Thèse--Anthropologie--Paris-7 Denis Diderot, 1995-1996. / Bibliogr. et discogr. p. 627-674. Index.

Thesis (Ph. D.)--University of Washington, 1994. / Vita. Includes bibliographical references (leaves [154]-169).

archives@tulane.edu / The Hackberry Ramblers are best known as an historic southwest Louisiana band that pioneered the synthesis of Cajun music with various English-language genres, especially country music, and also as a group which pioneered the performance of this blend via the then-new technology of electronic amplification. These innovations had profound effects upon the evolution of Cajun music, and exerted a significant degree of influence on country music, too. But closer consideration of the Hackberry Ramblers’ entire oeuvre reveals that the band’s eclecticism far surpassed the presumed limits of its Cajun/country dual identity. During the Ramblers’ seventy-five years in existence, much of the group’s repertoire did consist of Cajun material, both archaic and contemporary, along with old-time country music, the country-jazz hybrid known as western swing, and mid-century honky-tonk country. In addition, however, at various times, the Hackberry Ramblers delved into traditional jazz; nineteenth-century parlor music; popular songs and vaudeville material; blues; rhythm & blues (henceforth referred to here as R&B;) swamp-pop; the occasional zydeco song; 1950s rock à la Chuck Berry, and 1950s rockabilly à la Jerry Lee Lewis; and more. Such considerable variety achieved seamless unification due to the band’s dedicated raison d'être of keeping happy couples out on full dancefloors. In addition, at the behest of the RCA-Bluebird record label, to which the Hackberry Ramblers were signed in the 1930s, the band recorded some unlikely and incongruous songs that were not dance-oriented. This thesis examines the Hackberry Ramblers’ recordings, from 1935 through 2004, and how these recordings established the band’s lasting legacy in both Cajun music, and country; the cultural/socio-economic changes that shaped the Ramblers’ continually evolving sound; and the broader musical contexts of the years during which they were active. This writer played with, managed, and produced the band, beginning in 1987, and thus there will be some discussion, both analytical and anecdotal, of those hands-on roles in the band’s late-career phase, and my de facto function as a participant-observer. / 1 / Ben Sandmel

Thesis (M.S. in anthropology)--Washington State University, May 2006. / Includes bibliographical references (p. 100-108).

This dissertation examines the mid-twentieth century "revival" of the old-time French-language music of Southwestern Louisiana in order to illuminate changing ideas about race, identity, and culture in post-World War II and Civil Rights era America. Rather than being simply an overlooked element of the national folk revival movement, the Cajun-Creole music revival was a larger phenomenon with a broader social and political context, promoted by local, state, national and international actors. The French government conceived of the music revival as one aspect of a global French language movement. National folklorists used the music to prompt conversations on race relations and social justice. Local actors sought to reassert the value of traditional culture in an economically and demographically diversifying region. Ultimately, under the stresses of the ethnic revival movement, Cajun-Creole music, which had been developed by black and white musicians over centuries of collaboration, cohabitation, and sympathetic engagement, split into two genres as Creoles began to identify with urban African-American culture and Cajuns became caught up in the rhetoric of ethnic identity. Chapter 1 chronicles the role Cajun-Creole music played in Southwest Louisiana culture in the early twentieth century. Chapter 2 argues that the French-speaking Louisianans who served in World War II played an instrumental role in reviving old-time music. Chapter 3 examines the work of the nationally and state-funded folklorists and commercial label scouts who, while doing fieldwork in Southwest Louisiana, found their long-held conceptions about folk music, race, and culture challenged in a more integrated and "foreign" part of the American South. Chapter 4 illuminates the role of the avant-garde artist Harry Smith in creating the folk revival of the 1960s and introducing a national to Cajun-Creole music. Chapter 5 looks at the Newport Folk Festival and the ethnomusicology fieldwork that put Cajun-Creole musicians on a national stage. Chapter 6 chronicles the history of the French language movement in Louisiana, arguing that the language revival of the 1960s was largely initiated and funded by international entities. Chapter 7 argues that the civil rights and ethnic identity movements ultimately split Cajun and Creole music into distinct genres. / 2022-08-01T00:00:00Z

Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 96-97). Available also in a digital version from Dissertation Abstracts.

Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 96-97). Available also in a digital version from Dissertation Abstracts.

Pourquoi Jean Arceneaux, Deborah Clifton et David Cheramie – trois poètes francophones louisianais – font-ils le choix de se représenter sous les traits du monstre dans leur poésie ? L’étude comparée des recueils Cris sur le bayou, Suite du loup, A cette heure la louve et Lait à mère met en évidence l’existence d’un espace intertextuel, métaphorisé par les poètes eux mêmes sous les traits du « pays des loups », où les errances de leurs doubles poétiques dessinent les fondations d’un nouveau mythe américain.Dédoublement et enchâssement des différents alter ego de l’auteur en un processus poétique de « schizophrénie linguistique », projection de soi dans une figure monstrueuse à des fins de recolonisation d’un espace textuel devenu non-lieu poétique puis corps de substitution du poète, jeu carnavalesque où le texte devenu palimpseste figure une superposition de masques trahissant l’existence d’un monde littéraire caché, esthétique du louvoiement et prolifération d’une monstruosité formelle, tels sont les artéfacts poétiques mis en place par nos auteurs dans un jeu de stratégie du dire. Fidèles à une forme de pensée clandestine, les recueils donnent ainsi libre cours à une inversion des valeurs sociales, esthétiques et linguistiques, laissant le vide et le silence d’une condition d’aliéné devenir les matériaux d’une entreprise d’exploration mnésique à des fins de réhabilitation du soi.Se définissant dans cette difformité inscrite au cœur du texte, nos poètes semblent avoir réinventé et reconquis une langue française au potentiel performatif décuplé, faisant de cet Autre anglophone redouté, le complice médusé d’un rituel poétique de déconstruction et d’auto-gestation. / Why do Jean Arceneaux, Deborah Clifton and David Cheramie – three francophone poets from Louisiana – choose to represent themselves as the monster in their poetry? The comparative study of their works Cris sur le bayou, Suite du loup, A cette heure, la louve and Lait à mère reveals the existence of a special location in between their different texts the poets themselves imagine as " the wolves' country ", where the wanderings of their poetical doubles draw the bases of a new American myth.The splitting and setting of the different alter ego of the writer in a poetical process of " linguistic schizophrenia ", the throwing of one’s own picture as a monstrous figure in order to recolonize a textual space turned into a poetical non-place before becoming a substitute body for the poet, the carnivalesque game in which the text now a palimpsest represents a superposition of masks that betrays the existence of a hidden literary world, the aesthetic of the wolf-like gait and the proliferation of a formal monstrosity, these are the poetical artifacts used by our writers in a strategy game to express themselves. Thus, keeping to a form of secret thought, their works present inverted social, aesthetic and linguistic values, allowing the emptiness and silent specific to alienation to become the materials to set out for an amnesic exploration in order to rehabilitate one’s own self.As they define themselves by this deformity written down in the texts, our poets seem to have invented and conquered again a French language ten times more powerful that makes of the “Other one” the anglophone they fear, the dumbfounded accomplice of a poetical ritual of deconstruction and self-gestation.

Avery Island, Louisiana and McIlhenny Company provide a lens through which to understand how performances of masculinity and paternalism operated in the New South and were deployed for U. S. empire-building projects. Focusing on the tenure of Edward Avery McIlhenny as President of McIlhenny Company, this paper utilizes primary documents from the McIlhenny Company & Avery Island, Inc. Archives to construct a narrative based on correspondence between E. A. and his Wall Street investment banker, Ernest B. Tracy, revealing how E.A. confronted disaster capitalism and influenced the production of cultural tourism amidst environmental and economic crises in the 1920s and 1930s. / text

Longtemps, c’est en restant isolée que la population cadienne de Louisiane est parvenue à préserver son identité culturelle. À partir du tournant des XIXe et XXe siècles cependant, un mouvement croissant d’assimilation à la culture anglo-saxonne dominante modifie profondément la situation de cette population minoritaire. Si elle permet une amélioration sensible du niveau de vie des Cadiens, cette acculturation met aussi la culture franco-louisianaise en danger. Au début du XXIe siècle, la préservation de leur héritage linguistique et culturel suppose, en raison du contexte de mondialisation croissante, une stratégie de légitimation, à la fois endogène et exogène, qui leur permette ouverture et inscription dans le monde contemporain. Cette thèse analyse trois de leurs processus de revendication identitaire mis en œuvre aujourd’hui. Le premier est l’intégration de la Louisiane au monde francophone, parce que, à la différence d’autres langues en situation minoritaire, le français cadien a la possibilité de s’insérer dans l’ensemble linguistique et culturel constitué par la francophonie, particulièrement le réseau de solidarité et de partenariats en Amérique du Nord. Le deuxième processus, facteur crucial de la légitimation recherchée, est l’institutionnalisation, telle qu’elle s’exerce, de manière complémentaire, dans l’espace public, le programme scolaire d’immersion française et l’enseignement supérieur. Le troisième processus est la conscientisation de la jeunesse, étudiante ou dans la vie active, examinée à Lafayette, cœur de la Louisiane francophone, dans cette classe d’âge potentiellement en mesure de défendre l’avenir de la langue et de la culture vernaculaires. / Owing to its isolation, the Cajun population of Louisiana long succeeded in preserving its cultural identity. By the turn of the 20th century, however, an increasing movement of assimilation into the dominant Anglo-Saxon culture had profoundly changed the situation of this minority group. This allowed a significant improvement in the Cajun standard of living, but this acculturation also endangered French Louisiana culture. At the beginning of the 21st century, the preservation of Cajun linguistic and cultural heritage implies a strategy of legitimization in a context of increasing globalization, both within and outside the population, which allows it to open itself and embed into the contemporary world. This dissertation examines three of the processes implemented in today’s Cajun demands for recognition of cultural and linguistic identity. The first process pertains to Louisiana’s integration in the French-speaking world. Unlike other minority languages, Cajun French has the potential to fit into a wider French-speaking cultural complex, particularly the North American network of solidarity and partnership. The second process, which is a critical factor in the quest for legitimization, concerns the institutionalization in the public space, French immersion curriculum and higher education. The third process is youth awareness-raising, among students or in the working world, as represented in Lafayette, at the heart of French Louisiana. It is this age class that is potentially best poised to defend the future of the vernacular language and culture.