A TranstextualityPerspective on Song Translations: Sessiz Gemi and Do Do Do Do Do Si Re Re Re Example

Esra Çimen Karayürek

Makale detayları

A TranstextualityPerspective on Song Translations: Sessiz Gemi and Do Do Do Do Do Si Re Re Re Example

Yazarlar:

Esra Çimen Karayürek

Yayıncı:

Yusuf ÇETİN

Ana Başlıklar:

Çeviri ve Yorum Çalışmaları

Dergi:

Söylem Filoloji Dergisi Issue Çeviribilim Özel Sayısı II, pp.469-481

Belge Tipi:

Makale

Yayın Tarihi:

3/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001332503

pISSN:

2548-0502

Anahtar kelimeler:

Özet:

 The evaluation of a translated song necessitates a multifaceted approach, encompassing considerations of singability, rhythmic compatibility with the original melody, fidelity to the source text, and the preservation of emotional and sensory resonance. One of the primary challenges in song translation is to maintain the original meaning and emotional impact of the lyrics while adapting them to align with the cultural and linguistic context of the target audience. Furthermore, the process is complicated by the necessity to guarantee that the translated lyrics retain their melodiousness and rhythmic consistency with the source music. Despite the inherent complexity, the translation of songs is of paramount importance for the global dissemination of music, and plays a pivotal role in transcending linguistic and cultural barriers. The utilisation of pre-written poetry in the process of song translation, as opposed to the direct translation of the musical composition and lyrics, provides a vast scope for the examination of transtextuality and its ramifications in intercultural contexts. This study examines the songs Sessiz Gemi 1975 and Do Do Do Do Si Re Re 1980 by Turkish pop artist Hümeyra through the lens of transtextuality, analyzing the translation strategies employed. The original title of the piece, Sans Toi Je Suis Seul, performed by Christian Delagrange, was replaced with the poem Sessiz Gemi. The original title of the piece, Le Mendiant de Lamour, performed by Enrico Macias, was translated with the title Do Do Do Do Si Re Re and two piece were performed by Hümeyra. In the source culture, the first of the songs, performed by two different singers, used Yahya Kemal Beyatlıs poem instead of writing lyrics, while the second song had new lyrics that phonetically resembled the refrain. This study revealed that the same singer employed disparate translation strategies for disparate songs performed in relatively recent periods and analysed in the context of transtextuality. As a result, in order to produce a successful translation product in song translations, the necessity of translating or not translating the lyrics of the source culture with strict rules at the textual level, taking into account the musical elements of the lyrics in the source culture, has been examined, and the role of transtextuality in song translations has been discussed.

 The evaluation of a translated song necessitates a multifaceted approach, encompassing considerations of singability, rhythmic compatibility with the original melody, fidelity to the source text, and the preservation of emotional and sensory resonance. One of the primary challenges in song translation is to maintain the original meaning and emotional impact of the lyrics while adapting them to align with the cultural and linguistic context of the target audience. Furthermore, the process is complicated by the necessity to guarantee that the translated lyrics retain their melodiousness and rhythmic consistency with the source music. Despite the inherent complexity, the translation of songs is of paramount importance for the global dissemination of music, and plays a pivotal role in transcending linguistic and cultural barriers. The utilisation of pre-written poetry in the process of song translation, as opposed to the direct translation of the musical composition and lyrics, provides a vast scope for the examination of transtextuality and its ramifications in intercultural contexts. This study examines the songs Sessiz Gemi 1975 and Do Do Do Do Si Re Re 1980 by Turkish pop artist Hümeyra through the lens of transtextuality, analyzing the translation strategies employed. The original title of the piece, Sans Toi Je Suis Seul, performed by Christian Delagrange, was replaced with the poem Sessiz Gemi. The original title of the piece, Le Mendiant de Lamour, performed by Enrico Macias, was translated with the title Do Do Do Do Si Re Re and two piece were performed by Hümeyra. In the source culture, the first of the songs, performed by two different singers, used Yahya Kemal Beyatlıs poem instead of writing lyrics, while the second song had new lyrics that phonetically resembled the refrain. This study revealed that the same singer employed disparate translation strategies for disparate songs performed in relatively recent periods and analysed in the context of transtextuality. As a result, in order to produce a successful translation product in song translations, the necessity of translating or not translating the lyrics of the source culture with strict rules at the textual level, taking into account the musical elements of the lyrics in the source culture, has been examined, and the role of transtextuality in song translations has been discussed.

 The evaluation of a translated song necessitates a multifaceted approach, encompassing considerations of singability, rhythmic compatibility with the original melody, fidelity to the source text, and the preservation of emotional and sensory resonance. One of the primary challenges in song translation is to maintain the original meaning and emotional impact of the lyrics while adapting them to align with the cultural and linguistic context of the target audience. Furthermore, the process is complicated by the necessity to guarantee that the translated lyrics retain their melodiousness and rhythmic consistency with the source music. Despite the inherent complexity, the translation of songs is of paramount importance for the global dissemination of music, and plays a pivotal role in transcending linguistic and cultural barriers. The utilisation of pre-written poetry in the process of song translation, as opposed to the direct translation of the musical composition and lyrics, provides a vast scope for the examination of transtextuality and its ramifications in intercultural contexts. This study examines the songs Sessiz Gemi 1975 and Do Do Do Do Si Re Re 1980 by Turkish pop artist Hümeyra through the lens of transtextuality, analyzing the translation strategies employed. The original title of the piece, Sans Toi Je Suis Seul, performed by Christian Delagrange, was replaced with the poem Sessiz Gemi. The original title of the piece, Le Mendiant de Lamour, performed by Enrico Macias, was translated with the title Do Do Do Do Si Re Re and two piece were performed by Hümeyra. In the source culture, the first of the songs, performed by two different singers, used Yahya Kemal Beyatlıs poem instead of writing lyrics, while the second song had new lyrics that phonetically resembled the refrain. This study revealed that the same singer employed disparate translation strategies for disparate songs performed in relatively recent periods and analysed in the context of transtextuality. As a result, in order to produce a successful translation product in song translations, the necessity of translating or not translating the lyrics of the source culture with strict rules at the textual level, taking into account the musical elements of the lyrics in the source culture, has been examined, and the role of transtextuality in song translations has been discussed.

 Şarkı çevirisi, çevrilen şarkı sözlerinin söylenebilir olması, müzikle ritmik olarak uyumlu olması, sözlerin kaynak metne sadakati ve duygusal ve duyusal yankıyı hissettirmesi gibi birçok farklı açıdan değerlendirilmesi gereken bir eylemdir. Şarkı çevirisindeki temel zorluklardan biri, şarkı sözlerinin kaynak kültürdeki anlamını ve duygusal etkisini korurken bunları hedef kitlenin kültürel ve dilsel bağlamına uyacak şekilde uyarlayabilmektir. Bu süreç, çevrilen şarkı sözlerinin kaynak kültürdeki müzikle söylenebilirliğini ve ritmik uyumluluğunu korumasını sağlama ihtiyacı nedeniyle daha da karmaşık hâle gelmektedir. Tüm bu karmaşıklığına rağmen, şarkı çevirisi, küresel müzik yayılımı açısından çok önemli olup aynı zamanda dilsel ve kültürel engellerin aşılmasına da katkı sağlamaktadır. Şarkı çevirisinde, müziği doğrudan alıp şarkı sözlerini çevirmek yerine daha önceden yazılmış şiir kullanımıysa metinsel aşkınlığı ve bunun kültürlerarası bağlamdaki etkilerini keşfetmek için geniş bir alan açmaktadır. Bu çalışmada Hümeyra adlı Türk pop sanatçısının 1975 yılında seslendirdiği Sessiz Gemi ve 1980 yılında seslendirdiği Do Do Do Do Si Re Re adlı şarkıları metinsel aşkınlık bağlamında ele alınarak çevirileri değerlendirilmiştir. Christian Delagrange tarafından seslendirilen ve orijinal adı Sans Toi Je Suis Seul adlı şarkı Sessiz Gemi şiiriyle ikame edilerek; Enrico Macias tarafından seslendirilen ve orijinal adı Le Mendiant de Lamour adlı şarkı da Do Do Do Do Si Re Re adıyla çevrilerek Hümeyra tarafından icra edilmiştir. Kaynak kültürde iki farklı şarkıcı tarafından seslendirilen şarkıların ilkine söz yazmaktansa Yahya Kemal Beyatlının şiiri kullanılmış, ikinci şarkıya ise nakaratının fonetik olarak benzetildiği yeni sözler yazılmıştır. Bu çalışmada, şarkı çevirilerinde başarılı bir çeviri ürünün ortaya çıkması için kaynak kültürdeki şarkı sözlerinin müzikal unsurları da dikkate alınarak salt metin düzeyinde katı kurallarla çevrilmesiçevrilmemesi gerekliliği ve metinsel aşkınlığın şarkı çevirilerindeki yeri tartışılmış, aynı şarkıcının nispeten yakın dönemlerde seslendirdiği farklı şarkılara farklı çeviri stratejileri uygulandığı tespit edilmiştir.

Makale detayları

A TranstextualityPerspective on Song Translations: Sessiz Gemi and Do Do Do Do Do Si Re Re Re Example

Yazarlar:

Esra Çimen Karayürek

Yayıncı:

Yusuf ÇETİN

Ana Başlıklar:

Çeviri ve Yorum Çalışmaları

Dergi:

Söylem Filoloji Dergisi Issue Çeviribilim Özel Sayısı II, pp.469-481

Belge Tipi:

Makale

Yayın Tarihi:

3/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001332503

pISSN:

2548-0502

Humeyra

song translation

intertextuality

popular music transmission

hypertextualityHümeyra

şarkı çevirisi

metinlerarasılık

popüler müzik aktarımı

anametinsellik

Sayı

Makale detayları

Yazarlar: Esra Çimen Karayürek

Yayıncı: Yusuf ÇETİN

Ana Başlıklar: Çeviri ve Yorum Çalışmaları

Dergi: Söylem Filoloji Dergisi Issue Çeviribilim Özel Sayısı II, pp.469-481

Belge Tipi: Makale

Yayın Tarihi: 3/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001332503

pISSN: 2548-0502

Sayı

Yazarlar:

Esra Çimen Karayürek

Yayıncı:

Yusuf ÇETİN

Ana Başlıklar:

Çeviri ve Yorum Çalışmaları

Dergi:

Söylem Filoloji Dergisi Issue Çeviribilim Özel Sayısı II, pp.469-481

Belge Tipi:

Makale

Yayın Tarihi:

3/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001332503

pISSN:

2548-0502