Activity 1: The Tapestry

Phase 1:

The Hastings Tapestry of Bayeux is a most detailed and radically preserved record of the Norman invasion of October 14, 1066 into England, also known as The Battle of Hastings. An artistic masterpiece in itself, the illustrative images balanced by simple descriptive Latin text of the tapestry stands to be one of the most factual pieces of information about the events leading up to the Norman conquest of England beyond biased, undocumented or jingoistic accounts (battle1066.com). The beginning of the tapestry gives background to the cause of the Battle, beginning with the first scene where King Edward the Confessor sends Earl Harold to travel to Normandy to inform Duke William that he shall be the King of England upon his death. The remainder of the tapestry goes on to document how Harold violates the oath made unto William, crowning himself King and thus instigating the grand invasion of England. In the last scene 35, depicts Harold’s death and the English fleeing, as Duke William is now deemed William the Conqueror and the rightful King of England (hastings1066.com).

Although the Bayeux Tapestry documents such an important historical event, it is also a document of time by the means of travel; from Harold’s journey to Normandy to the invasion of England by William. Each frame portrays movement and a passing of time leading to the culminating event of William’s conquer. In a sense, I took on the same idea through a different means in the form of a modern day travel writer. I think that the most obvious reason to make a record of my travels is for remembrance sake; not only for my future self, separated from the place of travel, but in an attempt to bring home my experiences to family and friends who were unable to make the journey with me. My goals for documenting my travel experience is to immerse myself in the broad-based word of culture; all including language, food, fashion, everyday lifestyle and literature through the HON 366 International France and HON 394 Culture of Decadence courses.

I decided to keep a blog, www.faitesimplechristina.blogspot.com. The original idea to keep a blog was in effort to continually update my friends and family on what I was doing on a simultaneous basis while abroad with the added benefit of writing practice. I’ll be honest to say that I came up with the idea for the phrase faite simple, meaning “keep it simple,” from the assigned French Women Don’t Get Fat by Mireille Guiliano. I did this an abbreviated personal reminder to slow down and take in the wonderful experiences that awaited me, and to take care to try and relive them through careful writing. My travel goals relayed through blogging were to immerse myself in the broad-based word that is culture while in France, all including the observance of language, food, fashion, lifestyle and the appliance of my studies of International France (HON 366) and Culture of Decadence (HON 394) to the culture reality at hand before me in everyday Parisian life.

Upon arriving in Paris I seemingly encountered only one question of pent-up enthusiasm on a constant basis from my family and friends: “What do you expect it (Paris) to be like?!” My first thoughts on this immediately went to classic pictures of the Eiffel Tower and Arc de Triomphe and the movies Amelie and Paris J’taime. In the end, my final response was “I honestly have no idea.” Initially this realization of having no sense of ground of where I would be traveling scared me, but then I realized that this wonderment, “no idea” is what traveling is all about: experience. So I saved myself the mental energy and time and put guessing aside of what Paris would be like and just let it be.

Phase 2:

Bayeux Tapestry ticket stub, front

Bayeux Tapestry ticket stub, back

Intersection of streets; first arriving in Paris and trying to find the FIAP and getting lost.

Amazing food. Unique "torpedo" strawberries (Chambord). I also bought a bar of homemade vegetable soap, which smells amazing.

Coffee vending machine?! Awesome.

Shadow of the Eiffel Tower over the city.

Phase 3:

Through my blog, I have tried to create an organized space where I can record and write about my daily experiences while abroad. Beyond just listing factual things of what I had seen/done each day, I aim to provide personal commentary, giving myself leeway to reflect and interpret my experiences through words. I always wanted to express my perceptual emotions through writing at the very moment I felt them but never had the chance to do so (or maybe just lacked the little push of over-the-cliff motivation). Never the less, it was my chance to do so along the Barrett France trip, as I carried around my Moleskine and made thoughtful notes immediately after the catalytic instance went by. When I returned back to the apartment later, I would transcribe my notes from the day into narrative form on the computer for my blog.

Our preoccupation as humans is to make an organizational sense of our surroundings whether we consciously realize it or not through processing our thoughts by translating them into words in order to describe and define experiences. This is what I, taking on the role of travel writer, subconsciously set out to do from the get go. The opportunity of a unique personal expression through written words gives off a more strong and accurate effect of what the travel writer wishes to convey rather than simply relaying his/her experiences through base vocal communication. When writing, one is given the leisure to reflect and decide on the perfect words to paint the picture of the surrounding ideas. Discovering another culture with its different tastes, smells and rhythms of being is its own discovery in itself of the variety of ways of being human.

I believe that travelers write because of the immense power of the written word. When we read the stories of travel writers, novelists and authors, we live within their worlds, becoming the worlds themselves in which we read about. Our other senses of vision, touch, hearing and smell are not constricted; through the sensory acumen of sight, what we read and how we interpret it is all within the extent of the imaginative mind. Recording the remarkable sights of everyday life and the personal perceptions of one’s surroundings is all in the grand effort to explain a new finding of self that one did not know existed before, but evidently harbored within one’s being.

In my writing I attempted to note and thoroughly explain each scheduled activity noted on the syllabi, my perceptions and personal commentary on each. I also made the attempt to talk about my experiences outside of the classroom; whether it was purchasing groceries at the Sunday market or taking a journey to London on the Chunnel. By bracing my writing with photos that I took that day, I aimed to give my readers a visual support of what I was trying to accurately depict through words. Hopefully with the combination of photo/descriptive text I can transport the reader to a separate sphere of what I perceived. The implication of my words is to freeze time in the effort to craft a permanent record. Within written words, the past is constant, with a continuous, lasting effect, transcending all barriers of time and place.

At times during the trip I would wonder why I take pictures and whip out my Moleskine while on the road. “Isn’t this defeating the purpose of fully enjoying a onetime experience naturally?” I’d ask myself. Not in the least, for with documenting and writing it stands to only ferment one’s perceptions, emotionally captured on a written page. This, in fact, is the plight of the writing traveler.

Activity 2: Questions of Travel

Phase 1:

Keeping in mind Wilde’s notion that there are no “bad” or “good” travel destinations, that there are just travelers who are tedious and travelers who are charming, I have identified three different types of traveler.

The first is the all-too-well-known “Liberty Fry.” These people are presumably Americans visiting a foreign country and wear their hometown on their sleeves, with no regard to the country they are visiting. For instance, they find much of nothing to glean and appreciate in another country’s culture and way of life. They anticipate in finding their home within the visiting country. When they realize that this is not the case, they don’t understand and try to enforce their normative ways of life. The Liberty Fry is usually meant to describe a visitor from the United States. In a sense I’d say that it’s almost an “Americanizing” spirit; the traveler feels entitled to his/her normative way of life back at home in America, and doesn’t understand why foreigners – specifically those in the visited country – do not aspire to have his/her way of life since they view it as the comfortable “ideal.”

Another type of traveler is what I like to call the “Taking Rick Steves to Another Level” traveler. This kind of traveler is overly prepared and is on another extreme than the Liberty Fry. Before embarking on their destination, they have what they are going to do and where they are going to go down to scientific increments of time. This includes purchasing tickets ahead of time for museums and events, even when reservations are not required, but just for the sole reason of skipping the long lines and “knowing everything there is to know.” They prepare things so that no unexpected surprises can arise. Everything is orderly and perfectly organized to combat the fear of going abroad to an unknown environment. With this kind of traveler, I think that they miss out on the natural flow of everyday life in the culture they are visiting. Overall I feel that you would learn more through accidental incidents when abroad instead of planned increments of time.

The third and final type of traveler is the “Beginner.” The Beginner is the exact opposite of the “Taking Rick Steves to Another Level” and the “Liberty Fry” travelers. This kind looks at the prospect of traveling to a foreign country as exciting and full of adventure. Nothing is planned with this kind, it is looked upon as a clean slate. They are not nervous or have any apprehension about not knowing what to expect. In contrast, it invigorates them further. They are the essence of the term “go with the flow.” While abroad, they can keep home in mind, but only as a companion to the new, fascinating culture that they are immersing themselves in.

When reflecting on the above three types of travelers, I wish to be the Beginner. I would have to say that it would be in my directional nature to lean towards the “Taking Rick Steves to Another Level” traveler with my compulsory, organized way of being. I believe that the excitement of traveling abroad and the case of the ‘travel bug’ is derived from that uncomfortable unknown of the surroundings you have never stepped foot in. Yes there are many guide books and websites that inform anyone of anything nowadays, but it is only through physically being somewhere and experiencing something that we can truly know what it is like in our subjective points of view. Places are concrete things that do not move or change over time, however our perceptions and opinions are individually so diverse. This individual definition and want to make sense of our surroundings compels us to bite on that uncomfortable excitement of the unknown, and addictively pursue it.

Phase 2:

I guess this picture exemplifies the touristy, borderline "Liberty Fry" in me. We're all posing with our delicious Esterina ice creams. Other than that, I think I did my best to avoid coming across as ridiculously tourist-like.

Phase 3:

Reflecting on my three types of traveler – the Liberty Fry, Taking Rick Steves to Another Level and The Beginner – I have witnessed some in others and in myself along the trip.

A prime example of the Liberty Fry was this Southern family a group of us ran into first on the Paris Metro. I remember standing with a group of other Paris-goers on the Metro, clinging to the metal poles for support, when a family of four got on. I could tell that the family was American by their way of dress (plaid, jeans, boots, etc.) Overhearing our group speaking not only English, but American English, the other American man loudly commented loudly in a Southern accent, “My, we got some good ‘ol American sweat on here!” At first consideration this statement was just an exclamation of a nice surprise to find other Americans with a shared cultural identity on a busy Paris Metro. Following this comment he asked if there were any good BBQ places in Paris that we knew of and how he missed it and did not understand how Parisians have not adapted American BBQ. It was a completely serious question and declarative statement. Coincidentally, the following day at Sante Chapelle we saw the Southern BBQ man in the nave of the church.

An example of the Taking Rick Steves to Another Level traveler is my Dad. No, he was obviously not on the France trip but he was the inspiration for my second traveler category. I have traveled with him twice to Italy and from what I can recall, the entire trip was planned out literally a year in advance. Purchasing plane tickets that early and/or checking out guide books a la Rick Steves may be understandable, but to the point of reserving tickets when they are not necessary (i.e. for churches, museums, etc.) and making itemized lists and daily schedules months in advance is the definition of unsurprised structure. Even while we were in Italy everything went as according to schedule; there was no leeway to just walk down the next Via and see where we ended up on the cobbled streets. In my Dad’s favor, a major positive thing of his extensive planning abilities was that we really did not encounter any serious or even minor problems during our month-long stays both times. Everything was at ease in regards to getting in to places efficiently and concretely, no second-guessing however exhausting it was to be on a nonstop schedule.

During my stay in France, I would classify myself of being the Beginner traveler with a twist. That is, the Beginner with more structure. Granted we had everything nicely planned out for us through the program of where to go, what to do and what was to be expected, but there was still enough freedom to develop and recognize your own travel type while on the trip. As I mentioned in Activity 1, my family and friends continually asked me what I thought Paris would be like before I embarked on the trip. Instead rearing extreme anxiety from the thought of it, I was calm in my realization that I had no idea what to expect and was ok with the obscurity that makes a foreign country simply foreign. Beyond accepting the unknown, I was excited about it, and continued to be so throughout the trip whenever we had to meet the group somewhere new or planning a weekend trip, its own separate adventure. I think that it is sometimes easy to forget that the area around where you’re staying (i.e. the Citadines) is an area to be explored, too, beyond the daily tourist-directed places. Exploring around the upbeat Bastille area, I discovered so many little shops and streets I never would have known had I taken a direct route and vision each day. Adopting an open-minded, “Beginner” view of traveling enabled me to fully enjoy my surroundings and to be continually surprised.

Activity 3: Getting down on Food

Phase 1:

Mireille Guiliano’s book French Women Don’t Get Fat is a comprehensive analysis of how to eat the “French way.” Mireille uncovers the veiled myth of the “French Paradox” surrounding the naturally beautiful, thin French woman by answering the question, “How does she do it?” throughout the length of the book. One could argue that it does not naturally make sense how French women enjoy breads and pastries on a daily basis with regular three-course meals but still manage to be thin, but Guiliano begs to differ. A French woman herself, Guiliano recounts her own experience with the travails of food and what she has learned along her journey to ultimately have a healthy relationship with food.

The message she imparts is not to starve or deprive yourself, but to enjoy and savor the food you are eating instead of worrying about the apparent “nasty effects” of caloric intake. Ignoring the negative “don’ts” of dieting and substituting a positive mindset is to be accompanied by positive actions such as portion control and recasting for noticeable results. In short, Guiliano’s style of living and appreciating food is the essence of the idiom “less is more.”

Rick Steves’ Paris 2010 offers a complete chapter dedicated to food in Paris. Right from the introduction we are introduced to the prominence and cultural experience of food within Parisian society:

“Parisians eat long and well. Relaxed lunches, three-hour dinners, and endless hours of sitting in outdoor cafes are in the norm. Local cafes, cuisine, and wines become a highlight of any Parisian adventure-sightseeing for your palate.” (Steves 387).

In fact, a whole part of the Rick Steves’ “Eating in Paris” section is dedicated to “Picnics and Snacks.” It notes that Parisian shopkeepers are accustomed to selling small picnic-like portions and advises in advance that you would have to visit many small shops to assemble a complete meal. He even goes as far to suggest good picnic spot locations such as the Palais Royal or the Henry IV park on the west tip of Ile de la Citè.

I know that we are scheduled to walk the Rue Cler to collect our own lunches for our first Eiffel Tower picnic. Again, Rick Steves dedicates a whole section and chapter to the Rue Cler, describing it as a “festival of food” with “polished produce, rotisserie chicken, crepes, or cheese” (Steves 403). A self-guided tour of the walk suggests storefronts to buy select foods according to type (i.e. bread, wine, fruits and vegetables, etc.). Shopping for fresh groceries in France is almost a daily activity for Parisians. It is also a time to socialize and get to know the local shopkeepers.

After reading Guiliano’s French Women Don’t Get Fat and the “Eating in Paris” section of Rick Steves Paris 2010, I would narrow my food interests for Paris to be primarily in cheese, fresh fruits and vegetables, and dessert. I am a vegetarian and my diet at home primarily consists of dairy products (a large majority of that being cheese) and bread products along with a penchant for a sweet tooth. Rick Steves suggest some excellent places for these particular types of foods along the Rue Cler; the fromagerie for cheese, the boulangerie for bread and the La Mère de Famille Gourmand Chocolats Confiseries for chocolate, just to name a few. I am excited for real, fresh food each day as opposed to genetically modified, hydrogenated supermarket stuff in the U.S.

Phase 2:

Perfect breakfast: omelette du fromage et un cafe creme.

Post market/Fran Prix shopping. First few days in our Paris apartments.

Dinner party! Leek soup (taken from Mireille), bruschetta, baguette and cheese, and wine.

The dinner party group.

Phase 3:

I wrote in my journal, copied here, in my blog, as well on the Rue Cler walk (Sunday, May 16):

“I still can't believe how fresh and locally-grown everything is. The smell of the food in the markets here is inescapable. One can literally smell it from blocks away. I realized that in Phoenix and in the U.S. in general, this basic luxury is essentially nonexistent. In fact, mostly everything is imported and vacuum-sealed in some kind of way. Even our deli's pretty much "encage" the food, supposedly delivered and made fresh daily. And you'd think I had gotten the blueberries, but I didn't! Actual cranberries, instead. I have never had a real cranberry before and no, Ocean Spray cran-grape does not count.

My resulting lunch post-market shopping at the Eiffel Tower green. So much fromage (cheese)! According to Dalton/Susser there's one different type of cheese for each day of the year. Another reason to love the French kitchen: not only is food shopping done every two days on average, but everything is left out on the counter to briefly age to its purest ripeness. A refrigerator is only useful for what was not eaten the day of purchase that must be in a cool environment to be eaten the next day.”

The same day, I recorded my breakfast for that morning:

“Today's breakfast: omelette au fromage (cheese omelette. Yes, more cheese) at L'Ecir cafe. I really do love being a morning person here. Just sitting, enjoying the food and the morning. It made me question why I let myself have 10 minutes to spare in the morning back at home to gulp down coffee and run out the door. Oh yeah, there's nothing wonderful outside besides rocks.”

Experiencing food in Paris is completely different from the food experience back at home. Food is such a basic human need that I think that its cultural significance is sometimes overlooked. I wouldn’t go as far to say that Mireille’s answer to America’s obesity problem is to stop dieting and start eating four-course meals. It’s mainly the conscious realization of what you are putting into your mouth, the nutritious value of it and the employment of all senses, for:

“French women know that the pleasure of most foods is in the first few bites; we [French women] rarely have seconds” (Guiliano 31).

I learned to employ my senses on the first bite of food and to take my time while eating. Oftentimes at home I feel that most of my meals are rushed with the “so much to do in so little time” mentality. I almost would say that I look upon food as an inconvenience at home, since while I am stressing myself out thinking about things that need to be done while I am eating, it bothers me to realize that those I could be doing those things in place of the time I was eating.

Eating in France is an art in itself. It is an exciting and enriching experience. I realized while I was there that though there is a “French cuisine” of specific staples such as bread, cheese and wine, there are variations to each type. For instance, there are so many variations of the classic baguette and hundreds of different types of cheeses to choose from. When I returned to the States, I found myself seeking out French places such as Essence Bakery in Tempe and Scratch Pastries and Chez-Vous restaurant, both in Scottsdale. I would meet up with a few people from the trip and take my other friends and family members to these places to try and recapture the France experience. Though not the same, of course, they were very much comparable. I looked upon food as not something to rush through and devour in one gulp, but to savor and taste on the palate and enjoying time with people who are close to me.

Activity 4: The Sacred

Phase 1:

According to the Princeton Dictionary, the definition of the word “sacred” is to be “concerned with religion or religious purposes; ‘sacred texts’; ‘sacred rites’; ‘sacred music.’” Three parts of the sacred include:

1) Ritual: A group thing – needs some kind of organized element.

2) Liminality: One feels different.

3) Ultimacy: Directs one toward something ultimate.

Four monuments we will visit on the trip are: Mont St Michel, Sainte Chapelle, Notre-Dame de Paris and Chartres cathedral. The sacred as it was celebrated in architecture of these four monuments highlighted the popular religious culture of Catholicism. Though each church was built at different times throughout history, they all celebrate this theme. It could be argued that each of these structures embody all three elements to compose the sacred.

Legend has it that Mont St Michel was built around the year 708 when St. Michael the Archangel appeared to St. Aubert, bishop of Avranches, and instructed him to build a church on the island. The site was used in the 6^th and 7^th centuries as a stronghold of Romano-British culture and power until it was sacked by the Franks and used as a monastic establishment in the 8^th century. Italian architect, William de Volpiano designed the Romanesque church within the monastery in the 11^th century, precariously setting the transept crossing at the top of the mount. In 933, the mount gained strategic location significance when William I, Duke of Normandy, claimed it to be in Normandy. This event is epically depicted in the Bayeux Tapestry, which has already been discussed in Activity 1. During the Revolution, the abbey was closed and converted into a prison. Robert de Thorigny was an inspirational figure related to the mount, who reinforced the structure of the buildings and built the main façade of the church in the 12^th century. Upon the annexation of Normandy in 1204, Philip Augustus, then current King of France, commissioned the construction of a new gothic style architectural set, which included the addition of the refectory and cloister (Hayes, Mont 1).

Likewise, Sainte Chapelle is a significant structure of Catholic ideology, often regarded as sacred. Constructed between 1242 and 1248 for King Louis IX and to house the supposed Crown of Thorns, its architectural style is gothic. Sporting buttresses that hold up the stone roof to display the wondrous stained glass depicting the entirety of Christian history, the church was completed within a mere five years. The lacy spire on top of the church is in the Neo-Gothic style, added in the 19^th century. During the French Revolution, the stained glass windows were protected from vandalism when the chapel was converted into administrative offices, though the choir and rood screen were destroyed and the relics dispersed (Hayes, Sainte- 1).

Notre-Dame de Paris broke ground in 1163 and was officially completed two centuries in 1345 when the dedication Mass took place (Steves 85). In the French Gothic style, flying buttresses on the exterior support the roof by pushing back inward. The Neo-Gothic spire is a product of the 1860 reconstruction of the church (Steves 93). Significant historical events include the Roman conquer of the Parisii, building the Temple of Jupiter where Notre-Dame stands today in 52 B.C. After Rome fell, the Germanic Franks then took over and replaced the pagan temple with the Christian church St. Etienne in the 6^th century (Steves 86). During the Revolution major damage occurred destroying the 28 statues from the Gallery of Kings and the complete destruction of all major portal statues. Only later in the 19^th century were these sculptures restored.

Founding and inspirational figures include the German Franks (mentioned above) who claimed the site Christian after taking over from the pagan Romans, and Charlemagne who was the first proclaimed King of the Franks and whose statue resides next to the cathedral.

Lastly, Chartres is a gothic cathedral completed in the year 1260. One of its most praised features is the Rose Window. The cathedral survived a fire in the 1134 that destroyed most of the town, but fell victim itself on June 10, 1194 when lightning ignited a great fire that destroyed all but the west towers, the façade and the crypt of the cathedral. Notable figure, Bishop Fulbert established Chartres as one of the leading teaching schools in Europe. Following, great scholars such as Thierry of Chartres, William of Conches and Englishman John of Salisbury attended (Hayes, Chartres 1).

Works Cited:

Hayes, Holly. "Chartres Cathedral - Chartres, France." Sacred Sites at Sacred Destinations - Explore Sacred Sites, Religious Sites, Sacred Places. 30 July 2010. Web. 19 Sept. 2010. .

Hayes, Holly. "Mont St-Michel, France." Sacred Sites at Sacred Destinations - Explore Sacred Sites, Religious Sites, Sacred Places. 1 Oct. 2009. Web. 19 Sept. 2010. .

Hayes, Holly. "Sainte-Chapelle - Paris, France." Sacred Sites at Sacred Destinations -Explore Sacred Sites, Religious Sites, Sacred Places. 8 Feb. 2010. Web. 19 Sept. 2010. .

Steves, Rick, Steve Smith, and Gene Openshaw. Rick Steves' Paris 2010. Berkley, CA.: Avalon Travel, 2009. Print.

Phase 2:

Notre Dame. External flying buttress detail.

Mont St Michel.

Chartres cathedral, Chartres, France.

Detail of Rose Window, Chartres.

Detail of one of the portals, Chartres.

Sainte Chapelle ticket stub, front

Sainte Chapelle ticket stub, back

Sainte Chapelle.

Sainte Chapelle stained glass detail.

Phase 3:

The four monuments of Mont St Michel, Sainte Chapelle, Notre-Dame de Paris and Chartres cathedral each are different representations of Catholic ideology throughout the centuries in Europe. When thinking of the “sacred” most people would naturally assume these religious places to be so just for their religious purposes. One could come to the conclusion that these places are sacred for religion through different ways such as the beauty of the buildings’ architecture, how each has survived or gone through certain historical events.

Although I would not currently define myself to be a religious person at this point in my life, I do feel a certain sense of liminality when I enter an old church or cathedral. I think that the historical aspect has a lot to do with it for me. For instance, upon walking into Notre-Dame, I thought of all the years of dedication it took to build the church and imagined the local people sitting along the once straw floor of the nave with their families and animals, just for the sake of religious ceremony.

I think that something that is “sacred” is consecrated in some way. This does not have to be in the generally supposed religious sense of consecrated. The sacred is something that is deeply personal and held dear to a specific individual. Yes, a church such as the four above can hold a sacred significance for more than one person, a group of people at that. But the sacred must be special to the person individually and not just a general follow along with the crowd. It is much harder to believe in something completely abstract. When looking at Catholicism in regards to these structures, the deity is abstract. One has physical reminders through churches as a designated space for worship. These places were where mental energy and concentration are meant to be fully devoted to the deity, eliminating all possibilities for distraction. Fellow followers in the faith and present within the church are only meant to reinforce this belief.

The unique physicality of these structures expresses the bind of the sacred as a fundamental dimension of the human experience as it was during the period of Catholic dominance in Europe. For example, the stained glass of Sainte Chapelle was meant to represent heavenly light on earth. The depicted biblical scenes on the stained glass were meant to relay the stories of their faith to illiterate worshipers, while giving them a pictorial representation to reflect on. Chartres is art historically famous for its Rose Windows, which also functions as heavenly light. In addition to the windows, Chartres boasts a unique three-portal layout that depicts sculpted scenes from the Bible that greet those who enter the cathedral. The architectural French Gothic structure of Notre Dame with external flying buttresses allows for the walls to be elevated, achieving the effect that they are supported by nothing when seen from the interior, and almost floating within space. Mont St Michel can be seen as a “masterpiece of nature,” where the talents of human architectural development accorded with natural elements to create a haven for Just as the colored glass was meant to give a “heavenly effect,” this “higher” sense of building would bring the eye up, as one is closer to God.

Both the sites where Notre Dame and Mont St. Michel reside were usurped from pagan control. This can signify a symbolic justification of the religious Judeo-Christian faith that still occupies these sites today. With the same sentiment, Sainte Chapelle survived attempted vandalism and Chartres cathedral withstood two treacherous fires.

In regards to the three parts of the sacred noted in Phase 1, I am not sure that the first component of ritual is necessary. I think having the ritual component would make it easier to name something as “sacred” or not. Again, a church or cathedral is the best example. It is an organized, physical place for religion. Especially with churches with historical backing, people who are of a different religion or those who are not religious at all will adopt an attitude of respect and reverence with the knowledge that it is a “spiritual presence.”

Beyond this sense of the comfortable group presence through ritual, I propose that one can find something to be sacred without it. I believe that the sacred can represent not just places but other objects, people and even abstract ideas. Anything that is sacred commands a certain level of respect. One must be in-tune with oneself, taking a certain level of perceptiveness and discipline.

Activity 5: The Plan for Paris

Phase 1:

It is hard to pinpoint exactly all the things I want to do and experience while in Paris. The realization that I will be in France itself is mind-boggling to me. Paris and France overall has the reputation of quality and taste in a variety of expertise, whether that be the general category of food (which can be further subcategorized into cheese, wine, desserts and the like), its legendary fashion houses, a hub for intellect from great art to legendary writers, France is in a league of its own.

For HON 194 I chose on five specific things I would like to see while in Paris. I have researched and reflected, concluding with these places in particular:

1. Rodin Museum: I’m interested in visiting the Rodin Museum because Rodin is one of my favorite artists (specifically, The Thinker). Besides his works, I think that his life was extremely interesting and the museum covers both aspects.

2. Dali Museum: I would like to visit the Dali Museum because he is one of my favorite Surrealist artists and this museum boasts the largest collection of Dali’s works in one area.

3. Orangerie Museum: I would like to visit this museum because it holds the great artworks from the Impressionist period. It is also located within the Tuileries Garden which would be convenient to see as well.

4. Cluny Museum: I would like to visit the Cluny Museum because of it contains figments of France’s rich history of Roman influence through to the French Medieval period.

5. Arc de Triomphe: I would like to see and go up the stairs within the Arc de Triomphe because I think that it’s fascinating how such a strong piece of French history sits right in the middle of a busy Parisian boulevard.

Although I would like to hit up all of these places in depth, I realize that I should not get in over my head, least I become the “Taking Rick Steves to another level” traveler (see Activity 2).

For other, more leisurely things I’d like to accomplish, I need to impress the “Beginner” traveler mind. Little things count the most, and I plan to walk everywhere as much as possible, even if there is the option of public transportation (exception: unless it is really – and I mean really – far away). This way, not only will I be effortlessly burning calories from all the wonderful food I will be eating (Mireille would approve), but I will continuously have the chance occurrences of experiencing the everyday whims of the French lifestyle off the street.

Food is its own category itself. I could be close-minded and say that my French cuisine options are limited since I am a vegetarian. Not true in the least! I plan to try and learn of as many cheeses as possible, know what freshly real fruits and vegetables taste like and be a dessert fiend. I have mentioned before how I seem to view food as a unnecessary (but, really necessary) annoyance in my on-the-go American lifestyle. I like to think of myself as “healthy” when compared to my fellow Americans and prudent with healthful food choices, but I never, not ever, do I sit down and enjoy and savor a meal to its fullest. With all due respect to the French, I aim to break myself of this horrid habit of depriving myself one of life’s most basic, rewarding pleasures. I think that this will be hard to execute at first, since I am so used to being as efficient as possible with everything in life, that including food. Regardless, I have the desire and will to follow through. Trying new foods and being able to purchase them and critique their freshness will add to the value of my appreciation for the amazing food I will eat.

Finally, I am greatly looking forward to experiencing firsthand some of the world’s greatest artistic masterpieces within the museums we are scheduled to see (The Louvre, Musee d’Orsay, etc.). I’ve had a slight obsessive hobby with art history since high school and appreciate art for all of its creative, cultural and historical contexts. Along with this, I consider fashion to be an art and it is one in which the French have truly mastered. Beyond witnessing the splendor of the Champs Elysees, I plan to research and visit smaller specialty boutiques, and observe the unique stylistic French designs.

With a few goals in mind, I still attempt to be as open and abstract as possible with the weeks in France ahead of me. It is a perfect balance I think to find your interests within the visited country, but let the foreign take over and decide what you will do when you are in its presence.

Phase 2:

Walking everywhere!

Rodin Museum ticket stub, front

Rodin Museum ticket stub, back

Rodin Museum.

Beautiful Parisian fashion - Minelli shoes.

Sunday morning market; buying fresh food for the apartment.

Arc de Triomphe.

Phase 3:

My Plan for Paris was shaped by Paris itself. Completely vulnerable to the whims of the city, I ended up successfully completing some of my original plan from Phase 1, while other points were not meant to be for this trip. I comfort myself in the futuristic fact that one day I will return to France; this was just an introductory for something so great to continually discover. I will never forget the accordion-accompanied first ride of the metro to the FIAP, the arcadia of the countryside, the early morning group gatherings in the lobby and the perpetual amazement of both the natural and shaped beauty of the country.

I feel that I discovered and developed a part of myself in France that I never knew before. This newfound aspect of my being was completely adaptable and open-minded in a foreign environment. Never once did I doubt why I had made the journey, or wanted to go home. Once we had settled into our Paris apartments at the Citadines, I could see myself quickly adapting to my new way of life; market shopping down the street Sunday and Thursday mornings, picking up French words and recognizing them in both print and speech, forming acquaintances with one of the local patisserie workers and the barista at Les Artistes on the corner where I would get my morning take-away coffee.

Nevertheless, I am proud to say that I can check off my HON 194 list of five things I’d like to do in Paris with the Rodin Museum, the Orangerie Museum and the Arc de Triomphe. Though I did not make it to the Dali Museum or the Cluny Museum this time, it is not an unfortunate case, for again, I will return to Paris one day with the chance to see things I have not seen before and would like to see and revisit those place I love most!

Though it was hard in the beginning, I was soon fully able to enjoy a Parisian meal; whether it be hand-picked from the market in my apartment or at a picnic or at a restaurant, I was able to mentally calm myself from all other distractions and focus solely on my sensory responses to the food and the conversation at hand. Mealtime became a ritual of escape from the busy parts of the day for me. I looked forward to not thinking about time and simply enjoying the scenery, food and friends.

Being able to visit some of the most renowned museums in the world would have been enough to satisfy me. As I’ve noted in my blog, the Rodin Musum was my absolute favorite if I had to pick a favorite of these elite museums. Each museum experience was different for me. For instance, not being allowed to take pictures within the Musee d’Orsay, I was forced to completely concentrate on the art, without the distraction that I could take a picture knocking in the back of my mind. In the Louvre, I moved past the initial feeling of being overwhelmed by the vastness of the museum and enjoyed choosing specific time periods to focus upon.

On the day of our first Eiffel Tower picnic as a group, my subgroup was sent to find the Arc de Triomphe. Along our search I not only achieved one of my five places I’d like to see from the above, but also had the chance to walk up and down the Champs Elysees. My fashion spin-off went further as a group of us would meander the streets if we saw shopping areas with little boutiques around places we had to meet as a group in the mornings. One of my most favorite days in Paris was when a few of us met up with Alison’s friend – a French girl our age living in the city who met up with us to take us shopping to unique, local boutiques after she got out of university for the day. Beyond being such a sweet girl who wanted to practice her English, I was baffled by all the small, discrete shops aligning major streets close to our apartments that I had never seen before. I was able to get beautiful one-of-a-kind gifts for my family including a handmade scarf, stationary and a dyed leather agenda planner from select specialty shops.

If I were to do it all over again this summer, my experienced self would be ready for what to generally expect. Of course, not matter how many times you go to a place, your experience is always different. Upon traveling to France, I was intimidated to travel internationally completely alone and find my way about the city by myself. Just after the first week of being in Paris (second week of the program), I noticed a marked difference: I had figured out the metro, turned the unfamiliar streets to familiar strolls, discovered shortcuts and most importantly, didn’t think twice about making the journey back home alone.

I find myself to be so fortunate to have had this experience. Sure, I could have gone to France sometime later in my life, but the experience would never have been the same. I think that this was a perfect way of being introduced to France with a guided program, passionate and knowledgeable professors and fellow peers who share a passion for travel. I often think of Paris nostalgically and wonder when I will someday return. As the often-cited epigraph of Hemingway’s A Moveable Feast states:

“If you are lucky enough to have lived in Paris as a young man, then wherever you go for the rest of your life, it stays with you, for Paris is a moveable feast.”

My own version of the moveable feast of Paris is the spark of casual remembrance, maintaining relationships with my fellow peers who were on the trip, finding French aspects here, and learning to enjoy a slow, contented dinner.

HON 366: International France

Responses and Journals

1. Response: Consider the relationship between sexuality and authority in one of the Lais by Marie de France.

In Marie de France’s Lanval, the stereotypical gender roles of male and female

are reversed. Marie gives the great lady of this lay the power to manipulate her lover and

thus, have power over the tract of the story. Lanval is described to have “valour,

generosity, beauty and prowness” at the start of the tale; all honorable, powerful male

attributes. In the face of his lady, however, he is only weak in comparison, standing to

only faintly complement her own great attributes of extreme beauty and enchanting

power (73).

The lady makes him promise that he will not share his love of her to anyone. Her

extension of power upon him is such that with his promise in mind, he insults the queen’s

beauty when she tries to take him as her lover. Though Lanval fails his lover at the

queen’s inquisition by answering who this “lady who should be prized above all others”

is, she is not totally lost unto him (77). The Lady has both the power to unleash extreme

condemnation for his actions and the power to retract. She ultimately decides against any

kind of punishment.

Instead, she grandly arrives to rescue and acquit her lover from captivity and

banishment from the land. This is not a conventional love, as the two choose to be set a

part from society. If society does not approve of their affair, the lovers take the initiative

to distance themselves from the temporary comforts of society in order to be together in

perfect recluse.

1. Journal: Consider and compare the sites we visited on our two city walks (choose at least three monuments).

I would like to preface this entry by saying how surprised I was when I first read this prompt for the journal entry, for when I was first walking through Notre Dame, I was contrasting the sacred versus commercial tourist traps on my own.

My first encounter with and burgeoning opinion formed on Notre Dame was from the exterior. The façade looked very plain and just like any other Gothic-style cathedral we have seen. However, when I walked over to the side and behind the church, the architecture was much more intricate and flamboyant with flying buttresses, lace patterns and gargoyle figures. At this point I was very much intrigued and anticipatory on what awaited for me inside.

When I walked inside the cathedral at the start of the nave, I felt a spiritual sense and decided to sit in one of the chairs. This was a very peaceful moment for me as I jointly took in the grand interior space and tried to imagine what this place was like throughout the ages for pilgrims past and present. As I moved down the nave towards the choir and apse, the environment ironically seemed to get more tourist-like. Groups of people and school children were crowded around the gates taking pictures of the choir/altar where some religious leaders were preparing for service. Here my sense of peace and of the spiritual started to fade but I decided to continue on and walk around the semi-circular apse where I found yet again more tourist-like traps within the atriums – models of the cathedral, a holy relic and old objects from the cathedral itself. I understand that these objects are important to the cathedral’s history, but I think that they should not be placed directly inside the church and should be placed elsewhere, like in the adjoining transept where one has to pay to see a museum of religious garments and accessories.

I was shocked upon the realization that service was beginning. Although there were people sitting in the aisles reverently, most others were walking around the cathedral taking pictures and acting in what seemed to be a disrespectful manner in consideration to what was supposed to be a religious environment. Just as I was trying to interpret what was happening with the above, I noticed four tourist coin souvenir machines. These are annoying in general and they should not have been directly placed next to the altar, in all respect. If they had to have them there, putting them outside by the entryway would have been more fitting.

I noticed later in the afternoon when coming back from seeing Sainte Chapelle

that the square in front of Notre Dame was swarmed with tourists. Maybe if I had arrived

then, my initial impression would have been more reluctant and prepared for the

emanating “tourist vibe” that awaited for me, than the contrasting relaxed and

anticipatory spiritual experience I originally expected.

The visit to Sainte Chapelle was a different kind of experience, gladly. I noticed

upon entering that there were not as many tourists maybe this was because of the

reservations needed and tight security). In contrast to Notre Dame, the exterior of Sainte

Chapelle did not immediately grab me, having to remind myself that the supporting

structures were strategically hidden on the interior space, which is a remarkable feat in

itself.

Secondly, I felt that the people who were there visiting mostly understood what

they were looking at in contrast to Notre Dame. Notre Dame seems to be famous for

only its name, whereas the famed stained glass of Sainte Chapelle gives a distinct identity

to the church. The lined nave of chairs gave visitors an appreciative position to view the

beautiful stained glass, most of which are original from the time the church was first

built.

There, the environment enabled me to be overtaken by the aesthetic splendor of

the colored lights reflecting off one another, then inquisitive about what exactly I was

looking at. I noticed the same demeanors on others in our group, as we were each

allowed to sit or stand at our own leisure and marvel at what was set before us. I really

wished that the scaffolding for the restoration of the apse was not there, for that would

have offered an even more brilliant sight.

2. Response: Describe your experience of the Louvre, and/or Les Invalides.

My second visit to the Louvre was very different from the first. Granted that we had a greater length of time available to see more things and experience it at a different time of day, I am sure that if I visited again I would continue to find a different perception of the museum. When looking at the museum floor plan, I was surprised to notice that a large portion of the palace wings are unused for show to museum-goers. The very size of the building itself is so enormous in the context of a museum, I cannot imagine that it once served as a home to the greatest leaders of French history.

Those who resided within the Louvre strongly believed that war and martial force were necessary components to the attainment and preservation of power, and a normal part of human life. I feel that most people back then of all parts of society took this to be one of the standard social norms. Nowadays, however, this notion has definitely changed. Though there still may be those in power who see violence and war as a tool to the attainment of more power and recognition, the idea and implementation of peace and rationality is becoming the new tool of leadership and supremacy. Personally, I do not find it agreeable or necessary to have the idea or action of war and martial force to be a part of human life. One can become acquainted with and attain one’s potential by living without the fear of death, free to acquire and develop the necessary measures to achieve his/her goals. Though close encounters with death may remind us of our “purpose” or “meaning” in life, the constant presence of is not an essential motivating condition to actively pursue one’s fullest potential.

Humanity in general fights so much because each individual is inherently self-centered. We each want our own way, and when things do not go according to our own personal plans, we oftentimes take it as a personal threat to our well-being. The culture of the old aristocracy specially treated those who fight as heroes and potential leaders because they risked physical and mortal ailments for a seemingly “just” cause. I think that violent action used by those in power and authority is almost a quick-fix for what could be reached through patient dialogue. Authoritative places such as the Louvre commands respect, inhabited by those in power who held violence as a means of gaining and preserving success and forced respect from those around them. This concept of violence as a means to achieving anything and everything man wants directly reflects on the self-centered ideals of society. Though the physical elements of the Louvre are beautiful, the manner in which it was built was probably very different. In light of the modern day, I am glad that the ideas of non-violence, peaceful solidarity and dialogue are understood to be an alternative to sorting differences amongst all naturally self-concerned individuals.

2. Journal: Define the idea of a "museum" in terms of purpose and structure.

A museum can be defined as a building or collection of buildings that houses different artifacts put on display for the general public viewing. The Louvre Museum is infamously known as being one of the largest and most visited museums in the world. Once a former palace, the building itself stands as a museum of architectural history. The expansive interior space is the home to hundreds of priceless pieces of art, dating all throughout the ages.

Although I feel that it only makes sense to group pieces of art according to context and in chronological order, the Louvre efficiently represents this means of organization well. Walking through, I felt that I could go at my own pace and personally plan out what exactly I wanted to see. With only the latter half of the morning and afternoon to see as much as I could, I narrowed what I wanted to see down to my favorite periods of history. I spent most of my time in the Sully and Denon wings, beginning on the ground floor of the Sully, I viewed the Department of Near Eastern Antiquities (*Law Code of Hammurabi) and the Department of Ancient Egyptian Antiquities (*The Seated Scribe), chronologically moving forward to the first floor in the Department of Greek, Roman and Etruscan antiquities, then onto the Denon wing in the Department of European paintings from the mid-thirteenth to mid-nineteenth century (*Mona Lisa).

Another museum I could compare to the Louvre is the Metropolitan Museum of Art in New York City. As one of my favorite museums, it can also be classified as one of the world’s greatest museums. I would compare this to be on a very small scale in comparison to the Louvre here in Paris. Just as how the Chateau de Vaux le Vicomte is a precursor to Versailles, I could say that the Met could act as a small-scale precursor to the Louvre. Both museums are set up in a very similar manner, placing the artifacts chronologically by historical time period.

The palace of Versailles is a different kind of museum of its own. It is comparable to the Louvre in that at one time they both stood as palaces and marks of great power during their respective time periods. Though the building of the Louvre is renowned and respected, it is now identified as one of the greatest houses of art instead of the grand palace it once was. In contrast, Versailles is a kind of museum with an historical context preserved; one where tourists visit for the purpose to see what life was like within the great palace. Thought there is great art within the rooms at Versailles, that is only a small part of the greater experience of

seeing the rooms for how they once were.

Museums in general bother me in the sense of their function and duality as a preserverof history and taking the artifacts out of their original contexts. When at the Louvre this past week, I was looking at one small portrait stationed off to a side corner in one of the galleries. It was weird realization to think that at one time that portrait was not only an actual person, but was prized and an important representation of the sitter’s wealth. In the context of the modern day, I guess there is no perfect way to fully present and understand things of the past. The best we can do is to respect and attempt at preserving what is left through the efforts of restoration practices and museums in which to house.

3. Response: Please define what is not art. Define Hemingway's ethic of work as art.

Though the definition of what is and what is not art is open to subjective debate, I think that for something to be qualified as “art,” it must embody quality and skill, be thought-provoking and inspired. Things that are not art do not encompass these qualities. Ernest Hemingway lived during a time when the concept of what art is was being redefined. Many people believed that the new forms of creativity were garish and were far from qualified to be the “true art” of the sophisticated, classical kind.

An expatriate, Hemingway was an American writer who moved to Paris with the focus to practice and perfect his writing. At the start of his book, A Moveable Feast, Hemingway describes the growth of his writing:

“If I started to write elaborately, or like someone introducing or presenting something, I found that I could cut that scrollwork or ornament out and throw it away and start with the first true simple declarative sentence I had written” (12).

Hemingway broke from standard literary ideals of his time period by writing these “true simple declarative sentence(s)” as opposed to the classically popular Victorian style of writing which he refers to as “scrollwork or [as an] ornament.”

He found inspiration for his writing through other artistic radicals of the period. Mentioning the painter Cezanne a few times throughout his work, he credits him with helping him find the true path to writing:

“I was learning something from the painting of Cezanne that made writing simple true sentences far from enough to make the stories have the dimensions that I was trying to put in them” (13).

Just as Walter Pater was saying in this week’s class reading, Studies In The History of the Renaissance, art gives us something to identify and diversity ourselves through subjective, aesthetic perception. It can be said that Hemingway was inspired by Cezanne’s simple, crude usage of color and line to create a dramatic outcome and response in the viewer. In the same way, Hemingway aimed to use simplicity through his writing to create complexity, accurately describing the things he wrote about.

“When they said, “It’s great, Ernest. Truly it’s great. You cannot know the thing it has,” I wagged my tail in pleasure and plunged into the fiesta concept of life to see if I could not bring some fine attractive stick back, instead of thinking, “If these bastards like it what is wrong with it?” That was what I would think if I had been functioning as a professional although, if I had been functioning as a professional, I would never have read it to them” (209).

Later on in his writing career in Paris he recognizes that only he himself can be the master and final judge of his own work. Why should he listen only to others’ favorable criticisms when he should be the only critic of his art? In regards to his writing, Hemingway viewed it as a continuous art form that could always be fixed and corrected until he established what was true through the simplest means of words.

3. Journal: Consider the idea of "place"....Hemingway and Montmartre.

I would mark Ernest Hemingway to be my most favorite and admired writer. The “Hemingway Walk” was one of the things I looked forward most to on this trip when looking over the syllabus. As much as one can learn from reading about Hemingway and his literature, the experience of being in Paris and seeing the section of Paris that was Hemingway’s world was an invaluable experience to me. From this walk I felt that I was able to better understand the expatriate Hemingway I admire so much.

I have read A Moveable Feast twice now; once for leisure during my senior year of high school, and again for this trip. Each time I have read and glanced over the text I find new things with new meanings, as what should happen with any good text. However; putting Hemingway’s life into context by visiting the physical space of his past made me understand his work on a whole different level. For one, I was able to recognize places around Paris that were mentioned in A Moveable Feast. Hemingway mentions that the Jardin du Luxembourg is one of his favorite contemplation spots, and I can say now that I, too, have experienced the grandiose serenity of the gardens. Sylvia Beach’s Shakespeare & Co. is another place which Hemingway devotes a whole chapter to. By being physically within the place, I better understood the great importance it had upon Hemingway’s career as a starving artists, and appreciated the bookshop’s purpose to aid amateur writers. Hemingway also mentions his apartment on “74 rue Cardinal Lemoine,” noting that he lived on the third floor. On the guided tour, one of the first places we stopped to visit was this very address.

During Thursday’s Montmartre Walk, I liked how the tour guide incorporated visual examples of the artists’ work into her oral description of the places we visited. It made the area come to life and jogged my imagination of how life was for the artists living in that exact space. For example, when the guide showed us Van Gogh’s painting of a windmill up the small hill of a side street, the representation of the street was almost identical. I was excited to realize that not only had Van Gogh been on this particular street at one time, but had pretty much witnessed the same, mostly unchanged view as I was at that very moment.

At Montmartre, I did feel as if I were in a different place than Paris. It felt like its own little community of preserved and continued-on artistic history. Artists still swarmed the streets sketching and painting, taking after their great predecessors. Beyond the artistic vibe, Montmartre seemed to be calm and isolated from the busy Parisian boulevards. If I were to design my own walking tour of Paris, I would incorporate grand sights such as the Eiffel Tower against a more calm, realistic place such as Montmartre. This would demonstrate not only the rich history of Paris, but its many faces.

Though both the Hemingway and the Montmartre Walks are known for their respective locations, it truly was the feeling derived from each that identifies them. To me, Paris is not just one place with a single feeling; it is indeed multi-faceted and can evoke a myriad of personal responses. Since being here I agree with the words of Hemingway that Paris is, indeed, a moveable feast. Just as reading the same text manifests a different response each time read, so does the city of Paris, continually changing to fit as one changes.