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Travels and Transformations in Contemporary Turkish-German Literature and Film

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Travels and Transformations in Contemporary Turkish-German Literature and Film BEYOND ―IN-BETWEEN,‖ TRAVELS AND TRANSFORMATIONS IN CONTEMPORARY TURKISH-GERMAN LITERATURE AND FILM by Adile Esen A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Germanic Languages and Literatures) in The University of Michigan 2009 Doctoral Committee: Associate Professor Johannes E. von Moltke, Co-Chair Assistant Professor Kader Konuk, Co-Chair Associate Professor Julia C. Hell Associate Professor Robin Queen To Maharishi Mahesh Yogi and his master Guru Dev with all my gratitude ii Acknowledgements A dissertation is the final product of a long and intensive journey. Along this journey, I have been fortunate to be supported and guided by wonderful people. First, I like to thank those who have been in my immediate academic environment here at the University of Michigan. I am most grateful to the co-chairs of my dissertation committee, Kader Konuk and Johannes von Moltke, who have with endless patience supervised my dissertation. They have always heard me through and inspired me to become better. I would like to thank my other committee member, Robin Queen, who has likewise given me numerous inspirational ideas and encouraging suggestions about my work. I also thank my last committee member, Julia Hell, who joined my committee only at the last minute and has nevertheless also been wonderful in giving significant encouraging suggestions to my work. Besides my committee, I like to thank Scott Spector, Fred Amrine, and Helmut Puff for their support and for having given me direction in my first years at the German department. I am also most thankful to Hartmut Rastalsky whose support and understanding has made teaching and being a graduate student as balanced as it can be. I give thanks to Ela Gezen, a colleague and a true friend. I thank also to Seth Howes and Josh Hawkins for their help with editing different stages of my dissertation. Thanks to Sun-Young Kim, Michael Andre, Dave Choberka, John Wipplinger, Avi Kempinski, Mike Layne, and Ilka Rasch for their colleagial and friendly support. Thank you to Marga Schuhwerk-Hampel for all her administrative support and her wonderful insights. Thank you to the other staff members, Sheri Sytsema-Geiger, Nancy Blasch, and Kate Ballentine for their administrative help and patience as well. I also want to give great thanks to Sweetland Writing Institute staff for their help with my project and writing. Outside of the academic environment at Michigan, I thank wholeheartedly Dr.Jutta Birmele, my former graduate advisor at CSULB, for having encouraged me to pursue a Ph.D and her on-going support and friendship throughout the years. I thank Prof. iii Christiaan Hart Nibbrig for sharing his knowledge and lending inspiration for my dissertation during my time in Lausanne. I like to extend thanks to my friends who have emotionally supported me through this journey as well. Thanks to my long time friends Linda Renner and Tracie Swiecki for listening to me patiently during my down times and uplifting me with their positivity. I also thank to a friend who came to my life here in Michigan, Carol Lubetkin, for guiding me in many ways and for always encouraging me to keep going. Thanks as well to dear Deryl Honor, Tom Masuga, and Ruth and Don Lamphear for many meditations and for all their encouragement. Thanks to my friends Jennifer Quarton, Sally Stegeman, Carrie Collenberg, Marsha Blauwkamp, and Catherine Drittenbass also for all their listening and support. I also thank Hannah Masuga for her recent engagement with my work and her insights. Although I have kept it to last, I give my deepest appreciation to my parents and to Maharishi Mahesh Yogi. Without their love and support, I could not have finished this dissertation. I thank my parents for always accepting me as I am and to Maharishi for the knowledge to make this me better. iv Table of Contents Dedication ..................................................................................................................ii Acknowledgements ....................................................................................................iii Abstract ......................................................................................................................vi Introduction ................................................................................................................1 Chapter 1: Relationally Constructed Worlds in Selim oder die Gabe der Rede and Der weinende Granatapfel………………………………………………………29 Chapter 2: Multiply Layered Worlds .........................................................................108 Chapter 3: Moving Pictures in Between Cities ..........................................................188 Conclusion .................................................................................................................267 Bibliography………………………………………………………………………..276 v Abstract This dissertation undertakes an interdisciplinary investigation of recent Turkish- German literature and film. Focusing on the motif of travel, it analyzes the ways in which novels and feature films since unification have constructed notions of identity and borders, self and other, of Turkey, Germany, and the fluid boundaries between these ostensibly separate worlds. In doing so, the dissertation takes as its point of departure Leslie Adelson‘s powerful 2003 critique of texts and approaches that would suspend Turkish-German subjects ―between two worlds,‖ separating them from German culture rather than situating them in the complex, hybrid realities of both Turkey and Germany today. With their emphasis on travel and movement, I claim, novels and films since unification mark a departure from earlier forms of Gastarbeiterliteratur and –film and have contributed significantly to unsettling the troublesome paradigm of a static ―in- between.‖ To trace this shift, chapter one analyzes two novels that narrate the travels of German protagonists in Turkey. I show how both Selim oder Die Gabe der Rede (1990) by Sten Nadolny and Der weinende Granatapfel (1990) by Alev Tekinay, first mobilize the premises of the ―two worlds‖ paradigm at the level of character and then undo those premises through narration. Chapter two analyzes the novels Selam Berlin (2003) by Yade Kara and Die Brücke vom Goldenen Horn (1998) by Emine Sevgi Özdamar. Mapping their protagonists‘ transformations onto socio-political transitions in Turkey and Germany, the novels destabilize presumed borders and chart connections between Turkey vi and Germany. The third chapter studies bi-directional journeys in Fatih Akin‘s films, Head-On (2004) and The Edge of Heaven (2007). It analyzes new trajectories, such as second generation homecoming travels to Turkey and a back-and-forth movement between Turkish and German worlds. Destabilizing presumed understandings of fixed borders and identities, mapping transnational connections, and revealing shared histories, the novels and films analyzed in this dissertation offer ways of thinking beyond the divisions ostensibly inscribed in cultural, ethnic, and national forms of belonging. vii Introduction During a 2009 lecture at the University of Michigan, the renowned Turkish- German writer Zafer Şenocak explained his ideas on the refusal of the ―between two worlds‖ paradigm by one of the leading scholars in Turkish-German studies, Leslie Adelson. The literary paradigm in question entails a binary thinking between Turkey and Germany, which both in primary literature and analyses frequently characterizes Turkish migrants as static figures between the two cultures. Şenocak was born in Ankara, Turkey in 1961 and moved to Münich in 1970. Since the 1980s, he has been writing poems, essays, and novels.1 Şenocak affirmed that Leslie Adelson is indeed correct in rejecting this paradigm and the ―in-between‖ metaphor that characterizes migrants as stuck in between two worlds.2 Şenocak emphasized how suspension and immobility do not capture the situation and provided his own experience as an example, which he explained as a condition of transitional existence between Turkish and German cultures—of looking, seeking, going between Turkey and Germany —not motionless and certainly not stuck in between anywhere. 1 After the 1980s, Şenocak‘s poetic voice gave way to two volumes of essays, Atlas des tropischen Deutschland (Atlas of the Tropical Germany, 1992), and War Hitler Araber? IrreFührungen an den Rand Euoropas (Was Hitler an Arab? A crazy guide to the edge of Europe, 1994.) His most prominent works of fiction are his short story collection, Der Mann im Unterhemd (The man in the undershirt, 1995), Die Prärie (The prairie, 1997), and his novel Gefährliche Verwandschaft (Dangerous relations, 1998). 2 Leslie Adelson, ―Against Between: A Manifesto,‖ ―New Perspectives on Turkey,‖ (Spring- Fall 2003), 24. 1 The ―between two worlds‖ paradigm, a ―cultural fable,‖ as Adelson explains, treats Turkey and Germany as fixed, homogeneous, and stable worlds, and assumes an ―absolute cultural divide‖ between the countries.3 Adelson is highly critical of the way the ―between two worlds‖ paradigm functions both as a motif in Turkish-German texts and as a metaphor for thinking about Turkish-German cultural productivity, characters, and authors from the past two decades.4 This dissertation investigates the various ways in which Turkish–German literature and film after the early 1990s deploy travel as a motif in their narratives. I explore how the utilizations of this motif transcend the narrow metaphors of the ―between
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