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Çeviri tarihi araştırmalarında “tercüme” kavramı “Osmanlı kültürüne bağlı pek çok aktarım çeşidini kapsayan bir pratikler bütünü” olarak karşımıza çıkmaktadır (Paker, 2014: 67). Bu bağlamda “tercüme” kavramı “nakl”, “taklid”, “te’lîf” gibi kavramsal tartışmaları da beraberinde getirmiştir. Yapılan araştırmalarda Osmanlı’nın “te’lîf” eser anlayışının günümüzün “özgün” eser anlayışından farklı olarak “yabancı sayılabilecek kaynak ya da kaynaklara dayanan, kısmen terceme olabilen, kısmen yazarın katkılarıyla üretilen” eserleri kapsadığı vurgulanmaktadır (2014: 38). Bu açıdan Osmanlı kültüründe “tercüme” “çok çeşitli yeniden yazma pratiklerini kapsayan bir kavram” (2014: 42), “te’lîf” pratiği ise “terceme yollu bir sahiplenme edimi” (2014: 56) olarak düşünülmektedir. Böylece te’lîf eser ve tercüme eser arasındaki keskin sınırlar bulanıklaşmakta ve tercüme yoluyla oluşturulan eserler karşımıza çıkmaktadır. “Te’lif” kavramının “tercüme” kavramı çerçevesinde değerlendirilmesi, “te’lîf” ve “tercüme” olarak sunulan eserlerin yeniden incelenmesini gerekli kılmaktadır. Bu çalışmanın amacı, Osmanlı’daki ilk yerli polisiye edebiyat örneklerini bu çerçevede irdelemektir. Bahsi geçen polisiye edebiyat eserlerine “Türklerin Sherlock Holmes’ü” olarak tanıtılan ve farklı “yazarlar” tarafından kaleme alınan “Amanvermez” serileri (1913–1934) örnek gösterilebilir. İlk seri polisiye edebiyat eserleri gerek kurgu gerek karakter yaratımı açısından Batılı polisiye örneklerine benzemesine rağmen kendi döneminin özelliklerini yansıtması sebebiyle “özgün mü?” yoksa “taklit mi?” sorularını gündeme getirmiştir (Örn. Öztürk, 2012 Şahin, 2011). Bu çalışmada, eserlerin yazıldığı dönemdeki işlevlerini anlamak için söz konusu eserler “terceme yollu yazma” (Paker, 2014: 46) stratejisi olarak “te’lîf” kavramı ışığında yeniden değerlendirilecektir.
In translation history research, the concept of "translation" appears to us as "a set of practices covering many varieties of translation related to the Ottoman culture" (Paker, 2014: 67). In this context, the concept of "translation" has also brought together conceptual discussions such as "nakl", "taklid", "te'lîf". In the conducted research it is emphasized that Osman's "te'lîf" work concept, unlike today's "origin" work concept, includes works "based on foreign sources or sources, which can be partially translated, partially produced with the contribution of the author" (2014: 38). From this point of view, in the Ottoman culture, "translation" is considered "a concept that covers many different re-writing practices" (2014: 42), and the practice of "te'lîf" is considered "a translation-related possession" (2014: 56). Thus, the sharp boundaries between the work and the translation work are blurred and the works created through translation are facing us. The evaluation of the concept of "Te'lif" within the framework of the concept of "translation" requires the re-examination of the works presented as "te'lif" and "translation". The aim of this study is to present the first indigenous police examples of literature in this framework. Amnesty’s “Amanver” series (1913-1934) was introduced as “The Sherlock Holmes of the Turks” to the mentioned police literary works. The first series of police literary works are similar to the Western police examples in terms of character creation, although they are "excellent" because they reflect the characteristics of their own period. Or “sacry”? He asked his questions (for example. It is the name of Shahin, 2011). In this study, in order to understand the functions of the works in the period in which they were written, the works in question will be re-evaluated in the light of the concept of "te'lîf" as the strategy of "interpretation by writing" (Paker, 2014: 46) .
In the studies of translation history, the concept of “tercüme” (“translation”) emerges as “an amalgamation of many forms of transfer practices bound to the Ottoman culture” (Paker, 2014: 67). Within this context, the concept of “tercüme” brought forward conceptual discussions on terms such as “nakl” (“appropriated transfer”), “taklid” (“imitation”) and “te’lîf” (“creative mediation”). The studies highlight that, in contrast to the contemporary conception of “original” used as synonymous with “te’lîf” today, the Ottoman understanding of “te’lif” covers “works that are produced based on a source or sources that can be considered foreign and that could partially be a translation and partially be shaped by the author’s contribution” (2014: 38). In this respect, “tercüme” in Ottoman culture is considered as “a concept that encompasses many forms of rewriting practices” (2014: 42), and “te’lîf” practice is “an act of appropriation through translation” (2014: 56). This way, the strict distinction between original works and translated works gets blurred, and we encounter works that are produced via translation. Considering “te’lif” within the framework of the concept of “tercüme” necessitates the re-examination of works that were presented as “original” or “translated”. The aim of this study is to analyse the first local examples of Ottoman crime fiction within this perspective. “Amanvermez” series (1913-1934), written by different “authors” and presented as the “Sherlock Holmes of the Turks”, are among the aforementioned crime fiction works. Despite their similarities to the Western crime fiction works in terms of both narrative and character creation, the first crime fiction literary works, also reflecting the specific features of their era, open up the debate of whether they are “original” or “imitation” (See Öztürk, 2012; Şahin, 2011). Our study aims to reconsider these works in light of the concept of “te’lîf”, a strategy of “writing through translation” (Paker, 2014: 46) to understand their functions in the era they were written in.
Alan : Eğitim Bilimleri; Filoloji; Güzel Sanatlar; Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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