translation studies and remakes: a case study on
TRANSCRIPT
Hacettepe University Graduate School of Social Sciences
Department of Translation and Interpreting
TRANSLATION STUDIES AND REMAKES: A CASE STUDY ON TRANSLATION OF CULTURE SPECIFIC ITEMS IN TURKISH
REMAKE OF TV SERIES SHAMELESS (US)
Doğukan DUMAN
Master’s Thesis
Ankara, 2022
TRANSLATION STUDIES AND REMAKES: A CASE STUDY ON TRANSLATION OF CULTURE SPECIFIC ITEMS IN TURKISH
REMAKE OF TV SERIES SHAMELESS (US)
Doğukan DUMAN
Hacettepe University Graduate School of Social Sciences
Department of Translation and Interpreting
Master’s Thesis
Ankara, 2022
YAYIMLAMA VE FİKRİ MÜLKİYET HAKLARI BEYANI
Enstitü tarafından onaylanan lisansüstü tezimin/raporumun tamamını veya herhangi bir kısmını, basılı (kağıt) ve elektronik formatta arşivleme ve aşağıda verilen koşullarla kullanıma açma iznini Hacettepe Üniversitesine verdiğimi bildiririm. Bu izinle Üniversiteye verilen kullanım hakları dışındaki tüm fikri mülkiyet haklarım bende kalacak, tezimin tamamının ya da bir bölümünün gelecekteki çalışmalarda (makale, kitap, lisans ve patent vb.) kullanım hakları bana ait olacaktır.
Tezin kendi orijinal çalışmam olduğunu, başkalarının haklarını ihlal etmediğimi ve tezimin tek yetkili sahibi olduğumu beyan ve taahhüt ederim. Tezimde yer alan telif hakkı bulunan ve sahiplerinden yazılı izin alınarak kullanılması zorunlu metinlerin yazılı izin alınarak kullandığımı ve istenildiğinde suretlerini Üniversiteye teslim etmeyi taahhüt ederim.
Yükseköğretim Kurulu tarafından yayınlanan “Lisansüstü Tezlerin Elektronik Ortamda Toplanması, Düzenlenmesi ve Erişime Açılmasına İlişkin Yönerge” kapsamında tezim aşağıda belirtilen koşullar haricince YÖK Ulusal Tez Merkezi / H.Ü. Kütüphaneleri Açık Erişim Sisteminde erişime açılır.
o Enstitü / Fakülte yönetim kurulu kararı ile tezimin erişime açılması mezuniyet tarihimden itibaren 2 yıl ertelenmiştir. (1)
o Enstitü / Fakülte yönetim kurulunun gerekçeli kararı ile tezimin erişime açılması mezuniyet tarihimden itibaren ..... ay ertelenmiştir. (2)
o Tezimle ilgili gizlilik kararı verilmiştir. (3) ……/………/……
Doğukan DUMAN
“Lisansüstü Tezlerin Elektronik Ortamda Toplanması, Düzenlenmesi ve Erişime Açılmasına İlişkin Yönerge”
(1) Madde 6. 1. Lisansüstü tezle ilgili patent başvurusu yapılması veya patent alma sürecinin devam etmesi durumunda, tez danışmanının önerisi ve enstitü anabilim dalının uygun görüşü üzerine enstitü veya fakülte yönetim kurulu iki yıl süre ile tezin erişime açılmasının ertelenmesine karar verebilir.
(2) Madde 6. 2. Yeni teknik, materyal ve metotların kullanıldığı, henüz makaleye dönüşmemiş veya patent gibi yöntemlerle korunmamış ve internetten paylaşılması durumunda 3. şahıslara veya kurumlara haksız kazanç imkanı oluşturabilecek bilgi ve bulguları içeren tezler hakkında tez danışmanının önerisi ve enstitü anabilim dalının uygun görüşü üzerine enstitü veya fakülte yönetim kurulunun gerekçeli kararı ile altı ayı aşmamak üzere tezin erişime açılması engellenebilir.
(3) Madde 7. 1. Ulusal çıkarları veya güvenliği ilgilendiren, emniyet, istihbarat, savunma ve güvenlik, sağlık vb. konulara ilişkin lisansüstü tezlerle ilgili gizlilik kararı, tezin yapıldığı kurum tarafından verilir *. Kurum ve kuruluşlarla yapılan işbirliği protokolü çerçevesinde hazırlanan lisansüstü tezlere ilişkin gizlilik kararı ise, ilgili kurum ve kuruluşun önerisi ile enstitü veya fakültenin uygun görüşü üzerine üniversite yönetim kurulu tarafından verilir. Gizlilik kararı verilen tezler Yükseköğretim Kuruluna bildirilir.
Madde 7.2. Gizlilik kararı verilen tezler gizlilik süresince enstitü veya fakülte tarafından gizlilik kuralları çerçevesinde muhafaza edilir, gizlilik kararının kaldırılması halinde Tez Otomasyon Sistemine yüklenir.
* Tez danışmanının önerisi ve enstitü anabilim dalının uygun görüşü üzerine enstitü veya fakülte yönetim kurulu tarafından karar verilir
ETİK BEYAN
Bu çalışmadaki bütün bilgi ve belgeleri akademik kurallar çerçevesinde elde ettiğimi, görsel,
işitsel ve yazılı tüm bilgi ve sonuçları bilimsel ahlak kurallarına uygun olarak sunduğumu,
kullandığım verilerde herhangi bir tahrifat yapmadığımı, yararlandığım kaynaklara bilimsel
normlara uygun olarak atıfta bulunduğumu, tezimin kaynak gösterilen durumlar dışında
özgün olduğunu, Dr. Öğr. Üyesi Sinem BOZKURT danışmanlığında tarafımdan
üretildiğini ve Hacettepe Üniversitesi Sosyal Bilimler Enstitüsü Tez Yazım Yönergesine göre
yazıldığını beyan ederim.
Doğukan DUMAN
iv
To my wonderful and loving family:
your compassion, strength, and unconditional love are what carry me through my darkest days. Thank you for being there.
v
ACKNOWLEDGEMENTS
Foremost, I would like to express my deepest and my sincerest gratitude to my dear
advisor Dr. Sinem BOZKURT, who has been one of the biggest contributors to my
success. I could not have finished my thesis if she had not guided me both academically
and psychologically throughout this difficult process. It is one of my greatest lucks that I
had the opportunity to work under her supervision. She will always be a role model for
my future career.
My deepest gratefulness must also be extended to Doç.Dr. Şirin OKYAYUZ for being an
academic inspiration for my thesis and for contributing with her valuable comments on
my thesis.
I am also indebted to Prof.Dr. Aslı Özlem TARAKÇIOĞLU for sharing her precious time
to contribute my thesis with her insightful comments.
Last but not least, I offer my endless gratitude and love to my precious family, who
prepared me for life and supported me with their unconditional love in every step I take.
They are the biggest supporters of my dreams; without them I wouldn't have dared to
embark on this adventure.
vi
ÖZET
DUMAN, Doğukan. Çeviribilim ve Yeniden Çevrimler: Shameless (ABD) Dizisinin Türkçe Yeniden Çevriminindeki Kültüre Özgü Ögelerin Çevirisi Üzerine Bir Vaka Çalışması. Yüksek Lisans Tezi, Ankara, 2022.
Çalışma alanı bakımından düşünüldüğünde, çeviri disiplinlerarası çalışmaya oldukça müsaittir. Bu disiplinlerarası alanlardan biri de genelde medya çalışmaları ve uyarlama çalışmaları, özelde ise yeniden çevrimlerdir. Yeniden çevrimler, basit tabiriyle var olan bir yapımın yeniden üretilmesi, Méliès’in 1896 yılında çektiği Un partie de cartes isimli film ile sinema tarihinde yerini almıştır. Yeniden çevrimlerin çeviri çalışmaları alanına dahil olması ise daha sonra gerçekleşmiştir. Çok uzun bir zaman, yeniden çevrimler çeviri çalışmaları bağlamında ihmal edilmiştir. Bu durum, günümüz dünyasında medya organlarında yeniden çevrimlere bolca yer verildiği de göz önünde bulundurulunca, çeviri çalışmaları kapsamında büyük bir akademik eksikliğe neden olmuştur. Bu çalışmanın amacı, çeviri çalışmaları alanında ihmal edilmiş ve bu nedenle az sayıda çalışma olan yeniden çevrimleri çalışmak ve yeniden çevrimlerde kültüre özgü ögelerin çevirisinin nasıl gerçekleştiğini incelemektir. Bunun için ABD yapımı bir televizyon dizisi olan Shameless ve onun Türkçe yeniden çevrimi olan Bizim Hikaye dizisi incelenmiştir. Kaynak ve erek dizideki kültüre özgü ögeler tespit edilmiş ve Pedersen’in (2005) çeviri stratejisi modeline göre incelenmiştir. Bu incelemeler sonucunda yeniden çevrimlerin kendine has özellikleri ile ilişkili olarak, çevirmenlerin kültüre özgü ögelerin çevirisinde karşılaştığı zorluklarda ağırlıklı olarak erek metne yakın çeviri stratejilerini tercih ettiği, çevirinin erek kültürün sosyo-kültürel özelliklerinden fazlasıyla etkilendiği, özellikle belli alt başlıkların çevirisinde belli çeviri stratejilerinin ön plana çıktığı tespit edilmiştir. Yapılan incelemeler sonucunda, hemen hemen tüm çeviri stratejilerinin, yeniden çevrimlerin doğası gereği, kaynak metni erek metne yaklaştırmayı hedeflediği, ancak bunu yaparken uyarlama ve kültürel yerine koyma kadar tamamen çıkarma stratejilerini de kullandığı bulgular arasındadır. Erek kültürün sosyo-kültürel özellikleri ile paralel olarak tabu öğeler, marka isimleri ve dini bağlamdaki kültüre özgü ögelerin çevirisinde kullanılan stratejilerde özellikle bir örüntü tespit edilmiştir. Çeviri stratejilerinin kullanımında tespit edilen bu örüntünün de hikâyenin anlatısını etkilediği ve erek diziyi kaynak diziye oranla sosyal hassasiyetleri daha çok gözeten bir dizi haline getirdiği ortaya konulmuştur.
Anahtar Sözcükler: çeviribilim ve medya çalışmaları, yeniden çevrimler, kültüre özgü ögeler, çeviri ve kültür, görsel işitsel çeviri
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ABSTRACT
DUMAN, Doğukan. Translation Studies and Remakes: A Case Study on Translation of Culture Specific Items in Turkish Remake of TV Series Shameless (US). Master’s Thesis, Ankara, 2022.
Considering its field of study, translation studies is quite suitable for interdisciplinary work and remakes are one of them. Remakes took their place in the history of cinema with the movie Un partie de cartes in 1896. The involvement of remakes in the field of translation studies took place much later. This situation has caused a scholarly gap in the field of translation studies considering that the remakes are widely used in the media outlets of today's world. The aim of this study is to examine remakes in order to contribute filling this gap and to analyze how culture specific items (CSIs) are transferred in remakes. To this end, the TV series Shameless (US) and its Turkish remake Bizim Hikaye are analyzed. CSIs in the source and target series are identified and analyzed according to Pedersen’s (2005) translation strategy model. It was found that, in line with the unique characteristic of remakes, translators mainly preferred target oriented translation strategies in translating CSIs and translation was highly influenced by the socio-cultural characteristics of the target culture, especially in the translation of certain sub-headings. It was demonstrated that almost all translation strategies, due to the nature of remakes, aim to bring the source text closer to the target text. The translation strategies include complete omissions as well as situational paraphrase and cultural substitution. In parallel with the socio-cultural characteristics of the target culture, a particular pattern has been identified in the strategies utilized in the translation of sexuality and taboo related items, brand names and CSIs in the religious context. It has been revealed that this pattern detected in the use of translation strategies also affects the narrative of the story and makes the target series a TV show that considers social sensitivities more than the source series.
Keywords: translation studies and media studies, remakes, culture specific items,
translation and culture, audio visiual translation
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TABLE OF CONTENTS
KABUL VE ONAY .......................................................................................................... i
YAYIMLAMA VE FİKRİ MÜLKİYET HAKLARI BEYANI .................................. ii
ETİK BEYAN ................................................................................................................ iii
ACKNOWLEDGEMENTS ............................................................................................ v
ÖZET ............................................................................................................................... vi
ABSTRACT ................................................................................................................... vii
TABLE OF CONTENTS ............................................................................................ viii
ABBREVIATIONS ........................................................................................................ xi
TABLES ......................................................................................................................... xii
FIGURES ..................................................................................................................... xiii
INTRODUCTION ........................................................................................................... 1
CHAPTER 1: AUDIOVISUAL TRANSLATION ....................................................... 6
1.1. DEFINITION OF AUDIOVISUAL TRANSLATION ........................................... 6
1.2. THE BIRTH OF AUDIOVISUAL TRANSLATION ............................................. 7 1.2.1. A Glimpse of History of Audiovisual Translation Within Translation Studies ........... 8
1.2.1.1 Common Types of Audiovisual Translation .......................................................... 9 1.2.1.1.1 Subtitling ......................................................................................................... 9 1.2.1.1.2 Dubbing ......................................................................................................... 12
1.2.2. Brief History of Audiovisual Translation in Turkey .................................................. 15 1.2.3. Radio And Television Supreme Council (RTÜK) In Turkey .................................... 17
1.3. REMAKES ............................................................................................................... 18 1.3.1. Classification of Remakes .......................................................................................... 21 1.3.2. Remakes in Turkey ..................................................................................................... 25 1.3.3. The Position of Remakes in Translation Studies ....................................................... 28
CHAPTER 2: CONCEPT OF CULTURE AND CULTURE SPECIFIC ITEMS . 31
2.1. CONCEPT OF CULTURE ..................................................................................... 31
ix
2.2. DEFINITION OF CULTURE SPECIFIC ITEMS ............................................... 33 2.2.1. Classification of CSIs and a New CSI Classification ................................................ 35
2.3. TRANSLATION STRATEGIES FOR TRANSLATION OF CSIS ................... 43 2.3.1 Micro Strategies: Pedersen’s Translation Strategies ................................................... 43
2.3.1.1. Retention ............................................................................................................. 44 2.3.1.2. Specification ........................................................................................................ 44
2.3.1.2.1. Explicitation ......................................................................................................... 45
2.3.1.2.2. Addition ........................................................................................................ 45 2.3.1.3. Direct Translation ................................................................................................ 45 2.3.1.4. Generalization ..................................................................................................... 45 2.3.1.5. Substitution .......................................................................................................... 46
2.3.1.5.1. Cultural Substitution .................................................................................... 46 2.3.1.5.2. Paraphrase .................................................................................................... 46
2.3.1.5.2.1. Paraphrase with sense transfer .............................................................. 47
2.3.1.5.2.2. Situational Paraphrase ........................................................................... 47
2.3.1.6. Omission .............................................................................................................. 48
CHAPTER 3: BRIEF INFORMATION ON SHAMELESS (US) AND BİZİM
HİKAYE ......................................................................................................................... 49
3.1. SHAMELESS (US) .................................................................................................. 49
3.2. BİZİM HİKAYE ...................................................................................................... 50
3.3. COMPARATIVE ANALYSIS OF THE TV SERIES SHAMELESS (US) AND BİZİM HİKAYE ............................................................................................................. 52
3.3.1. Differences in the Theme of Sexuality ....................................................................... 53
3.3.2. Differences in the Theme of Family .......................................................................... 54
3.3.3. Differences in the Theme of Social Values and Truths ............................................. 54
CHAPTER 4: A CASE STUDY ON TRANSLATION OF CULTURE SPECIFIC
ITEMS IN TURKISH REMAKE OF TV SERIES SHAMELESS (US) ................. 56
4.1. A COMPARATIVE ANALYSIS OF SHAMELESS (US) AND BİZİM HİKAYE ........................................................................................................................................... 56
CHAPTER 5: RESULTS AND DISCUSSION ......................................................... 120
5.1. RESULTS ............................................................................................................... 120 5.1.1. Overall Data on CSIs and Translation Strategies ..................................................... 120
5.1.2. Data on Translation Strategies by CSI Categories ................................................... 121
5.1.2.1. Place Names and Ecology ................................................................................. 121
x
5.1.2.2. Person’s Names ................................................................................................. 122 5.1.2.3. Legal and Political System ................................................................................ 122 5.1.2.4. Institutions and Organizations ........................................................................... 123 5.1.2.5. Foods and Drinks .............................................................................................. 123 5.1.2.6. Education ........................................................................................................... 124 5.1.2.7. Religion and Beliefs .......................................................................................... 124 5.1.2.8. Entertainment, Customs and Habits .................................................................. 125 5.1.2.9. Slang and Interjections ...................................................................................... 125 5.1.2.10. Measurements and Financial System .............................................................. 126 5.1.2.11. Brand Names ................................................................................................... 126
5.2. DISCUSSION ......................................................................................................... 127
CONCLUSION ............................................................................................................ 145
BIBLIOGRAPHY ....................................................................................................... 151
APPENDIX A: ETHICS BOARD WAIVER FORM .............................................. 170
APPENDIX B: ORIGINALITY REPORT ............................................................... 172
xi
ABBREVIATIONS
Audio Visual Translation : AVT
Culture Specific Item(s) : CSI(s)
Extralinguistic Culture-bound Reference : ECR
Radio and Television Supreme Council : RTÜK
Source Language : SL
Target Language : TL
Target Text : TT
Source Text : ST
xii
TABLES
Table 1 List of Turkish Remakes by Okyayuz (2016, pp. 228-229) .............................................. 26
Table 2 Henrik Gottlieb’s (2007, p. 7) classification of intrasemiotic translation types ............. 29
Table 3 Brand Names Translated by Using Omission Strategy ................................................. 140
Table 4 CSIs Containing Taboo Words ...................................................................................... 141
Table 5 CSIs That Translated by Using Omission and Situational Paraphrase Strategies .......... 143
xiii
FIGURES
Figure 1 Distribution of CSIs According to Categories .............................................................. 120 Figure 2 Proportional Distribution of Translation Strategies .................................................... 121
Figure 3 Ratio of Translation Strategies Used in Place Names and Ecology ............................. 121
Figure 4 Ratio of Translation Strategies Used in Person’s Names ............................................ 122
Figure 5 Ratio of Translation Strategies Used in Legal and Political System ............................. 122
Figure 6 Ratio of Translation Strategies Used in Institutions and Organizations ...................... 123
Figure 7 Ratio of Translation Strategies Used in Foods and Drinks .......................................... 123
Figure 8 Ratio of Translation Strategies Used in Education ...................................................... 124
Figure 9 Ratio of Translation Strategies Used in Religion and Beliefs ....................................... 124
Figure 10 Ratio of Translation Strategies Used in Entertainment, Customs and Habits ........... 125
Figure 11 Ratio of Translation Strategies Used in Slang and Interjections ............................... 125
Figure 12 Ratio of Translation Strategies Used in Measurements and Financial System ......... 126
Figure 13 Ratio of Translation Strategies Used in Brand Names .............................................. 126
Figure 14 End credits of the TV series Bizim Hikaye ................................................................. 127 Figure 15 Shameless (US) Episode 01 - Fiona enters her brothers’ room in order to wake them
up .............................................................................................................................................. 128
Figure 16 Bizim Hikaye Episode 01 – Filiz enters her brothers’ room in order to wake them
up………………………………………………………………………………………………………………………………………...129
Figure 17 Shameless (US) Episode 01 - Ian and Lip race all the way to the
bathroom……………………………………………………………………………………………………………………………. 129
Figure 18 Bizim Hikaye Episode 01 - Rahmet and Hikmet race all the way to the bathroom……………………………………………………………………………………………………………………………129
Figure 19 Shamelesss (US) Episode 02 – Fiona in the police station ........................................ 130
Figure 20 Bizim Hikaye Episode 02 - Filiz in the police station ................................................. 130
1
INTRODUCTION
Remakes emerged in the history of cinema with the reproduction of Lumiere's movie
Partie d'écaeté in 1896 by Méliès as Un partie de cartes (Evans, 2018, p. 160). In the
academic context, various definitions of remakes have been tried and Thomas Leicht's
(2002) definition of "new versions of old films" (p. 37) is probably the most
comprehensive. Leicht's definition, creates the image that remakes are a single type of
production or simply produced, when in fact, remakes have been categorized and
subdivided according to production method. Duruxman’s classifications of remakes
(1975) is one of these. Druxman (1975) categorized the remakes according to “the way
they were made” and grouped them under 3 categories (as cited in Verevis, 2004, pp. 89-
90). Another researcher who classified remakes is Robert Eberwein (1998). Eberwein
(1998) categorized remakes according to the way they were made and examined them
under 15 different categories (p. 28-30).
Studies concentrating on remakes, initially studied within the scope of film studies, are
are considerably low in translation studies. While there are researchers such as Lucy
Mazdon (1996), who stated that remakes can be examined within the scope of translation
studies (as cited in Evans, 2014, p. 302), as Okyayuz states (2017), there are also different
scholars who argue that examining reamkes within the scope of translation studies may
create an unnecessary interdisciplinarity (p. 112). Within the Turkish context, there are
very few researchers who work at the intersection between remakes and translation
studies (see Okyayuz, 2017; Erguvan, 2020).
Both by emphasizing the academic gap that arises from the scarcity of studies in the world
and in Turkey and by emphasizing the interdisciplinary nature of translation studies, this
master’s thesis will aim to examine how CSIs are translated in remakes. The first part of
the study will focus on the micro context to reveal which types of CSIs pose challanges
in the translation and/or adaptation process of the remake selected for this study and
which translation strategies are chosen to overcome challanges. By examining the
possible reasons behind the choices in this micro context, the effects of these choices are
2
also evaluated on a macro level. A pattern has been identified in the preference of certain
translation strategies in certain CSI groups as a result of the analysis. It is among the
findings that this situation is in parallel with some socio-cultural norms of the target
culture.
The number of studies examining remakes in the field of translation studies is very
limited. In Turkey remakes are frequently featured in media outlets. On the other hand
there is the lack of academic research in AVT in the field in Turkey. The fact that there
is only one thesis on remakes in the field of translation studies in the database of the
National Thesis Center is proof of the lack of work in this field. Thus it is clear that more
research on remakes under the scope of translation studies becomes necessary as it is
essential to improve awareness about the translational act performed during the remaking
process.
The main purpose of this study is to examine the transfer of CSIs in remakes. While
doing this, the study, particularly, aims to discover (1) what aspects of the remakes allow
them to be examined within the scope of translation studies, (2) what kind of restrictions
the translators (or other parties such as screenwriters, producers and broadcasters who
undertake the translational act) encounter during the transfer of CSIs, (3) what translation
strategies are used to overcome the difficulties encountered in the translation of CSIs, and
(4) how the socio-cultural characteristics and other factors of the recipient culture affect
the translator or the translation process.
My research questions are as follows:
1.What are the main features of remakes that allow us to examine them in the context of
translation studies?
2. What are the factors that restrict the translation of CSIs in remakes?
3. What kind of difficulties the CSIs present in the process of a remaking? Which
translation strategies have been employed to overcome challanges?
4. Is there any pattern in the use of translation strategies? If any, what kind patterning can
be pinpointed accroding to CSI groupings? How can the rationale behind this be
explained?
3
5. How did the preferred strategies change the narration of the story when analyzed in a
macro context?
As for the metadology of this thesis, the study is descriptive in nature since the main
purpose of the study is to examine the translation of CSIs in remakes. The US-made
Shameless TV series and its Turkish remake, Bizim Hikaye (Our Story), were selected as
the corpus of data for the study. The main reason why I chose Shameless (US) and Bizim
Hikaye TV series as corpus is that I had already watched Shameless (US) long before I
have decided to work on this thesis. The reason why I chose Shameless (US) instead of
Shameless (UK) is that Bizim Hikaye is based on the Shameless (US), not the UK version.
Since the target series has been on air for three seasons, the first three seasons of the
source series were examined in order to ensure narrative parity. Jan Pedersen’s (2005)
translation strategies orginally proposed for audiovisual translation subtitling practices
were used as the model for the analysis of the micro context. I specifically chose
Pedersen's (2005) strategies because he designed these strategies for the translation of
audiovisual products available on TV.
First of all, the scenes that contain CSIs in the source series Shameless (US) and their
equivalents in Bizim Hikaye were determined. While identifying these CSIs, Aixela's
(1996, p. 57) definition of CSI was taken as a basis. The main reason for this is that this
definition of Aixela is very dynamic, just like the nature of the remakes. The CSIs in the
relevant scenes were grouped according to the my own classification based on the
previous classifications by Aixela (1996, pp. 59-60), Antonini (2007, p. 160), Espindola
(2006, pp. 49-50) and Newmark (1988, pp. 95-102). One reason I put forward my own
CSI classification is that the titles of the existing classifications are specific to the related
studies. Another, and essentially more important, reason is that none of the CSI
classifications already existed are for audiovisual translation. For this reason, I have put
forward a CSI classification consisting of 11 titles and these are: 1) Place Names and
Ecology, 2) Person’s Names, 3) Legal and Political System, 4) Institutions and
Organizations, 5) Foods and Drinks, 6) Education, 7) Religion and Beliefs, 8)
Entertainment, Customs and Habits, 9) Slang and Interjections, 10) Measurements and
Financial System and 11) Brand Names. Later, these CSIs were analyzed according to
4
Pedersen's (2005) translation model which was orginally proposed for audiovisual
translation practices. I specifically chose Pedersen's (2005) strategies because he designed
these strategies for the translation of audiovisual products available on TV. His strategies
includes retention, specification, direct translation, generalization, substitution and
omission (Pedersen, 2005, p. 4-9). To this end, 72 CSIs were analyzed in 46 scenes in
total. The results were presented in graphs using descriptive statistical analysis methods,
and the findings were discussed in the discussion part and lastly, conluding remarks were
presented in the conclusion.
The data set examined in this thesis are limited to a single series and its remake and the
number of seasons that were remadecorresponding to the first three seasons of the source
series. In the micro context, the study is limited to examination of the translation of CSIs.
From a macro perspective it is limited to examination of the “translational effect” created
by the use of the translation strategies.
The fact that only one series and its remake are examined may be intrepreted as a
constraint considering the lack of studies in the field in a country with an abundance of
remakes. More material can be examined over a longer period of time to validate the
findings of the study.
This thesis consists of five chapters. Chapter 1 begins with the definition of audiovisual
translation and addresses the history of audiovisual translation in the world and in Turkey.
It also includes a breif overview of the basic types of audiovisual translation proper
subtitling and dubbing. The chapter also briefly outlines the work of the Radio and
Television Supreme Council, the institution monitoring broadcasting in Turkey. This
brief introduction is followed by various definitions of the remakes, the focus of the
thesis. The chapter continues with a brief history of remakes. Finally, the chapter ends
with discussions about the status of remakes in translation studies.
Chapter 2 deals with the concept of culture in general since another focal point of the
study is the translation of the CSIs. The chapter, which starts with a definition of culture,
later examines the concept of CSI and presents varying definitions of this concept. The
existing taxonomies for CSIs are preesented explaining a rationale fort the taxonomy
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selected fort he study. The translation strategies that will be used in the translation
analysis of this study are also presented in this section.
Chapter 3 begins by giving information about the source and target series. A comparative
analysis of both TV series in terms of certain key points are presented in this chapter.
Chapter 4 presents the case study. In this chapter, there is a comparative analysis of the
scenes obtained from the English source text and its Turkish remake, particularly focusing
on CSIs.
Chapter 5 includes the data obtained in chapter 4 and it is presented in the results section
and discussed in the discussion section.
Finally, the conclusion section summarizes all these discussions and the findings. In this
section, research questions are also answered and further studies within the field are
mentioned.
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CHAPTER 1: AUDIOVISUAL TRANSLATION
1.1. DEFINITION OF AUDIOVISUAL TRANSLATION
Before providing a short overvie of the history of audiovisual translation, it may be useful
to take a look at the definitions for this type of translation, to better understand the
concept. One of the most simplistic definitions of this concept was penned by Luis Perez-
Gonzalez (2009) when he suggested “audiovisual translation is a branch of translation
studies concerned with the transfer of multimodal and multimedial texts into another
language and/or culture” (p. 13). In this context multimodal referes to the interpretation
and production of audiovisual texts based on conveying different semiotic sources and
modes. Audiovisual texts are also multimedial because these semiotic modes are
presented simultaneously with a wide range of media interfaces.
Karamitroglou (2000) provides insight into the definition of audiovisual translation while
explaining it predecesors:
‘Audiovisual translation’ is the term I use to refer to what has been also called ‘screen translation’ or ‘film translation’. The term ‘screen translation’ emphasizes the locative of the medium/carrier where the translation product appears, namely the TV, cinema, or video screen. (p. 1)
Thus, Karamitroglou is tsating that audiovisual translation is the translation performed in
an environment containing acoustic and visual elements such as television, cinema and
video screen.
Similarly, Chiaro (2012) describes audiovisual translation as follows:
Audiovisual translation (AVT) is the term used to refer to the transfer from one language to another of the verbal components contained in audiovisual works and products. Feature films, television programs, theatrical plays, musicals, opera, Web pages, and video games are just some examples of the vast array of audiovisual products available and that require translation. (p. 1)
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Although audiovisual translation has been named differently by many scholars in the
academic community such as "cinema translation", "constrained translation", "screen
translation", "multimedia translation" and "film translation", today it would not be wrong
to state that the most widely used concept to define the field is "audiovisual translation"
(Ay, 2019, p. 30).
The variety of definitions are quite similar as the definitions have become more inclusive
due to the increase of multimedia tools where audiovisual texts may exist.
1.2. THE BIRTH OF AUDIOVISUAL TRANSLATION
First examples of audiovisual translation date back to the intertitles in the first silent films.
The intertitles in silent movies consisted of pieces of text (printed or drawn) that were
placed between the movie scenes, and they are considered to be the ancestors of today's
subtitles (Karamitroglou, 2000, p. 7). These were the first examples of language (albeit
in the written mode) in film. In some cases, these were translated into the languages of
the target recievers when the silent film in question travelled across countries. Then, with
the emergence of audio films towards the 1930s, the concept of the linguistic mode
changed as the language mode was henceforth relayed as an auditory channel. This is
when the translation of language in film or the auditory channel of film became more
necessary and more complicated.
The first international sound film, The Jazz Singer, was produced by Warner Brothers and
released in 1927 (O’Sullivan and Cornu, 2019, p. 17). With the integration of sound
alongside the image, a number of challanges occured, and new solutions were offered to
these difficulties. One of these solutions was to shoot the same movie and the same scenes
by actors who speak the target language fluently (Karamitoglou, 2000, p. 8). Of course,
since this method was really time consuming and financially demanding, it was replaced
by "revoicing" (Karamitoglou, 2000). O'Sullivan and Cornu (2019) summarized the
methods used at that time as follows:
Simultaneously and in different parts of the world, processes and methods were developed which broadly fall into two categories: adding written texts in the form of titles superimposed onto the film or projected on an adjacent screen; or replacing the original dialogues with lines spoken in languages that could be understood by local audiences. Adding titles that could be read simultaneously with hearing the characters speak became known as subtitling. Changing the spoken language of the
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film was achieved through two main strategies: the illfated multilinguals and the much more enduring dubbing process. (p. 18)
1.2.1. A Glimpse of History of Audiovisual Translation Within Translation Studies
Diaz-Cintas (2004) made the following statements regarding the low number of studies
however, audiovisual translation is very common in a practical context:
A clear paradox exists which emphasizes the surprising imbalance between the little research on audiovisual translation and its enormous impact on society. In numerical terms, the translation carried out in the audiovisual realm is the most important translational activity of our time. Firstly, because of the high number of people it reaches, mainly through television. Secondly, because of the large quantity of translated products which cross over to other cultures: documentaries, films, news, debates, concerts, television series, etc. Thirdly, because of the immediacy of its reception: television, cinema, DVD. (p. 50)
Gambier and Gottlieb (2001) argue that Reiss is the first person to speak of "audiomedial"
texts and draw attention to this field (p. x). According to Diaz-Cintas (2003), the first term
used scholarly for this area is film translation (p. 194). The special issue of Babel named
"Cinema et traduction" published in 1960 is accepted as the starting point of the
audiovisual translation studies that accelerated towards the end of the 90s (Koç, 2018, p.
7). The first academic conference in this subject field was held in Stockholm under the
leadership of the European Publishers Association in 1987 (Koç, 2018, p. 7).
Until the 90s, the studies in this area were rare and not very comprehensive. In the 90s,
as an inevitable effect of the developing technology and the globalizing world,
audiovisual translation began to exist in almost every field in application. This increase
in everyday use of audiovisual translation also triggered the studies in this subject field.
Diaz-Cintas (2009) described this period as a "golden age" and said:
The proper beginning of a real flurry of activity can be traced to the 1990s – AVT’s golden age. The field became the object of more systematic research from a translational perspective in educational, scholarly and professional circles…we have been flooded with contributions on AVT and the true scholarly emergence of the field. Given the numerous conferences and other events regularly organized on the topic, AVT seems to have finally come of age academically…Gone are the days
9
when scholars needed to start their papers with a reference to the limited amount of research carried out in this field, followed by a detailed explanation of the terminology used and the few publications available in this area before moving on to the real focus of their study. (p. 3)
Today, audiovisual texts have become an inevitable part of our lives. The biggest reason
for this is that with the development of technology, the environments where audiovisual
translation may exist increased, and this developing technology also facilitated easier but
also complicated audiovisual translation practices. At this point, it will be useful to take
a look at the common audiovisual translation practices.
1.2.1.1 Common Types of Audiovisual Translation
There are about thirteen types of audiovisual translation that have become part of our
lives, and Gambier (2003) listed these types as follows: dominant types such as
interlingual subtitling, dubbing, consecutive interpreting, simultaneous interpreting,
voice-over, free commentary, sight translation, multilingual production; challenging
types such as script translation, intralingual subtitling, real time subtitling, surtitling and
audio description (pp. 172-176). De Linde & Kay (1999) defined these as the sub-types
of two main alternatives: subtitling and voice-over (p. 1-2).
Just as there are different varieties of audiovisual translation, there are also various
methods of transferring a foreign production to different foreign audiences: 1) as an
original, 2) dubbing and subtitling with its subcategories 3) adaptations and remakes.
Among these methods, dubbing and subtitling fall within the scope of translation studies.
Before moving on to the relatively neglected sub-category of these methods which are
adaptations and remakes, it will be useful to look at subtitling and dubbing thus, the
similarities and differences between remake and subtitling and dubbing can be grasped
more easily.
1.2.1.1.1 Subtitling
Subtitling that has been practiced since 1929, has only found the academic stimulation it
deserves recently (Gottlieb, 1992, p. 161). Before explaining the details of this
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academically long-overlooked audiovisual translation type, it will help to understand its’
nature. Diaz Cintas and Ramael (2007), two prominent scholars in this field, defines the
subtitling as follows:
Subtitling may be defined as a translation practice that consists of presenting a written text, generally on the lower part of the screen, that endeavors to recount the original dialogue of the speakers, as well as the discursive elements that appear in the image (letters, inserts, graffiti, inscriptions, placards, and the like), and the information that is contained on the soundtrack (songs, voices off). (p. 7)
Gottlieb (1992) on the other hand, defines it as “a written immediate, additive,
synchronous and poly-medial form of translation” (p. 162). Shuttleworth and Cowie
(1997) describe subtitling as “the process of providing synchronized captions for
film and television dialogue (and more recently for live opera)” (p. 161). Chiaro
(2012) briefly expresses it as “an abbreviated written translation of what can be
heard on screen” (p. 4). Luis Perez-Gonzales (2009) explains subtitling as follows:
Subtitling consists of the production of snippets of written text (subtitles, or captions in American English) to be superimposed on visual footage – normally near the bottom of the frame – while an audiovisual text is projected, played or broadcast. (p. 14).
Jorge Diaz Cintas (2010) presents a definition on subtitling in a book chapter in Handbook
of Translation Studies as follows:
By way of definition, subtitling consists in rendering in writing the translation into a TL of the original dialogue exchanges uttered by the different speakers, as well as of all other verbal information that is transmitted visually (letters, banners, inserts) or aurally (lyrics, voices off). (p. 344).
Among many other typologies such as off-line subtitles, live subtitles, it has
generally divided into two main groups according to linguistic parameters:
intralingual subtitles and interlingual subtitles (Diaz Cintas and Ramael, 2007, pp.
13-25). Transferring the oral speech into the written text is called intralingual
subtitling, which is generally produced for minorities in a community to enhance
their language capacity of the related country they live in or for the deaf and hard-
of-hearing to make the media content accessible for them. In intralingual subtitling
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for deaf and hard-of-hearing, the paratextual elements such as background noises,
speakers identification etc are also expressed. On the other hand, interlingual
subtitling defined as the process of providing viewers with a written rendition of
the source text speech, whether dialogue or narration, in their own language (Perez-
Gonzalez, 2009, p. 14).
Subtitling, one of the most common types of audiovisual translation, has several
constraints. Hatim and Mason (1997) discuss the basic constraints that may cause
difficulties in the process of subtitling within four sub-categories (pp. 65-66):
1) The shift in mode from speech to writing.
2) Factors, which govern the medium or channel in which meaning is to be conveyed.
3) The reduction of the source text as a consequence of (2) above.
4) The requirement of matching the visual image.
As for the first item, transferring what is spoken and seen on the screen into a
written text is not an easy task. One reason is the difference between spoken versus
written language. Spoken language is generally considered much more informal
than the written language. In addition, it is not only the dialogues that need to be
transferred into writing.
The restrictions in Hatim and Mason's second item are known as physical
restrictions, and they are related to the physical characteristics of the subtitling.
There are several restrictions in subtitling process such as the number of lines,
number of characters in each line and the duration they appear on the screen.
According to Ivarsson and Carroll (1998) the number of the lines in a subtitle should
not be more than two (p. 2). As for the duration of the subtitle and the number of
characters in each line Diaz Cintas (2008) states:
Traditionally, the so called “six second rule” has been applied for television subtitling, which means that an average viewer can comfortably read in six seconds the text written on two full subtitle lines, when each line contains a maximum of around 37 characters, i.e. a total of 74 characters. (p. 97)
Ideally, each line should be syntactically self-contained and if there will be two lines with
an unequal length, the short one must be the first one on the top to eliminate unnecessary
eye-tracking and blockage of the image (Ivarsson and Carroll, 1998, p. 2).
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The third item directly related to the second item, because most of the time, it is not
possible to meet the requirements mentioned above without reducing the source text. It is
generally easier to comprehend what is said orally than what is said written, thus the
subtitler should either give the audience extra time or reduce the words by deleting,
condensing or adapting. Since the first option is not possible due to the restrictions
mentioned in the previous category, the only choice seems to be reducing the source text
in the target product. Diaz Cintas and Ramael (2007) claim that there are two types of
reduction as “partial” and “total” and explain them as follows:
Partial reduction is achieved through condensation and a more concise rendering of the ST. Total reduction is achieved though deletion or omission of lexical items. Very often both processes are combined, leading to the rewriting that is so typical of subtitling. In other words, having assessed how much time and space are available for a given translation, and having ascertained that some form of text reduction is required, the subtitler then proceeds to eliminate what is not relevant for the comprehension of the message, and/or reformulate what is relevant in as concise a form as is possible or required. (p. 146)
The last category stated by Hatim and Mason is probably one of the most crucial elements.
If the subtitles and scenes in an audiovisual medium are not synchronized properly, the
quality of the translation will be lacking. According to Diaz Cintas (2007) “poor timing,
with subtitles that come in too early or too late or leave the screen without following the
original soundtrack are confusing, detract from enjoying a programme” (p. 90).
Therefore, there is a possibility that an erroneously done synchronization will ruin the
entire translation. Fortunately, there are computer programs available today that can track
where conversations begin and make the synchronization process much easier.
1.2.1.1.2 Dubbing
Dubbing has entered our lives with the early sound motion pictures, and it has been
defined many times by various scholars from the field. In one of the pioneering works on
this subject, Film dubbing: Phonetic, semiotic, esthetic and psychological aspects, István
Fodor (1976) denotes dubbing as "new sound recording of the text of a film translated
into the language of the country in which it is to be shown" (p. 9). Burgess (1980) argues
that the dubbing involves the partial or complete replacement or modification of the
13
soundtrack of the original movie and suggests that three different definitions can be made
(p. 297):
(a) to make a new recording out of an original tape or record or track in order to accommodate changes, cuts or additions
(b) to insert a totally new soundtrack, often a synchronized translation of the original track
(c) to insert sound into a film or tape.
Luyken et al. (1991), on the other hand, defines it as “the replacement of the original
speech by a voice-track which is a faithful translation of the original speech and which
attempts to reproduce the timing, phrasing and lip movements of the original” (p. 73).
Dries (1995) described dubbing as the technique of covering the original sound in an
audiovisual product by another sound (p. 9). Similarly, Karamitroglou (2000) delineates
it as “a specific revoicing technique attempts to cover entirely the spoken source text with
a target text adjusted to fit the –visible- lip movements of the original” (pp. 5-6). In a
book chapter, Chaume (2006) explains it as “a replacement of the original track of a film
containing the source language dialogues, for another track on which translated dialogs
in the target language are recorded” (p. 6).
Considering these definitions, it can be seen that the definitions are similar and one of the
commonalities is the call for synchronization. Chaume (2004) explains synchronization
as “the process of recording a translation in any given target language in a dubbing studio,
matching the translation with the screen actors’ body movements and articulatory
movements” (p. 42). Although some scholars, such as Zabalbeascoa (1997, p. 30), oppose
it; in general, synchronization is one of the most important features of dubbing and is
considered to be the main feature that differentiates it from other types of audiovisual
translation.
Just like in the subtitling, dubbing has also several advantages and disadvantages. In terms
of providing less distraction while watching a movie or a program, dubbing is therefore
a more preferred form of audiovisual translation for children and viewers with a limited
degree of literacy (Perez-Gonzalez, 2009, p. 17). Dubbing also allows for creating the
same effect of the original dialogue by reproducing the interactional dynamics and
14
prosodic features such as tonality, tonicity, pitch-direction, loudness and tempo of an
audiovisual product (Perez-Gonzales, 2009, p. 18). On the other hand, due to the technical
equipment and team irequired the dubbing process is both expensive and time-consuming
Consequently, it is mostly preferred in countries such as Austria, Belgium, Brazil, China,
Czech Republic, France, Germany, Hungary, India, Iran, Italy, Japan, Korea, Peru,
Slovakia, Spain and Turkey that are large enough to provide financial return of the
dubbing process (Bosseaux, 2019, p. 48). Danan (1991) asserts that dubbing may be
politically motivated and, despite its cost, may be preferred due to nationalism and
protective language policies (pp. 606-610). Regarding dubbing becoming a tool of
censorship with political motivations, O'Sullivan and Çornu (2019) state:
While commercial circumstances contributed to the development of dubbing, this translation method was also fostered by legal and political contexts. In Italy, dubbing was used as a weapon with which Mussolini’s fascist regime consolidated its prohibition of foreign languages in cinemas. As part of this nationalist policy, a 1933 decree only allowed Italian-dubbed versions made in Italy for release. (p. 22).
Dubbing may also hinder the original nature of a movie or program, as it gives the
audience the impression that they speak the same language as the actors (Danan, 1991, p.
612).
Finally, to explain the dubbing process, first of all, it begins with the word-for-word
translation of the film or the audiovisual programme, a “dubbing translator” then adapts
this to actors' lip movements, gestures and facial expressions, and lastly a sound engineer
combines the soundtracks of the original audiovisual product with the dubbing sound
(Chiaro, 2012, p. 3).
Before moving on the brief history of audiovisual translation in Turkey, it would be
usefull to explain Even-Zohar's polysystem theory briefly, because the development of
audiovisual translation in Turkey will be more comprehensible when it is considered in
terms of the center-periphery relationship in Even-Zohar's (1990) polysystem theory (p.
14).
15
Polysystem theory examines translated literature in a cultural context and determines its
importance in the target system. Each text type is treated as a system. These systems are
in constant interaction with each other. Even-Zohar (1990, p. 47) argues that translated
literature is in "primary" (producing new works) and "secondary" positions, and states
that certain conditions must exist for any translation to be in a primary position. He puts
forward these conditions as follows (Even-Zohar, 1990, p. 47):
(a) when a poly- system has not yet been crystallized, that is to say, when a literature is "young," in the process of being established; (b) when a literature is either "peripheral" (within a large group of correlated literatures) or "weak," 1 or both; and (c) when there are turning points, crises, or literary vacuums in a literature.
Even-Zohar (1990) states that when a literature is weak or is at peripheral, that is, its
repertoire is also weak and this gap can be filled completely or partially through
translation (p. 47). When the broadcasting history of Turkish television is analyzed
according to this polysystem theory, it can be seen that when the repertoire was “missing”
in certain periods, and this gap was tried to be filled through translation (Erguvan and
Işıklar Koçak, 2020, p. 62).
1.2.2. Brief History of Audiovisual Translation in Turkey
When the development of audiovisual translation in Turkey is examined, it is obvious that
Turkish television frequently used it as a convenient tool to fill the gap present in its
polysystem. In her work which she examined the development of audiovisual translation
in Turkey and its relationship with power, Ayşe Şirin Okyayuz (2017) divided these
developmental phases into 5 main periods (pp. 118-130):
1. The Beginning: 1914-1950s
2. The Peak of Adaptations: 1960s-1983
3. Enterance Television: 1968
4. Enterance Private TV and Subtitling: 1985-2000
5. A Wealth of AVT in the 21st Century
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Since original productions were difficult for many reasons, including economic
circumstances, in a newly established country and in a post-war environment, audiovisual
translation was a useful tool originally used to fill the gap in the audiovisual polysystem
(Okyayuz, 2017, p. 118). According to Arpad (1959), this situation continued until the
early 1950s, when Turkish cinema produced local productions in addition to translated
ones (as cited in Okyayuz, 2017, p. 119). In this era, which can be called as the beginning
of audiovisual translation in Turkey, common types of audiovisual translation methods
were translations through intertitles, a kind of dubbing which denoted as Turkified and
towards the end of this era, the Turkish adaptations of foreign productions became
common (Okyayuz, 2017, p. 119).
The following period was an era in which audiovisual translation peaked and experienced
a golden age in terms of the number of translations and adaptations that were arranged
according to Turkish social norms (Okyayuz, 2017, p. 120). Also, the 1960s are important
in terms of audiovisual translation becoming a new ideological tool. During this period,
various productions were shaped in line with the ideologies of the powers carrying out
the adaptation process (Okyayuz, 2017, p. 120).
In the early period of the television, which was planned to be used to serve the purpose
of culturing the nation and which radically changed the habits of Turkish society, the
dominant form of audiovisual translation was dubbing (Okyayuz, 2017, pp. 123-125).
Following the period when television entered the life of Turkish society, the first private
television channel was established, and some changes occurred in audiovisual translation
due to the socio-political developments of that period. Thanks to some ideological and
economic changes that took place during this period, Turkish society started to watch
productions that were censored less through audiovisual translation (Okyayuz, 2017, p.
128). According to Mete (1999), subtitling started to surge in this period due to economic
reasons as a result of the increasing number of content due to the rise in the number of
private television channels (as cited in Okyayuz, 2017, p. 128).
In the 21st century, with the advancing technology, changing political ideologies and the
spread of the internet, there has been an explosion in audiovisual translation (Okyayuz,
2017, p. 129). Moreover, Turkey ceased to be a country that imports foreign productions
via audiovisual translation and has become a content exporting country (Okyayuz, 2017,
17
p. 129). With the introduction of modern broadcasting platforms such as Netflix, Amazon
Prime Video and establishment of local ones such as BluTV and Puhu TV in Turkey,
audiovisual translation continues to gain popularity.
With the increase in audiovisual broadcasting, the existence of an institution to supervise
these broadcasts gained importance and RTÜK was established in Turkey, just like other
examples around the world. One of the main purposes of RTÜK is to supervise
broadcasters. According to the RTÜK law (“The Law No.6112 on the Establishment”,
n.d.), a broadcast shall not be obscene, the language used shall not be vulgar and slang, a
broadcast shall not be against the national and moral values and general morality, and
such cases are related to audiovisual translation and can play a restrictive role on it. For
this reason, it may be useful to give a brief information about RTÜK.
1.2.3. Radio And Television Supreme Council (RTÜK) In Turkey
Radio and Television Supreme Council (RTÜK) regulates radio, television and internet
boradcasts in Turkey. The Radio and Television Supreme Council was established with
the law enacted in 1994 in order to regulate private radio and television broadcasts
(“Hakkımızda”, n.d.). Board members consist of members elected by the Turkish
Parliament and these members serve for 6 years. These members elected by the council
elect a president among themselves who will serve for 2 years.
RTÜK controls broadcasting in Turkey by three different methods. These methods are
direct inspections by RTÜK's experts, inspections made in line with audience complaints
received by telephone number 178 or via e-mail, and internal inspections of broadcasters
through the audience representative (“Hakkımızda”, n.d.).
RTÜK performs these inspections on the basis of the The Law No.6112 on the
Establishment of Radio and Television Enterprises and Their Media Services, which was
adopted on February 15, 2011. This law includes regulations in many areas from
establishment principles of radio, television and internet broadcasting to the sponsorship,
broadcast bans and penalties. Some of the articles directly related to the content of the
broadcasts which are placed under the title of Principles for Media Services are as follows
(“The Law No.6112 on the Establishment”, n.d.):
18
1. Media services shall not incite the society to hatred and hostility by making discrimination on the grounds of race, language, religion, sex, class, region and sect or shall not constitute feelings of hatred in the society.
2. Media services shall not be contrary to the rule of law, the principle of justice and impartiality.
3. Media services shall not be contrary to the national and moral values of the society, general morality and the principle of protection of family.
4. Media services shall not glorify committing a crime, criminals and criminal organizations, shall not be instructive on criminal techniques.
5. Media services shall not encourage the use of addictive substances such as alcohol, tobacco products and narcotics or the gambling.
6. Media services shall not be obscene.
Until 2018, internet broadcasting was exempt from RTÜK's control. With an
executive order enacted in 2018, with an addition to the law numbered 6112, RTÜK
was also given the authority to supervise internet broadcasting (Ergüney, 2020, p.
97). The principles of this authority are determined by the law enacted on 1 August
2019. According to the paragraph b of Article 16 of this law, legal entities and
businesses broadcasting on the internet are also subjected to the principles regulated
by the law numbered 6112.
Today, there are many debates about RTÜK, which is expected to be impartial and
independent. These discussions are mostly related to the allegations that RTÜK
does not act in accordance with the principle of impartiality in its decisions or that
it exploits some certain articles, such as articles on inciting hate among the public
or protecting the family, for the purpose of censorship (Şahin, 2018). On the other
hand, there are also those who oppose this view and say that such allegations do not
reflect the truth and that RTÜK acts fairly (Kalçık, 2021).
1.3. REMAKES
The history of remakes began with the movie Un partie de cartes/Card party in 1896
produced by George Méliès, which is a remake of Luis Lumiere's Partie d'écaeté, is as
old as the history of cinema itself (Evans, 2018, p. 160). There are different definitions of
19
remakes Leicht (2002) briefly describes these kinds of productions, which are frequently
encountered throughout the history of cinema and television, as "new versions of old
films" (p. 37). Of course, this is one of the most general definitions and there are several
types of remakes. These types will be introduced in the following paragraphs, but first it
will be useful to understand why an old production is remade.
There are several reasons for the remakes of older productions, but one of the first things
that comes to mind is that they are seen as a financial guarantee (Okyayuz, 2016, p. 215).
In such productions that Verevis (2004) has included in the commercial film-making
category, the plot is often copied or reiterated with small differences (p. 88). In other
words, it can be mentioned that there is a purpose of benefiting from the success of the
old product. Harvey Greenberg (1998) takes this criticism one step further and denounces
remakes as "shallow attempts to trade on an original's smash success by using new stars,
new technology, sometimes a new setting” (p. 115). In some cases producers or directors
may choose to deny that a TV show or movie is a remake. Lauren Rosewarne (2019)
conveys the negative adjectives associated with remakes as follows:
Such productions are routinely condemned by critics, commentators, and fans as rip-offs, knockoffs, clones, pale imitations, and carbon copies, and remake is habitually coupled in reviews with adjectives like pointless, painful, excruciating, slavish, stupid, insipid, anemic, inferior, irrelevant, ill-advised, half-hearted, and redundant. (p. 8)
On mass production of remakes, contrary to these kind of negative comments, Rosewarne
(2019) cites an article on an online movie criticism website called as A Mega Nerd Media
and relates remakes to the fast-food restaurants which are hated by everyone but yet very
popular and says “despite what many say, most people love remakes” (p. 8).
A remake may have also been produced in the light of political or ideological views. For
example, a movie or TV series in which the woman's sexuality is objectified can then be
taken from a feminist point of view and remade. Cristina Lucia Stasia (2014) exemplifies
this kind of failed remakes with the film Charlie’s Angels (2011), which is a remake of
the television series aired between 1976-1981 with the same name and says “this is one
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reason that the reboot failed: it wanted women to see the Angels as heroes yet also
pandered to straight men, sexualizing the Angels” (p. 117).
Another purpose of remakes may be to produce homages or satires that reconsider the
political and psychological ideas that were hidden in the first film due to censorship etc.
(Greenberg, 1998, p. 115).
As it is demonstrated, such productions can occur for various reasons, whether for purely
financial concerns or for political or ideological reasons. Whatever the purpose of their
production is, it is a fact that these kinds of productions are frequently encountered in
both cinema and television, and productions of this type are just a kind of transfer method
of the audiovisual product in one culture to the audiovisual product in another culture. On
this, Okyayuz (2016) says as follows:
Local product can be adapted or remade. The boundaries of the difference between
these two options are quite ambiguous. To say whether a product is an adaptation or
a remake may vary depending on what perspective the case is viewed from or what
definitions are used. (p. 216)
[Throughout this thesis, all translations from Turkish to English were made by the
researcher unless otherwise stated.]
Though the boundries between adaptation and reamake remain ambiguous, an adaptation
usually entails a medium change. Hucheon (2006) defines adaptation in the narrowest
sense as “a creative and interpretive transposition of a recognizable other work or works”
(p. 33). This transposition generally occurs from a novel, a play or a short story to a screen
product. Brashinsky (1998) further reinforces the argument that the difference between
an adaptation and remake is the medium by saying "unlike the stage production of a play
or the film adaptation of a literary work, the remake interprets the work of the same
medium" (p. 163). Loock and Verevis (2012), who have similar opinions on this issue,
express their views as follows:
[…] this definition seems equally applicable to each, but what typically distinguishes the concepts is the relation between the new version—adaptation or remake—and the medium of the original artifact. A remake is generally considered a version of another film, whereas one of the principal arguments of adaptation theory is
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concerned with the movement between different semiotic registers, most often between literature and film. (p. 6)
However, in today's adaptation studies, these kinds of medium-restricted views gradually
lose their importance. Rosewarne (2019) asserts that the distinction between remake and
adaptation becomes even more complicated when the director or producer rejects the
remake status of a production that is clearly perceived as remake by the audience (p. 4).
While the surest distinction between a remake and an adaptation is the clear acceptance
of copyright, in situations like mentioned in the previous sentence, it can become
somewhat complicated. At this point, it would be useful to take a look at the remake
taxonomies that can bring this ambiguity to some certainty.
1.3.1. Classification of Remakes
The first of several taxonomies on remakes is the classification that Druxman (1975, pp.
13-15) puts forward in his book Make it Again, Sam: A Survey of Movie Remakes.
Druxman (1975) divides Hollywood remakes into the following three categories (as cited
in Verevis, 2004, pp. 89-90):
i) the disguised remake: a literary property is either updated with minimal change, or retitled and then disguised by new settings and original characters, but in either case the new film does not seek to draw attention to its earlier version(s), e.g., Colorado Territory (Raoul Walsh, 1949) as a disguised remake of High Sierra (Raoul Walsh, 1941)
(ii) the direct remake: a property may undergo some alterations or even adopt a new title, but the new film and its narrative image do not hide the fact that it is based upon an earlier production, e.g., William Wellman’s 1939 remake of Beau Geste (Herbert Brenon, 1926)
(iii) the non-remake: a new film goes under the same title as a familiar property but there is an entirely new plot, e.g., Michael Curtiz’s 1940 version of The Sea Hawk (part of the Errol Flynn swashbuckling cycle) is said to bear little relation to First
National’s 1924 adaptation of the Rafael Sabatini novel.
Perhaps the most comprehensive taxonomy in this matter belongs to Eberwein. Eberwein
(1998) in a book chapter in Play It Again Sam classifies remakes under 15 categories as
follows (pp. 28-30):
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1. a) A silent film remade as a sound film: Ben Hur (Fred Niblo, 1926, and William Wyler,1959);
b) a silent film remade by the same director as a sound film: Ernst Lubitsch's Kiss
Me Again (1925) and That Uncertain Feeling (1941) or Cecil B. DeMille's The Ten
Commandments (1923 and 1956);
c) a major director's silent film remade as a sound film by a different major director: F. W. Murnau's Nosferatu (1922) and Werner Herzog's Nosferatu, the Vampire (1979).
2. a) A sound film remade by the same director in the same country: Frank Capra's Lady for a Day (1936) and A Pocketful of Miracles (1961);
b) a sound film remade by the same director in a different country in which the same language is spoken: Alfred Hitchcock's The Man Who Knew Too Much (1934, England, and 1954, United States);
c) a sound film remade by the same director in a different country with a different language: Roger Vadim's And God Created Woman . . . (1957, France, and 1987, United States).
3. A film made by a director consciously drawing on elements and movies of another director: Howard Hawks's and Brian DePalma's Scarface (1932 and 1983); Alfred Hitchcock's Vertigo (1959) (and Rear Window [1955] and Psycho [1960]), and DePalma's Obsession (1976), Body Double (1984), and Raising Cain (1992).
4. a) A film made in the United States remade as a foreign film: Diary of a
Chambermaid by Jean Renoir (1946, France) and Luis Buñuel (1964, France);
b) a film made in a foreign country remade in another foreign country: Yojimbo (Akira Kurosawa, 1961) and A Fistful of Dollars (Sergio Leone, 1964);
c) a foreign film remade in another foreign country and remade a second time in the United States: La Femme Nikita (Luc Besson, 1990, France), Black Cat (1992, Hong Kong) (thanks to Scott Higgins), and Point of No Return (John Badham, 1993);
d) a foreign film remade in the United States: La Chienne (Jean Renoir, 1931) and Scarlet Street (Fritz Lang, 1945) and Breathless (Jean-Luc Godard, 1960, and Jim McBride, 1983).
5. a) Films with multiple remakes spanning the silent and sound eras: Sadie
Thompson (Raoul Walsh, 1928), Rain (Lewis Milestone, 1932) and Miss Sadie
Thompson (Curtis Bernhardt, 1953);
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b) films remade within the silent and sound eras as well as for television: Madame X (Lionel Barrymore, 1929 [the third silent remake of the silent film]; Sam Wood, 1937; David Lowell-Rich, 1966 [the Lana Turner version]; and, for television, Robert Ellis Miller, 1981 [with Tuesday Weld]).
6. a) A film remade as television film: Sweet Bird of Youth (Richard Brooks, 1962, and Nicholas Roeg, 1989);
b) a film remade as a television miniseries: East of Eden (Elia Kazan, 1955, and Harvey Hart, 1981);
c) a television series remade as a film: Maverick (Richard Donner, 1994) and The
Flintstones (Brian Levant, 1994).
7. a) A remake that changes the cultural setting of a film: The Big Sleep (Howard Hawks, 1946, United States, and Michael Winner, 1978, Great Britain);
b) a remake that updates the temporal setting of a film: Murder, My Sweet (Edward Dmytryk, 1944) and Farewell My Lovely (Dick Richards, 1975); A Star Is Born (William Wellman, 1937, George Cukor, 1954, and Frank Pierson, 1976); Out of the
Past (Jacques Tourneur, 1948) and Against All Odds (Taylor Hackford, 1984);
c) a remake that changes the genre and cultural setting of the film: The Lives of a
Bengal Lancer (Henry Hathaway, 1935) remade as a western, Geronimo (Paul H. Sloane, 1939); the western High Noon (Fred Zinnemann, 1954) remade as the science fiction film Outland (Peter Hyams, 1981).
8. a) A remake that switches the gender of the main characters: The Front Page (Lewis Milestone, 1931); His Gal Friday (Howard Hawks, 1941);
b) a remake that reworks more explicitly the sexual relations in a film: William Wyler's These Three (1936) and The Children's Hour (1961); The Blue Lagoon (Frank Launder, 1949, and Randal Kleiser, 1980).
9. A remake that changes the race of the main characters: Anna Lucasta (Irving Rapper, 1949, with Paulette Goddard; Arnold Laven, 1958, with Eartha Kitt).
10. A remake in which the same star plays the same part: Ingrid Bergman in the Swedish and American versions of Intermezzo (Gustav Molander, 1936, and Gregory Ratoff, 1939); Bing Crosby in Holiday Inn (Mark Sandrich, 1942) and Holiday Inn (Michael Curtiz, 1954).
11. A remake of a sequel to a film that is itself the subject of multiple remakes: The
Bride of Frankenstein (James Whale, 1975) and The Bride (Frank Roddam, 1985).
12. Comic and parodic remakes: Frankenstein (James Whale, 1931) and Young
Frankenstein (Mel Brooks, 1954); Strangers on a Train (Alfred Hitchcock, 1951) and Throw Mamma from the Train (Danny DeVito, 1987).
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13. Pornographic remakes: Ghostbusters (Ivan Reitman, 1984) and Ghostlusters
(1991); Truth or Dare (Alex Kashishian, 1991) and Truth or Bare (1992) (thanks to Peter Lehman).
14. A remake that changes the color and/or aspect ratio of the original: The Thing (Christian Nyby, 1951, black-and-white; John Carpenter, 1982, color and Panavision); Invasion of the Body Snatchers (Don Siegel, 1956, black-and-white and Superscope; Phil Kaufman, 1978, color and 1.85 to 1 aspect ratio).
15. An apparent remake whose status as a remake is denied by the director; Michelangelo Antonioni's Blow-Up (1966) and Francis Ford Coppola's The
Conversation (1974).
As can be seen, Eberwein has classified remakes, extensively. In such an in-depth
classification, it is no surprise that a production falls into more than one category. For
example, the TV series Bizim Hikaye, which is the subject of this study, can be examined
under category 7 and 11. Since Bizim Hikaye is a remake of the US version of the series,
it will inevitably change the cultural setting due to being a transnational remake and can
therefore be studied under Eberwein’s 7th category. Considering Bizim Hikaye as a
remake of the Shameless (US), which is a remake of the TV series Shameless (UK), it can
also fall under the 11th category.
Okyayuz (2016), who has studied on the relations between remakes and translation
studies in Turkey, asserts that there are several different productions grouped under
remakes and summarizes them as follows (pp. 221-222):
First, remakes can be categorised according to different types of audiovisual products; movie or series remakes can be mentioned (e.g. Aşk-ı Memnu is remade as both film and TV series). Secondly, the remake of the same movie or series in the same culture with a certain temporal interval can be mentioned (e.g. Çalıkuşu). Thirdly, somewhere between the remake and the adaptation axis, there can be a remake of a series as a movie or a remake of a movie as a series. Finally, there can be a contemporary remake of a contemporary film or series for a different culture and language.
Looking at all these different taxonomies, it can be noticed that very few considers TV
series within the scope of remakes. It is also evident that even the definitions are generally
based on movie remakes. In fact, the biggest difference between movie and TV series
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remakes, which are similar in many ways, is the difficulty of matching narrative parity
(Okyayuz, 2016, p. 220). While it is difficult to maintain narrative parity between the
original audiovisual product and its remake in a two-hour movie, it is even more difficult
to achieve this, especially in a TV series with social and cultural content that lasts seasons
long.
1.3.2. Remakes in Turkey
In Turkey, the film and television industry has completed its development with the
adaptations and remakes of the foreign productions during its first years (Okyayuz, 2016,
pp. 214). As it stated in Çankaya's (1987) doctoral thesis titled as Türk Televizyonunun
Program Yapısı, especially in the first years of Turkish television with the increasing
broadcasting time, foreign productions were preferred to fill these extra periods (p. 18).
Indeed, in 1969, the ratio of foreign productions to the total broadcasting time was 43.53%
(Çankaya, 1987, p. 30), and this rate has increased to 45% by 1985 and the TV series had
a share of 12.8% in total broadcasting time (Çankaya, 1987, p. 129). When the
productions in the recent TV market are examined, it is possible to say that this rate has
not decreased much today.
However, it can be observed that there are also some ambiguities arising from the
confusing boundaries between adaptation and remake. For example, the productions such
as Tatlı Hayat (2001-2004), Doktorlar (2006-2011), Umutsuz Ev Kadınları (2011-2014)
and Medcezir (2013-2015), which are respectively the Turkish versions of The Jeffersons
(1975-1985), Grey's Anatomy (2005-), Desperate Housewives (2004-2012) and The O.C.
(2003-2007) accordingly, are considered as remakes in Okyayuz’s (2016, pp. 228-232)
research, they are studied as adaptations in a master’s thesis written by Aysel Zehra Kara
(2019, pp. 142-153) in the field of communication studies studies. At this point,
considering the definitions in the previous paragraphs, this thesis takes its central views
from Okyayuz. In other words, in this study, the TV series denounced by Aysel Zehra
Kara as adaptations will be called as remakes in line with the definitions made in the
previous paragraphs.
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Some of the TV series Okyayuz (2016, pp. 228-232) considers as remakes in the 2000-
2014 period due to an open copyright agreement between the source and target producers
and acknowledgement of the original screen writer in the credits are as follows:
First Production Remake
The Nanny (1993-1999) Dadı (2001-2002)
Married with Children (1987-
1997)
Evli ve Çocuklu (2004)
Who is the Boss? (1984-1992) Patron Kim? (2010)
Three’s Company (1977-1984) Çat Kapı (2005)
Ugly Betty (2006-2010) Sensiz Olmuyor (2005)
According to Jim (2001-2008) Cuma’ya Kalsa (2010)
The Golden Girls (1985-1992) Altın Kızlar (2009)
Dharma and Greg (1997-2002) Aslı ile Kerem (2002)
The Jeffersons (1975-1985) Tatlı Hayat (2001-2004)
Hope and Faith (2003-2006) Belalı Baldız (2005-2006)
Monk (2002-2009) Galip Derviş (2013-2014)
Glee (2009-2015) Muck (2012)
Gossip Girl (2007-2012) Küçük Sırlar (2010-2011)
The O.C. (2003-2007) Medcezir (2013-2015)
Revenge (2011-2015) İntikam (2013-2014)
Dawson’s Creek (198-2003) Kavak Yelleri (2007-2011)
Grey’s Anatomy (2005-) Doktorlar (2006-2011)
Desperate Housewives (2004-
2012)
Umutsuz Ev Kadınları (2011-
2014)
The Jeffersons (1975-1985) Tatlı Hayat (2001-2004)
Table 1 List of Turkish Remakes by Okyayuz (2016, pp. 228-229)
I also listed some of the remakes that were broadcasted on Turkish television in the 2014 – 2021 period, and this list is as follows:
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Forbrydelsen (1999 – 2003) à Cinayet (2014)
My Husband Got a Family (2012) à Kocamın Ailesi (2014 – 2015)
Pretty Little Liars (2010 – 2017) à Tatlı Küçük Yalancılar (2015)
Full House (2004) à İlişki Durumu: Karışık (2014 – 2015)
Can Love Become Money (2012) à Kiralık Aşk (2015)
The Heirs (2013) à Çilek Kokusu (2015)
What Happens to My Family (2014 – 2015) à Baba Candır (2015 – 2017)
She Was Pretty (2015) à Seviyor Sevmiyor (2016 – 2017)
Fated to Love You (2014) à No 309 (2016 – 2017)
Flames of Desire (2010 – 2011) à Hayat Şarkısı (2016 – 2017)
Mother (2018) à Anne (2016 – 2017)
Doctors (2016) à Kalp Atışı (2017 – 2018)
Woman (2013) à Kadın (2017 – 2020)
Shameless (2011 – 2021) à Bizim Hikaye (2017 – 2019)
Ojakgyo Brothers (2011 – 2012) à Aslan Ailem (2017 – 2018)
1 Liter of Tears (2005 – 2007) à Bir Litre Gözyaşı (2018 – 2019)
Wenthworth (2013 – 2021) à Avlu (2018 – 2019)
Good Doctor (2013) à Mucize Doktor (2019 – 2021)
House M.D. (2004 – 2012) à Hekimoğlu (2019 – 2021)
This Is Us (2016 – 2022) à Bir Aile Hikayesi (2019)
Love That Makes You Cry (2016) à Aşk Ağlatır (2019)
Mr. Hiiragi’s Homeroom (2019 – present) à Öğretmen (2020)
Dix pour cent (2015 – present) à Menajerimi Ara (2020 – 2021)
Ellas son... la alegría del hogar (2009) à Hizmetçiler (2020)
Hanggang Saan (2017 – 2018) à Bir Annenin Günahı (2020)
Le Bazar de la Charité (2019) à Alev Alev (2020 – 2021)
The Split (2018 – present) à Evlilik Hakkında Her Şey (2021- present)
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1.3.3. The Position of Remakes in Translation Studies
Although scholars from film studies acknowledge that translation studies can contribute
the field of remakes, some of the scholars in the field of translation studies dispute the
unnecessary disciplinary overlap and are reluctant about this idea (Okyayuz, 2017, pp.
112).
Okyayuz (2017) states that the essence of this work is an interlingual transfer and thus,
she further claims that there should be at least one translator, one director and one
screenwriter but sometimes, several of these roles can be undertaken by the same person
(p. 114). Similarly, Luca Barra (2013) summarizes this process with an example, which
a foreign production is transferred to Italian television:
After an initial viewing and a briefing about the series (frequently skipped for lack of time), the translators follow the original audio and video, read the English script and devise an Italian version that takes into account, at least partially, the timing of the dialogues. On one hand, the main goals at this stage are fidelity to the original script and accuracy in tone and meaning; on the other, the translation must always be a useful tool for the whole Italianization process – the linguistic and cultural mediation according to the Italian audiences’ implied needs and habits. (p. 104)
As it is demonstrated, the first stage of this two-stage process begins with the translation
process while the second stage is to make the translation suitable for the dialogues of the
target culture by different experts. While this is the case, it may be considered
unnecessary traditionalism to reject the idea that remakes can be examined within the
scope of translation studies, regardless of the similarity between the first production and
the second production. In addition, this denial becomes even more interesting, given that
film theorists such as Mazdon (1996) suggests that remakes should be studied in the
context of translation theory (as cited in Evans, 2014, p. 302). Apart from film studies,
there are also scholars from the field of translation studies who suggest that remakes can
be examined in the context of translation theories such as Gottlieb, Okyayuz and Evans.
Gottlieb (2007) positions remakes under inspirational translation and classifies them as
isosemiotic and interlingual translation and says that it is a “more free and less
predictable” type of translation (pp. 5-7).
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Table 2 Henrik Gottlieb’s (2007, p. 7) classification of intrasemiotic translation types
Gottlieb (2007) further draws on translation studies and remakes by suggesting the
following:
In the interlingual sub-category, another phenomenon attracting a lot of public attention is remakes of films. Instead of merely translating the verbal elements (as in dubbing and subtitling […]), a remake transplants the entire film, setting and all, into the target culture. The resulting film may appear to be an original work, but as it is based on an existing storyline etc., it is indeed a translation. (p. 10)
Similarly, Evans (2014), another scholar who has worked on translation studies and
remakes, expresses this relationship by suggesting that "interlingual remakes are a
cinematic subset of translation characterized by key elements of multimodality, corporate
authorship and norms of adaptation" (p. 300).
Ultimately, when investigating a transfer between two different cultures and two different
languages, as it is in the TV series Shameless (US) and Bizim Hikaye, which are the
subject of this thesis, it becomes inevitable that translation is also an integral part of the
work, either metaphorically or as the practice itself.
It will be appropriate to look at Okyayuz's (2016) study, in which translation studies and
remakes are also discussed from another point of view. In addition to these two scholars’
ideas on the relationship between translation studies and remakes, Okyayuz (2016) has
also approached this relationship from a different perspective and she mentions about the
three postulates by Toury (1995) to evaluate a product as a translation (p. 216). According
30
to Toury (1995), for a text to be considered as a translation, it must be associated with the
following three postulates (p. 33):
(1) The Source-Text Postulate
(2) The Transfer Postulate
(3) The Relationship Postulate
In order for a text to be considered as a translation, there must be a source text in another
language and culture, and this is related to "The Source-Text Postulate" (Toury, 1995, pp.
33-34). The stage where the transfer took place is called "The Transfer Postulate" and
was described by Toury (1995) as "the process whereby the assumed translation came
into being involved the transference from the assumed source text of certain features that
the two now share" (p. 34). Finally, the last one suggests that there should be a relationship
between the source and target text and called as "The Relationship Postulate" (Toury,
1995, p. 35). In her study, Okyayuz (2016), places the remakes she examined under these
postulates and states that "in each remake examined, it is accepted that there is a source
text both in the opening and closing credits" (p. 226), in this way, she firmly grounds the
relationship of her work with the translation studies. Her perspective regarding Toury’s
postulates will be later discussed in this thesis.
As it can be seen in the case study chapter, the relationship between the two TV series is
obvious. In this case, according to Toury's (1995) definition, it is possible to say that there
is a translational act, and it is possible to examine this remake TV series within the scope
of translation studies.
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CHAPTER 2: CONCEPT OF CULTURE AND CULTURE SPECIFIC ITEMS
2.1. CONCEPT OF CULTURE
The concept of culture, which is suggested to be one of the most complex words in
English by Williams (1983), requires a broad definition. It is important in a wide range
of fields such as history, language, psychology, sociology and anthropology (p. 87). The
Oxford Online English Dictionary has described the concept of culture as "the customs,
ideas, beliefs, etc. of a particular society, country, etc." (culture, n.d.). Translation is of
the disciplines that culture has always played an important role in and translators are
always aware of it (Robinson, 1997, p. 170), so it will be useful to discuss different
definitions of the concept of culture.
There are many definitions of culture that have been made by scholars in many different
fields. Since choosing only one definition may be quite difficult for such a broad term,
various definitions of scholars from different field are presented.
Williams (1960), often considered the founder of the Cultural Studies, defines culture as
“a whole way of life, material, intellectual and spiritual” (p. xiv). Another definition
belongs to a prominent anthropologist, Goodenough (1964), who considered the concept
of culture as follows: "a society’s culture consists of whatever it is one has to know or
believe in order to operate in a manner acceptable to its members, and do so in any role
that they accept for any one of themselves" (p. 36). On the other hand, Duranti (1997)
describes culture as "something learned, transmitted, passed down from one generation
to the next, through human actions, often in the form of face-to-face interaction, and, of
course, through linguistic communication" (p. 24). Duranti (1997), who discusses the
concept of culture from an anthropological perspective, draws attention to the dichotomy
of the concept of culture by saying "culture is what others have, what makes them and
keeps them different, seperate from us" (p. 23). This dichotomy can be important since
the challanges that occur in the translation process may be due to these differences
mentioned by Duranti. Hall (1997), a prominent cultural theorist and sociologist,
describes culture as “whatever is distinctive about the 'way of life' of a people,
community, nation or social group” and says “culture depends on its participants
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interpreting meaningfully what is happening around them, and 'making sense' of the
world, in broadly similar ways” (p. 2). Bates and Plog (1980) delineate culture as a
“system of shared beliefs, norms, values, customs, behaviours, and artefacts that the
member of society use to cope with their world and with one another” (p. 6).
An Israeli historian Harari (2015) asserts that the key compounds of the concept of culture
consist of the enourmous variety of imaginary realities created by humankind and the
behavioral patterns resulting from these creations (p. 51).
Armstrong, working in the field of sociolinguistics, briefly describes culture as "the
totality of practices that distinguish a community, large or small" (2015, p. 181).
Translation theorist and sociolinguist Davies (2003) identifies the concept as “the set of
values, attitudes and behaviours shared by a group and passed on by learning” (p. 68).
Newmark (1988) defines the concept of culture as:
the way of life and its manifestations that are peculiar to a community that uses a particular language. Die, live, star, swim and even almost virtually ubiquitious artefacts like mirror and table are universals, usually there is no translation problem there. Monsoon, steppe, dachai tagliatelle are cultural words, there will be a translation problem unless there is cultural overlap between the source and the target language (p. 94).
When the sample defitinitions given above are examined, it may be noted that some
aredetailed, whereas some are superficial, but essentially they refer to the similar facts. It
becomes evident that the concept of culture is directly linked to the language because
culture is produced and expressed through it. On the relationship between language and
culture, Goodenough (1964) said:
in the course of learning his language and how to use it, every human being acquires the bulk of his culture. A human being can hope to acquire another society’s culture only by learning and using its language. Thus, as a set of forms, language is not only a part of culture; as a set of easily manipulated non-iconic signs, it is a major instrument for learning it (p. 39).
According to Nida (1964) “words are fundamentally symbols for features of the culture”
(p. 91). Each word produced and expressed in a certain culture and the cultural situation
in both source language and target language must be known by the translator during
translation process in order to produce an effective translation. Thus, CSIs can be
challenging for translators.
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To this end, in the next section, CSIs will be defined and discussed.
2.2. DEFINITION OF CULTURE SPECIFIC ITEMS
After providing an overview of the concept of culture, it may be useful to clarify what is
meant by “a CSI”. Aixela (1996) argues that it is difficult to define, because almost
everything in a language, including language itself, is directly related to culture (p. 57).
Nevertheless, different scholars from the field of translation studies have suggested
different definitions of CSI.
In the previous section, in Duranti's definition of culture, it was stated that he drew
attention to the dichotomy of the culture and underlined the differences or gaps between
the two or more societies. Drawing attention to a similar cultural gap, Nord (1997) refers
to "cultureme" (p. 34). Nord (1997) basically describes cultureme as a social phenomenon
belonging to a culture X and its representatives, and when compared to another culture,
say culture Y, it doesn’t exist in that culture and isnt’t familiar for its members (p. 34).
Mona Baker (1992) examines this issue under common problems of non-equivalence and
refers to "culture specific concepts" (p. 21). Baker (1992) also points out the differences
between two or more cultures and said that these concepts could be various: such as
religious belief, social norms/customs and types of food that have no equivalent in the
target language or unknown to the members of the target language (p. 21).
Tymoczko (1999) identifies these items in her work Translation in a Potscolonial Context
as “metonymic evocations of the culture as a whole, including its material culture, history,
economy, law, customs, values, and so on” (p. 45).
Newmark (1988), on the other hand, denotes these items as "cultural words" and suggests
that it is easy to identify them since a literal translation cannot be preferred because literal
translation would alter the actual meaning without a proper descriptive-functional
equivalent, since they are related to a particular language (p. 95).
Leppihalme (1997) calls such items “culture bump” and asserts that “a culture bump
occurs when an individual finds himself or herself in a different, strange, or
uncomfortable situation when interacting with persons of a different culture” (p. 4).
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Florin, in his article “Realia in translation” refer to these items as "realia" and defines
them as:
words of popular language which constitute denominations of objects, concepts, which are typical of a geographical environment, of a culture, of the material life or of historical-social peculiarities of a people, a nation, a country, a tribe, and which thus carry a national, local or historical colouring; these words have not precise equivalent in other languages (1969, p. 124).
Antonini (2007), in her article “SAT, BLT, Spirit Biscuits, and the Third Amendment:
What Italians make of cultural references in dubbed texts” calls these items “culture
specific references” and delineates them as follows:
Culture specific references connoting different aspects of everyday life such as education, politics, history, art, institutions, legal systems, units of measurement, place names, foods and drinks, sports and national pastimes, as experienced in different countries and nations of the world (p. 154).
As it may be understood from the definitions presented, although every part of the
language is produced in the context of culture, scholars have drawn attention to the
differences between the two cultures, namely the cultural gap while defining the concept
of CSI. In this case, it would not be wrong to expect the translation of CSIs to be
challangeing, as the gap between the two cultures increase. Aixela comments on this issue
as follows:
[…] in other words, in translation a CSI does not exist of itself, but as the result of a conflict arising from any linguistically represented reference in a source text which, when transferred to a target language, poses a translation problem due to the nonexistence or to the different value (whether determined by ideology, usage, frequency, etc.) of the given item in the target language culture. (1996, p. 57).
Aixela (1996, p. 57) also notes that a word would be regarded as a CSI when refering to
say the English and Arabic language pair, while it is possible that the same word not be
considered a CSI when refering to thelanguage pair, say English and Spanish, due to the
level of intercultural gap (p. 58). Given his views on the CSI, Aixela (1996) defines the
concept as follows:
Those textually actualized items whose function and connotations in a source text involve a translation problem in their transference to a target text, whenever this
35
problem is a product of the nonexistence of the referred item or of its different intertextual status in the cultural system of the readers of the target text. (p. 58).
This definition provides a definition of the CSI that is as dynamic as the defitinion of the
concept of culture. Aixela (1996) says that a comprehensive and dynamic definition of
CSIs is desired because he claims the notion of CSI is time bound (p. 58). That is to say,
a CSI once belonging solely to a community or a country only, may become common in
other societies or countries in time.
In this thesis, Aixela's definition of CSI will be used due to the fact that his definition is
more dynamic and its scope is broader.
In the next section, parallel with the definitions mentioned in this part, classification of
CSIs belonging to several different scholars will be presented, and a comprehensive
classification will be introduced.
2.2.1. Classification of CSIs and a New CSI Classification
Just like the definition of the concept of culture, the definition of CSI is quite wide and
its boundries are uncertain. Different classifications have been made by different scholars
and researchers (Aixela, 1996, pp. 59-60; Antonini, 2007, p. 160; Espindola, 2006, pp.
49-50; Newmark, 1988, pp. 95-102).
Before presenting classifications of other scholars it would be appropriate to mention
Nida’s classification. He was the first to make s crude grouping of CSI’s even if he did
not use the term CSI. In his work titled “Linguistics and Ethnology in Translation
Problems”, Nida (1964) suggested that translation problems that arise due to cultural
differences in translation, in other words problems of equivalence, can be examined under
five categories. Nida (1964) listed these categories as follows:
1. Ecology
2. Material culture
3. Social culture
36
4. Religious culture
5. Linguistic culture (p. 91).
In his book A Textbook of Translation, Newmark (1988) introduced a new classification
by stating that he had adapted Nida’s classification mentioned in the previous paragraph:
1. Ecology
2. Material culture (artefacts)
3. Social culture
4. Organisations, customs, activities, procedures, concepts
5. Gestures and habits (p. 95).
Ecology includes geographical features such as flora, fauna, winds, plains and hills,
such as honeysuckle, selva, sirocco, tubeleiros (Newmark, 1988, p. 96). Material
culture consists of food, clothes, houses and towns and means of transportation,
such as sake, anorak, bourgade, cabriolet (Newmark, 1988, p. 97). Social culture
covers CSIs related to work and leisure, such as rock, condototttere, reaggae, biwa
(Newmark, 1988, p. 98). Organizations, customs, activities, procedures, concepts
indicates the CSIs related to political and administrative, religious, historical,
international and artistic terms, such as Knesset, Camera dei Deputati, Papsilicker
Stuhl, I’Ancien Regime, Staatskapelle (Newmark, 1988, pp. 99-102). Gestures and
habits refer to the CSIs that can be found in some cultures but not in others, such as
spitting as a blessing or giving a thumbs-up to say OK (Newmark, 1988, p. 102).
In a book entitled Meaning in Translation, Newmark (2010) rearranged his
classification of CSIs that he proposed in 1988 as follows:
1. Ecology
2. Public life
3. Social life
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4. Personal life
5. Customs and pursuits
6. Private passions (p. 175).
Ecology covers CSIs related to geological and geographical environment
(Newmark, 2010, p. 175), such as Ararat, Nemrut, obruk. Public life encompasses
politics, law and governmental bodies (Newmark, 2010, p. 175), such as Bundestag,
Knesset, TBMM, House of Commons. Social life refers to CSIs related to economy,
occupational items, social welfare, health and education (Newmark, 2010, p. 175),
such as lira, imamhatip lisesi, build-operate-transfer model. Personal life refers to
clothing, food and housing (Newmark, 2010, p. 175), such as karnıyarık, şadırvan,
şalvar. Customs and pursuits include numerous body language, gestures and
various means of entertainment that are distinctive for a particular culture
(Newmark, 2010, p. 175), such as making a thumbs up to say OK which has no
equivalent in some cultures, curling or saying “maşallah” in order to avoid evil eye.
Private passions cover religion, music, poetry and their different social
organisations, e.g. Bach, Goethe or New York Philharmonic (Newmark, 2010, p.
175).
In her book In Other Words, Baker (1992) divided CSIs, or culture specific concepts
in her own terms, into two main categoires as “abstract” and “concrete” and she
adds that these categories “may relate to religous belief, a social custom, or even a
type of food” (p. 21).
Aixela (1996), one of the prominent scholars working on CSIs, has classified the
concept of CSI into two main categories: "proper nouns" and "common
expressions" (p. 59). Based on Herman’s previous work (Hermans, 1988, pp. 11-
13), he further devides the first category, proper nouns, into two sub-category
which are “conventional” and “loaded” (Aixela, 1996, p. 59). Conventional proper
nouns refer to the nouns that have no meaning or association by themselves (Aixela,
1996, p. 59). On the other hand, loaded proper nouns covers the proper names that
have attributed a certain historical or cultural associations in the context of a
particular culture (Aixela, 1996, p. 59). The second main category common
38
expressions involves CSIs emcompassing “the world of objects, institutions, habits
and opinions restricted to each culture and that cannot be included in the field of
proper names” (Aixela, 1996, p. 59).
Antonini (2007), suggests six groups of CSIs and lists them as follows:
1. Education system
high school, yearbook, college, marks, etc.
2. Food and measurements
place names, mud pie, currency, sizes, etc
3. Sport
scores in football, cheerladers, players, basketball teams, etc.
4. Institutions
the American emergency number – 911, articles of Constitution,
amendments, the elctoral system, etc.
5. Famous people and events
VIPs, programmes, historical events, etc.
6. Legal system
death row/sentence, jury, US/Australian courtrooms, etc. (p. 160).
Espindola (2006) proposes twelve different categories for her research (p. 39).
Espindola’s (2006) categorization is as follows:
1. Toponyms: a place name, a geographical name, a proper name of locality,
region, or some other part of Earth's surface or its natural or artificial feature
2. Anthroponyms: ordinary and famous people’s names and nicknames and
names referring to regional background which acquire identification status
39
3. Forms of Entertainment: amusement or diversion including public
performances or shows, it also encompasses hospitality provided, such as
dinners, parties, business lunches, etc
4. Means of Transportation: the facilities used for the movement of people
and goods from one place to another
5. Fictional Character: a person in a novel, play, or a film who is related to
fiction, works of imagination
6. Brazilian Legal System: rules of conduct inherent in human nature and
essential to or binding upon human society
7. Local Institution: an organization that helps or serves people in a certain
area- health, education, work, political, administrative, religious, artistic;
8 Measuring System: units used in the determination of the size, weight,
speed, length, etc. of something in the different cultures;
9. Food and Drink: any solid or liquid substance that is used by human beings
as a source of nourishment
10. Scholastic Reference: related to school or studying;
11. Religious Celebration: to do something special to mark a religious
occasion;
12. Dialect: user-related variation, which determines speaker’s status as
regards social class, age, sex, education, etc. (pp. 19-20).
Although Espindola's classification is comprehensive, it was devised in accordance
with the examples studied by the scholar and thus may be inappropriate for other
corpuses But the idea that new classifications can be styled to cover a corpus is
novel.
40
The classifications mentioned are in some cases superficial, but their scope is broad. In
cases where existing classifications where not deeemed adequate, researchers such as
Espindola (2005, pp. 19-20), Brasienė (2013, pp. 7-10), Hemen (2014, p. 17), Çekçi
(2018, p. 10), have created new classifications suitable for their study based on previous
classifications.
Like other researchers, I have also designed a classsification which is more suitable for
studying audiovisiual products and remakes. This classification is also based on previous
classifications (Aixela, 1996, p. 59; Antonini, 2007, p. 160; Espindola, 2006, p. 39;
Newmark, 1988, p. 95; Newmark, 2010, pp. 173-177; Nida, 1964, p. 91) and it is as
follows:
1. Place Names and Ecology
2. Person’s Names
3. Legal and Political System
4. Institutions and Organizations
5. Foods and Drinks
6. Education
7. Religion and Beliefs
8. Entertainment, Customs and Habits
9. Slang and Interjections
10. Measurements and Financial System
11. Brand Names
Place Names and Ecology consist of proper names of a place and artificial (i.e.
arcitectural locations such as varenda etc.) or natural names of an environment or fauna.
These two combined under the same title since ecology and place names both deeply
connected with the location. It can be also expressed as the natural and the constructed
geography. Examples for this category can be as follows: for the non-Turkish people
Anıtkabir may only mean a memorial or a simple tomb while for Turkish people it may
41
be considered a symbol for sovereignity and independence. Likewise, “Eber Sarısı”, an
endemic plant or cassava which is a plant with a high rate of starch, may not be recognized
in Turkey.
Person’s Names cover the names of the people either famous or not and the nicknames
since they can be loaded. For example, "Oskar Schindler" who was a German investor
and saved hundreds of Jew by employing them in his factory, may be the symbol of the
freedom and life for some. This name may not make sense for people in some cultures
that are not familiar with him or history of the Holocaust. Or to give an example from
ordinary people, the Turkish name “Doğukan” means “the ruler of the east” in old Turkish
where the east was considered sacred according to the ancient Anatolian rulers. Someone
who is unaware of all this cultural background may not be able to fully comprehend the
meaning of this name.
Legal and Political System includes anything related to legal or political system of a
particular country or culture or cultures since these systems can greatly differ for each
country or culture. For example; the British House of Commons and House of Lords or
German Bundestag or Israeli Knesset, etc.
Institutions and Organizations contain anything related to local institutions or
organizations since they can differ in each country or culture. For example; there are two
institutions in the USA as Homeland Security and The United States Department of the
Interior, the first of which is mainly responsible for inland security, while the other is
responsible for adminisrative issues. But the tasks of these two institutions are within the
jurisdiction of The Ministry of the Interior in Turkey.
Foods and Drinks involve any food or drink related to a particular culture or cultures.
Such as; ale, cider, kımız, rakı, cassava, plantain, chorizo, blood pudding, etc.
Education encompasses anything related to the education and school system of a country
or culture. E.g; Gymnasium, one of four types of schools in Germany, or Abitur, a type
of qualification usually obtained at the end of the 12th grade. Likewise, the course
“Calculus” in the US. At first glance, it looks like that it can be translated as “Matematik”
in Turkish but it is quite different than that. In terms of its content and the grade at which
it is taught is different.
42
Religion and Beliefs cover anything related to religion and beliefs of a particular culture.
Such as; Orthodox, Catholic, Shia, Pope, jihad, tritheite, bapthize, etc. Although the Pope
is known to non-Christians, the related connotations of the Pope may not be clear. For the
Catholics, besides being the archbishop of the Rome, the Pope is also considered as the
successor of the Saint Peter.
Entertainment, Customs and Habits consist of anything related to the entertainment, such
as dinner parties, public performances, shows, fashion, sports or celebrations related to
particular culture or cultures and customs and habits of a particular culture. For example,
Halloween, Indian Bingo, Polo, Mardi Gras, Shibazakura Fest, April 23 National
Sovereignity and Children’s Day, drag show, giving present to the bride before wedding
etc.
Slang and Interjections include any slang and interjection related to a particular culture
such as brass monkey weather, gobsmacked, bloke, Jesus!, Holy smokes!, etc. All of this
is closely related to the collective history and experiences of a society or culture because
it has been shaped by . Therefore, their meaning in one culture may not be present in
another. Even if it does, it may not mean the same because the background on which it is
shaped is different.
Measurements and Financial System include anything related to measurements and
financial system of a particular country or a culture. Such as, inch, acre, foot, grand,
bucks, dollar, lira, sikke or currencies etc.
Brand Names contain names of the brands that are known by a particular region, country,
culture. Costco, Aldi, Lidl, Hershey’s Kisses, Tide, T.J. Maxx, etc.
I should point out that no matter how you convey a CSI, some layers of the meaning will
definitely be missing. In such a case, the translator must know the purpose of both the
translation and the CSI in the text, because s/he chooses the translation strategy s/he will
use accordingly. S/he either translates or does not translate in other words “omits”. For
example, when we consider the nature of the remakes, it is expected that the name of a
local or regional supermarket used in the source text, let's say "Aldi", will not remain the
same while being translated into Turkish. But in this case, the translator should know the
purpose of this CSI in the source text. In other words, if this CSI symbolizes the cheapness
43
or quality of this brand, it can be translated by using a similar CSI in the target text or by
conveying its context or it can be eliminated in the target text. Similarly, when translating
between two cultures with different religions and languages, it can be expected that the
CSIs in the source text will not remain the same, but at some points, the translator may
choose not to translate even if there is an expression in the target language that is suitable
for the purpose of the CSI in the source text. What I concern in this thesis is whether there
is a pattern in these preferences and, if so, what can be the possible reasons behind it. For
this reason, categories such as brand names and religion and beliefs, which are expected
to cause deviations, are also included in this classification. From this point on, it would
be useful to take a look at the translation strategies used for this analysis.
2.3. TRANSLATION STRATEGIES FOR TRANSLATION OF CSIS
There are different views for the strategies to be used in the translation of CSIs (Aixela,
1996, pp. 61-64; Baker, 1992, pp. 26-42; Davies, 2003, pp. 72-88; Hervey and Higgins,
1992, p. 28; Newmark, 1988, p. 103), but most strategiesproposed were initially for
translation of CSIs in literary translation. For this reason, in this master’s thesis
Pedersen’s (2005) audiovisual translation strategies, which he proposed for translation of
cultural words that he denoted as extralinguistic culture-bound reference (ECR), will be
used (pp. 3-9). Pedersen (2005) said that these strategies were designed according to a
scale based on Venuti's (1995) domestication and foreignization macro strategies but he
also added that he would abondon his terms and instead he would use “source language
oriented” and “target language oriented” (p. 3).
2.3.1 Micro Strategies: Pedersen’s Translation Strategies
Considering the similarity of the material and the preferred approach, Pedersen's (2005)
translation strategies that are presented in proceedings at a session called Challenges of
Multidimensional Translation at the European Union High Level Scientific Conference
will be used as micro strategies. In his study, Pedersen (2005) examined how the concepts
that he called Extralinguistic Culture-bound References (ECR) in about a hundred
44
Anglophone films and TV programs were rendered and he defined ECRs as follows (p.
2):
Extralinguistic Culture-bound Reference (ECR) is defined as reference that is attempted by means of any culture-bound linguistic expression, which refers to an extralinguistic entity or process, and which is assumed to have a discourse referent that is identifiable to a relevant audience as this referent is within the encyclopedic knowledge of this audience.
Pedersen (2005) stated in his study that he does not examine intralinguistic culture-bound
references such as idioms, slang and proverbs, but he also stated that the strategies in his
model can be used in studies containing such culture-bound references with small
modifications (p. 2). Pedersen (2005) explained that the strategies proposed for subtitle
translation, may be easily applied for other translation types and he arranged these
strategies according to Venutian grading which varies from the most foreignizing to the
most domesticating strategies (p.3). These strategies can be listed as follows (pp. 4-9):
1. Retention
2. Specification
3. Direct Translation
4. Generalization
5. Substitution
6. Omission
2.3.1.1. Retention
Perhaps one of the most widely used translation strategies in the translation of ECRs,
retention is one of the most source-oriented translation strategies, as it allows a Source
Language (SL) concept to enter the Target Language (TL) text (Pedersen, 2005, p. 4). In
this translation strategy, the SL concept is left unchanged or slightly modified to make it
suitable for TL conventions, for example adapting the spelling.
2.3.1.2. Specification
The SL culture-bound item is left unchanged, and information that is not present in SL is
added to TT, so the culture-bound reference in TT becomes more specific than SL text
(Pedersen, 2005, p. 4). This can be achieved in two ways: Explicitation or Addition.
45
2.3.1.2.1. Explicitation
In this strategy, source text item is made more explicit in the target text by adding an
information that does not exist in the source text. This should not be confused with
addition. Explicitation is in a much narrower context, for example, an abbreviation that
is opened or adding a name next to a surname.
Example:
OECD (ST) à OECD, Ekonomik Kalkınma ve İşbirliği Örgütü (TT)
Jagger (ST) à Mick Jagger (TT)
2.3.1.2.2. Addition
In this strategy, information about the item in the source text, which is not included in the
source text, is added to the target text. Thus, the translator assumes the role of a cultural
guide for the target audience of the target culture.
Example:
Michael Schumacher (ST) à Ünlü Formula 1 pilotu Michael Schumacher (TT)
Kit Harrington (ST) à Game of Thrones dizisinin başrol oyuncusu Kit Harrington (TT)
2.3.1.3. Direct Translation
It is a translation strategy in which nothing is added or removed while rendering the SL
culture-bound item, the semantic load remains the same, and no effort has been made to
guide the TT audience or transfer the connotation (Pedersen, 2005, p. 5).
Example:
Apple pie (ST) à Elmalı turta (TT)
2.3.1.4. Generalization
This strategy is done by changing a much more specific SL culture-bound item with a
more general TL item in the TL text (Pedersen, 2005, p. 6). This, again, should not be
confused with Addition since added items in Generalization strategy makes the SL item
46
less specific in the TL text while the added item in Addition makes the SL item in the TL
more specific.
Example:
Michael Schumacher (ST) à Sporcu (TT)
2.3.1.5. Substitution
This strategy includes changing SL culture-bound reference with either a different
culture-bound reference or some kind of paraphrase, which does not necessarily include
a culture-bound reference (Pedersen, 2005, p. 6). It can be done in different ways: Cultural
Substitution or Paraphrase.
2.3.1.5.1. Cultural Substitution
In this strategy, the reference in the source culture language is replaced with a different
culture specific reference that is expected to be known by the audience of the target
culture or by a TL reference. The two reference in both languages should contain some
relations.
Example:
Mr. Bean (ST) à Kemal Sunal (TT)
Hot Dog (ST) à Köfte Ekmek (TT)
Prison Board (ST) à Ceza ve Tevkifevleri Genel Müdürlüğü (TT)
Child Protective Services (ST) à Çocuk Esirgeme Kurumu (TT)
In these examples, Mr. Bean replaced by Kemal Sunal who is an actor generally plays in
comedy films just like Mr. Bean. Köfte ekmek is a to-go, street food just like hot dog. To
sum, there are several certain relationships between the two references.
2.3.1.5.2. Paraphrase
This strategy can be applied in two ways:
47
2.3.1.5.2.1. Paraphrase with sense transfer
This strategy involves the paraphrasing the SL reference with its sense or connotation,
which does not involve any CSI. The length of the paraphrase may vary in accordance
with the familiarity of the target text audience with the source language reference.
Example:
(ST) Herkes senin gibi sütlaç yemek zorunda değil. à Not everyone has to eat a dessert
that contains milk sugar and rice.
2.3.1.5.2.2. Situational Paraphrase
In this strategy, everything related to the source language reference is removed and
replaced with something else in accordance with the text or case. In this strategy, TL
sentence does not involve any CSI and does not have to comply the meaning of the SL
reference but it suits the flow of the conversation in its own way. For this reason, this
strategy is also considered as quasi-omission (Pedersen, 2005, p. 9).
Example:
Herkes senin gibi sütlaç yemek zorunda değil. (ST) à Not everyone has to eat fried
chicken like you. (TT)
Examples of this strategy can be best understood in a context because the strategy
involves a different expression of the CSI in the source text in accordance with the flow
of the text or conversation, and this expression does not have to be the same with the CSI
in the source text. For this reason, let’s assume that the sentence given as an example
above is a sentence among a group of friends at a moment when the decision is made
about what they will eat when they meet. In this case, the translator, who did not want to
translate or could not translate the word “sütlaç”, applied this strategy by using the word
“fried chicken” instead of the equivalent or somehow a word that has one or more relative
connotation with the “sütlaç” and kept the flow and the context of the source text. So, if
the translator had said "pudding" instead of "fried chicken", it would have been a cultural
substitution since pudding was a kind of dessert and has a similarity (both desserts made
48
out of milk) with “sütlaç”, but in this case it became a situational paraphrase because it
has no connection with the expression in the source text.
2.3.1.6. Omission
This strategy, obviously, includes removal of the SL culture-bound reference completely
in the TT (Pedersen, 2005, p. 9). According to Pedersen (2005, p. 9), this strategy may
have been chosen obligatory, either out of necessity because all the translator's efforts
failed, or arbitrarily, because of the translator's laziness.
49
CHAPTER 3: BRIEF INFORMATION ON SHAMELESS (US) AND BİZİM HİKAYE
3.1. SHAMELESS (US)
Shameless (US), initially aired on January 9, 2011, is a comedy-drama series produced
by John Wells (Imdb, 2011). The series is a remake of the British version with the same
name and is broadcasted on Showtime, which is an American cable TV channel (Knox,
2018). Shameless (US), the longest running series in the Showtime history, started
broadcasting with its 10th season in 2020 and signed the agreement for the 11th season
(Baysinger, 2020).
The series tells about the humurous and dramatic life of the Gallagher family, who live
in one of the suburbs of southern Chicago. Shameless, which tells the story of Frank
Gallagher who is an alcoholic father and his six children and the sacrifices made by the
eldest child Fiona, contains elements such as sexuality, alcohol, drugs, etc. This content
of the series coincides with the dream of the producer John Wells which is "to make a TV
show where familial love, juicy cursing, casual sex and drug use, bluntly put humor,
mega-alcohol bingeing and total chaos reign" (Rochlin, 2010). The show, which is mainly
about the life of low income, blue collar families, criticizes the societal system. In fact,
Paul Abbott, the screenwriter of the British version, who helped write the script for the
first episode, said that compared to the other series that cover low income families, the
family in Shameless (US) is poorer (Rochlin, 2010).
While Shameless (US) was transferred from the British version to the American version,
almost everything in its original version was preserved (Seitz, 2011). Abbott, stated that
"somehow all the resonances from the original series occur in the remake, but in a
different vocabulary" (Rochlin, 2010).
What distinguishes the American version from the British version to a certain extent may
be that Shameless (US) is drawing attention to how a family could stand together under
difficult conditions, rather than drawing attention between the working class and the
50
unemployed. Wells' following statement to the New York Times hints that this may be a
deliberate choice:
There was an audience for a funny-sad series about six crash-strapped youngsters who believed that being poor together is better than living comfortable yet seperate lives with different foster parents. (Rochlin, 2010).
Shameless (US) outperformed contemporary productions which are also comedy-drama
series such as Dexter and Californication on the day of its release, according to the rating
results (Hibberd, 2011). The series won its first award when William H. Macy, who plays
the character of Frank Gallagher, won the Best Character in the Comedy Series at the
PRISM Awards of 2012 (IMDb, n.d).
3.2. BİZİM HİKAYE
Bizim Hikaye, which means Our Story in English, is a comedy-drama Turkish series
produced by Medyapım's owner Fatih Aksoy. Bizim Hikaye, adapted by Ebru Kocaoğlu
and Veda Pars, is a remake of the Shameless (US) (FOX, n.d.). The first episode of Bizim
Hikaye, which started shooting on 24th of July in 2017, was broadcast on FOX TV on
14th of September in 2017 (Doğan, 2017).
Considering that it is a remake, the plot of the series is very similar to Shameless (US).
Bizim Hikaye tells a story of a family that has been abandoned by their mothers and that
are trying to survive in one of the poorest districts of Istanbul. Filiz, the eldest child in the
house, is the only one who looks after the family and she is both a mother and a father to
her five little siblings. Rahmet, the oldest child in the house after Filiz, is also the smartest
child in the Elibol family. Hikmet, who corresponds to the role of Ian Gallagher that is
the gay member of the Gallagher family in Shameless (US), is the third oldest child of the
house and is platonically in love with the wife of the owner of his workplace. Kiraz Elibol,
who corresponds to Deborah Gallagher in Shameless (US), is the fourth eldest child of
the family and is more emotional than others and acts mature for her age. Fikret is the
fifth and most naughty child in the Elibol family. He is frequently punished at school for
51
his misbehavior. İsmet is the youngest child in the house and is one and a half years old.
There is also Fikri Elibol, the father of the family. Fikri is a father who is addicted to
alcohol and living a bohemian life and is not taking care of his children. Fikri, who spends
the small amount of money he earns from daily work on alcohol, does not have many
friends either.
According to an article by the newspaper Milliyet, the first plan about the series came into
discussion in December in 2015 (Biçici, 2017). In the same article, Sinan Biçici expressed
some concerns about the adaptation of the series. These concerns were about some
elements such as alcohol, sexuality and drugs that the original version contains and the
level of transfer of these elements since there is a strict supervision of Radio and
Television Supreme Council in Turkey. The director of the series regarding these
concerns made the following statements in an interview on the website of FOX TV:
… Shameless Amerika’da paralı kanalda gösterilen bir dizi. Amerika’da bir free TV’de aynı şekilde gösterimi söz konusu olamaz. İllaki orada da bir uyarlama gerekecekti. Biz önce o uyarlamayı yapıp ardından Türkiye’ye uyarladık. Biz bu üstten bakış açısını anlamıyoruz açıkçası. Ne yani, Shameless izleyicisi sevişme sahnesi izlemek için mi yedi sezondur Shameless’ı izliyor? Bu mudur yani? (Gözelekli, 2017).
[Shameless is a series on the private TV channel in US. It cannot be broadcast on a free TV in the same way in US. Of course, an adaptation would be needed there too. We then made adjustments before we adapted it to Turkey. We do not understand this point of view frankly. So, has the Shameless audience been watching Shameless just for the lovemaking scene for seven seasons? Is that it?]
In the same interview, the director states that the series has an American version and a
British version, and in Bizim Hikaye the screenwriters will create their own language.
Despite the director's explanation, it can be clearly seen that the Turkish version is closer
to the US version when the series is examined. In addition, the fact that the director
frequently compared the Turkish version with the US version in the same interview
supports this finding.
The series, which made the final of the first season on August 7, 2018 (Star, 2018), ended
on May after one more season.
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3.3. COMPARATIVE ANALYSIS OF THE TV SERIES SHAMELESS (US)
AND BİZİM HİKAYE
Although it is a remake, it is inevitable that some differences will arise between the source
series and the target series due to the differences in the social norms of the two cultures
and the television broadcasting traditions. In a study on remakes within the framework of
translation studies, Okyayuz (2016) evaluated these differences under three main
headings: the differences between social realities, the differences between the television
traditions of the two cultures, and the differences between the cinematic cultures of the
two cultures (pp. 229-232). Okyayuz (2016), exemplifying the differences between social
realities in the context of the differences between social classes, stated that the life styles
of the social classes of each society may differ from each other (p. 230). As an example,
she points that Desperate Housewives tells the luxurious life story of middle-upper class
Americans; on the other hand in its remake Umutsuz Ev Kadınları, the struggle of middle
class women is portrayed. A similar situation exists between Shameless (US) and Bizim
Hikaye. Although both series are about the life story of the lower class struggling to
survive in the ghetto, there are distinct differences. Shameless (US) features an
entertaining, partying lifestyle, even though the Gallagher family is from the lower class.
However, in Bizim Hikaye, although the Elibol family is a low-income family as in the
source series, it is more drama-laden than Shameless (US) and the poverty of the Elibol
family is more prominent than the Gallaghers.
Another difference that Okyayuz (2016) points out is the differences between the TV
broadcasting traditions of the two cultures (p. 231). Okyayuz (2016) stated that the
broadcasting time of American TV series is shorter than Turkish TV series, and that the
gaps arising from this difference can be filled by additions written by the screenwriters
of the remake without departing from the main subject (p.231). Again, a similar difference
exists between Shameless (US) and Bizim Hikaye. The average screening time of
Shameless (US) is 50 minutes, while the average screening time of Bizim Hikaye is 120
minutes. In the remake, this difference is compensated in two ways: mostly by
compressing two source series episodes in one episode of the target series and sometimes
53
by making additions that are not included in the source series without altering the theme
of the source series.
Finally, Okyayuz (2016) touched on the cinematic differences between the two cultures
and stated that some themes in the remakes are adapted according to the norms of the
target audience and listed these themes under the three main categories: sexuality, family,
social values and truths (p. 232). The differences between the series examined in these
three themes are as follows:
3.3.1. Differences in the Theme of Sexuality
There are fundamental differences in the theme of sexuality between the source series
Shameless (US) and the target series Bizim Hikaye. Fiona, one of the main characters of
Shameless (US), is portrayed as a sex addict almost as a nymphomaniac in the source
series and has appeared in many different sex scenes. In addition, Fiona has had many
different boyfriends throughout the seasons of the series. In Bizim Hikaye, although Filiz
has two short-term boyfriends, her only true love is her first lover and there is no sex
scene.
Another fundamental difference concerns the sexual orientation of Ian Gallagher, one of
the main characters in the source series. In the source series, Ian Gallagher is in love with
the man named Kash, who owns the grocery store he works in, and later Mickey
Malkovich, one of the tough kids of the neighborhood. In Bizim Hikaye, the screenwriters
or parties that involved in the transfer phase may have thought that this situation was
contrary to Turkish social norms, and the character named Hikmet is not gay.
Interestingly, Hikmet is in love with the owner of the grocery store where he works, but
this time the owner of the grocery store is not a man, but a married woman with children.
While the fact that homosexuality in the source series is replaced with a heterosexual
element gives clues about the heteronormative structure of Turkish society, it is important
to underline that falling in love with a married woman with children is also not highly
acceptable in terms of Turkish social norms. Thus, it won’t be wrong to suggest that
screenwriters changed the context in the TT.
Apart from these two examples above, there are also other differences. In Shameless (US),
it is observed that Carl and Debbie, who are 9 and 11 years old, talk about sexand sexual
health issues in some scenes and they seem to be informed about these issues. But this is
54
not the case in the target series. To sum up the theme of sexuality in the source series has
been reduced or even almost completely removed in consideration of the social norms of
the target series.
3.3.2. Differences in the Theme of Family
Another striking difference in the series is the difference in the theme of family and their
relationships. In Shameless (US), although the Gallager family bonds during some critic
events and moments of crisis such as when Frank hunted down by two loan shark in the
7th episode of the 1st season, the family members' sense of belonging and loyalty to each
other are weaker than the Elibol family in Bizim Hikaye. In the target series Bizim Hikaye,
the children of the family are more ‘connected’ with their fathers than the children in the
source series. Even though they sometimes get angry with their father for justifiable
reasons, they never give up on their father as in the source series. For example, in episode
2nd of the 3rd season of Shameless (US), Frank accidentally breaks Debby's art
assignment. Debby has a nervous breakdown, attacks her father and kicks him out of the
house. Frustrated, Frank calls Child Protective Services and states that the children do not
have a guardian. Then CPS comes and takes the kids from home. Such a situation does
not exist in Bizim Hikaye. Children are more attached to their father than the source series
and do not display violent and rebellious attitudes towards him. Likewise, the father in
the source series, Frank, has less authority over family members than Fikri, the father in
the target series. In the source series, the children's approach to their older sister, Fiona,
is also different. In the source series, the children see Fiona as an older sister, and from
time to time they contradict her and oppose her authority. But in the target series, children
see their older sister Filiz as a mother figure and do not question her authority.
In Shameless (US), children are less dependent on family and more self-sufficient.
However, this is not the case in the target series Bizim Hikaye.
3.3.3. Differences in the Theme of Social Values and Truths
Since social values and truths are one of the basic elements of culture the number of
differences between the two TV series is relatively high in this theme. There are also
many differences under this theme between the source series Shameless (US) and the
target series Bizim Hikaye. One of these examples is that Fiona's boyfriends often stay
overnight at the Gallagher house. Steve, one of Fiona's boyfriends, has also lived with
55
Fiona for a long time. This was probably considered to be taboo by the Turkish
screenwriters thus, it is not the case in the target series.
Another difference is related to having children at an early age. In Shameless (US), the
youngest daughter of the Gallagher family, Debbie, gets pregnant at 15 and gives birth to
the child. Even though child brides and child mothers are also present in Turkey as well
as in other countries, the screenwriters of the target series may have thought that this kind
of story would rub sensibilities. Considering that such a scene may normalize the child
marriages, the omission in the target script may be a result of this difference in the social
values.
There are also differences between the two series regarding abortion. In the source series,
Fiona is pregnant out of wedlock and decides to have an abortion. However, there is no
such narrative in the target series. The probable reason for this may be that both having
children out of wedlock and abortion are bigger taboos in Turkey.
Concepts about religion are also different in the two series. In the source series Shameless
(US), religious themes are frequently discussed critically. For example, wanting to earn
some money, the Gallaghers blackmail a pedophile priest from the church in the
neighborhood using the youngest boy in the house, Carl. A similar topic would probably
be unacceptable in Turkey.
There are multiple scenes in Shameless (US) where the characters steal something. For
example, in one episode, when a meat transporter's truck breaks down, he asks Ian and
Lip to keep an eye on the truck while he goes to find help. But Ian and Lip inform the
other members of the family and they rob the vehicle. In another scene, the Gallaghers
and Fischers loot a cargo vehicle. Since these two scenes do not match with the desired
portrayal of the characters and their personal traits offered for consumption by families
on TV and because of the censorship stemming from the RTÜK control, they are not
included in the target series.
Although there are differences between the two series in the themes mentioned above, the
stories overlap.
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CHAPTER 4: A CASE STUDY ON TRANSLATION OF CULTURE SPECIFIC ITEMS IN TURKISH REMAKE OF TV
SERIES SHAMELESS (US)
4.1. A COMPARATIVE ANALYSIS OF SHAMELESS (US) AND BİZİM
HİKAYE
In this section, translation of CSIs are examined in detail. For this purpose, based on the
definition of CSI set forth in the previous chapters, the source series is examined and CSIs
are identified. Then, these identified CSIs are classified according to the CSI taxonomy
mentioned in the previous chapters and examined according to Pedersen's (2005)
translation strategy models in the micro context.
Example 1:
Episode / Time: Shameless (US) Episode 1/02:40
Context: Fiona enters the boy’s room to wake them up.
Fiona: Seven fifteen, monkeys. Come on!
Episode / Time: Bizim Hikaye Episode 1 / 01:06
Context: Filiz enters the boy’s room to wake them up.
Filiz: Rahmet, Hikmet, Fikret haydi yedi buçuk oldu!
Types of CSI: Person’s Names
Translation Strategies Applied: Substitution (Situational Paraphrase)
In this example, which may not appear to be culture specific at first glance, there is
actually a nickname used for mischievous boys in English (monkey, n.d.). Associated
with the playful and active nature of the monkeys, the semantic load of this nickname
57
may not be understood in all cultures. For example, for Eskimos who do not have
monkeys in their natural habitat, this meaning may evoke something else different or
nothing at all. Similarly, using monkeys for mischievous boys in Turkish may not carry
the same semantic load. In the series, Bizim Hikaye, a culture specific element like a
monkey was not used in the same scene, instead, names of those whom Fiona calls
"monkeys" were used. Since these names do not convey the meaning of the culture
specific element in the source text, but they fit the situation, it is possible to say that the
substitution strategy by situational paraphrase method is applied which Pedersen called
as "quasi-omission".
Example 2:
Episode/ Time: Shameless (US) Episode 1 / 03:05
Context: Boys who wake up in the morning race to the bathroom to be the first one to
take a shower.
Ian [Shouts]: First shower!
Lip: You had it yesterday!
Episode/Time: Bizim Hikaye Episode 1/01:29
Context: Boys who wake up in the morning race to the restroom to be the first one to use
it.
Hikmet: Acayip sıkıştım. Çok sıkıştım. Girdim bile, girdim bile!
Rahmet: Lan oğlum, dün de sen girdin!
Types of CSI: Entertainment, Customs and Habits
Translation Strategies Applied: Substitution (Cultural Substitution)
58
Although taking a shower does not seem like a CSI, it has been included in the scope of
CSIs since it expresses a habit as an action in this context and the habits of each culture
differ. According to a survey conducted by a consulting company named Kantar in 2015,
3% of people in China prefer to take a shower in the morning, compared to 54% in the
USA and 49% in Germany (Kantar Worldpanel, 2015). Although there is no statistical
data obtained previously on this matter, it can be said that taking shower first in the
morning is not the traditional morning ritual of Turkish high school students.
Traditionally, though the situation changed today, Sundays were known as bathing day,
especially for people who were children in the early 90s and before. It can be asserted
that instead of the first shower in the morning, fighting for the toilet is much more
common among the crowded Turkish families. In fact, it is possible to encounter such
friendly quarrels for the toilet row in the morning in Yeşilçam, which is a traditional
Turkish cinema, or in old Turkish TV series. For example, in one of Yeşilçam's most
popular films, the 1975 film Bizim Aile, the children of the house Ahmet and Ferdi or in
the 1997 TV series Sıdıka, Sıdıka and her brother Samim had such quarrels which have a
special place in our minds. It can be said that the reason for the deviation here is due to
this habitual difference between the two cultures. Since the word “shower”, which is a
morning habit of a culture, was replaced by the word and another morning ritual
“sıkışmak”, which means being in need of using the toilet in Turkish, it can be said that
the substitution strategy through cultural substitution was applied.
Example 3:
Episode / Time: Shameless (US) Episode 1/03:36
Context: Fiona and the kids are having breakfast.
Fiona [to Carl]: No! You got a Happy Meal on the front of that shirt.
Episode / Time: Bizim Hikaye Episode 1 / 02:40
Context: Filiz and the kids are having breakfast.
59
Filiz [to Fikret]: Bak bakayım! E üstün kirlenmiş.
Types of CSI: Brand Names
Translation Strategies Applied: Substitution (Situational Paraphrase)
Happy Meal is one of the most well-known children's menus of the American fast-food
restaurant chain McDonald's. Since this item is actually a commercial product, has been
placed in the category of brand names. The word “Happy Meal” is not used in Bizim
Hikaye, but instead, the aim of using this word are conveyed by using a phrase which is
not related to the ST reference but suits the scene. Therefore, it may be said that the
strategy used here is substitution by situational paraphrase. According to a report made
by Forbes based on 2012 data, McDonald's is the number one fast food restaurant chain
in the USA (Forbes, 2012). Also, according to a study, 36.6% of US adults consume fast
food on any given day, which is equivalent to almost 1 in 3 of the US population (Fryar
et al., 2018, p. 1). But according to another study on the Turkish consumers, the rate of
regularly fast food consumption is only 12.8% (Akbay et al., 2007, p. 908). So based on
these data, it is possible to say that although the abovementioned CSI which is Happy
Meal is present in Turkey too, the Turkish people might not be familiar with it since the
rate of fast food consumers in Turkey is drastically less than in US.
Another reason may be that since the use of brand names in TV shows in Turkey is a
controversial issue which is regulated by certain laws, the producers or parties in the
tranfers process may have opted the situational parahrase as a solution.
Other reason could be that since the price of the abovementioned fast-food menu is more
expensive in Turkey, so it may be considered as costly and fancy meal to eat in special
occasions for a poor family in Turkey. Thus, for the sake of the narrative, the translator
may have applied the situational paraphrase strategy.
Example 4:
60
Episode / Time: Shameless (US) Episode 1 / 03:46
Context: Fiona wants the only cell phone that the Gallaghers have in order to call the
serviceman.
Fiona [to her siblings]: Who’s got the phone?
Lip: I got it.
Fiona: Any minutes left?
Lip: Uh, fourteen.
Episode / Time: Bizim Hikaye Episode 1 / 03:04
Context: Filiz wants the only cell phone that the Elibols have in order to call the
serviceman.
Filiz [to her siblings]: Telefon kimde?
Rahmet: Bende.
Filiz: Çamaşır makinasına tamirci çağıracağım. Kaç lira var içinde?
Rahmet: Kalmadı valla.
Types of CSI: Measurements and Financial System
Translation Strategies Applied: Substitution (Cultural Substitution)
In this example, "minute" actually refers to a unit of measure used in prepaid phones in
the USA that reports the remaining balance. Although it seems universal, the remaining
balance on prepaid phones in every country may not be expressed in minutes. For
example, this remaining balance in Turkey was expressed with “credits” until April, 2010.
However, after the decision of the Information Technologies and Communication
Authority, a system which uses “Turkish Lira” was adopted (Çelebi, 2010). In short, this
balance system showing the remaining talk-time on phone can be different in each country
61
and therefore it has been included in the CSI category called measurements and financial
system. Since 2010, the tarrification in Turkey is done either with Turkish Liras or with
the minutes that are purchased by a certain amount of Turkish Liras. Nevertheless, in the
TV series Bizim Hikaye, the translator preferred to use the substitution strategy by cultural
substitution instead of the direct translation strategy.
Example 5:
Episode / Time: Shameless (US) Episode 1 / 03:53
Context: Gallaghers are at the breakfast and Debbie asks her sister for help about class.
Debbie: Hey, I need something for show and tell.
Episode / Time: Bizim Hikaye Episode 1 / 03:13
Context: Elibols are at the breakfast and Kiraz wants some money from her sister.
Kiraz: Fen ödevim için gezegen maketi yapcam, 20 lira lazım.
Types of CSI: Education
Translation Strategies Applied: Substitution (Paraphrase with Sense Transfer)
Show and tell is a school activity especially preferred in the UK, USA and Australia in
which young children bring an object to the classroom and tell about it (show and tell,
n.d.). Since this activity is not known in every culture or country and is applied to different
age groups in different countries (Szitó, 2017, p. 3), it has been included in the category
CSIs titled as education. In Bizim Hikaye, “show and tell” rendered as “fen ödevi”, so the
substitution strategy by paraphrase with the sense transfer is applied since the TT CSI is
removed and replaced by another word that has the relevant connotation due to being a
school activity. In addition, the following statement "gezegen maketi yapacağım" is a
supportive statement that this assignment has the same features as the show and tell
activity. Although the show and tell technique is tried to be popularized in the Turkish
62
education system, it can be said that it is not expected to be known by the Turkish
audience as much as the US audience. Therefore, it can be asserted that the reason for the
choice of using substitution strategy by the translator may be that this activity is not
popular enough yet.
Example 6:
Episode/ Time: Shameless (US) Episode 1 / 04:11
Context: Fiona asks her siblings about who is going to take care of Liam since she's going
to work.
Fiona: I’m filling for Candi. Somebody’s gotta take care of Liam.
Lip: Uh, I got calculus test.
Ian: I’m working after school.
Episode/ Time: Bizim Hikaye Episode 1 / 03:36
Context: Filiz asks her siblings about who to is going to take care of İsmet since she's
going to work.
Filiz: Meryem’in yerine de çalışıyorum ben bugün. Kim bakacak İsmet’e?
Rahmet: Benim matematik sınavım var.
Hikmet: Ben okuldan sonra işe gidiyorum.
Types of CSI: Education
Translation Strategies Applied: Generalization
Calculus according to the Encyclopedia Britannica is “a branch of mathematics concerned
with the calculation of instantaneous rates of change and the summation of infinitely
63
many small factors to determine some whole (“calculus”, 1998). The reason why calculus
is included in the CSIs titled as education is that the content of this course and the level
it is taught varies from country to country. That means, calculus course does not describe
the same concept in each culture or country. For example, the calculus course is started
to be taught at high school at 11th and 12th grades in the USA and includes topics such
as limit, derivative, integral, and trancendental functions (Lower Dauphin School District,
n.d.). Some of the topics of this course, such as derivatives and integrals, are taught at
high school mathematics courses in Turkey, while some others are taught under the name
of calculus course at the university with additonal topics (Boun Department of
Mathematics, n.d.). In Bizim Hikaye, calculus has been rendered as mathematics which is
a more general concept. Hence, it is evident that the translator applied the generalization
strategy.
Example 7:
Episode/ Time: Shameless (US) Episode 1 / 05:58
Context: Two men enter the fast food restaurant where Fiona works and she takes the
orders.
Fiona: Who has got the jumbo dog?
Man [jokingly]: How’d you know?
Fiona: X-ray vision.
Episode/ Time: Bizim Hikaye Episode 1 / 10:55
Context: Two men enter the fast food restaurant where Filiz works and she takes the
orders.
Filiz: Merhaba, hoşgeldiniz.
Man: Ben bir cheeseburger menü istiyorum.
Filiz: Tabi, büyük boy mu?
64
Man [jokingly]: Nereden anladın? Yani oradan çok mu belli oluyor?
Filiz’s Co-Worker [whispers in Filiz’s ear who seems to be getting angry]: Filiz
kovarlar.
Filiz’s Co-Worker: Beyefendi, ben alayım siparişinizi.
Types of CSI: Foods and Drinks
Translation Strategies Applied: Substitution (Paraphrase with Sense Transfer)
“Jumbo dog” here actually refers to maximum size hot dog, which is a boiled German
sausage with mild flavor and served in a long bun (“hot dog”, n.d.). According to the
information on the official website of the National Hot Dog and Sausage Council, a
project of the American Meat Institute, the word hot dog coined by a cartoonist who
wanted to portray the hawkers selling hot dogs before a football match (NHDSC, n.d.).
German sausages were also called as “dachsdund”, which means “little dog”, and hawkers
were screaming "Get your dachshund while it's still hot!" and the cartoonist who wanted
to portray this could not remember the word "dachshund" and just simply used the word
"dog", and thus the word hot dog emerged (NHDSC, n.d.). The word "sosisli" used in
Turkish is completely lack of this cultural background of the name. There is also no pork
in its sausage in Turkey unlike those in the US. Also, due to its appearance, hot dog is
used as a slang for the male genitalia (Standford University Slang for Penis and Testicles,
n.d., p. 1). The term in the ST is an example for this. The man jokingly asks Fiona how
she estimated the size of his genitalia and Fiona replies by a joke in return. In Bizim
Hikaye, it is seen that jumbo hot dog is replaced by a question that refers to the size of the
menu using substitution strategy through paraphrase with sense transfer, eliminating the
food hot dog but preserving its relavent connotation to the size of it. Similarly, it is seen
that cheeseburger is used instead of hot dog in the previous sentence. There could be two
reasons for this. The first of these may be the translator's effort to eliminate the sexual
context in the ST CSI by using. But the sexual context through the expressions "Tabi,
büyük boy mu?" and “Nereden anladın? Yani oradan çok mu belli oluyor?” added to the
conversation weaken this possibility. The second, reason may be that the translator may
have thought that the sentence would be received less exotic by audiences of the target
65
culture, as selling hot dogs in a hamburger fast food restaurant is not a commong thing in
Turkey.
Example 8:
Episode/ Time: Shameless (US) Episode 1 / 07:48
Context: Fiona and Veronica are getting prepared to go to the nightclub.
Veronica: Fiona, we need to go if we’re gonna get a ride to the club.
Fiona: Five minutes.
Veronica [tears the pricetag]: Look at me.
Fiona: No, this gotta go back tomorrow.
Veronica: I’ll put it back on later. I have a tag gun.
Fiona: What?
Veronica: From when I worked at T.J. Maxx. Let’s go.
Fiona [to the kids]: Hot dog downstairs. Nachos too.
Episode/ Time: Bizim Hikaye Episode 1 / 23:03
Context: Filiz and Tülay are getting prepared to go to the henna night.
Tülay [loudly]: Filiz…
Filiz: Geldim.
Filiz [to the kids]: Sizin için de dolapta makarna var.
Tülay [enters the room]: Ya sen hala kafanda havluyla mı geziyorsun, hadi.
Filiz: Tamam, bir saniye.
Tülay [rips the price tag]: Geç kalıyoruz.
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Filiz [to Tülay]: Aa, naptın ya, iade edecektim bunu!
Tülay: Bununla mı oynayacaktın kınada? Benim tezgahtarlık günlerimden kalma etiket
tabancam var, merak etme, hadi.
Types of CSI: Brand Names, Foods and Drinks,
Translation Strategies Applied: Substitution (x2) (Situational Paraphrase [x2]),
Omission
TJ Maxx is a local clothing store established in the US, Massachusetts (TJX, n.d.). The
name of the company’s international stores is TK Maxx and there are no stores in Turkey.
While rendering TJ Maxx, which is a CSI in the category of brand names, it is seen that
the translator applied the substitution strategy by situational paraphrase. In TT, instead of
TJ Maxx, the word "tezgahtarlık" is used, and thus the word “TJ Maxx” is replaced with
a word that suits the context and which is not a CSI and which has no specific reference
connoting TJ Maxx as a brand. A “tezgathar” may be in a delicatessen or in a perfumery,
so it has no specific connection with TJMaxx which is a clothing store.
A hot dog is some kind of boiled German sausage with mild flavor and served in long
bun (hot dog, n.d.). Nachos is a Tex-Mex dish which contains fried maize flour flat breads
covered with melting cheese, ground meat and spicy deep sauce (nachos, n.d.). In Turkey,
both of these dishes are not consumed as widely as it is in the US. It is obvious that the
translator has rendered the first of these two dishes, hot dog with the dish "makarna". So
the translator has applied the situational paraphrase by replacing the item in ST by another
word that is expected to be more familiar with the target text audience and suits the TT
conversation. It is seen that the following expression "nachos" is removed using the
omission strategy.
In this example there is also another deviation worth mentioning, though it is not a CSI
in the source text and is not included in the sentence in the target text. This difference is
that the characters in the source text are getting ready for going to the nightclub, while
the characters in the target text are getting ready for going to the henna night. It is an
interesting and important data in terms of demonstrating the socio-cultural differences of
the two societies.
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Example 9:
Episode/ Time: Shameless (US) Episode 1 / 12:55
Context: Veronica and Gallaghers are in the living room, Veronica takes care of Steve’s
wound.
Steve [to Veronica]: You are a nurse?
Veronica: Used to be.
Fiona [jokingly]: Lying bitch.
Lip: She worked housekeeping at Cook County. Bedpans and shit sheets.
Veronica: Fine… but I was offered a place in the nursing school.
Fiona: Fine but, but it never happened. They fired her for selling medical supplies on
eBay.
Episode/ Time: Bizim Hikaye Episode 1 / 31:50
Context: Tülay and the Elibols are in the living room, Tülay takes care of Barış’s wound.
Barış [Tülay’a]: Bir şey soracağım, sen hemşire olduğuna emin misin?
Tülay: Yarı zamanlı huzurevinde çalışıyorum, evet.
Fikret: Ama hemşire değil, fıtıkçı.
Barış: Fıtıkçı mı? Nasıl ya?
Tülay: Ya, hemşire okulu terkim ben, staj yaparken mesleği bırakmak zorunda kaldım.
Hikmet: Aynen, hemşire okulunda staj yaptığın hastanenin malzemelerini satınca
mesleği bırakmak zorunda kalabilirsin.
Types of CSI: Institutions and Organizations, Brand Names
Translation Strategies Applied: Generalization, Omission
“Cook County” is a county in Illinois, USA. However, in this context, Cook County is
referring to the federal adult nursing services that the county has provided (“Nursing
68
Homes”, n.d.). In other words, the CSI in the source text is actually a metonimic
expression used for a nursing home. It is included in the CSI category named institutitons
and organizations because it refers to a state institution. In Bizim Hikaye, it is clear that
the translator rendered the ST CSI as “huzurevi” by opting generalization strategy
because in the source text, the information about which region the nursing home belongs
disappears in the target text due to the absence of Cook County. Thus, it moves towards
a more general meaning.
eBay is the name of an e-commerce company operating in more than 190 countries around
the world (eBay Inc., n.d.). The logic behind why this CSI is included in the category of
brand names is because it is known under different names in different countries of the
world. For example, the name of eBay’s Turkish branch is known as "GittiGidiyor" and
if you type www.ebay.com.tr in the search bar of any web page, you will be automatically
directed to the www.gittigidiyor.com (“Biz kimiz”, n.d.). While rendering eBay in Bizim
Hikaye, "gittigidiyor" was not used, the expression was completely removed and the
omission strategy was used. Since in Turkey, TV ads are regulated by the law, the
translator’s decision to not to use the word "GittiGidiyor" may seem understandable, but
still the omission strategy may not be the last resort for this translation problem. Instead
of using a brand name, the translator could render the ST CSI with a Turkish phrase
"internetten satışa çıkarmak" by appliying the substitution strategy. In this case, it can be
stated that the translator's decision is arbitrary.
Example 10:
Episode/ Time: Shameless (US) Episode 1 / 23:11
Context: As Fiona sits on the broken washing machine to stop it from moving, someone
knocks on the door.
Steve: Hi, Wondering whats your schedule is like on Friday.
Fiona: Uh, I’ve got a party.
Steve: Want a chaperone?
Fiona: You’re not eligible.
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Steve: Right. Chick thing.
Episode/ Time: Bizim Hikaye Episode 1 / 44:49
Context: As Filiz sits on the broken washing machine to stop it from moving, someone
knocks on the door.
Barış: Selam.
Filiz: Selam da, ne işin var burada?
Barış: Şey diyecektim, eee… bugün uygunsan, yani bir işin yoksa, akşam bir yere gider
miyiz diye sormak için uğramıştım.
Filiz: Yok, yok hiçbir şeye vaktim yok benim, çok işim var.
Types of CSI: Entertainment, Customs and Habits
Translation Strategies Applied: Omission
“Chaperone” is described as “an older person, especially a woman, who stays with and
takes care of a younger woman who is not married when she is in public” (chaperone,
n.d.). The word thought to be coined by the word “chaperon” which means “protector”
and “head covering hood” in French in the early 1720s (chaperon, n.d.). In Turkish, there
is no word that exactly corresponds to this term. Although the word with the closest
meaning is "kavalye”, yet it does not exactly the same with ST CSI since “kavalye” can
be only male while a chaperone is generally a woman. In this example, it is seen that the
translator removed the source text term with the omission strategy. There is an invitation
to go out. However, a CSI isn’t present.
Example 11:
Episode/ Time: Shameless (US) Episode 1 / 26:06
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Context: Karen's father enters the house, and his wife Sheila asks him to guess what she
cooked.
Sheila: Guess what I made you for your lunch?
Eddie: Cornish game hen with Asian pear?
Sheila: No. Kiss and I’ll tell.
Episode/ Time: Bizim Hikaye Episode 1 / 48:52
Context: Müjde's father enters the house, and his wife Şeyma tells him what she cooked.
Haşim: Ne yemek var?
Şeyma: Karnıyarık yaptım, cacık da var… pilav.
Haşim: E iyi, şuraya hazırla da yiyeyim ya.
Types of CSI: Foods and Drinks
Translation Strategies Applied: Substitution (Cultural Substitution)
The Cornish game hen is a type of young chicken native to Cornwall, England, usually
weighs no more than two pounds and best suitable for roasting (Cornish game hen, n.d.).
Although it seems that it should be included in the ecology category as it is an animal
specific to a region, it actually placed under the category of foods and drinks because it
refers to a dish in this context. Another food, Asian pear, is a type of pear that is native to
East Asia and is similar to an apple in appearance (Asian pear, n.d.). Due to the fact that
it is a fruit specific to a region, it has been included in the foods and drinks category in
the CSI classification. It is clear that the source text CSI the "Cornish game hen with
Asian pear", was rendered in TT as "Karnıyarık", "cacık" and "pilav". It can be said that
the substitution strategy by cultural substitution was used because the ST CSIs replaced
by TT CSIs. Besides, since both source and CSIs are dishes that served with a
complimentary dish such as “Asian pear” and “cacık” or “pilav”, there can be also
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mentioned a relevant connotation between the source and target items. Although it is not
the focus of this study, the change in the setting of the scene can also be examined. The
portrayal of the relations between husband and wife are quite different in the target series.
Contrary to the source series, in the target series Şeyma does not talk with Haşim as polite
and flirty as it is in the source series. Instead, the dialogue between husband and wife in
the source series is flirty, while it is quite straightforward in the target series.
Example 12:
Episode/ Time: Shameless (US) Episode 1 / 26:27
Context: Karen's father Eddie comes home and sees Karen having sex with Lip under the
table.
Eddie [Screams in slow motion while Lip runs away]: Oh, sweet Jesus! No!
Sheila [to Eddie]: It’s just a study group.
Episode/ Time: Bizim Hikaye Episode 1 / 49:53
Context: Müjde's father Haşim comes home and sees Müjde and Rahmet are studying.
Haşim [Secreams in slow motion]: N’oluyor lan burada?
Şeyma [to Haşim]: Aşkım, yemin ederim ders çalışıyorlardı.
Types of CSI: Slang and Interjections
Translation Strategies Applied: Substitution (Paraphrase with Sense Transfer)
“Sweet Jesus” is “an exclamation of alarm, amazement, or exasperation” used by the
Christians or those who are familiar with the Christianty (sweet Jesus!, n.d.). It is placed
under the CSI category of slang and interjections. While rendering this exclamation, the
translator removed the cultural affiliation of the ST CSI, conveyed the same meaning in
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TT without using a CSI belonging to TT system, by appling the substitution strategy
through paraphrase with sense transfer. Again, there is a change in the narrative of the
scene. However, this is not the focus of this work. In the source series, the father comes
home in the scene where his daughter lures Lip into having a sexual intercourse during
study. On the other hand, in the target series there is no such scene containing any trace
of sexuality.
Example 13:
Episode/ Time: Shameless (US) Episode 1 / 27:53
Context: Fiona and Veronica having conversation with Ian and Lip, who twisted his
ankle while running away from Eddie.
Fiona: Really? An old lady on the train?
Ian: Oh yeah, the doors were closing on her walker and Lip barely got his foot in time to
stop.
Lip [screams in pain]: Ow! Jesus! Fiona!
Fiona: I can’t remember whether that’s good or bad.
Fiona: More likely you jumped the turnstiles and he twisted it trying to outrun transit
cops.
Veronica [to Fiona]: No. Always elevate the extremities. Move before you give him
embolism.
Episode/ Time: Bizim Hikaye Episode 1 / 52:10
Context: Filiz and Tülay having conversation with Rahmet, who twisted his ankle while
running away from Haşim.
Filiz: Otobüste yaşlı teyzeye yardım ederken ayağını burktun öyle mi?
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Rahtmet: He.
Filiz: Okul vakti?
Rahmet: Ya, dedim ya işte, kadın tam ayağını sıkıştıracaktı, ben koydum araya.
Rahmet [screams in pain]: Ah!
Filiz: Kırık çıkık var mı diye bakıyorum ya.
Tülay [to Filiz]: Kız yukarıda tut, ambole olur sonra. Kalk, ben hallederim şimdi.
Types of CSI: Slang, Interjections and Interjections (x2), Legal and Political System
Translation Strategies Applied: Substitution (Cultural Substitution), Omission (x2)
“Ow!” is an exclamation used in English to descibe “an intense or sudden pain” (ow!,
n.d.). Interjections are mostly based on culture specific conventions (Wierzbicka, 1992,
p. 160). Although there are interjections that have similiar counterparts in various
language pairs, this equivalence may not be enough for the transfer (Wierzbicka, 1992,
p.160). Most of the time, they have no substitution (Wierzbicka, 1992, p. 160). For
example; there is no “equivalent” or “close equivalent” to the English interjections “gee”
and “wow” in Polish (Wierzbicka, 1992, p. 160). Therefore, interjections are also
included in the classification of CSIs. In this case, it can be noticed that the translator
resorted the substitution strategy by cultural substitution using another exclamation
belonging to TT system and rendered the ST CSI in TT as “Ah!”.
“Jesus!” is an exclamation of shock, suprise or discomfort and annoyence and it could be
interpreted as offensive by many Christian (Jesus!, n.d.). It is evident that the translator
omitted this CSI in the TT and it may be described as an arbitrary omission since there is
also such an exclamation describing annoyence and discomfort with religious references
in Turkish and it is “Allah!” (Allah!, n.d.).
“Transit cop” is a special police unit which is specifically responsible for the safety of
railroad transportation and passengers (transit police, n.d.). In Turkey, there is no such
police force specifically responsible for the railroad transportation. This type of police
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department is found in China, Austalia, USA, Canada, Germany, France, India, Italy,
Latvia, Sweeden, Netherlands, Russia, UK, Taiwan, Singapore (transit police, n.d.). The
absence or presence of this special police department may be linked to the countries’
railroad network size but this is a subject that is beyond the scope of the study. The CSI
“transit cop” is included in the category of legal system since their responsibilities are
regulated by the law. In Bizim Hikaye, the translator seems to resort to the omission
strategy. In this example, it can be proposed that the translator omitted the whole sentence
along with the CSI intead of compensating with another word due to the lack of interest
to translate it or due to the lazziness as Pedersen’s words. However, the TT word “metro
güvenliği” would be an option as the substitution strategy since the omission strategy
should be opted for as a last resort. It can thus be suggested that this choice is an arbitrary
one. This type of whole sentence omissions along with the CSIs are also present in other
examples throughout the series. This is probably one of the outcomes of translating
remakes, which provides translators vast amount of freedom while translating. They can
basicly change, add or omit every sentence if there is no restriction put forward by the
other parties such as producers, screenwriters or the directors. So, when the translator
faces a translation crisis such as in this example, s/he always has the opportunity to
eliminate all the traces of the SL CSI by various procedures including omitting the whole
sentence. Whole sentence omissions may be thought as screenwriters or directors decision
but when the other examples such as 13th and 31st analyzed, the question of “why would
the screenwriters or directors would want to omit a sentence that contains no taboo or a
word contradicting the TT social norms?” becomes unanswered. Thus, the other reasons
which are directly related to the decisions of the translator becomes much more probable.
Besides, when the remaking process is examined, it can be seen that the translation
process comes first, so it is much more possible to make an intervention during this
process.
Example 14:
Episode/ Time: Shameless (US) Episode 1 / 45:36
Context: Ian and Lip begin to fight after Lip realizes that Ian is in love with Kash who is
the owner of the grocery store where Ian works.
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Lip: You must be joking? What? You fucking him?
Lip [points Ian’s shoes]: He bought them for you, didn’t he? Those shoes.
Lip: He’s married. With kids. What else did he buy you, Ian?
Ian: Stuff. Now and again.
Lip: And you’re happy with that? What’s that make you, huh? Fucking kept boy, at best.
Ian: Hey, listen to me stupid. You think you know everything, but you know shit. Ask
me what I got him, huh? Ask me.
Ian: CDs. Dozens of CDs. Stuff he is never heard of, stuff he might like because I want
him to like things I do. And Sox tickets for his birthday. So, what does that make you,
Lip? It makes you wrong.
Episode/ Time: Bizim Hikaye Episode 1 / 01:30:03
Context: Rahmet and Hikmet begin to fight after Rahmet realizes that Hikmet is in love
with Esra who is the owner of the grocery store where Hikmet works.
Rahmet: Sen Esra Abla’ya mı aşıksın lan yoksa? Oğlum gördüm defteri. Kadın evli lan,
delirdin mi?
Hikmet: Sevmiyor abicim kocasını. Nefret ediyor. Herif bok gibi davranıyor ona.
Rahmet: Oğlum ben o herifi tanıyorum, alnından zımbalar ya seni.
Hikmet: Seviyorum ben Esra’yı.
Rahmet [points Hikmet’s shirt]: Ne seviyorsun lan? O aldı dimi lan sana bunu? Jigolo
olmuşsun lan sen, haberin yok. Ne? Bir tane tişört aldı, iki üç tane erzak aldı eve, aşık mı
oldun kadına?
Hikmet: O aldı lan, var mı? O aldı! Ben de aldım, CD’ler aldım, çicekler aldım. Aynı
şeyleri sevelim diye aldım. Aynı şeyleri dinleyelim diye aldım ama sen ne anlarsın.
Types of CSI: Slang and Interjections; Entertainment, Customs and Habits
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Translation Strategies Applied: Substitution (Paraphrase with Sense Transfer),
Omission
“Kept boy” is a derivative word, which actually refers to the book with the same title.
Kept Boy (1996) is a fiction in which the protogonist is a gay “toy boy” of the Chicago
theatrical impresario Mr. Nock, who is a wealthy man in his 50s. Basically, the slang
word “kept boy” is the gay version of it’s heteronormative equivalent “toy boy” which
means “a young man who has a sexual or romantic relationship with an older women”
(toy boy, n.d.). It is observed that the translator rendered this CSI in the TT by eliminating
it’s cultural reference but keeping its connotation as “jigolo”. This choice, which is the
substitution strategy by paraphrase with sense transfer, eliminated the "gay version of toy
boy" connotation of ST CSI in the TT. The possible reason for this may be that while
transferring the ST script to the TT, the gay character in the ST script is also transformed
into a heterosexual boy in the TT. In other words, the translator or screenwriters involved
in the transfer process modified the ST script, taking into account the norms of the TT
audience, and as a result, the ST CSI was also modified to the extent of distortion.
“Sox tickets” in ST refers to the tickets for the game of the local baseball team Chicago
White Sox (Chicago White Sox, n.d.). Since it refers to an entertainment activity, it is
placed under the category of entertainment and celebrations. In Bizim Hikaye, this CSI is
absent so the translator applied the omission strategy. In ST script, Ian’s boyfriend is
known to like going to baseball matches but in it’s remake Bizim Hikaye there is no such
contextual reference. So, it would be appropriate to say that this choice of the translator
may be an obligatory one.
Example 15:
Episode/ Time: Shameless (US) Episode 2 / 02:55
Context: Karen’s father Eddie comes to the Alibi and sees Frank.
Eddie [punchs Frank]: Tell your boy Ian to keep his dirty adolescent prick out of my
Karen!
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Episode/ Time: Bizim Hikaye Episode 2 / 07:43
Context: Müjde’s father Haşim come to the Tufan’s place and faces with Fikri.
Haşim [punchs Fikri]: Oğlun olacak o serseriye söyle kızımdan uzak dursun!
Types of CSI: Slang and Interjections
Translation Strategies Applied: Omission
Prick means “to make a very small hole or holes in the surface of something, sometimes
in a way that causes pain” and it is a slang for male genetalia (prick, n.d.). In Bizim Hikaye
the translator resorted the omission strategy by removing the ST CSI. However, it should
be noted that this omission may not be solely a result of the regulations of The Supreme
Board of Radio and Television.
Example 16:
Episode/ Time: Shameless (US) Episode 2 / 12:10
Context: Fiona searches for her father at home in the morning and sees something on the
sofa and heads towards it thinking that it’s Frank.
Fiona: It’s a tent. Why there is a tent in the living room?
Ian: Oh, I’m drying it out. Our ROTC training was in Wisconsin last week.
Debbie: I thought it was dad. I left him a cup of coffee this morning. I thought I heard
him says thanks.
Episode/ Time: Bizim Hikaye Episode 2 / 18:54
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Context: Filiz searches for her father at home in the morning and sees something on the
sofa and heads towards it thinking that it’s Fikri.
Filiz: Bu ne be?
Hikmet: Çadır ya o. Geçen hurdacıda gördüm. Bahçede ıslanmış, kurusun diye bıraktım.
Filiz: Ee, ben babam sandım bunu.
Kiraz: Ben de. Hatta tuvalete giderken yanına su bıraktım. Sağol kızım dedi sanki bana.
Types of CSI: Education, Place Names and Ecology, Foods and Drinks
Translation Strategies Applied: Omission (x2), Substitution (Situational Paraphrase)
“ROTC” is an abbreviation that stands for “Reserve Officer’s Training Corps” which is
“a training programme for university student in the US, graduates of which become
commissioned officers in one of the armed forces” (ROTC, n.d.). Since it is a kind of
training program, it has been placed under the category of education. The translator used
the omission strategy while rendering this ST CSI to TT. Although it is not an exact
equivalent term, TL word "askeri okul" could be preferred by applying substitution
strategy through paraphrase with sense transfer. But it can be said that the reason why the
translator could not apply the substitution strategy is because the storyline of the remake
is slightly different from the Shameless (US). In source script, Ian is a highschool student
who applied for ROTC training with his brother’s ID card since Ian is underqualified due
to his age. But in Bizim Hikaye there is no such narrative. This can be explained by that
the screenwriters probably thought that such a story would not be welcome by the
audience and they decided to alter the original story. Therefore, the translator's decision
of omission can be described as obligatory.
Wisconsin is a neighboring state to Illinois and is known for its rainy climate compared
to the national average with an average annual rainfall of 829 milimeters (Current Results,
n.d.). It can be concluded that Wisconsin is used in the ST to refer to the wet climate of
the state. Nonetheless, due to the situation explained in the previous paragraph, it is seen
here that the translator used the omission strategy again of necessity. A Turkish city or
region that resembles the weather of the state of Winsconsin would be an option if the
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narrative of this scene of the both source and target series were the same. However, the
fact that the tent is wet is described.
It may sound interesting to describe coffee as a CSI since in some way it has a place in
almost every culture around the world. However, although coffee is a general umbrella
term, there are 60 different types, of which about 10 are used for commercial consumption
(Vieth, n.d.). Likewise, there are also various preparation methods of coffee. According
to 2017 data, 61% of the coffee consumed at home in the USA is drip coffee, while in the
UK it is instant coffee or soluble coffe with 74% (Statista, 2017). When it comes to
Turkey, undoubtedly, Turkish coffee is the first thing that comes to mind. In addition,
when examined in terms of eating and drinking habits, the times of consuming coffee in
each culture are different. For example, "kahvaltı", which means breakfast in Turkish,
actually means the meal eaten before coffee (Akkor, 2019). So traditionally, in Turkey,
coffee is a beverage consumed after breakfast. However, 65% of the coffee in the world
is consumed at breakfast (“Coffee Statistics, 2020).
Another thing on this is that the famine and economic depression experienced during the
second world war presented difficulties in accessing basic foods, and coffee was one of
the most affected goods. (Çevik, 2012, pp. 119- 126). In other words, the fact that coffee,
which is not grown in our country, was perceived as a luxury consumption product due
to a social memory from the wartime period. To sum, although it is known in almost every
society, coffee has a different place and meaning in each of them, exactly for this reason,
it has been included in the foods and drinks category of CSIs. It is possible to say that the
evident deviation in TT may originate precisely for this reason. While rendering the ST
CSI the translator might have used the word "water”, which is not a CSI and has no
relevant connotation with the ST CSI, by opting the substitution strategy through
situational paraphrase by removing the ST CSI and replacing it with another word which
suits the sceene without interrupting the narrative. In this way, the translator did not
distrupt the narrative of the story by making a poor family drink coffee causally since it
may be considered as a luxury consumption.
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Example 17:
Episode/ Time: Shameless (US) Episode 2 / 13:25
Context: Fiona goes to the Kev and Veronica’s house to ask if they saw Frank.
Fiona: Kev, was dad at the Alibi last night?
Kev: Oh, yeah. But he was hammered.
Episode/ Time: Bizim Hikaye Episode 2 / 19:06
Context: Filiz goes to the Tufan and Tülay’s house to ask if they saw Fikri.
Filiz: Tufan abi, gece babamı gördün mü?
Tufan: Ha, sarhoştu. Görülmeyecek gibi değildi.
Types of CSI: Slang and Interjections
Translation Strategies Applied: Substitution (Paraphrase with Sense Transfer)
“Hammered” is a British slang that means someone who is really drunk (hammered, n.d.).
Although its origin is not known exactly, it is thought to be related to the feeling of having
a hammer in the head after drinking alcohol. There are also some slang words in Turkish
for this word such as "elli dirhem otuz" or “zil zurna” (Arslan, 2015, p. 203). However,
the translator applied the substitution strategy through paraphrase with sense transfer by
rendering the ST CSI in the TT with a non-culture bound item “sarhoş”.
Example 18:
Episode/ Time: Shameless (US) Episode 2 / 17:22
Context: Fiona goes to the police in order to ask help to find her father.
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Police Officer: You can’t file a Missing Person Report on Frank.
Fiona: Why not?
Police Officer: Frank is always missing.
Steve: That’s what I said. He’s probably sleeping at a friend’s place.
Fiona: He hasn’t got any friends. Who would give him a bed?
Police Officer: Come on. We’ve found him in dumpsters, garbage trucks, Mrs.Lutki’s
bathtub.
Fiona: Never on the last Friday of the month.
Police Officer: I’ll call my watch commander.
Episode/ Time: Bizim Hikaye Episode 2 / 30:34
Context: Filiz goes to the police in order to ask help to find her father.
Police Officer: Filizcim, yani tamam da, Fikri abi için arama emri çıkartmaya gerek yok
ki.
Filiz: Nasıl gerek yok ya?
Police Officer: Fikri abiyi tanımıyor muyuz? Bir arkadaşında sızıp kalmıştır, ayılınca
gelir merak etme.
Filiz: Cemil, benim babamın arkadaşı yok ki. Kim alsın onu evine. Gerçekten kayboldu
bak bu sefer.
Police Officer: Bak, endişelenmeni anlıyorum ama Fikri abi bu, kayboluyor. Geçen sene
de aynı şey oldu. Ya bankamatikten çıkıyor ya çöp konteynırından. Biz bir kere hatta
gittik, mezarlıktan almadık mı onu? Endişelenmene gerek yok yani.
Filiz: Bak, kartı evde kalmış, maaş günü bugün. Maaşını çekmedi ya!
Police Officer: Ben amirime haber vereyim.
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Types of CSI: Legal and Political System; Measurements and Financial Systems
Translation Strategies Applied: Substitution (x2) (Situational Paraphrase [x1],
Paraphrase with Sense Transfer [x1])
Missing Person Report is a legal term which refers to “a document that officially reports
that someone is missing” (Missing Person Report, n.d.). The procedures carried out while
filing this report vary according to the country or even to the state. For example, in
Turkey, there is no need to wait 24 hours for filing this report (EGM, n.d.). On the other
hand, in US, in some states such as Michigan, the relatives of the missing person may be
asked to wait 24 to 72 hours before going to the police (Michigan State Police, n.d.). To
this extent, the meaning and content of this legal term may differ from country to country
and therefore it has been included in the CSI category under the category of legal and
polical system. It is seen that the translator used another CSI in the TT which is "arama
emri" by applying substitution strategy through situational paraphrase. The Turkish word
“arama emri” which translates as “search warrant” has a completely different meaning
and context, it is a legal term that is used to describe a legal permission for searching
someone’s property in order to obtain evidence. Since the TT CSI lost it’s all relevant
connotations the strategy applied is classified as situational paraphrase.
The phrase “last Friday of the month” refers to the check day in the source text. Since this
date may not mean the check day in every country or even in the every state in the same
country, this CSI is placed under the category of financial system. The translator seems
to use substitution strategy through paraphrase with sense transfer in TT by using the non-
culture-bound term “maaş günü” which can be translated literally as “pay-day”.
Example 19:
Episode/ Time: Shameless (US) Episode 2 / 22:26
Context: Frank wakes up in a detention room in Canada.
Frank: How the hell did I end up in Canada?
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Police Officer: Hey!
Frank: I hate fucking Canada!
Police Officer: Keep it down in there!
Frank: I’m an American! Apple pie? Lower 48? Air Supply?
Police Officer: If you are an American, where is you passport?
Episode/ Time: Bizim Hikaye Episode 2 / 41:45
Context: Fikri wakes up in a detention room in Greece.
Fikri: Ulan ne işim var benim Yunanistan’da? Dalga mı geçiyorsunuz? Çıkartın lan beni
burdan!
Police Officer [in Greek]: Sessiz ol! Bağırmayı kes!
Fikri: Ne diyon, anlamıyorum ki. Aç şu kapıyı, memletime gitcem ben ya!
Police Officer: Pasaportunuz nerede?
Fikri: Anlamıyorum, anlamıyorum. Lokum, baklava, yoğurt.
Fikri: Ulan neyimiz varsa her şeye sahip çıktınız, şimdi sıra bana mı geldi?
Types of CSI: Foods and Drinks; Legal and Political System; Entertainment, Customs
and Habits
Translation Strategies Applied: Substitution (x3) (Cultural Substitution [x1],
Situational Paraphrase [x2])
“Apple pie”, which is an apple sauce filled pastry, is taught to be originated from England
but later it became a typical American dessert so that there is even a phrase “as American
as apple pie” which means exhibiting typical American behaviours (as American as apple
pie, n.d.). Translator rendered the ST CSI applying the substitution strategy through
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cultural substitution by using another TT CSI under the category of food, “lokum”,
Turkish delight, a traditional Turkish sweet.
Lower 48 is a political term that used to describe the contiguous states of the US which
equals to the 48 states of the US except Alaska and Hawaii (Lower 48, n.d.). It is seen
that ST CSI, which is a political term, was rendered in TT as "baklava" which is a very
traditonal Turkish dessert. It is possible to claim that the substitution strategy by
situational paraphrase was applied since the translator replaced the CSI in ST with another
word in TT which functions as the CSI in the ST. CSIs in both the source text and the
target text are potent cultural elements representing the culture they belong to.
The same is also present in the example of “Air Supply” which is a rock duo that was
popular in 80s in the US. It can be observed that the translator used the word “yoğurt” in
the target text, which is one of the foods that comes into mind when it comes to Turkish
cuisine. For this reason, it can be said that the translator applied the substitution strategy
by situational paraphrase.
Example 20:
Episode/ Time: Shameless (US) Episode 2 / 27:47
Context: Police officer Tony visits Gallagher house to invite Fiona to an event that he
will attend.
Tony: Basketball league awards banquet of CYO is next week at St. Stephen’s. There’s
a chance that I might get the coach of the year.
Fiona: That’s terrific Tony. Bet you’re a great coach.
Tony: I was hoping you’d come.
Fiona: To the banquet?
Tony: Mrs. Rudolian and Mrs. Ignacio are doing the food, so there’ll be all the kielbasa
and ragu you could eat.
Fiona: Can I think about it?
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Tony: Sure, seven o clock.
Episode/ Time: Bizim Hikaye Episode 2 / 01:41:24
Context: Police officer Cemil visits Elibol house to invite Filiz to an event that he will
attend.
Cemil: Yarın bizim polis gecemiz var da.
Filiz: Eee?
Cemil: Benimle gelir misin diyecektim. Ya da neyse boşver ya.
Filiz: Ay ne bileyim şimdi, çocuklar filan. Eee şey, ben de o zaman duruma bakayım, ona
göre haber vereyim sana olur mu?
Cemil: Olur, olur tabi.
Types of CSI: Entertainment, Customs and Habits; Institutions and Organizations, Place
Names and Ecology; Foods and Drinks (x2)
Translation Strategies Applied: Substitution (Situational Paraphrase), Omission (x4)
League awards banquet, which is placed under the category of entertainment, customs
and habits, is a feast after the local basketball league games end. In this extraction, it is
clear that the translator applied substitution strategy by situational paraphrase since s/he
used the word “polis gecesi” in the TL text, which has no relevant or enough connotation
with the ST CSI but it suits the narration of the text.
“CYO” is an abbreviation that stands for Catholic Youth Organization (“CYO”, n.d.).
According to the Encyclopedia of Britannica, Catholic Youth Organisation “administers
orphans’ homes, music departments, vacation centres, and lecture bureaus; it also
provides scholarships, various athletic programs, and cultural and social programs
for high school students” (Catholic Youth Organization, n.d.). Although it sounds like a
religious term, it is an organization in terms of its functioning and purposes, and it is
included in the CSI category of institutions and organizations. It is obvious that ST CSI
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has been omitted in TT. The reason for this decision of the translator may be explained
with the decision of the screenwriters. Since the religious organizations in Turkey seen
as a controversial and sensitive subject, the screenwriters may have decided to remove
these elements during remaking process. In other words, the decision of the screenwriters
may affect the translator’s decision.
“St. Stephen’s” is a Roman Catholic church located in Chicago, Illinois (Klein, 2009). It
has been included in the place name's and ecology category because it reports a location.
Just like in the previous example CYO, the translator used the omission strategy as a
result of the screenwriters' decision, so it is again an obligatory decision.
“Kielbasa” is a kind of Polish sausage and it has a strong beef flavour (kielbasa, n.d.).
“Ragu”, on the other hand, is a type of pasta sauce based on minced meat, containing
wine, milk or vegetables depending on the region (ragu, n.d.). The translator used the
omission strategy and removed these two CSIs in the TT. Again, this decision is an
obligatory one because the characters in the source script go to a celebration dinner while
the characters in the remake’s script go to the police night. So it can be said that the small
change in the narration of the scene affected the translation decision again.
Example 21:
Episode/ Time: Shameless (US) Episode 2 / 38:19
Context: Customers wanting to mock Frank for being abducted to Canada, start singing
the Canadian national anthem when Frank comes in to Alibi.
[The Canadian national anthem plays in the background]
Kev: How are you doing, Frank? Can I pour you a nice tall, frosty Molson?
Frank: Old Style, J&B.
Kev: How about a Labatt and a Canadian Club?
Episode/ Time: Bizim Hikaye Episode 2 / 1:28:42
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Context: Customers wanting to mock Fikri for being abducted to Greece, start playing
the traditional Greek dance music syrtos.
[The tradional Greek dance music plays in the background]
Fikri [to Tufan]: Yuh be, kapat şunu ya!
Tufan [starts dancing]: Gel, gel. Allah aşkına gel. Gel biraz oynayalım, gel.
Types of CSI: Brand Names (x5)
Translation Strategies Applied: Omission (x5)
“Molson”, “Labatt” and “Canadian Club” are all local Canadian alcoholic beverage
brands. Likewise, “Old Style” and “J&B” are American beer and whiskey brands. It can
be observed that the translator applied the omission strategy and removed all ST CSIs in
the TT. This strategy may seem as an obligatory solution since advertisements are subject
to the regulations of The Supreme Board of Radio and Television. But since omission
strategy regarded as a last option and instead of names of the local alcoholic beverage
brands, types of local alcoholic beverages could be used, thus this choice of the translator
here can be described as arbitrary. Moreover, it can also be asserted that these arbitrary
omissions caused a slight deviation in the narration of the related scene in the remake
even though the general context remains the same.
Example 22:
Episode/ Time: Shameless (US) Episode 3 / 16:18
Context: Frank comes home and begins prepearing Sheila's order from his own house,
instead of buying from the grocery store since he spent all the money that Sheila gave to
him.
Fiona: Why you are taking our foods?
Frank: My food, you mean?
Fiona: No, I mean our food.
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Frank: Which you paid for with food stamps that are funded by taxes that I pay.
Episode/ Time: Bizim Hikaye Episode 3/40:21
Context: Fikri comes home and begins prepearing Şeyma's order from his own house,
instead of buying from the grocery store since he spent all the money that Şeyma gave to
him.
Filiz: Napıyorsun? Napıyorsun ya?
Filiz: Aa, ne yapıyorsun ya?
Fikri: Hadi be, parasını ben vermedim mi istediğimi alırım.
Filiz: Hayır, bizim paramızla alındı onlar.
Types of CSI: Institutions and Organizations
Translation Strategies Applied: Omission
Food stamp is a coupon provided by the federal government in the US with which one
can buy food (food stamp, n.d.). Food stamps are part of a govermental project that is run
by the United States Department of Agriculture (“Food Assistance”, n.d.). For this reason,
it is placed under the category of CSIs that are related to institutions and organizations. It
is observed that the ST CSI is removed in the TT with the omission strategy. It can not
be expressed that this decision is an obligatory one since there is an alternative strategy
thus it can not be regarded as a last resort. In Turkey, even if it is not distributed with
coupons, there are also some goverment food assistance projects (“Sosyal Yardım
Programlarımız”, n.d.). So in the TT, the translator have had the opportunity to apply
substitution strategy by paraphrase with sense transfer with a non-culture bound phrase
such as “yardım parası”. In this case, it would be appropriate to state that this omission is
an arbitrary one.
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Example 23:
Episode/ Time: Shameless (US) Episode 3 / 16:18
Context: Veronica and Fiona talk about the event that Fiona and Tony attended together
in the previous evening.
Veronica: Virgin? Holy shit! You popped his cherry? And how was the 30 seconds of
bliss?
Fiona: He actually lasted a while.
Veronica: Did he cry after?
Fiona: Leave him alone. He’s a nice guy.
Veronica: Oh, so it was a mercy fuck? Or did you sleep with Tony to get back at Steve?
Fiona: What?
Veronica: Come on, I saw the way you look at Steve.
Episode/ Time: Bizim Hikaye Episode 3 / 31:52
Context: Tülay and Filiz talk about the event that Filiz and Cemil attended together in
the previous evening.
Tülay: Sen bana Cemil’i anlat.
Filiz: Ay ne Cemil’i ya. Anlattım işte.
Tülay: He, senden çok hoşlanıyormuş, bu kadar yani? Ne şaşırdım ne şaşırdım. Tabi
Barış dururken sen elin adamına yüz verirsen olacağı budur.
Filiz: Aa, Tülay.
Tülay: Ay, ne Tülay? Ben görmüyor muyum çocuğa nasıl baktığını?
Types of CSI: Slang and Interjections (x2)
Translation Strategies Applied: Omission (x2)
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Holy shit is an exclamation “used to show that someone thinks something is surprising,
shocking, or impressive” (Holy shit, n.d.). It is seen that this ST CSI is omitted in the TT.
Here, when the source script and the remake’s script are compared, there can be found
some differences beyond translation. This is probably due to the intervention of
screenwriters who may have thought that obscenity would not be welcome by the target
audience. Therefore, it can be said that this omission is an obligatory one.
A similar situation is also present in the next sentence. “Popping one’s cherry” means to
have a sexual intercourse with someone who has never done it before (pop one’s cherry,
n.d.). When the TT examined, it can be observed that this ST CSI is also omitted and it
can be described as an obligatory one for the same reason as the previous CSI.
Example 24:
Episode/ Time: Shameless (US) Episode 3 / 21:33
Context: Lip who takes exams for other students in order to earn money, and Karen, who
mediates it, speak in front of the school.
Lip [takes the ID card that Karen gave]: Oh, thank you.
Karen: His focus is math and he wants to get into the National Merit Society.
Lip: Got it.
Episode/ Time: Bizim Hikaye Episode 3 / 30:14
Context: Rahmet who takes exams for other students to earn money, and Müjde, who
mediates it, speak in front of the school.
Müjde: 1561, Cenk Kutsal.
Müjde [hands over the ID card]: En az 80 alman lazım. On dakika içinde başlayacak
sınav. Al bu çocuğun kimliği, bir şey olursa gösterirsin.
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Types of CSI: Education
Translation Strategies Applied: Substitution (Situational Paraphrase)
National Merit Society is a nongovermental scholarship program in the US that was
created to “identify and honor scholastically talented American youth and to encourage
them to develop their abilities to the fullest” (“NMSC History and Facts”, n.d.). Translator
removed this ST CSI in the TT and replaced with another phrase “en az 80 alman lazım”
by using substitution strategy through situational paraphrase. This way, the translator did
not distrupt the narrative of the ST by using a phrase which has no specific connotation
with the ST CSI but suits the dialogue.
Example 25:
Episode/ Time: Shameless (US) Episode 3 / 29:57
Context: While Veronica buffers Lip’s bleeding nose, Lip sees the man in the house
disguised as a woman.
Veronica: The nose is the most commonly broken bone in boys between the ages of 13
and 15.
Lip: That’s fascinating, but who is the old dude?
Frank: It’s not a dude. It’s your Aunt Ginger.
Lip: What, the one who owns the house?
Frank: Ginger, say hello to your nephew.
Fiona: Dad, stop.
Lip: Why is he trying to pass off Mr. Perry as Aunt Ginger?
Frank: Who?
Lip: Mr. Perry, my old bus driver. Sleeps behind the dumpster over at the A&P.
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Episode/ Time: Bizim Hikaye Episode 3 / 01:07:57
Context: While Tülay buffers Rahmet’s bleeding nose, Rahmet sees the man in the house
disguised as a woman.
Tülay: Biliyor musun, yaşları 17 ile 25 arası değişen erkeklerin en sık kırılan kemiği
burun kemiğiymiş.
Rahmet: Ya, babam Kamil abiye niye kadın çorabı giydiriyor ya?
Fikri: Şşş, sen ne biçim konuşuyorsun lan adam diye? O senin Zeliha halan.
Rahmet: Nasıl Zeliha halam? Bu evin sahibi Zeliha halam?
Fikri: Hı, gel, gel. Öp elini bakıyım Zeliha halanın.
Rahmet: Ya Kamil abi o, aşağıdaki parkta yatıyor ya.
Types of CSI: Brand Names
Translation Strategies Applied: Situational Paraphrase
A&P which is known as "The Great Alantic & Pacific Tea Company" is a supermarket
chain that operated in the USA until 2015 (“A&P About Us”, n.d.). Since it is a trademark,
it seems to be suitable for the brand names category. Instead of using a supermarket name
which similarly denotes a place, the translator opted for situational paraphrase it in the
target text probably because using a trademark could posses legal issue due to the
regulations on advertisement. However, a more source text oriented translation would be
possible with a sentence like "aşağıdaki süpermarketin oradaki parkta yatıyor".
Example 26:
Episode/ Time: Shameless (US) Episode 3 / 41:13
Context: Debbie and fake Aunt Ginger are preparing breakfast together.
Debbie: We are making eggs Benedict, Lip.
Lip: Oh, great.
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Episode/ Time: Bizim Hikaye Episode 3 / 01:21:54
Context: Kiraz and fake Aunt Zeliha are preparing breakfast together.
Kiraz: Abi, bak! Halam bize yumurtalı ekmek yaptı.
Rahmet: Oh, nefis görünüyor.
Types of CSI: Food and Drinks
Translation Strategies Applied: Substitution (Cultural Substitution)
Eggs Benedict, “a brunch staple consisting of poached eggs and Canadian bacon or sliced
ham on an English muffin, topped with hollandaise sauce (a rich and creamy concoction
made with egg yolks, butter, lemon juice or vinegar, and various seasonings)” and it is
taught to be and it originated from the meal that was created when Le Grand Benedict, a
regular customer of a restaurant in New York, asked the chef to do something other than
the dishes on the menu (“eggs Benedict”, n.d.). The translator rendered this ST CSI to TT
as “yumurtalı ekmek” which is another CSI in the TT and literally translated as “bread
with egg”. Since both of the dishes still have more or less the same ingredients and both
of them are traditionally consumed at the breaksfast, it is possible to assert that the
translator used substitution strategy by cultural substitution. Here, the translator replaced
the CSI in ST by a CSI which is expected to be more familiar with the target audience in
TT.
Example 27:
Episode/ Time: Shameless (US) Episode 3 / 41:43
Context: Ian takes the baseball bat from the house and goes to face Mickey Malkovich,
who is after him.
Lip [to Carl]: You bud.
Carl: Yeah?
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Lip: You take the killing bat?
Carl: No.
Episode/ Time: Shameless (US) Episode 3 / 41:43
Context: Hikmet takes the knife from the house and goes to face the boy who is after him
and Rahmet is about to go outside to seek Hikmet.
Fikret [to Rahmet]: Abi!
Rahmet: Ne var lan?
Fikret: Hikmet abim ekmek bıçağını alıp gitti.
Types of CSI: Entertainment, Customs and Habits
Translation Strategies Applied: Substitution (Situational Paraphrase)
Bat is a “a specially shaped piece of wood used for hitting the ball in some games such
as baseball and cricket” (bat, n.d.). The word “bat” in ST is used with a deverbal adjective
“killing”, so it is understood that they use the bat as a weapon during a potential attack.
In other words, it is used as a household item rather than a sports equipment. It is placed
under the category of entertainment, customs and habits since baseball bat is an object
used in baseball which is a sport and anything ralated to sport is categorised under
entertainment category. The translator rendered this ST CSI as "ekmek bıçağı" in the TT
with the substitution strategy by situational paraphrase, presumably thinking that the
target audience is not familiar with the ST CSI since baseball and cricket are not common
in Turkey as they are in the US. Thus, the translator has used another object that has no
specific relation with the ST CSI.
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Example 28:
Episode/ Time: Shameless (US) Episode 3 / 43:18
Context: When Fiona is at home, the door knocks and a woman from Social Security
comes to check if Aunt Ginger is still alive.
Woman: Miss Gallagher, this is Federal Agent Salinger.
Episode/ Time: Shameless (US) Episode 3 / 01:32:00
Context: When Filiz is at home, the door knocks and a man comes to check if Aunt Zeliha
is still alive.
Man: Merhaba, Talibank’tan geliyorum ben.
Types of CSI: Legal and Political System
Translation Strategies Applied: Substitution (Situational Paraphrase)
Federal System is a governmental system which divides the political authority between
the national and local governments (“federal systems”, n.d.). In this case, the federal agent
is "a representative of the US federal government” and it is placed under the category of
legal and political systems (federal agent, n.d.). Since Turkey is governed by the
presidental system, it may be assumed that the target audience is not familiar with the
federal system. In this case, the translator rendered the ST CSI with the phrase
"Talibank’tan geliyorum" using the substitution strategy by situational paraphrase. Thus,
the ST CSI has been modified in TT and the work done by the staff in the ST CSI
attributed to the man in the TT by using an imaginary bank name. This way the narrative
of the ST is preserved.
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Example 29:
Episode/ Time: Shameless (US) Episode 3 / 46:47
Context: The Gallaghers are having a conversation at home before they take back the
fake Aunt Ginger to the nursing home.
Fiona [to Frank]: You’re not going until we take her to the nursing home.
Debbie: Aunt Ginger has to go back?
Ginger [walks into living room with a baking tray in her hand]: Rice krispies treats,
anyone?
Debbie: Don’t make her go.
Fiona: She can’t stay Debs.
Episode/ Time: Bizim Hikaye Episode 3 / 01:35:50
Context: The Elibols are having a conversation at home before they take back the fake
Aunt Zeliha to the nursing home.
Filiz: Ablacım, halanı hazırla da geri götürcez.
Kiraz: Ama abla, kalsa nolur ki?
Filiz: Ablacım olmaz.
Zeliha [come into the living room]: Akşama size ne pişireyim çocuklar? Buldum!
Çikolatalı puding.
Filiz: Geri götürmemiz lazım, olmaz.
Types of CSI: Food and Drinks
Translation Strategies Applied: Substitution (Situational Paraphrase)
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“Rice krispies treats” is a famous snack in the US produced by Kellogg’s and it includes
butter coated puffed rice with marshmallow or chocolate. This CSI, which is placed under
the category of food and drinks, was rendered in the TT as “çikolotalı puding” which
means chocolate pudding in Turkish by applying substitution strategy through situational
paraphrase. In fact, snacks made from rice puffs are also available in Turkey but these
snacks are traditionally not made at home as in the source text. The translator probably
took this into account and opted for the susbtitution strategy over other options, since
chocolate pudding is a word which is expected to be more familiar with the target
audience.
Example 30:
Episode/ Time: Shameless (US) Episode 4 / 13:30
Context: After Debbie abducts a boy in the neighborhood, Fiona and police officer Tony
are having a conversation.
Fiona: What happened?
Tony: A boy got taken from a birthday party.
Fiona: Do you think he might have just wandered off?
Tony: We got everybody out looking. Choppers, SWAT, couple dozens extra units and
AMBER Alerts.
Fiona: Wow, really?
Episode/ Time: Bizim Hikaye Episode 4 / 30:49
Context: After Kiraz abducts a girl in the neighborhood, Filiz and police officer Cemil
are having a conversation.
Filiz: Merhaba Cemil. Hayırdır?
Cemil: Ha, haberin yok mu ya? Şakşak sokakta bir kız çocuğunu kaçırmışlar. Her yerde
onu arıyoruz.
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Filiz: Aa, olacak iş değil. Bulursunuz inşallah.
Types of CSI: Institutions and Organizations (x2)
Translation Strategies Applied: Omission (x2)
“SWAT” is an abbreviation for “Special Weapons and Tactics” unit which is “a group of
police officers who are specially trained to deal with dangerous situations” (SWAT, n.d.).
It can be observed that the translator removed this CSI in the TT by using omission
strategy.
“America's Missing: Broadcast Emergency Response alert” or “AMBER alert” in shot is
an alarm system which sends emergency messages to the local residents when “a law
enforcement agency determines that a child has been abducted and is in imminent danger”
and it is under the jurisdiction of the US Department of Justice (“AMBER alert”, n.d.).
Since such an emergency system does not exist in our country, the translator applied the
omission strategy.
In this example, it can be seen that the whole sentence is omitted along with the two ST
CSI, just as in the 13th example. Here again, it can be claimed that the whole sentence is
omitted instead of translating the two ST CSIs. This can be attributed to one of the
intrinsic properties of translating remakes which give translator much more freedom
while translating. Since this sentence is not a cruicial part of the narrative, the translator
may have tought that the whole sentence could be omitted instead of giving effort to find
a propoer translation for the ST CSIs.
Example 31:
Episode/ Time: Shameless (US) Episode 4 / 36:53
Context: Returning from the police station, Tony and Fiona are in the car talking about
the last week that Fiona didn't attend Tony's dinner invitation.
Tony [pointing Debbie as she fell asleep]: Big day.
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Fiona: Yeah.
Tony: Happy ending.
Fiona: Yeap.
Tony: You missed a good pot roast last week. My mum really, uh, pulled out all the stops.
Fiona: Yeah. Sorry about that.
Episode/ Time: Shameless (US) Episode 4 / 36:53
Context: Returning from the police station, Cemil and Filiz are in the car talking about
the last week that Filiz didn't attend Cemil's dinner invitation.
Cemil [pointing Kiraz as she fell asleep]: Baya yorulmuş herhalde.
Filiz: Tabi, ne maceralar yaşadı bugün.
Cemil: Mantıyı da kaçırdın.
Filiz: Efendim?
Cemil: Mantıyı diyorum, kaçırdın. Annem çok güzel yapmıştı.
Filiz: Ha, ya Cemil, kusura bakma ya, başka bir işim çıktı da gelemedim o gün.
Types of CSI: Food and Drinks
Translation Strategies Applied: Substitution (Cultural Substitution)
“Pot roast” is “a piece of beef that is cooked slowly in a covered dish with a small amount
of liquid” (pot roast, n.d.). One of the main reasons for including this in the CSIs is that
this dish is known by different names in every culture and prepared with different
ingredients. For example, in Cuba it is known as Boliche, and the meat is usually stuffed
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with chorizo, while in Italy it is more vegetable based, known as Stracotto, and in
Germany it is called Sauerbraten, and the meat is marinated in a mixture of spices and
vinegar a few days in advance (Splawn, 2017.). As seen in the example examined, the
translator rendered this ST CSI to TT as "mantı", a kind of stuffed pastry like ravioli, with
the substitution strategy by cultural substitution. It is interesting that the Turkish
equivalent of pot roast can be used as "etli güveç" with the substitution strategy, whereas
the translator has preferred “mantı”, ravioli. One possible explanation for this could be
the cultural meaning that the dish expresses in both cultures. Turkish “mantı” is generally
conceived as a demanding dish that you can prepare when a special guest arrives.
According to the context that can be inferred from the scene, Filiz is also a special guest
for Cemil since he is in love with her. For this reason, the translator may have opted for
this choice.
Example 32:
Episode/ Time: Shameless (US) Episode 4 / 26:06
Context: Lip and Ian talk about the water heater they bought to replace the broken one.
Ian: Hey, did you bring in the water heater from the back porch?
Lip: No.
Ian: Well, it’s not on the porch.
Lip: Seriously?
Episode/ Time: Bizim Hikaye Episode 4 / 01:08:55
Context: Rahmet and Hikmet talk about the water heater they bought to replace the
broken one.
Hikmet: Rahmet, termosifon yok abi.
Rahmet: Nasıl yok lan?
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Hikmet: Ya o telaşla Barış’ın arabasından evin arkasına götürdük ya, gittim baktım orada
mı diye, buraya getirecektim. Yok, yürütmüş biri.
Rahmet: Hayda!
Types of CSI: Place Names and Ecology
Translation Strategies Applied: Situational Paraphrase
A “porch” is an architectural structure which is “a covered area next to the entrance of a
house, sometimes open to the air and sometimes surrounded by a screen” (porch, n.d.).
The main reason why the word “porch” is considered as a CSI, which is included in the
category of place names and ecology since it states a location, is that the concept
expressed by the word varies from culture to culture (“The Origins of the American Front
Porch”, n.d.). For example, it is called "portico" in Greek and generally represents power
and authority (Brantz, 2015). Portico functions more like a walkway rather than a
functional living space. On the other hand, in the US, a porch, which has many varieties,
is an integral part of traditional American home architecture and some have suggested
that "the American porch has, in its time as an American cultural symbol, represented the
cultural ideals of the nation" (“The Cultural Significance of the American Front Porch”,
n.d.). It is also not just a walkway, unlike in Greece, it is a living space almost used as
frequently as the living room (McAlester and Mc Alester, 1996, p. 52). In other words,
the meaning and the image of the concept of porch are different in each culture. In
Turkish, it corresponds to concepts such as “sundurma” and “ayazlık”. The architectural
concept “sundurma” is mostly in the form of a small roof hanging over the entrance of
the house, more like in the style of its Greek version, to protect the entrance of the house
from weather events such as rain and sun (sundurma, n.d.). Ayazlık, on the other hand, is
the living space used by the people to cool off and spend time and it's more like the
veranda, an American porch variety (ayazlık, n.d.). In this example, it is clearly seen that
the translator replaced the ST CSI in the target text with another term that suits the
conversation but has no specific connotations related to varenda. So, it can be said that
the translator applied substitution by situational paraphrase strategy. Although this could
102
be regarded as an odd choice since there is a more or less equivalent CSI in the target text
but the situation is different in this case. Since the house where remake's script was shot
did not have a porch in its architectural structure, the translator might have made the
decision to apply situational paraphrase because s/he may have thought the audio and the
picture would not match. Considering this, it can be asserted that the choice of the
translator to use situational paraphrase strategy is a result of the characteristics of
audiovisual translation.
Example 33:
Episode/ Time: Shameless (US) Episode 5 / 06:00
Context: Kevin, Veronica and Veronica's mother Carol are having a conversation at the
Kevin and Veronica’s house.
Carol: Your daddy left you money for your first home once you get married.
Veronica: A house?
Carol: Yeah, he thought it might keep you from being somebody’s baby-mama.
Veronica: How much?
Carol: I don’t know. He wanted the envelope opened your wedding day.
Episode/ Time: Bizim Hikaye Episode 5 / 01:36:57
Context: Tufan, Tülay and Tülay's mother Neriman are having a conversation at the
Tufan and Tülay’s house.
Neriman: Bak, teyzenden aldım gelirken, babanın sana bıraktığı para.
Tülay: Babam bana para mı bırakmış?
Neriman: Para bırakmış ya.
Tülay: Ne kadar bırakmış?
Neriman: Ay bilmiyorum ki kızım, ne bileyim ben?
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Types of CSI: Slang and Interjections
Translation Strategies Applied: Omission
“Baby-mama” is a slang meaning that “the mother of one or more of a man’s children,
especially one who is not his wife or current partner” (baby mama, n.d.). Originating from
Jamaican Creole, this word is thought to have become a catch phrase, with its frequent
use in the American hiphop and R&B songs in the 90s (Turner, 2006). The translator
removed the ST CSI while rendering it to TT with the omission strategy. Although there
is no equivalent slang in Turkish, the meaning could be conveyed with an expression such
as "evlenmeden çocuk sahibi olmanı engellemek için" by applying the substitution
strategy. Thus, it may be asserted that this omission is an arbitrary decision.
Again, in this example, it can be observed that the whole sentence is omitted along with
the whole sentence. This can be a result of the freedom of translating remakes. Instead of
giving time and effort to find a suitable translation for the ST CSI, the translator is able
to omit the whole sentence in cases it would not distort the narrative of the scene.
Example 34:
Episode/ Time: Shameless (US) Episode 5 / 11:05
Context: On the eve of her marriage, Veronica learns that Kev is already married and the
two meets to talk about this situation.
Kevin: Baby you have no idea how many times I wanted to tell you over the years. But
the more time went on, the more unreal it all seem.
Veronica [looks at the Kev’s photo with his ex-wife]: You look like a douchebag with
that mullet.
Episode/ Time: Bizim Hikaye Episode 5 / 01:14:45
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Context: On the eve of her marriage, Tülay learns that Tufan is already married and the
two meets to talk about this situation.
Tülay [looks at the Tufan’s photo with his ex-wife]: Ha, demek bunca zaman evin bir
köşesindeydi.
Tufan: Tülay, bak hiçbir şeyi bilerek yapmadım. Ya, ben seni ilk gördüm, aşık oldum.
Çekip gideceksin diye korkumdan söyleyemedim hiç. Sonra zaman geçti, her geçen gün
daha çok aşık oldum, bu sefer hiç söyleyemedim.
Types of CSI: Slang and Interjections; Entertainment, Customs and Habits
Translation Strategies Applied: Omission (x2)
“Douchebag” is a American slang which means “an obnoxious, offensive, or disgusting
person” (douchebag, n.d.). Although its exact origin is not known, it is estimated that the
slang word comes from a medical term written as "douche bag" which is used to make an
enema before medical procedures such as colonoscopy (“On the Evolution of
Douchebag”, n.d.). The medical procedure in which this douche bag is used is known to
be a unpleasant and a dirty process. Although it sounds interesting, the word douchebag
may have been used as a reference to this situation. The Turkish dictionary equivalents
of this word are "pislik”, “aşağılık herif” and “hödük”. However, the translator removed
the ST CSI in the TT along with the whole sentence again and because there are equivalent
slang words in Turkish corresponding the ST CSI, this omission can be perceived as an
odd choice.
“Mullet” is type of hairstyle which is short on the sides and long on the back and the term
is taught to be emerged in the popular culture with the song “Mullet Head” of American
hip-hop group Beastie Boys (mullet, n.d.). Mullet head is also used to mean "stupid
person" (mullet head, n.d.) and people with mullet hairstyles are culturally associated with
low intelligence and a bohemian lifestyle. It is placed under the category of entertainment,
customs and habits since it is about the fashion. Translator omitted this ST CSI item in
the TT together with the whole sentence again.
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The fact that the sentence containing these two CSIs in the target text is omitted
completely can be explained by the translator's reluctance to make an effort to translate
these two CSIs or simply by the translator’s lack of knowledge to translate or maybe it
can be an ideological standpoint which lead the elimination of tabboo words all the way
when is it possible. In this sceene, since the sceene changes after that sentence and
omission of this sentence would not change the whole story, the third reason for the word
“douchebag” and the first and the second reasons for the word “mullet” can be themotives
behind this total omission of the sentence.
Example 35:
Episode/ Time: Shameless (US) Episode 5 / 11:40
Context: Fiona, Kevin and Veronica make fake marriage plans to get the money that
Veronica's father inherited since Kev is already married.
Fiona: You don’t actually have to get married. Your mum wants a wedding. So give her
one. I could get ordained online. Then we just don’t file the license with the state.
Veronica: A fake wedding?
Fiona: Why not?
Episode/ Time: Bizim Hikaye Episode 6 / 06:47
Context: Tülay and Tufan make fake marriage plans to get the money that Tülay's father
inherited since Tufan is already married.
Tülay: Sahte bir nikah memuru bulucaz.
Tufan: Ne?
Tülay: Hem annemin gönlü olacak hem babamdan kalan parayı alıcaz.
Types of CSI: Legal and Political System
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Translation Strategies Applied: Substitution (Situational Paraphrase)
“Ordain” means “to officially make someone a priest or other religious leader, in a
religious ceremony” (ordain, n.d.). Although it varies in each state, in the United States,
the judge, court clerk, priest, minister, or a rabbi can perform a wedding (“Legal Marriage
Requirements FAQs”, n.d.). Online ordaining is a kind of temporary authorization
obtained by fulfilling a number of requirements on the website of a chuch, so that a person
can perform a wedding even though s/he is not normally a priest (“Become Ordained”,
n.d.). Though, in Turkey, there is the ritual of religious marriage, it is not legally binding
according to the code of civil law. So, using “dini nikah” in the TT would not be an
equivalent term for the ST CSI and thus, it can be observed that the translator removed
the ST CSI in the TT and added something that is not a CSI but suits the situation by
applying the situational paraphrase. Also, since the word “sahte nikah memuru” does not
exactly give the sense of the ST CSI, it should not be confused with the paraphrase with
the sense transfer strategy.
Example 36:
Episode/ Time: Shameless (US) Episode 6 / 11:30
Context: Two men to whom Frank owes money spy on the Gallaghers' house inside the
car.
Vlad: Catholics! Look at them all. They replicate like rabbits. But, you know, if the Pope
ever approves of condoms, I get baptized. A lot I like about the Catholic Mass.
Robert: Good to know. Let’s get this over with.
Episode/ Time: Bizim Hikaye Episode 6 / 21:08
Context: Two men to whom Fikri owes money spy on the Elibols' house inside the car.
Speaker 1: Bak bak, adama bak! Tavşan gibi elli tane çocuk yapmış! Bunlar nasıl
bakacaz diye uğraşmazlar, çatır çatır çocuk yaparlar.
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Speaker 2: Hadi, halledelim şu işi.
Types of CSI: Religion and Beliefs (x4)
Translation Strategies Applied: Omission (x4)
“Catholic” refers to someone who is the member of the Roman Catholic Church which is
leaded by the Pope (Catholic, n.d.). The Pope, who is the leader of the Roman Catholic
Church and the bishop of Rome “is seen to have full and supreme power of jurisdiction
over the universal church in matters of faith and morals, as well as in church discipline
and government” (“Pope”, n.d.). Another term, “to baptize”, is to make a person a
member of the Catholic Church through a special religious ceremony called as “baptism”
(baptize, n.d.). Catholic Mass is “the central act of worship of the Roman Catholic
Church, which culminates in celebration of the sacrament of the Eucharist” (“mass”, n.d.).
Since all these four terms are cultural items specific to Christianity, they are classified
under the category of CSIs related to religion and beliefs. When the source and target
texts are examined, it is seen that the translator has removed these four items with the
omission strategy. It is possible to say that this choice is an obligatory one because the
characters in the remake’s are assumed to be Muslim, even if this is not explicitly
expressed, and therefore the ST CSIs have been omitted as there are no corresponding
terms in the TT system.
Example 37:
Episode/ Time: Shameless (US) Episode 6 / 12:12
Context: Two men to whom Frank owes money come home and Fiona gets the door.
Fiona: Frank doesn’t live here anymore.
Robert: Just because he doesn’t live here anymore doesn’t mean that you don’t know
where he lives.
Vlad: Pick up the phone and tell him to get us the 6 grand he owes.
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Episode/ Time: Bizim Hikaye Episode 6 / 21:58
Context: Two men to whom Fikri owes money come home and Filiz gets the door.
Filiz: Babam burada oturmuyor.
Speaker 1: Baban burada yaşamıyorsa telefonu al, babacığını ara, yirmi bin lira borcunu
getirsin bize.
Types of CSI: Measurements and Financial System
Translation Strategies Applied: Substitution (Cultural Substitution)
“Grand” is a slang word used for one thousand US dollars (grand, n.d.). As it related to
money, it has been placed in the category of CSIs of Measurements and Financial System.
Because the currency used in Turkey is “lira”, the translator rendered the ST CSI as “lira”
opting for substitution strategy by cultural substitution.
Example 38:
Episode/ Time: Shameless (US) Episode 6 / 15:13
Context: Fiona and Frank are talking about Carl's school meeting at Alibi.
Frank: He is a boy. That’s what boys do. When I was growing up, Joe Palazzo bit off a
kid’s finger. Sister Irmalita picked up the nub and wrapped in Kleenex.
Fiona: They’re threatening to expel him.
Frank: Well, go talk them out of it.
Episode/ Time: Bizim Hikaye Episode 6 / 24:47
Context: Filiz and Fikri are talking about Fikret's school meeting at Tufan’s tea house.
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Fikri: Ya oğlan çocuğu bu, yaramazlık da yapıcak, kuduracak da.
Filiz: Okuldan atacaklar çocuğu, müdür seni görmek istiyor özellikle.
Fikri: Git konuş o zaman.
Types of CSI: Brand Names
Translation Strategies Applied: Omission
“Kleenex” is a trademark for tissue paper produced by the US-based company named
Kimberly-Clerk and it even claimed a place in the Cambridge Dictionary (Kleenex, n.d.).
Even so, “Kleenex” is a brand name it is used for describing paper tissue in US, just like
the brand name “Selpak” is used for paper tissue in Turkey. While the translator could
use the substitution strategy by cultural substitution or paraphrase with sense transfer
here, s/he resorted to the omission strategy. Here again, it can be argued that instead of
looking for a equivalent term while transferring the ST CSI “Kleenex”, the translator
omitted this expression together with the sentence it is linked to in the source text, which
probably thought that it would not affect the general narrative of the whole scene.
Example 39:
Episode/ Time: Shameless (US) Episode 6 / 37:49
Context: Fiona and Carl’s headmaster Mr. Munroe are talking about Carl's future at
school.
Mr. Munroe: I’m sorry. I’m placing a call to Social Services. A home without a legal
guardian is a home we cannot condone.
Episode/ Time: Bizim Hikaye Episode 6 / 59:12
Context: Filiz and Fikret’s headmaster are talking about Fikret's future at school.
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Headmaster: Bak kızım, yasal vasisinin olmadığı bir eve müdahale etmek zorundayım.
Bakanlığa haber vermem lazım.
Types of CSI: Institutions and Organizations
Translation Strategies Applied: Generalization
U.S. Department of Health and Human Services which is also known as Social Services
for short is a state institution that protects American citizens “by providing for effective
health and human services and by fostering sound, sustained advances in the sciences
underlying medicine, public health, and social services” (“About HSS”, n.d.). The main
reason why this institution, and even almost all institutions in general, is included in the
scope of CSIs is that the organization chart and duties of these institutions differ from
country to country. For example, in the United States, Child Protective Services (CPS) is
the agency that reports if a child is under bad conditions and in need of protection and
this agency is solely responsible for detecting and reporting the neglect or abuse (“Child
Protective Services”, n.d.). After the CPS makes this notification to Social Services,
Social Services takes over the responsibility and supervises the child's placement in the
foster home and keeps tracks of the child’s well-being. But this was vice-versa in Turkey.
Until 2011, Social Services would check whether the child was in need of protection and
then the Child Protection Institution, which is Çocuk Esirgeme Kurumu in Turkish, would
be responsible from the process of placing the child in the foster home or orphanage and
her/his development there (“2828 Sayılı Sosyal Hizmetler ve Çocuk Esirgeme Kurumu
Kanunu”, 1983). After 2011, the duties of these two institutions were combined under
one roof, and though it has changed again, when the target series was filmed this
institution was serving under the Ministry of Family, Labor and Social Services. The
translator, in this case, rendered the ST CSI, which is an institution that is responsible for
placing the child in need to the foster home in the US as "bakanlık" in TT. In Turkey, the
duty of the ST CSI is carried out by an institution that is governed by the Ministry of
Family, Labor and Social Services, so it is possible to assert that the translator applied
generalization strategy. This choice of the translator turned the ST CSI that was loaded
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with information about which ministry it serves under, into a statement is not clear to
which ministry it belongs. In other words, made it more general.
Example 40:
Episode/ Time: Shameless (US) Episode 6 / 40:20
Context: Frank chased by two men whom he owes money.
Speaker 1: You’re fast.
Frank: Second team all-state in the mile.
Speaker 1: Sell a kidney, prostitute your 12-year-old, I don’t care how you get it.
Episode/ Time: Bizim Hikaye Episode 6 / 01:06:31
Context: Fikri chased by two men whom he owes money.
Speaker 1: Bana bak ulan Fikri. O parayı veya arabayı yarın akşama kadar getirmezsen
gebertirim seni.
Fikri: Ya nereden bulayım o kadar parayı?
Speaker 1: Bana ne lan siktir git böbreğini sat, yarın akşama kadar vaktin var.
Types of CSI: Measurements and Financial System
Translation Strategies Applied: Omission
“Mile” is an imperial “measurement of distance equal to 1760 yards or 1.6 kilometers”
(mile, n.d.). Currently, only United States, Liberia and Burma are using the imperial
measurement units as their official system (“International Measuring System of Units by
Country”, n.d.). The translator removed this ST CSI in TT along with the whole sentence
so s/he used the omission strategy. It is obvious that this expression in ST is used to
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describe the distance in running, which is a branch of athletics. Since 1600 meters race is
also present in Turkey, source sentence could be rendered as “1600 metre koşuda ülke
ikincisiydim” or something more natural like “koşuda derecem vardı” in TT by opting for
substitution strategy (“Atletizm ve Branşları”, n.d.).
Here again, although it is not a CSI, it can be mentioned that there is an ommitted source
text expression in the target text. The source text expression “prostitute our 12-year-old”
is ommited in the target text and it may be a strong indication as to the differences between
the two cultures.
Example 41:
Episode/ Time: Shameless (US) Episode 7 / 04:40
Context: Frank walks into an antique shop and tries to sell a watch and buyer offers a
bargain.
Buyer: Thirty-five dollars.
Episode/ Time: Shameless (US) Episode 06 / 01:10:43
Context: Fikri walks into an antique shop and tries to sell a watch.
Buyer: On lira vereyim.
Types of CSI: Measurements and Financial System
Translation Strategies Applied: Substitution (Cultural Substitution)
“Dollar” is the currency that is used in the United States. The translator applied the
substitution strategy by cultural substitution and rendered the ST CSI as “lira” in the TT.
Of course, this kind of translations is a result of translating remakes since the story takes
place in Turkey, not in a country that uses dollar as its currency.
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Example 42:
Episode/ Time: Shameless (US) Episode 9 / 28:32
Context: Debbie discovers Steve's true identity, and not wanting Debbie to tell her sister
about it, Steve takes her to the house that she bought for her sister.
Debbie: Has Fiona seen it?
Steve: No, she doesn’t know about it yet. I was gonna fix it up a bit and suprise her when
the time is right.
Debbie: I think we could built an above ground walkway that connects the two houses.
Steve: What? Like a Habitrail tube?
Episode/ Time: Bizim Hikaye Episode 8 / 13:45
Context: Kiraz discovers Barış's true identity, and not wanting Kiraz to tell her sister
about it, Barış takes her to the house that she bought for her sister.
Kiraz: Şimdi ablam burayı hiç görmedi mi?
Barış: Yok, görmedi. Yani biraz daha tadilata ihtiyacı var tabi, zamanı geldiğinde sürpriz
olsun istiyorum.
Kiraz: Vay be, burası çok güzel. Düşünsene iki ev arası yer altından bir tane geçit, gidip
geliriz.
Barış [laughs]: Bunun pek mümkün olduğunu düşünmüyorum ben ama.
Types of CSI: Brand Names
Translation Strategies Applied: Omission
“Habitrail” is a brand name for hamster habitats produced by Hagen Inc. (“What is
Habitrail”, n.d.). These habitats include mobile spheres and tubes that can be designed
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customly. In this extraction, the translator removed the ST CSI in the TT by applying
omission strategy.
Example 43:
Episode/ Time: Shameless (US) Episode 9 / 22:40
Context: Frank, who has to get a signature from his ex-wife Monica for disability
pension, uses Sheila to lure Monica into the neighbourhood.
Frank: Hey, do me a favor. Call this number and ask if Monica is there. And if she is,
tell her… congratulations, she’s won!
Sheila: Who is Monica?
Frank: Doesn’t matter.
Sheila: What’d she win?
Frank: Uh, I don’t know yet, whatever. A lottery. Something.
Sheila: Lottery?
Frank: A prize. A Teddy Bear.
Sheila: What for?
Frank: Jesus! With the questions already! Just call, say, it’s a Teddy Bear and a hundred
bucks.
Episode/ Time: Bizim Hikaye Episode 8/ 01:13:04
Context: Fikri, who has to get a signature from his ex-wife Şükran for disability pension,
uses Şeyma to lure Şükran into the neighbourhood.
Fikri: Şeyma Hanım, sizden bir şey isteyebilir miyim?
Şeyma: Evet, yani olur.
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Fikri [hands over the phone]: Alsana Şeyma Hanım, niye bakıyorsun?
Şeyma: Alayım.
Fikri: Şeyma Hanım, ben şimdi size bir numara söylicem, siz o numarayı arıycaksınız,
telefon açılırsa Şükran Hanım siz misiniz diyeceksiniz.
Şeyma: Şükran kim?
Fikri: Önemli değil. Siz diyeceksiniz ki yaşasın siz kazandınız diyeceksiniz.
Şeyma: Neyi kazandı bu Şükran Hanım?
Fikri: Piyango falan işte ya.
Şeyma: Piyango?
Fikri: He piyango! Ha, yok yok. Pelüş ayı kazandı diyin siz, kocaman bir pelüş ayı.
Şeyma: Özür dilerim Fikri Bey ama bu Şükran Hanım kim?
Fikri: Ama siz çok gereksiz sorular soruyorsunuz Şeyma Hanımcım ya! Siz telefonu
alacaksınız, ben Şükran Hanım derse o zaman diyeceksiniz, yaşasın siz kazandınız, bir
tane ayı, bir tane de beş yüz lira kazandınız diyin.
Types of CSI: Brand Names; Measurements and Financial Systems; Slang and
Interjections
Translation Strategies Applied: Substitution (x3) (Situational Paraphrase [x1], Cultural
Substitution [x2])
“Teddy Bear” is simply a stuffed toy bear (Teddy Bear, n.d.). It is included in the CSIs
related to the brand names due to being a trademark. The name of the stuffed toy bear
was coined from an incident that happened during one of the hunting trips of the President
Theodore Roosevelt who was also known as Teddy (Hudson, 2011, p.280). According to
the stories, one of the Roosevelt’s aides tied a bear to the tree and called him to shoot it
since President Roosevelt was not able to find a bear but he refused this offer thinking
that it would be unsporstmanlike (“The Story of the Teddy Bear”, n.d.). Later, one of the
political cartoonist wanted to satirize this incident with a drawing. Morris Michtom, a
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store owner, saw this cartoon and made a stuffed toy bear which he named as Teddy’s
Bear. After he granted permission to produce it commercially, the stuffed toy became
popular around the world with the name Teddy Bear. The mental image comes into mind
while thinking about “peluş ayı” can be quite different and various than while thinking
“Teddy Bear” because the look and the shape of the Tedy Bear is quite definite. It is
defined by the Morris Michtom and accepted and used by the people from generation to
generation in the exact same form. For this reason, its mental image is quite definite. The
translator rendered this ST CSI by a non-culture bound Turkish word “pelüş ayı” opting
for substitution strategy by situational paraphrase, removing the cultural connotations
with the ST CSI and using another word that suits the conversation.
“Jesus” is an interjection that expresses a strong emotion of anger or suprise (“Jesus”,
n.d.). The interjection “Allah Allah!” could be equivalent for ST CSI since it also
expresses feeling of strong anger or suprise and it also has a religious load (Allah Allah!,
n.d.). Nonetheless, the translator opted for substitution strategy through cultural
substitution by using another CSI “ya!” in the TT, which is a Turkish interjection
expressing the same feelings.
“Buck” is an English slang which means “a dollar” (buck, n.d.). The Turkish equivalent
of this ST CSI is “papel” which denotes one Turkish Lira banknote (papel, n.d.).
However, it can be observed that the translator used another equivalent for the ST CSI
“lira” which is not a slang word by applying substitution strategy by cultural substitution.
Example 44:
Episode/ Time: Shameless (US) Episode 13 / 25:25
Context: Frank starts begging to pay off his debt.
Frank [to the people in the cars]: Jesus loves you!
Episode/ Time: Bizim Hikaye Episode 7 / 01:22:20
Context: Fikri starts begging to pay off his debt.
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Fikri [to the people in the cars]: Allah rızası için be abi!
Types of CSI: Religion and Beliefs
Translation Strategies Applied: Substitution (Cultural Substitution)
“Jesus loves you” is a common prayer used by the beggars (Jesus loves you, n.d.). Since
Jesus is related to the Christianity, the translator opted for substitution strategy by cultural
substitution and rendered the ST CSI as “Allah rızası için” in the TT.
Example 45:
Episode/ Time: Shameless (US) Episode 17 / 09:48
Context: Frank tries to get Sheila out of her room since she suffers from agoraphobia.
Frank [knocks the door]: Sheils? Even Osama had to come out of his cave every once
in a while.
Sheila: And look what happened to him.
Episode/ Time: Shameless (US) Episode 12 / 01:49:52
Context: Fikri tries to get Şeyma out of her room since she suffers from agoraphobia.
Fikri [knocks the door]: Şeyma Hanım? Şeyma Hanımcım? Kalk, kalk. Şeyma Hanım,
ne olur ya! Şeyma Hanım?
Types of CSI: Person’s Names
Translation Strategies Applied: Omission
“Osama” refers to the Osama bin Laden who is the leader of the terrorist organization Al-
Qaeda (“Osama bin Laden”, n.d.). Since Sheila did not leave her room, Frank makes an
allusion to Osama bin Laden who was hiding in a cave in Pakistan for a long time after
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the 9/11 attacks (Corbin, 2015). Although this name has made a tremendous impact all
over the world, it has inflicted deeper wounds on American citizens who lost their
relatives in the World Trade Center, and thus, it can be said that its recognition is higher
in the USA than in other countries. Therefore, it can be argued that this reference by Frank
can be understood by the American citizens without any additional explanation. It is seen
that this ST CSI, which is related to the US’ recent political history, has been removed in
the TT. This preference of the translator can be described as obligatory because although
the Turkish people may be familiar with bin Laden, it is hardly possible to say that the
information such as his whereabout is also a common knowledge among the Turkish
citizens. Also, it would really seem odd if a Turkish character used the name “Osama”.
Example 46:
Episode/ Time: Shameless (US) Episode 19 / 41:47
Context: Fiona wakes her siblings up for the school.
Fiona: Lip, come on, wake up.
Fiona: Come on, first day of school, senior.
Episode/ Time: Bizim Hikaye Episode 34 / 01:46:48
Context: Filiz wakes her siblings up for the school.
Filiz: Fiko, Rahmet! Kalk!
Filiz: Rahmet kalk!
Types of CSI: Education
Translation Strategies Applied: Omission
“Senior” is a term which denotes someone who is in the last year of his/her high school
education (senior, n.d.). In the US, there are four traditional names for the high school
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grades which are freshman, sophomore, junior and senior (VOA Student Union, 2020).
Translator omitted this ST CSI in the TT. In Turkey, there is no such unofficial, slang
terms for the high school grades but substitution strategy could be applied by using an
explanatory phrase such as “lisenin son yılı” in order to avoid omission strategy.
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CHAPTER 5: RESULTS AND DISCUSSION
5.1. RESULTS
A total of 46 scenes were examined in terms of CSIs, disregarding the visual material. In
these 46 scenes, the total number of CSIs examined is 72.
5.1.1. Overall Data on CSIs and Translation Strategies
The proportional distribution of these CSIs according to categories can be seen in the
graph below:
4%3%6%
7%
13%
6%
18%
9%
12%
7%
15%
Distribution of CSIs According to Categories
Place Names & Ecology Person's Names
Legal and Political System Institutitons and Organizations
Foods and Drinks Education
Religion and Beliefs Entertainment, Customs and Habits
Slang and Interjections Measurements and Financial System
Brand Names
Figure 1 Distribution of CSIs According to Categories
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The proportional distribution of translation strategies in general is as follows:
Figure 2 Proportional Distribution of Translation Strategies
5.1.2. Data on Translation Strategies by CSI Categories
According to Jan Pedersen's (2005) model, the number and proportions of translation
strategies used in each CSI category are as follows:
5.1.2.1. Place Names and Ecology
A total of 2 CSI was identified in this category and it was observed that 1 was translated
by using omission strategy and the other by situational paraphrase.
0%0%17%
8%
24%
4%
47%
Retentition Specification
Direct Translation Cultural Substitution
Paraphrase with Sense Transfer Situational Paraphrase
Generalization Omission
50%50%
Omission Situational Paraphrase
Figure 3 Ratio of Translation Strategies Used in Place Names and Ecology
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5.1.2.2. Person’s Names
In this CSI category, it was found that 1 of 3 CSIs was translated using situational
paraphrase and 2 of them were translated with the omission strategy.
5.1.2.3. Legal and Political System
1 of the 5 CSIs that fall in this category in total was translated by omission strategy, 4 of
them were translated with situational paraphrase.
33%
67%
Situational Paraphrase Omission
20%
80%
Omission Situational Paraphrase
Figure 4 Ratio of Translation Strategies Used in Person’s Names
Figure 5 Ratio of Translation Strategies Used in Legal and Political System
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5.1.2.4. Institutions and Organizations
It was revealed that 2 of the 6 CSI in this category were translated through generalization
and 4 of them were translated using the omission strategy.
5.1.2.5. Foods and Drinks
1 of the 11 CSIs in this category were found to be translated by paraphrase with sense
transfer, 4 of them were translated by cultural substitution, 3 of them were translated using
the omission strategy and 3 of them were translated with situational paraphrase.
33%
67%
Generalization Omission
9%
37%
27%
27%
Paraphrase with Sense Transfer Cultural Substitution Omission Situational Paraphrase
Figure 6 Ratio of Translation Strategies Used in Institutions and Organizations
Figure 7 Ratio of Translation Strategies Used in Foods and Drinks
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5.1.2.6. Education
Results have showed that the 1 out of 5 CSI that falls into education category were
translated with paraphrase with sense transfer, 1 of them was translated with
generalization, 2 of them were translated with omission strategy and 1 of them was
translated with situational paraphrase strategy.
5.1.2.7. Religion and Beliefs
Findings revealed that 4 of 5 CSIs in this category were translated by using omission
strategy while 1 of them was translated with cultural substitution.
80%
20%
Omission Cultural Substitution
20%
20%
40%
20%
Paraphrase with Sense Transfer Generalization Omission Situational Paraphrase
Figure 8 Ratio of Translation Strategies Used in Education
Figure 9 Ratio of Translation Strategies Used in Religion and Beliefs
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5.1.2.8. Entertainment, Customs and Habits
According to the data obtained, 3 of 7 CSI belonging to this category was translated by
omission strategy and 1 of them was translated by using cultural substitution strategy and
3 of them were translated through situational paraphrase.
5.1.2.9. Slang and Interjections
A total of 10 CSIs were identified in this category. It was revealed that 3 of them were
translated through paraphrase with sense transfer, 5 of them were translated by using
omission and 2 of them were translated by cultural substitution strategy.
43%
14%
43%
Omission Cultural Substitution Situational Paraphrase
30%
50%
20%
Paraphrase with Sense Transfer Omission Cultural Substitution
Figure 10 Ratio of Translation Strategies Used in Entertainment, Customs and Habits
Figure 11 Ratio of Translation Strategies Used in Slang and Interjections
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5.1.2.10. Measurements and Financial System
It was revealed that 4 of 6 CSIs in this category were translated by cultural substitution,
1 of them was translated by paraphrase with sense transfer and 1 of them was translated
with omission strategy.
5.1.2.11. Brand Names
It It can be seen from the data obtained that 8 of 12 CSIs in brand names category were
translated by using omission strategy and 4 of them were translated by situational
paraphrase strategy.
67%
16%
17%
Cultural Substitution Paraphrase with Sense Transfer Omission
33%
67%
Situational Paraphrase Omission
Figure 12 Ratio of Translation Strategies Used in Measurements and Financial System
Figure 13 Ratio of Translation Strategies Used in Brand Names
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5.2. DISCUSSION
It is important to underline that remakes can be studied at the intersection between
communication studies/adaptation studies and translation studies. The basic features of
the remakes that allow them to be examined under translation studies can be examined
under Toury's three postulates. These three postulates are highlighted by Okyayuz (2016,
p. 216), which were mentioned in the previous chapter. These three postulates were
introduced as the source text postulate, transfer postulate and relationship postulate
(Toury, 1995, p. 33). Based on the case study, it can be seen that these three postulates
have been observed during the remake production process.
As for the source text postulate, the expression "devised by Paul Abbott" can be clearly
seen when the credits part of the target series is examined (See Figure 14).
Figure 14 End credits of the TV series Bizim Hikaye
Also, as stated by Toury (1995, p. 34), there is a chronological order between the texts,
in this case, between the series. The first season of Shameless (US) was aired on January
9, 2011, while the first season of Bizim Hikaye was broadcast on September 14, 2017.
Additionally, evidence of the existence of the source text is not limited to these. There
are also interviews with Serdar Gözelekli, the director of Bizim Hikaye series, in which
he stated that the series was adapted from the US version (See Chapter 3).
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As for the evidences for the transfer postulate, the language of the source script is
English, while the language of the target directory is Turkish. Likewise, while the source
series contains elements from the American culture, the target series is for the Turkish
audience. So obviously there is a transfer process. Moreover, in the standard remake
production process, it was also stated in the previous sections that the script of the source
text was transferred into the language of the target text (Barra, 2013, p. 104). In our
context, it was transferred from English into Turkish. It should be also noted that the
producer, names and locations have also changed.
The relationship postulate, which is the last postulate, can be easily determined by
examining various scenes of the series. As for this postulate, Toury (1995, p. 35) stated
that there should be a link in order to suggest that the target text is related to its source
text. This relationship can be detected when the dialogues and the scenes in the case study
section are examined. Moreover, the visual products are mostly similar. For example, at
the beginning of the first episode of the source series, which was examined in Example
1, in the previous chapter, Fiona enters the room to awaken her brothers, and similarly,
in the target series, Filiz enters their room to awaken her brothers.
Figure 15 Shameless (US) Episode 01 - Fiona enters her brothers’ room in order to wake them up
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Again, in the first episode, as examined in Example 1, in the case study, Ian and Lip race
all the way to the bathroom to have the first shower in the morning, and Ian wins.
Likewise, in Bizim Hikaye, Rahmet and Hikmet compete to the bathroom but this time in
order to use the toilet first in the morning, and Hikmet wins.
Figure 16 Bizim Hikaye Episode 01 – Filiz enters her brothers’ room in order to wake them up
Figure 17 Shameless (US) Episode 01 - Ian and Lip race all the way to the bathroom
Figure 18 Bizim Hikaye Episode 01 - Rahmet and Hikmet race all the way to the bathroom
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To give another example, in the second episode of the source series Shameless (US), after
Frank disappears suddenly, Fiona goes to the police station to file a missing person’s
report and have a conversation with police officer. Likewise, in the second episode of
Bizim Hikaye, after Fikri's disappearance, Filiz goes to the police station to file a missing
person’s report, which was examined in Example 18, in the case study. The relationship
between the scenes in these examples is also avaible in other scenes that is presented in
the case study section.
Figure 19 Shamelesss (US) Episode 02 – Fiona in the police station
Figure 20 Bizim Hikaye Episode 02 - Filiz in the police station
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As can be seen, all three postulates that Toury (1995) put forward to classify a product as
translation are available when a remake is in question. For this reason, it can be argued
that it is possible to examine remakes in the context of translation studies, just like other
audiovisual translation variants.
Of course, it is possible to discuss many different restrictive factors other than culture
related restrictions in the remakes. However, since the subject of this thesis is the
translation of CSIs, the restrictive factors, which are due to socio-economic, socio-
cultural and the temporal reasons, are discussed in the study. In the example of Shameless
(US) and Bizim Hikaye, the socio-economic and socio-cultural elements are different in
each culture. As it is tried to be presented in the case study, most of the deviations in
terms of CSIs in the target text occur due to these differences, which can also be sub-
categorized. These sub-categories can be roughly summarized as limiting factors arising
from different perceptions of sexuality and taboos, limiting factors arising from religious
differences, limiting factors arising from geographical differences, and limiting factors
arising from the laws of the country where the remake was made.
These restrictive factors related to the translation process are linked to one of the focal
points of this thesis, which is the difficulties encountered in the translation of CSIs in the
remakes. In this thesis, by the expression of difficulty, it is meant that translation of CSIs
that lead to deviation between the source text and the target text. Pedersen (2005), whose
translation strategies modeling taken as a base for this thesis, named these difficulties as
"translation crisis points" and asserted that the analysis of the translation of these
difficulties, which trigger the active decision-making process of the translator, can give
clues on what kind of norms are dominant in the production process of translation (p. 2).
In order to examine whether there occurs a certain pattern in translation of CSIs in
remakes through our case study, the figures and statistical data reached as a result of the
comparative analysis can be discussed. As mentioned in the previous chapters, CSIs in
the English series and its Turkish remake are grouped under 11 headings, namely, place
names and ecology, person’s names, legal and political system, institutions and
organizations, food and drinks, education, religion and beliefs; entertainment, customs
and habits; slang and interjections; measurements, financial system and currencies; brand
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names. The translation of CSIs under these categories are examined according to
Pedersen’s (2005) model.
The first of these 11 categories is named place names and ecology, and when the
translation of CSIs in this category is examined, it can be seen that 67% of them were
translated with the omission strategy and 33% with the situational paraphrase strategy
which can be positioned right before the omission strategy in a scale based on the
proximity of the translation to the source text. Considering the nature of transnational
remakes and the characteristics of CSIs in this category, it is not surprising that these
strategies are predominant in the translation process. Nevertheless, if the omission would
be considered as the last resort in a translation crisis, it is possible to offer alternative
translation strategies to the CSIs. The existence of the alternatives is also important in
revealing the motivation of the translator's choices. In other words, although there are
other alternatives, the motive behind a chosen strategy can give clues about many things,
especially the socio-cultural characteristics of the society in which text is translated. The
omission of the church named St. Stephen, which is a CSI indicating a place in the 20th
dialogue can be examined as an example. In these and similar examples, the translator's
use omission strategy instead of other possible strategies in the translation of places that
have religious or other problematic representations such as political may gives us
information about the social sensitivities of the society in which the translation is made.
Sometimes there may be some place names that the translator has to omit due to
geographical differences. This can be highly anticipated due to the nature of transnational
remakes. An example of this situation is the use of omission in the 16th scene. As an
alternative, in such cases, the translator may look for a target culture equivalent of the
source text place regarding the relevant geographical features of the region in the source
text. In this thesis, it has been observed that in the category of place names and ecology,
the translator prefered a translation that is far from the source text in the translation of
CSIs.
The second category with a high potential to initiate the translator's active decision-
making mechanism in the translation process is person's name. In this thesis, since the
target TV series is a transnational remake, it is expected to transfer the names using
different translation strategies. When the TV series Bizim Hikaye was examined, a
particular strategy or pattern preferred in the transfer of person’s names was not found.
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Phonetic similarity was preserved when transferring only the names of the two main
characters, Filiz and Fikri, but since there was no such similarity when it comes to the
names of other members of the Gallagher family, which are the other main characters, it
is not possible to conclude that the preservation of phonetic similarity is a conscious
choice. The translation of the names of the characters is therefore not included in the case
study section. When other CSIs in this category (including nicknames as described in the
CSI classification section) that are outside from the character names are examined, it can
be seen that 50% of the CSIs in this category were translated with the omission strategy
and 50% with the situational paraphrase strategy. In this case, just like the place names
and ecology category, it can be argued that this high rate of omission is again due to the
nature of the transnational remakes and the CSIs in this category.
Next CSI group that may contain difficulties is the one that falls under the legal and
political systems category. The concept of law has universal principles as well as
country-specific applications. Likewise, the political systems of countries may differ from
each other. When the translation of the CSIs fall under this category, the fact that 20%
was translated by omission strategy and 80% by situational paraphrase is parallel to this
nature of the law and political systems. In other words, peculiar features of each country’s
law systems led the translators to use the strategies such as omission or situational
paraphrase. The fact that the translator prefers a translation that is far from the source text,
despite the possibility of a translation that is close to the source text, may be an important
data that gives clues about the translation process because as explained in Toury’s three
postulates, a relationship between the source text and target text is sought in remakes.
Roughly speaking, in word level, the closer the translation is to the source text, the
stronger these transfer postulates will stand out. In this category, it is seen that the
translator prefered the omission strategy in some examples (see examples 13 and 18),
even though a translation that is more or less close to the source text were possible. In
such cases, first of all, the ideological background of the expressions in the source text
may be examined, and if there is no situation that may cause a problem in the cultural
system of the target language, the other possibilites come to mind that the translator or
the actors in the translation process may not find the effort necessary to convey these
expressions or their lack of the background knowledge to render the ST CSIs may be the
reason. Although it is not a common situation that the translators do not have the
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background knowledge to convey these CSIs, it is still a possibility that should not be
excluded when it is considered that the actors in translation process may not always be
the trained translators (they may be bilingual screenwriters or director etc.) during the
remaking process.
CSIs that are related to institutions and organizations are also likely to present some
difficulties in the translation process. It can be stated that this category may have a lower
potential to create a translation crisis point compared to other categories due to the fact
that it also contains CSIs that are available to be transferred using the official equivalent
such as World Health Organization or United Nations etc. When the translation of CSIs
in this category is examined, it is seen that 33% were translated using the generalization
strategy and 67% using the omission strategy. CSIs that may create a translation crisis
point are generally local institutions and organizations which are not quite possible to
translate with an official equivalent or direct translation strategy. The culture specific
elements in the 34th dialogue, which are related to a government institution, AMBER alert
and SWAT can be given as example for such incidents.
Speaking for the category of foods and drinks, it is possible to encounter some
difficulties in translation process for the reason that not every product is grown in every
region due to the climatic differences in the geographical regions, the access of every
food is not the same in every society due to socio-economic reasons, or due to differences
in taste. Considering the rate of use of translation strategies in this category, it is seen that
paraphrase with sense transfer strategy was used with a rate of 9%, cultural substitution
strategy with a rate of 37% and omission strategy with a rate of 27% and situational
paraphrase strategy with a rate of 27%. The reason why such a high rate of cultural
substitution strategy has been used may be the fact that compared to other categories,
although the names of foods and drinks may differ in societies for these aforementioned
reasons, these difficulties may be easier to overcome since some basic ingredients are
also present in many dishes. And because every society may have a unique eating and
drinking habit, a certain food in a culture and the consumption habit of the food in that
culture can be met with another one in an another society. On the other hand, having
different eating habits, just as in the 16th dialogue, may force the translator to take a
desicion on whether eliminating the source text CSI in the target text or replace it with
one other. Another diffuculty in the translation process may arise due to the cumulative
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perception of a society about a food. For example, some foods may be suitable for feasts
or special guests since they are either delicious, rare or takes time to prepare, in other
words laborious and these foods may change in each culture. For a different example in
a different aspect, in Turkey the famine and economic depression experienced during the
Second World War presented some difficulties in accessing basic goods and coffee was
one of the most affected ones (Çevik, 2012, pp. 119-126). So, coffee, which is not grown
in Turkey, may be perceived as a luxury consumption product due to the social memory
of the Turkish people during war-time period. Thus, the choices in the translation process
can give us clues about the socio-cultural and socio-economic features of the target
culture.
Another category that may require the translator to initiate the active decision-making
mechanism in the translation process due to differences in curriculum and educational
system is the education. When the case study section was examined, it was found that
20% of CSIs in this category were translated by paraphrase with sense transfer, 20% by
generalization strategy, 20% by situational paraphrase and 40% by omission strategy. The
education system of each culture may not be the same, and the differences arising from
this situation may push translators to take initiatives for translation. A concept, a type of
school or a course that exists in the education system of one country may not exist in the
system of another country, and in this case, the translator may have to initiate the active
decision-making mechanism and come up with a solution from the available options.
In transnational remakes, where the common religious belief in the culture it was
transferred is different from the source product, another category that is likely to present
translation crisis points is religion and beliefs. In other words, if the common religious
belief in the society where the source TV series was created is Christianity, and when its
reflections in the TV series are transferred to a remake which was created for a society
whose common religious belief is Islam, the active decision-making mechanisms of the
translators may have to be involved in order to achieve an end product that belongs to the
target culture. When the translation of CSIs related to religion and beliefs identified in
this thesis is analyzed, it can be seen that 80% were translated using the omission strategy
and 17% using the cultural substitution strategy. The difference in the common religious
beliefs of the two societies, the different scriptures of these two religions, and the
difference in the sensitivity of the society towards religion in these two cultures can be an
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explanation for the use of such a high rate of omission strategy. When the subject of
scripture is concerned, it is not unusual that the distinctions arising from the narrative
differences of religious books pose a problem in translation. For instance, in cases where
the narrative features of the Bible do not coincide with the Qur'an, a translator who wishes
to produce a fluent translation in the target text must somehow overcome this
inconsistency. Likewise, a concept or a ritual that exists in one religion may not exist in
another. This situation may pose an extra problem for translators in translation products
like remakes where visuality is also a crucial part and if the religions of the two cultures
do not have a common history, that is, they are far from each other, the translator may
decide together with other actors such as the director, screenwriter, etc., who are involved
in the translation process, and may inevitably omit these scenes.
The religious sensitivities of both source culture and target culture are another issue that
translators should consider. The approaches of the source culture's audience to religion
may allow the screenwriters or directors to work on religion in pejorative way or in a
parody setting. If the religious sensitivities of the target culture are higher, the translator
may again initiate the active decision-making mechanism and soften or eliminate this
situation in the source culture by using various translation strategies in the target culture.
These religious issues are also a category with a high potential to pose a problem for
translators in Turkey due to high religious sensitivity of Turkish society. In addition, they
are subject to RTÜK's control. In a 2009 survey by a company called Gallup, participants
were asked whether the religion has an important role in their daily life and 82% of the
participants from Turkey answered “yes” (Crabtree, 2010). Considering that translators,
especially those translating in the field of media, take into account the social norms of the
society of the target language while translating, it can be argued that the use of the
omission or situational paraphrase strategy would still be dominant even without RTÜK
regulations.
When the translator's preferences in these situations and the reasons underlying these
preferences are examined, it is possible to obtain information about the socio-cultural
characteristics of the target culture.
During remaking process, name of a local game, a local music band or a celebration that
is specific to the source culture need to be translated by various translation strategies
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decided by the translator and that might be not easy. So, next CSI category that can
challenge the translator is entertainment, customs and habits. In this thesis, it was
identified that 43% of the CSIs in this category were translated with the situational
paraphrase strategy, 43% of them with the omission strategy and 14% of them with the
cultural substitution strategy. The understanding of entertainment, traditions and habits
of each culture may differ. Translation crisis points that arise due to these differences are
another challenge that the translator must overcome. It may be difficult for translators to
convey the background knowledge and the name of the special days and weeks such as
Kutlu Doğum Haftası or St. Patrick’s Day and celebrations in the source culture to the
target text.
Likewise, the habits and routines of societies may differ from each other. This can be a
little bit demanding for a translator who wants to transfer the source text to the target
language in a way that is not perceived as foreign by the audience of the target culture. In
such cases, the translator may apply to the omission or, if possible, substitution strategies
in the target text by taking the opinions of other actors, such as the screenwriters and
directors, who are involved in the remaking process.
Another category that is likely to cause difficulties for the translators due to the nature of
the culture specific elements within it and being relatively more comprehensive is slang
and interjections. As a matter of fact, in line with this, the number of deviations that
were identified in this category is 10. When the translation of CSIs in this category is
examined, it can be seen that 50% was translated with the omission strategy, 30% with
the paraphrase with sense transfer strategy and 20% with the cultural substitution strategy.
The striking point here is that the omission strategy was used relatively more but this can
be expained with that this category includes certain CSIs which may have the potential to
present the most differences between cultures and is subject to the control mechanisms of
authorities such as RTÜK.
In the culture to which the source series belongs, sexuality, swearwords, slang
expressions may be used occasionally in conventional media, and if this series is
transferred to a culture where this is not possible due to various reasons such as RTÜK
or socio-cultural features of the target culture, translators may have to initiate the active
decision-making mechanisms. In this case, the translator can soften the expressions in the
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source text, transfer them directly, or remove these expressions by taking the opinions of
other actors involved in the remaking process. When these decisions taken by the
translator are examined, it is possible to reach clues about the socio-cultural structure of
the target culture. When the data obtained in this thesis are examined, it is determined
that almost all the slangs have a background that can be perceived as taboo. Again, when
the data is examined, it has been determined that majority of these slangs are omitted in
the target text using the omission strategy. This gives researchers information about the
socio-cultural characteristics of the Turkish society. Looking at this, it may be possible
to assert that sexuality is seen as a bigger taboo in Turkish culture than the culture in
which the source series is made. Of course, it can be claimed that this situation emerged
due to RTÜK regulations, but it also may not be correct to say that the regulations of
RTÜK are implemented independently of the expectations of the Turkish society. In fact,
when the complaints made by the public to RTÜK in 2020 are examined, it is seen that
the second rank belongs to the violation of "general morality, moral values and the
principle of protecting the family" (“RTÜK’e şikâyet yağdı”, 2020).
Interjections of cultures may also differ from each other. If an interjection that exists in
the source culture is not available in another culture, this situation may present difficulties
for the translator. In some cases, if an interjection with a religious context is used in a
pejorative way and the translation will be made for a society with high religious
sensitivity, the translator may again have to initiate the active decision-making
mechanism.
Next category of CSI that has a potential to pose difficulties for the translator is
measurements and financial system. The measurement units of the two cultures may be
different; one can use the metric system and the other can use the imperial system. For
example, when an ancient unit of measurement such as okka is translated into English,
the translator may have no chance of using a literal translation without any additional
explanation or s/he may choose to convert it to the target text’s unit of measurement or
neutralize or omit, etc. However, the advantage of this category is that it can offer
translators more options, as it contains CSIs that are closely related to trade. After all,
trade involves a cultural exchange which results in cultural exposure. In line with this
argument, it can be seen that in this category, cultural substition strategy is predominant.
The translation of the culture specific elements in this category was examined, and it was
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found that 67% were translated with the cultural substitution strategy, 17% with the
omission strategy, and 16% with the paraphrase with sense transfer strategy.
Among all these categories, brand names is one of the categories that has the most
potential to cause difficulties for the translator for various reasons and which may require
the translator to make the most effort. As a matter of fact, it was determined that 8 of the
12 CSIs identified in this category were omitted, and 4 of them were translated with
situational paraphrase strategy. So this ratio is 67% to 33%. The main reason for this
situation is probably the regulations of the Radio and Television Supreme Council
(RTÜK) regarding advertising. By 13th article of The Law No. 6112 on the Establishment
of Radio and Television Enterprises and Their Media Services, RTÜK restricts brand
layout to certain standards. According to this, if a product/brand is advertised in a
broadcast, it should be clearly notified to the audience, this product/brand should not be
a product/brand whose commercial communication is prohibited, the product/brand in
question should not be directly promoted or overemphasized (“The Law No.6112 on the
Establishment”, 2011). Probably for this reason, the translator or the production team has
eliminated the legal problems that may arise from these restrictions with the omission
strategy, considering that translation of these words are not worth the risk.
From this point on, it is necessary to examine the translation in a macro context in order
to reveal any ideological or strategic tendency of the translator or the actors involved in
the translation process. For this, it will be useful to reveal whether there is a categorical
pattern in the use of omission and situational paraphrase that is denounced as the closest
strategy to the omission strategy by Pedersen (2005, p. 9), which are the most distant
strategies (foreignizing by Venuti’s terms as Pedersen explains) to the source text. When
the translation of CSIs in this thesis was examined in total, it was found that 47% of CSIs
are translated using omission strategy, while 24% of them are translated using situational
paraphrase (See Figure 2). As a result of the comparative analysis, it was observed that
the mostly used strategy was omission, and a pattern was found especially in the omission
and situational paraphrase strategies. The reasons for this pattern can be explained as
follows:
1) Due to occasions where it is not possible to use the expression in the source culture
in the target culture (having no equivalent or being subject to legal regulations).
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2) Due to the socio-cultural differences of the two cultures as Okyayuz (2016, p.232)
mentioned (such as the use of taboo expressions related to sexuality or religion).
3) Due to the adaptations made because of the nature of the transnational remakes
(such as having two different religion, different place names, etc).
Brand names category can be given as an example for the first of these possible reasons.
What is striking is that the CSIs related to brand names were translated dominantly by the
omission strategy with a rate of 67%. These CSIs can be seen in the table below:
CSI Related Dialogue
eBay Dialogue 9
Old Style Dialogue 21
J&B Dialogue 21
Labatt Dialogue 21
Canadian Club Dialogue 21
A&P Dialogue 25
Kleenex Dialogue 38
Habitrail Dialogue 42
Table 3 Brand Names Translated by Using Omission Strategy As a possible cause of this trend, the first thing that comes to mind, is the Law No. 6112
of Radio and Television Supreme Council (RTÜK) which regulates radio and television
broadcasts in Turkey. According to this, as it is stated in the 3rd sub-article of the article
13 of the The Law No. 6112 on the Establishment of Radio and Television Enterprises
and Their Media Services “product placement shall not directly promote the purchase or
rental of goods or services, and shall not give undue prominence to the product” (“The
Law No. 6112 on the Establishment”, 2011). Especially, when the brand names
mentioned in the 24th dialogue are examined, it can be stated that almost all of the scene
is based on these brand names and therefore it may conflict with this article of RTÜK.
Also, the possibility that notifying the audience that the product placement has been made
in a TV series may disturb the naturalness of the scene and this may be another
determinant factor in the omission preference. In addition, it can be seen that the names
of the brands are in negative contex in some places. For example, in the 46th dialogue, a
visually impaired person states that he recognizes Frank by his body odor and the scent
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of Old Style, a beer brand. Since Frank does not draw a customer profile that a commerical
brand would want him to be face of their brand, the company in question may consider
suing the producers, stating that their brand value/reputation has been damaged. Thus, it
is possible to argue that even if RTÜK did not have such a law, the translators or parties
in the translation process would not want to use brand names to avoid such lawsuits.
The 5th sub-article of the same article also warns that “the products whose commercial
communication is prohibited shall not be allowed to be used in product placement
applications” (“The Law No. 6112 on the Establishment”, 2011). In this case, instead of
using brand names, only option except for the omission and situational paraphrase
strategy for the translator or the parties involved in the translation process is translating
what the actual product of the relevant brand is. So, for example, internetten satmak or
online alışveriş sitesi instead of eBay or using bira instead of Old Syle. However, the fact
that the omission strategy was chosen instead of such options shall suggest that the
translators may have wanted to avoid criticism from the target audience for the reason of
encouraging alcohol use. However, since Fikri is clearly depicted as drinking beer in
many parts of the series, it comes to mind that translators probably preferred the easier
way, omission strategy, rather than translating these expressions.
Another CSI group, which has a pattern in the use of omission and situational paraphrase
strategies, is CSIs related to sexuality and taboo expressions. It was found that all taboo
words containing sexual and religous connotation were eliminated. Some of these CSIs
can be listed as below:
CSI Related Dialogue
Prick Dialogue 15
holy shit! Dialogue 23
to pop one’s cherry Dialogue 23
baby-mama Dialogue 33
douchebag Dialogue 34
Table 4 CSIs Containing Taboo Words
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It can be argued that the sub-articles f and n of 8th article of the RTÜK’s aformentioned
law can be related to these omissions. In these sub-articles, it says that a radio or a
television broadcast “shall not be contrary to the national and moral values of the society,
general morality and the principle of protection of family” and “shall not be obscene”
(“The Law No. 6112 on the Establishment”, 2011). RTÜK can impose various penalties
on broadcasts that do not comply with these articles, including monetary fines and and
broadcast suspension, and examples of these penalties are frequently featured in the media
(Armutçu, 2014). Translators or producers may have preferred to omit these CSIs within
the scope of these regulations of RTÜK. One may think that if these translation
preferences were made due to RTÜK regulations, they should be examined under the first
of the reasons mentioned above. However, this situation is different from the situation
mentioned in the first possible reason. These RTÜK regulations take their source from
the socio-cultural structure of the Turkish people. In other words, these regulations
emerged in line with the expectations of the Turkish people. One of the biggest proofs of
this is the complaints made by the public to RTÜK in cases where such taboo expressions
are used (“RTÜK’e şikâyet yağdı”, 2020). In other words, the main reason for this pattern
may seems to be the sociocultural differences of the two cultures. The fact that they first
adapted the Shameless into Bizim Hikaye and then made some adjustments according to
Turkey, which was stated in an interview with the director of Bizim Hikaye, may also
support this claim (Gözelekli, 2017).
The third possible reason can be examplified with the pattern found in the religion and
beliefs, legal and political system, organizations and institutions, place names and
ecology, person’s names categories. The fact that the two cultures have different religions,
different laws, different place names, different person’s names and different interjections
is another reason for the pattern resulting from the use of omission and situational
paraphrase. In such cases, the use of omission and situational paraphrase may be
inevitable, because one of the goals in transnational remakes is to obtain a product in the
target language that will not be perceived as strange or foreign by the target language's
audience. Some of the CSIs which were translated using the omission and situational
paraphrase, can be seen in the table below:
143
CSI Related Dialogue
Jesus! Dialogue 12
Wisconsin Dialogue 16
St. Stephen’s Dialogue 20
CYO Dialogue 20
ordaining Dialogue 35
The Pope Dialogue 36
baptize Dialogue 36
Catholics Dialogue 36
Catholic Mass
Osama
Dialogue 36
Dialogue 45
Table 5 CSIs That Translated by Using Omission and Situational Paraphrase Strategies
When it comes to a remake, the fact that the omission strategy has been used in such a
high rate may raise the question of how much the final product resembles the source text?
Indeed, when the news that such a series was being produced announced to the media,
many journalists wrote articles examining this question. For example, Sinan Biçici (2017)
questioned the reason for producing a Turkish version of a series built on the
shamelessness of the characters, although these features cannot be reflected. İzzet Çapa
(2015) summarized his concerns about the series in the following questions:
1.What will replace the scenes containing drug abuse that exist in almost every episode of the series?
2.What about the erotic adventures of the Gallaghers’ next door neighbors?
3.Will the Ian’s story, who is a gay boy having an affair with the married owner of the grocery store where he works, be changed?
4.What will happen to Liam, who accidentally swallowed drugs and caused damage to his brain? Will boiling water be poured on our version of him?
5.Are we going to watch the show as blurred constantly due to alcohol abuse and smoking?
The producer of the Bizim Hikaye, Fatih Aksoy, answered this type of critical questions
as “Don’t we have alcoholics in Turkey? No junkie dads? Anybody without a mother?
144
So, we will tell about these in the local version” (Koloğlu, 2017). On the other hand,
Gözelekli (2017), the director of the series, stated that according to him, people don’t
watch Shameless only for these elements and asserted that it does not matter whether the
character is gay or not, the important thing is the cheating in that context and it is this
context that they will focus. As a matter of fact, we see that the gay character in the source
series is a heterosexual guy in the remake and he is platonically in love with the wife of
the market owner where he works.
When examined from the perspective of translation studies, it can be seen that the effect
of the target text created by the high rate of omission strategy is quite different from that
of the source text. Deviations at such points, where the translator came into play as a
cultural moderator, caused the source text to be over-toned-down, resulting in a target
text with much less "shameless" than the source text. Of course, at this point, it may not
be entirely correct to claim that mere translation leads to this, because the act of
translation is not carried out independently of the social norms of the target culture. If the
norms of the target culture are more conservative, such a conservative translation may
emerge. Translation and socio-cultural norms of the target language are in a relationship
that affects each other, therefore, at some points, deviations will be expected to occur in
line with the socio-cultural norms of the target language.
145
CONCLUSION
In this thesis, the translation of CSIs in the television series Shameless (US) into its
Turkish remake Bizim Hikaye is examined. The corpus of the study includes the first three
seasons of the source TV series Shameless (US). The reason for this choice is that the
target series is aired for only three seasons. In order to be able to analyze the source text,
a classification of CSIs has been presented in the light of the literature review. In
accordance with the structure of the study, in order to examine the translation of the CSIs,
the translation model that allows the examination of CSIs in AVT, which was proposed
by Pedersen (2005), was used as a method. After determining the classification for the
identification of CSIs and the translation strategies to be used for analyzing the translation
of these identified CSIs, the selected seasons were analyzed scene by scene. While doing
this analyzes, the source series was taken as basis. As a result of these analyzes, the
answers to the research questions are as follows:
1. What are the main features of remakes that allow us to examine them in the
context of translation studies?
One of the main motivations of this study was to demonstrate with a case study, in this
case the translation of CSIs in remakes, that the remakes, which were neglected in the
field of translation studies, could actually be examined within the scope of translation
studies. In order to to this, a case study was conducted on the three postulates which is
put forward by Toury in order to qualify a text as a translation. As a result of this
examination, it was determined that the remake TV series Bizim Hikaye has a source text
postulate in terms of specifying its source in the generic part. Since the languages of the
source series Shameless (US) and the target series Bizim Hikaye are different, it has also
been revealed that it also complies with the transfer postulate. Finally, the existence of
relation postulate was determined by comparing the dialogues and even scenes obtained
from the target series and the source series. To sum up, with the Toury's three postulates
it was revealed that the remakes, which are often neglected within the scope of translation
146
studies, are actually translation products that can be examined within the scope of
translation studies.
2. What are the factors that restrict the translation of CSIs in remakes?
As in almost every type of translation, there are a number of factors that restrict the act
of translation in remakes. In this thesis, the restrictive factors in terms of CSIs in remakes
are studied. The results of this analysis showed that these restrictive factors generally
occur due to the socio-economic and socio-cultural differences between the source and
the target cultures. The differences between the cultural environment of the Elibol and
Gallagher families; such as differences in social classes, differences in social values and
judgments or differences in consumption habits are also examples of limiting factors that
lead to deviations between the target and source series. It can also be said that another
restrictive factor is the legal regulations of the country where the translation is made. In
this case, for Turkey, this restrictive factor can be defined as the regulations of Radio and
Television Supreme Council of Turkey on the priciples of broadcasting. For this reason,
it has been found that the regulations on the use of items related to sexuality and religion
that can be considered taboo and the use of items related to brand names have been found
to lead to deviations between the target series and the source series.
3. What kind of difficulties the CSIs present in the process of a remaking? Which
translation strategies have been employed to overcome challanges?
These restrictive factors and some other elements may lead to some difficulties in the
translation process due to some differences between the source text and the target text,
namely deviations. In total, 72 CSIs were identified as a result of the comparative analysis
and these identified CSIs were classified under 11 groups. These CSI groups are place
names and ecology, person’s names, legal and political system, institutions and
organizations, foods and drinks, education, religion and beliefs, entertainment, customs
and habits; slang and interjections, measurements and financial system and lastly, brand
names.
It has been found that the first of the difficulties faced by the translators stems from the
differences in the themes that Okyayuz (2016, p.232) mentioned. These difficulties can
147
be considered as the translation crisis points arising from the differences of the
perspective of the two cultures on the theme of sexuality, and the translation crisis points
arising from the differences in social values and truths of the two cultures, that is, their
sociocultural differences. To talk about the first theme which is the theme of sexuality,
the more moderate and casual approach of the source culture to sexuality may pose a
challenge to the translator when translating into the target culture, where sexuality is seen
as taboo and cannot be presented casually in prime time as in the source culture. Another
difficulty arises from the differences in the social values and realities, that is, sociocultural
differences. In this thesis, it has been observed that translation crisis points arise
especially in the translation of CSIs with religious context and in the translation of CSIs
belonging to the category of entertainment, customs and habits. To sum up, it is possible
to say that the first of the difficulties faced by translators arises from the differences in
approaches to the themes of sexuality and taboo and from the differences in sociocultural
themes mentioned by Okyayuz (2016, p.232). It has been observed that translators tried
to overcome these difficulties mainly with omission, situational paraphrase and cultural
substitution strategies.
It has been determined that the second kind of difficulty arises when the expressions in
the source culture cannot be used due to legal regulations or because they do not have an
equivalent in the target culture. In terms of this kind of difficulties, it has been found that
what constitutes the most translation crisis point is the regulations of institutions such as
RTÜK. This is particularly evident in the category of brand names. It is among the
findings that almost all of the CSIs identified in this category were translated using the
omission and situational paraphrase strategies.
Finally, it is possible to say that the last category that presents difficulties for translators
is the translation crisis due to the differences arising from the nature of transnational
remakes. In transnational remakes, it is not possible to directly transfer a place name,
person name, legal or political term or religious ritual from the source series to the target
series. Since the events in the source series take place in a different country, in a different
language, translators may consequently need to initiate the active decision-making
mechanism in the translation of these differences. In this thesis, this kind of issue is most
evident in the translation of CSIs in the categories of place names and ecology, person's
names, legal and political system, institutions and organizations, and religion and beliefs.
148
Translation strategies used in these categories are predominantly the omission and
situational paraphrase strategy.
4. Is there any pattern in the use of translation strategies? If any, what kind patterning
can be pinpointed accroding to CSI groupings? How can the rationale behind this
be explained?
Based on the logic of what is not translated is also important as much as what is translated,
the use of omission strategy and situational paraphrase can give clues about the
ideological standpoint of the parties involved in the translation process or clues on the
society that the translation is performed. As a result of the comparative analysis, it was
found that there was a pattern in the use of omission and situational paraphrase strategies,
and these patterns were in parallel with the points that pose difficulties for translators. It
is also found that the places where the pattern exists are the points where there are
translation crises points a) arising from sociocultural differences, b) caused by the
differences arising due to the nature of transnational remakes, and c) arising due to
expressions in the source culture which do not exist in the target culture or cannot be used
because of the legal regulations. It has been observed that the translators mostly prefer
omission and situational paraphrase strategies when a translation crisis point occurs due
to the differences in the lifestyles of the two cultures, due to the differences in the habits
of the cultures, due to the differences in their approaches to sexuality and their religious
sensitivities. The main reason for this may be that the translator considers the expectations
and sociological characteristics of the society s/he is translating. After all, this product is
a remake that will be available for public consumption on TV. In this case, it can be
expected from a translator to consider the socio-cultural characteristics of the target
audience while translating. It is among the findings that this situation is particularly
evident in CSI categories such as entertainment, customs and habits, slang and
interjections, and religion and beliefs.
Remakes, especially transnational remakes, take place in a different geography, in a
different country, in a different region from the source series. For this reason, inevitable
differences occur at some points. As a matter of fact, since this is the case for these two
TV series examined for this thesis, it was found that there are many differences in a broad
spectrum which varies from the names of the characters to the religion of the characters
149
or to the geography they live in. For this reason, a pattern has been identified in the use
of omission and situational paraphrase strategies in categories such as place names and
ecology, person's names, legal and political systems, institutions and organizations, and
religion and beliefs.
The last point where a pattern is detected in the use of omission and situational paraphrase
is the occasions where the CSI in the source culture cannot be used in the target culture
due to legal regulations or due to having no equivalent. In this case, it is not surprising
that translators use the omission and situational paraphrase strategies, especially when it
comes to legal regulations. Especially, if the remake is done to benefit from the success
of the series that has proven its success in the source culture, this situation becomes even
more important. As a result, neither the translator, nor the producer, nor the media channel
that will broadcast this product desire a translation that may pose a legal issue. In this
thesis, it has been demonstrated that the omission and situational paraphrase strategies
are used at a striking rate in the brand names category. The possible reason for this
situation is that the use of brand names is subject to legal regulations by RTÜK.
5. How did the preferred strategies change the narration of the story when analyzed
in a macro context?
It has been also found that deviations between the source series and the target series
resulting from the use of omission and situational paraphrase strategies were lead to
differences in the target series narration. In parallel with its name being Shameless, the
source series has a script where sexuality is at the forefront, taboo words are used
frequently and religious sensitivities are not observed. In the target series, the omission
at these points caused differences that would even affect the general properties of the
characters in the series, and the target series Bizim Hikaye became more suitable for
parental guide than Shameless (US), paying attention to religious and social sensitivities.
In other words, the socio-cultural and socio-economic characteristics of the society where
the translation was made, made Bizim Hikaye less shameless than its source. In fact, the
deviations that emerged from the differences in socio-cultural and socio-economic
characteristics between the two cultures have been so effective that the name of the series
has changed as Bizim Hikaye which brings the concept of family to the fore.
150
The number of materials to be examined can be diversified in order to increase the sample
set in future studies. In addition, since this thesis is an interlingual study, only the US-
made Shameless and its Turkish remake Bizim Hikaye are examined. In order to further
expand the study, the English production, which is the original source series of the
Shameless TV series, can be included in the analysis and the dimension of intralingual
transfer can be discussed.
In this thesis, in the micro context, the samples were discussed in terms of CSIs. In a
different micro study, the samples can be discussed in different aspects than the present
one. In a more macro context, a study that examine the shifts in characters, narrative and
plot through different hypotheses can be carried out.
151
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APPENDIX A: ETHICS BOARD WAIVER FORM
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APPENDIX B: ORIGINALITY REPORT
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