By Gary, Romain; Semprún, Jorge; Kristof, Agota; Kundera, Milan; Miletić, Tijana
The severe, emotional and highbrow swap which each immigrant is obliged to undergo and confront is skilled with singular depth by way of immigrant writers who've additionally followed one other language for his or her literary expression. focusing on eu authors of the second one 1/2 the 20 th century who've selected French as a language for his or her literary expression, and specifically the novels via Romain Gary, Agota Kristof, Milan Kundera and Jorge Semprun, almost about many others, European Literary Immigration into the French Language explores a few of the universal components in those works of fiction, which regardless of the numerous own conditions and literary aesthetics of the authors, stick with an analogous course within the construction of a literary id and legitimacy within the new language. the alternative of the French language is inextricably associated with the next literary offerings of those writers. This examine charts a brand new territory inside Francophone and eu literary reports in treating the eu immigrants as a separate staff, and in utilizing linguistic, sociological and psychoanalytical rules within the research of the works of fiction, and hence represents a correct contribution to the knowledge of eu cultural identification. This quantity is suitable to French and eu literature students, and someone with curiosity in immigration, eu identification or moment language adoption
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Extra info for European literary immigration into the French language : readings of Gary, Kristof, Kundera and Semprun
47 To my roots I prefer my freedom. The Czech language calls me: come home, rascal! But I don’t obey any more. I want to stay with a language that I’m passionately in love with. 48 Dans tes chaussures (In your shoes) is a game of coupling similar sounding words with different meanings. The repeated “plante des pieds” (“sole of the feet”) becomes “plainte” (“moan”) of feet with no roots. Zéro coup du feu (Zero shot) is a set of erotic variations on the theme “ta langue dans ma bouche” (“your tongue in my mouth”).
43 Gauvin, L’Écrivain francophone à la croisée des langues, p. 132. 44 Klosty Beaujour, Alien Tongues, p. 45. 42 32 EUROPEAN LITERARY IMMIGRATION INTO THE FRENCH LANGUAGE Semprun’s case is interesting in the light of this argument. All of his fiction work so far is written in French. The original impetus and a constant point of reference for his fiction writing was his experience in the concentration camps which he has narrated in several of his récits. 45 As a political exile, the political part of his being is what he finds closest to his mother tongue, whilst his childhood and concentration camp experiences are best verbalised from the distance given by the adopted tongue.
There in no doubt that this is a very beneficial consequence of literary immigration, but it is certainly not its cause. The size of the audience bears no relation to the life of the inner reader. It is also far removed from the tremendous personal transformation the writer will need to undergo to switch languages within his intimate practice of writing. The foreignness of a language becomes a good excuse for alienation, and vice-versa. Analysing the literary style which is thus born as being a simple mixture of the languages and cultures familiar to the writer is unlikely to account for the quality of the end product 30 EUROPEAN LITERARY IMMIGRATION INTO THE FRENCH LANGUAGE — in the same way that a bilingual could never be a simple compound of two monolinguals.