Trame annuelle Anglais 2^nde

Cours / Document

The labels that arrive before we do

Editorial pédagogique original · essayette · ~320 mots · section européenne

Before anyone learns your name properly, a set of labels often arrives first: the quiet one, the sporty one, the bilingual one, the student who “should speak more”. Labels are efficient. They help a crowded classroom sort faces in September. They are also blunt instruments. They flatten contradiction · and contradiction is where a real voice begins.

Consider two scenes. In the first, a teacher asks for volunteers; three hands rise at once. In the second, the same teacher asks a sharper question · Who benefits when we call someone shy rather than careful? · and the room hesitates. The second question forces interpretation. It treats identity not as a costume but as a negotiation between how we see ourselves and how institutions name us.

European-section work expects that negotiation in English. You are not asked to invent a dramatic life story. You are asked to select evidence: a gesture, a silence, a family language at the dinner table, a school rule that once felt natural and later felt strange. Then you argue · gently, precisely · what that evidence suggests.

A useful stance is neither confession nor performance. Try this architecture: claim → specific scene → implication → open question. Example: “People call me reserved; last spring I translated for my uncle at the town hall for forty minutes; perhaps reserve is a strategy, not a deficit · so when does a school reward silence and when does it punish it?”

Tonight, draft that architecture once. Tomorrow, say it aloud without reading every word. Voice, at B1+, is not volume. It is the courage to interpret yourself with evidence.

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Two portraits that refuse the hobby list

Deux modèles oraux annotés · ~340 mots · original Trame

Portrait A · Léna (1'20) “If you only knew me through my timetable, you would invent a tidy person: maths, English, swimming, sleep. The truth is messier. Last winter I sat in the municipal library translating a housing form for my neighbour who has lived here longer than I have been alive. My French was bureaucratic; her gratitude was not. I am not ‘the helpful girl’. I am someone learning that languages are infrastructures · they open doors or close them. The label I reject is ‘lucky bilingual’. Luck did not queue the hours. What I am negotiating is responsibility: when do you speak for someone, and when do you make space so they speak for themselves?”

Portrait B · Noah (1'15) “Teachers sometimes praise me for ‘participating’. Participation, though, can be a mask. I talk early so that nobody asks the question that frightens me · whether I belong in a European section where half the class has travelled and I have not. Last month a documentary about border towns forced me to rethink belonging: you can inherit a passport and still feel peripheral. My evidence is small: I rehearse seminar answers on the bus, then deliver them as if they were spontaneous. I would argue that performance and authenticity are not opposites; they are tools. The open question is whether school can tell the difference.”

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From anecdote to interpretation · a working method

Fiche méthode · modèle annoté · original Trame

A European-section portrait is not a diary entry read aloud. It is a short argument about how identity is made, contested, or performed.

Working method (4 moves): 1) Hook with friction · a label, a rule, a mismatch between home and school. 2) Scene with sensory precision · one place, one action, one consequence (40 à 60 words). 3) Interpretation · what the scene reveals about power, belonging, language, or expectation. 4) Open question · leave the listener thinking, not applauding.

Annotated model (158 words): “On my student card I am a barcode and a birthdate; in my grandmother’s kitchen I am the person who still mispronounces the name of her village. That mismatch is my real syllabus this year. Last October I corrected a shop assistant who assumed my accent meant I needed simpler English · and then felt ashamed of my impatience. The scene was tiny; the implication was not: accent is treated as competence theatre. I would argue that schools often reward clarity more than complexity, which quietly trains us to sand down our edges. So here is my question: if fluency is a costume, who decides when we are allowed to take it off?”

Notice what is missing: hobby lists, “I like English”, empty adjectives. Notice what is present: evidence, evaluation, a conceptual noun (competence theatre).

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Defence moves after a short talk

Fiche interaction · questions piège / relances · original Trame

After a portrait, interaction separates recital from thought. Typical examiner/teacher moves:

Q1 Clarification · “You said accent is competence theatre. What do you mean by theatre?” Weak answer: repeat the metaphor louder. Strong answer: unpack with a new micro-example.

Q2 Counter · “Isn’t it simpler to say some students are just shy?” Weak answer: “Yes, maybe.” Strong answer: concede a grain of truth, then reframe: “Shyness exists; yet naming it too early can become a self-fulfilling script.”

Q3 Comparison · “How is your case different from Léna’s translation scene?” Aim: one contrastive sentence, not a second speech.

Phonology reminder: emphasise content words that carry evaluation (negotiate, infrastructure, peripheral, implication). Do not rush hedges; to some extent needs calm syllables.

Rubric focus today: message density, lexical precision, interaction agility · not theatrical emotion.

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The courtyard is not neutral

Essai pédagogique · espace urbain scolaire · ~310 mots

Every school courtyard looks informal until you watch it as a map of power. Who occupies the centre? Who walks the edges? Who waits by the gate for a sibling? Urban sociologists remind us that public space is never empty of rules; it is saturated with invisible permissions.

Take a municipal square redesigned with sleek benches that discourage lying down. The brochure says “shared comfort”. A teenager who used to skate there hears another message: certain bodies are welcome as consumers of calm, not as producers of noise. The same logic can appear in a lycée when “quiet zones” protect revision yet quietly exile the students whose social life is the courtyard itself.

Living together, then, is not a soft slogan. It is a set of design choices and unwritten treaties. Density creates friction: music from one window, revision notes on a low wall, a delivery scooter cutting the pavement. The European-section task is to describe these frictions without moral panic · to ask who benefits, who adapts, and which compromises remain realistic at school scale.

Your first tool is precise observation. Note three micro-scenes this week. For each, write a cause→effect chain and one unanswered civic question. Avoid tourist adjectives (beautiful, modern). Prefer analytical ones (segregated, porous, surveilled, negotiated).

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Night buses and the myth of the 24-hour city

Article pédagogique original · urbanisme · ~330 mots

Tourism posters love the phrase “the city that never sleeps”. For many teenagers, the more honest phrase is “the city that sleeps on a timetable”. When the last reliable bus leaves at 10:40, nightlife becomes a class question as much as a cultural one. Those with cars, taxis, or parents who can collect them inherit a longer evening; others inherit a curfew disguised as logistics.

Urban researcher Amira Chen (fictional composite for class use) notes that transport maps are moral documents: they reveal whose time is considered valuable. A delayed tram after a theatre workshop is not a small inconvenience if it determines whether you can join the workshop at all. Living together includes the right to arrive home safely · and the right to linger without being treated as a problem.

Critics of late transport argue costs and security. Those arguments deserve scrutiny, not dismissal. Yet security rhetoric sometimes codes certain neighbourhoods as risky while leaving under-lit car parks unexamined. A careful reader asks: what evidence is offered, and whose fear is centred?

For tomorrow’s seminar, prepare a 90-word summary that does not copy sentences, then one interpretive claim about fairness.

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Four images, one quarrel

Atelier légendes · méthode · original Trame

A caption is not a label stuck under a pretty photo. At B1+ it is a micro-argument.

Weak caption: “A busy street in our town.” Stronger caption: “Delivery scooters colonise the pavement, turning a shared sidewalk into a temporary lane · convenience for some, obstacle for others.”

Method: 1) Name the visible conflict (two uses of the same space). 2) Add one precise detail (object, body, sign, time of day). 3) End with an evaluative hinge (which suggests / raising the question / at the cost of).

You will write four captions for legal images (Unsplash/Wikimedia or your own photos with permission). Then merge them into ONE thesis on living together · not a list. Thesis test: can someone disagree with you? If not, your sentence is still decorative.

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From diagnosis to one SMART proposal

Brief exposé · 5 à 6 min · original Trame

Your gallery talk should not be a slideshow of nice neighbourhood pictures. Structure:

1) Problematisation (30 à 40s) · living together as tension, not harmony poster. 2) Two documented frictions (2×60s) · image + caption + implication. 3) One SMART proposal (90s) · Specific, Measurable, Achievable, Relevant, Time-bound · school or street scale, budget-aware. 4) Anticipated objection (30s) · then a calm reply.

Example proposal (not obligatory): a monthly “shared courtyard charter” co-written by delegates, tested for six weeks, evaluated with a two-question survey. Weak proposal: “be nicer / clean the planet”. Strong proposal names actors, time, and success criteria.

Interaction: when asked “Isn’t this naive?”, concede constraints, then show the smallest viable experiment.

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Five headlines, five agendas

Corpus pédagogique original · framing · ~300 mots

Headlines are not windows; they are frames. Compare these class specimens (invented for training):

1) “Miracle Teen App Stops Flu in 90 Minutes” 2) “Experts Urge Caution After Viral Health Claim Spreads in Schools” 3) “Are We Raising a Generation of Digital Hypochondriacs?” 4) “Local Students Launch Peer Fact-Check Club” 5) “Big Tech Silent as Misinformation Hits Exam Season”

Each selects a villain, a hero, or a mood. (1) sells miracle; (2) centres institutional caution; (3) pathologises youth; (4) empowers peers; (5) blames platforms. None is “just information”.

Your job is not cynicism for its own sake. Cynicism is lazy. Critical reading asks: What is amplified? What is missing (sample size, date, conflicting studies)? Who profits from urgency?

Build a sorting grid: claim type · emotion triggered · absent evidence · possible verification move.

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The QuickHeal specimen · annotated

Texte presse pédagogique · annotations · original Trame

SPECIMEN (not a real outlet) “Teen App Claims ‘Instant Flu Cure’ · A viral clip claims QuickHeal stops the flu in ninety minutes. No clinical trials appear in public databases. A researcher at a regional hospital urges caution, noting that testimonials are not trials. Meanwhile school chats forward the video with fire emojis. The company has not replied to email questions about ingredients.”

Annotation keys: - CLAIM: stops the flu in ninety minutes - ABSENCE: no public clinical trials - EXPERT MOVE: urges caution; distinguishes testimonials vs trials - SOCIAL SPREAD: school chats + emojis (emotion, not proof) - ACCOUNTABILITY GAP: company silence (suggestive, not a final verdict)

Reporting verbs matter: claims ≠ proves; urges ≠ panics; notes ≠ screams. Precision is an ethical habit.

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Radio panel · script for intensive listening

Script CO original · 2 écoutes · ~280 mots

HOST: “Tonight: a viral school-health clip. Mara, you tracked it?” MARA: “I did. The clip claims a ninety-minute cure. What we can verify is the company’s marketing page. What we cannot verify · yet · is any peer-reviewed trial.” HOST: “So is it dangerous?” MARA: “I’d be careful with that word. Overconfidence is dangerous; the product itself is still opaque. Parents are anxious; students feel mocked if they ask for sources.” GUEST (student): “In our group chat, doubt looked like killing the vibe. But asking ‘where is the study?’ isn’t an insult.” HOST: “Final thirty seconds · one practical tip?” MARA: “Pause before forwarding. Check date, author, and whether other reputable outlets echo the claim. If nobody serious echoes it, wait.”

Attitude markers: yet, opaque, careful, anxious, mocked, reputable, wait.

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Anatomy of a 150-word fact-check

Modèle EE annoté · original Trame

Model report (152 words): “A viral clip claims QuickHeal cures flu symptoms in ninety minutes. The central claim is medical and therefore demands trial-level evidence. So far, no peer-reviewed study appears in major public indexes, and the company’s page offers testimonials rather than protocols. Two verification moves matter here: reverse-searching the video stills to date the claim, and checking whether public-health sites echo it · they do not. School chats amplify urgency with emojis, which is socially understandable but epistemically weak. I do not conclude the product is harmful; I conclude that sharing it as proven is unjustified. Until transparent data exists, the responsible student action is to pause, ask for sources, and avoid humiliating peers who forwarded it in good faith.”

Required moves in yours: summary · 2 techniques · status of claim · ethical closing.

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How to correct a rumour without becoming the police

Fiche oral civique · original Trame

Tone is content. If your fact-check sounds like triumph over stupid classmates, you have failed the civic aim.

Useful oral frame: 1) Claim in neutral language 2) What was checked 3) Current status (unproven / disputed / false) 4) What peers can do next 5) Invite a question

Avoid: “Obviously fake”, “only idiots share this”. Prefer: “The claim goes beyond available evidence”; “A careful next step is…”

No microphone? → Read your briefing aloud with a partner who plays a resistant peer.

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Winter garden, ordinary bargain

Réécriture pédagogique d’un motif folklorique DP (Belle/Bête) · ~300 mots

There was once a merchant who asked his daughters what gift they desired from the city. The elder two named jewels. The youngest asked only for a rose. In a winter garden that did not belong to him, he took one. The master of the place demanded a bargain that sounded medieval and felt modern: someone must pay for a border crossed without permission.

Read as folklore, this is enchantment. Read as European-section literature work, it is also about consent, debt, and who gets to define beauty as worth a life. The rose is not cute. It is a pretext that exposes how casually the powerful convert desire into obligation.

Your first task is to slow the scene. Which sensory details make the garden hostile rather than romantic? Where does the narrator invite sympathy · for the merchant, the daughter, or the wounded master? Literature trains inference: what is unsaid when a “gift” becomes a trap?

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Three stakes, one winter

Fiche personnages · enjeux · original Trame

Character map (class tool):

MERCHANT · stake: provide; fear: failure as father; blind spot: treat daughters’ desires as shopping list. YOUNGEST DAUGHTER · stake: be heard without luxury script; fear: become payment; desire: agency. MASTER · stake: enforce boundary; fear: solitude; possible wound: beauty stolen before.

Dialogue upgrade task: replace theatrical melodrama with pressure. Weak: “I love you, Beast!” Stronger: “You keep calling this justice. I call it a debt I never signed.”

POV rewrite (8 à 12 lines): choose one character. Keep the plot hinge (rose → bargain) but change what counts as important. Note one stylistic device you intentionally use (repetition, understatement, sharp questions).

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Criteria for a travelling story

Grille atelier · original Trame

A story “travels” when it can move across cultures without losing its ethical knot. Your rewrite should keep a recognisable hinge yet change angle.

Criteria ( /20 mindset, formative): - Ethical knot visible (debt/consent/boundary) · 5 - Controlled voice (not parody fairy tone unless chosen) · 5 - One named device doing work · 5 - Language accuracy under narrative pressure · 5

Banned as main strategy: joke endings that dissolve stakes; sudden modern gadgets with no link; moral sticker (“and so, be kind”).

Optional performance: 1 minute, script in hand only if needed.

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After the telling · reflective stems

Fiche métalangage · original Trame

Reflection is part of literary competence. After sharing, use stems:

- I shifted POV to expose… - The device I used was X; it works by… - Compared with the source motif, I intensified / softened… - A risk I took was…; next time I would…

Listeners give evidence-based feedback: “When you repeated ‘debt’, the bargain felt legal, not romantic.” Avoid “I liked it” as a full comment.

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Our canteen’s virtuous graph

Spécimen data pédagogique · ~290 mots

The school newsletter prints a bright graph: “Plastic cutlery down 60%!” The ribbon on the poster says Planet Heroes. A careful student asks three questions the poster does not answer. Sixty percent of what baseline? Across how many weeks? Did total waste fall, or did we merely replace forks with another disposable product?

Greenwashing is not always corporate evil; sometimes it is hopeful storytelling that skips method. European-section English demands method words: baseline, sample, timeframe, trade-off. You may still celebrate progress · after you can explain it.

Local observation beats global guilt speeches. Weigh, count, interview, compare. A humble accurate claim (“We cut plastic forks by roughly half over eight weeks; trays are next”) beats a heroic empty slogan.

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Where the waste actually starts

Reportage pédagogique · ~300 mots

Global speeches about melting ice caps can paralyse a Tuesday morning class. Local diagnosis restores agency. Walk the canteen line: Where do trays overflow? Which vegetarian option is cooked then thrown? Who decides portion size · cook, habit, fear of complaint?

A Year 11 survey (class fiction for training) found that 40% of discarded bread was taken “just in case” and never eaten. The causal chain is psychological and logistical, not merely moral failure. Solutions that only shame students often fail; solutions that change default portions and allow polite seconds may work better.

Your field notes today: three observations, one interview question, one possible lever (a small change with outsized effect).

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Three appeals, one school audience

Atelier rhétorique · ~280 mots

Preaching says: “Care about the planet.” Persuasion asks: “What does this audience already value?” For a head teacher, logos may be cost and liability. For peers, pathos may be fairness in the queue. For the cook, ethos may be respect for craft.

Slogan tests: - Vague fail: “Go green!” - Stronger: “Seconds, not bins · ask before you take.” A slogan is a door; your pitch is the house. Prepare an 80 à 100 word pitch: problem → evidence → 3 actions max → success check → invitation.

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What a poster owes its readers

Charte visuelle pédagogique · original Trame

A poster that only shouts a slogan is an ad. A pedagogical poster argues: problem in one line, evidence in one number or observation, three actions, one success check, credit if images used.

Hierarchy: eye sees slogan first, then proof, then verbs of action. Avoid clutter. Prefer verbs students can do this month. Budget reminder: €200 imaginary ceiling keeps proposals honest.

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Hostile questions worth practising

Banque Q · original Trame

Practise calm replies to: - “Isn’t this virtue signalling?” - “Who does the extra work?” - “What if the number is wrong?” - “Why not just ban everything?”

Strong pattern: concede partial truth → restate lever → invite trial period. Si pas de micro → voix haute pitches with rotating hostile questions.

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Five years is not a brand slogan

Essai orientation · ~300 mots

Career posters love clean arrows: passion → diploma → job. Real trajectories zigzag. A European-section exercise is not to invent a perfect LinkedIn fantasy; it is to narrate uncertainty with intellectual honesty.

Useful materials: a skill you almost abandoned; a constraint you cannot magically erase; a person whose path surprised you; a public issue you might serve. Future grammar must match epistemic status: will for commitments, might/could for open branches, going to for evidence-based intentions.

Forbidden as centrepiece: “I will be rich and famous”; empty “help people” without a scene. Required: one specific project you could start this year that tilts the future slightly.

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Questions that refuse yes/no comfort

Banque + méthode · original Trame

Weak: “Do you like your future job?” Stronger ladder: 1) Warm fact · “What are you finishing this year that future-you might thank?” 2) Pressure · “Which skill did you almost quit, and what stopped the quit?” 3) Values · “What would you refuse to sacrifice for speed?” 4) Counterfactual · “If transport/money were equal, what would change in your plan?” 5) Advice · “What should 2nde-you stop performing?”

A good interviewer listens for the unfinished sentence and follows up once: “Could you say more about the refuse-to-sacrifice part?”

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Repair moves when language stalls

Fiche interaction · original Trame

Stalling is normal. Repair is skill: - Buy time: “Let me rephrase.” - Approximate: “It’s a kind of… / the word escapes me, I mean…” - Check: “Have I answered what you asked?” - Recycle partner lexis gratefully.

Timing today: 3 à 4 minutes pair, then swap. Notes only · no full script. Si pas de micro → lecture n’est pas le but; parole spontanée contrôlée à voix haute.

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Live rubric · what ‘B1+ interaction’ sounds like

Grille élève · original Trame

You will hear B1+ when answers include a scene + implication, when questions progress, when repair is calm, when a specific project appears without becoming a commercial.

Keep dignity: no forced tears, no mockery of paths. Future talk is intellectual work on possibility.

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What travels with you into Première

Bilan métalangagier · original Trame

Portfolio is not a scrapbook of everything. Curate four artefacts: one analytical portrait line; one civic thesis; one media-caution paragraph; one literary rewrite sentence. For each, write why it shows B1+ (inference, stance, precision).

Bridge to Première: identity becomes axis work; cities become circulations; media literacy deepens; stories become commentary; eco pitches become civic briefs. Your metalanguage should already include: stance, framing, evidence, concession, device.