Dossier LELE Bac 1

[Lebailly]

Bonjour ou bon soir j'aurais besoin d'une correction pour mon dossier pour le Bac s'il vous plait. Merci d'avance.

 

The Imagination “dissolves, diffuses, dissipates” the concepts and elements of the world around us so as to recreate something new with them. The Imagination can do in the construction of an entire imaginary world, be it a city, country, planet or characters. Once an imaginary world’s initial differences from the actual world are established, they will often act as constraints on further invention, suggesting or even requiring other laws or limitations that will define a world further as the author figures out all the consequences of the laws as they are put into effect.

 

 

How is the world of imagination depicted?

 

 

First I am going to deals with imaginary in literature and finally I am going to deals with imaginary in art.

 

 

We have studied “Frankenstein” in class, first published in 1818, concerns an exotic body with a difference, a distinct perversion from the tradition of desirable objects. The story of this ugly, larger-than-life, monstrous body raises complex questions of motherhood, fatherhood, gender, and narrative. The afterlife of the novel in the popular imagination has been intensely focused on that monstrous body, to the extent that the name "Frankenstein" tends to evoke not the unfortunate overreaching young scientist Victor Frankenstein but his hideous creation. The Gothic elements that can be found in this chapter are the grotesque, description of the monster's features, the eerie environment the lab. Also, this chapter builds fear in the reader, another big part of Gothic writing.

The monster now begins to take shape, and Victor describes his creation in full detail as "beautiful" yet repulsive with his "yellow skin, lustrous black, and flowing" hair, and teeth of "pearly whiteness." Victor describes the monster's eyes, considered the windows upon the soul, as "watery eyes, that seemed almost the same colour as the dun-white sockets in which they were set, his shrivelled complexion and straight black lips." This is both faithful and unfaithful to Mary Shelley's original: faithful, in that a monster indeed, even etymologically, exists to be looked at, shown off, viewed as in a circus sideshow; unfaithful, in that Shelley's novel with equal insistence directs us to issues of language in the story of the monster and his creator. In fact, the central issues of the novel are joined in the opposition of sight and speech, and it unfolds its complex narrative structure from this nexus.

We have studied “1984” in class, by George Orwell published in 1949. It is a dystopian and satirical novel, where society is tyrannized by The Party and its totalitarian ideology. As literary political fiction and as dystopian science fiction, 1984 is a classic novel in content, plot, and style. We can see that the elements of description sets the foreboding tone that prevails throughout as the reader is introduced to Winston Smith, the fatalistic protagonist of the novel, on a "cold day in April," when "the clocks were striking thirteen." Immediately, the author depicts a society in decay by describing a setting of "gritty dust," "hallways of boiled cabbage and old rag mats," elevators not working, and electrical current that is turned off during daylight hours. Peoples movements can be watched at any time the eyes of Big Brother follow you, when Winston looks out, the telescreen and the helicopter look in and out. The opening paragraphs, which set the scene in a fictional future world, present numerous details about life under Party rule that will be more fully explained later. Ominously, the clocks strike thirteen, a traditionally unlucky number. The monotonousness of the broadcast on the telescreen emphasizes its irritating and oppressive presence. The details that follow continue the theme of surveillance, which Winston is particularly conscious of because he is about to engage in an act of thought crime. The posters of Big Brother symbolize the constant vigilance of the State over its subjects.

 

 

The Nightmare is a 1781 oil painting by Anglo-Swiss artist Henry Fuseli.The Nightmare is the artistic representation of horror. In The Nightmare, the single light source coming in from the right, the curtains and tassels in the background, and the shortened, stage-like foreground also add to the work’s theatricality. The red drapery falling off the edge of the bed even suggests a river of blood as it might be symbolically enacted on stage in a play or an opera, adding morbid undertones to the painting’s already dark themes. The Nightmare’s stark mixture of horror, sexuality, and morbidity has insured its enduring notoriety. The Nightmare became an icon of Romanticism and a defining image of Gothic horror. The figure that sits upon the woman’s chest is often described as an imp or an incubus, a type of spirit said to lie atop people in their sleep or even to have sexual intercourse with sleeping women. Fuseli’s painting is suggestive but not explicit, leaving open the possibility that the woman is simply dreaming. Yet, her dream appears to take frightening, physical form in the shapes of the incubus and the horse. Although it is tempting to understand the painting’s title as a punning reference to the horse, the word “nightmare” does not refer to horses. Rather, in the now obsolete definition of the term, a mare is an evil spirit that tortures humans while they sleep. Thus, Fuseli’s painting may in fact be understood as embodying the physical experience of chest pressure felt during a dream-state.

 

 

To conclude, we could see that the imaginary one can appear in different manner, with places which represent chaos, of the fictitious characters or with the use of myths. To me the imaginary one is a way of escaping and to let digress its spirit that makes it possible to cut world of reality and suit abilities to think its own world with its desires but also its fears.

 

 

[Jean B]

 

Bonsoir,

Il y a 17 heures, Lebailly a dit :

Bonjour ou bon soir j'aurais besoin d'une correction pour mon dossier pour le Bac s'il vous plait. Merci d'avance.

The Imagination “dissolves, diffuses, dissipates” the concepts and elements of the world around us so as to re-create something new with them. The Imagination can do in the construction of an entire imaginary world, be it a city, country, planet or characters. Once an imaginary world’s initial differences from the actual world are established, they will often act as constraints on further invention, suggesting or even requiring other laws or limitations that will define a world further as the author figures out all the consequences of the laws as they are put into effect.

 

How is the world of imagination depicted?

 

First I am going to deals  with imaginary the imaginative world in literature and finally I am going to deals  with imaginary in art.<Pour éviter la répétition.

We have studied “Frankenstein” in class, first published in 1818, concerns an exotic body with a difference, a distinct perversion from the tradition of desirable objects. The story of this ugly, larger-than-life, monstrous body raises complex questions of motherhood, fatherhood, gender, and narrative. The afterlife of the novel in the popular imagination has been intensely focused on that monstrous body to the extent that the name "Frankenstein" tends to evoke not the unfortunate overreaching young scientist Victor Frankenstein but his hideous creation. The Gothic elements that can be found in this chapter are the grotesque description of the monster's features, the eerie environment of the lab. Also, this chapter builds fear in the reader, another big part of Gothic writing.

 

The monster now begins to take shape and Victor describes his creation in full detail as "beautiful" yet repulsive with his "yellow skin, lustrous black and flowing" hair and teeth of "pearly whiteness." Victor describes the monster's eyes, considered the windows upon the soul, as "watery eyes, that seemed almost the same colour as the dun-white sockets in which they were set, his shrivelled complexion and straight black lips." This is both faithful and unfaithful to Mary Shelley's original: faithful, in that a monster indeed, even etymologically, exists to be looked at, shown off, viewed as in a circus sideshow; unfaithful, in that Shelley's novel with equal insistence directs us to issues of language in the story of the monster and his creator. In fact, the central issues of the novel are joined in the opposition of sight and speech, and it unfolds its complex narrative structure from this nexus.

 

We have studied “1984” in class, by George Orwell published in 1949. It is a dystopian and satirical novel, where society is tyrannized by The Party and its totalitarian ideology. As literary political fiction and as dystopian science fiction, 1984 is a classic novel in content, plot, and style. We can see that the elements of description sets the foreboding tone that prevails throughout as the reader is introduced to Winston Smith, the fatalistic protagonist of the novel, on a "cold day in April," when "the clocks were striking thirteen." Immediately, the author depicts a society in decay by describing a setting of "gritty dust," "hallways of boiled cabbage and old rag mats," elevators not working, and electrical current that is turned off during daylight hours. People's movements can be watched at any time the eyes of Big Brother follow you, when Winston looks out, the telescreen and the helicopter look in and out. The opening paragraphs, which set the scene in a fictional future world, present numerous details about life under Party rule that will be more fully explained later. Ominously, the clocks strike thirteen, a traditionally unlucky number. The monotonousness of the broadcast on the telescreen emphasizes its irritating and oppressive presence. The details that follow continue the theme of surveillance, which Winston is particularly conscious of because he is about to engage in an act of thought crime. The posters of Big Brother symbolize the constant vigilance of the State over its subjects.

 

The Nightmare is a 1781 oil painting by Anglo-Swiss artist Henry Fuseli.The Nightmare is the artistic representation of horror. In The Nightmare, the single light source coming in from the right, the curtains and tassels in the background, and the shortened, stage-like foreground also add to the work’s theatricality. The red drapery falling off the edge of the bed even suggests a river of blood as it might be symbolically enacted on stage in a play or an opera, adding morbid undertones to the painting’s already dark themes. The Nightmare’s stark mixture of horror, sexuality, and morbidity has insured its enduring notoriety. The Nightmare became an icon of Romanticism and a defining image of Gothic horror. The figure that sits upon the woman’s chest is often described as an imp or an incubus, a type of spirit said to lie atop people in their sleep or even to have sexual intercourse with sleeping women. Fuseli’s painting is suggestive but not explicit, leaving open the possibility that the woman is simply dreaming. Yet, her dream appears to take frightening, physical form in the shapes of the incubus and the horse. Although it is tempting to understand the painting’s title as a punning reference to the horse, the word “nightmare” does not refer to horses. Rather, in the now obsolete definition of the term, a mare is an evil spirit that tortures humans while they sleep. Thus, Fuseli’s painting may in fact be understood as embodying the physical experience of chest pressure felt during a dream-state.

 

To conclude, we could see that the imaginary one can appear in different manner, with places which represent chaos, of the fictitious characters or with the use of myths. To me the imaginary one is a way of escaping and to letting digress its spirit that makes it possible to cut world of reality and suit abilities to think its own world with its desires but also its fears.

 

[Lebailly]

Merci beaucoup