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: This article focuses on the Turkish translation of a picturebook by Portuguese Nobel laureate author José Saramago, first published in 2012 after the author’s death. The source text for this translation was a Spanish picturebook for children, El Silencio del Agua, created by the Barcelona-based publisher Libros del Zorro Rojo in 2011 by publishing an excerpt from the Spanish translation of Saramago’s book As Pequenas Memórias(Las Pequeñas Memorias, 2007) as an illustrated stand-alone children’s book. This represents a repurposing of the work since both As Pequenas Memóriasand Las Pequeñas Memoriastargeted an adult readership. The Turkish picturebook, translated from the “original”Spanish picturebook, was published with the same illustrations by Manuel Estrada. Meanwhile, the Portuguese work As Pequenas Memóriashad also been translated into Turkish, much before the publication of the picturebook, by another translator directly from Portuguese. Inthis study, the two Turkish translations (the Turkish picturebook and the equivalent passage from the Turkish translation of the ultimate source text) are compared to find out how repurposing a text originally written for adult readership as children’s literature influences its translation. The case of El Silencio del Aguain Turkish also raises interesting questions about how the cultural status of author and translator affects translation, as well as touching on current debates taking place in the spheres of children’s literature, retranslation, indirect translation, and reception studies.
: This article focuses on the Turkish translation of a picturebook by Portuguese Nobel laureate author José Saramago, first published in 2012 after the author’s death. The source text for this translation was a Spanish picturebook for children, El Silencio del Agua, created by the Barcelona-based publisher Libros del Zorro Rojo in 2011 by publishing an excerpt from the Spanish translation of Saramago’s book As Pequenas Memórias(Las Pequeñas Memorias, 2007) as an illustrated stand-alone children’s book. This represents a repurposing of the work since both As Pequenas Memóriasand Las Pequeñas Memoriastargeted an adult readership. The Turkish picturebook, translated from the “original”Spanish picturebook, was published with the same illustrations by Manuel Estrada. Meanwhile, the Portuguese work As Pequenas Memóriashad also been translated into Turkish, much before the publication of the picturebook, by another translator directly from Portuguese. Inthis study, the two Turkish translations (the Turkish picturebook and the equivalent passage from the Turkish translation of the ultimate source text) are compared to find out how repurposing a text originally written for adult readership as children’s literature influences its translation. The case of El Silencio del Aguain Turkish also raises interesting questions about how the cultural status of author and translator affects translation, as well as touching on current debates taking place in the spheres of children’s literature, retranslation, indirect translation, and reception studies.
The Alphabet Reform of 1928 necessitated transcription/intralingual translation of works written in Ottoman Turkish in order to pass them to posterity. Reprints made in the new alphabet were soon to replace old books as the law only allowed book printing in Latin alphabet as of 1 January 1929. This intralingual translation activity has continued in full throttle until our day. At first, authors of the Ottoman period did intralingual (self) translations to continue their fame and remain readable in the Republic period. Similarly, the ageing words were simplified in intralingual translation efforts in the new era. However, there are translated works besides authored books to be transferred to the new alphabet. During intralingual translations of Ottoman translated works, the source text may contain lots of foreign words and/or phrases that are written as they are or as pronounced by the authors of the source texts. This may result in different renderings of the same foreign words by the translators. We find it important to problematize this subject as there is increased interest in our day on translated works by the Ottoman authors. This study aims to describe the strategies adopted by the translators, by examining how foreign words and phrases were rendered in the two transcriptions and/or intralingual translations of Ahmed Midhat Efendi’s Niza-i İlm ü Din – İslam ve Ulûm. The first intralingual translation of the Ottoman Turkish translated text was done by Mustafa Yıldırım in 2018. It was followed by Bünyamin Tan’s intralingual translation in 2021.
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