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INTRODUCTION
contemporary creative nonfiction and poetry by authors who compose their
literary texts in English as their second language (ESL). To add to the frame¬
work of literary code-switching proposed by Deganutti and Domokos, these
instances are further examined for their co-occurrence with (weak?) or with¬
out (strong?) explications in the matrix language. Various functions show how
additional layers of meaning and reference can be evoked through a poeticiza¬
tion of the author’s migration background.
Reflections on code-switching in literary works are followed by a longer
section dedicated to code-switching and multimodality in theater, film, music
and performance. One of the most influential theater directors of our times,
Robert Wilson, has always implemented very different verbal, cultural and
artistic codes into his highly original performances. The chapter by Enikő
Sepsi, Multilinguality in the Work of Robert Wilson, elaborates on how overt
and covert multilinguality supports his transcultural artistic texture on the
level of directing and performing. The first part of the study offers an overview
of the texts, translations, or visuals used and their interlingual and intersemi¬
otic code-switches manifested in the plays Wilson had previously directed.
The second part of the study focuses on the interplay modes of the five lan¬
guages used in one of his recent performances of Oedipus (Budapest, 2021).
The past three decades have witnessed a series of retranslations of Shake¬
speare’s dramatic legacy in Hungary. In the chapter entitled Multimodal
Transformations of A Midsummer Night’s Dream. Switching Verbal Codes into
Audiovisual Codes for Dubbing Shakespeare into Hungarian, Judit Mudriczki
discusses how recent translations meet the dramaturgical needs of both theat¬
ers and the film dubbing industry. Perhaps the first in this series was the 1992
retranslation of A Midsummer Night’s Dream, the most often adapted Shake¬
speare play in Hungarian theaters, by one of the most prolific translators, Adam
Nadasdy. Commissioned by stage director Péter Gothar to renew the poetic
but slightly archaic language of the canonical 19th century Hungarian trans¬
lation by Janos Arany so that it becomes fit for use in his 1994 stage adaptation,
in 1999 the same translation was revised and turned into the Hungarian dub¬
bing script for the screen adaptation directed by Michael Hoffman. This choice
contradicts the idea historically inherent in the Hungarian dubbing industry
that the audiovisual translation of any adaptation of key cultural texts is ex¬
pected to be based on those literary translations that have been considered as
“the most canonical.” Mudriczki’s paper offers a case study of the transfer
strategies that dubbing script writer Laszl6 Upor used while turning the text
translated by Adam Nadasdy into a dubbing script under the audiovisual con¬
straints of the film narrative.
The purpose of Cultural Code-Switching. Variations on a Chekhovian Theme
by László Cseresnyési is to share reflections on the Japanese movie Drive my
car, directed by Hamaguchi Rytisuke, 2021, which was adapted from a short
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