The Public Historian review of Remembering the Year of the French

This chapter offers a detailed consideration of how the French Revolution, from being viewed as a template for the actions and ideological position of the United Irishmen, ultimately came to signify a lot more in the Irish context. Building on the ideas of the French philosophers Alain Badiou and Jacques Rancière in particular, it argues that that the ‘real’ of the French Revolution came in time to exert very different effects on the Irish and French public spheres.

2022

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2019

Assessing something as all-pervasive as cultural heritage can run the risk of resorting to cliches and stereotypes, even though these very things are also an integral part ofwhat constitutes the patrimoine of any given society. The French are rightly acclaimed for their fashion, wines, gastronomy, literature, philosophy, regional specificities, architecture, and cafe culture, to name but a few ofthe Hexagone' s most distinctive traits. Ireland, on the other hand, has its pubs, its writers, many ofwhom traditionally spent far too much time in the aforementioned pubs, its fighting spirit, its greenness, its historic struggle with its nearest neighbour, perfidious Albion, its beef and its Guinness. Patrimoine is what marks one country out from any other country; it is what makes it distinctive, different, sometimes appealing, at other times, unappealing. Therefore, when the organizers were considering the theme for the AFIS 2017 conference in Limerick, the former Conseiller Culturel at the French Embassy, Frederic Rauser, suggested it could be both interesting and worthwhile to examine how cultural heritage plays out in both countries. The view beforehand was that the French are more adept at underlining their heritage, even at commodifying it, than the Irish are, but some of the essays you will read in this collection illustrate the fact that the Irish are starting to catch up in this regard, as the country begins to attract more and more tourists to its shores and to see the potential that has for economic prosperity. There are several reasons why Irish writers and artists were attracted to France, but patrimoine was certainly a Significant factor in their migration. After the Revolution, France overthrew the monarchy to become a Republic, which distinguished it in Irish eyes from England. Then there was the indisputable Catholic heritage that was shared by the two countries, l Moore's enthusiasm for France was predicated on the fact that he knew it to be a country which cherished artists and valued learning. His experience of Ireland was very different: he found the insular attitudes and superstitious religiosity ofhis home country inamicable at best to his artistic sensibility. He believed that he could be happy and comfortable in the type of setting that Paris would provide, a beliefthat p!oved well founded, as Moore

"How knowledgeable are you of Franco-American history? That you are reading Le Forum suggests an awareness of at least its basic outline. But what about your fellow Americans, or your fellow Canadians—how conversant are they? Unfortunately, many Americans of French descent know little about their heritage; it is even more problematic that a great proportion of historians and history teachers on both sides of the border overlook Franco-Americans. This suggests that now, perhaps more than ever, it is imperative that we elicit general interest in our field, both in and out of the classroom. [...]" Full text: http://umaine.edu/francoamerican/files/2017/12/Le_Forum_Vol_39_3.pdf

The Catholic Historical Review, 2001

Re-Imagining Ireland Series, Vol. 68, 273 p. , 2015

This collection of critical essays proposes new and original readings of the unique cultural and critical relationship which exists between France and Ireland, particularly in the realms of literature and culture. It seeks to re-evaluate, deconstruct and interrogate artistic productions and cultural phenomena while pointing to the potential for comparative analysis between the Gallic cousins. Whereas the French wine tradition, the prevalence of rebellion or the weight of religious and cultural traditions in both countries are predictably covered in some of the essays, they are noticeably examined through what would be considered unconventional lenses. The chapters on literature and the arts offer readings of established figures in Irish and French literature (from Flann O’Brien to Albert Camus) or foreground others who have been left outside the critical frame for some time, such as Sydney Owenson, Jean Giono or Katherine Cecil Thurston. Iconic scenes of the rural or urban landscapes in France and Ireland are also analysed. In addition, certain contributors deal with the impact of the recent economic downturn as they query universal interpretations of time and community-building through the arts. Finally, the areas of sport, education, justice or alternative religious practices are explored in a thought-provoking way, and ultimately lead to unexpected cultural connections.

Ethnologies, 1993

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Journal of Modern History, 1995

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