Chanter le crime à l’heure de l’invention des cafés-concerts parisiens sous le Second Empire
Abstract
From 1850, the birth of the Café-concert sets a model for the French song that seems to be in contradiction with criminal lament. Claiming to be flimsy, flighty and cheerful, it belongs to the new world of leisure and ignores the crime echoed by laments, broadsides and, after 1863, miscellaneous mass newspapers. Criminal lament and café-concert songs are two lively and widely circulated kinds of songs. They spread alongside in different spaces and temporalities. This paper studies theirs links, specific features and influences.
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