Winner of the International Book Award from International Association for the Study of Popular Music (2003) The practice of singing and songwriting in France during the Great War provides an intriguing tool for the exploration of the French cultural politics of the epoch. Responding to the dearth of cultural studies of the First World War, Regina Sweeney's unique cross-disciplinary study illuminates many of the hitherto unexplored corners of an era that many historians consider to exhibit a break with recognizable trends. In early twentieth century Europe, singing was considered a part of education integral to the formation of good citizens. Singing was especially important to the French, for whom it was historically associated with authenticity of feeling and purity of character, and thereby with the very roots of French democracy; it was particularly associated with the image of France as a victorious nation. But as Sweeney shows, different performances of the same patriotic song could carry vastly different meanings. By focusing on singing, Sweeney is able to provide a more nuanced reading of French Great War cultures than ever before, and to show that cultures previously held to be exclusive — those of the home front and the Western front, for example — existed in dialectical tension and were themselves far from homogenous.

An entertaining cultural history of music during World War I, covering all the major European nations as well as the United States, in both classical and popular genres. The book is lavishly illustrated and includes a CD.

Between 1880 and 1914, tens of thousands of men and women left France for distant religious missions, driven by the desire to spread the word of Jesus Christ, combat Satan, and convert the world's pagans to Catholicism. But they were not the only ones with eyes fixed on foreign shores. Just as the Catholic missionary movement reached its apex, the young, staunchly secular Third Republic launched the most aggressive campaign of colonial expansion in French history. Missionaries and republicans abroad knew they had much to gain from working together, but their starkly different motivations regularly led them to view one another with resentment, distrust, and even fear. In An Empire Divided, J.P. Daughton tells the story of how troubled relations between Catholic missionaries and a host of republican critics shaped colonial policies, Catholic perspectives, and domestic French politics in the tumultuous decades before the First World War. With case studies on Indochina, Polynesia, and Madagascar, An Empire Divided--the first book to examine the role of religious missionaries in shaping French colonialism--challenges the long-held view that French colonizing and "civilizing" goals were shaped by a distinctly secular republican ideology built on Enlightenment ideals. By exploring the experiences of Catholic missionaries, one of the largest groups of French men and women working abroad, Daughton argues that colonial policies were regularly wrought in the fires of religious discord--discord that indigenous communities exploited in responding to colonial rule. After decades of conflict, Catholics and republicans in the empire ultimately buried many of their disagreements by embracing a notion of French civilization that awkwardly melded both Catholic and republican ideals. But their entente came at a price, with both sides compromising long-held and much-cherished traditions for the benefit of establishing and maintaining authority. Focusing on the much-neglected intersection of politics, religion, and imperialism, Daughton offers a new understanding of both the nature of French culture and politics at the fin de siecle, as well as the power of the colonial experience to reshape European's most profound beliefs.

There's only one way to overcome a spiritual terrorist. The war on terror is out of balance. Billions of dollars and cutting-edge weaponry pitted against faceless zealots. Cunning foes who fight dirty. Though inferior in strength, they remain surprisingly deadly. In spiritual terms, this conflict perfectly illustrates our vulnerability to Satan's attacks. He exploits every advantage to destroy us--and his advantages are considerable. He's a lot smarter than we are, he knows our weak points, he's invisible, and he breaks all rules. How can we possibly defend ourselves against such an adversary? The only way to overcome such a deadly foe is to know what Scripture says on the matter. Ray Pritchard tackles this challenge in Stealth Attack. By drawing upon the teaching and examples of Jesus, Peter, Paul, and others, he offers practical steps for outmaneuvering the most shameless and stealthy foe imaginable.

The Pete Seeger Reader brings together writing by and about Seeger and covers his songwriting, recording, book and magazine publishing, and political organizing over the course of his lengthy, storied career.

During the German Occupation from 1940 to 1944, Resistance fighters, Parisian youth, and French prisoners of war mined a vast repertoire from a long national musical tradition and a burgeoning international entertainment industry, embracing music as a rhetorical resource with which to destabilize Nazi ideology and contest collaborationist Vichy propaganda. After the Liberation of 1944, popular music continued to mediate French political life, helping citizens to challenge American hegemony and recuperate their nation’s lost international standing. Ultimately, through song, French dissidents rejected Nazi subordination, the politics of collaboration, and American intervention and insisted upon a return to that trinity of traditional French values, liberté, egalité, fraternité. Strains of Dissent recovers the significance of music as a rhetorical means of survival, subversion, and national identity construction and illuminates the creative and cunning ways that individual citizens defied the Occupation outside of formal resistance networks and movements.

In May 1968, France teetered on the brink of revolution as a series of student protests spiraled into the largest general strike the country has ever known. Drott examines the social, political, and cultural effects of May '68 on a variety of music in France.