BACCALAURÉAT GÉNÉRAL

ÉPREUVE D’ENSEIGNEMENT DE SPÉCIALITÉ

SESSION 2023

LANGUES, LITTÉRATURES
ET
CULTURES ÉTRANGÈRES ET RÉGIONALES

ANGLAIS
Durée de l’épreuve : 3 heures 30

L’usage du dictionnaire unilingue non encyclopédique est autorisé.

La calculatrice n’est pas autorisée.

Dès que ce sujet vous est remis, assurez-vous qu’il est complet.
Ce sujet comporte 9 pages numérotées de 1/9 à 9/9.

Le candidat traite au choix le sujet 1 ou le sujet 2.

Il précisera sur la copie le numéro du sujet choisi.

Répartition des points

Synthèse 16 points

Traduction ou transposition 4 points

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 SUJET 1
Le sujet porte sur la thématique « Arts et débats d’idées ».

1ère partie
Prenez connaissance de la thématique ci-dessus et du dossier composé des
documents A, B et C et traitez en anglais la consigne suivante (500 mots
environ) :
Taking into account the specificities of the documents, analyse the ways dance
is presented and the reactions it triggers in the various audiences.

2ème partie
Traduction :
Translate the following passage from Document C into French.
L’usage du dictionnaire unilingue non encyclopédique est autorisé.

"‘I have known Lee almost all my adult life and he sent me something called Dancer
which was actually set in a village near Sheffield1,’ recalled Stephen.
From there, the movie of Billy Elliot was born. Set against the background of the miners’
strike, it follows the story of the lead character who starts boxing training. Billy’s ability
within the ring is not great and when he decides to attend a ballet class instead, he
discovers he has a natural ability."

(lines 3-8)

1
Sheffield, like Sunderland and Bradford, is a poor industrial city in the North East of England.

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 Document A
The scene takes place at a ball. Elizabeth and Darcy, who are the main characters,
are going to dance together even though they are not on good terms.

The first two dances, however, brought a return of distress; they were dances of
mortification. Mr. Collins, awkward and solemn, apologising instead of attending, and
often moving wrong without being aware of it, gave [Elizabeth] all the shame and
misery which a disagreeable partner for a couple of dances can give. The moment of
5 her release from him was ecstasy.
She danced next with an officer, and had the refreshment of talking of Wickham,
and of hearing that he was universally liked. When those dances were over, she
returned to Charlotte Lucas, and was in conversation with her, when she found herself
suddenly addressed by Mr. Darcy who took her so much by surprise in his application
10 for her hand1, that, without knowing what she did, she accepted him. […]
[Elizabeth] took her place in the set, amazed at the dignity to which she was arrived
in being allowed to stand opposite to Mr. Darcy, and reading in her neighbours’ looks,
their equal amazement in beholding it. They stood for some time without speaking a
word; and she began to imagine that their silence was to last through the two dances,
15 and at first was resolved not to break it; till suddenly fancying that it would be the
greater punishment to her partner to oblige him to talk, she made some slight
observation on the dance. He replied, and was again silent. After a pause of some
minutes, she addressed him a second time with:—“It is your turn to say something
now, Mr. Darcy. I talked about the dance, and you ought to make some sort of remark
20 on the size of the room, or the number of couples.”
He smiled, and assured her that whatever she wished him to say should be said.
“Very well. That reply will do for the present. Perhaps by and by I may observe that
private balls are much pleasanter than public ones. But now we may be silent.”
“Do you talk by rule, then, while you are dancing?”
25 “Sometimes. One must speak a little, you know. It would look odd to be entirely silent
for half an hour together; and yet for the advantage of some, conversation ought to be
so arranged, as that they may have the trouble of saying as little as possible.”
“Are you consulting your own feelings in the present case, or do you imagine that
you are gratifying mine?”
30 “Both,” replied Elizabeth archly2.

Jane Austen, Pride and Prejudice, 1813

1
in his application for her hand: when he asked her for a dance
2
archly: in an amused way

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Document B

Still from the film West Side Story, Steven Spielberg, 2021

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 Document C

It all began back in the mid-80s when writer Lee Hall (who is probably best known for
the likes of stage hit The Pitmen Painters and the films of War Horse and Toast) sent
Stephen1 a script. “I have known Lee almost all my adult life and he sent me something
called Dancer which was actually set in a village near Sheffield2,” recalled Stephen.
5 From there, the movie of Billy Elliot was born. Set against the background of the miners’
strike, it follows the story of the lead character who starts boxing training. Billy’s ability
within the ring is not great and when he decides to attend a ballet class instead, he
discovers he has a natural ability.
Unfortunately, a boy doing ballet is not the done thing. It is not an aspiration for a lad
10 growing up in a tough North East mining village particularly as his family are dealing
with the upheaval of their community’s future in a conflict between the pits3 and the
authorities.
But this life-affirming film became a huge hit worldwide winning around 12 awards and
dozens more nominations.
15 Enter music legend Elton John and his partner David Furnish who thought the story
would be perfect for a stage musical and it was time for Stephen to return to the story
of the boy whose determination to succeed and make his dreams come true unites
both his family and his community.
[...]
And [the] dream of taking [the show] around Britain has now also come to fruition with
20 things going incredibly well at the first three venues on its UK tour. Stephen said: “The
audiences that we have played to in Sunderland have been incredible. In Bradford, lots
of people came to see it. We have been playing to audiences that understand the
story.”
And that is the crux of taking the production out there. As he explains: “Taking it out on
25 tour means it will connect with a lot of people and many communities will have a close
association to the story. This idea of an entire area not only struggling for their jobs but
having to change their whole way of life is very powerful.”

Interview with Stephen Daldry, www.atthetheatre.co.uk, April 27, 2017

1
Stephen Daldry: English film director, famous for Billy Elliot
2
Sheffield, like Sunderland and Bradford, is an industrial city in the North East of England.
3
the pits: here, the miners

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 SUJET 2
Le sujet porte sur la thématique « Voyages, territoires, frontières ».

1ère partie
Prenez connaissance de la thématique ci-dessus et du dossier composé des
documents A, B et C et traitez en anglais la consigne suivante (500 mots
environ) :
Taking into account the specificities of the documents, compare and contrast
the different experiences related to sea journeys and analyse the impressions
conveyed.

2ème partie
Traduction :
Translate the following passage from Document A into French.
L’usage du dictionnaire unilingue non encyclopédique est autorisé.

"In the end, Otoo saved my life; for I came to lying on the beach twenty feet from the
water, sheltered from the sun by a couple of cocoanut leaves. No one but Otoo could
have dragged me there and stuck up the leaves for shade. He was lying beside me. I
went off again; and the next time I came round, it was cool and starry night, and Otoo
was pressing a drinking cocoanut to my lips.
We were the sole survivors of the Petite Jeanne."

(lines 6-11)

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 Document A

For two days and nights, spell and spell, on the cover and in the water, we drifted over
the ocean. Towards the last I was delirious most of the time; and there were times, too,
when I heard Otoo babbling and raving in his native tongue. Our continuous immersion
prevented us from dying of thirst, though the sea water and the sunshine gave us the
5 prettiest imaginable combination of salt pickle and sunburn.
In the end, Otoo saved my life; for I came to lying on the beach twenty feet from the
water, sheltered from the sun by a couple of cocoanut leaves. No one but Otoo could
have dragged me there and stuck up the leaves for shade. He was lying beside me. I
went off again; and the next time I came round, it was cool and starry night, and Otoo
10 was pressing a drinking cocoanut to my lips.
We were the sole survivors of the Petite Jeanne. […]
I never had a brother; but from what I have seen of other men's brothers, I doubt if
any man ever had a brother that was to him what Otoo was to me. He was brother and
father and mother as well. And this I know: I lived a straighter and better man because
15 of Otoo. […]
For seventeen years we were together; for seventeen years he was at my shoulder,
watching while I slept, nursing me through fever and wounds—ay, and receiving
wounds in fighting for me. He signed on the same ships with me; and together we
ranged the Pacific from Hawaii to Sydney Head, and from Torres Straits to the
20 Galapagos. […] We were wrecked three times—in the Gilberts, in the Santa Cruz
group, and in the Fijis. And we traded and salved wherever a dollar promised in the
way of pearl and pearl shell, copra, bêche-de-mer, hawkbill turtle shell1, and stranded
wrecks.
It began in Papeete, immediately after his announcement that he was going with me
25 over all the sea, and the islands in the midst thereof. There was a club in those days
in Papeete, where the pearlers, traders, captains, and riffraff of South Sea adventurers
forgathered.

Jack London, South Sea Tales, 1911

1
pearl and pearl shell, copra, bêche-de-mer, hawkbill turtle shell: various exotic products from the South Seas
used for trade

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 Document B

Sometimes someone would speak in a boat. But most of the boats were silent
except for the dip of the oars. They spread apart after they were out of the mouth of
the harbour and each one headed for the part of the ocean where he hoped to find
fish. The old man knew he was going far out and he left the smell of the land behind
5 and rowed out into the clean early morning smell of the ocean. He saw the
phosphorescence of the Gulf weed in the water as he rowed over the part of the ocean
that the fishermen called the great well because there was a sudden deep of seven
hundred fathoms1 where all sorts of fish congregated because of the swirl the current
made against the steep walls of the floor of the ocean. Here there were concentrations
10 of shrimp2 and bait fish3 and sometimes schools of squid4 in the deepest holes and
these rose to the surface at night where all the wandering fish fed on them.
In the dark the old man could feel the morning coming and as he rowed he heard
the trembling sound as flying fish left the water and the hissing that their stiff set wings
made as they soared away in the darkness. He was very fond of flying fish as they
15 were his principal friends on the ocean. He was sorry for the birds, especially the small
delicate dark terns5 that were always flying and looking and almost never finding, and
he thought, ‘The birds have a harder life than we do except for the robber birds and
the heavy strong ones. Why did they make birds so delicate and fine as those sea
swallows6 when the ocean can be so cruel? She is kind and very beautiful. But she
20 can be so cruel and it comes so suddenly and such birds that fly, dipping and hunting,
with their small sad voices are made too delicately for the sea.’
He always thought of the sea as la mar which is what people call her in Spanish
when they love her. Sometimes those who love her say bad things of her but they are
always said as though she were a woman. Some of the younger fishermen, those who
25 used buoys7 as floats for their lines and had motorboats, bought when the shark livers
had brought much money, spoke of her as el mar which is masculine. They spoke of
her as a contestant or a place or even an enemy. But the old man always thought of
her as feminine and as something that gave or withheld great favours, and if she did
wild or wicked things it was because she could not help them. The moon affects her
30 as it does a woman, he thought.

Ernest Hemingway, The Old Man and the Sea, 1952

1
seven hundred fathoms: approximately 1,300 meters
2
shrimp: crevettes
3
bait fish: poisson-appât
4
schools of squid: bancs de calmars
5
tern: sterne (oiseau de mer)
6
sea swallows: hirondelles de mer
7
buoys: bouées

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Document C

Black and white engraving, Tate Gallery, London,

J. M. W. Turner, The Shipwreck, c.1805

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