This article seeks to follow the paths of the second generation of Turkish (post-)migrants in Germany as represented in literature and cinema by exploring how they perceive and experience the spaces that they inhabit, how they perceive themselves and the new world they live in. I will focus on the work of Yadé Kara and Buket Alakus, on their (gender-specific?) narrative strategies for aesthetically representing migrants' experiences, and how they reflect on ambiguities and doubts about the

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... of belonging. Finally, I will discuss how Kara's and Alakus's imagined identities embody Wolfgang Welsch's concept of transculturality "as entanglement, intermixing and commonness," and how, in doing so, they may be able to construct post-migrant and transethnic identities, and thereby pave the way for new transcultural solidarities and empathies. In the context of globalization, intensified flows of people, goods, and ideas have prompted a reconfiguration of how migration is lived, as well as an altered view of the sense of uprootedness. Ever-faster communication and travel have changed the ways in which migrants and neo-nomads regard their allegiance to locality. In the past, immigrants were often regarded as uprooting themselves from their home country and then facing the challenges of resettling in and assimilating to the host country. However, in the current transnational, globalized context, migrants do not necessarily cut their ties with their home country but rather maintain them along with a sense of allegiance to their place and community of origin, while incorporating new allegiances to their host society and culture into their sense of identity: "Now, a new kind of migrating population is emerging, composed of those whose networks, activities and patterns of life encompass both their host and home societies. Their lives cut across national boundaries and bring two societies into a single social field" (Schiller, Basch, and Blanc-Szanton 1992, 1). These individuals are, according to Nina Glick Schiller, Linda Basch, and Cristina Blanc-Szanton (1992, 2-3), "transnational migrants or transmigrants," who give rise to transcultural practices, new transnational social spaces, and a new transcultural imaginary. Sissy Helff (2013, 18) also argues that this new imag-