Abrégé de l'histoire ecclésiastique, civile, et politique de la ville de Rouen; avec son origine et ses accroissemens jusqu'à nos jours. Par M*** [i.e.-Le Coq de Villeray]. PDF Download

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Publisher:
ISBN:
Category :
Languages : en
Pages : 672

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Author:
Publisher: Walter de Gruyter GmbH & Co KG
ISBN: 3110895978
Category : Social Science
Languages : en
Pages : 144

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No detailed description available for "Culture et Politique / Culture and Politics".

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Publisher: Odile Jacob
ISBN: 2738194699
Category :
Languages : en
Pages : 482

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Author: Joseph M Labaki
Publisher: eBook Partnership
ISBN: 0992648483
Category : Philosophy
Languages : en
Pages : 334

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Maurice Merleau-Ponty is the giant phenomenologist of his time in the entire French-speaking world. He is not an epistemologist nor a moralist. For him, the beginning of the beginning is human flesh; the flesh becomes word, the word becomes flesh, and both die. There is science, and there is experience/perception. The mother is the latter. They aren't contradictory, but complete and depend on each other. With regard to language, for him, there are words, and there is grammar. A word is never empty, but carries its own weight; even a lie is full of meaning. Liberty resides in grammar, an individual function and independent from books. It's in the grammar where singularity lives. Thinking and talking are the same. Wherever there is human life, there is meaning, and that is irrespective of age, culture, religion, education or social position. Merleau-Ponty is not a Marxist nor a communist. According to him, history is blind; it has no mind. He also finds a flaw in Freudianism. Flesh is an infinite universe full of stars and black holes. Following Merleau-Ponty, verity is devoiler, and devoiler is verity, but verity is never absolute. One must take a step back. There is light and there is shadow; they never coincide in human life. The shadow is always first, and no matter how one tries to run, he will never catch his shadow.

Author: Philippe Le Guern
Publisher: Routledge
ISBN: 1317050010
Category : Music
Languages : en
Pages : 325

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The term 'Popular Music' has traditionally denoted different things in France and Britain. In France, the very concept of 'popular' music has been fiercely debated and contested, whereas in Britain and more largely throughout what the French describe as the 'Anglo-saxon' world 'popular music' has been more readily accepted as a description of what people do as leisure or consume as part of the music industry, and as something that academics are legitimately entitled to study. French researchers have for some decades been keenly interested in reading British and American studies of popular culture and popular music and have often imported key concepts and methodologies into their own work on French music, but apart from the widespread use of elements of 'French theory' in British and American research, the 'Anglo-saxon' world has remained largely ignorant of particular traditions of the study of popular music in France and specific theoretical debates or organizational principles of the making and consuming of French musics. French, British and American research into popular music has thus coexisted - with considerable cross-fertilization - for many years, but the barriers of language and different academic traditions have made it hard for French and anglophone researchers to fully appreciate the ways in which popular music has developed in their respective countries and the perspectives on its study adopted by their colleagues. This volume provides a comparative and contrastive perspective on popular music and its study in France and the UK.

Author: Jane F. Fulcher
Publisher: Oxford University Press
ISBN: 0190681527
Category : Music
Languages : en
Pages : 505

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In Renegotiating French Identity, Jane Fulcher addresses the question of cultural resistance to the German occupation and Vichy regime during the Second World War. Nazi Germany famously stressed music as a marker of national identity and cultural achievement, but so too did Vichy. From the opera to the symphony, music did not only serve the interests of Vichy and German propaganda: it also helped to reveal the motives behind them, and to awaken resistance among those growing disillusioned by the regime. Using unexplored Resistance documents, from both the clandestine press and the French National Archives, Fulcher looks at the responses of specific artists and their means of resistance, addressing in turn Pierre Schaeffer, Arthur Honegger, Francis Poulenc, and Olivier Messiaen, among others. This book investigates the role that music played in fostering a profound awareness of the cultural and political differences between conflicting French ideological positions, as criticism of Vichy and its policies mounted.

Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 856

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Author: Matthew Machin-Autenrieth
Publisher: University of Illinois Press
ISBN: 0252054857
Category : Music
Languages : en
Pages : 447

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How music embodies and contributes to historical and contemporary nationalism What does music in Portugal and Spain reveal about the relationship between national and regional identity building? How do various actors use music to advance nationalism? How have state and international heritage regimes contributed to nationalist and regionalist projects? In this collection, contributors explore these and other essential questions from a range of interdisciplinary vantage points. The essays pay particular attention to the role played by the state in deciding what music represents Portuguese or Spanish identity. Case studies examine many aspects of the issue, including local recording networks, so-called national style in popular music, and music’s role in both political protest and heritage regimes. Topics include the ways the Salazar and Franco regimes adapted music to align with their ideological agendas; the twenty-first-century impact of UNESCO’s Intangible Cultural Heritage program on some of Portugal and Spain's expressive practices; and the tensions that arise between institutions and community in creating and recreating meanings and identity around music. Contributors: Ricardo Andrade, Vera Marques Alves, Salwa El-Shawan Castelo-Branco, Cristina Sánchez-Carretero, José Hugo Pires Castro, Paulo Ferreira de Castro, Fernán del Val, Héctor Fouce, Diego García-Peinazo, Leonor Losa, Josep Martí, Eva Moreda Rodríguez, Pedro Russo Moreira, Cristina Cruces Roldán, and Igor Contreras Zubillaga

Author: Esteban Buch
Publisher: Routledge
ISBN: 1317162633
Category : Music
Languages : en
Pages : 337

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Under the dictatorships of the twentieth century, music never ceased to sound. Even when they did not impose aesthetic standards, these regimes tended to favour certain kinds of art music such as occasional works for commemorations or celebrations, symphonic poems, cantatas and choral settings. In the same way, composers who were more or less ideologically close to the regime wrote pieces of music on their own initiative, which amounted to a support of the political order. This book presents ten studies focusing on music inspired and promoted by regimes such as Nazi Germany, Fascist Italy, France under Vichy, the USSR and its satellites, Franco's Spain, Salazar's Portugal, Maoist China, and Latin-American dictatorships. By discussing the musical works themselves, whether they were conceived as ways to provide "music for the people", to personally honour the dictator, or to participate in State commemorations of glorious historical events, the book examines the relationship between the composers and the State. This important volume, therefore, addresses theoretical issues long neglected by both musicologists and historians: What is the relationship between art music and propaganda? How did composers participate in musical life under the control of an authoritarian State? What was specifically political in the works produced in these contexts? How did audiences react to them? Can we speak confidently about "State music"? In this way, Composing for the State: Music in Twentieth Century Dictatorships is an essential contribution to our understanding of musical cultures of the twentieth century, as well as the symbolic policies of dictatorial regimes.

Author: Pablo Palomino
Publisher: Oxford University Press
ISBN: 0190687428
Category : Music
Languages : en
Pages : 273

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The ethnically and geographically heterogeneous countries that comprise Latin America have each produced music in unique styles and genres - but how and why have these disparate musical streams come to fall under the single category of "Latin American music"? Reconstructing how this category came to be, author Pablo Palomino tells the dynamic history of the modernization of musical practices in Latin America. He focuses on the intellectual, commercial, musicological, and diplomatic actors that spurred these changes in the region between the 1920s and the 1960s, offering a transnational story based on primary sources from countries in and outside of Latin America. The Invention of Latin American Music portrays music as the field where, for the first time, the cultural idea of Latin America disseminated through and beyond the region, connecting the culture and music of the region to the wider, global culture, promoting the now-established notion of Latin America as a single musical market. Palomino explores multiple interconnected narratives throughout, pairing popular and specialist traveling musicians, commercial investments and repertoires, unionization and musicology, and music pedagogy and Pan American diplomacy. Uncovering remarkable transnational networks far from a Western cultural center, The Invention of Latin American Music firmly asserts that the democratic legitimacy and massive reach of Latin American identity and modernization explain the spread and success of Latin American music.