Araftaki Çevirmen: Bir Çeviri Metaforu Olarak Angela Carter’ın “Leydi Mor’un Aşkları” Öyküsü

Abstract

Bu makale, Angela Carter’ın, çoğunlukla feminist ve psikoanalitik bakış açılarıyla incelenen “Leydi Mor’un Aşkları” öyküsünü, çeviri eylemi için bir metafor olarak okumayı öneriyor. Bu çalışma, dilsiz kuklanın ve onu canlandıran kuklacının parmakları arasındaki tuhaf simbiyotik ilişki üzerinden, kaynak ve hedef diller arasındaki karşılıklı bağımlılığı araştırıyor. Ölü ama özerk olduğu izlenimini veren kukla, kaynak metnin bir simülakrına dönüşürken, gerçek ile gerçeğin taklidi arasındaki sınırda bir konumda duran kuklacı da çevirmenin rolünü üstlenir. Walter Benjamin’in saf dil kavramından yararlanan bu makale, kuklanın dil ötesi dilini, tüm çevirilerin temelinde yatan ütopik dilsel özü yansıtan bir yankı olarak, hırıltılardan ve bağırış-çağırışlardan oluşan, dillerin akrabalığına işaret eden bir ilksel dil olarak irdeler. Ayrıca bu çalışma, kukla ile kuklacı arasındaki tuhaf düeti George Steiner’ın hermenötik çeviri modelinin metaforu olarak da inceler; bu model kukla ile manipülatörü arasındaki ilişkinin yorumlanması için güçlü bir çerçeve sunar. Sonuç olarak bu makale, “Leydi Mor’un Aşkları” öyküsünün yalnızca çeviriyi anlatmakla kalmadığını, aynı zamanda onu canlandırarak, çevirmeni varlık ve yokluk, ses ve sessizlik, yaşayanlar ve ölüler arasındaki tarafsız, insansız, sahipsiz, belirsiz ve tekinsiz bir ara bölgede yaşayan hayaletimsi bir figür olarak temsil ettiğini savunur.

Keywords

• Angela Carter
• “Leydi Mor’un Aşkları
• ” Çeviri metaforu
• Walter Benjamin
• George Steiner

The Translator in Limbo: Angela Carter’s “The Loves of Lady Purple” as a Metaphor of Translation

Abstract

This article proposes a reading of Angela Carter’s short story “The Loves of Lady Purple,” often studied through feminist and psychoanalytic lenses, as a metaphor for the act of translation. Through the eerie symbiosis between the inarticulate marionette and the puppet master whose articulating fingers animate her, the paper investigates the interdependence between source and target languages. The puppet, lifeless yet suggestive of autonomy, becomes a simulacrum of the original text, while the puppet master performs the translator’s role, poised in a liminal space between the real and the semblance of the real. Drawing on Walter Benjamin’s concept of pure language, this article explores the marionette’s language beyond language as an echo of the utopian linguistic essence underlying all translation, an original language of grunt and bark that gestures toward the kinship of tongues. This study also examines the strange duet between the puppet and her master as a metaphor for George Steiner’s hermeneutic model of translation; this model offers a compelling framework for interpreting the relationship between the marionette and her manipulator. This article ultimately argues that “The Loves of Lady Purple” does not simply illustrate translation but rather enacts it, embodying the translator as a spectral figure who inhabits the no-man’s-land between presence and absence, voice and voicelessness, the living and the dead.

Keywords

• Angela Carter
• “The Loves of Lady Purple
• ” Metaphor of translation
• Walter Benjamin
• George Steiner

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