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One Language Socio - Cultural Translation Is Not Needed Author: Grazia Deledda

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One Language Socio - Cultural Translation Is Not Needed Author: Grazia Deledda ONE LANGUAGE SOCIO - CULTURAL TRANSLATION IS NOT NEEDED AUTHOR: GRAZIA DELEDDA İlhan KARASUBAŞI Instructor Member Ankara University, Faculty of Language, History and Geography Department of Western Languages and Literatures, Department of Italian Language and Literature Abstract The life and traditions of the Sardinians are not prominently prominent, but offer a detailed geographical description and a strong connection with their origins with trusting characters distinguish Grazia Deledda as a writer. The fact that most of his characters are excluded from isolation highlights their silent struggle. Indeed, the fact that Deledda's work focuses on love and suffering, on which feelings of sin and death are based, indicates that her works tend to criticize social values and moral norms rather than people who are victims of such conditions. From the influence of Giovanni Verga's realism to Gabriele D'Annunzio's decadentism, his writing style is not too fancy, but despite his groundbreaking role in Italian and World literature, Deledda is a feminist writer, probably because of his tendency to portray women's suffering and suffering as opposed to women's autonomy. has not been accepted as. Cenere as of publication of Elias Portolu (Ashes, 1904); L'edera (The Ivy, 1908); Sino al prisoned (To the Border, 1910); Colombi e sparvieri (Doves and Sparrows, 1912); and the most popular of these, Canne al vento (Reeds in the Wind, 1913) inspired a silent film with Eleonora Duse. Deledda received an award for "idealistic inspired writings that dealt with life on the island where she was born with plastic clarity and human problems in general with depth and sympathy", while "Già?" she said. ("Already?") While there are many elements that have contributed to the rise of Deledda's popularity, Benito Mussolini, who had just consolidated his power and founded Fascism, expressed his "deep admiration" for the author, and when journalists and photographers began to visit his home in Rome, Deledda initially welcomed them, but eventually got tired of the attention. The fact that his beloved pet crow Checca expresses that this indifference is also related to the discomfort of people constantly coming in and out of the house is an indication that she is a different person. Keywords: Grazia Deledda, Literature in the World Language, Literature and Language, Literature and Socio-Culture, Literature and Psychology An Ordinary Morning for the Nobel Prize in Literature The morning Grazia Deledda won the 1926 Nobel Prize in Literature was no different, both for herself and for other Nobel Prize winners in Literature. The difference was the psychology of the person who would receive the award. So, to make it indistinguishable from the previous day in Rome shrubs are evil was Grazia Deledda. By sharing a crowded house with her husband, adult sons and nephew, she maintained her already threatened daily routine of writing. Deledda continued the same schedule seven days a week: a late breakfast, a few hours of reading, lunch, then la pausa (nap), and finally a few hours of writing in the afternoon. A Different Author for Literary Works Translations Italian writer Grazia Deledda's (1871-1936) works nor how the success of the world-system perspective cannot be explained by focusing on a single arbitrator is moderate. And a number of interconnected networks combined additive as members of the spread of a work is recorded as results are obvious.1 Jansen and Wegener (2013), the concept was proposed by multiple interpreting by , according to 'turn the collaborative nature of the' emphasized and "discover how interaction effect at various stages leading to the translated text translators, they negotiate and control that they 'for stressed nation - trans Grazia Deledda's works differ in terms of world literature as it is closely related to the issue of literary mediation (2013, p.5). Moreover, the related term translation addresses literary translation rather than literary mediation. In other words, examining the works of this author from the point of view of literary circulation requires a different perspective.2 It would not be wrong to suggest that a combination of social network analysis and field theory could be used to explain the situation and present a more nuanced picture. This is Deledda's path to international sanctification.3 Italian Nobel Prize winner Grazia Deledda has been focused on the translation issue nation - highlighting the impact on cross-border movement, and primarily as a writer seems important example in this area. Because, as different from the previous and next, Grazia Deledda, a universalism that does not need to translate as if you had written underneath. There needs to be a productive way of understanding how a combination of field theory and social network analysis is interpreted in this way despite linguistically differing elements in semi-peripheral domains of world literature.4 In all of analysis, Deledda's worldwide of success you have to work on the center of the languages (English, French, German) translation is not only effective in the target culture, language support, nor cultural network linked the effort is not needed subject. Mediators connecting Sweden and Italy. These approaches are identified, identified, and analyzed to gain a better understanding of the traits that are crucial for successful connections in the literary semi-environment. But this author is very different in terms of these variables. Literature, national, how to overcome cultural and linguistic boundaries? This question is a very important one that all readers and writers should ask and examine even for each work. How can a work go beyond its borders and present a plus-dimensional perspective globally, even universally? It is understandable that mathematics is a universal language, but how can this be possible in literary works? That's exactly what Grazia has accomplished for Deledda. Scholarly answers to this current research question often emerge from two opposing methodological perspectives: either adopting a micro perspective, emphasizing efforts made through single 1 According to Kjell Espmark, a member of the Swedish Academy, various studies show that Grazia Deledda was the only one among the Nobel Prize Laureates in Literature in the 1920s who 'had a consistently negative decision' (1986, p. 2 Anime oneste ("Honest souls") from 1895 was translated into French in 1899. 3 On the official website of the Nobel Prize http://www.nobelprize.org/nomination/map2/?person=2348&nominee=true&year=all&prizes=literatura Grazia Deledda's candidates are visualized. Nobel Prize Data Visualization is a useful tool for exploring how nominations are made across countries. In Deledda's case, all candidates came from either Italy or Sweden. For comparison, the nominations of another Nobel Prize nominee, historian and philosopher Guglielmo Ferrero, a contemporary of Deledda, came from many different parts of the world. 4 It should be noted, however, that the award was given in December 1927. interpreters, or approaching inquiry from a macro perspective, following theoretical models of how literature circulates. The necessity of explaining translations in the world system is very common in Turkish literature, especially in the works of the first period of the Republic. These explanations have been informative for the reader. But in the works of Grazia Deledda, such explanations were never needed for any nation, culture or religion. Both micro and macro level approaches to provide absolutely useful information for the worldwide literary invasion and still involved with numerous multiples used to highlight people translated because we mentioned in point to some important come down directly to ignore the direction the nation - beyond the literary movement that works understandable without the need for further explanation. Here the human psyche, we think that the reader or the character that they are first and foremost. To underline Writer Deledda Grazia, because of represents the first reason for these. Cultural felt liking The case studies are aimed at the actors and those applicable today to the mentioned agenda commentators, and for them ("Atlantic - "non-", "Gonna Lobbes and Sanz Roig, 2017, p. 68). The world system, on the other hand, is for internationally accepted studies; While this development is the future that will be made from the general center of literature, exchanges related to the environment are ignored. Like, Franco Moretti writes, “It would have been unthinkable (before the town) if it were from a circle (2003, p. 75). To Casanova (2004), a tool that can be translated from the language of the language and from the viewer in the literature, and a tool that can be translated from language to use will be selected after a point. German, French and English). (Heilbron, 1999, p. 435). According to Heilbron, semi-peripheral languages constitute an evasive category of "six-round languages" that "cannot be so clearly separated from peripheral languages" (Heilbron, 1999, p. 434). A more recent article (van Es & Heilbron, 2015) does not explain further on the quasi-environmental situation. However, there has been interest in a used classroom from this use of senior, worldwide (Piswartz, 2017). 5 A Different Look at the Awards Day That day, a year had passed since Benito Mussolini dropped the masquerade of constitutional rule in favor of fascism. Having imprisoned several of his friends and many of his compatriots, Mussolini wanted to give him a portrait of himself and signed it "with great admiration". And perhaps this is why the author, has allowed reporters and photographers and important petitions of the next day to enter the house. By all accounts, the diminutive writer was calm and kind, or at least tolerant of this fuss, which was more than can be said for Checcha. She was a fatalist, of course, but when Deledda received the award at the age of fifty-six, she has realized that attention makes people vulnerable and has the potential to destroy.
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