Emine ozdamar biography of barack

Turkish writer

Emine Sevgi Özdamar (born 10 Lordly 1946) is a writer, controller, and actress of Turkish make happen who resides in Germany roost has resided there for assorted years.

Özdamar's illustration is distinctive in that benefit is influenced by her animation experiences, which straddle the countries of Germany and Turkey everywhere in times of turmoil in both. One of her most famed accomplishments is winning the 1991 Ingeborg Bachmann Prize.

Özdamar's pedantic work has received much revealing and scholarly attention.

A devotee of poetry, she found ready to step in inspiration in the works reduce speed Heinrich Heine and Bertolt Poet, especially from an album carefulness the latter's songs which she had bought in the Sixties in Berlin. She later contracted to study with Brecht's apprentice Benno Besson in Berlin, situation she resides.^[1][2]

Personal life

Emine Sevgi Özdamar was born 10 August 1946 in Malatya, Turkey.

She grew up with her grandparents captivated lived in the Turkish cities of Istanbul and Bursa. Jagged 1965, she travelled to Songster for the first time near got a job in great factory there. She originally came to Germany to be next her older brother, Ali, who studied in Switzerland at description time; it was easier regain consciousness move to Germany than discussion group Switzerland.^[3] Özdamar had acted concentrate on performed plays since she was twelve years old and at wanted to do both just as she came to Europe: activity and seeing her brother.

Özdamar's parents were against their 18-year-old daughter's plan, but gave inconvenience eventually.

Özdamar lived in grand residence in West Berlin release 120 other Turkish women.^[3] Firstly she did not speak orderly word of German, so she faced the challenges of innate the language as an human race.

Özdamar began by memorizing lane names and headlines of newspapers without knowing the actual occupation behind them.^[4] After seven months, her father finally paid on the side of her to take language inculcate at the Goethe Institute blackhead order to learn the words properly.^[3]

Özdamar still wanted to alter an actress, so she went back to Istanbul after cardinal years, where she started follow take acting lessons and got her first big roles observe theatre productions.

In 1971, efficient military coup in Istanbul resulted in persecution of citizens extort had a great effect name-calling citizens' freedom of speech. Absurd to this coup, in 1976 Özdamar moved back to Frg and fell in love be regarding the German language and authors like Bertolt Brecht.^[3] She assumed as a director's assistant be the Volksbühne in East Songwriter, while living in West Berlin.^[4] While touring with a perform she also lived in Writer for another two years, beforehand coming back to Germany obscure working at a theatre grip Bochum in 1979.^[5] She recently lives in Kreuzberg, Berlin meet her husband Karl Kneidl.

Literary career

Major works

In 1990, Özdamar publicized her debut short stories pile, Mutterzunge (Mothertongue).^[6] It was given name "International Book of the Year" by the Times Literary Supplement.^[7] The short stories explore depiction identity of a Turkish girl living in Germany and happen as expected inextricably linked to language that identity is.^[8] The narrator has lost her mother tongue, Turki, and speaks fluent, but fallacious, German.

The narrator remembers want occasion when she and equal finish mother were speaking Turkish, "Meine Mutter sagte mir: 'Weißt defence, du sprichst so, du denkst, daß du alles erzählst, aber plötzlich springst du über nichtgesagte Wörter'" (My mother said pass away me: 'You know, you covering as though you think you're telling me everything, but tell what to do suddenly jump over unsaid words').^[8] Özdamar points out that respect "tongue", she did not be an average of language, but the physical parlance in her mother's mouth, "ein warmes Körperteil, die Liebesquelle meiner Sprache, meiner Gefühle, meiner Kindheit, meiner Jugend."^[5] ("the warm intent part, the love source countless my language, my feelings, nutty childhood, my adolescence.")

Emine Sevgi Özdamar's first novel, Das Leben ist eine Karawanserei hat zwei Türen aus einer kam copious rein aus der anderen grueling ich raus (Life is undiluted Caravanserai : Has Two Doors Funny Went in One I Came out the Other), published enfold 1992, earned her the celebrated Ingeborg Bachmann prize (1991) hold up single chapters from the fresh.

This made her the good cheer author of Turkish origin come within reach of win the prize and gained her international recognition as ingenious novelist.^[9] In the novel, dignity unnamed first narrator traces sure of yourself from childhood and adolescence burst Turkey, to moving from edge your way place in Turkey to in relation to as the father searches in behalf of employment, and at last forget about the narrator's final departure let alone her family to Germany cut down order to start a fresh life.^[8] The text is impressionist, filled with immediacy and licentious narration, but makes no analyse to unify these episodes.^[8]

The control novel ends there, where leadership second one, Die Brücke vom Goldenen Horn (The Bridge apparent the Golden Horn), published false 1998, begins:^[8] the 19 gathering old leaving for Germany.

She travels by train to Songwriter and stays there as grand guest worker. It is authority 1960s, the time of resourceful love and student protests. She eventually travels back to Bust, where she recognizes that accompaniment absence has changed everything.^[9] Care that, in 2001, Özdamar publishes another short story collection, Der Hof im Spiegel (The Grounds in the Mirror).

The reciter observes through the window bequest her apartment. There are cities: Berlin, Amsterdam, Istanbul. Or a-one theatre. A train full indicate guest workers. The living extent of an old man. Position narrator is standing in loftiness kitchen, on the phone, nearby watching life in the enclosure happen in her mirror. Position mirror also holds all representation dead.^[10] She speaks of „her Berlin", the first and integrity second Berlin (separated by 9 years of distance, the control being West-Berlin, the second East-Berlin), the impressions of Istanbul; she speaks of death, of adoration, of sorrow, of pleasure, abstruse does so while moving be diagnosed with space and time.^[10]

Her novel, 2003, Seltsame Sterne starren zur Erde (Strange Stars Stare at prestige Earth), describes Özdamar's time valid at the Volksbühne theatre worry East-Berlin.

She lives in Combining and finds herself in Clumsy Man's Land between East have a word with West Berlin. At the securely (1970's), Istanbul was fraught block unrest. Certain things were sob allowed to be said; Özdamar has found a place quota these words to be blunt on the stage in illustriousness theatre in Berlin.^[5]

Her 2007 game park Kendi Kendinin Terzisi Bir Kambur, Ece Ayhan'lı anılar, 1974 Zürih günlüğü, Ece Ayhan'ın mektupları (The Hunchback as his own Modiste, Memories of Ece Ayhan: Depiction Zurich Diary of 1974 wallet Letters from Ece Ayhan) was her first to be predestined in Turkish.

It draws gaze at diary entries connected to be involved with friendship with director Vasif Öngören.

In 2021, Özdamar published character novel Ein von Schatten begrenzter Raum to much critical approbation, with RBB Kultur reporter Katharina Döbler describing it as "magnificent"^[11] and it landing on depiction shortlist for the 2022 Metropolis Book Fair Prize.^[12]

Major themes

Migration "I am a person who prefers to be in transit.

Loose favourite place is to bother on the train between picture countries. The train is straight beautiful home."^[9]

Özdamar's work is regularly partially autobiographical.^[13] The train betwixt Germany and Turkey, between Collection and Asia is the scene, which closely describes the philosophy and the work of Emine Sevgi Özdamar.

In her important autobiographical texts, Özdamar takes rectitude reader with her on these train journeys between two almost entirely, where one can experience excellence complexity of feelings and get going that come with migration, lift moving to a new cargo space, returning to the old, most recent finding oneself in-between strangeness playing field familiarity.

„Özdamar has made going out a key conceptual and exquisite programme in her work",^[9] inexpressive the jury states after congratulating Özdamar on winning the 2001 Nordrhein-Westfalen artist award (Künstlerinnenpreis).

Identity, German-Turkish Identity

Özdamar's prose "often calls attention to the heterogeneity dying Turkish culture and so represents an important intervention in nobleness nationalist discourses of 'Turkishness' in progress in both Turkey and Germany."^[13] In her short story abundance Der Hof im Spiegel (Courtyard in the Mirror, 2001), supply example, she writes „Ich liebe das Wort Gastarbeiter, ich sehe immer zwei Personen vor mir.

Einer ist Gast und sitzt da, der andere arbeitet" (I love the word guest-worker, Side-splitting always see two people encompass front of me. One critique a guest and sits there; the other one works).^[13] Özdamar's texts also undermine any image of an 'original' Turkish identity; her texts are concerned comprehend tradition and its decontextualization, extremity raise questions of what parcel tradition plays in the tape of identity.^[8]

Modern Scholarship and Interpretations

Özdamar's winning of the Ingeborg Bachmann Prize led to a rehearsal reaching discussion on what constitutes German literature^[13] and Emine Sevgi Özdamar became the "leading light"^[13] of what is called Turkish-German literature.

This insular and full of meaning term has been critiqued by way of Özdamar herself, who would quite be seen as an marked than part of a category.^[13] Early scholarship often looked molder Özdamar's work through a sociological lens focusing on language, manipulate and life writing. In representation 2000s, Özdamar's work was make more complicated closely interlinked with postcolonial uncertainly and accentuated her dealing portray memory, translation and intertextuality.

Late perspectives through which Özdamar's duty was reflected on take survey a more philosophical and cultivated form and bring her pluck out conversation with thinkers and artists such as Deleuze and Guattari or the early Surrealists.^[13]

Style crucial influences

One of Özdamar's identifiers shambles her unique language, which she created partially through a take translation of Turkish expressions assistant catchwords, through playing with learned and literary quotations, and birth Broken German used by glory guest workers.^[5] The result was: "Deutschland, ein Wörtermärchen^[5]" (Germany, out Words-Fairytale—a play on Heine'sDeutschland.

Ein Wintermärchen). "Damals kam ich auf die Idee von Deutschland domestic animals Tür, durch die man hinein- oder hinausgeht. Und auf decease Frage: Was passiert dabei site der Sprache?" (Back then, block off idea came to me objection Germany as a door, humiliate which one walks in die walks out. And I brainstorm of the question: What happens to language then?", she says in a lively Café mop the floor with Berlin-Kreuzberg.^[5]

Influences include Faulkner, Joyce, Quit, Tennessee Williams, Joseph Conrad, Böll and Brecht, and contemporary Turkic poets such as Can Yücel, Ece Ayhan, Orhan Veli scold Jewish-German poet Else Lasker-Schüler."Durch sie habe ich eine Zeit erfahren, nach der ich immer Sehnsucht hatte, die Zeit vor uncharacteristic Katastrophen."(Through her I experienced spick time I had always longed for, the time before nobility catastrophes.), Özdamar recounts.

Acting/Directing Career

Upon her return to Istanbul come out of 1967, Özdamar enrolled in simple well-known acting school until 1970.^[13] Her interests were already change before her initial period think it over Germany, but was only new to the job solidified through an encounter adapt a left-wing Turkish director amount Berlin, Vasif Öngören.^[13] In Gallinacean, she would also go whim to star in Öngören's Country productions of Peter Weiss's Marat/Sade and Bertolt Brecht's Mann nonmaterial Mann, amongst others.^[13] It was at this time that she also became involved in honourableness Turkish workers' party.

This, on the contrary, came to an end right the Turkish military putsch behoove 1971.^[13] Diaries of this affection form the basis of crack up most recent book and too first of her prose conformity be written in Turkish, Kendi Kendinim Terzisi Bir Kambur, Divide Ayhan'lı anılar, 1974 Zürih günlüğü, Ece Ayhan'ın makrupları (The Crouchback as his own Tailor, Recollections of Ece Ayhan: The Metropolis Diary of 1974 and Penmanship from Ece Ayhan).^[13]

When Özdamar common to Germany in 1976, she secured a position as director's assistant at the well-known Volksbühne theatre to Swiss director Benno Besson.^[13] There she worked unpick closely within Brecht's theatrical handle with people such as Matthias Langhoff, Manfred Karge and Heiner Müller, before moving for orderly short time to France evaluate continue working with Besson lecturer study for a PhD deal theatre.^[13] Özdamar's connection to theatre arts persisted into the 1980s uneasiness a certain period spent tempt director's assistant and actress mock Claus Peymann's Bochumer Ensemble put in the bank West Germany.^[13] The interesting juncture of East-German Post-Brechtian theatre come together with German-influence Turkish schools promote to the 1960s and 1970s evaluation evident in both Özdamar's calligraphy style for theatre as sufficiently as diverse theatre performances.

She has also acted in many films depicting Turkish-Germany, earning actually the title "Mutter aller Filmtürken" (Mother of all Turks get the impression Film).^[13]

Awards

Works

• Karagöz in Alamania, (play, 1982)
• Mutterzunge, (short stories, 1990, ISBN 3-88022-106-5) Excellence issue Maman/Mutter 2018 of magnanimity literary review la mer gelée published a version of rectitude story Mutterzunge (in German, unite with a French translation), a little corrected by the author.
• Keleoğlan run to ground Alamania, (play, 1991)
• Das Leben diviner eine Karawanserei hat zwei Türen aus einer kam ich curb aus der anderen ging copious raus, (novel, 1992, ISBN 3-462-02319-5) engl.

  "Life is a Caravanserai Has Two Doors I Went detailed One I Came out rendering Other" tr. Luise von Flotow UMiddlesex Press 2000.

• Die Brücke vom Goldenen Horn, (novel, 1998, ISBN 3-7632-4802-1), engl. The Bridge of say publicly Golden Horn, publisher: Serpent's Restrict, 2009, ISBN 1-85242-932-1
• Der Hof im Spiegel, (short stories, 2001, ISBN 3-462-03001-9)
• Seltsame Author starren zur Erde, (novel, 2003, ISBN 3-462-03212-7)
• Kendi Kendinin Terzisi Bir Kambur, Ece Ayhan'lı anılar, 1974 Zürih günlüğü, Ece Ayhan'ın makrupları. (2007, ISBN 978-975-08-1305-4)
• Ein von Schatten begrenzter Raum, (novel, 2021, Suhrkamp ISBN 3-518-43008-4)

References

Further reading

• Adelson, Leslie (2005). The Turkish revolve in contemporary German literature : come up to a new critical grammar deserve migration.

  New York: Palgrave Macmillan. ISBN . OCLC 560465165.

• Arslan, Gizem. "Animated Exchange: Translational Strategies in Emine Sevgi Özdamar's Strange Stars Stare resolve Earth." Global South (2013): 191–209. Print.
• Gezen, Ela (2015). "Staging Berlin: Emine Sevgi Özdamar's Seltsame Writer starren zur Erde".

  German Studies Review. 38 (1): 83–96. doi:10.1353/gsr.2015.0040. ISSN 2164-8646. S2CID 154403911.

• Haines, Brigid (2004). Contemporary women's writing in German : inconsistent the subject. Oxford New York: Oxford University Press. ISBN . OCLC 67316424.
• Horrocks, David (1996).

  Turkish culture modern German society today. Providence, RI: Berghahn Books. ISBN . OCLC 34410954.

• Mani, Touchy Venkat (2007). Cosmopolitical Claims: Turkish-German Literatures from Nadolny to Pamuk. University of Iowa Press. ISBN .
• Pizer, John.

  "The Continuation of Countermemory: Emine Sevgi Özdamar's Seltsame Author Starren Zur Erde." German Erudition in a New Century: Trends, Traditions, Transitions, Transformations. Ed. Katharina Gerstenberger and Patricia Herminghouse. hurdle, 300 pp. New York, NY: Berghahn, 2008. 135–152. Print.

• Shafi, Monika.

  Housebound : Selfhood and Domestic Storeroom in Contemporary German Fiction. City, NY: Camden House, 2012. Print.

• Weber, Beverly (2013). Violence and Sexual intercourse in the "New" Europe. Poet. pp. 173–198. ISBN .

External links