Are the French right to ban the word "hashtag"?

Cultural anxiety on twitter.

Last Wednesday, the French government’s snappily-named General Commission for Terminology and Neology issued a recommendation that French social media users should shun the term “hashtag” in favour of French alternative mot-dièse, or "hash word".

The recommendations of the Commission, which was created in 1996 in order to combat the influx of Anglo-American words, have been met with widespread criticism. The proposed term mot-dièse has been accused of not being Twitter friendly (it is longer than "hashtag" and contains an accent), and of being inaccurate– dièse actually denotes a musical sharp symbol (♯), rather than a hash sign. The outlawing of "hashtag" is also seen by many social media users as reactionary and futile; it has variously been described as a “Frankenstein word”, “ridiculous” and, fittingly (or ironically), it has been branded  an #epicfail on Twitter.

On first glance, the recommendation may seem ill-judged or even risible, but it begins to look a little more raisonnable when put in the context of a more general cultural anxiety. In the last fifty years, English words have become increasingly ubiquitous in French day-to-day life. This is largely thanks to the import of a great deal of American – and some British – television programmes and films, which are watched in VO (version originale) with subtitles. American music is also very popular in France; nothing is guaranteed to fill a French dance floor like the opening bars of the Black Eyed Peas hit I Gotta Feeling, though clubbers will sing along to only a few selected lyrics: “up!….off!… masel tov!… good, good night!”.

French governments of all political colours have fought to protect their culture from being dominated by a tradition alien to their own. Whilst Chirac’s conservative government introduced the terminology Commission in 1996, it was France’s much-revered socialist president, François Mitterrand, who created the “cultural exception”, which necessitated ‘cultural goods’ to be treated differently to other commercial products, encouraging the autonomous production of French art.  Mitterrand also introduced the controversial radio quota that necessitates that at least 40 per cent of music on France’s airwaves is in French. For the British, who tend to find patriotism a little embarrassing (though the Olympic Games proved an exception), this cultural approach may seem a little precious. But it is worth remembering that we too grumble about the "Americanisation" of the English tongue, despite the fact that we, at least, share the same language as our U.S. counterparts.

The proliferation of Anglicisms is particularly present in the world of beez-ness where terms like “debrief”, “meeting”, and “manager” are d’un common. In recent years, Paris metro carriages have been splattered with adverts for courses to learn "Wall Street English", depicted on the posters is a tanned man in a business suit, his mouth opened wide to reveal a tongue decorated with the stars and stripes. Little wonder, then, that many French people are often anxious about, what writer and French culture expert Lucy Wadham terms, the “relentless advance of Anglo-American capitalism.”

The dominance of English-based terms is nowhere more prevalent than in the ever-developing world of technology. The same Commission that coined mot-dièse has fought since the birth of the internet to preserve French terminology; along the way it has tried to promote French alternatives for ‘the web’ (la toile) and ‘email’ (courrier-électronique). But is it realistic, in a domain where new products, systems and concepts are being developed and created all the time – and therefore where words signify completely new phenomena – to seek translations for digital terminology? Speaking to The New Statesman, David Carzon, the web editor of French cultural magazine Télérama suggested that there is a distinction to be made between official and colloquial language. “[The state] cannot control colloquial language; "courrier éléctronique" is widely used in official communication , whilst "email" remains the preferred term in everyday language.”

He adds that “ultimately, it is [Twitter] users that will decide if mot-dièse will replace hashtag.” According to a survey this week, only thirty percent of a cross-section of 300  said they intended to start using the term, whilst 67 per cent said they would stick with "hashtag".

Carzon, however, does not view the adoption of English words as necessarily worrying for French culture. “French culture doesn’t seem to have been changed radically by the adoption of foreign words. Users are capable of appropriating their own language and integrating it in to their own culture without becoming "colonised".” For him, the internet is a symbol of cultural “mixing”, rather than hegemony. And he has a point – it is not anglais that the French have so taken to using, but franglais – a language in which English terms are adapted, used and mis-used to fit with French grammar, sensibilities and convenience. The hybrid term for a car-park, un parking, is a good example of this, as is the French adoption of le week-end, and the adapted French verb for texting, textoter —   which can be conjugated in every which French tense and mood, including the subjunctive. English film titles are often re-translated for their French release with "The Hangover" being re-named "Very Bad Trip", and 2010 rom-com "No Strings Attached" becoming the rather more blunt, "Sex Friends."

In any case, whether mot-dièse catches on or not – in spoken French at least – "hashtag" will never sound American or British; though the French use English words, they are always pronounced as if they were French. It is not really a question of mot-dièse vs hashtag, but rather mot-diese vs. ‘ache-tague’, so really la belle langue always wins in the end.

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Let's face it: supporting Spurs is basically a form of charity

Now, for my biggest donation yet . . .

I gazed in awe at the new stadium, the future home of Spurs, wondering where my treasures will go. It is going to be one of the architectural wonders of the modern world (football stadia division), yet at the same time it seems ancient, archaic, a Roman ruin, very much like an amphitheatre I once saw in Croatia. It’s at the stage in a new construction when you can see all the bones and none of the flesh, with huge tiers soaring up into the sky. You can’t tell if it’s going or coming, a past perfect ruin or a perfect future model.

It has been so annoying at White Hart Lane this past year or so, having to walk round walkways and under awnings and dodge fences and hoardings, losing all sense of direction. Millions of pounds were being poured into what appeared to be a hole in the ground. The new stadium will replace part of one end of the present one, which was built in 1898. It has been hard not to be unaware of what’s going on, continually asking ourselves, as we take our seats: did the earth move for you?

Now, at long last, you can see what will be there, when it emerges from the scaffolding in another year. Awesome, of course. And, har, har, it will hold more people than Arsenal’s new home by 1,000 (61,000, as opposed to the puny Emirates, with only 60,000). At each home game, I am thinking about the future, wondering how my treasures will fare: will they be happy there?

No, I don’t mean Harry Kane, Danny Rose and Kyle Walker – local as well as national treasures. Not many Prem teams these days can boast quite as many English persons in their ranks. I mean my treasures, stuff wot I have been collecting these past 50 years.

About ten years ago, I went to a shareholders’ meeting at White Hart Lane when the embryonic plans for the new stadium were being announced. I stood up when questions were called for and asked the chairman, Daniel Levy, about having a museum in the new stadium. I told him that Man United had made £1m the previous year from their museum. Surely Spurs should make room for one in the brave new mega-stadium – to show off our long and proud history, delight the fans and all those interested in football history and make a few bob.

He mumbled something – fluent enough, as he did go to Cambridge – but gave nothing away, like the PM caught at Prime Minister’s Questions with an unexpected question.

But now it is going to happen. The people who are designing the museum are coming from Manchester to look at my treasures. They asked for a list but I said, “No chance.” I must have 2,000 items of Spurs memorabilia. I could be dead by the time I finish listing them. They’ll have to see them, in the flesh, and then they’ll be free to take away whatever they might consider worth having in the new museum.

I’m awfully kind that way, partly because I have always looked on supporting Spurs as a form of charity. You don’t expect any reward. Nor could you expect a great deal of pleasure, these past few decades, and certainly not the other day at Liverpool when they were shite. But you do want to help them, poor things.

I have been downsizing since my wife died, and since we sold our Loweswater house, and I’m now clearing out some of my treasures. I’ve donated a very rare Wordsworth book to Dove Cottage, five letters from Beatrix Potter to the Armitt Library in Ambleside, and handwritten Beatles lyrics to the British Library. If Beckham and I don’t get a knighthood in the next honours list, I will be spitting.

My Spurs stuff includes programmes going back to 1910, plus recent stuff like the Opus book, that monster publication, about the size of a black cab. Limited editions cost £8,000 a copy in 2007. I got mine free, as I did the introduction and loaned them photographs. I will be glad to get rid of it. It’s blocking the light in my room.

Perhaps, depending on what they want, and they might take nothing, I will ask for a small pourboire in return. Two free tickets in the new stadium. For life. Or longer . . . 

Hunter Davies is a journalist, broadcaster and profilic author perhaps best known for writing about the Beatles. He is an ardent Tottenham fan and writes a regular column on football for the New Statesman.

This article first appeared in the 16 February 2017 issue of the New Statesman, The New Times