| dc.contributor.advisor | Erkazancı Durmuş, Hilal | |
| dc.contributor.author | Şentürk, Ceren | |
| dc.date.accessioned | 2018-10-01T07:03:52Z | |
| dc.date.available | 2018-10-01T07:03:52Z | |
| dc.date.issued | 2018-06-13 | |
| dc.date.submitted | 2018-06-11 | |
| dc.identifier.citation | ŞENTÜRK, Ceren. Creativity in Humor Translation: A Comparative Case Study of the Two Turkish Subtitle Translations of It’s Always Sunny in Philadelphia. Master’s Thesis, Ankara, 2018. | tr_TR |
| dc.identifier.other | YÖK Referans No: 10194337 | |
| dc.identifier.uri | http://hdl.handle.net/11655/4998 | |
| dc.description.abstract | ABSTRACT
ŞENTÜRK, Ceren. Creativity in Humor Translation: A Comparative Case Study of the Two Turkish Subtitle Translations of It’s Always Sunny in Philadelphia. Master’s Thesis, Ankara, 2018.
This study aims at exploring creativity in humor translation and to find out whether there is a difference in creativity between the professional subtitles and the fansubs. To this end, Holst’s model of creativity (2010, p 1) in translation is employed. In order to investigate creativity in translation, it is important to choose texts that could require the translator to use creative problem-solving strategies. Therefore, in this study, the American comedy series It’s Always Sunny in Philadelphia which has a great number of humorous examples that are of open-ended kind and have no ready-made solutions and its two Turkish subtitle translations have been analyzed. Thus, it can be stated that in this study, creativity in translation is investigated in subtitle translation -a type of screen translation. In order to select the humorous examples from It’s Always Sunny in Philadelphia, Ross’ (1998, p 1) humor theories have been employed so that the examples are chosen from an objective and a linguistic point of view rather than by a personal and subjective sense of humor.
One of the subtitle translations analyzed in this study is the professional subtitles (from CNBC-e and e2) and the other one is the fansubs (www.turkcealtyazı.com) -a type of non-professional subtitling. Before proceeding with comparing these two subtitles in terms of the use of the creative strategies listed in Holst’s model of creativity in translation, a detailed humor analysis of the ST and the two subtitle translations have been carried out in light of Ross’ humor theories. By means of the humor analysis, the elements that create humor in the ST and the two subtitle translations have been identified. By comparing the humorous elements that have been identified, the translations have been categorized under the relevant strategy listed in Holst’ model of creativity in translation. As a result, the professional subtitles and the fansubs of It’s Always Sunny in Philadelphia have been comparatively analyzed in terms of their creativity.
At the end of this comparative analysis, it has been found out that the fansubs are more creative than the professional subtitles regarding the translation of the humorous elements in the Turkish subtitle translations of It’s Always Sunny in Philadelphia. This comparative analysis has been carried out by employing Holst’s (2010, p 1) model of creativity in translation. The possible reasons as to why the fansubs are more creative than the professional subtitles are also included at the end of the study.
Keywords
creativity in translation, humor, professional subtitling, non-professional subtitling, fansubbing, It’s Always Sunny in Philadelphia. | tr_TR |
| dc.description.tableofcontents | TABLE OF CONTENTS
KABUL VE ONAY………………………………………………………….…...……..i
BİLDİRİM………………………………………………………………………...……ii
YAYIMLAMA VE FİKRİ MÜLKİYET HAKLARI BEYANI……………….........iii
ETİK BEYAN………………………………………………..………....………...……iv
ACKNOWLEDGEMENTS...………………………………………………………….v
ÖZET…………………………………………………………………….……………..vi
ABSTRACT………………………………………………………...…….……...…...viii
TABLE OF CONTENTS………..……………………………………..….…………...x
LIST OF ABBREVIATIONS………………………………………...………...…....xiv
LIST OF TABLES AND FIGURES…………………………...……...………..........xv
INTRODUCTION………………………………..………………………………….…1
I. GENERAL REMARKS………….………..………………….…………….…1
II. PROBLEM STATEMENT…………………………………………….….….4
III. THE PURPOSE OF THIS STUDY………………………………………….4
IV. RESEARCH QUESTIONS……………………………….………………....5
V. METHODOLOGY………….……………………………...………..……….5
VI. LIMITATIONS……...…..….……………………………………………….6
VII. AN OUTLINE OF THIS STUDY…………………….……......…………..7
CHAPTER 1: HUMOR THEORIES……………………………...……..………........9
1.1. HUMOR…………….…………………………………………………….…...10
1.2. WHY ARE THE HUMOR THEORIES NECESSARY FOR THIS THESIS?.............................................................................................................10
1.3. THE HUMOR THEORIES................................................................................11
1.3.1. The Incongruity Theory………………………………………………...11
1.3.1.1. Incongruity Caused by Double Meaning through Structural Ambiguity…………………………………………………………...12
1.3.1.1.1. Structural Ambiguity at the Level of Phonology……….12
1.3.1.1.2. Structural Ambiguity at the Level of Graphology………14
1.3.1.1.3. Structural Ambiguity at the Level of Morphology……...15
1.3.1.1.4. Structural Ambiguity at the Level of Lexis……………..16
1.3.1.1.5. Structural Ambiguity at the Level of Syntax……………18
1.3.1.1.6. Structural Ambiguity at the Level of Syntax and Deixis…………………………………………………………..19
1.3.1.2. Incongruity Caused by Breaking the Web of Conventions……..20
1.3.1.2.1. Semantics……………………………………………......20
1.3.1.2.2. Pragmatics………………………………………………23
1.3.1.2.3. Discourse………………………………………………..25
1.3.1.2.4. Register………………………………………………….25
1.3.2. The Superiority Theory…………………………………………………27
1.3.2.1. Less Powerful Groups as The Butt of Humor…………………..27
1.3.2.2. Powerful Groups as The Butt of Humor………………………..29
1.3.3. The Physic Release Theory……………………………………………..30
1.3.3.1. Taboos: Sex and Excreta…………………………………..........30
1.3.3.2. Taboos: Death………………………………………………......31
1.3.3.3. Taboos: Religion……………………………………………......31
CHAPTER 2: SCREEN TRANSLATION AND NON-PROFESSIONAL SUBTITLING ………………………………………………………………………...33
2.1. SCREEN TRANSLATION……………………………………………….33
2.1.2. Subtitling…………………………………………………………34
2.1.2. Revoicing………………………………………………………...36
2.1.2.1. Dubbing………………………………………………...37
2.1.2.2. Subtitling vs Dubbing………………………………….38
2.1.2.1. Voice-Over…………………………………………......38
2.1.2.1. Subtitling vs. Voice-Over…………………………........39
2.2. NON-PROFESSIONAL SUBTITLING………………..............................39
2.2.1. How did it start? .……………………………………………….39
2.2.2. Related Terms……………………………………………………40
2.2.3. Subtitling Terms to Be Used in This Study……...........................40
2.2.4. The Position of Non-Professional Subtitling in Translation Studies …………………………………………………………………………..40
CHAPTER 3: MODEL OF CREATIVITY IN TRANSLATION…………………44
3.1. CREATIVITY AND THE CONDITIONS OF CREATIVITY…………..44
3.2. MACROSTRATEGIES……………………………………………………45
3.3. MICROSTRATEGIES ……………………………………………………46
3.4. THE MODEL OF CREATIVITY IN TRANSLATION…………………..47
3.4.1. Non-Creative Strategies…………………………………….........49
3.4.1.1. Direct Transfer…………………………………………49
3.4.1.2. Calque…………………………………………………..50
3.4.1.3. Direct Translation………………………………………51
3.4.1.4. Oblique Translation…………………………………….52
3.4.2. Slightly Creative Strategies………………………………………53
3.4.2.1. Explicitation……………………………………………53
3.4.2.2. Condensation…………………………………………...54
3.4.2.3. Deletion………………………………………………...56
3.4.3. Slightly More Creative Strategies………………………………..56
3.4.3.1. Addition………………………………………………...56
3.4.3.2. Paraphrase……………………………………………...57
3.4.3.3. Adaptation……………………………………………...58
3.4.3.4. Permutation…………………………………………….59
3.4.3.5. Substitution…………………………………………….60
CHAPTER 4: CASE STUDY: THE TURKISH TRANSLATIONS OF IT’S ALWAYS SUNNY IN PHILADELPHIA……………………………………………..62
4.1. ABOUT IT’S ALWAYS SUNNY IN PHILADELPHIA………………..........62
4.1.1. Airing Information in The USA and Turkey…………………….62
4.1.2. The Storyline and The Mechanics of the Group’s Friendship…...62
4.1.3. The Characters………..………………………………………….63
4.1.4.1. Charlie………………………………………………….63
4.1.4.2. Dennis…………………………………………………..63
4.1.4.3. Mac……………………………………………………..64
4.1.4.4. Dee……………………………………………………..64
4.1.4.5. Frank……………………………………………………64
4.2. THE TARGET TEXTS ANALYZED IN THIS STUDY…………………64
4.2.1. The Target Text 1: The Professional Subtitles…………………...64
4.2.2. The Target Text 2: The Fansubs…………………………………65
4.3. ANALYSIS OF IT’S ALWAYS SUNNY IN PHILADELPHIA IN LIGHT OF HOLST’S MODEL OF CREATIVITY IN TRANSLATION…………………………65
4.4. DISCUSSION…………………………………………………………….137
CONCLUSION………………………………………………………………………140
BIBLIOGRAPHY……………………………………………………...……...…......147
APPENDIX 1: THE E-INTERVIEW CONDUCTED WITH THE PROFESSIONAL SUBTITLE TRANSLATOR IŞIL KOCABAY ………….......158
APPENDIX 2: ORIGINALITY REPORT …………………….....……...…….......159
APPENDIX 3: ETHICS BOARD WAIVER FORM ……………………………...161 | tr_TR |
| dc.language.iso | en | tr_TR |
| dc.publisher | Sosyal Bilimler Enstitüsü | tr_TR |
| dc.rights | info:eu-repo/semantics/openAccess | tr_TR |
| dc.subject | Creativity in translation | |
| dc.subject | Humor | |
| dc.subject | Professional subtitling | |
| dc.subject | Non-professional subtitling | |
| dc.subject | Fansubbing | |
| dc.subject | It’s always sunny in philadelphia | |
| dc.title | Creativity in Humor Translation: A Comparative Case Study of The Two Turkish Subtile Translations of It’s Always Sunny in Philadelphia | tr_TR |
| dc.type | info:eu-repo/semantics/masterThesis | tr_TR |
| dc.description.ozet | ÖZET
ŞENTÜRK, Ceren. Mizah Çevirisinde Yaratıcılık: It’s Always Sunny in Philadelphia Dizisinin İki Türkçe Altyazı Çevirisi Üzerine Karşılaştırmalı Bir Vaka İncelemesi. Yüksek Lisans Tezi, Ankara, 2018.
Bu çalışmada, mizah çevirisinde yaratıcılık konusunu araştırmak ve yaratıcılık konusunda profesyonel altyazılar ile fan çevirileri arasında bir fark olup olmadığını bulmak amaçlanmaktadır. Bu amaçla, Holst’un (2010, p 1) çeviride yaratıcılık modeli kullanılmıştır. Çeviride yaratıcılığı araştırmak için çevirmeni yaratıcı problem-çözme stratejileri kullanmaya itebilecek metinler seçmek önem taşıdığından, bu çalışmada içerisinde birçok açık uçlu olan ve hazır bir çözümü bulunmayan mizahi örnek dolu Amerikan komedi dizisi It’s Always Sunny in Philadelphia ve bu dizinin iki farklı Türkçe altyazısı incelenmiştir. Bu bakımdan, bu çalışmada çeviride yaratıcılık konusu bir çeşit ekran çevirisi türü olan altyazı çevirisinde irdelenmektedir. It’s Always Sunny in Philadelphia dizisinden mizahi örnekler seçmek amacıyla, Ross’un (1998, p 1) mizah teorileri kullanılmıştır. Böylece, örnekler kişisel ve sübjektif bir mizah anlayışına göre değil nesnel ve dilbilimsel bir bakış açısıyla seçilmiş ve incelenmiştir.
Bu çalışmada incelenen altyazılardan biri profesyonel altyazılar (CNBC-e ve e2’den) olup, diğeri ise profesyonel bir nitelik taşımayan bir altyazı çevirisi türü olan fan çevirileridir (www.turkcealtyazi.com). Bu iki altyazı türünü, Holst’un çeviride yaratıcılık modelinde belirtilen stratejilerin kullanımları açısından karşılaştırmadan önce, Ross’un mizah teorileri kullanılarak kaynak metnin ve iki erek metnin detaylı bir mizah analizi yapılmıştır. Bu mizah analizi sayesinde, kaynak metin ve iki farklı altyazı çevirisinde mizah yaratan ögeler bulunmuştur. Bulunan bu ögeler karşılaştırılarak, çeviriler Holst’un çeviride yaratıcılık modelinde belirtilen stratejilere göre sınıflandırılmıştır. Sonuç olarak, It’s Always Sunny in Philadelphia’nın profesyonel altyazı çevirileri ile fan çevirileri yaratıcılıkları açısından karşılaştırmalı olarak analiz edilmiştir.
Bu karşılaştırmalı analiz sonucunda, It’s Always Sunny in Philadelphia’nın Türkçe altyazı çevirilerinde geçen mizahi ögelerin çevirisi bağlamında, fan çevirilerinin profesyonel altyazı çevirilerinden daha yaratıcı olduğu tespit edilmiştir. Bu analiz, Holst’un (2010, p 1) çeviride yaratıcılık modeli kullanılarak yapılmıştır. Fan çevirilerinin profesyonel çevirilerden neden daha yaratıcı olabileceğine dair potansiyel faktörlere de çalışmanın sonunda yer verilmiştir.
Anahtar Sözcükler
çeviride yaratıcılık, mizah, profesyonel altyazı çevirisi, profesyonel olmayan altyazı çevirisi, fan çevirisi, It’s Always Sunny in Philadelphia. | tr_TR |
| dc.contributor.department | Mütercim-Tercümanlık | tr_TR |
