Thesis (B.A.Hons. 1978) from the Department of History, University of Adelaide.

Thesis (M.A.)--Wisconsin. / Includes bibliographical references (leaves 222-226).

Thesis (M.A.)--University of Wisconsin--Madison, 1970. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

No description available.

Thesis (M.A.)--University of Wisconsin--Madison, 1968. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.A.)--University of Wisconsin--Madison, 1967. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Ce travail est l'aboutissement de trois années de rédaction et de recherche entre Montréal et Paris. Il symbolise ma volonté de rendre hommage aux hommes et femmes, ayant vécu la troublante période de la Guerre d'Espagne, que j'ai connus dans ma vie. L'objectif de ce travail était de démontrer que le gouvernement français fut le véritable responsable de la politique de non-intervention au courant de la Guerre d'Espagne entre 1936 et 1937. Pour accomplir une telle tâche, la nature de ce travail portait essentiellement sur le traitement de sources en provenant de la France des années 1930 et 1940. Contrairement à la majorité de la communauté historienne ayant traité le sujet auparavant, ce travail visait essentiellement à démontrer que ce n'était pas vraiment les pressions directes de la Grande-Bretagne qui avait poussé le gouvernement du Front Populaire à proposer et adopter la politique de non-intervention en Espagne. Au contraire, c'était bien plus le résultat d'une opposition au sein même du pouvoir français qui contribua à l'établissement de celle-ci comme politique officielle. C'est du moins ce que conclu cette recherche en proposant le fait que trop d'hommes politiques français, désireux de ne pas dérailler de la traditionnelle concertation avec Londres, ont provoqué entre juillet et septembre 1936 une véritable fronde poussant Léon Blum à proposer formellement une convention allant à l'encontre de ses objectifs initiaux (soit d'intervenir en Espagne aux côtés de la République). En fait, ce travail conclut que la non-intervention était le fruit d'hommes politiques certainement attachés à l'idée de concerter les efforts diplomatiques français avec ceux des Britanniques et peu enclins à suivre le chef du Front Populaire dans une démarche unilatérale aussi risquée à l'époque. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Histoire, Front Populaire, France, Espagne, crise des années 1930.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

The French Popular Front was a coalition of left-wing political parties (Communists, Socialists, and Radicals) united through a common desire to combat fascism and improve the living conditions of France's workers. Between 1935 and 1938, the ideology of the Popular Front, largely informed by that of the Parti Communiste Francais (PCF), exerted tremendous influence on the cultural life of the French nation. Many cultural and musical organizations heeded the Popular Front's call for broad-based anti-fascist solidarity among intellectuals, artists, and the working class. In the realm of culture, this translated into multiple initiatives designed to bring art to the masses and to encourage the proletariat to become more active in the cultural life of the nation. / Sympathetic to the Popular Front's larger political aims, a number of French musicians and composers became affiliated with the Communist-sponsored Maison de 1a Culture and its affiliated musical organizations, the most prominent of which was the Federation Musicale Populaire (FMP). They participated in the administrative, cultural and intellectual life of the FMP; they took part in conferences, wrote articles on the theme of "music for the people," and were advocates for the organization within French musical life at large. Furthermore, these composers wrote works for government-commissioned events, for amateur groups, and for spectacles designed for mass audiences. / Some of the FMP's most prominent proponents (Darius Milhaud, Georges Auric, and Arthur Honegger) were former members of Les Six, a group that had been particularly interested in borrowing music derived from "popular" sources like the music hall and the circus following World War I. This study argues that the aesthetic approach of Les Six, which found support in FMP presidents Albert Roussel and Charles Koechlin, was reinvigorated during the Popular Front for a much more clearly defined political purpose. While the general interest in "popular" sources was still maintained, composers at the FMP now sought to integrate folklore and revolutionary music into their works "for the people" in an attempt to create and underline cultural links between workers and intellectuals---a compositional approach for which this dissertation coins the expression "populist modernism." / This study, the first book-length examination of French musical culture in light of Popular Front politics, concentrates on some of the period's most significant populist modernist works and draws upon contemporaneous journalistic coverage and archival documents that in many cases have hitherto never been the object of musicological study. The research shows that in 1936, following an initial infatuation with the genres and styles of socialist realist Soviet works, French left-wing composers developed a more inclusive view of what constituted music "for the people." Composers continued to write music indebted to politically resonant popular sources like folklore and revolutionary songs, but they also drew upon these genres in works (like the collaborative incidental music for Romain Rolland's Le 14 Juillet) that employed modernist compositional techniques. Though this approach was most obviously felt in the numerous works composed for organizations like the FMP, populist modernism also emerged in works performed at the Theatre de l'Opera-Comique and the 1937 Paris Exposition. By cutting across musical genres as well as institutional and social contexts, populist modernism emerges as the dominant aesthetic trend in French music during the years of the Popular Front.