Dracula'nın Çoklu Yansımaları: Yeniden Çeviriyi Yeniden Tanımlamak ve Merkezinden Uzaklaştırmak Üzerine bir Vaka Çalışması

Postkolonyal çeviri yaklaşımları, çevirinin tanımının Batı düşüncesine odaklandığını ve çeviri olgusunun daha iyi anlaşılması için merkezden uzaklaştırılması gerektiğini göstermiş ve konuya yeni bir bakış açısı getirmiştir (Tymoczko, 2014; Trivedi, 2014). Aynı bakış açısıyla yeniden çevirilerin de yeni bir tanıma ihtiyaç duyduğu söylenebilir. Böyle bir iddia Şehnaz Tahir-Gürçağlar ve Özlem Berk Albachten (2019: 1-10) tarafından “yeniden çeviride değişkenlik” (mutability in retranslation) biçiminde ortaya atılmıştır; söz konusu bakış çeviriyi Doğu ya da Batı gibi tekil bir dikotomi üzerinden, kelimesi kelimesine veya anlam odaklı şeklinde stratejilerle değil, bir küme terimi olarak görmektedir. Bu makale, tanınmış İrlandalı yazar Bram Stoker tarafından yazılan gotik klasik Dracula'nın (1897) farklı Türkçe yeniden çevirilerini, yeniden çevirinin “değişebilirliği” kavramını akılda tutarak incelemeyi amaçlayacaktır. Roman (ve Dracula karakteri) birçok filme ve diziye uyarlanmıştır ve dünya çapında birçok farklı dile çevrilmiştir. Türk bağlamında da benzer çeviri ve yeniden çeviri eylemleri görülmektedir; “vampir” kurgusal karakteri, Stoker'ın yarattığı imgelerden türetilerek Türk edebi eserlerinde yeniden yaratılmıştır. Ancak 2003 yılına kadar Drakula'nın tam bir Türkçe çevirisi yapılmamıştır. Bunun yerine gizli (concealed) çeviriler, sahte (pseudo) çeviriler, uyarlamalar, illüstrasyonlar ve diğer çeviri biçimleri Türk edebiyat sisteminde yerini almıştır. Çalışmam bu çeviri eylemlerini sorgulayacak ve bu eserin çevirilerini yeniden tanımlamayı amaçlayacaktır. Mevcut bulgularım, Stoker'ın Dracula'sının 2003'te Niran Elçi tarafından “tam” (proper) anlamda tercüme edilmeden önce Türkiye bağlamında birçok farklı (yeniden) tercümesinin yapıldığını göstermektedir.

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