Modalisation et narrativité dans les chansons d'Audefroi le Bâtard

Abstract

The theory of narrativity developped by A. J. Greimas was applied to the chansons of Audefroi le Bâtard, using a computer glossary of the vocabulary of the chansons that provided the context of every word. The dominant role played by modal verbs indicates that the I-enunciator, which is a virtualized semiotic subject (i.e. endowed with wanting- and/or having-to do) of a base narrative program JOY, never becomes a competent subject (i.e. endowed with the actualizing modalities being-able and/or knowing), since the delegated sender Dame refuses to give her sanction to the instrumental narrative program SINGING (CHANT). Thus the underlying model of the chansons is a non-resolution scheme according to which the confrontation of two universes of values (immanent and transcendent) is neutralized, since the moment when the stake is assigned is indefinitely postponed. This neutral yet reassuring scheme might be considered homologous to the contemporaneous historico-cultural model during the XIIth century and the beginning of the XIIIth century, when local power in Arras was the object of bargaining between two major collective actants, with the result that a temporary static situation was attained in which neither actant was able to emerge victorious.