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René, Ginette, Louise et les autres

nostalgie et authenticité dans la chanson néo-réaliste

Barbara Lebrun

France's retro rock music (chanson néo-réaliste) of the 1990s and 2000s favors acoustic music and "old-fashioned" instruments such as the accordion in order to reject today's fascination with novelty and consumerism. In doing so, this music genre looks back to pre-war France and rehabilitates an all-white national culture that is problematically nostalgic, in a similar fashion to the film Amélie. This article explores the ways in which chanson néo-réaliste still manages to forge a sense of protest identity in contemporary France, while engaging in apparently reactionary tactics. The specificities of this music genre are explored through an analysis of the lyrics, music, iconography and performance of, primarily, the group Têtes Raides, while contrasting their nostalgia of "protest" with that of the more commercially successful genre of variétés.

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Marie Cartier, Tad Shull and John Ireland

Marie Cartier La Dactylographie et l’expéditionnaire: Histoire des employés de bureau (1890-1930) by Dephine Gardey

Tad Shull Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde by Bernard Gendron

John Ireland La Naissance du phénomène Sartre: Raisons d’un success 1938-1945 by Ingrid Galster

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Helena Rosenblatt A Virtue of Courageous Minds: Moderation in French Political Thought, 1748–1830 by Aurelian Craiutu

Michael S. Smith Les Batailles de l'impôt: Consentement et résistances de 1789 à nos jours by Nicolas Delalande

Daniel Lee Nazi Labour Camps in Paris: Austerlitz, Lévitan, Bassano, July 1943–August 1944 by Jean-Marc Dreyfus and Sarah Gensburger

Jessica Wardhaugh Defending National Treasures: French Art and Heritage under Vichy by Elizabeth Campbell Karlsgodt

Damien Mahiet Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968–1981 by Eric Drott

Terri E. Givens Inside the Radical Right: The Development of Anti-Immigrant Parties in Western Europe by David Art

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Leora Auslander Marianne in the Market: Envisioning Consumer Society in Fin-de-Siècle France by Lisa Tiersten

Rebecca Rogers Disruptive Acts: The New Woman in Fin-de-Siècle France by Mary Louise Roberts

Jeffrey H. Jackson Django: The Life and Music of a Gypsy Legend by Michael Dregni

Jean-Philippe Mathy Camus & Sartre: The Story of a Friendship and the Quarrel That Ended It by Ronald Aronson

Joel Revill The Seduction of Unreason: The Intellectual Romance with Fascism from Nietzsche to Postmodernism by Richard Wolin

Scott Gunther Liberté, égalité, sexualités: Actualité politique des questions sexuelles by Clarisse Fabre and Eric Fassin

Alec G. Hargreaves Muslims and the State in Britain, France and Germany by Joel S. Fetzer and J. Christopher Soper

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Evelyn Bernadette Ackerman Liberalism under Siege: The Political Thought of the French Doctrinaires by Aurelian Craiutu

Sudhir Hazareesingh Funerals, Politics, and Memory in Modern France, 1789-1996 by Avner Ben-Amos

Isabelle Merle Exile to Paradise: Savagery and Civilization in Paris and the South Pacific 1790-1900 by Alice Bullard

Jon Cowans Making Jazz French: Music and Modern Life in Interwar Paris by Jeffrey H. Jackson

Mary D. Lewis In the Aftermath of Genocide: Armenians and Jews in Twentieth-Century France by Maud S. Mandel

Sara B. Pritchard The Light-Green Society: Ecology and Technological Modernity in France, 1960-2000 by Michael Bess

Todd Shepard France and Algeria: A History of Decolonization and Transformation by Philip C. Naylor

Frank R. Baumgartner Party, Society, Government: Republican Democracy in France by David Hanley

Katherine Opello French Women in Politics: Writing Power, Paternal Legitimation and Maternal Legacies by Raylene L. Ramsey

Andrei S. Markovits Football in France: A Cultural History by Geoff Hare

Charles Cogan Qui a tué Daniel Pearl? by Bernard-Henri Lévy

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Panique Celtique

Manau's Celtic Rap, Breton Cultural Expression, and Contestatory Performance in Contemporary France

Charles R. Batson

The highly successful 1998 album Panique celtique launched the group of rappers known as Manau and their self-styled "Celtic rap fusion" onto the French musical scene, bringing Breton binious to join the beatboxes on France's hip-hop radio stations and concert stages. As they engage a strikingly heteroclite blending of both rap and Breton musical traditions, Manau's work configures a Celtic Brittany as a rich site of contestation and revalorization. This article traces histories of French-language rap and Breton musical expression and analyzes their politicized uses in their respective historico-cultural contexts. Concluding with an exploration of current questions concerning how the past informs the shape of present performance, especially in light of Breton cultural particularities, the author suggests that Manau's rapped Celtic stylings both occasion an interrogation of cultural identity through music and point to charged social meanings attributed to performed Frenchness and Otherness in early twenty-first-century France.

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Eric Drott

This article examines the role played by the nòva cançon occitana (new Occitan song) in disseminating post-1968 regionalist ideologies, particularly the contention that Occitanie constituted an “internal colony” of France. While both the nòva cançon and the internal colonialism thesis proved instrumental in advancing the Occitanist cause, they also raised intractable problems. The depiction of Occitanie as a colonized territory consolidated a fragile sense of regional identity, but in so doing demanded that individuals repress the French dimensions of their identity. In addition, nòva cançon performers did not simply convey regionalist ideals through music, but were compelled to embody these ideals in their behavior, ideological stance, and self-presentation. To illuminate such tensions, the article considerers the controversy triggered when one Occitan singer-songwriter, Joan Pau Verdier, signed with an international label, thereby opening himself up to charges of having betrayed the Occitanist cause.

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-amplifiées en France: le cas des spectacles à L’International [In French] English is often considered as the traditional language of rock, but one can describe its use in French music through subjective, intimate, and negotiated processes. French bands use it

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Michael Spanu and Jean-Marie Seca

-altération-reformulation nous semble être un phénomène naturel des langues, que nous n’avons fait que révéler dans l’étude de cas présente. Notes 1 Assez proche de l’expression anglaise « popular music », cette notion définit des formes musicales inspirées principalement des

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Black October

Comics, Memory, and Cultural Representations of 17 October 1961

Claire Gorrara

films, to web documentaries, music videos, and comics. 21 Via open access digital platforms, such creative forms reach beyond national boundaries and often take the form of counter-narratives, contesting received interpretations and marking the lacunae