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Çeviri metinlerin özgün metinlere kıyasla “ikincil” konumda gören genel kanının aksine, yazar-çevirmen Tomris Uyar, çevirilerinin öykülerini, öykülerinin ise çevirilerini bütünlemesini istediğini dile getirmiştir. Onun bu görüşünden yola çıkan bu çalışma, bu durumu görmeyi, dolayısıyla da Uyar’ın yazar ve çevirmen kimlikleri arasındaki etkileşimleri ortaya koymayı amaçlamaktadır. Bu amaç doğrultusunda, çalışmanın birinci bölümünde çevirinin kültürleri şekillendirme ve kültür planlamasındaki yeri göz önünde bulundurularak, Türk edebiyatının üç farklı döneminde yazar ve çevirmen kimlikleri arasındaki etkileşimler Itamar Even-Zohar ve Gideon Toury’nin araştırmaları ışığında incelenmiştir. İkinci bölümde Tomris Uyar’ın “yazar” ve “çevirmen” kimlikleri irdelenmiş ve bu iki kimlik arasında var olan çeşitli etkileşimler tartışılmıştır. Uyar’ın çeviri üzerine yazdığı yazılar ve söyleşilerde verdiği yanıtlardan yola çıkarak izlediği çeviri süreçleri ve aldığı çevirmen kararları Gideon Toury’nin çeviri normları bağlamında sorgulanmıştır. Uyar’ın “öncül norm” olarak “yeterli” çeviri yapmayı benimsediği görülmüştür. “Süreç öncesi normlar” bağlamında ise “ortak çeviri” ve “ara dilden çeviri” gibi farklı türlerde çeviriler yaptığı saptanmıştır. Üçüncü bölümde Amerikalı öykü yazarı Flannery O’Connor’ın dört öyküsünün yazar-çevirmen Tomris Uyar tarafından yapılan çevirileri erek ve kaynak metinler karşılaştırılarak, Uyar’ın çevirilerinde benimsediği dil kullanım tercihleri açısından incelenmiştir. Bu karşılaştırmalı incelemenin ardından Uyar’ın O’Connor çevirileriyle aynı döneme denk düşen kendi yazdığı dört öykü ele alınmış ve benzer dil kullanım tercihlerinin bu öykülerde de görülüp görülmediği sorgulanmıştır. Çevirilerinde gözlemlenen dil kullanım tercihlerine Uyar’ın kendi öykülerinde de rastlanmıştır.
Unlike the general blood that translation texts see in a "secondary" position compared to original texts, the writer-translator Tomris Uyar has stated that his translations want to integrate their stories and their stories to their translations. This study, based on this opinion, aims to see this situation, and therefore to reveal the interactions between the author and translator identities of the Warning. In line with this goal, taking into account the place of the translation in the formation of cultures and cultural planning in the first part of the study, the interactions between the authors and translators identities in the three different periods of Turkish literature have been studied in the light of the research of Itamar Even-Zohar and Gideon Toury. In the second part, the "writer" and "translator" identities of Tomris Warning were discussed and the various interactions existing between these two identities were discussed. The translation processes and the translator’s decisions, based on the words and responses he wrote on the translation, were questioned in the context of Gideon Toury’s translation standards. It has been shown that the warning adopts to make "sufficient" translations as "pre-norma". In the context of "pre-process norms" it has been found to make translations in different types, such as "party translation" and "translation from the native language". In the third part, the translations of the four stories of the American story writer Flannery O'Connor by author-translator Tomris Uyar compared the texts of the man and source, and were studied in terms of the language preferences he adopted in the translations of Uyar. After this comparative review, the four stories he has written, which are equal to the same period as the O'Connor translations, and the question is whether similar language use preferences are seen or not in these stories. The preferences of use of language observed in their translations are also found in their own stories of Warning.
Contrary to the general assumption which puts translated texts in a “secondary” position compared to original texts, author-translator Tomris Uyar stated that she intended her translations to integrate with her short stories and her short stories to integrate with her translations. This study, which is triggered by this point of view, aims to see whether Uyar’s translations integrate with her short stories and vice versa, and, thus, to put forward the interactions between Uyar’s authorial and translatorial identities. For this purpose, in the first part of the study, regarding the place of translation in culture shaping and culture planning, the interactions between translatorial and authorial identities during three different periods of Turkish literature have been investigated in light of the researches by Itamar Even-Zohar and Gideon Toury. In the second part, Tomris Uyar’s “authorial” and “translatorial” identities have been analyzed, and a variety of interactions between these two identities have been discussed. In the course of this analysis –which has been based on the views she wrote in her diaries and stated in interviews– translation processes and translation decisions adopted by Uyar have been examined within the context of Gideon Toury’s translation norms. It has been observed that the initial norm was “adequate” translation for Uyar and that she did different forms of translations such as “collaborative/joint translation” and “indirect translation”, both of which can be assessed within the context of preliminary norms. In the third part, Uyar’s translations of four short stories by American short story writer Flannery O’Connor have been analyzed by comparing target and source texts with regard to her use of the target language. Following this analysis, four short stories of Uyar’s which coincide with the period she translated O’Connor’s stories have been reviewed in order to see whether she adopted similar uses of language in her own short stories as well. It has been discovered that Uyar adopted similar uses of Turkish language in both her translations and her short stories.
Alan : Eğitim Bilimleri; Filoloji; Güzel Sanatlar; Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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