R Alit S

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At The Top Of The Empire

Author: Isabelle Davion
Publisher: Peter Lang
ISBN: 9789052014968
Size: 16.51 MB
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Cet ouvrage a recu le Prix d'Aumale de l'institut de France en 2010. Lorsque la France recoit des delegations venues du monde entier pour redessiner l'Europe a la Conference de la Paix de 1919, son principal souci est deja de gagner la prochaine guerre face a l'Allemagne. La Tchecoslovaquie et la Pologne sont alors designees comme les deux piliers de l'architecture de securite en Europe centre-orientale a condition que celles-ci acceptent d'accorder leurs lignes diplomatiques et militaires. Quelles initiatives francaises tentent de forcer l'entente entre Prague et Varsovie ? Quelles forces font obstacle a la necessaire coherence strategique de ces trois acteurs qui peinent a devenir partenaires ? Pour saisir toute l'ampleur de cet enjeu central de la politique francaise a l'Est de l'Allemagne, les aspects militaires, diplomatiques et economiques sont ici croises, permettant de clarifier les differentes influences qui orientent les relations internationales: marge de manoeuvre des gouvernements, processus de decision dans les ministeres et les etats-majors, poids du ressentiment dans la recherche d'une legitimite internationale. En abordant l'histoire d'un rendez-vous manque, cet ouvrage eclaire l'une des raisons majeures de l'echec du systeme de securite francais de l'entre-deux-guerres, mais aussi l'un des nombreux quiproquo que revele l'histoire contemporaine des relations entre la France et les nations d'Europe centre-orientale."

Popular Music In France From Chanson To Techno

Author: Hugh Dauncey
Publisher: Routledge
ISBN: 1351553690
Size: 43.49 MB
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In France during the 1960s and 1970s, popular music became a key component of socio-cultural modernisation as the music/record industry became increasingly important in both economic and cultural terms in response to demographic changes and the rise of the modern media. As France began questioning traditional ways of understanding politics and culture before and after May 1968, music as popular culture became an integral part of burgeoning media activity. Press, radio and television developed free from de Gaulle's state domination of information, and political activism shifted its concerns to the use of regional languages and regional cultures, including the safeguard of traditional popular music against the centralising tendencies of the Republican state. The cultural and political significance of French music was again revealed in the 1990s, as French-language music became a highly visible example of France's quest to maintain her cultural 'exceptionalism' in the face of the perceived globalising hegemony of English and US business and cultural imperialism. Laws were passed instituting minimum quotas of French-language music. The 1980s and 1990s witnessed developing issues raised by new technologies, as compact discs, the minitel telematics system, the internet and other innovations in radio and television broadcasting posed new challenges to musicians and the music industry. These trends and developments are the subject of this volume of essays by leading scholars across a range of disciplines including French studies, musicology, cultural and media studies and film studies. It constitutes the first attempt to provide a complete and up-to-date overview of the place of popular music in modern France and the reception of French popular music abroad.

Sounds French

Author: Jonathyne Briggs
Publisher: Oxford University Press
ISBN: 0199377081
Size: 16.39 MB
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Sounds French examines the history of popular music in France between the arrival of rock and roll in 1958 and the collapse of the first wave of punk in 1980, and the connections between musical genres and concepts of community in French society. During this period, scholars have tended to view the social upheavals associated with postwar reconstruction as part of debates concerning national identity in French culture and politics, a tendency that developed from political figures' and intellectuals' concerns with French national identity. In this book, author Jonathyne Briggs reorients the scholarship away from an exclusive focus on national identity and instead towards an investigation of other identities that develop as a result of the increased globalization of culture. Popular music, at once individual and communal, fixed and plastic, offers an illuminating window into such transformations in social structures through the ways in which musicians, musical consumers, and critical intermediaries re-imagined themselves as part of novel cultural communities, whether local, national, or supranational in nature. Briggs argues that national identity was but one of a panoply of identities in flux during the postwar period in France, demonstrating that the development of hybridized forms of popular music provided the French with a method for expressing and understanding that flux. Drawing upon an array of printed and aural sources, including music publications, sound recordings, record sleeves, biographies, and cultural criticism, Sounds French is an essential new look at popular music in postwar France.

R Alit S

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