An analysis on the verbal humor and the consistency of the Indonesian subtitle in Ice Age 3: Dawn of the Dinosaurs.

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vi ABSTRACT

Baskara, Andri Seta, 2013. An Analysis on the Verbal Humor in Ice Age 3: Dawn of the Dinosaurs and the Consistency of the Indonesian Subtitle. Yogyakarta: English Language Education Study Program, Department of Language and Arts Education, Faculty of Teachers Training and Education, Sanata Dharma University.

Humor plays an important role in human communication. As the humor movies are broadcasted more widely around the globe, there is a need for an appropriate translation of the English subtitles into other languages. Translating verbal humor is not only about rendering the meaning, but translators also need to pay attention to preserve the humorous effect from the source text. This study would like to analyze the verbally-expressed humor translation in the 3-D computer animated movie subtitle, Ice Age 3: Dawn of the Dinosaurs (2009), and whether the humor used is well-rendered or not. This research posed two problems. The first problem formulated was to examine the verbal humor types which are used in the subject movie. The second problem was dealing with the consistency of the movie’s verbal humor translation into Bahasa Indonesia. The writer acted as the human instrument to collect the required data for this study. The document instruments involved in the study were the original and Indonesian dialog scripts of Ice Age 3: Dawn of the Dinosaurs.

The study was a qualitative research. To solve the first problem, the writer collected all verbal humor identified from the English dialog script, then classified them according to Shade’s verbal humor categorization (1996). Answering the second problem, the researcher utilized Attardo’s GTVH six Knowledge Resources (1994) to determine the consistency of each verbal humor translation into Bahasa Indonesia.

Based on the result of this study, the writer pinpointed several findings. Firstly, Ice Age 3: Dawn of the Dinosaurs was characterized by the use of ironical verbal humor, since most (31) verbal humor samples were categorized into Irony type of verbal humor. Meanwhile, there are total 64 cases of verbal humor found in the movie. Dealing with the second problem, the writer found that 57 out of 64 verbal humor samples were consistently translated into Bahasa Indonesia, while 7 instances have been lost in the translations.

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vii ABSTRAK

Baskara, Andri Seta. 2013. An Analysis on the Verbal Humor in Ice Age 3: Dawn of the Dinosaurs and the Consistency of the Indonesian Subtitle. Yogyakarta: Program Studi Pendidikan Bahasa Inggris, Jurusan Pendidikan Bahasa dan Seni, Fakultas Keguruan dan Ilmu Pendidikan, Universitas Sanata Dharma.

Humor memainkan peranan penting dalam komunikasi manusia. Sebuah hal yang tidak terbantahkan bahwa humor merupakan salah satu komoditas utama dalam dunia hiburan, sebagai contoh dalam dunia perfilman. Menerjemahkan humor verbal tidak hanya berfokus pada segi makna, namun juga perlu menjaga efek gurauan dari tulisan aslinya. Studi ini berfokus pada analisa terjemahan humor verbal yang digunakan dalam film Ice Age 3: Dawn of the Dinosaurs (2009), dan meneliti konsistensi terjemahannya. Studi ini mengemukakan dua masalah. Masalah pertama adalah meneliti klasifikasi jenis humor verbal yang digunakan dalam film subjek. Masalah kedua membahas konsistensi terjemahan humor verbal ke dalam Bahasa Indonesia. Penulis berperan sebagai instrument utama dalam pengumpulan data yang dibutuhkan. Dokumen yang digunakan adalah skrip naskah dialog film dalam versi Bahasa Inggris dan Bahasa Indonesia.

Penelitian ini merupakan riset kualitatif. Untuk menjawab masalah pertama, peniliti mengumpulkan seluruh humor verbal yang digunakan dalam film, dan kemudian mengklasifikasi humor verbal tersebut berdasarkan teori jenis humor verbal oleh Shade (1996). Mengenai masalah kedua, penulis menggunakan teori GTVH yang dikemukan oleh Attardo (1994) untuk menentukan konsistensi terjemahan setiap sampel humor verbal.

Setelah melakukan penelitian, penulis memperoleh beberapa kesimpulan. Pertama, Ice Age 3: Dawn of the Dinosaurs merupakan film yang berkarakter jenaka ironis, karena sebagian besar sampel humor verbal yang ditemukan termasuk dalam kategori humor verbal Ironi. Dalam film ini terdapat 64 humor verbal yang diucapkan. Pada masalah kedua, penulis menarik kesimpulan bahwa 57 sampel humor verbal dari total 64 data telah diterjemahkan ke dalam Bahasa Indonesia secara konsisten. Sedangkan 7 sisanya mengalami kesalahan dalam proses terjemahannya.

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AN ANALYSIS ON THE VERBAL HUMOR AND THE

CONSISTENCY OF THE INDONESIAN SUBTITLE IN

ICE

AGE 3: DAWN OF THE DINOSAURS

A SARJANA PENDIDIKAN THESIS

Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree

in English Language Education

Andri Seta Baskara Student Number: 081214103

ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION

FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY

YOGYAKARTA 2013

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AN ANALYSIS ON THE VERBAL HUMOR AND THE

CONSISTENCY OF THE INDONESIAN SUBTITLE IN

ICE

AGE 3: DAWN OF THE DINOSAURS

A SARJANA PENDIDIKAN THESIS

Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree

in English Language Education

Andri Seta Baskara Student Number: 081214103

ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION

FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY

YOGYAKARTA 2013

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vi ABSTRACT

The study was a qualitative research. To solve the first problem, the writer collected all verbal humor identified from the English dialog script, then classified

them according to Shade’s verbal humor categorization (1996). Answering the

second problem, the researcher utilized Attardo’s GTVH six Knowledge Resources (1994) to determine the consistency of each verbal humor translation into Bahasa Indonesia.

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vii ABSTRAK

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viii

ACKNOWLEDGEMENTS

First of all, allow me to express my deep and eternal gratitude to my thesis sponsor, Carla Sih Prabandari, S.Pd., M.Hum. for her instructions, feedbacks, clues, support, encouragement, warnings, reinforcement, time, prayers, and everything in between. I apologize for any inconvenience, trouble, annoyance, or problem I made during the thesis writing.

I would like to express my great appreciation to my father, Mr. Siswadi, for all of your words, so I can keep my sight on my computer screen and pounding those poor keys. To my mother, Mrs. Yuliah, I thank her for everyday spicy meals. I realize that not every child can enjoy those meals, so I feel really fortunate to be her son.

I need to mention some important names here. From the The Last Leaf folks, special thanks to Leo, Boni, Beni, Agung, Toro, Ajeng, Heni, Endha, Agatha, Vincent, Ryo, Riska, and Siska. I also thank the EGG team, Adam, Sherly, Grace, Bang Yoko, Jenni, and Nita, for their hard work and togetherness. I deliver my thanks to the “3rd story’s Tim Skripsi”, Frater, Yustian, Angel, Rean, Ika, Vita, Na, and Ivon. My appreciation goes to the Micro Teaching Lab staff, Miss Nanik, Mr. Agus, Mr. Bambang, Yustian again, Boni once again, Adam too, Andri, Paskalis, Niko, and Adit.

To all of my brothers and sisters, from 081214001 to 081214153, I could not thank enough for always being my friends, and will always be. I will never

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forget those crazy times together, hard times, easy times, leisure times, sad times, and happy times. I love sharing moments and stories with them, from 2008 until this very second. I cannot wait to team up with them again and have some fun together.

I cannot miss the Buncis Band members to be appreciated. Let me thank my oldest brother Mas Yudhie, the older brother Mas Epo, the sisters-in-law Mbak Naning, and Mbak Tammy for playing those instruments for the band. I would like to thank the juniors, Bintang and Vale, and also the new recruits, Devan, and Flo, for completing our band and happiness.

Finally, I deliver my best thanks to God. Thanks for setting my story to be this fun. I know that I still need to learn how to thank Him better. I apologize for being so naughty and unfaithful. Please guide me to shape my own future to be as inimitable as possible.

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TABLE OF CONTENTS Page TITLE PAGE ... i

PAGE OF APPROVAL ... ii

PAGE OF ACCEPTANCE ... iii

STATEMENT OF WORK’S ORIGINALITY ... iv

PERNYATAAN PERSETUJUAN PUBLIKASI ... v

ABSTRACT ... vi

ABSTRAK ... vii

ACKNOWLEDGEMENTS ... viii

TABLE OF CONTENTS ... x

LIST OF FIGURE ... xii

LIST OF TABLES ... xiii

LIST OF APPENDICES ... xiv

CHAPTER I INTRODUCTION ... 1

A.Research Background ... 1

B.Research Problems ... 4

C.Problem Limitation ... 4

D.Research Objectives ... 4

E. Research Benefits ... 5

F. Definition of Terms ... 5

CHAPTER II REVIEW OF RELATED LITERATURE ... 8

A.Theoretical Description ... 8

1. Verbal Humor ... 8

2. Types of Verbal Humor ... 10

a. Puns ... 10

b. Jokes ... 11

c. Riddle ... 13

d. Satire ... 14

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f. Parody ... 15

g. Irony ... 15

h. Wit ... 16

i. Anecdote ... 16

3. Translation ... 17

4. Semantics ... 18

5. Verbal Humor Translation ... 19

a. Language (LA) ... 20

b. Narrative Strategy (NS) ... 20

c. Target (TA) ... 21

d. Situation (SI) ... 21

e. Logical Mechanism (LM) ... 21

f. Script Opposition (SO) ... 23

B.Theoretical Framework ... 25

CHAPTER III METHODOLOGY ... 26

A.Research Method ... 26

B.Research Subjects ... 27

C.Instruments and Data Gathering Technique ... 27

D.Data Analysis Technique ... 28

E. Research Procedures ... 30

CHAPTER IV RESEARCH RESULTS AND DISCUSSION ... 32

A.The Types of Verbal Humor in the Ice Age 3: Dawn of the Dinosaurs ... 32

B.The Consistency of Verbal Humor Translation into Bahasa Indonesia ... 41

CHAPTER V CONCLUSIONS AND RECOMMENDATIONS ... 56

A.Conclusions ... 56

B.Recommendations ... 57

REFERENCES ... 58

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xii LIST OF FIGURE

Figure Page 4.1 Ice Age 3: Dawn of the Dinosaurs Verbal Humor Total Number by Types ... 33

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xiii LIST OF TABLES

Table Page

4.1.1 Joke Verbal Humor List ... 34

4.1.2 Phonological Joke Verbal Humor List ... 35

4.1.3 Surface Structure Joke Verbal Humor List ... 35

4.1.4 Deep Structure Joke Verbal Humor List ... 36

4.1.5 Metalinguistic Joke Verbal Humor List ... 36

4.2 Riddle Verbal Humor List ... 37

4.3 Satire Verbal Humor List ... 38

4.4 Parody Verbal Humor List ... 38

4.5 Irony Verbal Humor List ... 39

4.6 Wit Verbal Humor List ... 40

4.7 Anecdote Verbal Humor List ... 40

4.8 The Consistency of Verbal Humor Translation in Numbers ... 42

4.2.1.1 Joke Translation Analysis ... 43

4.2.1.2 Phonological Joke Translation Analysis ... 44

4.2.1.3 Surface Structure Joke Translation Analysis ... 45

4.2.1.4 Deep Structure Joke Translation Analysis ... 46

4.2.1.5 Metalinguistic Joke Translation Analysis ... 46

4.2.2.1 Riddle Translation Analysis ... 47

4.2.3.1 Consistent Satire Translation Analysis ... 48

4.2.3.2 Inconsistent Satire Translation Analysis ... 49

4.2.4.1 Consistent Parody Translation Analysis ... 50

4.2.5.1 Consistent Irony Translation Analysis ... 51

4.2.5.2 Inconsistent Irony Translation Analysis... 52

4.2.6.1 Consistent Wit Translation Analysis ... 53

4.2.7.1 Consistent Anecdote Translation Analysis ... 54

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xiv

LIST OF APPENDICES

APPENDIX A

Table of Verbal Humor used in the Ice Age 3: Dawn of the Dinosaurs ... 60

APPENDIX B

Complete List of Joke Verbal Humor ... 68 APPENDIX C

Complete List of Satire Verbal Humor ... 69 APPENDIX D

Complete List of Parody Verbal Humor ... 70 APPENDIX E

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1 CHAPTER I INTRODUCTION

This first chapter presents the introduction of the research. It provides the research background, research problem, problem limitation, research objectives, research benefits and followed by the terms definition. The researcher delivers the reasons of selecting the topic in the research background. The research problem explains the problems to be dealt with in this study. The research objectives describe the aims of the research in relation to the research problem. Research benefits explain the advantages of conducting this research for the readers, including translators, movie subtitlers, and also other researchers. The last part of this chapter, definition of terms, elucidates the important terms that serve to the research.

A. Research Background

Humor plays an important role in human communication. Spanakaki (2007) points out that humor is an essential and defining element of humanity. Repeated studies have been conducted on this relatively-young field of study from many different aspects, including from linguistics aspect. It is not a subject to complain that humor is broadly used in the world of entertainment. It has been a major part of countless literary works and films. Spanakaki (2007) states that movie or film, as one of the methods for delivering entertainment to the mass, is gaining more popularity in these recent days. Movie possesses a great variety of genres. One

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2 genre that becomes a center of attention of the public is humor. Comedy shows

boast their “ability” to provide laughter and amusement to the audiences. As a

result, there are numbers of movies which are meant to make the audiences laugh. As these kinds of movie are broadcasted more widely around the globe, there is a need for an appropriate translation of the English subtitles into other languages. More importantly, the English verbal humor which is embraced in the subtitles.

A verbal humor may become less humorous when translated into other languages. According to Spanakaki (2007), different cultural elements and linguistic systems make the translators’ work difficult, while some elements may not be translated at all. However, translators must maintain the effect of the humor employed in the comedy movies. In order to preserve the humorous effect, translators must know and apply many translation strategies. Translators must be creative to transfer the humorous effect of the movies to the target audiences.

According to Gáll (2009), verbal humors are among the most difficult work to translate. Gáll adds that verbally expressed humor (VEH), is often seen to be hard to translate because of the language dependent quality. Translators might have to translate humor which seemed to be untranslatable while keeping the meaning of the humor. “Translators need to keep the similar effect as it would

provoke in the source language culture” says Gáll. This means that translators

must consider changing the original linguistic forms of the VEH that are not amusing in the Target Language.

Another problem proposed by Gáll (2009) is that in translating audiovisual context, like movies, is a difficult process since the translator’s scope is bound by

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the visual and audio aspect of the medium. This means that the translator cannot manipulate the audio and visual aspect of the movies in rendering the humor. Although the translator could make a process of dubbing, changing the audio dialog into the target language, there would be some humorous aspects that are not translated. Gall (2009) claims that the socio-culture oriented visual contents would make a target-culture oriented humor translation become less-humorous.

This study would like to analyze the verbally-expressed humor translation in the 3-D computer animated movie subtitle, Ice Age 3: Dawn of the Dinosaurs (2009), and whether the humor used is well-rendered or not. To aid the analysis of the humor translation, the researcher utilizes the General Theory of Verbal Humor (GTVH) proposed by Attardo (1994). This animated film is very well-known for the ability to create laughter among the watchers. Ice Age 3: Dawn of the Dinosaurs is the third installment of the Ice Age movie series. Directed by Carlos Saldanha and Michael Thurmeier, this film tells the story of Sid, a clumsy sloth, embarking on a wondrous adventure in the lost world of dinosaurs after stealing three Tyrannosaur eggs. For this case, the rest of the protagonists, Manny and Ellie the mammoths, Diego the saber-toothed tiger, Crash and Eddie the hilarious squirrels, must rescue Sid and take him out of the chaos. Their adventure generates many comical and absurd events as they encounter many danger of encountering many hungry dinosaurs, huge carnivorous plants, and unfriendly rough terrain of the lost world.

The researcher selected this movie since most segments of the movie dialog are humorous and the translated dialog should be humorous as well. The movie is

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4 filled up with comical elements in the form of verbal humor as well as non-verbal humor, which provides the researcher with sufficient and suitable data of verbal humor required to conduct the study. Meanwhile, the researcher attempts to observe the transmission of the verbal humorous elements of this movie whether they are well-rendered into Bahasa Indonesia using the General Theory of Verbal Humor framework for humor translation.

B. Research Problems

This study poses two problems. They are formulated as follows:

1. What types of verbal humor are used in the animated movie Ice Age 3: Dawn of the Dinosaurs?

2. Is the verbal humor consistently translated into Bahasa Indonesia?

C. Problem Limitation

This research focuses on the verbally expressed humor employed in Ice Age 3: Dawn of the Dinosaurs. Then the verbal humor found in the film subtitle will be classified into several categories based on the typology of verbal humor by Shade (1997). Another focus of the study is to determine the successfulness of the verbal humor, not other kinds of humor, transmission to Bahasa Indonesia subtitle for Ice Age 3: Dawn of the Dinosaurs.

D. Research Objectives

The objectives appointed for this research are:

1. To find out the types of verbal humor which are involved in the movie subtitles.

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2. To determine whether the verbal humor used in the movie consistently translated into Bahasa Indonesia.

E. Research Benefits

The researcher hopes that this study will:

1. Provide readers with valuable information and framework about verbal humor translation.

2. Aid further studies concerning the same or corresponding topic about verbal humor and translation.

3. Assist translators by making use of the General Theory of Verbal Humor to measure the difference in meaning and humorous effect of the original humor script and the translated version.

4. Help movies subtitlers, with the findings, to provide better scripts translation for the movies viewers, particularly in translating verbal humor.

F. Definition of Terms 1. Translation

Hatim and Munday (2004) state that translation has two senses. They see that translation is a process, or can be understood as a product. Viewed as a process, translation means the activity of a translator taking an original or a Source Text (ST) and turns it into another language text or Target Text (TT). The target text is adjusted to the audiences that speak a language other than English. In the sense of product, Hatim and Munday (2004) write that translators produce the

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6 concrete written translation product and functions in the socio-cultural context in the target language.

In the scope of this thesis, both senses of translation have the relevance to the study. In this study, translation is viewed as a process of changing the original movie dialog to another language. This process takes place in order to make the verbal message of the movie is comprehensible to the target language recipients. The product of the translation process is in form of subtitle, which is included in movie screen.

Spanakaki (2007) defines subtitles or captions as the textual versions of dialog spoken in movies and television programs, generally located in the bottom of the screen. In this research, subtitle means the translated version of a movie original dialog into the target language. Subtitles are in the form of translation of the dialog, or the transcription of the dialog with the same language. Subtitles assist the audiences who are not able to understand the spoken language of the dialog. A person who produces movie subtitles is often called a subtitler.

2. Verbal Humor

Spanakaki (2007) states that the major definition for humor is whatever evokes laughter or felt to be funny. Humor is whatever is intended to be funny, even if it might not always be perceived or interpreted as such. Shade (1996) classifies humor into four major categories, figural humor, verbal humor, visual humor, and auditory humor. Shade (1996) defines verbal humor, which is the focus of this study, as a form of humor which includes the use of language. Verbal

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humor is presented by involving incongruity as the source of laughter. Shade (1996) writes that verbal humor consists of jokes, puns, riddles, satire, parody, irony, wit, limerick, anecdote, farce, sarcasm, and tall tales. In this research, verbal humor can be found in the movie dialog. They are uttered by the characters playing in the movie. The movie characters induce laughter by expressing incongruity through the use of verbal language.

3. Ice Age 3: Dawn of the Dinosaurs

The researcher sets this title as the object of the study. The movie Ice Age 3: Dawn of the Dinosaurs (2009) is the third sequel of the Ice Age humor movie series, following after two preceding titles, Ice Age (2002) and Ice Age 2: The Meltdown. Sets time in the ice age, this movie gains critical acclaim as one of successful humorous releases. It is a hilarious story of a gang of prehistoric animals who are being taken and venturing into the land of dinosaurs. This film stars Manny the giant mammoth, Ellie the pregnant mammoth, Sid the sloth, Diego the tiger, Crash and Eddie the squirrel duo.

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8 CHAPTER II

REVIEW OF RELATED LITERATURE

In this chapter, there are two sections, which are theoretical description and theoretical framework. Theoretical description presents the theories that are employed to support the research. This study applies the theory of verbal humor, types of verbal humor, and translation. Theoretical framework discusses how the theories are applied to the study.

A. Theoretical Description

The theoretical description presents the theory of verbal humor, types of verbal humor, and verbal humor translation.

1. Verbal Humor

To define verbal humor, it will be better to know what humor is in general. Humor is whatever evokes laughter or felt to be funny (Spanakaki, 2007). Spanakaki adds that the definition ultimately depends on the purpose for which it is used and the effect of the humor. It is quite difficult to define humor since there will always be different interpretations of humor in different heads. A joke might be funny for one person, community, culture, or even country, but might come to be boring to others.

Raskin (1985) proposes that “humor came from incongruity, unsuitable, or disharmonies among things because of something knocked out of its original

shape and purpose.” According to the humor theory of Incongruity, jokes might

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more or less similar to Lynch (2002). He states that “something can be funny if it is irrational, paradoxical, illogical, incoherent, fallacious, or inappropriate”. In this humor theory of Incongruity, humor comes from the intellectual activity. Humor is based on the psychological activity of the audience to produce the funny effect.

Lynch augments that “humor is cognitively based because it is dependent on the

individual’s perception of an event, individual, or symbol in comparison to what

is considered typical”.

Shade (1996) provides a categorization of humor by classifying it into four major groups, namely figural humor, verbal humor, visual humor, and auditory humor. This categorization relies on the source and the media of the humorous effect. Shade (1996) defines verbal humor, as the focus of this study, as a humor that employs language-based jokes, meaning to say, this kind of humor is mainly expressed in the form of words, spoken or written, to produce the comical sense.

Raskin (1985) explains that verbal humor comes from the concurrence of two different and opposing concepts that creates contradiction in between. This contradiction actually generates the humorous effect out of an utterance. Raskin (1985) calls this contradiction as the Script Opposition and Incongruity. Raskin (1985) exemplifies this incongruity in this joke, “An English bishop received the following note from the vicar of a village in his diocese: “Milord, I regret to inform you of my wife’s death. Can you possibly send me a substitute for the weekend?” (p. 101)

In the joke above, there are two scripts or concepts arising incompatibly, they are “loss” and “gain”. The vicar lost his wife and he supposed to be

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10 burdened by deep sadness of loss, but instead of being concerned of the current situation, he sends a lunatic request to the bishop asking a new woman to replace his wife for the weekend. One can resolve that the humorous sense lies in the incongruity of two opposing scripts of “loss” and “gain”. Script Opposition can be experienced in many other scripts, such as “good” and “bad”, “young” and

“old”, “small” and “big”, or other countless combinations.

As mentioned earlier, the effect of verbal humor generated from involving the intellectual activity of the readers. The appreciation of verbal humor can only take place when the readers discover and resolve the incongruity. “Once the hearer of the joke senses the incongruity, he or she will be motivated to resolve

the incongruity” (Wu & Chen, 2010). It may lead the readers to confusion if they

fail to resolve the incongruity within a joke and they will not laugh at all.

2. Types of Verbal Humor

Shade (1996) typifies verbal humor into 9 groups, namely, puns, jokes, riddles, satire, limerick, parody, irony, wit, and anecdote. Shade (1996) emphasizes these kinds of verbal humor need the listeners’ intellectual ability to resolve the incongruity that leads to laughter. The details of each type of verbal humor are provided below:

a. Puns

Puns are characterized in the use of words to present different meanings but still maintaining the similar forms, be it in sounds or spellings. Puns are also popularly called wordplay, since they work on playing of words. Shade (1996)

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believes that it requires witty people who are able to create puns in a clever and comical manner. Here is an example of punning taken from Shade (1996:3).

Brian : Why does it take a runner longer to run from second to third base than from the first to second base?

Eric : Because there’s a shortstop in between.

In the example, Eric plays the word “shortstop”, a technical term in baseball

field position which located between the second and third base, making it sounds like “short stop”.

b. Jokes

A joke can be generated from many different ways. Shade (1996) states that jokes are formed by involving multiple meanings of words, idioms, and metaphors, resolving ambiguity, perceiving incongruity, or experiencing unexpected sudden change of things. Comprehending all of those aspects is also possible for creating jokes. There are 5 different types of jokes based on linguistics features, they are phonological jokes, lexical jokes, surface structure jokes, deep structure jokes, and metalinguistic jokes. Shade underlines that these categories of jokes are evidences of the fact that the readers’ cognitive, linguistic, and metalinguistic abilities are necessary to the appreciation, resolution, and crafting of jokes.

1) Phonological jokes

Shade mentions that these jokes are represented by the use of phonological structure of words. Below is one example (Shade, 1996):

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12 Rebecca : What is this?

Waiter : It’s bean soup.

Rebecca : I don’t care what it’s “been”. What is this now?

It is noticeable in the example that the joke lies in Rebecca’s

misunderstanding of the word “bean” to “been”. Rebecca does not get that the waiter, in fact, answers “It’s bean soup”.

2) Lexical jokes

A lexical joke is based on the use of words that have numerous different meanings. One can come up with a question and the hearer would create the incongruity by giving an unintended answer, but the answer still suffices to the question. Here is an example to clarify things (Shade, 1996):

Dave : What has 18 legs and catches flies? Lynn : A baseball team.

The incongruity occurred in the Lynn answering “a baseball team”, while

the answer is supposed to be “a caterpillar”. Lynn’s response does not correctly

answer Dave’s question, but it laughably answers the question since “a baseball

team” has the exact features of what Dave asks. Since a baseball team consists of

9 players, which have 18 legs in total, and they catch flying balls being hit.

3) Surface structure jokes

As the name suggests, this kind of jokes rely on the use of surface structure of words. Shade adds that surface structure jokes are based on the alternative grouping of words. See the example below (Shade, 1996):

Don : What kinds of flowers liked to be kissed? Joan : A tulip (two lip).

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From the example above, it can be seen that the humor lies in Joan’s playful

answer. Joan gives an alternative answer by saying “a tulip”, which has a similar

sound and grouping to “two lip”.

4) Deep structure jokes

Shade explains that these jokes employ alternative interpretation of the word or phrase used. Below is an example (Shade, 1996):

Sue : What animal can jump higher than a house? Chris : Any animal. Houses can’t jump.

Chris has an interpretation that any house cannot jump. With this interpretation in mind, Chris delivers an alternative, humorous answer to Sue’s question that any animal can jump higher than a house.

5) Metalinguistic jokes

Shade (1996) points out that metalinguistic jokes focus on the surface structure rather than deep structure. They work on the language forms instead of the interpretation. See the example below (Shade, 1996):

Kathy : What’s the end of everything? Tim : The letter g.

The humorous load in this example lies in Tim’s response that plays with the word form of “everything”. Instead of using thought interpretation, Tim gives an answer using the language form of the question.

c. Riddle

This verbal humor is formed by puzzling facts, obligating the hearers to think solving the enigma. Shade (1996) points out that riddles have the same

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14 essence as jokes, but riddles are commonly applied in a question-and-answer kind of conversations. There is an example (Shade, 1996):

Matt : How do you keep fish from smelling? Jenny : Cut off their noses.

In this example, Jenny delivers a straightforward answer to Matt’s question. The answer is still plausible, but it slipped from the expected response and generates a comical sense.

d. Satire

This is a combination of humor and criticism, but still functions to provoke

laughter. “A literary composition to ridicule vice of folly of the times, use of

irony, sarcasm, invective, or wit” (Shade, 1996). Satire often used to show

criticisms toward the government of their bad governing, corruptions, power abuse, or the likes. In the practice, the humorous load of satire is generated by exaggerating or understating facts. Here is the example of satire, “an old lady was sent on a 10-day cruise paid for by her son. She wrote to complain: The food on this ship is absolutely awful. And such small portions!” (Shade, 1996). There is an ironic criticism lies in the example that the food in a cruise ship could be awful and such small portions.

e. Limerick

A limerick is a humorous verse that has five lines with AABBA rhyme. Its name is derived from a place called Limerick, Ireland. This comical verse is actually taken from a song Limerick, but comedians often change the original lyric

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to create humorous effect. This is an example of humorous version of a limerick (Shade, 1996):

There was a young lady called Bright, Who could travel far faster than light, She set off one day,

In a relative way,

And returned home the previous night.

The humorous effect resides in last line of the song which depicts impossibility. When Bright sets off one day, since she could travel faster than light, she could return home the previous night.

f. Parody

Parody is a humorous reworking of a song, story, speech, poem, movie, play, or any work but still preserving the style and framework. It is frequently used for criticizing, mocking, or making fun of the original product. A popular example from the field of movies is the one entitled Meet the Spartans (2008), which is the humorous version of a kill-them-all film, 300 (2007).

g. Irony

Irony uses words to express something that totally distinct from the actual intention or meaning. It is usually used when one speaks the opposite thing to what the one means and the hearer comprehend what the speaker says. Here is a

line to exemplify an irony, “the procrastinator’s meeting has been postponed”

(Shade, 1996). It is ironic when a group of procrastinators postpone a meeting, it could be painful just to wait for the meeting to finally happen.

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h. Wit

A wit is characterized by the use of sharp words to create humorous effects intellectually. Wits generally elicit sudden change of perceptions of the topic. In the form of verbal humor, wits are often used in wordplays or punning. Here is an example (Shade, 1996):

Margaret Dumont : Your excellency.

Groucho Marx : You're not so bad yourself.

Margaret Dumont : The eyes of the world on upon you. This is a gala day for you.

Groucho Marx : Well, a gal a day's enough for any man."

There is a witty punning in the example by Groucho Marx. Marx puns

Dumont’s statement saying “a gala day”into “a gal a day”, which sounds sharp to

any women who hear it.

i. Anecdote

Anecdotes are short depictions of a particular real-world situation which lead to a humorous point. This humor often takes form of a narrative text. See an example provided below (Wintle, 2005):

Who's Counting?

Napoleon was involved in conversation with a colonel of a Hungarian battalion who had been taken prisoner in Italy. The colonel mentioned he had fought in the army of Maria Theresa. "You must have a few years under your belt!" exclaimed Napoleon. "I'm sure I've lived sixty or seventy years," replied the colonel. "You mean to say," Napoleon continued, "you have not kept track of the years you have lived?"

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The colonel promptly replied, "Sir, I always count my money, my shirts, and my horses - but as for my years, I know nobody who wants to steal them, and I shall surely never lose them."

In this example, the anecdote lies in the last line. The colonel does not count his years he has been living, since he thinks that the years cannot be stolen, unlike his other possessing, like his money, shirts, and horses.

3. Translation

According to Newmark (1988), translation is a process of rendering the meaning of a text in a source language (SL) into the target language (TL). Larson (1984) proposes more complex definition of translation. He writes the definition as follows (1984:3):

Translation consists of studying the lexicon, grammatical structure, communication situation, and cultural context of the source language text, analyzing it in order to determine its meaning, and then restructuring this same meaning using the lexicon and grammatical structure which are appropriate in the receptor language to and its cultural context.

Based on Larson’s definition, rendering meaning becomes the priority in translating a text, rather than rendering the form. In other words, a translation must reproduce the meaning aspect of a text to the target audience. A translator might face difficulties in translating the form aspect, since a source language might not have the same linguistics elements as the target language. Therefore, modifying the form when is often inevitable when translating.

According to Hatim and Munday (2004), translation has two senses. The first sense, translation as a process, comes from the first definition suggested by the dictionary, which is the act or an instance of translating. The second sense,

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18 translation as a product, derived from the definition of translation which is a written or spoken expression of the meaning of a word, speech, book, etc, in another language. Hatim and Munday then conclude that the first sense is the process of translating an original text or source text (ST) into another language text or target text (TT). Then, the second sense focuses on the product of the translation.

4. Semantics

Based on Leech (1981), semantics, which is a branch of linguistics field, is the study of meaning. He states that semantics is essential to the study of communication. Leech (1981) also emphasizes that studying semantics is increasingly pressing, as communication becomes more an important factor in social organization. Since the focus of this study is translation, the writer would like to employ the theory of hermeneutics.

Forster (2008) defines hermeneutics as theory of achieving an understanding of texts, utterances, or other forms. Mainly, hermeneutics concerns about processing the ability of understanding things from a person’s point of view. In accordance with translation, Shi (2005) believes that there is no translation without involving understanding and interpreting texts, which is the first step in translation. Any misinterpretation will lead to inconsistent translation, if not completely incorrect translation. In addition, reproducing the exactness from an original text is not the ultimate goal of translators, but they need to pay attention that the translated text has to be similar in the effect.

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5. Verbal Humor Translation

Translating verbal humor is one of the most difficult tasks for translators. Gall (2009) affirms that translating verbally-expressed humor is considered untranslatable due to the language dependent elements. Translators are obligated to not only maintain the pragmatic and informational senses that included in the verbal humor, but they also need to deliver the laughter-inducing matter as provoked in the source text.

Raphaelson-West (1989) gives an apparent illustration of the challenge in

translating verbal humor in the following pun: “Linguistic jokes are punny as

hell”. The humor lies in the word “punny”, which is the actually the punning of

the word “funny”. In order to translate the pun, Raphaelson-West (1989) points

out that it is necessary to find out a similar punning structure, as “funny” becomes

“punny”, in other languages other than English, which the chance is highly

unlikely. Raphaelson-West (1989) adds that producing a good quality of translation depends on the creativity of the translator.

When it comes to strategies of translating verbal humor, Gall (2009) proposes two ways to relate verbal humor in source text and target text. First, one can modify the language elements that are extraneous to the target language. The second strategy is to bring out an adherence to source elements by maintaining source-culture specific elements. What the translator does is to find some compromising language elements that would work in the target language audience as optimal as possible.

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20 On the translation of verbal humor, Attardo (1994) proposes a theory of verbal humor which is called General Theory of Verbal Humor, often abbreviated to GTVH. This theory explains that in generating verbally-expressed humor, one needs to put together the six Knowledge Resources (KR), they are presented hierarchically as follow, Language (LA), Narrative Strategy (NS), Target (TA), Situation (SI), Logical Mechanism (LM), and Script Opposition (SO).

a. Language (LA)

The first KR, Language (LA), contains the required information for the verbalization of humor, such as the wording of a humor and the ordering of the functional elements that form the humor. In other words, this parameter shows the actual wording of the verbal humor (Koponen, 2004). Attardo (1994) points out that LA determines the order of the information is expressed so that the punch line of the humor comes last. “The exact wording of the punch line of the verbal element to be ambiguous and to connect the two opposed senses in the text” (Attardo, 1994).

b. Narrative Strategy (NS)

The Narrative Strategy (NS) is closely associated to Language (LA). Attardo (1994) states that any humor must be expressed in a form of narrative organization, for instance, in the form of conversation, narrative, or question-and-answer dialog. In other words, the Narrative Strategy is the rephrasing of genre. It also covers humor beyond the verbally-expressed humor.

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c. Target (TA)

Target (TA) refers to the target that is being made fun of. Attardo (1994) writes that the TA contains the names of the individuals or groups that are targeted by the joke. Humor that does not offend someone or groups has nothing to do with this KR, therefore, this parameter appears to be optional. The Target’s names may not be clearly mentioned, but with the particular stereotypes attached to them makes it recognizable for the audiences.

d. Situation (SI)

The next Knowledge Resources, Situation (SI), discusses about what the humor is all about. SI contains the properties of a joke, such as the objects, the participants, the instruments, the setting place, activities, etc. Attardo (1994) says that any joke must have some situation, although some jokes may rely more on one of the properties, while others can be ignored.

e. Logical Mechanism (LM)

The Logical Mechanism (LM), which is a more abstract parameter, refers to the way that the scripts in a humor are put together. Attardo (1994) notifies that LM can be simply juxtaposed with each other, as in this slogan written in a

tee-shirt: “Gobi Desert Canoe Club”, or can be a more complex error of reasoning,

such as false analogies, as in this humorous riddle (Attardo, 1994):

Question : Madonna does not have it, the Pope has it but doesn’t use it, Bush has it short, and Gorbachev long. What is it?

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22 Since Attardo does not provide the categorization of LM, the researcher refers to a categorization proposed by Koponen (2004). Koponen (2004) lists 10 categories of Logical Mechanism as follows:

1) Differential-potency mapping

One script is mapped onto another script that has more or less agentive potency, for instance, an inanimate thing has less agentive than a person.

2) Similar-potency mapping

Elements in a script are replaced with the same agentive potency. For example, a person substituted with another person, or a building replaced with another building.

3) Consequence or implied consequence

The consequence of an event is presented, and let the audience imagine the actual event.

4) Juxtaposition

The two scripts are expressed simultaneously. 5) Sequence

The scripts are presented in sequence, for example, one script is shown in a movie frame, and then another one comes out in the next frame.

6) Mediating Script

One script is created to put the two scripts of the Script Opposition into opposition.

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7) Obvious error

A character in a situation does not manage to resolve something very obviously.

8) Exaggeration

An element of one script is exaggerated in order to create humorous effects. 9) Roles

There are three possibilities in this category. Firstly, the roles of a character are replaced from the script normally in question. The next possibility is the mirrored role, that is, similar roles in the two scripts are mirrored. The last one is the recursive roles, which filling up the similar roles in the two scripts so that the target of one script becomes the agent of the other.

10) Negation

One of the two scripts is negated.

f. Script Opposition (SO)

The Script Opposition (SO), is essentially the overlapping and opposition of two scripts. According to Attardo (1994), as discussed earlier in this chapter, scripts are cognitive frameworks to organize information of the world. The scripts hold information of how things normally work, the conditions to conduct activities, or where to do the activities. For instance, the script “Student” contains information of what a student normally does, where a student belongs to, how to become a student, and other information. The script “Student” may have other related scripts, such as “School”, “Classroom”, or “Study”.

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24 According to the Attardo’s GTVH, any verbal humor can be represented as a synthesis of the six parameters. The KR’s six factors are arranged hierarchically as in this organization:

Script Opposition (SO) ↓

Logical Mechanism (LM) ↓

Situation (SI) ↓ Target (TA)

↓

Narrative Strategy (NS) ↓

Language (LA)

The Knowledge Resources lower in the hierarchy are more concrete, while the higher part are more abstract. For that reason, the SO in a form of question, e.g. YOUNG vs. OLD, limits the possible choices of TA. It also happens in the case of the LM of homonymy, which would have particular constraints in the LA.

Attardo (1994) puts out that the GTVH is partially designed for measuring similarity between jokes, or to relate it to this study, measuring the differences between two jokes. Attardo (2002) claims that the theory can be applied to evaluate jokes in two different languages. He explains that in translating verbal humor, the six KR’s six parameters should be preserved. But he argues that maintaining all the six factors could be impossible for some jokes, thus the translation should be different on the lowest parameters level as far as possible based on the meaning considerations. A joke with different SO, which is the highest factor of the KR, from the source text will be considered a different joke

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or unsuccessfully translated for not preserving the scripts. Consequently, maintaining the Script Opposition is a must for translating verbal humor.

B. Theoretical Framework

The theory of verbal humor is in use to determine the verbal humor included in the movie subtitle. The types of verbal humors are put in practice to analyze the verbal humor classification in the Ice Age 3: Dawn of the Dinosaurs subtitles, both English and Indonesian version. The theory of translation gives an understanding of translating norm, which is translating the meaning aspect. The Hermeneutics theory gives the writer understanding of the semantics role in translation. Attardo’s theory of GTVH was selected as a tool to measure the verbal humor meaning difference of the source text and the target text. The verbal humor of both languages is compared using the parameters of Knowledge Resources. The GTVH becomes a key to solve the second problem formulated in this study.

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CHAPTER III METHODOLOGY

This chapter presents the methodology used to collect the data for the research. There are six parts discussed in this chapter, namely Research Method, Research Subjects, Instruments and Data Gathering, Data Analysis Technique, and Research Procedure. They are elaborated as follows:

A. Research Method

This study was a qualitative research. The required data was gathered through the document analysis. According to Ary, Jacobs, Sorensen, and Razavieh (2010), document analysis or content analysis, analyzes and interprets recorded material to learn about specific data. They add that the material could be public records, textbooks, letters, films, tapes, diaries, themes, reports, or other documents. This study would like to analyze the consistency of the English subtitle translation into Indonesian language in the movie Ice Age 3: Dawn of the Dinosaurs. The writer studied the English and Indonesian subtitle and the scripts, as kinds of recorded material, containing the whole dialog of this movie. This was the writer’s rationale of utilizing the document analysis. Using the document analysis technique, the writer aimed to categorize the verbal humor used in the movie and evaluate the consistency of the English verbal humor translation into Bahasa Indonesia.

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B. Research Subjects

The research focused on a 3D animated comedy movie, Ice Age 3: Dawn of the Dinosaurs. The reason for the selection of this title is that it provides the researcher with acceptable data to be analyzed in this thesis. The movie Ice Age 3: Dawn of the Dinosaurs, was released in 2009 by Twentieth Century Fox Film Corporation and Blue Sky Studios. Its full length is 94 minutes. It is the third sequel of the Ice Age movies line, as the Ice Age (2002) and Ice Age 2: the Meltdown (2006) released before. This film features Manny and Ellie the mammoths, Diego the tiger, Sid the sloth, and Crash and Eddie the opossums as the main characters. The story of this third episode tells about the adventure of the main characters embarking on a mission to save Sid the sloth that has been dragged by a Tyrannosaur Rex into the world of Dinosaurs. Sid takes away the

Tyrannosaur Rex’s eggs from her causing him to go together with the dinosaurs to

their habitat. This adventure presents the audiences lots of humor, verbally and visually.

C. Instruments and Data Gathering Technique

The instruments utilized for this research were human instrument and document instrument. The researcher acted as the human instrument to collect and analyze the data (Merriam, 2002). In this study, the roles of the researcher were identifying the verbal humor on the dialog scripts, classifying the verbal humor according to the types, and examining the consistency of verbal humor translation. The respondents were the Ice Age 3: Dawn of the Dinosaurs characters using the verbal humor.

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28 Ary, et al. (2010) state that the document could be personal (e.g. diaries), official (e.g. files), or document of popular culture (e.g. books). The documents in this study were the two versions of the Ice Age 3: Dawn of the Dinosaurs subtitle, which were English subtitle and Indonesian subtitle. The verbal humor was collected from the two subtitle scripts. The verbally-expressed humor found in the two subtitles was analyzed to answer the second problem formulated, “Is the verbal humor consistently translated into Bahasa Indonesia?”

Creswell (2007) points out several steps of analyzing the data, which are preparing and organizing phase, followed by the coding stage, and the data presentation step. The researcher gathered the data required by watching the movie. On the first occasion, the researcher was watching the movie using the English subtitle script. Then, for the second time, the researcher observed the film by attaching the Indonesian subtitle. The next process was listing the verbally-expressed humor used in the English subtitle through reading the complete dialog script. Afterwards, the researcher collected the verbal humor translated into Bahasa Indonesia by examining the Indonesian version of the dialog script. Then, the English verbal humor were categorized using the Shade’s (1996) types of verbal humor. The next process was to evaluate whether the English verbal humor were consistently translated into Bahasa Indonesia employing the theory of GTVH by Attardo (1994).

D. Data Analysis Technique

According to Creswell (2007), the first step of the data analysis is the preparing and organizing point. In this stage, the researcher watched the movie

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applying the English subtitle in order to figure out the verbal humor situations. Afterwards, the researcher used the Indonesian version of the subtitle to observe the movie. Then, the researcher collected the verbal humor sample from the English subtitle script.

The second step was the coding phase. After collecting the verbal humor from the movie, they were classified based on the typology of verbal humor proposed by Shade (1996). Then, the data is represented in a table of verbal humor sample list. After categorizing the verbally-expressed humor, the researcher evaluated the verbal humor translation consistency into Bahasa Indonesia. The following framework is utilized to analyze whether the verbal humor of the movie Ice Age 3: Dawn of the Dinosaurs were consistently translated. There is the comparison table used in this study:

Table 3.1 Table of VEH Comparison Based on KR

VEH Number: Minute in the film:

Situation (SI) of the dialog:

Subtitle English version Indonesian version

Dialog SO LM TA NS LA

In the “VEH Number” row, there will be the number of the verbal humor.

“Minute in the film” part is where the minute of the verbal joke appear in the film.

The “Situation of the dialog” tells the SI parameter by presenting the context

where the humorous utterances take place in a dialog. The English version of the verbal humor is located in the “English version” part. It is the same with the

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30 written. In the Knowledge Resources rows, SO (Script Opposition), LM (Logical Mechanism), TA (Target), NS (Narrative Strategy), and LA (Language), the researcher will write the verbal humor analysis based on each parameter. Following this table, the researcher would discuss the translation consistency based on the six Knowledge Resources preservation from the original to the target text verbal humor.

E. Research Procedures

These are the procedures taken in the study:

1. Watching the movie Ice Age 3: Dawn of the Dinosaurs.

The researcher watched the film two times. In the first occasion, the English subtitle was applied. On the subsequent occasion, the researcher used the Indonesian subtitle. This step was also taken to comprehend the situations of the verbal humor. In this phase, the researcher played an original copy of the movie DVD.

2. Collecting the verbal humor found in the English subtitle.

After watching the movie, the next process was to collect all the verbally-expressed humor in the English subtitle. The researcher applied the verbal humor theory to determine the appropriate samples. The researcher used the whole English dialog script to help the process in collecting the humorous elements.

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3. Classifying the verbal humor found based on Shade’s types of verbal humor. The verbal humor collected from the scripts will be classified in accordance with the types of verbal humor proposed by Shade (1996). There was a data table created and utilized to list the verbal humor as follows:

Table 3.2 Verbal Humor Sample List

No. Minute in the film

Dialog

1. 2.

4. Evaluating the verbally-expressed humor translation consistency into Bahasa Indonesia.

The researcher observes the both version of subtitle of the movie in order to determine the verbal humor translation consistency, using the GTVH’s Knowledge Resources. To help the evaluation process, the researcher takes the comparison table explained above.

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CHAPTER IV

RESEARCH RESULTS AND DISCUSSION

This chapter is divided into two parts according to the problem formulation mentioned in the first chapter. The first section discusses the types of verbal humor used in the movie based on Shade (1996) verbal humor types. The second section presents the discussion in evaluating the consistency of the movie verbal humor translation into Bahasa Indonesia.

A. The Types of Verbal Humor in the Ice Age 3: Dawn of the Dinosaurs. This section was meant to solve the first problem formulated, that is, “What types of verbal humor are used in the animated movie Ice Age 3: Dawn of the Dinosaurs?”. The sample movie’s verbal humor categorization analysis was following the VEH typology by Shade (1996). There are nine types of verbal humor suggested by Shade (1996), they are puns, jokes, riddle, satire, limerick, parody, irony, wit, and anecdote.

After listing the verbal humor from the movie’s English subtitle, the writer found that there were a total of 64 verbal humor uttered throughout the film. Of the nine types of verbal humor, there were 2 groups that have no verbal humor categorized into, they were puns and limerick. To clarify the findings, the writer provided a chart showing the samples numbers below:

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Thus, the discussion of the movie’s verbal humor went as follows: 1. Jokes

In this verbal humor type, there were 5 subcategories of joke, namely phonological, lexical, surface structure, deep structure, and metalinguistic joke. There are 9 samples of joke found in the movie dialog script, specifically, 5 Jokes, 1 phonological joke, 1 Surface structure jokes, 1 Deep structure jokes, and 1 Metalinguistic joke. The samples are written below, the humorous points written in italic for emphasis:

a. Joke

There are 5 samples of joke found in the movie dialog. In general, the samples included in this category create unexpected sudden change of things as the source of the incongruity. As stated by Shade (1996), that a joke can be experienced by generating twists. The audiences must be able to resolve the

3 1

31 6

13 1

10 0

0 5 10 15 20 25 30 35

Anecdote Wit Irony Parody Limerick Satire Riddles Jokes Puns

Chart 4.1 Ice Age 3: Dawn of the Dinosaurs Verbal Humor Total Number by Types

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34 incongruity out of these 5 samples easily since they are placed in the end of the utterances. See the list below:

Table 4.1.1 Joke Verbal Humor List

No. Minute in the film

Dialog

1. 00:39:09 Buck : Alright, I'll help ya. But I got rules. Rule number one: Always listen to Buck. Rule number two: Stay in the middle of the trail.

Rule number three: He who has gas, travels at the back of the pack.

2. 00:58:40 Eddie : What's that sound?

Buck : It's the wind. It's speaking to us. Crash : What's it saying?

Buck : I don't know. I don't speak "wind". Note: For the complete list of the samples, see appendix B.

These two cases illustrate their incongruities by using sudden changes of thing in the end of the remarks. In the first sample, Buck agrees to help the herd to find Sid, but they need to obey his rules. Buck solemnly delivers his rules to the herd, but his last rule is ridiculous by telling them to get to the back of the group if one wants to have gas. The second example has the same humorous structure as the first example. Buck acts as if he knows that the wind is speaking to the herd, but at last he says that he has no idea.

b. Phonological Joke

The researcher found a verbal humor sample of this type of joke. Shade (1996) defines this category as jokes that are expressed by the use of phonological feature of words. In this sample, the incongruity lies in the pronunciation

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Table 4.1.2 Phonological Joke Verbal Humor List

No. Minute in the film

Dialog

1. 00:57:11 Crash & Eddie : Whoa . . .

Buck : You got it. The plates of woe. Or whatever's left of them.

In this situation, the herd arrives in a rocky steep place, which Buck calls it the Plates of Woe. Witnessing the horrendousness of the place, Crash and Eddie are stunned by the place with an exclamation of “whoa”. Buck thinks that Crash and Eddie have already known the place by assenting to them that they have

arrived in the Plates of “Woe”. The incongruity of this joke lies in the use of two

homophonic words, “whoa” and “woe”.

c. Surface Structure Joke

For this category, the researcher found a Surface Structure Joke. Surface Structure jokes are represented by the use of surface structure of words (1996). The sample below uses the word “Sloth” to alternatively replace the word “slow”. Here is the sample:

Table 4.1.3 Surface Structure Joke Verbal Humor List

No. Minute in the film

Dialog

1. 00:59:57 Sid : Wait! Sloth down!

In this joke, Sid replaces the word “slow” with “sloth”, changing his

utterance becomes “Sloth down!”. The replacement adds a meaning to the

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36 d. Deep Structure Joke

The writer listed a verbal humor categorized into Deep Structure Joke. According to Shade (1996), Deep Structure Jokes employ alternative interpretation of the word phrase used. In this sample, Crash misinterprets the

word “Roger” as a person’s name. In fact, Buck understands that Sid has been

seen by “rogering” that. Below is the dialog snippet expressing the Deep Structure joke:

Table 4.1.4 Deep Structure Joke Verbal Humor List

No. Minute in the film

Dialog

1. 00:65:18 Crash : Look! He's right there. Buck : Roger!

Eddie : No, Sid. Buck : I know. Roger!

Crash : How about we get Sid first, and then go back for Roger?

Buck : Never Mind!

e. Metalinguistic Joke

There is a single sample of Metalinguistic Joke found in this movie. Shade (1996) writes that this kind of joke values surface structure more than deep structure. As shown below, Buck calls his long name literally rather than calling his real long name. Buck plays his name by shouting it loudly and lengthily to introduce his nickname is long for. Here is the sample:

Table 4.1.5 Metalinguistic Joke Verbal Humor List

No. Minute in the film

Dialog

1. 00:32:09 Buck : The name's Buck. Short for Buckminster. Long for "Buuuuuh!".

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2. Riddle

There is a verbal humor that is classified into this VEH type. A riddle is formed by creating an expression with a puzzled fact within (Shade, 1996). Riddles are commonly used in the form of question-and-answer conversations. As expressed in this sample, Sid uses a riddle to ask if the marmot is pregnant. This is the sample:

Table 4.2 Riddle Verbal Humor List

No. Minute in the film

Dialog

1. 00:04:29 Sid : Oh, I see someone else who has a bun in the oven? Marmot : I'm not pregnant!

This riddle takes place after the event of Manny’s false alarm of his child birth. Sid comes across with a big-bellied female squirrel, making him think that she is in pregnancy. Sid asks the squirrel by riddling his question, but in fact, the squirrel is not pregnant.

3. Satire

It was found that there are 13 samples of VEH that are in the form of Satire. Shade (1996) writes that satire is a humorous criticism to create laughter. In the samples from the movie, the satirical verbal humor are often used to make fun of a movie character by ridiculing physical feature and attitude of a particular character. Here is the list:

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38 Table 4.3 Satire Verbal Humor List

No. Minute in the film

Dialog

1. 00:33:03 Buck : Mummy dinosaur carrying three babies, and... some floppy green thing?

2. 01:06:04 Manny : Bring it on, you chicken-headed freaks! Note: For the complete list of the samples, see appendix C.

The first enlisted satirical sample talks about some floppy green thing which is actually Sid. Buck is examining the Mother T-Rex’s footprints and later found out that the helpless Sid is with the dinosaur. The second satire takes place when Manny is facing some small Raptors. He mocks the Raptors by telling their weird appearances since their heads resemble chicken head.

4. Parody

Parody is a humorous version of a song, story, speech, movie, or any other works (Shade, 1996). For this category, the movie employs 6 samples of verbal humor found in the dialog. Four samples found are humorous copies from other movie titles, such as The Flintstones, Alvin and the Chipmunks, and Godzilla. Two of the samples are reworks from songs. Here are the samples:

Table 4.4 Parody Verbal Humor List

No. Minute in the film

Dialog

1. 00:30:09 Ellie : Pregnant lady, wants to live. Yabba, dabba, Do! 2. 00:44:13 Crash & Eddie : Christmas, Christmas time is here...

Manny : Are you crazy? Note: For the complete list of the samples, see appendix D.

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The first parody mimics Fred Flintstone’s famous catchphrase, “Yabba, dabba, Do!”. Ellie attempts to escape a fierce dinosaur by sliding on the back of a huge Diplodocus while crying out the catchphrase. The second parody uses a song from the movie Alvin and the Chipmunks. It sounds ridiculous since Crash and

Eddie’s voice become small while singing, almost sound like the chipmunks.

5. Irony

According to Shade (1996), Irony uses words to express something that totally different from the actual meaning. There are 31 samples categorized into ironic verbal humor, making this type has the most number of samples. This finding also reflected a fact that this installment of Ice Age series is characterized by the use of ironic humor. Below is the list of whole sample:

Table 4.5 Irony Verbal Humor List No. Minute in

the film

Dialog

1. 00:08:43 Diego : I'm not really built for chaperoning playdates. 2. 00:32:45 Buck : If you go in there, you'll find your friend... in the

AFTER-LIFE!

Note: For the complete list of the samples, see appendix E.

For the first data, Diego intends to leave the herd and get his natural life by complaining about this to Manny. He thinks that he should be out there to be a vicious predator, not to be a playdate chaperon. For the second data, Buck convinces the herd that it is very unlikely that Sid is still alive. If the herd still wants to see Sid, Buck tells them to find him in the after-life.

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40 6. Wit

A wit is denoted by the intellectual sharp words used to create humor-inducing effect (Shade, 1996). There is a sample of this type of verbally-expressed humor found in the movie dialog. In this sample, Manny thinks that Ellie is as round as peaches, making her looks sexy. Here is the only sample:

Table 4.6 Wit Verbal Humor List

No. Minute in the film

Dialog

1. 00:28:02 Manny : I love peaches, they're sweet and round and fuzzy. Just like you.

Ellie : You think I'm round?

Manny : Uh... Round is good. Round is foxy!

7. Anecdote

Anecdotes are short representations of a particular situation from the real world to create humorous effect (Shade, 1996). There are 3 cases of verbal humor that were classified into anecdote type of VEH. The movie anecdotal verbal humor depict human daily life situations, such as medical, administrative, and flight terms. Below is the list:

Table 4.7 Anecdote Verbal Humor List

No. Minute in the film

Dialog

1. 00:03:26 Crash : Code blue, code blue. Eddie : Or pink, if it's a girl

2. 00:25:36 Manny : What do you want, a Birth Certificate? She's a Dinosaur!

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In the first anecdote of the movie, Crash takes a hospital emergency code,

which is code blue. Eddie ridicules the code by changing it into “code pink”,

which is a typical color for females, if the baby is a girl. In the second data, Manny convinces Sid so hard to return the baby T-Rexes to their mother that Sid does not need a Birth Certificate. In the third anecdote, Buck uses a flight term,

“mayday”, to illustrate his situation of falling down from above.

From the list of verbal humor types above, it can be concluded that there were 7 out of 9 VEH types are tapped into Ice Age 3: Dawn of the Dinosaurs. They were Joke, Riddle, Parody, Satire, Irony, Wit, and Anecdote, leaving the Pun and Limerick types unused. There found a fact that most samples found were in the form of Irony. There were 31 ironical VEH (47.70%) out of total number of 64 verbal humor. Joke type has 9 samples (15.38%), which the subcategories data were included. There was just 1 sample found in the form of Riddle (1.54%). Parody got 6 VEH samples that are categorized into (9.23%). There were 13 satirical verbal humor found in the film dialog (20%). For the rest, there was 1 witty (1.54%) and 3 anecdotal (4.61%) VEH.

B. The Consistency of Verbal Humor Translation into Bahasa Indonesia

To solve the second problem formulated, that was, “is the verbal humor

consistently translated into Bahasa Indonesia?”, all the data taken from the English version of the movie subtitle would be compared with the respective Bahasa Indonesia version. To help the translation benchmark analysis, the researcher arranged a comparison table applying the six Knowledge Resources,

(1)

Manny: Bring it on, you chicken headed freaks!

58 532

01:07:29,607 --> 01:07:35,707 Buck: Mayday! Mayday! We're losing altitude!

Buck: Tolong! Kita kehilangan ketinggian!

ANECDOTE

59 579

01:13:44,410 --> 01:13:49,410 Buck: Over here you colossal, fossil!

Looking for something?

Buck: Di sebelah sini, fosil raksasa!

mencari sesuatu?

IRONY

60 588

01:15:10,211 --> 01:15:14,211 Buck: Better luck next time,

snowflake.

Buck: Lain kali lebih beruntung,

keping salju.

SATIRE

61 590

01:15:37,611 --> 01:15:40,111 Sid: Way to go, Mom-Zilla!

Sid: Bagus, Ibuzilla! PARODY

62 253

00:33:42,334 --> 00:33:46,443 Buck: What you... You think this is

some sort of tropical getaway?

Buck: Menurutmu ini semacam wisata tropis?

IRONY

63 454

00:57:11,304 --> 00:57:12,368 Everyone: Whoa...

455

00:57:12,403 --> 00:57:17,803 Buck: You got it. The plates of,

woe. Or whatever's left of them.

Crash & Eddie: Wah!

Buck: Benar! Medan derita! Atau apapun yang tertinggal dari mereka.

Phonological JOKE

64 515

01:05:18,906 --> 01:05:28,638 Crash: Look! He's right there. Buck: Roger!

Eddie: No, Sid. Buck: I know. Roger!

Crash: How about we get Sid first, and then go back for Roger?

Buck: Never Mind!

Crash: Lihat! Dia ada di sana! Buck: Roger!

Eddie: Bukan! Sid! Buck: Aku tahu! Roger!

Crash: Bagaimana jika kita jemput Sid dulu lalu kembali untuk Roger?

Buck: Sudahlah!

Deep Structure JOKE

(2)

68 APPENDIX B

Complete List of Joke Verbal Humor

No. Minute in

the film

Dialog

1. 00:39:09 Buck : Rule number three: He who has gas, travels at the back of the pack.

2. 00:45:41 Crash : Sometimes I wet my bed.

Eddie :That's alright. Sometimes I wet your bed.

3. 00:58:40 Eddie : What's that sound?

Buck : It's the wind. It's speaking to us. Crash : What's it saying?

Buck : I don't know. I don't speak "wind".

4. 01:01:16 Manny : What about rule number 2?

Buck : Rule number 5 says, you can ignore rule number 2, if there's a female involved.

5. 01:02:58 Buck : Boys, are you ready for adventure? Crash & Eddie : Yes, sir!

Buck : For danger? Crash & Eddie : Yes, sir! Buck : For death!

(3)

69 APPENDIX C

Complete List of Satire Verbal Humor

No. Minute in

the film

Dialog

1. 00:05:49 Deer : My hooves are burning, baby! They are burning! Oh, look at this! I got to tiptoe! I got to tiptoe! Eat my dust, dingo!

2. 00:08:59 Manny : No, go! Go find some adventure, Mr. Adventure guy!

3. 00:23:42 Crash : Do earthquakes, shriek?

4. 00:33:03 Buck : Mummy dinosaur carrying three babies, and... some

floppy green thing?

5. 00:33:09 Manny : Yeah, we're friends with the floppy green thing.

6. 00:36:59 Buck : Well, maybe 5 for the fat one.

Manny : I'm not fat!

7. 00:38:44 Ellie : Will you help us find the floppy green thing?

8. 00:48:52 Buck : Totally bonkers! And his feet smell.

9. 00:56:01 Buck : Hmm, it smells like a buzzard's butt fell off. And then

got sprayed on by a bunch of skunks.

Diego : That's Sid.

10. 00:56:27 Diego : Are you nuts? Sid's not violent, or co-ordinated.

11. 01:04:32 Diego : My paws are burning, baby! They’re burning! I gotta tiptoe, tippy-toe, tippy-toe...

Ellie : Excuse me, twinkle toes. Giving birth here. Diego : Oh, right. Sorry! You're okay?

12. 01:06:04 Manny : Bring it on, you chicken-headed freaks!

(4)

70 APPENDIX D

Complete List of Parody Verbal Humor

No. Minute in

the film

Dialog

1. 00:25:15 Sid : “We are poor little lambs who have lost our way.” 2. 00:30:09 Ellie : Pregnant lady, wants to live. Yabba, dabba, Do!

3. 00:30:24 Manny : Don't ever, yabba, dabba, do that again! 4. 00:34:32 Buck : Abandon all hope, he who enters there!

5. 00:44:13 Crash & Eddie : Christmas, Christmas time is here... Manny : Are you crazy?

(5)

71 APPENDIX E

Complete List of Irony Verbal Humor

No. Minute in

the film

Dialog

1. 00:08:43 Diego : I'm not really built for chaperoning playdates.

2. 00:09:07 Diego : Isn't Ellie supposed to be the one with the hormonal imbalance?

3. 00:10:42 Manny : You gonna meet a nice girl, with... with low standards, no real options, or sense of smell...

4. 00:14:23 Manny : Second sign: one of them almost became an omelet.

5. 00:14:33 Sid : If it wasn't for me they'd be... Eggsicles

6. 00:23:16 Manny : Eating kids is not a discipline issue.

7. 00:23:18 Manny : Well, that's super! Let’s give him a gold star! Kid of the week.

8. 00:24:12 Ellie : I thought those guys were extinct. Manny : Well then, that is one angry fossil. 9. 00:29:24 Manny : Diego, what are you doing here?

Diego : Sightseeing. Looking for Sid, same as you!

10. 00:32:32 Manny : Ellie wait, maybe the deranged hermit has a point.

11. 00:32:45 Buck : If you go in there, you'll find your friend... in the AFTER-LIFE!

12. 00:33:21 Buck : To get there! You got to go through the jungle of misery.

13. 00:33:25 Buck : Across the chasm of death.

14. 00:33:29 Buck : To the plates of woe.

15. 00:33:42 Buck : What you... You think this is some sort of tropical getaway? 16. 00:33:34 Manny : Okay! Good luck with the slow descent to madness, we're gonna

go now.

17. 00:33:49 Buck : What are you gonna do with those... those flimsy tusks?

18. 00:33:59 Manny : Oh good. Good. I was worried it was something intimidating, like Sheldon or Tim.

(6)

20. 00:36:52 Buck : Alright, preggers. Don't get your trunk in a knot.

21. 00:36:58 Buck : They'll be nothing but bones in 3 minutes.

22. 00:41:53 Buck : Hello? No, no. I can't really talk right now. I'm trying to recover a dead sloth.

23. 00:42:05 Buck : Okay... We're going into the Chasm of Death, I'm gonna lose you. I love you too.

24. 00:42:35 Crash : So, why do they call it the chasm of death? Buck : Well we tried, 'big smelly crack'.

25. 00:48:46 Buck : Plus the guide is a lunatic! What? You mean Buck? Oh, he's whacko.

26. 00:51:34 Buck : Now let me tell you about the time I used to sharpen, clam-shell to turn a T-Rex. Into a T-Rachel.

27. 00:56:49 Buck : Umm... 3 months ago. I woke up one morning married to a

pineapple.

28. 01:00:41 Ellie : Pomegranates, grapefruits, nectarines. Diego : She's ordering a fruit cocktail.

29. 01:09:03 Manny : I liked you guys better, when you were extinct.

30. 01:10:19 Diego : Alright, so I'm not made of stone.

An analysis on the verbal humor and the consistency of the Indonesian subtitle in Ice Age 3: Dawn of the Dinosaurs.

AN ANALYSIS ON THE VERBAL HUMOR AND THE

CONSISTENCY OF THE INDONESIAN SUBTITLE IN

ICE

AGE 3: DAWN OF THE DINOSAURS

AN ANALYSIS ON THE VERBAL HUMOR AND THE

CONSISTENCY OF THE INDONESIAN SUBTITLE IN

ICE

AGE 3: DAWN OF THE DINOSAURS

68

APPENDIX B

Complete List of Joke Verbal Humor

69

APPENDIX C

Complete List of Satire Verbal Humor

70

APPENDIX D

Complete List of Parody Verbal Humor

71

APPENDIX E

Complete List of Irony Verbal Humor

No. Minute in

the film

Dialog

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