Pratique du Shadowing: Every monster you fear is really you - Apprendre l'anglais à l'oral avec la vidéo
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73 phrases
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1
I'm going through a reading phase at the moment.
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In fact, I'm addicted to reading.
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I'm annoying my friends and my family because I'm lugging a book around with me wherever we go.
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Given I do this, you'd be forgiven for thinking that I'm reading about philosophy.
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I'm scrubbing up on my Plato or my Descartes or my Simone de Beauvoir, but no. You see, I love fantasy.
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I love created worlds and I love a map at the start of my book.
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I love dragons, swords, sorcery and sinister forces swirling in the background.
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For a long time I wouldn't admit that, because people can tend to be quite snobbish about fantasy, they look down on it.
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Not the prize -winning magical realism kind, but the kind that I like, which involves elves and dragons and dark lords.
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It's generally agreed that children can enjoy these made -up worlds, they can enjoy talking beasts and adventures, but when you become an adult, you should turn to proper stuff.
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Mature, respectable, and written in ornate purple prose.
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status symbol.
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And if you read a serious book then you must be a serious person, but those who read fantasy Oh no. But this misses the point of what fantasy is about,
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and the totemic father figure of the genre, J .R .R.
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Tolkien, has a lot to say on the topic.
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This snobbery of those who look down on fantasy has a long pedigree
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and so much so that in 1947 J .R .R.
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Tolkien felt the need to write a defense of the genre in a short work he called on fairy stories.
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can happen, but they are always treated with the utmost seriousness by the reader.
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When you enter fairy, you do not simply enter a world of make -believe, but instead you perform an act of what Tolkien called sub -creation,
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in which we form a new world within our wider reality.
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This imaginary world we create will always go beyond the words on a page.
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This fantasy realm cannot be caught in a net of words, for it is indescribable.
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Words alone will never be able realized land of magic and for this we need the ability to sub -create.
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When we sub -create we create a secondary world into which the mind can enter.
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This world has its own internal logic, laws and systems.
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We see, feel and live in this world in a way
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that goes beyond just reading a book or reading the words on a page.
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We color in the background details,
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we add sights, smells and wonders and we And this is why movie adaptations can feel so hollow at times,
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because Hollywood can never hope to match sub -creation.
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If you've ever read The Lord of the Rings, you'll know what Tolkien is getting at, because Middle Earth is built with such detail and depth that
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while this sub -creation can take time and it can take effort, you will feel as if you are in that world.
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It's really hard to describe, because it's not simply inventing mental images or just using your imagination,
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it's creating an entire world and living alongside everything that's going on.
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It means watching the drama, of course, but you are inside the drama as well.
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Thank you.
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Subcreation is a fascinating philosophical topic in its own right, but it doesn't get us closer to what the value of fantasy is, what is the value of these books.
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And for this we must turn to another work of Tolkien's, his essay on Beowulf.
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Beowulf is not a story about a great siege or some courtly intrigue, it's a poem about a man.
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And that's the entire point, because for Tolkien the story of Beowulf is about one man's struggle against the great tide of misfortune.
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Beowulf represents the smallest, briefest flickering of a candle in a great expanse of darkness.
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And this is exactly what it means to be a hero then and forever.
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Beowulf is a great poem because it speaks of the dualism in all human life.
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It's about youth and age, success and failure, of glory and doom.
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Every person will enjoy the warm, joy -filled days of summer as much as the cold, despairing nights of winter.
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Everything can swing between light and dark.
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We will eat, drink and be merry, but tomorrow we shall die.
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The brilliance of Beowulf and fantasy generally is that the monsters or the villains that they provide, the orcs, the monsters, the dragons, the cruel emperors, the dark wizards,
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is that while of course they are imaginary, they are also empty vessels into which we can each pour our own nemeses, be that real life or more conceptual.
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limits of historical periods however important.
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There is something about great fantasy that emboldens the spirits and it gives a kind of fire to the fight.
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It's found not only in the words and the plots and the adventure but it's in its atemporality.
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It tells us that there is something universal to the human condition that ought to be celebrated, sought out and cherished.
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It's something
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that is as true for Anglo -Saxons in their snowy mead
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halls as it is for office drones changing their login passwords with a huff.
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It says that no matter what monsters we face, we shall overcome and live on.
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We shall not be defeated.
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Books of all sorts are escapist.
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Fictional narratives and made -up characters define any novel.
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Yet no genres are quite so escapist as science fiction or fantasy.
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And in that lies their value readable.
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As Tolkien put it, "I have claimed that escape is one of the main functions of fairy stories, and since I do not disapprove of them,
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it is plain I do not accept the tone of scorn or pity with which escape is now so often used.
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Why should a man be scorned if, finding himself in prison, he tries to get out and go home,
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or if he cannot do so he thinks and talks about other topics and jailers and prison walls?"
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The ability we all have to read books, imagine worlds
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and play make -believe is one of the greatest balms any of us can actually have in a world
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that is often overbearing and full of hardship.
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Yes, fantasy can take us on an incredible journey, but more than that it gives us the villains
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and the heroes we need to make sense of the world and to make it just a little bit easier.
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to live in.
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Vocabulaire et conseils d’expression pour cette leçon
Cette leçon d’expression orale de niveau C1 s’appuie sur la vidéo « Every monster you fear is really you ». Les mots qui reviennent le plus souvent : fantasy, Beowulf, Tolkien, sub, reading. Cette vidéo contient 73 phrases et 1100 mots à répéter en shadowing. La partie parlée dure 6:59. Le locuteur parle à un rythme naturel d’environ 158 mots par minute, proche d’une conversation courante. Seuls 80 % des mots font partie des 3 000 mots les plus courants en anglais, le vocabulaire est donc exigeant.
Vocabulaire clé de cette vidéo
Les 15 mots les plus avancés de la vidéo, avec leur prononciation et leur sens :
| Mot | Prononciation | Sens |
|---|---|---|
| scorn verbe | /skɔɹn/ | mépriser, dédaigner |
| imaginary adjectif | /ɪˈmæd͡ʒɪˌn(ɛ)ɹi/ | imaginaire |
| villain nom | /ˈvɪl.ən/ | scélérat |
| courtly adjectif | /ˈkɔɹtli/ | courtois |
| disapprove verbe | /dɪsəˈpɹuːv/ | désapprouver |
| dualism nom | dualisme, dualité | |
| embolden verbe | /ɛmˈboʊld(ə)n/ | encourager, enhardir |
| expanse nom | /ɪkˈspæns/ | étendue |
| fascinate verbe | /ˈfæsɪneɪt/ | fasciner |
| flicker verbe | /ˈflɪkɚ/ | vaciller, papilloter |
| indescribable adjectif | /ɪndɪˈskɹaɪbəbl̩/ | indescriptible |
| intrigue nom | /ˈɪntɹiːɡ/ | intrigue |
| jailer nom | /ˈd͡ʒeɪlə(ɹ)/ | geôlier, geôlière |
| misfortune nom | /mɪsˈfɔɹt͡ʃən/ | mésaventure, malheur |
| overbearing adjectif | dominateur, despotique |
Les verbes à particule que vous entendrez
| Mot | Prononciation | Sens |
|---|---|---|
| look down on verbe | mépriser, regarder de haut | |
| make up verbe | /ˌmeɪk ˈʌp/ | constituer, composer |
| get out verbe | sortir | |
| go through verbe | traverser |
La grammaire de cette vidéo
Les structures que le locuteur utilise le plus, avec les mots exacts de la vidéo :
| Structure | Dans la vidéo |
|---|---|
| Voix passive be + participe passé — l’accent est mis sur ce qui arrive, pas sur qui le fait | be forgiven · are always treated · cannot be caught |
| Present perfect have/has + participe passé — une action passée qui compte encore maintenant | you've ever read · have claimed |
| Propositions relatives who / which + proposition — une précision sur une personne ou une chose | those who read · those who look |
Prononciation à surveiller
Le locuteur utilise 11 contractions et formes réduites, comme I'm, doesn't, wouldn't. Prononcez-les sous leur forme courte, telles que vous les entendez.
- Les sons « sh » et « zh »: snobbish /ˈsnɒbɪʃ/, cherish /ˈt͡ʃɛɹɪʃ/, hardship /ˈhɑɹdˌʃɪp/, fictional /ˈfɪkʃənəl/, adaptation /ˌæd.æpˈteɪ.ʃən/
- Mots longs — placez bien l’accent: imaginary /ɪˈmæd͡ʒɪˌn(ɛ)ɹi/, indescribable /ɪndɪˈskɹaɪbəbl̩/, realism /ˈɹi.əlɪzəm/, philosophical /ˌfɪl.əˈsɑ.fɪ.kl̩/, adaptation /ˌæd.æpˈteɪ.ʃən/
Les sons difficiles pour les francophones :
- /h/ — il se souffle, il n’est pas muet: hardship /ˈhɑɹdˌʃɪp/, hollow /ˈhɑloʊ/
- /tʃ/ et /dʒ/ — à ne pas adoucir en « ch » et « j »: imaginary /ɪˈmæd͡ʒɪˌn(ɛ)ɹi/, jailer /ˈd͡ʒeɪlə(ɹ)/, misfortune /mɪsˈfɔɹt͡ʃən/, cherish /ˈt͡ʃɛɹɪʃ/, siege /siːd͡ʒ/
- /r/ anglais — langue recourbée, sans frotter la gorge: scorn /skɔɹn/, imaginary /ɪˈmæd͡ʒɪˌn(ɛ)ɹi/, brilliance /ˈbɹɪljən(t)s/, courtly /ˈkɔɹtli/, disapprove /dɪsəˈpɹuːv/
Comment s’entraîner avec cette vidéo
- Écoutez la vidéo en entier une fois sans parler et notez les mots que vous ne connaissez pas.
- Commencez à la vitesse 0,75×, répétez phrase par phrase, puis revenez à la vitesse normale quand cela devient facile.
- Enregistrez-vous et comparez avec l’original, en faisant attention à des mots comme scorn, imaginary, villain.
Qu'est-ce que la technique du Shadowing ?
Le Shadowing est une technique d'apprentissage des langues fondée sur la science, développée à l'origine pour la formation des interprètes professionnels. Le principe est simple mais puissant : vous écoutez de l'anglais natif et le répétez immédiatement à voix haute — comme une ombre suivant le locuteur avec un décalage de 1 à 2 secondes. Les recherches montrent une amélioration significative de la précision de la prononciation, de l'intonation, du rythme, des liaisons, de la compréhension orale et de la fluidité.