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This thesis studies the opposition of the Italian Communist Party (ICP) and the French Communist Party (FCP) to the Atlantic bloc, from the beginning of the Cold War until the entry of the Federal Republic of Germany (FRG) into NATO. The approach chosen is to integrate the 'national' and 'international' spheres, in order to avoid framing the analysis solely in terms of Cold War opposition. The comprehension of the oppositional strategies of two parties to the Atlantic bloc is very important, as the PCF and the PCI were the two largest communist parties in Western Europe at the time, and favorable to the French and Italian constitutions after World War II. Considering the interaction between national issues and international pressures, the dissertation draws a portrait of the evolution of the CPF/CPI in their opposition to the Atlantic bloc, highlighting similarities and differences. The thesis relies on several primary sources, such as official documents of the two parties and Italian, French, Russian and American diplomatic and ministerial documents, to explain the evolution of the two parties. While the starting conditions, with the exclusion from the national governments of both parties and the increased pressure from the US and the Soviet Union were similar, the long-term development of strategies was different. In general, the PCF was more "dogmatic", in relation to the Atlantic bloc. Consequently, the tendency of the French communists was to focus more on the international situation than on national issues, with a reversal of this tendency only in the mid-1950s, during the campaign against the EDC. For their part, the Italian communists were able, from the start and notwithstanding international pressures, to develop a more balanced opposition taking into account national issues and the international situation. As a result, the PCI's strategy was more effective, as it repeatedly challenged the Italian government on its Atlantic choice.
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Art history and cultural history in Quebec present many examples of “retours d’Europe” and of “French triumphs,” from the formative overseas stays of the “exotiques” in the 1910s to the stage success of Quebec “chansonniers” in Paris in the 1950s and 1960s. However, between the early 1930s and the mid-1950s, some of the most famous French-speaking artists based in Montréal preferred to go on tour in the United States. Many of them traveled New England year after year, sometimes going as far as New York City, to cheer the French-speaking public present along the way in the industrial cities of the region. Yet this episode of high mobility is almost absent from history, memory and cultural heritage in Quebec—and even more so in the United States. Beyond the impact of the Great Depression on Montréal’s cultural scene and of the Second World War on the possibility of visiting Europe, these artists have turned their eyes towards America because they participated in a transnational space, both geographical and symbolic, inherited from an era of great intracontinental migrations, then reactivated and reconfigured by the advent of sound and audiovisual media—discs, radio and cinema. By studying the history of the celebrity of Mary “La Bolduc” Travers, Rudy Vallée and Jean Grimaldi, this thesis attempts to access to the various layers of this phenomenon at the crossroads of cultural history, media history and migration history. Their intricate narratives therefore reveal the modality of mobility involved inside—and often times outside—of the French Canadian “imagined community.” By analyzing the heritagization process of these artists, it is possible to isolate some of the causes the oblivion of this transnational episode of francophone culture in North America, such as the rejection of mobility in the formation of national and ethnic identity narratives; the historical marginalization of popular arts; and the mistrust of the United States among cultural and political elites around the world at the time.
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Chargé.e.s de cours
- Sollai, Luca (1)