This paper examines how French rap artists deploy multilingual practices as sociolinguistic resistance strategies, analyzing their works as literary texts that exemplify complex language contact phenomena. Focusing on works by PNL, Niska, and Jul (2015-2017), and drawing on contact linguistics frameworks (Kotze 2020; Malamatidou 2016), I analyze how these artists construct what Guérin (2018) terms "contemporary urban borrowings" through the incorporation of Rromani, Arabic, Lingala, and regional French varieties.

The study specifically investigates three key manifestations of language contact in rap as a literary genre: code-switching as resistance to institutional French, language crossing as solidarity-building across ethnic boundaries, and the emergence of hybrid urban vernaculars. Through close analysis of linguistic data from rap lyrics as literary texts, I demonstrate how these contact phenomena operate at both individual and community levels, creating what Rampton (2015) describes as "cross-ethnically we-coded" spaces.

The research reveals how rappers' multilingual literary practices extend beyond mere lexical borrowing to constitute complex sociolinguistic strategies. These include tactical deployments of minority languages to challenge monolingual ideologies, deliberate code-switching to signal group membership, and the cultivation of hybrid vernaculars that reflect urban demographic realities. Such practices exemplify what recent contact linguistics scholarship identifies as "manifest and latent multilingualism" in creative literary contexts.

This case study contributes to understanding how language contact manifests in contemporary literary production, particularly in contexts of urban multilingualism and postcolonial language dynamics. It demonstrates how creative writers can exploit language contact phenomena to challenge dominant linguistic hierarchies while constructing new possibilities for multilingual literary expression.

Les expérimentations poétiques de Mallarmé, en transcendant les limites du langage, de la forme et du sens, ont profondément influencé l’art multisensoriel ainsi que la création artistique contemporaine utilisant les technologies numériques. Mallarmé disposait les mots de manière visuelle, générant simultanément sens et images. Sa poésie offre des pistes pour explorer les possibilités esthétiques de l’interaction entre texte et image dans l’art numérique.

Selon Flusser, l’image est un médiateur entre le monde et l’humain. L’espace de l’image constitue un espace d’interprétation et un complexe de significations, où les interactions entre les images prennent forme. La théorie musicale est étroitement liée à la complexité et à l’interconnexion de la littérature et de la peinture, abordant ainsi la capacité de la musique à être expressive ou représentative.

Selon Platon, le moment de création est un moment de folie divine, où les poètes, sous l’emprise de l’inspiration, établissent un lien avec la Muse, déesse de la musique. Aristote regroupe la composition, le caractère, le style et la pensée pour définir le texte, et voit dans le langage une richesse apportée par le rythme et la musicalité.

Mallarmé, à travers l’agencement physique des textes et des expérimentations structurelles, poursuit la quête d’une musicalité visuelle. Pour lui, l’art est une création technique complète, séparée du monde ordinaire. Le rythme de ses poèmes découle de l’utilisation technique du langage. Il considère le langage non comme un simple outil de communication, mais comme une technique artistique intégrant la forme et le contenu.

Mallarmé exploite les espaces entre les textes comme des silences dans une partition musicale, permettant au lecteur d’expérimenter le langage de manière sensorielle, comme la musique. Il pensait que le langage, par essence, ne pouvait jamais exprimer complètement la réalité, mais il n’a cessé de mener des expérimentations techniques pour dépasser ces limites.

Selon Julia Kristeva, ce que Mallarmé désigne comme le « mystère dans les lettres » fait référence au rythme sémiotique inhérent au langage. Dans ses poèmes, l’espace profond du texte est rythmique, libre, et intranscriptible en mots intelligibles, tout en restant profondément musical. Cependant, cet espace est limité par la syntaxe. La poésie révèle cette fonction mystérieuse des lettres tout en la rendant accessible grâce à la syntaxe. Le poète, guidé par son instinct rythmique, limite ce mystère au domaine de la musique.

Mallarmé a concrétisé le rythme poétique et la structure musicale à travers l’agencement visuel du texte. Cette étude a pour objectif d’explorer la modernité dans la poésie de Mallarmé à travers la musicalité visuelle et le rythme sémiotique qui s’y manifestent.

‘The Songlines’ (1987) a representation of travel writing by Bruce Chatwin is an exposure to the aboriginal tsuringa-tracks, or songlines. Chatwin has created a whole new Australia with an aboriginal grounding. In this travel writing, Chatwin is present as an author with Arkady; a half Russian, Australian citizen. It is through their eyes, that we perceive the aboriginals; the original inhabitants of Australia and its culture.

Chatwin on his Australian trip completed two decades of writing about the nomadic instinct. In Chatwin’s understanding of the aboriginal myth of creation, the totem ancestors-the great kangaroo, or the dream-snake, first sung themselves into existence and then, as they began to walk across the landscape, sung every feature of the natural world into existence. Each time they sung a rock or a stream, it came into existence. ‘A song’, Chatwin writes, ‘was both map and direction finder…’ (Chatwin,15). The ancestors ‘sang’ the world into existence, so much so that the sole aim of the aboriginal religious life was ‘to keep the land the way it was and should be’ (Chatwin,16).

The songlines comprised oral instructions and tradition passed down through generations. In hunter-gatherer societies, intimate knowledge of the landscape and its amenities was the key to survival. Many songlines were lost during the colonial encroachment of the 19th and early 20th centuries, many others exist to this day, preserving the living link between the land and the people who have lived on it for tens of thousands of years. The link is preserved through art, which is no longer for the sake of art. A study of songlines and allied concepts will be undertaken in this paper with special reference to the impactful role they play in Aboriginal art, enriching its layers of meaning and cultural significance. Aboriginal paintings are a visual representation of the land. The use of dots, lines, and patterns in Aboriginal art represents the topography, landscapes, and the pathways of these songlines.

Each painting encapsulates stories, ceremonies, and rites of passage connected to the songlines. These artworks are repositories of shared knowledge. The use of specific symbols, colors, and patterns delineate different clans and their ancestral territories.

Artworks connected to songlines are often used in rituals and ceremonies, reinforcing their spiritual significance. These practices ensure the continued transmission of knowledge and cultural heritage. Contemporary Aboriginal artists integrate traditional elements of songlines into modern art, blending the old with the new to tell their stories. This can be seen in various media, from canvas works to digital art. Artworks are used for advocacy, raising awareness about Indigenous rights and environmental conservation, and gender underscoring the contemporary relevance of songlines. Works by artists like Clifford Possum Tjapaltjarri's artworks are renowned for their depiction of songlines, merging traditional methods with innovative approaches. Women on the other hand were not really encouraged to paint, either by the men except as helpers, or by the arts advisors. Pansy Napangarti an unusual woman, a strong person who became a successful artist marketed her work herself in the early ’80s and learned a lot from Clifford Possum. Art works by artists and their contemporary relevance with songlines will be studied in this paper.

Sijo, which is roughly equivalent to the Japanese haiku, has been composed, enjoyed by and circulated among Koreans for more than 600 years. Sijo used to be a poetry genre appropriated mostly by the male Confucian elite during the Chosun dynasty. However, Sijo developed itself as the genre that most powerfully appealed to Koreans’ communal sense of aesthetics.

The essence of Sijo poems lies at the frugality of language use, usage of clear images, and the dialectical combination of manifested imagery and implied philosophy in the concluding line. To be more specific, as for the economics of language, Sijo is composed of strictly three lines, each of which contain about 15 syllables, thereby usually no more than 45 syllables as a whole. The first two lines usually provide backdrops for the final line: they are often devoted to describing or representing natural beauty or human episodes. The genuine intention of the poet reveals itself in the ending line. The poet manifests his or her realization of esoteric truth, sense of juissence, exhilaration, regret, self-rebuke, and resentment, which are often extracted from the episodes or scenes in the previous lines. Sijo has continued to reform itself complying with the demands of zeitgeists of new eras as Korean society shifted towards modernity: its form experimented with narrative style Shijo once so that it could function as a genre of engagement literature and it also attempted to incorporate elements of modernity in diverse ways.

By examining the ways foreigners— James Gale, Richard Rutt, Kevin O’rouke et al-- translated traditional Sijo into English, one can identify the particularities of sijo as Koreans’ unique form poetry in a broader global context.