ABSTRACT Francis Poulenc’s Histoire de Babar, le petit éléphant (1940–45) is among his most charming and least studied works. Based on the popular children’s book by Jean de Brunhoff, the work was composed on the eve of World War II for solo piano and narrator, and later orchestrated by Jean Françaix in 1961. It is a potent example of Lynn Garafola’s concept of “lifestyle modernism,” an “art of the sophisticated commonplace” first associated with Satie’s Sports et divertissements (1914) and Parade (1917), a style that most scholars have declared defunct post-Parade. Instead, Babar can be viewed as a reflection of the continuation and expansion of the trend through its glorification of the leisure activities of the French upper class. The music combines Les Six-era frivolity with previously unrecognized allusions to music by Chopin, Satie, and Stravinsky, reflecting the composer’s longstanding approach to quotation and allusion.

中文翻译：

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Musique à la Mode：弗朗西斯·普朗克的巴巴尔历史与“生活方式现代主义”的重生

摘要 Francis Poulenc 的 Histoire de Babar, le petit éléphant (1940–45) 是他最迷人但研究最少的作品之一。该作品根据让·德·布伦霍夫 (Jean de Brunhoff) 的畅销儿童读物改编，于二战前夕为钢琴独奏和叙述者创作，后来由让·弗朗西 (Jean Françaix) 于 1961 年编曲。这是林恩·加拉福拉 (Lynn Garafola) 的“生活方式现代主义”概念的有力例证，”一种“复杂的普通艺术”，首先与萨蒂的《体育与娱乐》（1914 年）和游行（1917 年）相关联，大多数学者已经宣布这种风格在游行后已不复存在。相反，Babar 可以被视为通过对法国上层阶级休闲活动的美化而得以延续和扩展的反映。音乐将 Les Six 时代的轻浮与肖邦、萨蒂、