Analysis on the translation of metaphors in Ronggeng Dukuh Paruk by Ahmad Tohari into the dancer by René T.A Lysloff - USD Repository

ANALYSIS ON THE TRANSLATION OF METAPHORS

  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

ANALYSIS ON THE TRANSLATION OF METAPHORS

  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

  (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..

  

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. th

  

Yogyakarta, September20 , 2013

The Writer

Ayu Ganjar Sejati

081214027

  

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

  

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 Ayu Ganjar Sejati

  

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

and The Dancer.

  Dukuh Paruk 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.

  Keywords: translation, metaphor, Ronggeng Dukuh Paruk, The Dancer.

  

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.

  Kata Kunci: translation, metaphor, Ronggeng Dukuh Paruk, The Dancer.

  

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

  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.

  Ayu Ganjar Sejati

  TABLE OF CONTENTS TITLE PAGE i ………………………………………………..................................

  APPROVAL PAGES ii …………………………………….....................................

  

DEDICATION PAGE ............................................................................................ iv

v STATEMENT OF WORK’S ORIGINALITY……………………………….....

  

PERNYATAAN PERSETUJUAN PUBLIKASI vi

………………………………....

  ABSTRACT …………………………………………………………………........ vii

  ABSTRAK ……………………………………………………………………….... viii ix

  ACKNOWLEDGEMENTS ……………………………………………………... TABLE OF CONTENTS xi ………………………………………………………...

  LIST OF FIGURES xiv ………………......………………………………………..... xv

  LIST OF TABLES ………………………………………………………............

LIST OF APPENDICES ........................................................................................ xi

  CHAPTER I. INTRODUCTION A.

  1 Research Background …………………………………………….....................

  B.

  7 Research Problems ………………………………………………......................

  C.

  7 Problem Limitation ………………………………………………......................

  D.

  7 Research Objectives ………………………………………………....................

  E.

  8 Research Benefits …………………………………………………....................

  F.

  9 Definition of Terms ……………………………………………….....................

  CHAPTER II. A REVIEW OF RELATED LITERATURE A.

  11 Theoretical Description ………………………………………….......................

  1.

  11 Theory of Metaphor ...........…………………………………….....................

  a.

  12 Definition of Metaphor .........…………………………….........................

  b.

  15 Types of Metaphor.............................……………………….................... 1)

  15 Dead Metaphor ...................................................................................... 2)

  17 Live Metaphor .......................................................................................

  2.

  20 Theory of Translation ......................................…………………...................

  b.

  22 Translation Method ....................................................................................

  c.

  24 The Criteria of Good Translation ...............................................................

  d.

  25 The Translation of Metaphor .....................................................................

  e.

  26 The Strategies of Translating Metaphor .....................................................

  B.

  29 Theoretical Framework ……………………………………………...................

  CHAPTER III. RESEARCH METHODOLOGY A.

  31 Research Method………………………………….…………............................

  B.

  32 Research Subjects ................................................................................................

  C.

  33 Research Instrument and Data Gathering Technique ……………......................

  D.

  34 Data Analysis Technique ……………………………………….........................

  E.

  37 Research Procedures ……………………………………………........................

  CHAPTER IV. RESEARCH FINDINGS AND DISCUSSION A.

  41 Types of Metaphors Found in Ronggeng Dukuh Paruk.....................................

  1.

  43 Dead Metaphor ...............................................................................................

  a.

  44 The Frequently Appeared Dead Metaphor in the Form of Phrase Idioms b.

  45 The Rarely Appeared Dead Metaphors in the Form of Phrase Idioms .....

  c.

  48 The Rarely Appeared Dead Metaphor in the Form of One-Word Idioms..

  2.

  51 Live Metaphor ................................................................................................

  a.

  52 The Live Metaphor whose Topic is Not Stated Clearly ............................

  b.

  54 The Live Metaphor whose The Point of Similarity is Implicitly Stated ...

  B.

  56 How The Metaphors Are Translated Into English..............................................

  1. Translating metaphor by Reproducing the Same Image as the Image in

Target Language (TL) ...................................................................................

  59 2. Translating Metaphor by Replacing the Image in The Source Language

(SL) with A Standard Target Language(TL) Image .......................................

  61 3.

  62 Translating Metaphor by Simile .....................................................................

  4.

  64 Translating Metaphor by Simile Plus Sense ...................................................

  5.

  66 Translating Metaphor by Converting Metaphor to Sense ...............................

  6.

  68 Translating Metaphor by Deleting Metaphor .................................................

  7.

  70 Translating Metaphor by Using Same Metaphor Combined with Sense ........

  CHAPTER V.CONCLUSIONS, IMPLICATIONS, AND RECOMMENDATIONS A.

  72 Conclusions …………………………..………………...……............................

  B.

  74 Implications .........................................................................................................

  C.

  75 Recommendations……………………………………………….......................

  REFERENCES 77 …………………………………………………………………...

  APPENDICES 79 …………………………………………………..………………..

  LIST OF FIGURES Figure

  Page

Figure 2.1 The Process of

  21 Translation Based on Larson’s Theory..........................

Figure 2.2 The Diagram V of Newmark ................................................................

  22 Figure 2.3 The Translation 25 of Metaphor Based on Newmark’s Theory .................

  LIST OF TABLES Tables

  36

  68

  66

  65

  63

  61

  59

  58

  57

  54

  53

  48

  46

  44

  42

Table 4.15 the Findings of Translating Metaphor by Using Same Metaphor Combined with Sense.............................................................................

  Page

Table 4.6 the Findings of Live Metaphor whose Point of Similarity is Implicitly Stated......................................................................................................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 4.7 the Strategies of Translating Metaphors ................................................Table 4.14 the Findings of Translating Metaphor by Deleting Metaphor............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 .......................................................................................................

  70

LIST OF APPENDICES

  Appendix A The Classification of the Types of Metaphor in Ronggeng Dukuh Paruk ..............

  79 Appendix B The Analysis of Strategies and the Categorize of Metaphor Translation from Ronggeng Dukuh Paruk into The Dancer

  96 ……......................................................

  

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

  I E h c a tr a p n i a l p x e s m e l b o r p h c r a e s e r e h t g n i d r a g e r s e u s s i t n e r e f fi d e h t s i r a e s e r s i h t n e h T . h c e u s s i t s ri f s i

  

, n o s a e r c i s a b e h t s n i a l p x e h c i h w d n u o r g k c a b h c r a e s e r e h t

s d n o c o t t c u h c r a e s e r e h t e u s s i d n o c e s e h T .

  , m e l b o r p e h t s e t a t s h c i h w m e l b o r p h c r a e s e r e h t s i s T m e l b o r p e h t s i e u s s i d ri h t e h . h c r a e s e r e h t f o s f o a e r a e h t s ti m il h c i h w , n o it a ti m il T o f e h . n o i s s u c s i d e h t ur s e v it c e j b o h c r a e s e r e h t s i e u s s i h t

  , e h t s t n e s e r p h c i h w e h t f o s e v it c e j b o . h c r a e s e r e u s s i h tf if e h T , h c i h w y d u t s e h t f o s ti f e n e b e h t s i e g a t n a v d a e h t s t n e s e r p h c r a e s e r e h t f o s e u s s i t s a l e h T . n o it i n if e d e h t s i d e s s u c s i d

  , n o it i n if e d e m o s s r a e l c h c i h w s m r e t f o s a e s e r s i h t n i d e s u s m r e t e h t f o . h c r .

  A B d n u o r g k c a h c r a e s e R , e g a u g n a l e s u e l p o e p e fi l y li a d n

  I h ti w e t a c i n u m m o c o t a i d e m e h t s a .s r e h t o s a e g a u g n a l e s u o s l a e l p o e p , s e d i s e B T y a w e h . n o it a c i n u m m o c f o l o o t a

r o n e k o p s e h t n i e b n a c g n il e e f r i e h t s s e r p x e d n a s r e h t o h ti w e t a c i n u m m o c y e h t

  I . e g a u g n a l n e tt ir w s n o i s a c c o t n e r e f fi d e s u y a m e l p o e p , n i s e l y t s r a l u c it r a p e m o s n g n i s u e h t

  T c e g a u g n a l g n i s u n i s e l y t s t n e r e f fi d e h . e g a u g n a l r o l a r e ti l e h t e b d l u o

T e r a s d r o w e h t f o g n i n a e m e h t s n a e m e g a u g n a l l a r e ti l e h . e g a u g n a l l a c ir o h p a t e m

  . y lt i c il p x e d e s s e r p x e , m r o f a n i e g a u g n a l f o e l y t s e h t e l p m a x e r o F e b l li w r e tt e l l a m o r f t n e r e f fi d a n i e g a u g n a l f o e l y t s e h t a s e s o p r u p e h t e s u a c e b l e v o n o s l a e r ,r y l n o r e ti r w e h t e s u a c e b d e s u s i e g a u g n a l l a r e ti l e h t e tt e l l a m r o f e h t n

  I .t n e r e f fi d

  2

w a n t s t o d e il v e r t h e m e s s a g e . H o w e v e ,r t h e u s e o f l a n g u a g e i n a n o v e l i s n o t o n l y

t o d e il v e r t h e m e s s a g e b u t a l s o t o g i v e a b e a u t fi u l s e n s e t o t h e r e a d e r s . T h a t i s

w h y m e t a p h o r i s u s e d . W h e n p e o p l e u s e m e t a p h o ir c a l l a n g u a g e , t h e m e a n i n g o f

t h e w o r d s w li l b e i m p il c i lt y e x p r e s s e d .

  M e t a p h o r i s a if g u r a it v e s p e e c h o f c o m p a ir s o n w h i c h h a s c l o s e r e l a it o n

w ti h d a li y l a n g u a g e b o t h i n t h e w ir tt e n a n d s p o k e n f o r m . A s s t a t e d b y G o a lt y

(

  1

  9

  9 7 ) , “ m e t a p h o r i s e v e r y w h e r e i n t h e l a n g u a g e w e u s e d a n d t h e r e i s n o e s c a p e f r o m ti ” . ( p

  2 I ) . n d a li y c o m m u n i c a it o n , p e o p l e t e n d t o u s e l ti e r a l l a n g u a g e

b e c a u s e t h e a i m o f c o m m u n i c a it o n i n d a li y l fi e i s t o s h a r e i n f o r m a it o n . H o w e v e r ,

t h e r e s e a r c h e r b e il e v e s t h a t t h e u s e o f m e t a p h o r i n t h e l ti e r a t u r e w o r k s s u c h a s

n o v e il s n o t m e r e l y t o e x p r e s s o r d e il v e r t h e w r ti e r ’ s f e e il n g . S u p p o tr e d b y

N e w m a r k (

  1

  9

  8 1 ) , “ m e t a p h o r i s m e r e l y t o il v e n u p o t h e r t y p e s o f t e x t , t o t a k e t h e m m o r e c o l o u r f u l , d r a m a it c a n d w i tt y i n j o u r n a il s m ” . ( p 8 4 ) . H e n c e , t h e u s e o f

m e t a p h o r i s t o b u li d u p t h e l ti e r a t u r e s e n s e s a n d a e s t h e it c f e e il n g s o f t h e r e a d e r s

t o w a r d s n o v e l s .

  W li k i n s o n (

  2 8 ) a l s o e x p l a i n s t h a t , “ m e t a p h o r i s a m e a n s o f e x p r e s s i n g o n e t h i n g i n t e r m s o f s o m e t h i n g e l s e ” . ( p i x ) . I t m e a n s t h a t m e t a p h o r i s a

if g u r a it v e s p e e c h t h a t c o m p a r e s s o m e t h i n g i n t o s o m e t h i n g e l s e . M e t a p h o r d o e s

n o t c o m p a r e s o m e t h i n g a s o r il k e s o m e t h i n g e l s e , b u t m e t a p h o r c o m p a r e s

s o m e t h i n g i s s o m e t h i n g e l s e b e c a u s e t h e t w o t h i n g s h a v e s o m e p o i n t s o f

s i m li a r ti y ( L a r s o n ,

  1

  9

  8 4 , . p

  2

  4 8 ) . L a r s o n ’ s (

  1

  9

  8 4 ) t h e o r y a b o u t t h e d e if n i it o n o f m e t a p h o r i s s u p p o tr e d b y S u r y a w i n a t a a n d H a ir y a n t o ( 2 3 , . p

  1

  1 4 ) s t a t e t h a t

  3

m e t a p h o r s a r e d ri e c t c o m p a ir s o n . H o w e v e r , w h e n t h e c o m p a ir s o n i s s o m e t h i n g

il k e o r s o m e t h i n g a s s o m e t h i n g e l s e , ti i s a s i m li e a n d n o l o n g e r a m e t a p h o r .

  S o m e il n g u i s t s c a t e g o ir z e m e t a p h o r i n t o v a ir o u s t y p e s . T h e y a r e d e a d

m e t a p h o r , s t o c k o r s t a n d a r d m e t a p h o r , r e c e n t m e t a p h o r , a n d o ir g i n a l m e t a p h o r

( N e w m a r k ,

  1

  9

  8 8 , p .

  1

6 ) . O n t h e o t h e r h a n d , L a r s o n (

  1

  9

  8 4 , p .

  9

  2 4 ) c a t e g o ir z e s

m e t a p h o r o n l y i n t o d e a d a n d il v e m e t a p h o r . N e v e tr h e l e s s , a m e t a p h o r o f a c e tr a i n

l a n g u a g e i n w ir tt e n f o r m s s u c h a s n o v e l s m i g h t b e c o m e a p r o b l e m w h e n i t i s

rt a n s l a t e d i n t o a n o t h e r l a n g u a g e . T r a n s l a it o n i s d e if n e d b y t h e r e s e a r c h e r a s a

p r o c e s s a n d p r o d u c t o f r e p l a c i n g w o r d s f r o m a c e tr a i n l a n g u a g e t o a n o t h e r t a r g e t

l a n g u a g e . T h e r e s e a r c h e r d e if n e s t h e m e a n i n g o f t h e rt a n s l a it o n a b o v e b a s e d o n

t h e r e s e a r c h e r ’ s e x p e ir e n c e s i n rt a n s l a it n g w ir tt e n l a n g u a g e . L a r s o n (

  1

  9

  8 4 )

s u p p o tr s t h e r e s e a r c h e r ’ s d e if n i it o n a b o u t rt a n s l a it o n t h a t “ rt a n s l a it o n i s b a s i c a ll y

a c h a n g e o f f o r m ” ( . p . 3 ) I h n t i s r e s e a r c h , t h e l ti e r a r y rt a n s l a it o n w h i c h i s d fi f e r e n t f r o m g e n e r a l rt a n s l a it o n i s d i s c u s s e d . A c c o r d i n g t o H a s s a n (

  2 1 ) , a “ l ti e r a r y rt a n s l a it o n m u s t r e lf e c t t h e i m a g i n a it v e , i n t e ll e c t u a l a n d i n t u i it v e w ir it n g o f t h e a u t h o r ” . ( p 2 ) . I t

m e a n s t h a t a l ti e r a r y rt a n s l a it o n i s n o t m e r e l y c h a n g i n g t h e f o r m o f a c e tr a i n

l a n g u a g e i n t o d i f f e r e n t l a n g u a g e . A l ti e r a r y rt a n s l a it o n s h o u l d k e e p t h e n a t u r e o f

t h e l ti e r a r y w o r k t h a t i s rt a n s l a t e d . H e n c e , rt a n s l a it n g m e t a p h o r s t o b u li d t h e

a e s t h e it c f e e il n g o f a n o v e l i n t o a n o t h e r l a n g u a g e i s n o t a s e a s y a s b u li d i n g

a e s t h e it c f e e il n g u s i n g m e t a p h o r s i n t h e s o u r c e l a n g u a g e . A s s t a t e d b y L a r s o n

(

  1

  9

  8 4 ) , “ n o t a l l m e t a p h o r s a n d s i m li e s a r e e a s li y u n d e r s t o o d . I f t h e y a r e

  4

rt a n s l a t e d l ti e r a ll y , w o r d - r f - o w o r d , i n t o a s e c o n d l a n g u a g e , t h e y w li l o tf e n b e

c o m p l e t e l y m i s u n d e r s t o o d ” . ( p

  2 5 .) B s e i d e s , t h e p r o b l e m i n rt a n s l a it n g m e t a p h o r o c c u r s w h e n t h e rt a n s l a t o r

c a n n o t if n d a n y i m a g e o f t h e m e t a p h o ir c a l l a n g u a g e f r o m t h e s o u r c e l a n g u a g e ,

w h i c h h a s e q u a l m e a n i n g i n t h e t a r g e t l a n g u a g e . M o r e o v e r , L a r s o n (

  1

  9

  8 4 , p .

  2 5 )

s t a t e s t h a t t h e m o s t s e ir o u s p r o b l e m i n rt a n s l a it n g m e t a p h o r i s t h e i m a g e u s e d i n

t h e m e t a p h o r t h a t s o m e it m e d o e s n o t e x i s t i n t h e r e c e p t o r l a n g u a g e . T h e p r o b l e m

o f t h e d fi f e r e n t v i e w o f i m a g e u s e d i n m e t a p h o r i s s i m p l y b e c a u s e o f t h e c u tl u r e

d i s it n c it o n . T h e r e l a it o n b e t w e e n rt a n s l a it n g m e t a p h o r a n d c u tl u r a l d i s it n c it o n i s

s t a t e d b y L a r s o n (

  1

  9

  8 4 , p .

  2

  5 1 ) t h a t t h e c u tl u r e d i s it n c it o n c a n b e o n e o f t h e m o r e

s e ir o u s p r o b l e m s i n rt a n s l a it n g m e t a p h o r s b e c a u s e o f t h e d fi f e r e n c e p o i n t o f

s i m li a r ti y t o w a r d s t h e m e t a p h o ir c a l l a n g u a g e . H o w e v e ,r i n a p a r it c u l a r c o n d i it o n ,

m e t a p h o r c a n b e rt a n s l a t e d u s i n g d fi f e r e n t w o r d w h i c h c a n b e u n d e r s t o o d i n t h e

t a r g e t l a n g u a g e .

  I n il n e w ti h L a r s o n (

  1

  9

  8 4 ) , L e f e v e r e (

  1

  9

  9 2 , 3 p . 7 ) a g r e e s t h a t ” rt a n s l a t o r

m a y h a v e t o a d a p t o r s u b s t ti u t e a c c o r d i n g l y , b u t t h e y s h o u l d d o s o o n l y a s a l a s t

r e s o r t s i n c e o n e c h a r a c t e r o f m e t a p h o r i s t h a t i t r e q u ri e s s o m e lf e x i b li ti y o n t h e

t a r g e t l a n g u a g e ” . F u tr h e r m o r e , N e w m a r k (

  1

  9

  8 1 ) s u p p o tr s L e f e e v r e (

  1

  9

  9 2 ) a n d L a r s o n (

  1

  9

  8 4 ) t h a t t h e r e a r e s e v e n s rt a t e g i e s o f rt a n s l a it n g m e t a p h o r , n a m e l y rt a n s l a it o n o f m e t a p h o r b y r e p r o d u c i n g t h e s a m e i m a g e a s t h e i m a g e i n t a r g e t

l a n g u a g e , rt a n s l a it o n o f m e t a p h o r b y r e p l a c i n g a n i m a g e i n t h e S L w ti h a

s t a n d a r d T L i m a g e , rt a n s l a it o n o f m e t a p h o r b y s i m li e , rt a n s l a it o n o f m e t a p h o r b y

s i m li e p l u s s e n s e , rt a n s l a it o n o f m e t a p h o r b y c o n v e r it n g i t t o s e n s e , m e t a p h o r s

  5

d e l e it o n , a n d rt a n s l a it o n o f m e t a p h o r b y u s i n g t h e s a m e m e t a p h o r c o m b i n e d w ti h

s e n s e .

  T h e r e a r e s o m e n o v e l s w ir tt e n b y t h e I n d o n e s i a n w r ti e r s rt a n s l a t e d i n t o

E n g il s h s u c h a s R o n g g e n g D u k u h P a r u k b y A h m a d T o h a ir , M e r e k a B li a n g S a y a

M o n y e t ! By D j e n a r M a e s a A y u , R u m a h K a c a b y P r a m o e d y a A n a n t a T o e r , a n d

L a s k a r P e l a n g i b y A n d r e a H ri a t a . E a c h o f t h e n o v e l s h a s ti s o w n l a n g u a g e s t y l e ,

  R o n g g e n g D u k u h P a r u k si w h i c h b e c o m e s t h e s p e c i a l a t rt a c it o n f o r e a c h n o v e l . w ir tt e n b y A h m a d T o h a r i i n

  1

  9

  8 2 . I t i s a rt li o g y n o v e l o f R o n g g e n g D u k u h

P a r u k , L i n t a n g K e m u k u s D i n i H d a r i a n J a n t e r a B i a n g l a l a . R o n g g e n g D u k u h

P a r u k i s a p h e n o m e n a l n o v e l i n

  I n d o n e s i a , w h i c h t e ll s a b o u t S ir n t li ’ s l fi e a s a r o n g g e n g d a n c e r w h o il v e s i n 6 ’ .s R o n g g e n g D u k u h P a r u k h a d a l s o b e c o m e t h e t h

i n s p ri a it o n o f a m o v i e it lt e d S a n g P e n a r i , w h i c h w a s r e l e a s e d i n N o v e m b e r

9 ,

  2

  1 1 . I n t h e r e l e a s e d y e a r o f t h e m o v i e , S a n g P e n a ir h a d g a i n e d e x c e ll e n t a c h i e v e m e n t s b y g e t it n g t e n n o m i n a it o n s i n I n d o n e s i a n F li m F e s it v a l

  2

  1 1 a n d

w i n n i n g f o u r C i rt a C u p s n o t h e b e s t f li m . R o n g g e n g D u k u h P a r u k s i a l s o

rt a n s l a t e d i n t o E n g il s h it lt e d T h e D a n c e r b y R e n é T . A . L y s l o f f , w h o i s a n

  T h e A s s o c i a t e P r o f e s s o r o f M u s i c a t T h e U n i v e r s ti y o - f C a l fi o r n i a R i v e r s i d e . D a n c e r h a d a l s o b e e n p u b il s h e d b y I n d o n e s i a n p u b il s h e r , n a m e d L o n t a r i n

  2 3 .

  R o n g g e n g D u k u h P a r u k i s d fi f e r e n t f r o m o t h e r n o v e l s c b e a u s e t h e w r ti e r ,

A h m a d T o h a ir , p r e s e n t s t h e s rt o n g c o n n e c it o n b e t w e e n t h e c u tl u r a l v a l u e a n d t h e

m y s it c i s m b e il e f . T h e e x a m p l e o f t h e s rt o n g c o n n e c it o n b e t w e e n t h e c u tl u r a l

v a l u e a n d t h e m y s it c i s m b e il e f c o u l d b e s e e n w h e n t h e D u k u h P a r u k p e o p l e

s h o u l d h o l d a c e r e m o n y i n f r o n t o f t h e a n c e s t o r s ’ c e m e t e r y t o s h o w t h e ri r e s p e c t .

  6 T h e w a y t h e y r e s p e c t t h e a n c e s t o r s h o w s t h e m y s it c i s m b e il e f b e c a u s e t h e y

s h o u l d p r e s e n t a s e s a ij , s u c h a s a c e tr a i n lf o w e r s , b u r n e d i n c e n s e s , a n d k e m e n y a n .

  

O n t h e o t h e r h a n d , t h e c e r e m o n y h e l d a t t h e a n c e s t o r ’ s c e m e t e r y s h o w s t h e

c u tl u r a l v a l u e o f t h e D u k u h P a r u k p e o p l e . B e s i d e s , A h m a d T o h a r ’i s l a n g u a g e

s t y l e s h o w s h i s o w n u n i q u e n e s s , w h i c h d i s it n g u i s h e s h i m w ti h t h e o t h e r w r ti e r s .

A s s t a t e d b y I m r o n (

  2 9 ) , “ T o h a ir e m p o w e r s t h e e n t ri e p o t e n it a l o f l a n g u a g e a s

a m e a n s o f l ti e r a t u r e t h a t h a s e x p r e s s i v e p o w e r , a s s o c i a it v e m e a n i n g , ir c h i n

c o n n o t a it v e w o r d a n d e l e m e n t o f n a t u r e ” ( p . . 2 ) A n o t h e r p o i n t t h a t m a k e s t h i s

n o v e l m o r e s p e c i a l i s t h e u s e o f m e t a p h o r s i n R o n g g e n g D u k u h P a r u k .

  

N e v e tr h e l e s s , c o n s i d e ir n g t h a t rt a n s l a it n g m e t a p h o r s s o m e it m e s b e c o m e s

p r o b l e m , a b i g q u e s it o n a b o u t t h e rt a n s l a it o n o f m e t a p h o r s i n R o n g g e n g D u k u h

P a r u k i n t o T h e D a n c e r i s o c c u r r e d . T h e p r o b l e m s m a y o c c u r b e c a u s e o f t h e

d fi if c u tl y i n if n d i n g t h e m e a n i n g o f m e t a p h o r s a n d t h e m i s c o n c e p it o n i n

a p p r e c i a it n g m e t a p h o r s i n t h e s o u r c e l a n g u a g e ( L a r s o n ,

  1

  9

  8 4 , p . 5 2 . ) I n t h i s r e s e a r c h , t h e r e s e a r c h e r a n a l y s e d t h e m e t a p h o r s u s e d i n R o n g g e n g

D u k u h P a r u k a n d a n a l y z e d t h e s rt a t e g i e s o f rt a n s l a it n g m e t a p h o r i n R o n g g e n g