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En voie générale et technologique, vous passez un Grand oral sur vos enseignements de spécialité à la fin de votre année de terminale. Cette épreuve évalue des compétences essentielles, en particulier votre élocution. Vous devrez faire preuve de conviction, d'une capacité à dialoguer et argumenter, dans le but d'adopter une distance critique par rapport à votre projet.

Quel est l'objectif du Grand oral ?

L'épreuve du Grand oral nécessite pendant l'année, de définir deux questions adossées sur les deux enseignements de spécialité, et de préparer une réponse argumentée à ces deux questions.

Dans la voie générale, les questions portent sur les enseignements de spécialité suivis en terminale.

Dans la voie technologique, elles s'adossent à l'enseignement de spécialité dans lequel une étude approfondie ou un projet, a été mené.

Le jour de l'épreuve, la démarche consiste à remettre au jury, sur une feuille signée par ses professeurs de spécialité, l'énoncé des deux questions. Le jury en choisit une. Le candidat dispose de 20 minutes pour préparer sa présentation. Cette épreuve fait partie des 5 épreuves finales du bac.

Le Grand oral vous forme à prendre la parole en public de façon claire et convaincante. Cette épreuve permet aussi d'utiliser vos connaissances (celles qui sont liées à vos spécialités) pour créer une argumentation.

Se préparer au Grand oral

Le jour de l'épreuve, le jury observera plus particulièrement certains aspects de la prestation des candidats. Il faut donc se préparer en centrant son entraînement sur ces attendus du jury, à savoir :

La qualité de sa prestation orale, c'est-à-dire sa capacité à capter l'attention, soutenir un discours, etc...

La qualité de sa prise de parole en continu, c'est-à-dire sa gestion du temps, la ponctuation du discours, etc...

La qualité de ses connaissances.

La qualité de son interaction avec les membres du jury, c'est-à-dire sa capacité à réagir à une interrogation, à la reformuler, à prendre l'initiative dans l'échange, etc.

La qualité et la construction de son argumentation et de sa démonstration.

Dès la classe de première, il est utile de commencer à réfléchir aux questions qui seront présentées au jury l'année suivante.
Cette réflexion se poursuit et se précise en classe de terminale. Tout au long du cycle terminal, des entraînements permettent de développer sa pratique de l'oral.

À la fin de la classe de terminale, la période qui suit les épreuves terminales dans les enseignements de spécialité est un temps privilégié pour parachever cette préparation.

Sur quoi doivent porter les questions présentées au jury ?

Pour le baccalauréat général, les questions problématisées doivent être en lien avec les programmes du cycle terminal des deux enseignements de spécialité que vous suivez en Terminale. Elles peuvent soit être transversales aux programmes de ces deux enseignements de spécialité, soit porter sur un point précis du programme de l'enseignement choisi.

Dans la voie technologique, les questions s'appuient sur l'enseignement de spécialité dans lequel les programmes du cycle terminal prévoient la réalisation d'une étude approfondie, ou d'un projet. Elles sont donc prioritairement adossées au projet technologique réalisé par l'élève.

Les enseignants doivent-ils vous accompagner dans le choix de vos questions ?

Les questions doivent être construites sur la base d'une réflexion personnelle. Vous serez amené, le jour de l'épreuve, à expliquer pourquoi vous avez choisi de préparer la question retenue par le jury.

Cette réflexion va nécessiter de votre part un travail de maturation afin de parvenir à une version définitive. Ce travail est progressif, tout au long du cycle terminal et particulièrement en classe de terminale.

Il est accompagné par les enseignants de spécialité, en classes de première et de terminale.

Pour le baccalauréat général, peut-on proposer au jury deux questions adossées à la même spécialité, ou doit-on impérativement prévoir que les deux enseignements de spécialité soient supports de l'épreuve ?

Pour le baccalauréat général, les deux enseignements de spécialité doivent être mobilisés au travers des questions choisies. Ainsi les candidats ont la possibilité :

Soit de présenter deux questions s'adossant chacune à un enseignement de spécialité différent ;

Soit de présenter une question s'adossant à un enseignement de spécialité et une question transversale aux deux enseignements de spécialités ;

Soit de présenter deux questions transversales aux deux enseignements de spécialité.

Par exemple, un candidat qui suit les enseignements de spécialité de "sciences économiques et sociales (SES)" et de "sciences de la vie et de la Terre (SVT)" pourra :

Soit présenter une question portant sur les SES et une sur les SVT ;

Soit présenter une question portant sur les SVT et une question transversale portant à la fois sur les SES et les SVT ;

Soit présenter une question portant sur les SES et une question transversales portant à la fois sur les SES et les SVT ;

Soit présenter deux questions transversales s'adossant chacune, à la fois aux SES et aux SVT.

Comment se déroule l'épreuve du Grand oral ?

Le jour de l'épreuve, la démarche consiste à remettre au jury, sur une feuille signée par ses professeurs de spécialité, l'énoncé des deux questions. Le jury en choisit une. Le candidat dispose de 20 minutes pour préparer sa présentation.

Cette présentation dure ensuite 10 minutes, pendant lesquelles le candidat expose les motivations qui l'ont conduit à choisir cette question, puis présente la réponse qu'il a élaborée.

À l'issue de ces 10 premières minutes, le candidat et le jury échangent durant 10 minutes. A cette occasion, le jury amène le candidat à préciser et approfondir sa pensée. C'est une opportunité à saisir, pour apporter des compléments à son propos, et montrer sa capacité à écouter, dialoguer, expliciter et argumenter.

Si vous êtes un candidat individuel ou dans un établissement privé hors contrat, vous présentez l'épreuve orale terminale dans les mêmes conditions. La seule différence est que les 2 questions sont préparées par vous-même.

En quoi consistent les deux temps de l'épreuve ?

Premier temps

Vous vous exprimez durant 10 minutes debout, sauf cas d'aménagements spécifiques, sur la question sélectionnée par le jury. Vous exposez les motivations qui vous ont conduit au choix de la question, présentez la question puis y répondez.

En voie générale, si la question porte sur l'enseignement de spécialité "Langues, littératures et cultures étrangères et régionales" (LLCER), la présentation peut, en partie, être réalisée dans la langue vivante concernée.

Deuxième temps

L'échange fait écho à votre présentation et vous invite à approfondir votre réflexion. Si l'enseignement de spécialité d'appui est LLCER, cet échange peut être réalisé, en partie, dans la langue vivante concernée.

Que faire lorsque le jury vous invite à entrer dans la salle d'examen ?

La première chose à faire lorsqu'on entre dans la salle est de saluer les membres du jury. Cela peut paraître évident mais avec le stress le jour de l'examen, on peut oublier. Or c'est un moment important, tant pour le jury que pour soi-même.

Dire bonjour calmement, en souriant, peut aider aussi à se sentir à l'aise. On remet ensuite au jury la feuille signée par ses professeurs sur laquelle sont inscrites les questions puis on attend que le jury choisisse la question qu'on devra présenter.

Lorsque les membres du jury ont indiqué la question sélectionnée, on peut alors s'installer et démarrer sa préparation qui dure 20 minutes.

La préparation n'a toutefois pas toujours lieu dans la même salle que celle où se déroule l'épreuve.

Que faites-vous durant le temps de préparation ?

Le temps de préparation permet au candidat de se mettre dans les conditions de l'épreuve.

Vous pouvez ainsi préparer la structuration de votre argumentation, organiser votre propos.

Vous pouvez, si vous le souhaitez, préparer un support sur du papier.

Ce support est une aide pour votre prise de parole ; il n'a pas vocation à être donné à lire au jury. Il s'agit de notes, d'un plan d'exposé, de mots-clefs ou d'idées directrices.

Ces notes peuvent aussi servir de document d'appui à l'argumentation (schéma, courbe, diagramme, tableau, formule mathématique). Pour votre exposé (première partie de l'épreuve) vous pouvez vous appuyer sur votre support. Vous pouvez le montrer au jury à tout moment des deux temps de l'épreuve, à votre initiative ou en réponse à une question du jury. Pour autant, le jury ne peut pas le conserver à l'issue de l'épreuve ni l'évaluer.

Le candidat dispose-t-il de documents pendant l'épreuve ?

Pendant l'épreuve le candidat dispose du support qu'il a préparé pendant le temps de préparation (20 minutes), s'il a fait le choix d'en réaliser pour accompagner sa prise de parole.

Il s'agit de notes, d'un plan d'exposé, de trame de prise de parole, de mots-clefs ou d'idées directrices. Ces notes peuvent aussi servir de document d'appui à l'argumentation (schéma, courbe, diagramme, tableau, formule mathématique...). Ce support n'a pas vocation à être donné au jury.

Il n'est pas évalué ; il ne sert qu'à appuyer le propos du candidat, si celui-ci le juge nécessaire. Le candidat peut par ailleurs recourir à ce support pour éclairer ses réponses aux questions du jury.

Lors du deuxième temps de l'épreuve, les questions du jury peuvent-elles porter sur l'ensemble du programme de l'enseignement de spécialité ?

Durant le temps d'échange avec le jury, le candidat peut être interrogé sur les points de programme de ses enseignements de spécialité liés à la question choisie par le jury.

Mais cette partie de l'épreuve doit aussi évaluer les capacités argumentatives du candidat, il s'agit donc d'un entretien avec le candidat et non d'une interrogation de connaissances.

Cet entretien est mené en réaction à la présentation que le candidat a faite lors de la première partie de l'épreuve.

Les deux enseignements de spécialité du candidat peuvent-ils donner lieu à des questions lors de la deuxième partie de l'épreuve ?

Selon la composition du jury et de la question présentée durant la première partie, vos deux enseignements de spécialité peuvent être mobilisés lors de la deuxième partie.

La composition du jury

Le jury est composé de deux examinateurs. L'un est nécessairement enseignant de la spécialité à laquelle s'adosse la question qui a été retenue par le jury.
L'autre examinateur peut être un professeur de toute discipline, y compris un professeur documentaliste.

Les examinateurs ne peuvent pas être vos enseignants. Ils sont choisis parmi les correcteurs et examinateurs de l'académie au baccalauréat.

Vous ne serez pas informé de la composition du jury. Vous saurez seulement qu'au moins l'un des deux membres du jury enseigne dans une des spécialités sur lesquelles reposent les questions qui font l'objet de l'épreuve. Votre propos doit donc être construit pour s'adresser à la fois à un spécialiste du sujet traité et, potentiellement, à un interlocuteur non spécialiste de la question. La qualité de la présentation réside notamment dans cette capacité à reformuler les passages un peu techniques, à expliciter et expliquer simplement votre pensée, si nécessaire.

L'épreuve se déroule dans un lycée de l'académie, qui devient un "centre d'examen" à l'occasion du baccalauréat.

Certains candidats peuvent ainsi passer l'épreuve dans leur propre lycée. En revanche, ils ne seront jamais interrogés par les enseignants qu'ils ont eus durant l'année scolaire.

L'épreuve se déroule dans un lycée de l'académie, qui devient un "centre d'examen" à l'occasion du baccalauréat.

Certains candidats peuvent ainsi passer l'épreuve dans leur propre lycée. En revanche, ils ne seront jamais interrogés par les enseignants qu'ils ont eus durant l'année scolaire.

Les candidats à besoins particuliers

Les candidats à besoins particuliers - notamment les candidats en situation de handicap - peuvent bénéficier d'aménagements (majoration du temps de préparation ou d'épreuve, aides techniques, interprète en langue des signes, etc.) tels que mentionnés en annexe de la note de service définissant l'épreuve. Ces aménagements sont intégrés pendant la préparation de l'épreuve pendant l'année et sont connus du jury.

Le jury dispose, pour évaluer les candidats, d' une grille d'évaluation indicative :

Il adapte cette grille en fonction des besoins éducatifs particuliers des candidats.

Ainsi, les attendus du jury sont effectivement souples et tiennent compte de la situation de chaque candidat. Dans tous les cas, vous serez interrogés avec bienveillance et le dialogue aura vocation à vous permettre de présenter votre propos, dans le respect de vos compétences spécifiques.

Par exemple, si un candidat présente des troubles du langage oral, les examinateurs ne prendront pas en compte la qualité de la prestation orale dans leur évaluation.

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A literary device is a writing technique that writers use to express ideas, convey meaning, and highlight important themes in a piece of text. A metaphor, for instance, is a famous example of a literary device.

These devices serve a wide range of purposes in literature. Some might work on an intellectual level, while others have a more emotional effect. They may also work subtly to improve the flow and pacing of your writing. No matter what, if you're looking to inject something special into your prose, literary devices are a great place to start.

Sentence-level devices

1. Alliteration

Alliteration describes a series of words in quick succession that all start with the same letter or sound. It lends a pleasing cadence to prose and Hamlet and the dollar as currency in Macbeth.

Example: " One short sleepe past, wee wake eternally,

And death shall be no more; death, thou shalt die." - "Death, Be Not Proud" by John Donne

Exercise: Pick a letter and write a sentence where every word starts with that letter or one that sounds similar.

2. Anaphora

Anaphora is the repetition of a word or phrase at the beginning of a series of clauses or sentences. It's often seen in poetry and speeches, intended to provoke an emotional response in its audience.

Example: Martin Luther King's 1963 "I Have A Dream" speech.

"I have a dream that one day this nation will rise up and live out the true meaning of its creed.

"... and I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slave owners will be able to sit together at the table of brotherhood.

"... I have a dream that little children will one day live in a nation where they will not be judged by the color of their skin, but by the content of their character."

Exercise: Pick a famous phrase and write a paragraph elaborating on an idea, beginning each sentence with that phrase.

Similar term: repetition

3. Anastrophe

Anastrophe is a figure of speech wherein the traditional sentence structure is reversed. So a typical verb-subject-adjective sentence such as "Are you ready?" becomes a Yoda-esque adjective-verb-subject question: "Ready, are you?" Or a standard adjective-noun pairing like "tall mountain" becomes "mountain tall."

Example: "Deep into that darkness peering, long I stood there wondering, fearing." - "The Raven" by Edgar Allan Poe

Exercise: Write a standard verb-subject-adjective sentence or adjective-noun pairing then flip the order to create an anastrophe. How does it change the meaning or feeling of the sentence?

4. Chiasmus

Chiasmus is when two or more parallel clauses are inverted. "Why would I do that?" you may be wondering. Well, a chiasmus might sound confusing and unnecessary in theory, but it's much more convincing in practice - and in fact, you've likely already come across it before.

Example: "Ask not what your country can do for you; ask what you can do for your country." - John F. Kennedy

5. Congeries

Congeries is a fancy literary term for creating a list. The items in your list can be words, ideas, or phrases, and by displaying them this way helps prove or emphasize a point - or even create a sense of irony. Occasionally, it's also called piling as the words are "piling up."

Example: "Apart from better sanitation and medicine and education and irrigation and public health and roads and a freshwater system and baths and public order, what have the Romans done for us?" - Monty Python's Life of Brian

6. Cumulative sentence

A cumulative sentence (or "loose sentence") is one that starts with an independent clause, but then has additional or modifying clauses. They're often used for contextual or clarifying details. This may sound complex, but even, "I ran to the store to buy milk, bread, and toilet paper" is a cumulative sentence, because the first clause, "I ran to the store," is a complete sentence, while the rest tells us extra information about your run to the store.

Example: "It was a large bottle of gin Albert Cousins had brought to the party, yes, but it was in no way large enough to fill all the cups, and in certain cases to fill them many times over, for the more than one hundred guests, some of whom were dancing not four feet in front of him." - Commonwealth by Ann Patchett

Example: Write three sentences that are related to each other. Can you combine the information into a cumulative sentence?

7. Epistrophe

Epistrophe is the opposite of anaphora, with this time a word or phrase being repeated at the end of a sentence. Though its placement in a sentence is different it serves the same purpose-creating emphasis-as an anaphora does.

Example: "I'll be ever'where - wherever you look. Wherever they's a fight so hungry people can eat, I'll be there. Wherever they's a cop beatin' up a guy, I'll be there. If Casy knowed, why, I'll be in the way guys yell when they're mad an' - I'll be in the way kids laugh when they're hungry an' they know supper's ready. An' when our folks eat the stuff they raise an' live in the houses they build, why, I'll be there." - The Grapes of Wrath by John Steinbeck

Similar terms: repetition, anaphora

Exercise: Write a paragraph where a phrase or a word is repeated at the end of every sentence, emphasizing the point you're trying to make.

8. Erotesis

Erotesis is a close cousin of the rhetorical question. Rather than a question asked without expectation of an answer, this is when the question (and the asker) confidently expects a response that is either negative or affirmative.

Example: "Do you then really think that you have committed your follies in order to spare your son them?" - Siddhartha by Herman Hesse

Similar term: rhetorical question

9. Hyperbaton

Hyperbaton is the inversion of words, phrases, or clauses in a sentence that differs from how they would normally be arranged. It comes from the Greek hyperbatos, which means "transposed" or "inverted." While it is similar to anastrophe, it doesn't have the same specific structure and allows you to rearrange your sentences in whatever order you want.

Example: "Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire." - "The Tell-Tale Heart" by Edgar Allan Poe

Similar terms: anastrophe, epistrophe

10. Isocolon

If you're a neat freak who likes things just so, isocolon is the literary device for you. This is when two or more phrases or clauses have similar structure, rhythm, and even length - such that, when stacked up on top of each other, they would line up perfectly. Isocolon often crops up in brand slogans and famous sayings; the quick, balanced rhythm makes the phrase catchier and more memorable.

Example: Veni, vidi, vici ("I came, I saw, I conquered")

11. Litotes

Examples: "You won't be sorry" (meaning you'll be happy); "you're not wrong" (meaning you're right); "I didn't not like it" (meaning I did)

12. Malapropism

If Shakespeare is the king of metaphors, Michael Scott is the king of malapropisms. A malapropism is when similar-sounding words replace their appropriate counterparts, typically to comic effect - one of the most commonly cited is "dance a flamingo," rather than a "flamenco." Malapropisms are often employed in dialogue when a character flubs up their speech.

Example: "I am not to be truffled with."

Exercise: Choose a famous or common phrase and see if you can replace a word with a similar sounding one that changes the meaning.

His last name is Christ. He has the power of flight. He can heal leopards. (Image: NBC)

13. Onomatopoeia

Amusingly, onomatopoeia (itself a difficult-to-pronounce word) refers to words that sound like the thing they're referring to. Well-known instances of onomatopoeia include whiz, buzz, snap, grunt, etc.

Exercise: Take some time to listen to the sounds around you and write down what you hear. Now try to use those sounds in a short paragraph or story.

14. Oxymoron

An oxymoron comes from two contradictory words that describe one thing. While juxtaposition contrasts two story elements, oxymorons are about the actual words you are using.

Example: "Parting is such sweet sorrow." - Romeo and Juliet by William Shakespeare. (Find 100 more examples of oxymorons here.)

Similar terms: juxtaposition, paradox

Exercise: Choose two words with opposite meanings and see if you can use them in a sentence to create a coherent oxymoron.

For Romeo and Juliet, parting is - oxymoronically - such sweet sorrow. (Image: 20th Century Fox)

15. Parallelism

Parallelism is all about your sentence structure. It's when similar ideas, sounds, phrases, or words are arranged in a way that is harmonious or creates a parallel, hence the name. It can add rhythm and meter to any piece of writing and can often be found in poetry.

Example: " That's one small step for man, one giant leap for mankind." - Neil Armstrong

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16. Polysyndeton

Instead of using a single conjunction in lengthy statements, polysyndeton uses several in succession for a dramatic effect. This one is definitely for authors looking to add a bit of artistic flair to their writing, or who are hoping to portray a particular (usually naïve) sort of voice.

Example: "Luster came away from the flower tree and we went along the fence and they stopped and we stopped and I looked through the fence while Luster was hunting in the grass." - The Sound and the Fury by William Faulkner

Exercise: Write three or four independent sentences. Try combining them using conjunctions. What kind of effect does this have on the overall meaning and tone of the piece?

17. Portmanteau

Example: Brunch (breakfast and lunch); cosplay (costume and roleplay); listicle (list and article); romcom (romance and comedy)

Exercise: Pick two words that are often used together to describe a single concept. See if there's a way to combine them and create a single word that encompasses the meaning of both.

18. Repetition

Repetition, repetition, repetition... where would we be without it? Though too much repetition is rarely a good thing, occasional repetition can be used quite effectively to drill home a point, or to create a certain atmosphere. For example, horror writers often use repetition to make the reader feel trapped and scared.

Example: In The Shining, Jack Torrance types over and over again on his pages, "All work and no play makes Jack a dull boy." In this case, obsessive repetition demonstrates the character's unraveling mind.

Similar term: anaphora

Exercise: Repetition can be used to call attention to an idea or phrase. Pick an idea you want to emphasize and write a few sentences about it. Are there any places where you can add repetition to make it more impactful?

Not exactly what you want to see on your husband's desk. (Image: Warner Bros)

19. Tautology

A tautology is when a sentence or short paragraph repeats a word or phrase, expressing the same idea twice. Often, this is a sign that you should trim your work to remove the redundancy (such as "frozen ice") but can also be used for poetic emphasis.

Example: "But the fact is I was napping, and so gently you came rapping, And so faintly you came tapping, tapping at my chamber door" - "The Raven" by Edgar Allan Poe

20. Tmesis

Tmesis is when a word or phrase is broken up by an interjecting word, such as abso-freaking-lutely. It's used to draw out and emphasize the idea, often with a humorous or sarcastic slant.

Example: "This is not Romeo, he's some-other-where." - Romeo and Juliet by William Shakespeare

Narrative devices

21. Allegory

An allegory is a type of narrative that uses characters and plot to depict abstract ideas and themes. In an allegorical story, things represent more than they appear to on the surface. Many children's fables, such as The Tortoise and the Hare, are simple allegories about morality - but allegories can also be dark, complex, and controversial.

Example: Animal Farm by George Orwell. This dystopian novella is one of modern literature's best-known allegories. A commentary on the events leading up to Stalin's rise and the formation of the Soviet Union, the pigs at the heart of the novel represent figures such as Stalin, Trotsky, and Molotov.

Exercise: Pick a major trend or problem in the world and consider what defines it. Try and create a story where that trend plays out on a smaller scale.

22. Anecdote

An anecdote is like a short story within a story. Sometimes, they are incredibly short-only a line or two-and their purpose is to add a character's perspective, knowledge, or experience to a situation. They can be inspirational, humorous, or be used to inspire actions in others. Since anecdotes are so short, don't expect them to be part of a main story. They're usually told by a character and part of the dialogue.

23. Deus Ex Machina

Literally meaning "god in the machine" in Greek, deus ex machina is a plot device where an impossible situation is solved by the appearance of an unexpected or unheard of character, action, object, or event. This brings about a quick and usually happy resolution for a story and can be used to surprise an audience, provide comic relief, or provide a fix for a complicated plot. However, deus ex machinas aren't always looked upon favorably and can sometimes be seen as lazy writing, so they should be used sparingly and with great thought.

Example: William Golding's famous novel of a group of British boys marooned on a desert island is resolved with a deus ex machina. At the climax of The Lord of the Flies, just as Ralph is about to be killed by Jack, a naval officer arrives to rescue the boys and bring them back to civilization. It's an altogether unexpected and bloodless ending for a story about the boys' descent into savagery.

Exercise: Consider the ending of your favorite book or movie and then write an alternate ending that uses a deus ex machina to resolve the main conflict. How does this affect the overall story in terms of theme and tone?
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24. Dramatic irony

Dramatic irony is when the readers know more about the situation going on than at least one of the characters involved. This creates a difference between the ways the audience and the characters perceive unfolding events. For instance, if we know that one character is having an affair, when that character speaks to their spouse, we will pick up on the lies and double-meanings of their words, while the spouse may take them at face value.

Example: In Titanic, the audience knows from the beginning of the movie that the boat will sink. This creates wry humor when characters remark on the safety of the ship.

25. Exposition

Exposition is when the narrative provides background information in order to help the reader understand what's going on. When used in conjunction with description and dialogue, this literary device provides a richer understanding of the characters, setting, and events. Be careful, though - too much exposition will quickly become boring, thus undercutting the emotional impact of your work.

Example: "The Dursley's had everything they wanted, but they also had a secret, and their greatest fear was that somebody would discover it." - Harry Potter and the Sorcerer's Stone by J.K. Rowling

Exercise: Pick your favorite story and write a short paragraph introducing it to someone who knows nothing about it.

26. Flashback

Flashbacks to previous events split up present-day scenes in a story, usually to build suspense toward a big reveal. Flashbacks are also an interesting way to present exposition for your story, gradually revealing to the reader what happened in the past.

Example: Every other chapter in the first part of Gone Girl is a flashback, with Amy's old diary entries describing her relationship with her husband before she disappeared.

Similar term: foreshadowing

27. Foreshadowing

Foreshadowing is when the author hints at events yet to come in a story. Similar to flashbacks (and often used in conjunction with them), this technique is also used to create tension or suspense - giving readers just enough breadcrumbs to keep them hungry for more.

Example: One popular method of foreshadowing is through partial reveals - the narrator leaves out key facts to prompt readers' curiosity. Jeffrey Eugenides does this in The Virgin Suicides: "On the morning the last Lisbon daughter took her turn at suicide - it was Mary this time, and sleeping pills, like Therese, the two paramedics arrived at the house knowing exactly where the knife drawer was, and the gas oven, and the beam in the basement from which it was possible to tie a rope."

Similar term: flashback

Exercise: Go back to your favorite book or movie. Can you identify any instances of foreshadowing in the early portions of the story for events that happen in the future?

28. Frame story

A frame story is any part of the story that "frames" another part of it, such as one character telling another about their past, or someone uncovering a diary or a series of news articles that then tell the readers what happened. Since the frame story supports the rest of the plot, it is mainly used at the beginning and the end of the narrative, or in small interludes between chapters or short stories.

Example: In The Name of the Wind by Patrick Rothfuss, Kvothe is telling Chronicler the story of his life over the span of three days. Most of the novel is the story he is telling, while the frame is any part that takes place in the inn.

In medias res is a Latin term that means "in the midst of things" and is a way of starting a narrative without exposition or contextual information. It launches straight into a scene or action that is already unfolding.

Example: "Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice." - The opening line of One Hundred Years of Solitude by Gabriel García Márquez

Exercise: Pick a story you enjoy and rewrite the opening scene so that it starts in the middle of the story.

30. Point of view

Point of view is, of course, the mode of narration in a story. There are many POVs an author can choose, and each one will have a different impact on the reading experience.

Example: Second person POV is uncommon because it directly addresses the reader - not an easy narrative style to pull off. One popular novel that manages to employ this perspective successfully is Bright Lights, Big City by Jay McInerney: "You are not the kind of guy who would be at a place like this at this time of the morning. But here you are, and you cannot say that the terrain is entirely unfamiliar, although the details are fuzzy."

Exercise: Write a short passage in either first, second, or third person. Then rewrite that passage in the other two points of view, only changing the pronouns. How does the change in POV affect the tone and feel of the story?

31. Soliloquy

Soliloquy involves a character speaking their thoughts aloud, usually at length (and often in a Shakespeare play). The character in question may be alone or in the company of others, but they're not speaking for the benefit of other people; the purpose of a soliloquy is for a character to reflect independently.

Example: Hamlet's "to be or not to be" speech, in which he ruminates on the nature of life and death, is a classic dramatic soliloquy.

Exercise: Pick a character from your favorite book or movie and write a soliloquy from their point of view where they consider their thoughts and feelings on an important part of their story or character arc.

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32. Tone

Tone refers to the overall mood and message of your book. It's established through a variety of means, including voice, characterization, symbolism, and themes. Tone sets the feelings you want your readers to take away from the story.

Example: No matter how serious things get in The Good Place, there is always a chance for a character to redeem themselves by improving their behavior. The tone remains hopeful for the future of humanity in the face of overwhelming odds.

Exercise: Write a short paragraph in an upbeat tone. Now using the same situation you came up with, rewrite that passage in a darker or sadder tone.

33. Tragicomedy

Tragicomedy is just what it sounds like: a blend of tragedy and comedy. Tragicomedy helps an audience process darker themes by allowing them to laugh at the situation even when circumstances are bleak.

Example: Lemony Snicket's A Series of Unfortunate Events uses wordplay, absurd situations, and over-the-top characters to provide humor in an otherwise tragic story.

Conceptual devices

34. Allusion

An allusion is a reference to a person, place, thing, concept, or other literary work that a reader is likely to recognize. A lot of meaning can be packed into an allusion and it's often used to add depth to a story. Many works of classic Western literature will use allusions to the Bible to expand on or criticize the morals of their time.

Example: "The two knitting women increase his anxiety by gazing at him and all the other sailors with knowing unconcern. Their eerie looks suggest that they know what will happen (the men dying), yet don't care." The two women knitting in this passage from Joseph Conrad's Heart of Darkness are a reference to the Fates from Greek mythology, who decide the fate of humanity by spinning and cutting the threads of life.

Exercise: In a relatively simple piece of writing, see how many times you can use allusions. Go completely crazy. Once you're finished, try to cut it down to a more reasonable amount and watch for how it creates deeper meaning in your piece.

35. Analogy

An analogy connects two seemingly unrelated concepts to show their similarities and expand on a thought or idea. They are similar to metaphors and similes, but usually take the comparison much further than either of these literary devices as they are used to support a claim rather than provide imagery.

Example: " It has been well said that an author who expects results from a first novel is in a position similar to that of a man who drops a rose petal down the Grand Canyon of Arizona and listens for the echo." - P.G. Wodehouse

Exercise: Pick two seemingly unrelated nouns and try to connect them with a verb to create an analogy.

36. Anthropomorphism

To anthropomorphize is to apply human traits or qualities to a non-human thing such as objects, animals, or the weather. But unlike personification, in which this is done through figurative description, anthropomorphism is literal: a sun with a smiling face, for example, or talking dogs in a cartoon.

Examples: In Disney's Beauty and the Beast, Mrs. Potts the teapot, Cogsworth the clock, and Lumière the candlestick are all household objects that act and behave like humans (which, of course, they were when they weren't under a spell).

Similar term: personification

Exercise: Pick a non-human object and describe it as if it was human, literally ascribing human thoughts, feelings, and senses to it.

The household items in "Beauty and the Beast" have been anthropomorphized. (Image: Buena Vista)

37. Aphorism

An aphorism is a universally accepted truth stated in a concise, to-the-point way. Aphorisms are typically witty and memorable, often becoming adages or proverbs as people repeat them over and over.

Example: "To err is human, to forgive divine." - Alexander Pope

38. Archetype

An archetype is a "universal symbol" that brings familiarity and context to a story. It can be a character, a setting, a theme, or an action. Archetypes represent feelings and situations that are shared across cultures and time periods, and are therefore instantly recognizable to any audience - for instance, the innocent child character, or the theme of the inevitability of death.

Example: Superman is a heroic archetype: noble, self-sacrificing, and drawn to righting injustice whenever he sees it.

Exercise: Pick an archetype - either a character or a theme - and use it to write a short piece centered around that idea.

39. Cliché

A cliché is a saying or idea that is used so often it becomes seen as unoriginal. These phrases might become so universal that, despite their once intriguing nature, they're now looked down upon as uninteresting and overused.

Exercise: Write a short passage using as many cliches as possible. Now try to cut them out and replace them with more original phrasing. See how the two passages compare.

40. Colloquialism

Colloquialism is the use of casual and informal language in writing, which can also include slang. Writers use colloquialisms to provide context to settings and characters, and to make their writing sound more authentic. Imagine reading a YA novel that takes place in modern America, and the characters speak to each other like this:
"Good morning, Sue. I hope that you slept well and are prepared for this morning's science exam."
It's not realistic. Colloquialisms help create believable dialogue:
"Hey Sue, what'd you get up to last night? This science test is gonna suck."
Example: Trainspotting by Irvine Welsh takes place in Scotland, a fact made undeniably obvious by the dialect: "Thing is, as ye git aulder, this character-deficiency gig becomes mair sapping. Thir wis a time ah used tae say tae aw the teachers, bosses, dole punters, poll-tax guys, magistrates, when they telt me ah was deficient: 'Hi, cool it, gadge, ah'm jist me, jist intae a different sort ay gig fae youse but, ken?'"

Exercise: Write a dialogue between two characters as formally as possible. Now take that conversation and make it more colloquial. Imagine that you're having this conversation with a friend. Mimic your own speech patterns as you write.

41. Euphemism

A euphemism is an indirect, "polite" way of describing something too inappropriate or awkward to address directly. However, most people will still understand the truth about what's happening.

Example: When an elderly person is forced to retire, some might say they're being "put out to pasture."

Exercise: Write a paragraph where you say things very directly. Now rewrite that paragraph using only euphemisms.

42. Hyperbole

Hyperbole is an exaggerated statement that emphasizes the significance of the statement's actual meaning. When a friend says, "Oh my god, I haven't seen you in a million years," that's hyperbole.

Example: "At that time Bogotá was a remote, lugubrious city where an insomniac rain had been falling since the beginning of the 16th century." - Living to Tell the Tale by Gabriel García Márquez

Exercise: Tall tales often make use of hyperbole to tell an exaggerated story. Use hyperbole to relate a completely mundane event or experience to turn it into a tall tale.

43. Hypophora

Hypophora is much like a rhetorical question, wherein someone asks a question that doesn't require an answer. However, in hypophora, the person raises a question and answers it immediately themselves (hence the prefix hypo, meaning 'under' or 'before'). It's often used when characters are reasoning something aloud.

Example: "Do you always watch for the longest day of the year and then miss it? I always watch for the longest day in the year and then miss it." - Daisy in The Great Gatsby by F. Scott Fitzgerald

Musing Daisy Buchanan has a habit of hypophora. (Image: Warner Bros)

44. Idiom

An idiom is a saying that uses figurative language whose meaning differs from what it literally says. These phrases originate from common cultural experiences, even if that experience has long ago been forgotten. Without cultural context, idioms don't often make sense and can be the toughest part for non-native speakers to understand.

Example: In everyday use, idioms are fairly common. We say things like, "It's raining cats and dogs" to say that it's downpouring.

Exercise: Idioms are often used in dialogue. Write a conversation between two people where idioms are used to express their main points.

45. Imagery

Imagery appeals to readers' senses through highly descriptive language. It's crucial for any writer hoping to follow the rule of "show, don't tell," as strong imagery truly paints a picture of the scene at hand.

Example: "In the hard-packed dirt of the midway, after the glaring lights are out and the people have gone to bed, you will find a veritable treasure of popcorn fragments, frozen custard dribblings, candied apples abandoned by tired children, sugar fluff crystals, salted almonds, popsicles, partially gnawed ice cream cones and wooden sticks of lollipops." - Charlotte's Web by E.B. White

Exercise: Choose an object, image, or idea and use the five senses to describe it.

46. Irony

Irony creates a contrast between how things seem and how they really are. There are three types of literary irony: dramatic (when readers know what will happen before characters do), situational (when readers expect a certain outcome, only to be surprised by a turn of events), and verbal (when the intended meaning of a statement is the opposite of what was said).

Example: This opening scene from Orson Welles' A Touch of Evil is a great example of how dramatic irony can create tension.

47. Juxtaposition

Juxtaposition places two or more dissimilar characters, themes, concepts, etc. side by side, and the profound contrast highlights their differences. Why is juxtaposition such an effective literary device? Well, because sometimes the best way for us to understand something is by understanding what it's not.

Example: In the opening lines of A Tale of Two Cities, Charles Dickens uses juxtaposition to emphasize the societal disparity that led to the French Revolution: "It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness..."

Similar terms: oxymoron, paradox

Exercise: Pick two ideas, objects, places, or people that seem like complete opposites. Introduce them side by side in the beginning of your piece and highlight their similarities and differences throughout.

A metaphor compares two similar things by saying that one of them is the other. As you'd likely expect, when it comes to literary devices, this one is a heavy hitter. And if a standard metaphor doesn't do the trick, a writer can always try an extended metaphor: a metaphor that expands on the initial comparison through more elaborate parallels.

Example: Metaphors are literature's bread and butter (metaphor intended) - good luck finding a novel that is free of them. Here's one from Frances Hardinge's A Face Like Glass: "Wishes are thorns, he told himself sharply. They do us no good, just stick into our skin and hurt us."

Similar term: simile

Exercise: Write two lists: one with tangible objects and the other concepts. Mixing and matching, try to create metaphors where you describe the concepts using physical objects.
One metaphor example not enough? Check out this post, which has 97 of 'em!
49. Metonymy

Metonymy is like symbolism, but even more so. A metonym doesn't just symbolize something else, it comes to serve as a synonym for that thing or things - typically, a single object embodies an entire institution.

Examples: "The crown" representing the monarchy, "Washington" representing the U.S. government.

Similar term: synecdoche

Exercise: Create a list of ten common metonymies you might encounter in everyday life and speech.

50. Motif

Whatever form a motif takes, it recurs throughout the novel and helps develop the theme of the narrative. This might be a symbol, concept, or image.

Example: In Anna Karenina by Leo Tolstoy, trains are an omnipresent motif that symbolize transition, derailment, and ultimately violent death and destruction.

Similar term: symbol

Exercise: Pick a famous book or movie and see if you can identify any common motifs within it.

51. Non sequitur

Non sequiturs are statements that don't logically follow what precedes them. They'll often be quite absurd and can lend humor to a story. But they're just not good for making jokes. They can highlight missing information or a miscommunication between characters and even be used for dramatic effect.

Example: "It was a spring day, the sort that gives people hope: all soft winds and delicate smells of warm earth. Suicide weather." - Girl, Interrupted by Susanna Kaysen

Exercise: Write a conversation that gets entirely derailed by seemingly unrelated non sequiturs.

52. Paradox

Paradox derives from the Greek word paradoxon, which means "beyond belief." It's a statement that asks people to think outside the box by providing seemingly illogical - and yet actually true - premises.

Example: In George Orwell's 1984, the slogan of the totalitarian government is built on paradoxes: "War is Peace, Freedom is Slavery, Ignorance is Strength." While we might read these statements as obviously contradictory, in the context of Orwell's novel, these blatantly corrupt sentiments have become an accepted truth.

Similar terms: oxymoron, juxtaposition

Exercise: Try writing your own paradox. First, think of two opposing ideas that can be juxtaposed against each other. Then, create a situation where these contradictions coexist with each other. What can you gather from this unique perspective?

53. Personification

Personification uses human traits to describe non-human things. Again, while the aforementioned anthropomorphism actually applies these traits to non-human things, personification means the behavior of the thing does not actually change. It's personhood in figurative language only.

Example: "Just before it was dark, as they passed a great island of Sargasso weed that heaved and swung in the light sea as though the ocean were making love with something under a yellow blanket, his small line was taken by a dolphin." - The Old Man and the Sea by Ernest Hemingway

Similar term: anthropomorphism

Exercise: Pick a non-human object and describe it using human traits, this time using similes and metaphors rather than directly ascribing human traits to it.

54. Rhetorical question

A rhetorical question is asked to create an effect rather than to solicit an answer from the listener or reader. Often it has an obvious answer and the point of asking is to create emphasis. It's a great way to get an audience to consider the topic at hand and make a statement.

Example: "If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge?" - The Merchant of Venice by William Shakespeare

55. Satire

Writers use satire to make fun of some aspect of human nature or society - usually through exaggeration, ridicule, or irony. There are countless ways to satirize something; most of the time, you know it when you read it.

Example: The famous adventure novel Gulliver's Travels by Jonathan Swift is a classic example of satire, poking fun at "travelers' tales," the government, and indeed human nature itself.

56. Simile

A simile draws resemblance between two things by saying "Thing A is like Thing B," or "Thing A is as [adjective] as Thing B." Unlike a metaphor, a similar does not posit that these things are the same, only that they are alike. As a result, it is probably the most common literary device in writing - you can almost always recognize a simile through the use of "like" or "as."

Example: There are two similes in this description from Circe by Madeline Miller: "The ships were golden and huge as leviathans, their rails carved from ivory and horn. They were towed by grinning dolphins or else crewed by fifty black-haired nereids, faces silver as moonlight."

Similar term: metaphor

57. Symbolism

Authors turn to tangible symbols to represent abstract concepts and ideas in their stories Symbols typically derive from objects or non-humans - for instance, a dove might represent peace, or a raven might represent death.

Example: In The Great Gatsby, Fitzgerald uses the eyes of Doctor T.J. Eckleburg (actually a faded optometrist's billboard) to represent God and his judgment of the Jazz Age.

Similar term: motif

Exercise: Choose an object that you want to represent something - like an idea or concept. Now, write a poem or short story centered around that symbol.

58. Synecdoche

Similar term: metonymy

59. Zeugma

Zeugma is when one word is used to ascribe two separate meanings to two other words. This literary device is great for adding humor and figurative flair as it tends to surprise the reader. And it's just a fun type of wordplay.

Example: "Yet time and her aunt moved slowly - and her patience and her ideas were nearly worn out before the tete-a-tete was over." - Pride and Prejudice by Jane Austen

60. Zoomorphism

Zoomorphism is when you take animal traits and assign them to anything that's not an animal. It's the opposite of anthropomorphism and personification, and can be either a physical manifestation, such as a god appearing as an animal, or a comparison, like calling someone a busy bee.

Example: When vampires turn into bats, their bat form is an instance of zoomorphism.

Exercise: Describe a human or object by using traits that are usually associated with animals.

Similar terms: anthropomorphism, personification

Readers and writers alike can get a lot out of understanding literary devices and how they're used. Readers can use them to gain insight into the author's intended meaning behind their work, while writers can use literary devices to better connect with readers. But whatever your motivation for learning them, you certainly won't be sorry you did! (Not least because you'll recognize the device I just used in that sentence. 😏)

- Originally published on Mar 20, 2020

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60 Literary Devices and Terms Every Writer Should Know

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Looking to inject style into your writing? This list of 35+ literary devices is a great place to start - with plenty of examples from popular stories.

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Thématiques et Sous-thèmes 1ère Tle en anglais

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Thématiques et Sous-thèmes 1ère Tle en anglais

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Rappel thématiques et sous-thèmes en angalis 1ère et Tle

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ÉPREUVES DE SPÉCIALITÉ L.L.C.E. TERMINALEET GRAND ORAL

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ÉPREUVES DE SPÉCIALITÉ L.L.C.E. TERMINALEET GRAND ORAL

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CHANGEMENTS POUR LES ÉPREUVES DE SPÉCIALITÉ LLCER ANGLAIS

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CHANGEMENTS POUR LES ÉPREUVES DE SPÉCIALITÉ LLCER ANGLAIS

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Le BO n°20 du 18 mai 2023 est paru et précise la liste d'œuvres au programme en Première LLCER pour la période 2023-2025. Pour rappel, en première LLCER, l'enseignant (...)

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BUILD YOUR PORTFOLIO ,'Mrs Dalloway and the First World War', David BRADSHAW, 2016

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BUILD YOUR PORTFOLIO ,'Mrs Dalloway and the First World War', David BRADSHAW, 2016

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In memoriam to David Bradshaw

Monday 19 September 2016 by Paula Maggio

David Bradshaw, professor of English literature at Worcester College at Oxford University and a plenary speaker at the 26th Annual International Conference on Virginia Woolf held June 16-19 at Leeds Trinity University, died Sept. 13. He had been ill with cancer.

At the conference, Mr. Bradshaw gave a talk titled "'The Very Centre of the Very Centre': Herbert Fisher, Oxbridge and 'That Great Patriarchal Machine'." In his talk, he quoted Woolf as saying that her contact with Fisher "brought back my parents more than anyone else I knew."

Vara Neverow, editor of the Virginia Woolf Miscellany, invites those who knew Mr. Bradshaw to share their memories of him for that publication. "The publication of such recollections would be much valued by others, whether they knew David himself or knew only his scholarship," she wrote in a message to the VWoolf Listserv.

Tributes to Mr. Bradshaw, who has been called "one of the great recent scholars of modernism," prevailed on the list after news of his death was announced. Here are just a few:

I miss him already - Bonnie Scott

Just joining in the chorus of sorry over this sad news. I had heard he was ill but, I regret to say that I cherished the luxury of denial. I'm just so very very sad. He was such a funny, warm, silly, vital, brilliant, generous person. It was always a joy to see him and I learned so much from him. To this day, whenever I give a paper I remember his admonishment to himself once-"don't get distracted, David,"-which he uttered aloud to great effect years ago. Sharing his digressive streak, I loved that so much. And, of course, almost every note of his Dalloway appears, with credit, in my edition. I owe him so much. What a terrible loss. - Anne Fernald

His plenary at Leeds was special. I have often and continue to teach from his considerable body of work. This is a terribly sad loss. My heart goes out to his family and many friends. - Jean Mills

Such an unbelievably sad loss. A superb scholar and wonderfully witty and generous man. - Maggie Humm

His colleagues in the Complete Works of Evelyn Waugh project also posted their tributes on the Waugh and Words blog on the University of Leicester website.

Mr. Bradshaw specialized in late nineteenth- and early twentieth-century literature and had written many articles on literature, politics and ideas in the period 1880-1945, especially in relation to the work of Virginia Woolf, T. S. Eliot, Aldous Huxley and W. B. Yeats, according to the Worcester College website.

His current projects included an edition of Woolf's Jacob's Room (CUP) with Stuart N. Clarke and a monograph "in train" that he said "will examine the ways in which Woolf, Waugh and Huxley challenged the culture of their time through their provocative engagement with the obscene."
His books related to Woolf include:

(Ed.) Virginia Woolf, The Waves, `Oxford's World's Classics' series (Oxford: Oxford University Press, 2015).

(Ed., with Stuart N. Clarke) Virginia Woolf, A Room of One's Own, Shakespeare Head Press Edition of Virginia Woolf (Chichester and Malden, MA: Wiley-Blackwell, 2015).

(Ed., with Ian Blyth) Virginia Woolf, The Years, Shakespeare Head Press Edition of Virginia Woolf (Chichester and Malden, MA: Wiley-Blackwell, 2012).

(Ed.) Virginia Woolf, Selected Essays, `Oxford's World's Classics' series (Oxford: Oxford University Press, 2008).

(Ed.) The Cambridge Companion to E. M. Forster (Cambridge: Cambridge University Press, 2007). I also contributed the chapter on `Howards End' (see below).

(Ed.) Virginia Woolf, To the Lighthouse, `Oxford's World's Classics' series (Oxford: Oxford University Press, 2006).

(Ed.) Virginia Woolf, Carlyle's House and Other Sketches (London: Hesperus, 2003). Incorporated into the 2nd, rev. ed. ofA Passionate Apprentice: The Early Journals of Virginia Woolf, ed. Mitchell A. Leaska (London: Pimlico, 2004).

Winking, Buzzing, Carpet-Beating: Reading `Jacob's Room', 4th Annual Virginia Woolf Society of Great Britain Birthday Lecture (Southport: Virginia Woolf Society of Great Britain, 2003).

(Ed.) Virginia Woolf, Mrs Dalloway, `Oxford's World's Classics' series (Oxford: Oxford University Press, 2000).

His articles related to Woolf include:

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David Bradshaw, professor of English literature at Worcester College at Oxford University and a plenary speaker at the 26th Annual International Conference on Virginia Woolf held June 16-19 at Leeds Trinity University, died Sept. 13. He had been ill with cancer. At the conference, Mr. Bradshaw gave a talk titled "'The Very Centre of the Very Centre':...

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ARCHIE ROACH, Took the Children Away, 1990

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ARCHIE ROACH, Took the Children Away, 1990

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Archie Roach - Took The Children Away - With Lyrics

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https://www.rhymezone.com/r/rhyme.cgi?typeofrhyme=oldrel&loc=nojs&Word=anglais

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Rhymes Near rhymes Thesaurus Phrases Descriptive words Definitions Same consonants

(121 results)

Often used in the same context:

plaisir,histoire,juste,francais,sujet,joue,demain,alors,faut,vieux,presque,cela,gros,rien,monsieur,parler,toujours,sacre,quelque chose,tout le monde,rendre,ligne,mauvais,incroyable,votre,ici,jamais,tous,surtout,elles,moyen,vos,homme,pourquoi,jeune,victoire,semble,jour,yeux,cinq,visite,partout,livre,quoi,heure,ouvert,nuit,choix,libres,bonne,donne,penser,traduction,notre,coq,anglaise,essai,aventure,chaud,mettre,vous,parlez,mauvaise,italien,servir,droite,travailler,inglese,monde,mots,samedi,matin,lait,donner,verano,sauvage,lundi,soir,couleur,cherie,amis,baie,bons,vaut,avoir,dynamique,texte,dix,rire,planche,quelque,dernier,casse,jardin,droits,propre,horreur,bois,capitaine,haut,cartes,venir,par,de,sans,antique,dieu,est,femme,politique,que,roy,tres,alley,amphitheater,chateau,cipher,circus,comme,du,enfant

Also try:
- Adjectives for anglais: vous, public, francais, aux, fran\u00e7ais, avec, plushed, une, vieil, main, famous,more...

Commonly used words are shown in bold. Rare words are dimmed.
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"Moon Palace" by TNT Theatre Britain

British theater group TNT, 2010, Moon Palace. (7 minutes 8 seconds)

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https://archive.org/details/12AngryMen1957

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12 Angry Men ( 1957) : Free Download, Borrow, and Streaming : Internet Archive

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USEFUL EXPRESSIONS
https://www.myprepa.fr/news/les-meilleures-expressions-a-utiliser-en-anglais/

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Préparation aux grandes écoles de commerce

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http://www.online-literature.com/periods/bloomsbury.php

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The Bloomsbury Group - Literature Periods & Movements

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Literature Network » Literary Periods » The Bloomsbury Group

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https://www.youtube.com/watch?v=pLhVjsczcb8

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Paul Auster Interview: How I Became a Writer

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https://www.youtube.com/watch?v=afu-OMdM9Nk

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Apostrophes : Paul Auster "Moon Palace" | Archive INA