A Comparative Translation Technique Analysis Of Two Indonesian Subtitles “Life Of Pi” Movie

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1 A COMPARATIVE TRANSLATION TECHNIQUE ANALYSIS OF TWO INDONESIAN SUBTITLES “LIFE OF PI” MOVIE

A THESIS

BY:

ELSA GLORIA REG. NO. 110705066

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2015

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2 A COMPARATIVE TRANSLATION TECHNIQUE ANALYSIS OF TWO INDONESIAN SUBTITLES “LIFE OF PI” MOVIE

A THESIS BY

ELSA GLORIA Reg. No. 110705066

SUPERVISOR CO. SUPERVISOR

NIP : 19540528 198303 2 001 NIP : 19581017 198601 2 003 Dr. Roswita Silalahi, Dip. TESOL, M.HumDrs. M. Syafie’ie Siregar, M.A.

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 UNIVERSITYOF SUMATERA UTARA MEDAN 2015

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

Head, Secretary,

Dr. H. Muhizar Muchtar, MS

NIP : 19541117 198003 1 002 NIP : 19750209 200812 1 002 Rahmadsyah Rangkuti, Ph.D

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

The examination is held in Department of English Faculty of Cultural Studies University of Sumatera Utara on Thursday July 09, 2015.

Dean of Faculty of Cultural Studies University of Sumatera Utara

Dr. H. Syahron Lubis, MA NIP.19511103 197603 1 001

Board of Examiners

Dr. H. Muhizar Muchtar, MS ...

Rahmadsyah Rangkuti, Ph.D ...

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

Dr. Syahron Lubis, M.A ...

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5 AUTHOR’S DECLARATION

I, ELSA GLORIA, DECLARE THAT I AM THE SOLE AUTHOR OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART FROM A THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER DEGREE. NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT DUE ACKNOWLEDGEMENTS 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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6 COPYRIGHT DECLARATION

NAME : ELSA GLORIA

TITTLE OF THESIS : A COMPARATIVE TRANSLATION

TECHNIQUE ANALYSIS OF TWO

INDONESIAN SUBTITLES “LIFE OF PI” 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 REPUBLIC OF INDONESIA.

Signed :

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i ACKNOWLEDGMENTS

Firstly, I would like to express my gratitude to the Almighty, Jesus Christ, the one and only God who has been with me all this time and loves me with His heavenly love. He always strengthens me every time and comforts me in hard time. There is none like Him. It is all because of Him and for His glory that I can finish my study in Cultural Studies Faculty, University of Sumatra Utara.

Secondly, I would like to express my gratitude and appreciation to those who have given me advice, motivation, and help in accomplishing my paper. They are:

1. My beloved parents, Otollie Telaumbanua and Julie Sutarmi, who dedicate their entire life for me and always support me since the beginning until now. Thank you for your love, prayer, kindness, advice, and finance support. I contribute this paper for both of you. I am proud to be your daughter. Both of you have always been loving me unconditionally and fighting for me. You teach me that nothing impossible if we do with God. I love you papi and mami.

2. My dear grandpa, Mbah Kakung Sutarno at Bandung who motivated me in doing this paper. Your prayer, phone calls, and text messages are priceless. No any grandpas still doing this to their grandchildren, but you are the special one. Feel so blessed to have you in my life.

3. My lovely sister, Eliza Magdalena, who has been motivate me and be my twins-crazy-little-partner this whole time. Every time I lose hope, your whatsapp message was always cheering me up. I am so glad to have a sister like you in my life. And also my dear brother, Evans Jeremiah, thank you for

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ii your motivate to me, you have such a way to cheer me up, bro. I love you guys.

4. Dr. H. Syahron Lubis, MA, as the Dean of Cultural Studies Faculty, University of Sumatra Utara; Dr. H. Muhizar Muchtar, MS, as the Head of English Department, University of Sumatra Utara; Rahmadsyah Rangkuti, MA, as the secretary of English Department, University of Sumatra Utara. 5. Dr. Roswita Silalahi, Dip. TESOL, M.Hum as my Supervisor and Drs. M.

Syafie’ie Siregar, M.A as my Co-supervisor who had guided me in accomplished this paper. Thank you for the valuable ideas, times and patience.

6. My sister from another parents, Bellachika. Thank you for your prayer and motivate to me. You understood me in your way. You are my selfie-prayer-sing partner. Thank you for always ready to come to Helvetia without me because I had to finish this paper. I hope our bread and butter friendship will last forever.

7. My God Will Provide Indonesia family, Ka Dian Butarbutar, Mark Tupikov, Lana Gekelman, Yanna Filovets and Alex Holman, thank you for your support, prayer, and your attendance at my last examination. Team five stay alive! And also for Dina Chuklanov and Galina Datskaya who prayed for me in America and Yana Tupikov who was in Nias. Thank you guys. It means a lot for me.

8. The last but not least, for my Pet family, Debora ‘Bugem’ Ginting, Sulastri ‘Sule’ Situmorang, Erna ‘Budos’ Damanik, Yupi ‘KakPi’ Harahap, Sonya ‘ Mak e’ Tarigan, Dara ‘Asbun’ br Brahmana, and Tantri ‘Dedek’ Sinaga. Thank you for these four years of togetherness. You are all always have

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iii something to make the situation more alive. You are all teach me how to handle my emotions and accept me with all I am. Thank you for all the crazy-unpredictable-loud-noise-laugh-cry for these four years. Thank you for always there for me when I need shoulder to cry on, I am beyond thankful to have fourteen shoulders to cry on. Thank you for all the memories that we had since the beginning and I hope our family-ship will last forever.

Finally, I realize that this paper is still far for being perfect. But, I hope this thesis will be a valuable contribution to the readers. I warmly welcome and highly appreciate the advices and suggestion to develop this thesis.

Medan, 5 October 2015

110705066 Elsa Gloria

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iv ABSTRAK

Skripsi ini berjudul Analisis Teknik Penerjemahan Perbandingan dalam Dua Teks Bawah pada Film “Life of Pi”. Skripsi ini menganalisis perbandingan teknik penerjemahan yang digunakan dua penerjemah dalam satu film yang sama. Bahasa sumber film ini adalah bahasa Inggris dan bahasa target adalah bahasa Indonesia. Dua hasil penerjemahan yang diambil adalah penerjemahan versi DVD dan penerjemahan versi Internet. Skripsi ini menggunakan jenis penelitian kualitatif dan penelitian perpustakaan, sehingga penulis menggunakan beberapa sumber data yang didapatkan dari perpustakaan dan internet dalam pengerjaan skripsi ini. Di samping itu, analisa skripsi ini juga didukung dengan menggunakan kutipan-kutipan dialog dari film “Life of Pi”. Teori yang digunakan dalam skripsi ini adalah teori teknik penerjemahan dari Vinay dan Darbelnet.

Kata Kunci: Studi Perbandingan, Teknik Penerjemahan, Versi DVD, Versi Internet, Teks bawah film

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v ABSTRACT

This thesis entitled A Comparative Translation Technique Analysis Of Two Indonesian Subtitles “Life of Pi” Movie. This thesis analyze the comparison off translation techniques that used by two translators in the same movie. Source Language in this movie is English Language and Target Language is Indonesian Language. Two translations that used are from translation DVD version and translation Internet version. This thesis used qualitative research and library research, so he writer found some source data from the library and internet in doing this thesis. Besides that, the analysis of this thesis is supported by the quotes of the “Life of Pi” movie dialog. The theory that used in this thesis is the translation technique by Vinay and Darbelnet.

Keywords: Comparative Study, Translation Technique, DVD Version, Internet Version, Movie Subtitle.

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vi TABLE OF CONTENTS

ACKNOWLEDGEMENTS ... i

ABSTRAK ... iv

ABSTRACT ... v

TABLE OF CONTENT ... vi

Chapter I INTRODUCTION ... 1

1.1 Background of The Study ... 1

1.2 Problems of The Study ... 4

1.3 Objective of The Study ... 4

1.4 Scope of The Study ... 4

1.5 Significance of The Study ... 4

1.6 Method of The Study ... 5

Chapter II REVIEW OF RELATED LITERATURE ... 6

2.1 Translation Theory ... 6

2.1.1 Definition of Translation ... 7

2.1.2 Definition of Audiovisual Translation ... 8

2.1.2 Subtitling ... 9

2.2 Translation Technique ... 14

2.2.1 Literal Translation ... 15

2.2.2 Transference ... 17

2.2.3 Transposition ... 18

2.2.3.1Level Shift ... 18

2.2.3.2 Category Shift ... 19

2.2.4 Calque ... 21

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vii

2.2.4.2 Structural Calque ... 22

2.2.5 Modulation ... 22

2.2.6 Equivalence ... 27

2.2.7 Adaptation ... 28

Chapter III METHOD OF RESEARCH ... 29

3.1 Research Design ... 29

3.2 Source of Data ... 29

3.3 Data Collecting Procedures ... 30

3.4 Step of Analysis ... 30

3.5 Data Analysis ... 30

Chapter IV ANALYSIS AND FINDINGS ... 32

4.1 Data Description... 32

4.1.1 Collected Data of “Life of Pi” Movie Subtitles ... 32

4.1.2 Classified and Analyzed “Life of Pi” Movie Subtitle in DVD Version Based On Translation Technique ... 33

4.1.2.1 Literal Translation ... 33

4.1.2.2 Transference ... 39

4.1.2.3 Transposition ... 40

4.1.2.4 Calque ... 42

4.1.2.5 Modulation ... 42

4.1.2.6 Equivalence ... 49

4.1.2.7 Adaptation ... 49

4.1.2 Classified and Analyzed “Life of Pi” Movie Subtitle in InternetVersion Based On Translation Technique ... 50

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viii

4.1.2.2 Transference ... 54

4.1.2.3 Transposition ... 56

4.1.2.4 Calque ... 57

4.1.2.5 Modulation ... 57

4.1.2.6 Equivalence ... 58

4.1.2.7 Adaptation ... 58

4.2 Findings ... 58

Chapter V CONCLUSION AND SUGGESTION ... 62

5.1 Conclusion ... 62

5.2 Suggestion ... 62

REFERENCES ... 64 APENDICES

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iv ABSTRAK

Kata Kunci: Studi Perbandingan, Teknik Penerjemahan, Versi DVD, Versi Internet, Teks bawah film

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v ABSTRACT

Keywords: Comparative Study, Translation Technique, DVD Version, Internet Version, Movie Subtitle.

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1 CHAPTER I

INTRODUCTION

1.1 Background of the Study

Indonesian people like foreign movie, especially western movie. But all Indonesian people do not master English language well. It can be an obstacle for them in understanding the movie. So, most of foreign movie should be translated into Indonesian language (Bahasa Indonesia). Translation means transferring the meaning of the source language into target language (Larson 1984: 3). There is a problem to reveal the meaning of source language in target language, because in transferring the meaning might have different form and structure in source language and target language.

Hatim and Mason (1990: 27) state: “every natural language has its own capacity to express all the experiences of culture society and every source. Every language develops to fulfill the need of new experience through borrowing, the using of metaphor and some other things, but the structure, grammatical and language category force people to transfer the certain meaning by certain way.” Based on some linguists, this is the problem of translation.

From those above statements about translation, the writer concludes that the most important thing in translation is conveying the content of message from source language to target language by finding the equivalent. It is appropriate with what Catford (1965: 21) says that: “the central problem of translation practice is that of finding target language translation equivalents”. So the translator must know about the principle of translation and the equivalence in translation. Nida and Taber

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2 (1969;12-13) mention the principle of translation into six parts, they are: 1) reproducing the message, 2) equivalent rather than identity, 3) a natural equivalent, 4) the closest equivalent, 5) the priority of meaning, and 6) the significance of style.

Comparative linguistics is a subfield of or more languages to establish the historical relationship between those languages and that aims to construct language families of related languages and to reconstruct proto-languages. (Wikipedia)

In this thesis, the writer to compared two Indonesian subtitles of the same movie entitled “Life Of Pi”. This movie is translated from its source language into target language by different translators; the Source Language (SL) is English and the Target Language (TL) is Indonesian language. The writer chooses two different translators and finds some interesting translation equivalent in both of the translation. They have different way to translate, even for the simple dialog of the movie. The writer wants to analyze about the different techniques of both translators in this movie subtitle. As Suryabrata (2010:81) said: “tidak semua hal yang ingin dijelaskan atau diramalkan atau dikendalikan dapat diteliti. Penelitian ilmiah boleh dikatakan hampir selalu hanya dilakukan terhadap sebagian saja dari hal-hal yang sebenarnya mau diteliti.” It means, “ not everything that want to be explained or predicted or controlled should be observed. We can say that scientific research is only analyze a part of the things we want to observe.” From that quote, the writer decides to choose some parts of the movie subtitle to be observed.

The writer uses “Life Of Pi” subtitling because “Life Of Pi” movie has a good, unique story; and also this movie wins 4 categories in the Oscar Award. This story tells about a young boy named Piscine Molitor Patel that is often called Pi. He was an Indian. He and his family had a zoo in India, but one day they need to move to

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3 Cana and sold their animals. They were in a ship together with the animals. One night, there was a storm and hits their ship; nobody survived except Pi and some animals (Tiger, Hyena, Orang Utan and Zebra). Pi had to survive with the tiger and needs to look for food by fishing. In the end, he was found in Mexico beach by rescuer team.

To decrease the misinterpretation by many subtitles of the “Life Of Pi” movie, the writer has chosen two different subtitles which are the first subtitle (TL1) from DVD version and the second subtitle (TL2) from internet version. In the “Life Of Pi”, the writer finds some different techniques that used by both translators Some of them are:

SL : I had assumed your father was a mathematician because of your name.

TL1 : Dari namamu, kutebak ayahmu seorang matematika. TL2 : Kuyakin ayahmu ahli matematik dilihat dari namamu.

In TL1, the translator used a modulation translation technique. Meanwhile, literal translation is used in translating SL into TL2 which the text is translated word by word. The difference here is the emphasizes on the sentences. TL1 emphasizes on the second clause (because of your name), whereas TL2 emphasizes on the first clause (your father was a mathematician). Because of the reasons above, the writer wants to conduct a research entitled “A Comparative Analysis of Two Indonesian subtitles “Life Of Pi” movie”

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4 1.2 Problem of the Study

In this thesis, the writer analyzed a problem based on the A COMPARATIVE TRANSLATION TECHNIQUE ANALYSIS OF TWO INDONESIAN SUBTITLES “LIFE OF PI” MOVIE:

1. What are the translation techniques used by the translators?

2. What are the dominant techniques of translation that are used in both of movie subtitles?

1.3 Objective of the Study

In doing the analysis, there are some objectives found in this analysis, those are:

1. To classify the techniques of translation in subtitle of the movie. 2. To find out the dominant technique that are used in both of movie

subtitles.

1.4 Scope of the Study

In doing this analysis, the writer must limit the field which was going to be analyzed to avoid misdirection in this topic. In this thesis, the writer limits the scope of analysis by only focusing on the different techniques of translation used by the translators in “Life Of Pi” movie subtitling; and the writer also limit the meaning based on dictionary meaning.

1.5 Significance of the Study

This thesis is intended to be helpful theoretically and practically. Theoretically, this analysis is expected to give an understanding about the most technique that used

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5 to translate the movie subtitle. Practically, this thesis is expected to be able to give something new to enrich the other comparative analysis and can be useful to the students that are interested in the field of study.

1.6 Method of the Study

The writer analyzed the data using qualitative descriptive method. By using qualitative descriptive method, the writer intends to explain the data found in the source data, using the proper theory and examples. There are steps that the writer uses in doing this analysis. First, the writer watched the movie with two subtitles (DVD and Internet version). Second, the writer quoted the dialog in different subtitle and made the quotation as the data to support the analysis. Third, the writer analyzed the difference between both the movie subtitles in Indonesian. The last step was the writer made further analysis about the most translation technique found in the different subtitles.

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6 CHAPTER II

REVIEW OF LITERATURE

2.1 Translation Theory

Translation theory is not a solution for all problems that appear in the process of translation. It is a general orientation for the translators in making decisions while they are doing translation. Actually, the understanding about a general concept of translation theory is very important and useful for the translators. So, it is impossible for the translators to get a good translation without understanding the meaning or definition of translation, because translation is a general concept of translation theory. Nababan (1999:13) states: “Teori menerjemahkan memusatkan perhatiannya pada karakteristik dan masalah-masalah penerjemahan sebagai suatu penomena. “Translation’s theory concentrates the attention to the characteristic and the problems of translation as a phenomenon.” Lauven-Zart (as quoted by Nababan 1999:15) says, “Menghasilkan penerjemah dan terjemahan yang lebih baik mungkin saja merupakan produk teori dan metode penerjemahan.” “To produce the better translators and translations are not the first purpose of translation theory. The better translators and translations may be as a product of theory and method of the translation”.

In a narrow sense, translation theory is concerned with the translation method appropriately used for a certain type of the text. However, in a wider sense, translation theory is the body of knowledge that we have about translating, extending from general principles to guidelines, suggestions and hints. Newmark (1988: 9) says: what translation theory does, are, first, to identify a translation problem,second,

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7 to indicate all the actors that have to be taken into account in solving the problem and third, to list all the possible translation procedures, plus the appropriate translation.” Besides those, translation theory is pointless and sterile if it does not arise from the problems of translation practice, from the need to stand back and reflect, to consider all the factors, within the text and outside it, before coming into a decision in fact translating (or translation process) is a matter of making decisions. Because doing the translation needs grammatical rules, it is a science.

Louis Kelly (1979) as quoted by Venuti (2000:4) argues, “a complete theory of translation has three components: specification of function and goal; description; and analysis of operations.” On the other hand Venuti (2000:5) says, “translation theory always rests on particular assumption about language use, even if they are no more than fragmentary hypothesis that remain implicit or unacknowledged.”

2.1.1 Definition of Translation

There are so many definitions of translation suggested by experts. In this part, the writer discusses two of them, both may be different as many experts expresses their own thought or idea about the definition of translation.

Newmark (1988: 28) in his book “A Textbook of Translation” says “Translation is rendering the meaning of a text into another language in the way that the author intended the text”. Newmark says that translation is the way to find the equivalence meaning from source text into target text. Thus we may say that we reconstructing or reproducing the meaning inside the source language text into the form of target language text.

Simatupang (2000: 2) in his book Pengantar Teori Terjemahan states “Menerjemah adalah mengalihkan makna yang terdapat dalam bahasa sumber ke

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8 dalam bahasa sasaran dan mewujudkannya kembali di dalam bahasa sasaran dengan bentuk-bentuk sewajar mungkin menurut aturan-aturan yang berlaku dalam bahasa sasaran”. Translation tries to transfer the meaning in Source Language to Target Language in a form that fit with the rules of target language.

From definitions above, translation is a task that deals with two different languages. The first is source language (SL), the language is about to translate, the second is target language (TL), the form of language that become target. Translation is the process of transferring the meaning from the source language into the target language.

2.1.2 Definition of Audiovisual Translation

Audiovisual translation is a “branch of translation studies concerned with the transfer of multimodal and multimedial texts into another language and/or culture” (Gonzalez, 2009:13). This specific branch deals with various multimedial texts, with movies being one of these mediums. Globalization and technology breakthroughs have resulted in the mass distribution of movies, documentaries, music, TV series, and other forms of media among people of different languages and cultures (Cintas & Anderman, 2009:2). Different approaches were adopted during the transfer process, and one of these approaches is subtiling, where “They (subtitlers) present their translated rendition of whatever is spoken at the precise moment when it is said, and any viewer with a grasp of the original language is able to make an instant connection” (Skuggevik, 2009:197). Gambier (as cited in Munday, 2008:184– 185) lists these approaches as follows: interlingual subtitling, bilingual subtitling, intralingual subtitling, dubbing, voice-over, surtitling, and audio description. Interlingual subtitling is available for the cinema and video in two options, either

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9 “open,” i.e. they cannot be removed from the audiovisual material, or “closed,” meaning the audience has the opt ion of seeing them or not . Bilingual subtitling is available in countries like Belgium, where the subtitles in two TL versions appear simultaneously on the screen. Intralingual subtitling is for the hard of hearing. Dubbing, which covers both lip-synchronization and lip-sync, is when the SL voicetrack is replaced by a TL voice-track. Surtitling consists of subtitles thatappear above the stage at theatres or operas. Whereas, audio descript ion is mainly an intralingual commentary on the accompanying act ion in film or on stage.

The reasons for each of these approaches are various, ranging from economic grounds to political motives and others (Ariza, 2004).

2.1.3 Subtitling

Subtitles have been perceived as producing translation through a new medium, i.e. what is spoken to what is written (Bannon, 2010: 3, Schwarz, 2002). “Subtitling consists of the production of snippets of written texts (subtitles, or captions in American English) to be super imposed on visual footage – normally near the bottom of the frame–while an audiovisual text is projected, played or broadcast” (Gonzalez, 2009:14). While subtitling first emerged for the deaf, hard of hearing, and language learners, the approach was then adopted by translators to provide a translation of audiovisual texts. In brief, the subtitling process involves the segmentation of the audiovisual text into “snippets” and adding the translation to each segment, individually. Such a process can be deemed successful in the transfer process; however, it does have limitations along with its advantages. It has been found that subtitles deliver 43 percent less text than the original audiovisual text(Gonzalez, 2009:15). The main obvious reason is the technical constraints

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10 regarding subtitling, where screen space and time are the prominent factors that cause subtitlers to adjust their translations compared to the audiovisual text . Two lines of text consisting of 35 characters that correspond to the fragmented speech unit, are the standard imposed ideal (Karamitroglou, 2008).

A form of subtitling that has emerged because of the rapid growthin technology is fan subs (Munday, 2008:190). Fan subs, which initially referred to the subtitling of Japanese manga and anime, is the legal practice of amateur fans of certain audiovisual programs, Japanese anime for instance, in providing the subtitles for these programs, and distributing them online (Munday, 2008:190). Fan subs have popularized certain shows, and made them accessible to different linguistic communities (Bogucki, 2009:49), and continue to flourish with advances in technology. Bartoll (2004:53) provides a look at the parameters used for the classification of subtitles, and also gives a more encompassing classification system taking into account past work and recent developments in technology. Studies on subtitling focus on the two main aspects of the process: the linguistic aspect and the technical aspect, and Gottlieb (Bartoll, 2004:53) provides a classification of subtitling from these perspectives:

Linguistically:

1. Intralingual subtitling, within the same language. Both the subtitling of local programs, subtitled in the same language for the deaf and hard of hearing, and subtitles for people learning languages fall within this group.

2. Interlingual subtitling, between two languages. Technically:

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11 1. Open subtitles, which go with the original film or the television version. According to Gottlieb, all film subtitling belongs within this category, as “Even today, electronic subtitling is limited to television and video” (Gottlieb, 2009: 72).

2. Close subtitles, which can be voluntarily added, both to teletext and satellite channels, which offer various subtitled versions to different frequencies.

According to Gottlieb (Bartoll, 2004:54), subtitling can also be seen as being either vertical or diagonal. Vertical subtitling refers to subtitling that “transcribes oral discourse,” in other words, intralingual subtitling. Diagonal subtitling, or subtitling “obliquely,” refers to when subtitling crosses one dimension into another; from oral discourse in the source language, to written text in the target language (Bartoll, 2004:54).

On the other hand, Ivarsson’s (Bartoll, 2004:54) classification deals with subtitling for cinema and television along with multilingual subtitling, where the subtitling appears in more than one language, which is usually done in bilingual states. His classification also deals withteletext subtitling for the hard of hearing; reduced subtitling for news and live events; subtitling live or in real time; translation of the opera, theatrical works, conferences, etc. , which have accompanying texts on screens. These classificat ions focus more on the technical aspects of subtitling.

Lukyen (Bartoll, 2004:54) distinguishes between traditional subtitling with subcategories of subtitling in complete, reduced, and bilingual sentences and simultaneous subtitling.

Linde (Bartoll, 2004:54) distinguishes between interlingual subtitling and intralingual subtitling for the deaf and hard of hearing.

Cintas’ (Bartoll, 2004: 54) classification includes a main distinction between traditional subtitling and simultaneous subtitling, as well as bilingual subtitles;

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12 intralinguistic subtitles, for the hard of hearing, language students and karaoke; interlinguistic subtitles; and openand closed subtitles.

Taking into account the aforementioned classifications and Gottlieb’s classification based on the technical and linguistic parameters, Bartoll suggests somewhat of a merging between the two, where all the classifications should be added to the two main perspectives of technical and linguistic parameters (Bartoll, 2004: 55).

Technical parameters refer to the various opt ions under which subtitles fall. One such opt ion or parameter is the centering and non-centering of subtitles. Usually, subtitles done with the hard of hearing and deaf people in mind are non-centered and appear on various parts of thescreen, depending on who is talking.

Another technical parameter concerning subtitles is their availability as separate products – where they can be easily altered and revised, versus their availability joined with the audiovisual product, where altering the subtitles might not be a very smooth process. Anothertechnical variable to consider is the location of subtitles, and here Bartoll (2004: 55) differentiates amongst subtitles, intertitles, and surtitles. Here subtitles refer to text that goes underneath images; intertitles refer to text that goes between to images; and surtitles refer to text that goes above images.

The mobility of subtitles is also another parameter Bartoll touches upon (2004: 56). Mobile or fixed subtitles refer to the movement of the subtitles while they appear, or their fixed stance.

Another parameter of subtitles is the optionality of subtitles, and by this Bartoll (2004:56) differentiates between optional or closed subtitles and non-optional or open subtitles. Closed or optional subtitles refer to subtitles where viewers have the opt ion of viewing or hiding thesubtitles, as is the case with special programs in

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13 TV by a control but ton on the remote control , or the subtitle options available in DVDs, among other audiovisual opt ions. Open or non-optional subtitles refer to the inability to switch the subtitle option off from a TV program, DVD, news telecast, or other audiovisual domains.

Time is also a technical parameter of subtitles. There are simultaneous subtitles that are done and projected at the same time as the audiovisual product, and prerecorded subtitles that are done with more time at hand (Bartoll , 2004: 56; Caimi, 2009: 241).

The products themselves also make up a technical parameter. By this, Bartoll (2004: 56) distinguishes between cinema, television, video, DVD, LaserDisc, CDRom, computer games, Internet (Streaming Video), and live performances such as performance theatre, opera, and conferences. The advancement of technology has also served to make the technical aspect of subtitling easier, with the availability of multiple processing programs and various methods of linking subtitles to the audiovisual product (Karamitroglou, 1999).

The color of the subtitles is another technical parameter to take into account (Bartoll, 2004:57). The variables that determine the color choices are the interlocutors, colors appearing in the film, and the products being subtitled.

The last technical parameter according to Bartoll (2004:56–57) is the channel used in broadcasting the subtitles. The subtitles can be either broadcasted independently of the audiovisual product, on a display screen or teletext, or simultaneously with the audiovisual product.

When it comes to the linguistic parameters, the relationship between the source and target language is the first parameter here, and where the languages are the same or different. Here, when two languages are involved, subtitles are seen as

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14 translations, while when only one language is involved, subtitles are seen as transcriptions. Where intralinguistic subtitles are concerned – in other words, transcript ions –Bartoll (2004: 57) differentiates between transcriptions intended for the hard of hearing, and those intended for language students or amateur and karaoke singers.

The purpose of subtitles is also another linguistic parameter where Nord (as cited in Bartoll, 2004: 56–57) differentiates between what he calls Instrumental Subtitles and Documentary Subtitles. Instrumental Subtitles refer to subtitles aimed at people who either do not understand the source oral language or cannot hear it; these subtitles can be either transcriptions or translations and are done with the purpose of communicating in the target language. Documentary subtitles, on the other hand, refer to transcription subtitles done with the purpose of learning; the subtitles are aimed at people who want to learn languages or for singing.

2.2 Translation Techniques

Translation techniques (translation procedures or translation shifts) are defined as “the smallest linguistic changes occurring in translation of ST (source text) to TT (target text)” (Munday, 2001: 55). The analysis to this thesis uses Vinay and Darbelnet’s translation techniques. They are:

1. Literal translation 2. Transference 3. Transposition 4. Calque 5. Modulation

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15 6. Equivalence

7. Adaptation

There are also cases in which scholars confuses a translation technique with another. This is because the difference of the translation of text using a translation technique compared to using another is so little that it is easily ignored.

For example:

SL Rani eats fried chicken TL1 Rani makan ayam goreng TL2 Ayam goreng Rani makan.

In TL1, the translation technique used is literal translation in which the text is translated word by word. Meanwhile, modulation is used in translating SL text into TL2. The difference here is the emphases on the sentences. TL1 emphasizes on who (Rani) is doing the action (eat), whereas TL2 emphasizes on the object (fried chicken) to which the action is being done (eaten).

Therefore, to avoid such error, we need to get a better understanding of each and all of the translation techniques used before doing a translation and analyzing one.

2.2.1 Literal translation

Literal translation is a translation technique commonly used in translating literary texts and many other kinds of texts. Literary translation may be briefly explained as follows:

Literal, or word for word, translation is the direct transfer of SL text into a grammatically and idiomatically appropriate TL text in which the translators’

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16 task is limited to observing the adherence to the linguistic servitudes of the TL. (Vinay and Darbelnet (1958) in Venuti (2000: 86).

It may be useful to distinguish literal from word-for-word and one-to-one translation. Word-for-word translation transfers SL grammar and word order, as well as the primary meanings of all the SL words, into the translation, and it is normally effective only for brief simple neutral sentences...In one-to-one translation, a broader form of translation, each SL word has a corresponding TL word, but their primary (isolated) meanings may differ...Since one-to-one translation normally respects collocational meanings, which are the most powerful contextual influence on translation, it is more common than word-for-word translation. (Newmark, 1988: 86)

Newmark added that literal translation ranges from one word to one word, e.g.: SL book

TL buku

through group to group, e.g.: SL a bowl of soup TL semangkuk sup

collocation to collocation, e.g.: SL reading a journal TL membaca sebuah jurnal clause to clause, e.g.:

SL if you go TL jika kamu pergi

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17 sentence to sentence, e.g.:

SL They sat under the oak tree.

TL Mereka duduk di bawah pohon ek itu. The longer the unit, the rarer the one-to-one.

2.2.2 Transference

Transference (or loan words) is the process of transferring SL word to TL text as a translation procedure (Newmark, 1988: 98). It is the same as Catford’s transference and includes transliteration, which relates to the conversion of different alphabets, such as Cyrillic, Arabic, Chinese, etc. into English. However, since the alphabets of both languages used in the analysis (English and Bahasa Indonesia) are Latin alphabets, transliteration is omitted. Other common terms for transference are ‘loan word’ and ‘borrowing’. In giving the purposes of transference, Matthews and Orrantia wrote that it is used:

a) to overcome a gap or lacuna, e.g. ‘paintball’, ‘cerebellum’, ‘legato’, ‘casebook’ (these terms don’t have their equivalents in Bahasa Indonesia); b) to create stylistic effect, e.g. ‘cake’ (instead of kue), ‘meeting’ (instead of rapat), ‘nervous’ (instead of gugup); and

c) to create the flavor of SL, e.g. ‘sushi’, ‘burger’, ‘salad’, ‘smoothie’.

There is what we call direct borrowing in which the SL term is put into TT, just as it is. This is usually because (a) the SL term doesn’t have any equivalent in TL and/or (b) the SL term has been recognized in TL vocabulary. Examples of such borrowing include ‘orbit’, ‘portal’, ‘data’, ‘panorama’, and ‘batik’. There is also

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18 natural borrowing, a type of transference in which the ‘borrowed’ SL term is modified to TL spelling and TL users’ ease of pronunciation. Example:

SL TL

computer komputer

tour tur

inflation inflasi

boycott boikot

dictator diktator

Satay sate

2.2.3 Transposition

“A ‘shift’ (Catford’s term) or ‘transposition’ (Vinay and Darbelnet) is a translation procedure involving a change in the grammar from SL to TL” (Newmark, 1988: 102).

Catford (1965) in Venuti (2000:141) states that shifts are departures from formal correspondence in the process of going from SL (source language) to the TL (target language). He also states that shifts is divided into two major types, those are; level shift and category shift.

2.2.3.1 Level Shifts

As Catford (1965) in Venuti (2000:141) states “Level shifts. By a shift of level we mean that a SL item at one Linguistic level has a TL translation equivalent at a different level”. It means that a grammatical unit in English, such as noun, affixes,

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19 etc, has a lexical unit in Bahasa Indonesia. The followings are the examples of level shifts:

1. (a) Sinta pun tidak membawa tas kecilnya. (b) Even Sinta does not bring her purse.

2. (a) Ray has bought his new suit, because he wants to go to the party. (b) Ray sudah membeli jas barunya, karena dia akan pergi ke pesta. In example (1), we can see that a unit (morpheme) in Bahasa Indonesia grammar ‘pun’ is translated into ‘even’ a lexis in English. And also in example (2), itcan be seen that in English if ‘have’ comes together with past participle of ‘sell’. Theform ‘have + past participle’ in English is translated into ‘sudah’, a lexis in Bahasa Indonesia.

2.2.3.2 Category Shifts

The second types of shift, is category shift, it is referred to unbounded and rank-bound translation. Unbounded translation means that translation equivalences may occur between sentences, clauses, groups, words and morphemes. While the term rank-bound translation only to refer to those special cases where equivalence is limited to ranks below the sentence.

a. Structure-Shifts

Structure shift is about the changing of grammatical between the structure of the SL and the TL, because of the structure of the SL and TL is not correspondent.

For example:

The form of the noun phrase of SL is Modifier-Head, while the form of the noun phrase of TL is Head-Modifier.

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20 dirty glass → gelas

Adjective Noun Noun Adjective kotor

Dirty glass in the source language text is constructed of modifier (dirty) + head (glass), meanwhile in the target language it becomes gelas kotor which is constructed of head (gelas) + modifier (kotor).

b. Class-Shifts

Class Shifts is about when the translation equivalent of a SL item is a component of a different class in TL.

For example: a. a technical

Adjective Noun meeting

b. rapat

Noun Noun teknis

c. Unit-Shifts

Unit shifts is about to changes of rank. In which the translation equivalent of a unit at one rank in the SL is a unit at a different rank in the TL.

For example:

Shift from phrase to word were raised → dibesarkan

Phrase Word

Word-Shifts

Word shifts is a part of unit-shifts, it is about the changes from word in the SL or Source Language into another ranks in TL or Target Language.

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21 For Example:

Shift from word (Adjective.) to phrase He is my honorary uncle→ dia paman

Adjective Phrase

yang ku hormati

d. Intra-System-Shifts

Intra system shifts is the last shifts, it is about the shifts which occur along with the names of the types of shift affecting the other fundamental categories of grammar-unit, structure and class.

For example: a. a pair of

Noun (plural) scissors

b. sebuah

Noun (singular) gunting

2.2.4 Calque

According to Vinay and Darbelnet (1958) in Venuti (2000: 86), a calque is a special kind of borrowing whereby a language borrows an expression form of another, but then translates literally each of its elements. They divided calque into two kinds:

2.2.4.1 Lexical Calque

Lexical calque is a calque which respects the syntactic structure of TL, whilst introducing a new mode of expression.

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For example: SL TL

four-by-four (4x4) empat kali empat (4x4) table tennis tenis meja

classic guitar gitar klasik

2.2.4.2Structural Calque

Structural calque is a calque which introduces a new construction into the language (TL).

For example:

SL ‘equity financing’ TL pemerataan keuangan.

As well as borrowings, there are many fixed calques which is after a period of time, become an integral part of the language. These similar to borrowings, may have undergone a semantic change, turning them into faux amis [i.e. pairs of words in two languages or dialects (or letters in two alphabets) that look or sound similar, but differ in meaning; false friends]. Translators are more interested in new calques which can serve to fill a lacuna, without having to use an actual borrowing. (Vinay and Darbelnet (1958) in Venuti (2000: 85-86)

2.2.5 Modulation

Modulation is a variation through a change of viewpoint, of perspective and very often of category of thought (Newmark, 1988: 105). This translation technique

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23 is normally used when SL text is translated literally, or transposed, into TL, is still considered unsuitable, unidiomatic, or awkward in TL, although the translation is grammatically correct (Vinay and Darbelnet (1958) in Venuti (2000: 89).

In general, modulation is divided into standard modulation and free modulation. Standard modulations are the ones recorded in bilingual dictionaries, such as:

SL train station TL stasiun kereta api

Free modulations are used by translators when TL rejects literal translation. Perhaps free modulation is better illustrated by the following:

Modulasi bebas adalah prosedur penerjemahan yang dilakukan karena alasan nonliguistik, misalnya untuk memperjelas makna, menimbulkan kesetalian dalam BSa, mencari padanan yang terasa alami dalam Bsa, dan sebagainya. (Machali, 2000: 70)

[Free modulation is a translation procedure employed for non-linguistic purposes, such as to clarify meaning, to create a connection in TL, to find equivalence that seems natural in TL, etc.]

The two general types of modulations are further divided into eleven categories:

(i) Negated contrary (or double negative for positive, as Newmark termed it) is a concrete translation procedure which can be applied in principle to any action (verb) or quality (adjective or adverb).

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24 Example:

SL You shouldn’t disrespect TL Kamu

your father. harus menghormati

(ii) Part for the whole is a modulation in which the SL text of a part of a whole set, which refers to the whole set, is translated as the whole set itself in TL.

ayahmu.

Example:

SL “I don’t wan’t that hairball TL “Aku tidak mau

in my room!” shouted Mia. kucingitu ada di kamarku!” teriak Mia.

(iii) One part for another is a modulation that occurs when a referent in SL is referred to as a certain part of it and to its other part in TL.

Example:

SL The little girl was wearing red from head to toe

TL Pakaian anak perempuan itu bernuansa merah dari .

ujung rambut hingga ujung kaki.

(iv) Abstract for concrete is a modulation in which the meaning of SL text is made explicit in TL.

Example:

SL The soldier wrote TL Prajurit itu

to his wife everyday when he was in battlefield. menyurati istrinya tiap hari ketika berada di medan perang.

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25 (v) Cause for effect includes cause for effect, means for result, and substance

for object modulations. Example of cause for effect:

SL The twins weren’t happy about my visit to their house, and to add insult to injury

TL Si kembar tidak senang aku berkunjung ke rumah mereka, dan , they threw away my teddy bear.

yang membuatku lebih sedih lagi

Example of means for result:

, mereka membuangboneka beruangku.

SL My friend will drive TL Temanku akan

us to the mall.

mengantar kita ke mal naik mobil Example of substance for object:

SL Literature TL

isn’t as easy as one thinks it would be.

Ilmu kesusasteraan tidaklah semudah yang orang anggap.

(vi) Reversal of terms occurs when the subject in SL becomes the object in TL, and vice versa.

Example:

SL I won’t fit into that gown. TL Gaun itu takkan muat sama aku.

(vii) Active for passive is used when the active form of the text in TL sounds awkward or is grammatically incorrect.

Example:

SL The code to the safe was changed yesterday. TL Ada yang mengubah kode brankas kemarin.

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26 (viii) Space for time is used when an occurrence signified as a term indicating space in SL, is modulated into a term in TL that indicates time, and vice versa.

Example:

SL They were my best friends in high school TL Mereka sahabatku

. semasa SMA.

(ix) Intervals and limits is a type of modulation in which the interval of time and limit of space in SL are modified to a more commonly used TL equivalents, which also sound more natural in TL.

Example in time: SL See you TL

in a week. Sampai jumpa Example in space:

minggu depan.

SL No parking TL

between signs.

Dilarang parkir hingga rambu berikutnya.

(x) Change of symbols occurs when a unit in SL is translated into TL as a unit more commonly used by TL natives.

Example:

SL The harbor is only few miles TL Pelabuhan itu hanya

away from here. beberapa kilometerdari sini.

(xi) Sensory modulation is a modulation of sensory elements (visual, audio, etc.) from SL into TL.

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27 Example:

SL brown beans TL kacang merah

2.2.6 Equivalence

In Vinay and Darbelnet’s own words, the classical example of equivalence is given by the reaction of an amateur who accidentally hits his finger with a hammer: if he were French his cry of pain would be transcribed as “Aïe!”, but if he were English this would be interpreted as “Ouch!”. [If he were Indonesian, the interpretation of his cry of pain would be: “Aduh!”] Another striking case of equivalences are the many onomatopoeia of animal sounds.

For example:

SL cock-a-doodle-doo TL kukuruyuk

SL meow TL meong

These simple examples illustrate a particular feature of equivalences: more often than they are not of a syntagmatic nature, and affect the whole of the message. As a result, most equivalences are fixed, and belong to a phraseological repertoire of idioms, clichés, proverbs, nominal or adjectival phrases, etc. In general, proverbs are perfect examples of equivalences.

For example:

SL It’s raining cats and dogs TL Hujan turun dengan derasnya.

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28 SL Birds of a feather flock together.

TL Rasam minyak dengan minyak, rasam air dengan air.

2.2.7 Adaptation

Adaptation is used in those cases where the type of situation being referred to by the SL message is unknown in the TL culture. In such cases translators have to create a new situation that can be considered as being equivalent. Adaptation can, therefore, be described as a special kind of equivalence, a situational equivalence. They are particularly frequent in the translation of book and film titles. (Vinay and Darbelnet (1958/1995) in Hatim and Munday (2004: 151).

For example:

SL TL

• ‘After the Night’ [a novel by Linda Howard]

Menunggu Fajar

• ‘Evil Under the Sun’ [a novel by Agatha Christie]

Pembunuhan di Teluk Pixy

• Voldemort (You Know Who) [a

character in J. K. Rowling’s Harry Potter series]

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29 CHAPTER III

METHOD OF RESEARCH

3.1Research Design

The writer analyzed the data using qualitative descriptive method. Qualitative researchers are interested in understanding the meaning that people have constructed, that is, how people make sense of their world and the experiences they have in the world. (Merriam, 2009:13). By using qualitative descriptive method, the writer intends to explain the data found in the source data, using the proper theory and examples. Bernard and Ryan (2011:3) indicate that the goals of qualitative research are to uncover and describe patterns, using the patterns to compare differences between individuals or groups, and then to test assumptions about the patterns. The authors point out that qualitative data can include physical objects, media images, audio and files, and a range of textual material from the novel to brochures and ads. In short, qualitative research involves collecting and working with text, images, or sounds.

3.2Source of Data

The source data of this analysis is the movie script of “Life of Pi” movie, written by David Magee; and the two different Indonesian subtitles translated by two different translators in DVD Version and Internet Version.

According to Suryabrata (2008:35) penelitian ilmiah boleh dikatakan hampir selalu hanya dilakukan terhadap sebagian saja dari hal-hal yang sebenarnya mau diteliti. Jadi penelitian hanya dilakukan terhadap sampel, tidak terhadap populasi.

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30 (Scientific research may mention always almost on a part of the things that actually want to research. So the research conducted on a sample, not on population) Then, the sample has function to limit the data. The source data would be limited from the first until the tenth minute subtitle of the movie.

3.3Data Collecting Procedures

In collecting the data, the writer used the first tenth minutes of the dialog of the movie. The writer also used library research by consulting some books to collect the theories; and the dictionary to consult the meaning. Some information found from website to support or complete the collected theories.

3.4Step of Analysis

There are steps that the writer used in doing this analysis. First, the writer watched the movie with two subtitles (DVD and Internet version). Second, the writer quoted the dialog in different subtitle and made the quotation as the data to support the analysis. Third, the writer analyzed the difference between both the movie subtitles in Indonesian. The last step was the writer made further analysis about the most translation technique found in the different subtitles.

3.5Data Analysis

In analyzing data, the writer applies some of steps as follows: 1. The writer watched the movie with two different subtitles.

2. The writer analyzed the use of translation techniques of the target texts which are used in translating the movie subtitle.

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31 3. Categorizing the translation technique based on the theory of Vinay and

Darbelnet.

4. Calculating the total number and percentage of each technique to find out the amount of each technique based on the following formula:

P: Number of percentage

F: Frequency of translation procedure N: Number of whole sample

5. Judging the quality in terms of accuracy, clarity, and naturalness of translation .

6. Make conclusion based on the data that have been analyzed. P= F x 100%

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32 CHAPTER IV

ANALYSIS AND FINDINGS

4.1 Data Description

Comparative analysis is item by item comparison of two or more comparable alternatives, processes, products, qualifications, sets of data, systems, etc. The two translation products of the very same SL text (the first 10 minutes of Life Of Pi movie) by two different translators (DVD version and internet version) as the products which are compared, and translation techniques used by the translators in translating the ST (source text), as the items being compared. Seeing that there are items compared in two comparable products in the analysis to the thesis, then the analysis is qualified to be called a comparative analysis.

Each of the following subchapters discuss the translation techniques found in the translations by NN (DVD version) and OS (internet version) respectively. The translation techniques are analyzed sentence by sentence according to the first 10 minutes of Life of Pi movie subtitle, as the SL text. A sentence is a set of structured words that are ended either by a period (.), question mark (?), or an exclamation mark (!), or placed between two quotation marks (“ ”).

4.1.1 Collected Data of “Life of Pi” Movie Subtitles

From the data in the Appendix A and Appendix B, the writer can show both of the movie subtitles and the technique of translation that used by the translators.

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33 4.1.2 Classified and Analyzed “Life of Pi” Movie Subtitle in DVD Version Based On Translation Technique

This portion of the chapter discusses the translation techniques used by NN, in the first 134 dialogs of the DVD version Life of Pi movie. The following paragraphs briefly explain how the translation techniques are determined as shown in Appendix A, it also shows what factors categorize the translation of the dialogs into their respective translation techniques.

Figure 4-1 shows the frequency of each of the seven translation techniques as used by NN in the translation. Out of the 134 dialogs in the translation, literal translation is found to be used in 95 dialogs, 4 dialogs use transference, 12 dialogs use transposition, 23 dialogs that use modulation and 1 dialog uses equivalence.

Figure 4-1 Translation technique chart: DVD version.

4.1.2.1 Literal Translation

Literal translation is a technique of translation that translates a word or an expression word for word in text.

0 20 40 60 80 100

Adaptation Equivalence Modulation Calque Transposition Transference Literal

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34 (1). To demonstrate how NN’s translation of a sentence determined to use literal translation, here is the dialog in 0:03:58 of the movie subtitle (no. data: 1):

SL So you were raised in a zoo

Conj S P Comp

TL Jadi kau dibesarkan di kebun binatang

Conj S P Comp

In this example, ‘Conj’ stands for adverb, the word in a sentence that connects the dialog above with the dialog before it. ‘S’ stands for ‘Subject’ usually in the form of noun or pronoun. ‘P’ stands for ‘Predicate’ or the action, usually in verb form, in a sentence. ‘Comp’ is the ‘Complement’, which is the additional element of a sentence, apart from the two compulsory sentence elements: the subject and predicate. Complement can be in the form of a noun, pronoun, adjective or adverb.

As it shows, both SL sentence and its translation have the same structure Conj-S-P-Comp. SL sentence follows SL grammar and TL sentence follows the TL grammar. The meaning of the words in SL correlates with the meaning of their respective sentence. Here is the proofs:

Word

You Kau

@Meaning element grammatical

form Pronoun Pronoun

View second person second person singular/plural Singular Singular

gender Neutral Neutral

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35 From table 4-1 above, it is gathered that 4 out of 4 meaning elements of ‘you’ (SL word) are exact matches to those of ‘kau’ (TL word).

Note that the simple form of the predicate ‘were raised’ is ‘be raise’ in passive form. In Bahasa Indonesia, the meaning of the verb ‘be’ depends on the word that follows it. In this case, because ‘raised’ is a verb word in past form, the ‘were raised’ is translated as ‘dibesarkan’, which the prefix ‘di’ and suffix ‘-kan’ shows the passive form in Bahasa Indonesia grammar.

(2). The other example of using the literal translation technique shows from the dialog in the 0:03:59 (no. data: 2) of this movie subtitle:

SL Born and raised

V Conj V

TL Lahir dan dibesarkan

V Conj V

In this example, ‘V’ stands for ‘Verb’ usually means the action. ‘Conj’ stands for ‘Conjunction’, the word in a sentence that connects two words correlates. The words ‘born’ and ‘raised’ are both verbs. So, those words can be connected by the conjunction ‘and’ in that sentence.

(3). The dialog in 0:04:05 (no. data: 4) of this movie is using literal translation technique :

SL My fatherownedthe zoo S V N

TL Ayahkupunyakebun binatang S V N

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36 In this example, the subject is ‘my father’. Subject is the doer of the activity in the sentence. ‘My father’ is translated into ‘ayahku’ that has the same meaning in Bahasa Indonesia. There is also a verb word ‘owned’ means ‘possess or belonging’. In Bahasa Indonesia the words ‘owned/possess/belonging’ can be translated into ‘memiliki/mempunyai/punya/kepunyaan’. So, in this dialog the translator used

the word ‘punya’ to translating ‘owned’ in the SL text.

(4). The dialog in 0:04:10 (no. data: 6) of this movie is using literal translation technique:

SL who was there to check on the Bengal monitor lizard. TL yang sedang meneliti Biawak Bengal.

In this example, both of the texts are not sentences but clauses, adjective clauses. In SL text, there is ‘who’, an adjective clause pronoun. In this case, the adjective clause pronoun is used as the subject. In TL this adjective clause pronoun is translated into ‘yang’ though there are no such a adjective clause pronoun term in TL, there are a help word that have same function as an adjective clause pronoun. Here are the proofs:

SL TL

Adjective Clause

Pronoun Function

Adjective Clause

Pronoun Function

Who

as the subject (used for

people)

yang

as the subject/object of

the verb (used for both people

and things) Which

as the subject/object of

the verb (used for things)

yang

That as the

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37 the verb (used

for both people and things) Whom

as the object of a verb (used generally in very

formal English)

Yang

Whose to show

possession yang …-nya

to show possession Where to modify a

place dimana

to modify a place

When to modify a

noun of time ketika

to modify a noun of time Table 4-2 Adjective Clause Pronouns

From table 4-2, it shows that the adjective clause pronouns in SL has differentiate by its own function while in TL, there are no such that things. The adjective clause pronouns that used as the subject/object of the verb are translated into one word, ‘yang’.

(6). The other example in 0:04:23 (no. data: 10) of the movie: SL The way of karma, huh?

TL Itu jalannya Karma, kan ? 0:04:26 (no. data: 11)

SL The way of God. TL Jalan Tuhan.

In this dialog, the translation technique that used is literal technique, because it is translated from word-to-word and the same meaning and structure as well.

(7). In the dialog 0:04:29 (no. data: 12) of this movie subtitle. SL That's quite a story.

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38 (8). In the dialog 0:04:35 (no. data: 14) of this movie subtitle.

SL Far from it, I was named after a swimming pool.

TL Tak jauh dari itu, aku diberi nama seperti kolam renang.

(9). In the dialog 0:04:31 (no. data: 13) of this movie subtitle.

SL I had assumed your father was a mathematician because of your name.

TL Kuyakin ayahmu ahli matematik dilihat dari namamu.

(10). In the dialog 0:04:57 (no. data: 20) of this movie subtitle. SL Is Francis actually your uncle?

TL Apa Francis sebenarnya pamanmu?

(11). In the dialog 0:05:01 (no. data: 22) of this movie subtitle. SL He's my honorary uncle, I call him Mamaji.

TL Dia paman yang kuhormati. Aku memanggilnya "Mamaji".

(12). In the dialog 0:05:15 (no. data: 26) of this movie subtitle. SL A mouthful of water will not harm you, but panic will TL Seteguk air takkan membahayakanmu. Tapi panik iya.

(13). In the dialog 0:07:59 (no. data: 70) of this movie subtitle.

SL which is also used in mathematics to represent the ratio.

TL Juga digunakan dalam matematika untuk melambangkan perbandingan.

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39 (14). In the dialog 0:08:02 (no. data: 71) of this movie subtitle.

SL of any circle's circumference to its diameter. TL dari garis batas diameter lingkaran.

4.1.2.2 Transference

Transference translation is a technique of translation that translate the terms of the word in SL to TL sometimes called borrowing.

(1). In the 0:04:07 (no. data: 5) of this movie, the translator used the transference technique to translate the dialog.

SL and I was delivered on short notice by a TL dan kelahiranku dibantu oleh ahli

herpetologist herpetologis

In this example, the word ‘herpetologist’ is translated into ‘herpetologis’ instead of translated into ‘someone who specializes in the study of reptiles and amphibians’. This happened because the SL term does not have any equivalent in TL, so instead of changing word by the explanation of the meaning, the translator used this technique.

secara mendadak

(2). The using of transference technique shown in 0:05:04 (no. data: 23) of this movie:

SL My father's best friend, my swimming guru TL Teman karib ayahku,

. guru

The underline part of the example above shows that the word ‘guru’ in SL text and TL text are same. The translator used the transference technique in

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40 this dialog because the meaning is same, so it does not need to be change into any other word.

(3). In the dialog 0:11:38 (no. data: 132) of this movie, there is a dialog that translated by transference technique:

SL And the Muslim quarter TL Dan

is just to the west. kuartal

In this example, the word ‘quarter’ in SL text is translated into ‘kuartal’ in TL text. It shows that the translator is using transference technique to translate this. In TL, the word ‘kuartal’ is also known, so the translator does not need to find another word to translate the word ‘quarter’.

Muslim di sebelah barat.

4.1.2.3 Transposition

Transposition is one of the translation techniques that involve a change in the grammar from SL to TL, some people called this technique with ‘shift’. There are 11 dialogs that use the transposition technique.

(1). The dialog 0:05:07 (no. data: 24) of the movie shows the transposition technique.

SL His lessons would save my life in the end TL

. Pada akhirnya

The whole sentence is translated by literal technique, but the underlined part of the dialog is showing the transposition technique. Here are the construction of the sentence in SL text and TL text.

, pelajarannya yang menyelamatkan hidupku.

SL His lessons would save my life in the end

S V O Comp

(57)

41 TL Pada akhirnya,

Comp S V O

pelajarannyayang menyelamatkanhidupku.

‘Comp’ stands for ‘Complement’ in this example. The construction of the SL text is S-V-O-Comp. Meanwhile, in the TL text, it constructed into Comp-S-V-O. The construction changed in the TL. It shows that the translator is using transposition technique to translate this dialog.

(2). In the dialog 0:05:36 (no. data: 32) of this movie subtitle, it shows the transposition technique.

SL You were going to tell me how you got your name, I think TL

. Kurasa

The underlined part is the subordinate clause of the whole dialog. In the SL text, the subordinate clause is at the end of the sentence, while in the TL text is at the beginning of the sentence it means the translator is using transposition technique to translate this dialog because there is a changing position of the construction of the text.

kau akan memberitahuku darimana asal nama itu.

(3). In the dialog 0:05:49 (no. data: 37) of the movie also found the using of transposition technique by the translator.

SL He swims in every pool S/N V Prep Adv O/N

he comes upon.

TL Dia selaluberenangdi kolam S/N Adv V Prep O/N

yangdidatanginya.

In this example, ‘Prep’ stands for ‘Preposition’ and ‘Adv’ stands for ‘Adverb’. The using of transposition technique in translate this dialog can be

(58)

42 show at the changing position of ‘Adverb’ in SL text and TL text. In the SL text, the ‘Adverb’ placed before the ‘Object’ or ‘Noun’ at the sentence. The function of this adverb is for modify the word ‘pool’ because it is placed before the word noun ‘pool’. In the TL text, the ‘Adverb’ is placed before the ‘Verb’ of the sentence. It means the ‘Adverb’ here is modifying the verb ‘swimming’ in the sentence. The adverb itself has 3 functions in the sentence, (1) to modifying noun, (2) to modifying verb, and (3) to modifying another adverb. In this case, the ‘Adverb’ is doing the function in both of SL and TL text, even though the function is different. But the meaning of the sentence in TL can be acceptable.

4.1.2.4 Calque

A calque is a special kind of borrowing whereby a language borrows an expression form of another, but then translates literally each of its elements. There is no any dialogs that translate by using calque technique in this movie subtitle DVD version.

4.1.2.5 Modulation

Modulation is a variation through a change of viewpoint, of perspective and very often of category of thought. This translation technique is normally used when SL text is translated literally, or transposed, into TL, is still considered unsuitable, unidiomatic, or awkward in TL, although the translation is grammatically correct.

(1). In the dialog 0:04:01 (no. data: 3) of the movie, it found the modulation technique.

(59)

43 SL In Pondicherry, in what the French part

TL di Pondicherry,

of India. dulu Perancisnya

The underlined part is using modulation technique. This kind of modulation technique is used when an occurrence signified as a term indicating space in SL is modulated into a term in TL that indicates time and vice versa.

India.

(2). In the dialog 0:06:08 (no. data: 41) of the movie subtitle.

SL That the water there was so clear, you could make your morning coffee with it

TL Airnya sangat jernih, kau bisa membuat kopi dengan .

air kolam itu

The underlined part is using modulation technique. This kind of modulation technique is used when the meaning of SL text is made explicit in TL. The word ‘it’ in SL text refers to the water, so in the end of the dialog the word ‘the water’ does not need to be mention again. The translator is using modulation technique to translate the word ‘it’ into ‘air kolam itu’ even though in the beginning of the dialog, there is a word ‘airnya’ that means ‘the water’.

(3). In the dialogs 0:06:57 (no. data: 51); 0:07:00 (no. data: 52); and 0:07:11 (no. data: 56) of the movie subtitle.

0:06:57

SL Are you pissing TL Kau

right now? ngompol sekarang ?

(60)

44 0:07:00

SL Look at him, he's pissing TL Lihat dia, dia

! ngompol 0:07:11

SL No Pissing TL Jangan

in the schoolyard! ngompol

In all of these dialogs, the word ‘pissing’ in SL text is translated into ‘ngompol’ in TL text. The word ‘pissing’ has some meaning in the dictionary, such as ‘ngompol, pipis, membuang air seni, membuang urin’, but the translator is using modulation technique to translate this word. In this case, the word ‘pissing’ is translated into ‘ngompol’ for the movie subtitle because this word is more acceptable for the audience of the movie.

di sekolah!

(4). In the dialog 0:07:07 (no. data: 54) of the movie subtitle. SL to a stinkingIndian latrine

TL menjadi

kata jorok dalam bahasa India

In the underlined parts of the dialog show the modulation technique in translating the dialog from SL to TL text. If the words ‘stinking Indian latrine’ is translated by literal translation, it should be ‘bau India kaskus’, but in this case the translator is using modulation technique and translates the words into ‘kata jorok dalam bahasa India’ because it more acceptable for the audience of the movie. The word ‘kaskus’ in TL might be barely to know by the audience, so the translator decided to translate it into the easy explanation about the word in SL text.

(61)

45 (5). In the dialog 0:08:37 (no. data: 80) of this movie subtitle.

SL French class TL

was next. Pelajaran bahasa Perancis

The underlined part in the dialog is showing modulation technique. In SL text, ‘French class’ should be ‘kelas Perancis’ if it is translated into TL using literal translation technique. But in this case, the translator is using modulation technique to translate the words. So the translator finds the other way to translate the words. still the meaning of the translation is same and acceptable in TL.

berikutnya.

(6). In the dialog 0:08:45 (no. data: 83) of the movie subtitle. SL Then, geography.

TL Lalu pelajaran

The example above is showing the modulation technique in translate the dialog. In the SL text, the word ‘geography’ has an explicit meaning based on the previously dialog. It makes the translator is translating the word into ‘pelajaran geografi’. The translator is adding the other word ‘pelajaran’ instead only put the word ‘geografi’ itself. This kind of modulation technique is happened because the translator wants to find the other way to translate the text and make its acceptable for the audience.

geografi.

(7). In the dialog 0:09:15 (no. data: 89) of the movie subtitle. SL It's right. He's really doing this

. Benar ! Dia berhasil !

(62)

46 In this dialog above, there is a modulation technique that used in translated the dialog. The first underlined part in SL text is ‘It’s right’ and it is translated into ‘benar’ in TL text instead of ‘itu benar/ itu tepat/ ia benar/ ia tepat’. It is happened because the word ‘benar’ represents the same meaning in SL to the TL text.

(8). In the dialog 0:10:08 (no. data: 106) of the movie subtitle. SL Two years trying to

TL Dua tahun kucoba

bring it to life menjiwai

From the example above, it shows the using of modulation technique in translating the subtitle. The underlined part in SL ‘bring it to life’ means to make it life, while in TL text, it is translated into ‘menjiwai’ that means ‘give it soul’. The meaning of its term in SL and TL are the same, even though, the translator does not translated it into ‘memberikan hidup/menjadikan hidup’ by literal translation technique.

ceritaku,

(9). In the dialog 0:10:10 (no. data: 107) of the movie subtitle. SL and then one day, it sputtered, coughed and died TL lalu satu hari

. tersendat, terhenti dan mati

The translation technique that used to translate the subtitle in the dialog above is modulation technique. Because the translator is not translate the text with literal.

SL sputtered, coughed and died TL

. tersendat, terhenti dan mati.

(1)

76

76 0:08:27 And from then on, you _{were "Pi"?} Sejak saat itu kau jadi Pi _? Literal Sejak itu, kau dipanggil "Pi"? Modulation

77 0:08:29 Well, no, not quite. Belum, belum selesai. Literal Tidak juga. Literal

78 0:08:31 Nice try, Pissing. Usaha bagus, Pesing. transposition Usaha yang bagus, Urin. Literal

0:08:35 But I still had the whole

day ahead of me.

Tapi masih ada seharian yang harus kuhadapi.

Literal Namun aku masih punya

waktu seharian

transposition .

80 0:08:37 French class was next. Pelajaran bahasa _{Perancis berikutnya.} Modulation Berikutnya ialah kelas bahasa _Prancis. transposition

81 0:08:40 Je m'appelle Piscine _{Molitor Patel.} Namaku Piscine Molitor _Patel. Literal

82 0:08:42 DitPi. Panggilannya : Pi. Literal

83 0:08:45 Then, geography. Lalu pelajaran geografi. Modulation Lalu, geografi฀. Literal

84 0:08:47 These are the first 20 _{decimal places of pi.} Inilah 21 desimal dari _{nama Pi.} Literal Ini adalah 20 titik desimal _{pertama dari pi.} Literal

0:08:51 PI: My last class of the

day was mathematics.

Pelajaran terakhir matematika.

Literal Kelas terakhirku hari itu ialah

matematika.

Literal

86 0:08:54 Slowly, slowly, slowly. Pelan, pelan, pelan. Literal Pelan-pelan. Literal

87 0:09:03 Three. Seven. Five. Eight. _Nine. 3, 7, 5, 8, 9 , Literal Tiga. Tujuh. Lima. Delapan. _Sembilan. Literal

88 0:09:10 Eight. Five. Eight. Nine. 8, 7, 8, 9. Literal Delapan. Lima. Delapan. _Sembilan. Literal

89 0:09:15 It's right. He's really doing _this. Benar ! Dia berhasil ! Modulation Benar. Dia sungguh bisa _{melakukannya.} Literal

(2)

77

0:09:22 By the end of that day, I

was Pi Patel, school legend.

Di akhir hari itu, aku jadi Pi Patel legenda sekolah.

Literal Di penghujung hari itu, aku

adalah Pi Patel, Iegenda sekolah.

Literal

0:09:28 Um, Mamaji tells me

you're a legend among sailors, too.

Mamaji bilang kau legenda di antara para pelaut, kan ?

Literal Mamaji bilang kau juga

seorang legenda di kalangan pelaut.

Literal

93 0:09:31 Out there, all alone. Di luar sana, sendirian. Literal Di lautan, sendirian. Modulation

94 0:09:33 Oh, I don't even know _{how to sail.} Oh, bahkan aku tak tahu _{cara berlayar.} Literal Cara berlayar saja aku tidak _tahu. transposition

0:09:35 And I wasn't alone out

there. Richard Parker was with me.

Dan aku tidak sendirian, Aku bersama Richard Parker.

Transposition Aku tidak sendirian di lautan.

Richard Parker bersamaku.

Literal

96 0:09:39 Richard Parker? Richard Parker ? Literal Richard Parker? Literal

0:09:41 Mamaji didn't tell me

everything.

Mamaji, dia tidak menceritakan semuanya.

Literal Mamaji tidak menceritakan

semuanya.

Literal

0:09:43 He just said I should look

you up when I got back to Montreal.

Dia hanya menyuruhku menemuimu saat aku kembali ke Montreal.

Modulation Ia bilang aku harus

menghubungimu saat aku kembali ke Montreal.

Modulation

99 0:09:46 So, what were you doing _{in Pondicherry?} Apa yang kau lakukan di _{Pondicherry ?} Literal Apa yang kaulakukan di _Pondicherry? Literal

100 0:09:49 Writing a novel. Menulis novel. Literal Menulis novel. Literal

101 0:09:51 By the way, I enjoyed _{your first book.} Aku suka buku _pertamamu. Literal Omong-omong, aku suka _{buku pertamamu.} Literal

(3)

78

103

0:09:56 No, Portugal, actually. But

it's cheaper living in India.

Tidak, sebenarnya di Portugal. Tapi lebih murah tingal di India.

Literal Bukan, tepatnya Portugal.

Tapi tinggal di India

transposition lebih

murah.

104 0:10:01 Ah, well, I look forward to _{reading it.} Aku tak sabar ingin _membacanya. Modulation Aku tak sabar membacanya. Modulation

105

0:10:04 You can't. I threw it out. Tak bisa. Aku

membuangnya.

Literal Kau takkan membacanya.

Sudah kubuang.

Literal

106 0:10:08 Two years trying to bring _{it to life} Dua tahun kucoba _{menjiwai ceritaku,} Modulation Dua tahun kucoba _{menghidupkan novel ini…} Literal

107

0:10:10 and then one day, it

sputtered, coughed and died.

lalu satu hari tersendat, terhenti dan mati.

Modulation lalu suatu hari, ia berliur,

batuk dan mati.

Literal

108 0:10:15 Oh, I'm sorry. Oh, maafkan aku. Literal Maaf. Literal

109

0:10:18 Uh, I was sitting in this

coffee house in Pondicherry one afternoon,

Lalu aku duduk di kedai kopi di Pondicherry suatu sore…

Literal Suatu sore aku duduk di

kedai kopi di Pondicherry,

transposition

110 0:10:22 mourning my loss… meratapi kehilanganku Literal meratapi kehilanganku Literal

111

0:10:23 when this old man at the

table next to me struck up a conversation.

Saat pria tua di meja sebelahku memulai sebuah percakapan.

Literal ketika orang tua di meja

sebelahku memulai percakapan.

Literal

112 0:10:27 Yeah, Mamaji, he does _that. Ya, Mamaji memang _begitu. Literal Ya, Mamaji suka melakukan _itu Literal

113

0:10:29 When I told him about my

abandoned book, he said…

Saat kuceritakan buku yang kubuang, ia berkata :

Literal Ketika kuceritakan soal buku

yang kutinggalkan, dia bilang…

(4)

79

114

0:10:31 So, a Canadian who's

come to French India

Jadi, orang Kanada yang datang ke Perancis India ,

Literal Seorang Kanada yang datang

ke India Prancis

Literal

115 0:10:33 in search of a story." Yang mencari cerita. Literal untuk mencari kisah. Literal

116

0:10:35 Well, my friend, I know

an Indian in French Canada

Aku kenal orang India di Kanada ,

Literal Temanku, aku kenal seorang

India di Kanada Prancis..

Literal

117 0:10:38 with the most incredible _{story to tell.} Yang punya cerita paling _{luar biasa.} Literal yang punya kisah paling luar _biasa. Literal

118

0:10:41 It must be fate that the two

of you should meet.

Ini pasti takdir, kalian berdua harus bertemu.

Literal Pasti kalian bera ditakdirkan

untuk bertemu

Literal

119

0:10:49 Well, I haven't spoken

about Richard Parker in so many years.

Aku belum pernah

membicarakan Richard

Parker bertahun - tahun.

Literal Sudah lama aku tidak bicara

tentang Richard Parker.

Modulation

120 0:10:52 So, what has Mamaji _{already told you?} Apa yang diceritakan _{Mamaji padamu ?} Literal Apa saja yang dikatakan oleh _Mamaji? Modulation

121

0:10:55 He said you had a story

that would make me believe in God.

Katanya kau punya cerita yang akan membuatku percaya Tuhan.

Literal Ia bilang kau punya kisah

yang bisa membuatku percaya Tuhan.

Literal

122

0:10:59 He would say that about a

nice meal.

Dia seperti bicara makanan lezat.

Modulation Dia juga bilang begitu

tentang makanan yang enak

Literal

123

0:11:03 As for God, I can only tell

you my story.

Masalah Tuhan, aku hanya

bisa menceritakan kisahku.

Literal Soal Tuhan, aku hanya bisa

menceritakan kisahku.

(5)

80

124

0:11:08 You will decide for

yourself what you believe.

Kau yang memutuskan apa yang kau percaya.

Literal Putuskan sendiri kau mau

percaya apa.

Modulation

125 0:11:10 Fair enough. Cukup adil. Literal Baiklah. Modulation

126 0:11:13 Let's see, then. Where to _begin? Kita lihat nanti. Mau _{mulai darimana ?} Literal Coba kupikir. Harus mulai _{dari mana?} Modulation

127

0:11:16 Pondicherry is the French

Riviera of India.

Pondicherry adalah Perancis Rivieranya India.

Literal Di India, Pondicherry mirip

Riviera Perancis

transposition

128 0:11:24 In the streets closest to _{the ocean,} Tempat ini paling dekat _{dengan laut ,} Modulation Di jalan yang terdekat _{dengan laut, kau} Literal

129

0:11:26 you might think you

were in the south of France.

Hingga akan membuatmu merasa ada di

selatan Perancis.

Modulation bisa berpikir kau ada di

selatan Prancis.

Literal

130

0:11:32 A few blocks in, there's

a canal.

Beberapa blok ke dalam, ada sebuah kanal.

Transference Beberapa blok ke dalam, ada

sebuah kanal.

Transference

131 0:11:35 Just beyond that is _{Indian Pondicherr.} Pas setelah itulah _{Pondicherry India.} Literal Persis setelah itu ialah _{Pondicheny India.} Literal

132

0:11:38 And the Muslim quarter

is just to the west.

Dan kuartal Muslim di sebelah barat.

Transference Pemukiman orang Islam

persis di sebelah barat.

Literal

133

0:11:42 When the French handed

Pondicherry back to us in 1954…

Ketika Perancis menyerahkan Pondicherry

kembali pada kami tahun 1954 ,

Literal Ketika Prancis

mengembalikan Pondicherry tahun 1954…

(6)

81

134

0:11:46 the town decided that

some sort of commemoration was in order.

Kota memutuskan harus ada peringatan akan hal itu.

Literal kota tersebut memutuskan

untuk membuat tanda peringatan.

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