Manual Wohnmobil Tipps - Vor, während und nach der großen Fahrt (German Edition)

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Create a Want BookSleuth Can't remember the title or the author of a book? His ambition was to be recognised as a poet and as a serious composer of classical music, and beyond that to operate a decisive fusion of these prestigious forms of high culture with the popular form of chanson which made him famous. How can one do justice to such a long career and to such a complex and ambitious project? In the process we may also identify some limitations of the approach, whilst looking critically at the conclusions to which it may lead us.

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This can take the form of negative reviews, exclusion from public forums, disqualification from membership of artistic organisations, etc. Although the model is an economic one, that of the market-place, Bourdieu sees the field of cultural production as an autonomous set of dynamic relations, only indirectly linked to economic forces. These provide the vertical axis of the chart. His performances of his song material were largely restricted to Parisian Left-Bank night clubs: his rather timid performing style at the piano was not yet suited to larger auditoria.

His classical music ambitions seemed to take a back seat at this point: a lot of his energy in the next few years was directed at the links between poetry and popular music. In the autobiographical text Et basta! This, combined with the fallout from the political upheaval of May , led to a complete renewal of his audience: his anarchism and revolt appealed to a new generation of radical students.

This had its negative side, however: he was regularly attacked and verbally abused during this period by various left-wing groups who accused him of opportunism and hypocrisy Belleret ; Raemackers This violence was sometimes rather more than symbolic, and it was one of his reasons for choosing to live in exile in Italy. His ambitions as a classical composer and conductor were foregrounded, and although he achieved considerable public recognition through invitations to conduct various provincial and foreign orchestras, he was never accorded the consecration of the Parisian musical establishment.

He insisted on fusing together his own more popular work and that of classical composers, on breaking conventions by singing and conducting at the same time, by rejecting the high-culture avant-garde of experimental music Belleret He no longer seemed interested in popular hit songs, but acquired a considerable following of admirers and imitators in the subsequent generation of singer-songwriters: notably Bernard Lavilliers, Renaud, Jacques Higelin, William Sheller, Alain Souchon and Francis Lalanne.

His cultural capital was such that he could afford to exercise complete freedom in his work, and he used this to blur still further the distinctions between popular chanson, classical music and poetry. In his last years there were many tribute concerts such as at the Francofolies festival in La Rochelle in , confirming his status as a revered figure in French popular music. Yet he never accepted to receive the honours that would normally be accorded to such a figure by the French state Belleret ; nor was his contribution to the individual fields of classical music and poetry ever fully recognised.

In the Bourdieusian approach, political views do not constitute a field of cultural production as such. The importance of his political views colours his cultural production as a whole, and it is difficult to take account of this within the analytical framework we have established. It is equally clear that he has always shied away from any direct political involvement, most notably in May , when he declined an invitation to join some students sympathetic to his views in street demonstrations Belleret His anarchism has always been a personal and individual creed, not a programme of political activism.

In terms of political position, his opinions have carried considerable weight even so because of his public persona as a star, and in this respect it is worth examining these in their own right.

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He has always made public declarations of his political views an integral part of his artistic output , and to this extent it is difficult to ignore them or to leave them out of account in any survey of his career. It is interesting to look at his positions on a number of issues not directly implied by his anarchism, which will enable us to situate him more precisely as a generally left-wing political commentator, a fellow-traveller of French radical politics in the post-war years.

This places him as a broadly left-wing libertarian figure but not far removed from a certain received political correctness, and this ideological vagueness, coupled with his detachment from any practical involvement, is probably the reason for the virulent ultra-leftist attacks he sustained in the early seventies Belleret a: , Raemackers He is often presented in this context as a bogus left-winger who has sold out to a comfortable middle-class lifestyle while exploiting his radical image for easy profit.