Existence forms and migration facts in Guney Dal's of novels

In general, literature history (ies), especially the modernist and postmodernist literature; is an aesthetic mud full of tragic stories of martial waters of the narrow-shouldered Atlas of believers who believe in the lies they have created, the wingless Ikaros, those who are suffering from suffer, those who are struggling to locate in time and place for the sake of positioning of existence. The subject for existence tries to position itself spontaneously. Will this positioning journey save the writer, the narrator, and the free essence from inferno? Is lonely and lost innocence possible through the departure of pathos without injury? The writer, who started a noble march with the intention of overtaking the minotor, entered the furry labyrinth of the fiction. The guide is a reader of Contemporary Literature Theseus and a hermeneutic rope. Born in 1944, the first-generation writer, an important name in Turkish-German literature, which we can call cultural-extremist literature (Transkulturelle Literatur -Ger.) or intercultural literature (Interkulturelle Literatur -Ger.), Güney Dal attempts to create modes of existence and self- working tragic heroes and types; by giving it to the last of the postmodern narrative techniques, By turning down temporal modalities and destroying synchronicity, spatial assumptions and perceptions also make the problem for the founder. However, the way in which the reader reads and the manner in which the novel is perceived, has changed and the world that had the Industrial Revolution and the two world wars turned a dizzying pace. The reasons for this transformation are many and varied: art, literature and novel are the active subject and object of this transformation. The disjointed subjects of this long chain of so-called comprehension constitute art / literature and philosophy with heroic heroes and geometric polygons. Güney Dal, one of the first writers to try a postmodern style, form and narration in "consciously" in Turkish literature, was particularly attracted to Germany, especially in Germany, with his famous novel, Kılları Yolunmus Maymun, published in 1988. With thinking, sending and mentioning; this text, which is open to reading dozens of different intertextualities with temporal inquiries and formal breaks, is also an out-of-court katater for comparative literature. Unless the narrator and the author have an extraordinary color rendition, but without interfering with each other, without interfering with their existential spaces, Kılları Yolunmus Maymun, unfortunately, deserves a sufficient interest in Turkish literature. Linking the reason of this to the intricacy of the text will undoubtedly be a very naive attitude. In this study, firstly Turkish-German relations were briefly analyzed in the intellectual and artistic context; sociological, psychological, and ontic nerve endings (migration), the reflection on Southern Literature were discussed and the novels created by the author as a constructive and practical subject were analyzed for a long time with the way the heroes existed. Thanks to Assoc. Prof. Mitat Durmus who always supports me, to Kien in existence fields and to Martin Eden, and to my family who never says anything about my books, to Işıl Aracı, my beloved friend, special thanks for her litterature translations, to Abdullah Erul who has gicen great importance and support with his ideas and suggestions, to Büdra Bağrıaçık, for being in my life and always back on me, and Prof. Dr Ramazan Korkmaz who always gives us inspiration with his patience.