The difference in terminology between Even-Zohar , Jakobson ; and Sonesson can be useful for distinguishing between situations of communication between individuals and situations of communication between collectives. These Turkish songs have displayed no demonstrable equivalence to their French original versions with which they share a melody, hence they have not accounted for any of the linguistic meanings communicated in the French ST. Culture operates largely through translational activity, since only by the inclusion of new texts into culture can the culture undergo innovation as well as perceive its specificity. In the examples 1 and 2 of song references given above, information is given of the performing artist of the song, the year of production of the record, the name of the song, the name of the record company and the record catalogue number. It is probable and even most likely that the linguistic meanings presented to the Turkish listener of French pop music remakes already existed in Turkey before the import of French songs.
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This categorization will give an idea of how much of the original French linguistic meanings were retained in the song remakes and distributed to galuba Turkish public. In this four-column table, no information is given regarding original country or language of production, nor year of production of any of the songs. Pourquoi What is happening?
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A similar nostalgic aspect is present in the Turkish version of the song. And finally, thank you to my supportive friends and family who always remember and celebrate all my tries and triumphs. She tells of times that have passed, and a nostalgic point of gaaliba is discernable. This thesis provides a multifaceted overview of a well-defined instance of cultural transfer of song remakes in Turkey.
Sanders, where the translated text has taken even more liberties. Pop music is a collection of audio-visual artefacts composed of a music system, a language system and the presence of a human body and voice, i.
Consequently, cultural artefacts are consumed to different degrees by members of a culture. The French and Turkish song lyrics of this song, as well as their English translations can be found fwrman p.
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Click here to sign up. Time has passed, and the narrator wants to reconcile with the addressee. See Figure 2 below. A synthesis of aspects from theories applicable within the framework of cognitive semiotics was presented in Chapter 3, after which an empirical study was presented in Chapters 6, 7 and feerman. The same themes are expressed in ST and TT: Record companies have also been considered in this section, since they represent not only a chain in the production of the French pop music remakes, but also the institutions that regulate the distribution and use of the artefacts in question.
In order to gain an insight into the models of reality that have been made available for the Turkish audience through the distribution of French pop music remakes in Turkey, I have conducted a thematic analysis on songs judged to be translations and adaptations to identify the ferrman meanings that have been made available to the Turkish public through this particular act of cultural transfer.
Hence this song is classified as a song translation.
Record companies distributing exported pop music in France Lyrics obey the rules of the language in which they are written, as well as being constrained by the temporal limitations of the music and by poetic factors such as rhyme and syllable structure necessary to suit the music. The listener has access to musical meanings through auditory perception, as an embodied experience. Examples 3 and 4 below are extracts from the French song lyrics and corresponding Turkish remakes exemplifying models of impossible love.
They are empowered by, and are part of other dominating social institutions, which in turn influences their selections.
Directly relatable to the present study, the remaining songs produced between of the collected database presented in Appendix A can be analyzed to detect possible developments in time of pop music transformations from French to Turkish, as well as developments in time of linguistic weni that may occur more often during certain periods of time.
This means that the database of Turkish remakes of French songs collected for this thesis is not comprehensive in the sense that it covers all Turkish remakes of French songs, but nonetheless, the songs included in this database are all verified.
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And finally, the notions of cultural transfer, translation, song translation and adaptation are defined and discussed. The main significant events, states and feelings in ST have been transferred to TT. I would also like to thank my classmates who have truly made Lund University the most friendly and uplifting work environment; I follow your success with pride and excitement.
For future studies, it could be interesting to investigate the translators and editors involved in the production of song remakes in Turkey.
According galib Okyayuz The interdependencies between the product, producer, consumer, market, institution and repertoire in a system is what enables communication and transfer to function: However, there is no doubt the Turkish version is a remake of the French version and not the other way rerman.
The French songs that have been imported to Turkey and transformed to have Turkish lyrics, have originally been performed by various francophone singers to a French speaking audience in France, as well as to an international audience outside of France.
Furthermore, the names of friends enumerated in the refrain portray the same idea of childhood friends from the past in both ST and TT.