Scouting the borders of translation: Pseudotranslation, concealed translations and authorship in twentieth-century Turkey

Gürçağlar, Şehnaz Tahir

doi:10.1080/14781701003647384

Cited by 12 publications

(4 citation statements)

References 6 publications

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“…Burada da sözde çeviri (pseudo-translation) (bkz. Maher, 2018;Tahir Gürçağlar, 2010) kavramı devreye girmektedir. Brigid Maher'in (2018) Routledge Handbook of Literary Translation'daki "Pseudotranslation" başlıklı makalesinde ele aldığına göre sözde çeviri kavramı iki şekilde tanımlanabilir.…”

Section: Ursula K Le Guin Ve the Left Hand Of Darknessunclassified

Çeviri eleştirisine sosyolojik gözle bakmak: Karanlığın Sol Eli

TAŞKIN

2022

RumeliDE Dil Ve Edebiyat Araştırmaları Dergisi

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This study addresses the Turkish translation of the Left Hand of Darkness by Ursula K. Le Guin (1969) within the framework of Antoine Berman’s translation criticism model and with a Bourdieusian approach. The novel was translated by Ümit Altuğ and published by Ayrıntı Yayınları in 1993 with the title Karanlığın Sol Eli. It has been selected for this study as it is one of the first examples of feminist science fiction and it incorporates potential challenges in its Turkish translation. Gender perception in society is constructed and reproduced by language. The basic example to this can be the gender pronouns in languages like English (he/she/it). Le Guin’s science fiction novel is narrated by a male character on a planet populated by androgynous people. The problem at the crossroads of language and gender occurs due to the absence of gender pronouns in Turkish. Therefore, Turkish readers cannot follow the criticisms and debates concerning the gender issue in the novel. As the publisher or the translator did not use any metatextual materials such as footnotes or preface, this issue was not brought to the forefront in the target text. Therefore, in line with Berman’s model, a re-translation of this novel, emphasizing its multilayered narration and sui generis language and world-making of the author can be suggested.

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Section: Ursula K Le Guin Ve the Left Hand Of Darknessunclassified

Çeviri eleştirisine sosyolojik gözle bakmak: Karanlığın Sol Eli

TAŞKIN

2022

RumeliDE Dil Ve Edebiyat Araştırmaları Dergisi

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“…According to Okhovat (2006), who noted that a bibliography of PTs in Persian literature would turn into a bulky book, most Iranian PTs fall within the category of political literature. Even though Iranian PTs are plentiful within literature, they are still a littlestudied example of "cultural dynamics" (Toury, 2005), similar to PTs within other cultures such as Western (Rizzi, 2008) or Turkish texts (Tahir Gürçağlar, 2010). Okhovat argues that it is not easy to decide about the 'genuineness' of translations because, as he puts it, PTs reside in shadow.…”

Section: The Reasons Of Pseudo-translationmentioning

confidence: 99%

“…The only reason to justify why they have translated such articles is that foreign specialists are more appealing! Tahir Gürçağlar (2010) claims that when compared to the original Turkish work, translated texts create commercial advantages for publishers because of increased sales. Commercial advantages of translated works for the publishers have also been noted to be an important factor in Persian literature.…”

Section: The Reasons Of Pseudo-translationmentioning

confidence: 99%

“…In Turkish literature, many poets and writers were strongly influenced by Western works, to the point where directly translating phrases and borrowing images from Western works were a common practice among Turkish writers. One example of such a practice is Ahmed Hamdi Tanpinar's short story entitled Abdullah Efendi'nin Rüyaları [The Dreams of Abdullah Efendi] which was greatly influenced by Gérard de Nerval's Aurélia (Tahir Gürçağlar, 2010).…”

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confidence: 99%

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Pseudo-translation as a Subset of the Literary System: a Case Study

Dehcheshmeh

2014

TranscUlturAl

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Abstract Persian literature is replete with pseudo-translations to the extent that if one tried to compile a complete bibliography, it would turn into an unwieldy book. Most Persian pseudo-translations belong to Iranian political literature (Okhovat, 2006). As could be guessed, identifying pseudo-translations is not a simple task as their authors want readers to believe in the ‘translationness’ of these works for various reasons. One of the most famous Iranian pieces of pseudo-translations, whose original writer has recently claimed its authorship, is the famous (in Iran) Letter of Charlie Chaplin to his daughter Geraldine. The present article examines diverse aspects of this text, including its political, historical, cultural, and literary milieu of production, and provides a critical discourse analysis of this text and highlights the original author’s ideological stance as it is embedded in this purported foreign letter. The article concludes by surmising the reasons why this famous work was published as a translation, and how it is, that the original writer has claimed authorship after more than 30 years.

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Pseudotranslation on the Margin of Fact and Fiction

Gürçağlar¹

2014

A Companion to Translation Studies

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Scouting the borders of translation: Pseudotranslation, concealed translations and authorship in twentieth-century Turkey

Cited by 12 publications

References 6 publications

Çeviri eleştirisine sosyolojik gözle bakmak: Karanlığın Sol Eli

Çeviri eleştirisine sosyolojik gözle bakmak: Karanlığın Sol Eli

Pseudo-translation as a Subset of the Literary System: a Case Study

Pseudotranslation on the Margin of Fact and Fiction

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