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Journal articles on the topic 'Political ballads and songs – France'

Author: Grafiati

Published: 10 March 2023

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1

Murphy, Emilie K. M. "Music and Catholic culture in post-Reformation Lancashire: piety, protest, and conversion." British Catholic History 32, no. 4 (2015): 492–525. http://dx.doi.org/10.1017/bch.2015.18.

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AbstractThis essay adds to our existing understanding of what it meant to be a member of the English Catholic community during the late Elizabeth and early Stuart period by exploring Catholic musical culture in Lancashire. This was a uniquely Catholic village, which, like the majority of villages, towns and cities in early modern England, was filled with the singing of ballads. Ballads have almost exclusively been treated in scholarship as a ‘Protestant’ phenomenon and the ‘godly ballad’ associated with the very fabric of a distinctively Protestant Elizabethan and Stuart entertainment culture.

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2

Toftgaard, Anders. "Blandt talende statuer og manende genfærd. Mazarinader i Det Kongelige Biblioteks samlinger." Fund og Forskning i Det Kongelige Biblioteks Samlinger 53 (March 2, 2014): 57. http://dx.doi.org/10.7146/fof.v53i0.118825.

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Anders Toftgaard: Amongst speaking statues and admonishing ghosts. Mazarinades in the collections of The Royal Library Mazarinade is a term for political writing that was published in different forms in France during (and related to) the Fronde (1648–1653). The Fronde was a series of civil wars that first broke out when Louis XIV (born 1638) was still a child, and Mazarin was the Chief Minister of France and responsible for the young king’s education. Mazarin governed the country together with the king’s mother, Anne of Austria. The term mazarinade covers pamphlets, letters, official doc

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3

O’Brien, Ellen L. "“THE MOST BEAUTIFUL MURDER”: THE TRANSGRESSIVE AESTHETICS OF MURDER IN VICTORIAN STREET BALLADS." Victorian Literature and Culture 28, no. 1 (2000): 15–37. http://dx.doi.org/10.1017/s1060150300281023.

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To say that this common [criminal] fate was described in the popular press and commented on simply as a piece of police news is, indeed, to fall short of the facts. To say that it was sung and balladed would be more correct; it was expressed in a form quite other than that of the modern press, in a language which one could certainly describe as that of fiction rather than reality, once we have discovered that there is such a thing as a reality of fiction.—Louis Chevalier, Laboring Classes and Dangerous ClassesSPEAKING OF NINETEENTH-CENTURY FRANCE, Louis Chevalier traces the bourgeoisie’s elisi

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4

Morris, Nancy. "Canto Porque es Necesario Cantar: The New Song Movement in Chile, 1973–1983." Latin American Research Review 21, no. 2 (1986): 117–36. http://dx.doi.org/10.1017/s0023879100015995.

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“Para el camino” Canto a la angustia y a las alegrias. Canto porque es necesario can tar para ir dejando una huella en los dias, para ir diciendo cosas prohibidas.“For the Road” I sing of anguish and joy. I sing because it's necessary to sing to leave my mark on time, to say forbidden things.Latin American New Song is distinct from the usual stereotypes of Latin American popular music. Songs such as “Para el camino” do not fit into the common categories of salsa, ballads, Spanish-language versions of U.S. hit songs or popularized traditional styles such as the ranchera and cumbia. Although New

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Liugaitė-Černiauskienė, Modesta. "Ballads in Oral and Written Tradition: Retrospective Research Survey." Tautosakos darbai 55 (June 25, 2018): 13–35. http://dx.doi.org/10.51554/td.2018.28497.

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The article aims at reviewing the rich and ambivalent Western folk ballad research tradition in terms of confluence of the oral and written traditions. Although being well-reflected in the West, this approach is hardly at all present in Lithuania. The article starts with discussing such cultural phenomenon as broadside ballads. In surveying them, the author maintains that popular publications of the 16th–19th century Europe (bibliothèque bleue, skyllingtricker, Volksbuch, pliegos de cordel, лубочная литература, etc.) were an inherent part of the folk culture. Printed sheets of folksongs and ba

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6

Fals, Iwan. "Guitar versus tanks." Index on Censorship 26, no. 2 (1997): 74–75. http://dx.doi.org/10.1177/030642209702600224.

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Known as ‘the Indonesian Bob Dylan’, Iwan Fals is one of the country's most popular singers. Many of his ballads address important social and political matters. He has repeatedly been approached by both opposition parties to stand for Parliament, but says he is not interested. His live performances are frequently banned. In 1984 the army halted a show in Pekanbaru, Sumatra, on the grounds that two of his songs — ‘Demokrasi Nasi’ (Rice Democracy) and ‘Mbak Tini’ (Sister Tini) — were a threat to public order. In 1989 the police banned his 100-town tour. ‘All I carry is a guitar made of wood and

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Teleutsia, Valentyna, Alla Pavlova, Liliia Sydorenko, Neonila Tilniak, Yuliya Kapliyenko-Iliuk, and Natalia Venzhynovych. "Mode of Understanding the Terms "Concept" and "Folklore Concept" in Modern Humanities." Studies in Media and Communication 10, no. 3 (2022): 40. http://dx.doi.org/10.11114/smc.v10i3.5832.

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The urgency of the study is explained by the importance of a thorough study of typology and classification of concepts in terms of modern cognitive linguistics, linguoculturology, history, ethnolinguistics, philosophy and psychology, including folklore concept as a set of signs that form a semiotic model of national and cultural experience and allow in-depth study of cultural processes in the light of historical and national factors. The aim of the article is to try to comprehend the concept and folklore concept from the standpoint of modern researchers working in various fields of humanities,

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8

Hsueh, Vicki. "Intoxicated Reasons, Rational Feelings: Rethinking the Early Modern English Public Sphere." Review of Politics 78, no. 1 (2016): 27–57. http://dx.doi.org/10.1017/s0034670515000868.

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AbstractThis article examines early modern English public houses and related period miscellany—broadside ballads, conduct books, and songs—to more closely investigate the discourses and performances of drinking culture. Drinking culture, I argue, not only had a significant role in shaping the Restoration's civic culture of political participation and the emerging early modern public sphere, but also positioned emotions of pleasure and melancholy as social and political objects of care and cultivation. While the politics of pub culture and intoxication have been well documented by historians an

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9

Kuhn, Christian. "Urban Laughter as a “Counter-Public” Sphere in Augsburg: The Case of the City Mayor, Jakob Herbrot (1490/95–1564)." International Review of Social History 52, S15 (2007): 77–93. http://dx.doi.org/10.1017/s0020859007003136.

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Social movement scholarship has recently focused on “popular” media of protest; reading and singing provided a forceful communicative structure in semi-literate urban society, especially in Augsburg, the largest city of Reformation Germany. The case of Jakob Herbrot (1490/95–1564) combines the antagonisms of political, social, and religious movements; a rich Calvinist, he climbed the social ladder from a lowly regarded profession to the highest office of the imperial city in a precarious time of confessional armed conflict. Herbrot's conduct triggered a life-long series of accusations, polemic

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Love, Timothy M. "Irish Nationalism, Print Culture and the Spirit of the Nation." Nineteenth-Century Music Review 15, no. 2 (2017): 189–208. http://dx.doi.org/10.1017/s1479409817000015.

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Recent investigations into the survival and dissemination of traditional songs have elucidated the intertwining relationship between print and oral song traditions. Musical repertories once considered distinct, namely broadside ballads and traditional songs, now appear to have inhabited a shared space. Much scholarly attention has been focused on the print and oral interface that occurred in eighteenth- and nineteenth-century Britain.Less attention has been paid, however, to music in Ireland where similar economic, cultural and musical forces prevailed. Yet, Ireland’s engagement in various nat

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Bold, Valentina. "Ballads, Songs and Snatches: The Appropriation of Folk Song and Popular Culture in British Nineteenth-Century Realist Prose (review)." Victorian Studies 43, no. 4 (2001): 643–44. http://dx.doi.org/10.1353/vic.2001.0093.

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Preitschopf, Alexandra. "Contested Memories in Contemporary France and Their Reflection in Rap Music." AUC STUDIA TERRITORIALIA 21, no. 2 (2022): 11–33. http://dx.doi.org/10.14712/23363231.2022.2.

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France’s colonial past and its aftermath remain an “open wound” to this day. After a long period of silence, painful issues such as the role of France in the transatlantic slave trade, colonial crimes in Africa, and the Algerian War have more and more become part of public consciousness in France. Interestingly, many French rap musicians who are the children or grandchildren of immigrants from former French colonies frequently use their songs to remind France of its colonial past. However, their messages sometimes compete with remembrance of the Holocaust. The singers’ condemnation of French c

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Gibbs, Jenna M. "Columbia the Goddess of Liberty and Slave-Trade Abolition (1807–1820s)." Sjuttonhundratal 8 (October 1, 2011): 156. http://dx.doi.org/10.7557/4.2391.

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<p>Eighteenth-century American thespians, balladeers, and artists used performances of Columbia, an anthropomorphic metaphor for the body politic, to animate Enlightenment precepts of natural rights and liberty. Following the American Revolution, anti-slavery sympathizers staged Columbia as a symbol both of political liberty from Great Britain and of personal liberty in engravings, plays, and ballads that depicted her bequeathing freedom to Africans from the throne of her Temple. But in reaction to slave-trade abolition-Great Britain's 1807 legislation and the United States' ban in 1808-

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14

Yang, Fuyin. "“Passatempi musicali” by GuillaumeLouis Cottrau as the way Neapolitan song actualization in 19th century music." Aspects of Historical Musicology 19, no. 19 (2020): 268–84. http://dx.doi.org/10.34064/khnum2-19.15.

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Background. In 19th century European music has been enriched by national phenomena, such as Polish mazurka, Austrian waltz, Hungarian czardas, which went into the academic genres system, expanded the boundaries of its intonational fund and audience perceptions. The Neapolitan song participated in this process. It was a real discovery for music lovers in different countries. Canzone Napoletana conquered the music salons area in France, from where it spread in all the Europe, and was reflected in the work of many composers. This genre phenomenon is not fully unraveled, probably due to the distor

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15

Kinney, Anne Behnke. "Popular Songs and Ballads of Han China. By Anne Birrell. [Honolulu: University of Hawaii Press, 1993. 226 pp. $12.95. ISBN 0-8248-1548-3.]." China Quarterly 140 (December 1994): 1148. http://dx.doi.org/10.1017/s030574100005298x.

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Guerra, Paula, Carles Feixa Pàmpols, Shane Blackman, and Jeanette Ostegaard. "Introduction: Songs that Sing the Crisis: Music, Words, Youth Narratives and Identities in Late Modernity." YOUNG 28, no. 1 (2020): 5–13. http://dx.doi.org/10.1177/1103308819879825.

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In this special edition on popular music, we seek to explore Simon Frith’s (1978, The sociology of rock, London, UK: Constable, p. 39) argument that: ‘Music’s presence in youth culture is established but not its purpose’. ‘Songs that sing the crisis’ captures contemporary accounts, which build upon popular music’s legacy, courage and sheer determination to offer social and cultural critique of oppressive structures or political injustice as they are being lived by young people today. Young people have consistently delivered songs that have focused on struggles for social rights, civil rights,

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17

Dobie, Madeleine. "Assia Djebar: Writing between Land and Language." Publications of the Modern Language Association of America 131, no. 1 (2016): 128–33. http://dx.doi.org/10.1632/pmla.2016.131.1.128.

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The death of assia djebar on 7 february 2015 marks the end of an era in literary and world history. The last survivor of the generation of Algerian writers who took up the pen in the mid-1950s as their country embarked on its historic struggle for independence from France, Djebar continued writing long after the deaths of Mouloud Feraoun (1962), Kateb Yacine (1989), Mouloud Mammeri (1989), and Mohammed Dib (2003). With her death, the age of decolonization and African revolution as it resonated in literature seems truly to have come to a close. Djebar was the only woman among the Algerian liter

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18

Meleshchenko, Olexander. "The Nature of the First English Newspapers Through the Eyes of a Contemporary Playwright Ben Jonson in His Play “The Staple of News”." Scientific notes of the Institute of Journalism, no. 2(81) (2022): 99–109. http://dx.doi.org/10.17721/2522-1272.2022.81.7.

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The nature of the first English newspapers through the eyes of a contemporary playwright Ben Jonson in his play “The Staple of News” is considered. These first-born publications inherited from their predecessops – actually the books, socalled “News books”, “Fair bulletins”, “News ballads”, “News”, “Newsletters”, hybrid publications (two pages of printed messages and two blank pages for handwritten information for the areas where there was still no printing press) – a book format and two-column layout, which restrained development of journalism. The things were not better in terms of filling th

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19

Kelen, Christopher, and Aleksandar Pavković. "“Zdravljica” - toast to a cosmopolitan nation anthem quality in the Slovenian context." Nationalities Papers 42, no. 5 (2014): 828–47. http://dx.doi.org/10.1080/00905992.2014.916664.

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As with many states, in the case of Slovenia two songs principally contend for the position of national anthem. In this case an apparent ideological gulf masks perhaps a more essential temperamental divide: the bellicose army song versus the happy drinking “all together…” number. Vacillation between “Zdravljica” (“A Toast”) and “Naprej zastava slave,” (“Forward, Flag of Glory”) might be taken as reflecting the ambivalence with regard to potentially hostile others one reads attributed to Jesus Christ in the gospels of Matthew, Mark and Luke: who's not with me is against me/who's not against me

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20

Epstein, Heidi. "Post-War Trauma and Postmodern Love." biblical interpretation 22, no. 3 (2014): 253–91. http://dx.doi.org/10.1163/15685152-00223p02.

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What biblical critical insights might re-reading the Song of Songs through its contemporary musical afterlives produce? I propose that certain offbeat musical settings of the Song participate in the discursive composition of specifically postmodern versions of love (e.g. those of Berlant, Belsey, Illouz), and thereby disrupt the transmission of normalizing socio-romantic energies within what Lauren Berlant calls “the intimate public sphere.” In this intertextual case study, Ralph Vaughan Williams’ 1925Flos campi– a work usually praised for its harmonious reconciliation of sensual and spiritual

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21

S, Dineskanth. "Anti-Colonial Thoughts Emerged in Bharathiyar's Works - A Perspective." International Research Journal of Tamil 4, S-11 (2022): 43–56. http://dx.doi.org/10.34256/irjt224s116.

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The colonial system is one of the systems of government in the world. A "Colonial State" is a form of government developed in a non-European society that was directly subordinated to European colonial powers such as Britain, France, Holland, and Portugal. This model of government developed historically only after the sixteenth century. A colonial state is created through the means of conquering the people of a state or colony by treaty or force of arms; settling and building systems compatible with the social, political, and economic systems of the mother country; and ruling the foreign countr

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22

Rowe, Steven E. "The Politics of Literature and Literacy: Popular Song Writing and Proletarian Poetry in Post-Revolutionary France." Historical Studies in Education / Revue d'histoire de l'éducation, January 19, 2008, 13–36. http://dx.doi.org/10.32316/hse/rhe.v19i2.361.

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This essay examines the politics of song writing and singing in working-class singing societies in Paris, known as "goguettes," in the early nineteenth century. The practices of writing and singing songs in these societies defined the relationships among participants by equality and good feelings, resisting the hierarchy and domination of the laissez-faire social order. At the same time, these song-writing and singing practices also produced symbolic forms of masculine authority and domination – placing working-class women in positions of subordination. By analyzing this complex politics of wr

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23

Rostagno, Antonio. "VERDI E IL WAGNERISMO NEL MOVIMENTO GERMANICO ITALIANO." Istituto Lombardo - Accademia di Scienze e Lettere - Incontri di Studio, January 25, 2013, 91–131. http://dx.doi.org/10.4081/incontri.2013.121.

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Deutsche bewegung (Prussian way) and “classical liberalism” are two opposite concepts; and in the gap between them Verdi’s concern about the “germanesimo” is to be placed. Verdi meets the German culture very early: in 1834 he conducts Haydn’s Die Schöpfung and in 1838 writes two songs on Goethe’s Faust Italian translations. But at that time Goethe and Haydn are considered as universal culture and not as particular “german” expressions. German culture will be seen as an foreign entity, as a potential colonizer, only with the rise of Prussian nationalism, after French débâcle at Sedan. Then ever

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24

Watson, Robert. "E-Press and Oppress." M/C Journal 8, no. 2 (2005). http://dx.doi.org/10.5204/mcj.2345.

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   From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elepha

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25

Collins, Steve. "Amen to That." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2638.

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   In 1956, John Cage predicted that “in the future, records will be made from records” (Duffel, 202). Certainly, musical creativity has always involved a certain amount of appropriation and adaptation of previous works. For example, Vivaldi appropriated and adapted the “Cum sancto spiritu” fugue of Ruggieri’s Gloria (Burnett, 4; Forbes, 261). If stuck for a guitar solo on stage, Keith Richards admits that he’ll adapt Buddy Holly for his own purposes (Street, 135). Similarly, Nirvana adapted the opening riff from Killing Jokes’ “Eighties” for their song “Come as You Are”. Mus

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Subramanian, Shreerekha Pillai. "Malayalee Diaspora in the Age of Satellite Television." M/C Journal 14, no. 2 (2011). http://dx.doi.org/10.5204/mcj.351.

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This article proposes that the growing popularity of reality television in the southernmost state of India, Kerala – disseminated locally and throughout the Indian diaspora – is not the product of an innocuous nostalgia for a fast-disappearing regional identity but rather a spectacular example of an emergent ideology that displaces cultural memory, collective identity, and secular nationalism with new, globalised forms of public sentiment. Further, it is arguable that this g/local media culture also displaces hard-won secular feminist constructions of gender and the contemporary modern “Indian

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27

Adams, Craig. "The Taste of Terroir in “The Gastronomic Meal of the French”: France’s Submission to UNESCO’s Intangible Cultural Heritage List." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.762.

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Introduction What French food is would seem to be an unproblematic idea. Depending on one’s taste and familiarity, a croissant, or snails, might spring to mind. Those who are a little more intimate with French cuisine might suggest the taste of a coq au vin or ratatouille, and fewer still might suggest tarte flambée or cancoillotte. Whatever the relative popularity of the dish or food, the French culinary tradition is arguably so familiar and, indeed, loved around the world that almost everyone could name one or two French culinary objects. Moreover, as the (self-proclaimed) leader of Western

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28

Senger, Saesha. "Place, Space, and Time in MC Solaar’s American Francophone." M/C Journal 19, no. 3 (2016). http://dx.doi.org/10.5204/mcj.1100.

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Murray Forman’s text The ‘Hood Comes First: Race, Space, and Place in Rap and Hip-Hop provides insightful commentary on the workings of and relationship between place and space. To highlight the difference of scale between these two parameters, he writes that, “place defines the immediate locale of human interaction in the particular, whereas space is the expanse of mobile trajectories through which subjects pass in their circulation between or among distinct and varied places” (25). This statement reflects Doreen Massey’s earlier observation from her book Space, Place, and Gender that “one vi

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Middlemost, Renee. "The Simpsons Do the Nineties." M/C Journal 21, no. 5 (2018). http://dx.doi.org/10.5204/mcj.1468.

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Now in its thirtieth season, in 2018, The Simpsons is a popular culture phenomenon. The series is known as much for its social commentary as its humour and celebrity appearances. Nonetheless, The Simpsons’ ratings have declined steadily since the early 2000s, and fans have grown more vocal in their calls for the program’s end. This article provides a case study of episode “That 90s Show” (S19, E11) as a flashpoint that exemplifies fan desires for the series’ conclusion. This episode is one of the most contentious in the program’s history, with online outrage at the retconning of canon and both

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Woldeyes, Yirga Gelaw. "“Holding Living Bodies in Graveyards”: The Violence of Keeping Ethiopian Manuscripts in Western Institutions." M/C Journal 23, no. 2 (2020). http://dx.doi.org/10.5204/mcj.1621.

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IntroductionThere are two types of Africa. The first is a place where people and cultures live. The second is the image of Africa that has been invented through colonial knowledge and power. The colonial image of Africa, as the Other of Europe, a land “enveloped in the dark mantle of night” was supported by western states as it justified their colonial practices (Hegel 91). Any evidence that challenged the myth of the Dark Continent was destroyed, removed or ignored. While the looting of African natural resources has been studied, the looting of African knowledges hasn’t received as much atten

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