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Makale Özeti:
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Among the literary genres, poetry is the one that resists translation the most. Creating a new and innovative language that breaks the usual rules of the standard language with brand-new uses and meanings is probably one of the most important goals of the poet. Poetry challenges the translator to capture not only original images, exceptional symbolism, and subjective connotations but also its musicality, rhythm, and measure. Faced with this revolutionary use of language, the translator needs a guide so as to not get lost in the labyrinths of the poetic universe. The universe of sound and meaning unique to each language and the incompatibility of these languages with each other makes the duty of the translator seem impossible. At this point, semiotics may function as a guide, opening up the mysteries of the universe built by the poet and giving clues as to how it can be conveyed in the target language. This allows us to suggest the cooperation of semiotics and translation. From this perspective, we aim to present a case study that exemplifies this cooperation. Our corpus comprises Shakespeare’s sonnet 130 and its Turkish and French translations. The study treats the translator as the receiver of the source text and the producer of the target text in the light of the Theory of Instances of Enunciation propounded by Jean-Claude Coquet. Further, through the Systematics of Designificative Tendencies propounded by Sündüz Öztürk Kasar, the study compares the translators’ creations to the original sonnet to see the extent to which the balance of the original text’s meaning and form is preserved in the translations and how skillfully and competently the signs that constitute the universe of meaning are transmitted in the target languages.
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