We think of monographs such as Forster’s The Poet’s Tongues (1970), Beaujour’s Alien Tongues: Bilingual Russian Writers of the “First” Emigration (1989), Grutman’s Des langues qui résonnent (1997), Schmitz-Emans’s Die Sprache der modernen Dichtung (1999) and Kell‑ man’s The Translingual Imagination (2000). Other important studies start to appear in the early years of the twenty-first century, such as Azade Seyhan’s Writing Outside the Nation (2001) and Doris Sommer’s Bilingual Aesthetics: A New Sentimental Education (2004), but research in the field really starts to gather pace around 2010.
See Steiner’s After Babel (1975), Derrida‘s Monolinguisme de l’autre (1996) and works by Glis‑ sant including Poétique de la relation (1990).
Think, for example, of scholarship on authors like François Rabelais, Leo Tolstoy, James Joyce or Samuel Beckett.
There are several examples of this. See, for example, the “Roster of Translingual Authors” pro‑ vided by Kellman in The Translingual Imagination or the massive work by Werner Helmich (Ästhetik der Mehrsprachigkeit, 2016) which, although more recent, is the product of over fifteen years of research and so retains some of the categorising impulse of the early phase of literary multilingualism studies. Early scholarly collections include works such as Werner Sollors’s Multilingual America: Transnationalism, Ethnicity, and the Languages of American Literature (1998), Ton Hoenselaars and Marius Buning’s English Literature and the Other Languages (1999), Jean Weisgerber’s Les avant-gardes et la tour de Babel (2000), Schmitz-Emans’s and Manfred Schmeling’s Multilinguale Literatur im 20. Jahrhundert (2002) or Dirk Delabastita and Grutman’s Special Issue of Linguistica Antverpiensia: Fictionalising Translation and Multilingualism (2005).
