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Societe Generale further reduces its involvement in coal Societe Generale was one of the first banks to reduce its involvement in the coal sector by committing to limit its portfolio exposure to coal and then ending coal-related project financing in Eliot to Bertolt Brecht. In both texts, a negative view of multilinguality and transculturality as causes for homelessness and the loss of the mother tongue are contrasted with the acceptance of untranslatability and transculturality as fundamental conditions of any lingual understanding and of any constitution of identity.
Thus, even on the topical level, identity is not viewed as closed and stable, but as a discursive product that is only created in and through language. The denial of a fixed identity is emphasised by the fact that in the whole novel, the verb 'to be' is not used once. The examined literary techniques can be captured by the Bakhtinian concepts of polyphony and heteroglossy — a hybrid merging of different voices and languages.
In Simultan , one way of achieving this is multifocalisation, whereas Between features an extreme internal focalisation, which at the same time allows for an artistic associative structure that incorporates many alien voices, and which is characterised by the repetition of plot-fragments and leitmotifs metonymically knotted together along the level of the signifier. In both texts, polyphony is further achieved by the merging of different forms of speech representation as well as by multilinguality or polyglossia.
In both, multilinguality is used to underline the fundamental heteroglossia of human life. It also reflects language itself by means of interlingual puns, which are found in both texts, but to a greater extent as well as with greater intricacy in Between. Here, meaning is again shown not as transcendentally fixed, but rather as a product of constant dislocation and deferral.
Through 'heterographic' elements, language is even made an actor itself, as its performative quality is underlined.
Finally, intertextuality is used in Simultan in order to locate the 'miracle' of Nadja's central insight in the nature of language in a 'textual foreign country', thus displacing and decentering it. In Between , intertextuality can be regarded as a narrative strategy and as another hint at the fundamentally 'intertextual' nature of any literary text — and of human identity.
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Bachmann, Ingeborg. Mary Fran Gilbert. Caryl Emerson and Michael Holquist. Michael Holquist. Austin: University of Texas Press, Caryl Emerson. Minneapolis: University of Michigan Press, Brinker-Gabler, Gisela. Gisela Brinker-Gabler and Markus Zisselsberger.
Brooke-Rose, Christine. Manchester: Carcanet, Canepari-Labib, Michaela. Del Sapio Garbero, Maria. Amsterdam: Rodopi, Paris: Minuit, Greber, Erika. Mathias Mayer. Leipzig: Reclam, Kristeva, Julia. The Kristeva Reader. Toril Moi. New York: Columbia University Press, , Schneider, Jost. Monika Albrecht and Dirk Goettsche.
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Stuttgart and Weimar: Metzler, Between was originally published in , then reprinted in The Christine Brooke-Rose Omnibus together with her other experimental novels Out , Such and Thru. Each establishes an analogy between the role of the interpreter and the role of the woman in society. Because of the limited space, this cannot be dealt with in detail here. Brinker-Gabler illuminatively discusses this scene in relation to Walter Benjamin's translation theory in "The Task of the Translator" op. She says this to the boy at the bar referring to the Italian victory in a bicycle race.
Almost identically Siegfried, p.
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The machine metaphor is expanded by linking the interpreter to the airplane: "the distant brain way up", that first applies to the cockpit, then is assigned to the brain of the interpreter, turning her into a gigantic machine. This motive is repeated very often throughout the whole novel, the cited passage being its basic form, which is altered and amended in the different iterations: p.
More about this technique, see below "Focalisation". Because of this depersonalization, Canepari-Labib, referring to Brooke-Rose's experimental novels, speaks of "non-narrators" or, following Wayne Booth, "undramatised narrators" op.
Regarding the use of different languages, a flaw of the English translation can be seen here: the italics "please, would you mind" hint at a part that already is in English in the German original text; but at the same time two other originally Englisch parts are not highlighted in the translation "no, never" and "after all those dreadful places there" , thus eliminating the language difference.
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