The Poetics Of Multilingualism La Poetique Du Plurilinguisme

Poetica et Metrica 2. One of the most fascinating aspects of the poetics of multilingualism is that it reveals national literatures to be an outcome of transcultural reflection. This kind of reflection can surface in lexical borrowings and inventions, in attempts at imitating foreign language features, and in combining and improvising stylistic and linguistic devices. The experiments presented in this book range from idiosyncratic and “forced” solutions to the partly unconscious creation of new genres from situations of cultural contact. Multilingualism, as such, turns out to be basic for the emergence of vernacular literatures. While research on the poetics of multilingualism is usually restricted to specific authors, languages, genres or epochs, this book addresses the issue from the perspective of its general systematics, and reflects the diversity of the phenomenon. It provides facets from individual authors’ poetics to conventionalised features of poetics, and from written to oral and sung products of multilingual creation. By focusing on the topic’s ontology, its basic categories and relations, the volume demonstrates the fundamental importance of multilingualism for literary and linguistic theory with studies on a number of European countries and regions, including multilingualism in the literature and literary traditions of the Alsace, the Basque Country, England, France, Germany, Hungary, Italy, Ireland, the Netherlands, Russia, Sardinia, and Spain.

Poetica et Metrica 2. One of the most fascinating aspects of the poetics of multilingualism is that it reveals national literatures to be an outcome of transcultural reflection. This kind of reflection can surface in lexical borrowings and inventions, in attempts at imitating foreign language features, and in combining and improvising stylistic and linguistic devices. The experiments presented in this book range from idiosyncratic and forced solutions to the partly unconscious creation of new genres from situations of cultural contact. Multilingualism, as such, turns out to be basic for the emergence of vernacular literatures. While research on the poetics of multilingualism is usually restricted to specific authors, languages, genres or epochs, this book addresses the issue from the perspective of its general systematics, and reflects the diversity of the phenomenon. It provides facets from individual authors poetics to conventionalised features of poetics, and from written to oral and sung products of multilingual creation. By focusing on the topics ontology, its basic categories and relations, the volume demonstrates the fundamental importance of multilingualism for literary and linguistic theory with studies on a number of European countries and regions, including multilingualism in the literature and literary traditions of the Alsace, the Basque Country, England, France, Germany, Hungary, Italy, Ireland, the Netherlands, Russia, Sardinia, and Spain.

This collection offers a cross-disciplinary exploration of the ways in which multilingual practices were embedded in early modern European literary culture, opening up a dynamic dialogue between contemporary multilingual practices and scholarly work on early modern history and literature. The nine chapters draw on translation studies, literary history, transnational literatures, and contemporary sociolinguistic research to explore how multilingual practices manifested themselves across different social, cultural and institutional spaces. The exploration of a diverse range of contexts allows for the opportunity to engage with questions around how individual practices shape national and transnational language practices and literatures, the impact of multilingual practices on identity formation, and their implications for creative innovations in bilingual and multilingual texts. Taken as a whole, the collection paves the way for future conversations on what early modern literary studies and present-day multilingualism research might learn from one another and the extent to which historical texts might supply precedents for contemporary multilingual practices. This book will be of particular interest to students and scholars in sociolinguistics, early modern studies in history and literature, and comparative literature.

Metaphors of Multilingualism explores changing attitudes towards multilingualism by focusing on shifts both in the choice and in the use of metaphors. Rainer Guldin uses linguistics, philosophy, literature, literary theory and related disciplines to trace the radical redefinition of multilingualism that has taken place over the last decades. This overall change constitutes a paradigmatic shift. However, despite the emergence of the new paradigm, the traditional monolingual point of view is still significantly influencing present-day attitudes towards multilingualism. Consequently, the emergent paradigm has to be studied in close connection with its predecessor. This book is the first extensive attempt to provide a critical overview of the key metaphors that organize current perceptions of multilingualism. Instead of an exhaustive list of possible metaphors of multilingualism, the emphasis is on three closely interrelated and overlapping clusters that play a central role in both paradigms: organic metaphors of the body, kinship and gender metaphors, as well as spatial metaphors. The examples are taken from different languages, among them French, German, Chinese, Japanese, Spanish and Brazilian Portuguese. This is ground-breaking reading for scholars and researchers in the fields of linguistics, literature, philosophy, media studies, anthropology, history and cultural studies.

Though it might seem as modern as Samuel Beckett, Joseph Conrad, and Vladimir Nabokov, translingual writing - texts by authors using more than one language or a language other than their primary one - has an ancient pedigree. The Routledge Handbook of Literary Translingualism aims to provide a comprehensive overview of translingual literature in a wide variety of languages throughout the world, from ancient to modern times. The volume includes sections on: translingual genres - with chapters on memoir, poetry, fiction, drama, and cinema ancient, medieval, and modern translingualism global perspectives - chapters overseeing European, African, and Asian languages Combining chapters from lead specialists in the field, this volume will be of interest to scholars, graduate students, and advanced undergraduates interested in investigating the vibrant area of translingual literature. Attracting scholars from a variety of disciplines, this interdisciplinary and pioneering Handbook will advance current scholarship of the permutations of languages among authors throughout time.

This book focuses on literary multilingualism and specifically on the challenging condition of writing in Trieste, a key European borderland located at the intersection between the Latin, Germanic and Slav civilisations. By focusing on some of the most representative modern writers operating in the area, such as Italo Svevo, Boris Pahor, Claudio Magris and James Joyce, this work offers a wide-ranging discussion of multilingual practices deriving from the different language choices made by these writers. Along with the most common manifest strategies, such as code-switching and hybridisations, Deganutti highlights how Triestine writers found innovative latent practices to engage with multilingualism, such as writing in an analogical way or exploiting internal linguistic stratifications. Moreover, she shows how they provided answers to the several linguistic, cultural and even political challenges they were subjected to, with the result of redefining linguistic boundaries that clearly separate different tongues. This book will be of interest to graduate students, researchers and academics interested in literary multilingualism in the fields of sociolinguistics, borderland studies and comparative literature.

Polyphony and the Modern asks one fundamental question: what does it mean to be modern in one’s own time? To answer that question, this volume focuses on polyphony as an index of modernity. In The Principle of Hope, Ernst Bloch showed that each moment in time is potentially fractured: people living in the same country can effectively live in different centuries – some making their alliances with the past and others betting on the future – but all of them, at least technically, enclosed in the temporal moment. But can a claim of modernity also mean something more ambitious? Can an artist, by accident or design, escape the limits of his or her own time, and somehow precociously embody the outlook of a subsequent age? This book sees polyphony as a bridge providing a terminology and a stylistic practice by which the period barrier between Medieval and Early Modern can be breached. Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at https://www.taylorfrancis.com/books/edit/10.4324/9781003129837

This book examines the works of four contemporary first-generation Chinese migrant writer-artists in France: François CHENG, GAO Xingjian, DAI Sijie, and SHAN Sa. They were all born in China, moved to France in their adulthood to pursue their literary and artistic ambitions, and have enjoyed the highest French and Western institutional recognitions, from the Grand Prix de la Francophonie to the Nobel Prize in Literature. They have established themselves not only as writers, but also as translators, calligraphers, painters, playwrights, and filmmakers mainly in their host country. French has become their dominant—but not only—language of literary creation (except for Gao); yet, linguistic idioms, poetic imagery, and classical thought from Chinese cultural heritage permeate their French texts and visual artworks, reflecting a strong translingual and transmedial sensibility. The book provides not only distinctive literary and artistic examples beyond existing studies of intercultural encounter, French postcolonial, and Chinese diasporic enquiries; more importantly, it formulates a theoretical model that captures the creative dynamics between the French/francophone and Chinese/sinophone spaces of articulation, thereby contributing to contemporary debates about literary and artistic production, interpretation, and circulation in the global development of comparative/world literature, as well as intermediality studies.

Controversial poetry played a crucial role in dealing with religious, political, and scholarly conflicts from 1400 until 1625. This volume analyses roles and functions of Latin, Italian, Dutch, German, Scots, and Hungarian poetry in specific historical controversies. A media theory of poetical impact is proposed by Franz-Josef Holznagel and Dieuwke van der Poel. Levente Seláf, Philipp Steinkamp, and Guillaume van Gemert examine the genres sung in wars, and in rulers’ controversies. Judith Keßler, Dirk Coigneau, Juliette Groenland, and Regina Toepfer analyse how female and male rhetoricians and humanists use verse in religious, municipal, and educational conflicts. Signe Rotter-Broman, Samuel Pakucs Willcocks†, and Alasdair A. MacDonald explain how reception strategies can shape cultural and political identities. Controversial Poetry 1400-1625 diskutiert den entscheidenden Einfluss von Controversial Poetry, Kontrovers-Dichtung, in Konflikten zwischen 1400 und 1625. Dafür werden die Rollen und Funktionen lateinischer, italienischer, niederländischer, deutscher, schottischer und ungarischer Dichtung in konkreten historischen Kontroversen analysiert. Eine Medientheorie der Beeinflussung durch Dichtung entwerfen Franz-Josef Holznagel and Dieuwke van der Poel. Levente Seláf, Philipp Steinkamp, and Guillaume van Gemert untersuchen verschiedene Gattungen gesungener Politik in Kriegen und Auseinandersetzungen von Herrschern. Judith Keßler, Dirk Coigneau, Juliette Groenland und Regina Töpfer analysieren, wie weibliche und männliche rederijkers und Humanisten Verse in konfessionellen, städtischen und Bildungs-Konflikten verwenden. Signe Rotter-Broman, Samuel Pakucs Willcocks† und Alasdair MacDonald erklären, wie Rezeptions-Strategien kulturelle und politische Identitäten gestalten können.

The Avant-Postman explores a broad range of innovative postwar writing in France, Britain, and the United States. Taking James Joyce’s "revolution of the word" in Ulysses and Finnegans Wake as a joint starting point, David Vichnar draws genealogical lines through the work of more than fifty writers up to the present, including Alain Robbe-Grillet, B. S. Johnson, William Burroughs, Christine Brooke-Rose, Georges Perec, Kathy Acker, Iain Sinclair, Hélène Cixous, Alan Moore, David Foster Wallace, and many others. Centering the exploration around five writing strategies employed by Joyce—narrative parallax, stylistic metempsychosis, concrete writing, forgery, and neologising the logos—the book reveals the striking continuities and developments from Joyce’s day to our own.