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INTRODUCTION code-switching) to 6 types (manifested code-switches), the types of intra- and intersentential code-switching as well as the concepts of the matrix and embedded languages proposed by Myers—Scotton’’ were implemented and further articulated. These numbered code-switching types allow us to scale the multilingual qualities of a literary text from latent to explicit manifestations, as well as from the covert usage of the embedded language (zero code-switching, ZCS) to the use of a few foreign words (CS1) and some sentences (CS2), up to a high number of embedded language units in a sentence (CS3) or even various forms of linguistic hybridity defined hereby as lexico—morphologic (CS4), phonemic (CS5) or syntactic (CS6) translingualisms. In all of these types not only grammatical elements interfere, but also the graphemic aspect can have crucial relevance. Moreover, code-switching strategies of an artistic narrative are always influenced by the wide-scale opening up between the current linguistic norms and the freedom of artistic experimentation of a certain period in acertain area. This cultural codification touches not only the manifestation of multilingualism in the fictional world but also its narration, its intermedial fusion, the accompanying paratexts and, not least, how we speak (or not) about multilingualism in our nonfictional communication. This volume explores code-switching strategies used by contemporary artists to compose their multilingual narratives, and also moves beyond the linguistic level in the direction of multimodality. This move proved to be reasonable because the research done by a few authors of this book revealed that verbal code-switching is often activated in artistic media other than printed literature as a consequence of multimediality. In those cases, the semantic component of the verbal expression is infused with visual (e.g. in painting, visual poetry or film narratives), acoustic (e.g. in music), or kinetic (e.g. theater) aspects, which have not been discussed earlier. Thus, the topics addressed in this book include elaborations on the determining factors of artistic language choices, of ways that multilingual artists implement their own experiences and language realities and repertoires in their works, of overt or covert strategies languages of the fictional worlds manifest in the piece of art, of the reasons behind multilingual narrations of multilingual stories, and also of the interaction between multimodal ways of artistic expression. Further investigated questions of the articles include: How does code-switching manifest in literature, on stage and in films? What are the differences and the similarities? How can translation and/or dubbing/subtitles cope with multilingual stories? What kind of language policies functions behind the production and reception of a multilingual work? How do language practices of different communication levels, nonfictional and fictional alike, influence each other? How do readers and viewers manage multilingual narratives and multimodal discourses? 1% Carol Myers-Scotton: Social Motivation for Code-Switching: Evidence from Africa, Oxford, Clarendon Press, 1993. +10 +
