Code-Switching in Arts
Call for Papers
Abstract: 31 March 2022 (250-300 words)
Conference: 29 September – 1 October 2022 (presentations and posters)
Submission: 1 November 2022 (articles)
Hosts: Bielefeld University, Goethe University Frankfurt, University of Belgrade and Károli Gáspár University Budapest
Contemporary and historical multilingual narratives transcend the boundaries and constraints dictated by our physical world, allowing verbal and audio-visual artists, as well as their mediators to elaborate innovative linguistic solutions, which broaden and also break the common communication norms. There are multiple ways to involve diverse languages and other communication codes in an artistic production.
Interest in multilingualism and multimodal discourses is on the increase. Multilingualism has also been defined as polylanguaging (Jorgensen et al. 2011), polylingualism (Sternberg 1982), heterolingualism (Grutman 2012), semiodiversity (Gramling 2016), literary translingualism (Kellman 2015/2020), zero and 1–5 degree code-switching (Domokos 2018, Deganutti & Domokos 2021) etc. Research shows frequently the potential and the complexity of multilingualism.
The aim of this conference is to explore the code-switching/multilanguaging strategies used by contemporary and historical writers and artists to structure their multilingual narratives in different forms of art, including literature, theatre and film.
Some possible topics include, but are not limited to:
What factors determine multilingual authors’/artists’ language choices?
How do multilingual authors/artists implement their own experiences and language reality/realities and repertoires in their works?
How overt or covert (open or hidden) do the languages of the fictional worlds manifest in the piece of art? Do we have a multilingual narration of a multilingual story or not, if not, then why?
How does code-switching manifest in literature, on stage and in films? What are the differences and the similarities?
How can translation and/or synchronization/subtitles cope with multilingual stories?
What kind of language policies function behind the production and reception of a multilingual work?
How do language practices of different communication levels (non-fictional and fictional) influence each other?
How do readers/viewers manage multilingual narratives and multimodal discourses?
Proposals from literary, film, theatre, art, sociolinguistics, multilingualism, comparative and translation studies, as any other fields related to these topics are welcome. We encourage especially creative, innovative, interdisciplinary and any other fresh approaches!