jeudi 26 mars 2009

Explicaton de texte: Pierre Michon, Vies Minuscules

Pour télécharger le document au format PDF, c'est ici.






Source: Travail de Mélanie Chausseray et Marie-Amélie Chabaud - 11.03.2009 à 10h18 -


Informations importantes :
Le prochain cours aura lieu mercredi 1er avril de 14 à 15h. Tous ceux qui appartiennent au groupe du matin et qui peuvent assister à ce cours sont les bienvenus. Pas de cours mercredi 8 avril. Cours suivants : mercredi 15 avril et jeudi 16 avril (13h-14h en B13). Nous parlerons, en compagnie de Madame Bardoulat, de Ravel de Jean Echenoz (musique et littérature).

                                                                                                                    

Source: Message électronique de Mme Vasak - 26.03.2009 à 15h12 -

Informations, conseils & corrections du 26.03.09

Dear L3 S6 Students,
Classes have resumed on a 50/50 basis, but I will not be seeing you on March 24. I thus want to bring you up to date on what we can foresee for the remainder of the semester. If you have questions, please feel free to write: taffy.martin@univ-poitiers.fr

1) FUTURE SCHEDULE:
--Since March 24 was set aside for political action and since the week of March 30 is devoted to afternoon classes, our class will not meet until April 7. On that day I will announce the new class schedule and explain how examinations (contrôle continu) will be conducted.
--I am including a study guide for Zora Neale Hurston (below). This is work to prepare on your own. I will correct papers that are turned it.
--For April 7, please prepare the work initially scheduled for Week 8 (Emily Dickinson poems; translation lines 109-119 from Zora Neale Hurston text; Lenora Carrington painting “Unicornio”. (Study guide below.)

2) ERDRICH AND WIDEMAN TRANSLATIONS:
Certain students have already turned in assignments. I have corrected them and commented on them and will return them when I see you. As I said in my last note, you are good technically but seem reluctant to deal with the content of the texts and paintings. Some of you translated passages from Louise Erdrich and John Edgar Wideman. These texts were, in fact, intended for the L1 S2 students, but I have corrected the translations that were turned in and am happy to provide you with suggested translations.

Erdrich_fr
Quand le nouveau curé fit irruption à la porte de la cabane, provoquant ce grand éclat de lumière qui détourna la mort, la fille et le vieil homme furent contrariés. Qu’ils aient été délaissés par leurs familles parties pour le voyage de quatre jours vers le pays-du-soleil-couchant, cela suffisait. Que certains morts soient revenus et attendent de l’autre coté de la porte les incitant à les suivre alors que leur corps s’accrochaient à la vie, ça c’était dur. Et puis, alors qu’ils s’affaiblissaient et se trouvaient quelque part entre mort et vie, dans une sorte de torpeur d’où ils voyaient loin devant eux la route et en même temps revisitaient des scènes éclatantes de leur passé, voilà ce curé.
La lumière éblouissait, le noir tournoyait. La sympathie candide du curé était à la fois irritante et d’une force surprenante. Fleur éprouvait un vague désir de faire fondre de la neige ou d’aller chercher de l’eau puis de préparer du thé, ce qui impliquait de faire du feu, ce qui semblait impossible puis impératif. Elle était sûre qu’elle était pour la plupart morte. Elle n’avait pas quitté son coin depuis plusieurs jours, peut-être même des semaines. Mais, sans trop comprendre, sur ses jambes de bois et vacillante elle passa la porte pour rejoindre l’éblouissante splendeur. La lumière poignarda son cerveau et diminua progressivement révélant le monde des formes tourbillonnantes. Une croûte s’était formée autour de sa bouche. Elle porta à ses lèvres une poignée de neige pour desceller sa langue et laissa couler un filet d’eau dans sa gorge.
Wideman_fr
Une brise qui se lève de l’eau est une bénédiction. Un bruissement, un deuxième, puis plus rien. Il est trempé de sueur. Sa poitrine se soulève. Il vient de courir. Courir pour échapper au fardeau qu’il tient sous son bras. Comment une femme épuisée, aux pieds endoloris pouvait suivre s’il avait couru. Pourquoi aurait-il foncé comme un fou par cette chaleur, sur le sol meuble de cette forêt. Et pourtant il se rappelle du bruit des pas lourds, du halètement, des tas de feuilles qui explosaient, des branches que craquaient. Ils s’enfuyaient ensemble, une famille en cavale. Des hommes à cheval suivis d’une meute aux abois. Il devait pénétrer encore plus dans la forêt, se glisser dans les ronces et les broussailles là où les chevaux ne peuvent suivre, et patauger à travers marais et marécage pour que les chiens à la gueule baveuse perdent leur trace.
Da sa position stratégique, il voit le fond du lac. L’eau est transparente et calme. Au delà de la bordure de cailloux, le fond sableux descend en pente. Il garde la trace figée des rides qui, certains jours, en d’autres occasions, avaient travaillé la surface. Le soleil strie l’eau, répétant la forme des rides pétrifiées sur le fond sableux.
Des oiseaux piaillent, sifflent, crient. Le rocher qui borde la rive est percé aux endroits où des flaques d’eau ont creusé des trous dans la terre.


3) KATE CHOPIN (week 4) and STEPHEN CRANE (week 5)
Your work on the passages from Kate Chopin Stephen Crane showed that you understood the texts quite well but overlooked certain subtleties.
Kate Chopin
Most of you assumed too quickly that Mrs. Sommers was “poor,” whereas she was instead in what we might call “reduced circumstances.” We understand from her thought process and actions that she had been accustomed to having money and simply had less of it now. You rightly commented on the portrait of the consumer society but only one person commented on the puzzle of the closing lines. What did the man with “keen eyes” see? Read that last paragraph again pay attention to the three forces at work: Mrs. Sommers, the man on the cable car and the narrator.
Stephen Crane
This was a difficult text, and you did well with it. Most of you caught the perspective of the narrator and the perceptions of the men in the boat. The answer to the question “how many men” is 8 since the captain saw “seven turned faces” (l. 24). The answer to the question “what is the antecedent of ‘which is never at sea in a dingey’?” ( l. 42) is “the average experience”. One of the differences between the painting and “The Open Boat,” is the men in “The Open Boat” are engaged in a struggle for survival whereas the men in Thomas Eakins’s painting, “Biglin Brothers Rowing” are engaged in a leisure activity. Both have realistic aspects but Stephen Crane’s depiction of survival is in part naturalistic whereas Thomas Eakins’s is influenced by romanticism.

4) STUDY GUIDE ZORA NEALE HURSTON
“The Guilded Six-Bits” by Zora Neale Hurston
Zora Neale Hurston, Background
Find information on Zora Neale Hurston (dates / place in Black American Literature / depiction of women in her fiction). You need not present this information, the research is just for you. The full test of the story can be found on the net. There is also ample material on Zora Neale Hurston and “The Guilded Six Bits” on the net in such places as Sparknotes. I do not mind if you read these sources, but PLEASE do not read Sparknotes INSTEAD OF READING the story itself. And do not try to present information taken from Sparknotes as your own. I have read the same material and will naturally recognize it.

Introductory remarks
The passage we will study is the opening of a short story which is concerned with money and its temptations in the life a young black couple, Missie May and Joe Banks.
At the end of the passage, it becomes clear that Missie May, who was initially skeptical of money and of Slemmons, is about to change her opinion. Later in the story Missie May goes on to betray Joe and sleep with Slemmons. When Joe discovers them in bed, he hits Slemmons and discovers, after Slemmons has left, that in the scuffle Slemmons’s watch chain with its gold piece was broken and that, when Slemmons fled, the gold piece which so fascinated him, remained behind. The gold piece changes hands and pockets and places throughout the story and becomes the emblem of temptation, illusory values and deception. Throughout these trials and temptations, Joe and Missie May stay together. Missie May gives birth to a boy, and while she is recovering from the delivery, Joe, having discovered that the gold piece was merely a guilded coin, goes to Orlando and uses the coin to buy candy kisses for Missie May, the same candy kisses Missie May had “threatened” to dig out of Joe’s pockets when they still were a happy, uncorrupted couple (page 27, line 49 in the passage in your course booklet).
In the closing scene of the story, Joe returns home and flings coins against the door just as he used to before money corrupted their lives. Missie May, who has not yet fully recovered from childbirth, cannot yet walk. When she realizes what Joe is doing, she crawls toward the door and says, "Joe Banks, Ah hear you chunkin' money in mah do'way. You wait till Ah got mah strength back and Ah'm gointer fix you for dat."
The story thus has a “happy ending.”

Questions for study
Read several passages of dialogue ALOUD so as to hear and decipher the black dialogue.
Compare the temptations of money as depicted here with those in “A Pair of Silk Stockings.”
How does Joe feel about his body? How does Missie Mae feel about his body? Why?
How is Missie May characterized? Indicate the fictional devices employed.
Lenora Carrington “Unicornio”
Who is Lenora Carrington? What is depicted in “Unicornio”? Discuss the colors, the composition… What is the role of women?

5) STUDY GUIDE EMILY DICKINSON
For our class on April 7, we discuss the poems of Emily Dickinson. We will divine the work in half. If you were born on an uneven-number day (1, 3, 5...), please prepare poems 1, 2 and 3. If you were born on an even-numbered day, please read and prepare poems 4, 5 and 6. Try to hear and describe the rhyme. Try hear and describe in your own words the rhythm. Try to say in your own words what each poem is saying. Then ask yourself what can be said about the collage on page 36 in light of the poems. Emily Dickinson is not easy. That is why I have saved her poetry for a class when we can work on the poems together.
Bon courage.

                                                                                                         

Source:  Message électronique de Mme Martin - 26.02.2009 à 09:18 -

mardi 24 mars 2009

Exercices de grammaire - Langue latine, niveau intermédiaire

Bonjour,

voici une nouvelle série d'exercices sur les interrogatifs et l'interrogation directe, ainsi qu'une version.
Je posterai une correction d'ici mardi prochain.

Bon travail à tous et toutes.
LM

L3 lettres modernes – Langue latine, niveau intermédiaire

Exercices de grammaire

Les interrogatifs et l’interrogation directe



Revoir la déclinaison et les emplois du pronom-adjectif interrogatif dans votre grammaire, ou ici : http://www.prima-elementa.fr/chap16.html (section 1)

Revoir la syntaxe de l’interrogation directe dans votre grammaire, ou ici : http://www.prima-elementa.fr/chap18.html (section 4)

Le pronom-adjectif interrogatif
Quis habet gladium ?
Vter uestrum mihi nocet ?
Cuius mortem tibi nuntiat tuus frater ?
Ad quod litus natant nautae ?
In qua urbe habitant amici nostri parentes ?
Cuius stellae lumen pulcherrimum est ?
Quarum ferarum sunt ista uestigia ?
Quod animal tibi uidetur leone fortius ?
Cuius morte gaudet inimicus noster ?
Quae uitia uituperat magister ?
Pater ille duos habebat filios : utrius uirtutem laudabat ? utri dabat praemia ?

L’interrogation directe

Maiusne malum dolor est quam dedecus ?
Nonne pessimus pater uidebitur, qui assiduis plagis liberos compescet ?
Vtrum uos magnitudo elephantorum an multitudo hostium terret ?
Vnde sic, inquit lupus, nites, aut quo cibo fecisti tantum corporis ?
Arbitraminine eum posse honores gerere ?
Quoties tu, Catilina, me consulem interficere conatus es ?
Qualis fuit praeclarorum uirorum uita ?
Cur secretum tacere tam difficile est ?
Quando Romam redibit Caesar ?
Vtrum Romulus an Remus Vrbem condidit ?
Quo profectus est consul ?
Quamdiu Caesar bellum in Gallia gessit ?
Matrine an sorori Papirius puer mendacium dixit ?
Quid in senatu hodie Cicero dixit ?
Quantam pecuniam habes ?
Nonne timetis ne nimis laborando discipuli aegri fiant ?

Version - Cicéron démasque Catilina en plein Sénat

Quousque tandem abuteris, Catilina, patientia nostra ? Quamdiu etiam furor tuus nos eludet ? Nihilne te praesidium Palatii, nihil urbis uigiliae, nihil horum senatorum ora uultusque mouerunt ? Patere tua consilia nonne sentis ? Quid proxima nocte egisti ? Vbi fuisti ? Quos conuocauisti ? Quid consilii cepisti ? Quem nostrum ignorare arbitraris ? Recognosce mecum (= cum me) noctem illam superiorem. Dico te illa nocte uenisse in Marci domum ; conuenisse eodem complures sceleris socios. Num negare audes ? Quid taces ? Conuincam si negas : uideo enim esse hic in senatu quosdam, qui tecum (= cum te) una fuerunt. O Di immortales ! Vbinam gentium sumus ? Quam rempublicam habemus ? In qua urbe uiuimus ?
(d’après la 2ème Catilinaire de Cicéron)