She
Rocks!
8 Proposer aux élèves d’utiliser un logiciel en ligne pour créer leur nuage de mots. Vous pouvez leur demander un minimum de 10 mots.
Beyoncé: female / 34 years-old / pop-music / strongwilled / feminist / diva / courageous / engaged / star / role model / young women and men / put a ring on it / great dancer / great performer / Destiny’s Child 9 1 b / 2 e / 3 a / 4 d / 5 c
Let's write Critères d’évaluation
Réalisation de la tâche
Niveau 1
Niveau 2
Le thème (commenter une citation) est partiellement traité et/ ou de manière trop brève pour vraiment répondre à la question posée.
La question est traitée même si le texte est bref et élémentaire.
Les idées présentées sont pertinentes pour répondre à la question posée. Des efforts pour illustrer les arguments avec des exemples.
Le sujet est traité de manière personnelle et pertinente, les exemples sont nombreux et bien choisis.
Les idées sont juxtaposées. A1
Les idées sont présentées de façon organisée et liées entre elles par des mots de liaison simples (and, but, because…), même si elles sont peu élaborées. A2
Des efforts pour enrichir le texte avec des structures complexes (relatives en who, which, that, mots de liaison variés…). B1
Les idées sont articulées de façon très cohérente et fluide. B2
Les phrases sont très brèves. Les formes grammaticales sont assez intelligibles mais limitées et répétitives. A1/A1+
Les phrases sont simples mais généralement correctes. Des erreurs élementaires sont possibles (confusion des temps, conjugaisons approximatives…). Des efforts pour utiliser certains des faits de langue de l’unité (comparatifs, superlatifs…). A2
Usage avec une correction suffisante d’un répertoire de tournures et expressions fréquemment utilisées. Comparatifs et/ou superlatifs bien employés. B1
Les structures et formes employées montrent une prise de risque pour étoffer le propos et construire un discours plus complexe. Des erreurs sont possibles, mais le texte reste toujours intelligible. B2
Répertoire très restreint de mots simples. A1
Exploitation d’une partie des mots et expressions vus en cours, mais le répertoire est encore restreint. A2
Bonne maîtrise du lexique élémentaire. Beaucoup d’éléments du cours sont ré-exploités. B1
Le texte va au-delà du lexique étudié pour enrichir le propos. De la variété et une assez grande précision. B2
De 1 à 5/20
De 6 à 10/20
De 11 à 15/20
Cohérence et organisation
Maîtrise de la grammaire
Maîtrise du vocabulaire Valeur chiffrée
Niveau 3
Niveau 4
De 16 à 20/20
Unit 9 [ 205 ]
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9
She
Rocks!
Let's read Fiche d'évaluation
Read the texts, watch the image and answer the questions.
Text A Why Beyoncé shouldn’t inspire feminists, despite her VMAs1 performance
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Does Beyoncé know what a “feminist” is? Because the Texan Methodist gospel girl who grew up to be a star, and whose last tour was named “The Mrs. Carter2 Show World Tour,” in honour of her husband, is surely the last person today’s independently-minded, socially liberal, stridently atheist feminists are likely to choose as an inspiration. (...)
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Pyrotechnics, sexual titillation for men and ego boosts for the sisterhood are perhaps the least effective route to female empowerment imaginable. In Beyoncé, it is the male idea of female beauty that finds its highest and most perfect expression. She is what men demand of her, less than the sum of her body parts. Living art, but art that says nothing. (...)
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Beyoncé’s mistake has been thinking that her personal frustrations should be hidden from the public, rather than marshalled as a creative force. We crave authenticity from our celebrities, to the point that reality stars are afforded endless column inches, no matter how odious they appear, if they will only bare their souls to us. (...) There is no agony in a Beyoncé record; only ecstasy. What separates her music from the greats of the past—compare her frivolous riffs with the exquisite torture of late Billie Holiday album Lady in Satin—is the impression that she’s never known pain, and that her heart’s not really in it. (...) www.independent.co.uk, August 2014 1 2
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Video Music Awards Beyoncé’s husband is singer Jay-Z, whose real name is Shawn Carter.
She
Rocks!
Text B Alanis Morissette: The Changing Roles of Women in the Music Industry When “Jagged Little Pill” was released in 1995, people from the record company would call radio stations and say, “Would you be willing to play ‘You Oughta Know’?” Before a certain time, the response was, “We’re already playing two female artists. We’re playing Tori Amos and Sinead O’Connor, so we have plenty of females. We’re good.” 5
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There was a quota for a very small amount of female artists. With “Jagged Little Pill”, the business aspect of things made it evident that there was money to be made with female artists. The industry shifted around that era. And I don’t take credit for singularly changing the industry, but I do feel that I was riding the crest of the wave. So the idea became, crassly, that women were bankable. That was lovely, but it’s unfortunate that the idea of women’s music being relevant came from the Almighty Dollar. There were millions of women before, during and after me that created some unbelievable art. It became a financially viable undertaking. So, I was happy to be part of that. In terms of how it’s changed in the past couple of decades, my general sense is that the culture of North America and the West is wildly sexually traumatized. There’s this erroneous message that women’s power lies singularly in our sexuality. It would be easy then to think, falsely, that the main aspect of our power is our sexuality and the ornamental aspect of our physicality. What often winds up happening is that, as women, we’re in a context of patriarchy (whether in the music industry or otherwise), and we understandably want to find a sense of empowerment within it. The natural easy go-to is to hypersexualize ourselves to get instant power. However, it’s one percent of what we have within us as women, in terms of contributing to society and to the world and to art. So it’s a sad state of affairs when we rely solely on this one-dimensionalized aspect of ourselves. And it feels extreme. And it feels incomplete, and it’s unfortunate that this is what we rely on — our aesthetic. We live in a culture where our three top priorities in terms of value system are: looking twenty forever, being a billionaire (it used to be hip to be millionaire and now it seems it’s hip to be a billionaire) and being famous. And these three value systems have superseded everything, as I see it. And that’s at the cost of relationships, at the cost of connectivity, at the cost of feeling, at the cost of community, evolution, servicefulness, at the cost of inclusivity, at the cost of connection with God. The only real priorities are those three priorities and everything else is a distant fourth, fifth, sixth and seventh. These days more than ever, in the music industry, the pressure is on how we look and how sexual we appear. And then it’s how famous we are. All external and presentational and a moving target. It’s a dangerous era we find ourselves in as artists… where our personal worth and “relevance”—as one manager called it—is measured by these standards. www.thefashionspot.com, December 2013
1. According to this article, is Beyoncé Knowles to be considered as a feminist artist? Pick one argument in paragraph 1 to justify your answer. 1,5 pts 2. Why can’t Beyoncé compare to singers of older generations in terms of feminism? 2 pts Text B 3. Why was it initially difficult for Alanis Morissette to have her songs broadcast on the radio? 1,5 pts 4. What made the music industry change their mind about female artists? 1,5 pts 5. Are the following statements right or wrong? Justify by quoting the text. a. Alanis Morissette agrees with the general perception of women in the entertainment business. 1,5 pts
industry is their physical appearance. 1,5 pts c. Female artists have a difficult time because the industry is dominated by men. 1,5 pts d. The easiest response for women is to resist the influence of men. 1,5 pts e. Physical beauty is the main advantage that female artists have. 1,5 pts Both texts 6. Find one example in each text which shows that female artists tend to become what men expect them to be, and not who they really are. 2 pts 7. Why can we say that the music industry wants women to have an image of superficiality? 4 pts
b. What matters most for women in the music
Unit 9 [ 207 ]
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She
Rocks!
Let's watch a video Fiche d’évaluation
Watch the video and answer these questions. 1. What is the main theme of this camp? Who is it for? 1 pt 2. What are the specific things which girls learn there? 1,5 pts 3. How long is the training and what does it end with? 1 pt 4. What kind of help do people get there? 1,5 pts 5. What is the atmosphere like there? 1 pt 6. What is the teaching philosophy at the camp and why? 2 pts 7. How does the camp-goer feel about the whole experience? 2 pts
Dossier LVA
p. 190-191
L’unité She Rocks! s’inscrit dans les notions « L’idée de progrès » et « Lieux et formes de pouvoir ». Cette double page permettra aux élèves de découvrir comment les femmes utilisent la littérature pour exprimer leurs revendications. Ils seront ici amenés à lire un extrait de Jane Eyre de Charlote Brontë (1847) et un extrait de How to Be a Woman de Caitling Moran (2012).
1 A Free Spirit a. Anticipation L’anticipation se fait avec la question 1. Projeter la photographie au tableau et, livres fermés, laisser les élèves s’exprimer librement. Ils repéreront qu’il s’agit d’une photographie de l’époque victorienne / du XIXe siècle. Vous pourrez alors les amener à décrire la photo et leur demander de parler de la condition de la femme à cette époque.
b. Exploitation Les questions 2 et 3 pourront être réalisées en travail individuel avec mise en commun en classe. Orienter les élèves vers la Toolbox pour enrichir leurs réponses. La question 6 pourra être effectuée en travail à la maison ou en laboratoire multimédia. Proposer de faire une mise en commun en cours afin de garder une trace écrite.
[ 208 ] Unit 9
Corrigés et productions possibles -------------------------------------------------------
1. The photograph clearly shows that the father is the patriarch. He is standing in an upright position, holding his wife’s arm protectively, at the top of a triangle formed by the whole family. He looks much taller than his wife as if he were standing on a podium. His wife therefore seems to be in a submissive position right next to him. So are their children who look obedient. Clearly, women were submitted to their husband’s authority and were not the ones who made decisions. 2. Jane is walking up and down the corridor because she is restless. She can’t sleep, she needs action. She feels imprisoned and wants to break free. 3. According to men women are supposed to be obedient and stay at home. They are expected to confine themselves to doing the household chores such as cooking, knitting, playing the piano and embroidering bags (ll. 26-28). They were not to have a job or to have intellectual activities. 4. Jane completely disagrees with this view. She claims that women need exercise for their faculties, and a field for their efforts as men need (ll. 20-22). 5. No doubt that women couldn’t do sport or have a job. They were condemned to stay at home and raise the children. 6. My hypotheses were right / wrong because…
2 A Step Backwards? a. Anticipation et exploitation Donner aux élèves 20 minutes pour lire le texte. Si vous pouvez leur fournir une photocopie du texte, leur demander de souligner dans une couleur lors
