Names of historic days, famous events and celebrities:

i.e. Vicky, in his translation. Yet, with a slight change, Kaliç prefers to use the Turkish equivalent, i.e. Viktorya, of the shortened colloquial form of the Queen’s name Vicky, which is Viki. Therefore, Pardo also does a domesticating translation due to resorting to the strategy of creation.

Thus, both Kaliç and Pardo make use of the strategy of creation, and preservation at the same time. Nonetheless, the emphasis in this culture-specific item is on the adjective that defines the Queen, which is sticky; therefore, this item and its translation strategy is more crucial for the transference of the source text item to the target text. For that reason, as both translators prefer the strategy of creation in their translations, they might be deemed to mainly use the domestication approach in their translations.

Concerning the Scottish otherness made visible to the Turkish readership, since both Kaliç and Pardo domesticate their translations, neither of them is able to demonstrate the marginalization of the Scots in their translations.

SABRİ KALİÇ AVİ PARDO Pek tekin görünmiyen bazı kedilerin

bölgesindeydik. Bazıları dazlaktı, bazıları diil. Bazılarının İskoç, bazılarının İngiliz, bazılarının da Belfast aksam vardı. Bi herifin üzerinde tornavida tipi bi tişört vardı.

Bi başkasının tişörtünde Ulster İngilizlerindir! yazıyodu. Bobby Sands’i aşşalayan bi şarkı söylemeye başladılar. Politikadan filan çakmam ama, bildiğim kadanyla Sands hayatında kimseyi öldürmemiş, kıyak bi heriftir. Yani, böylesine ölmek biraz cesaret ister, annıyo musun? (p. 149)

Hiç tekin görünmeyen bazı kedilere fazla yakınız. İçlerinde bikaç tane dazlak var. Kiminin aksam İskoç, kiminin İngiliz, ki- mininse Belfast. Bi tanesinin üzerinde ırkçı grup Skrevvdriver’m tişörtü var, bi başkası üzerinde Ulster İngiliz’dir yazan bi tişört giymiş. Bobby Sands*’i yerin dibine batıran bi şarkı söylemeye başlıyorlar. Siyasetten pek anlamam, ama Sands bende hep kimseyi öldürmemiş cesur bi adam izlenimi bırakmıştır. Büzük ister, hanı.

* IRA militanlarının 1981 yılında hapishanelerdeki özel statülerinin kaldırılması ardından başlattıkları açlık grevinin lideri. 27 yaşında açlık grevinin 66. Gününde ölen Sands’in cenazesine 100,000 kişi katılmış ve bu olayın ardından milliyetçiler ile karşıt gruplar arasında büyük çatışmalar yaşanmıştı. (p. 133)

DAVIES’

STRATEGY

Preservation of

Bobby Sands - Preservation of Bobby Sands

Addition of a footnote where Bobby Sands is

described VENUTI’S Foreignization - Foreignization Foreignization

In the UK, various strikes were conducted between “1976 and 1980” by the Irish prisoners, which led to the hunger strikes in 1981, to protest “the denial of ‘special category status’”

(Spavin 145). Bobby Sands was the leader of the political prisoners who eventually went on a hunger strike in 1981 to protest Thatcher’s rejection of “grant[ing] political status to [the]

imprisoned [Irish] freedom fighters” during “the Troubles in Northern Ireland during the

“1980s”, and he was the first to have passed away during that strike (Spavin 144-5).

Thus, within the Scottish context, the relation between the Irish and the Scots is one of a similar identity, for both of them regard themselves to be at the periphery and to be the opposing ones when compared with the center in terms of considering their national identities (Spavin 146-7). Thus, given the fact that Trainspotting’s discourse and “the context of Northern Ireland” are related to each other, the reference to Bobby Sands made by Spud is significant enough in terms of displaying the English policy of weakening the Scottish

“cultural and economic interests” (Spavin 145). Hence, referring to Bobby Sands, which illustrates that “Irishness offers the ‘oppositional notion of identity’ Scottishness cannot”, serves as the proof for the Scots to be deemed as the other by the English (MacLeod 1000).

As for the translation strategies used by Kaliç and Pardo, they both maintain the reference to Bobby Sands in their translations; hence, they preserve the culture-specific item in question here in their translations. Nevertheless, Pardo gives some information about who Bobby Sands is through the use of a footnote in his translation; therefore, he also uses the strategy of addition.

Thus, since both translators prefer preservative strategies for their translations, they also foreignize their translations in the end. For that reason, they are equally able to demonstrate the Scottish otherness in their translations.

APPROACH

EXAMPLE 8:

SOURCE TEXT

IRVINE WELSH

My parents find it impossible to believe that ‘Young Simon’ (who’s four months aulder than me, and ah never git called ‘Young Mark’) could possibly have anything to do wi drugs, beyond the odd youthful experimental flirtation. Young Simon is identified with conspicuous success in their eyes. There’s Young Simon’s girlfriends, Young Simon’s smart clathes, Young Simon’s suntan, Young Simon’s flat up the toon.

Even Young Simon’s jaunts to London are seen as more colourful chapters in the trendy, swashbuckling adventures of Leith Bannanay Flats’s lovable cavalier, while my trips south invariably have a seedy and unsavoury association in their eyes. Young Simon can do no wrong though. They see the cunt as some sort ay Oor Wullie for the video generation.

(p. 198)

TARGET TEXT 1 SABRİ KALİÇ

TARGET TEXT 2

AVİ PARDO Ebeveynim “Genç Simon”ın (ki

kendisi benden dört ay büyüktür ve ailem bana hayatta “Genç Mark”

dememiştir) ilk bi- kaç deneme dışında uyuşturucu denilen pislikle ilgisi olan bi genç olduğuna hayatta inanamıyolar. Genç Simon gözünde başarı parıltılarıyla öylece oturuyo.

Genç Simon’ın kız arkadaşları, Genç Simon’ın cici giysileri, Genç Simon’ın bronz teni, Genç Simon’ın şehirde küçük bi evi vardır. Onların

Annemle babamı ‘Genç Simon’ın (ki benden dört ay küçüktür, ama benden asla ‘Genç Mark’ diye söz edilmez) uyuşturucularla, genç yaşlarda biraz flört haricinde bir ilgisi olabüeceğine asla inandıramazsın.

Genç Simon başarının simgesidir onların gözünde. Genç Simon’ın kız arkadaşları, Genç Simon’m şık kıyafetleri, Genç Simon’ın bronz teni, Genç Simon’m kent

Oor Wullie, a Scottish comic strip character formed by “Dudley Watkins”, has been published on a weekly basis in the newspaper called Sunday Post in Scotland since March 8, 1936 (Comicvine.com). To be more specific, Oor Wullie (Our Willie in Standard English, and Bizim Willie in Turkish), who is a nine-year old, spiky-haired, naughty Scottish boy with the full name of “William Russell”, is always about to get into trouble (Fink). Moreover, according to a 2004-survey, reading the misfortunes of this character and his friends is from one of the

“100 things to do in Scotland” before a Scot dies, for the incidents this character and his friends encounter conform to the national stereotypes of Scotsmen (Fink).

gözünde benim yolculuklarım altında mutlaka bi pislik barındırırken, Leith’in bu tatlı şövalyesinin Londra yolculukları tamamen o günlerde moda olduğu içindir. Genç Simon hayatta hata yapmaz. Onlar herifi video kuşağı için bi tür “Süper Çocuk” olarak görüyolar.

(p. 227)

merkezindeki dairesi. Genç Simon’ın Londra gezintileri büe Leith Banana Sitesi’nin sevimli şövalyesinin trendi ve heyecan verici serüvenlerinin renkli bir bölümü olarak görülürken, benim güneye yaptığım yolculuklar onların zihninde her zaman kötü ve nahoş çağrışımlar yapmıştı.

Video kuşağı için bir tür Oor Wullie* olarak görüyorlar amcığı.

* Sunday Post gazetesinde yer alan popüler bir İskoç karikatür figürü.

(p. 204)

DAVIES’

STRATEGY

Globalization of

Oor Wullie - Preservation of Oor Wullie

Addition of a footnote where

Oor Wullie is explained VENUTI’S

APPROACH Domestication - Foreignization Foreignization

Therefore, in Trainspotting, Oor Wullie is touched upon by Welsh in order to refer to how the character Simon and his behaviors are regarded by Renton’s parents as typical of a common Scots young man. As mentioned above, this cartoon character is seen by the Scots as a distinct Scotsman; therefore, in the person of Oor Wullie, Simon is presented as a role model for Renton to set as a precedent. However, the writer, in some way, criticizes here the public perception of a perfect Scot’s young man since Simon is not actually better than Renton in terms of what he does with his life and contrary to how he reflects himself to the elders.

Therefore, as Simon is not really like whom he really is, the resemblance of Simon to Oor Wullie serves as a satire on the notion of or even the disillusionment of an ideal Scottish young man. For that reason, mentioning the name of this famous cartoon character constitutes a highly-loaded reference to the Scottish culture; hence, this reference becomes a culture-specific item mirroring a kind of distinctiveness of the Scots.

Conserning the translation of Oor Wullie, Kaliç meets this word by translating it as “Süper Çocuk”. Therefore, by using a much more neutral and general referent, such as Süper Çocuk, i. e. Super Boy in English, which can easily be understood by many people from different cultures in the world, Kaliç benefits from the strategy of globalization

Pardo, on the other hand, preserves Oor Wullie in his translation as exactly as it is in the source text; hence, he makes use of the strategy of preservation. Nonetheless, by using the strategy of addition, he also includes a footnote to his translation where he gives information about the said culture-specific item and tries to clarify the context in the source text for the Turkish readers.

Hence, Kaliç domesticates the translation of this culture-specific item by resorting to the procedure of globalization, but Pardo foreignizes the same one by resorting to the procedures of both preservation and addition.

As regards the recreation of the Scottish otherness in the target text, Pardo is more able to recreate the otherness of the Scots reflected in the source text as he uses the approach of foreignization in his translation on the contrary to Kaliç, who benefits from domestication.