Reading Translator as the “Subject of Production” Through Post-Structuralist Approaches: Las Meninas Painting in Focus*

Yasine Çetin Eylek; Fusun Ataseven

Makale detayları

Reading Translator as the “Subject of Production” Through Post-Structuralist Approaches: Las Meninas Painting in Focus*

Yazarlar:

Yasine Çetin Eylek | Fusun Ataseven

Yayıncı:

Hacettepe University

Ana Başlıklar:

Sanat ve Edebiyat

Dergi:

Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi Vol.40 Issue 2, pp.487-503

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001291202

pISSN:

1301-5737

Anahtar kelimeler:

Özet:

 The aim of this study is to revisit translator as the subject of production Barthes, 2017, s. 177 through painting readings in the light of post-structuralist approaches. The starting point of the study is the assumption that paintings as visual representation can be analysed as discourse Barthes, 2017, s. 125, and be read as writerly text Barthes, 2016a, s. 16. For this reason, the elicitations regarding language and meaning in the post-structuralism are interpreted with Roland Barthess concepts of writing, text and subject Barthes, 2017, s. 176 which he addressed within the context of painting. This is followed by the communication of findings with reader and translator. Diego Rodríguez de Silva y Velázquezs Las Meninas 1656 painting which is one of the most famous masterpieces in Western art, is the corpus of the study and it is read as writerly text in line with the reader-oriented view. Michel Foucaults Las Meninas to which he devoted the first entire chapter of his The Order of Things: An Archeology of the Human Sciences is postulated as a translation of the painting. The paintings discourse of sovereignty is analysed within perspective and representation readings from different subjects points of view, and is discussed on the basis of center problematized. Based on the foci of these discussions, the emerging dynamic nature of meaning in the painting and the function of the reader and translator are reinterpreted through Foucaults translation. The analysis indicates that Foucault is not merely a translator translating the language of painting into natural one, but he is also a subject of production reproducing the meaning. In sum, the study emphasizes interrelation between painting, text and translation within the frame of reproduction and writerly text, and contributes to further theoretical research in which the translator will be studied in different contexts.

 The aim of this study is to revisit translator as the subject of production Barthes, 2017, s. 177 through painting readings in the light of post-structuralist approaches. The starting point of the study is the assumption that paintings as visual representation can be analysed as discourse Barthes, 2017, s. 125, and be read as writerly text Barthes, 2016a, s. 16. For this reason, the elicitations regarding language and meaning in the post-structuralism are interpreted with Roland Barthess concepts of writing, text and subject Barthes, 2017, s. 176 which he addressed within the context of painting. This is followed by the communication of findings with reader and translator. Diego Rodríguez de Silva y Velázquezs Las Meninas 1656 painting which is one of the most famous masterpieces in Western art, is the corpus of the study and it is read as writerly text in line with the reader-oriented view. Michel Foucaults Las Meninas to which he devoted the first entire chapter of his The Order of Things: An Archeology of the Human Sciences is postulated as a translation of the painting. The paintings discourse of sovereignty is analysed within perspective and representation readings from different subjects points of view, and is discussed on the basis of center problematized. Based on the foci of these discussions, the emerging dynamic nature of meaning in the painting and the function of the reader and translator are reinterpreted through Foucaults translation. The analysis indicates that Foucault is not merely a translator translating the language of painting into natural one, but he is also a subject of production reproducing the meaning. In sum, the study emphasizes interrelation between painting, text and translation within the frame of reproduction and writerly text, and contributes to further theoretical research in which the translator will be studied in different contexts.

 The aim of this study is to revisit translator as the subject of production Barthes, 2017, s. 177 through painting readings in the light of post-structuralist approaches. The starting point of the study is the assumption that paintings as visual representation can be analysed as discourse Barthes, 2017, s. 125, and be read as writerly text Barthes, 2016a, s. 16. For this reason, the elicitations regarding language and meaning in the post-structuralism are interpreted with Roland Barthess concepts of writing, text and subject Barthes, 2017, s. 176 which he addressed within the context of painting. This is followed by the communication of findings with reader and translator. Diego Rodríguez de Silva y Velázquezs Las Meninas 1656 painting which is one of the most famous masterpieces in Western art, is the corpus of the study and it is read as writerly text in line with the reader-oriented view. Michel Foucaults Las Meninas to which he devoted the first entire chapter of his The Order of Things: An Archeology of the Human Sciences is postulated as a translation of the painting. The paintings discourse of sovereignty is analysed within perspective and representation readings from different subjects points of view, and is discussed on the basis of center problematized. Based on the foci of these discussions, the emerging dynamic nature of meaning in the painting and the function of the reader and translator are reinterpreted through Foucaults translation. The analysis indicates that Foucault is not merely a translator translating the language of painting into natural one, but he is also a subject of production reproducing the meaning. In sum, the study emphasizes interrelation between painting, text and translation within the frame of reproduction and writerly text, and contributes to further theoretical research in which the translator will be studied in different contexts.

 Bu makalenin amacı çevirmeni yapısalcılık sonrası yaklaşımlar ışığında resim okumaları aracılığıyla üretimin öznesi Barthes, 2017, s. 177 olarak yeniden ele almaktır. Çalışmanın çıkış noktası, görsel bir temsil olarak resmin bir söylem Barthes, 2017, s. 125 olarak çözümlenebileceği ve yazılabilir Barthes, 2016a, s. 16 bir metin olarak okunabileceği düşüncesidir. Buradan hareketle, yapısalcılık sonrası yaklaşımın dil ve anlama yönelik çıkarımları, Roland Barthesın resim bağlamında irdelediği yazı, metin ve özne Barthes, 2017, s. 176 kavramlarıyla yorumlanmakta, bunların okur ve çevirmen ile ilişkisi kurulmaya çalışılmaktadır. Batı sanatının başyapıtlardan biri olan Diego Rodríguez de Silva y Velázquezin Las Meninas Nedimeler 1656 tablosu çalışmanın inceleme nesnesidir ve okur odaklı bir bakış açısıyla yazılabilir metin olarak ele alınmaktadır. Michel Foucaultnun Kelimeler ve Şeyler: İnsan Bilimlerinin Bir Arkeolojisi adlı kitabındaki Arkadan Gelenler başlıklı yazısı ise eserin çevirisi olarak kabul edilmektedir. Las Meninas eserinin egemenlik söylemi, tuvale bakan birbirinden farklı öznelerin perspektif ve temsil çerçevesindeki okumaları doğrultusunda çözümlenmektedir ve merkez sorunsalı temelinde tartışmaya açılmaktadır. Bu tartışmaların önemli noktalarına yapılan vurguların sonucu olarak ortaya çıkan anlamın devingenliği, okurun ve çevirmenin bu noktada işlevi Foucault çevirisi üzerinden yeniden yorumlanmaktadır. İncelemenin sonunda, Foucaultnun resmin dilini doğal bir dile çevirdiği için sadece çevirmen olarak değil, anlamı yeniden üretmesi nedeniyle üretimin öznesi olarak da tanımlanabileceği öne sürülmektedir. Nitekim resim, metin ve çeviri arasında yazılabilir metin ve yeniden üretim kavramları temelinde kurulabilecek bir ilişkiselliğin vurgulandığı bu çalışmanın, çevirmenin inceleneceği kuramsal içerikli çalışmalara katkı sağlayabileceği düşünülmektedir.

Makale detayları

Reading Translator as the “Subject of Production” Through Post-Structuralist Approaches: Las Meninas Painting in Focus*

Yazarlar:

Yasine Çetin Eylek | Fusun Ataseven

Yayıncı:

Hacettepe University

Ana Başlıklar:

Sanat ve Edebiyat

Dergi:

Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi Vol.40 Issue 2, pp.487-503

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001291202

pISSN:

1301-5737

translation studies

Las Meninas

meaning in post-structuralism

painting as a writerly text

reproductionçeviribilim

Las Meninas

yapısalcılık sonrasında anlam

yazılabilir bir metin olarak resim

yeniden üretim

Sayı

Makale detayları

Yazarlar: Yasine Çetin Eylek | Fusun Ataseven

Yayıncı: Hacettepe University

Ana Başlıklar: Sanat ve Edebiyat

Dergi: Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi Vol.40 Issue 2, pp.487-503

Belge Tipi: Makale

Yayın Tarihi: 12/2023

Belge Dili: Türkçe

Document ID (Org No.): 2001291202

pISSN: 1301-5737

Sayı

Yazarlar:

Yasine Çetin Eylek | Fusun Ataseven

Yayıncı:

Hacettepe University

Ana Başlıklar:

Sanat ve Edebiyat

Dergi:

Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi Vol.40 Issue 2, pp.487-503

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001291202

pISSN:

1301-5737