An Analysis Of The Translation Of Cultural Terms In The Subtitling Of “Memoirs Of A Geisha” Movie

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AN ANALYSIS OF THE TRANSLATION OF CULTURAL TERMS IN THE SUBTITLING OF “MEMOIRS OF A GEISHA” MOVIE

A THESIS BY

AYU WAHYUNI IDRUS REG. NO. 080705050

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2012


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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,


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ACKNOWLEDGEMENT

Alhamdulillah, in the name of ALLAH SWT, the writer would like to thank God, the Almighty for His blessing on me. For His guidance and the grace, the power and chance He had given the writer to accomplish this thesis.

The writer’s sincere gratitude also goes to the Dean of Faculty of Cultural Studies, University of Sumatera Utara, Dr. H. Syahron Lubis, M.A, the Head and Secretary of English Department, Dr. H. Muhizar Muchtar, M.S, Dr. Hj. Nurlela, M.Hum, and all of the lecturers and the staff of English Department, for all the facilities and opportunities given to the writer during the study.

First and foremore, I would like to thank the writer’s supervisor and co – supervisor, Dr. H. Syahron Lubis, M.A and Drs. Yulianus Harefa, MEd TESOL for their guidance support, advice and constructive comments during the writing of this thesis.

The writer’s special thanks are expressed to the writer’s beloved parents, Idrus Siregar, S.H. and Hj. Norma, beloved sister Indri Yanti Idrus, Juliana Sham and also for my beloved little sister Ela Erdiyanti Idrus and Putri Ramadani Idrus for giving me support and attention.

Many thanks are addressed to the writer’s best friends Asfani Djayanti, Lia Agustina, Ira Annisa Rachman, Sitti Fatimah and also all the student’s of 2008.

Last but not least, the writer would like to express special thanks to someone that the writer cannot tell his name in this thesis who has given me a generous support, attention and a lot of care during the writing of the thesis, may Allah bless them all.

Amin.

The writer

AYU WAHYUNI IDRUS i


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AUTHOR’S DECLARATION

I (AYU WAHYUNI IDRUS) DECLARE THAT I AM THE SOLE AUTHOR OF THIS THESIS EXPECT 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.

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COPYRIGHT DECLARATION

NAME : AYU WAHYUNI IDRUS

TITLE OF THESIS : AN ANALYSIS OF THE TRANSLATION OF CULTURAL TERMS IN THE SUBTITLING OF “MEMOIRS OF A GEISHA” MOVIE

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.

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ABSTRAK

“Memoirs of a Geisha” merupakan salah satu novel yang ditulis oleh Arthur Golden pada tahun 1997. Novel ini juga merupakan salah satu novel terlaris dan telah diterjemahkan ke dalam 32 bahasa. Selain itu, novel ini juga telah diangkat ke dalam sebuah film yang disutradarai oleh Rob Marshall dengan judul yang sama pada tahun 2005. “Memoirs of a Geisha” merupakan objek dari tesis ini. Tesis ini menganalisis strategi – strategi yang dilakukan oleh penerjemah dalam menerjemahkan istilah – istilah kebudayaan yang terdapat didalam teks (subtitling) dari film ini dan menganalisis berbagai kategori dari berbagai istilah kebudayaan yang terdapat di dalam teks yang berbahasa Inggris dari film “Memoirs of a Geisha” tersebut. Fokus analisis ini adalah terjemahan yang terdapat di dalam teks (subtitling) dari film “Memoirs of a Geisha” tersebut, dimana di dalam teks (subtitling) film ini terdapat beberapa istilah kebudayaan yang tidak dapat diterjemahkan oleh penerjemah karena berbagai istilah kebudayaan tersebut merupakan istilah – istilah kebudayaan yang berasal dari Jepang. Selain itu, penerjemah juga mengkategorikan berbagai istilah kebudayaan tersebut kedalam teori penerjemahan. Dan di dalam teori terjemahan, kategori dari berbagai istilah kebudayaan tersebut dapat berupa ekologi, kebudayaan material, kebudayaan sosial, organisasi, dan kebiasaan.


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TABLE OF CONTENT

ACKNOWLEDGEMENTS...i

AUTHOR’S DECLARATION...ii

COPYRIGHT DECLARATION...iii

ABSTRACT...iv

TABLE OF CONTENTS...vi

CHAPTER I : INTRODUCTION 1.1 Background of the Study...1

1.2 Problems of the Study...4

1.3 Objectives of the Study...5

1.4 Scope of the Study...5

1.5 Significance of the Study...6

CHAPTER II : REVIEW OF LITERATURE 2.1 Definition of Translation...7

2.2 Process of Translation...8

2.3 Function of Translation...9

2.4 Strategies of Translation...10

2.5 Translation and Culture...12

2.6 Categories of Cultural Terms...13 v


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CHAPTER III : METHOD OF RESEARCH

3.1 Method of Research...18 3.2 Source of Data...18 3.2 Method of Collecting Data...19 CHAPTER IV : DESCRIPTION AND FINDING

4.1 Data Description...20 4.2 Finding...21 CHAPTER V : CONCLUSIONS AND SUGGESTIONS

5.1 Conclusions...29 5.2 Suggestions...30 REFERENCES

APPENDIX I : Biography of Arthur Golden APPENDIX II : Texts of “Memoirs of A Geisha”


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ABSTRAK

“Memoirs of a Geisha” merupakan salah satu novel yang ditulis oleh Arthur Golden pada tahun 1997. Novel ini juga merupakan salah satu novel terlaris dan telah diterjemahkan ke dalam 32 bahasa. Selain itu, novel ini juga telah diangkat ke dalam sebuah film yang disutradarai oleh Rob Marshall dengan judul yang sama pada tahun 2005. “Memoirs of a Geisha” merupakan objek dari tesis ini. Tesis ini menganalisis strategi – strategi yang dilakukan oleh penerjemah dalam menerjemahkan istilah – istilah kebudayaan yang terdapat didalam teks (subtitling) dari film ini dan menganalisis berbagai kategori dari berbagai istilah kebudayaan yang terdapat di dalam teks yang berbahasa Inggris dari film “Memoirs of a Geisha” tersebut. Fokus analisis ini adalah terjemahan yang terdapat di dalam teks (subtitling) dari film “Memoirs of a Geisha” tersebut, dimana di dalam teks (subtitling) film ini terdapat beberapa istilah kebudayaan yang tidak dapat diterjemahkan oleh penerjemah karena berbagai istilah kebudayaan tersebut merupakan istilah – istilah kebudayaan yang berasal dari Jepang. Selain itu, penerjemah juga mengkategorikan berbagai istilah kebudayaan tersebut kedalam teori penerjemahan. Dan di dalam teori terjemahan, kategori dari berbagai istilah kebudayaan tersebut dapat berupa ekologi, kebudayaan material, kebudayaan sosial, organisasi, dan kebiasaan.


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CHAPTER I INTRODUCTION 1.1 Background of the Study

Indonesia, the rich country, has many varieties of cultures, customs and languages. That is why many tourists come to Indonesia. Many tourists are interested in studying cultures in Indonesia like the customs and languages. The tourists know that every area or region in Indonesia has its own customs, cultures and languages which is different from others. However, from the all of the varieties, the most important thing of the varieties is the language.

Language as a means of communications has been used by human beings for thousands of years. Language is used by humans to communicate to each other, to express their thought, feeling, or ideas either in spoken or written language. It conveys one message in human mind into utterances. Saussure (1915:16) states that language is a system of sign that express ideas.

As human being, people always feel curious about everything that happen in this world like news, gossip, and entertainment. People can do it by reading magazines, newspapers, and by browsing internet. And nowadays, many scientific and non – scientific books are translated into Bahasa Indonesia, such as text – book, novels, articles, etc. So without the ability to master foreign language, the people still difficult get the information. Finnally, it can be a problem for the people to read and to understand it. Therefore, the way to solve this problem is to translate foreign language into local language that called translation.

Translation work is a complex task. It requres competency in both languages; the source language (SL) that is the language to be translated and the target language (TL), the language into which it is to be changed and also the cultural background of both languages.

Translation means transferring the meaning of SL into TL (Larson 1984:3) whereas Catfortd (1965:1) defines translation as the replacement of textual material in SL by equivalent textual material in TL. And the last, according to Larson (1984:2) cites “Translation, then consists of studying the lexicon, grammatical structure, communication situation, and cultural context of the SL text, analyzing it


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in order to determine its meaning, and then reconstructing this same meaning using the lexicon and gramatical structure which are appropiate in the TL and its cultural context.”

Every language has different style or ways in conveying ideas or messages. Adapting Sapir, Blount (1974:120) cites, “No two languages are ever sufficiently similar to be considered as representing the samesocial reality. The worlds in which different societies live are distinct world”. In Indonesia language, the word beras, padi, nasi, gabah, only have one equivalent word in English, that is rice. How about the word sarung in Indonesia language should be translated in English? The society in Britain or the other countries might be do not recognize the object. In this case, the translator should know the appropriate words for the cultural adjustment to the cultural words.

The most important thing to take into account by a good translator, the meaning which is being transferred must be held constant. And it will not be succesfully transfered if the translator neglets the cultural adjustment from the SL into the TL.

As Hartley (1982:191) says, “Communication between members of different cultures is possible because of an underlying sameness of human experience the world over and human’s ability to adjust to new modes of behaviour.”

From the statement above, it is obvious that language is a large and significant role in the totality of culture. The differences between cultures bring about difficulties in the process of translating from one language into another that is divergent and unrelated.

In translating, there is the terms “context of culture” must fully clear to the hearer or reader to understand a language (Bronislaw 1999:72) and Bassnet (1999:126) believes that translation must take place within a framework of culture. There is a tight relationship between translation and culture. If the translation is related to culture, the translation is not simply matter of seeking other words with similar meaning. Simply, when the translator wants to translate a text, the translator can not translate it directly. The translator has to analyze it first before reconstructing it into TL. So, translation and culture are linked.


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The word ‘culture’ has some meanings. For some people, it refers to an appreciation of good art, song, food, and literature. Tylor (1871) says that culture is “that complex whole which includes knowledge, belief, art, law, moral, custom, and any other capabilities and habit acquired by man as member of society”.

Newmark (2000:1) defines culture as “the way of life and its manifestations that are peculiar to a community that uses a particular language as its means of expression”. Whereas Gohring (1995) says that culture is one need to know to judge where's people behavior conform or deviates and in order to make one's own behavior conform to the society.

Based on those definiton of culture above, it can be conclude that every society has own culture, which is different from each other. The scope of the culture is very complex. The culture covers all the human need. The speech, behavior, thought are influenced by culture and it is clear that understanding of culture enable individuals relate to other people from different place. The expression of culture can be seen from the behavior, norms, values, and belief of people. Therefore, the people can learn the culture of certain society.

In understanding culture, the cultural terms should be understand. According to Kotter (1992), which formally defines culture as a whole pattern of behavior that is reflected in social life, religion, art, and institutional as well as all the result of the human mind and work on an entity certain people. Meanwhile, Koentjaningrat (2000) provides systemic understanding of a whole culture of ideas, actions, and works of the context of a society that is used as a human being by means of learning.

Culture has three categories or forms, namely: Firstly, culture as a complexity of ideas, values, norms, and rules. Culture form in this context is a form of cultural ideal rights are abstract. Example of this culture form is a system of cultural values, norms, laws, and regulations such manner. Secondly, culture as a complex activity pattern of human behavior in society. Culture form in this context is reffered to as a social system consisting of human activities that interact, hang out, and the basis of certain behavioral pattern of governance. The second form of this culture more concrete because it can be observed and documented. Thirdly, culture as objects of human handiwork. The third manifestation of this culture is a culture of physical and culture is the most concrete, such as buildings, temples, artifacts, houses and others.


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This thesis works on cultural terms in the subtitling of “Memoirs of a Geisha” movie. The writer chooses this movie because in the subtitling of “Memoirs of a Geisha” movie is found some words that is not translated by the translator. Subtitling is a secondary or explanatory title, as of a book or play, a book title repeated at the top of the first page of text and one or more lines of text, as a translation of dialogue in a foreign language, appearing usually at the bottom of a film or video image.

The problems that is found in the subtitling of “Memoirs of a Geisha” movie is when the writer sees the subtitling of the movie, the writer sees there are some words that is not translated by the translator. The translator does not get the equivalence of those words. Finally, the translator uses the strategies of translation and the cultural categories in the translation studies. The strategies of translation and cultural categories of cultural terms are the main discussion of this thesis.

“Memoirs of a Geisha” is a Japanese movie. “Memoirs of Geisha” is a movie that uses some words from Japanese culture. Japan is a rich country with various of the diversities in forefathers cultures. Eventhought the developing of technology in Japan has up date in every minute, the cultural sides in Japan are still conserved until now. Samurai, Tempura, Matcha, Sukiyaki, Nigiri-zushi, Norimaki, Sashimi, Shabu– shabu are some words based on Japanese culture.

In this thesis, the writer wants to analyze the strategies of translation and the cultural categories based on the words that are found in the subtitling of “Memoirs of a Geisha” movie. And in the analysis of this thesis , the writer uses the strategies of translation based on Baker’s Theory and the cultural categories based on Newmark’s Theory. This study is important to explore the strategies in translating the cultural terms due to one of the most challenging task in translating texts is found in the differences between cultures (Firoozkoohi 2010).

1.2 Problems of the Study

The problems are formulated as follows:

1. What strategies does the translator use in translating the cultural terms in the subtitling of “Memoirs of a Geisha” movie?


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1.3 Objectives of the Study

The purposes of the study can be summarized as follows :

1. To find out the strategies of translating the cultural terms used in the subtitling of “Memoirs of a Geisha” movie.

2. To find out the categories of cultural terms found in the translation and makes the meaning of them into Indonesian.

1.4 Scope of the Study

In this thesis, the writer discussed about the cultural terms in the subtitling of “Memoirs of a Geisha” movie is directed by Rob Marshall, and analyzes the strategies are used by the translator based on Baker’s Theory and the categories of the cultural terms based on Newmark’s Theory.

If the people take culture to be set of belief and practices which govern the life of society, then language is the vehicle for the expression of those beliefs and an instrument for finding out about the world. The first step that the people should do is the people should have more knowledge about language and culture firstly. It is caused language can not be saparated from culture; they are linked. So, without the more knowledge about culture, the people can not analyze everything that is related to language and culture.

A certain community with a certain language lives in the world of its own. The people have their own lifestyle, attitudes, behaviour and perceptions and the people express them through their language. A common language is the symbol of a common culture. Although communication between members of different cultures is possible because of human’s ability to adjust to new modes of behaviour, it becomes serious difficulties to translator to find the equivalence of the cultural terms from one society to another.

In this thesis, the writer devide the culture terms in categorization: ecology; material culture, social culture, organisations, and gestures and habits. A scope need to be set to avoid misdirection in this topic.


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1.4 Significance of the Study

This thesis is intended to be helpful theoretically and practically. Theoretically, this thesis analyses the strategies and the categories of the cultural terms in the subtitling of “Memoirs of a Geisha” movie. Therefore, the English’s students can understand the strategies and the categories in translation according to translation’s experts, so they can analyze that for their assigment, especially for students that want to analyze the cultural terms. Practically, this thesis can be used as references to study about the strategies and the categories of the cultural terms in the translation.


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CHAPTER II

REVIEW OF LITERATURE 2.1 Definition of Translation

There are some definitons of translation and the following definitions have been selected. Bell (1991:6) also says "Translation is the replacement of a representation of a text in one language by a representation of an equivalent text in a second language".

Nida and Taber (1982:12) state ‘translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in the term of meaning secondly in the term of style’.

Kridalaksana (1999:19), “Penerjemahan sebagai pemindahan suatu amanat dari bahasa sumber ke dalam bahasa sasaran dengan pertama-tama mengungkapkan maknanya dan kemudian gaya bahasanya”. (Translation as transferring a message from SL to the TL by firstly expresses the meaning and then the style of language).

Newmark (1988) states translation is an instrument of education and instrument in transmitting culture. Foreign communities have their own language structures and their own cultures, their own way of thinking and of expressing themselves, but all these can be explained by translation. He also gives the procedures to translate the cultural terms. He suggests that the translators should discuss the author’s life or general background to help them to understand the next.

Newmark (1982) says translation theory attempt to give some insignt into the relation between thought, meaning, and language; included the understanding of cultures. He tries to emphasize that a translator has to bear in the intention of the original in mind through out his work; the same emotional and persuasive intentions as the original and the cultural flavour of the SL text.

Dubois (1991: 5) says, “Translation is the expression in another language (or target language) of what has been expressed in another, source language, preserving semantic and stylistic equivalences".

Bell (1991:6) also says "Translation is the replacement of a representation of a text in one language by a representation of an equivalent text in a second language".


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Based on those definitions above, it can be concluded that translation is an expression of transferring the original message of the original author into another language by using the exact meaning of words or the equivalent one and in terms of style.

2.2 Process of Translations

Nida and Taber (1969) divides the process of translating into three stages system: 1) Analysis the SL message into its simplest and structurally clearest form; 2) Transfer the message; and 3) Restructures the message in the TL to the level which is most appropriate for the audience addressed.

Diagram:

SOURCE LANGUAGE TARGET LANGUAGE

The analysis begins with discovering basic element in SL, the process in which grammatical relationship and the meaning of words or its combination are analyzed. Then move to transfer the analyzed material into the mind of translator from SL to TL. Then, the last phase is the phase where the translator rewrites or re-expresses the material, which is readable and acceptable in terms of rule and style in TL.

Furthermore, Nababan (1999:25) divides the process of translation in three major steps. 1) Analyzing the ST; the first step is analyzing the text. Analyze the linguistics and extra-linguistics elements in the text. Linguistics elements is the elements deals with language, while extra-linguistics is the elements beyond the language, such as the culture and the social context of the text. 2) Transfer the meaning ; the second step is transferring the meaning. In this step the translator has

Translation Text

Restucturing Analysis


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to find the equivalentof the ST. This process happens in mind (proses batin). It means that this process is in the abstract form. 3) Reconstruction ; the last step is reconstruction. After finding the equivalent of ST, we reconstruct it in the form of TL becoming TT. In this step, we must decide what style that suits best to the text and the readers.

2.3 Function of Translation

According to Hartley (1982:186), “ Translating is a particular kind of communication and in all communication information is lost somewhere in the channel between sender and receiver. There are cultural and linguistic obstacles which may make the original messages or effects become difficult to achieve.” There are three essential elements to form a process of communication. The three elements are source, message and target. These three elements must be found in all communication activities. In this case, translation is an interlingual communication activity, that is the communication by using two different languages. Translation here is a written communication.

Furthermore, (Allan Duff, 1989:5) states that, “Translation as the process of conveying message across linguistic and cultural barriers, is an eminently communicative activity”. Larson also says that the best translation is the one which communicates, as much as possible, the TL speakers understood the same meaning with the meaning that understood by the speakers of SL.

As the process of communication, translation functions as the medium in conveying the message across linguistics and cultural barriers. It functions as a bridge to carry the messages or meanings from the SL to the TL. Translation has function as the medium between the SL and the TL.

Newmark (1988:10) states “ Translation is now used as much to transmit knowledge and to create understanding between groups and nations, as to transmit culture”. From his statement, it is obvious that translation is also fulfills the demand for demand for many kinds of reading in the fields of education and science, the need of good translation can not be denied. The people need the scientific information from the countries who have high technology.


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Now, many countries complete to know up – to – date science, news, and technology from the progressive countries. By translation, foreign language barrier is no longer a problem to grasp the knowledge from other countries.

Translation helps the people to understand better the influence of the one language on the other, and because translation involves contrast, it enable the people to explore the potential of both language; their strength and weaknesses (Duff, 1989:6).

2.4 Strategies of Translation

Based on the diagram above, the people can now look at examples of strategies that are used by professional translators for dealing with various types of non – equivalence. In each example, SL word which represents a translation problem is underlined. The strategy used by the translator is highlighted bold in both the original translation and the back translated version. Only the strategies used for dealing with non – equivalence at word level will be commented on.

According to Baker (1992), there are eight strategies that are used by professional translators. The eight strategies are :

1. Translation using loan words in the source text. 2. Translation by cultural substitution.

3. Translation using a loan word or loan words plus explanation. 4. Translation by paraphrase using related words.

5. Translation by paraphrase using unrelated words. 6. Translation by omission.

7. Translation by illustration.

8. Translation by a more general word (superordinate).

In the “Memoirs of a Geisha” movie, the translator only uses the three strategies based on Baker’s Theory. The three strategies are (1). Translation using loan words in the source text, (2) Translation by cultural substitution and (3). Translation using a loan word or loan words plus explanation.


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(1). Translation using loan words in the source text.

The using of loan words in the source text poses a special problem in translaion. Quite apart from the respective propositional meaning, loan words such as “au fait, chic, and alfresto” in English are often used for the prestige value, because it can add an air of sophistication to the text or its subject matter. This is often lost in translation because it is not always possible to find a loan word with the same meaning in TL.

Example : ST : I certainly wasn’t born to the life of a Geisha.

TT : Aku tidak dilahirkan dalam kehidupan seorang Geisha. (2). Translation by cultural substitution.

This strategy involves a culture – specific items or expression with a target language item which does not have the same propositional meaning, but it is likely to have a similar impact on the target reader. The main advantage of using this strategy is that it gives the reader a concept with which the reader can identify, something fimiliar and appealing.

On individual level, the translator’s decision to use this strategy will largerly depend on (a) how much licence is given to him / her by those who commission the translation and (b) the purpose of the translation. On more general level, the decision will also reflect, to some extent, the norms of translation prevailing in a given community. Linguistic communities vary in the extent to which they tolerate the strategies that involve significant departure from the propositional meaning of the text.

In the “ Memoirs of a Geisha” , there are some words that used the cultural substitution. The translator uses this strategy because the word is Japanese cultural in communication that has the close relationship with others.

Example : ST : He looked at me, that’s all oneisan. TT : Dia melihatku. Itu saja, kakak.

(3). Translation using a loan word or loan words plus explanation.

This strategy is particularly common in dealing with culture – specific items and modern concepts. Following the loan word with an explanation is very useful


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when the words in question are repeated several times in the text. Once explained, the loan word can be used on its own ; the reader can understand it and is not distracted by further lengthy explanations.

In the “ Memoirs of a Geisha”, the translator uses this strategy in order to the reader can uderstand the meaning of the Japanese culture. The translator also uses this strategies for the words that have some meaning for a Geisha, so that the translation take the close meaning or right meaning, especially for a Geisha.

Example : ST : The Baron is a very special man to me, my ‘ danna’. TT : Baron orang yang spesial bagiku, Danna–ku( pelindung). 2.5 Translation and Culture

Bronislaw Malinowski was one of the first anthropologists to realize that language could only be understood with reference to culture: a context of culture. Moreover, Franz Boas (in Katan 73) added, "The form of language will be moulded by the state of that culture." Sapir on the other hand was convinced that not only importance of the social background but that future language studies would turn to a concept of culture.

In different societies, people not only speak in different language and dialect, but they are also using the language in a different way. The difference reflects the different cultural values. This statement is in accordance with the definition given by Newmark (1988:94) "The way of life and its manifestation that are peculiar to a community that uses a particular language as its means of expression" which implies that each language group have a culturally specific features.

Nababan (1984: 50) states “… Bahasa, sebagai system komunikasi, mempunyai makna hanya dalam kebudayaan yang menjadi wadahnya… mengerti sesuatu bahasa tertentu memerlukan sedikit banyak pengertian tentang kebudayaan” (Language, as communication system, has meaning only in a culture in its place...understanding something specific language requires a little more cultural understanding). Therefore, any translator who wants to translate SL to TL must understand the culture of both SL and TL.

If the translators take culture tobe a set of beliefs and practices which govern the life of society, language is a vehicle for the expression of those beliefs, for their transmission from generation to generation, and an instrument for finding out the


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world. Language is a key component of culture. It is the primary medium for transmitting culture.

In the process of translating a text, a translator should translate the expressions from culture context. Translation from one language to another language cannot be done adequately without the knowledge of the two cultures a well as the two language cultures. Larson (1988:431) says, “ The translator must know the subject matter which he / she is translating. He / she must know the culture from which the message originally came as well as the culture for which it is being translated”.

Translation and culture has a close relationship. If the translator wants to translate the text, the translator must know the concept of culture firstly. Larson (1988:431) says, “the translators must know the subject matter which he / she is translating. He / she must know the culture from which the message originally comes as well as the culture for which it is being translated”.

Simply, culture is an important role in translation. The translation will be easier if the translator is support by an adequate knowledge about the culture from SL and TL. Finally, the translator must be aware in translating problems due to the differences of culture between SL and TL.

2.6 Categories of Cultural Terms

Actually, there are many definitions of culture. The classic definition of culture was given by Taylor (In “The Translation of Agatha Christie’s The Mirror Crack’d to Dan Cermin pun Retak translated by Suwarni A.S:1997:25), an anthropologist. He stated that “ Culture is that complex whole which includes knowledge, belief, art, morals, law, custom, and other capabilities and habits acquired by man as a member of society”. Culture issues from society in interaction. The product of group interaction is its culture. The concept of culture pattern provides a basic insight into the reason why group behavior is ordered and regular. Culture patterns are intangible and exist only in the minds and habits of human being.

The differences between cultures become problems in the process of translation from one language into another that is divergent and unrelated. For


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example, how the translator translates ‘ Selamat Tujuh Bulan’ into English. Cultural disparities present the greates obstacle to translation. Translation fail occurs when it is impossible to build functionally relevant features of the situation into the contextual meaning of the target language text.

The translator must be aware of the translation problems due to the cultural ‘gap’ or ‘distance’ between the SL and TL. In finding out the meaning of word, he / she cannot see simply by the word itself, but he / she has too see the cultural context of the language also.

Newmark (1988) offers the cultural termscategories which may appear in translation, i.e, ecology; material culture; social culture; organisation; gesture and habits. He also tries to discuss the translation of cultural terms in the narrow senseas follows:

1. Ecology – Animals, plants, local winds, mountains, plains, ice, etc.

According to L. J Henderson (1950:138) (In “The Tranlation of Agatha Christie’s The Mirror Crack’d to Dan Cermin pun Retak translated by Suwarni A.S:1997:29) “ The environments of an organism consists of those characteristics of the external world which have an appreciable effect upon it. The environment varies from one locality to another for the same species and from one species to another in the same locality.”

Environments are different from one area to another. Every language has its own words to call or naming things or natural features in their surrondings. Cultural terms that are included in this category are words related with living organism and all the various aspects of the environtments in which they inside.

Geographical features can be normally distinguished from other cultural terms in that are usually value – free, politically and commercially. Nevertheless, the diffusion depends on the importance of the country of origin as well as the degree of specificity.

2. Material Culture (artefacts) – Food, clothes, housing, transport and communications.

Material culture is clearly the product of man. Material culture is the externalization or physical manifestation of the interaction of human beings. Its includes all the artifacts or material objects. The artifact reflects the cultural ideas


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about the relation with the environment and with one another. The idea that artifacts are parts of a cultural system and are thus reflections of a society’s world view is the basis for the work of the anthropologist who tries to reconstruct past cultures from material remains.

Perhaps, the most important relationship between a species and its environment is the process of food acquisition. How a society gets its food has important ramifications for all other aspects of its culture.

Food is for many the most sensitive and important expression of national culture; food terms are subject to the widest variety of translation procedures. Clothes as cultural terms may be sufficiently explained to TL general readers if the generic noun or classifier is added : e.g. ‘shintigin trousers’ or ‘basque skirt’, if the particular is of no interest, the generic word can simply replace it. However, it has to borne in mind that the function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used.

Clothes as cultural terms may be sufficiently explained for TL general readers if the generic noun or classifier is added. For national customers, they are kept as the original words e.g., sari, kimono, yulaka, kebaya, kaftan, and jubbah. However, it has to be borne in mind that the function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used. Transport is dominated by American. And the car, a sacred symbol in many countries of sacred private property.

3. Social culture – work and leisure.

Man cannot exist in isolation. We live in society and make interaction. Society exists in and through social interaction, a human beings react to others and in turn are influenced by them. Social interaction is thus reciprocal and each member governs his behavior in terms of the expectations of others. Each society has its own way to establish social interaction, for example in greeting someone, a person from the different society (specially with different language) has different expressions from other societies although the perpose is the same.


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Social culture is the product of social interaction. The groups of people produce customs, ideas, belief, knowledge, attitudes, values, and behavior patterns (acts) that are handed down from generation to generation. Certain society has certain forms of daily activity, from eating and drinking to propitiating the supranatural powers. In considering social culture one has to distinguish between denotative and connotative problems to translation.

4. Social Organisations, customs, ideas – Political, social, legal, religious, artistic. The political and social life of a country is reflected in its institutional terms. Where the title of a lead of state or the name of a parliament are transparent, they are easily translated, i.e, President, Prime Minister, and King, Senate. Where the name of a parliament is not readily translatable, i.e, Bundenstag (German Federal Parliament) is often transferred for an educated readership and glossed to a general readership.

When a public body has a transparent name, the translation depends on the setting. In official document and in serious publication such as textbooks, the title is transferred and where appropiate, literally translated. Informally, it could be translated by a cultural equivalent, e.g. The French Electricity Board or The Postal Service.

5. Gestures and Habit (often desribed in ‘ non – cultural’ language).

Social interaction is a continuous and reciprocal series of contacts between two or more socialized human beings. These contacts may be physical in the sense that each person does something physically to the other; more often they are simbolic, in the sense that each person exchanges symbolic meanings with the other, in the form of language or other significant gestures. When two person interact, they exchanges meaningful gestures – whether smile, signs, frowns, or yawns, and sometimes a gesture can become a habit.

For ‘ gesture and habits’ there is a distinction between description and fuction which can be made where necessary in ambiguous cases ; thus, if people smile a little when someone dies, do a slow hand – clap to express a warning appreciation, give a thumbs – up to signal OK, all of which occur in some cultures and not in others.


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Many societies in different countries have their own way to express their feelings and ideas through gestures. For example in India, people shake their head oftenly while they are speaking, but Indonesian people won’t do that because it will bring negative result to hearer. In certain society, kissing the finger tips could be mean to greet ot to praise, and a slow hand clap to express warm appreciation, etc. All of these occur in some cultures and not in others.

Finally, from the explanations above, the writer could comprehend that there are five cultural categories in the translation. The cultural categories can help the writer to identify the cultural terms in the subtitling of “Memoirs of a Geisha” movie. Beside that, the cultural categories also help the students who want to study about translation and the student can get the explanation about the cultural categories based on Newmark’s Theory.


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CHAPTER III METHOD OF RESEARCH 3.1 Method of Research

There are some methods applied in this research. Nawawi (1995:61) states that method is conducted in order to reach a goal. In this analysis, a descriptive – qualitative method is used. As quoted from Bungin (2001:124-125), “Data kualitatif diungkapkan dalam kalimat serta uraian – uraian, bahkan dapat berupa cerita pendek”. (Qualitative data is applied in sentence and description, even in short story). Descriptive – qualitative method is used in order to explain and describe the data. Descriptive method is a way in solving a problem by describing the facts of subject / object of research as the way they are.

In this analysis, the library research method is applied also. Nawawi (1993:30) “penelitian kepustakaan dilakukan dengan cara menghimpun data dari berbagai literature baik di perpustakaan maupun tempat – tempat lain ”. Library research is done by collecting the data from any kinds of source in the library or any other places. All the information about cultural terms from linguistic books, internet, dictionary and any other source are also used.

3.2 Source of Data

Azwar (2004) states 'the data is group of objects that are going to be generalized by the result of research' (data adalah kelompok subjek yang hendak dikenai generalisasi hasil penelitian).

Sample is part of population. The non-probability sampling approaches used in this study is purposive sampling because only cultural terms which are trying to be found in the SL and TL. This sampling approach is practical and economical to use. The sample in this thesis is cultural terms in the subtitling of “Memoirs of a Geisha” movie that consist of 15 cultural terms.


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3.2 Method of Collecting Data

Data collection method used in this study, are as follows: 1. The writer watches the whole movie.

2. The writer takes the samples of data. Tabulate the data into tables and decides the categories with its the meaning into Indonesian.


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CHAPTER IV

DESCRIPTION AND FINDING 4.1 Data Description

“Memoirs of a Geisha” is a love stories and has been translated into thirty – two languages around the world. It started by the Chinese actresses a

Filming was primarily done in California, and in some locations in Kyoto, including numerous awards, including nominations for six Marshall was criticised in Japan for choosing a Chinese actress rather than a Japanese one for a role having so much to do with traditional Japanese culture.

The film, set in Japan during the Sakamoto (portrayed b poor, young Japanese girl who has been sold along with her older sister Satsu into a life of servitude by her parents when she is nine years old. Chiyo is taken in by the proprietress of a geisha house, Mother sold to another house in the

At the okiya by attempting to run away. Instead of training to become a geisha she is given manual labor to do to pay off the debt of her purchase. Hatsumomo beautiful and famous but cruel


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into ruining a kimono belonging to the well-known geisha Mameha Under Mameha’s mentorship, Chiyo becomes the geisha named Sayuri, trained in all the artistic and social skills, a geisha must master in order to survive in her society. As a renowned geisha, she enters a society of wealth, privilege, and political intrigue. As world war II looms in Japan, the Geisha’s world are changed by the onslaught of history.

4.1Finding

In this thesis, the writer wants to analyze the two problems that are in the subtitling of “Memoirs of a Geisha” movie . The first problem is the strategies of translating the cultural terms in the subtitling of “Memoirs of a Geisha” movie. And the second problem is the categories of cultural terms found in the translation and makes the meaning of the terms into Indonesian. Finally, the writer tabulates the data into tables and decides the categories with the meaning into Indonesian.

Based on the analysis of this thesis, there are three strategies that translator done in translating the cultural terms in the subtitling of “Memoirs of a Geisha” movie, they are translation using loan words in the source text, translation by cultural substitution, and translation using a loan word or loan words plus explanation. Beside that, there are five categories of cultural terms in translation that the writer found in the subtitling of “ Memoirs of a Geisha”, they are Ecology, Material Culture, Social Culture, Social Organisations, and Gestures and Habit.

1. Translation using loan words in the source text.

No SL (Source Language) TL (Target Language)

1 I certainly wasn’t born to the life of a Geisha.

Aku tidak dilahirkan dalam kehidupan seorang Geisha.

2 It goes to this Okiya. All fifteen thousand yen. To this estate.

Uangnya masuk ke Okiya ini.

15.000 Yen ditujukan pada rumah ini.

3 Who paid for that Kimono on your back, the rice in your bowl.

Siapa yang membayar Kimono yang kau pakai, nasi dalam mangkukmu?


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4 I am a Maiko now, an apprentice Geisha.

Aku seorang Maiko. Sekarang, Geisha yang sedang dilatih.

5 If Pumpkin drinks any more Sake, she will pass out.

Jika Pumkin minum lebih banyak Sake, dia akan pingsan.

6 Your first Sumo match what? Pertandingan Sumo pertamamu. Apa?

7 Hataki-comi is a movement a smaller opponent uses to throw a larger opponent off balance.

Hataki-comi adalah gerakan dari pesumo yang lebih kecil untuk melempar lawannya yang lebih besar hingga jatuh.

8 Ekubo. At the right moment, slip it to Nobu discreetly.

Ekubo. Disaat yang tepat, berikan diam-diam pada Nobu.

9 Has rooted to the earth as Sakura tree.

Berakar kuat ke dalam bumi seperti pohon Sakura.

10 Kimono likes this made of Tatsumura silk.

Kimono seperti ini terbuat dari sutra Tatsumura.

11 Well your cave is untouched. Men like that, we call this Mizuage.

Guamu belum tersentuh. Pria suka itu, kami menyebutnya Mizuage.

12 The most famous Geisha in the Hanamachi.

Geisha paling terkenal di Hanamachi.

From the table above, the translator does the first strategy that is translation using loan words in the source text. In the subtitling of “Memoirs of a Geisha”movie, translator cannot get the equivalence of the words, especially the cultural equivalent. The cultural equivalent is an approximate translation where a source language cultural word is translated by a target language cultural word.


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Beside that, using loan words in the source text can also be called as Borrowing that is in Direct or literal translation procedures. It is used when structural and conceptual elements of the source language can be transposed into the target language.

Borrowing is usually used in terms of new technical or unknown concepts, to overcome a gap. Borrowing is the simplest of all translation method. According to Haugen in Siregar (2009:37) there are some possibilities that may occur in this procedure; first, borrowing with no change in form and meaning (pure loan words), the second, borrowing with changes in form but without changes the meaning (mix loan words) and the third, borrowing when part of the term is native and other part is borrowed, but the meaning is fully borrowed (loan blends).

Based the table above, there are fiften cultural terms in the subtitling of “Memoirs of a Geisha” movie.

Example :

ST : I certainly wasn’t born to the life of a Geisha.

TT : Aku tidak dilahirkan dalam kehidupan seorang Geisha.

ST : It goes to this Okiya. All fifteen thousand yen. To this estate.

TT : Uangnya masuk ke Okiya ini. 15.000 Yen ditujukan pada rumah ini.

From the example above based on the table, the writer sees that the translator can not translate the words of Geisha and Okiya in the subtitling of “Memoirs of a Geisha” movie. It caused there’s no the equivalent of the cultural terms, so the translator can not make the exactly meaning of the all of the cultural terms in the subtitling of “Memoirs of a Geisha” movie and the translator uses the strategies in order to the texts can be simple in the screen.


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2. Translation by cultural substitution.

No SL (Source Language) TL (Target Language)

1. The Baron gave it to me when he became my danna.

Baron memberikannya padaku ketika menjadi pelindungku.

2 He looked at me, that s all one-san. Dia melihatku. Itu saja, kakak.

3 My dear oka-san. Ibuku sayang

Based on the table above, translator uses the strategy of translation by cultural substitution. In Japan, danna is a cultural subtitution. Danna is used for someone that has close relationship with the others one. The words onesan and okasan are also cultural subtitution that has close relationship.

ST : The Baron gave it to me when he became my danna.

TT : Baron memberikannya padaku ketika menjadi pelindungku.

ST : He looked at me, that is all one-san. TT : Dia melihatku. Itu saja, kakak.

In Japan, especially for Geisha, the word “Danna” is used for someone or the girl as Maiko that has close relationship with the other men that women meet through thier work, such relationships are carefully chosen and unlikely to be casual. The translator does the strategies for giving the explanation to the reader that Danna, Okasan and Onasan are the cultural substitution from Japanese culture that tight relationship.

3. Translation using a loan word or loan words plus explanation. No SL (Source Language) TL (Target Language) 1 The Baron is a very special man

to me, my danna.

Baron orang yang spesial bagiku, Danna-ku (Pelindung).


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In this last table, the translator uses the strategy of translation using a loan word or loan words plus explanation. It is used in the subtitling of “ Memoirs of a Geisha” movie, in order to the readers or the audiences can understand the meaning of the words. In the subtitling of “Memoirs of a Geisha”, the translator gives the explanation for words “Danna and Mizuage” at once. Therefore, the reader or the audiece can know the meaning of those cultural terms. Simply, the translator gives the meaning, in order to the reader or the audience are misunderstanding about the words because the words are very specifics meaning for a geisha.

Beside that, in the subtitling of “Memoirs of a Geisha” movie, the writer sees some of the cultural terms based on Japanese culture. And finally, the writer categorizes cultural terms and made the meaning of them into Indonesian.

In the “Memoirs of a Geisha” movie is found fifteen of the cultural terms that is categorized by Newmark (1988:94).

No Cultural Terms

Categories Meaning

1 Geisha Custom (art) Kata geisha berarti seniman. Geisha semata – mata adalah pelayan profesional yang menghibur tamunya dengan talenta yang memukau dan daya tarik yang luar biasa.

2 Okiya Material Culture (house)

Rumah geisha.

3 Kimono Material Culture (clothe)

Pakaian Jepang.

4 Danna Social Culture Danna adalah klien yang memiliki hubungan yang lebih dekat secara emosional dan seksual dengan seorang geisha. Memiliki seorang danna bukanlah keharusan bagi seorang geisha.


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pemula . Secara literal mai = menari, ko = anak, tetapi dalam konteks geisha, maiko adalah seorang calon geisha yang masih perlu dibimbing dan harus menjalani masa latihan (umumnya 5 tahun).

6 Sake Material Culture Minuman beralkohol dari beras. 7 Sumo Custom (art) Gulat.

8 Hatakicomi Concept (art)

Salah satu strategi menjatuhkan lawan dalam sumo dengan memanfaatkan kekuatan lawan.

9 Ekubo Material Culture (food)

Jajan dari beras ketan yang dibuat untuk merayakan wanita yang mendapatkan haid pertama (biasanya di daerah Kyoto).

10 Sakura Tree Ecologi (flora) Bunga sakura. 11 Tatsumura

Silk

Material Culture Nama sutra.

12 Mizuage Concept Menarik dari air dari anggapan bahwa segala sesuatu yang ditarik dari air pasti segar sebagaimana halnya keperawanan seorang gadis. 13 Hanamachi Material Culture Kata Hanamachi secara literal berarti

kota bunga (hana = bunga, machi = kota). Kata ini adalah sebuah nama yang mengacu pada distrik-distrik tempat tinggal para geisha.

14 Onesan Social Culture Onesan berarti kakak perempuan. 15 Okasan Social Culture Wanita pemilik okiya


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Based on the table above, the translator take out the fifteen cultural terms in the subtitling of “Memoirs of a Geisha” movie to make them in the categories based on the Newmark”s theory. And then, the translator makes them in Indonesian. The translator makes them in Indonesian, in order to the reader can specify meaning from the Japanese cultural terms. In order to the misunderstanding about the meaning can not be happened, the writer gives the meaning and history of the cultural terms below.

Newmark categories “Geisha” as custom (art). Custom can be included dancing and singing. The word “geisha” itself literally means 'person of the arts' - indeed the earliest geisha were men - and it is as performers of dance, music and poetry that they actually spend most of their working time. But while many people assume that geisha is just a Japanese word for a prostitute, the somewhat more romantic word 'courtesan' is probably closer in nuance. But Newmark gives the meaning of “Geisha” in Indonesia is “Seniman”.

The word “Okiya” is included as the material culture. The material culture can be called something like house, clothes, and etc. An okiya is the lodging house in which a a geisha.But according to Newmark, Okiya has meaning “Rumah Geisha”.

“Danna” is a social culture. It means that a“danna” was typically a wealthy man, sometimes married, who had the means to support the very large expenses related to a geisha's traditional training and other costs. This sometimes occurs today as well, but very rarely.

“Maiko” is the custom (art). Maiko (pronounced “my-ee-ko") is a Japanese term meaning “Dancing Girls”, (a title given to women who are striving to perfect themselves in the fine arts). It's exciting to see Maiko drum and dance across the stage.

“Mizuage” is a concept of culture base on the Newmark’s Theory. Mizuage is same as virginity of women or geisha. Mizuage was not considered by geisha to be an act of prostitution. The money acquired for a maiko’smizuage was a great sum and it was used to promote her debut as a geisha.


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autobiography as being an initiation party, symbolized on the geisha-to-be by a change in hairstyle rather than the loss of virginity. It is a celebration of the passage of girl (maiko) to woman (geisha).

Hanamachi is material culture. Nowadays, the term “hanamachi” is commonly used in modern Japan to refer to the areas where modern-day okiya are still operating.

And the last for words “Onesan and Okasan”. The words are used for close relationship. Th "mother" and onesan is a sister).


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CHAPTER V

CONCLUSION AND SUGGESTION 5.1 Conclusion

Based on all the topics and the analysis of the data presented, now the writer comes to the conclusion that the study on the cultural terms in the work of translation is very important. This is concerned with the purpose of translation, that is to transfer the meaning of the SL text into the TL. In the process of interpreting a text, a translator should interprete the expressions from cultural context. The knowledge of cultural background here plays an important role especially when translating cultural terms.

In the proces of translating the cultural terms, a translator was recommended to use translation strategies to be applied according to the context of SL text, the intention of the original author wants to convey, and the context of the readers of the SL.

Finally, after having analyzed the strategies and the categories of the cultural terms in this thesis, the writer draws some conclusions that there are fifteen of cultural terms in the subtitling of “Memoirs of a Geisha” movie that translator cannot translate them directly because the fifteen of cultural terms in the subtitling of “Memoirs of a Geisha” movie are the Japanese culture terms. Therefore, translator does the strategies in translating the cultural terms in the subtitling of “Memoirs of a Geisha” movie.

In translation, there are eight strategies in translating the cultural terms, but in this thesis the writer sees that the translator just uses three strategies in translating the cultural terms, they are translation using loan words in the source text, translation by cultural substitution and translation using a loan word or loan words plus explanation.

From the strategies in translating the cultural terms that is in the subtitling of “Memoirs of a Geisha” movie, the translator categorize the fifteen of cultural terms into table and makes the meaning of the cultural terms in the subtitling of “Memoirs of a Geisha” movie into Indonesian, in order to the readers can undertand the


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categories in translation based on the cultural terms of the movie. And the last analysis, the writer gives the more explanation about the caltural categories based on the Newmark”s Theory, in order to avoid a misunderstanding about the Indonesian meaning.

5.2 Suggestion

Besides the conclusions above, the writer also would like to give some suggestions to the students and the readers and even to the translators:

- Since the translations take significant role as a process of communication: the medium across the linguistic and cultural barriers in conveying the messages written in the foreign languages; it is important for the people to study the Translation Theory and make further research based on it.

- The writer would like to suggest the student or readers or translators to study the cultural background which constitutes cultural terms in both languages in translating a text.

- The writer would like to suggest the students or readers to study and use the strategies of translation when translating a text in foreign language.

- Studying the strategies and categories in translation is very interesting, because the reader can know how the translator translates the cultural terms in the subtitling of the movie, especially in the subtitlling of “Memoirs of a Geisha” movie.

- The writer also suggests that the readers should change their perception about geisha. Geisha is not only about prostitution, but also about arts and struggle life. This movie can enrich the knowledge about Japanese culture.


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REFERENCES

Azwar, Saifuddin. 2009. Metode Penelitian. Yogyakarta : Pustaka Pelajar. Baker, Mona. 1992. In Other Words. New York : Routledge.

Bell, T. Roger. 1991. Translation and Translating : Theory and Practice. London : the United State of America by Longman Inc, New York.

Bungin, Burhan. 2001. Metodologi Penelitian Sosial. Surabaya : Airlangga University Press.

Candlin, C. 2001. Teaching and Researching Translation. Hongkong : Pearson Education Limited.

Corbin, J. 2001. Basics of Qualitative Research. London : Internasional Educational and Professional Publisher.

Firoozkoohi, Sepideh. 2010. Culture-Specific Items in Literary Translation. Retrieved fro 2012).

Golden, Arthur. 1997. Memoirs of a Geisha. London : Vintage.

Golden, Arthur. 1997. Memoirs of a Geisha. Jakarta : Gramedia Pustaka Umum. Munday, Jeremy. 2001. Introducing Translation Studies : Theories and Applications.

Canada : Routledge.

Larson, M. 1998. Meaning–Based Translation. University Press of America ; second edition.

Nawawi, Handari. 1995. Penelitian Bidang Sosial. Yogyakarta : Gadjah Mada University Press.

Nida, Eugene A & Charles R. Taber. 1982. The Theory and Practice of Translation. Leiden : E. J. Brill.

Newmark, P. 1988. A Textbook of Translation. NewYork : Prentice Hall. Newmark, P. 1988. Approaches to Translation. Hertfordshire : Prentice Hall.

Ordudari, Mahmoud. 2007. Translation procedures, strategies and methods. Retrieved from 2012).


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Sakri, A. 1984. Ihwal Menerjemahkan. Bandung : Institut Teknologi Bandung. Saussure, Ferdinand de. 1966. Course in General Linguistic. Edited by Charles Bally

and Albert Sechehaye, in collaboration with Albert Riedlingser. Translated by Wade Baskin. New York : McGraw-Hill Book Company.

Sapir, E. 1984. New Perspectives in Language, Culture, and Personality. Ottawa. Fitriana, S. 1997. “The Translation of Agatha Christie’s The Mirror Crack’d to Dan

Cermin pun Retak translated by Suwarni A.S. (unpublished thesis)

(Selasa, 06 Maret 2012, 11:24 Wib)


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APPENDIX I

Biography of Arthur Golden

Arthur Golden was born in 1956 and brought up in Chattanooga, Tennessee. He is a 1978 graduate of Harvard College with a degree in art hitory, specializing in Japanese art. In 1980, he earned an M. A. In Japanese history from Columbia University, he also learned Mandarin Chinese. After a summer at Beijing University, he went to work at a magazine in Tokyo. In 1988, he received an M. A. In English from Boston University. He was lived and worked in Japan and since that time has been teaching, writting, and literature in Boston area. Now, he lives in Brookline, Massachusetts, with his wife and children.

After it released in 1997, Memoirs of a Geisha spent two year on The Newyork Times bestseller list. It has sold more than four million copies in English and it has been translated into thirty two languages around the world.

The movie “Memoirs of a Geisha” is a novel that was written by Arthur Golden after interviewing a number of geisha and background information about the world of geisha, especially in Japan.

In 2005, Memoirs of a Geisha was made into feature movie directed by Rob Marshall and its garnering three Academic Awards.


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APPENDIX II

Texts of “Memoirs of A Geisha” By : Rob Marshall

A story like mine should never be told for my world is as forbidden as it fragile. Without misteries, it cannot survive. I certainly wasn’t born to the life of a Geishalike so much in my strange life... I was carried there by the current. The first time I knew my mother was sick...was when my mother threw the fish back into the sea. The night we went hungry. “ To understand emptiness,” he told us. Mother always said my sister Satsu was like wood. As rooted to the earth a Sakura Tree. But, she told me I wa like water. Water can curve its way, eventhough stone. And when trapped, water makes a new path.

Tanaka : Stop here!

Auntie : These are the girls from Tanaka? Tanaka : Sister, yes, From Yoroido.

Auntie : This one, maybe. The other one no. Satsu : No, no, Chiyo! Chiyo!

Chiyo : Satsu! Satsu!

Auntie : Show your respect for mother. You must not speak. I will answer for you.Kneel!! And head down. Never look her in the face.

Mother : How old are you?

Auntie : She is Year of the Rooster. Mother : Only nine.

Chiyo : Where is my sister?


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Auntie : But, Okasan, a little water is good to guard against fire. You won’t have to worry about the Okiya burning...losing all your Kimono. Mother : These country girls, too late to send her back now.

Auntie : Go. Pumpkin, keep her quiet. Mother is downstairs. Chiyo : Let me go! Let me go! Let me go!

Pumpkin : Stop that! Chiyo : Let me go!

Pumpkin : Mother will hear you, she’s got a bamboo stick. Chiyo : I want my sister! Sastu!

Pumpkin : I cried too at first. You know, it is easier if you just forget everything that happened before you came to the Okiya, if you impress mother and do exactly as she says...she will send you to school to be a Geisha. Chiyo : A what?

Pumpkin : A Geisha. Like Hatsumomo. You will get to drink Sake and sleep until noon.

Chiyo : Where is my sister?

Pumpkin : Probably in another Okiya in the Hanamachi. Your family sold you to this house. You live here now.

Hostess : Outside, you wear these, inside, these. We won’t display our naked feet like monkeys. It’s not fresh we’re selling here. This is a Geisha house. Remember to always honor this Okiya. You listen, you learn. Now, get the work.

Auntie : Be quiet, Hatsumomo is sleeping. Chiyo : Pumpkin, when can I go outside?


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Chiyo : How will I find Satsu??

Pumpkin : You can’t just walk up to every house in the Hanamachi. Do you know how many there are? Look! Tighter!

Pumpkin : Chiyo! Chiyo! Chiyo – chan ! Come, two night ago. Hatsumomo had to stay at the tea house until dawn. That’s what she told mother. But she was really here with a man the whole.

Hatsumomo : Why can’t you be quiet? So this is the new arrival. A pity she still stinks of fish. Stay out of my room. Your fingers smell. I can’t have you touching my things.

Mother : Only reason mother tolerates Hatsumomo is because she brings in good money. Never forget, it is Hatsumomo who pays for your upper...the clothes on your back. By the time she was 20... she had already earred back her purchase price. Unheard of. She has been the talk of the Hanamachi ever since.

Chiyo : These are all hers?

Auntie : Certainly not. They belong to Okiya. A Kimono like this, made of Tatsura Silk... it would take a lifetime to learn. A Geisha needs an elegant wardrobe..just like an artist need ink. If she’s not properly dressed, then she is not a true Geisha.

Chiyo : Nobody told me what a Geisha is.

Auntie : You will find out soon enough. I have news for you, child. Mother has determined itnis off to school with you. You are become Geisha. Hostess : Chiyo! Quick! Don’t be late! You will be late! Go! Go!

Pumpkin : This way!


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Pumpkin : No, Chiyo – San, don’t! You will ruin your own chances and mine too. Please, stay with me. Squid. Come on! Look for your sister’s name later.

Teacher : You are late!

Auntie : Chiyo! Where is Granny’s food? Where have you been! It’ freezing cold! Close the window! Chiyo! Chiyo! Come quickly! Hatsumomo is at the bath house. Tidy up!

Chiyo : But she told me to stay out.

Auntie : Hatsumomo doesn’t run this Okiya.

Hatsumomo : Why, look who’s in my room. Did you touch this? I can just hear the general now. “ Why, Hatsumomo, you smell of jasmine. What’s this new parfume? Blowfish? I told you never to touch my things. Can’t you understand why?

Chiyo : Because your General will say, “Hatsumomo, you stink”.

Hatsumomo : At least you don’t smell as bad as your sister. You know, she was here. She came by looking for you.

Chiyo : What?

Hatsumomo : Was I wrong to ask her to leave? Chiyo : Please, tell me where she is.

Hatsumomo : Only if you swear yourself to me first. Yes? Now, get out!

Korin : Hatsumomo, you’ll wake the entire house. Your big sister is thirsty. So am I? Go get us some beer.

Hatsumomo : I’m not in the mood for beer. Korin : Mood for, and his name is Koichi. Hatsumomo : What did you say, Korin?


(48)

Korin : I’m sorry, I forgot.

Hatsumomo : You’re just jealous someone cares for me. Korin : Guess who this belong to.

Hatsumomo : A Geisha as desired as she is...ought to keep a close eye on her clothes.

Korin : It’s Mameha’s? Hatsumomo : Yes.

Korin : How you get it?

Hatsumomo : Bribed her maid.. there. Korin : I can’t. Give it to her.

Hatsumomo : Preety Chiyo. Come. Come Chiyo. Now, then, little Chiyo. It’s time to practice your calligraphy. There. Remember, you swore yourself to me Yes. Don’t let anybody see you. Go! Go!. This will teach the great Mameha. Come, come.

Mameha : Thieving Rat! That Kimono wa worth more than!

Auntie : Carefull! You will hurt yourself more than her! Let me! Kneel! What have you done to Hatsumomo.

Chiyo : I Haven’t done anything. I promise.

Auntie : Her little trick with that Kimonowill cost you. What ever you done to anger her, you’d be wise to stop now. Lie facedown! I will beat you hard... so mother does not beat you harder.

Hatsumomo : I told you not to let anybody see you.

Chiyo : I have kept my promise. So tell me, where is she?

Hatsumomo : She’s in the next Hanamachi in the house called Tatsuyo. In the pleasure district. Trust me, little chiyo, you will find her.


(49)

Chiyo : Tatsuyo! Satsu! Satsu! Satsu! Satsu fro Yoroido! Satsu! Satsu! Satsu : Chiyo – Chan! What took you so long?

Chiyo : But, Satsu! Sastu! I tried!

Satsu : I went to you Okiyaweeks ago. They laughed and turned me away. Chiyo : Please... I did not know!

Satsu : I’ve missed you so much! Let’s leave, to night. But, we need money, chiyo. I know I can steal some firstthing tommorow.

Chiyo : No, please! Please! To night!

Satsu : No, tommorow! Meet me at the Sasame bridge as soon as it’s dark. Now I have to go. Quickly, before someone catches us.

Chiyo : What if I cannot get away?

Satsu : Be there, Chiyo. It’s our one chance. Once I’ve left, I can’t go back. I’ve waited as long as I can, now go!

Koichi : What is she doing here? She”s seen us.

Hatsumomo : Stupid girl, why have you come back? Your perfect chance to escape! Get in! Koichi, please.

Koichi : Look at us. Sneaking around like criminals. Hatsumomo : Koichi, don’t!

Koichi : It’s degrading? Mother : Who’s there?

Hatsumomo : Koichi. Go! Now go! Mother : Show your face.

Hatsumomo : Look Okasan! I caught her stealing! She was running away with her sister, the whore!


(50)

Mother : You little thief! Chiyo : No, she is lying!

Mother : After all we have done for her.

Chiyo : I saw her with a man! Right there! His name is Koichi! Hatumomo : Shut up! We should kick her out!

Mother : Take her arms. You are never to see him again. What do you think? A Geisha is free to love? Never. Bolt the gate! No one is leaving this Okiya.Dr. Moro is very expensive. You seem to be racking up quiet a debt Kimonodestroyed.. Geisha school rice and pickles, train ticket, Mr. Bekku. All this on top of the money I paid Mr. Tanaka. And for what? And now I hear that your sister has run away. She didn’t wait for you. And now she can never come back. You must forget you ever had a sister.

Auntie : Dear satsu and little chiyo, as one who was once an orphan child my self..this humbleperson is sorry to inform you..that six weeks after you left for your new life in Miyako,, the suffering of your honored mother came to its end. And only few weeks afterward.. your honored father departed this world as well. This humble person feels confident both your honored parents..have found their places in paradise. But, happily...”

At the temple...there is a poem called “loss” carved into the stone. It has three words. But, the poet has scratched them out. You can not read “loss” only feel it. My father and mother had left this life. My sister, I never heard of again. I had dishonored the Okiya . So, mother had other plan s for me. I would pay back my debt...,year after year after year. Not as a Geisha, as a slave.

Chairman : It is preety a lady to be so unhappy. Did you fall down? Why so shy? Nothing to be ashamed of. We all stumble from time to time. Yo see that enchanting lady in green? Once, when she was just a Maiko, she tells clean off her woode shoes.


(51)

Another Geisha : It’s true, I did.

Chairman : And now look at her. So elegant.

Another Geisha : Mr. Chairman., shouldn’t we hurry? We will miss the beginning. Chairman : We see the Spring Dances every year. We can spare at moment.

What’s your name? Don’t be afraid to look at me. Do you like sweetplum or cherry?

Chiyo : You meant, to eat?

Chairman : I like sweetplum myself. Come. No one of us find as much kindness in this life a we should. Hi, both kinds, my children wait for these every spring.

Chiyo : Now, I’m a Geisha too.

Chairman : And so you are. How did you came by such supprising eyes? Chiyo : My mother gave them to me.

Chairman : Generous of her, won’t you? There, now. That is your give to me. This will buy your supper. Now, promise me one thing. Next time you take a tumble, no frowns. That’s better.

In that moment....I changed from a girl facing nothing but emptiness..to someone with purpose. I saw that to be a Geisha..could be a stepping stone to something else : a place in his world.

The money of the chairman had given me could have bought fish and rice for a month. But, I gave it back in prayer...keeping only his handkerchief. I asked one day to become a Geisha. And then, somehow, to meet him again.

Pumpkin : Chiyo – Chan, I can’t find my comb! Did you find it yet? Auntie : Pumpkin, it’s time to go!


(52)

Pumpkin : Arigato, Chiyo. Oh,, I couldn’t sleep to night, I was so worried about my stupid hair. Am I lopsided? You look beautiful.

Mother : With your hair like that....you look more like a pumpkin than ever. Don’t poke your neck forward like a tortoise.

Hatsumomo : She’s not ready? We will be late.

Mother : This time..time your shamisen, before you play. When you make a fool of yourself, your big sister gets the blame.

Hatsumomo : Stop crying, your face will run. Chiyo : Pumpkin.

The winter I turned 15, I saw the chairman again. But, that wasn’t the only surprise fate brought me at the season. Along with the snow came a most unexpected visitor.

Mother : Why is she here? Chiyo! Chiyo! Open the gate...

Mameha : Now that your belover granny is gone..you’ll have no need for a maid. Mother : I would never question the great Mameha....but you could choose

anyone in the Hanamachi...you flatter me truly. I’d give you my pumpkin if she were not already tied to Hatsumomo...

Mameha : Please.. I would never dream of asking..

Mother : Besides, I could always sell chiyo to Mrs. Tatsuyo..

Mameha : With your eye for beauty and nose for talent,,, surely you can see what a terrible waste the would be.

Mother : If you were not the kindheartes Geisha, I know you to be, then I mightthink you were scheming against Hatsumomo.

Mameha : Then I’m greatful, Mrs. Nitta that you don’t have a suspisious mind. Mother : Perhaps you can pique my interest with....


(53)

Mameha : Yes?? Mother : ...Your offer.

Mamemha : I will cover Chiyo’s schooling all her expenses...till after her debut. Mother : Now, I am confident you are teasing.

Mameha : I could not be more sincere. If Chiyo hasn’t repaid her debt within six months after her debut.

Mother : Impossible! Too little time. Mameha : ...then I will pay you twice over. Mother : What?? No Geishaa could over...

Mameha : Iam certain you will not object to one trivial condition.. Mother : Yes?

Mameha : If Chiyo erases her debt in the time allowed...you will have no part in the future earnings..

Mother : It’s too good to be true. Mameha is up to something, she isn’t in it for the money. That much is for certain. Rumor has it, ever since the prime minister bought her mizuage...

Chiyo : She’s been rich.

Mother : That so? Absurb to think she noticed chiyo.

Hatsumomo : It’s that Kimono . She remembers how you destroyed it. Now she wants to get even. And sold picture, isn’t it?

Mother : Hatsumomo sweeping into te house after teahouse with our little pumpkin. And mahema with our maid.

Chiyo : I’m so far behind. I will never catch up to you. Pumpkin : Don’t worry, chiyo – chan. I will help you.


(54)

Chiyo : Pumpkin!

This is how it was, this tiny world of women. Freind turned againstfriend and now the twoo greatest Geisha in miyako at war over me Hatsumomo at my back.Mameha calling offering one chance..to become one of those elegant women I’d seen on the bridge..floating in a silk Kimono, the chairman at my side..

Mameha : Chiyo is my new protegee.

Baron : As lovely as her big sister. And with eyes the color of rain. Mameha : The Baron is a very special man to me. My Danna.

Mameha : Someday, if you are fortunate, you will have a patron too. Don’t knell. You are not a servant girl anymore. Step into the light. I see water in you.

Chiyo : Does that displease you?

Mameha : Water is powerful. It can wash away earth, put out fire adn even destroy iron. But you have not drawn on those strengths, have you?

Chiyo : About your Kimono?

Mameha : You may apologize if you wish why, that is a perfect bow..for pig farmer.. don’t drop your head. Fingertips together. Elbow in. No weight on the hands. Yes.. as for Kimono, I’m no fool Chiyo. Hatsumomo cannot tolerate competition.

Chiyo : Not to me...

Mameha : Well, someday soon, she will have to name an heir, one of her own geisha to succeed her. Strange, isn’t it? She has not adopted Hatsumomo.

Chiyo : That would be like repeasing the tiget from its cage.

Mameha : You have a gift for expression..and if Mrs. Nitta adopts Pumpkin..that is hardly a threat. But, a young girl with eyes like rain....


(55)

Chiyo : But Mrs. Nitta would never choose me. Mameha : On the contrary, that is our goal. Chiyo : It is?

Mameha : Of course. If you do not in heritthe Okiya, then we will all be at the tiger’s mercy. Water’s always in such a hurry perhaps it is just as well. We have no time to lose.

Chiyo : Mameha, when does a Geisha choose her Danna?

Mameha : I’m afraid it’s the other wsay around focus on your studies, chiyo. That’s the surest way to attract a Danna. On your feet, not off them. Remember chiyo, geisha are not courtesans. And we are not wives. We sell our skills, not our bodies. We create another secret world. A place only of beauty. The word “geisha” means “artist”. And to be a geisha is to be judged aqony and beauty, for us, live side by side. Your feet will suffer, your finger will bleed, even sitting and sleeping will be paintful. You can not call yourself a true geisha until you can stop a man in his tracks with a single look.

Chiyo : No one can do that. Mameha : Choose someone for me.

Chiyo : The gray hat. Choose someone for me, Onei –San.

Mameha : The boy on the bike, with one look. You are ready.. hurry up! You are not makingmoney standing there gawking at yourself. For luck! This binds us together forever as sisters.

Mameha : Today, you leave your childhood and cast away your name from this day forward, you will be known as : “Sayuri”.

Chiyo : When Mameha granted me my new name...I felt little Chiyo disappear behind a white mask with red lips. I was a Maikonow. An apprentice geisha. From that moment, I told myself: “when I make tea, when I


(1)

Mameha : Hatsumomo finds him repulsive. She’d never steal him away. Mislead her, Go..

Chiyo : Perhaps, Nobu – San will be kind enough to explain the rules of match. Nobu – San : Three things matter in life : Sumo, bussiness and war. Understand one, you know them all. But, why should a geisha care? You spend your time pluckins strings and dancing..

Chiyo : I humbly beg to differ. What is Sumo but a dance between giants?What is business but a dance between companies? I’d like to know about every kind of dance.

Nobu – San : They are throwing salt to purify the ring. That man is miyagiyama, the greatest finger in Japan...

Chiyo : But he’s so tiny...

Nobu – San : Only compared to his opponent, Miyagiyama may use Hataki – Comi. Are you listening?

Chiyo : Yes...

Nobu – San : Hataki Comi is a movement the smaller combatant usues...to throw the larger man off balance.. Victor does not always belong to the powerful look, there, in his eyes...

Mameha : I’m afraid our time has come to a close. Chair : Going so soon??

Nobu – San : Not yet. I want her to see now that is Hataki – comi !

Chiyo : I see now why you like Sumo,,, you can never judge a man’s power by his appearence alone.

Nobu – San : Mameha...you may bring her again...

Mameha : Come in. To night we will deliver a quick below to Hatsumomo, Hataki – comi..


(2)

Chiyo : How??

Mameha : We will meet Nobu – San ... at the Tsunashima restaurant. But first, a visit to Dr. Crab.

Chiyo : Dr. Crab?

Mameha : It’s a little nickname..he’s earned over the years. Hold still. I have something in mind, A plan. Now, cut your leg where I’ve marked it. Chiyo : What?

Mameha : Or I will do it for you.. Chiyo : Have you gone mad?

Mameha : Do you trust me or don’t you?? Well? Go ahead, do it..

Dr. Crab : Careless with the sewing scissors, were you? Right through your beautiful Kimono. Such a pity...

Mameha : It won’t leave a scar, will it? Sayuri is a special girl at a very special time in her life.

Dr. Crab : Yes,, With those eyes, you must be queit a commodity. Clean cut, won’t leave a mark, I promise. But, I had best Presorible a bit of antiseptic.

Mameha : Ekubo, at the right moment, slip it to Nobu – san discreatly. He will know what it means.

Nobu – san : You have kept us waiting. Mameha : Please, forgive us, Nobu – san...

Nobu – San : The chairman thinks I should take more pleasure in life, music and the theather. What is your impression?

Chiyo : It is useless to push a cart sideways, one could not wish Nobu – San. Chairman : I could not agree more.. I owe this man everything...


(3)

Nobu – san : He gives me too much creadits, as ussual.. Chairman : Probably...

Nobu – San : It is a trinket.. I found it a few days ago..

Chairman : Nobu – San. I had no idea you were so sentimental..

Nobu – San : Call it my new leaf.. my mother, she used to wear something similar. You don’t like it?

Chiyo : Forgive me,, I’ve never received a present before.

Hatsumomo : What a beautiful comb. Such a joyous moment, Sayuri. You are finally getting what you deserve.

Chiyo : How lovely..

Hatsumomo : And now, will you excuse us, please? We have another engagement. Many infact, Pumpkin...

Chiyo : You are most kind..

Mameha : Now, give this one to Dr. Crab. Chiyo : Mameha,m please??

Mameha : You’re upset?

Chiyo : I want to trust you, I do.. but you have tell me what’s going on.. Mameha : I am ensuring your future.

Chiyo : But tell me how I beg you...

Mameha : I’m trying to orchestrate a bidding war. Chiyo : For what?

Mameha : You most precious attribute. Chiyo : And what is that?


(4)

Mameha : Your Mizuage,,, Bid mother ever tell you about the eel in the cave? Well. Every once in a while.. a man’s eel likes to visit a woman’s cave....

Chiyo : Yes,, I know.. Mameha : Yes do?

Chiyo : I like Hatsumomo..

Mameha : Your cave is untouched men like that. We call this Mizuage...and to become a full Geisha, you must sell it to highest bidder.

Chiyo : Did you sell yours?

Mameha : The largest sum ever paid. Ten thousand yen. I freed myself from debt, and so will you?

Chiyo : When you slip the rice cake to Dr. Crab...it is a sign that says your Mizuage is ripe for sale...

Mameha : The most famous Geisha in the Hanamachi.. Hatsumomo : I’m asking you, Okasan..

Mameha : Today is the day I accept bids for your Mizuage.. Chiyo : He looked at me,, that’s all Onei – San..

Mameha : You will be examined at the Mizuage ceremony.. Hatsumomo : But you promised the Okiya to Pumpkin..

Mother : Look at her, still a virgin Maiko.. You have never even had a Danna. Hatsumomo : My dear Okasan..

Mother : From now on, Your name is Nitta Sayuri..

Mameha : The baron gave it to me when he become my Danna.. Chiyo : Thank you, Onei – San..


(5)

Geisha is an artist of floating world. She dances, she sings, she entertains you, whatever you want. The rest is shadows. The rest is secret.

Chiyo : Chairman, where is Nobu – San? Chairman : He won’t be coming.

Chiyo : Is something wrong?

Chairman : He knows what happened on the island..Please, you don’t have to explain.

Chiyo : But I have shamed myself so deeply, pst all forgiveness. Chairman : No, I’m the one who must be forgiven.

Chiyo : I don’t understand.

Chairman : Perhaps,, If you had only known the truth. Chiyo : The truth?

Chairman : Some years ago.. I was on my way to the theather. I saw a little girl weeping by the Sunagawa. I stopped to buy her a cup of sweet ice. Chiyo : You knew I was that little girl?

Chairman : Didn’t is ever wonder why mameha took you under her wing?

Chiyo : Mameha came to me because of you. I wish you could have told me long ago.

Chairman : What could I do? I owe Nobu my life. And so, when I saw he had a chance at happiness with you, I stood silent. But, but I cannot any longer . I hope it is not too late. Do’t be afraid to look at me, Chiyo.. Chiyo : Can’t you see? Everysleep I have taken since I was that child on the

bridge...has been to bring myself cliser to you....

You cannot say to the sun,, “ More Sun” or to the rain, “ Less rain”. To a man, Geisha can only be half a wife. We are the wives of nighfall. And yet, to learn


(6)

of kindness..after so much unkindness,, to understand that a little girl with more courage than she knew..would find her prayers were answered...can that not be called happiness??...after all....these are not the memoirs of an empress, nor of a queen. These are memoirs of another kind..


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