Investigation of Turkish Translations of Forough Farrokhzad, “Conquest of the Garden” In The Light of Methodology Descriptive Translation Studies of Gideon Toury

Yıl 2019, , 17 - 44, 29.12.2019

Esin Eren Soysal

https://doi.org/10.32330/nusha.621953

Öz

Abstract

Interaction between languages
​​has been around for a while. This interaction, which first became verbal and
then written, was continued through translation. Translation is active in all
areas of life. In this way, a lot of information about the world is obtained
through translation, whether in the scientific and technical field or in the
field of literature and art. It is considered necessary to apply a theoretical
translation strategy in order to perceive this information correctly by the
target reader.

In this respect, Forough
Farrokhzad, the leading woman poet of modern Iranian literature, used the
material of the poem “The Conquest of the Garden in his poetry book” Another
Birth. Forough Farrokhzad’s product of the maturity period “The Conquest of
the Garden” is discussed in a theoretical framework with Descriptive
Translation Studies developed by Gideon Toury in order to look at the
translation more scientifically.

The translations of three
translators Ali Güzelyüz, Makbule Aras and Onat Kutlar- Jalal Khosrowshahi were examined in
terms of “acceptability” and “adequacy”. In line with this method, it evaluted
if the text is translated according to the target text norms, as “an acceptable
translation” or if the text is translated according to source text the norms,
as “an adequate translation”. Furthermore, the changes made by the translators
were determined and examined according to the source and target text. During
both methods, it was tried to specify what strategies the translator applied.

 

Structured Abstract

Forough Farrokhzad, one of the famous women poets in
the history of contemporary Iranian literature, was born on January 5, 1935. Suddenly,
she got married when she was 16. In 1952, she published her first poetry
collection, Esir. Over time, a number of disputes began between Forough
and his husband, and they
never ended. She had a son named Kâmyâr, but the birth of her son did not end
these disputes, but rather increased them. As a result of these disputes, the
marriage of Forough and
Shapour ended in 1955. She could not see her son until after her divorce with
her husband because of the rules set by the law. In 1956 she went to Rome.
After coming back to Iran, she devoted herself fully to her art. In 1957, she
published her second poetry book, Duvar. In 1959, Forough published her third
poetry collection, İsyan. In 1958, she engaged in film production as well as
poetry, and began working for the company “Golestan Film”, directed by Ebrahim
Golestan. In 1962, Forough decided to make a film about lepers and went to Tabriz
for film preparation. The film is called “House is black [Hâne Siyâhest]”. The
script used in this film consists of the texts of the Qur'an and the Torah.
Tabriz Bâbâdâghi Sanatorium lepers played in the film. In 1964, she published
her fourth poetry collection, Another Birth. With this book she created her own
language and was reborn in every sense. Forough poetry book of Let us believe
in the Beginning of the Cold Season was published after the death of her.
Fearing early death and unfinished business, Forough died on 13 February 1967
in a 32-year-old car accident.

In this study, Forough's poem "conquest of
the garden" was evaluated.

These evaluations were discussed with
descriptive translation studies developed by Gideon Toury based on the theory of
polysystem proposed by Itamar Even-Zohar in 1970s. Toury considers that
translation should be focused on target, and when evaluating a translation, he
argues that translation should be evaluated according to the language / culture
/ literature to be read / discussed rather than the source text and author.
According to Toury, translations first of all have a place in the target
culture system. This position determines the translation strategies used. Thus,
he proposes a three-stage method by starting his approach from theory of
“polysystem” and considers that this method should be applied as follows:

1- To determine the position of the translated
text in the target culture system and to review the acceptability and adequacy
of the translated text

2- To compare the source and target texts,
describe the relationships between binary text units to be selected from both
texts, and attempt to generalize the underlying concept of translation.

3- To reach conclusions that can be used in the
decisions taken in translation in the future, Reconstruct the translation
process for source and target text

Toury sees translation as an activity managed
by norms; these norms determine the equivalence of translation. Toury states
that these norms that guide translation should be examined in two ways:

1-         Conducting
a textual translation analysis, which includes examining the shifts of words
detected during the comparison of source and target texts.

2-        
Review of other texts such as criticism of the translation texts, foreword, afterword
or interviews with translators

Toury examines the norms that determine each
stage of translation in two main groups in descriptive translation studies. He
calls these norms: “Initial norms” and “operational norms”. Initial norm: It is
the norm that provides information on whether the translator has made the
translation directly from the source text or has used an intermediate language
during the translation. Operational norm: The norm that shows what kind of
decisions the translator makes during the translation act

In this context, the three translations were
examined in terms of “acceptability” and “adequacy” according to Gideon Toury’s
“Descriptive Translation Studies”. The poem of the Conquest of the Garden” was
evaluated on the Turkish translations of Onat Kutlar-Jalal Khosrowshahi,
Makbule Aras and Ali Güzelyüz. In the context of these evaluations, it is
observed that poetry's style, alliteration, certain rhyme and repetitions in
poetry are transferred to the target text, since poems are written in free
style in terms of form. It has been found that translators make a number of
additions and subtractions to fully transfer the source text message to the
target text and leave the same effect on the target reader.

Anahtar Kelimeler

Descriptive Translation Studies, Gideon Toury, Forouhg Farrukhzad, Poetry Translation

GİDEON TOURY’NİN BETİMLEYİCİ ÇEVİRİ ARAŞTIRMALARI YÖNTEMİ IŞIĞINDA FURUĞ FERRUHZAD’IN “BAHÇENİN FETHİ” ADLI ŞİİRİNİN TÜRKÇE ÇEVİRİLERİNİN İNCELENMESİ

Öz

Diller arası etkileşim tarih boyu süre
gelmiştir. Önce sözlü daha sonra yazılı hale gelen bu etkileşim çeviri yoluyla
sürdürülmüştür. Çeviri hayatın her alanında etkin durumdadır. Bu sayede çeviri
ile ister bilimsel ve teknik alanda olsun ister edebiyat ve sanat alanında
olsun dünya hakkında birçok bilgi edinilmektedir. Edinilen bu bilgilerin hedef
okuyucu tarafından da doğru algılanması için kuramsal anlamda bir çeviri
stratejisinin uygulanmasının gerekliliği düşünülmektedir.

Bu doğrultuda modern İran edebiyatının
önde gelen kadın şairi olan Furûğ Ferruhzâd’ın Bir Başka Doğuş adlı şiir
kitabında yer alan “Bahçenin Fethi” adlı şiiri incelemenin malzemesi olarak
kullanılmıştır. Furûğ Ferruhzâd’ın olgunluk döneminin ürünü olan “Bahçenin
Fethi” şiiri, çeviriye daha bilimsel bakabilmek adına Gideon Toury tarafından
geliştirilen “Betimleyici Çeviri Araştırmaları” yöntemi doğrultusunda kuramsal
bir çerçeve içerisinde ele alınmıştır. İncelemede Ali Güzelyüz, Makbule Aras ve
Onat-Kutlar-Celal Hüsrevşahi adlı üç çevirmenin çevirileri değerlendirme konusu
olmuştur. Çeviriler “kabul edilebilirlik” ve “yeterlilik” açısından
incelenmiştir. Bu yöntem doğrultusunda eğer metin hedef metin normlarına göre
çevrilmişse ve okuyucuda çeviri metin algısı yaratmıyorsa “kabul edilebilir”
bir çeviri, kaynak metin normlarına göre çevrilmişse ve metin hedef okuyucuda
yabancılaştırma algısı yaratıyorsa “yeterli” bir çeviri olarak
değerlendirilmiştir. Ayrıca çevirmenlerin yaptıkları değişiklikler saptanarak,
bu değişiklikler kaynak ve hedef metne göre incelenmiştir. Her iki yöntem
esnasında çevirmen ne tür stratejiler uygulamış ise belirtilmeye çalışılmıştır. 

Anahtar Kelimeler

Betimleyici Çeviri Araştırmaları, Gideon Toury, Modern İran Edebiyatı, Furuğ Ferruhzâd

Kaynakça

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