Showing posts with label Jean-Philippe Imbert. Show all posts
Showing posts with label Jean-Philippe Imbert. Show all posts

Wednesday, November 22, 2017

BONJOUR !


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Another book launch at the Alliance Française in Dublin town. This time it's The Bonjour Effect by Julie Barlow and hubby Jean-Benôit Nadeau.

Its thesis is that conversation is an art form in France, guided by a complex set of rules, codes, conventions and taboos. In exploring these the book is a primer in the psychology of the French and it gives you pointers on how to cope with this very strange race of people.

It lets us in on the secret that talking to the French is not about communicating or being nice, its about being interesting. With this as a starting point the exalted state of "se démerder" becomes attainable to even the rankest amateur.



Director

The evening was introduced by the Institute's new Director Thierry Lagnau who succeeds former Director Philippe Milloux, who has now returned to Paris HQ.




Jean-Philippe Imbert


The evening was structured as an interview by Jean-Philippe Imbert with of one of the book's co-authors, Jean-Benoît Nadeau. Jean-Philippe is from DCU where he bears the intriguing title of Lecturer in Comparative Literature and Sexuality Studies in the School of Applied Language and Intercultural Studies (SALIS).

Jean-Philippe has appeared on this blog before, interviewing Olivier Litvine on the launch of his book Musique de Chambre.



Jean-Benoît Nadeau

So, let's get one thing out of the way first, the book's title. What's all this Bonjour stuff?

Well, believe it or not, this one little word is the key to the pearly gates of French conversation, and, as we learn, cooperation. Omit this simple greeting on meeting a French person and you're in the doghouse from that point on. A foreigner might just be given some latitude on a fine day but for the French it is de rigueur.

So maybe you think that's a bit thick. Well, believe you me, even in Ireland, there can be more to a simple greeting than meets the eye. Consider this little incident from the Mayo Gaeltacht early in the twentieth century.
Colm O'Gaora was a young teacher and a timire for Conradh na Gaeilge. He was new to the Irish speaking Bangor Erris disrict in Co. Mayo when he met a man along the road. "Dia dhuit" (God be with you) says he, in the traditional Irish equivalent of Bonjour. The immediate and vehement reply took him aback: "May God and Mary bless you and may bad luck strike you down you dirty old Protestant".
It really does matter how you greet people and if you want to understand Colm's faux pas check out this incident in more detail in my review of his book.



Julie Barlow

Before I go any further, do remember that the book is co-authored by Jean-Benoît and his wife Julie.

Clearly then, they are both responsible in equal measure for its content. However, when it comes to describing an incident to illustrate a particular point, it is described by whichever of them was involved in it. This is both a constant reminder throughout the book of its dual authorship and it makes for more interesting reading..

As Julie was not involved in the actual launch in the Alliance, I'm giving her a look in here.



It is important to know that the French put a lot of pass on what I'd call polish: speaking with supreme confidence, wit and loads of grammar. In fact the ideal is to speak written French. Bearing this in mind will enhance your understanding of the incident below which I have reproduced from my website.
Learning French was no less bizarre. I arrived in France, in 1963, with very good Leaving Cert written French (there were no orals in those days). The family were, sort of, nobility. There had been a general in the family on the mother/granny's side and all the adults spoke proper. The granny was very concerned with the deterioration in the quality of French spoken by the youth of the country in general and her own daughter's children in particular.

Meanwhile I was trying to converse in French, my ultimate ambition being to effortlessly speak the same colloquial brand of French spoken by the children and of which the granny was so critical. I had to think in English, translate into French in my head, mentally repeat the result three times and then deliver it before it evaporated.

Clearly in granny's view I was speaking prose, as had de Gaulle before me, and the house resounded to her loud exhortations to the children "Écoutez Paul", listen to Paul (ie speak prose). The irony of it.


And the wit bit.

Well, let's take Jacques Attali, economic consigliere to François Mitterand and subsequently President of the European Bank for Reconstruction and Development (EBRD).

Now there was a frenchman of sublime refinement who had trained his wit to a fine edge. He also had an abnormally large ego, the largest I ever met in fact, and clearly could never afford to let himself be outwitted, so to speak.

This incident, from the Board of the EBRD, on which I served briefly, will give you a flavour.
On one occasion, Tony Faint, the UK Director, who was from DIFID, had a mild go at him, when he suggested that the Bank should give some consideration to what niche might be appropriate for its operations. This was red rag to a bull as far as Attali was concerned and he responded that in French a niche was a kennel where you kept a dog. Tony replied that where he came from a niche was a space that housed the statue of a saint. "Yes, but they're all dead" was Attali's quick retort and that killed that intervention stone dead, so to speak.
Clearly Attali had fully absorbed this desideratum of the French education system. However, he didn't always have it his own way.
One of the Board's concerns was a feeling that the economic analysis underpinning some of the projects was a bit thin. A result, no doubt, of the speed at which matters were being pushed along. The cudgel here was taken up by the Spanish Director, José Luis Ugarte . He was a nice man with a slightly dry sense of humour. He had a background in economics, in academia and in the OECD, so he was well qualified for this encounter. "Mr President" says he "I think we might take this project a little more slowly and deepen the economic analyis underpinning it". "Not at all." says Attali "Economics is dead. I know. I taught it for years". "Ah yes, Mr President, but that was socialist economics". The Board collapsed with laughter. A beautiful rapier of a sentence. Attali had been socialist President Mitterand's economic mentor over the previous 15 years, even before he came to power. And the Bank was set up to supplant the failed "socialist" economics of the Soviet era. Even Attali had to muster a conceding smile.
That was one of only two occasions I have seen Attali bettered in repartee, a skill in which he prided himself.




The french education system lays great stress on philosophy as a subject, even in the early stages. By this is meant teaching pupils how to think. This doesn't mean that rote learning is absent. It isn't and there is a lot of it. But it does lead to the French having respect for public intellectuals.

Attali frequently boasted that he was a member of two minorities: he was a Jew and an intellectual. But that in my view was not the whole story.

The French have a binary view of the answer to the question: "where are you from?" which makes the question problematic. We Irish have no great problem asking the question, often followed by "who are your people?". Though I have to admit I once met a man who was ashamed to be from Mayo (God help him).

Posing that question to a Frenchman, however, can be very insulting. The binary is French or not French and asking the question could be seen as questioning the respondent's frenchness.

In listing his membership of minorities, Attali was careful to avoid mention of his membership of the third minority. He was born in Algiers. Clearly the less said the better.


The book comments on Madame de Staël who was known for running top class salons of conversation. She had interesting views on various national characteristics having herself lived all over the place.

Apparently she was stunned to learn that German conversation did not tolerate interruptions. The authors point out this was probably because, in German, the verb invariably comes at the end of the sentence.

I have included this random observation because it made me smile. Sort of a German joke.

Did you know that French is not a language? Seriously. At least that is the French view. It is simply an aspect of their culture.

For example we would describe French learned by a former monoglot English speaker as their second language, Turn this around to a former monoglot French speaker learning English. The English is described as their first language.

I sort of knew about all of this from my days in Mlle Giudicelli's class in the Alliance in the sixties - Langue et Civilisation Française and all that.



I also knew that in France political leaders are allowed a certain level of gilded luxury. It also applies to very senior civil servants. This whole group are seen as leaders in cultural discernment. It is actually a part of what brought down Attali in the end - his Carrara Marble (another story).

I learned some new things from this book about what I'd call permanent French attitudes, but also about how meanings had in some cases shaded from my time.



For instance I read that Copain now has acquired sexual connotations. In my day, the newly published pop magazine, Salut les Copains, could be translated as a sort of Hi Guys among young people. God knows how you'd have to translate it now.



So lets end on a good sexist note - a book called La Femme Parfaite est une CONNASSE, The Perfect Woman is a Bitch (putting it politely - Larousse gives you Stupid Cow as an alternative!).

Gotcha there, maybe. It is actually a pro-woman book written by two women. So there.



The main man spoke French to me afterwards and I have to say the Canadian version is different and I'd have needed more time to tune in. Must brush up on my Céline Dion.

Anyway, the book is a most enjoyable, and sometimes hilarious, read.

It will firm up your prejudices and explain why you don't have to feel guilty about them any more.

It will also arm you for any future ventures into that cockpit of cultural conflict which is the French language.

Buy it

Wednesday, April 12, 2017

MUSIQUE DE CHAMBRE


Kildare Street Troubadour
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Another good evening for the Alliance Française and for Director, Philippe Milloux, to add to his record in this, his final year there.

This time round it was a poetry reading, but with a difference. James Joyce had written a set of love poems, entitled Chamber Music, while he was still in Dublin and had some aspirations to becoming a poet rather than a novelist. They are short and simple but with resonances and allusions.

They are also untranslatable, as is the case with most good poetry. That is to say that you can never fully reproduce the original in another language. The most you can do is convey the sentiment and the flavour but in what is essentially a new form. If you are lucky you may also be able to render the rhythm or rhyme and preserve much of the range of ambiguity.

Well, Olivier Litvine, currently Director of the Alliance Française in Pondichéry in India, has just attempted some of this in bringing us a French language version of these poems, entitled Musique de Chambre.



Theo Dorgan, Jean-Philippe Imbert, Olivier Litvine

The evening's format was simple. Essentially Olivier read a French version of a poem and Irish poet Theo Dorgan then read Joyce's original version. This all took place against a background crafted by Jean-Philippe Imbert, from DCU, who took on the role of animateur



Noel O'Grady

We didn't hear any of the Joyce poems set to music in either language but, in a marvellously controlled tenor rendering of There's no Place like Home, Noel O'Grady set the musical ambiance of the time within which the poems were written.



Then Jean-Philippe kicked off with an animated introduction which, following a quick poll of the audience, swayed effortlessly between English and French.


It wasn't long before we got to the first reading and though I had some difficulty following it on the spot - my French is not that good and I'm not a poetry buff - I have since read over both the original English and the French versions of many of the poems and Olivier seems to have made a very good fist of it.

He mentioned two aspects of these particular poems which posed a problem for the translator.

Joyce tended from time to time to use old forms like "thee" and "thou" which are not readily carried over fully into a translation. So he opted to just ignore this particular conceit.

A more difficult one is when Joyce invents words. You are never sure of the range of ambiguity in them precisely because they are new and are meant to be a bit of a shock to the system.

I thought I had come across one in these lines and wondered how Olivier would deal with it.
And softly to undo the snood
That is the sign of maidenhood.
Olivier's version
Avant de doucement défaire cette résille
Symbole de ta virginité.
I had to look up "résille" never having had the pleasure of meeting it in French. It turned out to be a "hairnet" and I thought Olivier had caught something there - gossamer, maidenhood and all that. I was convinced that Joyce had made up "snood" though, for the life of me, I couldn't figure out the connotations. Then I looked it up and it turned out to be an actual word denoting a coarse kind of hairnet that hung down over the back of the neck. It definitely fell short of the gossamer evoked by Olivier's simple choice of words.

But the next one is made up.
How sweet to lie there,
Sweet to kiss,
When the great pine forest
Enaisled is!
So is this an island, isolation made by water, like Yeats's Lake Isle, or is it a church aisle flanked by pine trees?
Comme il est doux de s'allonger
Doux de s'embrasser
La où la grande forêt de pin
Fait un lit clos!
And the bed aside, has Olivier evoked "behind closed doors" and "fate" with resonances of Sartre's "Huit Clos"? Who knows? And that's the fun of it.



Theo gave us a very robust reading of the originals. He even wondered at one stage whether Joyce was parodying himself, consciously or unconsciously, but he concluded that, in this case, the poem had actually been rescued by its French translation anyway.

His commentary on Joyce throughout the readings was most illuminating. I think he was a bit taken aback when I described it as provocative, but I meant it as a compliment and, in fact, I was referring to the whole evening, which I found very stimulating.


Having consulted his script, Jean-Philippe figured we had come to the stage where some audience participation might be a good idea.

So I jumped in as suggested that it might be a good thing that Joyce was not with us this evening as the poet himself is not the best translator of his own work. I cited Pearse's poem Fornocht do chonac thú where the poet himself has given us a woeful English translation of a beautiful, and perfect, poem in Irish. The panel seemed to go along with me on that one. You can follow up my angle here.

Jean-Philippe wondered whether a poet could reasonably claim to translate from a language of which he had no understanding whatever. Apparently this is not quite as uncommon as you might think and it takes place through an intermediary who explains the bones of the original.

The audience, including myself, were inclined pour scorn on any such venture until Theo piped up and recounted how he had got stuck once with translating a poem from Slovenian, a language of which he knew absolutely nothing. The result has been hailed as one of the best translations of a poem from Slovenian to English. You'll have to get him to tell the story if you come across him. It's a good one and I'm not going to spoil it here.

If you haven't picked up the flavour of this vibrant and provocative evening the remaining photos below may help.






Une très belle soirée, or as we'd say, "a good time was had by all".