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Előnézet
022_000135/0000

Code-Switching in Arts

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Szerző
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
Tudományterület
Languages and Literature / Nyelvek és irodalom (13013)
Sorozat
Collection Károli. Collection of Papers
Tudományos besorolás
collective volume
022_000135/0066
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Oldal 67 [67]
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022_000135/0066

OCR

“UM MICH NEU ZU MACHEN” in October 2022 by myself." The corpus is not available yet online, and the author does not intend to make it accessible to everyone. Of course, as every poem has been sent to a single person, in theory at least the recipient knows the poem he got. But as a whole collection of poems, it cannot be read yet without Jouet’s consent. Long before beginning to compose his daily poems in German, Jouet had already acquired a level of German. But he is aware of his limited language skills compared to his native French. After his switch he is constantly trying to improve them by consuming and writing poetry. The training necessary for the poetical composition consists mostly in reading in German and learning German poems by heart. In the interview with Libération, he said: “...Because I write before knowing German. My idea is to prove that one can learn a language by reading, translating, memorizing, and writing poetry. This is to reverse the values received from a language by focusing everything on the poetry.”’ The daily poems contain several texts belonging to genres which are important for Jouet’s French poetry as well. Three of them have various advantages for the poet who is still learning the language he wants to explore and practice on a long term: 1) the homonymic poems, 2) the “monostique paysager”, and 3) the “elementary morality.” It is important to add that the special layout of the three genres allows them to be classified also as visual poetry.° The first genre consists of one, two or three words, all homonyms of French and German: lexical elements that have a meaning both in French and in German, but not the same. As a subtitle always indicates: ,,zweisprachiges Gedicht oder Gedicht mit nur einem Wort, aber sie sind zwei” (“bilingual poem, or a poem with only one word, which is in fact two”)—in case of poems of two words.’ These are not loanwords in any case: the correspondence of the form is always accidental, not etymological. Precisely, the poetical effect is obtained by the great semantic distance between the two meanings. Jouet’s first four German poems belong to this category: DONNER; SEIN; HAUT; PATIN. Later this practice was extended to pairs of words, even going to combine three words. For instance, the poem written on 6 October is the following: PLAGE DES MONDES. a This interview has not been published and might never be. The author answered my questions by email. English translation is mine. Cf. “.. Car j'écris avant de savoir l'allemand. Mon idée, c’est de prouver qu’on peut apprendre une langue en lisant, en traduisant, en apprenant par coeur et en écrivant des poèmes. C’est inverser les valeurs reçues d’une langue en centrant tout sur la poésie.” Guillaume Lecaplain, Jacques Jouet. The poems are written with a special color, and sometimes one of the meanings may explain the selection of a specific color, like in the case of MAIS (meaning “but” as a French, but “corn” as a German word). The subtitle might slightly change if the poem has more than one word in it. a 00 o +65 +

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1831 px
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