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Première Professionnelle Première Professionnelle - Afin d’obtenir l’adhésion des élèves au projet de séquence, l’enseignant devra les conduire à soulever eux-mêmes le(s) questionnement(s) qui la sous-tendra, plutôt que de le(s) lui proposer d’emblée. « Ces questions ne sont en aucun cas le prétexte de trois exposés magistraux, de trois "leçons", ni d'ailleurs d'une, de deux ou de trois. L'enseignement du français ne procède pas par des leçons, il forme à la réflexion. Elles ne sont pas non plus un pur ornement de nos programmes, dont l'enseignant pourrait se passer, et continuer à enseigner en suivant les anciens programmes.*…+ Ces questions doivent exister, dans la classe, explicitement, ou dans les préparations de cours (de progression, de projet de séquence) implicitement. » (http://eduscol.education.fr/cid45847/presentation-du-nouveau-programme-de- francais-dans-la-voie-professionnelle.html) - Il s’agira de veiller tout au long des trois années à respecter la progression des apprentissages proposée par le programme. A cet effet, les enseignants pourront utilement consulter les documents d’accompagnement sur Eduscol : http://eduscol.education.fr/pid23218-cid50211/ressources-en-francais.html. - Quel que soit l’objet d’étude et l’époque étudiée, en supplément du groupement de textes ou bien intégré, une association « texte d’hier/texte d’aujourd’hui » permettra à l’élève de voir l’universalité et l’intemporalité de certains thèmes, textes, valeurs ou sentiments. - Cette liste n’est bien entendu pas exhaustive ! Certaines de ces ressources visent plutôt votre propre réflexion, afin de vous aider à la recherche de ressources pour les élèves et d’un questionnement propre à chacune des séquences. Comme l’indique la DGESCO, en application de la loi n°2005-380 du 23 avril 2005 d'orientation et de programme pour l'avenir de l'École, «la liberté pédagogique de l'enseignant s'exerce dans le respect des programmes et des instructions du ministre chargé de l'Éducation nationale et dans le cadre du projet d'école ou d'établissement avec le conseil et sous le contrôle des membres des corps d'inspection». Les programmes sont, en conséquence, la seule référence réglementaire adressée aux professeurs. Les ressources et documents proposés aux enseignants garantissent ce principe, il revient à chaque enseignant de s'approprier les programmes dont il a la charge, d'organiser le travail de ses élèves et de choisir les méthodes qui lui semblent les plus adaptées en fonction des objectifs à atteindre. Du côté de l’imaginaire - La fable, le conte, les récits imaginaires sont-ils réservés aux jeunes lecteurs ? - Comment l’imaginaire joue-t-il avec les moyens du langage, à l’opposé de sa fonction utilitaire ou référentielle ? - Le lecteur d’œuvres de fiction fuit-il la réalité ? SURREALISME C'est dans son premier Manifeste que Breton en propose la définition : « Surréalisme, n. m. Automatisme psychique pur par lequel on se propose d'exprimer, soit verbalement, soit par écrit, soit de toute autre manière, le fonctionnement réel de la pensée. Dictée de la pensée, en l'absence de tout contrôle exercé par la raison, en dehors de toute préoccupation esthétique ou morale. » - Littérature o http://www.imageimaginaire.com/imageimaginaire/index.php o Sur l’Ouvroir de Littérature Potentielle (Oulipo) : http://www.lettres.ac- versailles.fr/article.php3?id_article=509&var_recherche=oulipo o http://www.site-magister.com/surrealis.htm o http://www.larousse.fr/encyclopedie/ehm/litt%C3%A9rature_surr%C3%A9aliste/181569 o L’écriture automatique de Champs magnétiques, rédigé conjointement en 1919 par André Breton et Philippe Soupault et publié en 1921 o André Breton, Nadja et Anthologie de l'humour noir. o André Breton, Union libre + écoute du poème lu par l’auteur : http://wheatoncollege.edu/academic/academicdept/French/ViveVoix/Resources/unionlibre.html o Tristan Tzara, Grains et issues o Louis Aragon, Le Paysan de Paris o La poésie de Paul Eluard o Antonin Artaud, Benjamin Péret, Robert Desnos, Raymond Queneau, Michel Leiris et Philippe Soupault o le Second Manifeste du surréalisme, publié en 1929, marqua quant à lui l'adhésion de nouveaux membres (René Char, Francis Ponge, Joë Bousquet, Luis Buñuel, etc.) et la réconciliation de Tzara avec Breton. o Eluard, La Dame de Carreau o F. Ponge le parti pris des choses - Théâtre o Eugène Ionesco, Rhinocéros, La cantatrice chauve, La leçon et Les chaises, etc. o Alejandro Jodorowsky, Opéra Panique o Samuel Beckett , En attendant Godot, Oh les beaux jours ! - Peinture Le surréalisme prolonge une tradition picturale où la rêverie, le fantastique, le symbolique, l'allégorique, le merveilleux, les mythes ont une part importante. o Max Ernst, Au rendez-vous des amis, Francis Picabia, Salvador Dali, René Magritte, Joan Miro, Marc Chagall, Giorgio de Chirico, Marcel Duchamp. Roland Penrose artiste surréaliste britannique, photographies de Man Ray http://www.centrepompidou.fr/education/ressources/ENS-surrealisme/ENS-surrealisme.htm http://www.musee-magritte-museum.be/Portail/Site/Typo3.asp?lang=FR&id=languagedetect o Site du Centre Pompidou : http://www.centrepompidou.fr/education/ressources/ENS- surrealisme-pistes/ENS-surrealisme-pistes.htm - Cinéma o 1928 : La Coquille et le Clergyman de Germaine Dulac ; Un chien andalou de Luis Buñuel et Salvador Dali o 1929 : L'Étoile de mer de Man Ray o 1930 : L'Âge d'or de Luis Buñuel o 1930 : Le Sang d'un poète de Jean Cocteau o 1943 : Meshes of the Afternoon de Maya Deren et Alexander Hammid o 1957 : La Cravate de Alejandro Jodorowsky o 2007 : Destino de Walt Disney et Salvador Dali o 1980 : Au-delà du réel (film) de Ken Russel o 1988 : Alice (film, 1988) o Vidéo http://www.youtube.com/watch?v=dzxlbgPkxHE&feature=related Rêves par Dali FANTASTIQUE Entre Merveilleux (dont la Fantasy) et l’Etrange. C'est en Allemagne au début du XIXe que naît la littérature fantastique proprement dite, avec Adelbert von Chamisso (Peter Schlemilh) puis Achim von Arnim et E.T.A. Hoffmann (Fantaisies à la manière de Callot, Contes nocturnes). Le fantastique de Hoffmann se caractérise par l'exaltation, le chaos, et la frénésie. (from Wikipédia) Voltaire peut permettre d’associer les objets d’étude Imaginaire et Lumières. La machine à explorer le temps de Wells peut se faire en lecture d’œuvre longue et en bivalence (extraits en anglais). - Le roman fantastique français o Certaines nouvelles de Maupassant ou de Poe sont à la portée de nos élèves. Citons par exemple Le Horla de Maupassant, Le puits et le pendule ou L’emmuré vivant de Poe. o Charles Nodier, La Fée aux miettes, Smarra ou les démons de la nuit et Trilby ou le lutin d'argail. o Balzac, La peau de chagrin o Théophile Gauthier, La cafetière et La Morte amoureuse o Mérimée, La Vénus d’Ille o Barbey d’Aurevilly, Les Diaboliques o Gabriel Garcia Marquez, Cent ans de Solitude - Le roman fantastique anglais et américain o Walpole, Le château d’Otrante o Mary Shelley, Frankenstein o Oscar Wilde, Le portrait de Dorian Gray (cf. séquence de C. Lozano) o Henry James, Le Tour d‘écrou o Washington Irving, Sketch Book, qui contient le conte Rip Van Winckle o H. P. Lovecraft, Le Mythe de Cthulhu (préfigure le roman d’horreur) o J. R. R. Tolkien, Le Seigneur des anneaux et son adaptation cinématographique o Bram Stoker Dracula o R. H. Stevenson Docteur Jekyll et Mister Hyde o S. Meyer Twilight et son adaptation au cinéma Théâtre : W. Shakespeare Songe d’une nuit d’été - Le cinéma fantastique o Metropolis, de Fritz Lang o Le Cabinet du docteur Caligari, de Robert Wiene o Legend de Ridley Scott o Les Visiteurs, de Jean-Marie Poiré o Les films de Tim Burton : Charlie et la chocolaterie, Beetlejuice, Big Fish, etc. o Le labyrinthe de Pan, de Guillermo del Toro o L’imaginarium du Docteur Parnassus, de Terry Gilliam o Les oiseaux, de Hitchcock o La cité des enfants perdus, de Jean-Pierre Jeunet o Le locataire, de Roman Polanski o Le Bal des vampires, de R. Polanski o Phantom of the Paradise Brian de Palma 1974 etc. Les philosophes des Lumières et le combat contre l’injustice - Une action juste l’est-elle pour tout le monde ? - Quelles armes littéraires les philosophes des Lumières ont-ils léguées aux générations suivantes pour dénoncer l’injustice ? - En quoi les écrits des philosophes des Lumières permettent-ils l’élaboration d’un jugement argumenté ? e mot "Lumières" désigne métaphoriquement le mouvement intellectuel qui caractérise le dix- huitième siècle européen : illuminismo en italien, ilustración en espagnol, Aufklärung en allemand évoquent semblablement le passage de la nuit au jour, de l'obscurantisme à la connaissance rationnelle, qui marque cette époque décidée à secouer tous les jougs qui pesaient jusque-là sur les peuples.http://www.site-magister.com/philosophis.htm Le siècle des Lumières est marqué par une vision renouvelée et élargie du monde héritée de questionnements, parfois angoissés, du dernier quart du XVIIe siècle. Six traits marquants d’une pensée moderne s’y affirment et peuvent être retenus: la primauté de l’esprit scientifique sur la Providence dont la révolution newtonienne est l’illustration la plus marquante ; la réflexion politique marquée par la théorie contractuelle, influencée par les travaux de John Locke les progrès de l’esprit critique à l’œuvre, pour exemple, dans le Dictionnaire historique et critique (1697) de Pierre Bayle et la critique lockienne des idées innées ; une première désacralisation de la monarchie dont les Dialogues du baron Louis de La Hontan (1710) sont l’une des manifestations ; l’affirmation de l’idée de tolérance dans une Europe marquée par les divisions religieuses dont l’œuvre de Lessing, Nathan le Sage est une illustration ; le déisme.
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