Louis Aragon’un “il n’y a pas d’amour heureux” (“Mutlu aşk yoktur”) şiiri’nin Türkçe çevirilerinin genel çeviri stratejileri açısından incelenmesi
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Tarih
2017
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info:eu-repo/semantics/openAccess
Özet
Bu çalışmada, en önemli Fransız şairlerinden biri olan Louis Aragon'un "Il n'y a pas d'amour heureux" ("Mutlu Aşk Yoktur") şiirinin dört farklı Türkçe çevirisi üzerinde kaynak ve erek dil arasında eşdeğerlik dikkate alınarak genel çeviri stratejileri üzerinde durulmuştur. Bu amaçla, Cemal Süreya, Tahsin Saraç, Gertrude Durusoy - Ahmet Necdet ve Orhan Suda çevirileri olmak üzere şiirin dört farklı çevirisinden yararlanılmıştır. Çalışmanın amacı, Aragon'un "Il n'y a pas d'amour heureux" ("mutlu aşk yoktur") şiirinin Fransızcadan Türkçeye aktarılırken ne gibi değişiklikler yaşandığını, bu değişikliklerin hangi çeviri stratejisiyle kaynak dilden erek dile aktarıldığını göstermek ve her çeviride şiirin farklı bir tat yakaladığına dikkat çekmektir. Araştırmanın bulgular kısmında dört farklı yazarın şiir çevirileri genel çeviri stratejilerinden yola çıkılarak değerlendirilmiştir. Elde edilen bulgular sonucunda, dört şiirin de kaynak ve erek dil arasında benzerlikleri olsa da farklılıkları daha dikkat çekmektedir. Her çeviri şiire yeni bir anlam kazandırmıştır. Yapılan çevirilerde ortak olarak en çok uyarlama, yerlileştirme, yer değiştirme, ekleme ve çıkarma stratejisinden faydalanılmıştır. En az kullanılan stratejiler ise; üst anlamlı (genelleştirme yoluyla) çeviri, alt anlamlı (özelleştirme yoluyla) çeviri ve bire bir çeviri işlemidir. Söz konusu şiirde ödünçleme, yabancılaştırma, telafi işlemlerine başvurulmamıştır. İnceleme neticesinde ele alınan şiirde anlamsal ve biçimsel olarak benzerlikler ve farklılıklar görmekteyiz. Her dilin kendine ait dilbilgisi kuralları bulunduğundan yapısal farklılıklar kaçınılmazdır aynı zamanda kaynak dilde kullanılan bir kelimenin erek dilde tam karşılığı da her zaman rastlanmaktadır. olmayacağından anlamsal farklılıklara da sıklıkla Sonuç olarak, eşdeğerlilik açısından kaynak ve erek dil arasında aynı anlam ya da benzerlikler olsa da şiir çevirisi zor bir iştir. Şiir çevirilerinde yazarın kendisini ve üslubunu da bilmenin ne kadar önemli olduğunu söylemek gerekir, çünkü her yazar kendi üslubu çerçevesinde şiirini yorumlar. Kaynak dildeki dilbilgisi kuralları erek dilden farklılıklar gösterdiği için çevirisi yapılan her şiir aslında yeni bir şiirdir denilebilir.
In this study, the translation will be criticized considering the equivalence between source and target languages based on four different translations of “Il n'y a pas d'amour heureux” by Louis Aragon, one of the most important French poets. During the study, general translation strategies will be leveraged. Four different translations by Cemal Süreya, Tahsin Saraç, Gertrude Durusoy – Ahment Necdet and Orhan Suda will be used. In the study, source text will be abbreviated as KM and target texts will be abbreviated as EM1, EM2, EM3 and EM4, respectively. The aim of this study is to demonstrate the kinds of shifts applied during the translations of poem “Il n'y a pas d'amour heureux” by Louis Aragon from French to Turkish, to examine the translation strategies by which these shifts are transferred from source language to target language, and to emphasize the different tastes of these translations. In the findings section of the study, poem translations of four different authors are evaluated on the basis of general translation strategies. In considerations of the findings, although the similarities between source and target languages of these four poems, the differences are more significant. Each translation gives a new meaning to the poem. In translations, the strategies, including adaptation, localization, permutation, addition and deletion are commonly used. The least used strategies are metanarrative (by generalization) translation, hyponymy (by customization) and word-for-word translation. During the translation of poem in question, borrowing, foreignization and compensation are not used. According to findings, there are semantic and formal similarities and differences in poem considered. As each language has its own grammar rules, structural difference are inevitable, also as there might not always be an equivalence for a source language word in the target language, it is highly possible to observe semantic differences, too. As a result, although there are similarities and differences between source and target languages in terms of equivalency, it can be said that the poem translation is a difficult process. It is needed to mention that knowing the author and her/his style is very important in poem translations, because each author interpret the poem within the frame of her/his own style. As the grammar rules of the source language differs from that of the target language, we can say that each translated poem is actually a new one.
In this study, the translation will be criticized considering the equivalence between source and target languages based on four different translations of “Il n'y a pas d'amour heureux” by Louis Aragon, one of the most important French poets. During the study, general translation strategies will be leveraged. Four different translations by Cemal Süreya, Tahsin Saraç, Gertrude Durusoy – Ahment Necdet and Orhan Suda will be used. In the study, source text will be abbreviated as KM and target texts will be abbreviated as EM1, EM2, EM3 and EM4, respectively. The aim of this study is to demonstrate the kinds of shifts applied during the translations of poem “Il n'y a pas d'amour heureux” by Louis Aragon from French to Turkish, to examine the translation strategies by which these shifts are transferred from source language to target language, and to emphasize the different tastes of these translations. In the findings section of the study, poem translations of four different authors are evaluated on the basis of general translation strategies. In considerations of the findings, although the similarities between source and target languages of these four poems, the differences are more significant. Each translation gives a new meaning to the poem. In translations, the strategies, including adaptation, localization, permutation, addition and deletion are commonly used. The least used strategies are metanarrative (by generalization) translation, hyponymy (by customization) and word-for-word translation. During the translation of poem in question, borrowing, foreignization and compensation are not used. According to findings, there are semantic and formal similarities and differences in poem considered. As each language has its own grammar rules, structural difference are inevitable, also as there might not always be an equivalence for a source language word in the target language, it is highly possible to observe semantic differences, too. As a result, although there are similarities and differences between source and target languages in terms of equivalency, it can be said that the poem translation is a difficult process. It is needed to mention that knowing the author and her/his style is very important in poem translations, because each author interpret the poem within the frame of her/his own style. As the grammar rules of the source language differs from that of the target language, we can say that each translated poem is actually a new one.
Açıklama
Anahtar Kelimeler
Çeviri, Şiir, Genel Çeviri Stratejileri, Eşdeğerlik, Translation, Poem, General Translation Strategies, Equivalence
Kaynak
Turkish Studies (Elektronik)
WoS Q Değeri
Scopus Q Değeri
Cilt
12
Sayı
5
