Fictions et réalités

L’axe « Fictions et réalités » explore la frontière mouvante entre l’imaginaire et le réel. Les êtres humains ont toujours raconté des histoires pour donner un sens au monde, pour s’évader ou pour critiquer la société. La littérature, le cinéma, les séries et les jeux vidéo créent des univers qui, bien que fictifs, résonnent avec nos peurs, nos espoirs et nos questionnements. Les dystopies nous mettent en garde contre des dérives possibles, la science-fiction anticipe les conséquences du progrès, et les récits réalistes reflètent notre quotidien tout en le transformant. Cet axe invite les élèves à interroger la puissance de la fiction : comment influence-t-elle notre perception du réel ? Peut-elle agir sur la société ? Et que révèle notre besoin d’histoires sur la condition humaine ?

📖 Vocabulaire thématique : Fictions et réalités

Ce vocabulaire est essentiel pour analyser des œuvres de fiction, des films, des séries, des romans, des nouvelles ou tout document qui interroge les liens entre réalité, imaginaire et représentation du monde.

Anglais Français
fictionfiction
realityréalité
plotintrigue, scénario
characterpersonnage
settingcadre, décor
narratornarrateur / narratrice
point of viewpoint de vue
dystopiadystopie, contre-utopie
utopiautopie
science fictionscience-fiction
fantasyfantastique, fantasy
magical realismréalisme magique
suspensesuspense
cliffhangersuspense de fin d’épisode
allegoryallégorie
symbolismsymbolisme
escapismévasion, fuite du réel
to blur the linebrouiller la frontière
verisimilitudevraisemblance
suspension of disbeliefsuspension volontaire de l’incrédulité
alternate realityréalité alternative
virtual worldmonde virtuel
artificial intelligenceintelligence artificielle
deepfakehypertrucage
narrativerécit, narration
storytellingart de raconter des histoires
to mirrorrefléter
to distortdéformer
to anticipateanticiper
to warnavertir

📚 Grammaire – Les temps du récit

Pour parler de fictions (livres, films, séries), on utilise principalement les temps du passé, même si l’histoire est imaginaire. Ces temps sont appelés « temps du récit ».

Temps Utilisation Exemple
Prétérit simple Pour raconter des actions ponctuelles et la succession des événements. The main character left her village and went to the city.
Prétérit continu
(was/were + V-ing)		 Pour décrire le décor, l’atmosphère ou une action en cours interrompue par une autre. It was raining when she knocked on the door.
Past perfect
(had + participe passé)		 Pour exprimer l’antériorité ou revenir sur un événement antérieur à l’histoire principale. She had never seen such a strange place before.
Présent de narration
(présent simple / continu)		 Utilisé pour résumer une histoire, notamment à l’oral, afin de rendre le récit plus vivant. So, this woman wakes up in a parallel universe and tries to find her way home.
Discours rapporté Pour rapporter les paroles ou les pensées des personnages. The hero said that he would return.

La fiction comme miroir et marteau dans le monde anglophone

Dans les cultures anglophones, la fiction occupe une place centrale. De Shakespeare à Margaret Atwood, en passant par Charles Dickens, George Orwell ou Toni Morrison, les écrivains ont utilisé l’imagination pour dénoncer des injustices, rêver de mondes meilleurs ou avertir des dangers à venir.

Le XIXᵉ siècle britannique voit le roman social s’imposer : Oliver Twist de Dickens dépeint la misère des enfants des rues et critique les lois sur les pauvres. Aux États-Unis, La Case de l’oncle Tom de Harriet Beecher Stowe contribue à l’éveil des consciences sur l’horreur de l’esclavage.

Au XXᵉ siècle, les dystopies deviennent un genre majeur. *1984* (1949) de George Orwell imagine une société totalitaire où la surveillance est absolue et où la vérité est manipulée. Le Meilleur des mondes (1932) d’Aldous Huxley anticipe un avenir où le bonheur est imposé chimiquement. Plus récemment, La Servante écarlate (1985) de Margaret Atwood décrit une théocratie où les femmes sont réduites à leur fonction reproductrice. Ces œuvres sont nées de craintes réelles – le stalinisme, le nazisme, la montée des intégrismes – et, en retour, elles ont nourri la réflexion politique et philosophique.

La science-fiction a elle aussi un rôle d’alerte. Fahrenheit 451 de Ray Bradbury décrit une société qui brûle les livres, dénonçant la censure et l’abrutissement par les écrans. La série Black Mirror poursuit cette tradition en explorant les dérives technologiques.

Mais la fiction n’est pas seulement critique. Elle offre aussi des échappatoires, des utopies, des mondes où tout est possible. Le Magicien d’Oz, Harry Potter, Le Seigneur des anneaux transportent les lecteurs dans des univers merveilleux. Pourtant, même ces récits d’évasion parlent du réel : le courage, l’amitié, la lutte contre l’oppression.

Aujourd’hui, la frontière entre fiction et réalité devient poreuse. La téléréalité met en scène des vies ordinaires comme des scénarios. Les deepfakes et l’intelligence artificielle créent des images et des voix qui imitent le réel. Les jeux vidéo proposent des univers immersifs qui questionnent la notion même d’identité. Cette hybridation invite à une vigilance accrue : comment distinguer le vrai du faux quand la fiction se déguise en réalité ?

La fiction est donc bien plus qu’un divertissement. Elle est un miroir qui réfléchit le monde et un marteau qui le façonne.

Les dystopies britanniques et américaines, des avertissements politiques

Les dystopies occupent une place prépondérante dans la littérature anglophone. Souvent nées en réaction à des régimes totalitaires ou à des crises sociales, elles projettent dans l’avenir des angoisses bien réelles.

George Orwell (Royaume-Uni) publie *1984* en 1949, après avoir été témoin des dérives du stalinisme et du fascisme. Le roman décrit un monde où Big Brother surveille tout, où la langue est appauvrie pour limiter la pensée, et où la guerre permanente maintient le contrôle. L’expression « Big Brother is watching you » est devenue un symbole mondial de la surveillance.

Aldous Huxley, également britannique, imagine dans Le Meilleur des mondes une société où le bonheur est imposé par une drogue, le soma, et où les êtres humains sont conditionnés génétiquement. Là où Orwell craignait la répression, Huxley redoutait la séduction du confort.

Aux États-Unis, Ray Bradbury écrit Fahrenheit 451 (1953), une société qui brûle les livres pour empêcher les idées de circuler. L’œuvre dénonce la censure et la montée de la culture de masse abrutissante.

Margaret Atwood (Canada) signe avec La Servante écarlate (1985) une dystopie féministe où les femmes sont privées de tout droit. Le roman, adapté en série en 2017, a connu un regain d’intérêt mondial et est devenu un symbole des luttes pour les droits des femmes. Les robes rouges et les coiffes blanches des servantes ont été brandies dans des manifestations réelles.

Ces œuvres ne sont pas de simples divertissements. Elles sont des avertisseurs. En exagérant des tendances existantes, elles nous obligent à réfléchir aux conséquences de nos choix collectifs.

Exercices 

Les conditionnels

 

  • Mettez les verbes au temps qui convient (prétérit simple, prétérit continu, past perfect) : While the detective (examine) the room, he (find) a hidden letter. → While the detective was examining the room, he found a hidden letter.

  • Transformez au discours rapporté : She said, “I will never forget this day.” → She said that she would never forget that day.

  • Traduisez : « L’héroïne se rendit compte qu’elle était déjà allée dans cet endroit en rêve. » → The heroine realised that she had already been to that place in a dream.

 

Corrigé

 

  • While the detective was examining the room, he found a hidden letter.

  • She said that she would never forget that day.

  • The heroine realised that she had already been to that place in a dream.

 

 

Expression écrite

Sujet : In the article “Why We Still Read Orwell’s 1984”, the author says Orwell’s warning feels more urgent than ever. Write a short essay (150-180 words) in which you :

  • Discuss whether dystopian fiction is still relevant today.

  • Give one or two examples of dystopian works (books, films, series) and what they warn us about.

  • Express your personal opinion on the power of fiction to change reality.

Consignes : structurez votre essai (introduction, développement, conclusion), utilisez au moins trois connecteurs logiques et deux expressions du vocabulaire thématique.

Corrigé

Why Digital Literacy Matters

In a world where most teenagers get their news from social media, being able to tell fact from fiction has become essential. Digital literacy is no longer a luxury; it is a survival skill.

First of all, misinformation can have serious consequences. Fake news spreads faster than real news because it often plays on emotions like fear or anger. For instance, during the pandemic, false claims about vaccines made many people refuse to get vaccinated, putting lives at risk. Moreover, misinformation can fuel hatred and divide communities.

So, what can schools do to help? In my opinion, digital literacy should be taught just like maths or history. Schools could organise workshops where students learn to check sources, question sensational headlines and verify images. Furthermore, inviting journalists or fact-checkers to speak to students would make the topic more real and engaging.

To conclude, teaching teenagers to spot fake news is not just about protecting them; it is about preparing them to be responsible digital citizens. The internet is a powerful tool, but only if we use it with a critical mind.

Expression orale

Situation : Vous présentez le document iconographique ci-dessus  : l’affiche du film "Hors cadre" où on  voit le personnage principal, John, debout sur un bateau, touchant un mur peint en forme de ciel. Le mur est un décor de studio immense, et l’image révèle que le monde dans lequel John a toujours vécu est en réalité une gigantesque émission de téléréalité filmée en secret.

Problématique suggérée : How does the film question the boundary between fiction and reality?

Points à aborder :

  • Description (personnage, décor, la révélation du ciel peint).

  • Signification : critique de la téléréalité, du voyeurisme, manipulation des médias.

  • Lien avec l’axe : frontière brouillée entre fiction et réalité, quête de vérité, liberté individuelle.

  • Opinion personnelle : à l’ère des réseaux sociaux, vivons-nous dans un « Hors cadre"» ?

Corrigé

script de la présentation

Introduction

Good morning. The document I’m going to present is a cartoon, a humorous but also quite critical drawing. It shows a teenage girl sitting on her bed, surrounded by several screens – probably smartphones, tablets or laptops. This image is directly connected to the notion “Citizenship and virtual worlds”. The main question it raises is: how do social media affect young people’s self-image and mental health? First, I will describe the cartoon in detail. Then, I will analyse its deeper meaning. Finally, I will discuss whether social media are more of a danger or a tool, and give my personal opinion.

Description

Let’s start with the description. The scene takes place in a bedroom. In the centre, we see a young girl sitting on her bed. She looks confused and exhausted: her eyes are wide open, her shoulders are slumped, and she seems overwhelmed. Around her, there are several screens floating or placed on the bed. Each screen displays a notification bubble, like the ones you see on Instagram or TikTok. But the messages are completely contradictory. One says, “You’re beautiful!” Another says, “You should lose weight.” A third one says, “Eat this!” while another says, “Go vegan!” And finally, one screen says, “You’re perfect just as you are.” So, the girl is receiving completely mixed signals – all at the same time. The background is dark or messy, which adds to the feeling of chaos and isolation.

Signification

Now, let’s interpret the meaning. This cartoon criticises the way social media bombard young people with contradictory messages about body image, food, beauty and self-worth. On the one hand, there are positive messages that try to promote self-love. On the other hand, there are toxic messages that encourage dieting, consumerism or unrealistic beauty standards. The result is confusion and anxiety. The girl in the drawing doesn’t know what to believe. She is exhausted because she’s constantly trying to meet impossible expectations. The cartoonist is probably denouncing the fact that social media platforms push content based on algorithms that don’t care about mental health – they just want to keep users scrolling. So, even if some content seems positive, the overall effect can be harmful. The cartoon uses humour, but it hides a very serious issue: the pressure to be perfect in a virtual world that never lets you rest.

Lien avec l’axe

This brings me to the notion “Citizenship and virtual worlds”. Being a digital citizen today means not just using technology, but also understanding its effects and protecting oneself. The cartoon shows that young people are often passive victims of the online environment. They consume content without always having the critical distance to filter it. That’s why digital literacy and education about mental health are essential. Schools and parents should teach teenagers how to recognise harmful content, how to limit their screen time, and how to build a positive online community. Moreover, platforms have a responsibility: they should not prioritise profit over the well-being of their users. So, the cartoon is a call to action for a more ethical digital citizenship.

Opinion personnelle

In my opinion, social media are both a danger and a tool. The danger is clear: they can create addiction, anxiety and a distorted self-image. But if used wisely, they can also be a source of inspiration, connection and creativity. For example, there are online communities that promote body positivity and mental health awareness. The problem is not the tool itself, but the way it is designed and consumed. So, I believe the key is education. We shouldn't ban social media, but we should learn to use them critically. Just like the girl in the cartoon needs to step back from the screens and breathe, we all need to find a healthy balance.

Conclusion

To conclude, this cartoon brilliantly illustrates the psychological pressure that social media can put on young people. The contradictory messages reflect a society that asks teenagers to be everything at once. Building a healthier digital environment requires both personal discipline and collective action. After all, the virtual world should serve us, not control us.

Thank you.

2. INTERACTION AVEC L’EXAMINATEUR (exemples de questions et réponses)

Examinateur : Do you think social media platforms should be forced to remove harmful content?

Élève : Yes, I do. But it’s not always easy to define what “harmful” means. A post that encourages healthy eating might be positive, but it could also make someone feel guilty about their weight. So, I think platforms should work with psychologists and educators to identify content that clearly damages self-esteem. At the same time, they must not become censors who block any opinion. There needs to be a balance between protection and freedom of expression.

Examinateur : In your experience, do young people talk about the pressure they feel online?

Élève : Honestly, not enough. Many teenagers suffer in silence because they think everyone else is doing fine. They see perfect lives on Instagram and feel ashamed to admit they struggle. But when someone breaks the silence, the conversation starts. I remember a friend who posted about her anxiety, and she received dozens of supportive comments. It showed that the online world can also be a place of solidarity.

Examinateur : What simple habit could help teenagers reduce the negative effects of social media?

Élève : I would recommend one simple rule: no phones in the bedroom at night. The girl in the cartoon is sitting on her bed with screens all around her, which is probably the worst place for mental health. Sleep is crucial. So, leaving the phone outside the bedroom at least an hour before sleeping could make a huge difference. Also, turning off notifications helps. Without the constant buzz, you regain control.

 

Compréhension écrite

Article (adapté de The Atlantic, 2022)
Why We Still Read Orwell’s 1984

Seventy years after its publication, George Orwell’s 1984 remains one of the most influential novels of all time. The story of Winston Smith, a man who tries to rebel against the totalitarian regime of Big Brother, has sold over 30 million copies. Every time a government increases surveillance or limits free speech, sales of the book spike.

Orwell did not just predict the future; he created a language to describe it. Terms like “Big Brother”, “doublethink” (holding two contradictory beliefs at once) and “thoughtcrime” have entered everyday vocabulary. The novel also introduced the idea of “Newspeak”, a simplified language designed to make dissent impossible. “The purpose of Newspeak was not only to provide a medium of expression for the world-view of IngSoc, but to make all other modes of thought impossible,” Orwell wrote.

Some critics argue that 1984 has become a cliché, used by politicians of all sides to attack their opponents. Yet its power endures because it taps into a universal fear: the fear of losing control over our own minds. In an age of algorithms and misinformation, Orwell’s warning feels more urgent than ever.

Questions :

  1. What happens to sales of 1984 when governments restrict freedoms?

  2. Explain “doublethink” in your own words.

  3. According to Orwell, what was the purpose of Newspeak?

  4. Why do some critics say 1984 has become a cliché?

  5. Why does the article say Orwell’s warning is still urgent today?

Corrigé

1. What are the students in Manchester doing in class?
The students are analysing news articles on their smartphones, trying to decide which ones are fake.

2. According to the article, what percentage of teenagers can reliably identify fake news?
Only 10% of teenagers can reliably tell the difference between a real news story and a fabricated one.

3. Give two examples of skills taught in the digital literacy programme.
The programme teaches students how to check sources, question headlines, and look for evidence. (Two examples among these three, e.g., checking sources and questioning headlines.)

4. What personal experience does Jake share?
Jake says he used to believe everything his friends shared online. Now, he always fact-checks. He once told his dad that a story he had forwarded was fake, and his dad was not happy.

5. What is the government’s plan for digital literacy?
The government hopes to make digital literacy a compulsory part of the national curriculum by 2026.

 

 

Compréhension orale

Podcast sur le roman dystopique

Script :

Voix : Welcome to “Between the Lines”. Today, we’re talking about dystopian fiction with our guest, Professor Emma Clarke. Professor Clarke, why are young readers so drawn to dystopian stories like The Hunger Games or Divergent?

Prof. Clarke : “That’s a fascinating question. On the surface, dystopias are thrilling adventures – they’ve got danger, rebellion, strong young heroes. But more deeply, they speak to the anxieties teenagers feel. Growing up, you realise the adult world is flawed: there’s inequality, climate change, political corruption. Dystopian novels take those fears and amplify them. They say, ‘Look, this is what could happen if we don’t act.’ But they also offer hope: a single brave individual can resist. For many young people, that’s incredibly empowering.”

Voix : Do you think dystopian fiction can actually change people’s behaviour?

Prof. Clarke : “Indirectly, yes. Fiction doesn’t usually trigger a revolution, but it shapes our imagination. When activists protest against mass surveillance, they often reference 1984. When young people march for the climate, they sometimes carry signs inspired by The Hunger Games – like the three-finger salute. Fiction gives us symbols and stories to rally around. So, it changes culture, and culture eventually changes politics.”

Questions :

  1. According to Professor Clarke, why do dystopian stories appeal to teenagers?

  2. What positive message does dystopian fiction often contain?

  3. What example does she give of fiction inspiring real-world activism?

  4. According to her, how does fiction influence politics?

Corrigé

1. What was Aisha's petition about, and how many signatures did it get?
Aisha's petition asked for a counsellor to be hired because there was no mental health support in her school. It got 8,000 signatures in two weeks.

2. What was the result of the petition?
The petition was successful. The school board met with Aisha and her friends and eventually agreed to hire a part-time counsellor.

3. What negative experience did she face, and how did she deal with it?
She received mean comments from people saying she was just trying to get attention. At first, it hurt her, but she learned to ignore them. Her parents also taught her to block abusive accounts and never share personal information.

4. Give two pieces of advice Aisha gives to young online activists.
Aisha advises young activists to start with a clear goal and to be respectful, even when people disagree. She also recommends protecting privacy by using strong passwords and thinking before posting. (Any two of these three are correct: clear goal, be respectful, protect privacy.)

5. What does she say about young people and social media use?
She says that people often think young people are just scrolling, but they can also use social media for activism and create real change.

Contrôle continu

A. Compréhension écrite (10 points)
Lisez le texte suivant (adapté d’un article sur l’impact de la science-fiction) :

“Science fiction is often dismissed as mere entertainment, but it has a long history of shaping real-world technology. The communicators in Star Trek inspired the first mobile phones. The concept of virtual reality was explored in novels like Neuromancer long before it became accessible to the public. More importantly, sci-fi asks ethical questions: what happens if robots become conscious? What if we can clone humans? These are no longer abstract questions. Scientists and politicians regularly consult science fiction authors because they have spent decades thinking about futures we are now entering. As writer Isaac Asimov once said, ‘Science fiction is the only literature that ever warned us about the future.’”

Questions :

  1. Give two examples of real-world technologies inspired by science fiction. (2 pts)

  2. What kind of ethical questions does sci-fi explore? (2 pts)

  3. Why do scientists consult science fiction authors? (2 pts)

  4. True or false? The author believes science fiction is just entertainment. Justify with a quotation. (2 pts)

  5. Explain Asimov’s quote in your own words. (2 pts)

B. Compréhension orale (10 points)

Script  :

“When I was a kid, I used to dream about living in a fantasy world like Harry Potter. I was shy at school, so I escaped into books. At first, my parents were worried – they said I spent too much time in imaginary worlds. But then I started writing my own stories, and it changed my life. I wrote about a girl who discovers she has magical powers and uses them to stand up to bullies. That story was my way of processing my own fear. Now I’m a published author, and I get letters from readers saying my books helped them through difficult times. So, I think fiction is not an escape from reality – it’s a way of coping with it, and sometimes transforming it.”

Questions :

  1. What did the speaker dream about as a child? (2 pts)

  2. Why were her parents worried? (2 pts)

  3. What was her own story about? (2 pts)

  4. How does she describe the relationship between fiction and reality? (2 pts)

  5. What impact do her books have on readers? (2 pts)

C. Expression écrite (10 points)
Traitez au choix l’un des deux sujets (80-100 mots) :

  • Sujet 1 : Do you think it is dangerous to confuse fiction and reality? Justify with examples.

  • Sujet 2 : Write a short paragraph imagining the world in 50 years if one current problem continues. Use elements of dystopian fiction.

D. Expression orale (10 points)
À préparer en 10 minutes, à présenter en 5 minutes.
Vous présentez la citation suivante de Neil Gaiman : “Fairy tales are more than true: not because they tell us that dragons exist, but because they tell us that dragons can be beaten.”
Expliquez ce que cette citation signifie pour vous, donnez des exemples de contes ou de fictions qui inspirent le courage, et reliez-la à l’axe « Fictions et réalités ».

 

Corrigé

A. Compréhension écrite

  1. 6% of the US population lacks high-speed internet access (19 million people).

  2. Rural areas and low-income households are particularly affected.

  3. Some students sat in fast-food restaurant parking lots to use the Wi-Fi.

  4. False. Quotation: “The government recently launched a $65 billion plan to expand broadband infrastructure.”

  5. It means that internet access should be considered an essential service, available to everyone, just like water or electricity, not a luxury.

B. Compréhension orale

  1. She initially joined Instagram for fun: sharing photos and chatting with friends.

  2. Two negative effects: she spent four hours a day scrolling, she compared herself to influencers and felt ugly, and she felt anxious if she didn't check her phone. (Any two)

  3. She received a nasty comment about her weight, and she broke down.

  4. She feels much better since quitting Instagram.

  5. She says social media is not evil, but people need to learn to control it, not let it control them.

C. Expression écrite (exemple pour le sujet 1)
In my opinion, smartphones should not be completely banned in schools, but their use should be strictly regulated. On the one hand, smartphones can be useful educational tools; for instance, students can research information quickly or use language-learning apps. On the other hand, unlimited access leads to distraction and cyberbullying. A total ban would ignore the positive potential of technology. Therefore, a compromise is best: phones should be allowed only during breaks or for specific classroom activities under the teacher's supervision. In this way, students learn to manage their screen time responsibly while benefiting from digital tools.

D. Expression orale (éléments attendus)

  • Interprétation : le web n’est pas qu’une prouesse technique ; il a été conçu pour connecter les gens. Ce sont les usages sociaux qui le définissent.

  • Exemples : les réseaux sociaux, les communautés en ligne, les forums d’entraide, Wikipédia comme création collective, mais aussi les dérives comme la désinformation.

  • Lien avec l’axe : le web est un espace de citoyenneté, où se jouent l’engagement, la liberté d’expression, mais aussi les fractures numériques.

  • Opinion personnelle : sommes-nous à la hauteur de cette création sociale ?

Barème oral indicatif :
Prononciation / fluidité (3 pts), lexique approprié (3 pts), syntaxe et grammaire (2 pts), argumentation (2 pts).

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