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LANGUAGE AND CULTURE

Why do the French still call us ‘Les Anglo-Saxons’?

Ever noticed how the French will refer to the English-speaking world as 'les Anglo-Saxons', even though historically-speaking the Anglo-Saxons haven’t been around since medieval times? French academic Emile Chabal explains why it says more about the French than it does about the Anglos.

Why do the French still call us 'Les Anglo-Saxons'?
'Anglo-Saxons' at a re-enactment of the Battle of Hasting in England. Photo by BEN STANSALL / AFP

If you have lived in France, or perhaps simply been a regular observer of French media and politics, you’ll have witnessed how often people refer to le monde anglo-saxon or perhaps le modèle anglo-saxon or simply les anglo-saxons.

Far from referring to medieval Britain, as you’d be forgiven for thinking, the commentators or politicians or economists are actually talking about the modern English-speaking world, from the US and UK to Australia and Canada, and pretty much any country where English is spoken.

“The French breezily refer to les Anglo-Saxons when talking about the British, the Americans, the Canadians, the Australians or some mix of all four,” writes Emile Chabal, director of the Centre for the Study of Modern and Contemporary History at the University of Edinburgh on the site Aeon.

“They are more than happy to engage in vigorous arguments about the so-called modèle anglo-saxon, which has become a catch-all term to describe a variety of cultural, social and economic policies developed in the English-speaking world; and they are quite comfortable drawing stark contrasts between une culture anglo-saxonne and a wide range of countercultures. 

“Even politicians and media pundits do not hesitate to describe a ‘model’, an ‘approach’ or an ‘idea’ as Anglo-Saxon – and they can be confident that the vast majority of French people will know what they mean.”

But where does it come from and why does it still persist?

“It comes from the middle decades of the 19th century, particularly under Napoleon III when the French were trying to expand their empire into Latin America,” Chabal told The Local.

“The term Anglo-Saxon began to be used as a contrast with Latin culture in an attempt to place France at the heart of a global Latin world.”

Chabal says the term really emerged in the 1870s after the Franco-Prussian War and the violence of the Paris Commune when there were considered to be three powerful groups: Germanic, Anglo-Saxon and Latin.

Today the term is used to stress contrast, between French culture, language, economic and social models and way of thinking to those in the English speaking world, most obviously the UK and the US.

Chabal notes that it’s common to hear references to ‘Anglo-Saxon liberalism’ and predatory ‘Anglo-Saxon capitalism’ which was usually seen to be a dangerous affront to a French ‘social model’.

It’s also common to hear about “Anglo-Saxon multi-culturalism” in contrast to France’s strictly secular model of assimilation.”

“If you spend a morning listening to French TV or radio, you will hear it at least once. The presenter or speaker knows that listeners will know exactly what they are talking about if they refer to ‘le modele Anglo-Saxon’”.

In reality however those presenters are probably only referring to one part of the “Anglo-Saxon” world rather than all of it.

“If they talk about Anglo-Saxon ghettoization they are clearly only referring the United States,” said Chabal.

Chabal says the French are within their rights to use the term but it is not the most analytical or accurate, given it links very different parts of the world, and the fact “there are racial connotations in the origin of the word which are unsettling”.

Even if it’s not “helpful” Chabal says the French use of the term, particularly in recent decades is very revealing.

“To put it simply: when the French refer to ‘the Anglo-Saxon’ or use the term as an adjective, they are usually talking about themselves. The Anglo-Saxon is a mirror on Frenchness; it is France’s alter-ego and often its most feared enemy,” Chabal writes.

“The Anglo-Saxon in France is a placeholder, a mirror, an echo, a metaphor.”

“It reveals how the French view the outside world,” Chabel tells The Local. “And how they fear French decline, in particular the decline of their culture, language and economic model to “Anglo-Saxon” influences.

Chabal stresses it’s not always used negatively.

“The use of the term Anglo-Saxon is as often about envy and admiration as it used in a derogatory way,” he said.

So how should the French refer to the English-speaking world?

“The French talk about ‘La Francophonie‘ or the French speaking world, so they could easily talk about ‘le monde Anglophone’ or ‘l’Anglophonie’ because then at least it focuses on language rather than culture or race.

“Or if I was an editor I would just stick to using the individual countries and societies they are talking about,” Chabal adds.

But les Anglo-Saxons are not immune from using lazy, inaccurate terms to describe alternative cultures either.

Chabal points out the equivalent is how British will often lazily use the term “the continent” to refer to the rest of Europe.

“The term ‘the continent’ evokes all kinds of things, notably the idea that Britain is standing alone against that place where there is Nazism, communism, the EU… It’s about differences again,” he says.

Emile Chabal, is a Reader in History at the University of Edinburgh and a specialist in European political and intellectual life of the 20th century – you can find his thoughts on where the ‘sexy Frenchman’ stereotypes comes from HERE.

CULTURE

Why is the Mona Lisa so famous (and why is it even in France)?

Being lauded as either the greatest artwork in the world or the most overrated tourist attraction in France, Leonardo da Vinci's Mona Lisa does not struggle to get attention. But why is this small portrait so famous?

Why is the Mona Lisa so famous (and why is it even in France)?

Paris’ Louvre museum has recently announced that the Mona Lisa painting is to get its own room, a move that is at least partly in reaction to increasing complaints about the artwork being overrated, while tourists struggle to see it in the small, crowded space.

There aren’t many paintings that get a room of their own, so just what is it about Mona Lisa (or La Joconde as she is known in France) that attracts so many millions of tourists each year – and should you bother going to see her?

Why is it in France?

Let’s start with why the painting is in France in the first place, since both painter and subject are Italian (although Italy at that time was still a collection of city states which would not be unified into the modern country until 1861). 

In short, Mona Lisa is in France because her creator Leonardo da Vinci travelled with her, and he was in France when he died in 1519. The reason that he was in France is that he spent the last years of his life working on special commissions for king François I. He died at the Château du Clos Lucé in Amboise, in France’s Loire Valley. 

Upon his death Mona Lisa was taken into the French royal collection and various descendants of François I hung her in their palaces until the French Revolution happened in 1793.

After the Revolution, with the exception of a brief stint in Napoleon’s palace, the painting entered the collection of the newly-created Louvre gallery which – in the spirit of revolutionary equality – was opened up to the people so that they too could enjoy great art.

Various requests over the years – some polite, others less so – from Italy to return the painting have been firmly declined by the French state. 

When did it get famous?

In the 18th and 19th centuries Leonardo’s painting was a popular exhibit among museum visitors, but didn’t have any particular fame and wasn’t regarded as any more special than the numerous other artworks exhibited there.

Although some academic interest in the painting’s subject – most commonly thought to be Lisa Gherardini, wife of the Florentine merchant Francesco del Giocondo – stirred in the 19th century, her real fame didn’t arrive until 1911.

This is when the painting was stolen from the Louvre, a crime that became a sensation and a cause celèbre in France, even more so when the painting was finally found in 1913 after the thief had attempted to sell it in Italy.

The fame of the painting and the crime inspired contemporary artists such as Marcel Duchamp who created a playful reproduction of Mona Lisa (complete with beard and moustache) which in turn enhanced the painting’s recognition. The artistic trend continued with everyone from Andy Warhol to the ubiquitous student posters of Mona Lisa smoking a joint.

Former chairman of the French Communist Party Robert Hue views moustachioed Mona Lisa by dadaist painter Marcel Duchamp, lent out by his party for the first time for an exhibition in January 2002. Photo by NICOLAS ASFOURI / AFP

A tour of the painting to the US in 1963 and to Japan in 1974 further enhanced the celebrity status.

21st century

These days it’s perhaps accurate to say that the painting is simply famous because it’s famous. As the best-known piece of art in the world it’s automatically on many tourists’ ‘must see’ list when they come to Paris – and a lot of tourists come to Paris (roughly 44 million per year).

Meanwhile the Louvre is the most-visited museum in the world, attracting roughly 9 million visitors a year.

Although some visitors find the painting itself disappointing (it’s very small, just 77cm by 53cm) the most common complaint is that the room is too crowded – many people report that it’s so jammed with visitors that it’s hard to even see the picture never mind spend time contemplating the artwork.

Should I go and see it?

It really depends on what you like – if your taste in art is firmly in the more modern camp then you probably won’t find that this painting particularly speaks to you. You will, however, find a lot in Paris that is much more to your taste, running from the Musée d’Orsay (mostly art created between 1848 and 1914) to the Pompidou Centre (featuring contemporary and experimental art) and much, much more.

If, however, Renaissance art is your bag then you’ll struggle to find a finer example of it than Mona Lisa, with her beautiful brushwork, detailed and intriguing background and realistic presentation.

If you do decide to visit, then be prepared for the gallery to be crowded – the Louvre now operates on a pre-booking basis but even having a pre-booked ticket won’t save you from the crowds.

If possible try to avoid the summer and school holidays and prioritise weekdays over weekends – the early morning or late evening slots tend to be a little quieter than others, but you’re going to have to be prepared to share her with many other art-lovers.

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