Page - 125 - in Mobile Culture Studies - The Journal, Volume 4/2018

Mobile Culture Studies. The Journal 4 2o18 Graciela Susana Boruszko | Transliteratures 125 use of two languages juxtaposed could insinuate a dialogue of cultures when each one chooses to express itself in its own language. Native and foreign languages cease to occupy the assigned national spaces to become in the transnational world a choice offered to each interlocutor in order to construct out of them a personal message. The proximity in the rendition of the word panoramic in English and panorámico in Spanish establishes a bridge of understanding bet- ween the two audiences leaving the word “travelling” as a very accessible term for many other speakers thanks to the cultural mobility of the term in a globalized world. The repetition of the term “travelling” from the first section to the second one fosters the idea of a sequence that is developing an idea from different perspectives thus giving unity and consistence to the story that is presented in what could resemble as chapters. The transition from the subjective to the panoramic is indicative of the determination of the author to speak out of his own reflection without discarding the political environments that somehow seem to point out to more perma- nent realities rather than temporal and unique Historical events. The juxtaposition of times and Historical characters indicate the change in circumstances while the divisive issues which seem to be presented as permanent remain buried under an invisible layer of unrecognized humanity that is shared by all. The author in his role of obfuscated negrito continues to recriminate Rick. At one time he says: zocos, indescodificables algarabías, vergon- zosa exhibición de mansurrones rebaños, laberínticos bazares de tapices y alfombras, indecente exposición de siluetas entur- bantadas, desahuciados adictos al regateo folclórico y prosélitos incondicionales del disfraz.. por qué siempre inmortalizados en planos lejanos; por qué eternos inquilinos de la profundidad del campo, meros acceso- rios de ambientación, exóticos elementos de figuración en el reparto y superfluos efectos especiales puestos al servicio de tu historia.” (Cerezales 2004:59) “… « mais c’est bien sûr »…Tiempos com- plicados, intemporal Rick, en que se nos escapan hasta nuestros Alter negros. Qué lejos quedan, en la memoria cinética, el abigarrado Marruecos petenista, la Francia no ocupada…” (Cerezales 2004:59) chants. In sum, solidary Rick, because we only went, even in our Casablanca, rowdy souks, indescribable Arabic expressions, shameful exhibition of exceedingly tamed flocks, bizarre mazes of carpets and rugs, indecent exposure of muddy silhouettes, far gone addicts to the folkloric bargaining and unconditional proselytes of disguise… why are they always immortalized in distant planes; why are they the eternal tenants of the background plane, mere accessories, exotic elements of representation in the cast of actors, and superfluous special effects at the service of your plot.” (Translation by the author) “…« mais c’est bien sûr »…Complicated times, timeless Rick, in which even our alter negros escape us. How far are they, in the kinetic memory, the variegated Moroc- can Pétainist, the unoccupied France…” (Translation by the author) The historical political discourse is imprinted in the languages of the transliterary space as French is incorporated into it. It seemed appropriate for the transcultural space to host the French History and language simultaneously as the voice of the “other” should show some