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Multilingual style
Textual Practice Pub Date : 2021-06-09 , DOI: 10.1080/0950236x.2021.1936760
Marta Figlerowicz, Matylda Figlerowicz

ABSTRACT

This essay uses the notion of multilingual style: stylistic games that emerge at the intersection of several languages and blur the distinctions between them, as an aesthetic and critical heuristic. Through a series of examples from some vastly different languages and geographies, we highlight this concept's usefulness to describing otherwise un-noted aesthetic phenomena that occur in a post-colonial, post-national, globalising literary and cultural sphere. We read texts that reject the native speaker as a linguistic and stylistic gold standard. We argue that to write as a multilingual stylist is to confront one's identity at its most creative, but also at its most vulnerable; it is to come up against the limits of national languages as sites of expression and creativity; it is also to come up against the limits of a human body as the site where different languages and cultures encounter each other, a site that such an encounter often demolishes both through the political violence that undergirds it and in the strain that it puts on our presuppositions of cultural self-knowledge and transparency to others. Finally, we ask what kind of audiences multilingual works presume and call for, and how we can be part of this audience as multilingual critics and readers.



中文翻译:

多语言风格

摘要

这篇文章使用了多语言风格的概念:在多种语言的交汇处出现并模糊它们之间的区别的风格游戏,作为一种审美和批判性的启发式方法。通过来自一些截然不同的语言和地域的一系列例子,我们强调了这个概念对于描述发生在后殖民、后民族、全球化的文学和文化领域中原本未被注意到的美学现象的有用性。我们阅读的文本拒绝将母语人士视为语言和文体的黄金标准。我们认为,作为一名多语言造型师写作,既要面对一个人最有创意的身份,也要面对最脆弱的身份;它是要克服民族语言作为表达和创造场所的限制;它也是要面对人体作为不同语言和文化相互相遇的场所的极限,这种相遇经常通过支撑它的政治暴力和它给我们带来的压力而摧毁。文化自我知识和对他人透明的预设。最后,我们询问多语言作品假定和需要什么样的观众,以及我们如何作为多语言评论家和读者成为这些观众的一部分。

更新日期:2021-06-09
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