This article examines the depictions of multilingualism and translation in Crimean (Kırımlı, 2014), which recounts the story of a Crimean Turk called Sadık Turan, who was taken hostage as a prisoner of war during the Second World War. Adapted from Cengiz Dağcı's 1956 memoir-novel entitled Horrible Years (Korkunç Yıllar), the film presents a multilingual narrative through its incorporation of Turkish, German, Russian and Polish. The study aims to identify the role of multilingual interaction and linguistic mediation in narrating this story of war and conflict on screen. Chris Wahl's ( 2005) characterisation and categorisation of polyglot films based on the role of multilingualism in character and plot development will serve as a reference point for discussing the functions of multilingualism in the movie. In doing so, the analysis will explore how each language is represented in the story, and, if applicable, how language representation is complementary to the portrayal of a character speaking a particular language. The second part of the article focuses on the identification of the purposes of translation, and more specifically diegetic interpreting, that is, "any act of (oral) interpreting which takes place within the story world through the agency of a character in the narrative" (O'Sullivan 2011, p. 80). This will facilitate the identification of any tacit connection between being multilingual and/or acting as an interpreter and having the upper hand in a particular situation. The article thus demonstrates how the conflict finds expression on the linguistic level in the film in conveying a character's engagement with the language that s/he uses as well as with the enemy on the battle zone.
This article problematizes the strictly literary use of Andre Lefevere's conceptualization of rewriting solely in the analysis of translated texts. It aims to discuss how the concept of rewriting can be deployed in the areas of research in social sciences and humanities outside literature and translation studies. To this end, the review first situates the concept of rewriting within the history of translation studies, and especially the emergence of the cultural turn. Subsequently, it delineates the defining aspects of Lefevere's conceptualization of translation as a form of rewriting. While highlighting his contribution to a renewed understanding of the dynamics involved in the production of translated literature, this overview allows for elucidating the links between the notions of translation and adaptation through the frame of rewriting. In doing so, the article elaborates on the relevance of rewriting to the translation(al) turn by demonstrating its affinity with and divergence from the cultural turn. The Discussion and Conclusion section provides certain specific examples of how patronage can be applied to discuss the restraining or facilitating impact of a given political context on the production of film adaptations. Overall, this review proposes to consider the process of film production as one of rewriting in terms of the possible economic, ideological and status components involved therein. This conceptual discussion thus revisits the potential of rewriting as a methodological tool for a translation(al) turn in social sciences and humanities, which may develop avenues of collaboration between translation studies and other areas of interdisciplinary research.
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