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022_000135/0000

Code-Switching in Arts

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Author
Ádám Bethlenfalvy, Malou Brouwer, László Cseresnyési, Mónika Dánél, Helge Daniëls, Marianna Deganutti, Johanna Domokos, Ferenc katáng Kovács, Irén Lovász, Margarita Makarova, Attila Molnár, Judit Mudriczki, Judit Nagy, Cia Rinne, Lisa Schantl, Levente Seláf, Enikő Sepsi, Tzveta Sofronieva, Sabira Stahlberg
Field of science
Languages and Literature / Nyelvek és irodalom (13013)
Series
Collection Károli. Collection of Papers
Type of publication
collective volume
022_000135/0051
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022_000135/0051

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LITERARY CODE-SWITCHING Weinreich’s understanding of interference is based on the term of norm. In the 21st century, however, it is becoming fluid. Writers are becoming more and more multilingual. This changes the norm. Weinreich argues that interference can be found in literary texts: “Another aspect of speech mixture that may eventually be utilized is that of bilingual folklore and the literary production of bilinguals”.*” However, the norm in his study is fixed in relation to spoken and written language, and the literary texts do not fit into this norm. Weinreich does not specify the norm for a literary text written by a bilingual. Given all these reflections, it is better to speak of the author’s individual language (“nanoaekT” ‘idiolect’ in Russian‘) than to look for cases of interference and to consider them as deviations from the norm. Bilingualism and broadly speaking multilingualism is an opportunity for a writer to create his or her own idiolect. It should not be seen as a deviation from the norm, but a sign of creativity. BIBLIOGRAPHY In Russian Asaposa, Haraana — Bouagep, CsetTaaaxa: Tunoaorna nosTnueckoro 6nAMHrBn3Ma, in B. DeıeHko (OTB. peA.): O6paspı asvıka u suesaeu ÖucKypca, C6OPHUK HAay4HbILXx cmameü K 70-rnemum B.3. Aemvankosa, KyaApTypHas peBoawuna, 2018, 476-477. BaneescKux, KceHua: /3DIK KaK 3KCHAUKAYUA KYADMYPHO2O OndIma nNuUcamena-6UAUHEBA (A. Maxuna) [PhD thesis], ApocaaBab, 2002. BuHorpaAoB, BnKTop: NAanonerr, in B. H. Apuesa (pea.): AuneBucmuueckuÿü shyukaoneduYecKuü CAOBapb, VINCTUTYT A3bIKO3HaHUA AH CCCP, Mocxsa, CopeTckad 3HLJNKAOIEAna, 1998 [1990], 171. Makaposa, Mapraputa: O6dnapymenue u usyuenue unmepgepenyuu y ABMopoB-OUAUHZB0B u nArwpuaunesos [PhD thesis], AosaHna, 2022. Toactaa, Tarpana: Pycckuü 4eAoBek Ha paHAeBy, 3Hama 6 (1998), 200-209, https://znamlit.ru/publication.php?id=500, accessed 15 October 2022. Uepemupix, EAeHa: AUTepaTypHPIÏ TPYA 3HAMEHMTOTO INaHncTa. Âyulie CTO pa3 YCABIIATE, yeM OAUH pas npouecTr, Kommepcanm® 161 (1996), https://www.kommersant.ru/ doc/240200, accessed 15 October 2022. »w 99 (e Russian—French authors use the demonstratives “ce”, “cette”, “ces” instead of the definite articles “Je”, “la”, “les” by analogy with Russian where there are no articles but demonstratives. Indeed, the demonstratives occur more frequently in the novels by Russian—French writers and play a decisive role in classification of Russian—French texts as such. For more details, see MakapoBa 2022. Weinreich: Languages in Contact, 12. Buxrop Bnxorpaaog: HanoaexT, in B.H. SpueBa (pea.): Aunesucmuueckuü sHyuKkAoneduueckuü caoBapb, AHCTUTYT A3bIKo3HaHnA AH CCCP, MockBa, CoBeTckaa 3HlMKAoNeANa, 1998 [1990], 171. 4 S 43 +50 +

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