Operetta in Turkey
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Özlem Şahin Soy
Abstract
The genre operetta has long found itself a place in the musical polysystem of Turkey and become one of the borrowed forms of art symbolizing modernity through Turkey’s Westernization process. It was the main goal of the Republic to carry the young republican nation to the level of civilized societies like those of the West. Western ideological, cultural, scientific and literary works were examined and translated, paving the way to emergence of national ideologies, literary works, and cultural legacies. In this context, our study aims to examine Aydın Gün’s translation into Turkish of Johann Strauss II’s Die Fledermaus, under the title Yarasa. In order to do this, we draw on Peter Low’s Pentathlon Principle.
Abstract
The genre operetta has long found itself a place in the musical polysystem of Turkey and become one of the borrowed forms of art symbolizing modernity through Turkey’s Westernization process. It was the main goal of the Republic to carry the young republican nation to the level of civilized societies like those of the West. Western ideological, cultural, scientific and literary works were examined and translated, paving the way to emergence of national ideologies, literary works, and cultural legacies. In this context, our study aims to examine Aydın Gün’s translation into Turkish of Johann Strauss II’s Die Fledermaus, under the title Yarasa. In order to do this, we draw on Peter Low’s Pentathlon Principle.
Chapters in this book
- Prelim pages i
- Table of contents v
- Introduction 1
-
Open perspectives
- Opera and intercultural musicology as modes of translation 13
- Surtitles and the multi-semiotic balance 35
- Tradition and transgression 53
-
Across genres and media
- When Mei Lanfang encountered Fei Mu 75
- Fluid borders: From Carmen to The Car Man . Bourne’s ballet in the light of post-translation 95
- Aesthetics of translation 117
-
Text and context
- Translations, adaptations or rewritings? 135
- The voice of the translator 159
- “Ordne die Reih’n” 175
- The migration of Madama Butterfly 195
-
From text to stage
- The intertwined nature of music, language and culture in Bartók’s Duke Bluebeard’s Castle 219
- Translating Wagner’s Versmelodie 243
- Operetta in Turkey 271
-
Libretto translation revisited
- Two English translations of Jaroslav Kvapil’s Rusalka libretto 291
- Intertextuality in nineteenth-century Italian librettos: To translate or not to translate? 315
- Multilingual libretti across linguistic borders and translation modes 337
- About the contributors 359
- Index 365
Chapters in this book
- Prelim pages i
- Table of contents v
- Introduction 1
-
Open perspectives
- Opera and intercultural musicology as modes of translation 13
- Surtitles and the multi-semiotic balance 35
- Tradition and transgression 53
-
Across genres and media
- When Mei Lanfang encountered Fei Mu 75
- Fluid borders: From Carmen to The Car Man . Bourne’s ballet in the light of post-translation 95
- Aesthetics of translation 117
-
Text and context
- Translations, adaptations or rewritings? 135
- The voice of the translator 159
- “Ordne die Reih’n” 175
- The migration of Madama Butterfly 195
-
From text to stage
- The intertwined nature of music, language and culture in Bartók’s Duke Bluebeard’s Castle 219
- Translating Wagner’s Versmelodie 243
- Operetta in Turkey 271
-
Libretto translation revisited
- Two English translations of Jaroslav Kvapil’s Rusalka libretto 291
- Intertextuality in nineteenth-century Italian librettos: To translate or not to translate? 315
- Multilingual libretti across linguistic borders and translation modes 337
- About the contributors 359
- Index 365
