Immigrant literature

Immigrant literature, which was unknown before 1985, has made great progress in the past 20 years with its rich and colorful poetic themes, which not only enriched and supplemented the German literary world, but also left its own mark on the world. Today, some famous immigrant literature works are widely read, and their authors often appear in various media as German writers, such as Feridun Zaimoglu Saeed, Rafik Shami, Trezia Mora, Emina Sevgi ZDamar, Ilya Troha, herta mueller and Zusa Bank. Their works have sprung up in the book market, and their novels, essays and poems have also become important works of contemporary German literature. Immigrant literature first comes from the author's writing style and has no direct relationship with the author's own language and background. This writing style is characterized by multiple cultural perspectives, which is not the first time in German literature. As long as you think of Adalbert von Chamizo, Franz Kafka, elias canetti or Jurek Becker, they will never be confined to the category of pure "monoculture". Most writers regarded as immigrant literature write in German; Some people, such as Romanian-born German writers, have always been like this. Although other writers have lived in German-speaking areas for a long time, they still adhere to their ancestral languages-but their articles are still subordinate to immigrant literature in form, theme and subject matter. If the research scope is extended beyond Germany, then immigrant literature "is not only a national transformation, but also represents a post-nationalist discussion".

From 65438 to 0980, literary works about migrant workers were also labeled as "foreign workers' literature", and it was from this time that this cultural type began to be widely accepted by the German people. The important works in the first stage of German immigrant literature are Aras &；; Works by ren and yuksel Pazarkaya (members include Franco Biondi, Jusuf Naoum, Suleman Taufiq, Habib Bektas, Rafik Schami, Gino Chiellino, etc.) of the "Polikunst" association of Ouml. ) and Irmgard Ackermann. Most of these works are produced in the award-winning papers of the German Foreign Studies Institute in Munich, which first joined the Adalbert-von-Chamizo Prize Committee as an authoritative organization in 1985, which is one of the most striking awards in German literature. In the primary stage of immigrant literature, which began in the mid-Kloc-0/980' s, many articles focused on the language exchange between hometown and foreign land, the language exchange and cultural exchange in the process of immigration, and the German social problems of immigrants accepting "multiculturalism".

Similar to what they encountered in 1985, such documents are found in Emine Sevgi &；; OumlZdamar's books are classified as "foreign literature", and it is against this background that its diversity is constantly developing. Writers of Central Europe, Eastern Europe and Southeast Europe who are often forced to leave their motherland for political reasons have already entered people's sight long before the "turning point" 1989/ 1990. Their works are usually novel in language and style, sometimes extremely complicated, and sometimes very close to the literary tradition before World War II, such as Philip Ota and Rib? The works of e Moníková, Zsuzsanna Gahse, Gy & ampouml Ridalos, herta mueller and Wagner vividly reproduced the national dialogue between China and Europe at that time. Writers from Asia, Africa and Latin America, such as Lyriker Cyrus Atabay, a Persian writer who has been writing in Germany since 1960s, and Yoko Tawada, a Japanese writer living in Hamburg, have also received the same attention. After 1990, foreign writers from the GDR, such as Tuwen Garcao Tshin 'ang, a Mongolian writer, and Adel Carascioli, a Syrian writer, have gradually attracted attention.

With the emergence of the second and third generation immigrant writers, getting rid of the "conflict of integration and separation" has become a common phenomenon, and immigrant literature has gradually merged into German literature. Like Zaph? Enoch, Jose F.A. Oliver or Zehra & Ccedil writers like irak don't want to be classified as foreigners or Germans. Feridun Zaimoglu used Kanak Sprak as a key word to describe the living conditions of a whole generation of young people of German and Turkish descent in big cities. Yadé Kara, Selim Oezdogan and Imran Ayata shared the same ideal. Obviously, they became literary spokesmen of post-colonial mixed culture.

In the works of young writers with non-German cultural background, there are extremely diverse ways of cross-cultural creation. Through frequent visual angle changes, polyphonic language expression and "Europe-centered" writing style, the structural complexity of his works is highlighted, such as Der Weltensammler by Ilija TeRoganeau, the essays with language experiments by Czech writer Venas Michael Stavali, and the essays with language experiments by Sa? Stani? Me? His first novel seems to be a humorous farce, but in fact it has strong autobiographical characteristics. Like 1970 Eleonora hummel, born in Kazakhstan, and 1973 Marika Baudrot, born in Dalmatia, Yugoslavia? Me? Such writers are defined as "immigrant writers in a narrow sense" because of the various characteristics shown in their works. Until today, their works have made many important contributions to contemporary immigrant literature.