“Joual”的意思、由来-开放百科全书

Joual ({{IPA-fr|ʒwal}}) is an accepted name for the linguistic features of basilectal Quebec French that are associated with the French-speaking working class in Montreal which has become a symbol of national identity for some. joual is stigmatized by some and celebrated by others. While joual is often considered a sociolect of the Québécois working class, many feel that perception is outdated.

Speakers of Quebec French from outside Montreal usually have other names to identify their speech, such as Magoua in Trois-Rivières, and Chaouin south of Trois-Rivières. Linguists tend to eschew this term, but historically some have reserved the term joual for the variant of Quebec French spoken in Montreal.^[1]

Both the upward socio-economic mobility among the Québécois, and a cultural renaissance around joual connected to the Quiet Revolution in the Montreal East-End have resulted in joual being spoken by people across the educational and economic spectrum. Today, many Québécois who were raised in Quebec during the 20th century (command of English notwithstanding) can understand and speak at least some joual.

History

The creation of joual can be traced back to the "era of silence", the period from the 1840s to the 1960s and the start of the Quiet Revolution.^[2] The "era of silence" was marked with stark stigmatization of the common working man. Written documents were not shared with the typical working class man, and the very strict form of French that was used by elites excluded a majority of the population.^[2] The Quiet Revolution during the 1960s was a time of awakening, in which the Quebec working class demanded more respect in society, including wider use of Québécois in literature and the performing arts. Michel Tremblay is an example of a writer who deliberately used joual and Québécois to represent the working class populations of Quebec.^[3] Joual, a language of the working class, quickly became associated with slang and vulgar language.{{cn|date=March 2019}} Despite its continued use in Canada, there are still ideologies present which place a negative connotation on the use of joual.{{cn|date=March 2019}}

Origin of the name joual

Although coinage of the name joual is often attributed to French-Canadian journalist André Laurendeau, usage of this term throughout French-speaking Canada predates the 1930s.{{Citation needed|reason=no source|date=April 2013}}

The actual word joual is the representation of how the word cheval (Standard French: {{IPA-fr|ʃəval|}}, horse) is pronounced by those who speak joual. The weak schwa vowel {{IPA|[ə]}} disappeared. Then the voiceless {{IPA|[ʃ]}} was voiced to {{IPAblink|ʒ}}, thereby creating {{IPA|[ʒval]}}. Next, the {{IPA|[v]}} at the beginning of a syllable in some regional dialects of French or even in very rapid speech in general weakened to become the semi-vowel {{IPA|[w]}} written {{angbr|ou}}. The end result is the word {{IPA|[ʒwal]}} transcribed as joual.{{Citation needed|reason=there is no evidence of this|date=April 2013}}

Most notable or stereotypical linguistic features

Diphthongs are normally present where long vowels would be present in standard French. There is also the usage of sontaient, sonté (ils étaient, ils ont été).

Although moé and toé are today considered substandard slang pronunciations of toi and moi, these were the original pronunciations of ancien régime French used in all provinces of Northern France, by the royalty, aristocracy, and common people. After the 1789 French Revolution, the standard pronunciation in France changed to that of a previously-stigmatized form in the speech of Paris, but Quebec French continued to evolve from the historically older dialects, having become isolated from France following the 1760 British conquest of New France.^[4]

Joual shares many features with modern Oïl languages, such as Norman, Gallo, Picard, Poitevin and Saintongeais though its affinities are greatest with the 17th century koiné of Paris.^[5] Speakers of these languages of France predominated among settlers to New France.

It could be argued that at least some aspects of more modern joual are further linguistic contractions of standard French. D'la (de la) is an example where the word de has nearly fallen out of usage over time and has become contracted. This argument does apply to other words, and this phenomenon has become widespread throughout contemporary French language.

Another significant characteristic of joual is the liberal use of profanities called sacre in everyday speech.^[6]

English loanwords (Anglicisms)

There are a number of English loanwords in joual, although they have been stigmatized since the 1960s,^[7] instead favoring alternative terms promoted by the Office québécois de la langue française. The usage of deprecated anglicisms varies both regionally and historically.

Some words were also previously thought to be of English origin, although modern research has shown them to be from regional French dialects:

Glossary

In popular culture

The two-act play Les Belles-sœurs by Canadian writer Michel Tremblay premiered in 1968 at the Theater du Rideau Vert in Montreal, Canada. Many consider it to have had a profound impact on Canadian culture, as it was one of the first times joual was seen on a national stage. The play follows a working-class woman named Germaine in Montréal, Québec, Canada. After winning a million trading stamps, she invites her friends over to help paste them into booklets to redeem them. But Germaine is unsuspecting of her jealous friends who are envious of her winnings.^[9] The fact that the play was originally written in joual is very important to the socio-linguistic aspect of the women. The characters all come from the working class and for the most part, speak in joual which at the time was not seen on the main stage. The play was cited at the time as a "radical element among Quebec critics as the dawn of a new era of liberation, both political and aesthetic".^[10]

When Les Belles-sœurs premiered in Paris, France in 1973 as it was originally written, in joual, it was met with some initial criticism. One critic described it as difficult to understand as ancient Greek.^[11] Tremblay responded, "a culture should always start with speak to herself. The ancient Greeks spoke to each other".^[12] The popularity of the play has since caused it to be translated into multiple languages,{{cn|date=March 2019}} raising controveries in the translation community over retaining the authenticity of Les Belles-sœurs even when not performed in the original dialect of joual.{{cn|date=March 2019}}

Writing in joual gave Tremblay an opportunity to resist cultural and linguistic "imperialism" of France, while signifying the secularization of Quèbec culture.^[13]

See also

Notes

1. ^Gilles Lefebvre, «Faut-il miser sur le joual?» Le Devoir 1965, 30 octobre; «L'étude de la culture: la linguistique.» Recherche sociographiques 3:1–2.233–249, 1962; Henri Wittmann, 1973. «Le joual, c'est-tu un créole?» La Linguistique 1973, 9:2.83–93.
2. ^¹{{Cite web|url=http://proxyau.wrlc.org/login?url=https://search.proquest.com/docview/1010987064?accountid=8285|title=The joual effect: A reflection of quebec's urban working-class in michel tremblay's “Les belles-soeurs” and “Hosanna”|last=Prins|first=M.|date=2012|website=Proquest|archive-url=|archive-date=|dead-url=|access-date=}}
3. ^{{Cite journal|last=Dargnat|first=Mathilde|date=2002|title=Michel Tremblay : le “joual” dans Les belles-sœurs|url=|journal=L’Harmattan|volume=|pages=|via=}}
4. ^Marc Picard, "La diphtongue /wa/ et ses équivalents en français du Canada." Cahiers de linguistique de l'Université du Québec 1974, 4.147–164.
5. ^Henri Wittmann, "Le français de Paris dans le français des Amériques." Proceedings of the International Congress of Linguists 16.0416 (Paris, 20–25 juillet 1997). Oxford: Pergamon (CD edition).
6. ^Gilles Charest, Le livre des sacres et blasphèmes québécois. Montréal: L"Aurore, 1974; Jean-Pierre Pichette, Le guide raisonné des jurons. Montréal: Les Quinze, 1980; Diane Vincent, Pressions et impressions sur les sacres au Québec. Québec: Office de la langue française, 1982.
7. ^The standard reference to this subject is Gilles Colpron, Les anglicismes au Québec: Répertoire classifié. Montréal: Beauchemin.
8. ^Gaston Dulong, Dictionnaire des canadianismes. Québec: Larousse Canada, 1989, p. 180.
9. ^{{cite web|url=http://www.canadiantheatre.com/dict.pl?term=Les%20belles-soeurs|title=Les Belles-soeurs|website=Canadian Theatre Encyclopedia|accessdate=21 February 2019}}
10. ^{{cite journal|last1=Usmiani|first1=Renate|date=1982|title=Michel Tremblay|journal=Studies in Canadian Literature|issue=15|accessdate=21 February 2019}}
11. ^{{cite journal|last1=McEwan|first1=Barbara|date=Fall 1986|title="Au-deli de l'exotisme: Le Theatre qu^b^cois devant la critique parisienne|journal=Theatre History in Canada//Histoire du Thmreau Canada|issue=7.2}}
12. ^{{cite web|url=http://www.canadiantheatre.com/dict.pl?term=Les%20belles-soeurs|title=Les Belles-soeurs|website=Canadian Theatre Encyclopedia|accessdate=21 February 2019}}
13. ^{{Cite journal|last=Dunnett|first=Jane|date=2006-07-01|title=Postcolonial Constructions in Québécois Theatre of the 1970s: The Example of Mistero buffo|url=https://doi.org/10.1179/174581506x120082|journal=Romance Studies|volume=24|issue=2|pages=117–131|doi=10.1179/174581506x120082|issn=0263-9904}}