Translation Techniques Between The Translation Of English Novel Coco Simon’s Cupcake Diaries 2: Mia In The Mix Into Bahasa Indonesia And The Translation Of Indonesian Novel Andrea Hirata’s Laskar Pelangi Into English

TRANSLATION TECHNIQUES BETWEEN THE TRANSLATION OF ENGLISH NOVEL COCO SIMON’S CUPCAKE DIARIES 2: MIA IN THE

MIX INTO BAHASA INDONESIA AND THE TRANSLATION OF INDONESIAN NOVEL ANDREA HIRATA’S LASKAR PELANGI INTO

ENGLISH

A THESIS

BY

FATIMAH RIZKI REG. NO. 100705035

DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA

TRANSLATION TECHNIQUES BETWEEN THE TRANSLATION OF ENGLISH NOVEL COCO SIMON’S CUPCAKE DIARIES 2: MIA IN THE

MIX INTO BAHASA INDONESIA AND THE TRANSLATION OF INDONESIAN NOVEL ANDREA HIRATA’S LASKAR PELANGI INTO

ENGLISH

A THESIS BY

FATIMAH RIZKI REG. NO.100705035

SUPERVISOR CO-SUPERVISOR

Dr. Roswita Silalahi, Dip. TESOL M. Hum Dra. Roma Ayuni Lubis, MA NIP. 19540528 198303 2 001 NIP. 19680122 199803 2 001

Submitted to Faculty of Cultural Studies University of Sumatera Utara Medan in partial fulfillment of the requirements for the degree of Sarjana Sastra from

Department of English

DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA

Approved by the Department of English, Faculty of Cultural Studies University of Sumatera Utara (USU) Medan as thesis for The Sarjana Sastra Examination.

Head, Secretary,

Dr. H. Muhizar Muchtar, MS Rahmadsyah Rangkuti, M.A. Ph.D. NIP. 19541117 198003 1 002 NIP. 19750209 200812 1 002

Accepted by the Board of Examiners in partial fulfillment of requirements for the degree of Sarjana Sastra from the Department of English, Faculty of Cultural Studies University of Sumatera Utara, Medan.

The examination is held in Department of English Faculty of Cultural Studies University of Sumatera Utara on Thursday, 17th July 2014

Dean of Faculty of Cultural Studies University of Sumatera Utara

Dr. H. Syahron Lubis, M.A. NIP. 19511013 197603 1 001

Board of Examiners

Dr. H. Muhijar Muchtar, M.S ……….

Rahmadsyah Rangkuti, M.A. Ph.D ……….

Dr. Ridwan Hanafiah, SH. MA ……….

Dr. Roswita Silalahi, Dip. TESOL M. Hum ……….

Dr. Eddy Setia, M. Ed. TESP ……….

AUTHOR’S DECLARATION

I, FATIMAH RIZKI DECLARE THAT I AM THE SOLE AUTHOR OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART FROM A THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER DEGREE. NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT DUE ACKNEWLEDGEMENT IN THE MAIN TEXT OF THIS THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION.

Signed:

COPYRIGHT DECLARATION

NAME : FATIMAH RIZKI

TITLE OF THESIS : TRANSLATION TECHNIQUES BETWEEN THE TRANSLATION OF ENGLISH NOVEL COCO SIMON’S CUPCAKE DIARIES 2: MIA IN THE MIX INTO BAHASA INDONESIA AND THE TRANSLATION OF INDONESIAN NOVEL ANDREA HIRATA’S LASKAR PELANGI INTO ENGLISH

QUALIFICATION : S-1/SARJANA SASTRA

DEPARTMENT : ENGLISH

I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR REPRODUCTION AT THE DISCREATION OF THE LIBRARIAN OF DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES, UNIVERSITY OF SUMATRA UTARA ON THE UNDERSTANDING THAT USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER THE LAW OF THE REPUBLIC OF INDONESIA.

Signed:

ACKNOWLEDGEMENTS Bismillahirrohmanirrohim,

Alhamdulillahirobbil’alamin, I would like to thank and praise Allah SWT for giving me everything I need especially to finish this thesis in order to get the degree of Sarjana Sastra from the Department of English, Faculty of Cultural Studies University of Sumatera Utara.

I would like to thank the Dean of Faculty of Cultural Studies, Dr. Syahron Lubis, M.A., the Head of English Department, Dr. H. Muhizar Muchtar, MS., and the secretary of English Department, Rahmadsyah Rangkuti, M.A. Ph.D. I also would like to thank my supervisor, Dr. Roswita Silalahi, Dip. TESOL M. Hum and my co-supervisor Dra. Roma Ayuni Lubis, M.A., my examiners Dr. Eddy Setia, M. Ed. TESP and Dr. Ridwan Hanafiah, SH. MA and also for all my lecturers.

Special thanks to my family, espescially for my mother, my uncles and my aunts, for every support for me so I can finish my study in the university. Thanks to all my friends, espescially Mitha, Sonya, Fani and Ayu and my teachers of life, Kak Linda, Kak Emma, Kak Putri and Kak Dian for every help and advice for me.

I have written this thesis with all my limitation of knowledge, time and references but I do hope this thesis will be useful for anyone who read it.

Medan, 21st July 2014

ABSTRAK

Skripsi ini menganalisis teknik penerjemahan diantara terjemahan novel Cupcake Diaries 2: Mia in the Mix oleh Coco Simon ke dalam bahasa Indonesia dan novel Laskar Pelangi oleh Andrea Hirata ke dalam bahasa Inggris. Penelitian ini merupakan penelitian deskriptif kualitatif yang analisisnya dilakukan dengan menggunakan strategi deskriptif kualitatif. Data untuk analisis ini adalah: pertama, semua kata dan kalimat dalam bab pertama dan kedua dari novel Cupcake Diaries 2: Mia in the Mix, kedua, semua kata dan kalimat dalam bab pertama dan kedua terjemahan novel tersebut dalam bahasa Indonesia, Cupcake Diaries 2: Mia dan Cupcake Galau, ketiga, semua kata dan kalimat dalam bab pertama dan kedua novel Laskar Pelangi, dan keempat, semua kata dan kalimat dalam bab pertama dan kedua terjemahan novel tersebut dalam bahasa Inggris, The Rainbow Troops. Dari hasil penelitian, ditemukan bahwa pada terjemahan novel bahasa Inggris Cupcake Diaries 2: Mia in the Mix oleh Coco Simon ke dalam bahasa Indonesia, teknik penerjemahan yang paling dominan adalah kesepadanan lazim (28.51%) dan diikuti kompresi linguistik (21.93%), penerjemahan harfiah (21.05%), peminjaman (11.18%), modulasi (5.04%), amplifikasi linguistik (4.17%) transposisi (3.73%), kompensasi (3.07%), generalisasi dan reduksi (0.44%) dan amplifikasi dan deskripsi (0.22%). Adaptasi, calque, kreasi diskursif, partikularisasi, substitusi dan variasi tidak diaplikasikan ke dalam terjemahan ini. Pada terjemahan novel Indonesia Laskar Pelangi ke dalam bahasa Inggris, teknik pernerjemahan yang paling dominan adalah kesepadanan lazim dan amplifikasi linguistik (20.23%) dan diikuti dengan amplifikasi (12.60%), kompresi linguistik (10.69%), peminjaman (9.92%), penerjemahan harfiah dan modulasi (5.73%), kompensasi (4.96%), reduksi (3.44%), transposisi (3.05%), kreasi diskursif (1.15%), deskripsi dan generalisasi (0.76%) dan calque dan partikularisasi (0.38%). Adaptasi, substitusi dan variasi tidak diaplikasikan ke dalam terjemahan ini. Penulis menyimpulkan bahwa dalam terjemahan novel Cupcake Diaries 2: Mia in the Mix ke dalam bahasa Indonesia, penerjemah cenderung menerjemahkan novel tersebut secara harfiah. Persentase penerjemahan harfiah adalah 21.05% dan angka tersebut jauh lebih tinggi dari persentase penerjemahan harfiah dalam terjemahan Laskar Pelangi ke dalam bahasa Inggris. Dalam terjemahan Laskar Pelangi ke dalam bahasa Inggris, penerjemah cenderung lebih kreatif. Penerjemah mengaplikasikan teknik-teknik penerjemahan yang lebih bervariasi daripada penerjemah novel Cupcake Diaries 2: Mia in the Mix dan mengaplikasikan teknik kreasi diskursif juga menambah beberapa kalimat ke dalam terjemahannya.

ABSTRACT

This thesis analyzes the translation techniques between the translation of English novel Coco Simon’s Cupcake Diaries 2: Mia in the Mix into bahasa Indonesia and Indonesian novel Andea Hirata’s Laskar Pelangi into English. This research is descriptive qualitative research so the analysis is done with qualitative descriptive strategy. The data for this analysis are first, every word and sentence in chapter 1 and chapter 2 of novel Cupcake Diaries 2: Mia in the Mix, second, every word and sentence in chapter 1 and chapter 2 of the Indonesian translation of the novel, Cupcake Diaries 2: Mia dan Cupcake Galau, third, word and sentence in chapter 1 and chapter 2 of novel Laskar Pelangi and fourth, every word and sentence in chapter 1 and chapter 2 of the English translation of the novel, The Rainbow Troops. From the analysis, it is found that in the translation of English novel Coco Simon’s Cupcake Diaries 2: Mia in the Mix into bahasa Indonesia, the most dominant technique applied is established equivalent (28.51%) and followed by linguistic compression (21.93%), literal translation (21.05%), borrowing (11.18%), modulation (5.04%), linguistic amplification (4.17%) transposition (3.73%), compensation (3.07%), generalization and reduction (0.44%) and amplification and description (0.22%). Adaptation, calque, discursive creation, particularization, substitution and variation aren’t applied. In the translation of Indonesian novel Andea Hirata’s Laskar Pelangi into English, the most dominant translation technique applied is established equivalent and linguistic amplification (20.23%) and followed by amplification (12.60%), linguistic compression (10.69%), borrowing (9.92%), literal translation and modulation (5.73%), compensation (4.96%), reduction (3.44%), transposition (3.05%), discursive creation (1.15%), description and generalization (0.76%) and calque and particularization (0.38%). Adaptation, substitution and variation aren’t applied. The writer concludes that in the translation of Cupcake Diaries 2: Mia in the Mix into bahasa Indonesia, the translator tends to translate the novel literally. The percentage of literal translation is 20.05% and it is so much higher than the percentage of literal translation in the translation of Laskar Pelangi into English. In the translation of Laskar Pelangi into English, the translator tends to be creative. She applies more various translation techniques than the translator of Cupcake Diaries 2: Mia in the Mix into bahasa Indonesia and applied discursive creation and also adds some sentences to the translation.

TABLE OF CONTENTS

AUTHOR’S DECLARATION ... i

COPYRIGHT DECLARATION ... ii

ACKNOWLEDGEMENTS ... iii

ABSTRAK ... iv

ABSTRACT ... v

TABLE OF CONTENTS ... vi

CHAPTER I INTRODUCTION ... 1

1.1. Background of the Study ... 1

1.2. Problem of the Study ... 5

1.3. Objective of the Study ... 5

1.4. Scope of the Study... 5

1.5. Significance of the Study ... 6

CHAPTER II REVIEW OF LITERATURE ... 7

2.1 Definition of Translation ... 7

2.2 Translation Process ... 8

2.3 Translation Techniques ... 9

2.4 Couplets ... 12

2.5 Translation Techniques As Tool For Analysis... 12

2.6 Related Studies ... 13

CHAPTER III METHOD OF RESEARCH ... 14

3.1 Research Design ... 14

3.2 Data and Sources of Data ... 14

3.4 Steps of the research ... 16

3.5 Data Analysis ... 17

CHAPTER IV ANALYSIS AND FINDING ... 18

4.1 Analysis ... 18

4.1.1 The Translation Techniques in the Translation of English Novel into Bahasa Indonesia (MTM – MCG) ... 18

4.1.1.1 Amplification ... 18

4.1.1.2 Borrowing ... 18

4.1.1.3 Compensation ... 19

4.1.1.4 Description ... 20

4.1.1.5 Established Equivalent ... 20

4.1.1.6 Generalization ... 21

4.1.1.7 Linguistic Amplification ... 22

4.1.1.8 Linguistic Compression ... 23

4.1.1.9 Literal Translation ... 24

4.1.1.10Modulation ... 24

4.1.1.11Reduction ... 25

4.1.1.12Transposition ... 26

4.1.2 The Translation Techniques in the Translation of Indonesian novel into English (LP – TRT) ... 28

4.1.2.1 Amplification ... 28

4.1.2.2 Borrowing ... 29

4.1.2.3 Calque ... 30

4.1.2.5 Description ... 31

4.1.2.6 Discursive Creation ... 32

4.1.2.7 Established Equivalent ... 33

4.1.2.8 Generalization ... 34

4.1.2.9 Linguistic Amplification ... 35

4.1.2.10Linguistic Compression ... 36

4.1.2.11Literal Translation ... 37

4.1.2.12Modulation ... 37

4.1.2.13Particularization ... 38

4.1.2.14Reduction ... 38

4.1.2.15Transposition ... 89

4.2 Findings ... 40

CHAPTER V CONCLUSIONS AND SUGGESTIONS ... 47

5.1 Conclusions ... 47

5.2 Suggestions ... 50

REFERENCES ... 51 APPENDIX 1: ENGLISH – BAHASA INDONESIA (MTM – MCG)

ABSTRAK

Skripsi ini menganalisis teknik penerjemahan diantara terjemahan novel Cupcake Diaries 2: Mia in the Mix oleh Coco Simon ke dalam bahasa Indonesia dan novel Laskar Pelangi oleh Andrea Hirata ke dalam bahasa Inggris. Penelitian ini merupakan penelitian deskriptif kualitatif yang analisisnya dilakukan dengan menggunakan strategi deskriptif kualitatif. Data untuk analisis ini adalah: pertama, semua kata dan kalimat dalam bab pertama dan kedua dari novel Cupcake Diaries 2: Mia in the Mix, kedua, semua kata dan kalimat dalam bab pertama dan kedua terjemahan novel tersebut dalam bahasa Indonesia, Cupcake Diaries 2: Mia dan Cupcake Galau, ketiga, semua kata dan kalimat dalam bab pertama dan kedua novel Laskar Pelangi, dan keempat, semua kata dan kalimat dalam bab pertama dan kedua terjemahan novel tersebut dalam bahasa Inggris, The Rainbow Troops. Dari hasil penelitian, ditemukan bahwa pada terjemahan novel bahasa Inggris Cupcake Diaries 2: Mia in the Mix oleh Coco Simon ke dalam bahasa Indonesia, teknik penerjemahan yang paling dominan adalah kesepadanan lazim (28.51%) dan diikuti kompresi linguistik (21.93%), penerjemahan harfiah (21.05%), peminjaman (11.18%), modulasi (5.04%), amplifikasi linguistik (4.17%) transposisi (3.73%), kompensasi (3.07%), generalisasi dan reduksi (0.44%) dan amplifikasi dan deskripsi (0.22%). Adaptasi, calque, kreasi diskursif, partikularisasi, substitusi dan variasi tidak diaplikasikan ke dalam terjemahan ini. Pada terjemahan novel Indonesia Laskar Pelangi ke dalam bahasa Inggris, teknik pernerjemahan yang paling dominan adalah kesepadanan lazim dan amplifikasi linguistik (20.23%) dan diikuti dengan amplifikasi (12.60%), kompresi linguistik (10.69%), peminjaman (9.92%), penerjemahan harfiah dan modulasi (5.73%), kompensasi (4.96%), reduksi (3.44%), transposisi (3.05%), kreasi diskursif (1.15%), deskripsi dan generalisasi (0.76%) dan calque dan partikularisasi (0.38%). Adaptasi, substitusi dan variasi tidak diaplikasikan ke dalam terjemahan ini. Penulis menyimpulkan bahwa dalam terjemahan novel Cupcake Diaries 2: Mia in the Mix ke dalam bahasa Indonesia, penerjemah cenderung menerjemahkan novel tersebut secara harfiah. Persentase penerjemahan harfiah adalah 21.05% dan angka tersebut jauh lebih tinggi dari persentase penerjemahan harfiah dalam terjemahan Laskar Pelangi ke dalam bahasa Inggris. Dalam terjemahan Laskar Pelangi ke dalam bahasa Inggris, penerjemah cenderung lebih kreatif. Penerjemah mengaplikasikan teknik-teknik penerjemahan yang lebih bervariasi daripada penerjemah novel Cupcake Diaries 2: Mia in the Mix dan mengaplikasikan teknik kreasi diskursif juga menambah beberapa kalimat ke dalam terjemahannya.

ABSTRACT

This thesis analyzes the translation techniques between the translation of English novel Coco Simon’s Cupcake Diaries 2: Mia in the Mix into bahasa Indonesia and Indonesian novel Andea Hirata’s Laskar Pelangi into English. This research is descriptive qualitative research so the analysis is done with qualitative descriptive strategy. The data for this analysis are first, every word and sentence in chapter 1 and chapter 2 of novel Cupcake Diaries 2: Mia in the Mix, second, every word and sentence in chapter 1 and chapter 2 of the Indonesian translation of the novel, Cupcake Diaries 2: Mia dan Cupcake Galau, third, word and sentence in chapter 1 and chapter 2 of novel Laskar Pelangi and fourth, every word and sentence in chapter 1 and chapter 2 of the English translation of the novel, The Rainbow Troops. From the analysis, it is found that in the translation of English novel Coco Simon’s Cupcake Diaries 2: Mia in the Mix into bahasa Indonesia, the most dominant technique applied is established equivalent (28.51%) and followed by linguistic compression (21.93%), literal translation (21.05%), borrowing (11.18%), modulation (5.04%), linguistic amplification (4.17%) transposition (3.73%), compensation (3.07%), generalization and reduction (0.44%) and amplification and description (0.22%). Adaptation, calque, discursive creation, particularization, substitution and variation aren’t applied. In the translation of Indonesian novel Andea Hirata’s Laskar Pelangi into English, the most dominant translation technique applied is established equivalent and linguistic amplification (20.23%) and followed by amplification (12.60%), linguistic compression (10.69%), borrowing (9.92%), literal translation and modulation (5.73%), compensation (4.96%), reduction (3.44%), transposition (3.05%), discursive creation (1.15%), description and generalization (0.76%) and calque and particularization (0.38%). Adaptation, substitution and variation aren’t applied. The writer concludes that in the translation of Cupcake Diaries 2: Mia in the Mix into bahasa Indonesia, the translator tends to translate the novel literally. The percentage of literal translation is 20.05% and it is so much higher than the percentage of literal translation in the translation of Laskar Pelangi into English. In the translation of Laskar Pelangi into English, the translator tends to be creative. She applies more various translation techniques than the translator of Cupcake Diaries 2: Mia in the Mix into bahasa Indonesia and applied discursive creation and also adds some sentences to the translation.

CHAPTER I INTRODUCTION 1.1 Background of the Study

Many people use English beside their native language, but not all of them able to do translation both in written and spoken from English to their native language or vice versa. The reason is simple; translation is a difficult thing although we master both of the source language and the target language. Some factors of the difficulty according to Nababan (1999:55) are the different language system between source language and target language, the semantic and stylistic complexity of source language and target language, the different ability of translator and the quality of source text writing. We could see that no translation can bring the totally same message and structure from the original text.

That is why we have to study first how to do good a translation before make a translation. One way to study how to make a translation is by analyzing a translation product. One way to analyze a translation product is by analyzing the translation techniques the translator used in his/ her translation as Molina and Albir (2002:499) state in their article:

We needed the category of translation techniques that allowed us to describe the actual steps taken by the translators in each textual micro-unit and obtain clear data about the general methodological option chosen.

It means analyzing the translation technique will make clear the steps of translating. Actually, there are another term to call translation techniques such as translation procedures and translation strategies. Molina and Albir explain about that in their article. They said that there is some disagreement amongst scholars to name the

categories so different labels are used, they are: procedures, techniques and strategies (Molina and Albir, 2002: 499).

It can’t be denied that translation is an important thing. Newmark (1988:7) even said that translation is a means of communication. And as a means of communication, translation is used for multilingual notices; for instructions issued by exporting companies; for tourist publicity; for official documents, such as treaties and contracts; for reports, papers, articles, correspondence, textbooks to convey information, advice and recommendations for every branch of knowledge (Newmark, 1998:7).

Other uses of translation are first, translation has been instrumental in transmitting culture, sometimes under unequal conditions responsible for distorted and biased translations, ever since countries and languages have been in contact with each other. Then, as a technique for learning foreign languages, translation is a two-edged instrument: it has the special purpose of demonstrating the learner’s knowledge of the foreign language, either as a form of control or to exercise his intelligence in order to develop his competence. This is its strong point in foreign-language classes, which has to be sharply distinguished from its normal use in transferring meanings and conveying messages (Newmark, 1988:7).

As we know, translation is not a new thing. It has a very long history. In Egypt, at one century BC, the people chiseled hieroglyph writing in Rosetta stone with its translation in Ancient Greek. This translation is the most famous translation of the past. In the history of Arabic society, we know Baghdad as a translation city. In this city, the works of Aristotle, Plato, Galen, Hippocrates, Panini from India and others were translated into Arabic. Because of that activity, the Arabic society led the development of science and culture for some centuries. In Indonesia, in the era of

Mataram and Kahuripan kingdom, the literary work of Indian people like Ramayana and Mahabharata was translated into Indonesian people’s language. After the Independence Day, many foreign erudition and literary works are translated into Indonesian (Yusuf, 1994:33-34).

The purpose of translation is to reproduce various kinds of texts—including religious, literary, scientific, and philosophical texts—in another language and thus making them available to wider readers (Ordudari in Zainurrahman, 2009:121). Throughout any kind of literary texts, novel is one of popular reading for people and is one of writing that is often translated. Because of there are so many effort in translation, we can read the novels from over the world. There are some benefits in reading novels from other country, among other things, to understand the culture of the society, to expand our knowledge, to study their literary works, and etc. Watson (2013) says, “Reading novels is an excellent way of getting to know something about a country when one is newly arrived, doesn’t know much about it, and is going to be spending some time there.”

This thesis analyzes the translation techniques between the translation of English novel into bahasa Indonesia and Indonesian novel into English. From the analysis, the writer concludes how the comparison of the translation techniques of the two translation novels is. So, we will know how are the comparison of translation techniques of the translation of English novel into bahasa Indonesia and Indonesian novel into English. Will it be different when the source text and the target text are changed or not.

To be the object of the analysis, the writer chooses one novel from Coco Simon titled Cupcake Diaries 2: Mia in the Mix and the Indonesian translation of this novel by Ruth Linda Cupcake Diaries 2: Mia dan Cupcake Galau. And for the Indonesian

novel, the writer chooses a very popular novel from Andrea Hirata, Laskar Pelangi, and the English translation of this novel by Angie Kilbane The Rainbow Troops.

These two novels are talking about children, school and friendship. Cupcake Diaries is a teen novel series which talk about 4 Middle School students, Katie, Mia, Emma and Alexis. These four characters form a club in their Middle School named Cupcake Club. They name their club Cupcake Club because they love cupcake and love making cupcake and their rule in the club is every Friday one of the members should brings cupcakes to eat at lunch.

The main character of each Cupcake Diaries series is one member of Cupcake Club. The main character of the first series is Katie, the second is Mia, the third is Emma, the fourth is Alexis, the fifth back to Katie, and soon. Mia in the Mix is the second novel from eighteen series of Cupcake Diaries. The main character is Mia Velaz-Cruz, a girl who loves fashion so much. In the Middle School there is another club named PGC (Popular Girls Club) which always talk about fashion. So when the PGC takes interest in Mia’s awesome fashion style and wants to recruit her, Mia has to decide between them and her Cupcake Club. The writer choose this novel because this novel is a new novel (the original is printed on 2011 and the translation is printed on 2013) and has a good translation.

Laskar Pelangi by Andrea Hirata talks about the real story of the writer. Andrea Hirata or usually called Ikal, studies in a very poor school in Belitong Island with his ten friends. There are so many bittersweets they experience during their school age until they reach their dreams and become successful persons. The writer chooses this novel because this novel is very popular (mega best seller), has translated to many languages and has a good translation.

1.2 Problem of the Study

There are three problems in this thesis, they are:

1. What are the translation techniques applied in the translation of English novel Coco Simon’s Cupcake Diaries 2: Mia in the Mix into its translation in bahasa Indonesia Cupcake Diaries 2: Mia dan Cupcake Galau?

2. What are the translation techniques applied in the translation of bahasa Indonesia novel Andrea Hirata’s Laskar Pelangi into its translation in English The Rainbow Troops?

3. How is the comparison of translation technique between the two translation novels?

1.3 Objective of the Study

The objectives in doing this analysis are:

1. To see what translation techniques applied in the translation of English novel Coco Simon’s Cupcake Diaries 2: Mia in the Mix into its translation in bahasa Indonesia Cupcake Diaries 2: Mia dan Cupcake Galau.

2. To see what translation techniques applied in the translation of bahasa Indonesia novel Andrea Hirata’s Laskar Pelangi into its translation in English The Rainbow Troops.

3. To see how is the comparison of translation technique between the two translation novels.

1.4 Scope of the Study

The scope of the study is the translation techniques applied by the translator of Coco Simon’s Cupcake Diaries 2: Mia in The Mix in translate the novel into

Cupcake Diaries 2: Mia dan Cupcake Galau and by the translator of Andrea Hirata’s Laskar Pelangi in translate the novel into The Rainbow Troops. The theory of the translation techniques is Molina and Albir theory (2002). The analysis focuses on the comparison of the translation techniques applied in both novels. The writer takes sample for this analysis. The samples are the chapter 1 and chapter 2 of each novel.

1.5 Significance of the Study The significances expected are:

1. The reader will know the comparison of the translation technique applied between the translation of English novel into bahasa Indonesia and Indonesian novel into English.

2. This thesis will enrich the writer’s and the reader’s knowledge about translation techniques.

CHAPTER II

REVIEW OF LITERATURE 2.1 Definition of Translation

What is translation? According to Munday (2001:4), the term translation has several meanings: it can refer to the general subject field, the product (the text that has been translated) or the process (the act of producing the translation, otherwise known as translating). In here, we will talk about translation as a process. The process of translation between two different written languages involves the translator changing an original written text (the source text or ST) in the original verbal language (the source language or SL) into a written text (the target text or TT) in a different verbal language (the target language or TL) (Munday, 2001:4-5).

Catford (1978:20) defines translation as the replacement of textual material in one language (SL) by equivalent textual material in another language (TL). Translation according to Newmark (1988:5) is rendering the meaning of a text into another language in the way that the author intended the text. Larson (1988:3) stated that translation consists of transferring the meaning of the source language into the receptor language (target language). While Dubois (in Bell, 1991:5) said that translation is the expression in another language (or target language) of what has been expressed in another, source language, preserving semantic and stylistic equivalences.

Larson (1998:3) explains that translation is done by going from the form of the first language to the form of a second language by way of semantic structure. It is meaning which is being transferred and must be held constant. Only the form changes. The form from which the translation is made will be called the source language and the form into which it is to be changed will be called the receptor

language (target language). Translation, then, consist of studying the lexicon, grammatical structure, communication situation, and cultural context of the source language text, analyzing it in order to determines its meaning, and then reconstructing this same meaning using the lexicon and grammatical structure which are appropriate in the receptor language and its cultural context.

2.2 Translation Process

Nababan (1999:24) defines the translation process as a series of activity which are done by a translator when he transfers the message of a source txt into the target text. Translation process can also be defined as a system of activity in translating activity.

The processes of translation according to Nida (in Hatim, 2005:22) are: analysis, transfer and restructuring. As Nida (in Hatim, 2005:22) says, “the translator first analyses the message of the source language into its simplest and structurally clearest forms, transfers it at this level, and then restructures it to the level in the receptor language which is most appropriate for the audience which he intends to reach.” 1. Analysis

Analysis begins with a set of procedures which are employed in ‘discovering the kernels underlying the source text and the clearest understanding of the meaning, in preparation for the transfer’ (Nida and Taber in Hatim, 2005:22). Kernels are the basic structural elements to which syntactically more elaborate surface structures of a language can be reduced. Underlying the procedure of kernel analysis is a theory of semantics: kernels are realized by sequences of items belongings to four basic categories:

• event words (including actions represented by verbs)

• abstracts (words relaying features of objects, events, other abstracts)

• relationals (linguistic items functioning as linking devices) (Nida in Hatim, 2005:22)

2. Transfer

Transfer is the stage ‘in which the analyzed material is transferred in the mind of the translator from language A to language B. The translators has the kernels to work with and in the light of his or her knowledge of target-language structure, these are modified until a form is settled on which ‘will be optimal for transfer into the receptor language’ (Nida and Taber in Hatim, 2005:23)

3. Restructuring

The final stage in the process of translation is ‘restructuring’ the transferred material, which until now exists only in the form of kernel sentences. What is needed is a mechanism by which the input that has accrued so far may be transformed into a ‘stylistic form appropriate to the receptor language and to the intended receptors’ (Nida and Taber in Hatim, 2005:24). Another important aim of the restructuring process is to ensure that the impact which the translation is to have on its intended receptors is what the source-text producer has intended (Nida in Hatim, 2005:24).

2.3 Translation Technique

Molina and Albir (2002:509-511) define translation techniques as procedures to analyse and classify ho translation equivalence work There are 18 translation techniques:

1. Adaptation

2. Amplification

Amplification is to introduce details that are not formulated in the ST: information, explicative paraphrasing. Amplifiction is in opposition to reduction. 3. Borrowing

Borrowing is to take a word or expression straight from another language. It can be pure (without any change) or it can be naturalized (to fit the spelling rules in the TL).

4. Calque

Calque is literal translation of a foreign word or phrase; it can be lexical or structural.

5. Compensation

Compensation is to introduce a ST element of information or stylistic effect in another place in the TT because it cannot be reflected in the same place as in the TT. 6. Description

Description is to replace a term or expression with a description of its form or/and function.

7. Discursive Creation

Discursive creation is to establish a temporary equivalence that is totally unpredictable out of context.

8. Established Equivalent

Established equivalent is to use a term or expression recognized (by dictionaries or language in use).

9. Generalization

Generalization is to use a more general or neutral term. It is in opposition to particularization.

10. Linguistic Amplification

Linguistic Amplification is to add linguistic elements. It is in oppo sition to lingu istic compression.

11. Linguistic Compression

Linguistic compression is to synthesize linguistic element in the TT. It is in opposition to linguistic amplification.

12. Literal Translation

Literal translation is to translate a word or an expression word for word. 13. Modulation

Modulation is to change the point of view, focus or cognitive category in relation to the ST.

14. Particularization

Particularization is to use a more precise or concrete term. It is in opposition to generalization.

15. Reduction

Reduction is to suppres a ST information item in the TT. 16. Substitution (linguistic, paralinguistic)

Substitution is to change linguistic elements for paralinguistic elements (intonation, gestures) or vice versa.

17. Transposition

Transposition is to change a grammatical category. 18. Variation

Variation is to change linguistic or paralinguistic elements (intonation, gestures) that affect aspects of linguistic variation: changes of textul tone, style, social dialect, geographical dialect, etc.

2.4 Couplets

Couplets, triplets, quadruplets combine two, three or four of the above-mentioned procedures respectively for dealing with a single problem (Newmark, 1988:91). Vinay and Darbelnet (in Venuti, 2000:93) said that it is obvious that several of methods (or techniques) can be used within the same sentence, and that some translations come under a whole complex of methods so that it is difficult to distinguish them; e.g., the translation of “paper weight” by “pressepapiers” is both a fixed transposition and a fixed modulation.

2.5 Translation Techniques As Tool For Analysis

Molina and Albir (2002:498-499) said that the categories used to analyze translations allows us to study the way translation works. These categories are related to text, context and process. Process categories are designed to answer two basic questions. Which option has the translator chosen to carry out the translation project, i.e., which method has been chosen? How has the translator solved the problems that have emerged during the translation process, i.e., which strategies have been chosen? However, research (or teaching) requirements may make it important to consider textual micro-units as well, that is to say, how the result of the translation functions in relation to the corresponding unit in the source text. To do this we need translation techniques. Textual and contextual categories were not sufficient to identify, classify and name the options chosen by the translators for each unit studied. We needed the category of translation techniques that allowed us to describe the actual steps taken by the translators in each textual micro-unit and obtain clear data about the general methodological option chosen.

2.6 Related Studies

In doing this analysis, some theses are referred to be the orientation for the writer. The first thesis is Nellissa Samasstasa Debora’s A Comparative Analysis on Translation Techniques Used by the Original Translator of Stephenie Meyer’s The Host and by Daerah Sumber Translator. The second thesis is Klaudia Gibová’s Translation Procedures in the Non-literary and Literary Text Compared (based on an analysis of an EU institutional-legal text and novel excerpt “The Shack” by William P. Young). These theses become the orientation because they both compare the translation procedures (or techniques) in two translated text.

CHAPTER III

METHOD OF RESEARCH 3.1 Research Design

This research is descriptive qualitative research. Social research using descriptive qualitative form has a purpose to describe, summarize every condition, every situation, or every phenomenon of social reality among the people which become the object of the research, and try to draw the reality to the surface as a feature, characteristic, model, sign, or image about condition, situation, or certain phenomenon. As quoted from Bungin:

Penelitian sosial menggunakan format deskriptif kualitatif bertujuan untuk menggambarkan, meringkaskan berbagai kondisi, berbagai situasi, atau berbagai fenomena realitas sosial yang ada di masyarakat yang menjadi objek penelitian, dan berupaya menarik realitas itu ke permukaan sebagai suatu ciri, karakter, sifat, model, tanda, atau gambaran tentang kondisi situasi, ataupun fenomena tertentu.

(Bungin, 2007:68)

3.2 Data and Sources of Data

The source of the data for this analysis are first, Coco Simon’s novel Cupcake Diaries 2: Mia in the Mix, second, the Indonesian translation of this novel by Ruth Linda Cupcake Diaries 2: Mia dan Cupcake Galau, third, Andrea Hirata’s novel

Laskar Pelangi and fourth, the English translation of the novel by Angie The

Rainbow Troops.

Cupcake Diaries 2: Mia in the Mix contains 18 chapters and consist of 146 pages. The Indonesian translation contains 18 chapters and consists of 139 pages. Meanwhile, Laskar Pelangi contains 34 chapters and consists of 494 pages. The English translation contains 34 chapters and consists of pages. The writer takes

sample for this analysis. The sampling method is simple random sampling. Simple random sampling means techniques that involve an unsystematic random selection process. Basically, simple random sampling involves identifying every element in the sampling frame and choosing them on the basis of any planned process that also ensures that every element has an equal opportunity of being selected (Dane, 1990:297). In this analysis the writer chooses to analyze 2 chapters for each novel, they are chapter 1 and chapter 2.

Newmark (1988:81) said that translation procedures (techniques) are used for sentences and the smaller units of language. So, the data for this analysis are first, every word and sentence in chapter 1 and chapter 2 of novel Cupcake Diaries 2: Mia in the Mix, second, every word and sentence in chapter 1 and chapter 2 of the Indonesian translation of the novel, Cupcake Diaries 2: Mia dan Cupcake Galau, third, every word and sentence in chapter 1 and chapter 2 of novel Laskar Pelangi and fourth, every word and sentence in chapter 1 and chapter 2 of the English translation of the novel, The Rainbow Troops.

3.3 Data Collection Procedures

According to Bungin (2001:173), in the qualitative research, researcher can choose some certain data collection technique, they are: (1) Participant Observation (Observasi Partisipasi), (2) In-depth Interviewing (Wawancara Mendalam), (3) Life History, (4) Document Analysis (Analisis Dokumen), (5) Researcher’s Daily Note (Catatan Harian Peneliti), and (6) Media Content Analysis (Analisis Isi Media).

In this analysis, Document Analysis technique is used. This technique is used to collect the data from four sources; first, Coco Simon’s novel Cupcake Diaries 2: Mia in the Mix, second, the Indonesian translation of this novel by Ruth Linda Cupcake

Diaries 2: Mia dan Cupcake Galau, third, Andrea Hirata’s novel Laskar Pelangi and fourth, the English translation of the novel by Angie The Rainbow Troops.

3.4 Steps of the Research The steps of the research are:

1. Listing every data from first source text (English novel) and first target text (Indonesian translation) by put them in a table.

2. Listing every data from second source text (bahasa Indonesia novel) and second target text (English translation) by put them in the other table.

3. Comparing the data from source text with the translation in the target text to figure out the translation technique applied in each sentence.

4. Describing the translation techniques applied in the translation of English novel into bahasa Indonesia.

5. Describing the translation techniques applied in the translation of bahasa Indonesia novel into English.

6. Drawing the frequency table of the translation techniques applied in both translation

7. Comparing each frequency of translation technique applied.

8. Finding the comparison of the translation techniques applied in both translation Throughout this analysis, the writer uses some abbreviations, they are: MTM = Mia in the Mix, MCG = Mia dan Cupcake Galau, LP = Laskar Pelangi and TRT = The Rainbow Troops.

3.5 Data Analysis

Because the writer uses descriptive qualitative research, the analysis is done with qualitative descriptive strategy (Bungin, 2001:290). The using of qualitative descriptive strategy is started from the analysis of various data which are collected from a research, then move to categorical conclusion drawing or certain general characteristic. On that ground, this strategy is started from data classification activity. The researcher should minimize the diversity into a certain small amount based on some similarities or differences. From here, the researcher enters the general characteristics conclusion expected. As quoted from Bungin:

Penggunaan strategi deskriptif kualitatif dimulai dari analisis berbagai data yang terhimpun dari suatu penelitian, kemudian bergerak kearah pembentukan kesimpulan kategoris atau ciri-ciri umum tertentu. Oleh karenanya, strategi ini dimulai dari pekerjaan klasifikasi data.

………... … peneliti harus mampu mengecilkan keanekamacaman ini dengan suatu jumlah yang kecil berdasarkan beberapa persamaan atau perbedaan. Dari pijakan seperti ini, barulah peneliti dapat memasuki kesimpulan ciri-ciri umum yang diinginkan”.

CHAPTER IV

ANALYSIS AND FINDING 4.1 Analysis

4.1.1 The Translation Techniques in the Translation of English Novel into Bahasa Indonesia (MTM – MCG)

4.1.1.1Amplification

Amplification is to introduce details that are not formulated in the ST: information, explicative paraphrasing. Amplification in the translation of MTM into MCG is only 1 number i.e. in data number 90. The amplification in this target text is the explicative paraphrasing which explained about word “braided”.

Data Source Text Target Text

I/90 I changed the blue shirt to a white one, then changed the belt to a braided silver belt and checked again.

Kuganti kaus biruku dengan kaus putih lalu ikat pinggang cokelat dengan ikat pinggang braided (berbentuk jalinan) berwarna silver dan kuperiksa sekali lagi.

4.1.1.2Borrowing

Borrowing is to take a word or expression straight from another language. It can be pure (without any change) or it can be naturalized (to fit the spelling rules in the TL).

Below, some examples:

Data Source Text Target Text

I/9 On the weekends I visit my dad, he drives me back to my mom’s house late on Sunday nights.

Pada akhir pekan aku mengunjungi Dad, dan Dan mengantarku kembali ke rumah Mom pada minggu malam. I/14 Five days of Mrs. Moore’s hard math

quizzes.

Lima hari untuk kuis matematika Mrs. Moore yang sulit.

I/44 At the dance that night, Principal LaCosta gave us our prizes: four Park Street Middle School sweatshirts.

Dalam pesta dansa di malam harinya, Kepala Sekolah LaCosta menyerahkan hadian kepada kami: empat baju hangat Park Street Middle School.

In the data above, the translator take the words “dad”, “mom”, “Mrs.” And phrase “Middle School” straight from the source language.

The borrowing technique in the translation of MTM into MCG is 51 numbers i.e.:

6 39 68 114 164 231 285 349 372 7 42 69 120 171 269 288 351 390 9 43 71 133 172 278 290 354 396 14 44 73 157 174 279 308 355

31 52 79 158 220 280 341 356 32 62 95 161 229 282 344 362

The expressions that are borrowed in the translation of MTM into MCG are “Mom”, “Dad”, “Cupcake”, “Fashion”, “Highlite”, “Mrs”, “Legging”, “Peep Toe”, “Flat”, “Chic”, “Middle School”, “Salad”, “Heavy Metal”, “Play” and “Bye”.

4.1.1.3Compensation

Compensation is to introduce a ST element of information or stylistic effect in another place in the TT because it cannot be reflected in the same place as in the TT. Below, some examples:

Data Source Text Target Text

I/6 My parents are divorced, and my mom and I moved out to a town in the suburbs, an hour outside the city.

Orangtuaku bercerai, lalu aku dan Mom pindah ke sebuah kota kecil di daerah pinggiran, satu jam dari Manhattan.

I/151 Callie is in the club too, and she’s also the girl who used to be Katie’s best friend.

Callie juga ikutan klub itu, dia adalah cewek yang pernah jadi sahabat Katie.

I/164 “Those were great cupcakes you guys made on Saturday,” Callie told me.

“Cupcake yang kalian buat Sabtu kemarin enak banget,” ujar Callie padaku.

From the data number 6, we could see that the translator change the place of “my mom” and “I” from “my mom and I” to “aku dan ibuku”. Also in number 151, the translator changes the place of word “too”. In the data number 164, the translator decides to translate “Those were great cupcakes you guys made on Saturday” as “Cupcake yang kalian buat Sabtu kemarin enak banget” instead of “Itu adalah cupcake yang enak banget yang kalian buat Sabtu kemarin”.

This technique in the translation of MTM into MCG is 14 datas i. e: 6, 75, 114, 151, 164, 168, 218, 219, 260, 263, 274, 278, 288 and 305.

4.1.1.4Description

Description is to replace a term or expression with a description of its form or/and function. In the translation of MTM into MCG, this technique is only applied once. This technique is applied in data number 202:

Data Source Text Target Text

I/202 So, the next Mondayesque thing happened at lunchtime.

Jadi, hal menyebalkan di hari Senin selanjutnya terjadi pada jam makan siang.

In here, the translator does not maintain the word “Mondayesque”, instead the word is replaced with the description i.e. “hal menyebalkan di hari Senin.

4.1.1.5Established Equivalent

Established equivalent is to use a term or expression recognized (by dictionaries or language in use). Established Equivalent technique is the most technique applied in the translation of MTM into MCG.

Below, some examples:

Data Source Text Target Text

I/1 An Interesting Remark Komentar yang Menarik I/51 It made me think maybe it wasn’t

bad that we moved out here.

Kemenanganku itu membuatku berpikir mungkin kepindahan kami kesini tak ada salahnya.

I/256 “I’ve been so alone!” Katie said in a funny, dramatic way.

“Aku sangat kesepian!” kata Katie dengan lucu dan gaya dramatis.

The literal translation of “remark” is “pernyataan” and the literal translation of “alone” is “sendirian” but in here the translator use the more suitable terms for those words i.e. “komentar” and “kesepian”. And also in data number 51, the translator translates “it” as “kemenanganku itu” as the equivalence term and recognized by the target language.

This technique in the translation of MTM into MCG is applied in 130 numbers: 1 37 66 87 137 161 215 249 277 363 4 40 67 88 138 170 220 250 282 367 5 45 68 89 140 175 221 251 290 371 7 46 70 92 141 177 222 254 292 372 10 49 73 97 144 184 226 256 295 376 13 51 75 98 145 192 228 257 296 379 19 52 76 100 148 195 229 258 298 381 20 53 77 103 149 197 230 262 308 385 28 54 78 104 151 199 231 266 343 391 30 59 81 116 153 203 234 269 344 398 31 62 83 121 155 208 235 272 353 399 32 63 84 127 157 210 239 274 354 402 36 64 85 135 160 213 248 275 361 404 4.1.1.6Generalization

Generalization is to use a more general or neutral term. It is in opposition to particularization. In the translation of MTM into MCG, this technique is only applied in data number 117 and 208:

Data Source Text Target Text

I/117 She pointed to her sweatshirt. Dia menunjuk bajunya. I/208 Luckily, I always carry a few dollars

around in case of an emergency.

Untungnya, aku selalu membawa sedikit uang untuk berjaga-jaga.

“Sweatshirt” is a long-sleeved cotton sweater, means that sweatshirt is one kind of clothes. In this number, the translator generalize the word “sweatshirt” into “baju” instead of use the equivalence of sweatshirt she uses in other parts of the text, that is “baju hangat”. “Dollars” is a currency of United State. In the target text, the translator uses the general term i.e. “uang”

4.1.1.7Linguistic Amplification

Linguistic Amplification is to add linguistic elements. It is in opposition to lingu istic compression.

Below, some examples:

Data Source Text Target Text

II/3 I know, everybody says that, right? Aku tahu, semua orang pasti bilang begitu, kan?

II/23 And when did I find it? Lalu kapan aku menemukannya lagi? II/69 So fashion is in my blood. Jadi fashion mengalir dalam

darahku.

In data number 3, the translator adds the word “pasti” and in the data number 23, the translator adds word “lagi”. The addition of the words emphasizes the meaning of the sentence. But, in data number 69, the addition of word “mengalir” clears the meaning of the sentence because with no addition, the meaning of the sentence will blur.

This technique in the translation of MTM into MCG is applied in 19 numbers: 3 23 69 93 152 210 261 281 347 392 12 50 81 121 173 229 278 293 365

4.1.1.8Linguistic Compression

Linguistic compression is to synthesize linguistic element in the TT. It is in opposition to linguistic amplification.

Below, some examples:

Data Source Text Target Text

I/242 “Oh!” I said, because I didn’t really know what to say.

“Oh,” kataku, karena aku tidak tahu harus jawab apa.

I/264 She’s so sweet and funny, it’s hard to be in bad mood when you’re around her.

Dia sangat manis dan lucu, susah untuk bersedih di dekatnya.

I/281 I see her a lot more now. Aku bisa menemuinya lebih sering.

In data 242, the translator translates “I didn’t really know” as “aku tidak tahu” which a little bit change the meaning because if we translate back the target text, it will be “I didn’t know”. And in data 264, “It’s hard” is translated as “susah” since without translate the word “it’s” the meaning is already clear.

This technique in the translation of MTM into MCG is applied in 100 numbers: 4 28 80 112 142 175 206 276 352 369 8 35 82 115 143 178 217 277 353 372 9 39 84 120 144 180 242 279 354 373 10 47 87 126 151 181 244 281 356 375 12 49 95 130 155 183 248 297 357 386 13 55 97 131 162 189 259 299 358 394 15 56 99 133 163 190 264 306 359 395 16 65 101 136 164 196 268 342 362 400 18 70 105 139 166 204 270 348 366 401 19 79 107 140 167 205 271 350 368 403

4.1.1.9Literal Translation

Literal translation is to translate a word or an expression word for word. Below, some examples:

Data Source Text Target Text

I/2 My Name is Mia Velaz-Cruz, and I hate Mondays.

Namaku Mia Velaz-Cruz, dan aku benci hari Senin.

I/147 There’s Sophie, who I like a lot. Ada Sophie, yang sangat kusukai. I/186 I don’t normally brag about my

mother’s job like that, but I didn’t know what to say to Sydney.

Biasanya aku tak mengumbar-umbar pekerjaan ibuku seperti itu, tapi aku tak tahu harus mengatakan apa pada Sydney.

This technique in the translation of MTM into MCG is applied in 96 numbers: 2 60 118 156 193 224 243 284 346 387 22 61 119 159 194 225 245 287 364 388 24 74 122 165 198 227 246 291 370 389 25 91 123 169 200 232 247 294 374 393 26 94 124 179 201 233 252 300 377 397 27 96 125 185 209 236 253 301 378 405 29 102 129 186 212 237 265 302 380

33 108 132 187 214 238 267 303 382 57 111 134 188 216 240 273 340 383 58 113 147 191 223 241 283 345 384 4.1.1.10Modulation

Modulation is to change the point of view, focus or cognitive category in relation to the ST.

Below, some examples:

Data Source Text Target Text

I/6 My parents are divorced, and my mom and I moved out to a town in

Orangtuaku bercerai, lalu aku dan Mom pindah ke sebuah kota kecil di

the suburbs, an hour outside the city. daerah pinggiran, satu jam dari Manhattan.

I/34 A little while after we formed the club, Principal LaCosta announced there was going to be a contest the day of the first school dance.

Tak lama setelah Cupcake Club terbentuk, Kepala Sekolah LaCosta mengumumkan aka nada

perlombaan pada hari pesta dansa sekolah.

I/309 It has weird flowery wallpaper, like something you’d find in an old lady’s house.

Kertas dindingnya bemotif bunga-bunga yang aneh, seperti yang kau lihat di rumah nenek-nenek.

The point of view that changed in the data number 6 is the changes of the sentence from passive into active. On the contrary, in data number 34, the change is from active into passive. Meanwhile the change in the data number 309 is the change in the focus of the sentence. In source text the focus is “it” that means the room. It means that the room has weird flowery wallpeaper, while in the target text; the focus is the wallpaper (kertas dinding) that has a weird flowery motif.

This technique in the translation of MTM into MCG is applied in 23 numbers: 6 34 48 86 146 211 286 309

17 40 71 109 176 255 289 400 21 41 72 110 182 270 304

4.1.1.11Reduction

Reduction is to suppres a ST information item in the TT. This technique in the translation of MTM into MCG is applied in data number 81 and 360.

Data Source Text Target Text

I/81 But you could wear a sweater or a jacket and any shoes, so you could get pretty creative with it and not look gross on a daily basis.

Namun kau bisa pakai jaket dan sepatu apapun, jadi kau bisa berkreatif-ria mengakalinya dan nggak terlihat menjijikkan setiap hari.

I/360 The way my room is decorated isn’t the only thing I don’t like about it.

Kamarku bukan satu-satunya hal yang tak kusukai.

In data number 81 and 360, the translator suppresses information of the source text by reduces “a sweater” in data 81 and translates “the way my room is decorated” as “kamarku”. This decision is changed the meaning of the text, but it’s not too influential for the meaning.

4.1.1.12Transposition

Transposition is to change a grammatical category. This technique in the translation of MTM into MCG is applied in 17 numbers:

11 38 106 150 163 207 280 307 372 36 45 128 154 166 244 285 355

For more detail, the grammatical categories that changed in the translation of MTM into MCG are:

Data Source Text Target Text GC Type

I/36 We hadn’t really planned on participating in the fund-raiser, but then this other group in our class, the Popular Girls Club, kept telling everyone they were going to win.

Kami sebenarnya tak punya rencana untuk ikutan dalam penggalangan dana itu, tapi ada kelompok lain di kelas satu, Popular Girls Club, yang terus berkoar-koar kepada semua orang kalau mereka akan menang.

V – N

I/38 It’s not like we’re rivals or anything, but once we heard that, we decided to enter the contest too.

Bukan berarti kami ini bersaing atau apa lah, tapi begitu mendengarnya, kami putuskan untuk ikut

perlombaan juga.

N – V

I/45 I know it’s not a huge deal or anything, but it fells really good to win.

Aku tahu ini bukan hal besar atau apa lah, tapi rasanya gembira banget jadi pemenang.

V – N

I/106 Nobody makes loud burping noises either, like Wes Kinney does every single day in the back of the school bus, which is extremely disgusting.

Enggak ada yang bersendawa dengan suara keras, seperti yang dilakukan Wes Kinney setiap hari dari belakang bus sekolah, dan itu menjijikkan banget.

N – V

I/128 Katie grabbed it to get a closer look.

Katie mengambilnya untuk melihat lebih dekat.

N – V I/150 Sydney is the one who started Sydney adalah salah satu V – N

the Popular Girls Club. pembentuk Popular Girls Club.

I/154 They say she’s always making mean comments to them.

Katanya, Sydney selalu berkomentar jelek tentang mereka.

N – V

I/163 Callie gave me a smile when I sat down.

Callie tersenyum saat aku duduk.

N – V I/166 I thought I saw Sydney give

Callie a glare.

Sepertinya aku melihat Sydney melotot pada Callie.

N – V I/207 “This is seriously

disappointing,” I said with a sigh.

“Ini benar-benar

menyebalkan,” kataku sambil menghela napas.

N – V

I/244 “But it’s a nice bag,” Emma said, giving Alexis a look.

“Tapi tasnya bagus, kok,” kata Emma, sambil melihat ke arah Alexis.

N – V

I/280 Mom’s starting up her own fashion consulting business, so she works out of the house, which is nice.

Mom sedang merintis bisnis konsultan fashion-nya sendiri, jadi dia bekerja di rumah dan itu adalah hal bagus.

Pro – Conj

I/285 Your mom had to go into the city for a meeting.

Ibumu harus meeting di kota. N – V

I/307 I walked up the stairs to my room, and Milkshake and Tiki followed me.

Aku menaiki tangga menuju kamar dengan Milkshake dan Tiki mengikutiku.

Conj – Pre I/355 Which she promises to do

soon.

Dan Mom berjanji akan segera melakukannya.

Pro – Conj I/372 I pressed play on my iPod, and

a song by my favorite singer filled my ears—but I swear I could still see the walls shaking.

Kutekan play pada iPod lalu sebuah lagu dari penyanyi favoritku terdengar, tapi aku bersumpah aku masih melihat dinding yang bergetar.

V – Adj

We could see that in the translation of MTM into MCG the change of grammatical categories is more various than in the translation of LP into TRT, i.e. Noun to Verb 9 times (56.25%), Verb to Noun 3 times (18.75%), Pronoun to Conjunction 2 times (12.5%), Conjunction to Preposition 1 times (6.25%) and Verb to Adjective 1 (6.25%) times.

4.1.2 The Translation Techniques in the Translation of Bahasa Indonesia Novel into English (LP – TRT)

4.1.2.1Amplification

Amplification is to introduce details that are not formulated in the ST: information, explicative paraphrasing.

There are 5 numbers of explicative paraphrasing in the translation of LP into TRT.

Data Source Text Target Text

II/9 Mereka adalah seorang bapak tua berwajah sabar, bapak K.A. Harfan Efendy Noor, sang kepala sekolah dan seorang wanita muda berjilbab, ibu N.A. Muslimah Hafsari atau Bu Mus.

There was an old man with a patient face, Bapak K.A. Harfan Efendy Noor, or Pak Harfan—the school principal—and a young woman wearing jilbab, or headscarf, Ibu N.A. Muslimah Hafsari, or Bu Mus for short.

II/80 Namun ketika beliau akan mengucapkan kata pertama

Assalamu’alaikum seluruh hadirin terperanjat karena Trapani

berteriak sambil menunjuk ke pinggir lapangan rumput luas halaman sekolah itu.

However, when he went to utter his first words, ‘Assalamu’alaikum, Peace be upon you’, Trapani yelled and pointed to the edge of the school yard, startling everyone.

II/106 Kerudungnya juga berwarna bunga crinum demikian pula bau bajunya, persis crinum yang mirip bau vanili.

Her veil was the soft white of the lily, and her clothes even gave off the flower’s vanilla aroma. II/137 Bagi Lintang, kota kecamatan,

tempat sekolah kami ini, adalah metropolitan yang harus ditempuh dengan sepeda sejak subuh.

For Lintang, the city district of our school was like a metropolitan city, and to get there he had to begin his bicycle journey at subuh, early morning prayer, around four o’clock a.m.

II/169 Kemudian kulihat lagi pria cemara angin itu.

Then I saw Lintang’s father, the pine tree man,

The rest of the amplification technique application is the addition of the content of the novel by the translator of LP. Below, there are some data for example:

Data Source Text Target Text

II/53

--- Bu Mus’s face was puffy from holding back tears.

II/54

---

I understood how she felt, because her hope to teach was a great as our hope to go to school.

II/55

---

Today was Bu Mus’ first day as a teacher, a moment she had been dreaming of for a very long time. II/56

---

She had just graduated the week before from Sekolah Kepandaian Putri (Vocational Girls’ School), a junior high school in the capital of the regency, Tanjong Pandan. II/57 --- She was only fifteen years old. II/58

---

Sadly, her fiery spirit to be a teacher was about to be doused by a bitter reality—the threat of her school closing because they were short by just one student.

II/59

---

Bu Mus stood like a statue under the bell, staring out at the wide

schoolyard and the main road. II/60 --- No one appeared.

This technique in the translation of LP into TRT is applied in 33 numbers: 6 54 58 87 116 148 152 156 196

9 55 59 93 125 149 153 169 36 56 60 94 137 150 154 175 53 57 80 106 147 151 155 192 4.1.2.2Borrowing

Borrowing is to take a word or expression straight from another language. It can be pure (without any change) or it can be naturalized (to fit the spelling rules in the TL).

Below, some examples:

Data Source Text Target Text

II/11 Namun, senyum Bu Mus adalah senyum getir yang dipaksakan karena tampak jelas beliau sedang cemas.

Yet Bu Mus’ smile was a forced smile: she was apprehensive.

II/17 Pak Harfan menatapnya kosong. Pak Harfan stared at her with an empty look in his eyes.

From the data above, we could see that the translator take the words “Bu” and “Pak” straight from the source language. In the translation of LP into TRT the words that are borrowed are “Ibu”, “Bapak”, “Bu”, “Pak”, “Pak Cik”, “Pamanda Guru”, “Cunghai”and “Bapak Guru”.

This technique in the translation of LP into TRT is applied in 26 numbers: 9 17 45 51 74 91 104 119 168

11 19 47 64 76 97 108 124 176 16 43 48 65 90 101 112 132

4.1.2.3Calque

Calque is literal translation of a foreign word or phrase; it can be lexical or structural. Calque technique is only 1 number (0.38%) in the translation of LP into TRT i.e in data number 46 when the translator translate literary an Indonesia’s ministry.

Data Source Text Target Text

II/46 Guru-guru yang sederhana ini berada dalam situasi genting karena Pengawas Sekolah dari Depdikbud Sumsel telah memperingatkan bahwa jika SD Muhammadiyah hanya mendapat murid baru kurang dari sepuluh orang maka sekolah paling tua di Belitong ini harus ditutup.

Those humble teachers were in this nerve wracking situation because of a warning issued by the School Super intendent from the South Sumatra Department of Education and Culture: if Muhammadiyah Elementary School had fewer than ten new students, then the oldest school in Belitong would be shut down.

4.1.2.4Compensation

Compensation is to introduce a ST element of information or stylistic effect in another place in the TT because it cannot be reflected in the same place as in the TT. Below, some examples:

Data Source Text Target Text

memeluk pundakku dengan kedua lengannya dan tersenyum

mengangguk-angguk pada setiap orangtua dan anak-anaknya yang duduk berderet-deret di bangku panjang lain di depan kami.

shoulders with both his arms as he nodded and smiled to each parent and child sitting side by side on the bench in front of us.

II/14 Ia demikian khawatir sehingga tak peduli pada peluh yang mengalir masuk ke pelupuk matanya.

so worried that she didn’t even care about the sweat pouring down onto her eyelids.

II/22 Lebih mudah menyerahkannya pada tauke pasar pagi untuk menjadi tukang parut atau pada juragan pantai untuk menjadi kuli kopra agar dapat membantu ekonomi keluarga.

It would have been much easier to send me to work as a helper for a Chinese grosery stall owner at the morning market, or to the coast to work as a coolie to help ease the family’s financial burdens.

In the data number 4, the translator decides to translate “tersenyum mengangguk-angguk” as “nodded and smile” instead of “smile and nodded”. Also in data number 14, the word “Ia” in source text is in the beginning of the sentence but the word is introduced in the other place in the target text. In the data number 22, the translator translate “pada tauke pasar pagi untuk menjadi tukang parut” as “to work as a helper for a Chinese grosery stall owner at the morning market” instead of “to work for a Chinese grosery stall owner at the morning market as a helper”.

This technique in the translation of LP into TRT is applied in 13 numbers i.e: 4, 14, 22, 48, 62, 73, 100, 104, 136, 142, 161, 163 and 164.

4.1.2.5Description

Description is to replace a term or expression with a description of its form or/and function. This technique in the translation of LP into TRT is applied in 1 number:

Data Source Text Target Text

II/104 Ibu Muslimah yang beberepa menit lalu sembap, gelisah, dan coreng-moreng kini menjelma menjadi sekuntum Crinum Giganteum.

Bu Mus, who, just a few minutes earlier, had been on edge with a puffy, smudged face, now

transformed into a budding Giant Himalayan Lily.

In data number 104, the translator does not maintain the Latin name of the flower. Instead she changes it into the English name. This decision can be understood because not everybody know what Crinum Giganteum is.

4.1.2.6Discursive Creation

Discursive creation is to establish a temporary equivalence that is totally unpredictable out of context. Discursive Creation technique is only applied in data number 64, 103 and 126.

Data Source Text Target Text

II/64 Saat itu sudah pukul sebelas kurang lima dan Bu Mus semakin gundah. Lima tahun pengabdiannya di sekolah melarat yang amat ia cintai dan tiga puluh dua tahun

pengabdian tanpa pamrih pada Pak Harfan, pamannya, akan berakhir di pagi yang sendu ini.

It was five till eleven. Bu Mus could no longer hide her dejection. Her big dreams for this poor school were about to fall apart before they could even take off, and thirty two faithful years of Pak Harfan’s unrewarded service were about to come to a close on this tragic morning.

II/103 Antediluvium The Pine Tree Man

II,121 Beliau adalah seorang nelayan, namun pembukaan wajahnya yang mirip orang Bushman adalah raut wajah yang lembut, baik hati dan menyimpan harap.

He was a fisherman, but his face was like that of a kind shepherd,

showing he was a gentle, good hearted and a hopeful man. II/126 Cuaca cenderung semakin

memburuk akhir-akhir ini maka hasil melaut tak pernah memadai.

Belitong fishermen, like Lintang’s father, strongly believed these birds came to the island to warn of approaching storms.

As we could see that the target texts are totally unpredictable and out of context. “Lima tahun pengabdiannya” is translated as “Her big dreams”. This is as the compensation of the paragraph added by the translator before:

Today was Bu Mus’ first day as a teacher, a moment she had been dreaming of for a very long time. She had just graduated the week before from Sekolah Kepandaian Putri (Vocational Girls’ School), a junior high school in the capital of the regency, Tanjong Pandan. She was only fifteen years old.

The former information that said it was the first day for Bu Mus as a teacher and she was only fifteen years old forces the translator to change the information that said that Bu Mus has been a teacher for five years. And also for the source text “tiga puluh dua tahun pengabdian tanpa pamrih pada Pak Harfan, pamannya” must be changed because it is impossible for a fifteen years old girl to serve for thirty two years. So the translator decided to change the text into “thirty two faithful years of Pak Harfan’s unrewarded service” that out of context.

Data number 103 is also out of context. “Antediluvium” is a period when the Malay people lived as nomads, while “The Pine Tree Man” is the title of Lintang’s father that given by the main character, Ikal, because Lintang’s father resembled a pine tree struck by lightning: black, withered, thin and stiff.

“Bushman” in data number 121 is translated as “a kind shepherd” and that is out of context. “Bushman is an etnis in Africa and they are not shepherd. They are a huntur-gatherer.

And the last application of Discursive Creation technique is data number 126 where the translator changes sentence “Cuaca cenderung semakin memburuk akhir-akhir ini maka hasil melaut tak pernah memadai” into “Belitong fishermen, like Lintang’s father, strongly believed these birds came to the island to warn of approaching storms”. The source text emphasizes the difficulty of Lintang’s father while the target text emphasizes what Lintang’s father believes about the birds. 4.1.2.7Established Equivalent

Established equivalent is to use a term or expression recognized (by dictionaries or language in use).

to write their names, occupations and addresses.

148 Each parent was busy

filling out the form, except for Lintang’s father.

Amplification

149 He hesitantly took the

form and held onto it, tensely.

Amplification

150 The form was like an alien

object in his hands.

Amplification

151 He looked to the left, and

the to the right, seeing the other parents filling out the form.

Amplification

152 He stood up with a

puzzled expression.

Amplification

153 “Ibu Guru,” he said

slowly, “Forgive me, I cannot read or write.”

Amplification

154 Lintang’s father then

added plaintively that he did not even know the year of his own birth.

Amplification

155 Suddenly Lintang got up

from his seat and went over to his father, took the form from his hands and exclaimed, “I will be the one to fill out this form later, Ibunda Guru, after I have learned how to read and write!”

Amplification

156 Everyone was startled to

see Lintang, such a small child, defending his father.

Amplification

157 Aku sendiri masih bingung.

I myself still felt confused. Linguistic Amplification 158 Terlalu banyak perasaan

untuk ditanggung seorang anak kecil dalam waktu demikian singkat.

It was a lot of new things for a small child to

experience in such a short amount of time.

Linguistic Amplification & Established Equivalent 159 Cemas, senang, gugup,

malu, teman baru, guru baru … semuanya bercampur aduk.

Anxiety, happiness, worry, embarrassment, new friends, new teachers, all of them stirred about inside of me.

Linguistic Amplification

160 Ditambah lagi satu perasaan ngilu karena sepasang sepatu baru

One more thing made matters even worse: a new pair of shoes my mother

yang dibelikan ibuku. had bought me. 161 Sepatu ini selalu

kusembunyikan ke belakang.

I tried to hide the sight of my shoes by tucking my feet behind me. Black with white stripes and made of hard plastic, they looked like really ugly soccer shoes.

Linguistic Amplification & Compensation 162 Aku selalu menekuk

lututku karena warna sepatu itu hitam bergaris-garis putih maka ia tampak seperti sepatu sepak bola, jelek sekali.

Modulation & Linguistic Compression

163 Bahannya pun dari plastik yang keras.

Compensation 164 Abang-abangku sakit

perut menahan tawa melihat sepatu itu waktu kami sarapan pagi tadi.

This morning at breakfast, my older brothers laughed so hard their stomachs hurt.

Compensation

165 Tapi pandangan ayahku menyuruh mereka

bungkam, membuat perut mereka kaku.

One look from my father was enough to silence them.

Modulation & Reduction

166 Kakiku sakit dan hatiku malu dibuat sepatu ini.

But my feet hurt and my heart was embrassed, both because of these shoes.

Linguistic Amplification 167 Sementara itu, kepala

Lintang terus berputar-putar seperti burung hantu.

In the meantime, Lintang’s head was spinning around like an owl’s.

Literal Translation

168 Baginya, penggaris kayu satu meter, vas bunga tanah liat hasil prakarya anak kelas enam di atas meja Bu Mus, papan tulis lusuh, dan kapur tumpul yang berserakan di atas lantai kelas yang sebagian telah menjadi tanah, adalah benda-benda yang menakjubkan.

For him, the miscellany of our classroom—a wooden ruler, a sixth grade

student’s clay vase art project on Bu Mus’ desk, the old fashioned

chalkboard and the chalk scattered about on the classroom floor, some of which had already been ground back into dust— was absolutely amazing.

Linguistic Amplification & Borrowing

169 Kemudian kulihat lagi pria cemara angin itu.

Then I saw Lintang’s father, the pine tree man,

Amplification 170 Melihat anaknya demikian

bergairah ia tersenyum getir.

watching his son grow increasingly excited, with a bittersweet smile.

Modulation & Transposition 171 Aku mengerti bahwa pria

yang tak tahu tanggal dan bulan kelahirannya itu gamang membayagkan kehancuran hati anaknya

I understood. This was a man who didn’t even know his birthday, imagining his son’s broken heart if he had to

Established Equivalent, Linguistic Compression & Linguistic

jika sampai drop out saat kelas dua atau tiga SMP nanti karena alas an klasik: biaya atau tuntutan nafkah.

drop out in the first or second year of junior high for the classic reasons of money or the unfair demands of life.

Amplification

172 Bagi beliau pendidikan adalah enigma, sebuah misteri.

For him, education was an enigma.

Reduction

173 Dari empat garis generasi yang diingatnya, baru Lintang yang sekolah.

For as far back as Lintang’s father could remember, through four generations of their family, Lintang was the first to go to school.

Linguistic Amplification

174 Generasi kelima

sebelumnya adalah masa antediluvium, suatu masa yang amat lamau ketika orang-orang Melayu masih berkelana sebagai nomad.

Many generations beyond his recollection, their ancestors lived during the antediluvian period, a time long ago when the Malay people lived as nomads.

Linguistic Amplification

175 Mereka berpakaian kulit kayu dan menyembah bulan.

They wore clothing made from bark, slept in the branches of trees, and worshipped the moon.

Amplification

176 Umumnya Bu Mus mengelompokkan tempat duduk kami berdasarkan kemiripan.

By and large, Bu Mus made our seating

assignments based on who looked alike.

Borrowing & Established Equivalent 177 Aku dan Lintang sebangku

karena kami sama-sama berambut ikal.

Lintang and I were deskmates because we both had curly hair.

Established Equivalent 178 Trapani duduk dengan

Mahar karena mereka berdua paling tampan.

Trapani sat with Mahar because they were the best looking,

Linguistic Compression 179 Penampilan mereka

seperti para pelantun irama semenanjung idola orang Melayu pedalaman.

with features like idolized traditional Malay singers.

Linguistic Compression

180 Trapani tak tertarik dengan kelas, ia mencuri-mencuri pandang ke jendela, melirik kepala ibunya yang muncul sekali-sekali di antara kepala orangtua lainnya.

Trapani wasn’t interested in the class; he kept stealing glances out the window, watching for his mother’s head to pop up every once in a while among the heads of the other parents.

Literal Translation

181 Tapi Borek (bacanya Bore’, “e”-nya itu seperti

But Borek and Kucai were seated together not

membaca elang, bukan seperti menyebut “e” pada kata edan, dan “k”-nya itu bukan “k” penuh, Anda tentu paham maksud saya) dan Kucai

didudukkan berdua bukan karena mereka mirip tapi karena sama-sama susah diatur.

because they looked alike, but because they were both difficult to control.

182 Baru beberapa saat di kelas Borek sudah mencoreng muka Kucai dengan penghapus papan tulis.

Just a few moments into the class, Borek already was wiping a chalk eraser all over Kucai’s face.

Established Equivalent

183 Tingkah ini diikuti Sahara yang sengaja

menumpahkan air minum A Kiong sehingga anak Hokian itu menangis sejadi-jadinya seperti orang ketakutan dipeluk setan.

On top of this, Sahara, that small, veil wearing girl, deliberately knocked over A Kiong’s water bottle, causing the Hokian Chinese child cry like he had seen a ghost.

Linguistic Amplification & Modulation

184 N.A. Sahara Aulia

Fadillah binti K.A. Muslim Ramdhani Fadillah, gadis kecil berkerudung itu, memang keras kepala luar biasa.

Sahara was extraordinarily hard headed.

Reduction

185 Kejadian itu menandai perseteruan mereka yang akan berlangsung akut bertahun-tahun.

That water bottle affair marked the beginning of arivelry between them that would carry on for years to come.

Established Equivalent & Linguistic Amplification 186 Tangisan A Kiong nyaris

merusak acara perkenalan yang menyenangkan pagi itu.

A Kiong’s crying nearly put a damper on that morning’s pleasant introductions.

Established Equivalent

187 Sebaliknya, bagiku pagi itu adalah pagi yang tak terlupakan sampai

puluhan tahun mendatang karena pagi itu aku melihat Lintang canggung menggenggam sebuah pensil besar yang belum diserut seperti memegang sebilah belati.

For me, that morning was an unforgettable one that would stay with me for dozens of year. That morning, I saw Lintang clumsily grasping a large, unsharpened pencil as if he were holding a large knife.

Linguistik Amplification & Linguistic Compression

membeli pensil karena pensil itu memiliki kedua warna yang berbeda di kedua ujungnya.

the wrong kind of pencil. It was two different colors,

Amplification & Linguistic Compression 189 Salah satu ujungnya

berwarna merah dan ujung lainnya biru.

one end red and the other blue.

Linguistic Compression 190 Bukankah pensil semacam

itu dipakai para tukang jahit untuk menggaris kain?

Wasn’t that the kind of pencil tailors used to make marks on clothing?

Established Equivalent

191 Atau para tukang sol sepatu untuk membuat garis pola pada permukaan kulit?

Or shoemakers to mark the leather?

Established Equivalent

192 Sama sekali bukan untuk menulis.

Whatever kind of pencil it was, it definitely was not for writing.

Amplification

193 Buku yang dibeli juga keliru.

The book he bought also was the wrong kind of book.

Linguistic Amplifcation 194 Buku bersampul biru itu

bergaris tiga.

It had a dark blue cover and was three lined.

Modulation 195 Bukankah buku semacam

itu baru akan kami pakai nanti saat kelas dua untuk pelajaran menulis rangkai indah?

Wasn’t that the kind of book we would use in second grade when we learned how to write in cursive?

Transposition

196 Hal yang tak akan pernah kulupakan adalah bahwa pagi itu aku menyaksikan seorang anak pesisir melarat—temanku

sebangku—untuk pertama kalinya memegang pensil dan buku, dan kemudian pada tahum-tahun

berikutnya, setiap apa pun yang ditulisnya

merupakan buah pikiran yang gilang gemilang, karena nanti ia—seorang anak miskin pesisir—akan menerangi nebula yang melingkupi sekolah miskin ini sebab ia akan

berkembang menjadi manusia paling genius yang pernah kujumpai

But the thing I will never forget is that, on that morning, I witnessed a boy from the coast, my deskmate, hold a book and pencil for the very first time. And in the years to come, everything he woud write would be the fruit of a bright mind, and every sentence he spoke would act as a radiant light. And as time went on, that impoverished coastal boy would outshine the dark nimbus cloud that had for so long overshadowed this school as he evolved into the most brilliant person I’ve ever met in all the years of my life.

Amplification, Linguistic Amplification & Established Equivalent