Bastille Day quiz 2013

Feu-d'artifice-du-14-juillet-paris-2012

1. The “Rive Gauche” of Paris only took on that name during the Revolution, in 1789. Before 1789, the neighborhood to the South of the Seine was called:
a. Là-bas, or “over there”
b. La Rive du Sud, or the “South side”
c. Le Méridional
d. L’Outre-Petit-Pont or the “other side of the Petit-Pont.”

2. What Danish-born author revered Robespierre as a young person and wrote about France as the “holy land” of freedom?
a. Søren Kierkegaard, author of Fear and Trembling and The Concept of Irony
b. Isak Dinesen, author of Out of Africa and “Babette’s Feast”
c. Hans Christian Andersen, author of The Little Mermaid and Thumbelina
d. Niels Bohr, winner of the Nobel Prize in Physics for his understanding of atomic structure and quantum mechanics

3. This event of 1870-71 is widely considered the last gasp of the French revolutionary tradition.
a. The Algerian War
b. The slow assassination, by poison, of Émile Zola
c. The Civil war known as “La Fronde”
d. The Commune

4. What novel published in 2013 features a ventriloquist’s dummy made in the image of Madame Defarge, the malevolent tricoteuse of Dickens’s Tale of Two Cities?
a. We are All Completely Beside Ourselves, by Karen Joy Fowler
b. Bad Monkey, by Karl Hiaasen
c. The Powers, by Valerie Sayers
d. 1q84, by Haruki Murakami

5. Where can the aficionado of the French Revolution find a treasure trove of dolls, manga, T-shirts, cheese wrappers, and other icons of the spirit of ’89 from global popular culture right now?
a. At Georgetown University in Washington, DC
b. At the Farragut, TN, Folklife Museum
c. At the Louvre in Paris, France
d. At the Musée de la Révolution française in Vizille, France

6. Which rock song features lyrics that sound like an account of Louis XVI’s last days?
a. The Rolling Stones, “I Can’t Get No Satisfaction”
b. Hall and Oates, “I Can’t Go for That (No Can Do)”
c. Coldplay, “I Used to Rule the World”
d. Gilbert O’Sullivan, “Alone Again, Naturally”

7. According to Edmund Burke’s Reflections on the Revolution in France (1790), one of the most demeaning affronts dealt to King Louis XVI and the royal family in October 1789 was that they were brought back to Paris and forced to live in a royal mansion that was converted into a ….
a. Pig sty
b. Bastille
c. Meeting hall
d. Brothel
.
8. What company was raked over the coals as “Marie-Antoinette’s Favorite Airline” in a January 2013 article by the Wall Street Journal?
a. American Airlines
b. Delta
c. Air France
d. United Airlines

9. A New York Times article of March 2013 (“You May Now Kiss the Computer Screen”) mentioned Louis XVI and Marie-Antoinette as precursors of a trend that is rising in the USA. What trend is that?
a. The habit of kissing a computer screen (or, in the 18th-century, a life-size human replica) instead of a real person.
b. Unconsummated unions (le mariage blanc)
c. Proxy marriages via the Internet
d. All of the above

10. Which one of these revolutionary-era child icons has been turned into a verb?
a. Gavroche, hero of Hugo’s Les Misérables
b. Louis-Charles, aka le Dauphin, pretender to the Bourbon throne
c. Joseph Bara, the boy hero immortalized in Jacques-Louis David’s painting The Death of Bara
d. Kung Fu Panda, hero of Kung Fu Panda’s French Revolution by Kaylee Mcgrew

Answers

1. d. L’Outre-Petit-Pont. The South of the Seine was called « the other side of the Petit-Pont » because the Petit-Pont was for many years the only bridge that led from the Ile de la Cité to the area lying to the South of the Seine. The Rive Droite was called L’Outre-Grand-Pont (since the Grand-Pont—what is today called le pont Notre-Dame—was the only bridge that led from the Ile de la Cité towards the Northern neighborhoods).
2. b. Isak Dinesen was a life-long Francophile, as seen in “Babette’s Feast” and Letters from Africa: 1914-1931.
3. d. The Commune. Although the Commune of spring 1871 was relatively short-lived (73 days), the brutal suppression of the rebel communards had long-term ramifications. From the successful Russian Revolution of 1917 to the failed 1989 revolution on Tianenmen Square, those who have sought political change have looked to the Commune for inspiration.
4. a. Karen Joy Fowler, We are All Completely Beside Ourselves.
5. d. The exhibit called “Popular Cultures of the French Revolution, 20-21st century” is on display from June 2013 to April 2014 at the Musée de la Révolution française in Vizille (near Grenoble). The show will likely travel to the US and Canada afterwards, so stand by for more news on that!
6. Any of the above. But today’s audience would probably choose c., the British rock band, Coldplay, “I Used to Rule the World” track from their 2011 album Vida la Vida. Lyrics include: “I used to rule the world / Seas would rise when I gave the word / Now in the morning I sleep alone / Sweep the streets I used to own /People couldn’t believe what I’d become / Revolutionaries wait / For my head on a silver plate / Just a puppet on a lonely string / Oh…who would ever wanna be king.”
7. b. Bastille. Burke describes the royal family’s trek from Versailles to Paris as a funeral march: “After they had been made to taste, drop by drop, more than the bitterness of death, in the slow torture of a journey of twelve miles, protracted to six hours, they were, under a guard, composed of those very soldiers who had thus conducted them through this famous triumph, lodged in one of the old palaces of Paris, now converted into a bastille for kings.” (Reflections on the Revolution in France, Paragraphs 100-124).
8. a. American Airlines was criticized in the Wall Street Journal for declaring bankruptcy all the while holding onto a luxury home for the use of its executives on one of London’s wealthiest streets. (It apparently sold for a cool $23 million.) It is interesting to see how feudal privilege has translated into shorthand for capitalist excess…
9. c. Proxy marriages. The article reads, “These are called proxy marriages, a legal arrangement that allows a couple to wed even in the absence of one or both spouses. They date back centuries: one of the most famous examples was between Louis XVI and Marie Antoinette, who were first married in her native Austria in his absence, before she was shipped to meet him in France.” See Sarah Maslin Nir’s article of March 6, 2013.
10. a. Gavroche, the brave street urchin of Les Misérables. The verb is found in the couplet, “Paris sous cloche / ça me gavroche” in the 2007 song by Thomas Dutronc, “J’aime plus Paris.” He is describing what Paris has become: a city for well-off people cut off from lower classes. “Gavrocher” means to “make mad” or “infuriate.” Check it out!

Julia Douthwaite is Professor of French at the University of Notre Dame and author of The Frankenstein of 1790 and Other Lost Chapters from Revolutionary France (University of Chicago Press, 2012). The Bastille Day quiz is a regular feature of “A Revolution in Fiction” since 2011.

Update on ‘Babette’s Feast': A Parable of French Politics and Cookery from the Age of Revolutions

Babette's FeastBabette book cover DanishAs an epicurian (married to a chef-de-cuisine, how could I not be in love with food?) “Babette’s Feast” continues to haunt my thoughts. And now, with some recent discoveries, I am more convinced than ever of its debt to revolution. And the need for a remake!
A few thoughts on my discoveries, to intrigue you:

- On the feisty spirit that emerges in Danish!
Thanks to the great book by Frantz Leander Hansen, The Aristocratic Universe of Karen Blixen (2003), nowadays a more bracing and sober accounting is available to English-language readers. Hansen proves that Dinesen, in rewriting the tale for Danish audiences, reinforced the revolutionary tone and threatening aspect of her heroine. Fantastic linguistic analysis! Thanks FLH!*

- On “Babette’s” Sympathy to La Commune and its Ideals
The 2003 translation of the 1891 history of La Commune by Isak Dinesen’s father, Wilhelm Dinesen Paris sous la Commune, Translated from the Danish by Denise Bernard-Folliot, provides the historical subtext that was hugely important to Dinesen: a fact that has been ignored by most readers. WD was very sympathetic to the ideals of La Commune, and this book should be a “must” for anyone seeking a thoughtful eye-witness account of the terrible events. Thanks DBF!

- Third, tucked in the stacks of Hesburgh Library at ND, I found a copy of the 1952 Danish translation by Jørgen Claudi with the fabulous cover illustration featured here. This rendition makes a startling contrast with the tasteful and cleaned-up rendition presented by Gabriel Axel, no?

In my work-in-progress, these elements are juxtaposed to the film and show how much stronger and more menacing the heroine is in the original text (especially in Dinesen’s Danish version). Dinesen’s character does not forget the past or the utopian hopes she once harbored for La Commune. Rather she transforms them into the ultimate beau geste of a consummate artist and an unrepentant radical. For the last supper of Babette’s Feast is not a liturgical rewriting of silent sacrifice but rather a sadly misunderstood celebration of a lost era. However no one realizes it except Babette. (And her new readers today!)

Hope you enjoyed this little taste of work-in-progress. More to come… jd
(updated 3/15/13)

* Thanks are also due to Lise Kure-Jensen who notes that one of the interesting challenges of studying the work of Isak Dinesen is that, after writing her stories in English, she translated many of them back into Danish (her native tongue) and made significant changes along the way. Most notably, she made the Danish translation of “Babette” WILDER! See LKJ, “Isak Dinesen in English, Danish, and Translation: Are We Reading the Same Text?” in Isak Dinesen: Critical Views, ed. Olga Anastasia Pelensky (Athens: Ohio University Press, 1993), pp. 314-321.

The Raw and the Cooked, Or Why Politics Matters in ‘Babette’s Feast’

Despite its popularity as a “food film” and icon of the Slow Food movement, one must admit that Babette’s Feast (directed by Axel Gabriel, 1986) disappoints. In its saccharine treatment of the relations between Babette and her employers, Gabriel’s film fails to honor the spirit of Isak Dinesen’s original, published in the Ladies’ Home Journal in 1950 and subsequently reprinted in Dinesen’s final collection, Anecdotes of Destiny (1958). Why does this matter? Because in softening the edges of Babette’s character, the film ignores her political force and transformative potential—a force all the more urgent for the 2010s, when women from Sana’a to Seattle have been mobilizing for political change with astonishing energy and hope. “Babette” deserves better.

I believe Babette’s story is more interesting as a parable of specifically French politics than as a “food film,” and that it is indebted to two icons of French womanhood whose identities are deeply invested in food, fire, and revolution. In Dinesen’s heroine we can hear distant echoes of both the poissarde–the fishmonger or market woman of the French Revolution—and the pétroleuse or fire-starter of the Commune. “Babette’s Feast” allows the lineage from the poissarde to the pétroleuse to come into focus because its heroine is not only a cook she is also a former pétroleuse. And even if the politics of her past were muted by the film-maker in 1986, the relationship between food, fire and revolution is too potent a mix to ignore today.

The film’s shortcoming is unsurprising when one realizes how apolitical most interpretations of Isak Dinesen’s work and her heroine have been. In order to bring this lost subtext back into light, I am developing a short work that follows three moves: first, a quick glance at two moments in French political history will reveal the cultural work done by the poissarde and the pétroleuse in the revolutionary eras of 1789-94 and 1871. Second, textual analysis of culinary allusions and narrative asides in “Babette’s Feast” will demonstrate how Dinesen’s heroine incarnates both the pride of a culinary genius and the pétroleuse’s menace to society. Finally, a comparison of the story’s finale will show how the book’s heroine—unlike her avatar on the screen—transforms radicalism into a different kind of rigor, a more life-giving and artistic ambition than film-goers can see. In her portrayal of an appealing working–class woman who is both an unrepentant revolutionary and an authentic artist, Dinesen’s tale reveals a stronger affirmation of human potential than has yet been realized.

Any film-makers out there? Time for a remake, a truly revolutionary rendition of “Babette’s Feast.” Stay tuned for the fiery details…

Follow

Get every new post delivered to your Inbox.

Join 541 other followers