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Uvic Thesis Template « C’est pas about toi, c’est about moi » : l’acadjonne, le rap et l’intertextualité dans la construction identitaire du rappeur acadien Jacobus par Olga Ziminova Bachelor of Linguistics, Saint-Petersburg State University, Russia, 2019 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS (French Literature, Language and Culture) in the Department of French Olga Ziminova, 2021 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. We acknowledge with respect the Lekwungen peoples on whose traditional territory the university stands and the Songhees, Esquimalt and WSÁNEĆ peoples whose historical relationships with the land continue to this day. ii Supervisory Committee « C’est pas about toi, c’est about moi » : l’acadjonne, le rap et l’intertextualité dans la construction identitaire du rappeur acadien Jacobus by Olga Ziminova Bachelor of Linguistics, Saint-Petersburg State University, Russia, 2019 Supervisory Committee Dr Pierre-Luc Landry (Department of French) Co-supervisor Dr Catherine Léger (Department of French) Co-supervisor iii Abstract This thesis analyzes elements which contribute to the construction of the artistic identity of the Acadian rap artist Jacobus. Nowadays, many artists perform on the local and international stages from musical, social or linguistic margins. Their success is due to the democratization of production and music broadcasting tools. As this phenomenon becomes more and more common and popular, “marginal” artists and their communities blur the lines between the mainstream and the underground, by the means of performing in their vernacular and promoting these authentic language practices. Jacobus sings in Acadjonne, a variety of Acadian French spoken in la Baie Sainte-Marie, Nova Scotia. By singing in his vernacular, consciously or not, he claims his Acadian identity, as other artists do so with Chiac, another variety of Acadian French (for example, Lisa LeBlanc and Les Hay Babies). Jacobus, as other artists, claims and proclaims his Acadian identity while promoting his vernacular, which has provoked controversial discussions in the media. Through his songs, the artist destroys the stereotypes of rap music. At the same time, he transgresses the linguistics norms by choosing the linguistic minority over the proper, standard French. In this thesis, I analyze the songs from Jacobus’ two solo albums and various aspects of his songs that contribute to the construction of a “marginalized” and authentic artistic identity. This research shows that the artist’s linguistic practices and the fact that he brings the Acadjonne variety on the Québécois, Canadian or even global stages, contribute to the construction of his authentic identity, but also to the spreading of local varieties of French language, which goes against the linguistic imperialism of the ideology iv of the standard. This linguistic behaviour enhances the actual societal conversation about inclusion and diversity in Canada. v Résumé Cette thèse analyse les éléments qui contribuent à la construction de l’identité artistique du rappeur acadien Jacobus. De nombreux artistes provenant des périphéries sociales et linguistiques réussissent de nos jours à percer sur les scènes locales et internationales, grâce à la démocratisation des outils de production et de diffusion de la musique. Certains de ces artistes brouillent encore davantage les frontières entre le mainstream et la contre-culture en performant dans leur vernaculaire, mettant de l’avant des pratiques linguistiques authentiques. Jacobus chante en acadjonne, une variété de français acadien parlée à la baie Sainte-Marie, en Nouvelle-Écosse. En chantant dans son vernaculaire, consciemment ou non, il revendique son identité acadienne tout comme d’autres artistes le font avec le chiac, par exemple, une autre variété de français acadien (entre autres, Lisa LeBlanc et Les Hay Babies). Comme d’autres artistes, Jacobus réclame et affirme son identité acadienne en promouvant en même temps son vernaculaire, ce qui a provoqué des débats dans les médias. À partir de ses chansons, l’artiste détruit les stéréotypes de la musique rap. Simultanément, il franchit les normes linguistiques en utilisant une variété de français en milieu minoritaire, au lieu du français « pur », standard. Dans cette thèse, j’analyse les chansons des deux albums solos de Jacobus et j’observe comment l’identité artistique de Jacobus est construite à partir de ses chansons : la langue utilisée, l’éthos qui y est développé, ainsi que les références et les cas d’intertextualité. Ma recherche démontre que les pratiques linguistiques de l’artiste et le fait qu’il rend audible la variété acadjonne sur les scènes québécoise, canadienne et même internationale contribuent non seulement à la construction de son identité authentique, mais vi aussi au rayonnement des variétés locales de français, allant à l’encontre de l’impérialisme linguistique de l’idéologie du standard. Ce comportement linguistique encourage la conversation sociétale actuelle sur l’inclusion et la diversité au Canada. vii Table des matières Supervisory Committee ...................................................................................................... ii Abstract .............................................................................................................................. iii Résumé ................................................................................................................................ v Table des matières............................................................................................................. vii Liste des figures ................................................................................................................. ix Remerciements .................................................................................................................... x Dédicace ............................................................................................................................. xi Introduction ......................................................................................................................... 1 Chapitre 1. Acadie en bref : quelques éléments historiques, culturels et sociolinguistiques ............................................................................................................................................. 4 1.1. Quelques renseignements historiques et culturels sur l’Acadie et la baie Sainte- Marie ........................................................................................................................... 4 1.2. Français acadien et acadjonne .............................................................................. 8 1.3. Idéologies linguistiques en circulation en Acadie et à la baie Sainte-Marie ..... 13 1.4. Variété vernaculaire dans les arts ...................................................................... 19 Chapitre 2. Analyse du discours : éthos, rap et réseau intertextuel .................................. 24 2.1. Éthos et identité : concepts clés ......................................................................... 24 2.1.1. Scénographie ................................................................................................... 26 2.1.2. Éthos dit (discursif) et éthos montré (prédiscursif)......................................... 27 2.1.3. Arsenal préexistant et stéréotypes ................................................................... 30 2.2. Rap : concepts clés ............................................................................................. 33 2.2.1. Histoire du rap................................................................................................. 34 2.2.2. Narrativité musicale ........................................................................................ 35 2.2.3. Langage rap ..................................................................................................... 39 2.2.4. Authenticité et localisation dans le rap ........................................................... 45 2.3. Intertextualité ..................................................................................................... 49 2.3.1. Clichés de la culture rap .................................................................................. 50 2.3.2. Appartenances manifestées ............................................................................. 52 Chapitre 3. Corpus et méthodologie ................................................................................. 54 Chapitre 4. Analyse et résultats ........................................................................................ 61 4.1. Utilisation du vernaculaire ................................................................................. 61 4.2. Références dans les chansons ............................................................................ 70 4.2.1. Références identitaires .................................................................................... 71 4.2.2. Références musicales ...................................................................................... 81 4.2.3. Références au style de vie festif ...................................................................... 87 4.2.4. Références à l’apparence et au style ............................................................... 89 4.2.5. Références cinématographiques.....................................................................
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