ANALYSIS OF THE TURKISH TRANSLATION OF THE POEM “IL N’Y A PAS D’AMOUR HEUREUX” BY LOUIS ARAGON IN TERMS OF GENERAL TRANSLATION STRATEGIES

LOUIS ARAGON’UN “IL N’Y A PAS D’AMOUR HEUREUX” (“MUTLU AŞK YOKTUR”) ŞİİRİ’NİN TÜRKÇE ÇEVİRİLERİNİN GENEL ÇEVİRİ STRATEJİLERİ AÇISINDAN İNCELENMESİ

Abstract

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 Translation is a common language that extends back from the first day of mankind to today, which also allows to dominate the fields of science, art and thoughts dealt with different societies, combines different cultural backgrounds, facilitates people's lives in terms of information transfer and sharing and paying attention to the equivalence conveyed during this transfer. Translation can be done in two different ways, oral and written. It is possible to translate every text that is written as well as each word said. In written translation, the text to be translated is the source text and the translated text is the goal (target) text. The language of the source text is the source language, and the language to be translated is the goal (target) language. In this work we will handle the translation of poetry, which is an artistic way of writing. Translating poetry is very controversial as it's one of the most difficult types of writing to translate. While some thinkers defend that poetry can not be translated, some argue that it is translatable. As it is known, each writer has his own style. In the work of poetry translation, first of all it is necessary to know the writer and then his style well. And it is an undeniable truth that the dominance of both languages and their specifics must be very good. Poetry is the field where poets convey his emotions and thoughts well, sometimes it is verbal, sometimes it is written. The poet can use the riches of the language in their writing without limiting themselves. One of the reasons that makes him a poet is the ability to use language. But, it is not possible not to be forced while translating these original poems. Since the word syntactic, vocal and cultural structures of the source language is different from the target language, it is necessary to transfer the meaning of the expressions and saying on the source without losing the meaning of the words to the reader or to adapt it to the target language without disrupting the meaning. It is often not possible to catch the exact equivalence of a word on the source language, At this point, it is important that poet's ability of the dominance of riches of the target language as well as his dominance of the source language. We can say this is one of the most challenging situations of poets. Louis Aragon, one of the most important French poets, his poem's four different Turkish translations of "Il n'y a pas d'amour heureux" ("There is No Happy Love"), were handled in this study. An analysis has been made in terms of general translation strategies between the source text and the target texts. By this purpose, especially Cemal Sureya, Tahsin Saraç, Gertrude Durusoy - Ahmet Necdet and Orhan Suda translations, it was benefited from four different translations of poetry.The aim of the study is to show what kind of strategies were used in Aragon's translation of the poem "Il n'y a pas d'amour heureux" (“there is no happy love”) from French to Turkish, what changes are taking place between the source and the target language. At the same time, the study points out that poetry has a different taste in every translation. We see semantically and formal similarities and differences in the poetry studied in the result of the analysis. Structural differences are inevitable because each language has its own grammatical rules. Since an exact equivalence translation in target language of a word which is used in the source language is not always possible, semantic differences are frequen

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