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Difference between revisions of "Verlan (France)"
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Hip-hop music has also created for itself a sub-lexicon of ''Verlan'', in which the most important words within the realm of rap music are almost better known in this form (Marc-Martìnez 2008<ref>Martínez, I. M. 2008. Le rap français: esthétique et poétique des textes (1990-1995) (Vol. 9). Peter Lang.</ref>); examples include the word ''rappeur'' itself, ''verlanised'' into ''peura'', and the name of the well-known artist MC Solaar, also known as ''Laarso''. Unlike the previously discussed ‘common’ ''verlanisations'' of slang words, the rapper Ministère A.M.E.R. has branched out into inverting everyday words (i.e., those not considered to be ''argotique'' or slang) namely ''maneci'' (cinéma) and ''naisco'' (''connais'') (2008:271<ref>Martínez, I. M. 2008. Le rap français: esthétique et poétique des textes (1990-1995) (Vol. 9). Peter Lang.</ref>), thus giving strength to the argument that Verlan is no longer restricted to a cryptic form of usage. | Hip-hop music has also created for itself a sub-lexicon of ''Verlan'', in which the most important words within the realm of rap music are almost better known in this form (Marc-Martìnez 2008<ref>Martínez, I. M. 2008. Le rap français: esthétique et poétique des textes (1990-1995) (Vol. 9). Peter Lang.</ref>); examples include the word ''rappeur'' itself, ''verlanised'' into ''peura'', and the name of the well-known artist MC Solaar, also known as ''Laarso''. Unlike the previously discussed ‘common’ ''verlanisations'' of slang words, the rapper Ministère A.M.E.R. has branched out into inverting everyday words (i.e., those not considered to be ''argotique'' or slang) namely ''maneci'' (cinéma) and ''naisco'' (''connais'') (2008:271<ref>Martínez, I. M. 2008. Le rap français: esthétique et poétique des textes (1990-1995) (Vol. 9). Peter Lang.</ref>), thus giving strength to the argument that Verlan is no longer restricted to a cryptic form of usage. | ||
The cultural importance of ''verlan'' is highlighted in the 1995 film ''La Haine'', in which the director Matthieu Kassowitz draws on French society's understanding of the slang. The film's events take place against the backdrop of a Parisian council estate, focusing on the frustrations of residents of ''la zone'' (the ‘slum belt’). Kassowitz appears to have made it as ‘viewer-friendly’ as possible whilst also conveying the message that the characters' speech is different from that of the more bourgeois society that they encounter in central Paris. Peters sums this up well: | The cultural importance of ''verlan'' is highlighted in the 1995 film ''La Haine'', in which the director Matthieu Kassowitz draws on French society's understanding of the slang. The film's [[events]] take place against the backdrop of a Parisian council estate, focusing on the frustrations of residents of ''la zone'' (the ‘slum belt’). Kassowitz appears to have made it as ‘viewer-friendly’ as possible whilst also conveying the message that the characters' speech is different from that of the more bourgeois society that they encounter in central Paris. Peters sums this up well: | ||
<blockquote>‘The characters speak Verlan only amongst themselves, never to adults inside or outside the ''banlieue'' [suburbs]...they use Verlan for drug vocabulary and employ many of the better-known terms: ''keuf'', from ''flic'', (meaning cop or pig)... ''téci'', from ''cité'', (ghetto)’ (2007: 15<ref>Peters, N. 2007. C'est pas blesipo: Variations of Verlan. BA dissertation. Swarthmore College.</ref>)</blockquote> | <blockquote>‘The characters speak Verlan only amongst themselves, never to adults inside or outside the ''banlieue'' [suburbs]...they use Verlan for drug vocabulary and employ many of the better-known terms: ''keuf'', from ''flic'', (meaning cop or pig)... ''téci'', from ''cité'', (ghetto)’ (2007: 15<ref>Peters, N. 2007. C'est pas blesipo: Variations of Verlan. BA dissertation. Swarthmore College.</ref>)</blockquote> | ||