Hacettepe University Graduate School of Social Sciences Department of Translation and Interpretation Translation and Interpretation in English Programme TRANSLATING THE SELF-TRANSLATION: A STUDY OF SELECTIVE TURKISH TRANSLATIONS OF SAMUEL BECKETT’S WAITING FOR GODOT Çise İrem CANDAN Master’s Thesis Ankara, 2019 TRANSLATING THE SELF-TRANSLATION: A STUDY OF SELECTIVE TURKISH TRANSLATIONS OF SAMUEL BECKETT’S WAITING FOR GODOT Çise İrem CANDAN Hacettepe University Graduate School of Social Sciences Department of Translation and Interpretation Translation and Interpretation in English Programme Master’s Thesis Ankara, 2019 KABUL VE ONAY YAYIMLAMA VE FİKRİ MÜLKİYET HAKLARI BEYANI ETİK BEYAN iv DEDICATION To my father, who did not see the completion of this thesis. (1957-2016) v ACKNOWLEDGEMENTS I would like to express first my utmost gratitude to my dear supervisor Asst. Prof. Dr. Sinem BOZKURT, for her limitless patience, support and guidance. Without the motivation she provided and her trust in me, I could not complete this study. I cannot thank her enough. I am also very grateful to my lecturers in the Department of Translation and Interpretation at Hacettepe University and in the Department of Translation of Interpretation at Bilkent University for their utmost guidance and support and for sharing their knowledge in the courses I attended during my graduate and undergraduate studies. I am indeed very grateful to my family, especially my husband, my mother and my brother, who never let me give up while writing this thesis and who supported me in every condition. I also would like to thank to my colleagues and my friends, especially those with whom I attended graduate courses. I extend my deepest gratitude to all mentioned above. vi ABSTRACT CANDAN, Çise İrem. Translating the Self-Translation: A Study of Selective Turkish Translations of Samuel Beckett’s Waiting for Godot. Master’s Thesis, Ankara, 2019. Translation is perceived as a process of transferring a message from ST to TT. This process may be written or verbal or even intersemiotic. The general concept is that the creator of the ST and the creator of the TT (the translator) are different, but this may not always be the case. Though quite rare, the creator can be the translator, which leads us to the notion of “self-translation”. In this study, a renowned self-translation, Waiting for Godot by Samuel Beckett, is described and analysed. The life and epoch of the author Samuel Beckett, his unique style and correspondingly drama translation are also included to frame the analysis. After a brief overview of these concepts, the selected examples from the Turkish translations of the book are examined within the framework of the translation theories on drama translation suggested by various translation scholars, particularly by Susan Bassnett and Mary Snell-Hornby and classified according to translation procedures by Peter Newmark. In the Turkish setting, the work referred to was translated several times (retranslations) and the STs differed. Several editions were translated into Turkish from French, several from English and some translators chose to translate the work using both the French and the English versions. This resulted in differences in various editions. In the light of the examples, the effects of the self-translation on the translation process in a third language are discussed. Keywords Samuel Beckett, Waiting for Godot, En Attendant Godot, Godot’yu Beklerken, self- translation, drama translation vii ÖZET CANDAN, Çise İrem. Öz-çeviriyi çevirirken: Samuel Beckett’in Godot’yu Beklerken adlı eserinin Türkçeye yapılan çevirileri üzerine bir inceleme. Yüksek Lisans Tezi, Ankara, 2019. Çeviri, bir mesajın kaynak metinden erek metne aktarılması süreci olarak bilinmektedir. Bu süreç, yazılı ya da sözlü şekilde olabildiği gibi göstergeler arası da olabilir. Genel görüş, kaynak metnin yaratıcısı ile erek metnin yaratıcısının (çevirmenin) farklı olduğu yönündedir, ancak bu durum her zaman geçerli olmayabilir. Sıklıkla görülmemekle birlikte, yaratıcı çevirmen de olabilir, bu durum bizi “öz çeviri” kavramına götürmektedir. Bu çalışmada, Samuel Beckett’in ünlü öz çeviri çalışmalarından biri olan Godot’yu Beklerken adlı eseri üzerinden öz çeviri kavramı tanımlanacak ve analiz edilecektir. Ayrıca, yazar Samuel Beckett’in yaşamı, yaşadığı dönem, olağandışı tarzı ile bunlara eş zamanlı olarak da tiyatro çevirisi kavramı da ele alınacaktır. Bu kavramlar incelendikten sonra kitabın Türkçe çevirilerinden seçilen örnekler, Susan Bassnett ve Mary Snell-Hornby başta olmak üzere çeşitli çeviri kuramcılarının tiyatro çevirisi üzerine kaleme aldığı kuramlar çerçevesinde incelenecek ve Peter Newmark’ın çeviri yöntemlerine göre sınıflandırılacaktır. Sözü edilen eser Türkçede birden çok kez çevrilmiştir (yeniden çeviri) ve bu çevirilerin kaynak metni değişiklik göstermektedir. Çevirilerin bazıları Fransızcadan Türkçeye, bazıları da İngilizceden Türkçeye çevrilmiş iken, bazı çevirmenler hem Fransızca hem de İngilizce metinleri kaynak alarak çevirmeyi tercih etmişlerdir. Bu durum çeşitli yayınlarda farklılıklara yol açmıştır. Örnekler ışığında, öz çevirinin üçüncü dildeki çeviri sürecine etkisi incelenecektir. Anahtar Sözcükler Samuel Beckett, Waiting for Godot, En Attendant Godot, Godot’yu Beklerken, öz çeviri, tiyatro çevirisi viii TABLE OF CONTENTS KABUL VE ONAY ........................................................................................................ vi YAYIMLAMA VE FİKRİ MÜLKİYET HAKLARI BEYANI................................ vii ETİK BEYAN ............................................................................................................... viii DEDICATION ................................................................................................................ iv ACKNOWLEDGEMENTS ............................................................................................ v ABSTRACT .................................................................................................................... vi ÖZET .............................................................................................................................. vii TABLE OF CONTENTS ............................................................................................. viii LIST OF ABBREVIATIONS ........................................................................................ x LIST OF TABLES ......................................................................................................... xi INTRODUCTION ........................................................................................................... 1 CHAPTER 1: SAMUEL BECKETT AND WAITING FOR GODOT ........................ 8 1.1. LIFE OF SAMUEL BECKETT ...................................................................... 8 1.1.1. Beckett’s Works and Style .................................................................................. 12 1.1.1. Beckett’s Era ....................................................................................................... 15 1.2. WAITING FOR GODOT: SUMMARY AND REVIEW ............................. 16 1.2.1. Summary of Waiting for Godot .......................................................................... 16 1.2.2. Review of Waiting for Godot .............................................................................. 17 1.3. TRANSLATIONS OF WAITING FOR GODOT ......................................... 18 1.4. TRANSLATORS OF WAITING FOR GODOT ........................................... 19 1.4.1. From French: Hasan Anamur .............................................................................. 19 1.4.2. From English: Tuncay Birkan ............................................................................. 20 1.4.3. From English and French: Uğur Ün and Tarık Günersel .................................... 20 ix CHAPTER 2: THEORETICAL BACKGROUND .................................................... 22 2.1. SELF-TRANSLATION ................................................................................. 22 2.1.1. Beckett as Self-Translator ................................................................................... 28 2.2. DRAMA TRANSLATION ............................................................................ 32 CHAPTER 3: METHODOLOGY ............................................................................... 39 3.1. LITERAL TRANSLATION .......................................................................... 39 3.2. TRANSFERENCE ......................................................................................... 40 3.3. NATURALISATION ..................................................................................... 40 3.4. CULTURAL EQUIVALENCE ..................................................................... 41 3.5. FUNCTIONAL EQUIVALENCE ................................................................ 41 3.6. DESCRIPTIVE EQUIVALENCE ................................................................ 42 3.7. REDUCTION .................................................................................................. 42 3.8. EXPANSION .................................................................................................. 42 3.9. COUPLET ....................................................................................................... 43 CHAPTER 4: CASE STUDY ................................................................................... 44 4.1. COMPARATIVE ANALYSIS .....................................................................