<p>This thesis aims to contrast German and Swedish youth languages, based on material from two popular Online-Communities mainly for young people,<em> SchülerVZ</em> and <em>Lunarstorm</em>, respectively. The goal is not primarily to analyze the use of written, online youth language. Rather, language use on the Internet has developed into something between written and spoken language; often with clear characteristics of spoken language. Therefore, my corpus enables me to establish general similarities and differences in spoken (and written) German and Swedish youth communication.</p><p>Many similarities can be found in the way both German and Swedish youth play with language through e.g. many innovative lexical combinations and hyperboles. A difference can be found in the use of dialect. German youth inclines to speak and write it more explicitly to establish a "youth identity". In contrast, Swedish youth applies multi-ethnic youth language in the same way to establish this identity. This finding leads to the conclusion that multi-ethnic youth language firstly, is a more accepted or developed medium in Sweden, and secondly, something young people can employ in their formation of an identity that goes beyond social, "adult" conventions. In addition, a common use of Anglo-American loan words, mainly through <em>Code Switching</em>, can be found in both languages. This occurrence of loan words ought to depend mainly on these words being more unerring or more prestigious than native alternatives. Differences in the application of these loan words are found to be on a grammatical level. The German language tends to adopt more directly imported Anglo-American loan words, whereas the Swedish language reproduces these words in order to allow integration with the Swedish language system.</p>

<p>The present text examines the translation of multiethnic youth language in Jonas Hassen Khemiri’s novel Ett öga rött (One Eye Red). Khemiri’s language is analysed, its function described and compared with the German translation of the book using representative text excerpts. Khemiri’s language is shown to deviate considerably from standard language and should be understood functionally as protest language. Most conspicuous is the continuous even word order after adverbial in the prefield instead of an inversion. Also typical is the use of nouns without articles, wrong genders, or ethnolectal lexemes such as flos (money), keff (bad) etc. Idioms are often used in an incorrect form and word formation is idiosyncratic. Khemiri’s language is characterised as a highly stylised, aesthetic artificial language inspired by multiethnic youth language (Rinkeby Swedish). The translation is typified by grammatically ordinary standard language, whose lexis is striking only for its coarse and youth language lexemes. There are no indications to suggest a German ethnolect and/or an artificial language. The target text is more neutral and lacking in humour, resulting in an impoverishment of the original text. The contrast between multiethnic youth language and standard language is also lost. The translation strategy used can best be described as einbürgernd (domesticating), as the linguistic idiosyncrasies for the most part are translated with grammatically correct standard language. The presumed effect on the reader is classed as inappropriate. Parallels between the German and the Swedish language could have been exploited in the translation without running the risk of appearing odd.</p>

This thesis aims to contrast German and Swedish youth languages, based on material from two popular Online-Communities mainly for young people, SchülerVZ and Lunarstorm, respectively. The goal is not primarily to analyze the use of written, online youth language. Rather, language use on the Internet has developed into something between written and spoken language; often with clear characteristics of spoken language. Therefore, my corpus enables me to establish general similarities and differences in spoken (and written) German and Swedish youth communication. Many similarities can be found in the way both German and Swedish youth play with language through e.g. many innovative lexical combinations and hyperboles. A difference can be found in the use of dialect. German youth inclines to speak and write it more explicitly to establish a "youth identity". In contrast, Swedish youth applies multi-ethnic youth language in the same way to establish this identity. This finding leads to the conclusion that multi-ethnic youth language firstly, is a more accepted or developed medium in Sweden, and secondly, something young people can employ in their formation of an identity that goes beyond social, "adult" conventions. In addition, a common use of Anglo-American loan words, mainly through Code Switching, can be found in both languages. This occurrence of loan words ought to depend mainly on these words being more unerring or more prestigious than native alternatives. Differences in the application of these loan words are found to be on a grammatical level. The German language tends to adopt more directly imported Anglo-American loan words, whereas the Swedish language reproduces these words in order to allow integration with the Swedish language system.

In diesem Aufsatz werden die Stilisierungen  des Türkendeutsch aus zwei Perspektiven untersucht. Es wird der Frage nachgegangen, wie Türkendeutsch als Ethnolekt von den Medien inszeniert wird und wie sich die Sprecher des Türkendeutsch selbst in den Medien darstellen. Mittels einer Textanalyse sind Hip-Hop-Texte und Texte der Satire variationslinguistisch untersucht worden, wobei die Rap-Texte mit einer Bildanalyse komplettiert wurden. Schließlich wird ein Vergeich der beiden Genres bezüglich primären Ethnolekt und medial-Sekundären Ethnolekt angestellt.

The present text examines the translation of multiethnic youth language in Jonas Hassen Khemiri’s novel Ett öga rött (One Eye Red). Khemiri’s language is analysed, its function described and compared with the German translation of the book using representative text excerpts. Khemiri’s language is shown to deviate considerably from standard language and should be understood functionally as protest language. Most conspicuous is the continuous even word order after adverbial in the prefield instead of an inversion. Also typical is the use of nouns without articles, wrong genders, or ethnolectal lexemes such as flos (money), keff (bad) etc. Idioms are often used in an incorrect form and word formation is idiosyncratic. Khemiri’s language is characterised as a highly stylised, aesthetic artificial language inspired by multiethnic youth language (Rinkeby Swedish). The translation is typified by grammatically ordinary standard language, whose lexis is striking only for its coarse and youth language lexemes. There are no indications to suggest a German ethnolect and/or an artificial language. The target text is more neutral and lacking in humour, resulting in an impoverishment of the original text. The contrast between multiethnic youth language and standard language is also lost. The translation strategy used can best be described as einbürgernd (domesticating), as the linguistic idiosyncrasies for the most part are translated with grammatically correct standard language. The presumed effect on the reader is classed as inappropriate. Parallels between the German and the Swedish language could have been exploited in the translation without running the risk of appearing odd.