TURKISH LITERATURE IN GERMANY

Turkish Literature in Germany

Turkish Literature in Germany

Turkish immigrants dwelling in Germany had begun to compose and publish literature in the 1970s, and by the mid-1990s, Germanics have pounced on this new kind of “German” literature as a way of reinvigorating their field—or at least of catching up with their colleagues in English and French, who had been having a heyday with postcolonial investigations since the mid-1980s. Germany, which lost its somewhat couple of colonies in the First World War, didn't have much in the way of postcolonialism to offer; but the four million Turks who had arrive to Germany looking for work came from a homeland at the margins of Europe, producing the composing they made apt material with which to “de-center” the study of German literature. (Carter, 2004)

Alongside francophonie, we now had “Germanophonie”: literature in writing in German by non-German, transcultural authors. Coming as late as it did, the study on this literature did little to enhance the rank of German inside the up to date languages. The path-breaking work on authors such as Assia Djebar and Salman Rushdie was being read by scholars of numerous languages, while Emine Sevgi Özdamar, the bestknown “Germanophone” author, was not renowned out-of-doors of German studies. Even inside German, the work did not habitually have a foremost impact. On the “theory” edge, it appeared derivative of what had currently been worked out in the other languages. On the “literature” edge, it often failed to display why the texts were noteworthy. (Carter, 2004)A usual item on a Germanophone innovative in German Quarterly, one of the field's premier venues in America, made smart arguments about the redeployment of Orientalist clichés, but without one time quoting the text of the innovative itself. (Azade, 2000) What made the literature intriguing, it appears, was certain thing that could be amply rendered by paraphrase. But reword makes flat the individuality of every voice. Beyond this negative heuristic conclusion, although, Pamuk furthermore undoes a new viewpoint that pledges to be helpful in considering Turkish- German authors. (Jacquemond, 1992)

As the innovative advances its dénouement, “style” is disclosed to be not the signature of individuality, but a component of tradition. (Carter, 2004)The peculiar way of decorating the nostrils of equines found out in the murderer's illustrations “is not easily the meaningless and absurd error of a decorator, but a signal whose origins come to into the distant past to other images, other methods, other methods and possibly even others. (Eker, 2001)Whereas investigations of canonical and of postcolonial authors in English and French appear habitually to make communicate with the exterior of the texts themselves—witness Homi Bhabha's remarks on the Satanic Verses, peppered with quotations on Germanophone author buys less vigilance to poetics. (Eker, 2001)Is there not anything about the writings of Germanophone authors so unmistakably exclusive that it can't be amply converted into the impersonal language of reword and theory? Do their texts have no individuality worthy of critical attention? Perhaps—this had been my thought—the focus on these ...