Cultural Untranslatability in to Kill a Mockingbird Tanslated into Indonesian by Femmy Syahrani

CULTURAL UNTRANSLATABILITY IN TO KILL A MOCKINGBIRD TRANSLATED INTO INDONESIAN BY FEMMY SYAHRANI

A THESIS BY:

DEWI PUTRIANI SIREGAR REG. NO. : 110721023

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2013

CULTURAL UNTRANSLATABILITY IN TO KILL A MOCKINGBIRD TRANSLATED INTO INDONESIAN BY FEMMY SYAHRANI

A THESIS BY:

DEWI PUTRIANI SIREGAR REG. NO. : 110721023

SUPERVISOR CO-SUPERVISOR

Dr. H. Muhizar Muchtar, M. S. Drs. H.Marzaini Manday, MSPD

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 UNIVERSIT OF SUMATERA UTARA MEDAN 2013

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, M.S. Drs. H. Nurlela, M.

Accepted by the Board of Examiners in partial fulfillment of requirements for the degree of Sarjana Sastra from 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 July 31st 2013

Dean of Faculty of Cultural Studies University of Sumatera Utara

Dr. H. Syahron Lubis, M.A. NIP.19511013 197603 1 001

Board of Examiners

Dr. H. Syahron Lubis, M.A.

……… ……

Dr. H. Muhizar Muchtar, M.S.

……… ……

Dr. H. Nurlela, M. Hum

……… ……

Rahmadsyah Rangkuti, M.A. Ph. D

……… ……

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TITLE OF THESIS : CULTURAL UNTRANSLATABILITY IN TO KILL A

MOCKINGBIRD TRANSLATED INTO INDONESIAN BY

FEMMY SYAHRANI QUALIFICATION : S-1/ SARJANA SASTRA

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ABSTRACT

This study entitled Cultural Untranslatability in To Kill A Mockingbird Translated into Indonesian by Femmy Syahrani. It analyzes the translation of cultural untranslatability in the translation of Harper Lee’s novel To Kill A Mockingbird translated into Indonesian by Femmy Syahrani. The data of this analysis are words/ phrases in To Kill A Mockingbird

which contains cultural untranslatability. The objective of the study is to find out the type of translation techniques used by the translator in translating words/ phrases which contains cultural untranslatability in the novel. The type of the study is qualitative research. The data are analyzed use Newmark’s theory on cultural category and translation techniques. The analysis found 65 words/ phrases belong to cultural untranslatability. The finding of this study showed that 31 words/ phrases translated through transference, 5 words/ phrases translated through naturalisation, 6 words/ phrases translated through cultural equivalent, 5 word translated through componential analysis, 3 words/ phrases traslated through through-translation, and 15 words/ phrases translated through couplets.

ABSTRAK

Skripsi ini berjudul Cultural Untranslatability in To Kill A Mockingbird Translated into

Indonesian by Femmy Syahrani. Skripsi ini menganalisis penerjemahan ketakterjemahan

budaya pada terjemahan novel To Kill A Mockingbird karya Harper Lee yang diterjemahkan ke dalam Bahasa Indonesia oleh Femmy Syahrani. Data untuk kajian ini adalah kata atau frasa yang terdapat dalam terjemahan novel To Kill A Mockingbird yang mengandung ketakterjemahan budaya. Tujuan penelitian ini adalah menemukan tipe teknik penerjemahan yang digunakan oleh penerjemah dalam menerjemahkan kata-kata atau frasa yang mengandung ketakterjemahan budaya pada novel tersebut. Jenis penelitian ini adalah penelitian kualitatif. Data tersebut dianalisis dengan menggunakan teori kategori budaya dan teori teknik penerjemahan yang dikembangkan oleh Newmark. Dari analisis data ditemukan 65 kata/ frasa yang tergolong ke dalam kelompok ketakterjemahan budaya. Hasil dari analisa ini ditemukan 31 kata/ frase diterjemahkan dengan teknik transference, 5 kata/ frase diterjemahkan dengan teknik naturalisation, 6 kata/ frase diterjemahkan dengan teknik

cultural equivalent, 5 kata/ frase diterjemahkan dengan teknik componential analysis, 3 kata/ frase diterjemahkan dengan teknik through-translation, dan 15 kata/ frase diterjemahkan dengan teknik couplets.

ACKNOWLEDGEMENTS

First of all, I would like to thank and praise to the Almighty God Allah SWT for blessing and giving me the opportunity, health, and ability to accomplish this thesis. Afterwards, shalawat and salam I deliver to the last Prophet Muhammad SAW who has brought us into the time of humanities.

I would like to thank to Dr. Syahron Lubis, M.A. as the Dean of Faculty of Cultural Studies. Then, I would like to dedicate a deep gratitude to Dr. Muhizar Muchtar, M.A. as the Head of English Department and as the supervisor of this thesis, for the valuable time to give the correct and give constructive criticisms in completing this thesis. And I also would like to dedicate a deep gratitude to Drs. Marzaini Manday, MSPD as my co-supervisor for the valuable time to give the correct and give constructive criticisms in completing this thesis. Over the all, I would like to express my sincere gratitude and appreciation to all the lecturers of English Department for valuable guidance during the study process in Extension class.

The most special thank is dedicated to my beloved parents, my father, Alm. Amir Husin Siregar and my my mother, Rum Aidaty ; to my elder briothers: Amrin, Kartono, Fajar, Bachtiar, and Irfan; and to my elder sister Elya Fitri. Thanks for loves, cares, advices, and motivations. Then, special thanks to all the class in extension program 2011 for the friendship during.

Finally, I realize that this paper is still far from being perfect. Therefore, I welcome any constructive criticisms and suggestions towards to this thesis.

Medan, July 31st 2013 The writer,

Dewi Putriani Siregar Reg. No. 110721023

TABLE OF CONTENTS

ABSTRACT...i

ABSTRAK………ii

ACKNOWLEDGEMENTS………...iii

TABLE OF CONTENT...v

LIST OF TABLES...ix

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

1.2 Problems of the Study………...4

1.3 Objectives of the Study………...5

1.4 Scope of the Study………...5

1.5 Significances of the Study………...5

CHAPTER II REVIEW OF LITERATURE 2.1 Definition of Translation…………...6

2.2 Translation as A Product...8

2.3 Cultural Implication in Translation...9

2.4 Cultural Categories...10

2.5 Literary Translation ...12

2.5.1 Translating A novel………13

2.5.2 Covert and Overt Translation……….14

2.7 Cultural untranslatability...20

2.7.1 Classification of Cultural Untranslatability Proposed by Zhou Zhipei...21

2.7.2 Strategies in Dealing with Cultural Untranslatability………...22

2.8 Relevant Studies...29

CHAPTER III METHOD OF RESEARCH 3.1 Research Design...31

3.2 Source of Data...32

3.3 Data Collection Procedure...33

3.4 Data Analysis...33

CHAPTER IV DESCRIPTION AND FINDING 4.1 Data Description...36

4.2 Finding...45

4.3 Discussion...60

4.3.1 Transference...60

4.3.1.1 Ecology…………...67

4.3.1.2 Material Culture………...72

4.3.1.3 Social Culture…………...80

4.3.1.4 Organisations, Customs, Activities, Procedures, Concept Category...81

4.3.2 Naturalisation………...86

4.3.2.1 Material Culture...88

4.3.2.2 Organisations, Customs, Activities, Procedures, Concept Category...89

4.3.3 Cultural Equivalent………...92

4.3.3.1 Ecology………...94

4.3.3.2 Material Culture……...95

4.3.4 Componential Analysis………....98

4.3.4.1 Ecology………..100

4.3.4.2 Material Culture………...103

4.3.5 Through-Translation………...103

4.3.5.1 Ecology………..104

4.3.5.2 Material Culture……….105

4.3.6 Couplets……….107

4.3.6.1 Ecology…………...112

4.3.1.2 Material Culture………...115

4.3.1.3 Social Culture…………...118

4.3.1.4 Organisations, Customs, Activities, Procedures, Concept Category...119

CHAPTER V CONCLUSION AND SUGGESTION

5.1 Conclusion...123 5.2 Suggestion...125

LIST OF TABLES

Table 1 Data

Table 2 Finding

Table 3 Transference

Table 4 Naturalisation

Table 5 Cultural Equivalent

Table 6 Componential Analysis

Table 7 Through-translation

ABSTRACT

This study entitled Cultural Untranslatability in To Kill A Mockingbird Translated into Indonesian by Femmy Syahrani. It analyzes the translation of cultural untranslatability in the translation of Harper Lee’s novel To Kill A Mockingbird translated into Indonesian by Femmy Syahrani. The data of this analysis are words/ phrases in To Kill A Mockingbird

which contains cultural untranslatability. The objective of the study is to find out the type of translation techniques used by the translator in translating words/ phrases which contains cultural untranslatability in the novel. The type of the study is qualitative research. The data are analyzed use Newmark’s theory on cultural category and translation techniques. The analysis found 65 words/ phrases belong to cultural untranslatability. The finding of this study showed that 31 words/ phrases translated through transference, 5 words/ phrases translated through naturalisation, 6 words/ phrases translated through cultural equivalent, 5 word translated through componential analysis, 3 words/ phrases traslated through through-translation, and 15 words/ phrases translated through couplets.

ABSTRAK

Skripsi ini berjudul Cultural Untranslatability in To Kill A Mockingbird Translated into

Indonesian by Femmy Syahrani. Skripsi ini menganalisis penerjemahan ketakterjemahan

budaya pada terjemahan novel To Kill A Mockingbird karya Harper Lee yang diterjemahkan ke dalam Bahasa Indonesia oleh Femmy Syahrani. Data untuk kajian ini adalah kata atau frasa yang terdapat dalam terjemahan novel To Kill A Mockingbird yang mengandung ketakterjemahan budaya. Tujuan penelitian ini adalah menemukan tipe teknik penerjemahan yang digunakan oleh penerjemah dalam menerjemahkan kata-kata atau frasa yang mengandung ketakterjemahan budaya pada novel tersebut. Jenis penelitian ini adalah penelitian kualitatif. Data tersebut dianalisis dengan menggunakan teori kategori budaya dan teori teknik penerjemahan yang dikembangkan oleh Newmark. Dari analisis data ditemukan 65 kata/ frasa yang tergolong ke dalam kelompok ketakterjemahan budaya. Hasil dari analisa ini ditemukan 31 kata/ frase diterjemahkan dengan teknik transference, 5 kata/ frase diterjemahkan dengan teknik naturalisation, 6 kata/ frase diterjemahkan dengan teknik

cultural equivalent, 5 kata/ frase diterjemahkan dengan teknik componential analysis, 3 kata/ frase diterjemahkan dengan teknik through-translation, dan 15 kata/ frase diterjemahkan dengan teknik couplets.

CHAPTER I INTRODUCTION

1.1Background of the Study

Literary translation is translation of literary works such as short stories, novels, poems, plays, etcetera. It has special characteristics as literary works different from non-literary works. According to Hodges (2011), it is a translation which is not only need changing words from a language to another. It needs particular manners to express the texts in target language as sense which is contained by source language text. Clifford Landers (in Hodges, 2011) stated that all facets of the work, ideally, are reproduced in such a manner as to create in the TL reader the same emotional and psychological effect experienced by the original SL reader.

Cultural aspects in literary translation are inseparable matters for medium of translation is language which the use of language is affected by culture since language is product of culture. Newmark (1988: 94) defined culture as the way of life and its manifestations that are peculiar to a community that uses a particular language as its means of expression. In addition, Nida (in Repository KSU, n.d) argued that words are fundamentally symbols for features of the culture.

Further, Nida distinguished five cultural categories: (1) ecological culture, (2) material culture, (3) social culture, (4) religious culture, (5) linguistic culture. And adapting Nida, Newmark (1988: 95) categorizes foreign cultural words as (1) ecology; (2) material culture; (3) social culture; (4) organizations, customs, activities, procedures, concepts; (5) gestures and habits.

In term of transferring meaning in translation, Nida and Taber (in Widyamartaya 1989, p.11) stated that translating consists in reproducing in the receptor language the closest natural equivalence of a source language message, firstly in terms of meaning and secondly in terms of style. The closest natural equivalence in terms of meaning involves equivalence in cultural aspects for cultural aspects will affect the meaning of text. The translation task is strive for the closest equivalence of source language culture in target language culture to meet the content of culture which is contained by source language words or phrase. For example, English “wardrobe” and “chiffarobe” will be translated into Indonesian as “lemari” since “lemari” means a place where clothes saved, whatever the form, Indonesian “lemari” is place to save the clothes. Another example is Indonesian “sepeda motor” (motor cycle). In Java island it is called “motor”, but in Sumatera Utara it is called “kereta”; on the other side “kereta” in Java island is word for “train” and “motor” in Sumatera Utara is word for car. If someone intends to say “sepeda motor” to Java folks, they should say “motor” rather than “kereta” for “kereta” in Java island is train, not motor cycle. And if someone intends to say “sepeda motor” to Sumatera Utara folks, it should say “kereta” rather than “motor” since “motor” is word for car in Sumatera Utara culture. Chusna (2012) stated that cultural awareness is needed to grasp cultural meaning in source language then transfers it to cultural meaning in target language. [Cultural awareness akan sangat membantu menangkap makna dalam bahasa sumber untuk diteruskan dalam makna budaya bahasa sasaran.].

As the difficulties in finding equivalent words/ phrases in target language to obtain the closest equivalence of source language’s cultural content, cultural untranslatability occurs. According to Catford (in Ke Ping, 1999), cultural untranslatability is due to the absence in the target language culture of a relevant situational feature for the source text.

To solve untranslatability, the scholars of translation studies have formulated

particular translation procedures such as

(1988:81) suggested a few of techniques: (1) Transference, (2) Naturalisation, (3) Cultural equivalent, (4) Functional equivalent, (5) Descriptive equivalent, (6) Componential analysis, (7) Synonymy, (8) Through-translation, (9) Shift or Transposition, (10) Modulation, (11) Recognised Translation (12) Compensation, (13) Paraphrase, (14) Couplets, and (15) Notes.

Cultural untranslatability is peculiar aspect of source language culture which contains particular meaning in source language community. As the differences of cross-cultures, translator absolutely faces cultural untranslatability phenomenon. This study will analyze what translation techniques used by the translator for dealing with cultural untranslatability in which the translation technique that used will have implication for culture. Knowing its implication for culture, it can be found out whether the techniques are effective or not in transferring the meaning of cultural untranslatable words and phrases into target language.

The object of this study is an English novelentitled To Kill A Mockingbird by Harper Lee written in 1960 and its Indonesian translation version translated by Femmy Syahrani in 2010 with the same title. It absolutely contains untranslatable cultural words. For instance, “dewberry tart”. Dewberry tart which is derived from dewberry that is absent in Indonesia since it does not grow in Indonesia, will be translated into “dewberry tart” for there is no equivalent fruit for dewberry in Indonesia and no equivalence word for dewberry in Indonesian language.

This study will start from inventory all cutural untranslatable words/ phrases in the Indonesian translation version of To Kill A Mockingbird then strive for the meaning of the words/ phrases. Then, it will compare the meaning and their translation product. With this

step the translation techniques which are used by translator will be found and it will be known whether the techniques are effective or not in conveying the meaning. Actually, through the steps, this study will be useful to know the quality of cultural untranslatable translation. Finally, it will be useful to know the quality of Indonesian translation of literary works.

1.2Problems of the Study

1. What are the untranslatable cultural words and phrases found in the Indonesian translation of To Kill A Mockingbird?

2. What translation techniques are used in translating the untranslatable cultural words and phrases in the Indonesian translation of To Kill A Mockingbird.

1.3 Objectives of the Study

The objectives of the study are:

1. To inventory the unstranslatable cultural words and phrases in the Indonesian translation of To Kill A Mockingbird.

2. To find out the translation techniques which used in translating of the untranslatable cultural words and phrases in the Indonesian translation of To Kill A Mockingbird.

1.4Scope of the Study

The scope of the study is the unstranslatable cultural words and phrases found in Indonesian translation of Harper Lee’s novel To Kill A Mockingbird by Femmy Syahrani. It

will explain translation techniques which are used in translating the untranslatable cultural words and phrases into Indonesian.

1.5Significances of the Study

This study is focused on the problem of cultural untranslatability found in the Indonesian translation To Kill A Mockingbird by Femmy Syahrani. The writer hopes this study can show the quality of English-to-Indonesian translation works particularly in literary works. It is primarily hoped that this study can be a guide in studying untranslatability problem especially the cultural untranslatability in which this can be useful for translators, translation researchers, and students. As the object is Indonesian translation of a novel, the writer hopes this study could be a reference for the next researchers in analyzing Indonesian translation of literary works especially which is derived from English works. At last, it is hoped that this study can encourage Indonesian translator to produce a better quality of Indonesian translation works.

CHAPTER II

REVIEW OF LITERATURE

2.1 Definition of Translation

According to Hoed (in Amalia, 2011), translation is transferring message or meaning from a language to another language. It can be done through finding of equivalent unsures in target language. Catford ( in Machali, 2000, (p.5) defined translation as the replacement of textual material in one language (SL) by equivalent textual material in another language (TL). Nida and Taber (in Widyamartaya 1989, (p.11) stated that translating consists in reproducing in the receptor language the closest natural equivalence of a source language message, firstly in terms of meaning and secondly in terms of style.

Since language is part of culture, translation does not only overwhelm transferring of meaning, but also transferring of culture. In transferring of meaning, situational context has to be attention for it affect the meaning of a text. Thus, besides finding equivalent in linguistic

unsures, translation also must find equivalent in non-linguistic unsures: context of culture and situation.

Cultural and situational contexts create a certain emotional and psycological effect to the language. Translation must present the closest equivalent to create the same closest effect. Clifford Landers (in Hodges, 2011) said that all facets of the work, ideally, are reproduced in such a manner as to create in the TL reader the same emotional and psychological effect experienced by the original SL.

In can be concluded that in translation, what the target language reader understand in the target text has to be closest equivalent to what the source language reader understand in the source text.

2.2 Translation as A Product

The product of the translation process is a text in another language which, more or less, carries the same meaning and creates the same thoughts and impressions in the reader as the original text does. (Online Translation Workshop, n.d.). A translation can be viewed as a product, in that sense it can be seen as bearing a relationship of proximity or distance from the source text. (MML Assisted-Translation, n.d.)

The product of translation is a text therefore the quality of the text does not only depend on the quality of the translation but also on the word processing and related tools used. (Online Translation Workshop, n.d.). Translation technique is one of tools that used in translation process. The use of different techniques will create different result. For instance, the sentence “she has gone to the bank to open a current account” if literally translate will be “dia (perempuan) sudah pergi ke bank tersebut untuk membuka suatu

catatan arus”, but if it is translated with communicative translation, the result will be “dia sudah pergi ke bank tersebut untuk membuka rekening baru”.

To view translation as a product means to view the result in target text, whether it is close to the intended meaning in source text or it distances from the source text’s intended meaning.

2.3 Cultural Implication in Translation

Nida and Taber (in Widyamartaya 1989, (p.11) stated that translating consists in reproducing in the receptor language the closest natural equivalence of a source language message, firstly in terms of meaning and secondly in terms of style.

Hariyanto (n.d.) commented on closest natural equivalent which Nida and Taber intended,

“The concept of closest natural equivalent is rooted in Nida's concept of dynamic equivalent. His celebrated example is taken from the Bible, that is the translation of "Lamb of God" into the Eskimo language. Here "lamb" symbolizes innocence, especially in the context of sacrifice. As a matter of fact, Eskimo culture does not know "lamb". Thus, the word does not symbolize anything. Instead of "Lamb of God", he prefers "Seal of God" to transfer the message. Here he considers cultural aspects.”

One of scholars, Kate James (2002) in his article Cultural Implications for translation

stated:

“The cultural implications for translation may take several forms ranging from lexical content and syntax to ideologies and ways of life in a given culture. The translator also has to decide on the importance given to certain cultural aspects and to what extent it is necessary or desirable to translate them into the TL. The aims of the ST will also have implications for translation as well as the intended readership for both the ST and the target text (TT).”

The task of translation is to strive for words/ phrases in target language that have closest equivalence to source language words/ phrases to meet the content of culture which is contained by source language words or phrase. For instance is Indonesian “sepeda motor”

(motor cycle). In Java island it is called “motor”, but in Sumatera Utara it is called “kereta”; on the other side “kereta” in Java island is word for “train” and “motor” in Sumatera Utara is word for car. If someone intends to say “sepeda motor” to Java folks, they should say “motor” rather than “kereta” for “kereta” in Java island is train, not motor cycle. And if someone intends to say “sepeda motor” to Sumatera Utara folks, it should say “kereta” rather than “motor” since “motor” is word for car in Sumatera Utara culture.

Chusna (2012) stated that cultural awareness is needed to grasp cultural meaning in source language and then transferred it to cultural meaning in target language. [Cultural

awareness akan sangat membantu menangkap makna dalam bahasa sumber untuk diteruskan

dalam makna budaya bahasa sasaran.].

2.4 Cultural Categories

Newmark defined culture as the way of life and its manifestations that are peculiar to a community that uses a particular language as it means of expression (Newmark 1988: 94). In addition, Nida (in Repository KSU, n.d.) argued that “words are fundamentally symbols for features of the culture.” From the opinions above, it can say that language is manifestation of culture and it functions as tool of culture.

Nida then categorizes cultural words into five cultural categories: (1) ecological culture, (2) material culture, (3) social culture, (4) religious culture, (5) linguistic culture.

• Ecological culture (the environment)

• Social culture (leisure and sports, politics, etcetera)

• Religious culture (religion and related issues)

• Linguistic culture (the way language works)

Adapting Nida, Newmark (1988: 95) categorized cultural words as (1) ecology, (2) material culture, (3) social culture, (4) organizations, customs, activities, procedures, concepts, and (5) gestures and habits.

• Ecology: flora, fauna, winds, plains, hills, etcetera.

• Material culture: Food, clothes, houses, towns, transport

• Social culture: work, leisure

• Organization, customs, activities, procedures, concepts : Political, administrative, religious, artistic.

• Gestures and habits: Gestures and habits

This study uses theory of cultural categories that proposed by Newmark. The theory is choosed since Newmark’s cultural categories are more detail. The cultural categories are appropriate to be applied in analyzing the data which contains many specific terms of modern cultures.

2.5 Literary Translation

Literary translation is considered a literary pursuit in its own right. (Wikipedia, 2013). It involves the intricate task of expressing the words of the writer in a way that express

the original intention. Clifford Landers (in Hodges, 2011) added: “all facets of the work, ideally, are reproduced in such a manner as to create in the TL reader the same emotional and psychological effect experienced by the original SL reader.” It requires artistic skills besides language ones. Literary translators must transfer the aesthetic aspects of the source text: the beauty and style of the text, besides lexical grammatical, or phonological aspects. (Trusted Translation, 2010)

Esmail zare-Behtas (in Hodges, 2011) stated that one of the most difficult problems in translating literary texts is found in the differences between cultures. Cultural knowledge in literary translation is so important. It means as rapprochement. Rainer Schulte (in University of Texas at Dallas, 2010), the co-founder of the American Translator’s Association, said that literary translation bridges the delicate emotional connections between cultures and languages and furthers the understanding of human beings across national borders. In the act of literary translation the soul of another culture becomes transparent, and the translator recreates the refined sensibilities of foreign countries and their people through the linguistic, musical, rhythmic, and visual possibilities of the new language. Hodges (2011) added that literary translators need in-depth understanding of the social, historical and cultural context of the original piece of text for accurate semantic translation of the literary text. And, Sachin Ketkar (n.d) insists the essential question is what is meant by equivalence by the community or group within the target culture.

Literary translators need creativity to re-create the literary works in the accepted writing style of the target language. Gui (in El Zazawy, 2008) agreed that translation is creative process for translation is not merely a transformation of an original text into a literal equivalent, but must successfully convey the overall meaning of the original, including that text's surrounding cultural significance; the process of searching out a target-language counterpart to a difficult source-language word or phrase is often creative.

2.5.1 Translating A Novel

According to Belloc (in Puspokusumo, 2008), “penterjemah prosa fiksi harus mematuhi enam aturan umum berkut. Pertama, penterjemah tidak boleh hanya menerjemahkan kata per kata atau kalimat per kalimat, tetapi harus mempertimbangkan karya itu secara keseluruhan. Kedua, Penterjemah harus menerjemahkan idiom dalam BSu menjadi idiom dalam BSa. Ketiga, penterjemah harus menerjemahkan “maksud” (mencakup muatan emosi atau perasaan yang dikandung oleh ekspresi tertentu) dalam BSu menjadi “maksud” dalam BSa. Keempat, penterjemah harus waspada terhadap kata-kata atau struktur yang kelihatannya sama dalam BSu dan BSa, tetapi sebenarnya sangat berbeda. Kelima, penterjemah harus berani mengubah segala sesuatu yang perludiubah dari BSu ke dalam BSa dengan tegas. Keenam, penterjemah tidak boleh membumbui cerita aslinya dengan ‘hiasan-hiasan’ yang bisa membuat cerita dalam BSa lebih buruk atau lebih indah dari cerita dalam BSu.”

[“fiction translator has to obey the six general rules. First, the translator may not translate word per word or sentence per sentence, but he or she has to consider the work as a unity. Second, the translator has to translate the idiom in source language into idiom in target language. Third, the translator has to translate an intention in source text into an intention in target language; it overwhelms emotional or feeling that contained in a certain of expression. Fourth, the translator has to be carefull to the words or structure that looks similar in source language and target language, but exactly it so different. Fifth, the translator has to be dare to change firmly what need to be changed from the source text to target text. Sixth, the translator may not add the original story with decoration unsures which are able to make the story in target language to be worse or better from the story in source language.]

Translating a novel is the same as a half effort to writing. The translator has to be creative to arrange the words in order to make the reader drift enjoying the translation novel. The author must have particular language style that make him different from other author. The translator has to follow the author’s style. Thus, the target reader can grasp the uniqueness of the work. For instance, in English-to-Indonesian translation, if the author does not use standard English, the translator has to use non-standard Indonesian to create the same atmosphere as felt in source novel. If the author use adolescent language style, the translator also has to use Indonesian in adolescent’s style. But, if there is part which is so contrast to target reader’s norms, the translator can refine it.

A binary typology was proposed by Juliane House (1977), namely overt and covert translation. House (2001) in her article “Translation Quality Assessment: Linguistic Description versus Social Evaluation” said that in overt translation, the work of the translator is important and visible. Since it is the translator’s task to give target culture members access to the original text and its cultural impact on source culture members, the translator puts target culture members in a position to observe and/or judge this text “from outside.” Chesterman (2000) paraphrased definition of overt translations as obviously translations, and intended to be recognized as such, because they are more closely linked with the source culture. The examples are translations of political speeches, poems, sermons.

In terms of covert translation, House (2001) insists that true functional equivalence is aim of covert translation. According to her, since it is a case of “language use,” the translator must attempt to re-create an equivalent speech event. Consequently, the function of a covert translation is to reproduce in the target text the function the original has in its frame and discourse world. In covert translation, the original may be manipulated at the levels of Language/Text and Register via the use of a “cultural filter.” The result may be a very real distance from the original. While the original and its covert translation need thus not be equivalent at the levels of Language/Text and Register, they must be equivalent at the levels of Genre and the Individual Textual Function. In a covert translation, the translator’s actions must be viewed as being subservient to producing correspondences. The functionally equivalent covert translations may certainly look like new creations. A covert version results whenever the translator—in order to preserve the function of the source text—has applied a cultural filter randomly manipulating the original. Chesterman (2000) adds, “they are so natural target language (and probably therefore fairly free translations) that they do not seem distinguishable from non-translated texts of the same kind in the target language.” The examples include advertisements, technical texts, newspaper texts.

In translation of prose such as novel or short story, the translator may use overt translation, as a result, peculiar meaning contained by word or term that derived from source text are maintained in target text. For example, the translation of Indonesian “pancuran” into English, will be maintained as “pancuran”, although it is like “shower” in English culture.

In the other hand, may the translator uses covert translation and the result, equivalent word or term in target language will use instead of source langauge word or term. Hypernim or hyponim meaning in target language may be used in covert translation. For example, “crackling bread” in Indonesian translation version of To Kill A Mockingbird by Femmy Syahrani is translated into “roti jagung” while the meaning of crackling bread is like cornbread with fatback (bacon fat) mixed up in it.

2.6 Untranslatability

In finding equivalents when translating from SL to TL, a translator faces the problem of untranslatability. In untransatability term, he or she has problem in finding of equivalent unsures which have no equivalents in target language. (Nababan, 1999:93). Depari (2011) quoted Catford’s opinion: “Translation fails – or untranslatability occurs – when it is impossible to build functionally relevant features of the situation into the contextual meaning of the TL text”. There is no language unit in target language that linguistically or culturally have equivalent to source language unit.

Catford (in Depari, 2011) stated that broadly speaking, the cases where this happens fall into two categories, those where the difficulty is linguistic, and those where it is cultural. Further, he devided untranslatability into linguistic untranslatability and cultural untranslatability. According to Catford (in Mansouri, 2005) linguistic untranslatability occurs for “failure to find a TL equivalent is due entirely to difference

between the source language and the target language” For example, the variation of mad sign in Arabic will be untranslatable in Indonesian linguistic system.

Cultural untranslatability, according to Catford (in Mansouri, 2005) occurs when a situational feature, functionally relevant for the SL text, is completely absent from the culture of which the TL is a part. Haider (2011) stated that cultutal untranslatability can happen where intercultural equivalence is lacking ; a particular fact or word or anything that is a part and parcel of source language may not even exist in target language which makes it impossible to express that particular word or event in target language. For example, proper name or life patterns of source language can be completely different from life patterns of target language. there is no proper word for Indonesian word “durian” in English. Similarly, “nemo’kan” , one of Javaness traditions, does not exist in English.

While, Hoed (in Yadnya, 2006) says that teoritically, translation may not be done for the discrepancy of linguistic and culture, however, practically it can be done until a certain limit with striving and finding equivalents in target language. This can be done as a result of characteristics of language’s universality and convergence of cultures in the world. In principle, nothing can be untranslated. Every variety of words and meanings in a source language text can be translated either directly or indirectly in the target language and thus, everything that has meanings is translatable. (Lacandazo, 2011)

There are several translation procedures that can be used in translating untranslatability namely, translator’s note. (Wikipedia, 2013).

1. Adaptation

It also known as free translation, it is a procedure which strive for cultural equivalents between two certain situation. (Machali 2000:71).

It replaces source cultural with corresponding target culture that familiar to target readers. For example, Dear Sir in English would be translated to be Dengan Hormat

not to be Tuan yang terhormat. Adaptation is often used in translating works, a

2. Transference

Transference of words and expression from the source text, is a translation procedure whereby the translator uses a word or expression from the source text in the target text unmodified. In English text, transferences not sufficiently anglicised are normally in italics. (Wikipedia, 2013)

For example, Indonesian words batik and durian should be maintained in English since no lexical equivalent found in English at all.

3. Calque

Calque or translating literally the language into the target language; entails taking an expression, breaking it down to individual elements and translating each element into the target language word for word. Word-by-word translations usually have comic value, but can be a means to save as much of the original style as possible, especially when the source text is ambiguous or undecipherable to the translator. (Wikipedia, 2013)

For example, German word representation-claim", but a proper translation would result i 4. Compensation

Compensation or adding elements to the translated text; is a translation procedure whereby the translator solves the problem of aspects of the source text that cannot take the same form in the target language by replacing these aspects with other elements or forms in the source text. (Wikipedia, 2013)

For example, many languages have two forms of the second pers an informal / singular form and a formal / plural form. This is known as tu vs. vous), Spanish (tú / vosotros vs. usted/ustedes), Russian (ты vs. вы), Dutch (jij vs. u), Bengali (aapni vs. tumi vs. tui), German (du / ihr vs. Sie) and Italian (tu / voi vs. Lei), for example, but not contemporary English. Hence, to translate a text from one of these languages to English, the translator may have to compensate by using that is viewed as informal in English (I'm, you're, gonna, dontcha, etc.), or by using English words of the formal and informal 5. Paraphrase

It sometimes calle replaces a word in the source text by a group of words or an expression in the target

text. (Wikipedia, 2013) For example,

into English as "the feeling of missing a person who is gone". Yet another example, similar to the Portuguese "saudade", is "dor" in Romanian, translated into English as "missing someone or something that's gone and/or not available at the time".

6. Translator’s Footnotes

Translator’s footnotes or using an explanation of the translator for breaking the flow of the text by an annotation that compensates for the untranslatability. It is a note (usually additional information pertaining to the limits of the translation, the cultural background, or any other explanations. (Wikipedia, 2013). For example, the translator will add footnote for Indonesian word batik since there is limitation in English language and culture for batik.

2.7 Cultural Untranslatability

Source culture must be introduced to the target reader, but there are cultural barriers that make it impossible to translate. As a result, it create cultural untranslatability. (Lacandazo, 2011). According to Catford (in Depari, 2011), cultural untranslatability is due to the absence in the TL culture a relevant situational feature for the SL text.

Shortly, cultural untranslatability is that there is no lexical item in target language that have equivalent to source language lexical item.

2.7.1 Classification of Cultural Untranslatability Proposed by Zhou Zhipei

Zhou Zhipei (2003:491-494) classifies cultural untranslatability into two groups: (1) Cultural words are untranslatable; and (2) Some culturally-loaded words/ phrases may cause great difficulty in translation.

Zhou Zhipei gave further explanation for type (1) cultural words are untranslatable, “by cultural words we mean the word (phrase) that carries the meaning of a cultural trait particular to a certain socio-cultural community, in other words, whose referent is a unique thing or conception, and therefore that has no corresponding equivalent in other communities, when it is used in cross-cultural communication.” The example for this type is tayammum.

Tayammum is peculiar term in Islam that has no equivalence in other religions. As a

consequent, this term is untranslatable for the the communities of the other religions.

Then, Zhou Zhipei devided type (2) culturally-loaded words, into two types---a.

different association. The example for culturally-loaded words due to different classification is address form are “tulang” and “uda” in Mandailing culture. If these words translated into English these words are translated into “uncle”, but, if “uncle” is translated into Mandailing language, it must be detail known whether the uncle is mother-line or father-line. Its translation will be differentiated into “tulang” if it is mother-line and into “uda” if it is father line. The example for culturally—loaded words due to different association is difference association of “East wind” between English people and Chinesee. If it is said ‘the wind is blowing in the East’, English people easily define that it is not a positive thing, but Chinesee define East wind as a positive thing. In this situation, East wind that means a bad thing in England is untranslatable in China since difference of association.

This study will discuss untranslatability type (1) Cultural words are untranslatable, for the words (phrase) that carries the meaning of a cultural trait particular to a certain socio-cultural community, whose referent is a unique thing or conception, and therefore that has no corresponding equivalent in other communities.

2.7.2 Strategies in dealing with Cultural Untranslatability

Nida (in Venuti, 2002) states that translators are permanently faced with the problems of how to treat the cultural aspects implicit in a source text (SL) and finding the most appropriate technique of successfully conveying these aspects in the target language (TL).

To solve cultural gap between source culture and target culture, Newmark (1988:81) proposed translation technique: (1) Transference, (2) Naturalisation, (3) Cultural equivalent, (4) Functional equivalent, (5) Descriptive equivalent, (6) Componential analysis, (7) Synonymy, (8) Through-translation, (9) Shift or Transposition, (10) Modulation, (11) Recognised Translation (12) Compensation, (13) Paraphrase, (14) Couplets, (15) Notes.

Transference: Transference (emprunt, loan word, transcription) is the process of transferring an SL word to a TL text. It includes transliteration. (Newmark, 1988:81)

For example, Japan ‘kimono’ is translated into ‘kimono’ in English.

Naturalisation: it adapts the SL word first to the normal pronunciation, then to the normal morphology of the TL. (Newmark, 1988:82). For instance, Dutch words ‘amputation’ and ‘winkel’ will be ‘amputasi’ and ‘bengkel’ in Indonesian languange.

Cultural equivalent: it is an approximate translation where a SL cultural word is translated by a TL cultural word. This translation uses are limited, since they are not accurate, but they can be used in general texts, publicity, and propaganda, as well as for brief explanation to readers who are ignorant of the relevant SL culture. Functional cultural equivalents are even more restricted in translation, but they may occasionally be used if the term is of little importance in a popular article or popular fiction. (Newmark, 1988:83)

For instance, “selamatan” word in sentence “Dalam masyarakat Jawa bila seseorang wanita atau istri sedang hamil, menurut tradisi perlu diadakan bermacam-macam selamatan dan upacara-upacara lainnya” can be translated into English as‘traditional fiest’.

Functional equivalent: it requires the use of a culture-free word, sometimes with a new specific term; it therefore neutralises or generalises the SL word; and

sometimes adds a particular. It is the most accurate way of translating. It is used when a SL technical words has no TL equivalent. For cultural terms, it is often combined with transference. For example, French taille, translated as ‘a tax on the common people before the French Revolution, or taille’ (Newmark, 1988:83)

Descriptive equivalent: it talks about size, colour, and composition. (Mizani, 2005). For instance, Indonesian word “celengan” can be translated into English as “a box made of soil or plastic, designed in the form of an animal for saving money”. In this translation descriptive equivalent is combined with functional equivalent to make the meaning clear.

Componential analysis: This is the splitting up of a lexical unit into its sense components, often one-to-two, -three or –four translations… Normally, it should include at least one descriptive and one functional component. (Newmark, 1988: 90)

For instance, German Zeit ist Geld translated into ‘time is money’, the components of ‘money’ are infinite but decreasingly significant: precious, concrete, measurable, can depreciate.

Synonymy : it is used in the sense of a near TL equivalent to an SL word in a context, where a precise equivalent may or may not exist. This procedure is used for a SL word where there is no clear one-to-one

equivalent, and the word is not important in the text, in particular in adjectives or adverbs of quality.

For example, personne gentille is translated into ‘kind’ person. Through-translation: it is the literal translation of common collocations, names of

organizations and components of compounds. It is also known as calque or loan translation. (Newmark, 1988:84)

For example, compliments de la saison translated into ‘compliments of the season’

Shift or Transposition:It is a translation procedure involving a cange in the grammar from SL to TL. (Newmark, 1988: 85). One type, the change from singular to plural, for example Indonesians is translated into “orang Indonesia” not “orang-orang Indonesia”. A second type of shift is required when an SL grammatical structure does not exist in the TL , for instance, translate English gerund into French in “working with you is a pleasure” , the gerund can be translated by verb noun (le travail, die Arbeit).

Modulation : the term ‘modulation’ defined as ‘a variation through a change of view point or perspective and very often of category of thought. (Newmark,1988: 88). This change can be justified when, although a literal , or even transposed, translation results in a grammatically correct utterance, it is considered unsuitable, unidiomatic, or awkward in the TL. (Vinay and Darbelnet in Venuti, 2000: 89)

For instance, ‘Priceless diamond’ translated into ‘permata yang sangat mahal.

Recognised translation: It is use the official or the generally accepted translation of any institutional term. (Newmark, 1988:89)

For instance, Mitbestimmung (in management) has to be translated first as ‘co-determination’, Gay-Lussac’s Volumengesetz der Gase

translated as ‘law of combining volumes’.

Compensation : it occurs when loss of meaning in one part of a sentence is compensated in another part. (Newmark, 1988:90). For example, “damned” in “He is a damned fool guy.” Can be translated into ‘sangat’ in Indonesian.

Paraphrase : this is an amplification or explanation of the meaning of a segment of the text. It is used in an ‘anonymous’ text when it is poorly written, or has important implications and omissions. (Newmark, 1988:90)

For instance, in translating “Liquor interest” in Indonesian translation of To Kill A Mockingbird, Femmy Syahrani use this technique.

SL: North Alabama was full of Liquor Interest...

TL: Alabama Utara dipenuhi oleh Liquor Interests—organisasi penjual minuman keras, yang menentang amandemen UUD A.S. tentang memberikan hak suara kepada kaum wanita--

Notes : it is supplying additional information in a translation. (Newmark, 1988:91). Notes may come at the bottom of the page, at the end of chapter, or at the end of the book.

Couplets : it occurs when the translator combines two different procedures. There is also found terms: triplets and quadruplets, where combine three or four of the procedures respectively for dealing with a single problem. (Newmark, 1988:91)

For instance, ‘couplet’ is used by combining of cultural equivalent and functional equivalent to translate samurai as ‘the Japanese aristocracy from the eleventh to the nineteenth century to provide officers and administrators’

2.8Relevant Studies

One of the studies about untranslatability has been conducted by M. Zainal Muttaqie, graduated student of Translation Studies of Magister Linguistic Study Program of Sebelas Maret University. His thesis entitled Kajian Ketakterjemahan pada Subtitle Bahasa

Indonesia DVD Film The Simpsons Movie. He analyzed linguistic and cultural

untranslatabilities. He found causation factors which made those untranslatabilities happened and found translation techniques that applied by the translator to solve the untranslatabilities.

Another study was conducted by Khristianto Puspita Purbasari, the graduated student of Department of English, Faculty of Letters, University of Muhammadyah Purwokerto.

The thesis entitled untranslatability in Ronggeng Dukuh Paruk. The data of the research were derived from Ahmad Tohari’s Ronggeng Dukuh Paruk and its English version, The Dancer.

The data were collected by a criterion of cultural terms causing untranslatability in the translation. The data were analyzed with applying Mona Baker’s and Nida’s theory on untranslatability.

Based on the analysis, it was identified seven factors of untranslatability, those are cultural specific concept, the source and the target languages make different distinctions in meaning, the source language word is semantically complex, the target language lacks a specific term (hyponym), social and culture issues, material culture issues and problem of ecology. To solve the problems, translator applied seven strategies, i.e. translation by a more general word, translation by a more neutral/ less expressive word , translation by cultural substitution, translation using a loan word or loan words plus, translation by paraphrase using a related word, translation by paraphrase using unrelated words, and translation by omission. The result of data is found 100 cultural terms that has problem of untranslatability.

CHAPTER III

METHOD OF RESEARCH

Hamidi (2010:4) states that a study has purpose to draw a certain meaning that hidden behind or within the object of the study then finally it will produce a scientific

statement. The scientific statement must be true. It will belong to be true if it is based on the reality. To obtain a scientific statement which is based on the reality need to use a certain of ways or steps that called method of research. Fathoni (2006: 98) explained, method of research or method of the study is procedure that used in doing a research. This study use method which matched to the identified problem and purpose of the study. The scope of method involves the type of research design, source of data, data collection procedures, and data analysis.

3.1 Research Design

This study is qualitative research. According to Hamidi (2010:3), qualitative research is an observation action to individual or group activity and their social situation. It can be an interview activity to a few of people in order to reveal idea or intention behind their statement or activity. Also, it can be in reading information activity from documentation of organization, institution, or personal documentation. He continues, the process of drawing conclusion in qualitative approach starts from detail data as a result of intensive or in-depth interview of stories that derived from respondent or informan, or from observation. Based on the deep stories or observation, the researcher strive for hidden meaning behind the speech of subject research. The subject research can be respondent, informan, or social background. In qualitative research, teories is useful to help the researcher to explain logically how and why the social phenomenon can be occured.

The purpose of this study is to know how the translation of cultural untranslatable words and phrases Indonesian translation of Harper Lee’s novel To Kill A Mockingbird by Femmy Syahrani through finding out the translation techniques that are used. The result of

the study will be in descriptive or detail explanation. Thus, this study will use qualitative approach.

3.2 Source of Data

Data are the research object along with the context. It can be facts, events, or information collected by researchers while doing a research project. (Sudaryanto 1988: 10). The data of this study are cultural untranslatable words and phrases found in the Indonesian translation of Harper Lee’s novel To Kill A Mockingbird by Femmy Syahrani. The data sources are primary data sources for the data are directly derived from the original English novel and the Indonesian translation of the novel. As Warsito (1992:69) states that the primary datas are gained if the researcher collects the information from the sources, while secondary data are gained if the researcher uses the information.

3.3 Data Collection Procedures

This study use documentation method in collecting untranslatable cultural words in Indonesian translation of To Kill A Mockingbird by Femmy Syahrani.. Arikunto (1983:18) says that the written data or variable in form of note, transcript, book, et cetera becomes a main object in the documentation method.

Actually, analizing data is an anouncement of the researcher to the reader about what are doing to the data which is collecting or which have been collected. (Hamidi 2010:64). In analyzing data, this study use content analysis method.

Content analysis or textual analysis is studying the content of study of recorded human communications, such as Wikipedia, 2013). Berelson, GAO, Krippendorff, and Weber, describe that content analysis has been defined as a systematic, replicable technique for compressing many words of text into fewer content categories based on explicit rules of coding (in Stamler, 2012). Stemler (2012) adds, “…the analysis is to use word frequency counts to identify words of potential interest, and then to use a Key Word In Context (KWIC) search to test for the consistency of usage of words. Content analysis extends far beyond simple word counts, however. What makes the technique particularly rich and meaningful is its reliance on coding and categorizing of the data.”

Moreover, Hsiu & Shannon (2013) explains three approaches in content analysis: conventional, directed, or summative. All three approaches are used to interpret meaning from the content of text data and, hence, adhere to the naturalistic paradigm. The major differences among the approaches are coding schemes, origins of codes, and threats to trustworthiness. In conventional content analysis, coding categories are derived directly from the text data. With a directed approach, analysis starts with a theory or relevant research findings as guidance for initial codes. A summative content analysis involves counting and comparisons, usually of keywords or content, followed by the interpretation of the underlying context.

This study use content analysis method since all data are derived from a novel and the study just analyzes words/ phrases that the novel contains. The steps in analisys are as follows:

(1) Inventory the untranslatable cultural words and phrases in the Indonesian translation novel of To Kill A Mockingbird.

(2) Analyzing the meaning of the untranslatable cultural words and phrases and their translation version in Indonesian to find the translation techniques used.

(3) Categorizing untranslatable cultural words based on cultural categorize.

(4) Categorizing the untranslatable cultural words based on cultural categories and what translation techniques that are used in the translation.

Based on the explanation of the analyzing steps above, this study use content analysis approaches.

CHAPTER IV

DESCRIPTION AND FINDING

4.1 Data Description

The data are derived from To Kill A Mockingbird by Harper Lee and its Indonesian Translation by Femmy Syahrani. After analyzing the novel, it is found 65 untranslatable cultural words and phrases. The data are in the table below.

Table 1: Data

No. Original Version Translation Version

1. The Creeks

If General Jackson hadn’t run the Creeks up the creek, Simon Finch would never have paddled up the Alabama... (p.3, line 18)

Suku Indian Creek

Andaikan Jenderal Jackson tidak menggiring suku Indian Creek menjauhi hulu sungai, Simon Finch tak akan pernah mendayung ke hulu Sungai Alabama (p.16, line 3-5) 2. Teacakes

Ladies barhed before noon, after their

Kue teh

three- o’clock naps, and by nightfall were like soft teacakes with frostings of sweat and sweet talcum (p.6, line 17)

tengah hari, setelah tidur siang pukul tigs, dan saat senja tiba mereka menyerupai kue teh lembut yang berlapis keringat dan bedak wangi. (p.20, line 1-4)

3. Rat terrier

We went to the wire fence to see if there was a puppy—Miss Rachel’s rat terrier was expecting—instead we found someone sitting looking at us. (p.7 line 33 and (p.8 line 1)

Anjing rat terrier

Kami mendekati pagar kawat untuk melihat kalau-kalau ada anak anjing—anjing rat terrier Miss rachel sedang hamil tua—alih-alih kami menemukan seseorang sedang duduk, memandangi kami. (p.22, Iine 12-16)

4. Dracula

Dill had seen Dracula, a revelation that moved jem to eye him with the beginning of respect. (p.9, line 6)

Dracula

Dill pernah menonton Dracula, suatu informasi baru yang menggerakkan Jem untuk mulai memandangnya dengan rasa hormat. (p.24, Line 4-6) 5. Rabbit-tobacco

The remains of a picket drunkenly guarded to the front yard—a “swept” yard that was never swept—where johnson grass and rabbit-tobacco grew in abundance. (p.10 line 19-22)

rumput liar

Sisa-sisa tiang pagar bagaikan orang mabuk menjaga halaman depan— halaman telantar dan tak terawat— yang banyak ditumbuhi semak-semak dan rumput liar.

(p.26,Iine 4-7) 6. Pecan

...from the Radley chickenyard tall pecan trees shook their fruit into the schoolyard, but the nuts lay untouched by the children... (p.11 line 5-7)

Kacang pecan

...dari kandang ayam Radley, pohon kacang pecan yang tinggi menggugurkan buahnya ke pekarangan sekolah, tetapi kacang-kacang itu bertebaran tak tersentuh oleh anak-anak. (p.26, line 25-28) 7. Peppermint

She loooked and smelled like a peppermint dro(p.(p.21 line 13-14)

Peppermint

Penampilan dan wanginya seperti permen peppermint. (p.40 line 28 and (p.40-41 line 1)

8. Liquor interest

North Alabama was full of Liquor Interest... (p.21, line 25-26)

Liquor Interest

Alabama Utara dipenuhi oleh Liquor

Interests—organisasi penjual minuman keras, yang menentang

amandemen UUD A.S. tentang memberikan hak suara kepada kaum wanita— (p.41, line 14-17)

9. Big Mules

North Alabama was full of Liquor Interest , Big Mules...

(p.21, line 25-26)

Big Mules

Alabama Utara dipenuhi oleh Liquor

Interests—organisasi penjual minuman keras, yang menentang

amandemen UUD A.S. tentang memberikan hak suara kepada kaum wanita—Big Mules—Politikus

pelaku dagang sapi di Alabama – (p.41, line 14-18)

10. Sandwich

...she rewarded me with an open-faced sandwich of bread and butter and sugar. (p.24, line 29-30)

Sandwich

...dia menghadiahiku dengan sandwich terbuka berisi mentega dan gula. (p.45, line 27-28)

11. Hickory nuts

Later a sack of hickory nuts appeared on the back steps. (p.27, line 11-12)

Kacang hickory

Kemudian, sekarung kacang hickory

muncul di tangga belakang. (p.49, line 10-11)

12. Smilax

With Christmas came a crate of smilax... (p.27, line 12-13)

Smilax

Natal datang bersama sekerat bunga

smilax... (p.49, line 11-12) 13. Holly

With Christmas came a crate of smilax and holly. (p.27, line 12-13)

Holly

Natal datang bersama sekerat bunga

smilax dan holly. (p.49, line 11-12) 14. WPA

If he held his mouth right,Mr. Cunningham could get a WPA job, but his land would go to ruin if he left it, and he was willing to go hungry to keep his land and vote as he pleased. (p.27, line 31-33, and (p.28, line 1)

WPA (Works Project Administration)

Jika dia mau menjaga mulut, Mr. Cunningham bisa memperoleh pekerjaan di WPA (Works Project Administration), tetapi tanahnya akan terbengkalai jika dia tinggalkan dan dia lebih rela menaggung lapar untuk mempertahankan tanahnya dan memberi suara sesuka hatinya. (p.50, line 6-11)

15. Butterbeans

“... Don’t you like butterbeans?...” (p.31 line 7)

Kacang mentega

“...kau suka kacang mentega? ...“ (p.54, line 17-18)

16. Crackling bread

She knew I loved crackling bread. (p.38, line 15-16)

Roti jagung 64

Dia tahu aku suka sekali roti jagung. (p.64, line 5-6)

17. Wisteria vine

When he completed his examination of the wisteria vine he strolled back to me. (p.39, line 23-25)

Anggur wisteria

Ketika selesai menekuri rumpun anggur wisteria, dia berjalan kembali kepadaku. (p.65, line 26-28)

18. Whiskey

“...but when a man spends his relief checks on green whiskey his children have a way of crying from hunger pains. (p.41 line 11-13)

Wiski

“...tetapi kalau seseorang menghabiskan uang santunan untuk membeli wiski hijau, anak-anaknya akan menangis kelaparan.

(p.68, line 8-10) 19. Indian

“Indian- heads,” he said. “Nineteen-six and Scout, one of ’em’s nineteen-hundred. These are real old.” (p.46, line 12-13)

Indian

Dua keping uang satu sen yang sudah digosok dan dipoles. Jem memeriksanya.

“Kepala Indian”, katanya. “ 1906 dan Scout, salah satunya 1900...” (p.75, line 10-11)

20. Mimosa

“Do you smell my mimosa? It’s like angels’ breath this evening? (p.57, line 25-26)

Mimosa

“Kamu bisa mencium wangi mimosaku? Sore ini aromanya seperti napas malaikat .” (p.90, line 26-27)

21. Poundcake

“...How’d you like some fresh poundcake to take home?” (p.61, line 16-17)

Poundcake

“...kau mau kubekali poundcake hangat untuk dibawa pulang?”

(p.96, line 7-8) 22. Franklin Stove

An old Franklin stove sat in a corner of the porch... (p.70, line 12-13)

Kompor Franklin

Kompor Franklin tua teronggok di sudut teras... (p.107, line 16-17) 23. Strip Poker

“We were playing strip poker up yonder by the fish pool,” he said. (p.73 , line 15-16)

Strip Poker

“Kami bermain kartu strip poker di dekat kolam ikan di sana.“ katanya. (p.112, line 1)

24. Flash card

The second grade was as bad as the first, only worse—they still flashed cards at you and wouldn’t let you read or write. (p.77, line 7-9)

Flashcard

Kelas dua sama buruknya dengan kelas satu, hanya lebih parah— mereka masih menggunakan metode

flashcard kepada murid dan para

murid masih tak diperbolehkan membaca atau menulis.

(p.118, line 8-10) 25. Summer

There are no defined seasons in south Alabama, summer drifts into autumn... (p.79, line 23-26)

Musim panas

Tak ada musim di Alabama Selatan yang bisa didefinisikan dengan jelas; musim panas berangsur menjadi musim gugur... (p.122, line 1-3) 26. Autumn

There are no defined seasons in south Alabama, summer drifts into autumn... (p.79, line 23-24)

Musim Gugur

Tak ada musim di Alabama Selatan yang bisa didefinisikan dengan jelas; musim panas berangsur menjadi musim gugur... (p.122, line 1-3)

27. Winter

...and autumn is sometimes never

Musin Dingin

followed by winter...(p.79, line 24-25) pernah diikuti musim dingin... (p.122, line 3-4)

28. Spring

...but turns to a days-old spring... (p.79, line 25-26)

Musin semi

...melainkan langsung memasuki musim semi yang hanya berlangsung dalam hitungan hari...

(p.122, line 4-6) 29. Taffeta

Soft taffeta-like sounds and muffled scurrying sounds filled me with helpless dread. (p.92, line 3-4)

Kain taffeta

Suara selembut kain taffeta dan bunyi berisik yang teredam mejlariku dengan kengerian tanpa daya.

(p.139, line 6-8) 30. Lane Cake

“...Soon as I can get my hands clean and when Stephanie Crawford’s not looking, I ‘ll make him a Lane cake. (p.98, line 5-7)

Kue lane

“...kalau urusanku sudah beres dan dan kalau Stephanie Crawford sedang lengah, aku akan segera membuatkan kue Lane untuk Mr. Avery...” (p.148, line 6-8)

31. Confederate

Cousin Ike Finch was maycomb County’s sole surviving Confederate veteran. (p.101, line 16-18)

Konfederasi

Sepupu Ike Finch adalah satu-satunya veteran Konfederasi yang masih hidup di Maycomb County. (p.153, line 7-9)

32 Veteran

Cousin Ike Finch was maycomb County’s sole surviving Confederate veteran. (p.101, line 16-18)

Veteran

Sepupu Ike Finch adalah satu-satunya veteran Konfederasi yang masih hidup di Maycomb County. (p.153, line 7-9)

33. Hookah

...he stood at his gate in his dressing-gown, smoking a hookah... (p.104, line 7-8)

Pipa rokok

...dia berdiri di depan gerbang gereja dengan mengenaan jubahnya, mengisap pipa rokok...

(p.157, line 8-10) 34. Widow’s walk

A widow’s walk was on the roof, but no widows walked there—from it, Simon over-saw his overseer...

(p.106, line 32-33 and (p.107, line 1-2)

Widow’s walk/ Jalan Janda

Di atap rumah itu terdapat bagian datar yang disebut Widow’s Walk— Jalan Janda—meskipun tak ada janda yang pernah berjalan di situ—dari situ, Simon mengawasi mandornya... (p.160, line 6-9)

35. Add-A-Pearl

Aunt Alexandra’s vision of my deportment involved playing with small stoves, tea sets, and wearing the

Add-A-Pearl

Bayangan Bibi Alexandra mengenai kegiatanku mencakup bermain dengan masak-masakan dan

Add-A-Pearl necklace she gave me when I was born. (p.108, line 9-11)

mengenakan kalung Add-A-Pearl yang dihadiahkannya ketika aku lahir... (p.163, line 7-10)

36. Peach pickles

But her cooking made up for everything: three kinds of meat, summer vegetables from her pantry shelves; peach pickles...

(p.109, line 1-3)

Acar Pir

Tetapi masakannya sebanding dengan semuanya: tiga jenis masakan daging, sayuran khas musim panas dari rak makanan, acar pir... (p.164, line 11-13)

37. Ambrosia

But her cooking made up for everything: three kinds of meat, summer vegetables from her pantry shelves; peach pickles, two kinds of cake and ambrosia constituted a modest Christmas dinner.(p.109, line 1-3)

Ambrosia

Tetapi masakannya sebanding dengan semuanya: tiga jenis masakan daging, sayuran khas musim panas dari rak makanan, acar pir, dua jenis kue dan ambrosia merupakan makan malam Natal sederhana. (p.164 , line 11-14)

38. Bluejay

“...Shoot all the bluejays you want, if you can hit ‘em... (p.119, line 15-17)

Burung bluejay

“...Kau boleh menembak burung

bluejay sebanyak yang kau mau,

kalau bisa kena...” (p.179, line 2-3) 39. Mockingbird

“...Shoot all the bluejays you want, if you can hit ‘em, but remember it’s a sin to kill a mockingbird.” (p.119, line 15-18)

Mockingbird

“...Kau boleh menembak burung

bluejay sebanyak yang kau mau,

kalau bisa kena, tetapi ingat, membunuh mockingbird—sejenis murai bersuara merdu—itu dosa.” (p.179, line 2-5)

40. Checker

“Well, did you know he’s the best checker-player in this town?...”

(p.120, line 17-18)

Checker

“Eh, apa kau tidak tahu, dia adalah pemain checker terbaik di kota ini...” (p.180, line 15-16)

41. CSA pistol

It was rumored that she kept a CSA pistol. (p.132, line 15-16)

Pistol CSA

Menurut desas-desus, dia menyimpa sebuah pistol CSA... (p.196, line 1) 42. Baton

I had long had my eye on that baton : it was at V.J. Elmore’s, it was bedecked with sequins and tinsel, it cost seventeen cents.

(p.134, line 14-16)

Tongkat

Sudah lam aku mengunginkan tongkat itu: dijual di V. J Elmore, berhiaskan payet dan perada, harganya tujuh belas sen. (p.198 , line 11-13)

43. Scuppernong

“Jeremy Finch, Maudie Atkinson told me you broke down her scuppernong arbor this morning...”

(p.135, line 3-5)

Scuppernong

“Jeremy Finch, Maudie Atkinson memberitahuku bahwa kau merusak tanaman tanaman scuppernong-nya pagi ini...” (p.199, line 9-11)

44. Castle

Although her fits had passed off, she was in every other way her old self:

Istana

Meskipun penyakit ayannya tak pernah kanmbuh lagi, dalam hal-hal

when sir Walter Scott became involved in lengthy description of moats and castles, Mrs. Dubose would become bored and pick on us...

(p.146, line 8-10)

lain, dia adalah dirinya yang dulu: ketika Sir Walter Sctt menguraikan panjang-lebar tentang selokan dan istana, Mrs. Dubose menjadi bosan dan mengganggu kami. (p.214, line 23-28)

45. Rose Bowl

Alabama might go to the Rose Bowl again this year, judging from its prospects, not one of whose names we could pronounce. Atticus was in the middle of Windy Seaton’s column one evening when the telephone rang. (P 147, line 5-9)

Rose Bowl

Alabama bisa masuk pertandingan Rose Bowl lagi tahun ini, jika dinilai dari calon pemainnya yang tak satu pun namanya bisa kami ucapkan. Atticus sedang membacakan kolom Windy Seaton suatu sore ketika telepon berdering. (p.216, line 3-7) 46. African Methodist Episcopal Church

First Purchase African M.E. Church was in the quarter outside the southern town limits, across the old sawmill tracks. (p.157, line 12-14)

Gereja Metodis Episkopal Afrika Gereja Metodis Episkopal Afrika First Purchase terletak di wilayah Quarters, di luar batas selatan kota... (p.228, line 27-28)

47. Asafoetida

The warm bittersweet smell of clean Negro welcomed us as we entered the churchyard—Heart of Love hair-dressing mingled with asafoetida, snuff, Hoyt’s Cologne, Brown’s Mule, peppermint, and lilac talcum. (p.157, line 28-31)

Asafoetida

Gaya rambut Hearts of Love berpadu dengan obat asafoetida, tembakau, parfum Hoyt’s Cologne, tembakau Brown’s Mule, peppermint, dan talk melati. (p.229, line 22-24)

48. Almond

She was bullet-headed with strange almond-shaped eyes, straight nose, and an Indian-bow mouth... (p.158, line 11-13)

Almond

Kepalanya seperti peluru, matanya berbentuk kacang Almond, hidungnya lurus, dan mulutnya seperti busur Indian.

(p.230, line 13-15) 49. Voile

Calpurnia, in her navy voile dress and tub of a hat, walked between Jem and me. (p.164, line 19-20)

Voile

Calpurnia, dengan baju voile biru tua dan topi silinder, berjalan di antara aku dan Jem. (p.239, line 6-7)

50. Ku Klux

“Ku Klux got after some Catholics one time.” (p.196, line 13)

Ku Klux

“Ku Klux pernah memburu orang-orang Katolik” (p.282, line 10) 51. Gothic

...the Maycomb jail was a miniature Gothic joke one cellwide and two cells high, complete with tiny battlements and flying buttresses. (p.201, line 33 and (p.202, line 1-2)

Gothic

...penjara Maycomb menjadi miniatur lelucon Gothic selebar satu sel dan setinggi dua sel, lengkap dengan benteng pertahanan kecil dengan permukaan bergerigi dan fondasi batu yang tinggi. (p.288, line 17-20)

They wore catton sunbonnets and dresses with long sleeves. (p.211, line 31-32)

Mereka mengenakan topi bonnet dan pakaian berlengan panjang. (p.303, line 15-16)

53. Mennonites

A bearded man in a wool hat drop them. “Yonder’s some Mennonites,” Jem said to Dill. (p.211, line 32-33, (p.212 line 1)

Mennonit

Seorang lelaki beerjanggut dan bertopi wol mengenakan gerobak. “Itu orang-orang mennonit,” kata Jem kepada Dill. (p.303, line16-18) 54. Prohibition-law

Mr.Tensow jones voted the straight Prohibition ticket... (p.212, line 8-9)

Hukum Prohibisi

Mr. Tensow Jones memberi suara untuk suara politisi pendukung hukum Prohibisi—masa dalam sejarah AS, antara tahun 1920-1933, ketika hukum melarang pembuatan, penyebaran, dan penjualan minuman beralkohol... (p.304, line 10-14) 55. Bacon

There were delicious smells about: chicken, bacon frying crisp as the twilight air. (p.229 line 7-9)

Daging asap

Aroma lezat menggantungdi udara: ayam, daging asap yang di goreng kering seperti udara senja. (p.327, line 17-18)

56. Possum

Jem and I detected squirrel coooking, but it took an old countryman like Atticus to identify possum and rabbit... (p.229, line 9-10)

Possum

Aku dan Jem mengendus bau masakan tupai, tetapi perlu orang pedesaan tua seperti Atticus untuk membedakan possum dan kelinci... (p.327, line 19-21)

57. Potato Salad

Calpurnia poured milk, dished out potato salad and ham , muttering, “’shamed of yourselves,” in varying degrees of intensity.

(p.278, line 23-25)

Salad Kentang

Calpurnia menuangkan susu, menghidangkan salad kentang...

(p.395, line 19-20)

58.. Ham

Calpurnia poured milk, dished out potato salad and ham...

(p.278, line 23-24)

Ham

Calpurnia menuangkan susu, menghidangkan salad kentang dan ham... (p.395, line 19-20)

59. Pickled pig’s knuckles

Atticus griined when he found a jar of pickled pig’s knuckles.

(p.286, line 7-8)

Acar buku kaki babi

Atticus menyeringai ketika dia menemukan sebotol acar buku kaki babi. (p.405, line 26-27)

60. Charlotte

Calpurnia wore her stiffest starched apron. She carried a tray of charlotte... (p.305, line 1-2)

Kue charlotte

Calpurnia mengenakan celemeknya yang paling kaku. Dia membawa senampan kue Charlotte... (p.433, line 1-2)

61. Dewberry Tart

“...I never can get my crust like this, never can...who’d ‘ve thought of little

Tart dewberry

“...aku tak bisa membuat kulitnya seperti ini, tak pernah bisa...siapa

dewberry tarts...Calpurnia?...” (p.306, line 20-22)

yang menyangka tart dewberry kecil...Calpurnia?...”(p.435, line 7-9) 62. NRA

Firstly, people had removed from their store windows and automobiles the stickes that said NRA—WE DO OUR PART. I asked Atticus why, and he said it was because the National Recovery Act was dead. I asked who killed it: he said nine old men.

(p.336, line 17-21)

NRA

Pertama, para warga sudah menghilangkan dari jendela toko dan mobil mereka stiker yang berbunyi

NRA—KAMI IKUT BERPARTISIPASI. Aku bertanya

kepada Atticus mengapa, dan katanya karena National Recovery Act sudah mati. Aku bertanya siapa yang membunuhnya: dia bilang sembilan orang tua.

(p.476, line 21-28) 63. Halloween

Until then, Halloween in Maycomb was a completely unorganized affair. (p.336, line 23-24)

Halloween

Sampai saat itu, Halloween di Maycomb merupakan acara yang sangat tidak terorganisasi. (p.477, line 2-4)

64. Poor Will

High above us in the drakness a solitary mocker poured out his repertoire in blissful unawareness of whose tree sat he sat in, plunging from the shrill kee, kee of the sunflower bird to the irascible qua-ack of a bluejay, to the sad lament of Poor Will, Poor Will, Poor Will. (p.342, line 2-6)

Poor Will

Menukik dari pekik kii-kii burung bunga matahari, ke kuakan bluejay

yang pemarah, hingga lantunan sedih burung Poor Will, pur wil, pur wil. (p.484, line 16-18)

65. Angel Food Cakes

Know what’d happen then? All the ladies in Maycomb includin’ my wife’d be knocking on his door bringing angel food cakes. (p.369, line 29-31)

Kue angel food

Tahu apa yang akan terjadi berikutnya? Semua wanita di Maycomb termasuk istriku akan mengetuk pintunya sambil membawa kue angel food. (p.523, Line 14-17)

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