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Haben Gangsta-Rapper positive Gefühle? – Code-Switching als Ausdrucks- und Gefühlsträger in den Songtexten von Haftbefehl

100%
Derecka M.
Linguistische Treffen in Wrocław
|
2020
|
issue 17
65-77
EN
Linguistic heterogeneity in Haftbefehl’s song lyrics is by no means the final language product of just two languages or cultures. Aykut Anhan uses more than two languages in his creative workshop. He plays with forms such as bricolage, linguistic borrowing, hybrids or Code-Switching. The multidimensionality of his work allows him to express such feelings as anger, rage or fury. Jumping from one language to another is surprising and provoking. The research topic of the following work is the search for positive emotions, which are reflected on the lexical level of Haftbefehl’s multilingualism.
2
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Sprachspielerei oder bewusster Sprachwechsel? Code-Switching, Bricolagen und Hybridbildungen im Gangsta-Rap von Haftbefehl

75%
Derecka M.
Linguistische Treffen in Wrocław
|
2021
|
issue 19
53-62
EN
The contemporary German language surprises with ever more innovative renewal tendencies of its vocabulary. The need for language development and vocabulary renewal still seems particularly great. One of the main tendencies of language development is the internationalisation of vocabulary, which can be directly attributed to globalisation and the economic and technical revolution. Thus, this approach questions the extent to which code-switching, hybrid production and bricolages shape the language of one of Germany’s best-known rappers with an immigrant background – Haftbefehl – and contribute to his lyrics based on multilingualism becoming patchwork poetry. The analysis of the lexical and stylistic level of the well-known song “Chabos know who the babo is” revealed that Haftbefehl’s language is a kind of patchwork that does not represent an entirely defined grid for language development and leaves many questions open for future linguistic research.
3
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Der deutsche Rap – das Sprachrohr der deutschen Minderheiten oder eine Rechtfertigung der mangelhaften Sprachkenntnisse?

75%
Derecka M.
Linguistische Treffen in Wrocław
|
2019
|
issue 15
59–68
DE
Der vorliegende Beitrag ist ein Teil einer umfassenden Studie über die moderne Patchworksprache im deutschen Rap. Gegenstand der Untersuchung sind die Songtexte von Haftbefehl, Kollegah und Bushido, den deutschen Rappern mit Migrationshintergrund. Neben den typischen sozialen Problemen werden von ihnen auch Drogenkonsum, Gewalt oder Stadtleben angesprochen, was gerade für den Gangsta-Rap typisch ist. Das, was in ihren Songs eine besondere Aufmerksamkeit verdient, ist ihr puzzleartiges Spiel mit der Sprache. Diese besondere Mischung von Sprachen, Dialekten, Umgangssprache, Neubildungen oder Abkürzungen scheint ein Code zur Verschiebung der inneren mentalen Grenze zu sein, zu einer in der übertragenen Bedeutung verstandenen Eroberung der neuen Welten von Menschen mit gespaltener Seele, die emotional zwischen der alten und der neuen Heimat schweben. Die Sprachebene von Hip-Hop kann mit ihren oft in brutaler und vulgärer Weise ausgedrückten Sprachmitteln eine Art Überbrückung der Entfremdung sein.
EN
The following article is the result of a partial study of the German patchwork language in the lyrics of German-speaking rappers with the so-called migration background. In the works of Haftbefehl, Kollegah and Bushido, not only typical social problems are discussed, but also drug addiction, violence and urban life. Particular attention is drawn to a mixture of languages, dialects, colloquial language, neologisms and abbreviations, which constitute a kind of code for shifting the inner mental boundary, conquering new worlds by people with a torn soul who feel suspended between the old and new homeland. The language of hip-hop, though often vulgar and brutal, can become a bridge to overcome the sense of alienation by encouraging discussion among the fans and opponents of rap.
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