Analysis on the translation of metaphors in Ronggeng Dukuh Paruk by Ahmad Tohari into the dancer by René T.A Lysloff.
ANALYSIS ON THE TRANSLATION OF METAPHORS
IN RONGGENG DUKUH PARUK BY AHMAD TOHARI
INTO THE DANCER BY RENÉ T.A LYSLOFF
A SARJANA PENDIDIKAN THESIS
Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree
in English Language Education
By
Ayu Ganjar Sejati Student Number: 081214027
ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHER TRAINING AND EDUCATION
SANATA DHARMA UNIVERSITY YOGYAKARTA
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i
ANALYSIS ON THE TRANSLATION OF METAPHORS
IN RONGGENG DUKUH PARUK BY AHMAD TOHARI
INTO THE DANCER BY RENÉ T.A LYSLOFF
A SARJANA PENDIDIKAN THESIS
Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree
in English Language Education
By
Ayu Ganjar Sejati Student Number: 081214027
ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHER TRAINING AND EDUCATION
SANATA DHARMA UNIVERSITY YOGYAKARTA
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iv
(Thomas and Friends)
If you climb the highest mountain. Cross the river deep. Maybe you'll find it's never as easy. As it first appears, as it first appears. Just remember not to
worry, or get down at heart. Never lose faith in positive thinking. You'll be amazed when you achieve all the things you start, all the things you start.
So, never, never, never give up! even though the going's tough. Don't stop trying when you're tiring, and you're out of puff. No! never, never, never give
up even though you're feeling rough. If at first you don't succeed, never, never, never give up!
If at first you don't succeed, then try and try again. Nothing in life is ever as easy, but you get there in the end, get there in the end. So, blow your cares and woes behind you. Start a brand new day! Nothing can stop you reaching
your goal. If you're determined, you can do it. You will find a way, you will find a way.
Some things seem impossible, answers hard to find. No matter how improbable, you won't know until you try. You can do whatever you choose it
just takes a little luck. So remember never, never, never give up! Never, never, never give up!
“ Sesungguhnya Allah tidak mengubah keadaan suatu kaum sehingga mereka mangubah keadaan yang ada pada diri mereka sendiri “
Ar-Ra’d [13:11]
This thesis is dedicated to: my son who has always been my sun.. and those who believe that I can..
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v
STATEMENT OF WORK’S ORIGINALITY
I honestly declare that this thesis, which I have written, does not contain the work or parts of the work of other people, except those cited in the quotations and the references, as a scientific paper should.
Yogyakarta, September20th, 2013
The Writer
Ayu Ganjar Sejati
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vi
LEMBAR PERNYATAAN PERSETUJUAN
PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS
Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma:
Nama : Ayu Ganjar Sejati
Nomor Mahasiswa : 081214027
Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan
Universitas Santa Dharma karya ilmiah saya yang berjudul:
ANALYSIS ON THE TRANSLATION OF METAPHORS IN RONGGENG DUKUH PARUK BY AHMAD TOHARI
INTO THE DANCER BY RENÉ T.A LYSLOFF
beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberikan kepada Perpustakaan Universitas Sanata Dharma hak untuk menyimpan, mengalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan data, mendistribusikan secara terbatas, dan mempublikasikannya di internet atau media lain untuk kepentingan akademis tanpa perlu meminta ijin dari saya maupun memberikan royalti kepada saya selama tetap mencantumkan nama saya sebagai penulis.
Demikian pernyataan ini saya buat dengan sebenarnya.
Dibuat di Yogyakarta
Pada tanggal: 20 September 2013 Yang menyatakan
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vii ABSTRACT
Sejati, Ayu Ganjar. 2013. Analysis on the Translation of Metaphors in Ronggeng Dukuh Paruk by Ahmad Tohari into The Dancer by René T.A Lysloff. Yogyakarta: English Education Study Program, Sanata Dharma University.
Metaphor is a figurative of speech of comparisons which expresses a thing in terms of something else directly. Novel is one of literary products which cannot escape from the application of metaphor because a metaphor can build up the sense of a literary work. However, the meanings of a metaphor cannot be derived from the words that compose it. Therefore, it brings problems in the process of translation that may influence the translation product.
In this research, there are two main theories employed in order to answer the problems formulated. In order to answer the first problem regarding the types of metaphor in the Ronggeng Dukuh Paruk, Larson’s theory of metaphor (1984) is
employed. In order to answer the second problem related to the translation of metaphors in the Ronggeng Dukuh Paruk into English in The Dancer are analyzed
based on Newmark’s theory of strategies in translating metaphor (1981). Then,
the translations are evaluated based on Ideal Translation proposed by Larson (1984).
This research isa qualitative research which employs the document analysis. There are two instruments are used in this research. The first instrument is the human instrument which functions as the primary agent to collect the data. The second instrument is the document instrument which is the novel Ronggeng Dukuh Paruk and The Dancer.
The result shows that the type of metaphor whichappeared most frequently in Ronggeng Dukuh Paruk,is the dead metaphor. The dead metaphors appear 312 times, or it acquires 68% from the total findings of 456 metaphors identified. Furthermore, the researcher found that the most frequently used strategy of translating metaphor is translating metaphor by reproducing the same image in target language. This strategy appears 157 times, or it gets 34.2% from the total findings of 456. At last, the findings show that 90% of the translation is acceptable. Therefore, the translation of metaphors in Ronggeng Dukuh Paruk
into The Dancer is categorized as a good translation.
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viii
ABSTRAK
Sejati, AyuGanjar. 2013. Analysis on the Translation of Metaphors in Ronggeng Dukuh Paruk by Ahmad Tohari into The Dancer by René T.A Lysloff. Yogyakarta: English Education Study Program, Sanata Dharma University.
Metafora adalah majas perbandingan yang secara langsung membandingkan sesuatu dalam bentuk yang lainnya. Novel merupakan contoh dari karya sastra yang tidak dapat terlepas dari penggunaan metafora, karena penggunaan metafora dapat menciptakan pemaknaan yang lebih mendalam terhadap sebuah karyasastra. Akan tetapi, makna sebuah metafora tidak dapat ditarik hanya dengan mengartikanny adari kata-kata yang menyusunnya. Dengan demikian, hal ini dapat menjadi masalah dalam proses penerjemahan metafora yang nantinya juga dapat mempengaruhi kualitas terjemahan tersebut.
Dalam penelitian ini peneliti menggunakan dua teori utama untuk menjawab rumusan masalah. Untuk menjawab rumusan masalah pertama yang berkaitan dengan jenis metafora yang digunakan dalam Ronggeng Dukuh Paruk, peneliti menggunakan teori Larson tentang metafora (1984). Sedangkan untuk menjawab rumusan masalah kedua mengenai terjemahan metafora, peneliti menggunakan teori Newmark (1981) mengenai strategi dalam penerjemahan metafora. Kemudian, terjemahan tersebut dievaluasi berdasarkan teori Terjemahan Ideal yang dikemukananoleh Larson (1984).
Penelitian ini merupakan riset kualitatif, yang menggunakan dokumen analisis yang didalamnya menggunakan dua instrumen. Instrumen pertama adalah peneliti yang bertindak sebagai instrument utama dalam pengumpulan data. Instrumen kedua adalah dukumen yang berupa novel Ronggeng Dukuh Paruk dan terjemahan bahasa Inggrisnya, The Dancer.
Hasil penelitian menunjukkan bahwa metafora mati adalah jenis metafora yang paling sering muncul dalam Ronggeng Dukuh Paruk. Penggunaan metafora mati muncul sebanyak 312 kali, atau 68% dari jumlah total temuan 456 metafora. Kemuadian, peneliti menamukan bahwa strategi penerjemahan metafora yang paling sering digunakan dalam The Dancer adalah penerjemahan dengan menggunakan citra yang sama dalam bahasa sasaran. Strategi ini muncul 157 kali, atau 34.2% dari temuan total sebanyak 456. Yang terakhir, dari hasil penelitian dapat ditarik kesimpulan bahwa 90% terjemahan telah memenuhi syarat sebagai terjemahan yang dapat diterima. Dengan demikian, metafora dalam Ronggeng Dukuh Paruk yang diterjemahkan kedalam bahasa Inggris dalam The Dancer dikategorikan sebagai terjemahan yang baik.
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ix
ACKNOWLEDGEMENTS
First of all, I would like to give thanks to the Lord of my life, Allah SWT for the love, the guidance and the joyful life given to me. I do believe that this
thesis would not come to its completion without Allah SWT’s remarkable help. In this opportunity, I would also like to express my deepest gratitude to my
advisor, Carla Sih Prabandari, S.Pd., M.Hum. for her great assistance, guidance, as well as encouragement during the accomplishment of this little piece
of hard work. My gratitude and appreciation are also addressed to Drs. Barli
Bram, M.Ed., Ph.D., Yuseva Ariyani Iswandari, S.Pd., M.Ed. and Adesti
Komalasari, S.Pd., M.A. for their generosity and assistance for this thesis. I thank them for correcting the grammar and proofreading this thesis. My sincere
gratitude is also expressed to Drs. I.M. Prayitno Adinugraha for his support and encouragement in my study. Furthermore, I would like to thank the English
Language Education Study Program of Sanata Dharma University secretariat
staff, Mbak Dhaniek and Mbak Tari, for their help in administrative matter.
My special gratitude is addressed to my father, Bambang Hermanto, and my mother, Hartati, for their prayers, support, love, suggestions and patience. I would like also to express my gratitude to my beloved son, Muhammad Reivand
Arcadia Suryandhika, for being my inspiration. Besides, my gratitude is addressed to my husband, Andhika Prabowo, for being a very best friend in my life. I would like also thank my brothers Reddy Hermanto and Ridwan
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My special thanks are directed to my friends of the English Language
Education Study Program 2008 and 2009, especially to Vita, Yossie, Elizabeth,
Jastia, Yuanita, Gilang, Yuan, Nimas, Ajeng, and Tintin. I thank them for their motivation and support given to me to finish my thesis. Finally, I want to express
my gratitude also to Dik Rio, Ciput, Mbak Wulan, and Rahajeng to be my best supporters in doing this thesis.
At last, my gratitude also belongs to everyone whom I cannot mention one
by one. I thank them for their help and contribution to me during the completion
of my thesis. May God bless them all.
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xi
TABLE OF CONTENTS
TITLE PAGE ………...... i
APPROVAL PAGES……….... ii
DEDICATION PAGE ... iv
STATEMENT OF WORK’S ORIGINALITY………...
PERNYATAAN PERSETUJUAN PUBLIKASI……….... v vi
ABSTRACT………... vii
ABSTRAK ……….... viii
ACKNOWLEDGEMENTS………...
TABLE OF CONTENTS………...
LIST OF FIGURES ………...………...
LIST OF TABLES………...
LIST OF APPENDICES ...
CHAPTER I. INTRODUCTION
A.Research Background ………... B.Research Problems ………... C.Problem Limitation ………... D.Research Objectives ………... E. Research Benefits ………... F. Definition of Terms ………...
CHAPTER II. A REVIEW OF RELATED LITERATURE
A.Theoretical Description ………... 1. Theory of Metaphor ...………... a. Definition of Metaphor ...………... b. Types of Metaphor...………... 1) Dead Metaphor ... 2) Live Metaphor ...
ix xi xiv
xv xi
1 7 7 7 8 9
11 11 12 15 15 17 2. Theory of Translation ...………...
a. Definition of Translation ... 20 20
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b. Translation Method ... c. The Criteria of Good Translation ... d. The Translation of Metaphor ... e. The Strategies of Translating Metaphor ... B. Theoretical Framework ………...
CHAPTER III. RESEARCH METHODOLOGY
A.Research Method……….…………... B.Research Subjects ... C.Research Instrument and Data Gathering Technique ………... D.Data Analysis Technique ………... E. Research Procedures ………...
CHAPTER IV. RESEARCH FINDINGS AND DISCUSSION
A.Types of Metaphors Found in Ronggeng Dukuh Paruk... 1. Dead Metaphor ...
a. The Frequently Appeared Dead Metaphor in the Form of Phrase Idioms b. The Rarely Appeared Dead Metaphors in the Form of Phrase Idioms ... c. The Rarely Appeared Dead Metaphor in the Form of One-Word Idioms.. 2. Live Metaphor ... a. The Live Metaphor whose Topic is Not Stated Clearly ... b. The Live Metaphor whose The Point of Similarity is Implicitly Stated ... B.How The Metaphors Are Translated Into English...
1. Translating metaphor by Reproducing the Same Image as the Image in Target Language (TL) ... 2. Translating Metaphor by Replacing the Image in The Source Language
(SL) with A Standard Target Language(TL) Image ... 3. Translating Metaphor by Simile ... 4. Translating Metaphor by Simile Plus Sense ... 5. Translating Metaphor by Converting Metaphor to Sense ... 6. Translating Metaphor by Deleting Metaphor ... 7. Translating Metaphor by Using Same Metaphor Combined with Sense ...
22 24 25 26 29
31 32 33 34 37
41 43 44 45 48 51 52 54 56
59
61 62 64 66 68 70
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CHAPTER V.CONCLUSIONS, IMPLICATIONS, AND RECOMMENDATIONS
A.Conclusions ………..………...……... B.Implications ... C.Recommendations………...
REFERENCES………...
APPENDICES………..………..
72 74 75 77 79
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xiv
LIST OF FIGURES
Figure Page
Figure 2.1 The Process of Translation Based on Larson’s Theory... Figure 2.2 The Diagram V of Newmark ... Figure 2.3 The Translation of Metaphor Based on Newmark’s Theory ...
21 22 25
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LIST OF TABLES
Tables Page
Table 3.1 the Sample of Strategies of Metaphor Translation and Categories of Translation ... Table 4.1 Types of Metaphor ... Table 4.2 the Findings of Frequently Used Dead Metaphors in Form of Phrase
Idiom ... Table 4.3 the Findings of Rarely Appeared Dead Metaphors in the Form of
Phrase Idiom ... Table 4.4 the Findings of Rarely Appeared Dead Metaphors in the Form of One
Word Idioms ... Table 4.5 the Findings of Live Metaphor whose Topic is Not Clearly Stated ... Table 4.6 the Findings of Live Metaphor whose Point of Similarity is Implicitly
Stated... Table 4.7 the Strategies of Translating Metaphors ... Table 4.8 the Acceptability of Translation of Metaphors in the Ronggeng Dukuh Paruk into The Dancer ... Table 4.9 the Findings of TranslatingMetaphor by Reproducing the Same Image
in Target Language ... Table 4.10 the Findings of Translating Metaphor by Replacing Image in the
Source Language with A Standard Target Language Image ... Table 4.11 the Findings of Translating Metaphor by Simile ... Table 4.12 the Findings of Translating Metaphor by Simile Plus Sense ... Table 4.13 the Findings of Translating Metaphor by Converting Metaphor to
Sense ... Table 4.14 the Findings of Translating Metaphor by Deleting Metaphor... Table 4.15 the Findings of Translating Metaphor by Using Same Metaphor
Combined with Sense...
36 42
44
46
48 53
54 57
58
59
61 63 65
66 68
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xvi
LIST OF APPENDICES
Appendix A
The Classification of the Types of Metaphor in Ronggeng Dukuh Paruk ...
Appendix B
The Analysis of Strategies and the Categorize of Metaphor Translation from
Ronggeng Dukuh Parukinto The Dancer……...
79
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1 I R E T P A H C N O I T C U D O R T N I . s e u s s i r o j a m x i s s e t a r o b a l e r e h c r a e s e r e h t , r e t p a h c s i h t n
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w i sused .When peopleusemetapho ircall anguage, t hemeaning o f . d e s s e r p x e y lt i c il p m i e b l li w s d r o w e h t a s i r o h p a t e
M ifguraitve speech o fcompairson which ha sclose relaiton m r o f n e k o p s d n a n e tt ir w e h t n i h t o b e g a u g n a l y li a d h ti
w .A sstated by Goalty
m “ , ) 7 9 9 1
( etaphori severywherei n t hel anguageweused andt herei sno escape ”
ti m o r
f .( p 2 I) . n daliy communicaiton, people tend to use ltiera llanguage . n o it a m r o f n i e r a h s o t s i e fi l y li a d n i n o it a c i n u m m o c f o m i a e h t e s u a c e
b However ,
the researche rbeileves tha tthe use o fmetapho rin the ltierature works such a s s
il e v o
n no t merely to expres so r deilve r the wrtier’ s feeilng .Suppo tred by ) 1 8 9 1 ( k r a m w e
N ,“metapho ri smerely to ilven up othe rtype so ftext ,to take r d , l u f r u o l o c e r o m m e h
t amaitcandwittyi nj ournailsm” .( p 84) .Hence,t heuseo f o t s i r o h p a t e
m bulid up t hel tieraturesense sand aestheitcf eeilng soft her eader s s d r a w o
t novels. ) 8 0 0 2 ( n o s n i k li
W also explains t hat ,“metaphor i sa mean so fexpressing f o s m r e t n i g n i h t e n
o something else” .( p ix) .I tmean stha tmetapho ri sa s e o d r o h p a t e M . e s l e g n i h t e m o s o t n i g n i h t e m o s s e r a p m o c t a h t h c e e p s e v it a r u g if o
n t compare something a s o r ilke something else , bu t metapho r compare s h
t e m o
s ing i s something else because the two thing s have some point s o f y ti r a li m i
s (Larson ,1984, .p 248) .Larson’ s(1984)t heory aboutt hedeifniiton o f y b d e tr o p p u s s i r o h p a t e
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3 . n o s ir a p m o c t c e ri d e r a s r o h p a t e
m However ,when the compairson i ssomething e
k
il ors omethingass omethingelse ,tii sas imlieandnol onge rametaphor . e
m o
S ilnguist scatego irze metapho rinto vairou stypes .They are dead h p a t e m t n e c e r , r o h p a t e m d r a d n a t s r o k c o t s , r o h p a t e
m or ,and o irgina lmetapho r
. p , 8 8 9 1 , k r a m w e N
( 106) .On t heothe rhand ,Larson (1984 ,p. 924 )catego irze s r o h p a t e
m o nlyintodeadand ilvemetaphor .Nevetrheless ,ametapho ro facetrain n i e g a u g n a
l w irtten forms such a snovels migh tbecome a problem when i ti s . e g a u g n a l r e h t o n a o t n i d e t a l s n a
rt Translaiton i sdeifned by the researcher a sa s s e c o r
p andproduc tofr eplacing wordsf rom a cetrainlanguaget o anothe rtarge t e g a u g n a
l . Theresearche rdeifnest he meaning of t he rtanslaiton above based on s e c n e ir e p x e s ’ r e h c r a e s e r e h
t in rtanslaitng wirtten language. Larson (1984) n o it a l s n a rt t u o b a n o it i n if e d s ’ r e h c r a e s e r e h t s tr o p p u
s tha t“rtanslaitoni sbasically ” m r o f f o e g n a h c
a ( .p.3 ) t
n
I hi sresearch ,the ltierary rtanslaiton which i sdfiferen tfrom genera l n o it a l s n a
rt i sdiscussed .According t oHassan( 2001) , a “ ltierary rtanslaiton mus t r o h t u a e h t f o g n it ir w e v it i u t n i d n a l a u t c e ll e t n i , e v it a n i g a m i e h t t c e lf e
r ” .( p 2) .I t
a r e ti l a t a h t s n a e
m ry rtanslaiton i sno tmerely changing the form o fa ce train i d o t n i e g a u g n a
l fferentl anguage .Altierary rtanslaiton shouldkeept henatureo f a r e ti l e h
t ry work tha ti s rtanslated .Hence , rtanslaitng metaphors to bulid the g n i d li u b s a y s a e s a t o n s i e g a u g n a l r e h t o n a o t n i l e v o n a f o g n il e e f c it e h t s e a e e f c it e h t s e
a ilng using metaphors in the source language .A sstated by Larson )
4 8 9 1
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d r o w , y ll a r e ti l d e t a l s n a
rt - rf -o word ,into a second language ,they wli lo tfen be ” d o o t s r e d n u s i m y l e t e l p m o
c .( p 250 .)
e
B sides ,the problem in rtanslaitng metapho roccur swhen the rtanslato r e g a u g n a l l a c ir o h p a t e m e h t f o e g a m i y n a d n if t o n n a
c from the source language ,
e g a u g n a l t e g r a t e h t n i g n i n a e m l a u q e s a h h c i h
w .Moreover ,Larson ( 1984 ,p .250 ) t t a h t s e t a t
s hemos tseirou sproblemi n rtanslaitngmetaphori st hei mageused in s e o d e m it e m o s t a h t r o h p a t e m e h
t no texisti n t her eceptorlanguage .Theproblem h t f o e s u a c e b y l p m i s s i r o h p a t e m n i d e s u e g a m i f o w e i v t n e r e f fi d e h t f
o ecu tlure
e h T . n o it c n it s i
d relaiton between rtanslaitng metapho rand cutlura ldisitnciton i s y b d e t a t
s Larson(1984 ,p.251)thatt hecutluredisitncitoncanbeoneoft hemore f o t n i o p e c n e r e f fi d e h t f o e s u a c e b s r o h p a t e m g n it a l s n a rt n i s m e l b o r p s u o ir e s y ti r a li m i
s towardsthemetapho ircall anguage .Howeve,ri naparitcula rcondiiton , e h t n i d o o t s r e d n u e b n a c h c i h w d r o w t n e r e f fi d g n i s u d e t a l s n a rt e b n a c r o h p a t e m . e g a u g n a l t e g r a t L h ti w e n il n
I arson (1984) ,Lefevere(1992 , 3p. 7 )agreest ha t”rtanslato r r o t p a d a o t e v a h y a
m substtiuteaccordingly ,butt heyshould do so onlya sal as t e m o s s e ri u q e r t i t a h t s i r o h p a t e m f o r e t c a r a h c e n o e c n i s t r o s e
r lfexiblitiy on t he
t e g r a
t language” .Fu trhermore ,Newmark (1981) suppo tr sLefe ev re (1992 )and t a h t ) 4 8 9 1 ( n o s r a
L there are seven srtategies o f rtanslaitng metaphor ,namely n o it a l s n a
rt o fmetaphor by reproducing the same image a sthe image in targe t a
u g n a
l ge , rtanslaiton o f metaphor by replacing an image in the SL wtih a a t e m f o n o it a l s n a rt , e li m i s y b r o h p a t e m f o n o it a l s n a rt , e g a m i L T d r a d n a t
s pho rby
n o it a l s n a rt , e s n e s s u l p e li m i
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5 n o it e l e
d ,and rtanslaitono fmetapho rbyusingt hesamemetapho rcombined wtih . e s n e s y b n e tt ir w s l e v o n e m o s e r a e r e h
T the Indonesian wrtier s rtanslated into u s h s il g n
E ch a sRonggeng DukuhParukbyAhmad Toha ir ,Mereka Bliang Saya ! t e y n o
M By Djenar Maesa Ayu ,Rumah Kaca by Pramoedya Ananta Toer ,and r
a k s a
L PelangibyAndreaHriata .Eachoft henovel sha sti sown l anguagestyle , e h t s e m o c e b h c i h
w specia latrtaciton fo reach novel .Ronggeng Dukuh Paruk si l e v o n y g o li rt a s i t I . 2 8 9 1 n i i r a h o T d a m h A y b n e tt ir
w o fRonggeng Dukuh
k u r a
P ,Lintang Kemukus D ini H ari a nd Jantera Bianglala .Ronggeng Dukuh k
u r a
P i sa phenomena lnove lin Indonesia ,which tell sabout Sirntli’ slfie as a g n e g g n o
r dancerwho ilvesi n 60’ .sRonggengDukuh Parukhad alsobecomet he e i v o m a f o n o it a ri p s n
i itlted Sang Penari, which wa sreleased i n Novembe r9th , .
1 1 0
2 In the released yea ro fthe movie, Sang Pena ir had gained excellent t n e m e v e i h c
a sby getitng ten nominaiton sin Indonesian Flim Fesitva l2011 and g n i n n i
w fou rCirta Cups no the bes tflim. Ronggeng Dukuh Paruk si also h s il g n E o t n i d e t a l s n a
rt itlted The Dancer by René T.A .Lysloff ,who i san a i n r o fi l a C f o y ti s r e v i n U e h T t a c i s u M f o r o s s e f o r P e t a i c o s s
A -Riverside .The
r e c n a
D h adalsobeenpubilshedbyIndonesianpubilsher ,namedLontarin2003. k u r a P h u k u D g n e g g n o
R i sdfiferentf rom othe rnovels cbe auset hewrtier , n e s e r p , ir a h o T d a m h
A t st hesrtongconneciton between t hecutlura lvalueandt he m s i c it s y
m beilef .T he example o fthe srtong conneciton between the cutlura l e h t d n a e u l a
v mysitcism beile fcould be seen when the Dukuh Paruk people . t c e p s e r ri e h t w o h s o t y r e t e m e c ’ s r o t s e c n a e h t f o t n o r f n i y n o m e r e c a d l o h d l u o h s
(23)
e h t s w o h s r o t s e c n a e h t t c e p s e r y e h t y a w e h
T mysitcism beilef because they a t n e s e r p d l u o h
s sesaij ,sucha sacetrain lfowers ,burnedi ncenses ,andkemenyan. On the othe rhand ,the ceremony held a tthe ancestor’ scemetery show sthe
e h t f o e u l a v l a r u tl u
c Dukuh Paruk people .Besides ,Ahmad Tohar’i slanguage e
l y t
s show shi sown uniqueness ,which disitnguishe shim wtiht heothe rwrtiers . ir a h o T “ , ) 9 0 0 2 ( n o r m I y b d e t a t s s
A empowerst heentriepotenita lofl anguagea s n i h c ir , g n i n a e m e v it a i c o s s a , r e w o p e v i s s e r p x e s a h t a h t e r u t a r e ti l f o s n a e m a . p ( ” e r u t a n f o t n e m e l e d n a d r o w e v it a t o n n o
c .2) Another poin ttha tmake sthi s l a i c e p s e r o m l e v o
n i s the use o f metaphor s in Ronggeng Dukuh Paruk . a t e m g n it a l s n a rt t a h t g n ir e d i s n o c , s s e l e h tr e v e
N phor s someitme s become s
m e l b o r
p ,a big quesiton abou tthe rtanslaiton ofmetaphors i n Ronggeng Dukuh k
u r a
P into The Dance ri soccurred .The problem smay occu rbecause o fthe n i n o it p e c n o c s i m e h t d n a s r o h p a t e m f o g n i n a e m e h t g n i d n if n i y tl u c if fi d g n it a i c e r p p
a metaphorsint hes ourcel anguage( Larson ,1984 ,p. 52 .) r e h c r a e s e r e h t , h c r a e s e r s i h t n
I analysed the metaphor sused i n Ronggeng k u r a P h u k u
D and analyzed the srtategie so f rtanslaitng metapho rin Ronggeng k u r a P h u k u
D byAhmadTohairi ntoTheDance rbyRenéT.ALysloff .Ar esearch n o it a l s n a rt r o h p a t e m t u o b
a i sneeded because understandi ng the meaning o fa metapho r i sno ta seasy a sunderstandi ng a ltiera l language . Therefore , the
s ’ r o t a l s n a
rt interpretaiton towards a metaphor and the metapho r rtanslaiton s e i g e t a rt
s appiledby t he rtanslato rwli laffectt hequaltiyo fmetapho r rtanslaiton. e
c n e
H , t hisr esearcha s im toevaluatet hequaltiyoft het ranslaiton o fmetaphori n .r e c n a D e h T
(24)
7 .
B ResearchProblem q o w t e r a e r e h
T uesiton saddressed i n t hi sresearch in order t o specfiy t he e
h t f o l a o g n i a
m research .Theproblem saref ormulatedasf ollows: .
1 Wha ttype so fIndonesian metaphor sare used in Ronggeng Dukuh Paruk by ir
a h o T d a m h
A ?
.
2 Howaret hemetaphorsi nRonggengDukuhParukbyAhmadTohar i rtanslated o
t n
i TheDance rbyRenéT.A .Lysloff?
.
C ProblemLimtia iton
h c r a e s e r e h t s ti m il r e h c r a e s e r e h t , h c r a e s e r s i h t n
I t o discoverthet ype so f n
o d n
I esianmetaphorsf oundinRonggengDukuhParukbasedonLarson’ s( 1985 ) y
r o e h
t , da n analyze the ifndings ,including ti ssubtypes .Thi s research i salso f
o n o it a t n e m e l p m i e h t s s u c s i d o t g n i o
g srtategie so f rtanslaitng metaphors by )
1 8 9 1 ( k r a m w e
N in rtanslaitng metaphorsf rom Ronggeng DukuhParuk oint The r
e c n a
D . Besides , thi s research a s im to evaluate the qualtiy o f the Engilsh n
o it a l s n a
rt fo the Indonesian metaphor sfrom Ronggeng Dukuh Paruk i nto The r
e c n a
D .
.
D ResearchObjecitves f o s e v it c e j b o e h
T thi sresearch aret o answer t he t wo quesiton sraised i n e
h
t problemf ormulaitonasf ollows: .
1 To discover et yh t pe so fIndonesian metaphor sused in the Ronggeng Dukuh k
u r a
(25)
.
2 To analyze how the Indonesian metaphor sin Ronggeng Dukuh Paruk are o
t n i d e t a l s n a
rt TheDance .r .
3 To evaluatet hequaltiy oft heEngilsh rtanslaiton of t heIndonesianmetaphor s m
o r
f RonggengDukuhParukintoTheDancer.
.
E ResearchBeneftis
: o t s ti f e n e b e v i g l li w h c r a e s e r s i h t t a h t s t c e p x e r e h c r a e s e r e h T .
1 Thet ranslators r e h c r a e s e r e h
T expectsthatt hisr esearch wli lgivean understandableview f
o n o it a l s n a rt e h t n
o the Indonesian metaphor s into Engilsh . Besides , the e
r searche rexpect stha tthi sresearch wli lgiveimpo trant i nsight t o the rtanslato r g
n i d r a g e
r thes rtategiest ha tcanbei mplementedin rtanslaitngmetaphors. .
2 The rtanslaitonl ectures/teachers r
e h c r a e s e r e h
T hope stha tthet opico fthisr esearchwli lgivesomebeneftis o
t the rtanslaiton l ectures/teachers .Thet opico fmetapho r rtanslaiton can beused s
a et h addiitona flreerencesi n rtanslaitonclass. .
3 TheEngilshlearner s r e h c r a e s e r e h
T expectstha tby reading t hi sresearch, t he Engilsh learners t
e g l li
w some impo tran tknowledge about metapho rand metapho r rtanslaiton t
u o b a y lr a l u c it r a
p the Indonesian metaphor sand how the Indonesian metaphor s .
h s il g n E o t n i d e t a l s n a rt e r a
(26)
9 .
4 Futurer esearchers
li w h c r a e s e r s i h t t a h t s e p o h r e h c r a e s e r e h
T linsprie othe rresearcher sto h c r a e s e r a t c u d n o
c o n rtanslaiton .Beside ,s t her esearche rhopest hatt hisr esearch i
w ll be a usefu lreference for othe rresearchers .Moreover ,the researche rhope s t u o b a s r e h c r a e s e r r e h t o e h t o t e g d e l w o n k t n a tr o p m i e v i g l li w h c r a e s e r s i h t t a h t . h s il g n E o t n i d e t a l s n a rt e r a h c i h w s r o h p a t e m n a i s e n o d n I .
F De ifniitono fTerms
e h T . t n a tr o p m i e r a t a h t s m r e t r u o f s e s u r e h c r a e s e r e h t , h c r a e s e r s i h t n I e h t e r a y e h t d n a c i p o t e h t f o n o it a z i n a g r o e h t p u s d li u b s m r e t e s e h t f o e c n e s e r p , n o it a l s n a rt e r a y e h T . h c r a e s e r e h t f o e s o p r u p e h t g n it c e ri d n o s d r o w y e k , r o h p a t e
m RonggengDukuhParuk ,andTheDancer. .
1 Translaiton
n o d e m r o f r e p n o it a r e p o n a s i n o it a l s n a r T “ , ) 5 6 9 1 ( d r o ft a C o t g n i d r o c c A ” r e h t o n a n i t x e t a r o f e g a u g n a l e n o n i t x e t a g n it u ti t s b u s f o s s e c o r p a : s e g a u g n a l . p
( 1.) I n t hisr esearch, t her esearche rdeifne s rtanslaitonasaproces sofr eplacing e h t m o r f e g a s s e m e h t g n i g n a h c t u o h ti w e g a u g n a l r e h t o n a o t e g a u g n a l a n i t x e t a s i h t n I . e g a u g n a l e c r u o
s research ,the researche rfocuses in the rtanslaiton o f n a i s e n o d n
I metaphorintoEngilsh. .
2 Metaphor
, h c r a e s e r s i h t n
I metaphorr eferst o a ifguraitveo fspeech which compares e s l e g n i h t e m o s o t g n i h t e m o
s . In ilne wtih t he researcher’ sunderstanding Fadaee s d d a ) 1 1 0 2
(27)
” s t n i o p n o m m o c e m o
s . Fu trhermore ,Larson ( 1984 )dividest het ype so fmetapho r e
v il d n a d a e d o t n
i metaphor .Thef ollowing saret heexampleo fmetapho :r .
a Deathmetaphor: Hei sundert heweathe rnow. .
b Livemetaphor: Myf atheri sSuperman. .
3 RonggengDukuhParuk k u r a P h u k u D g n e g g n o
R i sa rtliogy nove lby Ahmad Toha ir. The novel a
f o e fi l a t u o b a s ll e
t ronggengdance rnamedSirntli .RonggengDukuhParukw as a
i d e m a r G T P y b d e h s il b u p y lt s ri
f PustakaUtamai nt heyea ro f1982 .Thesecond s
e ir e
s Lintang Kemukus D ini H ari w as pubilshed in the yea ro f1985 .The las t f
o s e ir e
s Ronggeng Dukuh Paruk ,Jantera Bianglala w as pubilshed in 1986 . k
u r a P h u k u D g n e g g n o
R i salso rtanslated in Dutch ,German ,Japanese ,and .s
e g a p 4 0 4 f o s t s i s n o c l e v o n y g o li rt s i h T . e s e n i h C
.
4 TheDance r e h
T Dancer is t heEngilsh version o fRonggeng Dukuh Parukwhich wa s t
I . f f o l s y L . A . T é n e R y b d e t a l s n a
rt w aspubilshe d in t heyea ro f2003 by Lonta r 1
5 4 s e s ir p m o c l e v o n s i h T . r e h s il b u
P pages and i tis longe rthan ti sIndonesian
. n o i s r e v
(28)
1 1 I I R E T P A H C E R U T A R E T I L D E T A L E R F O W E I V E R t I . h c r a e s e r e h t f o e s a b l a c it e r o e h t e h t e v i g o t d e s o p m o c s i r e t p a h c s i h T e h t n i a t n o c h c i h w k r o w e m a r f l a c it e r o e h t d n a n o it p ir c s e d l a c it e r o e h t e h t f o s t s i s n o c o s l a r e t p a h c s i h T . r o h p a t e m f o n o it i n if e d e h t g n i y fi r a l c n o d e tr a t s s i h c i h w w e i v e r e h t s e s s u c s i
d theoryo frtanslaitonr elatedt ot her esearchproblems .
.
A Theoreitca lDescrip iton e h t , n o it c e s s i h t n
I researche rexplainst her eviewofr elated ltieratureused n
i the research .Thet heo ire sare relevan tsince t hey can etihe rhelp t o solve t he o r p h c r a e s e
r blem o renhance paritcula rknowledge o fthe topic .Those theo ire s e h t o t d e t a l e r s e ir o e h t e h t f o t s i s n o
c theory o fmetapho rand the theory o f . n o it a l s n a rt .
1 Theoryo fMetaphor
t , e r o f e r e h T . r o h p a t e m f o n o it a l s n a rt e h t n o s e s u c o f h c r a e s e r s i h
T he
y r o e h t e h t f o n o i s s u c s i
d o f metapho r i s needed to give the reade r a n e l b a d n a t s r e d n
u view regarding the deifniiton o fmetaphor .In thi sresearch ,the r e h c r a e s e
r employs Larson’ s(1984 )theory o fmetapho ra sthe majo rtheory . d r e h c r a e s e r e h t , e r o m r e h tr u
F ividest hediscussion ofthet heory o fmetaphori nto .r o h p a t e m f o s e p y t e h t d n a r o h p a t e m f o n o it i n if e d e h t
(29)
.
a Deifniitono fMetaphor
e h t e r a h s m e h t f o l l a , r e v e w o H . s r o h p a t e m f o s n o it i n if e d s u o ir a v e r a e r e h T a s e n if e d r e h c r a e s e r e h t , h c r a e s e r s i h t n I . s i r o h p a t e m t a h w t u o b a a e d i e m a s o t g n i h t e m o s s e r a p m o c h c i h w , n o s ir a p m o c f o h c e e p s f o e v it a r u g if a s a r o h p a t e m i w e n il n I . e s l e g n i h t e m o
s th the researcher’ sunderstanding abou t metaphor , . p , 8 0 0 2 ( n o s n i k li
W ix )deifne smetapho ra s“amean so fexpressing onet hingi n e s l e g n i h t e m o s f o s m r e
t ”. SupporitngWlikinson’s( 2008 )de ifniiton o fmetaphor , s d d a ) 1 1 0 2 ( e e a d a
F ,“Metapho ri sa compairson o ftwo dfiferen tphenomena i
h
w ch share some common points” . In anothe r way , Kera f (1984 ) states , “metaphor i san analogy which combines t wo dfiferent t hing sd rieclty” (p.139) .
. p , 8 8 9 1 ( k r a m w e
N 104 )alsoexplainst ha tmetaphori sany ifguraitveexpression f o g n i n a e m e h t t n e s e r p e r y ll a r e ti l t o n s i t a h w o t n o it a c o ll o c r o d r o w a s e s u h c i h w f o h c e e p s e v it a r u g if a s a d e n if e d e b n a c r o h p a t e m , n o i s u l c n o c n I . s d r o w e h t e h t e s u a c e b e s l e g n i h t e m o s f o s m r e t n i g n i h t e n o s e s s e r p x e h c i h w , n o s ir a p m o c m o c e r a h c i h w s g n i h
t pared ,sharesomesimlia rpoints .Metapho rcan beasingle . t x e t e v it a n i g a m i e t e l p m o c a r o , m o i d i n a , n o it a c o ll o c a , d r o w e l p m a x e n a n i n e e s s
A givenbyLarson( 1984 ,p.248 ,)t hesentence“John ” r e g it a s
i , i scatego irzedi ntoametapho .rI n t hesentence “Johni sa itger” ,John o t d e r a p m o c g n i e b s
i a itger ,becauset herearesomepoint so fsimliartiybetween n
h o
J and the itger .The point so fsimliartiy between John and the itge rmay be o t g n i d r a g e
r John’ sbehaviour, which i scompared to the itger’ sbehaviour .Fo r , e l p m a x
e Johni scomparedt othe itgerbecausehei ssrtongandaggressive ilkea . r e g it
(30)
3 1 L , n o it i d d a n
I arson (1984 ,p. 246 )state stha tmetaphor sdo no thave the d
r o
w ilke ro as . Even though the word s ilke ro as are also to indicate a s d r o w e h t s e s u h c i h w , n o s ir a p m o c a t u b , n o s ir a p m o
c ilke ro as ,i sa simlie .A
n o it c n u f r a li m i s a s a h h c i h w , n o s ir a p m o c f o h c e e p s f o e v it a r u g if a o s l a s i e li m i s a t e m h ti
w phor .Fu trhermore ,Fadaee (2011 ,p. 22 )explains t ha tboth simlieand e r a h s r o h p a t e
m thesamefunciton t hati st o enhancet heeffec tand t hebeauty o f o t n o it o m e ’ s r e d a e r e h t t c e f f a n a c e li m i s d n a r o h p a t e m f o e s u e h t , e c n e H . t x e t e h t g n il e e f l a t n e m it n e s a e t a e r
c towardsat ex.t n
O the othe r hand , Larson (1984 ) explain s the disitnciton between s i s e li m i s d n a s r o h p a t e m n e e w t e b n o it c n it s i d r o j a m e h t “ , s e li m i s d n a s r o h p a t e m s r o h p a t e m t u b , e s l e g n i h t e m o s e k il g n i h t e m o s e r a p m o c t o n o d s r o h p a t e m t a h t . p ( ” e s l e g n i h t e m o s o t g n i h t e m o s e r a p m o c y lt c e ri
d 248) .Hence ,metapho rstate s
i g n i h t e n o t a h
t sactually something else .A sshown in the sentence “John i sa ”
r e g
it , tii sametapho rbecauseJohn i sd riecltycomparedt o the itger .However , “ e c n e t n e s e h
t Johni silkea itger”,i sas imliebecauseJohnisi ndriecltycompared e c n e t n e s e h T . r e g it e h t o
t “John i s ilke a itger” ,explains t ha tJohn i ssaid t o be . r e g it a e k il z y l a n a r e tf
A ingt heexampleo fmetapho r“John i sa itger” ,t heresearche r r e p e e d a r e d a e r e h t s e v i g r o h p a t e m e h t n i n o s ir a p m o c t c e ri d e h t t a h t s e d u l c n o c e s n e
s towardsthecompairson .Ther eader smayuset herii maginaitonmoref reely l li w s r e d a e r e h t , e c n e H . r o h p a t e m e h t n i d e r a p m o c e r a h c i h w , s g n i h t e h t g n i d r a g e r t h g u o h t e v it o m e r e p e e d a e v a
h towardst hesenseoft hemetaphor .I n ilnewtiht he o s ir a p m o c e h t t u o b a n o i n i p o s ’ r e h c r a e s e
(31)
,s e t a t s ) 1 1 0 2 ( e e a d a
F “metaphori smorei maginaitveandaritsitct hansimlie ,asi t r e d a e r e h t s e k a t d n a l u f r e w o p e r o m e g a u g n a l s e k a
m towards the emoitona l
. p ( ” s t h g u o h
t 21) .Therefore ,metapho rha san impo tran trole to enhance the t h g u o h t l a n o it o m e ’ s r e d a e
r towardsat ex.t f o e v it a r u g if r e h t o e h
T speecho fcompairson ,whichha sasimliarf unciton c if i n o s r e p s i , r o h p a t e m h ti
w aiton .Fu trhermore ,Kera f(1984 ,p. 140 )state stha t o it a c if i n o s r e p d n a r o h p a t e m f o h t o
b n areused t o compare something i n t erms fo n e e w t e b s i n o s ir a p m o c e h t n o it a c if i n o s r e p n i ,r e v e w o H . e s l e g n i h t e m o
s aphysica l
f f o k a L . n a m u h a e b o t g n it a t s t c e j b
o & Johnson ( 1980 )suppo trs t heresearcher’ s f o n o it i n if e
d personiifcaiton “personiifcaiton suppose sthe physica lobjec t a s ” n o s r e p a g n i e
b .( p 33) .Theexampleo fpersoniifcaiton i sa sstated i n Rectoverso , ) 8 0 0 2 ( ir a t s e L y
b “myarm sarekliilng me” ( p. 70) .Thesentence“myarm sare ” e m g n il li
k (p.70) ,show sa si fthe arms rtuly kli lthe wrtier .However ,atfe r e h t t a h t d e d u l c n o c r e h c r a e s e r e h t , n o it a c if i n o s r e p f o e l p m a x e e h t g n i n i m a x e s i n o it a c if i n o s r e p e h t f o t c e j b o l a c i s y h
p myarms .Theword smyarmsreferst ot he s d r o w e h t t u b , tr a p y d o b s ’ r e ti r
w arekliilngmeindicatethatt heword smyarm sin o s r e v o t c e
R are supposed a sthe person who kill sthe wrtier .In Rectoverso ,the e c n e t n e
s “myarm sarekliilngme”( p.70 )meanst hatt hewrtie rhadas eirou spain inhe rarms .Therefore ,metaphori nt hisr esearchr eferst oa ifguraitveofs peecho f
g n i s u t u o h ti w e s l e g n i h t e m o s f o s m r e t n i g n i h t e n o s e s s e r p x e h c i h w , n o s ir a p m o c s d r o w e h
(32)
5 1 .
b Type so fMetaphor
b s y a w t n e r e f fi d e m o s n i d e z ir o g e t a c n e e b e v a h s r o h p a t e
M y t hedfiferen t
n o d e s a b r o h p a t e m f o s e p y t e h t s e s s u c s i d r e h c r a e s e r e h t , h c r a e s e r s i h t n I .s t s i u g n il h t s ’ n o s r a
L eory .According t o Larson (1984 ,p. 249 ,) t he t ype so fmetapho rare . r o h p a t e m e v il d n a r o h p a t e m d a e d o t n i d e z ir o g e t a c r o h p a t e M d a e D ) 1 d a e
D metapho ri sa type o fmetapho rwhich i sa par to fthe idiomaitc . p , 4 8 9 1 , n o s r a L ( e g a u g n a l a f o n o c i x e l e h t f o s n o it c u rt s n o
c 249) .Themeaningo f
d a e d e h t e s u a c e b , d o o t s r e d n u e b o t r e i s a e s a d e r e d i s n o c s i r o h p a t e m d a e d a tr e c a n i y ll a r u t a n s t s i x e r o h p a t e
m ain l anguage .Hence, t henaitvereaders ,which r e f e r h c r a e s e r s i h t n
i tot heI ndonesian r eaders, havet hei rcommonunderstanding s d r a w o
t themeaningo fadead metaphor .Suppo tredLarson( 1984)r egarding t he f o n o it i n if e
d thedeadmetaphor ,Keraf( 1984 ,p. 139 )statest ha tadead metapho r y lt c e ri d n a c s r e d a e r e h t , e r o f e r e h T . n o it a t o n n o c s ti s e s s o l h c i h w , r o h p a t e m a s i .r o h p a t e m d a e d a f o g n i n a e m e h t d n a t s r e d n u . p , 4 8 9 1 ( n o s r a L , n o it i d d a n
I 249 )statest ha tan i diomi sadead metaphor . 0 0 2 ( r e a h C o t g n i d r o c c
A 9 ,p. 74) ,an idiom i sa word, a phrase ,o ra sentence , T . g n i n a e m l a c i x e l s ti h ti w t n e r e f fi d s i g n i n a e m e h t h c i h
w he sense o fan idiom
f o g n i n a e m e h t d n a t s r e d n u o t r e d r o n I . d n i m ’ s r e d a e r e v it a n e h t n i y l d i v i v s r a e p p a e n t o n o d s r e d a e r e v it a n e h t , m o i d i n
a ed to think abou tthe compa irson in an “ , ) 4 8 9 1 ( n o s r a L y b n e v i g m o i d i f o e l p m a x e e h t s A . m o i d
i leg of t he t able” ( p.
“ m o i d i e h t t a h t y lt c e ri d e s n e s c it a m o i d i e h t d n a t s r e d n u y a m e l p o e p , ) 9 4
2 legoft he
” e l b a
(33)
e l b a t a f
o .I nt heidiom“legoft het able”,t hecompairsonbetweenl egoft het able d n a t s r e d n u o t r e d r o n I , e r o f e r e h T . y lr a e l c s r a e p p a l a m i n a r o n a m u h f o g e l e h t d n a g n i n a e m e h
t o fadead metaphor ,people do no tneed t o t hink about t hep irmary . ) 9 4 2 . p , 4 8 9 1 , n o s r a L ( s d r o w e h t f o e s n e s 8 9 1 ( s ’ n o s r a L h ti w e n il n
I 4 )theory o fidiom ,Chae r(2009 ,p. 74 )state s f o m r o f e h t n i e b n a c m o i d i n a i s e n o d n I t a h
t a word ,a phrase ,o ra senten .ce . p , 9 0 0 2 ( r e a h C , e r o m r e h tr u
F 57 )addst hat i diom and metapho rcover t he same n o s ir a p m o c s i h c i h w , e g a u g n a l n i t c e j b
o .An idiom i sincluded to the metapho r . e s l e g n i h t e m o s f o m r e t n i g n i h t e n o f o n o s ir a p m o c a s n i a t n o c m o i d i e s u a c e
b The
d n I e h t f o e l p m a x
e onesian idiom in the form o fone-word idiom i sthe word . ” n a u l a m e k
“ Chaer( 2009 , 4p. 7 )explainst hatt heword“kemaluan”isi ncluding d r o w e h t f o g n i n a e m e h t e s u a c e b m o i d i e h t o
t “kemaluan” deviate s ti sltiera l d r o w e h t , y ll a r e ti L . g n i n a e
m “kemaluan” mean sbeing ashamed .However , fit he d
r o
w “kemaluan” i s seen from the Indonesian idiomaitca l expression , the f o g n i n a e
m theword“kemaluan”i sgentials ,whichmeanstheoute rsexua lorgans (LongmanDicitonaryo fContemporaryEngilshThirdEdiiton ,2001).
m r o f e h t n i h c i h w , m o i d i n a i s e n o d n I e h t s i e l p m a x e r e h t o e h
T o f
e s a r h
p idiom.A phrase i sa combinaiton o ftwo o rmore word stha tcompose a , e r o m r e h tr u F . g n i n a e
m Chaer( 2011 ,p. 300 )deifne saphrasea sagroup o fword s t
a h
t i sa untiy. Therefore, t hemeaning o fa phrase wli lbe dfiferen t fi t he word s . d e t a r a p e s e r a t i e s o p m o c h c i h
w Theexampleoft heI ndonesian i diomi nt hef orm s a r h p f
o e idiom i s“makan tangan” .Kera f(1984 ,p .109 )state sthat“makan n
a g n a
(34)
7 1 ” n a k a m
“ mean seaitng and t he word “tangan” mean sthe hand .However , fit he s
d r o
w “makan tangan” are seen from the Indonesian idiomaitc expression ,the “
s d r o
w makan tangan” mean s go t a ifst-ifgh t by other . Analyzingthe s
d r o
w “makan t angan”, t he researcher ,ast he Indonesian naitvereader ,beileve s s d r o w e h t t a h
t “makan tangan” i sno taccustomed yb the naitve readers .In d
d
a iiton ,Chaer( 2009 )statest ha tsomeI ndonesian i dioms areno taccustomed by e h t , m o i d i e h t f o g n i n a e m e h t d n a t s r e d n u o t r e d r o n i , e c n e H . s r e d a e r e v it a n e h t e h t k c e h c y a m s r e d a e
r meaningoft heidiomi nt hedicitonary.
e l p m a x e e h t s A . e c n e t n e s f o m r o f e h t n i m o i d i e h t s i e l p m a x e t s a l e h T
givenbyChaer( 2009)”tongkosongnyaring bunyinya” ( p .77 )i sincludingt ot he e h T . e c n e t n e s f o m r o f e h t n i m o i d
i words”tongkosong nyaringbunyinya”( p 7.7 ) a h t s e s s e r p x
e t t hestupid person i susually blabbeirng .Thestupid person usually . d e y o n n a e l p o e p s e k a m t a h t t o l a s k l a t o t s e k il s i h t n
I research ,the researche rconclude stha tthe dead metapho ri sa . e g a u g n a l a f o n o it c u rt s n o c c it a m o i d i e h t o t s g n o l e b h c i h w , r o h p a t e
m Therefore ,
s r e d a e r n a i s e n o d n I e h t ,r o h p a t e m d a e d a n i n o s ir a p m o c e h t t u o b a g n i k n i h t t u o h ti w t f o g n i n a e m e h t d n a t s r e d n u l li
w hedead metapho rdrieclty. rFu theri n discussion, s e s s u c s i d r e h c r a e s e r e h
t the dead metaphors ,which belong to the idiomaitc I a s a h a B f o n o it c u rt s n o
c ndonesia .The i diom sdiscussed in thi sresearch a re the e n o f o m r o f e h t n i m o i d
i -wordi diomandthei diomint hef ormo fphraseidiom . r o h p a t e M e v i L ) 2 l
A ive metapho ri sthe oppostie of a dead metaphor .In ilve metaphor , . d e r a p m o c e r a h c i h w s d r o w e h t f o g n i n a e m e h t d n a t s r e d n u y lt c e ri d t o n n a c e l p o e p
(35)
, e r o m r e h tr u
F Larson (1984)explains , l e“i v metaphori sonewhich i sunderstood g n i y a p r e tf a y l n
o atteniton to the compairson on which i sbased” (p. 249) .In . p , 4 8 9 1 ( f a r e K , y a w r e h t o n
a 139 )statest ha ta ilvemetaphori sametaphorwhich n i n e e s s A . d e n i m r e t e d e b n a c l li t s g n i n a e m e v it a t o n n o c e h
t theexamplegiven by
1 2 . p , 1 0 2 ( e e a d a
F ,) t hesentence“thecustomeri sking” ( SIC)i sconsidered a sa . r o h p a t e m e v
il Ast headdiitonali nformaiton,t hemetapho r“thecu tsomeri sking” e c n e t n e s t c e r r o c e h T . r e n i m r e t e d e h t s e v a e l ti e s u a c e b t c e r r o c n i y ll a c it a m m a r g s i . ” g n i k a s i r e m o t s u c e h t “ s
i The sentence “the custome ri sking” compares the r e m o t s u
c to the king. However ,the reader scanno tdrieclty understand why the s r e m o t s u
c arecomparedt ot he gkin ,becauset hewordkingstli lhas ti sconnotaitve y h w d n a t s r e d n u o t r e d r o n I . g n i n a e
m thecustomers arecompared to theking ,the d r o w e h t f o g n i n a e m e v it a t o n n o c e h t t u o d n if d l u o h s s r e d a e
r kingin t hesentence
“thecu tsomer i sking”. A sexplained by Fadaee (2011) ,“Many quailite sa king o s d n a r e w o p , e c n a tr o p m i , e c n e u lf n i e k il , s a
h on are att irbuted to a customer”
(p.21) .Therefore,i n ordert ounderstandt hemetapho r“thecustomeri sking” ,the d
a e
r e rshouldt hinkdeepertot hecomparison madebetweent hecustome randt he . g n i k c , r e v o e r o
M onsideirng the form o fa ilve metaphor ,which i susually , r
o
f med i nasentence ,Larson ( 1984 ,p.247 )statest hatt herearet hreeelementsi n e r a s t n e m e l e e h T . r o h p a t e m e v
il topic,i mage ,and poin tofsimliartiy .Topici st he d e r a p m o c g n i e b t i t a h w s i e g a m i ,) e v it a r u g if n o n ( t u o b a d e k l a t g n i e b y ll a e r g n i h t e h t d n a c i p o t e h t n e e w t e b s s e n e k il e h t s i y ti r a li m i s f o t n i o p d n a , ) e v it a r u g if ( h ti w . p , 4 8 9 1 , n o s r a L ( e g a m
(1)
. r e c n a d
. 3 7
3 Asetnadurid.ialamwawasanDukuhParuk,t entaraadalahkekuasaan tiu 3 48 Fstraotmept hoewperreswpeerceitovneeoafnt dhet hveis llaagmeert ,sht ihneg.armyand 3 89 1 Acceptable .
4 7
3 Stetiranpitd lad iDaulakhuhitPitkaryuakn.gpailngl ayakuntukmenamba tagarRasu s 3 48 tSheirnmita lcnodulmdabkeethheimitet ht ehiar tgwuoaurlddiabninadndRaasduvsoct oate. 3 89 1 Acceptable .
5 7
3 mMeemrekikauj lut guags aad smae rmmepneyratdaahra inSkirannitp laudtarlaaht edrbutaaikDnuyka.uhParukyang 3 48 Tvihlleaygaelrssoi nalt lhuenidredrsetoisoredt t ohak teSepirnt hite lrirepf arevsoeunrtetides t ohne e
p s i h g n i v a e l m o r
f opeagain. 3 89 3 Acceptable
. 6 7
3 Keduanyamakintenggelamdalamdiam. 3 49 Thet woto isnkdeeperi ntos lience. 3 90 2 Acceptable .
7 7
3 Matadangairs-gair swajahnyaadalahgambarkebuntuan. 3 50 Hstyim seiyeed. sandexpressions uggesitngt ha thefel t 5 Acceptable .
8 7
3 “Kemudian ,Sirn ,akumintadiri” 3 50 Now ,Sirn,I ’d ilketot akemyl eave. 3 92 1 Acceptable .
9 7
3 Adapuitngbeilungberkisar-ksiardalamdadaSrintli. 3 51 Therewa sawhilrwindi nSirnit’l sbreas.t 3 92 1 Acceptable .
0 8
3 Ai ryangj atuhmerupakanbatangkrsitallengkung. 3 51 Thef alilngwate rwa silkeanarcingcrysta.l 3 92 3 Acceptable .
1 8
3 Dirbaunas ninpaer rcmika,tal haalurt ieyrabnigam smeennejmadbu ib sicaenlaghlaplae.pohonanj atuhd iata s 3 51 oWvheergnrot hwets huannbdrf oekle lut hproonugt hheamgyapirai dnot h fecrl eysatfaylilne e
m a c e b n o it c e lf r e r s ti , s p o r
d arainbowo fcolor .s 3 93 2 Acceptable
. 2 8
3 yKaenbgimmbeanilugakn-nilyuakaditnaglagh ilden iagnggakka-lsean.ggokdelapanl ayang-layang 3 53 Tinht ehmes okvyememenan taotfedt hheiskt utierb surolelniltnf geeanilndgp.stichingup 3 95 8 Acceptable .
3 8
3 “Hanyakurangenakbadan ,Pak” 3 53 “I’mj ustf eeilngabi tundert heweather” 3 95 2 Acceptable .
4 8
3 Tengik .d ia 3 54 Tha twa srotteno fhim. 3 96 1 Acceptable .
5 8
3 Keitkat amunyamintadiri 3 55 Whent heytookt heirl eave 3 97 1 Acceptable .
6 8
3 MataSirnit lyangt elahkehliangandayat antang. 3 56 He reye shadl ostt hei rchallengingpower. 3 98 1 Acceptable .
7 8
3 Mataharinyat elahberubahmenjad ibulanyangredup. 3 56 mHeoronbriligghht.ts unilgh thadt urnedi ntoapale 3 98 1 Acceptable .
8 8
3 mKuemmeblaan.sgyang ilart elahberubahmenjad ikupu-kupuyang ijnak 3 56 iIn ttwoaa sdaosmi e faswitcalidtebdubmubttleerbelfye.hadbeent ransformed 3 98 3 Acceptable .
9 8
3 Rasu smembukamulu.t 3 56 He ifnallyspoke. 3 98 5 Acceptable .
0 9
3 Tetap iitba-itbaj alan tiubuntut erhadangs ebuahtembokl oreng. 3 58 - - 6 Unacceptable .
1 9
3 Skeecrsinatnaatinunhyaaruda snbemrhealedpaapa snbadjeunhgajinauduaatapuimilhealne:pmaesknagnawkeinci intaanya .
a r a t n e t i d a j s u r e t n a
d 3 58 - - 6 Unacceptable
. 2 9
(2)
. 3 9
3 Rasuss udahmengulurkant anganhendakbersalaman. 3 60 Rasu sextendedhi shandtos aygoodbye. 1 Acceptable .
4 9
3 Buahbibir 3 61 Thes ubjec toft heiri dlechatter 4 04 5 Acceptable .
5 9
3 dBaianlrmahatan ikgaenit-kaangkaenmatiuramue.njad iumb igadungyangs eakankering 3 62 sLeeetmt heedf t aontdarsyybupe ailknedadit eubdeurr,int hget uhemdbr iygas deausnogn ,. tha t 4 04 3 Acceptable .
6 9
3 Mendadaknuraninyaberitndakmenjad igurubjiak. 3 64 Steuadcdheenrly ,heri nsitnctt ookconrto landbecameawsie 4 06 1 Acceptable .
7 9
3 Kecanitkan tiut akbisadtiampikdandiaperhiasans ejarahsendri.i 3 67 rBeegaaurdty ,Swairn snito lwts aom saej tehwineg.lt obedeniedand,i nt ha t 4 10 1 Acceptable .
8 9
3 hPaerrkaepnaanla.ns elama ilmabulandenganorangproyek tiuadalah 3 69 Hgoev reerxnpmeeirnen tpcreoi jneck tngoawveinhget rhia ss menansef roo fmhot hpee. 4 12 8 Acceptable .
9 9
3 MahkotaDukuhParuk. 3 69 - - 6 Unacceptable .
0 0
4 Pmeernemunpgugauni akdaanlamhabsuubku.yangblias udahdipasanghanyabsia 3 69 Wcanomoennlyarweailtikf eof rsit hhet rf asiphs-t wohcoenmt ehoenyat hreeirs eo,twt nh.ey 4 13 3 Acceptable .
1 0
4 Induks emang. 3 72 - - 6 Unacceptable .
2 0
4 D iujungpematangSirnit ldjiempu toleht atapanmata. 3 72 gAatzt eh.eendoft hedike ,Sirnit lwa sme tbyt hes miilng 4 16 5 Acceptable .
3 0
4 Beberapakal iBaju smencur ipandangkes amping. 3 72 Baju sstoles everall ooksatt hewomanbesidehim. 4 16 1 Acceptable .
4 0
4 Iaakankehliangandayapikatnyayangkhas . 3 73 Shewouldmos tcetrainlyl osehe runiquebeauty. 4 16 5 Acceptable .
5 0
4 Sebaga ipemborongkela sduaBajuss ada rbetu.l 3 75 A sas econd-leve lcontractor ,heknewverywell 4 19 1 Acceptable .
6 0
4 Ksaetupe.nitngannyaadalahbetremudengans eorangpemborongkela s 3 75 cHoinsti rnatecntoitro.nwast os peakwtiha ifrst-leve l 4 19 1 Acceptable .
7 0
4 Menyapadengangayamerendah. 3 75 Greeitnghimwtihdeference 4 20 5 Acceptable .
8 0
4 Perasaanmaludanrendahdir.i 3 77 Feeilng so fhumlitiyandinferiortiy. 4 21 5 Acceptable .
9 0
4 Rencananyas udahbula.t 3 77 Hi scarefullyconceivedplan. 4 21 5 Acceptable .
0 1
4 Seorangperempuansetengahbayayangs angatr amah. 3 77 Af irendlymiddle-agedwoman 4 22 2 Acceptable .
1 1
4 Denganbahasaairmatadans uasana. 3 81 Wtihthel anguageo fhert earsandemoitonals tate. 4 26 1 Acceptable .
2 1
4 Merasat erempa skebailktabirantahberantah 3 82 A sfis hehadbeent osedbehindani nviisbleparititon. 4 27 1 Acceptable .
3 1
4 Dmaelnajmads iepkaedjaapngdukneriaonnytaanygaynganpgens aunhgbau tgnegrasabnergs.em iberubah 3 82 hInadonbeees pnlt rtias necsofonrdm ,hederi nwtooralddory fbaunddddinesgolalfotwe.er s 4 27 1 Acceptable .
4 1
4 Bermoda lsemanga tbadak. 3 82 Whobehaved ilkeathickheadedf oo.l 4 27 3 Acceptable .
5 1
4 Segalanyaharu skembal idimua idar iititkno.l 3 82 Hewouldhavet os tatrf romscratch. 4 27 2 Acceptable .
6 1
(3)
. 7 1
4 Baju sbejralanberputar-putar. 3 83 Baju spacedbackandf orth. 4 28 5 Acceptable .
8 1
4 dMaernaghapdaanorl uankgant eyalrabnajguia rnber raagnag.gapankekejamani alahtumpahnya 3 83 Wo fhbylodoodt ahnedyi t hnijnukirnvgiotlheencbeodj uys?ti nvolve sthes hedding 4 28 1 Acceptable .
9 1
4 Daunpintuterbanitng . 3 83 Thedoorslammeds hut 4 28 5 Acceptable .
0 2
4 hKaemnypaat.aanctianyamenjadii srt iBaju sadalahsebuahpundi-pund i 3 83 tHoea rndreemamptyt oi blleut hisoenw. fieo fBaju swa sbrutallyr educed 4 28 5 Acceptable .
1 2
4 Tekadmembaja. 3 83 Wast oos trong. 4 28 5 Acceptable .
2 2
4 sDeioangitdgaokkt bahenudl aago irdgiairnniyka.yangkin iitngga lmenjad imonumen 3 84 aSh seanweam snboodl oinmgeen ra towa frileviong fhbeurse tufls ,eelxessi sitnlfegshn.owonly 4 29 3 Acceptable .
3 2
4 Dia itdakt ahuadakiama tkeclibarus ajabelrangsung 3 84 dHoeoh.radnoi deaabou tthedeathtakingplacebehindt he 4 29 2 Acceptable .
4 2
4 “Dasarrecehankamu. ” 3 85 “Your eallyarejusts mal lchange ,aren’ tyou?” 4 31 1 Acceptable .
5 2
4 Dhiadnuapk.ans ekiankaill ebiht aku tbliayangd idepanmataadalahmaya t 3 85 Bgruetatt ehre ,t errori nencounteirngt he ilvingdeadi smuch 4 31 1 Acceptable .
6 2
4 Wajahmat.i 3 85 Herexpressionwa sempty. 4 31 5 Acceptable .
7 2
4 Kemanuisaankadangt akl ebiht ebaldar ikuil tbawang 3 86 Aperson’sl fiei sasf rai last hes kino fagarilcclove. 4 31 3 Acceptable .
8 2
4 Matanyamasihmenatapbonekahidupyangbernapa spendek-pendek. 3 86 Heconitnuedt ogazeatt he ilvings tatuebeforehim. 4 32 1 Acceptable .
9 2
4 dis anahanyaada ilngkaranhtiamtanpaekspresir asadanctia. 3 86 eTxhperreesshieoon.nlys awblackroundpupli swtihou t 4 32 7 Acceptable .
0 3
4 Duniakeci lberbum ibatangpsiang ,bermataharil ampublencong. 3 87 Alais dmaatlt h lweobraldsegoro fuanwdhedtiei ns ct rheeent r ,utinsks uon fbf ailncakenraintrgee . p m a l li o e h t f o t h g
il 4 32 1 Acceptable
. 1 3
4 BPriamjua.ir tyanggagahadalahmerekayangs eperkasaGatotkacaatau 3 88 pDoawsheirnfgus loillkdeiet rh sewseercehtahroascetewrh.sowerebraveand 4 33 1 Acceptable .
2 3
4 Ahikduupbe rdoakrianyaTuhan itdakl ag imembawakukes uatu ititkdalam 3 88 Iprayt oGodneve ragaint obeputi nastiuaiton 4 34 5 Acceptable
. 3 3
4 Ahataruu, ss beelarmhaads aepkiaanndt aehnugnanmeknenjaydaitt aenantaryaaankgubaadnaylaahkGmaetnoytikmacpaanyagng . g n a y a w a ti r e c i r a d h e l o r e p u k g n a y n a ti r u j a r p e k p e s n o k i r a
d 3 88
e h t n i s a w I s r a e y o w t e h t g n ir u d , d n a h r e h t o e h t n O s a w I , y r a ti li
m aGatotkacaf acings tiuaitonst ha t d e t r a p e d n e t f
o fromt hemlitiarypriciplesI l earned . s e i r o t s g n a y a w m o r f 4 3
4 1 Acceptable .
4 3
4 Temanl ainmemperolehkerahantu. 3 90 Anotherf irendcaugh tanalbinomonkey. 4 36 5 Acceptable .
5 3
(4)
. a y n n a s a b e b e k m a l a d . 6 3
4 Dem iSenimanAgungyangmenciptakanDukuhParuk. Fort hes akeoft hGrea tCreator. 4 37 2 Acceptable .
7 3
4 DukuhParukmemangharu sdiangka tdar ilumpurpeilmbahan. 3 91 PgaarrubkagVei.llagei st ober aisedupou to fiftlhand 4 37 1 Acceptable .
8 3
4 p Inains gekbuuaahnpi bekuekjraanadnuynangkgum.enyenangkankarenakul akukand iata s 3 92 bTehhia slco foul fdmbyebais rathitsmfyointhgej robbecause Iwoulddoi ton 4 38 1 Acceptable .
9 3
4 Memperkenalkanmerekas iapakahPenguasaSejat.i 3 92 Inrtoducet hent oou rTrueGod. 4 38 5 Acceptable .
0 4
4 Bitnligagaak ludii nt egningamhemnjeardek ipa.enggembalayangbaik ,makaakuharu s 3 92 Im fy iwlfoanctk.t obeashepherd, Iwouldhavet o ilveamong 4 38 1 Acceptable .
1 4
4 Tanahairkuyangkeci.l 3 92 M yltiltehomeland. 4 39 2 Acceptable .
2 4
4 O h,t anahairkuyangkeci.l 3 94 Oh ,myl tiltehomeland. 4 40 2 Acceptable .
3 4
4 hBiedluumpsceubkaugpakiar honkgeggeentgri?anyangkauperolehs elamamenti igari s 3 95 Hfoallvoewn’in tgyotuher er ocenigvgeednegnortaudghiitboin.tternes sa sar esul to f 4 40 5 Acceptable .
4 4
4 Beka smahkotaDukuhParuk. 3 95 Whohadoncebeenthes weethear toft hevillage. 4 41 2 Acceptable .
5 4
4 Kemaitan tius endri iadalahanakkandungkehidupankemanuisaan. 3 95 Thedeath Ihadwtinessedhadbeeno fhumanbeing .s 4 41 2 Acceptable .
6 4
4 Lepast engahmalam. 3 97 Fari ntot henigh.t 4 43 1 Acceptable .
7 4
4 Bulant uasudahberadadit engahbelahanl angi tbarat . 3 98 Awaningmoonwasi nt hemiddleoft hewesterns ky. 4 44 2 Acceptable .
8 4
4 mAkeungahdaallaanhgw ikaerdsiuanngnuyaanypuanakgksuahs e,nmdiakira .s ahpulahakkuuntukberdri i 3 98 re Iwspao snstisibl eligtiay lt hoes itrananddu ,pbaeignagins soti ,hgandort ahneceirgahm toanngdmt hye . e l p o e p n w
o 4 44 1 Acceptable .
9 4
4 Puncakmalapetakasudah itba. Thewors tdisastershadf allenhere. 4 45 5 Acceptable .
0 5
4 Denganairmatayangberjatuhan. 3 98 Weeping . 4 45 5 Acceptable .
1 5
4 Kunc iutamauntukmenembu skedunguant anahariku. 3 99 Thewayt obreakt hroughthei gnorance. 4 46 2 Acceptable .
2 5
4 Mamaannusaia tbt aangpikauk.esadaranyangs edangbejraland idepan tiuadalah 4 01 Amehui m saannobmeienngmdeevaonitds opfer ceiaifscoanllwyaf lokrinmgei .nf ron to f 4 47 2 Acceptable
. 3 5 4 h a l a d a u k
A haiti buyangremukkarenamendengars eoranganaknya m a l a d p a t a r e m n a d g n o l o l e
m kemaitanyangj auhl ebihdahsya t t u a m a d a p i r a
d 4 02
d e t n e s e r p e r
I thes hatteredhear to famotherheairng a , h t a e d f o t n e m o m e h t t a t u o g n i m a e r c s d li h c r e h d n u o
s farmorehorrfiyingt hant heutters liencet ha t . h t a e d s w o ll o f s y a w l a 9 4
4 1 Acceptable .
4 5
4 pAiknugid.tapa tmeilha tmuitara-muitara ijwadalaml ubukyangpailng 4 03 s Ieccoluulddeds er eeathcheepe soar fml syos fowulsi.domwtihint hemos t 4 50 2 Acceptable .
5 5
(5)
. 6 5
(6)