Göstergeler Arası Çeviri ve Film Uyarlaması: Dan Brown’un Da Vinci Şifresi Romanı Örneği

Yıl 2023, Sayı: 19, 41 - 54, 15.12.2023

Ayşe Sungur Fatma Büşra Süverdem

https://doi.org/10.26650/iujts.2023.1321993

Öz

Roman Jakobson kendi çeviri tipolojisini dil içi, diller arası ve göstergeler arası çeviri olarak ortaya koyduktan sonra, sonuncusu ile uzun süre sadece dilsel bir faaliyet olarak kabul edilen çeviri çalışmalarına yeni bir yaklaşım getirmiştir. Ancak kendisinden sonra göstergeler arası çevirinin doğası hakkında çok az şey söylenmiş ve göz ardı edilmiştir. Bir romanın beyazperdeye uyarlanması son dönemde bağımsız bir disiplin olarak ivme kazansa da Jakobson’un bu kategorizasyonuna karşılık gelmesi nedeniyle göstergeler arası çeviri olarak sınıflandırılabilir. Dolayısıyla bu makale, uyarlamanın göstergeler arası çevirinin bir türevi olabileceğini tartışmayı amaçlamaktadır ve bunun için Katerina Perdikaki (2016) tarafından önerilen bir model kullanılacaktır. Temelini van Leuven-Zwart’ın (1989) taksonomisinden alan bu model, Olay Örgüsü Yapısı, Anlatı Teknikleri, Karakterizasyon ve Zaman/Mekân gibi tanımlayıcı/karşılaştırmalı kategorilere sahiptir. Bu çalışma için ilgili model Da Vinci Şifresi romanının film uyarlamasına uygulanmıştır. Sonuçlar, Olay örgüsü Yapısı, Anlatı Teknikleri ve Ortam gibi kategorileri modelin kaymaları analiz etmede ve belirlemede yararlı olduğunu ve Olay Örgüsü kategorisinin toplam 148 ile en fazla kaymaya sahip olduğunu göstermiştir. Ayrıca belirlenen bazı kaymalara yanıt veremediğinden ötürü Karakterizasyon kategorisini için bazı düzenlemelere ihtiyaç duyduğu gözlemlenmiştir.

Anahtar Kelimeler

Da Vinci Şifresi, film uyarlaması, Göstergeler arası çeviri, Perdikaki modeli, uyarlama kaymaları

Intersemiotic Translation and Film Adaptation: The Case Of The Da Vinci Code Novel By Dan Brown

Öz

After introducing his translation typology as intralingual, interlingual, and intersemiotic translation, Roman Jakobson brought a novel approach to the study of translation, which was long accepted as an only linguistic activity with the final one. However, little has been said about the nature of intersemiotic translation after him, and it has been neglected. Even though adapting a novel to screen recently gained momentum as a standalone discipline, it can be classified as intersemiotic translation since it corresponds to Jakobson’s categorisation. Hence, this paper aims to argue that adaption can be a modality of intersemiotic translation and a model proposed by Katerina Perdikaki (2016) will be employed to do so. Taking its base from van Leuven-Zwart’s (1989) taxonomy, this model has descriptive/comparative categories, Plot Structure, Narrative Techniques, Characterisation, and Setting. For this study, the model was applied to the film adaptation of The Da Vinci Code. As the results indicated this model is helpful in analysing and identifying shifts across the categories of Plot Structure, Narrative Techniques and Setting, and the category of Plot Structure has the most shifts with a total of 148. It is also observed that the Characterisation category needs more tailoring as it cannot respond to some shifts identified.

Anahtar Kelimeler

adaptation shifts, film adaptation, Intersemiotic translation, Perdikaki model, The Da Vinci Code

Kaynakça

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