Thématique

« Voyages, territoires, frontières »

Axe d’étude 1: Exploration et aventure

JOURNAL
LEWIS M., & CLARK W., Original Journals of the Lewis and Clark Expedition,
1804-1806

SONG
AMERICA, “A Horse with No Name”, 1971

NOVEL
AUSTER, P. Moon Palace

SPEECH
KENNEDY, J.F., “The New Frontier”, 15th July 1960

1
 American frontier
The American frontier, also known as the Old West, popularly known as the Wild West, encompasses the
geography, history, folklore, and culture associated with the forward wave of American expansion in
mainland North America that began with European colonial settlements in the early 17th century and ended with
the admission of the last few contiguous western territories as states in 1912. This era of massive migration and
settlement was particularly encouraged by President Thomas Jefferson following the Louisiana Purchase, giving
rise to the expansionist attitude known as "Manifest Destiny" and the historians' "Frontier Thesis". The legends,
historical events and folklore of the American frontier have embedded themselves into United States culture so
much so that the Old West, and the Western genre of media specifically, has become one of the defining periods
of American national identity.

1789: The new nation 1819–1820: Post-War of 1812

1845–1846: Before Mexican–American War 1859–1860: Pre-Civil War Expansion

•1884–1889: Post–Civil War expansion 1912: Contiguous US, all states

  States   Territories   Disputed areas   Other countries

2
LEWIS M., & CLARK W., Original Journals of
the Lewis and Clark Expedition, 1804-1806

Sent by President Thomas Jefferson to find the Northwest Passage, Meriwether

Lewis and William Clark led the most important expedition in American history. This
extraordinary film tells the remarkable story of the entire Corps of Discovery – not just of
the two Captains, but the young army men, French-Canadian boatmen, Clark’s African-
American slave, and the Shoshone woman named Sacagawea, who brought along her infant
son. As important to the story as these many characters, however, was the land itself, and
the promises it held.

The mission of the Corps of Discovery was to explore the uncharted West. Beginning
February 28, 1803 It would be led by Meriwether Lewis, and Lewis’ friend, William Clark.
Over the next four years, the Corps of Discovery would travel thousands of miles,
experiencing lands, rivers and peoples that no Americans ever had before. Ken Burns'
LEWIS & CLARK re-creates the 1803 journey to locate the Northwest Passage. The
explorers found a varied landscape and a dizzying diversity of Indian peoples.

3
 4
Lewis and Clark Matching Activity
1. Lewis's first name : Meriwether
2. Clark's entry into his journal when they reached the Pacific : Great Joy
3. Lewis and Clark returned here two years later : St. Louis
4. Territory in the western United States purchased 1803 for $15 million : Louisiana Purchase
5. The Shoshone woman who helped Lewis and Clark : Sacajawea
6. They created these for future travelers : Maps
7. Purchased the Louisiana Territory from this country ; France
8. Lewis and Clark were to find a way across the new land to this ocean : Pacific
9. An organized group of people undertaking a journey for a particular purpose : Expedition
10. Lewis and Clark spent their first winter with this tribe ; Mandan Indians
St. Louis France Louisiana Purchase Expedition Pacific
Maps Great Joy Meriwether Mandan Indians Sacajawea
10. Lewis and Clark spent their first winter with this tribe
9. An organized group of people undertaking a journey for a particular purpose
8. Lewis and Clark were to find a way across the new land to this ocean
7. Purchased the Louisiana Territory from this country
6. They created these for future travelers
5. The Shoshone woman who helped Lewis and Clark
4. Territory in the western United States purchased 1803 for $15 million
3. Lewis and Clark returned here two years later
2. Clark's entry into his journal when they reached the Pacific
1. Lewis's first name
Lewis and Clark Matching Activity
 MANIFEST DESTINY

American Progress (1872) by John Gast is an allegorical representation of the modernization of the new west. Columbia, a
personification of the United States, is shown leading civilization westward with the American settlers

Manifest destiny was a cultural belief in the 19th-century United States that American

settlers were destined to expand across North America.
There were three basic tenets to the concept:
- The special virtues of the American people and their institutions
- The mission of the United States to redeem (having been saved or delivered from sin
or its consequences) and remake the West in the image of the agrarian East
- An irresistible destiny to accomplish this essential duty

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 LEWIS & CLARK JOURNAL WRITING ACTIVITY
WRITE YOUR OWN

« We saw many beavers and some otters today. We killed

one deer today and found a goat or Antelope which had
been left by Capt. Clark.  We saw a large bear but could not
get a shoot at him.   We also saw a great number of Crains
& Antelopes, some gees and a few red-headed ducks  the
small bird of the plains.   
We observed a great number of snakes about the water
of a brown uniform colour, some black, and others
speckled on the abdomen and striped with black and
brownish yellow on the back and sides. The first of these
is the largest being about 4 feet long, the second is of that
kind mentioned yesterday, and the last is much like the
garter snake of our country and about it's size. None of
these species are poisonous I examined their teeth and fund
them innocent. »

Lewis, Wednesday July 24th

1805
Adapted from Lewis and Clark Journal

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1. Find out the following information

ANIMALS ADJECTIVES VERBS LANDSCAPE

Infinitive Preterit

2. Fill in the grid with new words to write your own journal

ANIMALS ADJECTIVES VERBS LANDSCAPE

Infinitive Preterit

7
AUSTER, P. Moon Palace

PAPERBACK COVERS

Bryce Canyon National Park New York City, Manhattan

8
 THE PLOT

Jumbled sentences: find a consistent order for those sentences to get the right summary for the novel.

Marco Stanley Fogg is an orphan and his Uncle Victor his only caretaker. Fogg starts college, and a
few months later moves from the dormitory into his own apartment furnished with 1492 books given to
him by Uncle Victor…

a. When Effing dies, leaving money to Fogg, Marco and Kitty Wu set up a house together in Chinatown,
NYC.
b. Marco becomes an introvert, spends his time reading, and thinks, "Why should I get a job? I have
enough to do living through the days." After selling the books one by one in order to survive Fogg loses
his apartment and seeks shelter in Central Park.
c. After an abortion Fogg breaks up with Kitty Wu and travels across the U.S. to search for himself.
d. Fogg learns about Effings' previous identity as the painter Julian Barber. Effing had a son he never met,
named Solomon Barber.
e. Uncle Victor dies before Fogg finishes college and leaves him without friends and family.
f. Marco continues his journey alone, which ends on a lonely California beach: "This is where I start, ...
this is where my life begins."
g. Marco lives in Central Park for several weeks. He scavenges food from bins and sleeps in bushes. He
becomes very feeble.
h. Marco begins his journey with Solomon Barber (Effing’s son), whom he realizes is… his own father.
i. Marco meets Kitty Wu and begins a romance with her after he has been rescued from Central Park by
Zimmer and Kitty Wu.
j. Solomon Barber dies shortly after an accident at Westlawn Cemetery, where Fogg's mother is buried.
k. Eventually M. S. finds a job taking care of Thomas Effing, an old man in a wheelchair.

1 2 3 4 5 6 7 8 9 10 11

Bonus question: Why is 1492 a symbolic number?

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 Fill in the sentences with the right link words

That is why – in order to – because – so that – because of – therefore – as/since

a. MS travels through the American West ……………………… find himself.

b. MS was an orphan, ……………………… his uncle Victor raised him.
c. Uncle Victor gives Marco all of his books ……………………… he has no money to give him.
d. Marco’s ancestors were named Fogel, but when they came to the USA, the employee at Ellis
Island made a mistake, ……………………… his last name is Fogg.
e. MS can be considered a gifted story-teller ……………………… he makes up extraordinary
stories all the time.
f. Uncle Victor expects Marco to travel a lot ……………………… his three names.
g. Julian Barber changes his name and makes it a joke ……………………… F-ing becomes Effing.

g. Julian Barber changes his name and makes it a joke so that F-ing becomes Effing.
f. Uncle Victor expects Marco to travel a lot because of his three names.
stories all the time.
e. MS can be considered a gifted story-teller because he makes up extraordinary
employee at Ellis Island made a mistake, therefore his last name is Fogg.
d. Marco’s ancestors were named Fogel, but when they came to the USA, the
c. Uncle Victor gives Marco all of his books as/since he has no money to give him.
b. MS was an orphan, That is why his uncle Victor raised him.
a. MS travels through the American West in order to find himself.

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 Moonlight, by artist Blakelock

Title: Moonlight
• Date created: ca. 1885-1889
• Type: Painting

External Link: 
http://www.brooklynmuseum.org/opencollection/objects/697/Moonlight
• Medium: Oil on canvas
• Signed: Signed lower right (in arrowhead): "R. A. Blakelock"
• Dimensions: 27 1/16 x 32 in. (68.7 x 81.3 cm)
• Collection: American Art
• Artist: Ralph Albert Blakelock

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Extract from Moon Palace.

It was a weekday morning in winter, and the museum was nearly deserted. After paying
my admission at the front desk, I held out five fingers to the elevator man and rode upstairs in
silence. The American paintings were on the fifth floor, and except for a drowsing guard in the
first room, I was the only person in the entire wing. This fact pleased me, as though it
somehow enhanced the solemnity of the occasion. I walked 5 through several empty rooms
before I found the Blakelock, doing my best to follow Effing’s instructions and ignore the other
pictures on the walls. I saw a few flashes of color, registered a few names—Church, Bierstadt,
Ryder—but fought against the temptation to have a real look. Then I came to Moonlight, the
object of my strange and elaborate journey, and in that first, sudden moment, I could not help
feeling 10 disappointed. I don’t know what I had been expecting—something grandiose,
perhaps, some loud and garish display of superficial brilliance—but certainly not the somber
little picture I found before me. It measured only twenty-seven by thirty-two inches1, and at
first glance it seemed almost devoid of color: dark brown, dark green, the smallest touch of red
in one corner. There was no question that it was well executed, but it 15 contained none of the
overt drama that I had imagined Effing would be drawn to. Perhaps I was not disappointed in
the painting so much as I was disappointed in myself for having misread Effing. This was a
deeply contemplative work, a landscape of inwardness and calm, and it confused me to think
that it could have said anything to my mad employer.
I tried to put Effing out of my mind, then stepped back a foot or two and began to look at
the painting for myself. A perfectly round full moon sat in the middle of the canvas—the
precise mathematical center, it seemed to me—and this pale white disc illuminated everything
above it and below it: the sky, a lake, a large tree with spidery branches, and the low mountains
on the horizon. In the foreground, there were two 25 small areas of land, divided by a brook
that campfire; a number of figures seemed to be sitting around the fire, but it was hard to make
them out, they were only minimal suggestions of human shapes, perhaps five or six of them,
glowing red from the embers of the fire; to the copy of the large tree, separated from the others,
there was a solitary figure on horseback, gazing out over the water—utterly still, as though lost
in 30 meditation. The tree behind him was fifteen or twenty times taller than he was, and the
contrast made him seem puny, insignificant. He and his horse were no more than silhouettes,
black outlines without depth or individual character. On the other bank, things were even
murkier, almost entirely drowned in shadow. There were a few small trees with the same
spidery branches as the large one, and then, toward the bottom, 35 the tiniest hint of brightness,

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which looked to me as though it might have been another figure (lying on his back—possibly
asleep, possibly dead, possibly staring up into the night) or else the remnant of another fire—I
couldn’t tell which. I got so involved in studying these obscure details in the lower part of the
picture that when I finally looked up to study the sky again, I was shocked to see how bright
everything was in the upper 40 part. Even taking the full moon into consideration, the sky
seemed too visible. The paint beneath the cracked glazes that covered the surface shone
through with an unnatural intensity, and the farther back I went toward the horizon, the brighter
that glow became—as if it were daylight back there, and the mountains were illumined by the
sun. Once I finally noticed this, I began to see other odd things in the painting as well. 45 The
sky, for example, had a largely greenish cast. Tinged with the yellow borders of clouds, it
swirled around the side of the large tree in a thickening flurry of brushstrokes, taking on a
spiralling aspect, a vortex of celestial matter in deep space. How could the sky be green? I
asked myself. It was the same color as the lake below it, and that was not possible. Except in
the blackness of the blackest night, the sky and the earth are 50 always different. Blakelock
was clearly too deft a painter not to have known that. But if he hadn’t been trying to represent
an actual landscape, what had he been up to? I did my best to imagine it, but the greenness of
the sky kept stopping me. A sky the same color as the earth, a night that looks like day, and all
human forms dwarfed by the bigness of the scene—illegible shadows, the merest ideograms of
life. I did not want 55 to make any wild, symbolic judgments, but based on the evidence of the
painting, there seemed to be no other choice. In spite of their smallness in relation to the
setting, the Indians betrayed no fears or anxieties. They sat comfortably in their surroundings,
at peace with themselves and the world, and the more I thought about it, the more this serenity
seemed to dominate the picture. I wondered if Blakelock hadn’t painted his 60 sky green in
order to emphasize this harmony, to make a point of showing the connection between heaven
and earth. If men can live comfortably in their surroundings, he seemed to be saying, if they
can learn to feel themselves a part of the things around them, then perhaps life on earth
becomes imbued with a feeling of holiness. I was only guessing, of course, but it struck me that
Blakelock was painting 65 an American idyll, the world the Indians had inhabited before the
white men came to destroy it. The plaque on the wall noted that the picture had been painted in
1885. If I remembered correctly, that was almost precisely in the middle of the period between
Custer’s Last Stand and the massacre at Wounded Knee—in other words, at the very end, when
it was too late to hope that any of these things could survive. Perhaps, I 70 thought to myself,
this picture was meant to stand for everything we had lost. It was not a landscape, it was a
memorial, a death song for a vanished world.

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Compare the narrator’s description of the painting with yours. Are there more similitudes than
differences or is it the other way round? Why?
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Find the equivalents of the underlined words among the following:

tiny ---------------------------- darker --------------------------------------

completely ------------------------------------ a very small river -----------------------------------
a hue/a tint -------------------------------------- impregnated -----------------------------------------------–
the material used to paint on -------------------------------------------------------
human shapes ------------------------------------------ made smaller ---------------------------------------------
slightly coloured -------------------------------------------remains, residue -------------------------
skillful –------------------------------ saintliness/ godliness –--------------------------------------------
varnish/ polish ----------------------------------- difficult to read ----------------------------
moved in circle -----------------------------------------------------------------

How does the narrator feel about American history and Westward expansion in your opinion?
Argue your point.

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Focus on the words the narrator uses to express describe his experience as soon as he arrives at the
museum. To what extent is watching the painting like a spiritual ceremony? Argue your point.
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GRAMMAR – Double comparatives

Observe the sentence and translate it into French:

The farther back I went toward the horizon, the brighter that glow became (ll. 43-4)
Find another example of double comparative in the text.
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 Moon Palace – Monument Valley

“Why does the American West look so much like the landscape of the Moon?” Moon Palace, chapter 1

Effing is telling Marco about his trip to Monument Valley back in 1916, when he was a young painter
looking for inspiration in the American West.

“The land is too big out there, and after a while it starts to swallow you up. I reached a point when I
couldn’t take it in anymore. All that bloody silence and emptiness. You try to find your bearings in it,
but it’s too big, the dimensions are too monstrous, and eventually, I don’t know how else to put it,
eventually it just stops being there. There’s no world, no land, no nothing. It comes down to that, Fogg,
in the end it’s all a figment2. The only place you exist is in your head.

“We worked our way across the center of the state, then angled down into the canyon country in the
southeast, what they call the Four Corners, where Utah, Arizona, Colorado, and New Mexico come
together. That was the strangest place of all, a dream world, all red earth and contorted rocks,
tremendous structures rising out of the ground, they stood there like the ruins of some lost city built by
giants. Obelisks, minarets, palaces: everything was at once recognizable and alien, you couldn’t help
seeing familiar shapes when you looked at them, even though you knew it was all chance, the petrified
sputum of glaciers and erosion, a million years of wind and weather. Thumbs, eye sockets, penises,
mushrooms, human beings, hats. It was like making pictures out of clouds. Everyone knows what those
places look like now, you’ve seen them a hundred times yourself. Glen Canyon, Monument Valley, the
Valley of the Gods. That’s where they shoot all those cowboy-and-Indian movies, the goddamned
Marlboro man gallops through there on television every night. But pictures don’t tell you anything
about it, Fogg. It’s all too massive to be painted or drawn; even photographs can’t get the feel of it.
Everything is so distorted, it’s like trying to reproduce the distances in outer space: the more you see,
the less your pencil can do. To see it is to make it vanish.”

15
a) Finds words related to the lexical fields of

Evanescence :
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dream world
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mineral world
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b) the stylistic devices: find

a metaphor
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a simile
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a superlative
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a paradox
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Using comparatives and superlatives

The strangest place of all + the more you see, the less your pencil can do.
Rewrite Effing’s description or make up a new description of Monument Valley using comparatives or
superlatives. 5 sentences.

1._________________________________________________________________________________________
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2._________________________________________________________________________________________
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3._________________________________________________________________________________________
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4._________________________________________________________________________________________
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5.
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 17
KEYS
a) the lexical fields:
EVANESCENCE
silence and emptiness, no world, no land, no nothing, making pictures out of clouds, to see it is to make it vanish,
INDEFINABLE DREAM WORLD at the center of known states:
the center of the state, Four Corners, where Utah, Arizona, Colorado, and New Mexico come together the only
place you exist is in your head l. 6, the strangest place, contorted rocks, built by giants
MINERAL WORLD
both natural and man-made: red earth, rocks, structures, ruins, glaciers and erosion, a million years of wind and
weather = VOID, EMPTINESS vs. IMMENSITY, FULLNESS OF THE LANDSCAPE + accumulation of names,
places, shapes, pictures of the place, (too big, all, too monstrous, everything, a million years, everyone, a hundred
times, all, every night) and it all amounts to nothing (neither a picture nor a thousand words can describe it).
b) the stylistic devices:
metaphor the land “starts to swallow you up”
simile like making pictures out of clouds
superlative That was the strangest place of all
paradox everything was at once recognizable and alien, the more you see, the less your pencil can do. To see it is
to make it vanish
 “A Horse with No
Name”, 1971

"A Horse with No Name" is a song by the folk

rock band America, written by Dewey
Bunnell. It was the band's first and most
successful single, released in late 1971 in
Europe and early 1972 in the United States,
that topped the charts in Canada, Finland, and
the United States. It was certified gold by
the Recording Industry Association of
America

"A Horse with No Name" was recorded in E Dorian (giving it a key signature of F# and C#)[10] with acoustic guitars,
bass guitar, drum kit, and bongo drums.

Writer Dewey Bunnell  says he remembered his childhood travels through

the Arizona and New Mexico desert when his family lived at Vandenberg Air Force
Base.[8] Bunnell has explained that "A Horse with No Name" was "a metaphor for a
vehicle to get away from life's confusion into a quiet, peaceful place".

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 Fill in the blanks ! Lyrics
On the first part of the ……………………………. ;
I was looking at all the life
There were ……………………… and birds and ……………………. and things
There was sand and ………………………. and rings

The first thing I met was a fly with a ……………….

And the sky with no ………………….
The heat was ……………. and the ground was ……………….
But the air was full of sound

I've been through the ……………………. on a horse with no name

It felt good to be out of the ……………………...
In the desert you can't remember your name
'Cause there ain't no one for to give you no ………………...

After two days in the desert ……………….

My skin began to turn …………………...
And after three days in the desert ……………...
I was looking at a …………………….. bed
And the story it told of a river that flowed
Made me sad to think it was ………………...

You see I've been through the desert on a …………………. with no name
It felt good to be out of the ……………………..
In the desert you can't remember your name
'Cause there ain't no one for to give you no pain

After ………………... days I let the horse run free

'Cause the desert had turned to ………………………...
There were plants and birds and rocks and things
There was sand and hills and …………………..

The ……………... is a desert with its life underground

And a perfect disguise …………………...
Under the cities lies a heart made of ………………….
But the humans will give no love

You see I've been through the desert on a horse with no name
It felt good to be out of the rain
In the desert you can't remember your name
'Cause there ain't no one for to give you no pain

19
 20
KEY Lyrics
On the first part of the journey
I was looking at all the life
There were plants and birds and rocks and things
There was sand and hills and rings
The first thing I met was a fly with a buzz
And the sky with no clouds
The heat was hot and the ground was dry
But the air was full of sound
I've been through the desert on a horse with no name
It felt good to be out of the rain
In the desert you can't remember your name
'Cause there ain't no one for to give you no pain
After two days in the desert sun
My skin began to turn red
And after three days in the desert fun
I was looking at a river bed
And the story it told of a river that flowed
Made me sad to think it was dead
You see I've been through the desert on a horse with no name
It felt good to be out of the rain
In the desert you can't remember your name
'Cause there ain't no one for to give you no pain
After nine days I let the horse run free
'Cause the desert had turned to sea
There were plants and birds and rocks and things
There was sand and hills and rings
The ocean is a desert with its life underground
And a perfect disguise above
Under the cities lies a heart made of ground
But the humans will give no love
You see I've been through the desert on a horse with no name
It felt good to be out of the rain
In the desert you can't remember your name
'Cause there ain't no one for to give you no pain
Source: Musixmatch Songwriters: Lee Bunnell / Multiple A Horse With No Name lyrics © Warner/chappell Music Ltd
 KENNEDY, J.F., “The New Frontier”, 15th July 1960
In July 1960 the Democratic Convention nominated John F. Kennedy as its candidate for
President. In his acceptance speech, Kennedy first used the phrase "the New Frontier,"
which became the name for his administration's domestic program. Excerpts from his
speech follow
Today our concern must be with [the] future. For
the world is changing. The old era is ending. The
old ways will not do....
A technological revolution on the farm
has led to an output explosion-but we have not
yet learned to harness that explosion usefully,
while protecting our farmers' right to full parity
income.
An urban population revolution has
overcrowded our schools, cluttered up our
suburbs, and increased the squalor of our slums.
A peaceful revolution for human rights-
demanding an end to racial discrimination in all
parts of our community life-has strained at the
leashes imposed by timid executive leadership.
A medical revolution has extended the
life of our elder citizens without providing the
dignity and security those later years deserve.
And a revolution of automation finds machines
replacing men in the mines and mills ofAmerica,
without replacing their incomes or their training
or their need to pay the family doctor, grocer,
and landlord.
There has also been a change-a slippage-
in our intellectual and moral strength . . . a
confusion between what is legal and what is
right. Too many Americans have lost their way,
their will and their sense of historic purpose.
21
It is a time, in short, for a new generation of
leadership-new men to cope with new problems and
new opportunities ....
We stand today on the edge ofa New
Frontier--the frontier of the 1960s-- a frontier of
unknown opportunities and perils-a frontier of
unfulfilled hopes and threats ....
But the New Frontier ofwhich I speak is not
a set of promises-it is a set of challenges .... The New
Frontier is here, whether we seek it or not. Beyond
that frontier are the uncharted areas of science and
space, unsolved problems ofpeace and war,
unconquered pockets of ignorance and prejudice,
unanswered questions of poverty and surplus ....
I believe the times demand invention,
innovation, imagination, decision. I am asking each
ofyou to be new pioneers on that New Frontier. My
call is to the young in heart, regardless of age-to the
stout in spirit, regardless of party-to all who respond
to the Scriptural call: "Be strong and of a good
courage; be not afraid, neither be thou dismayed."
For courage-not complacency, is our need
today-leadership-not salesmanship. And the only
valid test ofleadership is the ability to lead, and lead
vigorously .
Quoted in Speeches ofthe American Presidents, edited by Janet
Podell and SteuenAnzouin (H. W. Wilson Company, 1988).
 Comprehension

1. According to Kennedy, how had technology changed agriculture and industry in America?
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2. How did these changes affect farmers and factory workers?

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3. What did Kennedy see as the challenges of the New Frontier?

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4. How did Kennedy propose to meet these challenges?

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