The Fronde generated vast amounts of ephemeral printed media that circulated polemical information and shaped public discourse. Pamphlets, street songs, and placards, known as mazarinades, survive as artefacts of performances that jostled for attention in chaotic urban public spaces. In this article I analyse three placards produced during the Fronde to demonstrate their utilitarian function as a tool of mass communication that sometimes incorporated songs drawn from the repertoires of literary elites and street singers. When a placard was read à haute voix or an inscribed song was sung, these objects engendered performances that filled Paris’s public spaces with political propaganda. Because songs printed on placards set new texts to pre-existing tunes, the layering of songs fostered webs of intertextual and intermusical references. By determining the significance of a particular tune to contemporary audiences, we can enrich textual and visual analyses and begin to determine how different social groups might have responded to the mazarinades. Through song, individuals participated in communal social acts that memorialized contemporary events and forged connections with events in living memory. Placards, then, illustrate how effective political messaging in early modern Paris in part translated to controlling the urban soundscape.

中文翻译：

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唱前锋：标语牌，街头歌曲和政治表演

Fronde产生了大量的临时印刷媒体，这些媒体传播辩论性信息并塑造了公众话语。小册子，街头歌曲和标语牌（称为mazarinades）作为表演的伪影得以幸存，这些表演伪装在混乱的城市公共场所引起人们的注意。在本文中，我将分析在弗朗德期间制作的三张标语牌，以展示其作为大众传播工具的功利性功能，有时会结合从文学精英和街头歌手的曲目中提取的歌曲。当阅读标语牌à高级voix或唱出题词的歌曲时，这些物品便引发了表演，使巴黎的公共场所充满了政治宣传。由于标语牌上的歌曲将新的文本设置为预先存在的曲调，因此歌曲的分层促进了互文性和音乐性引用的网络。通过确定特定曲调对当代听众的重要性，我们可以丰富文本和视觉分析，并开始确定不同的社会群体可能如何应对马扎里纳德舞。通过歌唱，人们参加了纪念现代事件并与生活记忆事件建立联系的社区社交活动。然后，标语牌说明了如何在现代巴黎早期有效地传达政治讯息，从而部分转化为控制城市的声音景观。