Agrégation externe d'anglais

 

SOMMAIRE de cette page

I -Informations diverses + "adresses ressources"

II- Documents pour les agrégatifs, pour l'épreuve écrite de TC en linguistique (P. Miller)

III - Sujets de l'agrégation externe depuis 2003

et Sujets de l'agrégation interne depuis 2003

 

 

 

 

I - Informations

MODIFICATIONS pour l'oral de l'agrégation :
Le J.O n° 172 du 27 juillet 2006 (texte n° 27) publie l'arreté du 17 juillet 2006 modifiant l'arrêté du 12 septembre 1988 modifié et fixant les modalités des concours de l'agrégation à partir de la session 2007

Extrait: "A l'annexe I de l'arrêté du 12 septembre 1988 susvisé, les dispositions relatives aux épreuves de la section « langues vivantes étrangères (anglais) » du concours externe de l'agrégation sont modifiées comme suit pour ce qui concerne le B définissant les épreuves orales d'admission :

I. - Au 2°, les mots : « Leçon en français » sont remplacés par les mots : « Leçon en anglais ».

II. - Le 3° est remplacé par les dispositions suivantes :

« 3° Epreuve sans préparation de compréhension et restitution.

Le candidat écoute un document authentique en langue anglaise d'une durée de trois minutes maximum. Après une seconde écoute fragmentée, il propose la restitution orale de ce contenu en français.

Cet exercice est suivi d'un entretien en français avec le jury (durée de l'épreuve : trente minutes maximum ; coefficient 2). »

III. - Au 5°, les mots : « pour les première et quatrième épreuves orales » sont remplacés par les mots : « pour les première, deuxième et quatrième épreuves orales »."

°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°

QUELQUES REPÈRES POUR L’ÉPREUVE DE COMPRÉHENSION-RESTITUTION
VALABLES à dater de la session 2007

Les modifications de l’épreuve de compréhension et restitution à partir de la session 2007 m’amènent à donner, avec l’accord du Président du jury, quelques indications complémentaires qui s’ajoutent au rapport de la session 2006 rédigé par Peter Greaney : l’exercice de thème disparaît et l’entretien ne portera plus que sur l’exercice de Compréhension-Restitution. Ces indications me permettent de répondre à des questions de collègues préparateurs et de fournir, par le biais de la SAES, ces éléments d’information à tous les préparateurs et les candidats.
L’entretien en français à l’issue de l’épreuve :

L’entretien en français permet au jury de s’assurer que le candidat s’exprime aisément dans un français de bonne qualité. Le candidat pourra être interrogé aussi bien sur des éléments bien restitués que sur des segments mal compris ou omis.

L’entretien pourra porter sur des éléments variés, toujours en rapport avec la compréhension du texte et/ou sa restitution. En aucun cas, l’épreuve ne pourra se transformer en épreuve de culture encyclopédique, ni en épreuve de commentaire du texte soumis à l’écoute.

Cependant, le jury pourra être amené à s’assurer rapidement de la connaissance ou de la méconnaissance d’un élément véritablement indispensable à la compréhension du texte, sans que ceci soit l’élément déterminant de la notation de la prestation.

Par ailleurs, l’opinion du candidat ne pourra en aucun cas lui être demandée, pas plus que le candidat ne devra soumettre spontanément son opinion sur la teneur du texte. Comme le nom de l’épreuve l’indique, il ne s’agit que de tester la compréhension d’un texte en anglais oral et sa restitution correcte et la plus exhaustive possible dans un français de bonne tenue.

Ainsi, le jury pourra, par exemple, être amené à poser des questions au candidat portant sur le choix de certaines formulations en français (grammaire, lexique), sur la traduction d’un mot ou d’une expression. Certaines questions pourront porter sur le fond du texte afin de pouvoir s’assurer d’une compréhension fine des détails ou de tester si un élément non restitué a été simplement omis ou n’a pas été compris. Ces quelques exemples ne sont donnés qu’à titre indicatif.

Simone RINZLER (Responsable de l’épreuve de compréhension-restitution)

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ADRESSES fort utiles :

Adresse de la SAES pour trouver notamment les sujets des années précédentes (+ voir aussi avec SIAC2, référencé ci-dessous) :
http://www.saesfrance.org/

Sites officiels Éducation nationale : celui du cndp http://www.cndp.fr/accueil.htm
+ http://www.education.gouv.fr/

+ http://eduscol.education.fr/

 

SIAC second degré, dit SIAC 2 : http://www.education.gouv.fr/pid63/siac2.html

sur le site e-anglais : http://www.e-anglais.com/capes_agreg/

Les cours en ligne de Timothy Mason :
http://www.timothyjpmason.com/WebPages/LangTeach/Capes/Capes_Jumpoff.htm

le site d'anglais de l'académie de la Martinique :
http://cms.ac-martinique.fr/discipline/anglais/articles.php?lng=fr&pg=73

http://agreg-ink.net/ (par exemple : http://agreg-ink.net/concours/copies/version1.html) + forum de discussion
et http://www.agreg-ink.net/sahai/

http://www.e-anglais.com/capes_agreg/

http://perso.orange.fr/rigby/agregang.htm

www.anglaisfacile.com/capesagreg/index.php

www.anglonautes.com

http://projetalbion.free.fr/

 

Consultables à la Bibliothèque Angellier: les Rapports de Jurys (support papier)
(+ consultables en ligne sur le site SIAC2, voir plus haut)

 

Bibliographie et informations pour l'épreuve hors programme :

Lors de la première heure de préparation, les candidats ont à leur disposition The Encyclopaedia Britannica. En outre, pendant toute la durée de la préparation, accès à un dictionnaire unilingue.

Temps de passage : présentation par le candidat : 20 mn; entretien avec le jury : 20mn.

Ne pas oublier que l’épreuve donnera lieu à une note de langue, établie à partir de la prestation du candidat au cours de ces deux exercices complémentaires –présentation et discussion- d’une durée totale de 40 minutes.

Bibliographie sélective :

Celle-ci est volontairement restreinte. Il s’agit d’encourager chez le candidat une préparation à la fois “ large ” et réfléchie. Les lectures proposées ont pour objet d’ouvrir l’esprit des candidats, de les sensibiliser aux réelles possibilités d’engagement intellectuel que l’épreuve hors programme leur offre. C’est-à-dire, aux possibilités inhérentes à l’acte d’interprétation. Il ne s’agit en aucun cas de recommander des ouvrages clés. Le candidat (comme le préparateur d’ailleurs) doit travailler en partant de sa propre trajectoire d’angliciste, de lecteur doté d’une imagination critique, d’une faculté de jugement.

Une bibliographie commentée, beaucoup plus grande ample, rassemblée par Marc Porée, reste disponible sur le site de la SAES.

1. Textes officiels et cadrage de l’épreuve :

Agrégation anglais : concours externe. Rapport du jury 2000. CNDP, pp. 70-76.

Agrégation anglais : concours externe. Rapport du jury 2001. CNDP

Bulletin de la SAES, N° 57, Décembre 2000, pp. 10-11, propos de la présidente du jury, dont nous citerons les extraits suivants :

“ Quant à l'épreuve hors programme, elle devient véritablement ouverte à tous les sujets à partir de la session 2001. Malgré la difficulté de cet exercice qui exige à la fois un esprit d'analyse capable d'aborder chaque document dans sa spécificité propre et un esprit de synthèse permettant de relier entre eux les trois éléments du dossier et d'en offrir une interprétation, elle a permis aux candidats de manifester, à des degrés divers, ouverture d'esprit, culture et savoir faire . La présence d'un représentant de chaque discipline (littérature, civilisation, linguistique) assure au candidat que, quelle que soit sa spécialité, il sera entendu et compris. [...] format des dossiers : 2,500 mots maximum en tout, tous les dossiers comportant un document iconographique. [...] Nature des documents : pas de manuel scolaire ni de magazine. Pour la partie civilisation, les sources primaires sont privilégiées, mais les

journaux antérieurs à 1940 sont possibles.

Thèmes : pas de micro-thèmes trop spécialisés. Les dossiers privilégient les grandes périodes historiques, les grands mouvements d'idées. En aucun cas la préparation ne saurait se limiter au contemporain, ou au commentaire de l’actualité immédiate.

A noter, dans ce même propos, la remarque suivante : (La présidente)... « rappelle la plus grande importance accordée aux entretiens dans le but d'apprécier la disponibilité et la souplesse des futurs enseignants. Trop de candidats arrivent non préparés à cette prise de parole plus spontanée ».

2. Ouvrages à visée préparatoire :

Isabelle Gadoin, Le Commentaire de document iconographique à l'épreuve orale de synthèse, Paris : Edition du Temps, 2001.

Anne-Pascale Bruneau, “L’épreuve hors programme en anglais,” dans Agrégation externe d'anglais; mode d'emploi, sous la direction de Wilfrid Rotgé, Paris : Ellipses, 2001.

N. Moulinoux, M. M. Martinet, M. Porée, L’Epreuve de synthèse aux concours du Capes et de l’Agrégation, Presses universitaires de Rennes, 2001.

3. Anthologies de textes littéraires et d’essais culturels :

- Robert Clark & Thomas Healy (sous la direction de), The Arnold Anthology of British and Irish Literature in English, Londres : Arnold, 1997.

- M. H. Abrams (sous la direction de), The Norton Anthology of English Literature, 7 ème édition, New York & Londres : W.W. Norton & Co, 1999.

- Nina Baym (sous la direction de), The Norton Anthology of American Literature, (par ex., Shorter fifth ed.) New York & Londres : W.W. Norton & Co, 1999.

- Deane S. et al., The Field Day Anthology of Irish Writing, Derry : Field Day, 1991.

- Gordon S. Haight (sous la direction de), The Portable Victorian Reader, Harmondsworth: Penguin (1981) 1972.

- Frank Kermode & John Hollander (sous la direction de), The Oxford Anthology of English Literature, Londres, etc. : OUP, 1973. 2 volumes illustrés par des photographies d’auteurs, de sites et d’œuvres d’art. Le second volume est encore disponible.

- Nalini Jain & John Richardson (sous la direction de), Eighteenth-Century Poetry. The Annotated Anthology, New York, etc. : Harvester Wheatsheaf, 1994.

- M.L. Rosenthal (sous la direction de), Poetry in English. An Anthology, Oxford & New York : OUP, 1987.

4. Histoire, histoire sociale et culturelle, histoire des idées :

- Asa Briggs, A Social History of England, troisième édition, Londres : Penguin, 1999.

- Boris Ford (sous la direction de), The Cambridge Cultural History of Britain, (9 volumes). Cambridge : CUP, 1992. Egalement publié dans des éditions antérieures sous le titre The Cambridge Guide to the Arts in Britain.

- Eric Hobsbawm, Industry and Empire. From 1750 to the Present Day, Londres : Penguin, 1999.

- Samuel Hynes, The Edwardian Turn of Mind, Londres : Pimlico, 1968 (1991).

- D.E. Shi & G. B. Tindall, America. A Narrative History (2 volumes illustrés), 5ème edition, New York : W.W. Norton & Company, 1999

5. Analyse de l’image.

On pourra consulter des ouvrages destinés à sensibiliser les non-spécialistes à une approche de l’image.

-Martine Joly, Introduction à l’analyse de l’image, Paris : Nathan Université, 1993. Une approche sémioticienne.

(Petite mise en garde : l’EHP ne demande pas, de la part du candidat, la mise en œuvre d’un métalangage excessivement théorique dans l’analyse de l’image. Il s’agit de mettre en perspective les trois éléments du dossier. Ainsi une lecture trop formelle de l’image fera écran au travail de mise en relation des documents. De même, le recours à une technique trop méticuleuse de commentaire de texte, trop centrée par le procédés rhétoriques mises en œuvre dans un texte, va « court-circuiter » le travail de synthèse qu’il faut effectuer).

-Roland Barthes, La Chambre claire, Paris : Seuil, 1980.

-E.H. Gombrich, Art and Illusion. A Study in the Psychology of Pictorial Representation, Londres : Phaidon Press, 1960 (1992).

- Liliane Louvel, "Texte Image : Images à lire, textes à voir", Presses Universitaires de Rennes 2002, Collection Interférences, 268 p.

6. Recueil de photographies

The Hulton Getty Picture Collection, Decades of the 20th Century, Könemann, Cologne, Allemagne, 1998, un volume par décennie, avec de très belles photographies de la vie quotidienne, notamment au Royaume-Uni et en Amérique.

Site internet correspondant : www.hultongetty.com

7. Notions à étudier dans le cadre d'une préparation à l'EHP :

Attention : « étudier » n’implique en aucun cas la tentative de se constituer une définition « passe-partout ». Les notions que nous énumérons sont autant d’angles qui doivent permettre au candidat, au cours d’une préparation de longue durée, de mieux lire des documents, les mettre en relation de manière éclairante.

a) culture ; b) civilisation) : identité) ; communauté ; appartenance ;

tradition ; modernité ; mondialisation, utopie ; représentation, représentation; mémoire,

(construction de la mémoire) ; pouvoir symbolique ;

b) Cadre/cadrage ; point de vue, perspective ; photographie, peinture ;

espace, temps, spatialité, temporalité, mise en intrigue, mise en forme ;

logique narrative, voix, discours.

L’EHP est un appel à la lecture et un appel à l’ouverture sur le monde. Les notions que nous venons d’énumérer ont leur utilité au cours de la préparation. Cependant elles n’ont d’intérêt que dans la mesure où elle seront mobilisées et justifiées dans le cadre d’un échange formateur entre l’enseignant et l’étudiant. Il s’agit d’aider celui-ci à préciser sa maîtrise d’un ensemble de connaissances apprises au cours de ses années de formation, dont l’année du concours peut être le terme et l’achèvement. L’EHP met en valeur les qualités de langue, de réflexion, de culture personnelle du candidat. Un travail de fond –qui passe par l’habitude de la lecture personnelle- pendant toute la durée de la formation universitaire –portant sur la richesse et la précision de la langue, écrite et orale, sur la connaissance de l’aire culturelle anglophone- est la condition indispensable en amont, si l’on veut que la préparation immédiate au « format » du passage devant le jury, - préparation davantage ciblée, plus rhétorique- garde sa raison d’être, ne cherchant pas à faire en quelques semaines ce qui doit être un travail de longue durée .

L’EHP renvoie à un programme d’ensemble : celui de la formation universitaire aux études anglaises. Cornelius Crowley, Paris X Nanterre

 

 

 

 

I- Documents pour les agrégatifs, pour l'épreuve écrite de tronc commun en linguistique (Philip Miller)

Liens vers documents en .pdf :

1- Agrégation tronc commun linguistique

2- Poly agrégation tronc commun

3- Textes

 

III - ARCHIVES :

Sebastian McEvoy : Coriolanus, corrigé DS (préparation à l'agrégation 2007)

 

Sujets agrégation externe et interne 2003, 2004 et 2005.
Pour les sujets plus récents, voir site de la SAES (ou autre site dans adresses ressources citées plus haut)

 

Agrégation externe – Session 2003

1- Dissertation en français
2-
Commentaire de texte en anglais
3-
Composition de linguistique
4- Traduction

 

Dissertation en français

Durée 7 heures

L'humanisme de Gulliver's Travels



Commentaire de texte en anglais


Durée 6 heures.

CHURCHILL TO EISENHOWER

April 5, 1953


My dear Friend,


Thank you so much for your letter. You know the importance I attach to our informal interchange of thoughts.

Of course my Number One is Britain with her eighty million white English-­Speaking people working with your one-hundred-and-forty million. My hope for the future is founded on the increasing unity of the English-Speaking world. If that holds all holds. If that fails no one can be sure of what will happen. This does not mean that we should seek to dominate international discussions or always try to say the same thing. There are some cases however where without offending the circle of nations the fact that Britain and the United States took a joint initiative might by itself settle a dispute peaceably to the general advantage of the free world.

It was for this reason that I hoped that Anglo-American unity in Egypt and also in the Levant including Israel, would enable us without bloodshed to secure our common military and political interests. I did not think it would have been wrong for Slim and Hull 1 with our two Ambassadors to have presented the package to Naguib and then seen what he had to say about it. This was on the basis that you would not be asked by us to contribute money or men to any fighting if things went wrong as they may well do now.

However, you have decided that unless invited by Naguib, who like all dictators is the servant of the forces behind him, we cannot present a joint proposal. We therefore have to go it alone. I think however that the fact that Britain and the United States are agreed upon what should be done to preserve an effective base there seems as far as it has gone, already to have had a modifying and helpful influence. Mere bluster by Naguib has not so far been accompanied by any acts of violence.

There is a view strongly held on the Opposition side of Parliament that we ought to abandon Egypt altogether. It is argued that the interests in the Middle East which we bear the burden of defending are international and NATO interests far more than British. The postwar position of India, Pakistan and Burma makes the Suez Canal in many ways more important to them than to us. Even in the War, as you will remember, for three years we did without the Suez Canal. We can keep our contacts with Malaya and Australasia round the Cape as we did then. We could maintain our influence in the Levant and Eastern Mediterranean from Cyprus and our interests in the Persian Gulf from Aden. The great improvement of the right flank of the Western Front achieved by the Yugo-Tito-Greeko-Turko combination has made the danger of a physical Russian attack upon Palestine and Egypt definitely more remote in distance and therefore in what is vital namely in TIME. It is pointed out that if we brought our troops home and under their rearguards our worthwhile stores valued at about £270 million and also cancelled the £200 million so-called sterling debts (incurred in defending Egypt in the War) we should experience great relief.

If your advisors really think that it would be a good thing if we washed our hands of the whole business I should very much like to be told. It is quite certain that we could not justify indefinitely keeping eighty thousand men over there at more than £50 million a year to discharge an international task in this area. If with your influence this burden could be largely reduced the great international Canal could continue to serve all nations, at any rate in time of peace, without throwing an intolerable burden upon us. It is for these reasons which have nothing to do with Imperialism that I persevere.

As all this seems to have something to do with history in which we have both occasionally meddled, I am sure you will not mind my putting the matter before you as I see it.

With kind regards,
Yours very sincerely,
Winston


The Churchill-Eisenhower Correspondence 1953-1955,

Edited by Peter G. Boyle, The University of NorthCarolina Press, 1990.

1 Field Marshall Slim of Great Britain and John F. Hull, U.S., Army vice-chief of staff, selected as U.S. military representative for talks with the Egyptian government.

 

Composition de linguistique

Durée 6 heures

`Look,' said the doctor sharply, `this is all a lot of morbid nonsense. It's everybody's duty to live. That's what the National Health Service is for. To help people to live. You're a healthy man with years of life ahead of you, and you ought to be very glad and very grateful. Otherwise, let's face it, you're blaspheming against life and God and, yes, democracy and the National Health Service. That's hardly fair, is it?'
'But what do I live for?' asked Enderby.
`I've told you what you live for,' said the doctor, more sharply. `You weren't paying attention, were you? You live for the sake of living. And, yes, you live for others, of course. You live for your wife and children.' He granted himself a two-second smirk of fondness at the photograph on his desk: Mrs Preston Hawkes playing with Master Preston Hawkes, Master Preston Hawkes playing with teddy-bear.
`I had a wife,' said Enderby, `for a very short time. I left her nearly a year ago. In Rome it was. We just didn't get on. I'm quite sure I have no children. I think I can say that I'm absolutely sure about that.'
`Well, all right then,' said the doctor. `But there are lots of other people who need you, surely. Friends and so on. I take it,' he said cautiously, `that there are still people left who like to read poetry.'
`That,' said Enderby, `is written. They've got that. There won't be any more. And,' he said, 'I'm not the sort of man who has friends. The poet has to be alone.' This platitude, delivered rhetorically in spite of himself, brought a glassy look to his eyes; he got up stiffly from his chair. The doctor, who had seen television plays, thought he descried in Enderby the lineaments of impending suicide. He was not a bad doctor. He said:
`You don't propose to do anything silly, do you? I mean, it wouldn't do anybody any good, would it, that sort of thing? I mean, especially after you've been to see me and so on. Life,' he said, less certainly than before, `has to be lived. We all have a duty. I'll get the police on to you, you know. Don't start doing anything you shouldn't be doing. Look, I'll arrange an appointment with a psychiatrist, if you like.' He made the gesture of reaching at once for the telephone, of being prepared to tap, at once, all the riches of the National Health Service for the benefit of Enderby.
`You needn't worry,' said Enderby soothingly. `I shan't do anything I'd consider silly. I promise you that.'
`Get around a bit,' said the doctor desperately. `Meet people. Watch the telly. Have the odd drink in a pub, all right in moderation. Go to the pictures. Go and see this horror film round the corner. That'll take you out of yourself.'
`I saw it in Rome,' said Enderby. `The world première.' Here in England L'Animal Binato or The Two-Natured Animal had become Son of the Beast from Outer Space. `As a matter of fact,' said Enderby, `I wrote it. That is to say, it was stolen from me.'
`Look,' said Dr Preston Hawkes, now standing up. `It would be no trouble at all for me to fix up an appointment for you. I think you'd feel a lot happier if you talked with Dr Greenslade. He's a very good man, you know, very good, very sympathetic. I could ring up the hospital now. No trouble at all. He could probably see you first thing in the morning.'
`Now,' said Enderby, `don't worry. Take life as it comes. Live it by the square yard or whatever it was you said.'
`I'm not at all happy about what you might do,' said Dr Preston Hawkes. `It wouldn't be fair for you to go back home and do yourself in straight after coming to see me. I'd feel happier if you'd see Dr Greenslade. I could ring up now. I could get a bed for you straight away. I'm not sure that it's right for you to be going off on your own. Not in your present state of mind, that is.' He stood confused and young, mumbling, `I mean, after all, we've all got a duty to each other -'
`I'm perfectly sane,' soothed Enderby, `if that's what you're worrying about. And I promise you again not to do anything silly. You can have that in writing if you like. I'll send you a letter. I'll write it as soon as I get back to my digs.' Dr Preston Hawkes bit his lip from end to end and back again, as though testing it for durability. He looked darkly and uncertainly at Enderby, not liking the sound of `letter' in this context. `Everything,' said Enderby, with a great smile of reassurance, `is going to be all right.' They had exchanged roles. It was with a doctor's jauntiness that Enderby said, `Nothing to worry about at all.' Then he left swiftly.
He passed through a waiting-room full of people who, from the look of them, could not write poetry either. Some were in sporting kit, as if prepared to be tried out at the nets by Dr Preston Hawkes, wearing their ailments as lightly as a blazer-badge; others, dressed more formally, saw disease as a kind of church. Enderby had to squint his way out. He had lost his contact-lenses somewhere; the glasses he had formerly worn were, he supposed, still in the Gloucester Road flat. Unless, of course, she had thrown out all that was his. Walking through the rich marine light he regurgitated the word `police'. If this doctor proposed to put the police on to him it would be necessary to act quickly. In imagination he heard what the world called sanity as something in heavy clumsy hoofing boots. He remembered the boots that chased him when, just back from Rome, he had tried to break into the flat by the window and been suddenly transfixed in the beam of a copper's lantern. He could have stayed to explain, of course, but the police might well, with their professional tendency to suspicion, have held him till the eventual arrival of Vesta. That mink coat, left behind in the scamper, would have taken some explaining away. So he had swung his suitcase into the constable's groin and, between a starting-line and finishing-tape of whistles, dodged about till —to his surprise, for he had thought such things only possible in films— he had managed to escape by skidding down a sidestreet and into an alley, waiting there till the whistles peeped, like lost tropical birds, forlornly in the distance. (...)
On this lovely evening there were queues, Enderby peeringly noticed, for Son of the Beast from Outer Space. Next door but two to the cinema was a cool cavern of a chemist's, full of the smell of soap, holiday laughter in a place of medicines, the prints of beach snapshots being collected, sunburnt arms and necks. Enderby had to wait till a holiday woman had been served with hair-clips, skin-cream, hydrogen peroxide and other life-enhancers before he could ask for the means of death. At last the white-coated girl put her head on one side at him.

Anthony BURGESS, Inside Mr Enderby, 1963. New York: Carroll and Graf, pp. 170-173.


PHONOLOGIE
(les réponses seront rédigées en anglais)

In this section, candidates are asked to provide phonemic transcriptions (also known as "broad phonetic transcriptions") of isolated word units or larger extracts from the text attached. Regardless of the origin of the text, they are free to base their transcriptions either on Southern British English or on General American, to the exclusion of any other variety of English. The chosen standard should be explicitly stated from the start, and deviations clearly justified with reference to the text.
Transcriptions are expected to conform to the standards set out in either of the following books:
- Jones, D., English Pronouncing Dictionary, 15`h edition, Cambridge: Cambridge University Press, 1998 (eds Peter Roach & James Hartman).
- Wells, J.C., Longman Pronunciation Dictionary, London: Longman, 2nd edition, 2000.
Please note that, when applicable, word stress (whether primary or secondary) is to be indicated in all transcriptions. Unless explicitly required, no mention of intonation pattern is expected in the transcriptions.

Questions
1. Give a phonemic transcription of the following passage: On this lovely evening there were queues, Enderby peeringly noticed, for Son of the Beast from Outer Space. (ll. 69-70)
2. Explain the stress-pattern of platitude (1. 17), rhetorically (1. 17), moderation (1. 30), durability (1. 49), regurgitated (1. 58), and necessary (1. 59), and account for the value of the vowel bearing primary stress.
3. Indicate the stress-pattern of nonsense (1. 1), blaspheming (1. 4), photograph (1. 9), telephone (1. 25), perfectly (1.46), context (1. 50), sporting kit (1. 54), transfixed (1. 62), mink coat (1. 64), and forlornly (1. 68).
4. Discuss the stress-pattern of Gloucester Road flat (1.57), sunburnt arms (1.71), and white-coated girl (1.74).
5. Transcribe the words: a. poetry (1. 15), won't (1. 16), worry (1. 27); b. what (1. 7), chased (1. 61), managed (1. 67); c. ought (1. 3), young (1. 45), Gloucester (1. 57); and d. Health (1. 2), years (1. 2), lineaments (1. 19).
6. Account for the pronunciation of the word for in the following contexts: That's what the National Health Service is for (1. 2), I've told you what you live for (1. 7), you live for others (1. 8), and to fix up an appointment for you (1. 36).
7. Transcribe the words psychiatrist (1. 24), think (1. 36), and eventual (1. 63), and account for the pronunciation of the underlined consonants.
8. Indicate tone-unit boundaries, tonics and tones in the following extracts: a. I've told you what you live for. You weren't paying attention, were you? You live for the sake of living. And, yes, you live for others, of course. (11. 7-8); b. I left her nearly a year ago. In Rome it was. We just didn't get on. (11. 11-2); and c. Well, all right then. But there are lots of other people who need you, surely. Friends and so on (11. 14-5).

ANALYSE LINGUISTIQUE
(les réponses seront rédigées en français)
1. Le candidat analysera les segments de texte indiqués ci-après par un soulignage :

A) You needn't worry ... (1.27)
B) Next door but two to the cinema was a cool cavern of a chemist's ... (1.70)
C) ... if that's what you are worrying about. (1. 46)

2. À partir d'exemples choisis dans l'ensemble du texte, le candidat traitera la question suivante : FOR.

Aussi bien pour l'analyse des segments soulignés que pour le traitement de la question, le candidat fondera son argumentation sur une étude précise de formes tirées du texte. Il procédera, à partir de ces formes, à toutes les manipulations et comparaisons jugées utiles, en se référant à leur contexte.



Épreuve de traduction.

Durée 6 heures


VERSION

A rapid walker poetically and humorously minded gathers multitudes of images on his way. And rain, the heaviest you can meet, is a lively companion when the resolute pacer scorns discomfort of wet clothes and squealing boots. South-western rain-clouds, too, are never long sullen: they enfold and will have the earth in a good strong glut of the kissing overflow; then, as a hawk with feathers on his beak of the bird in his claw lifts head, they rise and take veiled feature in long climbing watery lines: at any moment they may break the veil and show soft upper cloud, show sun on it, show sky, green near the verge they spring from, of the green of grass in early dew; or, along a travelling sweep that rolls asunder overhead, heaven's laughter of purest blue among titanic white shoulders: it may mean fair smiling for awhile, or be the lightest interlude; but the water lines, and the drifting, the chasing, the upsoaring, all in a shadowy fingering of form, and the animation of the leaves of the trees pointing them on, the bending of the tree-tops, the snapping of branches, and the hurrahings of the stubborn hedge at wrestle with the flaws, yielding but a leaf at most, and that on a fling, make a glory of contest and wildness without aid of colour to inflame the man who is at home in them from old association on road, heath, and mountain. Let him be drenched, his heart will sing. And thou, trim cockney, that jeerest, consider thyself, to whom it may occur to be out in such a scene, and with what steps of a nervous dancing-master it would be thine to play the hunted rat of the elements, for the preservation of the one imagined dry spot about thee, somewhere on thy luckless person! The taking of rain and sun alike befits men of our climate, and he who would have the secret of a strengthening intoxication must court the clouds of the South-west with a lover's blood.

Vernon's happy recklessness was dashed by fears for Miss Middleton. Apart from those fears, he had the pleasure of a gull wheeling among foam-streaks of the wave. He supposed the Swiss and Tyrol Alps to have hidden their heads from him for many a day to come, and the springing and chiming Southwest was the next best thing.


George Meredith, The Egoist, 1879.

THÈME

La route de Ravello à Sorrente est si belle que je souhaitais ce matin rien voir de plus beau sur la terre. L'âpreté chaude de la roche, l'abondance de l'air, les senteurs, la limpidité, tout m'emplissait du charme adorable de vivre et me suffisait à ce point que rien d'autre qu'une joie légère ne semblait habiter en moi ; souvenirs ou regrets, espérance ou désir, avenir et passé se taisaient ; je ne connaissais plus de la vie que ce qu'en apportait, en emportait l'instant.

— O joie physique ! m'écriais-je; rythme sûr de mes muscles ! santé !


J'étais parti de grand matin, précédant Marceline dont la trop calme joie eût tempéré la mienne, comme son pas eût ralenti le mien. Elle me rejoindrait en voiture, à Positano, où nous devions déjeuner.


J'approchais de Positano lorsqu'un bruit de roues, formant basse à un chant bizarre, me fit tout à coup retourner. Et d'abord je ne pus rien voir, à cause d'un tournant de la route qui borde en cet endroit la falaise ; puis brusquement une voiture surgit, à l'allure désordonnée ; c'était celle de Marceline. Le cocher chantait à tue-tête, faisait de grands gestes, se dressait debout sur son siège, fouettait férocement le cheval affolé. Quelle brute ! Il passa devant moi qui n'eus que le temps de me ranger, n'arrêta pas à mon appel... Je m'élançai : mais la voiture allait trop vite. Je tremblais à la fois d'en voir sauter brusquement Marceline, et de l'y voir rester ; un sursaut du cheval pouvait la précipiter dans la mer. Soudain le cheval s'abat. Marceline descend, veut fuir ; mais déjà je suis auprès d'elle. Le cocher, sitôt qu'il me voit, m'accueille avec d'horribles jurons. J'étais furieux contre cet homme ; à sa première insulte, je m'élançai et brutalement le jetai bas de son siège. Je roulai par terre avec lui, mais ne perdis pas l'avantage ; il semblait étourdi par sa chute, et bientôt le fut plus encore par un coup de poing que je lui allongeai en plein visage quand je vis qu'il voulait me mordre. Pourtant je ne le lâchai point, pesant du genou sur sa poitrine et tâchant de maîtriser ses bras. Je regardais sa figure hideuse que mon poing venait d'enlaidir davantage ; il crachait, bavait, saignait, jurait, ah ! l'horrible être ! Vrai ! l'étrangler paraissait légitime ; et peut-être l'eussé-je fait... du moins je m'en sentis capable ; et je crois bien que seule l'idée de la police m'arrêta.


André GIDE, L'Immoraliste, 1902.

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AGRÉGATION EXTERNE 2004

 

Agrégation externe – session 2004 – dissertation en français


L’autre dans Lord Jim

--------------------------------------

Agrégation externe – session 2004 – Commentaire de texte en anglais

THE CAPITAL defect in the culture of These States is the lack of a civilized aristocracy, secure in its position, animated by an intelligent curiosity, skeptical of all facile generalizations, superior to the sentimentality of the mob, and delighting in the battle of ideas for its own sake. The word I use, despite the qualifying adjective, has got itself
5 meanings, of course, that I by no means intend to convey. Any mention of an aristocracy, to a public fed upon democratic fustian, is bound to bring up images of stockbrokers' wives lolling obscenely in opera boxes, or of haughty Englishmen slaughtering whole generations of grouse in an inordinate and incomprehensible manner, or of bogus counts coming over to work their magic upon the daughters of breakfast-food and bathtub kings.
10 This misconception belongs to the general American tradition. Its depth and extent are constantly revealed by the naïve assumption that the so-called fashionable folk of the large cities – chiefly wealthy industrials in the interior-decorator and country-club stage of culture – constitute an aristocracy, and by the scarcely less remarkable assumption that the peerage of England is identical with the gentry - that is, that such men as Lord
15 Northcliffe, Lord Riddel and even Lord Reading were English gentlemen.
Here, as always, the worshiper is the father of the gods, and no less when they are evil than when they are benign. The inferior man must find himself superiors, that he may marvel at his political equality with them, and in the absence of recognizable superiors de facto he creates superiors de jure. The sublime principle of one man, one vote must be
20 translated into terms of dollars, diamonds, fashionable intelligence; the equality of all men before the law must have clear and dramatic proofs. Sometimes, perhaps, the thing goes further and is more subtle. The inferior man needs an aristocracy to demonstrate, not only his mere equality, but also his actual superiority. The society columns in the newspapers may have some such origin. They may visualize once more the accomplished
25 journalist's understanding of the mob mind that he plays upon so skillfully, as upon some immense and cacophonous organ, always going fortissimo. What the inferior man and his wife see in the sinister revels of those brummagem first families, I suspect, is often a massive witness to their own higher rectitude - in brief, to their firmer grasp upon the immutable axioms of Christian virtue, the one sound boast of the nether nine-tenths of
30 humanity in every land under the cross.
But this bugaboo aristocracy is actually bogus, and the evidence of its bogusness lies in the fact that it is insecure. One gets into it only onerously, but out of it very easily. Entrance is effected by dint of a long and bitter struggle, and the chief incidents of that struggle are almost intolerable humiliations. The aspirant must school and steel himself to
35 sniffs and sneers; he must sec the door slammed upon him a hundred times before ever it is thrown open to him. To get in at all he must show a talent for abasement - and abasement makes him timorous. Worse, that timorousness is not cured when he succeeds at last. On the contrary, it is made even more tremulous, for what he faces within the gates is a scheme of things made up almost wholly of harsh and often unintelligible
40 taboos, and the penalty for violating even the least of them is swift and disastrous. He must exhibit exactly the right social habits, appetites and prejudices, public and private.
He must harbor exactly the right enthusiasms and indignations. He must have a hearty taste for exactly the right sports and games. His attitude toward the fine arts must be properly tolerant and yet not a shade too eager. He must read and like exactly the right
45 books, pamphlets and public journals. He must put up at the right hotels when he travels. His wife must patronize the right milliners. He himself must stick to the right haberdashery. He must live in the right neighborhood. He must even embrace the right doctrines of religion. It would ruin him, for all society column purposes, to move to Union Hill, N. J., or to drink coffee from his saucer, or to marry a chambermaid with a
50 gold tooth, or to join the Seventh Day Adventists.
Henry Louis MENCKEN, "American Culture", from THE NATIONAL LETTERS, PREJUDICES: SECOND SERIES, 1920, in A MENCKEN CHRESTOMATHY, New York, Vintage Books, 1982, pp. 178-179.

----------------------------------------------------------

Agrégation externe – session 2004 – Composition de linguistique
I met Charles and Roy after lunch. Charles was wearing biscuit-coloured linen slacks, white and
brown shoes, a bright red shirt, and a white cap with a green visor. Beneath the cap his face was brick-red. Roy, a tall and stooping young man who worked at the library in the borough adjacent to Charles, was wearing blue suede shoes, blue linen slacks, an orange T-shirt, and white sunglasses. Both were smoking cigars.
`My God,' l said, `you look like mad film directors.'
`That's the idea,' Charles said. `A dozen former virgins are now awaiting contracts.'
`It's easy,' Roy said. `You just say "Now be nice to me and I'll be nice to you, little girl." ' He scrutinized me slowly and shook his head. He had a Lancashire comedian's face, long and immobile, with deep furrows that gave the impression of a sardonic amiability. `You look tired, Joseph. No doubt you have been working your fingers to the bone preparing our little home for us.'
`It's not his fingers he's been working to the bone,' Charles said. `Examine that natty suit, the dazzling white shirt, and, by God, the Panama. Observe the bags under his eyes, the look of lascivious satisfaction - he hasn't been thinking of us at all these last four days, Roy. Do you know why he's got those knife-edge creases in his pants? Because today's the first time he's worn any since he came to Dorset.'
`You've not even admired our passion wagon yet,' Roy said.
It was a prewar Hudson Terraplane with a gangsterish raffishness about it. `We hired it from Roy's uncle at cut rates,' Charles said. `You know, the jovial type you met in the Smoke at Christmas.'
`Not so bloody jovial,' Roy said. `She's killed three men. Nunky thought he was very clever when he bought her cheap and patched her up, but he can't sell her. Mean old blighter, the bloodstains are still on the front seat.'
Charles clapped me on the back and thrust a cigar in my mouth.
`There now, picture of the perfect English gent. Well-fed, slightly drunk, and in the last stage of sexual exhaustion.' He looked at his watch. `Quick one before they close, or a slow wallow at the cottage?'
`The cottage,' I said. I sat beside him in front, and Roy stretched himself out across the back seat.
`I'm engaged, did you know?' Charles scratched the side of his nose, a trick of his when he was embarrassed.
`It wouldn't be Julia?'
`That's right. She's a good girl. You really must meet her.'
`It'll make her discontented. Mind you, I' m glad you've decided to settle down. You're too old for sleeping around. You've not kept your looks as well as I have. She's Grade One now?'
`All the grades rolled into one. Never a dull moment.'
I had a feeling of change, a change as inevitable and natural as the seasons, a tide that I should be moving with but wasn't.
`I've been earmarked for matrimony too,' Roy said.
`Congratulations.' A thought struck me. `You're not inviting them to the cottage, are you?' `Calm yourself, boy. Mine is in Ireland and Roy's in Scotland.' `Our mothers-in-law don't trust us,' Roy said.
`No wonder,' Charles said, taking the gap between a farm-wagon and an approaching motor-bike at fifty. `Lucy was one of Roy's juniors. A sweet little girl of sixteen when first she came -'
`Slow down,' I said, `or I'll ruin the upholstery too. My God, what must you have been like on a jeep?'
`I was there with Errol Flynn on the day of victory. Driving over a causeway of Jap corpses. Mountbatten and Slim and the rest followed at a respectful distance. Beautiful Burmese girls smothered us with kisses and flowers and the Warner Brothers hovered overhead singing Te Deums...'
The motor-bike cut in on us, scraping the front wing with a fraction of an inch to spare. Charles shook his fist at him.
`You stupid bastard!' he yelled.

'I'll take over,' I said. `Whenever you're at the wheel you forget that you're no longer in the glamorous East where you can mow 'em down in their hundreds and be let off with a caution.'
`Caution be damned,' Charles said. He stopped the car and moved over to make way for me. `A coolie cost me a hundred chips once.'
'Imperialist brute,' Roy said. `Men like you lost us the Empire.' I started the car with a jerk, but I soon got the hang of it. The steering was low-geared and more than a trifle soggy but the engine had plenty of power and I found that I was enjoying myself. Charles and Roy started to sing In Mobile, and I took my cigar out of my mouth and joined in the chorus.
In Mobile, in Mobile
Here's a health to the drinking classes in Mobile
When they've finished with their glasses -.
I looked at the cigar and remembered that I'd given up smoking. The guilt began to work inside me again; but when we'd finished the song I put the cigar back in my mouth. It was too good to waste.
John BRAINE. Room at the Top, Harmondsworth: Penguin (1957: 186-1881_
PHONOLOGIE
(les réponses seront rédigées en anglais)


In this section, candidates are asked to provide phonemic transcriptions (also known as "broad phonetic transcriptions") of isolated word units or larger extracts from the text attached. Regardless of the origin of the text, candidates are free to base their transcriptions either on Southern British English (RP / BBC English) or on GeneralAmerican, to the exclusion of any other variety of English. The chosen standard should be explicitly stated from the start, and deviations clearly justified with reference to the text.
Transcriptions are expected to conform to the standards set out in either of the following books: J.C. Wells, Longman Pronunciation Dictionary, 2nd edition, Longman, 2000 or D. Jones (rev. P. Roach & J. Hartman), English Pronouncing Dictionary, 15`h edition, CUP, 1997.
Please note that, when applicable, stress is to be indicated in all transcriptions. Unless explicitly required, no mention of intonation pattern is expected in the transcriptions.
Candidates should organise and structure their answers so as to avoid unnecessary repetition. Questions:
1. Give a phonemic transcription of the following passage: Charles was wearing biscuit-coloured linen slacks, white and brown shoes, a bright red shirt, and a white cap with a green visor (11. 1-2).
2. Transcribe the following words : scrutinized (1. 9), comedian (1. 9), lascivious (1. 13), imperialist (1. 54) and explain their stress-patterns.
3. Discuss the stress pattern of : beautiful Burmese girls. (1. 45)
4. Explain the stress-pattern of earmarked (1. 36) and low-geared (1. 55).
5. a. Transcribe the letter <o> in the words : dozen (1. 7), don't (1. 39), upholstery (1. 42) and smothered (1.45).
b. Explain the value of <o> in sardonic (1. 10) and jovial (1. 19).
6. Give the rule and sub-rules which account for the pronunciation of the letter <a> in the words watch (1. 25), wallow (1. 25), wasn't (1. 35), wagon (1. 40), and Warner (1. 46).
7. Transcribe the words: doubt (1. 10), creases (1. 15), gangsterish (1. 18), cottage (1. 37), and calm (1. 38).
8. a. Indicate tonics (nuclei) and tones in the following extract and justify your answer: `It's not his fingers he's been working to the bone' (1. 12)
b. This is a possible reading of the following passage, which shows tone-unit boundaries and tonic syllables (or nuclei). Indicate before each tonic syllable the tone with which it is likely to be realised (11. 29-32):

Il It wouldn't be Julia ?
That's right. 1 She's a good girl. 1 You really must meet her.
It'll make her discontented. Mind you, I'm glad you've decided to settle down. 1 You're too old for . sleeping around. You've not kept your looks as well as I have. Il
ANALYSE LINGUISTIQUE
(les réponses seront rédigées en français)
1. Le candidat analysera les segments de texte indiqués ci-après par un soulignage A) He had a Lancashire comedian's face, long and immobile (1. 9)
B) No doubt you have been working your fingers to the bone preparing our little home for us (1. 11) C) `You're not inviting them to the cottage, are you?' (1. 37)

2. À partir d'exemples choisis dans l'ensemble du texte, le candidat traitera la question suivante Le prétérit et le present perfect.
Aussi bien pour l'analyse des segments soulignés que pour le traitement de la question, le candidat fondera son argumentation sur une étude précise de formes tirées du texte. Il procédera, à partir de ces formes, à toutes les manipulations et comparaisons jugées utiles, en se référant à leur contexte.
--------------------------------------------------

Agrégation externe – session 2004 – Épreuve de traduction
VERSION
DUSK
No one cries when a street dies. There's no line of mourners to walk behind the coffin wheeled on the axis of the earth and lidded by the sky. No organ-piped dirges, no whispered prayers, no eulogy. No one is there when a street dies. It isn't dead when the last door is locked, and the last pair of footsteps echo up the sidewalk, reluctant to turn the corner and melt into another reality. It dies when the odors of
5 hope, despair, lust, and caring are wiped out by the seasonal winds; when dust has settled into the cracks and scars, leveling their depths and discolorations - their reasons for being; when the spirit is trapped and fading in someone's memory. So when Brewster dies, it will die alone.
It watched its last generation of children torn away from it by court orders and eviction notices, and it had become too tired and sick to help them. Those who had spawned Brewster Place, countless
10 twilights ago, now mandated that it was to be condemned. With no heat or electricity, the water pipes froze in the winter, and arthritic cold would not leave the buildings until well into the spring. Hallways were blind holes, and plaster crumbled into snaggled gaps. Vermin bred in uncollected garbage and spread through the walls. Brewster had given what it could - to its "Afric" children, and there was just no more. So it had to watch, dying but not dead, as they packed up the remnants of their dreams and left - some
15 to the arms of a world that they would have to pry open to take them, most to inherit another aging street and the privilege of clinging to its decay.
And Brewster Place is abandoned, the living smells worn thin by seasons of winds, the grime and dirt blanketing it in an anonymous shroud. Only waiting for death, which is a second behind the expiration of its spirit in the minds of its children. But the colored daughters of Brewster, spread over the canvas of
20 time, still wake up with their dreams misted on the edge of a yawn. They get up and pin those dreams to wet laundry hung out to dry, they're mixed with a pinch of salt and thrown into pots of soup, and they're diapered around babies. They ebb and flow, ebb and flow, but never disappear. So Brewster Place still waits to die.
Gloria NAYLOR, The Women of Brewster Place, 1982.

THÈME
Je l'ai dit, mon père était, les bons jours, souriant, froid, dédaigneux. Il caressait d'un geste élégant ses belles moustaches flambantes. Il considérait le monde avec une indifférence souverainement philosophique. Il avait de grandes pensées, de grands desseins, une lourde tâche. De quel prix, de quel souci lui pouvait être, je vous le demande, l'agitation de ces fantoches dont il paraît que notre vain monde
5 est peuplé ? C'était là l'état normal et force m'est de reconnaître que normal ne veut aucunement dire « le plus fréquent ». C'est bien dommage, d'ailleurs, car pour mystérieux et distant qu'il me parût en cet état, mon père était alors une divinité courtoise.
Malheureusement, le philosophe descendait parfois de sa colonne et toujours à la poussée de motifs pertinents, indiscutables. Mon père, par exemple, ne pouvait souffrir la laideur. Le spectacle du ridicule,
10 chez les autres, le trouvait intolérant. La réaction était franche, immédiate, peu prévisible. Nous étions dans l'omnibus, un monsieur d'un certain âge, peut-être même décoré de la Légion d'honneur, ce qui, en ce temps-là, représentait presque un signe particulier, se mettait à bâiller, à rebâiller. Mon père, sortant de la réserve, prenait alors la parole. L'attaque, en général, était directe. « Allons, monsieur, disait-il d'une voix en même temps suave et sifflante, vous n'avez donc pas honte de nous montrer tout ce que vous avez
15 dans la bouche ? » Cette simple question produisait le plus grand effet. Toutes conversations suspendues, l'omnibus, haletant, attendait la suite avec, en même temps, l'espoir et la frayeur d'un scandale. Le bâilleur, stupéfait, bredouillait parfois une excuse, parfois, épouvanté, se levait en hâte, tirait la ficelle et quittait la voiture. Parfois, il protestait avec aigreur, avec noblesse, avec tristesse, avec indignation. Maman saisissait notre père par le bras et gémissait, pleine d'angoisse: « Raymond, Raymond, pour
20 l'amour de Dieu ! » Mon père, d'un geste calme et résolu, écartait cette prière amollissante. Allait-on l'empêcher d'accomplir son devoir, de confesser, de prêcher l'évangile du bon usage? Il promenait sur l'assistance un regard froid et luisant. Il souriait et prononçait avec une force glaciale : « Quand on est affligé de cette affreuse manie, monsieur, on prend un fiacre... » La température morale de l'omnibus montait brusquement au plus haut. Les droits et les devoirs de l'individu dans le sein de la société, voilà
25 ce qui se trouvait en débat, et rien de moins. Nous autres, les enfants, nous attendions la catastrophe et feignions, mais en vain, de ne pas connaître l'extravagant défenseur des bonnes manières. En général, tout s'arrangeait : le bâilleur lâchait pied, faisait place nette.
Georges DUHAMEL, Le Notaire du Havre, 1933.

**********************************************

oral : consulter le site Web de la SAES : http://www.saesfrance.org/

Exemple d'une épreuve de compréhension orale (mp3 téléchargeable sur le site).

****************************************************************************

AGRÉGATION EXTERNE 2005

Dissertation en français :

"Henricianism was not simply a call to England ti disown Rome's jurisdiction but, in its largest terms, a promise of radical and necessary renewal of the whole commonwealth."

J.J. Scarisbrick, Henry VIII, Methuen, 1968, p.327.

 

Commentaire en anglais :

Extrait de Ford Madox Ford, The Goood Soldier, Part II, ch. 2 (48 premières lignes).

 

Concours externe de recrutement des professeurs agrégés
Session 2005
Section : anglais
Composition de linguistique
Durée : 6 heures


From the very beginning he feels effortlessly incorporated into their lives. It is a different brand of hospitality from what he is used to; for though the Ratliff's are generous, they are people who do not go out of their way to accommodate others, assured, in his case correctly, that their life will appeal to him. Gerald and Lydia, busy with their own engagements, keep out of the way. Gogol and Maxine come and
5 go as they please, from movies and dinners out. He goes shopping with her on Madison Avenue at stores
they must be buzzed into, for cashmere cardigans and outrageously expensive English colognes that Maxine buys without deliberation or guilt. They go to darkened, humb1e-Iooking restaurants downtown where the tables are tiny, the bills huge. Almost without fail they wind up back at her parents' place. There is always some delicious cheese or pate to snack on, always some good wine to drink. It is in her
10 claw-footed tub that they soak together, glasses of wine or single-malt Scotch on the floor. At night he
sleeps with her in the room she jirew up in. on a soft, sagging mattress, holding her body, as warm as a furnace, through the night. making love to her in a room just above the one in which Gerald and Lydia lie. On nights he has to stay late at work he simply comes over; Maxine keeps dinner waiting for him, and then they go upstairs to bed. Gerald and Lydia think nothing, in the mornings, when he and Maxine
15 join them downstairs in the kitchen, their hair uncombed, seeking bowls of cafe au lail and toasted slices
of French bread and jam. The first morning he'd slept over he'd been mortified to face them. showering beforehand, putting on his wrinkled shirt and trousers from the day before, but they'd merely smiled, still in their bathrobes, and offered him warm sticky buns frorn their favorite neighborhood bakery and
sections of the paper.
20 Quickly, simultaneously, he falls in love with Maxine, the house, and Gerald and Lydia's manner
of Hving, for to know her and love her is to know and love all of these things. He loves the mess that surrounds Maxine, her hundreds of things always covering her floor and her bedside table, her habit, when they are alone on the fifth floor, of not shutting the door when she goes to the bathroom. Her unkempt ways, a challenge to his increasingly minimalist taste, charm him. He learns to love the food
25 she and her parents eat, the polenta and risotto, the bouillabaisse and osso buco, the meat baked in
parchment paper. He comes to expect the weight of their flatware in his hands, and to keep the cloth napkin. still partially folded, on his lap. He learns that one does not grate Parmesan cheese over pasta dishes containing seafood. He learns not to put wooden spoons in the dishwasher, as he had mistakenly done one evening when he was helping to clean up. The nights he spends there, he learns to wake up
30 earlier than heis used to, to the sound of Silas barking downstairs, wanting to be taken for his morning
walk. He learns to anticipate, every evening, the sound of a cork emerging from a fresh bottle of wine.
Maxine is open about her past, showing him photographs of her ex-boyfriends in the pages of a marble-papered album, spe<tking of those relationships without embarrassment or regret. She has the gift of accepting her life; as he comes to know her, he realizes that she has never wished she ._w_cr_e anyone other
35 than herself. raised in <tny other place, in any other way. This. in his opinion, is the biggest difference
between them. a thing far more foreign to him than the heautiful hOllse. she'd grown up in. her educalion at private schools. In addition, he is continually amazed by how much Maxine emulates her parents, how much she respects their tastes and their ways. At the dinner table she argues with them about books and paintings and people they know in common the way one might argue with a friend. There is none of the
4() exasperation he feels with his own parents. No sense of obligation. IJnlike his parents, they pressure her
to do nothing, and yet she lives faithfully, happily, at their side.
She is surprised to hear certain things about his life: that all his parents' friends are Bengali, that they had had an arranged marriage, that his mother cooks Indian food every day. that she wears saris and a bindi. "Really?" she says, not fully believing him. "But you're so different. I would never have thought
45 that." He doesn't feel insulted, but he is aware that a line has been drawn all the same. To him tbe terms
of his parents' marriage are something at once unthinkable and unremarkable; nearly all their friends and relatives had been married in the same way. But their lives bear no resemblance to that of Gerald and Lydia: expensive pieces of jewelry presented on Lydia's birthday. flowers brought home for no reason at all. the two of them kissing openly. going for walks through the city, or to dinner, just as Gogol and
50 Maxine do. Seeing the two of them curled up on the sofa in the evenings, Gerald's head resting on Lydia's
shoulder, Gogol is reminded that in all his life he has never witnessed a single moment of physical affection between his parents. Whatever love exists between them is an utterly private, uncelebrated thing. "That's so depressing." Maxine says when he confesses this fact to bel', and though it upsets him to hear her reaction, he can't help but agree. One day Maxine asks him if his parents want him to marry an Indian
55 girl. She poses the question out of curiosity, without hoping for a particular response. He feels angry at
his parents then, wishing they could be otherwise, knowing in his heart \vhat the answer is. "I don't know," he tells her. "I guess so. It doesn't matter what they want."
She visits him infrequently; she and Gogol are never close to his neighborhood for any reason. and even the absolute privacy they would have had there is of no appeal. Still, some nights when her
60 parents have a dinner party she has no interest in, or simply TO BE FAIR, she appears, quickly filling up the small space with her gardenia perfume, her coal, her big brown leather bag, her discarded clothes and they make love on his futon as the traffic rumbles below. He is nervous to have her in his place aware that he has put nothing up on his walls, that he has not bothered to buy lamps to replace the dismal glow of the ceiling light, "Oh. Nikhil. it's too awful," she eventually says on one of these occasions, barely three months after they've met. '" I won't let you live here."


Jhumpa Lahiri The Namesake, 2003.

PHONOLOGlE
(Les réponses seront rédigée en anglais)

In this section, candidates are asked to provide phonemic transcriptions (also known as "broad phonetic transcriptions") of isolated word units or larger extracts from the text attached. Regardless of the origin of the text. candidates are free to base their transcriptions either on Southern British English (RP I BBC English) or on General American. to the exclusion of any other variety of English. The chosen standard should be explicitly stated from the start, and deviations clearly justified with reference to the text.
Transcriptions are expected to conform to the standards set out in either of the following books: J.C Wells.
LONGgman Pronunciation Dictionary, 2nd edition, Longman, 2000 or D. Jones (rev. P. Roach & J. Hartman). English Pronouncing dictionary 16th edition, CUP. 2003.
Please note that, when applicable, stress is to be indicated in all transcriptions. Unless explicitly required, no mention of intonation pattern is expected in the transcriptions.
Candidates should organise and structure their answers so as to avoid unnecessary repetition.

Questions:
1. Give a phonemic transcription of the following passage: He comes to expect the weight of their flatware in his hands, and to keep the cloth napkin, still partially folded on his lap. (ll. 26-27).

2. Explain the stress-patterns of delicious (l. 9), exasperation (l. 40), curiosity (l. 55), gardenia (l. 61) and comment on the value of the stressed vowels.

3. Discuss the stress-patterns of Madisson Avenue (l.5), claw-footed tub (l. 10) ex-boyfriends (l. 32) private schools (l.37)

4. Give the stress-patterns of beginning (l. 1), assured (l .3), insulted (l. 45), presented (l. 48), private (l. 52) response (l. 55) appeal (l. 59), perfume (l. 61), replace (l. 63).
Justify your answers briefly.

5. Give phonemic transcriptions for the following words: warm (l. 8), covering (l. 22), foreign (l. 36)
neighborhood (l. 58).

6. Account for the pronunciation of the underlined vowels in the variety of English you have chosen : earlier (l.30), realizes (l. 34), hear (l.42), wears (143) reaction (l. 54), heart (l. 56), reason (l. 58), leather (l. 61).

7. Transcribe the words engagements (l.4), think (l. 5), uncombed (l. 15), increasingly (l. 24) and account for the pronunciation of the underlined consonant.

8. Indicate suitable tone-unit boundaries, tonics (nuclei) and tones for the following extract: Quickly, simultaneously, he fall in love with Maxine, the house, and Gerald and Lydia's manner of living, for
to know her and is to know and love all of these things.
(ll. 20-21).

Analyse linguistique (Les réponses seront rédigées en français).

1. Le candidat analysera les segments de texte indiqués ci-après par un soulignage :
A] At night he sleeps with her in the room she grew up in.
B] he realizes that she has never wished she were anyone other than herself (l .34)
C] I guess so. It doesn 't matter what they want.

2. A partir d'exemples choisis dans l’ensemble du texte, le candidat traitera la question suivante :
Les quantifieurs.


Aussi bien pour l’analyse des segments soulignés que pour traitement la question, Ie candidat fondera
son argumentation sur une étude précise de forme tirées du texte. Il procédera a partir de ces formes à toutes les manipulations et comparaisons jugées utiles en se référant à leur contexte.

 

Epreuve de traduction
Durée : 6 heures

La version et le thème devront être composés sur des copies separées.


VERSION
In the morning I often lie in bed and watch the sunrise. The lake lies dim and milky, the mountains are dark-blue at the back, while over them the sky gushes and glistens with light. At a certain place on the mountain ridge the light burns gold, seems to fuse a little groove on the hill's rim. It fuses and fuses at this point, till of a sudden it comes, the intense molten living light. The mountains melt suddenly, the light steps down, there is a glitter, a spangle, a clutch of spangles, a great unbearable sun-track flashing across the milky lake, and the light falls on my face. Then, looking aside, I hear the little slotting noise which tells me they are opening the lemon gardens, a long panel here and there, a long slot of darkness at irregular intervals between the brown wood and the glass stripes.
"Vouley vous" -the Signore bows me in with outstretched hand. "Vouley vous entrer, monsieur."

I went into the lemon house, where the poor trees seem to mope in the darkness. It is an immense, dark, cold place. Tall lemon trees, heavy with half-visible fruit, crowd together and rise in the gloom. They look like ghosts in the darkness of the underworld, stately, and as if in life, but only grand shadows of themselves. And lurking here and there, I see one of the pillars. But he too, seems a shadow, not one of the dazzling white fellows I knew. Here we are, trees, men, pillars, the dark earth, the sad black paths, shut in this enormous box. It is true, there are long slips of window, and slots of space, so that the front is striped, and an occasional beam of light fingers the leaves of an enclosed tree, and the sickly round lemons. But it is nevertheless very gloomy.
"But it is much colder in here than outside," I said.
"Yes," replied the Signore, "Now. But at night-I think-"

I almost wished it were night, to try. I wanted to imagine the trees cosy. They seemed now in the underworld. Between the lemon trees, beside the path, were little orange trees, and dozens of oranges hanging like hot coals in the twilight. When I warm my hands at them, the Signore breaks me off one twig after another, till I have a bunch of burning oranges among dark leaves, a heavy bouquet.


D. H. LAWRENCE, "The Lemon Gardens", Twilight in Italy, 1916.

Thème

Il habitait un cottage au toit de chaume, aux murs chaules. Son arrière-grand-père était parti de la, un siècle plus tôt, au moment de la grande famine qui réduisit l'Irlande a un corps exsangue. Un chemin borde de genets grimpait jusqu'au cottage dominant les bois, les champs de tourbe et la nouvelle route pour Shannon. Une situation magnifique qu'on ne pouvait guère apprécier de l'intérieur tant les fenêtres étaient petites. Des massifs d'hortensias entouraient le jardinet ou les premiers jours de printemps voyaient se lever des jonquilles. Tout un mur de la chambre de Jerry était décoré de photos qui formaient un arbre généalogique au sommet duquel régnait, barbu, en chapeau à larges bards, un revolver a la ceinture, l' ancêtre, le vieux Patrick Kean du temps où il était ouvrier sur la fameuse ligne de chemin de fer des Rocheuses. D'autres photos Ie montraient plus tard, a diverses époques de sa vie, la barbe taillée comme celle du colonel Cody, Buffalo Bill, Ie tueur de buffles. Le revolver avait disparu et un col dur remplaçait la chemise de brousse et le ruban noir noue négligemment. IL était devenu un des actionnaires de la compagnie de chemin de fer, et une autre photo Ie montrait vers 1920, a soixante ans, assis sur une chaise au milieu de ses employés. De chaque côté se tenaient son fils et son petit-fils, le père de Jerry. La dernière photo du vieux Patrick avait été prise la veil1e de sa mort, a quatre-vingt-dix-neuf ans. 1l n'était plus qu'une momie aux yeux glauques, la peau du visage collée aux larges pommettes. Son fils était mort, et son petit-fils lui donnait le bras. 11s avançaient dans un jardin exotique et Jerry marchait devant eux, un ballon a la main, enfant blond aux yeux naïfs. Je ne me lassais pas de regarder ces photos qui racontaient plusieurs générations: la première épouse, un vrai monstre au regard torve, la seconde. celle du grand-père, déjà moins utilitaire, la troisième, la mère de Jerry, une belle créature aux yeux gris d' argent. puis les deux soeurs de mon ami: Moira, Lion d'or a Venise pour son interprétation d' Augusta Brandebourg dans Ie film de Losey et Sharon, celle qu' on appelait la Princesse, parce que son père lui avait achète pour époux un principicule allemand, une des dernières altesses d'Europe.

Michel Déon, Un taxi mauve, 1973.

 

SUITE des sujets sur le site de la SAES (voir plus haut)


- Agrégation interne 2003

 

Composition en langue étrangère

Durée : 7 heures.

Loss and wonder in The Sound and the Fury.

Traduction

Durée : 5 heures

Version et thème assortis de l’explication en français de choix de traduction portant sur les segments soulignés.


I. VERSION


Before reaching Knightsbridge, Mr Verloc took a turn to the left out of the busy main thoroughfare,

uproarious with the traffic of swaying omnibuses and trotting vans, in the almost silent, swift flow of hansoms. Under his hat, worn with a slight backward tilt, his hair had been carefully brushed into respectful sleekness; for his business was with an embassy. And Mr Verloc, steady like a rock-a soft kind of rock-marched now along a street which could with every propriety be described as private. ln its breadth, emptiness, and extent it had the majesty of inorganic nature, of matter that never dies. The only reminder of mortality was a doctor's brougham arrested in august solitude close to the kerbstone. The poli shed knockers of the doors gleamed as far as the eye could reach, the clean windows shone with a dark opaque lustre. And aU was still. But a milk cart rattled noisily across the distant perspective; a butcher boy, driving with the noble recklessness of a charioteer at Olympic Games, da shed round the corner sitting high above a pair of red wheels. A guilty-Iooking cat issuing from under the stones ran for a while in front of Mr Verloc, then dived into another basement, and a thick police constable, looking a stranger to every emotion, as if he, too, were part of inorganic nature, surging apparently out of a lamp-post, took not the slightest notice of Mr Verloc.


Joseph CONRAD, The Secret Agent (1907),

Penguin Modern Classics, 1973, chapter 2, p. 21.

II. THEME


Vers quatorze heures, Clémentine s'apercevait soudain que les aînées rentreraient dans à peine

trois heures et qu'elle ne s'était acquittée d'aucune des tâches d'une mère de famille.

Elle sautait alors dans des vêtements ordinaires, courait au coin de la rue acheter des aliments sérieux, rentrait pour donner au logis une apparence possible, jetait le linge sale dans la machine puis partait à l'école chercher les enfants. Dans son empressement, elle n'avait pas toujours le temps ou la présence d'esprit d'enlever à Plectrude son déguisement - pour la simple raison qu'à ses yeux ce n'était pas un déguisement.

Ainsi, on voyait marcher dans la rue une jeune femme enjouée, tenant par la main une microscopique créature parée comme ne l'eussent pas osé les princesses des Mille et Une Nuits.

À la sortie de l'école, ce spectacle provoquait tour à tour la perplexité, le rire, l'émerveillement et

la désapprobation.

Nicole et Béatrice poussaient toujours des cris de joie en voyant l'accoutrement de leur petite sœur,

mais certaines mères disaient à haute et intelligible voix:

- On n'a pas idée d'habiller une enfant comme ça!

- Ce n'est pas un animal de cirque!

- Il ne faudra pas s'étonner si cette petite tourne mal, plus tard!

- Se servir de ses enfants pour faire son intéressante, c'est inqualifiable!


Amélie NOTHOMB, Robert des noms propres, Albin Michel, 2002, p. 35-36.

III.

Le candidat expliquera et justifiera sa traduction des mots et segments soulignés dans la version et dans le thème.

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AGREGATION INTERNE 2004

Agrégation interne d'anglais. Session 2004 - Composition en langue étrangère

Durée : 7 heures.

Comment upon the following quotation :

"[The special relationship] helped to reinforce the image of Britain as a great power, capable of playing an independent world role. The result [...] was that Britain was deflected from coming to terms with her European destiny."


John BAYLIS, Anglo-American relations since 1939, Manchester University Press, 1997, pp.12-13

 

ANGLAIS : agrégation interne 2004 — Traduction et faits de langue
1. Version

"Almost without exception, my dear" —again? why not?— "our students are abysmally ignorant. They've been incredibly badly educated. Their lives are intellectually barren. They arrive knowing nothing and most of them leave knowing nothing. Least of all do they know, when they show up in my class, how to read classical drama. Teaching at Athena, particularly in the 1990s, teaching what is far and away the dumbest generation in American history, is the same as walking up Broadway in Manhattan talking to yourself, except instead of the eighteen people who hear you in the street talking to yourself, they're all in the room. They know, like, nothing. After nearly forty years of dealing with such students —and Miss Mitnick is merely typical— I can tell you that a feminist perspective on Euripides is what they least need. Providing the most naive of readers with a feminist perspective on Euripides is one of the best ways you could devise to close down their thinking before it's even had a chance to begin to demolish a single one of their brainless 'likes'. I have trouble believing that an educated woman coming from a French academic background like your own believes there is a feminist perspective on Euripides that isn't simply foolishness. Have you really been edified in so short a time, or is this just old-fashioned careerism grounded right now in the fear of one's feminist colleagues? Because if it is just careerism, it's fine with me. It's human and I understand. But if it's an intellectual commitment to this idiocy, then I am mystified, because you are not an idiot. Because you know better. Because in France surely nobody from the École Normale would dream of taking this stuff seriously. Or would they?"

Philip ROTH, The Human Stain, 2000. Vintage pp.191-192

2. Thème
Mes plus grands souvenirs de cinoche sont liés à « tonton Charles» qui n'était pas notre oncle mais le parrain de Colette et le meilleur copain du «jeune temps» de mes parents. Avec sa couenne épaisse et burinée, à la manière des grands baroudeurs amerloques – Bogart, Sterling Hayden, Randolph Scott, Spencer Tracy –, ses cheveux argentés, ses épaules massives, une ou deux dents en or, je lui trouvais une bonne gueule de héros. Sa compagne, Jeannette, aurait pu s'appeler MacDonald tant elle était décolorée, parfumée, embijoutée, bref chic et troublante. Le couple correspondait d'autant mieux, à mes yeux, à la mythologie hollywoodienne qu'il habitait un petit studio sous les toits, à Passy – stores rayés, géraniums au balcon, meuble-bar –, qui valait un penthouse à Manhattan.

Suprême prestige, tonton Charles était taxi, à son compte, et possédait ainsi une Vedette ventrue de chez Ford - encore l'Amérique – avec des chromes étincelants et un compteur à fanion. A l'heure du café, il me permettait parfois de m'installer derrière le grand volant de bakélite de la Vedette. Je me faisais alors un délicieux petit cinéma en klaxonnant et en imitant les « vroum-vroum » avec la bouche. Jusqu'au jour où, en tirant le démarreur, je déclenchai de vrais vroum-vroum. (...)

Charles et Jeannette, sans enfants, ne pensaient qu'à me faire plaisir avec de l'extraordinaire. En me laissant dévorer un saladier de griottes au sirop rafraîchies au «Frigidaire », en mettant de la gomina sur mes cheveux pleins d'épis, en me prêtant leur dentifrice Email Diamant, rose profond, avec un toréador sur le tube, ou en me racontant leurs épiques voyages à travers l'Espagne, inaccessible Eldorado. Grenade, Séville, Cadix, Aranjuez, castagnettes et corridas... Poussières d'or, soleil rouge, technicolor.

Robert BElLERET, Les Bruyères de Bécon Sabine Wespieser, 2002, p.121-122.

3. Explication de faits de langue

Le candidat expliquera et justifiera sa traduction des mots et segments soulignés dans la version et dans le thème.

 

ORAL

 

aller chercher les documents en .pdf sur le site de la SAES :
http://www.univ-pau.fr/saes/pb/annales/agreginterne/04/ling04.html

 

Oral : explication de texte / faits de langue

(sujets portant sur la typologie et l'analyse de faits de langue tels que :

will & shall, l'expression de l'hypothétique, les relatives, Have+ -en, propositions et particules adverbiales, preterit, the, so & as, etc.).

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AGRÉGATION interne 2005

Composition en langue étrangère : "Throughout his working life, [Mencken] cherished his concept of newspapermen, especially those he had known in his youth, as a privileged group who observed the human comedy from the front row and could say pretty much what they pleased about it, providing they had a style which could attract as well as startle readers".

Douglas STENERSON, H. L. Mencken, Iconoclast from Baltimore. University of Chicago Press, 1971. p. 230.

Comment upon this characterization of encken's vieiw on journalism and discuss its specific relevance to A Mencken Chrestomathy.

VERSION : Extrait de A Fine Balance de Rohinton Mistry (1996).

THEME : Extrait de Dernier verre au Danton de Denis Tillinac.

+ Justification et justification de mots et segments soulignés.

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