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The Chinese Translation of Benim Adim Kirmizi by Orhan Pamuk

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The Chinese Translation of Benim Adim Kirmizi by Orhan Pamuk THE CHINESE TRANSLATION OF BENİM ADIM KIRMIZI BY ORHAN PAMUK THROUGH ENGLISH： A COMPARATIVE STYLISTIC ANALYSIS OF THE TWO TRANSLATIONS AND THE TURKISH SOURCE TEXT YAO-KAĠ CHĠ BOĞAZĠÇĠ UNIVERSITY 2010 THE CHINESE TRANSLATION OF BENİM ADIM KIRMIZI BY ORHAN PAMUK THROUGH ENGLISH： A COMPARATIVE STYLISTIC ANALYSIS OF THE TWO TRANSLATIONS AND THE TURKISH SOURCE TEXT Thesis submitted to the Institute for Graduate Studies in the Social Sciences in partial fulfillment of the requirements for the degree of Master of Arts in Translation by Yao-Kai Chi Boğaziçi University 2010 The Chinese Translation of Benim Adım Kırmızı by Orhan Pamuk through English： A Comparative Stylistic Analysis of the Two Translations and the Turkish Source Text The Thesis of Yao-Kai Chi is approved by: Assist. Prof. Oğuz Baykara (Committee Chairperson and Thesis Advisor) ______________________ Prof. Dr. Suat Karantay ______________________ Prof. Dr. Bülent Okay _____________________ Assoc. Prof. ġehnaz Tahir-Gürçağlar _____________________ Assist. Prof. Jonathan M. Ross _____________________ August 2010 Thesis Abstract Yao-Kai Chi, ―The Chinese Translation of Benim Adım Kırmızı by Orhan Pamuk through English：A Comparative Stylistic Analysis of the Two Translations and the Turkish Source Text‖ Orhan Pamuk is one of the famous Turkish writers in the world, and his works have been translated into more than forty languages. However, all the Chinese translations of his novels were not rendered from the Turkish original. In order to analyze the style of Pamuk, this thesis examines one of his notable literary works Benim Adım Kırmızı and its English, as well as Chinese translations in the light of Foregrounding Theory through examples and commentary. Pamuk‘s ―mixed style‖ not only reflects his points of view on the issue of the East and the West, but also creates the literary effects a nd imagery he expects. On the other hand, the English (Erdağ Göknar) and Chinese translators (Jia-shan Lee) hold different opinions on translation. They adopt different ways to deal with Pamuk‘s style during the translation process. While Göknar tries to create dissonant translation with the diversity of English vocabulary, Lee adopts idiomatic expressions in her translation. The objective of this thesis, therefore, is to analyze the extent of stylistic discrepancy between the Turkish original and the Chinese translation under the influence of the English translation, and to see if the Chinese translation has the potential of creating the same literary effects and imagery when directly translated form Turkish. iii Tez Özeti Yao-Kai Chi, ―Orhan Pamuk‘un Benim Adım Kırmızı‘sının Ġngilizceden Çinceye Çevirisi：Ġki Çeviri ile Türkçe Kaynak Metninin KarĢılaĢtırmalı Biçem Çözümlemesi‖ Eserleri kırktan fazla dile çevirilen Orhan Pamuk, dünyanın en ünlü Türk romancılarından biridir. Ancak Pamuk‘un romanlarının Çince çevirilerinin çoğunluğu Türkçe‘den çevrilmemiĢtir. Bu tez, Pamuk‘un biçemini çözümlemek için örnekler ve yorumlarla destekleyerek, Önceleme Kuramı (Foregrounding Theory) ıĢığında, Benim Adım Kırmızı ve eserin Ġngilizce ile Çince çevirilerini incelemektedir. Pamuk‘un ―karıĢık biçem‖i Doğu ve Batı konusunda kendi gürüĢlerini yansıtarak, beklediği edebi etkileri ve imgeleri de yaratır. Öte yandan, romanın Ġngilizce çevirmeni Erdağ Göknar ve Çince çevirmeni Jia-shan Lee çeviri konusunda farklı fikirlere sahiptir. Her iki çevirmen de, çeviri süreçlerinde Pamuk‘un biçemini değiĢik Ģekillerde kullanmıĢtır. Göknar Ġngilizce kelime çeĢitliliği vasıtasıyla uyumsuz çeviriyi yaratırken, Lee kendi çevirisinde daha anlaĢılır ifadelere yer verir. Bu tezin amacı Ġngilizce çeviri etkisi altında Türkçe kaynak metin ile Çince erek metin arasındaki biçemsel tutarsızlığın boyutlarını incelemek ve roman Türkçeden çevrilmiĢ olsaydı Çince‘de aynı aynı edebi etkileri ve imajları yaratmanın mümkün olup olmadıgı sorusuna yanıt aramaktır. iv ACKNOWLEDGEMENTS First of all I would like to express my sincere gratitude to my thesis advisor, Assist. Prof. Oğuz Baykara, for his continuous efforts to give suggestions on my thesis. He shared his own academic experience during the course of writing the thesis. I particularly thank him for the time he spent on working the thesis with me. Studying at Boğaziçi University is also my dream. In these four years, I learned a lot from each professor. In this respect, I would also like to thank Prof. Suat Karantay, Assoc. Prof. ġehnaz Tahir-Gürçağlar, Assist. Prof. Jonathan Ross, and Prof. Bülent Okay of Ankara University for their being the committee members in my oral defense regardless of their tight schedules. I appreciate their every piece of advice of my thesis. I would also like to thank the two translators, Erdağ Göknar and Lee Jia-shan, who spent precious time providing me with their experiences on translation. Thank to their points of view, my thesis can support more persuasive statements. I am also grateful to all my classmates, who have been helping me in my school life. Studying abroad is one of the best experiences in my life. I also learned many things other than knowledge from my classmates. With their companionship, my life at school has also become more cheerful. I would also thank my Taiwanese and American friends, who always support me emotionally when I had difficult times. No matter where they are, I can always feel their concerns and support. Last but not least, I wish to express my profound appreciation to my parents. Their staunch support and encouragement help me get through these years in Turkey, so that I can concentrate on my thesis without worrying. v CONTENTS CHAPTER 1 : INTRODUCTION ...................................................................................1 The Corpus of the Thesis .........................................................................................3 CHAPTER 2 : METHODOLOGY AND THEORETICAL FRAMWORK .................17 Methodology ..........................................................................................................17 Theoretical Framework: Foregrounding Theory....................................................39 CHAPTER 3 : ORHAN PAMUK‘S OEUVRE AND HIS LITERARY BACKGROUND .................................................................................44 Cevdet Bey ve Oğulları ..........................................................................................45 Sessiz Ev .................................................................................................................50 Beyaz Kale..............................................................................................................53 Kara Kitap..............................................................................................................57 Yeni Hayat ..............................................................................................................62 Öteki Renkler: Seçme Yazılar ve Bir Hikâye ..........................................................68 Kar .........................................................................................................................69 İstanbul: Hatıralar ve Şehir and Masumiyet Müzesi .............................................72 CHAPTER 4 : ENGLISH AND CHINESE TRANSLATIONS OF BENİM ADIM KIRMIZI .................................................................................................80 The Background of English translator - Erdağ Göknar .........................................80 Turkish Literature in Taiwan and the Background of Taiwanese Translator – Jia-Shan Lee.............................................................................86 CHAPTER 5 : STYLISTIC STUDY ON BENİM ADIM KIRMIZI AND ITS TRANSLATIONS .................................................................................95 Analysis of Language Style of English Translation ...............................................95 Analysis of Language Style of Chinese Translation ............................................127 A Contrastive Stylistic Analysis of B.A.K. and Its Chinese TT by Lee ...............144 CHAPTER 6 : CONCLUSION ...................................................................................164 APPENDICES .............................................................................................................172 A：Orhan Pamuk‘s Oeuvre and Publication Information about Their English vi and Chinese Translation ............................................................................172 B：E-mail Interview with Erdağ Göknar ......................................................173 C：E-mail Interview with Jia-Shan Lee (李佳珊) (Chinese Original and English Translation) .................................................. 175 D：Turkish Pronunciations of Romanized Chinese Alphabets .....................181 REFERENCES ............................................................................................................183 vii CHAPTER 1 INTRODUCTION The term style is frequently used in our daily conversation. The concept of style can be seen or heard in many areas, such as the style of a building, the style of one‘s dress, the style of an artistic work, the style of one‘s expression, and so forth. However, as Katie Wales states in A Dictionary of Stylistics, ―[a]lthough style is used very frequently in literary criticism and especially stylistics, it is very difficult to define‖ (1990, p. 435). When it comes to the style of a literary work, it generally refers to the distinctive linguistic features that the author has consciously or unconsciously
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