugural Gabriel García Márquez lecture and spoke about truth and storytelling. "To start a story, a true story, thinking of balance is already to place an obstacle in the path of that story," she said. "Because what one must focus on is not balance, but truth."

Those who have lamented the failures of the BBC over the past few yearswill understand this point only too well, but I'd still recommend listening to this lecture. It's moving and impressive to hear Adichie make her points so forcefully and eloquently - and a worthwhile reminder of the curious fact that the people who offer us the best insights into reality are often novelists, rather than reporters.

Adichie herself is a case in point. Among other things, Half of a Yellow Sun is one of the great truth-telling novels. Both in Nigeria and around the world, it was many people's introduction to the Biafran conflict. It has helped hundreds of thousands of people understand a situation that has been largely forgotten, while telling a story that feels truthful - but is also clearly a work of fiction.

It's here that the definition of truth becomes complicated. We accept that fiction tells us the truth, even if that's a contradiction in terms. We all understand what Hemingway meant when he explained how he produced fiction: "All you have to do is write one true sentence. Write the truest sentence that you know." It doesn't matter that Papa sat there and made things up. There's a different kind of truth to be found in how he describes the downhill rush of skiing, the taste of Spanish red wine, or how it feels to know you've lost the love of your life.

Yet, this idea does also have obvious complications. We have to do some internal calculations to work out exactly where that truth lies. Hemingway's short stories are different to his journalism, for instance. His novel about an old man catching a mythically huge fish has a different relationship to historical events than his novel about the Italian front in the first world war. If you want to know the moral truth about the pompous cruelty of fascists in Italy in the early years of Mussolini's reign, I'd recommend reading his short story about travelling through the country, Che Ti Dice La Patria - just don't go there for the cold facts and stats.

We feel such gradations of truth instinctively when we read, so much so that it seems almost redundant to try to sift through these differences in this way. But every so often, a book tests our instincts and makes us investigate our feelings about truth and reality more deeply. Half of a Yellow Sun is one of those books.

On a factual level, this novel has deep roots in the events of 1967 to 1970. Adichie drew on first-hand eyewitness accounts from her parents and close family, friends and compatriots who were involved in the Biafran conflict. She researched books on the war for years (even though they could be "boring") and says that almost every single incident in the novel is based on something real. That adds an extra frisson of horror to descriptions of incidents like the one where a woman shows Olanna a bag containing her little girl's head and says: "Do you know it took me so long to plait this hair? She had such thick hair ..." Or the horrific descriptions of hunger and desperation at refugee centres, the rapes and the murders.

At the same time, facts are not Adichie's main concern. She doesn't get much involved in debates about the numbers killed by the famine the war brought, the political manoeuvres of the various powers who helped arm fighters on both sides. She doesn't state the kind of truths that would go into an encyclopedia article on Biafra. She shows instead the things that her characters see and feel. It's deliberately one-sided and narrow in its focus. There's no false pretence at balance.

So it is that we learn as much about the flavour of pepper soup, or the way dust motes swim in the sunlight, as we do about facts and figures. We learn more about what it means to find yourself fighting for your life. To be so brutalised by conflict that you can be involved in a gang rape. To be hungry enough to eat rats. To not know where your sister is, but know enough that she almost certainly isn't coming back. Adichie's concern is not so much with the physical and countable impact of the conflict as the emotional.

At the conclusion of the Márquez lecture, Adichie asks whether we should reconsider the distinction between journalism and fiction, and "rethink the labels we attach to writing. Whether we should think more simply of good writing and bad writing. Storytelling that engages and storytelling that does not." On this reckoning, she has succeeded. The truth the book tells is about the horror and the pity of war. About the human beings who had to suffer it. Wikipedia can tell me that "almost two million Biafran civilians died from starvation" during the war, but it's Half of a Yellow Sun that shows me what that really means.

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Half of a Yellow Sun is a masterpiece in balancing truth and fiction

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Last year, Chimamanda Ngozi Adichie gave the inaugural Gabriel García Márquez lecture and spoke about truth and storytelling. "To start a story, a true story, thinking of balance is already to place an obstacle in the path of that story," she said. "Because what one must focus on is not balance, but truth."

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New perk: Easily find new routes and hidden gems, upcoming running events, and more near you. Your weekly Local Running Newsletter has everything you need to lace up! Subscribe today.

What's your favorite national park? After two decades as a journalist with a specialty in outdoor recreation, that's the question I am most often asked. I've had the pleasure of visiting most of the big ones. I've even led trips to Yosemite, Grand Canyon, Yellowstone, Zion, and Denali as a professional guide, and, most recently, as a national park expert for National Geographic Expeditions. Regardless of where I am or what I'm guiding, my clients all want to know the same thing: What park is the best?

That's an impossible question to answer. As a man in his late 50s with no kids of my own, I imagine it's what it must be like for parents to name their favorite child. I believe they would say, just as I do, "I love them all equally because each is precious to me."

James Edward Mills Live at the Outside Festival

James Edward Mills will speak on a panel with other outdoor industry leaders, movers and shakers, May 31-June 1, at the Outside Festival, a celebration of the outdoors featuring amazing music, inspiring speakers, and immersive experiences.

Typically, that response is met with a heavy eye roll. Pressed to give a better answer, I'll say, reluctantly, that I have two favorites: the one I was just at and the one I'm going to next.

Of course, I'm not suggesting that all national parks are the same. Each of the 63 federally managed sites designated for natural heritage preservation have exquisitely unique and awe-inspiring features across their 52 million acres. From the Grand Tetons to Delicate Arch, and from Joshua Tree to the Everglades, each park is different and special. But they all share a single unifying characteristic: each one is an expression of American democracy.

In 1983, the naturalist Wallace Stegner wrote a letter to National Park Service Director Russell E. Dickerson to advocate for the enduring protection of public land.

"National parks are the best idea we ever had," Stegner wrote. "Absolutely American, absolutely democratic, they reflect us at our best rather than our worst."

As America's best idea, our national parks are a physical manifestation of our founding principles as a republic. Every park has been reserved for the "benefit and enjoyment of the people." It is in these places where humanity is meant to gather, either in solitude or as a community, and experience the inalienable rights of life, liberty, and the pursuit of happiness.

Citizens and visitors alike come to our national parks to exercise our freedom as Americans. As a human right, everyone is entitled to sustainably camp, hike, ski, climb, and ride where legally allowed in our parks. Though this land was taken by force from Native people, our shared obligations of stewardship and preservation compel each of us to invest ourselves in the protection of our natural resources for future generations to enjoy.

So, I express my patriotic duty by enjoying them. In the face of the neglect and destruction of our public lands, it is up to each of us to show our support by visiting every national park we can. And in so doing, we must acknowledge the enduring conservation legacy of Native people, tread lightly, and encourage others to do the same.

"It's a demonstration to those in the judiciary who see that Americans value their parks," Charles Sams, former director of the National Park Service, once said. "That's a democratic value. And so, I've learned in our democracy, if you want your democracy to thrive, you got to show up."

Each of our national parks is an expression of what is best about America. Among the parks we love most, it's impossible to pick a favorite. I, for one, love them all equally. From the last one I visited, to the one I'll visit next, each is precious.

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After Decades of Guiding, My Clients Always Ask Me Which National Park is Best. Here's What I Tell Them.

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More than a century after their founding, national parks are still America's best idea-and a reminder that we can all come together over the things we love most.

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Edinburgh or Glasgow: which is better to visit? - Conversant Traveller

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Wondering whether to visit Edinburgh or Glasgow? As a frequent visitor to both I’ve put together a personal comparison of Glasgow v Edinburgh

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Shocking living conditions in Glasgow's Govanhill

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Shocking living conditions in Glasgow's Govanhill

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Exposed: Shocking living conditions in Glasgow's Govanhill

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Axe 5. Créer et recréer - The Myth of the Cowboy

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Axe 5. Créer et recréer - The Myth of the Cowboy

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Le mythe du cowboy

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True Grit (2010) Trailer #1 | Movieclips Classic Trailers

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When Larry Callies went to the movies as a boy in Rosenberg, Texas, the heroes riding horses and wearing 10-gallon hats were all white men.

But the real cowboys Callies knew were Black. His great-grandfather Lavel Callies was an enslaved cowboy who worked with horses professionally after emancipation. "We're cowboys for three generations back," says Callies, 71, who runs the Black Cowboy Museum.

Historians estimate that 20% to 25% of the people who settled the continental US west - a region from Washington state to Montana and New Mexico to California - were Black men and women. They moved cattle on horseback, settled towns, kept the peace and delivered the mail in the wild, wild west. But Black cowgirls and cowboys have been pretty much invisible to most. For nearly 200 years, two separate cowboy narratives, one Black and one white, have trotted side by side in the US. The two have rarely crossed paths. Until now.

Today, it seems like modern Black cowboys and cowgirls are everywhere. Who could miss Beyoncé starring as a red-white-and-blue rodeo queen on the cover of her Cowboy Carter album? Her embrace of equestrian symbols shines a spotlight on those who have quietly kept the Black cowboy legacy alive: community equestrian clubs like Compton Cowboys and Chicago's Broken Arrow Horseback Riding Club, modern Buffalo Soldier units, as well as local and traveling Black rodeos like the Bill Pickett invitational rodeo. Since 1984, the rodeo has crisscrossed the US, sharing the riding and roping talents of Black cowgirls and cowboys with audiences from New York to Florida and Dallas to Los Angeles.

It raises the question: why did it take so long? "It's hard to wake up a nation to history," says actor and activist Glynn Turman, who recently wrapped up filming on Kevin Costner's new western film series Horizon: An American Saga. "There's a history that has always been suppressed when it comes to our culture," Turman says. "It's an ongoing assault."

While everyone knows about George Washington's cherry tree, few know the story of William Lee, the enslaved Black man who managed the general's hunting expeditions and rode with him in revolutionary war battles.

A century later, the invisibility of Black men and women who settled the west from the late 1860s to the 1890s is seen as part of the post-civil war backlash against Black economic and political gains. "Racism reached its zenith in the early 20th century in the US, so the things Black people have done have been swept under the rug," says Art T Burton, a western historian.

Why the first US cowboys were black

Many Americans are surprised to learn that many enslaved Black men and women did the dangerous work of taming wild horses for white folks to ride and herding cattle, says Mia Mask, a film historian at New York's Vassar College. They would compete on weekends to see who was the best at calf roping and riding, which grew into rodeos for prize money. Black men turned working with horses into careers once they were free.

That absence extended to decades of pop-culture movies and TV shows that told the story of the west. "It's been a whitewashing of American cinema, and the western genre is part of that," Mask says. "I'm always reminding folks that films are not the same as history, but films are where a lot of people become interested in learning more about history."

When Black people were included in early western sagas, they inhabited demeaning, stereotypical roles: childlike, shuffling servants and strong silent workers. An early exception was Bill Pickett, a formerly enslaved man from Texas who invented rodeo steer wrestling and tamed wild horses with his brothers. Pickett became a western show performer and starred in a pair of movies in the 1920s. Another pioneer was Herb Jeffries, AKA the Sepia Singing Cowboy, a baritone jazz singer and actor who starred in Black westerns in the 1930s. But most Black actors didn't get to star in major movies until the 1960s when, for example, Sidney Poitier appeared in Duel at Diablo.

And we now know that the Lone Ranger, a traveling white hero named Reed featured in movies, TV and radio dramas, was almost certainly inspired by legendary Black lawman Bass Reeves. In his 32-year career, deputy US marshal Reeves fought crime with several Native American partners and handed out silver dollars. "Bass Reeves is the closest person to resemble the Lone Ranger," says Burton. "[He's] much bigger. He is undoubtedly the greatest frontier hero in US history." Burton detailed his adventures in the 2008 biography Black Gun, Silver Star: The Life and Legend of Frontier Marshal Bass Reeves, and David Oyelowo is starring in a Bass Reeves series on Peacock.

So what changed?

It's always difficult to pin down when an awakening starts. Like a game of cultural Rashomon, every equestrian has a different perspective on what helped Black cowboy culture surface. Callies believes it started in 2017 when he appeared in the first season of the food history show High on the Hog. That's when he shared the origin of the word "cowboy", originally an insult reserved for Black men who worked with cattle.

The following year, Chicago-area folk musician Dom Flemons released Black Cowboys, a storytelling album of Black people who shaped the west. "The Black cowboy story is so beautiful because it's tangible and relatable," Flemons says. He notes that March 2019 was when Bri Malandro, a Dallas woman, started the Instagram account @theyeehawagenda. It documents happenings in Black, queer, cowgirl and celebrity worlds that helped bring about the current moment, including Black Rodeo, a 1972 documentary about Muhammad Ali visiting the first Black rodeo in New York City, and Pharrell Williams' 2024 western collection for Louis Vuitton that hit Paris runways.

In April 2019, Lil Nas X paired with Billy Ray Cyrus to remix Old Town Road, a catchy, rap-country fusion that crowned Top 100 charts by Rolling Stone and Billboard. The song stirred controversy when Billboard pulled it from the country charts, saying "it does not embrace enough elements of today's country music".

Still, Mask believes that viral images of George Floyd protests in the summer of 2020 made urban equestrians in places like Philadelphia, Los Angeles and Oakland impossible to ignore.

"For BLM, people came out to protest with their horses in a way that prevented the containment and intimidation of Black protesters," Mask says. "That puts the protest in a different context." As Oakland cowgirl Brianna Noble noted in 2020: "I'm just another protester if I go down there alone, but no one can ignore a Black woman sitting on top of a horse."

Modern movies like Concrete Cowboy (2020), The Harder They Fall (2021) and Nope (2022) brought diverse Black equestrians to the big screen. But for the past 40 years, the Bill Pickett invitational rodeo, which travels the nation, has been the most enduring reminder of Black equestrian history.

Margo LaDrew, the rodeo's national director of business development, says demand for tickets boomed in 2021, after the rodeo first aired on national TV thanks to a partnership with the Professional Bull Riders. "It happened to be the same day Juneteenth became a national holiday," she says. People loved seeing the rodeo open with the Black national anthem, hearing the popular R&B music, and learning the history of the Buffalo Soldiers and Bill Pickett from the announcer.

"We tell history at our rodeo," says LaDrew. "Looking at those kids' faces when they come to the rodeo and they see cowboys in those outfits and they're roping, we have heroes."

Turman, co-grand marshal for Bill Pickett rodeos for nearly 40 years, believes Black people will keep flocking to the rodeos and donning western wear because they appreciate seeing people who look like them embodying the heroic cowboy ideal.

"It's respect for your fellow man, a straight-up honesty," says Turman, who also founded Camp Gid D Up to teach horse skills and values to urban kids in southern California. "It's being able to look another person in the eye and speak directly with a firm handshake. And there's a certain respect for the animals that are your partner in your work."

After collaborating on Concrete Cowboy, Philadelphia equestrian Erin Brown partnered with filmmakers Ricky Staub and Dan Walser from Neighborhood Film Co to create the Philadelphia Urban Riding Academy. They teach riding skills to anyone interested to "help preserve the history and culture of urban cowboys in Philadelphia".

Brown, AKA the Concrete Cowgirl, was just seven when she started winning equestrian hunter-jumper timed trials. Riding at the Fletcher Street stables with her father, an ironworker who owns a welding company, helped her get over her shyness. It also kept her safe. "A lot of my peers are no longer here due to gun violence and drug overdoses," she says. "I had a responsibility to go to the barn every day and take care of my horse, so I wasn't engaging in a lot of what my peers were doing."

For all the current trendiness, Randy Savvy, the spokesperson for the Compton Cowboys, says he believes the vitality of Black cowboy culture is expanding horizons for Black youths, just like when they first saw Barack Obama in the White House.

"The kids in the community get fed a very particular image of who we are, who we're supposed to end up becoming, and what we're supposed to be interested in," Savvy says. "And it's such a refreshing, eye-opening shock value thing to see a Black cowboy. It opens their minds up."

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'A history that's been suppressed': the Black cowboy story is 200 years old

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Historians estimate a quarter of settlers of the US west were Black, moving cattle on horseback, settling towns and keeping the peace

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Axe 6 - Les aires anglophones américaines - US and Mexico

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Axe 6 - Les aires anglophones américaines - US and Mexico

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US Border Wall

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2018 Cagle Cartoons

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Political cartoon U.S. Trump Mexico border wall DACA immigration

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The latest Cartoons,/cartoons,,cartoons, breaking news, comment, reviews and features from the experts at The Week

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Mexican Americans | History Detectives | PBS

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The story of Mexican Americans is inextricably linked to the fortunes of the United States itself.

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Axe 4 - Les enjeux des moyens de communication - Our Phones 

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Axe 4 - Les enjeux des moyens de communication - Our Phones 

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Why Gen Z & Millennials are hung up on answering the phone

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A recent survey found a quarter of people aged 18 to 34 never answer the phone.

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How smartphone addiction may be hurting our brains

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Tableau de séquence vierge à télécharger

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Tableau de séquence vierge à télécharger

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Préparation et Mise en Œuvre de la Trace Écrite en Classe de Langues.pdf

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Check out this design designed by Celine Paul.

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Mediation : a 21st century skill | Genially

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Les manuels - réforme lycée 2025 - Digipad by La Digitale

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Une application en ligne pour créer des murs multimédias collaboratifs proposée par La Digitale