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INTRODUCTION a terminological disarray. Bearing in mind the rhetorical argument of Paul de Man in Semiology and Rhetoric (1973) or such deconstructive philosophical studies as Jacgues Derridas Monolingualism ofthe Other (1998), we may conclude that the analytic depth we possess today to approach linguistic diversity of contemporary art appears rather fragmented, as well as confusing. This publication pays special attention to the dynamically rising codeswitching phenomenon especially in the field of literature and performative arts and elaborates innovative frameworks that can be modeled multidimensionally. Here, by multidimensional we mean that our framework takes into account different aspects or dimensions in their interaction between themselves. In this respect, especially thematic, compositional, stylistic, functional and intermedial aspects of multilingual practices of contemporary arts are highlighted. These aspects may vary considerably according to the way multiple languages are qualitatively and quantitatively employed and defined. As suggested by Grutman, “texts can either give equal prominence to two or more languages or adda liberal sprinkling of other languages to a dominant language clearly identified as their central axis.””” Therefore the same multilingual category would cover not only works with titles in a different language than the rest of the book, but also works which include wider multilingual insertions taking up entire paragraphs or monologues. Furthermore, a multilingual artwork could feature multilingualism in an even more remarkable way, for instance blurring the boundary between the matrix or dominant and embedded or incorporated languages. This brief list obviously confounds multilingual practices of different orders, which are probably not suited to being inserted within the same theoretical framework. In their previous works, Domokos and Deganutti differentiated between seven major types of code-switching,'* which can be detected on the level of the text, narration, communication of the fictional world and even in the paratexts of contemporary art works. In defining the types of code-switching from the most common to the less often used ones on a scale of zero (latent to narratological film analysis, in Poems, Plays, and Prose: A Guide to the Theory of Literary Genres, English Department, University of Cologne, 2003, http://www.uni-koeln.de/~ame02/ pppn.htm, accessed 20 October 2022; Gaélle Planchenault: Displacement and plurilingualism in Inch’Allah Dimanche: Appropriating the other’s language in order to find one’s place, in V. Berger and M. Komori (eds.): Polyglot Cinema: Migration and Transcultural Narration in France, Italy, Portugal and Spain, Berlin, Lit Verlag, 2011, 99-111. 7 Rainier Grutman: Traduire l’Heterolingualisme, 19. #8 Johanna Domokos — Marianna Deganutti: Four Major Literary Code-switching Strategies in Hungarian Literature: Decoding Monolingualism, Hungarian Studies Yearbook 3 (2021), 43-63, https://doi.org/10.2478/hsy-2021-0004; Johanna Domokos — Marianna Deganutti: Overt and Covert Zero Code-switching in Sandor Petéfi’s Janos vitéz (John the Valiant) and Mark Twain’s A Tramp abroad, Studia Caroliensia (2021), 135-149; Johanna Domokos — Marianna Deganutti: Zero degree code-switching and the narrative framework, Polyphonie (2022) http://www.polyphonie.at/?op=publicationplatform&sub=viewarea&area=1, accessed 28 October 2022.
