Annie Heminway French Reading and Comprehension PRACTICE MAKES PERFECT ® Copyri

Annie Heminway French Reading and Comprehension PRACTICE MAKES PERFECT ® Copyright © 2014 by McGraw-Hill Education. All rights reserved. Printed in the United States of America. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. 1 2 3 4 5 6 7 8 9 10 QVS/QVS 1 0 9 8 7 6 5 4 ISBN 978-0-07-179890-7 MHID 0-07-179890-0 e-ISBN 978-0-07-179891-4 e-MHID 0-07-179891-9 Library of Congress Control Number 2013947035 McGraw-Hill Education, the McGraw-Hill Education logo, Practice Makes Perfect, and related trade dress are trademarks or registered trademarks of McGraw-Hill Education and/or its affiliates in the United States and other countries and may not be used without written permission. All other trademarks are the property of their respective owners. McGraw-Hill Education is not associated with any product or vendor mentioned in this book. McGraw-Hill Education products are available at special quantity discounts to use as premiums and sales promotions or for use in corporate training programs. To contact a representative, please visit the Contact Us pages at www.mhprofessional.com. This book is printed on acid-free paper. iii Contents Preface v Acknowledgments vii 1  La Tour Eiffel: Débats et polémiques 1 2 Dis Maman, les frites ça pousse dans les arbres? 10 3 Le miel qui soigne et qui régale 18 4 Le retour de l’ours brun 30 5  François Gabart, prince des mers: Le tour du monde en 78 jours 43 6 Le Louxor renaît de ses cendres 56 7  Comment devenir cinéaste, designer graphique, architecte d’intérieur... 69 8 Madame ou Mademoiselle? 80 9 Les ministres prennent une leçon de féminisme 91 10  Le Canal de Lachine au cœur de l’histoire de Montréal 97 11  Tout ce que vous avez toujours voulu savoir sur Marie-Antoinette sans oser le demander 106 12 Et si on allait à la bibliothèque? 120 13 Numérisation tous azimuts 132 14 Claire, serveuse à Bruxelles 142 iv Contents 15 Changer de vie: Le prix de la liberté 157 16 L’illettrisme des cadres, phénomène méconnu et tabou 169 17 Le MuCEM: Musée des civilisations de l’Europe et de la Méditerranée 181 18 Bartabas, génie du théâtre équestre 191 19 Triangle migratoire: Jeanne Séguin-Laflamme 200 20 Premiers chocs: Wei Wei 211 21 Le jeune homme qui murmurait à l’oreille de la mer: Eduardo Manet 222 22 Les aventures de Victor à Pondichéry: Aliette Armel 229 23 Je suis une camera (en dix instantanés): Dany Laferrière 238 Glossary 251 Answer key 265 v Most people would probably agree that immersion is the best way to learn a lan- guage. After all, that is how we learn our first language as children, surrounded by people speaking it. As we grow up, our language and communications skills develop further in the cultural environment in which our language is spoken. Cur- rent events, history, cinema, television, music, food, sports, and culture at large all play important roles. For those wishing to learn another language, however, this type of total immersion is not always practical. While it may not always be possible to surround ourselves with native speakers, we can immerse ourselves in the cul- tural context of the new language as we learn. That is the goal of this book: to teach French to learners of all ages, using authentic material drawn from the culture(s) in which it is spoken. The real-life readings are taken from a wide variety of news- papers, magazines, and websites and cover a broad range of subjects. Literature is also represented by five original short stories written by contemporary French- speaking authors from China, Cuba, France, Haiti, and Quebec. How does the reader work? Each chapter presents a text on a specific subject, divided into one to three sections depending on the length of the original text. Each section is preceded by a list of words, giving their meaning as they are actu- ally used in the text. The exercises immediately following the text focus on under- standing its content and vocabulary. A grammar section focuses on some specific points of grammar as they appear in the text, with exercises to help understand them. All but the literary chapters conclude with a cultural note, in English, that relates the reading to a larger cultural context. It’s the next best thing to actually being there! The literary chapters (chapters 19–23) conclude with biographical notes, in French, on the writers. Finally, interspersed throughout the book are vignettes that focus on some idiomatic uses of a particular word or phrase—­ sometimes surprising and always entertaining. To get the most out of this book, the best approach is to work on one chapter at a time. Read the text first without looking at the translated vocabulary, and try to get a general sense of what it means. Scan the vocabulary and read the text again. Review the grammar and do the exercises and translations. Finally, read the text again without looking at the vocabulary. The result? By following these steps you will improve your reading skills, perfect your grammar, and widen your knowledge of French and Francophone cultures—all while having fun along the way. Bonne lecture! Preface This page intentionally left blank vii Acknowledgments I want to thank Mathilde Lauliac, Ellen Sowchek, and Zoran Minderovic—my lynx-eyed readers, spot-checkers, and punctiliously erudite French scholars. Thank you to Aliette Armel, Dany Laferrière, Jeanne Séguin-Laflamme, Eduardo Manet, and Wei Wei for their beautiful prose contributions that make this book so special. And last but foremost, thanks to Karen Young, my editor, for her expertise and support at every stage of this project, and to Susan Moore, project editor, who thoughtfully guided this book through production. This page intentionally left blank 1 ·1· La Tour Eiffel Débats et polémiques Première partie Avant la lecture à peine accorder achèvement achever affublé de arête au cœur de beffroi bon sens cheminée courbe criblé de durable échelle écraser efforcer de (s’) enlaidir (s’) éteindre (s’) favoriser fournir fuser goût hardiesse il suffit barely, hardly to grant completion to complete inundated by arris, edge in the midst of belfry common sense chimney, smokestack curve riddled with long-lasting ladder to crush to try to make (oneself) look ugly to die down, to fade away to favor, to appreciate to provide, to supply to come from all sides taste boldness all that is needed inachevé injure lampadaire livrer mât de fer méconnu mériter œuvre pierre de taille préoccuper prétendre rapetisser renchérir rendre compte de (se) rêve souci suppositoire tour travaux trou tuyau usine vent unfinished insult street lamp to expose iron pole little-known to deserve work, creation freestone to concern to claim to make smaller, to dwarf to outdo, to go further to realize, to grasp dream concern suppository tower construction hole pipe factory wind VOCABULAIRE Lecture Débats et polémiques à l’époque de la construction Avant même la fin de sa construction, la Tour était déjà au cœur des débats. Affu- blée de critiques par les grands noms du monde des Lettres et des Arts, la Tour a su s’imposer et rencontrer le succès qu’elle méritait. 2 practice makes perfect French Reading and Comprehension 14 février 1887: Les travaux viennent de commencer, la protestation des Artistes paraît Après divers pamphlets ou articles publiés tout au long de l’année 1886, les travaux avaient à peine commencé que paraît, le 14 février 1887, la protestation des Artistes. Publiée dans le journal Le Temps, cette «Protestation contre la Tour de M. Eiffel» est adressée à M. Alphand, directeur des travaux de l’Exposition. Elle est signée de quelques grands noms du monde des Lettres et des Arts: Charles Gounod, Guy de Maupassant, Alexandre Dumas fils, François Coppée, Leconte de Lisle, Sully Prudhomme, William Bouguereau, Ernest Meissonier, Victorien Sardou, Charles Garnier et d’autres que la postérité a moins favorisés. D’autres pamphlétaires renchérissent sur cette violente diatribe, et les injures fusent: «ce lampadaire véritablement tragique» (Léon Bloy); «ce squelette de beffroi» (Paul Verlaine); «ce mât de fer aux durs agrès, inachevé, confus, difforme» (François Coppée); «cette haute et maigre pyra- mide d’échelles de fer, squelette disgracieux et géant, dont la base semble faite pour porter un formidable monument de Cyclopes, et qui avorte en un ridicule et mince profil de cheminée d’usine» (Maupassant); «un tuyau d’usine en construction, une carcasse qui attend d’être remplie par des pierres de taille ou des briques, ce grillage infundibuliforme, ce suppositoire criblé de trous» (Joris-Karl Huysmans). Les polémiques s’éteindront d’elles-mêmes à l’achèvement de la Tour, devant la présence incontestable de l’œuvre achevée et face à l’immense succès populaire qu’elle rencontre. Elle reçoit deux millions de visiteurs pendant l’Exposition de 1889. Extrait de la Protestation contre la Tour de M. Eiffel, 1887 Nous venons, écrivains, peintres, sculpteurs, architectes, amateurs passionnés de la beauté jusqu’ici intacte de Paris, protester de toutes nos forces, de toute notre indignation, au nom du goût français méconnu, au nom de uploads/Geographie/ practice-makes-perfect-french-reading-and-comprehension-2014-annie-heminway.pdf

Tags
Administrationexercice french c’est faire reading
Documents similaires
  • 13
  • 0
  • 0
Afficher les détails des licences
Licence et utilisation
Gratuit pour un usage personnel Attribution requise
Partager