This study is concerned with an analysis of Tomris Uyar’s rendering of two grotesque stories by the American fiction writer Flannery O’Connor, “The Lame Shall Enter First” and “The Comforts of Home”, translated into Turkish as “Önce Sakatlar Girecek” and “Yuvanın Nimetleri” respectively. The article mainly focuses on the translator’s use of idiomatic language in the rendering of these grotesque stories as a strategy for conveying the semantic content of the stories to the receptor audience as well as for evoking in them the feelings and responses similar to those created in the source-text reader. In her translations, Tomris Uyar adopts a receptor-oriented strategy closely associated with Eugene A. Nida’s concept of Dynamic Equivalence. Out of a desire to achieve an easy, natural, and fluent style in translation, the translator relies heavily on the use of idioms in receptor language, thus creating in the reader the feeling that these stories were originally written in Turkish.
Tiyatro metni çevirisi bazı yönleriyle diğer çeviri türlerinden farklılık gösterir. Tiyatro eserleri kimi zaman, tiyatro eserlerini içeren kitaplarda yer alacak şekilde çevrilirken, kimi zaman da sahnede kullanılmaya uygun metinler olarak tercüme edilir. Bu bağlamda, çalışmanın amacı, Oscar Wilde'ın The Importance of Being Earnest adlı oyununun Murat Erşen ve Can Yücel tarafından yapılan iki tercümesini (Ciddi Olmanın Önemi ve Maksat Samimiyet) tiyatronun temel kavramları olan okunabilirlik, konuşabilirlik ve sahnelenebilirlik terimleri çerçevesinde karşılaştırmaktır. Bu makalede, Susan Bassnett'in tiyatro çevirisi stratejileri ışığında tiyatro eserinin orijinal metni ve iki çevirisinden seçilen alıntılar incelenmiştir. Önerilen beş stratejiden özellikle ikisi -basılı sayfa için çeviri ve sahne için çeviri- bu çalışmanın temelini oluşturmaktadır. Alıntılar karşılaştırmalı olarak incelendiğinde, Murat Erşen'in ağırlıklı olarak kaynak metin odaklı bir yaklaşım benimsediği, Can Yücel'in ise genellikle erek metin odaklı bir yaklaşım izlediği görülmektedir. Nitekim Erşen'in çevirisi, edebiyat okurları için çevrilmiş bir metin izlenimi verirken, Yücel'in çevirisinin sahnede kullanılamaya uygun bir çeviri olduğu söylenebilir.
This article concerns itself with various aspects of subtitling as a form of Audiovisual Translation (AVT), with special focus on the constraints the subtitler works under, the difficulties involved in rendering cultural references, and different kinds of strategies that have been proposed to deal with them. The study is mainly centered on the taxonomy of strategies proposed by Jorge Díaz-Cintas, Aline Remael, and Santamaria Guinot. In the first stage, the English subtitles corresponding to the Extralinguistic Cultural References (ECRs) selected from the sound track of the Turkish film series Diriliş: Ertuğrul have been analyzed in the light of these strategies. Then, the subtitler’s methods of dealing with ECRs have been evaluated in order to find out to what extent the translation of ECRs in subtitles have been able to create an effect on target viewers similar to the one created on viewers of the film in the source culture. The analysis of the ECRs selected from the film series generally pointed to an inclination on the part of the subtitler towards keeping close to the norms of the target language and culture, an approach that seems to have been adopted when this did not give rise to a distortion in the meaning of the original expression.
This study is concerned with an analysis of Can Yücel’s translation of F. Scott Fitzgerald’s novel The Great Gatsby into Turkish -Muhteşem Gatsby- in the light of the Interpretive Theory at large and Jean Delisle’s translation procedures (Expansion and Economy) in particular. In his rendering of the novel, the translator adopted a strategy based on conceptualizing the ‘sense’ behind the source-text message through the process of deverbalization, and then reformulating that message by using a language that sounds quite familiar to the target reader. Instead of establishing equivalences merely at linguistic level, the translator used his linguistic and extra-linguistic knowledge to extract the explicit and implicit sense behind the source-text message, and then re-expressing that sense through the discourse of the receptor culture. This is a strategy intended to achieve textual and contextual equivalences rather than finding out correspondences at lexical and phrasal level. Based on these considerations, in this article, exemplary extracts selected from the target text were analyzed with a view to showing that the strategies employed in the rendering of the novel involve features that reflect the basic tenets of the Interpretive Theory. Within this framework, an attempt was made to illustrate that these strategies lend themselves well to the application of Delisle’s translation procedures, yielding results that confirm their relevance to the analysis of Can Yücel’s translation of the novel.
Basically, the applicability of Pedersen's strategies to the translation ECRs in a literary work has been evaluated and verified. An attempt has been made to find out the basic inclinations of the translators as to whether they followed a sourceoriented or a target-oriented approach. In the process, special emphasis has been placed on finding out which strategies predominated over the others in the translation of the novella. It has been found that, in the translators' rendering of extralinguistic items, there is no single strategy that predominated over the others. On the other hand, in the translation of intralinguistic items, particularly idioms, the translators often employed the strategy of 'paraphrase', which can be viewed as a reflection of their inclination toward a target-oriented approach.
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