1936 as a parataxis of various « totalitarian successes » ; 1936 comme parataxe de divers « succès totalitaires »

Abstract

We focus here on one year: 1936. François Colbert recognizes four models of State (State in the sense of nation). The models concern the cultural politics of each type of State. One State model is the Sponsor State. The typical example is England. But in 36, this Sponsor State was not very active yet. The BBC just decided not to promote any continental modernism, and particularly not the Germanic one. Edward Clarck, who was a Schönberg's pupil, left then the Corporation. Finally, we couldn't find any remarkable work composed in England (or in Canada, another sponsor State), during 36. But it is true that Elgar just died two years before and Britten would start to compose only one year after.France would present another model. It might be an Architect State, notably from 36 on, because of the new social government, le Front Populaire of Leon Blum. In june, it generated the first "congés payés", the first payed holidays: two weeks of vacation given to the workers. A song of 36 (Quand on se promène au bord de l'eau performed by Jean Gabin) speaks about this new society of hobbies, now possible for every worker.Christopher L. Moore underlines the cultural interventionism of this French Architect State, a research of a real « modernisme populaire ». The result has not passed clearly the exam of posterity. There is, for example, the Suite provençale by Darius Milhaud. This Mediterranean work perhaps resounds with the idea of holiday, so with the new "congés payés". That occupies the popular aspect. For the modernist one: it is polytonal.But another Mediterranean music, recorded in august 36, is far more famous in France today, perhaps more than any orchestral work of 36, even Litanies à la Vierge noire by Poulenc or Poèmes pour mi by the young Messiaen. This Marinella, song by Tino Rossi, doesn't work for a "modernisme populaire", but for an industrial aesthetics, that of the recording company. Adorno's great fear about cultural industry is already pertinent in this time. Because Marinella has become the "music of the ...