This chapter shows how part of Kerouac’s motivations for his literary experiments was to bring English closer to himself and at the same time to move it away from the monolingualism that dominated US literature and culture. He aimed to create a prose that in its syntax, vocabulary, and rhythms was open to foreignness, which many critics and scholars both then and now have taken for simply bad writing. Though French was his starting point, he wanted to bring American English closer to all languages. Correlatively, in his fiction he depicts peoples of a variety of ethnic and linguistic heritages. In On the Road, the road is Sal Paradise’s means to encounter these different populations and their languages, the place where they all encounter each other. In his other novels, Kerouac paints tenderly detailed pictures of the Franco-American population of Lowell, Massachusetts that he hailed from, as well as towns and cities in places such as France and North Africa. This chapter shows that a major impulse of his writing is to imagine a utopia of global cultural and convergence and to contribute to ushering it into existence.

This chapter argues that Kerouac’s oeuvre must be reassessed as a unique case of the literary deployment of the archival. “Spontaneous” names the author’s instrument of choice because it serves his goals of leaving a “complete record” behind and becomes the means of (re)capturing the origins – or provenance – of the poetic insight and narrative structure of his innermost memories. Kerouac’s Spontaneous Prose method is thus a technique in the service of the most archival of impulses; the wish to record and preserve all experience for posterity. Spontaneous poetics is where provenance meets recording eye. This thirst for capturing the moment is motivated by Kerouac’s passion for origins – not just regarding his own ancestry and French-Canadianness but, as a writer, he further hopes to record the very inception of all epiphanies, emotions, sensations he experiences. In particular, this chapter examines Visions of Cody, in which his archival sensibility is most evident, showing that the novel both embodies the archival character of Kerouac’s novelistic form while simultaneously serving an archival function of preservation.

In the eighteenth and nineteenth centuries, the Russian elite used a plethora of languages, situated in a complex web of shifting social values. This chapter charts the development of this multilingualism. Looking closely at the nature of language hierarchies in imperial Russia through a close study of a variety of archival materials, it questions the oft-repeated narrative of a Russian high society speaking predominantly French, to the detriment of their Russian skills. The chapter also examines whether the Russian case is, as is often claimed, unique, and argues that multilingualism in Russia shared characteristics with elite multilingualism found in other places and times.

‘The Sea of Language’ is the first chapter of Volume 1 of a two-volume work entitled Quand Freud voit la mer: Freud et la langue allemande (When Freud Sees the Sea: Freud and the German Language). The author, as writer and translator, explores how the founding tenets of Freudian psychoanalysis are not concepts that happen to have been framed in German, but were derived from the way German parts of speech are rooted in the body and thus grounded in the German language itself, which is not a language of abstraction, as French admirers of German philosophy tend to believe, but of the body in space and in motion, a language of the common people going about their everyday life. The author’s study of the essence of German takes him from poetry to philosophy to the ‘ultimate perversity’: the language of the Third Reich, which he briefly envisages as a return of the repressed within the German language, possibly intuited by Freud. Through his analysis of German, he illustrates how the character of a language can lend itself to perverse manipulation and how individuals can find themselves rejected by the Mother tongue that had so far nurtured them.

While most nineteenth-century Great Powers attempted to spread their language and country's prestige via sponsored schools abroad, in the Eastern Mediterranean, these schools were actually used by residents to gain a particularly valuable cultural capital and to emancipate themselves from their respective ethnic groups. Their families' bargaining power as payers of tuition and the fierce competition between the various foreign schools enabled them to overcome the imperialist intentions of these schools.

French-language press are at the origins of the press in the Ottoman Empire. Even once papers in other local languages had been established, French publications remained an essential part of the market as the leading nonlocal language. They showed solidarity with other papers affected by censorship, critically discussing especially municipal events, and forming a dialogue with their counterparts in other languages. Only under Abdülhamid's reign was total silence of all critical journalism achieved. A new form of post-political press was created that focused heavily on local events and culture. Despite these limitations, the French press of the Ottoman Empire gave a voice to and provided a platform for the sizeable section of French-educated locals of all communities.