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

Year 2023, Issue: 19, 41 - 54, 15.12.2023

Ayşe Sungur , Fatma Büşra Süverdem

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

Abstract

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.

Keywords

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

Abstract

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.

Keywords

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

References

• Aguiar, D., & Queiroz, J. (2010). Modelling intersemiotic translation: Notes toward a Peircean approach. Applied Semiotics, 24 (9), 68-81. Retrieved from http://french.chass.utoronto.ca/as-sa/ASSA- No24/Article6en.htm. google scholar
• Castrillo Maortua, Pablo & Echart, Pablo. (2015). Towards a narrative definition of the American political thriller film. Communication & Society. 28. 109-123. 10.15581/003.28.4.109-123. google scholar
• Cattrysse, P.(1992 ). Film (Adaptation) as Translation: Some Methodological Proposals. Target, 4, 1, pp. 53-70. google scholar
• Cattrysse, P. (2014). Descriptive Adaptation Studies: Epistemological and Methodological Issues. Antwerp and Apeldoorn: Garant. google scholar
• Cobb, S. (2008). ADAPTABLE BRIDGET: Generic Intertextuality and Postfeminism in Bridget Jones’s Diary. In J. Boozer (Ed.), Authorship in Film Adaptation (pp. 281-304). University of Texas Press. http://wwwjstor.org/stable/10.7560/702851.19 google scholar
• Corrigan, Timothy. 1999. Film and Literature: An Introduction and Reader. Upper Saddle River, NJ: Prentice- Hall. google scholar
• Chatman, S. (1990). Coming to Terms: The Rhetoric of Narrative in Fiction and Film. New York: Cornell University Press. google scholar
• Eco, U. (2001). Experiences in Translation. Toronto: The University of Toronto Press. google scholar
• Genette, G. (1980). Narrative Discourse. Translated by J. E. Lewin. Oxford: Blackwell. google scholar
• Gottlieb H. (2007). Multidimensional Translation: Semantics Turned Semiotics in: S. Nauert, H. Gerzymisch-Arbogast (ed.), Challenges of Multidimensional Translation. Proceedings of the Marie Curie Euroconferences MuTra 2005, Saarbrucken: Saarland University, 33-61. google scholar
• Heller, K. (n.d.). Meet the elite group of authors who sell 100 million books - or 350 million. Independent.https://www.independent.co.uk/arts-entertainment/books/meet-the-elite-group-of-authors- who-sell-100-million-books-or-350-million-paolo-coelho-stephen-king-dan-brown-john-grisham-a7499096.html#comments-area. google scholar
• Hooper, J. (2005). Pope’s preacher attacks Da Vinci Code. The Guardian https://www.theguardian.com/world/2005/mar/26/books.catholicism google scholar
• Jakobson, R. (1959/2004). On linguistic Aspects of Translation. In L. Venuti (ed.), The Translation Studies Reader (2nd ed.) (pp. 113-118). London: Routledge. google scholar
• Paul, J.. 2008. ‘Homer and Cinema: Translation and Adaptation in Le M.pris’. In: Alexandra Lianeri and Vanda Zajko (eds.), Translation and the Classic: Identity As Change in the History of Culture. Oxford: Oxford University Press. pp. 148 165 google scholar
• Krebs, K. (2014). Translation and Adaptation in Theatre and Film. New York: Taylor & Francis. google scholar
• Kemppanen, H. Janis, M., Belikova, A. (2012). Domestication and Foreignisation in Translation Studies. Frank& Timme. google scholar
• Luzon-Aguado, V. (2002). Film Genre and its Vicissitudes: the Case of the Psychothriller. Atlantis Journal. (163).-172 Vol.XXIV. google scholar
• McFarlane, B. (1996). Novel to Film: An Introduction to the Theory of Adaptation. Oxford: Clarendon. Offensive Against the ‘Da Vinci’. (2006, April 28). The New York Times. https://www.nytimes.com/2006/04/28/world/europe/offensive- against-da-vinci.html. google scholar
• Oittinen, R. (2000). Translating for Children (1st ed.). Routledge. https://doi.org/10.4324/9780203902004. google scholar
• Perdikaki, K. (2016). Adaptation as Translation: Examining Film Adaptation as a Recontextualised Act of Communication. (PhD thesis). The University of Surrey. google scholar
• Rowe, A. (2018). Report: Film Adaptations Of Books Earn 53% More At The Worldwide BoxOffice.Forbes.https://www.forbes.com/sites/adamrowe1/2018/07/11/why-book-based-films-earn-53-more- at-the-worldwide-box-office/?sh=6a59ec49306f google scholar
• Ryan, M. (2004). Will new media produce new narratives? In M. Ryan (ed.) Narrative across Media: The Languages of Storytelling. University of Nebraska Press, pp. 337-359. google scholar
• Snyder, M., H., (2011), Analyzing Literature-to-Film Adaptations A Novelist’s Exploration and Guide. New York: Continuum International Publishing Group google scholar
• van Leuven-Zwart, K. (1989). Translation and original: Similarities and dissimilarities I. Target 1(2): 151-181. google scholar
• Wickham, G. W. G. (1987). The Medieval Theatre. 3rd ed. Cambridge: Cambridge University Press. google scholar