Jane F Fulcher

Renegotiating French Identity

Musical Culture and Creativity in France During Vichy and the German Occupation

• Gebundenes Buch

Produktbeschreibung

In Renegotiating French Identity, Jane Fulcher addresses the question of cultural resistance to the German occupation and Vichy regime during the Second World War, specifically by addressing the role of music.

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Produktdetails

• Verlag: Oxford University Press
• Seitenzahl: 504
• Erscheinungstermin: 17. Mai 2018
• Englisch
• Abmessung: 236mm x 157mm x 36mm
• Gewicht: 862g
• ISBN-13: 9780190681500
• ISBN-10: 0190681500
• Artikelnr.: 50199545

Autorenporträt

Jane F. Fulcher is Professor of Musicology at the University of Michigan and the author of French Cultural Politics and Music from the Dreyfus Affair to the First World War (1999) and The Composer As Intellectual: Music and Ideology in France 1914-1940, among other publications. She has also served as a visiting professor at the École des Hautes Études en Sciences Sociales in Paris.

Inhaltsangabe

* Acknowledgments
* Introduction: The new historiography of Vichy and recent theoretical
insights: implications for study of the music created and performed
* Recent historiographic insights into the regime's conflicting visions
and evolution
* Initial new directions in larger studies of Vichy culture
* New issues: dual surveillance, the complex bureaucratic matrix, and
the cultural field
* Vichy's musical culture and the still looming questions: what did
result, when, and where?
* Concomitant theoretical issues: how were musical works inscribed,
framed, and read?
* Public and creative responses: the question of collective and
individual French identity
* What constituted resistance in music, and what kinds of innovations
did it foster?
* Reformulating older questions and posing new ones
* 1. The essential political and institutional background
* Beyond a monolithic view of Vichy and its doctrine of the Révolution
Nationale
* Vichy and its relation to the Germans
* Vichy's brand of patriotism and nationalism
* Beneath the apparent traditionalism
* The evolution of the regime and the significant markers
* German and Vichy repression, and the development of the resistance
* Vichy's reconstruction of French identity
* Vichy's negotiations of French cultural identity
* Vichy and the question of the French national heritage, or cultural
tradition
* The limits allowed by the Germans in the reconfiguration of French
national identity
* Vichy's cultural institutions and the divergent, evolving mandates
* A consistent Vichy cultural agenda?
* Beyond conceptions of a Vichy patriotic "double game"
* A Vichy musical program? Its evolving aims and the musical field
* The role of Ministers of National Education and of the Secrétaire
Générale in music
* The role of the Germans and their interest in concerts and in the
musical press
* German and French broadcasts of classical concerts
* The Germans and the Paris Conservatoire
* The Germans and intervention in French recordings
* Vichy's own constraints and shifting goals in music
* Vichy "experts" in music, and the case of Jacques Rouché
* Another Vichy "expert"-Alfred Cortot
* Vichy and its goals in recordings
* Vichy's corporate organization of the musical profession
* Vichy and state commissions in music
* The Case of the opéra: Rouché's initial latitude but growing Vichy
and German Pressures
* Vichy's interest in the Conservatoire and its regional branches
* Subversion within institutions and performance venues
* The development of the musical resistance and its response both to
the Germans and to Vichy
* 2. Re-inscribing, framing, and subverting an operatic icon: Debussy's
Pelléas et Mélisande
* The double advantage of both Berlioz and Debussy
* Pelléas: its nature, style, and the initial French reception in 1940
* Désormière's "classic" interpretation in a still relatively
autonomous musical field
* The 1940 production and the opera's enunciation within the context
* Ambiguity, liminality, and the opera's impact at Vichy's start
* Pelléas at Vichy: refocusing the opera's national significance
through performance
* The recording of Pelléas and its increasing dissonance with the new
discursive framing
* Resistance responses to the Franco-German cultural discourse
* Pelléas and the battle over national memory: the 1942 commemoration
and production in Paris
* The discursive framing and context of the 1942 production of Pelléas
* Vichy's political turn, mounting resistance, and the 1943 Debussy
commemoration
* The Resistance appropriation of Debussy and of Pelléas
* Debussy as emblematic of authentic French classicism
* Debussy and Pelléas as cultural emblems of liberation
* From propaganda to national healing: Debussy in the reconstruction of
cultural memory
* 3. From the legal to the illegal: Schaeffer's journey toward
resistance and artistic exploration
* Vichy's attempt to remake French youth and Schaeffer's own personal
agenda
* Radio-Jeunesse and Vichy's new sound culture
* Schaeffer's quest to make tradition dynamic in Jeune France
* Jeune France's organization and range of projects
* Jeune France and Mounier's "revolutionary humanism"
* Jeune France and the creative curation of tradition
* Musical innovation within Schaeffer's Jeune France
* Schaeffer's movement from the legal to the illegal
* Schaeffer's subjective re-assessment and reflection on the "language
of things"
* Schaeffer's search for an "invisible theater" and new meanings, or
realms of perception
* Schaeffer and the Studio d'Essai: from new perceptual fields to
resistance
* 4. The soft or hard borders of French identity: Honegger's iconic
role and subjectivity during Vichy
* Honegger omnipresent
* Honegger's modernism and the modernist strain condoned by both Vichy
and the Germans
* Honegger's supporters and their ideological trajectories
* The evolution of the French fascist aesthetic and Honegger's complex
relation to it
* Gaston Bergery and his support for Honegger
* From state collaboration to collaborationism: the fine line and
Honegger's symbolism
* Music and the goal of the group collaboration
* Honegger and the musical synthesis promoted by later 1941
* The composer's dual cultures and his style in Antigone
* The original material inscription, enunciation, and reception of the
opera
* The context for the selection of Antigone at the Paris Opera
* Antigone's physical and ideological re-inscription at the Opéra in
early 1943
* The multivalent potential of the opera's text and style
* The critical and public reception of Antigone at the Paris Opera in
1943
* The performative impact of Antigone in 1943 Paris
* Honegger's search for identity in Vichy and occupied France
* Honegger's contradictions as critic
* The Second Symphony and Honegger's subjective conundrum
* Monologic or Dialogic? The critical reception of the Second Symphony
* Honegger the resistant? His postwar sanctions
* 5. Poulenc's metamorphosis: his journey towards resistance and a
stylistic counter-discourse
* From one nationalism to another
* Poulenc at Vichy's dawn
* Vichy traditionalism in Les Animaux modèles?
* From the search for personal authenticity to a new political
awareness
* Resistance nationalism and its artistic goals
* Theories and models of French musical resistance
* Poulenc's search for his own resistance style
* Exploring the tactic of stylistic disruption: Poulenc's Sonata for
Violin and Piano
* Poulenc's turn to the literary resistance's stylistic paradigms
* Metamorphosis and its meaning in Poulenc's Figure humaine
* The importance of trajectories and of symbolic meanings within their
context
* 6. Messiaen in a Catholic Church divided: spiritual authority,
subjective agency, and artistic breakthrough
* Messiaen's refusal and his nonconformist background
* Mobilization, capture, and creativity
* Internment, internal liberty, and Messiaen's Quatuor
* Levels of utterance in Messiaen's Quatuor
* Reactions to the Quatuor and to its textual framing
* Release and recruitment into Schaeffer's "Band of Christian
Democrats"
* Messiaen's artistic explorations in Portique pour une fille de France
* The politics of Messiaen's appointment to the Paris Conservatoire
* Performance of and support for Messiaen's previous compositions
* Messiaen's new circles and private commissions
* Vichy's political direction, division within the church, and
Messiaen's creative choices
* Sartre, Messiaen, Hello, and subjective choice
* New content and approaches to form in the Visions de l'Amen
* Responses to the challenge of Messiaen's Visions de l'Amen
* Messiaen's turn to resistance themes and models
* Man and God in the Trois petites liturgies de la presence divine
* The Resistance embrace of Messiaen and of his work
* Conclusion: Vichy's shifting cultural goals and tactics: the results,
the responses, and how to perceive them
* Notes
* Bibliography
* Index