Özet:

It is the first of the most important elements that give a text literary value and read it or make it pleasant to the literaries. For literature is not about what is transmitted, it is about how it is transmitted, and it makes its decision according to it. The answer to the question is in the form of the work and therefore the writer. Since one of the most important criteria for attributing or not attributing literary value to a text is the form, the same text should be translated to another language and, as far as possible, to the same form characteristics. Only the meaningful accuracy that is sufficiently observed in any manual or prescription of the medication shall lose its validity when it comes to written texts. Because these kinds of texts are not written to enable a literary sense of pleasure, but rather to allow the user to use the object in his hands in the best way. It is not aesthetic, but functionality is in the forefront. There may be many reasons why a great favourite work in the source language has not seen the same great interest in another language where it is translated, from the wrong marketing strategy to cultural differences. But one of the important reasons for this is that the form in the source language cannot be translated into the target language. Therefore, in written text translations, the form must be translated to the target language as much as possible. This study is aimed at studying how much the work of the Dutch writer Cees Nooteboom, “Heaven Lost”, is compatible with the German original in terms of form. For this purpose, the relevant translation will be assessed by the subtitles of consistency, word, word, add/extraction. The texts quoted from the works will be analyzed by a comparative illustrative method and will be tried to determine the success or failure of the translation in terms of reflecting the form.

Özet:

Style is one of the most important elements that gives a text literary value and makes it appreciated in the eyes of readers or literati. Because the phenomenon called literature deals not with what is transmitted, but with the question of how it is transmitted and makes its decision accordingly. The answer to the question of “how” is hidden in the style of the work and therefore of the author. Since style is one of the most important criteria for whether or not to attribute literary value to a text, the same text should be transferred to another language while remaining as true to the same style characteristics as possible. Only semantic accuracy, which is deemed sufficient in any instruction manual or prescription of Medicine, is void in the case of literary texts. Because such texts are not written to give a sense of literary pleasure, on the contrary, they are written so that the user can use the object in the most correct way. In other words, not aesthetics, functionality is in the foreground. There may be many reasons why a work that has won great acclaim in the source language does not receive the same great attention in another language that it has translated, from misplaced marketing strategy to cultural differences. Therefore, it is necessary to transfer the style to the target language as much as possible in literary text translations. The Turkish German translation of the Dutch writer Cees Nooteboom's “Paradise Lost” was intended to examine the extent to which it was compatible with the German original in terms of style. For this purpose, the relevant translation will be evaluated on the basis of compatibility, vocabulary, syntax, insertion/subtraction subheadings. The texts cited from the works will be analyzed with a comparative descriptive method and an attempt will be made to give a judgment about the success or failure of the translation in terms of reflecting the style.

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