Abdal, Göksenin

Queer translation brings new possibilities for expanding the definitions of gender identities and sexual orientations in the contexts of language. By adding alternative meanings to sexual expressions outside the heterosexual matrix, this type of translation has the potential to deconstruct the given categories of gender and sexuality in patriarchal culture. This is further enhanced by the collective ventures of literary agents publishing literary texts with queering perspectives in defiance of the aggression, stigmatization, and discrimination against sexually marginalized identities in society. This study aims to find answers to the question of how translatorial decisions affect the outlook of queerness in Yakut Orman, Dılşa Ritsa Eşli’s 2021 Turkish translation of Rita Mae Brown’s (1973) Rubyfruit Jungle, which is considered a reference book for queer literature in the Western world. This study is comprised of three parts. The first part provides an outline of the queer translation approach as a novel critique of the reflections of heteronormativity within translation practices in the target language, literature, and culture system. The second part presents a brief analysis of the implicit and explicit references to queerness in Rubyfruit Jungle, while the third part focuses on how the notion of queerness has been recreated in its Turkish translation Yakut Orman within the context of Démont’s (2018) conceptualization of queer translation. Ultimately, Eşli is revealed to have given accurate depictions of the queer identity in some areas, but Eşli’s queering perspective failed to reach its full potential due to the intense use of Démont’s misrecognizing translation with the implication of the hegemonic heterosexual and/or male gaze in the Turkish version, resulting in a limited representation of queerness in the target context.

Karabulut, Emine

Theater texts being intrinsically both literary and performance texts have made concepts such as performability, playability, speakability, and intelligibility debatable. Translators have been observed to choose their strategies based on two perspectives: translation strategies oriented to performability (translating for stage) and reading by target readers (translating for page). Thus, faithful vs. free translation has mostly been attributed to their evaluation. Sirkku Aaltonen (1997; 2000) posits that translation is a purpose-oriented activity that requires design and planning, adding that translators strategies change pursuant to the literary and theatrical system they work in. The translations are expected to comply with the cultural, behavioral, or ideological customs of the target cukure.This study performed a textual analysis of the Turkish translations of Edward Albee's Who Is Afraid of Virginia Woolf? (1962) translated by Asude Zeybekoglu as Hain Kurttan Kim Korkar? (1985) and Tuncay Birkan as Kim Korkar Virginia Woolf 'tan? (1993) for performability, playability, speakability, and intelligibility, and the literary and theatral system within which they function. It sought to explain how Aaltonen, with his systems, goes beyond the faithful vs. free bipolarization. Consequently, it was observed that while Birkan's translation strategy is a translation for page within the literary system, Zeybekoglu's translation functions within the theatrical system as she translated for the stage.The study concluded that Birkan and Zeybekoglu translated the text based on their goals and the conventions of the system they applied and Aaltonen's system framework enabled to digress from this minimalist approach by going beyond the bipolarization.

Aydinalp, Esra Basak

Simone de Beauvoir, the writer of The Second Sex, as an activist, philosopher and feminist who profoundly influenced cultural and literary studies in the twentieth century, is a crucial committed arid intellectual writer. The Second Sex, written during the Second World War in France, forced the intellectuals, not only in France but also those from all over the world, to reconsider the question of woman in details. In The Second Seal Beauvoir examines the positioning of woman as the other against the man who is the absolute. In her oeuvre, she not only scrutinises in detail the cultural, social and historical layers of this positioning of woman as Other against man who is the Absolute, but also, she explores the lack of self-consciousness of woman and the imposition of this othemese by men. In this study, the Woman/Man dialectics will be read from immanence/transcendence, freedom/responsibility dichotomies in the context of the existentialist philosophy.The aim is to demonstrate the degradation of woman in a secondary position in patriarchal societies, the social and cultural conceptualisation of woman's position. In this context, man defined the existence of woman freed from essential existential mechanisms. Nevertheless, in the existentialist philosophy, existence precedes essence. Beauvoir deciphers the reasons of woman to not reject the hegemony of man by revealing the status of the woman myth. The main objective is to search for the possibilities of woman existence founded on responsibility and freedom, and to retrace the reflections of these possibilities in today's world.

Aydinalp, Esra Basak

By deconstructing the phallogocentric occidental thinking with a new creativity and writing practice and the masculine domination, Luce Irigaray, Helene Cixous and Julia Kristeva developed a new dynamic of feminine criticism. They criticised the negligence of feminine writing in philosophical and literary texts. In this study, The researcher intends to do a comparative lecture of feminine writing of Zeynep Kacar's Kobuk and Helene Ckous' Inside based on the essays written by Cixous in 1975 entitled The Laugh of Medusa and Outways. By following the traces of Derrida's Grammatology, Helene Cixous develops feminine writing by deconstructing the perception of historical writing conquered by the masculine structure and rhetoric movement. By dissociating the law from the symbolic, she composes her ideas on feminine writing and sexual difference. The aim of this research is to investigate Kabuk and Inside on the dichotomies of body/ soul, woman/man, life/death, and writing/speech, I/other as it is stated as more than one language by Derrida. Thus, the researcher aims to trace the feminine creativity, aesthetics that is transferred, changed and disseminated continuously in Derrida's words. The aim is to read Gxous'auto-fictive book which reaches the dream of reality and the outside of the inside via an interior-writing and Kacar's book which tries to arrive from the soul to body via an interior-voice and to deconstruct the phallus-centered death, man, speech and self by life, woman, writing and other.