Pub Date : 2023-11-03DOI: 10.1163/2667324x-20230210
Sabira Ståhlberg
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Pub Date : 2023-11-03DOI: 10.1163/2667324x-20230211
David Gramling
In the first issue of the Journal of Literary Multilingualism , we collected together a range of scholars assessing and debating the field of Literary Multilingualism Studies, but we also realised that a single issue could only scratch the surface of this dynamic and growing field of study. Moreover, we were aware of some absences and blind spots and of the need to be constantly revising, questioning and examining the field. This forum, appearing in each issue of the journal, aims to continue the conversation started in Issue 1: it is a space for shorter, more informal reflections on the field and its future, in forms that might include position papers, dialogues between scholars, roundtable discussions, responses to articles within the journal, and responses to recent multilingualism conferences or events. We welcome proposals for Forum contributions, particularly from marginalised perspectives or on neglected aspects of literary multilingualism. Please contact us directly to discuss ideas. For this first forum, we asked David Gramling, who has recently spoken about ‘breaking up’ with multilingualism, how his attitude to the field has changed in recent years, and why. We also asked him to think of the direction Literary Multilingualism Studies should take in the future, in terms of its objects, its theories, and the genres it treats.
{"title":"Monolingualism and the novel: It’s complicated…?","authors":"David Gramling","doi":"10.1163/2667324x-20230211","DOIUrl":"https://doi.org/10.1163/2667324x-20230211","url":null,"abstract":"In the first issue of the Journal of Literary Multilingualism , we collected together a range of scholars assessing and debating the field of Literary Multilingualism Studies, but we also realised that a single issue could only scratch the surface of this dynamic and growing field of study. Moreover, we were aware of some absences and blind spots and of the need to be constantly revising, questioning and examining the field. This forum, appearing in each issue of the journal, aims to continue the conversation started in Issue 1: it is a space for shorter, more informal reflections on the field and its future, in forms that might include position papers, dialogues between scholars, roundtable discussions, responses to articles within the journal, and responses to recent multilingualism conferences or events. We welcome proposals for Forum contributions, particularly from marginalised perspectives or on neglected aspects of literary multilingualism. Please contact us directly to discuss ideas. For this first forum, we asked David Gramling, who has recently spoken about ‘breaking up’ with multilingualism, how his attitude to the field has changed in recent years, and why. We also asked him to think of the direction Literary Multilingualism Studies should take in the future, in terms of its objects, its theories, and the genres it treats.","PeriodicalId":484139,"journal":{"name":"Journal of Literary Multilingualism","volume":"20 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135875220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-03DOI: 10.1163/2667324x-20230207
Ulrike Garde
Abstract Yael Ronen and Ensemble’s award-winning play and theatre production The Situation , first staged at Berlin’s Maxim Gorki Theater in 2015, features monologues and dialogues spoken in Arabic, English, German, Hebrew and Russian (made accessible to audiences via German and English supertitles). My analysis interprets this multilingualism both as a literary strategy that creates fluid meanings and identities, and as a contribution to the decentring of German as the dominant language of the German theatre landscape. Combining a philological approach to multilingualism with insights gained through tools offered by theatre studies and cultural studies, the article also shows how the playwright and director’s poetic and dramaturgical strategies contribute to The Situation serving as an intervention that questions the ‘automatic’ coupling of linguistic with cultural, national and/or ethnic identities in a (post)migrant theatre created by artists with personal experiences of migration.
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Pub Date : 2023-11-03DOI: 10.1163/2667324x-20230205
Lida Amiri
Abstract In 2008, first-generation Afghan migrant novelist-artist Atiq Rahimi published his first translingual work in French, Syngué Sabour: Pierre de patience . This article interrogates his multilingual and multimodal aesthetics across his translingual oeuvre. In his exophonic novel Les Porteurs d’eau (2019), Rahimi valorizes a polyvocal and culturally diverse Central Asian history. The Prix Goncourt–awarded author introduces Afghanistan’s past and present beyond its intracultural challenges. The epitome of the Rahimi-esque aesthetic is the author’s publication L’Invité du miroir (2020), which acts as a revolt, a transnational dialectic crossroads where multilingual fiction meets classical Persian calligraphy and nonfiction to explore the human spirit.
2008年，第一代阿富汗移民小说家、艺术家阿提克·拉希米出版了他的第一部法语翻译作品《syngu Sabour: Pierre de patience》。本文通过他的翻译作品来探讨他的多语言和多模态美学。拉希米在他的外音小说《梦之门》(2019)中，赞扬了一个多语种和文化多样化的中亚历史。这位获得龚古尔奖的作家介绍了阿富汗的过去和现在，而不是文化内部的挑战。拉希米式美学的缩影是作者的出版物《镜子邀请》(2020)，它是一场反抗，是多语言小说与古典波斯书法和非虚构文学相遇的跨国辩证法十字路口，探索人类精神。
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Pub Date : 2023-11-03DOI: 10.1163/2667324x-20230208
Liana Pshevorska
Abstract The works of Franco-Hungarian Katalin Molnár (1951–) stand in stark contrast to most modern-day translingual writing in France. Inspired by her avant-garde aesthetics and migration experience, Molnár radically defamiliarizes French through Hungarian syntax, phonetic orthography, and visual modalities. This article examines her work through the critical lens of translanguaging—a practice that draws on the speaker’s internal linguistic inventory without differentiating between external, socio-politically defined individual languages (Otheguy et al.). Through translanguaging, Molnár subverts a common translingual practice of thematizing a language-learning path into French. Instead of witnessing her linguistic journey from a safe distance, francophone readers are placed into a language experience of their own, which invites empathy and a change of perspective. Molnár’s visual and linguistic defamiliarization of French moves her texts beyond the dichotomous native/foreign paradigm, inducing readers to participate in the co-creation of a multimodal language that melds the author’s ethical and aesthetic concerns.
{"title":"“Le fransè ke chparl ègzist”: Translanguaging in the Work of Katalin Molnár","authors":"Liana Pshevorska","doi":"10.1163/2667324x-20230208","DOIUrl":"https://doi.org/10.1163/2667324x-20230208","url":null,"abstract":"Abstract The works of Franco-Hungarian Katalin Molnár (1951–) stand in stark contrast to most modern-day translingual writing in France. Inspired by her avant-garde aesthetics and migration experience, Molnár radically defamiliarizes French through Hungarian syntax, phonetic orthography, and visual modalities. This article examines her work through the critical lens of translanguaging—a practice that draws on the speaker’s internal linguistic inventory without differentiating between external, socio-politically defined individual languages (Otheguy et al.). Through translanguaging, Molnár subverts a common translingual practice of thematizing a language-learning path into French. Instead of witnessing her linguistic journey from a safe distance, francophone readers are placed into a language experience of their own, which invites empathy and a change of perspective. Molnár’s visual and linguistic defamiliarization of French moves her texts beyond the dichotomous native/foreign paradigm, inducing readers to participate in the co-creation of a multimodal language that melds the author’s ethical and aesthetic concerns.","PeriodicalId":484139,"journal":{"name":"Journal of Literary Multilingualism","volume":"21 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135874037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-03DOI: 10.1163/2667324x-20230203
Lan Dong
Abstract Robin Ha’s Almost American Girl (2020) visualizes the narrator’s childhood in South Korea and the United States through a multilingual and multimodal lens. Taking advantage of comics’ unique formal properties, Ha’s work situates the narrator’s memories and experiences as a teen immigrant at the nexus of Korean, English, and visual languages. This article examines how Ha’s book addresses social discrimination, linguistic hybridization, and intertextual cross-cultural encounters, while telling a coming-of-age story. It discusses how Ha utilizes colors and symbols to map the young narrator’s struggles with language barriers; how her book dismantles linguistic walls and highlights the fluidity between languages and cultures; and how it blurs the boundaries among lived experiences, memories, and the fantasy world of comics. Overall, Ha’s “expansive visual vernacular” (Miller “Innovative Autobiography,” 6) helps the narrator navigate challenges as she learns English and guides the reader through a multilingual and multicultural landscape.
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Pub Date : 2023-11-03DOI: 10.1163/2667324x-20230202
Krista Brune
Abstract This article examines literary representations of migrant experiences in São Paulo, with a focus on the neighborhood of Bom Retiro. To study how Bom Retiro’s migrant communities of Jews, Koreans, and Bolivians demand new forms of multilingualism, I focus on the 2019 Bolivian novel Seúl, São Paulo by Gabriel Mamani Magne in comparison to Eliezer Levin’s 1972 novel Bom Retiro: o bairro da infância . Whereas Levin employs restricted multilingualism to depict a Jewish diaspora rooted in Brazil, Mamani Magne focuses on migratory flows between Bolivia and more prosperous Latin American countries. By occasionally incorporating unmarked Portuguese and Aymara words into his Spanish prose, Mamani Magne illustrates how movement between languages and places unsettles fixed forms of identity. Taken together, Bom Retiro and Seúl, São Paulo depict how multilingual gestures as part of a minor transnationalism reveal the hierarchies and misunderstandings that constitute life in the global city of São Paulo.
摘要本文考察了圣保罗移民经历的文学表现，重点是波姆·雷蒂罗社区。为了研究鲍姆·雷蒂罗的犹太人、韩国人和玻利维亚人的移民社区如何要求新形式的多语言，我把重点放在2019年的玻利维亚小说Seúl上，加布里埃尔·马马尼·马格纳的《圣保罗》与埃利泽·莱文1972年的小说《鲍姆·雷蒂罗:o bairro da infncia》进行比较。莱文用有限的多语言来描绘扎根于巴西的犹太人流散，而马马尼·马格纳则关注玻利维亚和更繁荣的拉丁美洲国家之间的移民流动。马马尼·马格纳偶尔在他的西班牙文中加入没有标记的葡萄牙语和艾马拉语词汇，说明了语言和地区之间的流动是如何动摇固定形式的身份的。Bom Retiro和Seúl, s o Paulo共同描绘了作为小跨国主义一部分的多语言手势如何揭示了构成全球城市s o Paulo生活的等级制度和误解。
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Pub Date : 2023-11-03DOI: 10.1163/2667324x-20230206
Gorica Majstorovic
Abstract The present article focuses on unsettling language and place in texts by two contemporary migrant writers, Hassan Blasim (Iraq-Finland) and Bekim Sejranović (Bosnia-Norway). They fled war-torn areas while leaving a remarkable textual trace in Sejranović’s Diary of a Nomad (2017) and Blasim’s “The Nightmares of Carlos Fuentes” (2014). This article addresses the ways in which these authors engage migrant multilingualism and question the ethics of exploiting migrant lives as material for media consumption. It argues that their writings are politically engaged counternarratives that are boundary-crossing because they problematize disciplinary, linguistic, and narrative borderlines.
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Pub Date : 2023-11-03DOI: 10.1163/2667324x-20230204
Stacey L. DiLiberto
Abstract The effects of neocolonialism, multilingualism, and forced migration on the United States Puerto Rican community have produced notable literary expressions that merit further study for their use of code-switching and hybridization. Using Gloria Anzaldúa’s concept of the “Borderland” as a framework, this paper explores “Nuyorican” poetry as well as the bilingual, bicultural reality for Puerto Ricans in the United States who cross both physical and metaphorical borders and who find liberation living in between languages and cultures.
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