Strategi Penerjemahan Bahasa Inggris Berkaitan dengan Ketidaksetaraan pada Tingkat Kata dalam Film Ada Apa Dengan Cinta

Strategi Penerjemahan Bahasa Inggris Berkaitan dengan Ketidaksetaraan

pada Tingkat Kata dalam Film Ada Apa Dengan Cinta

Oleh:

Sri Rahmawati

09/280073/SA/14628

Skripsi

dikumpulkan untuk Penguji

sebagai Persyaratan untuk Mendapatkan Gelar Sarjana

di Jurusan Sastra Inggris Fakultas Ilmu Budaya

Universitas Gadjah Mada

2014

Strategies of the English Translation to Deal with Non-Equivalence at Word

Level in Ada Apa Dengan Cinta Movie

By:

Sri Rahmawati

09/280073/SA/14628

A Graduating Paper

Submitted to the Board of Examiners

in Partial Fulfillment of the Requirement for

the Undergraduate Degree in the English Department

Faculty of Cultural Sciences

Universitas Gadjah Mada

2014

Rahmawati | v

This paper is dedicated to:

My Gorgeous Father and Mother

Rahmawati | vi

ACKNOWLEDGMENTS

Alhamdulillahirobbilalamin. First and foremost, I would like to express my

greatest gratitude to Allah SWT for the uncounted bless. My sincere thanks also goes to my

supervisor, Amin Basuki, S.S., M.A. for his encouragement. Without his guidance and

persistent help, this thesis would not have been possible. Above and beyond, I am deeply

indebted to all of lecturers in English Department of Universitas Gadjah Mada for the

immense knowledge over the past four years, especially Drs. Djoko Moerdianto, M.A. as my

academic supervisor.

My special thanks also goes to all members of English Literature Fellowship

(ELF) 2009, especially my best friends Dhian Heyda Agustina, Dewinta Mentari Melodia,

Rachmalita Widyaswara, and Dily Maulida Nurisilfi for the stimulating discussions. My

deepest appreciation is addressed to my families in MAPAGAMA (Mahasiswa Pencinta

Alam Universitas Gadjah Mada), SEMATA WAYANG (Sekumpulan Mahasiswa Pencinta

Wayang), KPTY (Komunitas Panjat Tebing Yogyakarta), Laskar Pengadangan (KKN-PPM

unit 132 Lombok Timur), and Kost Nirwana for all the fun we have had.

Furthermore, I am very grateful to my beloved parents, H. Muhammad Idris

Sardi and Hj. Siti Maryam for their wholehearted support throughout my life. Finally, I

cannot fully express my appreciation to all people whose direct and indirect supports assist

me to accomplish this thesis. May the Almighty God richly bless all of you.

Rahmawati | vii

TABLE OF CONTENTS

Title ............................................................................................................................................. i

Approval Sheet........................................................................................................................... ii

Admission Sheet ....................................................................................................................... iii

Motto ......................................................................................................................................... iv

Dedication .................................................................................................................................. v

Acknowledgements ................................................................................................................... vi

List of Abbreviations .............................................................................................................. viii

Abstract ...................................................................................................................................... x

Intisari ....................................................................................................................................... xi

Chapter I: Introduction ............................................................................................................... 1

1.1 Background of Choosing the Subject ................................................................................. 1

1.2 Research Questions ............................................................................................................. 2

1.3 Objectives of the Research .................................................................................................. 3

1.4 Scope of the Study ............................................................................................................ ..3

1.5 Methodology ....................................................................................................................... 3

1.5.1 Method of Data Collection........................................................................................ 3

1.5.2 Method of Data Analysis .......................................................................................... 3

1.5.3 Method of Data Presentation .................................................................................... 4

1.6 Literature Review...............................................................................................................4

1.7 Presentation ........................................................................................................................ 5

Chapter II: Theoretical Framework ........................................................................................... 6

2.1 Theories of Translation........................................................................................................6

2.2The Non-equivalence at Word Level............................ ......................................................7

2.2.1 Culture-specific Concepts................................................................................8

2.2.2 The SL concept is not lexicalized in the TL......................................................8

2.2.3 The SL word is semantically complex..............................................................8

2.2.4 The SL and the TL makes different distinction in meaning.............................9

2.2.5 The TL lacks a superordinate.......................................................................9

2.2.6 The TL lacks a specific term (hyponym).........................................................9

2.2.7 Differences in physical or interpersonal perspective.......................................10

2.2.8 Differences in expressive meaning .................................................................10

2.2.9 Differences in form..........................................................................................10

Rahmawati | viii

2.2.10 Differences in frequency and purpose of using specific forms........................11

2.2.11 The use of loan words in the ST.......................................................................11

2.3 Translation Strategies......................................................................................................... 11

2.3.1 Translation by a more general word (superordinate) .......................................... 11

2.3.2 Translation by a more neutral/less expressive word ........................................... 12

2.3.3 Translation by cultural substitution ..................................................................... 13

2.3.4 Translation using loan words/ loan words plus explanation ............................... 13

2.3.5Translation by paraphrase using related words .................................................... 14

2.3.6 Translation by paraphrase using unrelated words ............................................... 15

2.3.7Translation by omission ....................................................................................... 15

2.3.8 Translation by illustration ................................................................................... 16

Chapter III: The Non-equivalence and the Strategies of Translation at Word Level.............17

3.1Translation by a more general word (superordinate) .......................................................... 17

3.2 Translation by a more neutral/less expressive word .......................................................... 30

3.3 Translation by cultural substitution ................................................................................... 34

3.4Translation using loan words.............................................................................................37

3.5 Translation using loan words plus explanation .................................................................. 38

3.6 Translation by paraphrase using a related word ................................................................ 39

3.7Translation by paraphrase using unrelated words ............................................................... 43

3.8Translation by omission ...................................................................................................... 48

Chapter IV: Conclusion ........................................................................................................... 51

Bibliography ............................................................................................................................ 53

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LIST OF ABBREVIATIONS

SL : Source Language

ST : Source Text

TL : Source Language

TT : Target Text

Rahmawati | x

Strategies of the English Translation to Deal with Non-Equivalence at Word

Level in Ada Apa Dengan Cinta Movie

ABSTRACT

This research attempts to investigate the translation strategies to deal with non-equivalence in

the English subtitle of Indonesian movie Ada Apa Dengan Cinta at word level. It aims to

examine the non-equivalence types and classified the translation strategies applied by the

translator to overcome the non-equivalence. This study used a comparative research method

in which the SL and the TL were compared and grouped based on translation strategies

suggested by Baker. The results of this research showed that there were eight translation

strategies proposed by Mona Baker which were applied in34 non-equivalence cases which

were classified into seven types of non-equivalence. The most frequent strategy used in the

translation work is translation by a more general word (32.35%) while the rarest strategy is

translation by a loan word and loan word plus explanation (2.94%). Considering that the

overall translation results have a good quality, it can be concluded that the strategies used by

the translator are suitable to solve the non-equivalence problem in Ada Apa Dengan Cinta

movie.

Keywords: translation, subtitle, non-equivalence types, translation strategies.

Rahmawati | xi

Strategi Penerjemahan Bahasa Inggris Berkaitan dengan Ketidaksetaraan pada

Tingkat Kata dalam Film Ada Apa Dengan Cinta

INTISARI

Skripsi ini meneliti tentang strategi terjemahan dalam mengatasi masalah ketidaksetaraan

hasil terjemahan bahasa Inggris yang terdapat dalam subtile film Indonesia Ada Apa Dengan

Cinta pada tingkat kata. Secara khusus, skripsi ini bertujuan untuk mengidentifikasi jenis-

jenis ketidaksetaraan serta mengklasifikasikan strategi yang digunakan si penerjemah untuk

mengatasi masalah ketidaksetaraan tersebut. Penelitian ini menggunakan metode

perbandingan dengan membandingkan teks bahasa sumber dan bahasa sasaran yang

kemudian dikelompokkan berdasarkan strategi penerjemahan yang diusulkan oleh Mona

Baker. Penelitian ini menunjukkan bahwa terdapat delapan jenis strategi yang diaplikasikan

untuk mengatasi 34 data yang dianggap tidak setara. Ketidaksetaraan tersebut

diklasifikasikan menjadi tujuh jenis. Strategi yang paling banyak digunakan adalah strategi

terjemahan dengan kata yang lebih umum (32.35%) sedangkan strategi yang paling sedikit

digunakan adalah strategi terjemahan dengan kata serapan dan kata serapan yang diikuti

penjelasan (2,94%). Dengan pertimbangan bahwa sebagian besar hasil terjemahan dalam film

tersebut memiliki kualitas yang bagus, dapat disimpulkan bahwa strategi yang digunakan si

penerjemah cukup akurat untuk mengatasi masalah ketidaksetaraan dalam film Ada Apa

Dengan Cinta.

Kata kunci: terjemahan, subtitle, jenis-jenis ketidaksetaraan, strategi terjemahan.

R a h m a w a t i | 1

CHAPTER I

INTRODUCTION

1.1 Background of Choosing the Subject

Various forms of pop culture, especially movies, have grown rapidly

over recent decades. The demand of movies including foreign language movies

with a variety of different genres and plots keeps increasing every year. Thus,

inevitably, the role of subtitling is very essential in order to make the foreign

language movies comprehensible to the target audiences.

Translation is broadly defined by Nadar (2007: 5) as “a process of

transferring idea or concept of source language (SL) into target language (TL)”.

Obviously, to be able to transfer the idea or concept and to gain a good quality of

translation work, a translator should master both the SL and the TL very well. In

more detail, House (1997) explains that “the quality of a translation depends

largely on the translator’s subjective interpretation and transfer decisions, which

are based on his linguistic and cultural intuitive knowledge and experience”.

This present research will discuss the translation strategies in dealing

with non-equivalence at word level in the translation of Ada Apa Dengan Cinta

into What’s Up With Love. The Indonesian title is a play on words, in which

“Cinta” can refer to both love and the name of the main character.

The movie portrays the life of middle class young people in a major

Asian capital city, Jakarta, through a love story of two idealistic teenagers; Cinta

and Rangga who have very different characteristics. Cinta is a popular girl who


has many friends while Rangga is a loner. Aside from the differences, both Cinta

and Rangga are passionate about literature and it brings them together.

The movie was a milestone in Indonesian cinematography. It is hugely

popular in Indonesia and overseas (Malaysia, Singapore, and Australia) and broke

box office record in 2002. In addition, it becomes a teaching material of

Indonesian language and Asian Studies as it promotes literature and spreads the

use of Jakarta teenage slang which is a part of Indonesian culture. Moreover, it is

adopted to a novel entitled Beautiful Days in Japan.

The facts show that the movie has a good quality in many aspects

including the translation of the subtitle. For this reason, the writer is interested to

observe more deeply about the English translation, especially about the strategies

used by translator in overcoming the non-equivalence translation since this issue

is almost impossible to avoid in translating two different languages.

1.2 Research Questions

1. How is the equivalence of English translation in the subtitle of Ada Apa

Dengan Cinta movie at word level?

2. What strategies used by the translator to solve the translation problems?

1.3 Objectives of the Research

The objectives of this research are:

1. to describe the equivalence and non-equivalence of English translation in the

subtitle of Ada Apa dengan Cinta movie at word level

2. to classify the translation strategies used by the translator in overcoming the

translation problems of Ada Apa Dengan Cinta movie.


1.4 Scope of the Study

The research focuses on the translation strategies of Ada Apa Dengan

Cinta subtitle to deal with non-equivalence problems at word level. As the

limitation, the other treatments of non-equivalence at various levels such as above

word or the textual one will not be discussed in this research.

1.5 Methodology

1. 5.1 Method of Data Collection

The primary data of this paper is taken from the movie script and the

subtitle of Ada Apa Dengan Cinta movie attached on the original DVD. In order

to find the non- equivalence translations at world level and the strategies used by

the translator to overcome the problems, both the subtitle and the original script

were compared and carefully identified.

1.5.2 Method of Data Analysis

This research is analysed qualitatively, in which, most of the data are

formed in words. This is considered the most suitable method to be applied in this

study for the reason that, as defined by Myers (1997), “qualitative research was

developed in the social sciences to enable researchers to study social and cultural

phenomena”.

Furthermore, Baker’s theories are used to analyse the data. The clarity

of the theories in classifying the types non-equivalence and proposing the

strategies to solve the non-equivalence at word level, made the writer found it

easy to understand them.


1.5.3 Method of Data Presentation

The data will be grouped based on the types of the non-equivalence

and the translation strategies to deal with the non-equivalence at word level.

Among the whole data, only several samples would be chosen to be presented in

this research. The words representing the non-equivalence translation are

highlighted in bold style, both in the SL and the TL.

1.6 Literature Review

In academic field, numerous researches about translation strategies to

deal with non-equivalence at word level have been completed previously.

Wibyaninggar (2013), on her paper entitled “Translation Strategies and Their

Impacts on the Translation of A. Fuadi’s Negeri 5 Menara”, for instance,

examined the strategies used in translating cultural terms in A. Fuadi’s Negeri 5

Menara into The Land of Five Towers and the impacts of using the translation

strategies. The research focuses on the cultural terms found in the novel which

are then classified into the translation strategies proposed by Baker (1992).

Analysis using semantic properties is also applied in this research to examine the

impacts of using translation strategies in translating cultural terms, whether it is

loss meaning, gain meaning, wrong translation, accurate translation, or

untranslatability.

Binh (2010), on his paper entitled “Strategies to Deal with Non-

equivalence at Word Level in Translation”, selected English-Vietnamese concept

such as concept on kinship, color, temperature, and communication to be

contrasted. He also elucidated lexical and semantic fields in various aspects such


as pronouns, classifier, and word formations as a premise for further analysis

about the strategies used by translator to deal with non-equivalence at word level

in translating English-Vietnamese text and vice versa, based on Baker’s approach

as well. In the last part, the paper provides some suggestions on exercises and a

brief conclusion for the whole study.

In conclusion, Baker’s theory about strategies for resolving non-

equivalence problems at word level is found genuinely applicable to the previous

research. This theory is also used in the present paper.

Besides the similarity, there are prominent differences between the

previous researches and the present research. While the first previous research

only focuses on the cultural terms found in the novel, the present research

includes all types of non-equivalence proposed by Baker (1992) found in the

movie. Lastly, this paper does not provide suggestions on exercise as the second

previous research does.

1.7 Presentation

This paper consists of four chapters. Following this chapter, chapter II

explains the theoretical framework which becomes the reference of this research,

particularly Baker’s theories. Chapter III explains the data presentation and the

analysis. Lastly, chapter IV, explains the conclusion.


CHAPTER II

THEORETICAL FRAMEWORK

2.1 Theories of Translation

Various definitions of translation are proposed by many experts. Guire

(1980, in Nadar: 6), for instance, argues that translation is “rendering of a source

language (SL) text into the target language (TL) so as to ensure that the surface

meaning of the two will be preserved as closely as possible but not so closely that

the TL structures will be distorted.”

Another expert, Newmark (1988, in Nadar 2007: 7), defines translation

as “the process of rendering the meaning of a text into another language in the

way that the author intended the text.”

In addition, Nida (1969, in Nadar, 2007: 7), believes that “translation

consists in reproducing in the receptor language the closest natural equivalent of

the source language message first in terms of meaning and secondly in term of

style.”

From the definitions of translation above, it could be concluded that

the main concern in rendering languages is communicating the overall meaning of

the language. Halliday (1985, in Baker, 1992: 6) believes that “meanings are

realized through words, and without a theory of wordings, there is no

way of making explicit one‟s interpretation of the meaning of the text.”


2.2 The Non-equivalence at Word Level

Defined loosely, the word is „the smallest unit of language that can be

used by itself‟ (Bolinger and Sears, 1968, in Baker, 1992: 11). Word is commonly

considered as the basic meaningful element in a language but in fact, this is not

strictly accurate. Meaning can be carried by units smaller than the word. Elements

of meaning in English for instance, which are represented by one word may be

represented by many words in Indonesian language and vice versa.

Maintaining the equivalence of translation work is quite important to

guarantee the overall meaning of the language is delivered well, and as stated by

Baker (1992), word is the basic unit to be considered in meaning of translation

text. She believes that equivalence at word level is the first element to be taken

into consideration by the translator.

Equivalent itself, as noted in Oxford Advanced Learner’s Dictionary,

means “equal in value, amount, meaning, importance, etc.” So, a translation work

is equivalent when both the SL and TL are equal on those aspects.

However, of course, a perfect equivalence translation is difficult to

achieve because as stated by Bell (1991, in Bahn, 2010: 14), “there is no word

equivalence among languages since even the same language there is no absolute

synonym between words.”

So far, Baker was the most outstanding theorist dramatically focusing

on equivalence at word level (Bahn, 2010: 14). The following are the types of

non-equivalence at word level proposed by Baker (1992: 21):


2.2.1 Culture-specific Concept

Each place surely has its own culture which is different to each other.

This matter often causes difficulty in translating certain cultural specific concept

since the concept existing in the SL is perfectly exotic for the TL. The concept

could be both abstract and concrete such as a religious belief, a social custom, or a

type of food. Privacy, for instance, is a very “English” concept which is rarely

understood by people from other cultures and difficult to translate into other

languages (ibid).

2.2.2 The SL is not lexicalized in the TL

Occasionally, a certain idea existing in the SL is known in the target

culture. However, sometimes it is hard to find the direct equivalent word

representing that concept since it is not allocated or not lexicalized in the TL.

Adjective savoury, for instance, expresses an understandable concept but has no

equivalent in many languages (ibid).

2.2.3 The SL is semantically complex

Bolinger and Sears (1989, in Baker, 1992: 22) state that “words do not

have to be morphologically complex to be semantically complex”. It is then made

clearer by Baker by saying that “a single word which consists of a single

morpheme can sometimes express more complex set meanings than a whole

sentence”. She picks one Brazilian word that becomes complex when it is

translated into English, namely arruacao which means “clearing the ground under

coffee tress of rubbish and pilling it in the middle of the row in order to aid in

recovery of beans dropped during harvesting” (ITI News, 1899: 57) (ibid).


2.2.4 The SL and the TL makes different distinctions in meaning

The element which is considered as an essential thing which brings

the distinction in meaning of the SL sometimes does not perceive as relevant in

the TL. Indonesian words kehujanan and hujan-hujanan, for instance, have

different meaning which in English, perhaps, would be hard to be translated

appropriately unless the context makes it clear whether or not the person in

question knew that it was raining (ibid).

2.2.5 The TL lacks of a superordinate

Circumstances obviously cause a variant of specific words in one

language. As every culture has different circumstance, it possibly causes the

absence of specific words or hyponym in another language. Equivalent of

facilities (any equipment, building services, etc), which is provided for a

particular activity, for instance, is missing in Russian but it has several specific

words and expressions which can be thought as types of facilities such as

sredstvaperedvizeniya („means of transport‟), name („loan‟),

neobkhodimyepomescheniya („essential accomodation‟), and

neobhodimoeoborudovanie („essential equipment‟) (ibid: 23).

2.2.6 The TL lacks a specific term (hyponym)

A language, sometimes, provides a general word or superordinate but

the specific word or hyponym is absent. For example, English has many specific

words referring hyponyms article such as feature, survey, report, critique,

commentary and review but the exact equivalent hyponyms in other languages are

difficult to find (ibid).


2.2.7 Differences in physical or interpersonal perspective

Physical perspective affects the language use as well. This perspective

considers about where things or people are in relation to one another or to a place.

This also has to do with the relationship between participants in the discourse. For

example, Japanese has six equivalents for give, depending who gives to whom:

yaru, ageru, morau, kureru, itadaku, and kudasaru (McCreary, 1989) (ibid).

2.2.8 Differences in expressive meaning

In translating, the same proportional meaning of the SL might be

available in the TL. Yet, it is sometimes different in expressive meaning. The

words in the TL could be more or less expressive than the SL. The case is

frequently found in sensitive issues such as religion, politics, and sex. Word

homosexual, for instance, has more negative sense and quite difficult to use in a

neutral context without suggesting strong disapproval when it is rendered in

Arabic; hithuthjinsi which literally means sexual perversion (ibid).

2.2.9 Differences in form

The differences of form in each language also often cause difficulty in

finding the direct equivalents in the TL. Suffixes and prefixes are the prominent

element of language which is difficult to render. English suffix –able as in

conceivable, retrievable and drinkable, for example, is missing in Arabic so that

the words with –able are often replaced by an appropriate paraphrase, depending

on the meaning they convey e.g. retrievable as can be retrieved and drinkable as

suitable for drinking (ibid: 24)


2.2.10 Differences in frequency and purpose of using specific forms

Each language has its own characteristic. Even when a particular form

has a ready equivalent in the TL, it is not always having the same application

with the SL in term of frequency and purpose. English, for instance, uses the

continuous –ing form for binding clauses more often than other languages which

have equivalent –ing form in a German, Danish, or Swedish target text would

result in stilted, unnatural style (ibid: 25).

2.2.11 The use of loan words in the ST

The use of loan word in the ST often causes lost in translation because

it is difficult to find a loan word that has the same meaning with the SL. Words

au fait, chic, and alfresco in English for instance, are used for their prestige value

as the air of their sophistication to the text or its subject matter (ibid).

2.3 Translation Strategies for Dealing with Non-equivalence at Word Level

As stated in the previous part, a perfect equivalence is extremly

difficult to achieve but gaining the closest equivalence result is not impossible in

translation. Baker (1992: 26-42) proposes some strategies used by professional

translators for resolving the various types of non-equivalence at word level which

have been classified in the previous part. The strategies are divided as follows:

2.3.1 Translation by a more general word (superordinate)

Translation by a more general word is usually used when the TL lacks

of a specific word. The consequence of this strategy, it may result in excessive

generalization and eventually in oversimplification (loss in meaning) in the

translated text (Bihn, 2010: 38). However, this is one of the commonest strategies


in dealing with many types of non equivalence, especially in the area of

proportional meaning. For example:

SL: A well-known scientist (some say it was Bertrand Russell)

once gave a public lecture on astronomy. He described how the

earth orbits around the sun and how the sun, in turn, orbits around

the center of a vast collection of stars called our galaxy.

TL: (Back translation from Spanish) A well-known scientist (some

say that it was Bertrand Russell) once gave a lecture on astronomy.

In it he described how the Earth revolved around the Sun and how

the latter in its turn revolved around the centre of a vast collection

of stars known as our gala.

In the case above, the translator tries to find a more general word

that covers the core propositional meaning of the missing hyponym in the TL.

„Revolving‟ is considered as the correct one to replace „orbiting‟ which is a types

of „revolving‟ but it only applies to a smaller object revolving around a larger one

in space (Baker, 1992: 28).

2.3.2 Translation by a more neutral/ less expressive word

There is a warning that this strategy might lead to over interpretation

of the source language meaning, which in the majority of cases seems to be more

dangerous than over generalization (Binh, 2010: 36). However, in some cases, it

may be appropriate or necessary to use a more specific word as seen in the

following case:

SL: The panda is something of a zoological mystery.

TL: (back-translated from Chinese): The panda may be called a

riddle in zoology.


There is an equivalent for mystery in Chinese, but it is mostly

associated with religion. The translator felt that it would be wrong to use it in a

zoological context (Baker, 1992: 30).

2.3.3 Translation by cultural substitution

This strategy is used when the TL lacks of the same proportional

meaning in term of culture-specific item. The main advantage of using this

strategy is that it gives the reader a concept with which s/he can identify

something familiar and appealing as it should have a similar impact on the target

reader. For example:

SL: The Patrick Collection has restaurant facilities to suit

every taste – from the discerning gourmet, to the Cream Tea

expert.

TL: (Back translation from Italian) . . . to satisfy all tastes: from

those of the demanding gastronomist to those of the expert in

pastry.

In Britain, cream tea is “an afternoon meal consisting of tea to drink

and scones with jam and clotted cream to eat. It can also include sandwiches and

cakes”. As it has no equivalent in other cultures, the translator replaces it with

pastry, which does not have the same meaning (for one thing, cream tea is a meal

in Britain, whereas pastry is only a type of food). However, pastry is familiar to

the Italian reader and therefore provides a good cultural substitution (Baker, 1992:

33).

2.3.4 Translation using a loan word or loan word plus explanation

This strategy is particularly common in dealing with culture-specific

items, modern concepts, and buzz words. It is also necessary to put an explanation


when the word in question is repeated several times in the text as it can be used on

its own; the reader can understand it and is not distracted by further lengthy

explanations. For example:

SL: The shamanic practices we have investigated are rightly seen

as an archaic mysticism.

TL: (back-translated from Japanese): The shamanic behavior

which we have been researching should rightly be considered as

ancient mysticism.

Shaman is a technical word using in religious studies to refer to a priest

or a priest doctor among the northern tribes of Asia. It has no ready equivalent in

Japanese. The equivalent word using in the translation is made up of shaman as a

loan word, written in katakana script (the script commonly used to transcribe

foreign words into Japanese) plus a Japanese suffix which means „like‟ to replace

the -ic ending in English. The Japanese suffix is written in the Kanji script (the

Chinese system used to transcribe ordinary Japanese) (ibid: 35).

2.3.5 Translation by paraphrase using a related word

This strategy is used when the concept expressing by the source item is

lexicalized in the TL but in a different form, and when the frequency with which a

certain form is used in the source text is significantly higher than would be natural

in the TL, for example:

SL: Hot and cold food and drinks can be found in the Hornet‟s

Nest, overlooking the Alexick Hall.

TL: (Back translation from German) In the Hornet‟s Nest, which

overlooks the Alexick-Hall, you can have hot and cold meals and

drinks.


2.3.6 Translation by paraphrase using unrelated words

This strategy is used when the concept in the SL is not lexicalized at

all in the TL. The paraphrase may be based on modifying a superordinate or

simply on unpacking the meaning of the source item, particularly if the item in

question is semantically complex. For example:

SL: You can even dine „alfresco‟ in the summer on our open air

terrace.

TL: (Back translation in German) In the summer you can also sit

and eat on the terrace in the open.

Alfresco, “in the open air”, is a loan word in English. The meaning is

missing in the TL. The two expressions, alfresco and in the open, have the same

„propositional‟ meaning, but the German expression lacks the „evoked‟ meaning

of alfresco, which is perhaps inevitable in this case (ibid: 39).

2.3.7 Translation by omission

Omitting a word or expression in some contexts if they are not vital

enough to the development of the text in order to justify distracting the reader

with lengthy explanations is acceptable. For example:

SL: The panda‟s mountain home is rich in plant life and gave us

many of the trees, shrubs and herbs most prized in European

gardens.

TL: (back-translated from Chinese) The mountain settlements of

the panda have rich varieties of plants. There are many kinds of

trees, shrubs and herbal plants that are preciously regarded by

European gardens.

The ST addresses an European audience, and the use of „gave us‟

highlights its intended orientation. The Chinese translation addresses a different


audience and therefore suppresses the orientation of the ST by omitting

expressions which betray its original point of view (ibid: 41).

2.3.8 Translation by illustration

This strategy used when the TL lacks of equivalent words referring to

a physical entity which can be illustrated, particularly if there are restrictions on

space and if the text has to remain short, concise, and to the point. For example,

there is no easy way of translating tagged, as in tagged teabags, into Arabic

without going into lengthy explanations which would clutter the text. An

illustration of a tagged teabag is therefore used instead of a paraphrase (ibid: 42).


CHAPTER III

The Non-equivalence and the Strategies of Translation at Word Level

In this chapter, the researcher classifies 34 of 58 non-equivalence cases

into eight categorize of translation strategies applied by the translator in the movie

which are grouped into seven non-equivalence types proposed by Baker. The

analysis of the non-equivalence types would show that in translating different

languages, various problems regarding equivalence are unavoidable. Meanwhile,

by analysing the result of the translation, the accuracy of the strategies applied

could be identified.

3.1 Translation by a more general word

3.1.1 Culture-specific concepts

(1) ST: Ya kamu. Biasanya ngomongnya loe-gue?

TT: You said: “You”. Usually you use the colloquial “you”.

Loe, sometimes spelled as lo/elu/lu, which means “you” and gue,

sometimes spelled as gua, which means “I”, are Jakartanese forms from Chinese

culture which are used massively by people in several big cities in Indonesia

(Muhadjir, 2000: 25). These pronouns are also known as Indonesian slang.

In Jakarta, in which the setting of the movie, pronoun loe and gue

convey different sense with aku (I) and kamu (you), which are also informal

Indonesian pronoun. Elo and gue are commonly used by teenagers when they

converse to their friends. They do not use aku and kamu, unless the addressee


has a very special position since the pronouns could be used to show affection.

For this reason, pronoun aku and kamu are usually used by those who have very

close relation; between husband and wife or boy and girlfriend, for instance.

In the dialogue above, Rangga shows his surprise when Cinta uses

pronoun kamu instead of loe when she talks to him, as second person singular

kamu, is used in very informal speech among teenagers and adults in flirtatious

or romantic context (Zimman, 2014: 85), whereas they often involve in fighting.

The switch of the pronoun could indicate that Cinta starts having

affection for Rangga. She keeps using pronoun kamu until one day they engage

in a conflict that makes her switch the aku-kamu into elo-gue.

In conclusion, the use of pronoun aku-kamu and elo-gue, especially

in big cities such as Jakarta, could indicate the addresser‟s feeling to the

addressee. In contrary, the TL does not make distinction in using first and second

pronouns. For this reason, the translator applied “translation with a more general

word” strategy which is seemingly the most appropriate strategy to overcome the

non-equivalence.

(2) ST: Cinta, sudah dengerin nggak lagu buat Cinta waktu itu dari

Memet?

TT: Cinta! Did you listen to the song I wrote for you?

The dialogue above is spoken by Memet. He uses personal name to

address himself instead of using first pronoun such as gue, like the other

teenagers in the movie do. He also mentions the addressee‟s name instead of

using second person pronoun.


Those who commonly using personal name to address the first person

are children (male and female), female teenagers, and transsexual people while

personal name to refer to the second person can be used by all people, but it is

commonly used by young people, transsexual and male teenagers (Roselani, in

Basuki, 1995:124).

Using personal name, whether as first or second person pronoun is a

common thing to do in the SL culture. It is used in informal situation to show

intimacy, for instance to address those who have lower status (age and social

status) or those who are older than the speaker including family terms such as

„bapak‟ or „bu‟ before the name (ibid).

In addition, Wardaugh (1986, in Djenar: 33) states that it has been

pointed out that the use of a person‟s name for address indicates intimacy or a

desire for intimacy. One might propose that the same applies to its use for self

reference.

In the dialogue above, the speaker is a boy. It is not common to use

personal name as first person pronoun by a male except for a certain purpose. In

this case, Memet uses personal name because he tries to build intimacy as he has

affection for Cinta. When talking to the other friends, Memet switches the

pronouns into elo-gue.

This concept actually exists in the TL culture as well but it is

commonly used by children only. When teenagers, moreover adults, using

personal name or known as “talking in third person”, the readers will find it very

annoying.


If the dialogue is translated precisely like the source text, it would be:

Cinta! Did Cinta listen to the song Memet wrote for Cinta? It obviously sounds

weird and unnatural. Hence, the translator prefers to use pronouns I and you

instead of personal names. So, translation with a more general word is seemingly

the best strategy in this case.

3.1.2 The SL and TL makes distinction in meaning

(3) ST: Aduh, aduh. Pedes banget lho, sumpah.

TT: It’s incredibly hot, I swear.

Pedes is derived from formal Indonesian pedas which is defined by

Kamus Besar Bahasa In donesia as “taste like chili or pepper”. In the target

language, it is translated into hot which according to Oxford Advanced Learner’s

Dictionary means “having a high temperature or (food) containing pepper or

spices, and producing a burning sensation when tasted”.

The dialogue above is spoken by Cinta when she was slicing onion.

She feels smarting on eyes and shedding tears because of the onion. So, the

adjective pedes on the dialogue above modifies noun eye which is collocationally

incorrect. The correct one should be pedih (a sharp pain). So, it would be, “Aduh,

aduh. Pedih banget lho, sumpah.”

However, even thought the adjective is incorrect, it still acceptable and

comprehensible for the native SL audiences because its habitual use. In contrary,

it is not appropriate to use adjective hot even though in literal meaning, it is

equivalent with pedes. Adjective hot in this context will leave the target


audiences confuse because as stated above, hot refers to “a high temperature or

(food) containing pepper or spices, and producing a burning sensation when

tasted”, not refers to “a sharp pain”. So, the strategy applied here is less

appropriate.

(4) SL: Aduh, Maura dah nggak sabar pingin beli baju baru.

TL: I can’t wait to get a new outfit!

Proportionally, baju, as defined by Kamus Besar Bahasa Indonesia

means “a piece of clothing worn on the upper part of body” while outfit according

to Oxford Advanced Learner’s Dictionary means “clothes worn together as a set,

especially for a particular occasion or purpose”.

From the definition, it is obvious that outfit is more general than baju

as it refers to clothes in general, not only clothes worn in a certain part of body.

However, in this context, noun baju actually refers to general clothes.

It could be shirt, jacket, sweater, blouse, even trouser or skirt. The speaker in the

dialogue uses noun baju to refer to the clothes because it is more commonly used

in daily conversation than pakaian (defined by Kamus Besar Bahasa Indonesia as

“things worn; shirt, trouser, etc”) which sounds somewhat formal.

In fact, the generalization does not exist in the TL culture. When people

say that they would buy a new shirt, for instance, it means that they would only

buy a piece of clothing worn on the upper part of body. That is why, in order to

deliver an accurate message, the translator uses more general word in the TL i.e.

outfit.


So, using a more general word strategy in this case is seemingly

appropriate to achieve the same message as the SL.

3.1.3 The TL lacks a specific term (hyponym)

(5) ST: Angan, debur dan emosi bersatu dalam jubah terpautan

TT: Imaginings, sounds, emotions, mingled together weaving one

robe around us

Kamus Besar Bahasa Indonesia, defines debur as “imitation sound of

a large object falling into water” while Oxford Advanced Learner’s Dictionary

defines sound as “a sensation detected by the ear caused by the vibration of the air

surrounding it”.

By considering the definitions, it is clear that those two words are

different in meaning. Word debur refers to “the sound of a large thing falling into

water” while sound, may refer to “anything detected by ear, whether it is a big or

small thing.” In other words, debur is one of the specific terms of sounds.

The other hyponyms of sound are thud (a sound like the one which is

made when a heavy object hit something else), noise (a sound, especially when it

is loud, unpleasant, or disturbing), crash (sudden loud noise made),etc. but none

of them can represent the exact meaning of debur. That is why the strategy

applied here is seemingly suitable to overcome the non-equivalence.

(6) ST: Trus, rencana elo apaan Ta? Kalau anaknya belagu, sini deh

gue yang ngadepin.


TT: What are you saying? If he has a bad attitude, let me confront

him!

Belagu is an Indonesian slang which means arrogant or proud,

roughly equivalent to the standard Indonesian sombong. Someone who is

considered belagu is often, quite simply, one who refuses to bergaul or socializes

with others (Wallach, 2008: 156). It is quite matched to label Rangga, the one

being talked about in the dialogue as he does not want to socializes with others.

In the TL, the translator renders word belagu to a more general word,

i.e. bad attitude which is defined by Oxford Advanced Learner’s Dictionary as

“bad way of behaving toward somebody or something”. Bad attitude is obviously

more general than belagu as there is no specific detail about what kind of bad

behaviour is done. It could refer to any bad behaviour such as dishonest, impolite,

rough, temperamental, etc.

This generalization is seemingly appropriate in this context because

direct equivalent words that have the same meaning as belagu which conveys

more than one meaning is difficult to find in the TL. If it is rendered into arrogant,

which is the equivalent for belagu, the audience might get the message wrong

because word belagu it self could refer to two different contexts; the first one is,

as has been explained above; “people who refused to socialized” and the second

one is “behaving in a proud and superior manner or showing too much pride in

oneself and too little consideration for other” which is an arrogant explanation

according to Oxford Advanced Learner’s Dictionary.


When it is rendered to arrogant, the audience must consider the

second meaning whereas the context here is showed by the first definition;

“people who refused to socialized”. So, the strategy applied in this context is

seemingly appropriate.

3.1.4 Differences in physical or interpersonal perspective

In the movie, there are different first and second pronouns which

provide a distinction between them in terms of social variables such as formality,

neutrality, and intimacy, namely saya, aku-kamu, and elo-gue. It gives a very

clear portrait of how Indonesian and English make distinctions in this concept.

(7) Cinta:

ST: Pak Wardiman! Lho, Pak Wardiman kok cuek sih sama saya.

TT: Pak Wardiman, why are you ignoring me?

Pak Wardiman:

ST: Lho, masak saya suruh manggil-manggil neng Cinta kayak

cowok kelas tiga aja?

TT: Excuse me, I don’t like to tease Miss Cinta like the Class III

boys do.

Saya is described as a formal and neutral term which can be used

when speaking to anyone. Formality is suggested as corresponding to neutrality,

and neutrality as corresponding to non offensiveness (Mintz: 1994, in Djenar:

2007: 25). In other words, informal pronouns are not neutral, in the sense that by

using them, a speaker may inadvertently offend the addressee. In a certain case,

pronoun saya is used in informal situation, as seen in the dialogue above. Saya, as

an informal pronoun, is considered neutral in social connotation (ibid).


In addition, the pronoun saya is normally used when speaking with

older people and person whom one does not know well (Wallach, 2008: 85). It is

used to respect the interlocutor for certain reasons, such as because he is older or

has a higher social status.

In the case above, the dialogue occurs between Cinta and pak

Wardiman who works as an office boy at the school. Cinta uses pronoun saya

because the addressee is older than her. Pak Wardiman also uses pronoun saya

even though the addressee is younger than him to show respect because the social

status of the addressee is higher than him.

In other words, pronoun saya is used when the addresser and the

addressee has intermediate or distant relation. For instance, between two people

who just met or between them who do not know the identity or the status of the

addressee. It is supported by Sneddon by saying that the use of saya indicates the

absence of an intimate relationship (Djenar: 2006: 25). Englebretson (2007: 84)

also says that when speaker using saya in informal conversation, they are shifting

their stance: they are using this form to construct social distance or formality at a

particular point in the on going interaction. It can be seen in the male character of

the movie, Rangga.

Rangga always uses pronoun saya when he talks to everyone, even to

his peers. This is perhaps a way to build an intermediate relation due to his

uncomfortable feeling of being surrounded by other people. His inferiority

causing by the background of his troublesome family makes him to do so. That is

why he does not have any close friends at school.


The first pronoun saya has the same level with second pronoun anda.

However, in the movie, pronound anda is absent. In the dialogue above, for

instance, the speaker uses kinship terms followed by name (i.e Pak Wardiman

and Neng Cinta) rather than pronoun anda. This is because anda is usually used

in formal situation, whereas saya can be used both in formal and informal

situation.

(8a) ST: Bilangin aku lagi nggak ada Bu.

TT: Tell him I am not here.

(8b) SL: Heh monyet, katanya kamu mau masak. Jadi nggak?

TL: Hey, Ape boy, you said you were going to cook. Have you

done it?

Aku (I) is an informal Indonesian first person pronoun. As an informal

pronoun, aku can be used between adults and children, or between equals who

have a close relationship or share a similar social status (Mintz, 1994; Sneddon,

1996; Kaswanti Purwo, 1984 in Djenar, 2007: 24). In a certain case, in family

for instance, it is acceptable to use aku although the addressee is older, as seen

in (8a). In the dialogue, the speaker is Cinta while the addressee is her mother.

As stated in the previous part, for Jakartans, especially the young

people, pronoun aku and kamu is used between those who have a very close

relation because it is used to show affection. However, in other cultures,

Javanese, for instance, aku is in informal conversation which is neutral pronoun

and not to show affection. Meanwhile, some Sumatran groups find kamu

offensive and prefer to use kau, which most Jakartans consider somewhat

coarser than kamu (Wallach, 2008: 277)


Similar to aku, kamu (you) is used when the addressee has the same

age or younger than the speaker but it will be considered offensive when kamu is

used to address the older addressee. Kamu is used by people who have higher

status (older/richer/etc.) to address people who have lower status, as seen in (8b).

In the second dialogue (8b), the addressor is Mr. Yosrizal while the addressee is

his son, Rangga.

(9) ST: Gimana sih, gue ngejelasin ke elo semua?

TT: How can I explain it to you all?

Pronouns gue (I) and elo (you), as stated before, are not Indonesian

standard words which are usually used by teenagers when they converse to their

mates in informal situation as seen in the dialogue above. They are familiar,

sometimes rude or offensive, depends on the situation. .

The dialogue is spoken by Alya when she was sharing her problem to

her best friend, Cinta. The use of the pronoun shows the closeness of their

relation.

The pronouns can also used between them who have distance relation

if they have the same age or social status. The positive impact, the interlocutor

will feel that the addresser has accepted him/her as a close acquaintance and is

ready to start a friendship.

However, in another case, pronoun elo and gue are used to make

distance between the addressor and the addressee. For example, when a Jakartan

meet a stranger who is compromising and make them uncomfortable, on a public


transportation, for instance, they will use pronoun gue-elo because those

pronouns are consider as the most coarse pronouns.

In summary, each forms of first and second person pronoun in

Indonesian such as saya-anda, aku-kamu, and elo-gue are used differently

depends on the addresser, the addressee, the situation, etc. However, in the TL,

there is only one form to refer to first and second person pronoun namely I and

you. So, the strategy applied here is seemingly appropriate to overcome the

problem.


(10) ST: Siapa tau, Yuki ngelirik gue.

TT: Who knows, the singer may notice me, right?

Ngelirik (melirik) as defined by Kamus Besar Bahasa Indonesia

means “glancing sharply to left or right side”. However, it has different

connotation in some contexts. In the context above, in which the speaker tries to

tease the referent‟s attention by wearing a new outfit, the literal meaning of

ngelirik seemingly does not work. It likely means “noticing and attracted to the

object that being looked”.

By considering the context, the SL audiences would be able to figure

out the hidden meaning of ngelirik because it is familiar to use the term in such

situation. However, when it is rendered into English, verb notice which is

according to Oxford Advanced Learner’s Dictionary means “become aware of


somebody or something” is seemingly more appropriate to use to replace ngelirik

because the impact of verb notice is stronger than the other words that have

closest meaning such as stare, see, etc.

So, the strategy used in this case, namely translation with a more

general word is appropriate as it could bring the closest impact to the TL

audience.


(11) ST: Mmm, yaudah nanti ditelepon dulu, sorean.

TT: I’ll call you later

Sorean is an -an suffixation whose stem is sore (afternoon; the period

from 3 p.m. until about 6 p.m). The suffix -an here conveys comparison more

which is in the SL usually says agak or lebih, so it becomes agak/lebih sore. The

other words for instance; pagi, becomes pagian, siang becomes siangan, and

malam becomes malaman.

It is difficult to mention the exact time showing by word sorean, but

sure thing, it is still in the period of afternoon and is closer to the end of the

afternoon period.

This term is missing in the TL and altered by a more general word;

later, which causes a bigger ambiguity since the period is not clear. Certainly, it

would be after the dialogue is said but the period is unknown; it could be in the

morning, in the afternoon, or in the evening. However it is seemingly the best

strategy to overcome the problem in this case.


3.2 Translation by a more/ less expressive word


(12) ST: Ya ampun Cinta. Ha, apa gue nggak salah dengar nih? Loe

pergi sama Rangga? Loe, bukannya loe sebel sama dia?

TL: My goodness, Cinta! Am I hearing you correctly? You went out

with Rangga? I thought you hated him.

Sebel (sebal), as defined by Kamus Besar Bahasa Indonesia, means

“irritate (because disappointed, dislike, etc to sth/sb)” while hate, according to

Oxford Advanced Learner’s Dictionary, means “dislike sb/sth intensely.”

In this context, Cinta who becomes one of bulletin board members of

her school, needs to cover Rangga‟s profile who won the poetry competition but

he refuses. He says that he is not the winner as he never entered the competition.

It then makes Cinta feels irritated to him.

Seeing the context, it is more suitable to use word sebel rather than

benci (hate) because it has an insignificant level of disappointment. Both sebal

and benci (hate) actually has the same proportional meaning i.e. dislike sb/sth,

however adverb intensely makes the element of hate feels stronger than sebal.

Perhaps benci is caused by very deep disappointment or anger over a fatal mistake

done by someone or others.

Perhaps, word irritate which is defined by Oxford Advance‟s Learner

Dictionary as “to make somebody angry, annoyed or impatient” could bring a

closer meaning then hate. So, the strategy applied here is seemingly less

appropriate.


(13) SL: Tangan kita terikat, lidah kita menyatu maka setiap apa yang

terucap adalah sabda pandita ratu.

TL: Our hands join, our lips form in unison, every word we say is

the command of the high priest.

Sabda, according to Kamus Besar Bahasa Indonesia, means

“statement (of God, prophet, king, etc)” while command, as defined by Oxford

Advanced Learner’s Dictionary, is “an authoritative order”.

Although both sabda and command are said by exalted people, they

convey different sense. Command is an order, so it needs to be fulfilled by those

being ordered while sabda is an utterance which should be believed.

Above is a poetry line read by Cinta. In the context, word sabda

follows religious term; pandita ratu (high priest). As it is commonly used in

religious term, in a holy book for instance, it sounds more sacred that is why

when it is used in non-religious term, it would rather weird. For example; Pak

Taufik bersabda bahwa Rangga berhak menjadi pemenang lomba puisi.

However, word command sounds more general and can be used both

in religious and non-religious term. For example; (1) Mengasihi sesama

merupakan salah satu perintah Tuhan and (2) Ia datang lebih awal karena

perintah atasannya. The first sentence is a religious context while the second

one is not.

If we try to find a direct equivalent word to translate word sabda,

utterance might be the correct one. However, it is not suitable in this context

because utterance does not convey religious sense. It is less expressive than

sabda. In contrary, word command is more expressive and strong than sabda. In


brief, it is difficult to find a word which has the same expressive meaning in the

TL. For that reason, the strategy applied here is seemingly appropriate.

(14) ST: Nak, taksinya untuk ibu bisa nggak nak ya? Ibu kemaleman.

Bisa ya?

TT: I’m sorry son, can I take this taxi? It’s really late, please?

The dialogue is spoken by a stranger to Rangga when he tries to get a

taxi to take him home. The woman uses kinship term ibu as the first person

pronoun even though they have no kinship at all.

Kinship terms are usually used in informal conversation to show

intimacy. The term ibu in the dialogue is actually can be replaced by first

pronoun saya but it will erodes the intimacy sense. So, ibu is seemingly the best

to term to use in this context because it will be easier to win a negotiation when

the interlocutor feels confortable.

In the TL, the kinship term ibu is altered by a more neutral pronoun

i.e. I because if term ibu is translated literary, it sounds somewhat weird unless

the term ibu is used by the addressee‟s mother so the translated would be “Can

Mom take this taxi” And if the term ibu refers to someone else, not the

addressee‟s mother, as seen in the dialogue above, it is translated literary as

madam which sounds less neutral if it used in the context above as in I’m sorry

son, can Madam take this taxi? It’s really late, please?

So, the strategy applied in the TL is seemingly appropriate even though it

erodes the intimacy sense.


(15) Bosan aku dengan penat, enyah saja kau pekat

I’m bored with being tired, I want to get rid of you, darkness

…

Kenapa tak kau goyangkan saja loncengnya biar terdera

Why not just swing the bell until it winces!

Above are some lines of poem found in the movie. Pronoun kau is

used to refer the second person instead of the others second person pronoun such

as kamu. To replace the pronoun kau, the translator uses a more neutral word i.e.

you.

Pronoun kau is now used only in literary and poetic styles, and

sometimes occurs with a plural meaning (Comrie, 2009). In the case above, the

pronoun kau is used to arouse poetic nuance. In English, the pronoun which has

similar impact is essentially available, that is thou. Thou is an old English

pronoun which nowadays is no longer used in daily conversation. However, as

stated by Roselani (1991:155), pronoun thou is still used in prayer and poetry.

So, the strategy used in this case, which is translation with a more

neutral word, is seemingly less appropriate because it erodes the poetic nuance.

The pronoun thou is probably better to used since it still commonly used in

poetry.


3.3 Translation by cultural substitution

3.3.1 Culture-specific Concepts

(16) ST: Lho, masak saya suruh manggil-manggil neng Cinta kayak

cowok kelas tiga aja?

TT: Excuse me, I don’t like to tease Miss Cinta like the Class III

boys do.

The dialogue is spoken by Pak Wardiman, the school guard, while the

interlocutor is Cinta. In the case above, the speaker uses term neng before the

interlocutor‟s surname.

Neng (eneng) is a Sundanese term used to address (1) a girl who is

younger than the addresser, (2) an unmarried female addressee who has higher

social status then the speaker, (3) a female addressee who the speaker just met,

and (4) as a familiar name from family to a girl.

Besides to bring intimacy sense in informal conversation, the term

neng also makes the hearer feels honour.

As it is a cultural term, the translator applied cultural substitution

strategy by translating neng into miss. Miss, as noted in Oxford Advanced

Learner’s Dictionary is (1) a title used with the name of woman who is not

married, or kept by married woman, e.g. for professional reason, (2) used as a

polite form of address to a young woman, e.g. by the driver of a bus or by a hotel

staff, miss with last name in education without differentiate whether they are

married or not.

In the case above, Pak Wardiman uses term neng because Cinta is

younger than him and the social status level of Cinta is higher than him as well.


Comparing the function of the both terms, it can be concluded that

miss is suitable to substitute neng because it brings the same impact in the TL

(audience) culture. In other words, the strategy applied in this case is seemingly

appropriate.

(17) ST: Eh Ta, loe makan deh bakso tuh enak banget, elo tau nggak?

TT: Cinta, don’t forget that meatball soup. It’s really delicious.

Bakso is a loan word from Chinese. The Chinese loanwords are usually

concerned with cuisine, trade or often just exclusively things Chinese (Leo

1975:3). However, Kamus Besar Bahasa Indonesia defines bakso as “kind of

Indonesian food made from meat, shrimp and fish that is hacked and poured

with starches flour and protein, usually in round shape”. It is commonly

translated as meatball soup.

Meatball can be found in some countries which is not the same one

and another. In Indonesia, it is usually served in a bowl, like soup, with noodles,

bean curd (tofu), egg, siomay/steamed meat dumpling, and crispy while in

another country, in India for instance, it is normally cooked in a spicy curry and

sometimes with whole pre-boiled eggs.

The difference of the culture causes different point of views. People

from other countries who have never seen Indonesian meatball are probably

difficult to imagine how bakso looks like. When it is translated as meatball

soup, they would imagine the meatball soup which exists in their culture.

However, because it is almost possible to render cultural concept perfectly,

http://en.wikipedia.org/wiki/Chinese_language


meatball soup is apparently the most acceptable term to substitute bakso. So, the

strategy used in this case is seemingly appropriate.

(18) ST: Rese’! Apa dia itu super star?

TT: What a jerk! He acts like he’s a super star!

The strategy used in this case is categorized into translation with

cultural substitution because swear words are usually different in each place,

depends on the culture or habit existing at that place.

Rese’! is an Indonesian slang using to express anger. It conveys various

meaning depends on the context. Generally, it is defined as bothering others by

doing something not desired. However, in this context, it tends to refer to irritating

act of Rangga who does not want to be interviewed for his winning in poetry

competition. As it is hard to claim the exact meaning of rese’, the equivalent word

in the SL is also difficult to find.

What a jerk! is the alternative expression chosen by the translator to

alter Rese’! Merriam Webster defines jerk as “an unlikable person, esp; one who

is cruel, rude, small minded”. For the similarity in meaning, what a jerk! is

seemingly the best alternative to substitute Rese’! It gives the same impact to the

audience. In other words, the strategy used in this case is appropriate.


3.4 Translation using a loan word


(19) ST: Pak Wardiman! Lho, Pak Wardiman kok cuek sih sama saya.

TT: Pak Wardiman, why are you ignoring me?

The dialogue is said by Cinta to her school guard, pak Wardiman. She

uses kinship term pak to show honorific because the interlocutor is older then her.

The kinship term pak can be used between them who have both

kinship and non-kinship. Kinship term between them who have no kinship is

usually followed by personal name, as seen in the dialogue.

In this case, the translator maintains the form pak whereas in the TL,

the equivalent word is available, i.e. Mr. The reason to maintain the original form

is seemingly because the title pak is considered one form with the surname so it

does need to be translated.

In addition, if it is translated into Mr. Wardiman, it seems less

appropriate because generally, Mr. is used to addres a teacher, lecturer, or certain

people who have respectable positions. If they already know each other, they call

the addressee by name even thought the addressee is older. In brief, the strategy

used in this case, namely translation with a loan word, is seemingly appropriate.


3.5 Translation using a loan word plus explanation

3.5.1 Culture-specific Concept

(20) ST: Anak-anak, tujuan lomba menulis puisi yang setiap taun

telah kita adakan adalah agar kita tetap sadar bahwa kita memiliki

satu kekayaan yang tidak ternilai harganya, yaitu bahasa

Indonesia.

TL: Everyone! The purpose of the poetry competition that is held

each year is to keep us aware that we have a treasure the value of

which cannot be measured. And that is our national language-

Bahasa Indonesia.

On the dialogue above, the translator maintains the form bahasa

Indonesia in the TL to refer Indonesian language. Actually, it is familiar to say

Indonesian language but the translator prefer to use the official form; bahasa

Indonesia. To make it clearer, the translator adds some explanations by inserting

our national language.

The term of Bahasa Indonesia is occasionally found in English.

English speakers also use “Bahasa” to refer to both the standard languages of

Indonesia and of Malaysia, Brunei, and Singapore. So, to avoid confusion, it is

important to add some explanations as seen on the dialogue. In conclusion, this

strategy is seemingly appropriate in this case.


3.6 Translation by paraphrase using a related word

3.6.1 The SL and the TL makes different distincion in meaning

(21) ST: Eh, kalau kau suka puisi-puisinya Chairil Anwar yang lainnya

ada. Tuh di toko buku langganan saya.

TT: If you like Chairil Anwar and other poetry you can find them at

a bookstore that I visit regularly.

Noun langganan according to Kamus Besar Bahasa Indonesia means

“people who buy (or use) thing regularly”. However, besides referring to the

people who buy thing, word langganan can also refer to the people who provide

thing, as seen in the dialogue above.

Word langganan in “... Tuh di toko buku langganan saya.” refers to

the book shop but in another context, word langganan can be used to refer to the

buyer. For example, the book shop owner said, “Rangga adalah langganan saya”

(Rangga is my customer); in this context, the one who acts as langganan is the

buyer.

In the TL, the word customer cannot be used to refer the both sides,

the buyer and the provider. It merely refers to the buyer instead. For example, the

book shop owner could say, Rangga is my customer. However, Rangga cannot

say, This is my customer book shop.

For this reason, it would be difficult for the TL translator to render

word langganan if the context is not explained as they make different meaning in

the TL. So, the strategy applied here is appropriate to overcome the problem.


3.6.2 The TL lacks a specific term

(22) ST: Oh ini? Kemarin, waktu turun di bus Bulak Rante, trus ada

tawuran. Trus, dikeroyokin kayak gini.

TT: Yesterday I got off a bus in Bulak Ranti and there were two

school gangs fighting. Then they ganged up on me.

Tawuran, according to Kamus Besar Bahasa Indonesia, means “a

fighting between groups”. This, for instance, involves two different schools,

football supporters, etc.

In the dialogue above, the translator uses a more general word i.e.

fighting, which actually cannot replace tawuran directly because fighting might

involve only two persons or more while tawuran, obviously involves more than

two persons. In addition, tawuran only refers to physical fighting while fighting

could be both physical and non-physical fighting. In other words, fighting is more

general than tawuran.

To make it clear, the translator adds two school gangs preceding the

word fighting although there is no direct detail in the source language dialogue

showing that the fighting occurs between two schools. However it makes sense to

put two school gangs considering that the speaker is a student.

Actually, there are some words in the TL which are used to refer to a

fighting between groups such as war. However, this word cannot be used in this

context because it uses military force and occurs between nations. In brief, the TL


has no direct equivalents to refer tawuran. So, the strategy applied in this case is

seemingly suitable.


(23) ST: Tapi satu, nggak usah ada maaf-maafan lagi. Saya setuju kita

nggak usah berhubungan lagi.

TT: But one thing is sure. We should stop apologizing each other.

I agree, we don’t have to see each other again.

Maaf-maafan is a partial reduplication formed by doubling the stem,

which is maaf, and followed by suffix –an. Reduplication in the case above

changes the word-class. Kamus Besar Bahasa Indonesia categorizes maaf as a

noun which means “an exemption of someone from punishment (prosecution,

fine, etc) because a mistake”. It is also defined as (1) “an expression of apologize

or regret” and (2) “an expression of requesting for permission to do something”.

When it changes into reduplication with suffix –an, the word-class, as listed in

Kamus Besar Bahasa Indonesia, changes to a verb.

Suffix –an conveys various meaning depends on the context. In the

context above, the reduplication conveys the sense of reciprocity or shows act of

apology from both side involved; the addressor and the addressee. The change of

the form brings a new meaning that causes difficulty in finding the direct

equivalent word in the TL unless in a paraphrase form, apologizing each other.

For this reason, the strategy applied here is seemingly appropriate.


(24) ST: Seperti berjelaga jika ku sendiri

TT: I feel covered with soot if I am alone.

Berjelaga is formed from a stem word jelaga and prefix ber- . Jelaga

is translated into English soot, which is defined by Oxford Advanced Learner’s

Dictionary as “black powder in the smoke of wood, coal, etc.”, while prefix ber-

changes the class of word from noun into adjective. As it is difficult to find the

direct equivalent for adjective berjelaga, is then paraphrased into covered with

soot. As it uses word soot in the paraphrase, it is consider as paraphrase using a

related word.

Actually, the direct equivalent of berjelaga could be formed in English

by adding suffix –ty so that the noun soot changes into adjective sooty. However,

in this case, the translator seemingly tries to avoid ambiguity because sooty, as

defined by Merriam Webster, conveys two different meanings; (1) “relating to,

or producing soot” and (2) “soiled with soot”. Amongst the definitions, “soiled

with soot” is seemingly the meaning referred in the context above. All in all,

paraphrase using a related word is apparently the best strategy to overcome the

problem.

(25) ST: Ketika tunas ini tumbuh serupa tubuh yang mengakar

TT: When this bud grows like a body taking root.

Mengakar is formed from stem word akar and prefix meng- which

changes the class word from noun into verb. The direct equivalent of the noun is

available in the TL i.e. root but it is absent when it is changed into verb. For this


reason, mengakar is translated by paraphrase into taking root which is defined

by Oxford Advanced Learner‟s Dictionary as “develop a root or roots”.

It is considered as paraphrase using a related word because it uses word

root in the paraphrase. As paraphrase could bring the same meaning with the SL,

it is considered as the best strategy to apply in this case.

3.7 Translation by paraphrase using unrelated words


(26) ST: Kamu entar, kalau misalnya mandi, trus ada macan, kamu buka

celana kamu. Kamu nungging, ngomong macan-macan.

TL: So when you stand you take off your pants like this, and you

wiggle your butt!

Nungging (tungging), as defined by Kamus Besar Bahasa Indonesia,

means “bending head down and rise butt up” while wiggle, according to Oxford

Advanced Learner’s Dictionary, means “move or make something move (in this

case is butt), from side to side with rapid short movements”. Considering the

definition, the word wiggle of course could not represent nungging because they

are two different activities.

Actually, there are some words in English which nearly show the

same action as nungging; bow for instance. However, in this context, these

words are not suitable to replace nungging. Bow, as noted in Oxford Advanced

Learner’s Dictionary means (1) to bend the head or body as a sign of respect or

as greeting and (2) to cause something to bend. Referring the first meaning,

nungging and bow have a different purpose. Nungging in this case is done to


tease while bow is done to show respect or as greeting. Meanwhile, in the second

meaning, “cause something to bend”, the offensive sense is absent because

nungging emphasizes the “rise butt up” action.

However, by seeing the action shows by the speaker when saying the

dialogue, “wiggle your butt” is still acceptable to replace the word nungging

because the speaker also wiggle her butt. so, the strategy applied here is still

acceptable.

(27) ST: Diem loe berdua! Giliran gue ngomong sekarang. Gue tau,

gue paling tulalit. Loe semua nganggep gue badut, terserah!

TT: Stop it, you two! It’s my turn to talk! I know I’m not that

bright.You all think I’m a clown. I don’t care.

Tulalit is an Indonesian slang describing someone who always takes

longer time to understand something than others. This word is adopted from the

sound of a phone when the number being called is inactive. Any message cannot

be delivered when the phone is disconnected. This concept is then adapted to term

tulalit.

The dialogue above is spoken by Milly, the member of Cinta‟s gang.

Among the gang, Milly is the most tulalit one because she is the one who

understands everything late after the others. For instance, in the movie, the girls

are talking about Rangga‟s arrogance. They said he deserve to be categorized into

“the must avoid boy”. They all agree about that, including Milly. But, in the end,

Milly asks, Emang kita lagi ngomongin siapa, sih? (Who are we talking about


actually?) She has been involved in the chat for a long time but she does not even

know the one they were talking about.

In the SL, the late response called tulalit which seems difficult to find

the exact word brings the same impact. Word stupid, for instance, seemingly

sounds harsher while not that bright, as seen in the TL, is considered as

euphemism or softener that makes it more polite. However the strategy applied

here is seemingly appropriate even though the effect is not the same as they are

different in the expressive meaning.

(28) SL: Elo nggak ada acara?

TL: Don’t you have anything to do tonight?

Acara, as noted in Kamus Besar Bahasa Indonesia, has various

meaning such as “agenda, program, judicial procedure and jurisdiction”.

However, in this context, acara refers to program which is according to Oxford

Advanced Learner’s Dictionary means “a plan of future events, activities, etc”. In

the TL, the translator uses paraphrase using unrelated word anything to do instead

of using the similar word such as program to make it sounds more natural. If

word program is used in this context, the translation will sound somewhat formal.

Therefore, for daily conversation as in the situation above, it is more suitable to

use such paraphrase as long as it conveys the same impact to the TL audience.



(29) ST: Aduh, sori Ta. Barusan gue kelepasan.

TT: I’m sorry Ta, I didn’t mean it that way.

Kelepasan is formed by word lepas and infix ke- and –an, which

conveys the sense of unintentionality. So, words that are attached by that infix

show accidental actions as seen in the dialogue above.

On the dialogue, the speaker, which is Maura, asks for an apology

from Cinta because she has said something ruthless that hurts Cinta. She actually

does not want to hurt Cinta by saying such words but her madness drives her out

of control. Gone too far in saying something or saying something that cannot be

undone is called kelepasan.

The concept is quite familiar in the TL but its direct equivalent word

is difficult to find in the TL. It is usually formed in paraphrase using words that

could bring the similar meaning like what has been written in the TL above. So,

the strategy applied here is seemingly appropriate to overcome the problem.

(30) SL: Gue bawa bungkus CD buat baca contekan

TL: Look, I brought this CD cover. I can sing along with the

band.

The dialogue above is said by Mamet in a band concert. Usually, in a

concert, the audiences sing along with the band. To avoid forgetting the lyrics,

Mamet brings the CD cover providing the lyrics. The CD cover here is

considered as contekan. According to Kamus Besar Bahasa Indonesia, contekan


means (1)” the result of doing cheat or” (2)” the object that being copied”. In this

case, contekan refers to the second meaning; “the object that being copied”.

Noun contekan is not lexicalized in the TL. Hence, the translator

applies paraphrase that could bring the similar message with the SL. This

strategy is seemingly the best way to overcome the problem.

3.7.3 The use of loanwords in the ST

(31) ST: Udahlah Ta. Kalo ngomongin soal hikmah, tindakan bodoh

gue ini mulanya dari nyokap gue.

TT: Don’t worry, Ta. Look at it from the bright side. My foolish

action has convinced my Mum.

Hikmah is a one of loan words from Arabic i.e. Ar-hikma. The

loanwords from Arabic are mainly concerned with religion, in particular

with Islam. Ar-hikma is defined as “supernatural power or magical” (Wehr,

1961:196) while Kamus Besar Bahasa Indonesia describes it as “deeper

meaning”.

As the absence of the direct equivalent, the translator applies paraphrase

that could represent the meaning of hikmah, i.e. the bright side. It is seemingly

the best strategy to overcome the problem even though the religious sense of

hikmah is stronger than the bright side.

http://en.wikipedia.org/wiki/Arabic_language

http://en.wikipedia.org/wiki/Islam


3.8 Translation by omission


(32) ST: Tolong tenang dulu… pemenangnya adalah Rangga, siswa

kelas III IPA A.

TT: Quiet please! The winner is Rangga, a student in class IIIA

In the SL culture, high school level covers three years of education;

year I, II, and III which are nowadays called as year 10, 11, and 12. In year 10,

the students should take all of the subjects but when they already in class 11 and

12, they are divided into three disciplines: Natural Sciences (IPA) Social

Sciences (IPS), and Languages (Bahasa). The purpose of this classification is to

help the student to determine which university department to enter after

graduating from the high school. Due to the huge number of the students, each

program is usually divided again to some classes which are signed by numeral or

alphabet. It would be, for instance, IPA A, IPA B, or IPS 1, IPS 2, etc.

In the dialogue above, the translator does not deliver the whole

information explaining Rangga‟s class. The major where Rangga belongs to,

which is IPA (natural sciences), is absent in the translation. This problem is

probably caused by the difference of education system between the SL and the

TL culture. In Australia for instance, high school starts from year 8 to year 12.

In year 8 until year 10, students should take all of the subject lessons. Those

years are compulsory while year 11 and 12 are optional. When the students are in

their last 2 years of school, they will choose the subjects depending on the career

they intend to pursue. So, there is no classification into Science, Social, or


Language program as in Indonesian culture. For that reason, the omission

strategy used in this case seems acceptable in order to adjust the target audience

culture.

(33) ST: (marah) Rese’! Apa dia itu super star? Sekalian aja gue

wawancara Duta Sheila On 7 atau konsernya Dewa kek.Gila,

nyebelin banget, tau nggak loe?

TT: What a jerk! He acts like he’s a super star! When all I wanted

to do was interview him. Crazy! What a stupid idiot!

There are some information being omitted in the TL; Duta Sheila On

7 and konsernya Dewa which both are the names of Indonesian outstanding

bands in „90s. Omitting information is not allowed in translation unless, as states

by Baker (1992: 40), “the word or expression is not vital enough to the

development of the text”.

Considering this, it seems that the strategy is less appropriate to be

applied in this case since the words being omitted have important rule in the

context. Beside the fact that necessary information should be delivered to the TL

audience, the information also could emphasis that Rangga, the one who become

the referent in the dialogue, is no one compared to those people. The speaker

wants to show that she could even interview famous people if necessary.


(34) SL: Saya Cuma pingin baca pikiran anak-anak gaul kayak kamu

dan teman-teman kamu.

TL: I am just trying to figure out the way you and your crowd think

Gaul (bergaul) as defines by Kamus Besar Bahasa Indonesia means

“socialize”. So, anak gaul can be defined as “young people who have good


capability in social life so that they have a lot of friends”. Yet, in this context, the

meaning of anak gaul changes. It refers to young people who involved in modern

lifestyle which tend to be consumptive and hedonic.

It is apparently difficult to find the equivalent words conveying the

same meaning as anak-anak gaul, therefore it is omitted in the TL. In consequent,

the nuance of the TL is little bit eroded since word anak-anak gaul brings

information about what kind of person the addressee is.

In addition, by saying “…anak-anak gaul kayak kamu dan teman-

teman kamu”, the speaker wants to contrast himself with the interlocutor. In other

words, he is not a fashionable rich kid like the addressee. So, the strategy used in

this context is seemingly appropriate.


CHAPTER IV

CONCLUSION

A perfect equivalence is almost impossible to achieve in translation

work which is proven in this research where seven types of problem translation

in 34 non-equivalence cases are found, namely: culture-specific concepts in 9

cases (26.47%), the SL and the TL makes different distinction in meaning in 3

cases (8.82%), the TL lacks a specific term (hyponym) in 7 cases (20.58%),

differences in physical or interpersonal perspective in 3 cases (8.82%),

differences in expressive meaning in 5 cases (14.70%), differences in form in 6

cases (17.64%) and lastly, the use of loan a word in the ST in 1 case (2.94%).

However, the occurrence of non-equivalence because the SL is not lexicalized,

the SL is semantically complex, the TL lacks a superordinate, and the difference

in frequency and purpose of using specific word are absent in this research.

To solve the problems, all strategies proposed by Baker except

translation by illustration are applied in the movie. Out of 34 cases, 11 cases

(32.35%) were solved using a more general word (superordinate) strategy, 4 cases

(11.76%) using a more neutral/ less expressive word strategy, 3 cases (8.82%)

using cultural substitution strategy, 1 case (2.94%) using a loan word strategy, 1

case (2.94%) using a loan word plus explanation strategy, 5 cases (14.70%) using

paraphrase with related words strategy, 6 cases (17.64%) using paraphrase with

unrelated words strategy, and finally 3 cases (8.82%) using omission strategy.


By referring to the data, it is clear that translation by a more general

word is the most frequent strategy used by the translator. This strategy, as claimed

by Baker (1992: 26), works equally well in most, if not all, languages, since the

hierarchical structure of semantic fields is not language-specific. Meanwhile, the

rarest strategy used in this research is translation by loan word and translation by

loan word plus explanation. The least amount of difficult concept that needs

explanation makes these strategies become the minority one.

Different kinds of non-equivalence required different strategies. In

this research, culture-specific concepts type was mostly solved by translation by

cultural substitution, the SL and TL makes different distinction in meaning type

was mostly solved by translation by a more general word, the TL lacks a specific

term (hyponym) type was mostly solved by translation by omission, differences in

expressive meaning type was mostly solved by translation by a more/less neutral

expressive word, differnces in form type was mostly solved by translation by

paraphrase using a related word, and lastly, the use of loan words in the ST type

was mostly solved by translation by paraphrase using unrelated words.

All in all, the strategies used by the translator to overcome the non-

equivalence at word level are suitable to be applied in each context because they

can bring the closest meaning of the SL. Only 4 out of 34 cases in the discussion

part are considered not appropriate. For this reason, it can be concluded that the

movie has a good quality of translation work.


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WEBSITES

Badan Pengembangan dan Pembinaan Bahasa:

http://badanbahasa.kemdikbud.go.id/lamanbahasa/beranda

Monash College: http://artsonline.monash.edu.au/mai/ada-apa-dengan-cinta/

Portal Ocenia Australia: http://www.portaloceania.com/au-study-system-ing.htm

The Jakarta Post: http://www.thejakartapost.com/news/2010/03/20/nicholas-

saputra-all-world’s-a,.film-set.htm

http://www.portaloceania.com/au-study-system-ing.htm

Documents

Strategi Penerjemahan Bahasa Inggris Berkaitan dengan Ketidaksetaraan pada Tingkat Kata dalam Film Ada Apa Dengan Cinta