« Argot, verlan et tchatche » dans la chanson française d’hier et d’aujourd’hui
Journal Title: Argotica - Year 2016, Vol 0, Issue 1
Abstract
The authors and performers of “chanson française” have proven to be very important concerning the diffusion of the various types of “argot” to a broad audience. This is evident in popular songs of the first half of the 20th Century: from Paris canaille by Léo Ferré, to the argot of the edgy Renaud Séchan and the “verlan” revolution of the 1980’s-1990’s with the explosion of rap and hip-hop in the French music world, or yet further in the coded language of today's rappers. The lyrics of these artists are considered a great source of alternative language use emanating from the “banlieues” –suburbs, but also about real lexical creations. In this article, we aim to define the pivotal characteristics and the evolution of “argot” of today and yesteryear and especially to highlight its strong presence in popular song lyrics for more than a Century. Demonstrating that artists such as Edith Piaf, Bourvil, Renaud, Zebda, La Fouine, Stromae and many others become true craftsmen and disseminators of “argot” that have significantly contributed to the evolution of the French and Francophone linguistic landscape. An important linguistic role, together with a desire to belong to a cultural and social class that these artists fully assume, laying claim to the exclusive use of a sociolect. We will highlight through examples of lyrics by various songwriters and focus on the evolution of argotic language in over 100 years of “chanson française”, the influence of the latter on the continuous language evolution of each generation and its sociocultural implications.
Authors and Affiliations
Virginie Gaugey
Keywords
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« Argot, verlan et tchatche » dans la chanson française d’hier et d’aujourd’hui
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Review.