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FR
Les relations linguistiques entre la France et les pays lusophones, surtout le Portugal, ont une longue tradition. Sans le moindre doute, ces relations ont amené les langues ibériques à emprunter plus au français qu’inversement. Cependant, le portugais, au cours des siècles, a aussi fourni à la langue française de nombreux mots. Bien entendu, pas tous ces mots, proviennent, en fin de compte, de la Péninsule Ibérique mais le Portugal a pu joué un rôle d’intermédiaire entre le français et, d’une part, le portugais dans ses variantes hors-européennes, et d’autre part, certaines langues américaines, africaines et asiatiques. Ainsi nous voulons, dans cette contribution, nous occuper des vocables que nous pouvons dénommer grosso modo comme des lusophonismes.
EN
The language relations between France and lusophone countries, especially Portugal, have a long tradition. Without a doubt, these relations have led Iberian languages to borrow more from French than vice versa. However, Portuguese has also contributed many words to French over centuries. Certainly, not all of these words come ultimately from the Iberian Peninsula but Portugal has played the role of intermediary between French and, Portuguese in its non-European variants as well as certain American, African and Asian languages. Thus, the main focus of this paper is the study of words which can be roughly classified as lusophonisms.
EN
This paper deals with the language practices of French-speaking reggae singers and listeners. The observed phenomena comprise code-switching (selecting and alternating between languages) and lexical borrowings in reggae and dancehall, which form a musical tradition with unique features, both in song recordings and on stage. The method includes comparative lexicographic research and a web survey answered by 189 French-speaking reggae fans. The linguistic richness and diversity of reggae lyrics at a global level are also compared to multilingualism in hip-hop lyrics. Firstly, the empirical part investigates a random sample of 160 reggae songs in search of languages embedded in French. The lyrics draw on twelve foreign languages, placing every code-switch according to a song’s structure in a generally regular fashion. Secondly, the focus shifts to adoption of innovative lexical devices found in reggae songs, resulting in more than a hundred new loanwords from English and Jamaican Creole. Finally, the work points out functional differences between these borrowings and code-switching, in song lyrics and in an improvised DJ event. The strategies identified include addressing a concrete audience and combining spontaneity with lyrical editing. The loanwords’ reoccurring use in the fans’ discourse appears to be typical of the vernacular of francophone reggae listeners.
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