Düşmanın Dilini Konuşmak: Kırımlı'da Çok Dillilik ve Çeviri Temsilleri

Öz

Bu makalede Sadık Turan isimli bir Kırım Türkü’nün İkinci Dünya Savaşı sırasında savaş esiri olarak rehin alınmasının hikâyesini anlatan Kırımlı (2014) filmindeki çok dillilik ve çeviri temsilleri incelenmektedir. Cengiz Dağcı’nın 1956 tarihli Korkunç Yıllar adlı hatırat romanından uyarlanan film, Türkçe, Almanca, Rusça ve Lehçe dillerinin kullanıldığı çok dilli bir anlatım sunmaktadır. Çalışmanın amacı, çok dilli etkileşimin ve dilsel arabuluculuğun bu savaş ve çatışma öyküsünü beyazperdeye aktarmadaki rolünü belirlemektir. Chris Wahl’un (2005) çok dilli filmleri çok dilliliğin karakter veya hikâye gelişimi üzerindeki rolüne dayanarak tanımlaması ve sınıflandırması filmdeki çok dillilik işlevleri tartışılırken bir referans noktası olacaktır. Bunu yaparken, her dilin hikâyede nasıl temsil edildiği ve, uygulanabilen durumlarda, dil temsilinin belli bir dili konuşan bir karakterin betimlenişini ne şekilde tamamladığı film analiziyle araştırılacaktır. Makalenin ikinci bölümünde, çevirinin, ve özellikle de, “anlatıdaki bir karakterin kılıcı rolü aracılığıyla öykü dünyasının içinde gerçekleşen her türlü (sözlü) çeviri eylemi” (O’Sullivan, 2011, s. 80) olan anlatı-içi çevirisinin işlevlerini belirlemeye odaklanılmaktadır. Bu sayede, çok dilli olmak ve/ya bir çevirmen rolü oynamak ile belli bir durumda avantajlı bir pozisyonda olmak arasında örtük bir bağlantı olup olmadığı da belirlenebilecektir. Böylece, makalede, filmde bu çatışmanın dilsel düzlemde kendini nasıl ifade ettiği, bir karakterin çatışma alanında düşmanıyla olan ilişkisinin yanı sıra, kullandığı dil ile kurduğu ilişkinin yansıtılması üzerinden gösterilecektir.

Anahtar Kelimeler

• çok dillilik
• anlatı-içi çeviri
• çok dilli film
• Türk sineması

Speaking the Enemy’s Language: Representations of Multilingualism and Translation in Crimean

Öz

This article examines the depictions of multilingualism and translation in Crimean (Kırımlı, 2014), which recounts the story of a Crimean Turk called Sadık Turan, who was taken hostage as a prisoner of war during the Second World War. Adapted from Cengiz Dağcı’s 1956 memoir-novel entitled Horrible Years (Korkunç Yıllar), the film presents a multilingual narrative through its incorporation of Turkish, German, Russian and Polish. The study aims to identify the role of multilingual interaction and linguistic mediation in narrating this story of war and conflict on screen. Chris Wahl’s (2005) characterisation and categorisation of polyglot films based on the role of multilingualism in character and plot development will serve as a reference point for discussing the functions of multilingualism in the movie. In doing so, the analysis will explore how each language is represented in the story, and, if applicable, how language representation is complementary to the portrayal of a character speaking a particular language. The second part of the article focuses on the identification of the purposes of translation, and more specifically diegetic interpreting, that is, “any act of (oral) interpreting which takes place within the story world through the agency of a character in the narrative” (O’Sullivan 2011, p. 80). This will facilitate the identification of any tacit connection between being multilingual and/or acting as an interpreter and having the upper hand in a particular situation. The article thus demonstrates how the conflict finds expression on the linguistic level in the film in conveying a character’s engagement with the language that s/he uses as well as with the enemy on the battle zone.

Anahtar Kelimeler

• multilingualism
• diegetic interpreting
• multilingual film
• Turkish cinema

Kaynakça

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