”yipes” which is translated into “huaaaaa”. In this context, the character in the comic was yelling.
ii. The Ding-Dong Theory
This theory tries to determine the relationship between the sounds and the senses of word. Speech arises because people react to the stimuli in the world
around them and spontaneously produce sounds which in same way reflected to the enviro
nment Crystal: 1987. For example the utterance „byebye’ followed by
waving hands that indicates „good bye‟. iii.
The Yo-He-Ho Theory
This theory underlines the development of language in social context. Language is produced because of human physical effort, such as people work
together Crystal: 1987. However, when people get a command-sound they will do strong body movement and automatically produce rhythmical yells. The
example found in Rosa‟s comic is when the character in this comic wants to engrave; the
onomatopoeic expression shown is “chip-chip” translating into “krik- krik”.
iv. Bow-wow Theory
This theory was proposed by Max Muller from German. He states that the simplest word is imitative of natural sounds, such as „cuckoo‟, which is then
originated as t he name of bird and „bow-wow’ which is originated as the dog‟s
bark becomes the name of dog. This theory is also supported by Jespersen on his book entitled „Language, Its Nature, Development and Origin‟ by giving the
chronological theory. First the lower animals are original enough to cry and roar,
and then man comes and makes a language for himself by imitating his inferiors. Sounds which are produced without any meaning can be used to designate the
creature itself to have communication. This is also found in this comic. The onomatopoeic expression of “aroooooo” is translated into “auuuuuu”. This sound
imitates the voice of wolf.
v. The La-la Theory
This theory was proposed by Otto Jespersen, The Danish Linguist, in Chrystal‟s The Cambridge of Encyclopedia of Language 1987. He felt that if
any single factor was going to initiate human language, it would arise of the romantic side of life-sounds associated with love, play, poetic feeling, perhaps
even song. The gap between the emotional and the rational aspects of speech expression would still have to be accounted for.
b. Types of Onomatopoeia
As what Kate Burridge said in her book, Blooming English 2002, words are symbolic. It means there is a meaning in each of words. Since onomatopoeia is
denoting sound, there is also meaning inside it. Different from the theory of the origin of onomatopoeia, Hugh Bredin
in Elin Dofs‟ Onomatopoeia and Iconicity, A Comparative Study of English and Swedish Animal Sounds
suggests three types of onomatopoeia.
According to Hugh Bredin, there are three types f onomatopoeia.
i. Direct onomatopoeia.
As he says, this type of onomatopoeia can occur if the words fulfill two criterias. First criteria is that if the denotation of a word is a class of
sounds. The second is the sound of the word resembles a member of the class. Simply to say that if the sound of the onomatopoeia words resemble
to the sound that it names. For example, hiss and moan.
ii. Associative onomatopoeia
This type of onomatopoeia occurs whenever the sound of a word resembles a sound associated with whatever it is that the word denotes.
For other information, none of these words has a sound that resembles the objects or actions that they denote. For example, cuckoo.
iii. Exemplary onomatopoeia
Exemplary onomatopoeia relies on the amount and character of the physical work used by a speaker in uttering a word. Bredin said that words
such as nimble and dart require less muscular and pulmonary effort than do sluggish and slothful, so that they become one of the examples of
exemplary onomatopoeia. When it comes to talk about the pulmonary and muscular, it means that in
pronouncing the word, energy is needed. Pulmonary is related to lungs. Lungs are one of motors for vocal vibration Wise in Introduction
toPhonetics , 1957: 37. The other motors for vocal vibration are larynx,
pharynx, and mouth. They all become one unit of vocal vibrators and functioned for pronouncing the sound, and then so-called as musical
instruments. Therefore, when an onomatopoeia word needs to be pronounced and it uses one or more vocal vibrators, it could be an
exemplary onomatopoeia.
2. Theory of Meaning
It is important to consider in the extra linguistic field, which is comic. To understand the meanings onomatopoeic expressions‟ meaning in the comic strips,
the readers have to understand the context in the comic strips. Looking comics as an integral language on the one hand, and as a partnership of words and pictures
on the other. This is very interesting that interpretation of the readers are also needed,
that is why in translating the onomatopoeic expression must be careful in order to deliver the imagination and the content between the pictures and the story.
In categorizing the onomatopoeia, the writer provides some theory of type of the Onomatopoeia or Symbolic Meaning. According David Crystal 1987,
there are several attempts have been made to find specific correspondences between sounds and meaning. For example, in several languages an association
has been suggested between close vowels especially [i] and smallness, and an open vowels especially [a] and largeness, as in English teeny, little, bit, slim. On
the other hand, there are several counter-examples to this tendency, example big vs small.
In translating the onomatopoeic expression in the comic, the writer must be able in understanding the meaning of the onomatopoeic expression in the
Source Text. There are certain types of meaning. Contextual Meaning and Lexical Meaning will help the writer in analyzing this research.
