'Regionalism, Rebellion, and Popular Culture: Singing in French Provinces and Colonial Territories, 1680-1815'

我的论文将探讨在漫长的18世纪政治紧张时期，文化表现模式所揭示的地理特征。该研究将集中在几个对比鲜明的地区，无论是在法国和海外。它将利用印刷和手稿的政治歌曲，以及其他文本材料，如司法记录，期刊和流行的小册子。在此过程中，该项目将评估对歌曲的文化模式的认识如何有助于我们理解特定历史社会的关系特征。莫纳·奥佐夫和基思·贝克等人提出，新的社会群体即使没有正式的代表，也有能力影响18世纪的政治。这些关于公众舆论的观点已经渗透到流行文化的研究中。口头和民间习俗与社会和文化历史研究的相关性早已得到承认。罗伯特·达恩顿、尼古拉斯·哈蒙德和文森特·米利奥等历史学家对巴黎的歌曲文化和音景进行了生动的描述。然而，对各省和殖民地的流行政治歌曲的研究明显不足。此外，那些考虑这些来源在区分社会关系、身份、结构和力量方面的价值的人，未能全面地将多学科方法的呼吁付诸实践。虽然有几项研究是研究歌曲的有效方法，但它们并没有将历史学科与理论或社会音乐学进行实质性的对话。我试图超越这一先前的奖学金，检查文本的音乐设置，并通过其文本和音乐内容追踪歌曲作为听觉重写的“家谱”。考察法国本土及其海外领地内的几个地区--它们的语言、地理位置以及与王室的政治关系都各不相同--将有助于进行富有成效的比较。歌曲的归属--属于某个特定的阶级、语言群体或跨阶级的文化生产领域--揭示了我们可以得出的关于更广泛的社会参与政治的结论。因此，我的研究将提供一个机会，揭示一个更广泛的地理和时间的历史，流行的参与，并，更一般地说，建议可用的方法来填补空白所留下的短暂性质的来源问题和缺乏信息的观众或接收。论文将从事文化的历史研究作为挪用，或作为什么彼得伯克标签的'三R'：再就业，再制定，和重建。达恩顿和哈蒙德等学者制作了数字录音，以丰富他们对巴黎街头歌曲的研究，他们自己也在进行文化再利用。然而，这两个项目都表现出缺乏对这一过程的自我评价，也缺乏对当今音乐家的实践可能揭示的内容的认识。我的项目将探索这种潜力，通过记录和分析我的论文中包含的歌曲的表演。考虑到现代对这些材料的不同解释，可以成为审查历史消费机制和衡量民众参与做法的一种有价值的方法。在更实际的层面上，这种调查将促进历史学家和音乐家之间有价值的交流。它将努力不仅提出一个有用的框架，检查历史消费的机制，但也要仔细检查“历史知情”的性能目前的做法。因此，本论文将提供一个开创性的跨学科学术的例子，同时也揭示了18世纪法语世界民众政治参与的历史。

My thesis will investigate the geographies revealed by patterns of cultural performance in the long eighteenth century, during moments of political tension. The research will focus on several contrasting regions, both within France and overseas. It will draw upon a mixture of printed and manuscript political songs, alongside other textual materials, such as judicial records, journals, and popular pamphlets. In doing so, the project will evaluate how an awareness of cultural schemes of song might contribute to our understanding of the relationships characterising particular historical societies.Mona Ozouf and Keith Baker, among others, have suggested the ability of new social groups to influence politics in the eighteenth century, even without formal representation. These ideas about public opinion have permeated studies of popular culture. The relevance of oral and popular practices to the study of social and cultural history has long been acknowledged. Historians such as Robert Darnton, Nicholas Hammond, and Vincent Milliot have produced stimulating accounts of Parisian song cultures and soundscapes. However, there is a marked paucity of studies on popular political song in provincial and colonial territories. Furthermore, those who have considered the value of these sources in distinguishing social relations, identities, structures, and forces, have failed to comprehensively put calls for a multidisciplinary approach into practice. Although several studies posit effective ways of considering songs, they do not bring the historical discipline into substantive dialogue with theoretical or social musicology. I seek to go beyond this previous scholarship, examining the musical settings of texts, and tracing the 'genealogies' of songs as aural palimpsests through both their textual and musical content. Investigating several regions within mainland France and its overseas territories - all differing in their languages, geographies, and fluctuating political relationships with the crown - will permit fruitful comparison. The ascription of songs - to one particular class, linguistic group, or to a sphere of cross-class cultural production - sheds light on conclusions we can draw about the participation of wider society in politics. My research will thus provide an opportunity to unveil a broader geographical and chronological history of popular involvement, and, more generally, to suggest usable methods to fill in gaps left by the ephemeral nature of the sources in question and lack of information about audience or reception.The thesis will engage with historical studies of culture as appropriation, or as what Peter Burke labels the 'Three Rs': re-employment, re-enactment, and reconstruction. Scholars, such as Darnton and Hammond, have produced digital recordings to enrich their work on Parisian street songs, engaging in cultural reappropriation themselves. However, both projects have exhibited a lack of self-evaluation of this process and a lack of awareness about what the practices of musicians today might reveal. My project will explore this potential, through recording and analysing performances of the songs included in my thesis. Considering different modern-day interpretations of this material could constitute a valuable method for examining the mechanisms of historical consumption and for gauging practices of popular participation. On a more practical level, this inquiry will promote valuable interchange between historians and musicians. It will strive not only to suggest a useful framework for examining the mechanics of historical consumption, but also to scrutinise current practices of 'historically-informed' performance. As such, this thesis will provide an example of pioneering interdisciplinary scholarship, while also revealing much about the history of popular political participation in the eighteenth-century francophone world.