Многоязычие Айги и языки-посредники

Abstract

The article addresses the function of foreign languages in Aigi's poetry and, more broadly, the role of multilingualism in the bilingual's poetic intellection. In particular, the foreign language acts as a method of encoding taboo (or sacred) objects in different contexts where the poet turns the common practice of bilingual hedging into an artistic device. The bilingual poet needs a third language that serves as an intermediary between the first two languages and all other languages and as a bridge to the super-language. For Aigi, the third language involved in the cultural transfer was French. Orientation towards a universal language requires not only an absolute translatability through neutralization of specific categories, such as gender and case, but also a possibility of perception of a foreign text without translation. The intellection of a bilingual poet facilitates semiotic transitions of different types, providing for the fact that the explicit element of visuality, which was innovative in the 1960s, is specifically present in the bilingual poet's production.