Préparez l'épreuve d'anglais du concours ACCÈS avec ces exercices gratuits extraits de sujets d'annales.
Consignes :
Chaque question comporte quatre items, notés A. B. C. D. Pour chaque item, vous devez signaler s'il est correct.
A. Australia will be a prime example of such a two-speedy economy
B. Germany's wood will be sour in spite a robust economy
C. Some rich countries will see remarkably radical reforms
D. 2012 will delighten numerologists.
A. FAUX. Australia will be a prime example of such a two-speedy economy. L'Australie constituera un exemple de choix pour illustrer une économie à deux vitesses. La locution française économie à deux vitesses se traduit en anglais par l'expression idiomatique two-tier. >>> Australia will be a prime example of such a two-tier economy.
B. FAUX. Germany's wood will be sour in spite a robust economy. Il faut dire IN SPITE OF a robust economy et non IN SPITE a robust economy. On peut également employer DESPITE, qui lui ne prend pas de préposition.
C. VRAI. Some rich countries will see remarkable radical reforms.
D. FAUX. 2012 will delighten numerologists. L'année 2012 réjouira les numérologues. Delighten n'existe pas. Le verbe delight existe en revanche, et c'est celui-ci qu'il fallait utiliser ici. >>> 2012 will delight numerologists.
A. Companies have the better chance of thriving if they are solid.
B. For the last ten years we had our share of hits and misses
C. The world will start to bid farewell to start-ups.
D. China could find itself be overtaken by India.
A. FAUX. China could find itself be overtaken by India. To find oneself se forme avec le participe passé seulement. >>> China could find itself overtaken by India.
B. FAUX. Companies have the better chance of thriving if they are solid. Les entreprises ont de meilleures chances de prospérer si elles sont solides. The better chance n'est pas correct ici. On écrit bien to have the chance pour avoir l'occasion, mais pour dire avoir de meilleures chances, on utilisera have a better chance. >>> Companies have a better chance of thriving if they are solid.
C. FAUX. For the last ten years we had our share of hits and misses. Nous avons eu notre lot d'échecs et de réussites ces dix dernières années. Le prétérit ne convient pas ici, puisqu'on considère un intervalle temporel qui contient le moment présent, et non un événement ponctuel et/ou unique. Il faut utiliser le present perfect. >>> For the last ten years we have had our share of hits and misses.
D. VRAI. The world will start to bid farewell to start-ups.
A. There have been a touch of optimism and joy amid globalisation lately.
B. Towards the end of the year, there could be growing gloom over the economy
C. The sense of progress will held true in 2012.
D. America will mark the ten anniversary of the terrorist attacks.
A. FAUX. There have been a touch of optimism and joy amid globalisation lately. Une touche d'optimisme et de joie est apparue récemment dans le processus de mondialisation. A touch of optimism appelle un verbe conjugué à la 3e personne du singulier, en l'occurrence, has et non have.
>>> There has been a touch of optimism and joy amid globalisation lately. B. VRAI. Towards the end of the year there could be growing gloom over the economy.Une certaine morosité pourrait se faire ressentir dans l'économie vers la fin de l'année.
C. FAUX. The sense of progress will held true in 2012. Le sens du progrès sera tenu pour vrai en 2012. Will n'est en aucun cas le futur de to be. >>> The sense of progress will be held true
D. FAUX. America will mark the ten anniversary of the terrorist attacks. L'Amérique marquera le dixième anniversaire des attaques terroristes. Ten signifie dix, non pas dixième. On utilisera tenth. >>> America will mark the tenth anniversay of the terrorist attacks.
A. The year ahead will produce stricken examples of the power of technology.
B. Look at politics and you will often see two clashing forces.
C. A sense of division and frustration is going to prevail in international
D. It offers a glimpse of what the world might be like in 25 years time.
A. FAUX. The year ahead will produce stricken examples of the power of technology. L'année à venir sera le terrain d'exemples frappants du pouvoir de la technologie. Stricken examples signifie exemples frappés, non pas exemples frappants. Frappant se traduit par striking.
>>> The year ahead will produce striking examples of the power of technology. B. VRAI. Look at politics and you will often see two clashing forces.
C. FAUX. A sense of division and frustration is going to prevail in international affaires. Une impression de division et de frustrations va prévaloir dans les affaires internationales.
Affaire (avec un « e » final) n'existe pas en anglais. >>> A sense of division and frustration is going to prevail in international affairs.
D. FAUX. It offers a glimpse of what the world might be like in 25 years time. L'expression X years' time s'écrit avec une apostrophe indiquant la possession. Le mots years étant déjà au pluriel, il ne faut noter que l'apostrophe ici, pas le s possessif.
A. Nothing can stop an idea which time has come.
B. The savagery could too be the start of something more beneficial.
C. For the like of Greece, there is really no choice.
D. The gap is likely to be more than 100 billion
A. FAUX. Nothing can stop an idea which time has come. Rien n'arrête une idée dont le temps est venu (Victor Hugo). Pour exprimer un rapport de possession entre l'antécedent d'une relative et son sujet, on utilise le pronom whose, non pas which. >>> Nothing can stop an idea whose time has come.
B. FAUX. The savagery could too be the start of something more beneficial. La sauvagerie pourrait également être le commencement de quelque chose de plus profitable. Too se place en fin de phrase. >>> The savagery could be the start of something more beneficial too.
C. FAUX. For the like of Greece, there is really no choice. Pour la Grèce et les pays de son acabit, il n'y a pas vraiment le choix. L'expression française X et consorts se traduit en anglais par the likes of et non the like of. >>> For the likes of Greece, there is really no choice.D. VRAI. The gap is likely to be more than 100 billion.
TEXTE :
I felt I had every reason to roll my eyes when I heard that Alfred Uhry's 1987 play “Driving Miss Daisy” was opening on Broadway. My cynicism was based less on my experience of the show than on Broadway's customary banal or condescending take on racial and cultural politics. A musical about the famous nineteen-thirties Alabama interracial rape case, and Vanessa Redgrave and James Earl Jones in Uhry's paper- thin character study about a widowed Jewish former school teacher and her black, functionally illiterate driver? I didn't want to imagine any of it.
But actors of the calibre of Redgrave and Jones can cook up a rich pot out of tepid water. Uhry's lightweight script could have been a hindrance to Esbjornson's vision but it becomes instead an opportunity to collaborate with his actors. As Hoke's relationship with Miss Daisy moves from antagonism and paranoia to hope and dependence, Redgrave and Jones rely less on the script for the dramatic power. They tailor the text to fit their own talents by using it as a jumping-off point for their shared theatrical imagination. In so doing, the show's stars say what Uhry does not: how complicated and different and alike this Jewish woman and this black man are, both trying to live in the world unvictimized by their outsider status.
Watching the pair, it was tempting to imagine them in material that deserved their mettle – an adaptation of Bernard Malamud's stories about blacks and Jews. But Uhry's episodic script supplies the actors with a certain freedom: they can't feel as responsible for the play's language as they might if “Driving Miss Daisy” were a great piece. Instead, Redgrave and Jones honor each other's power as they rewrite Uhry's script with their what-could-be-better-than performing bodies.
Adapted from The New Yorker, December 2010
A. The writer admires the play “Driving Miss Daisy”. B. The writer is very much surprised by the play. C. The writer knows the show very well. D. ThewriterfeelsentitledtobescepticalabouttheplayopeningonBroadway.
A. Rien dans le texte ne permet de le dire. B. Idem C. My cynicism was based less on my experience of the show... D. I felt I had every reason to roll my eyes...
A. Broadway plays are usually respectful of race and cultural politics.B. The plays opening on Broadway surprise through their originality and sparkle.C. The Broadway plays have a bad reputation in the theatre world.D. The writer is eager to watch the show.
A. Broadway's customary banal or condescending take on race and cultural politics... B. N'apparaît nulle part. C. Voir réponse A D. I felt I had every reason to roll my eyes...
A. The plot is about the conflict between the Jews and the blacks.B. “Driving Miss Daisy” is a tragedy.C. The plot takes place in the nineteenth century.D. “Driving Miss Daisy” is a comedy.
A. As Hoke's relationship with Miss Daisy moves from antagonism and paranoia... B. Une tragédie à Broadway ? C. The nineteen thirties = les années 1930 D. Non, c'est une comédie musicale.
A. Good actors are not enough to make a good play.B. Uhry's complex script helped the director a lot.C. Esbjornson's vision was endangered by the script.D. Good actors can transform a bad play into a terrific one.
A. Redgrave and Earl Jones can cook up a rich pot out of tepid water. B. Uhry's lightweight script... C. ... could have been a hindrance to Esbjornson's vision : could have been indique que l'action est hypothétique. D. Voir réponse A
A. The director imposed his vision on the actors.B. The actors refused to collaborate.C. The characters are sometimes paranoid.D. Miss Daisy becomes dependent on her driver.
A. Collaborate with his actors. B. idem C. As Hoke's relationship with Miss Daisy moves from antagonism and paranoia... D. ... to hope and dependence
Fort de plus de 20 ans d'expérience dans l'enseignement, Franck Attelan est le directeur du Groupe Aurlom qui réunit les activités d'Aurlom Prépa, Aurlom BTS+ et High Learning. Diplômé de l'ESSEC, il a d'abord occupé des postes en marketing chez LVMH et L'Oréal en France, aux Etats-Unis et au Japon. Il est par ailleurs Directeur de la collection Le Choix du Succès aux éditions Studyrama, dont les ouvrages ont déjà totalisé des ventes supérieures à 300 000 exemplaires.
