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France and Ireland in the Public Imagination Technological University Dublin ARROW@TU Dublin AFIS (Association of Franco-Irish Studies) Books Publications 2014 France and Ireland in the Public Imagination Benjamin Keatinge Mary Pierse Follow this and additional works at: https://arrow.tudublin.ie/afisbo Part of the Arts and Humanities Commons Recommended Citation Keatinge, Benjamin and Pierse, Mary, "France and Ireland in the Public Imagination" (2014). Books. 9. https://arrow.tudublin.ie/afisbo/9 This Book is brought to you for free and open access by the AFIS (Association of Franco-Irish Studies) Publications at ARROW@TU Dublin. It has been accepted for inclusion in Books by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License France and Ireland in the Public Imagination Reimagining Ireland Volume 55 Edited by Dr Eamon Maher Institute of Technology, Tallaght PETER LANG Oxford • Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Wien Benjamin Keatinge and Mary Pierse (eds) France and Ireland in the Public Imagination PETER LANG Oxford • Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Wien Bibliographic information published by Die Deutsche Nationalbibliothek. Die Deutsche Nationalbibliothek lists this publication in the Deutsche National bibliografie; detailed bibliographic data is available on the Internet at http://dnb.d-nb.de. A catalogue record for this book is available from the British Library. Library of Congress Control Number: 2014934038 ISSN 1662-9094 ISBN 978-3-0343-1747-4 © Peter Lang AG, International Academic Publishers, Bern 2014 Hochfeldstrasse 32, CH-3012 Bern, Switzerland [email protected], www.peterlang.com, www.peterlang.net All rights reserved. All parts of this publication are protected by copyright. Any utilisation outside the strict limits of the copyright law, without the permission of the publisher, is forbidden and liable to prosecution. This applies in particular to reproductions, translations, microfilming, and storage and processing in electronic retrieval systems. This publication has been peer reviewed. Printed in Germany Contents Acknowledgements ix Benjamin Keatinge and Mary Pierse Introduction 1 Part I Seeing France and Ireland 15 Pierre Joannon The Inf luence of France on Ireland: Myth or Reality? 17 Mary Pierse Seeing France: Varying Irish Perceptions at the Fin de Siècle 35 Anne Goarzin Attractive Marginality: Irish Painters in Brittany in the 1880s 59 Part II Constructing the Images 77 Michèle Milan For the People, the Republic and the Nation: Translating Béranger in Nineteenth-Century Ireland 79 Michel Brunet ‘On the barricades’: John Montague’s Imaginary Representation of May ’68 in The Pear is Ripe 99 vi Karine Deslandes Ian Paisley: Generating French Perceptions of an Ulster Loyalist Leader 115 Eamon Maher TheEnfant Terrible of French Letters: Michel Houellebecq 133 Part III The Public Spheres: Interventions and Interpretations 147 Eugene O’Brien Towards an Irish Republic: Cultural Critique and an Alternative Paradigm 149 Benjamin Keatinge ‘So much depends on a TV appearance’: Popular and Performative Aspects of the Poetry of Brendan Kennelly 169 Conor Farnan Chagall, Balthus, Picasso, Lascaux: French Inf luences on Paul Durcan’s Engagement with the Irish Public Imagination 189 Part IV Haute Cuisine and High Society: Ça s’arrose! 205 Dorothy Cashman French Boobys and Good English Cooks: The Relationship with French Culinary Inf luence in Eighteenth- and Nineteenth-Century Ireland 207 vii Tara McConnell Ireland in the Georgian Era: Was There Any Kingdom in Europe So Good a Customer at Bordeaux? 223 Brian Murphy Exporting a ‘Sense of Place’: Establishment of Regional Gastronomic Identity Beyond National Borders 241 Notes on Contributors 259 Index 263 Acknowledgements The editors are deeply indebted to all who have facilitated the publica- tion of France and Ireland in the Public Imagination. The inspiration owes much to Eugene O’Brien and John McDonagh (Mary Immaculate College, Limerick) who organized an Association for Franco-Irish Studies (AFIS) conference on the theme in 2012. The realization depended on the essay writers, on the patience of the publishers, and on the financial generosity of AFIS, to all of whom we are very grateful for their contributions. Particular thanks are due to Eamon Maher, General Editor of the Reimagining Ireland series, and to Christabel Scaife at Peter Lang, for their support. As always, the tolerance of colleagues, friends and family has been essential and is much appreciated. Cork and Skopje, January 2014 Benjamin Keatinge and Mary Pierse Introduction Consideration of France and Ireland ‘in the public imagination’ demands some brief ref lection on what might be considered as belonging to ‘the public sphere’, as opposed to a putative ‘private’ or ‘personal’ space. However, both public and personal may be viewed as irrevocably interlinked and that fusion is admirably illustrated by the Francophile Irishman, James Joyce; as has been suggested by Declan Kiberd, Joyce’s masterpiece Ulysses can be read as a modern-day, quasi-Biblical guide to the moral and practical prob- lems of life, which might assist in everyday routines of Learning, Thinking, Walking, Praying, Dying, Eating, Drinking, Reading, Wandering, Singing, Birthing, Parenting, Teaching and Loving.1 Clearly, as Joyce’s text richly exemplifies, the public sphere is far more than simply a discursive space for political, religious or cultural ideas and debates; rather, it is an integrated, universal realm in which all daily practices are performed. For example, the acts of eating and drinking are, in every culture, imbued with social customs relating to the nature and manner of consumption; even private prayer may take place in a public space of worship. Reading can have varying contexts, from the solitary reader at home to public performance readings of many kinds. Walking or wandering, especially through urban spaces, can be seen as culturally and socially significant actions in which the individual traverses public space and the public sphere. In sum, it can be said that most activities one could name have a social, not to say public, dimension. But what then is ‘the public imagination’? And how does it relate to a putative ‘public sphere’? Arguably, ‘the public imagination’ is a wonderfully 1 Declan Kiberd, Ulysses and Us: The Art of Everyday Living (London: Faber and Faber, 2009). These are some of the headings which Kiberd uses as chapter headings in order to discuss the ‘everyday’ aspects of Ulysses. 2 Benjamin Keatinge and Mary Pierse diverse and ever-f luctuating phenomenon that, in dif ferent spaces and periods, may cohere, mutate or crumble. Its manifestations be felt as epoch- making interventions in history and culture – or, may merely reverberate brief ly in provincial disputes and imaginings. One of our contributors, Michel Brunet, of fers this definition: ‘By public imagination is meant the popular creative capacity for generating images, symbols and narratives to deal with cultural, social and political realities or personalities; these images and descriptions are those that achieve clear public recognition across space and time, and sometimes lend themselves to myth-making, whether or not they are fully supported by actual facts or deeds.’2 Brunet makes a useful distinction between ‘facts and deeds’ and ‘myth-making’; clearly, any conception of the public imagination must allow for those instances of misinformation, delusion and impulse which characterize many examples of public discourse in which fear, paranoia, enthusiasm or other emotions may mislead public opinion. While we rely on a responsible media to inf luence and guide popular debate, it is the inevitable countervailing tendency of individual interest, oppositional and diversionary interjec- tions, and the unpredictability of events, which will ensure that the public imagination will forever remain in f lux, and will seldom be unanimous. We should then perhaps acknowledge a certain tension between the public sphere – as conceived by Jürgen Habermas as a forum for rational debate – and the public imagination which encompasses both the potential for myth-making and illusion, as well as that of creativity and inventiveness. In the words of one recent theoretician: The place and status of imagination is shaped by the position and pressure of an array of contrapuntal concepts such as reason, experience, reality, objectivity, morality and materiality; the imagination has conventionally taken up a location somewhere between the domains of the factual and fictional, the subjective and objective, the real and representational.3 2 See Michel Brunet’s essay below: ‘“On the barricades”: The Imaginary Representation of May ’68 in The Pear is Ripe by John Montague’. 3 Stephen Daniels, ‘Geographical imagination’, Transactions of the Institute of British Geographers 36 (2011): 182. Introduction 3 So, the public imagination is inevitably the sum of ephemeral and diverse individual and local understandings that are potentially malleable and dirigible, but which inhabit a space between fact and fiction, real and representational. Given the fictional aspects of the public imagination, it is hardly surprising to find that artistic inf luences become increasingly interesting and important. It is the engagement with these artistic and creative inf luences on aspects of the public imagination,
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