L’amalgame
This article proposes to study the military songs of the French Army in the second half of the twentieth century. Though not pioneering in the study of the entire body [of work], the study consists of placing songs in context as part of a cultural history. A number of French military songs are of fo...
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| Formato: | Article ou chapitre numérique |
| Lenguaje: | Français |
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2014
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| Acceso en línea: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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cairn-RHA_275_0122 |
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cairn-RHA_275_0122RHARevue Historique des Armées https://shs.cairn.info/revue-historique-des-armees-2014-2-page-122?lang=fr https://doi.org/10.3917/rha.275.0122 L’amalgame Binet, Luc2014 fre Revue Historique des Armées | 275 | 2 | 2014-01-01 | p. 122-123 | 0035-3299 RHA_27567 This article proposes to study the military songs of the French Army in the second half of the twentieth century. Though not pioneering in the study of the entire body [of work], the study consists of placing songs in context as part of a cultural history. A number of French military songs are of foreign inspiration. Thus, they fall within a supranational culture. Following the work of Didier Francfort that challenges the nationalist character of music (Le Chant des Nations, Hachette Literature), we can update the following paradox. The Army is a representative institution of the nation par excellence. However, some songs are influenced to varying degrees by foreign models, which together form a transnational culture. These influences help to amalgamate troops and, while retaining foreign symbols, to strengthen the Army-Nation link in France.Cairn restricted access |
| language |
Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| description |
This article proposes to study the military songs of the French Army in the second half of the twentieth century. Though not pioneering in the study of the entire body [of work], the study consists of placing songs in context as part of a cultural history. A number of French military songs are of foreign inspiration. Thus, they fall within a supranational culture. Following the work of Didier Francfort that challenges the nationalist character of music (Le Chant des Nations, Hachette Literature), we can update the following paradox. The Army is a representative institution of the nation par excellence. However, some songs are influenced to varying degrees by foreign models, which together form a transnational culture. These influences help to amalgamate troops and, while retaining foreign symbols, to strengthen the Army-Nation link in France. |
| author |
Binet, Luc |
| spellingShingle |
Binet, Luc L’amalgame |
| author_facet |
Binet, Luc |
| author_sort |
Binet, Luc |
| title |
L’amalgame |
| title_short |
L’amalgame |
| title_full |
L’amalgame |
| title_fullStr |
L’amalgame |
| title_full_unstemmed |
L’amalgame |
| title_sort |
l’amalgame |
| publishDate |
2014 |
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| container_issue |
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| url |
https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-historique-des-armees-2014-2-page-122?lang=fr https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rha.275.0122 |
| _version_ |
1877246604277186560 |