Emine Sevgi Özdamar, when compared with other Turkish-German authors who were present in the lively Berlin theatre world in the 1970s, has stood out from the beginning, and constituted an exception, thanks to her large-scale activity and to her open-mindedness towards German culture. Her plays Keloğlan in Alamania (1991) and Perikızı. Ein Traumspiel (2010), although very distant from each other as for date of composition, setting and plot, show considerable similarities. In fact, both of them deal with the theme of migration, and confront themselves with the complex issue of the differences among the various generations of migrants. My aim is to analyze these texts from a language perspective which will point out, in particular, the use of code-swiching, code-mixing and intertextuality. not only from a linguistic but also from a literary point of view.

Migrazione e teatro in Emine Sevgi Özdamar

Palermo Silvia
2018

Abstract

Emine Sevgi Özdamar, when compared with other Turkish-German authors who were present in the lively Berlin theatre world in the 1970s, has stood out from the beginning, and constituted an exception, thanks to her large-scale activity and to her open-mindedness towards German culture. Her plays Keloğlan in Alamania (1991) and Perikızı. Ein Traumspiel (2010), although very distant from each other as for date of composition, setting and plot, show considerable similarities. In fact, both of them deal with the theme of migration, and confront themselves with the complex issue of the differences among the various generations of migrants. My aim is to analyze these texts from a language perspective which will point out, in particular, the use of code-swiching, code-mixing and intertextuality. not only from a linguistic but also from a literary point of view.
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11574/191859
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