d. Semantic Translation
Semantic translation differs from faithful translation only in as far as it must be taken more account of the aesthetic value that is, the
beautiful and natural sound of the SL text, compromising on meaning where appropriate so that no assonance, word play or
repetition jars in the finished version. The method that emphasizes on the target language as follow:
e. Adaptation
This is the freest form of translation. It is used mainly for plays comedies, poetry; the themes, characters, plots are usually
preserved, the SL culture converted to the TL culture and the text rewritten. The deplorable practice of having the play or poem
literally translated and the rewritten by an established drama poet has produced many poor adaptations, but other adaptations have
rescued period plays. f.
Free Translation Free Translation reproduces the matter without the manner, or the
content without the form of the original. g.
Idiomatic Translation Idiomatic translation reproduces the message of the original but
tends to distort nuances of meaning by preferring colloquium and idioms where these do not exist in the original Authorities as diverse
as Salescovith and Stuart Gilbert tend to this form of lively, natural translation.
h. Communicative Translation
Communicative translation attempts to renders the exact contextual meaning of the original in such a way that both content and
language are readily acceptable and comprehensible to the readership.
3. The Process of Translation
The process of translation can be acquired as in the figure
24
below:
Source language text Receptor Language Target
Analysis Restructuring
X Transfer of the Figure Y
The figure explains that the translation process starts in analysis of phase, where the message is understood and decoded from the Source
Language Text SLT. The message got from understanding of SLT, then, results proposition X which will be transferred into Target
Language TL proposition, Y, in second phase. The proposition Y is decoded in the third phase then, where the message is restructured into
TL in the form of TLT. The result of this phase is receptor language translation. There are two groups of translation methods emphasize on
the source language, and the methods that emphasize on the target language.
24
Eugene A. Nida and Charles R. Teber. op.cit., p. 33
D. The Equivalent of Translation
Since translation talks about transferring meaning, replacing SL with TL that having equivalent meaning, the statement of the SL phrase is
replaced by a TL phrase that serves the same purpose in the TL culture, and the process here involves the substitution of SL sign for TL sign
25
may be understood as the process of making equivalent in translation.
Eugene Nida distinguishes two types of equivalence, formal equivalent and dynamic equivalent. Formal equivalence is quality of a
translation in which the features of the form of the source text have been mechanically reproduced in the receptor language. Typically, formal
equivalent distorts the grammatical and stylistic pattern of the receptor language and hence distorts the message, so as to cause the receptor to
misunderstand or to labor unduly hard. The opposite principal is dynamic equivalent that means quality of a translation in which the message of the
original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptor.
Frequently, the form of the original text is changed, but as long as the change follows the rules of back transformation in the SL, of contextual
consistency in the transfer, and of transformation in the receptor language, the message is preserved and the translation is faithful.
26
25
Susan bassnett. Translation Studies, new fetter lane, London: routledge, 2002, p.31
26
Eugene Nida and Charles R. Teber. op.cit., pp. 200-201
CHAPTER III RESEARCH FINDINGS
A. Description of the Data
The writer analyzes the number of error translation from the film text of Romeo and Juliet written by William Shakespeare adapted for the screen by
Craig Pearce and Baz Luhrmann that released on March, 28
th
1997. The original text has been translated into Bahasa Indonesia by Kitotsky.
Table 1: The Errors of Translation No.
Times English
Indonesia
1 00:37
From ancient grudge break to new mutiny.
Mulai dari pertentangan kuno, berubah
melawan kekakuan
hukum. 2
05:07 You know not what you do.
Kau tahu perbuatanmu. 3
05:16 Put up your sword.
Kenakan pedangmu. 4
08:26 Give me my long sword, ho Berikan pedang panjangku
5 08:47
Rebellious subjects,
enemies to peace, Throw your mistemperd weapons
to the ground Subjek
pemberontak, musuh
kedamaian, jatuhkan senjata kalian ke tanah
6 11:22
So please you, step aside; Ill know his grievance, or
be much denied. Jadi, kumohon anda menyingkir
dahulu, aku
paham kepedihannya, atau perasaan
sangat diacuhkan. 7
16:31 Thus then in brief: The
valiant Paris seeks you for his love.
Baru teringat: Paris yang gagah menyukaimu.
8 17:09
Women grow by men. Wanita besar karena pria.
9 27:30
Make a mutiny among my guests?
Kau mau membuat keributan di pestaku.
10 34:18
I ll to my truckle-bed; this field-bed is too cold for me
to sleep. Aku diranjang laci; ranjang ini
terlalu dingin untuk ditiduri.
