Abstract
Katalin Molnár, of Hungarian origin and exiled to France since 1979, wrote approximately half of her works in Hungarian and the other in French. Nevertheless, these languages are not so clearly separated in her texts as this symmetry might suggest. The author plays very often with language and languages by creating multilingual works. Close to Hungarian and French avant-garde groups, she therefore ‘used’ her translingualism as a source of innovation leading to multilingualism. This article studies how this happens, by the analysis of different manifestations of language diversity in Molnár’s works: code-switching or intra- and interphrastic language change – in particular the insertions and cases of alternation – and the different types of language interference (the influence of one language on another without change of language): grammatical, lexical and cultural.
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