Background of Study INTRODUCTION

whereas the use of that category in the RL may be quite different from its use in the original. There are two special forms for verbs called voice and voice can be divided into active and passive. The active voice is the normal voice. This is the voice that we use most of the time. You are probably already familiar with the active voice. In the active voice, the object receives the action of the verb. The passive voice is less usual. In the passive voice, the subject receives the action of the verb or the object of the active verb becomes the subject of the passive verb. The passive voice does exist for a reason, however, and its presence is not always to be despised. The passive is particularly useful in two situations: when it is more important to draw our attention to the person or thing acted upon and when the actor in the situation is not important. The passive voice is especially helpful in scientific or technical writing or lab reports, where the actor is not really important but the process or principle being described is of ultimate importance. Instead of writing I poured 20 cc of acid into the beaker, we would write Twenty cc of acid iswas poured into the beaker. The passive voice is also useful when describing, say, a mechanical process in which the details of process are much more important than anyones taking responsibility for the action: The first coat of primer paint is applied immediately after the acid rinse. Wang in Journal of Language Teaching and Research, Vol. 1, No. 6, pp. 945- 949, November 2010 said that passive voice describes the whole process of certain event from the patient‟s point of view. It is a marked form of voice. There are three markers in English passive construction; be, -ed and by, which has its meaning and significance respectively. Typical passive could be classified into two categories, passive with agent and passive without agent, or, agentive passive and non-agentive passive. In the agentive passive, the agent will not appear but will be implicit in the context. Sneddon, Alwi et al., 1998:345-347 in their book Tata Bahasa Baku Bahasa Indonesia figure out that passivization in Indonesian can be done in two ways: 1 using verb attached by prefix di-and 2 with verb without prefix di-. They then add that S symbolizes Subject, P symbolizes predicate, and O symbolizes object, so passivizing active sentences can be done firstly by: a exchanging S with O; b replacing prefix meng- with di- in the verb; and c adding the word oleh in front of the actor. In translating the text in SL to the TL, the translator often found difficulty due to the different structure and culture of both languages. This issue will make translator to conduct translation shifts. It is purposed to make the translation results becomes acceptable in the TL as well as.

1.2 Problems of the Study

Based on the background of the study, the problems of the study are formulated as follows: 1. What types of passive were found in Inferno? 2. What types of translation shifts were applied in translating sentence with passive form in Inferno into Indonesian in Neraka?

1.3 Aims of Study

Based on the problems, the aims of this study are: 1. To classify passive types occur in Inferno. 2. To describe types of translation shifts that were applied in translating sentence with passive form in Inferno into Indonesian in Neraka.

1.4 Scope of Discussion

To limit the enlargement in the analysis, the discussion of this study focused only on lexical items in the form of words, phrases, and clauses of the passive voice in novel entitled Inferno and its translation shifts in Neraka.

1.5 Research Method

This study is applying library research by using some referential books and also theories. Then, those theories were applied as guidance in analyzing the data found in the novel entitled Inferno in comparison with Indonesian version Neraka. This research mode used descriptive qualitative research.

1.5.1 Data Source

The data was taken from an English best seller novel entitle Inferno. It is written by Dan Brown and first published in Great Britain in 2013. The English version has more than 450 pages that is divided into 104 chapters. The novel is translated by two translators, Ingrid Dwijani Nimpoeno and Berliani Mantili