In:Opera in Translation: Unity and diversity
Edited by Adriana Şerban and Kelly Kar Yue Chan
[Benjamins Translation Library 153] 2020
► pp. 271–287
Operetta in Turkey
A case study of Gün’s translation of Strauss’s Die Fledermaus
Published online: 29 October 2020
https://doi.org/10.1075/btl.153.13soy
https://doi.org/10.1075/btl.153.13soy
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.
Article outline
- 1.Introduction
- 2.A brief survey of operetta in Europe
- 3.The development of Turkish operetta
- 4.Opera and operetta translation from the Ottoman period to the modern Turkish republic
- 5.Strauss’s Die Fledermaus in Turkish
- 6.Concluding remarks
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