An Analysis Of Unit Shift In 300 Movie Subtitles Into Bahasa Indonesia

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AN ANALYSIS OF UNIT SHIFT IN 300 MOVIE SUBTITLES

INTO BAHASA INDONESIA

A THESIS

BY

BAYU SURYA PRATAMA

REG. NO. 090705013

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

MEDAN 2013

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AN ANALYSIS OF UNIT SHIFT IN 300 MOVIE SUBTITLES INTO BAHASA INDONESIA

A THESIS

BAYU SURYA PRATAMA REG. NO. 090705013

SUPERVISOR CO-SUPERVISOR

Prof. T. Silvana Sinar, MA, Ph.D Drs. Umar Mono, Dipl. Tran, M.Hum NIP. 1954091 619803 2 003 NIP. 19600122 198601 1 001

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 MEDAN 2013

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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, M.S Dr.Dra. Nurlela, M.Hum NIP. 19541117 198003 1 002 NIP. 19590419 198102 2 001

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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 October 26, 2013.

Dean of Faculty of Cultural Studies University of Sumatera Utara

Dr. H. Syahron Lubis, MA NIP. 19511013 197603 1 001

Board of Examiners

Dr. H. Muhizar Muchtar, MS Dr. Hj. Nurlela, M.Hum Dr. H. Syahron Lubis, MA Prof. T. Silvana Sinar, MA, Ph.D Dr. Drs. Eddy Setia, M.Ed. TESP

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ACKNOWLEDGEMENTS

Bismillahirrahmanirrahim.

In the name of Allah SWT, all praise to HIM so my thesis can be completed as a partial fulfillment of the requirement for the degree of Sarjana Sastra from the English Department, Faculty of Letters, University of Sumatera Utara.

On this occasion with great humility, I would like to express my gratitude and appreciation to the people who have already contributed their great support so that I can finish my study.

First of all, this thesis is dedicated for my beloved family especially my mother Suhartina Sumitra, S.P, my father Herman Susilo, my grandfather H. Kosim Sumitra and my grandmother Hj. Rosni Kosim who have given a great support in finishing the study and for their endless love, support and pray.

Secondly, my deepest appreciation for my supervisor Prof. T. Silvana Sinar, MA, Ph.D who always guides me and provides the time to assist me in writing this thesis, then to my co supervisor Drs. Umar Mono, Dipl. Tran, M.Hum. Next, I would like to thanks bang Am for helping me in academic and administrative matters.

Thirdly, I would like to thanks to my special one, Uswatun Nisa for the love, care, and support. Then to Aqilah family (Isam, Bagong, Inu, Andre, Aul, Galih) who has accompany me in any situation and for their friendship. I would also to thanks all my friends in IMSI especially Arief, Izal, Yuda, Dinda, Ade, Ai, Rini. Thanks for the years of joyfulness, sweet memories and all the moments in our academic year.

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Medan,

October 26, 2013

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AUTHOR’S DECLARATION

I, BAYU SURYA PRATAMA DECLARE THAT I AM THAT 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 ACKNOWLEDGMENTS IN THE MAIN TEXT OF THIS THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION.

SIGNED :

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COPYRIGHT DECLARATION

NAME : BAYU SURYA PRATAMA

TITLE OF THESIS : AN ANALYSIS OF UNIT SHIFT IN 300 MOVIE SUBTITLES INTO BAHASA INDONESIA

QUALIFICATION : S-1/SARJANA SASTRA DEPARTMENT : ENGLISH

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

SIGNED :

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ABSTRAK

Skripsi berjudul “An Analysis of Unit Shift in 300 Movie Subtitles into Bahasa Indonesia” merupakan suatu analisis tentang pergeseran pada tataran unit yang terjadi pada penerjemahan subtitle film 300 dari teks bahasa sumber (English) ke dalam teks bahasa target (Bahasa Indonesia). Landasan teori yang digunakan adalah teori Catford (1965) yang menjelaskan tentang pembagian shift. Metode yang digunakan dalam penelitian ini adalah metode kepustakaan. Pengumpulan data dilakukan dengan metode catat. Analisis dalam skripsi ini menggunakan metode kualitatif. Untuk mencari pergeseran pada tataran unit yang paling sering terjadi dalam subtitle ini digunakan formula Butler. Dari hasil analisis diperoleh bahwa pergeseran unit terjadi dari morfem ke kata 10 (12,34%) pergeseran, kata ke frasa 36 (44,44%) pergeseran, kata ke klausa 2 (2,47%) pergeseran, frasa ke kata 14 (17,29%) pergeseran, frasa ke klausa 3 (3,70%) pergeseran, klausa ke kata 8 (9,88%) pergeseran, klausa ke frasa 8 (9,88%) pergeseran.

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ACKNOWLEDGEMENTS ... i

AUTHOR’S DECLARATION ... ii

COPYRIGHT DECLARATION ... iv

ABSTRAK ... v

TABLE OF CONTENTS ... vi

CHAPTER I INTRODUCTION 1.1 Background of The Study ...1

1.2 Problem of The Study ...4

1.3 Objective of The Study ...5

1.4 Scope of The Study ...5

1.5 Significance of The Study ...5

1.6 Review of Literature ...5

CHAPTER II THEORITICAL FRAMEWORK 2.1 Definitions of Translation...7

2.2 Function of Translation ...8

2.3 Process of Translation ...9

2.4 Type of Translation ...10

2.5 Shifts ...13

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2.5.2 Category Shifts ...14

2.5.2.1 Structure Shifts ...15

2.5.2.2 Class Shifts ...15

2.5.2.3 Unit Shifts ...15

2.5.2.4 Intra-System shifts ...16

CHAPTER III METHOD OF RESEARCH 3.1 Research Design ...17

3.2 Data Source...17

3.3 Data Collecting Method ...18

3.4 Data Analysis Method...18

CHAPTER IV FINDING AND ANALYSIS 4.1 Unit Shifts in The Subtitles of 300 Movies ...20

4.2 Domination of Frequency from Unit Shifts ...34

CHAPTER V CONCLUSION AND SUGGESTION 5.1 Conclusion ...36

5.2 Suggestion ...37

REFERENCES APPENDICES

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ABSTRAK

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CHAPTER I

INTRODUCTION

1.1 Background of The Study

Translating is basically turning a form into another form. In this case, another form means source language or target language. The major problems of translating are culture and the linguistics. Linguistics here means the different characteristics between one language and another, such as the shifts in translation. Culture here means a different assumption of meaning in translation.

If we translate a form, the translation can consist of a word, phrases, sentence, paragraph, a group of paragraph, or writing an even longer. Sometimes people not pay much attention in translation but its so dangerous because if there are some mistakes in translating, the products of the translation might have the different meaning with the source language and some wrongs assumption might comes up.

Catford (1969: 20) states that translation is the replacement of textual material in one language by equivalent textual material in another language, whereas Munday (2001: 4) states that the term translation itself has several meanings: it can refer to the general subject field, the product (the text has been translated) or the process (the act of producing the translation), otherwise known as translating.

Nida (Venuti 2000: 126) says that since no two languages are identical, either in meanings given to corresponding symbols or in the ways in which such symbols are arranged in phrases and sentences it stands to reason that there can be no absolute correspondence between languages.

In summary, it is not easy for the translator to translate with a natural translation and has the same meaning with the source language, because one language

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and another language usually are not identical. It can be concluded that there is no absolutely correspondence between languages. So the translator should concern about the structure and appropriate meaning for the translation to target language.

Catford (Venuti 2000: 141) states that by shifts we mean the departures from formal correspondence in the process of going from SL (Source Language) to TL (Target Language). Catford says that there are two major types of shifts, level shifts and category shifts.

Level shifts means that a source language item at one linguistic level has a target language translation equivalent at a different level. It is the shifts from grammar to lexis. It means that a grammatical unit in English, such as noun, affix has a lexical unit in Bahasa Indonesia. Here is the example, Thierry Henry has stopped playing for Arsenal FC and its translation becomes Thierry Henry sudah berhenti

Category shifts is about unbounded and rank-unbounded translation. In unbounded translation, equivalences are not tied to a particular rank and can be find equivalences at other levels, while in rank-unbounded translation an equivalent in the target language for each word or for each morpheme encountered in the source language. These category shifts have four kinds of shifts. That are structure shifts, class shifts, unit shifts, and intra-system shifts.

bermain untuk

Arsenal FC. The form “has” as a unit in English Grammar is translated into Bahasa Indonesia by lexis “sudah”.

Unit shifts become the main focus in this thesis. Unit shifts is the changes of rank. It’s also called rank shifts. It’s about departures from formal correspondence where in the translation equivalent of a unit at one rank in the source language is a unit at another rank in the target language. Rank here refers to the hierarchical linguistic units of sentence, clause, group, word and morpheme. For example, “That

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girl is boyish“(word). In target language becomes “Cewek itu kelaki-lakian

Shifts become the solution for the translator. By using shifts, the translator is expected to get the natural meaning of the translation. It is also used to produce equivalent and exact meaning and structure. Translator use shifts to refer the changes which may occur in process of translation. Sometimes translating the text is very difficult and every language has it own rules and make the translator faces the condition that forced him to make shifts of translation so the meaning of the source language can be transferred well.

”(phrase). The word “boyish” in source language is translated into Bahasa Indonesia by phrase

“kelaki-lakian”.

Unit shift also may occur up and down the scale of level. The word level in source language can be translated into phrase or clause in target language. Also the sentence level in source language can be translated into clause or phrase level in target language. It’s necessary to use shifts to get equivalence meaning. By using shift, the translation become more flexible and natural because it’s translated based on source language and target language in order to get a good translation without losing the meaning.

The study is on the subtitles of 300 movie. The shifts which occur in the movie will be analyzed in this thesis. The definition of subtitle as explained in Wikipedia : “Subtitles are textual versions of the dialog or commentary in film, television program, video games, and the like, usually displayed at the bottom of the screen. They can either be a form of written translation of dialog in a foreign language, or a written rendering of the dialog in the same language, with or without added information to help viewers who are deaf and hard of hearing to follow the

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dialog, or people who cannot understand the spoken dialogue or who have accent recognition problems”.

Subtitle is very important to explain about the diversity of language in film. It can be used to translate dialog from a foreign language to the native language of the audience. The shifts may occur between the foreign language as a source language in the movie and native language as a target language in movie subtitle.

For example: This will not over be quickly. (Source language is in English). “Ini tidak akan berakhir secara

Shifts occur in the subtitle of this film. The subtitle is Bahasa Indonesia.

There are some shiftsthat become a problem in translation. Consequently the study of unit shifts need to be done as to see the kind of unit shifts and the most dominant unit shifts which occur in this film.

cepat.” (Target language is in Bahasa Indonesia). From the example above, it is clearly seen that there is a unit shifts from morpheme “-ly” turning into word “secara”.

1.2 Problem of The Study

In this analysis, there are questions that need to be answered: 1. What unit shifts are found in 300 movie subtitles?

2. Which is the most dominant unit shifts occur in 300 movie subtitles? 1.3 Objective of The Study

Based on the problem of study above, the objective of the study are: 1. To find the unit-shifts occur in 300 movie subtitles

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1.4 Scope of The Study

The scope of analysis focused on unit shift. Those shifts are changes from morpheme, word, phrase, clause and sentence into another level of rank unit.

1.5 Significance of The Study

Theoretically, the author wants to enlarge the knowledge of translation for the readers and also become a reference to learning translation studies. Practically, this thesis is expected to explain how to understand the process of translation when the readers watch the movie and read the subtitles.

1.6 Review of Literature

This thesis is referred to some books and thesis related to translation and shifts in order to support this analysis.

Anesthesia (2009) in Unit shifts in interpreting of reverend’s English sermon into Bahasa Indonesia. Discusses about the change of rank in unit shifts found in the interpreting of reverend’s sermon and the most dominant change rank of unit-shifts which occurred in the interpreting reverend’s sermon. Unit shifts that found in this thesis are the shifts from morpheme to word, word to phrase, phrase to sentence, pronoun to adjective, word to adjective, preposition to verb.

Juliana (2009) in Translation of colleen Mc Cullough’s “The Thorn Birds” into “Burung-burung semak berduri” by Lanny Murthihardjana. Discusses about the morphemic shift. The morphemic shifts that found in this thesis are the morpheme to word and the morpheme to phrase.

Hamdanur (2011) in an analysis of unit shifts in the translation of Agatha Christie’s The Mystery of the Blue Train into Misteri Kereta Api Biru By Nyonya

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English as source language and Bahasa Indonesia as target language. This analysis aims to find the shifts in language units at five level, morpheme, word, phrase, clause, and sentence in translation of the two novels. The unit shifts that found in this thesis are the shifts from morpheme to word, word to morpheme, word to phrase, word to clause, word to sentence, phrase to word, phrase to clause, phrase to sentence, clause to word, clause to phrase, clause to sentence, sentence to word, sentence to phrase, sentence to clause. The most dominant shifts in this thesis is the shifts from phrase to word.

Simanjuntak (2011) in An Analysis of Unit Shift in Harry Potter and The Order of Phoenix Movie Subtitles into Bahasa Indonesia. The unit shifts that found are shifts from morpheme to word, morpheme to phrase, phrase to clause, phrase to word, sentence to phrase, sentence to clause, word to phrase, clause to word, clause to phrase.

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CHAPTER II

THEORITICAL FRAMEWORK

2.1 Definitions of Translation

There are a lot of definitions of translation by experts would be explained here.

Newmark (1981: 7) states, “Translation is a craft consisting in the attempt to replace a written message and/or statement in one language by the same message and/or statement in another language”

Catford (1965: 1) defines translation as “Translation is the replacement of textual material in one language (SL) by equivalent textual material in another language (TL). It’s explain that translation is not only about transferring the matter but also should concern in equivalences.

Larson (1984: 10) states “Translation consists of studying the lexicon, grammatical structure, communication situation and cultural context of the source language, analyzing it in order to determine its meaning, then reconstructing the same meaning using the lexicon and grammatical structure which appropriate in the receptor language and its cultural context”.

Nida and Taber (1974: 12) state “Translating consists of reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style”.

Kridalaksana (1985) in Nababan (1999: 19) , “Penerjemahan sebagai pemindahan suatu amanat dari bahasa sumber ke dalam bahasa sasaran dengan

pertama-tama mengungkapkan maknanya dan kemudian gaya bahasanya”.

Simatupang (2000: 2) says that the translation is transferring the meaning is source language to target language and restructuring the meaning into target language

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as natural as possible according to valid rules of target language. So the thing that transferred is meaning not the structure. It’s the reason how the translation of “don’t mention it” (as the answer of thank you) in English is translated into “terima kasih kembali”, because of the meaning its self not the structure.

The natural aspect from the source language should be concerned by the translator. Translator should translate the text naturally, so the translation will give the sense of original for the reader.

2.2 Function of Translation

Duff (1989: 5) says, “As a process of communication, translation functions as the medium ‘across the linguistic and cultural barriers’ in conveying the messages written in the foreign language’. In the other words, the function of translation is a bridge to carry the meaning from source language to target language. Translation is very helpful for people to understanding the text.

Nida (1981: 2) says “Translation means communication because it has three essential elements to form a process of communication. The three essential elements are source, message, and receptor, and these elements must be found in all communication activities”. Its all means that translation means inter-lingual communication by involving two different languages.

2.3 Process of Translation

Larson (1984: 17) says that when translating a text, the aim of translation is an idiomatic translation making each effort to communicate their meaning of the source language text into the natural forms of the receptor language. In addition he says that translation is concerned with a lexicon study, grammatical structure, communication situation, and cultural context of the source language text, which is analyzed to determine its meaning.

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Nababan (2003: 25) states there are three steps in the process of translation. The first is the analysis of source language text. Analyze the text by first reading the source text and get the meaning in the text. And also analyze the linguistics and extra-linguistics elements in the text. Linguistics elements is the elements that deals with language, while extra-linguistics is the elements beyond the language, such as the culture and the social context of the text. In analyzing the linguistics elements, we analyze the text in the level of sentence, clause, phrase, and word. At the end we can get the full understanding of the meaning in the source text. The second step is transferring the meaning. The translator has to find the equivalent of the source text. This process happens in the mind of translator. This process is in the abstract form. The last step is restructuring. After finding the equivalent of source text, the translator is restructuring the form of target language becoming target text and decide the style to get natural translation.

2.4 Type of Translation

No statement of the principles of correspondence in translating can be complete without recognizing the many different types of translations (Herbert P. Phillips 1959).

Larson (1984: 15) states that the translation is classified into two major types. They are form based and meaning based translation. Form-based translations attempt to follow the form of the source language and known as literal translations. If the two languages are related, the literal translation can be understood, since the similar general grammatical form. Meaning based translations make every effort to communicate the meaning of the source language text in the natural forms of the receptor language. It’s called idiomatic translations. Idiomatic translation uses the

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natural form of the target language, both in the grammatical constructions and in the choice of lexical items.

A truly idiomatic translation doesn’t sound like a translation. It will give the sense of original for the reader. The translator should produce a text which has the same message as the source language but using the natural grammatical and lexical choices of the target language, his goal is an idiomatic translation.

Based on Catford (1965: 21), there are 3 broad types or categories of translation in terms of the extent, levels, and ranks. The first is Extent (Full and Partial translation). In a full translation, the entire text is submitted to the translation process, that is very part of the source text is replaced by the target text. In a partial translation, some parts of the source text are not translated. They are simply transferred in the target text. The second is Level (Total and Restricted translation). Total translation is the translation in which all levels of the source text are replaced by the target text material. Total translation means a replacement of source text grammar and lexis by equivalent target grammar and lexis with consequential replacement of source language phonology by (non-equivalent) target text phonology. Restricted translation means a replacement of source text material by equivalent target text material at only one level. That’s translation only at the phonological or at the graphology level, or at one of the two levels of grammar and lexis. The third is Ranks (Ranks of Translation). It relates to the rank in a grammatical (or phonological) hierarchy at which translation equivalence is established.

Newmark (1995: 45), distinguish 8 (eight) kinds of translation. 1. Word-for-word translation

It is interlinear translation, with the target text immediately below the source text words. The source text word-order is preserved and the words translated

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singly by their most common meanings, out of context. Cultural words are translated literally. The main use of word-for-word translation is either to understand the mechanics of the source language or to construe a difficult text as a pre-translation process.

1. Literal translation

The source text grammatical constructions are converted to their nearest target text equivalents but the lexical words are again translated singly, out of context. As a pre-translation process, this indicates the problems to be solved.

3. Faithful translation

A faithful translation attempts to reproduce the precise contextual meaning of the original within the constraints of the target text grammatical structures. It ‘transfers’ cultural words and preserves the degree of grammatical and lexical ‘abnormality’ (deviation from source text norms) in the translation. It attempts to be completely faithful to the intention and the text-realization of the source text writer.

4. Semantic translation

Semantic translation differs from ‘faithful translation’ only as far as it must take more account of the aesthetic value of the source text, compromising on ‘meaning’ where appropriate so that no assonance, word-play or repetition jars in the finished version. Further, it may translate less important cultural words by culturally neutral third or functional terms but not by cultural equivalents and it may make other small concessions to the readership.

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5. Adaptation

This is the ‘freest’ form of translation. It is used mainly for plays (comedies) and poetry; the themes, characters, plots are usually preserved, the source text cultures converted to the target text culture and the text rewritten.

6. Free translation

Free translation reproduces the matter without the manner, or the content without the form of the original. Usually it is a paraphrase much longer than the original, a so-called ‘intra-lingual translation’, often prolix and pretentious, and not translation at all.

7. Idiomatic translation

Idiomatic translation reproduces the ‘message’ of the original but tends to distort nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original.

8. Communicative translation

Communicative translation attempts to render the exact contextual meaning of the original in such a way that both content and language are readily acceptable and comprehensible to the readership.

The types of translation from 5 - 8 is called target language oriented translation.

Jakobson, in his article entitled ‘On Linguistic Aspects of Translation’ (in McGuire, 1991:14) says that there are 3 types of translation. The first is Intralingual translation, or rewording. It is an interpretation of verbal signs by means of other signs in the same language. The second is interlingual translation or translation proper. It is an interpretation of verbal signs by means of some other language. The third is Intersemiotic translation or transmutation. It is an interpretation of verbal signs by means of signs of nonverbal sign systems.

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2.5 Shifts

Nida (1964) in Venuti (2000: 126) states that since no two languages are identical, either in meanings given to corresponding symbols or in the ways in which such symbols are arranged in phares and sentences, it stands to reasons that there can be no absolute correspondence between languages.

Catford (1965) in Venuti (2000: 141) states that by shifts we mean departures from formal correspondence in the process of going from SL (source language) to the TL (target language). Two major types of shifts occur: level shifts and category shifts. 2.5.1 Level shifts

Catford (1965) in Venuti (2000: 141) states that by a shift of level we mean that a source language item at one linguistic level has a target language translation equivalent at a different level. In the other word, a grammatical unit in English has a lexical unit in Bahasa Indonesia. For example: The baby has stopped crying (English) is translated into “Bayi itu sudah berhenti

2.5.2 Category Shifts

menangis”(Bahasa Indonesia). The form “has” as a unit in English Grammar is translated into Bahasa Indonesia by lexis

“sudah”.

Category shifts is departures from formal correspondence in translation. It is about unbounded and rank-unbounded translation. In unbounded translation, equivalences are not tied to a particular rank and can be find equivalences at other levels, while in rank-unbounded translation an equivalent in the target language for each word or for each morpheme encountered in the source language.

In category shift there are four types of shift. They are structure-shift, class-shifts, unit-class-shifts, and intra-system-shifts.

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2.5.2.1Structure Shifts

Structure shifts are the most common shift. Structure shifts are the change of grammatical position of source language in its translation in target language. In grammar, this type of shift is able to take place at all ranks. The example of structure shift: A new (adjective) car (noun) is translated into Sebuah mobil (noun) baru

2.5.2.2 Class Shifts

(adjective). The position of “new” (adjective) is placed before ”car” (noun) in English. But in the translation, the position of “baru” (adjective) is placed after

“mobil” (noun). It is a structure-shift. This shift happens because of the difference of grammatical rules of both source language and target language. In English adjective placed before the noun but in Bahasa Indonesia the adjective is placed after the noun.

Class-shifts is shift of one source language item translated into target language which belongs to different grammatical class. As Catford (1965) in Venuti (2000: 145) views that class-shifts as shifts occurred when the equivalent translation of a source language item is a component of a different class in target language. For example: “He likes (verb) that girl” is translated into “Dia suka

2.5.2.3Unit Shifts

(adjective) gadis itu”.

The verb “likes” translated as “suka” that is an adjective in Bahasa Indonesia.

Unit shifts is the changes of rank. It’s also called rank shifts. It’s about departures from formal correspondence where in the translation equivalent of a unit at one rank in the source language is a unit at another rank in the target language. Rank here refers to the hierarchical linguistic units of sentence, clause, group, word and morpheme. The example of unit shifts: “She is boyish” is translated into “Dia itu

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kelaki-lakian

2.5.2.4Intra-System Shifts

”. The word “boyish” in English translated into phrase “kelaki-lakian”

in Bahasa Indonesia.

Intra-System shifts is the shifts which occurring internally within the system of the language concerned. It is involves a selection of a noun correction in the system of a noun correspondence word in system of target language. For example the plural words “scissors” which is plural becomes singular form “gunting” in Bahasa Indonesia.

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CHAPTER III

METHOD OF RESEARCH

3.1 Research Design

In this analysis the library research method is used. It is applied by reading and studying some books concerned with the topic of the problem. As Nawawi (1993: 30) says “Penelitian kepustakaan dilakukan dengan cara menghimpun data dari berbagai literatur baik di perpustakaan maupun tempat-tempat lain. Literatur yang

dipergunakan tidak terbatas hanya pada buku-buku, tetapi dapat juga berupa

bahan-bahan dokumentasi, majalah-majalah, Koran-koran, dll”.

3.2 Data Source

The data source of the analysis is written text, that is the subtitle of 300 movie which taken from DVD. The data is subtitle which consists of, words, phrases, clause, and utterances spoken by the artist in the film. The source language of the movie is English and the target language is Bahasa Indonesia. This movie was released on 9th March 2007, directed by Zack Snyder and distributed by Warner Bros. The running time of the movie is about 117 minutes.

3.3 Data Collecting Method

Dede Oetomo in Suyanto (1995: 186) says “There are three methods of collecting data such as interview, observation, and analysis on written documents such as quotation, notes, memorandum, publication, notes, memorandum, publications, and official reports, diaries, and written answer to questioner and survey”.

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Because of the data of this analysis is collected from 300 movie subtitle so the method of collecting data is analysis on written document. This is a technique of collecting data by categorizing and classifying the written document in the problem discussed. This data collected from the subtitle of the movie.

3.4 Data Analysis Method

Qualitative data method is used in this analysis. As Miles and Huberman said that it is a comprehensive sourcebook, describing analysis that is directed at tracing out lawful and stable relationships among social phenomena, based on the regularities and sequences that link these phenomena. They label their approach ‘transcendental realism’, and their analysis has three main components:

1. Data reduction

Data reduction occurs continually throughout the analysis. It is not something separate from the analysis, it is part of the analysis, it is part of the analysis in the early stages, it happens through editing, segmenting and summarizing the data. In the middle stages, it happens through coding and memoing, and associated activities such as finding themes, clusters and patterns. In the later stages, it happes through conceptualizing and explaining, since developing abstract concept is also a way of reducing the data.

2. Data display

Data displays organize, compress and assemble information. Because qualitative data are typically voluminous, bulky and dispersed, displays help at all stages in the analysis.

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3. Drawing and verifying conclusions

The reasons for reducing and displaying data are to assist in drawing conclusions. While drawing conclusions logically follows reduction and display of data, in fact it takes place more or less concurrently with them. Conclusion will be in the form of propositions, and once they have been drawn, they need to be verified.

To find the most dominant unit shifts occur in the data, the formula will be applied from Butler’s formula (1985) by using Educational Statistic.

X/Y x 100% = N

X : Number of sub-category of unit shifts Y : Number of all data

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CHAPTER IV

FINDING AND ANALYSIS

After collecting data from the subtitle of 300 movies into Bahasa Indonesia, Unit shifts that occur in 300 movies will be described in this chapter.

4.1 Unit Shifts in The Subtitles of 300 Movies

Unit shifts in the subtitle of 300 movies are unit shifts from morpheme into word, unit shifts from word into clause, unit shifts from word into phrase, unit shifts from phrase into word, unit shifts from phrase into clause, unit shifts from clause into word, unit shifts from clause into phrase.

4.1.1 Unit Shifts from Morpheme into Word

Unit shifts from morpheme into word are shifts from morpheme level in source text into word level in target text.

Prefix:

The prefix re- in English is shifted into the word kembaliin Bahasa Indonesia. Source Text Target Text

1. Regroup! Berkumpul kembali!

The prefix un- in English is shifted into the word tidakin Bahasa Indonesia. Source Text Target Text

2. But you have another talent unlike any other Spartan.

Tapi kau punya bakat lain tidak seperti Spartan yang lain.

Suffix:

The suffix –less in English is shifted into the word tanpa in Bahasa Indonesia to describe the negative expression

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Source Text Target Text 3. Remnants of a senseless

tradition.

Sisa-sisa dari tradisi tanpa nalar

The suffix –less in English is shifted into the word tak in Bahasa Indonesia to describe the negative expression

Source Text Target Text

4. Worthless, diseased, rotten... Tak berguna,penyakitan,busuk

The suffix –ism in English is shifted into the word perilaku in Bahasa Indonesia

Source Text Target Text 5. You will pay for your

barbarism

Kau akan membayar mahal untuk

perilaku barbarmu

The suffix –er in English is shifted into the word lebihin Bahasa Indonesia to describe comparative degree.

Source Text Target Text 6. Before we decide to make our

wall just a little bit bigger.

Sebelum kami membuat dinding kami

jadi lebih besar.

The suffix –est in English is shifted into the word paling in Bahasa Indonesia to describe comparative degree.

Source Text Target Text 7. The deadliest fighting force in

all of Asia

Kekuatan tempur paling mematikan di seluruh Asia

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The suffix –ly in English is shifted into the word secarain Bahasa Indonesia. Source Text Target Text

8. This will not be over quickly. Ini tak akan berakhir secara cepat

The suffix –ly in English is shifted into the word denganin Bahasa Indonesia. Source Text Target Text

9. Watch her carefully Perhatikan dia, dengan seksama.

The suffix –ly in English is shifted into the word setiapin Bahasa Indonesia. Source Text Target Text

10....daily... setiap hari,

4.1.2 Unit Shifts from Word into Phrase

Unit shifts from word into phrase are shifts from word level in source text into phrase level in target text.

The words madman, rumor, mood, sire, blacksmith, battlefield, earthquake, warlord, brawlers, magic, kind, reinforcement, humility, chaos, bedchamber, lands, kingship, gulls, bloodline, passerby, mercy and scribe are noun. The words are shifted into orang gila, desas desus, suasana hati, tuan raja, pandai besi, medan perang, gempa bumi, dewa perang, orang berkelahi, ilmu hitam, baik hati, bantuan pasukan, merendahkan diri, kacau balau, kamar tidur, tanah air, predikat raja, burung laut, garis darah, berlalu lalang, belas kasihan, juru tuliswhich belong to noun phrases in Bahasa Indonesia.

Noun Phrase:

Source Text Target Text

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2. See, rumor has it... Desas desus mengatakan...

3. There's only one woman's words that should affect the mood of my husband

Hanya ada kata-kata dari seorang

wanita saja yang bisa mengganggu

suasana hati suamiku.

4. We are with you, sire. Kami bersamamu, tuan raja.

5. And you? Blacksmith Dan kamu? Pandai besi.

6. Clear the battlefield of the dead

Singkirkan mayat mayat di medan perang

7. Earthquake! Gempa bumi!

8. I will make you warlord of all Greece.

Aku akan menjadikanmu dewa perang

seluruh Yunani.

9. ... stabbing wildly, more brawlers than warriors

menikam dengan kalap, lebih mirip

orang berkelahi daripada pejuang

10.... they turned to their magic. mereka berpaling kepada ilmu hitam

11.But I am kind Tetapi aku baik hati

12.Leonidas will receive no reinforcements

Leonidas tidak akan mendapatkan

bantuan pasukan,

13.I come to you with humility Aku datang ke hadapan anda dengan

merendahkan diri.

14....until the only shelter we will find is rubble and chaos.

Sampai harapan kita hancur dan

kacau balau

15.Was he not, by your invitation, asked to come to the king's bedchamber?

Tidakkah ia, atas undanganmu,

meminta masuk ke dalam kamar tidur

raja?

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17.You fight for your kingship. Kau bertarung untuk predikat rajamu

18.Gulls cawing... Burung laut berkaok

19.Bold Leonidas gives testament to our bloodline.

Leonidas menjadi bukti garis darah

kami

20.Go tell the Spartans, passerby Katakan kepada orang2 Sparta, dan yang berlalu lalang

21.Every Greek historian and every scribe shall have their eyes put out...

Setiap ahli sejarah Yunani bahkan

juru tulisnya, akan dicongkel matanya

22.Have the gods no mercy? Apakah Dewa tidak punya belas kasihan?

The words diseased, lecherous, divine, worse and confident are adjective. The words are shifted into sudah punah, kaya raya, tak tertandingi, lebih buruk, percaya diriwhich belong to adjective phrases in Bahasa Indonesia.

Adjective Phrase

Source Text Target Text

23.Diseased old mystics. Mistik kuno yang sudah punah. 24....though a slave and captive of

lecherous old men...

...budak dan tawanan dari orang

orang tua yang kaya raya.

25.It is my divine power. Tapi kekuatanku yang tak tertandingi.

26.He will go to jail or worse. ...ia akan dipenjara, atau bahkan lebih buruk.

27.Patient and confident, savoring the meal to come.

Sabar dan percaya diri, menunggu santapan yang bakal datang.

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The words loses, kneel are verb. The words are shifted into tidak bisa, bertekuk lututwhich belong to verb phrases in Bahasa Indonesia.

Verb Phrase

Source Text Target Text 28.So that is why my king loses

sleep

Maka itulah sebabnya rajaku tidak bisa tidur

29....will kneel at your feet... ...akan bertekuk lutut di hadapanmu.

The words tonight, yet, now, gladly, hardly are adverb. The words are shifted into malam ini, sampai sejauh ini, saat ini, senang hati, senang hati which belong to adverbial phrases in Bahasa Indonesia.

Adverbial Phrase

Source Text Target Text

30.No sleep tonight... Tak ada tidur malam ini..

31....yet I've never met Sampai sejauh ini aku belum menemukan

32.May I give the floor now... Saya persilahkan saat ini

33.When I would gladly kill any of my own men for victory.

Disaat aku dengan senang hati

membunuh orangku sendiri untuk

kemenangan.

34.Hardly, my lord Sama sekali tidak, tuan.

The words everyone, everything are pronoun. The words are shifted into

semua orang, semua halwhich belong to pronominal phrases in Bahasa Indonesia. Pronominal Phrase

Source Text Target Text 35.Everyone... Semua orang...

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36.Everything you could ever desire

Semua hal yang pernah kau impikan.

4.1.3 Unit Shifts from Word into Clause

The words Godspeed, immortals are noun in English. The words are shifted into noun clause semoga kau diberkati, orang orang yang tak bisa mati ini.

Source Text Target Text

1. Godspeed, leonidas. Semoga kau diberkati, leonidas. 2. Not these immortals. Tidak orang-orang yang tak bisa

mati ini. 4.1.4 Unit Shifts from Phrase into Word

Unit shifts from phrase into word are shifts from word level in source text into clauses level in target text.

The phrases snuff out, set fire, carry on, move out, stop here, blot out, lay down, put out, keep up, move it, gather round, circle the boy are shifted into

mengabaikan, membakar, menjaga, maju, berhenti, menutupi, serahkan, dicongkel, menandingi, ayo, berkumpul, mengelilinginya which are verb in Bahasa Indonesia.

Verb

Source Text Target Text 1. Ready to snuff out the world's

one hope for reason and justice

Siap mengabaikan satu-satunya harapan dunia akan alasan dan

keadilan

2. ...the oracle's words could set fire to all that I love

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Kata kata sang peramal bisa

membakar seluruh hal yang aku

cintai.

3. All with born sons to carry on their name.

Semuanya dengan anak2 mereka untuk

menjaga nama mereka.

4. Move out! maju!

5. Stop here! Berhenti!

6. Our arrows will blot out the sun.

Panah panah kami akan menutupi

langit.

7. Lay down your weapons! Serahkan senjata!

8. Every Greek historian and every scribe shall have their eyes put out...

Setiap ahli sejarah Yunani bahkan

jurutulisnya, akan dicongkel matanya

9. Maybe if I'm injured, you'll be able to keep up with me

Kau cedera ya, sampai tidak bisa

menandingi aku.

10.Gather round. Berkumpul.

11.Move it, men! Ayo, semua!

12.The wolf begins to circle the boy.

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The phrases as well, give the world are shifted intojuga, persilahkanwhich is an adverb in Bahasa Indonesia.

Adverb

Source Text Target Text 13.Or has the oracle robbed you of

your desire as well?

Apakah sang peramal telah

membakarmu dan seluruh nafsumu

juga?

14.May I give the floor now... Saya persilahkan saat ini,

4.1.5 Unit Shifts from Phrase into Clause

Unit shifts from phrase into clause are shifts from phrase level in source text into clause level in target text.

The English phrases freed slaves, no march are noun phrase. The phrases are shifted into clauses budak – budak yang dibebaskan, boleh terjun dalam perang.

Noun

Source Text Target Text 1. Spartans, citizen-soldiers, freed

slaves

Orang Sparta, pasukan rakyat, budak-budak yang dibebaskan.

2. There must be no march Pasukan Sparta tidak boleh terjun dalam perang.

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The English phrase impenetrable unit is an adjective phrase. The phrase is shifted into clause kesatuan yang kokoh dan tak tertembus.

Adjective

Source Text Target Text 3. ...as a single, impenetrable

unit.

...sebagai sebuah kesatuan yang kokoh dan tak tertembus.

4.1.6 Unit Shifts from Clause into Word

Unit shifts from clause into word are shifts from clause level in source text into word level in target text.

The English turned you down, this is a surprise,show them favor, catch your breath, lay down your arms are verb clauses. The clauses are shifted into words menolakmu, mengejutkan,melayani, bernapas, bersimpuh.

Verb

Source Text Target Text

1. turned you down. sudah menolakmu

2. This is a surprise Mengejutkan

3. ...but you must show them favor.

Tapi kau harus melayani mereka.

4. Stelios, catch your breath, boy.

Stelios, bernapas dulu,nak..

5. ...if you but lay down your arms...

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The English do it quickly is adjective clause. The clause is shifted into word

cepatlah.

Adjective

Source Text Target Text 6. Do it quickly... cepatlah!

The English where you stand, what I've seen are noun clauses. The clauses are shifted into words ditempat, pengamatanku.

Noun

Source Text Target Text 7. I'll skewer you where you

stand.

Kutikam kau ditempat!

8. I might as well have marched them up here, judging by what I've seen.

Aku bahkan bisa membawa mereka

untuk ikut kemari, berdasarkan

pengamatanku.

4.1.7 Unit Shifts from Clause into Phrase

Unit shifts from clause into phrase are shifts from clause level in source text into phrase level in target text.

The English make him your ally, who could offer me, swarm with our scouts, keep a better eye on him, it threw him off balance are verb clauses. The clauses are shifted into phrase bersekutulah dengannya.., bisa menawarkan, menemani kami, lebih memperhatikannya, menggangu keseimbangannya.

Verb

Source Text Target Text

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2. an adversary who could offer me...

lawan yang bisa menawarkan

3. These hills swarm with our scouts.

Bukit bukit ini menemani kami.

4. You should keep a better eye on him if he's to be king one day.

Kau harus lebih memperhatikannya

karena ia akan jadi raja suatu hari

nanti.

5. It threw him off balance Menggangu keseimbangannya

The English what a pleasant surprise is noun clause. The clause is shifted into phrase ini kejutan.

Noun

Source Text Target Text 6. What a pleasant surprise. Ini kejutan!

The English we are doomed, can I offer you something are adjective clauses. The clauses are shifted into phrase celakalah kita, mau sesuatu?.

Adjective

Source Text Target Text 7. We are doomed Celaka kita

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4.2 Domination of Frequency from Unit Shifts.

After having analyzed the unit shifts found in 300 movie subtitles, it can be proved that:

NO SHIFTS SUM %

1 Morpheme into Word 10 12,34

2 Word into Phrase 36 44,44

3 Word into Clause 2 2,47

4 Phrase into Word 14 17,29

5 Phrase into Clause 3 3,70

6 Clause into Word 8 9,88

7 Clause into Phrase 8 9,88

TOTAL 81 100

‘Word into phrase’ dominate the frequency of unit shifts, the second dominant is ‘phrase into word’, the third is ‘morpheme into word’, the forth is ‘clause into word’ and ‘clause into phrase’. The less dominant unit shifts are ‘phrase into clause’ and ‘word into clause’.

This domination of unit shift happen because an adjustments to keep the meaning constant so the messages can be conveyed naturally and communicatively. The domination of ‘word into phrase’ is not always happen in various text because the different context of text itself.

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CHAPTER V

CONCLUSION AND SUGGESTION

5.1 Conclusion

After having analyzed the data of the subtitles of 300 movie, it can be concluded that:

Firstly, there are four units representing ranks in English which are described in this translation. They are morpheme from morpheme into word, word from word into phrase and word into clause, phrase from phrase into word and phrase into clause, clause from clause into word and clause into phrase.

Secondly, it can be seen that unit shifts from morpheme into word are 10 (12,34%) shifts, word into phrase are 36 (44,44%) shifts, word into clause are 2 (2,47%) shifts, phrase into word are 14 (17,29%) shifts, phrase into clause are 3 (3,70%) shifts, clause into word are 8 (9,88%) shifts, clause into phrase are 8 (9,88%) shifts. So the most dominant shift is word into phrase with 36 (44,44%) shifts.

A good translation is a translation which is equivalent in meaning of a source language text to target text. But it’s not that simple because we also should concern about the context and cultural background from which the words in the original text came, and then choosing words, phrases, clauses and sentences in the new language which will best convey the substance and meaning of the original in a new and different cultural context. Unless all this happens, the message may get misinterpreted or even lost.

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5.2 Suggestion

Analyzing translation is an interesting works. There are many advantages we’ll get from that. I suggest the reader especially the student of English Literature to study about translation shift. Because shift is the main problem always found in process of translation.

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REFERENCES

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Duff,A. 1989. Translation. Oxford: Oxford University Press.

Hamdanur, Robby. 2011. An analysis of unit shifts in the translation of Agatha Christie’s The Mistery of The Blue Train into Misteri Kereta Api Biru by Nyonya Suwarni A.S. Medan : Faculty of Letters USU

Juliana. 2009. Morphomic Shifts in Translation of Collen Mc Cullogh’s The Thorn Birds into Burung-Burung Semak Berduri. Medan : Faculty of Letter USU. Kridalaksana, Harimurti. 1983. Kamus Linguistik. Jakarta:Gramedia.

Larson, M.L. 1984. Meaning Based Translation a Guide to Cross Language Equivalence. London: University Press of America, Inc.

Machali, Rochayah. 1998. Redefining Textual Equivalence in Translation. Jakarta: The Translation Center.

Miles, M.B. and Huberman, M.A. 1984. Qualitative Data Analysis. London: Sage Publication

Munday, Jeremy. 2001. Introducing Translation Studies Theories and Application. London: Routledge

Nababan, M. Rudolf. 2003. Teori Menterjemahkan Bahasa Inggris. Yogyakarta: Pustaka Belajar.

Nawawi, H. 1993. Metode Penelitian Bidang Sosial. Yogyakarta : Gajah Mada University.

Newmark, Peter. 1981. Approaches to Translation. Oxford: Pergamon.

Newmark, Peter. 1988. A Textbook of Translation. London: Prentice Hall International.

Nida, Eugene A, and Charles R. Taber. 1974. The Theory and Practice of Translation. Leiden: E. J. Brill.

Sahrial. 2003. An Analysis of Grammatical Unit Shifts in the Translation of John Grisham’s the Street Lawyer to Pengacara Jalanan. Medan: Faculty of Letters.

Simanjuntak, Citra Nora Selviana. 2011. An analysis of unit shift in Harry Potter and The Order of Phoenix movie subtitles into Bahasa Indonesia. Medan: Faculty of Letters USU

Simatupang, Mauritis D. 2000. Pengantar Teori Terjemahan. Jakarta: Direktorat Jenderal Pendidikan Tinggi Departemen Pendidikan Nasional.

Sutopo, H.B. 2006. Metodologi Penelitian Kualitatif: Dasar Teori dan Terapannya Dalam Penelitian. Surakarta: Universitas Sebelas Maret

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April 2012. Subtitle (Captioning). Retrieved from

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APPENDICES

1 Unit shifts in the subtitles of 300 movies 1.1 Unit shifts from morpheme into word Prefix:

Source Text Target Text

11.Regroup! Berkumpul kembali!

12.But you have another talent unlike any other Spartan.

Tapi kau punya bakat lain tidak seperti Spartan yang lain.

Suffix:

Source Text Target Text 13.Remnants of a senseless

tradition.

Sisa-sisa dari tradisi tanpa nalar

14.Worthless, diseased, rotten... Tak berguna,penyakitan,busuk

15.You will pay for your barbarism

Kau akan membayar mahal untuk

perilaku barbarmu

16.Before we decide to make our wall just a little bit bigger.

Sebelum kami membuat dinding kami

jadi lebih besar. 17.The deadliest fighting force in

all of Asia

Kekuatan tempur paling mematikan di seluruh Asia

18.This will not be over quickly. Ini tak akan berakhir secara cepat

19.Watch her carefully Perhatikan dia, dengan seksama.

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1.2 Unit shifts from word into phrase Noun Phrase:

Source Text Target Text

37.Madman. You're a madman Orang gila. Kau gila.

38.See, rumor has it... Desas desus mengatakan...

39.There's only one woman's words that should affect the mood of my husband

Hanya ada kata-kata dari seorang

wanita saja yang bisa mengganggu

suasana hati suamiku.

40.We are with you, sire. Kami bersamamu, tuan raja.

41.And you? Blacksmith Dan kamu? Pandai besi.

42.Clear the battlefield of the dead

Singkirkan mayat mayat di medan perang

43.Earthquake! Gempa bumi!

44.I will make you warlord of all Greece.

Aku akan menjadikanmu dewa perang

seluruh Yunani.

45.... stabbing wildly, more brawlers than warriors

menikam dengan kalap, lebih mirip

orang berkelahi daripada pejuang

46.... they turned to their magic. mereka berpaling kepada ilmu hitam

47.But I am kind Tetapi aku baik hati

48.Leonidas will receive no reinforcements

Leonidas tidak akan mendapatkan

bantuan pasukan,

(50)

Aku datang ke hadapan anda dengan merendahkan diri.

50....until the only shelter we will find is rubble and chaos.

Sampai harapan kita hancur dan

kacau balau

51.Was he not, by your invitation, asked to come to the king's bedchamber?

Tidakkah ia, atas undanganmu,

meminta masuk ke dalam kamar tidur

raja?

52.You fight for your lands. Kau bertarung untuk tanah airmu

53.You fight for your kingship. Kau bertarung untuk predikat rajamu

54.Gulls cawing... Burung laut berkaok

55.Bold Leonidas gives testament to our bloodline.

Leonidas menjadi bukti garis darah

kami

56.Go tell the Spartans, passerby Katakan kepada orang2 Sparta, dan yang berlalu lalang

57.Every Greek historian and every scribe shall have their eyes put out...

Setiap ahli sejarah Yunani bahkan

juru tulisnya, akan dicongkel matanya

58.Have the gods no mercy? Apakah Dewa tidak punya belas kasihan?

Adjective Phrase

Source Text Target Text

59.Diseased old mystics. Mistik kuno yang sudah punah. 60....though a slave and captive of

lecherous old men...

...budak dan tawanan dari orang

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61.It is my divine power. Tapi kekuatanku yang tak tertandingi.

62.He will go to jail or worse. ...ia akan dipenjara, atau bahkan lebih buruk.

63.Patient and confident, savoring the meal to come.

Sabar dan percaya diri, menunggu santapan yang bakal datang.

Verb Phrase

Source Text Target Text 64.So that is why my king loses

sleep

Maka itulah sebabnya rajaku tidak bisa tidur

65....will kneel at your feet... ...akan bertekuk lutut di hadapanmu.

Adverbial Phrase

Source Text Target Text

66.No sleep tonight... Tak ada tidur malam ini..

67....yet I've never met Sampai sejauh ini aku belum menemukan

68.May I give the floor now... Saya persilahkan saat ini

69.When I would gladly kill any of my own men for victory.

Disaat aku dengan senang hati

membunuh orangku sendiri untuk

kemenangan.

70.Hardly, my lord Sama sekali tidak, tuan. Pronominal Phrase

Source Text Target Text 71.Everyone... Semua orang...

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72.Everything you could ever desire

Semua hal yang pernah kau impikan.

1.3 Unit shifts from word into clause

Source Text Target Text

1. Godspeed, Leonidas. Semoga kau diberkati, Leonidas

2. Not these lmmortals. Tidak orang orang yang tak bisa mati ini.

1.4 Unit shifts from phrase into word Verb

Source Text Target Text 15.Ready to snuff out the world's

one hope for reason and justice

Siap mengabaikan satu-satunya harapan dunia akan alasan dan

keadilan

16....the oracle's words could set fire to all that I love

Kata kata sang peramal bisa

membakar seluruh hal yang aku cintai.

17.All with born sons to carry on their name.

Semuanya dengan anak2 mereka untuk

menjaga nama mereka.

18.Move out! maju!

19.Stop here! Berhenti!

20.Our arrows will blot out the sun.

Panah panah kami akan menutupi

langit.

(53)

22.Every Greek historian and every scribe shall have their eyes put out...

Setiap ahli sejarah Yunani bahkan

jurutulisnya, akan dicongkel matanya

23.Maybe if I'm injured, you'll be able to keep up with me

Kau cedera ya, sampai tidak bisa

menandingi aku.

24.Gather round. Berkumpul.

25.Move it, men! Ayo, semua!

26.The wolf begins to circle the boy.

Serigala itu mulai mengelilinginya

Adverb

Source Text Target Text 27.Or has the oracle robbed you of

your desire as well?

Apakah sang peramal telah

membakarmu dan seluruh nafsumu

juga?

28.May I give the floor now... Saya persilahkan saat ini,

1.5 Unit shifts from phrase into clause Noun

Source Text Target Text 4. Spartans, citizen-soldiers, freed

slaves

Orang Sparta, pasukan rakyat, budak-budak yang dibebaskan.

5. There must be no march Pasukan Sparta tidak boleh terjun dalam perang.

(54)

Adjective

Source Text Target Text 6. ...as a single, impenetrable

unit.

...sebagai sebuah kesatuan yang kokoh dan tak tertembus.

1.6 Unit shifts from clause into word Verb

Source Text Target Text

9. turned you down. sudah menolakmu

10.This is a surprise Mengejutkan

11....but you must show them favor.

Tapi kau harus melayani mereka.

12.Stelios, catch your breath, boy.

Stelios, bernapas dulu,nak..

13....if you but lay down your arms...

Bila saja kau mau bersimpuh...

Adjective

Source Text Target Text 14.Do it quickly... cepatlah!

Noun

Source Text Target Text 15.I'll skewer you where you

stand.

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16.I might as well have marched them up here, judging by what I've seen.

Aku bahkan bisa membawa mereka

untuk ikut kemari, berdasarkan

pengamatanku.

1.7 Unit shifts from clause into phrase Verb

Source Text Target Text

9. Make him your ally bersekutulah dengannya..

10.an adversary who could offer me...

lawan yang bisa menawarkan

11.These hills swarm with our scouts.

Bukit bukit ini menemani kami.

12.You should keep a better eye on him if he's to be king one day.

Kau harus lebih memperhatikannya

karena ia akan jadi raja suatu hari

nanti.

13.It threw him off balance Menggangu keseimbangannya

Noun

Source Text Target Text 14.What a pleasant surprise. Ini kejutan!

Adjective

Source Text Target Text 15.We are doomed Celaka kita

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1. SUBTITLES OF

300 MOVIE.

1.1 English Subtitle

When the boy was born...

... like all Spartans, he was inspected.

If he'd been small or puny or sickly or misshapen... ... he would have been discarded.

From the time he could stand, he was baptized in the fire of combat. Taught never to retreat, never to surrender.

Taught that death on the battlefield in service to Sparta... ... was the greatest glory he could achieve in his life. At age 7, as is customary in Sparta...

... the boy was taken from his mother and plunged into a world of violence.

Manufactured by 300 years of Spartan warrior society... ... to create the finest soldiers the world has ever known. The agoge, as it's called, forces the boy to fight.

Starves them, forces them to steal... ... and if necessary, to kill.

By rod and lash the boy was punished... ... taught to show no pain, no mercy. Constantly tested, tossed into the wild. Left to pit his wits and will

against nature's fury. It was his initiation... ... his time in the wild...

... for he would return to his people a Spartan...

... or not at all.

The wolf begins to circle the boy. Claws of black steel...

... fur as dark night. Eyes glowing red...

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... jewels from the pit of hell itself. The giant wolf sniffing...

... savoring the scent of the meal to come. It's not fear that grips him...

... only a heightened sense of things. The cold air in his lungs.

Windswept pines moving against the coming night. His hands are steady.

His form... ... perfect.

And so the boy, given up for dead... ... returns to his people,

to sacred Sparta, a king! Our king, Leonidas!

It's been more than 30 years since the wolf and the winter cold. And now, as then, a beast approaches. Patient and confident,

savoring the meal to come.

But this beast is made of men and horses... ...swords and spears.

An army of slaves, vast beyond imagining, ready to devour tiny Greece.

Ready to snuff out the world's one hope for reason and justice. A beast approaches...

...and it was King Leonidas himself who provoked it. That's it.

Now, the more you sweat here, the less you'll bleed in battle. My father taught me...

...that fear is always a constant. But accepting it...

(58)

My queen.

A Persian emissary awaits Leonidas. In the end...

...a Spartan's true strength is the warrior next to him.

So give respect and honor to him, and it will be returned to you. First...

...you fight with your head. - Then you fight with your heart. What is it?

A Persian messenger awaits you. Do not forget today's lesson. - Respect and honor.

- Respect and honor. Councilman Theron.

You found yourself needed, for once. My king and queen,

I was just entertaining your guests. I'm sure.

Before you speak, Persian...

...know that in Sparta everyone, even a king's messenger... ...is held accountable for the words of his voice.

Now, what message do you bring? Earth and water.

You rode all the way from Persia for earth and water? Do not be coy or stupid, Persian.

You can afford neither in Sparta.

What makes this woman think she can speak among men? Because only Spartan women give birth to real men. Let us walk to cool our tongues.

If you value your lives over your complete annihilation... ...listen carefully, Leonidas.

Xerxes conquers and controls Everything he rests his eyes upon.

(59)

He leads an army so massive, it shakes the ground with its march. So vast, it drinks the rivers dry.

All the God-King Xerxes requires is this: A simple offering of earth and water... ...a token of Sparta's submission to the will of Xerxes.

Submission.

Now, that's a bit of a problem. See, rumor has it...

...the Athenians

have already turned you down.

And if those philosophers and boy-lovers have found that kind of nerve, then... - We must be diplomatic.

- And, of course, Spartans... ...have their reputation to consider.

Choose your next words carefully, Leonidas. They may be your last as king.

"Earth and water."

Madman. You're a madman. Earth and water.

You'll find plenty of both down there. No man, Persian or Greek,

no man threatens a messenger. You bring the crowns and heads of conquered kings to my city steps. You insult my queen.

You threaten my people with slavery and death

Oh, I've chosen my words carefully, Persian. Perhaps you should have done the same. This is blasphemy. This is madness!

(60)

Madness? This is Sparta! Welcome, Leonidas.

We have been expecting you. The ephors, priests to the old gods. Inbred swine.

More creature than man.

Creatures whom even Leonidas must bribe and beg.

For no Spartan king has gone to war without the ephors' blessing. The Persians claim their forces number in the millions.

I hope, for our sake, they exaggerate.

But there's no question, we face the most massive army ever assembled. Before your plan is heard...

...what do you offer?

We will use our superior fighting skills...

...and the terrain of Greece herself to destroy them.

We will march north to the coast, where I will make sure... It is August, Leonidas.

The full moon approaches. The sacred and ancient festival.

Sparta wages no war at the time of the Carneia. Sparta will burn!

Her men will die at arms...

...and her women and children will be slaves or worse. Now, we will block the Persian coastal assault... ...by rebuilding the great Phocian Wall.

And from there, we will funnel them into the mountain pass we call the Hot Gates.

Now, in that narrow corridor, their numbers will count for nothing. And wave after wave of Persian attack...

...will smash against Spartan shields.

Xerxes' losses will be so great, his men so demoralized... ...he will have no choice but to abandon his campaign.

(61)

We must consult the oracle. Trust the gods, Leonidas.

I'd prefer you trusted your reason. Your blasphemies...

...have cost us quite enough already. Don't compound them

We will consult the oracle. Diseased old mystics.

Worthless remnants of a time before Sparta's ascent from darkness. Remnants of a senseless tradition.

Tradition even Leonidas cannot defy... ... for he must respect

the word of the ephors. That is the law.

And no Spartan, subject or citizen, man or woman... ... slave or king, is above the law.

The ephors choose only the most beautiful Spartan girls... ... to live among them as oracles.

Their beauty is their curse...

... for the old wretches have the needs of men... ... and souls as black as hell.

"Pray to the winds... ...Sparta will fall. All Greece will fall. Trust not in men... ...honor the gods. Honor the Carneia."

The king's climb down is harder. Pompous, inbred swine.

Worthless, diseased, rotten... ... corrupt.

Truly, you're in the god-king's favor now... ...O wise and holy men.

(62)

Yes.

And when Sparta burns, you shall bathe in gold. Fresh oracles shall be delivered to you...

...daily...

...from every corner of the empire.

Your lips can finish what your fingers have started. Or has the oracle robbed you of your desire as well?

It would take more than the words of a drunken adolescent girl... ...to rob me of my desire for you.

Then why so distant? Because it seems...

...though a slave and captive of lecherous old men... ...the oracle's words could set fire to all that I love.

So that is why my king loses sleep and is forced from the warmth of his bed? There's only one woman's words that should affect the mood of my husband. Those are mine.

Then what must a king do to save his world...

...when the very laws he is sworn to protect force him to do nothing? It is not a question of what a Spartan citizen should do...

..nor a husband, nor a king.

Instead ask yourself, my dearest love... ...what should a free man do?

- Is this all of them?

- As you ordered. Three hundred.

All with born sons to carry on their name. We are with you, sire.

For Sparta. For freedom. To the death.

He is your son.

He is too young to have felt a woman's warmth. I have others to replace him.

Astinos is as brave and ready as any.

(63)

You are a good friend...

...but a better captain, there is none. My good king

My good king, the oracle has spoken. The ephors have spoken.

There must be no march. It is the law, my lord

- The Spartan army must not go to war. - Nor shall it.

I've issued no such orders. I'm here just taking a stroll, stretching my legs.

These 300 men

are my personal bodyguard. Our army will stay in Sparta. Where will you go?

I hadn't really thought about it... ...but now that you ask... ...I suppose I'll head north. The Hot Gates?

Move out! Move out!

What shall we do? What can we do? What can you do? Sparta will need sons.

Spartan! Yes, milady?

Come back with your shield... ...or on it. Yes, milady.

"Goodbye, my love." He doesn't say it.

There's no room for softness... ... not in Sparta. No place for weakness.

(64)

Only the hard. Only the strong.

We march... ... for our lands, for our families, for our freedoms. We march.

Daxos.

- What a pleasant surprise.

- This morning's full of surprises, Leonidas. - We've been tricked.

- Can't be more than a hundred. - This is a surprise.

- Silence.

This isn't their army.

We heard Sparta was on the warpath and we were eager to join forces. If it is blood you seek, you are welcome to join us.

But you bring only this handful of soldiers against Xerxes?

I see I was wrong to expect Sparta's commitment to at least match our own. Doesn't it?

You, there.

What is your profession? I'm a potter, sir.

And you, Arcadian. What is your profession? - Sculptor, sir.

- Sculptor. - And you? - Blacksmith.

Spartans! What is your profession? You see, old friend?

I brought more soldiers than you did. No sleep tonight... ... not for the king. All his 40 years have been a straight road... ... to this one gleaming moment in destiny...

... this one radiant clash of shield and spear... ... sword and bone, and flesh and blood.

(1)

Ratusan pergi.

Hanya sedikit yang tersisa.

Hanya ada satu yang melihat ke belakang. Spartans!

Siapkan sarapan kalian dan makanlah sekenyangnya. Karena malam ini kita akan makan di neraka!

Saya persilahkan saat ini,

Istri dari Leonidas dan ratu Sparta. Apa ini?

Bukan apa-apa. Anggota dewan.

Aku berdiri dihadapan anda sekalian bukan hanya sebagai ratu. Aku datang sebagai seorang ibu.

Aku datang sebagai seorang istri.

Aku datang sebagai seorang wanita sparta.

Aku datang ke hadapan anda dengan merendahkan diri. Aku tak datang untuk mewakili Leonidas.

Tindakannya telah berbicara lebih keras daripada apa yang bisa kuucapkan. Aku disini untuk mewakili suara-suara yang tak terdengar.

Para ibu, putrinya, para ayah, putranya.

300 keluarga yang berdarah demi membela hak kita dan demi prinsip yang membangun sidang ini.

Kita sedang dalam perang, tuan2.

kita harus mengirim seluruh pasukan Sparta untuk membantu raja Bukan hanya untuk mempertahankan diri kita, tapi untuk anak anak kita. Kirimkan pasukan untuk menjaga kemerdekaan.

Kirimkan untuk keadilan.

Kirimkan untuk hukum dan aturan. Kirimkan untuk sebuah alasan.

Tapi yang paling penting, kirim pasukan untuk harapan.

Harapan bahwa sang raja dan pasukannya tak tersia sia dalam lembar sejarah. Bahwa keberanian mereka mengikat kita semua.

(2)

Dan bahwa pilihan anda sekalian adalah cerminan keberanian mereka. tiga ratus.

Kita harus mengirim mereka. Bergerak.

Kuat, bersemangat.

Tapi hal itu tidak mengubah fakta bahwa suamimu membawa perang untuk kita. Kau salah. Xerxes lah yang memulainya

dan sebelum itu, Ayahnya, Darius, di Marathon. Orang orang Persia tidak akan berhenti...

Sampai harapan kita hancur dan kacau balau. Dewan ini tidak perlu pelajaran sejarah, ratu.

Jadi pelajaran macam apa yang hendak kau berikan? Mestikah aku mulai menghitungnya?

Kehormatan, tugas, kemenangan.

Kau bicara soal kehormatan? tugas? kemenangan? tapi bagaimana soal perzinahan? Berani beraninya kau ?

Berani beraninya aku?

Perhatikan dia, dengan seksama.

Dia adalah penipu dalam wujud yang nyata.

Jangan main main dengan para anggota dari dewan terhormat ini, ratu. Baru beberapa jam yang lalu, kau tawarkan dirimu padaku.

Andai saja aku lemah, kita pasti telah berakhir bersama. Ini penghinaan.

Ah, si munafik berbicara.

Apa kau tak terima bayaran yang sama? Yang kau ambil... sebagai imbalan mempertemukannya dengan dewan ini? Itu bohong.

Benarkah?

Tidakkah ia, atas undanganmu, meminta masuk ke dalam kamar tidur raja? Kamar tidur tempatmu memintaku untuk bernegosiasi dengan sangat menggebu2. Kau nampaknya kaget. sogokan tubuh, tuan-tuan, sementara suaminya menyebarkan anarki dan perang.

(3)

Dia berkata yang sebenarnya.

Kata2 meluncur hebat dari mulut yang berpengalaman. Ratu pelacur kecilku..

Benar benar kelakuan seorang ratu!

Singkirkan dia dari ruangan ini sebelum ia menginfeksi kita dengan dirinya yang rendah dan hina.

Ini takkan berakhir cepat.

kau takkan menikmati ini. Aku bukan ratumu. Pengkhianat!

Pengkhianat, pengkhianat, pengkhianat! Pengkhianat!

Leonidas. Kuhargai kau. Dan selamat.

Kau benar-benar telah mengubah kekalahan menjadi kemenangan. Walaupun kau sombong keterlaluan,

Sang raja dewa datang untuk mengagumi keberanian orang Sparta dan kemampuan berperangnya.

Kau akan menjadi sekutu yang kuat. pikirlah, Leonidas.

Gunakan akalmu pikirkan orang2mu. Kumohon padamu.

Dengarkan kawanmu sesama Yunani.

Ia bisa menunjukkan betapa murah hatinya sang raja.

Walaupun kau menghina, Walaupun kau melakukan kecerobohan yang parah, sang raja diraja berkenan memaafkan semuanya.

Dan lebih lagi: memberi imbalan atas jasamu. Kau bertarung untuk tanah airmu, ambil saja. Kau bertarung untuk Sparta.

Sparta akan menjadi lebih kaya dan lebih kuat daripada sebelumnya. Kau bertarung untuk predikat rajamu.

Kau akan ditasbihkan sebagai dewa perang seantero Yunani.. Hanya patuh kepada satu raja sejati di dunia.

Leonidas. Kemenanganmu akan sempurna. Bila saja kau mau bersimpuh...

(4)

...di hadapan Xerxes.

Sudah lebih 30 tahun sejak angin dan dinginnya musim salju.

Dan sekarang, seperti juga dulu, bukanlah rasa takut yang mengganggunya. Hanya ketidaksetujuan.

hanya naluri yang berkembang.

Angin laut berdesir dingin meniup dada dan lehernya. burung laut berkaok,

menegaskan bahwa mereka akan berpesta makan ribuan mayat yang mengambang.

nafas bersiap 300 orang yang ada di belakangnya. Siap mati untuknya, tanpa jeda sesaat pun.

Mereka semua

telah siap untuk mati.

helmnya terasa mengganggu. perisainya terasa berat. tombakmu.

Kau di sana. ...Ephialtes.

Moga moga kau hidup selamanya. Leonidas, tombakmu.

Stelios!

Bantai mereka!

Helmnya mengganggu.

mempersempit pandangannya. Saat ia harus melihat jauh.

Perisainya terasa berat. Mengganggu keseimbangannya sementara sasarannya sangat jauh.

Orang2 tua mengatakan bahwa kami orang Sparta,adalah keturunan langsung Hercules.

Leonidas menjadi bukti garis darah kami. raungannya panjang dan keras.

(5)

Adalah kehormatan mati di sampingmu. Adalah kehormatan pernah hidup untukmu. Ratuku.

Istriku. Cintaku.

"Ingatlah kami."

sebuah permintaan paling sederhana dari seorang raja. "Ingatlah kenapa kami mati".

Karena ia tak meminta penghargaan atau lagu. Tanpa monumen, puisi-puisi tentang keberanian. Permintaannya sederhana.

"Ingatlah kami."... Ia katakan kepadaku. Itulah harapannya.

Bila ada orang orang merdeka melewati tempat itu dalam ribuan abad yang akan datang,

Semoga suara kami...

...sampai padamu, dari batu2 yang tak lekang.

Katakan kepada orang orang Sparta, dan yang berlalu lalang, Bahwa disini, di bawah hukum Sparta, kami terbaring. dan rajaku wafat...

dan saudara saudaraku berguguran. Baru setahun yang lalu

Lama aku berpikir soal ucapan rajaku soal kemenangan Dan waktu membuktikan kebijaksanaannya.

Bahwa dari Yunani menjadi Yunani yang merdeka cerita telah menyebar bahwa Leonidas yang hebat bersama 300 pasukannya, jauh dari rumah, menyerahkan nyawa mereka bukan hanya untuk Sparta, tapi untuk seluruh Yunani dan janji yang dipegang bangsa ini.

Dan disini, di atas secarik bagian dunia bernama Platea ini, pasukan Xerxes menghadapi kehancuran.

Disana, di benteng barbar itu.

(6)

...dengan sangat dingin...

Benar benar mengetahui bahwa kengerian luar biasa yang mereka hadapi dari pedang dan tombak milik 300 orang.

Sekarang mereka menatap, di seberang tanah. Ada 10,000 orang Sparta, memimpin 30,000 orang Yunani merderka.

Musuh hanya sedikit lebih banyak daripada kita. Jumlah yang bagus untuk orang Yunani.

Hari ini kami akan menyelamatkan dunia dari mistik dan tirani.

Dan mengantar kepada masa depan yang lebih cerah daripada yg kita bayangkan. Berterima kasihlah semua...

Kepada Leonidas dan 300 orang yang pemberani. Menuju kemenangan!

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