Bir Yeniden Yazım Örneği Olarak Frankenstein

Abstract

“Rewriting” has been associated with different concepts such as “intertextuality”, “hypertextuality” and “adaptation” in various fields of study whereas in Translation Studies it has mostly been viewed within the context of “interlingual translation”. The purpose of this article is to explore the concept and different dimensions of “rewriting” within the scope of Translation Studies. For this purpose, the novel Frankenstein; or, The Modern Prometheus by English author Mary Shelley has been selected as the corpus because it presents five different forms of rewriting in itself. After referring to these different examples of rewriting, the rewritten 1831 version of Frankenstein, which was first published in 1818, will be analyzed as an “ideological” rewriting, in light of the views of André Lefevere on the concept. The hints of this ideological rewriting will be traced in the author’s biography, and then 1818 and 1831 versions of the text will be studied comparatively. Making use of this textual and discursive data and providing thematic commentaries, our descriptive study will attempt to reveal the personal and social ideology behind the rewriting. As a result of this descriptive study, the rewritten 1831 version of Frankenstein will be reckoned as Mary Shelley’s rewriting of her own authorial image. In the examples where the texts are rewritten by their own authors, these rewritings might be utilized as “image construction tools” and/or “ideologization processes”, thus we conclude that they should be viewed as “the rewritings of the authorial images”.