The Eighteenth Century or Fin-de-Siècle Beginnings Diane Fourny W HILE WORKING ON THIS ESSAY, I was interrupted one morning by a National Public Radio broadcast reporting what I can only call a fin-de-siècle “happening.” According to the broadcaster a group of concerned French citizens was mounting a cam paign to purge France’s national anthem of its bellicose lyrics. This furor over the Marseillaise had arisen over its delivery at the opening cere monies of the Olympic Winter Games in Albertville when ten-year-old Séverine Dupelloux, unaccompanied, sang the national anthem before an audience of hundreds present and millions worldwide via satellite tele vision. As her small, uplifted voice poignantly resonated throughout the arena, TV viewers everywhere could follow the anthem’s lyrics being simultaneously translated by subtitles flashed across their screens. Some how, there arose a certain incongruity between the child’s innocent voice and “ furrows of blood” in the minds of some viewers, suggesting scan dal, worse yet—a brutal, erotically charged image of lost innocence fill ing an already excited night air of competitive sports. Something had to be done. Yet, no sooner had a campaign to change the anthem’s lyrics formed than a countergroup, calling itself the Committee for the Defense of the Marseillaise, demanded a “ hands off” policy, accusing those reform-minded individuals of totalitarian-type leanings, suggesting that only a regime like the former Soviet Union would dare to “rewrite” history.1 Criticizing the Marseillaise's violent overtures to war and the spilling of enemy blood is hardly new.2 Nor should it come as any surprise that during this our most “ postmodern” hour, political activists on the Left (Danielle Mitterrand being the most striking sympathizer of the reform campaign) should deny their historical debt to the revolutionary rhetoric of 1789. Given a context of fin-de-siècle as such, the Marseillaise “hap pening” should be read as a repetition of that simultaneous emergence and reversal of political extremes at both ends of the ideological spec trum so frequently expressed under fin-de-siècle Europe a hundred years ago—let it not be forgotten—at a time when the first modern Greek Olympic Games were being initiated internationally in 1894. The irony, or more aptly, discomfort here—that the Marseillaise should create a Vol. XXXII, No. 4 7 L ’E sprit C réateur scandal at these first Olympic Games since the fall of the Berlin Wall— lay in the fact that as the very notion of political animosity had all but been eradicated (so say the proponents of a “New World Order”), up popped the ugly head of political contention once again in the form of censorship by the Left on the one hand and conservative chauvinism on the other. Furthermore, what to make of the lackluster medal showing by the Americans and the oxymoronic presence of the former Soviet Union’s “Unified Team” ? And should the hoarding of the gold, silver, and bronze by “Old Europe” become a new source of speculation (the Germans and Austrians in particular, though France also collected more medals than in recent past Olympics)? Had the spirit of 1992 Games been contaminated with that of the politically charged Games of 1894-1904?3 France’s collective discomfiture with Séverine Dupelloux’s rendition of the Marseillaise—which should also be read as the very eroticization of that voice—points to a deep and often times, mystified filiation to finde -siècle aesthetics and ideology of the French Revolution. In this essay, I will argue that the spirit of fin-de-siècle begins with the French Revolu tion as principle of a regenerative force. In many respects, the fin-desi ècle reiterates a desire to rejoin sacred time, the time of violent social upheavals and of new foundations. At the same time it refuses to fulfill such a desire, out of fear or perhaps fatigue, that new foundations remain merely repetitions of the same. If thinkers of modernity are cor rect in seeing this period as pivotal—the French Revolution validating a historical consciousness of a new age defined as a present open onto the future...