Thesis Chapters by Mehmet Erguvan
Humor is one of the most distinctive aspects of human beings. It plays a significant role in
the ... more Humor is one of the most distinctive aspects of human beings. It plays a significant role in
the context of intercultural communication. However verbally expressed humor which is
primarily carried by language so as to achieve humorous effect poses a real challenge for the
translator. Mostly based on verbally expressed humor rooted in a specific culture and
linguistic context, sitcom (i.e. situation comedy) is a TV series consisting of the characters
who are involved in amusing situations and it attracts a millions of audiences thanks to the
humorous utterances which are often generated through the culture-specific items. The
present study aims at exploring how the translation of humorous culture-specific items in the
American sitcom Family Guy can be analyzed within the framework of relevance theory
proposed by Sperber and Wilson (1986, 1995) and applied to translation by August Gutt
(1991). This study adopts a pragmatic theory of human communication that foregrounds the
cognitive principle of relevance in translation. To that end, this thesis delves into how
humorous effect created through the culture-specific items in Family Guy is reproduced in
the Turkish translation. With this purpose in mind, this thesis makes use of Leppihalme’s
translation strategies (1997) by categorizing the culture-specific items as proper name and
key phrase respectively. In the light of the principle of relevance, which is centered upon the
human tendency of pursuing the relevant information in the utterances, this thesis analyzes
the translation strategies in the subtitles of Family Guy which the Turkish translator uses in
order to recreate humor for the Turkish audience. Through the aforementioned discussion, it
is underlined that, so as to help the Turkish audience appreciate humor in the source text, the
Turkish translator of Family Guy opts for a specific translation strategy by prioritizing the
communicative effect and by modifying the humorous culture-specific items for the Turkish
audience. Ultimately, this thesis concludes that relevance theory may afford an explanation
for the analysis of verbally expressed humor in Family Guy and it would demonstrate that
the translation strategies proposed by Leppihalme (1997) can be applied to the culturespecific
items through which humor is created in sitcoms.
Papers by Mehmet Erguvan
Hacettepe Çeviribilim ve Uygulamaları Dergisi, 2021
Having made a remarkable contribution to social questions in translation studies, the sociologica... more Having made a remarkable contribution to social questions in translation studies, the sociological approach to translation explores the interaction between human agents, translated texts, and their context of production and reception (Chesterman, 2006; Wolf & Fukari, 2007; Wolf, 2011). The research in this study is focused on target text users/pro-consumers. In line with this aim, this study is centered on Turkish fans of South Korean popular culture, most of whom have consumed, produced, and distributed diverse Korean popular culture products largely through translation.
RumeliDE, 2020
Translation of children literature can be considered a newly emerging and developing sub-field of... more Translation of children literature can be considered a newly emerging and developing sub-field of translation studies. The systematic inquiry into translation strategies that can be applied in the process of translating children books seems to have got underway recently. Many scholars such as Riitta Oittinen, Tiina Puurtinen, Zohar Shavit, and Göte Klingberg have provided their own insights about what sort of challenges await a translator of children literature considering that his/her target readers are children. Perhaps the most prominent challenge is to tailor the target text as to the needs, expectations, knowledge, and limited experiences of children. In this light, the present research intends to make a textual analysis for the translation of Charles Dickens's novella A Christmas Carol which was translated from English into Turkish without abridgment and from its original language by Çiçek Eriş in 2010 through the approach of Negative Analytic (1985) developed by Antoine Berman. Accordingly, this study argues that Berman's approach may be offered as a methodological framework for the translation of children literature. In order to problematize this argument, twelve examples selected from the source and target texts have been elucidated by means of the deforming tendencies of Berman and they have been critically discussed from the perspective of children literature. The findings obtained from the analysis have revealed that Berman's Negative Analytic partly fills the lack of methodological rigour in this sub-field and it would provide appropriate tools to investigate and evaluate the strategies used in translating children literature in a systematic and comprehensive way. Charles Dickens' ın A Christmas Carol başlıklı eserinin Türkçe çevirisinin çocuk edebiyatı çevirisi bağlamında Berman metodolojisine göre analizi Öz Çocuk edebiyatı çevirisi çeviribilim alanında günümüzde yürütülen araştırmaların henüz ortaya çıkan ve gelişmekte olan bir alt dalı olarak düşünülebilir. Çocuk kitaplarının çevirisi ile ilgili olarak çeviri sürecinde uygulanabilecek stratejilerle ilgili olarak sistematik bir araştırma yapılması ise son zamanlarda gündeme gelen bir konudur. Hedef kitlenin çocuklar olması sebebiyle çevirmenin ne tür zorluklarla karşılaşabileceği ile ilgili Riitta Oittinen, Tiina Puurtinen, Zohar Shavit ve Göte 1 Öğr. Gör., Erzincan Binali Yıldırım Üniversitesi, Yabancı Diller Yüksekokulu (Erzincan, Türkiye), [email protected], ORCID
Çeviribilim ve Uygulamaları Dergisi, 2020
Concentrating on the history of Turkish television from translation studies perspective, the pres... more Concentrating on the history of Turkish television from translation studies perspective, the present research broadly aims at problematizing the varying position and role of translation within the "repertoire" (Even-Zohar, 1990) of Turkish television series between 1968 and 2019. Drawing on, on the one hand, the secondary sources provided by researchers on the history of Turkish television (Tamer
Çeviribilim ve Uygulamaları Dergisi, 2017
Ö Z E T B ir kültürün sözlü iletişimden yazıya, basılı yayınlardan televizyon yayınlarına geçtikç... more Ö Z E T B ir kültürün sözlü iletişimden yazıya, basılı yayınlardan televizyon yayınlarına geçtikçe hakikatle ilgili düşünceleri değişir. Bu duruma Türk toplumu açısından bakılacak olursa, Türkiye'de 1968-1985 yılları arasındaki tek kanallı dönemde, düşüncelerin şekillenmesinde basılı sözlere kıyasla te-levizyonun daha etkili bir iletişim aracı olduğu görülür. Genel itibariyle 1968-1985 yılları arasında Türkiye'de televizyon yayıncılığını inceleyecek olan bu çalışma, televizyonun evlere girmesiyle birlikte söz yerine görüntü merkezli bir kültür olma özelliğinin daha baskın hale geldiği ve bunun düşünme bi-çimlerinde farklılık yarattığını ileri sürer. Televizyon, kitlelerin pek çok konuyu kavrayış biçimi üzerin-de yönlendirici etkiye sahip olmanın yanı sıra toplumsal ve entelektüel ortama dâhil olup toplumu de-ğiştirme sürecinde yaygın olarak kullanılan bir araçtır (Anderson ve Chakars, 2015, s.10). Bu bilgilerin ışığı altında, bu çalışma Türk televizyonunun ilk yıllarında televizyonda en çok izlenen ve programların toplam yayın süresine dağılımında en çok paya sahip program türü olan çeviri dizileri çeviribilim çer-çevesinde sorunsallaştırır. Türk televizyonuna çeviribilim açısından odaklanan bu çalışma, 1968-1985 yılları arasında yayınlanan çeviri dizilerin, insanların günlük yaşantılarını düzenleme ve etki gücünü farklı kanallar aracılığıyla sürdürme boyutlarını tartışmaya açar. Buna göre, insanlık tarihinde telgraf ve matbaa gibi önemli iletişim kanallarının kültürün içeriğini değişime uğratması gibi, televizyon da Türkiye'ye gelişiyle birlikte Türk kültür repertuarını yeniden inşa etmeye başlar. Bu doğrultuda, bu çalışma öncelikle Pierre Bourdieu'nün alan kavramını kullanarak Türk televizyonunun tarihini sor-gulamış ve böylelikle televizyonun yapısını ve işlevini ortaya çıkarmayı amaçlamıştır. Türk televiz-yonunun bir alan olarak incelenmesi sonucunda, televizyonun siyasi, dini ve iktisadi alanlarla yakın temas içinde olduğu ortaya çıkarılmıştır. Ayrıca, Itamar Even-Zohar'ın kültüre ilişkin yaklaşımı temel alınmış, Türkiye'de televizyonculuğun ilk yıllarında televizyona ait bir repertuar bulunmadığından bu açığın başka kültürlerden karşılandığı saptanmıştır. Even-Zohar'ın repertuar kavramından faydalanan bu çalışma, televizyonla Türk toplumunun yaşantısına girip onu düzenlemeye başlayan çeviri dizileri, bu dizilerle toplum yaşantısına dâhil olan düşünceleri ve alışkanlıkları seçenek olarak adlandırmış ve seçeneklerin ithal yoluyla kültüre transfer edilmesiyle kültür repertuarının inşasına katkıda bulundu-ğunu tespit etmiştir. Buna göre, 1968-1985 yılları arasında Türk toplumuna seçenek olarak sunulan çeviri diziler, izleyicileri belirli görüntülere maruz bırakmanın ötesinde izleyicilerin günlük hayattaki
Journal of Translation Studies, 2018
In the last three decades, interest in sociology has picked up great momentum in Translation Stud... more In the last three decades, interest in sociology has picked up great momentum in Translation Studies and increasing attention has been paid to the social factors that surround an act of translation. Sociologically-oriented research in Translation Studies has enabled the identification of the relationships between the external conditions of a text’s creation and the narrower steps of the translation process. So far, translation scholars who have attempted to explore sociological approaches in Translation
Studies have often benefited from Bourdieu’s thinking. Through its involvement of different levels of analysis, Bourdieu’s perspective helps researchers discover different aspects of cultural practice, in this study, the book translation. These aspects range “from the relationship between the cultural field and the broader field of power to strategies, trajectories and works of individual agents” (Bourdieu, 1993, p.16). As Bourdieu (1993) suggests, in order to fully comprehend a given cultural work, due attention needs to be paid to all levels of analysis, each consisting of various components. In this light, this study aims at concentrating on text structures in The Life and Opinions of Tristram Shandy, Gentleman and translation strategies in its Turkish translation on the one hand, and, on the other, it focuses on the phenomena of translation beyond a textual level. Combining these two levels through Bourdieu’s theory of cultural production, this study entails a comprehensive translation
analysis by employing Bourdieu’s key concepts. As a result of the aforementioned discussion, this study concludes that, macro translational choices and strategies in the Turkish translation of Tristram Shandy are not reflected on the translation strategies at a micro level as expected. Ultimately, the translator’s choices including (i) the use of notes/footnotes, (ii) the use of Ottoman Turkish, and (iii) the use of explicitation in the Turkish version of Tristram Shandy seem to fail to fulfill the expectations of “serious literature” readers, which are structured by the field of restricted cultural production and, which largely differentiate from the expectations of “popular literature” readers.
mTm. Minor Translating Major-Major Translating Minor-Minor Translating Minor, 2016
When the translation of books is viewed as an international system, it appears that there is an u... more When the translation of books is viewed as an international system, it appears that there is an uneven flow of book translations among various language groups. Conducting some research on the traffic of translation, Johan Heilbron widened the scope of studies on translation by foregrounding economic aspects (1999, 2007 and 2010). From his perspective, translated books can be placed into the most general category of goods, and also identified " as merchandise produced, distributed and consumed according to the logic of national and international markets " (Heilbron 2007: 94). Regarding this point, Bourdieu (1977; 1993) argues that symbolic goods (e.g. translated books) are subject to their own criteria of valuation, which directly points to a specific kind of economic relations. It is against this background that Heilbron argues that although four languages (English, French, German and Russian) have a central role in the international translation system, English overwhelmingly takes leading position , which implies that there is an enormous imbalance in the translation flow among languages. In order to discuss this assumption in the Turkish context, this study takes language groups, to use Heilbron's words, as " the basic units of the world-system of translation " (Heilbron 2010: 304) and then addresses the question of how Ahmet Ümit as one of the most translated (more than 20 languages) author from Turkish, a peripheral language, can gain recognition in the literary world of the central language. The main interest of this study lies in discussing book translations from Turkish (i.e. peripheral language) into English (i.e. central language), and attempting to develop a new perspective regarding possible courses that Turkish authors could pursue in order to publish and gain recognition in English, which is recognized as the most central language in the international translation system.
Journal of Translation Studies, 2016
Allied with ongoing research, audio-visual translation (AVT) has come to the core through a techn... more Allied with ongoing research, audio-visual translation (AVT) has come to the core through a technological
break-through. The “assumed to be developed” status of AVT has made subtitling, one
of the types of AVT, a given in our time. In time, subtitling has also opened its doors for fansubbers
toiling and moiling in this process. Initially emerging as a leisure activity, fansubbing has become
concerned with the (re)presentation of cultural differences and thus fansubbers have started actively
engaging in the duality of domesticating and foreignizing strategies of translation, which has been
a central issue for translation scholars such as Lawrence Venuti. Keeping these points in mind, this
study attempts to present an overview of the situation of Turkish fansubbers most particularly underlining
the actors who take part in fansubbing (e.g., translators, editors, technicians, proofreaders and
so on). Additionally, following the (re)evaluation of large repertoire of subtitling translation strategies,
these strategies are discussed within the framework of Venutian scale -i.e., from the most foreignizing
strategies to the most domesticating strategies- by scrutinizing the notion of (in)visibility. Ultimately,
it has been set forth that, in Turkey, fansubbing partly differs from professional subtitling in
that while fansubbers may use translation strategies that would not be acceptable in a professionally
subtitled product, professional subtitlers are obliged to pursue the norms imposed by the industry
(e.g., employers and The Radio and Television Supreme Council in Turkey). That being the case, Turkish
fansubbers who are often judged harshly by their peers tend to produce more source-oriented or,
what Nornes (2004) calls, abusive translation. Herewith, this study seeks to shed light on the “Turkish
fansubbing environment” and, to that end, draws a comparison between professionally-produced and
fan-produced Turkish subtitles of the animated sitcom Family Guy. In conclusion, based on a case of
Family Guy, this study underlines the differences between the target texts that stem largely from the
diversifying needs and expectations of different profiles of the audiences, one preferring fansubs and
another, subtitling by professional institutions.
Keywords
Fansubbing, professional subtitling, domestication, foreignization, (in) visibility.
Censorship is a compelling act of blocking an intercultural interaction. It is triggered by a soc... more Censorship is a compelling act of blocking an intercultural interaction. It is triggered by a society at a given time and manifested through the socio-cultural and linguistic practices. Majorly centered upon a set of values established by a certain authority, the notion of censorship has a considerable influence upon translation. Promoting this argument, Foucault asserts that the knowledge is represented in accordance with a set of values in a certain social system. Yet, the censorship of translations should not necessarily be considered unfavorable as it would contribute to the encouragement of further knowledge. The restriction on translations in the matter of sexuality, for instance, would foster the production of various sexuality discourses. According to Bourdieu, it is of capital importance to take into consideration the relationship between the censorship and translator's habitus (briefly, pre-structured and structuring agent mediating between two sides during translation) in which the translated text circulates. Furthermore, the connection between the translation and censorship may be observed within the certain nation through a set of universal themes such as sexuality. At this point, sexuality emerges as a much-debated issue in translation studies especially as regards the censorship imposed on representations of sexuality in translation. Arguing against the censorship, feminist writers who think over some female stereotypes including sexless mother and untouchable Holy Virgin conclude that sexuality is the underlying reason of such clichés and they have reacted against them. This reaction influences the translation studies by adding a different dimension to it. Regarding these developments, this study views an act of translation as a socially contextualized practice and analyzes the feminist translation strategies developed by von Flotow as a vehicle against the notion of censorship. Accordingly, this study discusses the feminist translation strategies together with the examples from the translation of the book Vagina Monologues by Eve Ensler. In conclusion, it has been observed that translation strategies of the translator Özden Öke coincide with the feminist translation strategies and they successfully operate as a tool against the phenomenon of censorship, a driving force of the formation of these strategies in this study.
Book Chapters by Mehmet Erguvan
Uploads
Thesis Chapters by Mehmet Erguvan
the context of intercultural communication. However verbally expressed humor which is
primarily carried by language so as to achieve humorous effect poses a real challenge for the
translator. Mostly based on verbally expressed humor rooted in a specific culture and
linguistic context, sitcom (i.e. situation comedy) is a TV series consisting of the characters
who are involved in amusing situations and it attracts a millions of audiences thanks to the
humorous utterances which are often generated through the culture-specific items. The
present study aims at exploring how the translation of humorous culture-specific items in the
American sitcom Family Guy can be analyzed within the framework of relevance theory
proposed by Sperber and Wilson (1986, 1995) and applied to translation by August Gutt
(1991). This study adopts a pragmatic theory of human communication that foregrounds the
cognitive principle of relevance in translation. To that end, this thesis delves into how
humorous effect created through the culture-specific items in Family Guy is reproduced in
the Turkish translation. With this purpose in mind, this thesis makes use of Leppihalme’s
translation strategies (1997) by categorizing the culture-specific items as proper name and
key phrase respectively. In the light of the principle of relevance, which is centered upon the
human tendency of pursuing the relevant information in the utterances, this thesis analyzes
the translation strategies in the subtitles of Family Guy which the Turkish translator uses in
order to recreate humor for the Turkish audience. Through the aforementioned discussion, it
is underlined that, so as to help the Turkish audience appreciate humor in the source text, the
Turkish translator of Family Guy opts for a specific translation strategy by prioritizing the
communicative effect and by modifying the humorous culture-specific items for the Turkish
audience. Ultimately, this thesis concludes that relevance theory may afford an explanation
for the analysis of verbally expressed humor in Family Guy and it would demonstrate that
the translation strategies proposed by Leppihalme (1997) can be applied to the culturespecific
items through which humor is created in sitcoms.
Papers by Mehmet Erguvan
Studies have often benefited from Bourdieu’s thinking. Through its involvement of different levels of analysis, Bourdieu’s perspective helps researchers discover different aspects of cultural practice, in this study, the book translation. These aspects range “from the relationship between the cultural field and the broader field of power to strategies, trajectories and works of individual agents” (Bourdieu, 1993, p.16). As Bourdieu (1993) suggests, in order to fully comprehend a given cultural work, due attention needs to be paid to all levels of analysis, each consisting of various components. In this light, this study aims at concentrating on text structures in The Life and Opinions of Tristram Shandy, Gentleman and translation strategies in its Turkish translation on the one hand, and, on the other, it focuses on the phenomena of translation beyond a textual level. Combining these two levels through Bourdieu’s theory of cultural production, this study entails a comprehensive translation
analysis by employing Bourdieu’s key concepts. As a result of the aforementioned discussion, this study concludes that, macro translational choices and strategies in the Turkish translation of Tristram Shandy are not reflected on the translation strategies at a micro level as expected. Ultimately, the translator’s choices including (i) the use of notes/footnotes, (ii) the use of Ottoman Turkish, and (iii) the use of explicitation in the Turkish version of Tristram Shandy seem to fail to fulfill the expectations of “serious literature” readers, which are structured by the field of restricted cultural production and, which largely differentiate from the expectations of “popular literature” readers.
break-through. The “assumed to be developed” status of AVT has made subtitling, one
of the types of AVT, a given in our time. In time, subtitling has also opened its doors for fansubbers
toiling and moiling in this process. Initially emerging as a leisure activity, fansubbing has become
concerned with the (re)presentation of cultural differences and thus fansubbers have started actively
engaging in the duality of domesticating and foreignizing strategies of translation, which has been
a central issue for translation scholars such as Lawrence Venuti. Keeping these points in mind, this
study attempts to present an overview of the situation of Turkish fansubbers most particularly underlining
the actors who take part in fansubbing (e.g., translators, editors, technicians, proofreaders and
so on). Additionally, following the (re)evaluation of large repertoire of subtitling translation strategies,
these strategies are discussed within the framework of Venutian scale -i.e., from the most foreignizing
strategies to the most domesticating strategies- by scrutinizing the notion of (in)visibility. Ultimately,
it has been set forth that, in Turkey, fansubbing partly differs from professional subtitling in
that while fansubbers may use translation strategies that would not be acceptable in a professionally
subtitled product, professional subtitlers are obliged to pursue the norms imposed by the industry
(e.g., employers and The Radio and Television Supreme Council in Turkey). That being the case, Turkish
fansubbers who are often judged harshly by their peers tend to produce more source-oriented or,
what Nornes (2004) calls, abusive translation. Herewith, this study seeks to shed light on the “Turkish
fansubbing environment” and, to that end, draws a comparison between professionally-produced and
fan-produced Turkish subtitles of the animated sitcom Family Guy. In conclusion, based on a case of
Family Guy, this study underlines the differences between the target texts that stem largely from the
diversifying needs and expectations of different profiles of the audiences, one preferring fansubs and
another, subtitling by professional institutions.
Keywords
Fansubbing, professional subtitling, domestication, foreignization, (in) visibility.
Book Chapters by Mehmet Erguvan
the context of intercultural communication. However verbally expressed humor which is
primarily carried by language so as to achieve humorous effect poses a real challenge for the
translator. Mostly based on verbally expressed humor rooted in a specific culture and
linguistic context, sitcom (i.e. situation comedy) is a TV series consisting of the characters
who are involved in amusing situations and it attracts a millions of audiences thanks to the
humorous utterances which are often generated through the culture-specific items. The
present study aims at exploring how the translation of humorous culture-specific items in the
American sitcom Family Guy can be analyzed within the framework of relevance theory
proposed by Sperber and Wilson (1986, 1995) and applied to translation by August Gutt
(1991). This study adopts a pragmatic theory of human communication that foregrounds the
cognitive principle of relevance in translation. To that end, this thesis delves into how
humorous effect created through the culture-specific items in Family Guy is reproduced in
the Turkish translation. With this purpose in mind, this thesis makes use of Leppihalme’s
translation strategies (1997) by categorizing the culture-specific items as proper name and
key phrase respectively. In the light of the principle of relevance, which is centered upon the
human tendency of pursuing the relevant information in the utterances, this thesis analyzes
the translation strategies in the subtitles of Family Guy which the Turkish translator uses in
order to recreate humor for the Turkish audience. Through the aforementioned discussion, it
is underlined that, so as to help the Turkish audience appreciate humor in the source text, the
Turkish translator of Family Guy opts for a specific translation strategy by prioritizing the
communicative effect and by modifying the humorous culture-specific items for the Turkish
audience. Ultimately, this thesis concludes that relevance theory may afford an explanation
for the analysis of verbally expressed humor in Family Guy and it would demonstrate that
the translation strategies proposed by Leppihalme (1997) can be applied to the culturespecific
items through which humor is created in sitcoms.
Studies have often benefited from Bourdieu’s thinking. Through its involvement of different levels of analysis, Bourdieu’s perspective helps researchers discover different aspects of cultural practice, in this study, the book translation. These aspects range “from the relationship between the cultural field and the broader field of power to strategies, trajectories and works of individual agents” (Bourdieu, 1993, p.16). As Bourdieu (1993) suggests, in order to fully comprehend a given cultural work, due attention needs to be paid to all levels of analysis, each consisting of various components. In this light, this study aims at concentrating on text structures in The Life and Opinions of Tristram Shandy, Gentleman and translation strategies in its Turkish translation on the one hand, and, on the other, it focuses on the phenomena of translation beyond a textual level. Combining these two levels through Bourdieu’s theory of cultural production, this study entails a comprehensive translation
analysis by employing Bourdieu’s key concepts. As a result of the aforementioned discussion, this study concludes that, macro translational choices and strategies in the Turkish translation of Tristram Shandy are not reflected on the translation strategies at a micro level as expected. Ultimately, the translator’s choices including (i) the use of notes/footnotes, (ii) the use of Ottoman Turkish, and (iii) the use of explicitation in the Turkish version of Tristram Shandy seem to fail to fulfill the expectations of “serious literature” readers, which are structured by the field of restricted cultural production and, which largely differentiate from the expectations of “popular literature” readers.
break-through. The “assumed to be developed” status of AVT has made subtitling, one
of the types of AVT, a given in our time. In time, subtitling has also opened its doors for fansubbers
toiling and moiling in this process. Initially emerging as a leisure activity, fansubbing has become
concerned with the (re)presentation of cultural differences and thus fansubbers have started actively
engaging in the duality of domesticating and foreignizing strategies of translation, which has been
a central issue for translation scholars such as Lawrence Venuti. Keeping these points in mind, this
study attempts to present an overview of the situation of Turkish fansubbers most particularly underlining
the actors who take part in fansubbing (e.g., translators, editors, technicians, proofreaders and
so on). Additionally, following the (re)evaluation of large repertoire of subtitling translation strategies,
these strategies are discussed within the framework of Venutian scale -i.e., from the most foreignizing
strategies to the most domesticating strategies- by scrutinizing the notion of (in)visibility. Ultimately,
it has been set forth that, in Turkey, fansubbing partly differs from professional subtitling in
that while fansubbers may use translation strategies that would not be acceptable in a professionally
subtitled product, professional subtitlers are obliged to pursue the norms imposed by the industry
(e.g., employers and The Radio and Television Supreme Council in Turkey). That being the case, Turkish
fansubbers who are often judged harshly by their peers tend to produce more source-oriented or,
what Nornes (2004) calls, abusive translation. Herewith, this study seeks to shed light on the “Turkish
fansubbing environment” and, to that end, draws a comparison between professionally-produced and
fan-produced Turkish subtitles of the animated sitcom Family Guy. In conclusion, based on a case of
Family Guy, this study underlines the differences between the target texts that stem largely from the
diversifying needs and expectations of different profiles of the audiences, one preferring fansubs and
another, subtitling by professional institutions.
Keywords
Fansubbing, professional subtitling, domestication, foreignization, (in) visibility.