AN ANALYSIS OF PUN TRANSLATION IN THE ANIMATION MOVIE Madagascar II Escape to Africa
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AN ANALYSIS OF PUN TRANSLATION
IN THE ANIMATION MOVIE
“Madagascar II Escape to Africa”
THESIS
Submitted as a Partial Fulfillment of the Requirement for Sarjana Degree at English Department of Faculty of Letters and Fine Arts
Sebelas Maret University
By:
NIKEN WINARTI C 1306508
ENGLISH DEPARTMENT
FACULTY OF LETTERS AND FINE ARTS SEBELAS MARET UNIVERSITY
SURAKARTA 2011
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PRONOUNCEMENT
Name : Niken Winarti NIM : C1306508
Stated whole-heartedly that this thesis entitled An Analysis of Pun Translation in
the Animation Movie “Madagascar II Escape to Africa” is originally made by the
researcher. It is neither a plagiarism, nor made by others. The things related to other people’s works are written in quotation and included within bibliography. If it is then proved that the researcher cheats, the researcher is ready to take the responsibility.
Surakarta, April 2011 The researcher
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MOTTO
Smile…and the world will smile back at you. (Anonym).
Do good…feel good…and loo
k good. (Anonym).
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DEDICATION
This thesis is dedicated to:
Lord the Almighty, Allah SWT
Bunda, and my beloved family
Beibies
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ACKNOWLEDGEMENT
First of all, I would like to bestow my greatest thank to Allah SWT for the blessing, guidance, and love that have been given to me throughout my entire life, especially lately, that I am able to finish writing this thesis as partial fulfillment of graduating requirement of Sarjana degree. However, I deeply realize that I will not be able to accomplish this thesis without support and assistance from people surrounding me. Therefore, I would like express my gratitude to these following people:
1. The Dean of the Faculty of Letters and Fine Arts, Drs. Sudarno, M.A for
approving this thesis.
2. The Head of S1 Non Regular English Department, and my Academic
Consultant, Drs. Budi Waskito, M.Pd for giving an admission to this thesis to be examined.
3. My Thesis Consultant, Ida Kusuma Dewi, S.S, M.A for giving not only
assistance and guidance in compiling the thesis, but also precious life lessons.
4. All the lecturers who have shared their knowledge through each course.
5. All raters, Mr. Heri, Mr. Dion, and Ms. Umi for the comments, inputs, and
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6. My second home and family at Focus Independent School Solo for all the
happiness and support, especially Ms. Ririn for giving me a way to make one of my dreams comes true.
7. All 2006 Non Regular English Department, especially Diong, Ayu, Tiwi,
Susi, Inul, and Rika for the support and assistance.
8. My new family in Tipes, brothers and sisters in law, Dhea, Diva, and
Fanny, for the warm welcome and love.
9. My beloved Bunda, Babhe, brothers, sisters in law, and my lovely niece
and nephew for the remarkable support and love. Words can’t express my
gratitude.
10.My beloved beibi, for accompanying, supporting, helping, and loving me.
You mean the world to me. L.U.
11.My baby, you’re not here yet, but you already bring tons of happiness and strength.
12.My trusted and beloved friends, the one whose name should not be
mentioned, you know who you are. Thank you for growing up and old together.
13.Other friends and relatives whom I cannot mention here for all the good
and bad times.
14.Last but not least, to myself for being who I am today through all ups and
down, tears and joy.
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TABLE OF CONTENT
THE APPROVAL OF THE CONSULTANT ... ii
THE APPROVAL OF THE BOARD OF EXAMINERS ... iii
PRONOUNCEMENT ... iv
MOTTO ... v
DEDICATION ... vi
ACKNOWLEDGEMENT ... vii
TABLE OF CONTENT ... ix
ABSTRACT ... xi
CHAPTER I. INTRODUCTION A. Research Background ... 1
B. Problem Statements ... 3
C. Research Limitation ... 4
D. Research Objective ... 4
E. Research Benefit ... 4
F. Thesis Organization ... 5
CHAPTER II. LITERATURE REVIEW A. Definition of Translation ... 7
B. Problems in Translation ... 8
C. Film Translation ... 12
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2. Dubbing ... 15
D. Humor ... 16
1. Wordplay or Punning ... 17
E. Pun Translation ... 22
F. Assessing Translation Quality ... 24
G. The A i atio Movie Madagascar II Escape to Africa ... 26
CHAPTER III. RESEARCH METHODOLOGY A. Research Method ... 29
B. Data & Sources of Data ... 30
C. Sample and Sampling Technique ... 31
D. Research Procedure ... 32
E. Data Collection Technique ... 33
F. Technique of Data Coding ... 34
G. Technique of Data Analysis ... 35
CHAPTER IV. DATA ANALYSIS A. TYPES OF PUN ... 36
a. Paronymy ... 37
b. Homonymy ... 49
c. Polysemy ... 52
B. TRANSLATION TECHNIQUE ... 55
1. Pun Rendered as Non Pun ... 56
a. Paronymy ... 57
b. Homonymy ... 59
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2. Pun Rendered as Zero Pun ... 62
C. ACCURACY LEVEL OF THE TRANSLATION ... 64
1. Less Accurate Translation ... 65
2. Inaccurate Translation ... 75
CHAPTER V. CONCLUSION AND SUGGESTION A. Conclusion ... 83
B. Suggestion ... 84 BIBLIOGRAPHY
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ABSTRACT
Niken Winarti. C 1306508. An Analysis of Pun Translation in the Animation Movie “Madagascar II Escape to Africa”. Undergraduate Thesis: English Department, Faculty of Letters and Fine Arts. Sebelas Maret University. Surakarta. 2011.
This research is a descriptive qualitative research aimed to describe the types of pun, the translation technique, and the impact of the application of the techniques on the accuracy level of the pun translation in the animation movie “Madagascar II Escape to Africa”
This research analyzed 40 puns taken from animation movie “Madagascar
II Escape to Africa” and its translation in form of subtitle texts, and the comments and suggestions from the raters.
The result of the analysis showed that there were three types of pun found throughout the movie dialogue. They are paronymy, polysemy , and homonymy. Paronymy puns dominate the dialogue with 32 data or 80% of all 40 data. The next dominating pun is homonymy puns which amount 5 data or 12,5% of all 40 data. The least dominant pun is polysemy puns which amount only 3 data or 7,5% of all 40 data.
The analysis on translation techniques showed that there were two techniques used namely pun rendered as non pun and pun rendered as zero pun. Among the puns that were rendered as non pun, 30 puns or 75% are paronymy puns, 3 puns or 7,5% are polysemy puns, and 4 puns or 10% are homonymy puns. Among the puns that were rendered as zero pun, 2 puns or 5% are paronymy puns and 1 pun or 2,5% is homonymy pun.
The analysis on the translation accuracy level showed that 35 translations (87,5%) were considered to be less accurate and 5 translations (12,5%) were considered as inaccurate. Among the less accurate translations, 33 translations or 82,5% of them were resulted from pun rendered as non pun technique and 1 translation or 2,5% was resulted from pun rendered as zero pun. Among the inaccurate translation, 4 translations or 10% were resulted from pun rendered as non pun technique, and 2 translations or 5% was resulted from pun rendered as zero pun technique. The analysis also showed that none of the translations were considered to be accurate.
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CHAPTER I INTRODUCTION
A. Research Background
It is undeniable that comedy as one of movie genres has shown its significance in entertainment world. People are getting more and more excited to watch comedy movies so that some comedies films become best seller movies. Thus, developing countries including Indonesia are vastly interested to import comedy. Regarding to this fact, translation demand has increased due to the translation purpose of facilitating people who come from different countries and speak different languages to understand the message intended in the source language. Comedy films, however, might be challenging for translators since they contain humour which is closely related to the source language culture.
Wordplay is one of humor sources which can be found in movies. Wordplay as a part of humor which can be found in movie dialogues is not easy to translate since it is closely related to the source language (SL) culture and the SL system of grammar. A joke which is considered to be very funny for SL speakers can be meaningless for the target language speakers.
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The animation movie entitled Madagascar II Escape to Africa is an example
of a comedy movie which exploits wordplay to create a humorous atmosphere within. The movie which is directed by Eric Darnell and Tom McGrath was released on November 7, 2008. It was produced by DreamWorks Animation and distributed by Paramount Pictures. It stars the voices of Ben Stiller, Chris Rock, David Schwimmer, Jada Pinkett Smith, Sacha Baron Cohen, Cedric the Entertainer, and Andy Richter. It is also supported with the voices of Bernie Mac, Alec Baldwin, Sherri Shepherd, Elisa Gabrielli, and will.i.am.
The film starts as a prequel, showing a small part of Alex's early life, which includes his capture by the hunters. It soon moves to shortly after the point where the original left off that the animals decide to return to New York. They board an airplane in Madagascar, but crash-land in Africa, where each of the main characters meets other animals of the same species. Eventually, Alex is reunited with his parents. Problems arise, and their resolution takes part on the rest of the film.
Several wordplays are found in the movie dialogues, for instance: Marty is enjoying his new experience with his new friends, the zebra herd and as
Marty feels that he has chemistry with the herd, he says “It's one for all...” Afterwards, the zebra herd reply “ And all for all, y'all!” The dialogue can be recognized as similar to a well known proverb taken from Three Musketeers movie, being “one for all, and all for one”. The sentence “It's one for all...” is translated into “Satu untuk semua….”, and the sentence “ And all for all, y'all!” is translated into
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Based on the example above, it is obvious that translating humor in a movie is a complicated task to accomplish. Furthermore, translating wordplay in a movie dialogue into subtitle is even more challenging as the translator is expected to produce translation which must consider time limits and space constrains. At the same time, the translator is required to present the same sense and effect of the source language expression into the expression in target language having different culture and sense of humor.
The above phenomena leads the researcher to analyze types of pun which occur in the movie, the technique of translation applied in translating the puns, and the accuracy level of the pun translation.
B. Problem Statements
In current research, the following problems are proposed:
1. What kinds of puns are found in the animation movie Madagascar II
Escape to Africa?
2. What techniques of translation are applied in translating the puns found in
the animation movie Madagascar II Escape to Africa?
3. What are the impacts of the translation technique on the accuracy level of
translation of the dialogue containing puns of the animation movie
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C. Research Limitation
This research focuses its discussion and analysis upon subtitling pun in a movie dialogue. It also highlights the types of pun found in the animation movie “Madagascar II Escape to Africa”. This thesis also analyzes the technique of translation. Furthermore, the research examines the accuracy level of pun translation.
D. Research Objectives
There are three objectives achieved in this research, they are:
1. To describe the types of pun found in the animation movie Madagascar II
Escape to Africa
2. To describe translation techniques applied in translating the puns in the
animation movie Madagascar II Escape to Africa
3. To explain the impact of the translation techniques on the accuracy of the pun
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E. Research Benefits
This thesis is compiled to give benefits to these following parties, being:
1. Students.
The result of the study can be used as additional information about puns and how to translate them.
2. Other researchers.
The content of this thesis is expected to provide information on pun translation in the form of subtitle and be able to stimulate other researchers to conduct further research of the similar subject.
F. Thesis Organization
In order to be able to present data and discussion effectively and informatively, this thesis is divided into five chapters. The five chapters are organized as follow:
CHAPTER I, Introduction.
This chapter consists of research background, problem limitation, problem statements, research objectives, research benefits, and thesis organization.
CHAPTER II, Literature Review.
The second chapter of this paper provides reference-based definitions, explanations, and theories related to the research such as translation, subtitling, wordplay, and so forth.
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CHAPTER III, Research Methodology.
The third chapter of the paper discusses the type of research done by the researcher. Furthermore, this chapter presents the data along with its source of data, method of data collection, techniques of data analysis, and research procedure.
CHAPTER IV, Research Findings and Discussion.
This chapter discusses the analysis of the data including the types of pun, the translation techniques, and the accuracy level of the pun translations.
CHAPTER V, Conclusion.
The last chapter of this thesis presents the conclusion. As an addition, it provides some suggestions and recommendations related to the research findings.
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CHAPTER II LITERATURE REVIEW
A. Definitions of Translation
Many experts have delivered various ideas upon the definition of translation. “Translation, generally understood involves the rendering of a source language (SL) text into the target language (TL) so as to ensure that (1) the surface meaning of the two will be approximately similar and (2) the structures of the SL will be preserved as closely as possible but not so closely that the TL structures will be seriously distorted.” (Bassnett, 1991:2). In his book Pengantar Teori Terjemahan, Maurits D.S. Simatupang (2000: 2) states that translating is transferring the meaning existing in the SL to the TL, and makes it as natural as possible along with the rules of the TL. He highlights an issue that a translation product should read as an original text instead of a translation. To achieve it, a translation product should apply natural TL forms, optimally communicate the intended meaning of the ST, and retain the ST dynamism.
The book Thinking Spanish Translation mentions that translation as a
process includes two types of activity; they are to understand a ST, and to formulate a TT. These two activities occur simultaneously (1995:7). In other words, “translation encompasses the process of extracting information (by way of comprehension and interpretation) from a given text, and then re-expressing the details of that information in another text using a different form of words”
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(1995:8). Furthermore, according to Nida (1991:33), “the activity of translating consists in reproducing in the receptor language the closest natural equivalence of a source language message, firstly in terms of meaning and secondly in terms of style.”
From those definitions, it can be concluded that translation is a process to transfer messages in SL into TL, which should consider the content of the messages, the language structures, and the style as well.
Throughout the process of translating a SL text, a translator is highly required to understand the content of the text to subsequently be able to produce their equivalence in the TL, as natural and close as possible.
B. Problems in Translation
Several problems may occur during the process of translation. In a more specific examination, the most common problem is non-equivalence take place in the word level or so called non-equivalence at word level. It means that the target language has no direct equivalence for a word which occurs in the source text. The type and difficulty of non equivalence depend on the nature of the non equivalence. There are eleven non-equivalences proposed by Baker (1992:18), namely culture-specific concepts, the source-language concept is not lexicalized in the target language, the source-language word is semantically complex, the source and target languages make distinctions in meaning, the target language lacks a superordinate, the target language lacks a specific term (hyponym),
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differences in physical or interpersonal perspective, differences in expressive meaning, differences in form, differences in frequency and purpose of using specific forms, the use of loan words in the source text.
Culture-specific concepts mean that the source language word may express a concept which is totally unknown in the target culture. The concept maybe abstract or concrete; it may relate to a religious belief, a social custom, or even a type of food. Such concepts are often referred to as “culture-specific”. An
example is the word privacy which rarely understood by people from other
cultures as the word represents a very „English’ concept so that the word is notoriously difficult to translate.
The source-language concept is not lexicalized in the target language, means that the source language word may express a concept which is known in the target culture but simply not lexicalized, that is not „allocated’ a target
-language word to express it. As an example, the word standard (meaning
„ordinary,not extra’, as in standard range of products) expresses a concept which is very accessible and readily understood by most people, yet Arabic has no equivalent for it.
Another difficulty in translating from SL to TL is that the source-language word is semantically complex. A single word which consists of a single morpheme can sometimes express a more complex set of meaning than a whole sentence. Languages automatically develop very concise forms for referring to complex concepts if the concepts become important enough to be talked about
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the ground under coffee trees of rubbish and pilling it in the middle of the row in
order to aid the recovery beans dropped during harvesting (ITI News, 1988:57).
The source and target languages make distinctions in meaning as the target language may make more or fewer distinctions in meaning than the source language. What one language regards as an important distinction in meaning, another language may not perceive as relevant. For example, Indonesian makes a distinction between going out in the rain without the knowledge that it is raining (kehujanan) and going out in the rain with the knowledge that it is raining ( hujan-hujanan). English does not make this distinction, that it brings the difficulties for the translator to translate such context.
The target language lacks of a superordinate as the target language may have specific words (hyponyms) but no general word (superordinate) to head the
semantic field. For example, Russian has no ready equivalent for facilities,
meaning „any equipment, building, services, etc, that are provided for a particular activity or purpose’. It does, however, have several specific words and
expressions which can be thought as a type of facilities, for example sredstva
peredvizheniya („means of transport’), naem („loan’), etc.
The target language lacks of a specific term (hyponym) as generally, languages tend to have general words (superordinates) but lack specific ones (hyponyms), since each language makes only those distinctions in meaning which
seem relevant to its particular environment. For example the word house, English
has variety of hyponyms which has no equivalents in many languages, such as
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A difference in physical or interpersonal perspective is another difficulty that the translator may face in transferring the message from the SL to the TL. Physical perspective may be of more importance in one language that it is in another. Physical perspective has to do with where things or people are in relation
to one another, or to a place, as expressed in pairs of words such as come/go,
take/bring, arrival/depart, and so on. Perspective may also include the relationship between participants in the discourse (tenor).
Differences in expressive meaning mean that there may be a target-language word which has the same propositional meaning as the source target-language word, but it may have different expressive meaning. The difference may be considerable or it may be subtle but important enough to pose a translation problem in a given context. It is usually easier to add expressive meaning than to subtract it.
Differences in form are caused by, often, no equivalent in the target language for a particular form in the source text. Certain suffixes and prefixes which convey propositional meaning and other types of meaning in English often have no direct equivalents in other languages. It is relatively easy to paraphrase propositional meaning, but other types of meaning cannot always be spelt out in a translation.
Differences in frequency and purpose of using specific forms mean that even when a particular form does have a ready equivalent in the target language, there may be difference in the frequency with which it is used or the purpose for which it is used.
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The use of loan words in the source text possesses a special problem in
translation. Loan words such as au fait, chic, and alfresco in English are often
used for their prestige value, because they can add an air of sophistication to the text or its subject matter. This is often lost in translation because it is not always possible to find a loan word with the same meaning in the target language. Once a word or expression is borrowed into a language, we cannot predict or control its development or the additional meanings it might or might not take on.
C. Film Translation
It is stated in Routledge encyclopedia of Translation Studies (2000: 245)
that translating a movie, or so-called film translation, is slightly different from translating a text. The differences lay in the source materials and the product itself. The materials in film translation can be in the form of movie dialogues or movie text. Moreover, the outcomes are in form of dialogue and subtitle text. The process of film translation to produce spoken product is known as dubbing, while the written product of film translation is known as subtitle text.
Spanakaki in www.wikipedia.com states that there are two types of film translation. They are interlingual and intralingual film translation. In interlingual the ST is foreign language, whereas in intralingual film translation the ST is native language. Generally, intralingual film translation occurs in subtitle text in which the text is intended to assist people with hearing disabilities to enjoy the movie. Gottlieb (in Baker, 2001:247) states that from linguistic point of view,
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there are two types of film translation which are interlingual film translation or so called diagonal translation and intralingual film translation which is known as vertical translation.
1. Subtitles
Generally, subtitle is known as the written product of a film translation. It can be found in form of written text in the bottom of the screen that appears at the same time the audience hear the dialogue (www.wikipedia.com). According to Shuttleworth and Cowie's Dictionary of Translation Studies (1997: 161), subtitling is defined as the process of providing synchronized captions for film and television dialogue. www.wikipedia.com also cited that subtitles are textual versions of the dialog in films and television programs, usually displayed at the bottom of the screen. They can either be a form of written translation of a dialog
in a foreign language or a written rendering of the dialog in the same language—
with or without added information intended to help viewers who are deaf and hard-of-hearing to follow the dialog.
In accordance to the definition of subtitle as a process, Gottlieb in Baker (2001: 244) mentions that, “Subtitles sometimes referred to as captions are transcription of a film or TV dialogue presented simultaneously on the screen. They usually consist of one or two lines of an average maximum length of 35 characters. Furthermore, as a rule, subtitles are placed at the bottom of the picture
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Subtitle as one of film translation types can be used to translate dialog from a foreign language to the native language of the audience. It is the quickest and the cheapest method of translating content, and by employing this technique, the audiences still have the possibility to hear the original dialog and voices of the actors. In the book THINKING SPANISH TRANSLATION, it is stated that a subtitle is not an oral target text, but an excellent example of crossover between an oral ST and written TT.
As an addition, in www.translationjournal.net, Spanakaki mentions that translation of subtitling is sometimes very different from the translation of written text. Usually, when a film or a TV program is subtitled, the translator watches the picture and listens to the audio sentence by sentence. The translator may or may not have access to a written transcript of the dialog. Especially in commercial subtitles, the translator often interprets what is meant, rather than translating how it is said, i.e. meaning being more important than form.
Moreover, Gottlieb mentions that linguistically there are two kinds of subtitles, being intralingual subtitling and interlingual subtitles. Intralingual subtitling is defined as a vertical subtitling in which the speech is taken down to writing by changing its style but not its language. In the other hand, intralingual subtitling is considered as a diagonal type where the speech of one language is transferred to writing of another language. Therefore, intralingual subtitling changes both mode and language of the source language message (2001:245).
As an addition, Gottlieb (in Baker, 2001: 245) states that in subtitling, the translator has four simultaneous factors to consider, such as: a) verbal auditory
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channel, including dialogue, background voices, and sometimes lyrics; b) non-verbal auditory channel, including music, natural sounds, and sound effect; c) verbal visual channel, including superimposed titles and written signs on the screen, d) non verbal visual channel, being picture composition and flow.
In sum, subtitle text always focusing on the speech act as intentions and effects are more important than isolated lexical elements. Moreover, as a basic rule, most television broadcasters demand a two-line subtitle that consist of more or less 60-70 characters to stay on the screen for about 5-6 seconds, and presentation rates of more than 12 characters per second (cps) are not acceptable (Baker, 2001:247).
2. Dubbing
It has been stated that one of the types in film translation that produces spoken product is known as dubbing. By applying this film translation technique into foreign movies, the voice of the actor speaking in SL is replaced with the voice of the voice actor in TL. In www.wikipedia.com, it is stated that dubbing is the process of recording or replacing voices for a motion picture. The term most commonly refers to voices recorded that do not belong to the original actors and speak in a different language from the one in which the actor is speaking. "Dubbing" also describes the process of an actor re-recording lines they spoke during filming that must be replaced to improve audio quality or reflect dialog changes.
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Foreign-language films and videos are often dubbed into the local language of their target markets to increase their popularity with the local audience by making them more accessible. In Indonesia, most South American movies or known as telenovelas are translated into Indonesian in order to popularize the movies. This goal can be achieved by employing dubbing technique as this technique facilitates the audience to easily understand the story of the movies.
D. Humour
In general, humour is defined as a funny thing which arouses laughter, which can be found both in verbal and written expression. The term humour, as it is mentioned in www.wikipedia.com, derives from the humoural medicine of the ancient Greeks, which stated that a mix of fluids known as humours controlled human health and emotion. As an addition, in www.wikipedia.com, Alastair Clarke explains that humour is an evolutionary and cognitive explanation of how
and why any individual finds anything funny. Effectively it explains that “humour
occurs when the brain recognizes a pattern that surprises it, and that recognition of this sort is rewarded with the experience of the humorous response, an element of which is broadcast as laughter."
Moreover, as it is mentioned in Cambridge Advanced Learner’s Dictionary, humour is defined as the ability to find thing funny, the way in which people see that some things are funny or the quality of being funny (2008:705). Furthermore, Webster’s Dictionary and Thesaurus for Home, School, and Office
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mentioned that humour is a fluid of the body, esp one of the four that were formerly believed to determine temperament; the ability to appreciate or express what is funny (2002: 182).
As an addition, Attardo (in Katia Spanakaki in
www.translationjournal.net) mentions that, in the field of literary criticism for instance, there is a need for a fine-grained categorization, whereas linguists have often accepted broader definitions, arguing that whatever evokes laughter or is felt to be funny is humour, e.g. that humour can be deduced from its effect.
As an addition, Katia Spanakaki also states that there are three general categories of humour/jokes: a) universal humour/jokes, b) culture-specific humour/jokes, and c) language-specific humour/jokes.
1. Wordplay or Punning
Widely known, wordplay as one type of humour is quite common in oral cultures as a method of reinforcing meaning. It is stated in www.wikipedia.com that wordplay is a literary and narrative technique in which the nature of the words used themselves becomes part of the subject of the work. Puns, phonetic mix-ups such as spoonerisms, obscure words and meanings, clever rhetorical excursions, oddly formed sentences, and telling character names are common examples of wordplay.
Wordplay or punning, is defined by Delabastita as follow: "Wordplay is the general name for the various textual phenomena in which structural features of the language(s) use are exploited in order to bring about a communicatively
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significant confrontation of two (or more) linguistic structures with more or less similar forms and more or less different meanings" (Delabastita, 1996: 128, original emphasis). Further, "the pun contrasts linguistic structures with different meanings on the basis of their formal similarity". Furthermore, a pun may be either vertical or horizontal. “The formal similarity of two linguistic structures may clash by being co-present in the same portion of text (in this case it is vertical wordplay), or by being in a relation of contiguity by occurring one after another in
the text (the horizontal wordplay)”, ( Delabastita, 1996:128).
According to wikipedia.com, pun is classified into a type of punning which is based on the techniques that involve the phonetic values of words. Moreover, according to the type and degree of similarity, puns can be further divided into four types namely: homonymy, homophony, homograph, and paronymy (Delabastita, 1996:128). Other types of pun are proposed by Schr ter, they are polisemy and paronymy which are specifically deal with linguistic structures (1996:210).
Below are the definition and examples of homonymy, homophony, homograph, paronimy, and polisemy.
a. Homonymy according to Delabatista is words that have identical sounds and
spelling (1996:128). As an addition, it is mentioned in wikipedia.com that homonym means words with same sounds and same spellings but with
different meanings. Examples of homonyms are stalk (which as a noun can
mean part of a plant, and, as a verb, to follow/harass a person), bear (animal)
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example of homonymy in the movie is “I'll need a CAT scan just to get started!” The dialogue exploits the identical sounds and spelling of the word “CAT” which refer to computer-assisted tomography scan (Webster’s Dictionary and Thesaurus, 2002: 61) or generally known as a health check up
scan and “cat” as a small animal with fur, four legs, a tail, and claws, usually
kept as a pet or for catching mice, or any member of the group of similar animals such as the lion (Cambridge Advanced Learner’s Dictionary, 2008: 212)
b. Homograph according to Delabatista is words with different sounds but
identical spelling (1996:128) and in wikipedia.com, it is mentioned that the definition of homograph is words with same spellings but with different meanings, the examples are:
shift n. (a change)
shift n. (a period at work)
shift v. (to move quickly)
Table 2.1. Examples of Homograph
Word Example of first meaning Example of second meaning
Dove
The dove cooed at the
passers-by.
(A white or grey bird, often used as a symbol of peace.)
Patricia dove into the pool
with barely a splash.
(Past simple form of the word dive)
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door?"
(Change something from being open to not being open.)
that I could smell it... (Not far in position.)
Wind
Frank's arthritic fingers could
not wind up the clock again.
(To turn or cause something to turn.)
The wind howled through the
woodlands.
(A current of air moving approximately horizontally, especially one strong enough to be felt.)
c. Homophony, by Delabatista, is defined as words which hold identical
sounds but different spellings (1996: 128). Moreover, in Wikipedia.com it is mentioned that homophone is words with same sounds but with different meanings such as rose (flower) and rose (past tense of "rise"), or differently, such as carat, caret, and carrot, or to, two and too.
d. Paronymy is the relationship between linguistic structures that are
formally similar, but not identical on either phonetic or the orthographical level. De Fries also highlighted the difference of words on the surface level as the characteristic of paronymy. Most similarities involve only one or two letters. The similarity of paronymy is weaker than homonymy. However, the relation is strong enough for the reader or listener to spot out (De Fries in Schroter, 2005: 207). Moreover, Schroter also mentions that paronymy is the relationship between linguistic structures that are formally
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similar, but not identical on either phonetic or the orthographical level (2005:197). The example of paronymy in the movie is the dialogue “Someone's been knotty. This won't hurt a bit.” The pun “knotty” is the play on the word “naughty”. When the dialogue was said, at the same
time, the scene showed Melman’s teasing expression. It highlights the play
between the word “knotty” that refers to the elephant’s tangled trunk, and
“naughty” which represents bad behavior. The sound of “knotty” and “naughty” are not identical. However, it can be recognized that Melman also intended to say “naughty” as the scene showed his teasing expression.
e. Polisemy is a clash of orthographically and phonetically identical
structures with divergent meanings and etymologically connected. Schr ter stated that puns can be categorized as polysemy when they have semantic link between the core items which readily established without the assistance of additional information (2005:181). In addition, Bussman stated that polysemy is an expression which has two or more definitions with some common features that are usually derived from a single basic meaning (1996:210). The example of polisemy in the movie is the dialogue “You're a little tangled,aren't you?”. The word “tangled” has two
meanings being messy condition that refers to the thread, and puzzled or clueless condition of the man. The scene supports the play on both words
as when the dialogue is uttered, the scene shows the man’s puzzled face,
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E. Pun Translation
When it comes to translating humor in subtitling, the translator needs to use the limited space and time in an optimal way, in order to virtually retain the meaning effect in the subtitle translation. Though, the constraints themselves clearly cannot predict whether the meaning effect tends to be preserved or lost in subtitles.
The translation methods of puns available for the translator's disposal are presented as follow (Delabastita, 1993:192-226; Delabastita, 1996:134):
Pun to pun or so called pun rendered as pun. By applying this method, the ST pun is translated by a TL pun. This method is possible to be conducted if in both languages can be found pun that have identical meaning.
Pun to non pun or by rendering pun as pun. In this method a punning phrase may retains all the initial senses (selective pun), or a non-punning phrase renders only one of the pertinent senses (selective non-pun), or diffuse paraphrase or a combination of the above. The application of this technique in the movie translation is for example:
ST: Don't look, doll. This might get hairy. TT: Jangan menatap, manis.Ini menakutkan.
In the sentence, the pun “hairy” is derived from the word “scarry”. Generally known, in the native culture, something hairy is scarry for children. Moreover, the word “hairy” and “scarry” has similar sound. Therefore, the word “hairy” becomes a pun which is derived from the original word “scarry”. From the
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translation, it can be seen that the translator employed pun rendered as non pun
technique to transfer the referential meaning into the receptor’s language.
Pun translated into related rhetorical device. In this method, pun is
rendered with another rhetorical device, or punoid (repetition, alliteration, rhyme,
referential vagueness, irony, paradox etc), which aim to recapture the effect of the ST pun.
Pun to zero, or so called pun rendered as zero pun, means that pun in SL is rendered with zero pun in TL. In other words, in this method, the pun is simply omitted. When this method is applied, it indicates that SL pun do not have an equivalence in TL. The example of the application of this technique in the movie translation is
ST: What the heck is going on? TT: Apa yang terjadi?
In the sentence which is said by Marty, the pun “the heck” can be simply recognized as “the hell” by adults. However, this pun succeeds in concealing the harsh atmosphere for the young viewers. The translation of the sentence “What
the heck is going on?” is “Apa yang terjadi?”, in which it can be seen that there is
no translation of “the heck” in the subtitle text. In other words, the pun “the heck” is simply omitted in the translation. Therefore, the technique which is applied in translating the sentence containing swearing word pun is pun rendered as zero pun.
Pun in ST = Pun in TT. Here, the ST pun is copied as TT pun, without being translated.
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Non pun à Pun is introducing a new pun. At this point, a compensatory pun is inserted, where there was none in the ST, possibly making up for ST puns lost elsewhere (strategy 4 where no other solution was found), or for any other reason.
Zero to pun. In other words, it is a method of giving addition of a new pun. By applying this method, totally new textual material is added, containing wordplay as a compensatory device.
Editorial Techniques are done by providing explanatory footnotes or endnotes, comments in translator's forewords, 'anthological' presentation of different, complementary solutions, and so forth.
Responding to the methods delivered by Delabastita, in www.translation journal.net, Spanakaki states that although techniques 2 and 4, as well as techniques 6 and 7, are found overlapping with each other at some point, they can be combined in variety of ways. For instance, in the case of technique 2, where the pun is suppressed, it can be followed by a footnote explaining what was left out and why (technique 8, Editorial Techniques), as same combination can apply with technique 6. In subtitling, the case of footnotes is out of a question, the combination of these techniques and especially technique 8 (editorial techniques) are inadequate and completely irrelevant for the purpose of this study.
F. Assessing Translation Quality
Subsequent to the activity of translating certain work, assessing the quality of the translation product is very essential as the activity reveals how successful a
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translator translates the work. A good translation product should meet several requirements which encompass several aspects such as readability, accuracy, and acceptability. These three aspects determine the quality of a translation product. Subsequently, every translator should attempt to formulate a translation from SL text into TL text that is readable, accurate, and acceptable to the readers. Readability means that the translation product is understandable by its reader. It relates to the choice of vocabulary, the length of the sentence, and so forth. Accuracy indicates the degree of conformity. It deals with how accurate is a translator transfers the message in SL into TL. In this case, the translator is required to translate the content of the text correctly. Acceptability deals with how the reader accepts the translation product in terms of cultural aspects, literary systems, and how the reader finds that the translation product is appropriate.
Related to this, generally there are several aspects of translation quality assessment. In his first significant book of translation, Tytler states that “a good translation is one in which the merit of original work is so completely transfused into another language as to be as distinctly apprehended and as strongly felt by a native of the country to which that language belongs as it is by those who speak the original work”. Furthermore, a translator must respect good writing scrupulously by accounting for its language, structures and content, whether the piece is scientific or poetic, philosophical or fictional (Newmark, 1981: 43). Accordingly, Larson states that there are three main reasons for testing a translation, namely: accuracy, clarity, and naturalness (1998: 532).
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There are several ways to assess a translation product. An expert or experienced translator will put a big favor in assessing a translation product.
However the readers’ reaction towards the translation product can also measure
the quality of the translation product.
In film translation, especially in form of subtitle text, a translator should highly consider the accuracy, acceptability, and the readability of the film translation product. The readability and acceptability of a subtitle text examined not only by the viewers understanding upon the subtitle text, but also by the length of the sentence of the subtitle text considering that the text appears on screen for limited time.
G. The animation movie Madagascar II Escape to Africa
Madagascar: Escape 2 Africa (or simply just Madagascar 2) is the 2008
animated sequel to the 2005 film Madagascar, about the continuing adventures of
Alex the Lion, Marty the Zebra, Melman the Giraffe, and Gloria the Hippo. It is directed by Eric Darnell and written by Etan Cohen. It stars the voices of Ben Stiller, Chris Rock, David Schwimmer, Jada Pinkett Smith, Sacha Baron Cohen, Cedric the Entertainer, and Andy Richter. The movie is also providing voices are Bernie Mac, Alec Baldwin, Sherri Shepherd, Elisa Gabrielli, and will.i.am. It was produced by DreamWorks Animation and distributed by Paramount Pictures, and was released on November 7, 2008.
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The film has received mixed to positive reviews from critics. Rotten Tomatoes has reported that 65% of critics based on 137 reviews with the
consensus stating that "Madagascar: Escape 2 Africa is an improvement on the
original, with more fleshed-out characters, crisper animation and more consistent humor." Another review aggretagor, Metacritic classified the film into the "generally favorable reviews" category with 61/100 approval rating based on 24 reviews, also a bit higher a score than the original.
Michael Phillips of the Chicago Tribune has stated in his review that the
film "goes easy on the pop culture jokes, I should clarify: one of the smarter things in the script is how Alex, who digs his Bob Fosse and Jerome Robbins dance moves, becomes the film's primary pop-cult gag." Roger Ebert of the Chicago Sun-Times gave the film 3 stars and wrote "This is a brighter, more
engaging film than the original Madagascar. Steven D. Greydanus complained
the film's plot was similar to The Lion King, Joe Vs. The Volcano, and Happy
Feet. Carrie Rickey of the Philadelphia Inquirer gave the film 2 stars and wrote
"Take the flat tire that was Madagascar. Retread it with The Lion King storyline.
Pump it up with air. Now you have Madagascar: Escape 2 Africa." John
Anderson gave the film 3 1/2 approval rating and stated "Madagascar 2: Escape
to Africa, the sequel to the enormously successful DreamWorks adventure and a
film that hews close to the whole Lion King/species-as-destiny/self-fulfillment
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The film starts as a prequel, showing a small part of Alex's early life, including his capture by hunters. It soon moves to shortly after the point where the original left off, with the animals deciding to return to New York. They board an airplane in Madagascar, but crash-land in Africa, where each of the central characters meets others of the same species; Alex is reunited with his parents. Problems arise, and their resolution occupies much of the remainder of the film.
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CHAPTER III
RESEARCH METHODOLOGY
A. Research Method
In discussing the accuracy of wordplay translation in the animation movie
Madagascar II Escape to Africa, the researcher applies descriptive qualitative method which deals with the observation and interpretation of the researcher toward the subject of the research. Sutrisno Hadi states that a descriptive research is a research in which the researcher needs only to collect and analyze the data to subsequently be able to draw a conclusion upon the data without making a generalization (1983: 3). Qualitative research, according to Moleong (1990: 4) is a type of research that does not include any calculation or enumeration. In addition, Sutopo implies that the data in qualitative research is not in the form of numbers but in the form of words or sentences (2002:35).
In this research, the researcher does not need to find and prove the hypothesis. The research encompasses the process where the researcher collects, observes, and presents the data in the form of sentences. Next, the researcher analyzes the data and interprets the analysis result. As the research conducts those steps, it can be said that the research employs a descriptive qualitative method.
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B. Data and Sources of Data
This thesis is compiled and analyzed based on two kinds of data. The first
data were taken from animation movie Madagascar II Escape to Africa. The
movie which is directed by Eric Darnell and Tom McGrath was released on November 7, 2008. It was produced by DreamWorks Animation and distributed
by Paramount Pictures. The researcher decided to choose the animation movie
Madagascar II Escape to Africa because of these following reasons:
1. The movie was awarded as the Favorite Animated Film by Nickelodeon Kids
Choice Awards (www.imdb/title/tt0429952/awards)
2. The movie contains numerous wordplays. Subsequently, the subtitle text of
the serial into Indonesian shows various wordplay translation, which functions as the data of the research.
The second data were taken from the raters in the form of questionnaire result and the comments given upon the translation. The raters were expected to determine the accuracy level of the subtitle text of dialogues containing wordplay
in the animation movie Madagascar II Escape to Africa.
The other sources of data were written sources such as books and also information taken from relevant and reliable online journals or other internet-based information.
In his book Metodologi Penelitian Kualitatif, Sutopo states that in
choosing resource person, researcher is required to acknowledge the stand point along with his or her various roles and relation to the information access which is
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relevant to the need (2002: 51). Referring to Sutopo’s statement, the researcher
sets several standards for the raters. The qualifications are as follow:
1. The raters are fluent both in source and target languages
2. The raters have background knowledge and experience in translation
3. The raters are willing to take a part in this research
The raters’ responsibilities are to examine the data and to give score to the translation indicating the accuracy level of the puns translation presented in the questionnaire. Moreover, they can give comment, information, suggestion, or to make revisions if it is felt to be necessary.
C. Sample and Sampling Technique
As it has been stated in the previous part, the subject of this research is pun
translation in the animation movie Madagascar II Escape to Africa. Therefore, the
samples of this research are the dialogues containing puns, along with the translations. To be able to present relevant samples, the researcher employed total sampling. The sampling technique was chosen as it will help the researcher in holistically analyzing the pun translation as the subject of the research discussion. Furthermore, this sampling technique accommodates the researcher in presenting the complete examples of three types of pun from the movie along with their translation in Indonesian subtitle text.
D. Research Procedure
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1. Preparation.
Preparation includes deciding the object of the research, collecting references, composing research proposal, and having the research proposal presented in a seminar class.
2. Data Collection.
Data collection includes collecting data from the dialogue in the film and the subtitles, arranging and then distributing questionnaire about the translation accuracy to three competent raters.
3. Data Analysis.
Data analysis consists of classifying the data into types of pun and identifying the technique applied to translate them. Afterwards, the researcher asked a competent person to validate the wordplay types and the translation technique. Furthermore, the researcher checked and analyzed the questionnaire result
4. Research Report.
Research report includes compiling final report to present the analysis upon wordplay types, the translation technique, the accuracy level of the wordplay translation and drawing a conclusion from the analysis.
E. Data Collection Technique
To be able to find the puns and to know the types of pun, and determine the techniques which are applied in translating the puns, the researcher had a
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To support the researcher in presenting proper analysis towards the topic, the researcher collected the data by giving questionnaire to three raters. The questionnaire is designed to reveal the level of accuracy of the puns translation found in the movie dialogue. Subsequently, the raters are required to score the level of accuracy of the data based on the scale. The questions in the questionnaire are in form of closed ended questions. However, in the questionnaire, the raters are allowed to give their comments, information, or suggestion upon the puns translation. The scale standards to score the accuracy of the data are as follows:
Score Category Description
1 Accurate The meaning of pun in the source text is
conveyed into target text in accordance to the context, the effect of pun in the target text is equal to the source text
2 Less Accurate The meaning of pun in the source text is
conveyed into target text. However the effect of the pun in the target text is not equal to the source text
3 Inaccurate There is a distortion of meaning of pun
in the target text
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To be able to analyze the data optimally, the researcher needs to organize the data by encoding the data. Wiersma mentions that coding is a process of organizing data and obtaining data reduction (2000: 203). In encoding the data, the researcher consider several aspects, they are:
1. The exact time when the dialogue take place
2. The type classification of the data
3. The number of the data based on the type classification
Here is an example of data coding which will be presented in this thesis : SL: He shall wear this Hat of Shame...
TL: Dia harus memakai Topi Kekalahan…
(41.55/Pn/016) The clarification of the codes above is as follow:
1. 41.55 refers to the exact time when the dialogue take place
2. Pn refers to the type of pun
3. 016 refers to the ordinal number of the specified datum of each wordplay type
G. Technique of Data Analysis
After getting all the data needed, both from the movie dialogue and questionnaire result, the researcher took these following steps in analyzing the data:
1. The researcher marked out the dialogue in the movie which contains
wordplay and compared it to the translation. Afterwards, the data were classified based on the type of wordplay and the techniques applied in
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translating the data. The techniques used in the analysis were those proposed by Delabatista: pun rendered as pun, pun rendered as non pun, pun translated into related rhetorical device, pun rendered as zero pun, pun in ST = Pun in TT, non pun à Pun , zero to pun, editorial techniques.
2. The researcher examined the result of the questionnaire and made the
percentage of the quality of translation of each data category, namely the accuracy of the translation.
3. The researcher delivered the research result and answered the problem
statement by presenting a discussion of the pun types, the translation technique, and the accuracy level of the translation.
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CHAPTER IV
DATA ANALYSIS
This chapter will particularly discuss the result of the research analysis which is divided into three sub-chapters. The first sub-chapter highlights the types
of pun which are found in the dialogue of the animation movie Madagascar II
Escape to Africa. The second sub-chapter focuses on the translation technique employed by the translator in translating the puns from the dialogue in the SL into the subtitle text in TL. The last sub-chapter will specifically discuss the level of accuracy of the pun translation.
A. Types of Pun
There are three types of pun found in the movie of Madagascar II Escape
to Africa, they are paronymy, homonymy, and polysemy. The table below shows the distribution of each type.
Table 4.1. Types of Pun in Madagascar II Escape to Africa.
Types of Pun Amount Percentage
Paronymy 32 data 80 %
Homonymy 5 data 12,5 %
Polysemy 3 data 7,5 %
Total 40 data 100%
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a. Paronymy
In chapter II, it is stated that according to Schroter, paronymy is the relationship between linguistic structures that are formally similar, but not identical on either phonetic or the orthographical level (2005:197). De Fries also highlights the difference of words on the surface level as the characteristic of paronymy. Most similarities involve only one or two letters. The similarity of paronymy is weaker than homonymy. The relation, however, is strong enough for the reader or listener to spot out (De Fries in Schroter, 2005: 207).
In the movie, the greatest amount of pun type is paronymy. It can be seen on the table 4.1 that 80% or 32 numbers of 40 data are paronymy. There are 32
data that show how paronymy is exploited to arouse audiences’ laughter.
Following are three extracts of paronymy that illustrate the similarity of linguistic structures in phonetic or orthographical level. The puns are underlined.
Datum number 09.15/Pn/001
Mort : King Julien, wait for me! I'm all packed! I have a whole itinerary
planned!
King Julien : Oh, no! It's Mort! He's so annoying Don't let him on. Stop that
thing! He's carrying scissors and hand cream!
King Julien, together with all New York zoo inhabitants intended to get on the plane that left for New York. Suddenly, one of Madagascar citizen, Mort, came and insisted to join the flight. King Julien , however, disapproved him to
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join the flight as Mort was considered as an irritating fellow. King Julien tried to
stop Mort to join the flight by shouted out loud “He's carrying scissors and hand
cream!”
The visual of the movie showed that King Julien shouted out the sentence with terrified expression as if Mort was carrying gun and bomb or another dangerous weapon, while Mort was actually only carrying a suitcase. Though the words “scissors and hand cream” and “gun and bomb” are not closely similar in phonetic or orthographical level, the tone and face expression when King Julien uttered the sentence highlighted the panic of King Julien when Mort intended to join the flight as if he had carried dangerous weapon. Therefore the expressions “scissors and hand cream” is considered as paronymy.
Datum number 12.08/Pn/002.
Gloria : Yeah, dating.
Melman : Other... other guys?
Gloria : What do you mean other guys?
Melman : Darn it!
Melman was trapped in a conversation which forced him to reveal his
feeling toward Gloria. To avoid this, Melman tried to distract his friends’ attention
by asking about the beverage service that seems to take so long to arrive. To
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The movie “Madagascar II” is categorized as an animation family movie in which the movie accommodates entertainment for all family members. The
movie, however, has several swearing words in the dialogue such as “Shit!”,
“Damn it”, and so forth. Therefore, to make the dialogue more child friendly,
those swearing words are changed into less explicit expression such as “sit” for
“shit”, “darn it” for “damn it”, and so forth. In the dialogue, the swearing word “damn” is said twice, and both swearing are changed into “darn”. The words “darn” and “damn” are similar in phonetic level. The difference lies only on /α:n/ as the end sound of “darn”, and /æm/ as the end sound of “damn”. Consequently, the word “darn” is considered as paronymy.
Datum number 12.42/Pn/003.
King Julien : In-flight slave.
Private : Can I help you, Mr. Mankiewicz?
King Julien : Bring my nuts on a silver platter.
Melman : We were checking on our drink order.
King Julien was enjoying a movie in his first class cabin when Melman came in to ask about the drink order. A few second afterward, Private showed up to ask what service he could gave to them. King Julien permitted Private to get in to the cabin by saying “In-flight slave” and addressed Private as “flight slave”
instead of “steward” to highlight his superior position compared to other
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Generally, every airway has its flight attendants; steward for male attendant, and stewardess for female attendant. In his plane, King Julien did not
address the attendant “steward” or “stewardess” but he called them a “flight
slave” . It can be inferred from the dialogue that King Julien is a character who considers that class segregation still exists. As a king, he surely sits on the highest class or society rank. Therefore, he considers himself as the noblest person in the society, and at the same time, he looks down on other people who have lower social class. His way of thinking explains how he changes the way he names a flight attendant into a flight slave. The word attendant and slave share similar meaning, which is someone who helps other people in doing specific thing. However, the word slave highlights more on class segregation, to show that the
person holds a low social class. Therefore, the compound noun “flight slave” is
considered as a paronymy.
Datum number 43.40/Pn/020.
Elephant: Don't ask.
Melman: Someone's been knotty. This won't hurt a bit.
Melman, the new witch doctor, was seen in the scene to help to cure the animals around him. One of them was the elephant who was in trouble for his trunk gets tangled. With an upset expression, the elephant tried to prevent Melman from giving any comment upon his condition. Seeing the elephant, however,
Melman gave comment “Someone’s been knotty”. Melman showed teasing
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The scene when Melman said the word “knotty” shows Melman’s teasing
expression. In relation to the visual aspect, the word “knottty”, which is uttered by
Melman when he saw the condition of the elephant’s trunk, actually refers to two
different meanings. The first is the actual meaning of the word heard, “knotty”, in
which referring to Webster’s Dictionary& Thesaurus means something is in a
messy or tangled condition (p.208). The second meaning refers to “naughty”
which has similar pronunciation to the word “knotty”. The way the word “knotty” and “naughty” pronounced is merely similar. The word “knotty” is pronounced /noti/, and “naughty” is pronounced /n t’i/. Therefore, the word “knotty” is considered as paronymy.
The tendency reveals that throughout the dialogue paronymy is used not only to give humorous effect but also to conceal harsh swearing words to develop the atmosphere of child friendly movie. There are 9 of 32 data or 39% of all paronymy data which confirm that the data show the similarity of the linguistic structures in phonetic or orthographical level of swearing words. The data are datum number 12.08/Pn/002; 14.34/Pn/005; 16.07/Pn/006; 17.34/Pn/007;
36.04/Pn/012; 37.04/Pn/013; 47.31/Pn/021; 01.05.58/Pn/022; and
01.10.58/Pn/023.
Not only does paronymy exploit similarity of linguistic structures in phonetic or orthographical levels, but it deals with other aspects especially cultural issues. Cultural related issues which can lead to the exploitation of paronymy are word, phrase or sentence which refer to native cultural specific
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terms or issue, saying in the source language; and specific group or event in the native country.
The example of paronymy puns which is derived from cultural specific terms is datum number 41.55/Pn/019.
Makunga: As your new leader, I hereby banish Alakay! He shall wear this Hat of Shame...
...and leave the watering hole for a thousand years, or life!
In the watering hole area, the animals had a tradition that when an animal lost in the fight of the rite passage ceremony, he or she would not be accepted in the community and had to leave the area. Makunga uttered the expression to banish Alakay from the animal reservation as Alakay was lost in the battle against Teetsi.
The pun “Hat of Shame” is drawn from “Hall of Fame”, a very famous spot in Hollywood where great actors and actresses with great achievement can put their name on it. The pun “Hat of Shame” and its original phrase “Hall of
Fame” have similar sound but they have different meanings. “Hall of Fame”
symbolizes a success or an achievement, while the pun “Hat of Shame” represents the penalty for someone’s lost or failure. Therefore, the pun is considered as paronymy.
The example of paronymy puns which refer to sayings in the source language is datum number46.50/Pn/024.
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Melman : Don't worry, you can flirt around with Mr. Hot Pants after I'm
gone
Gloria : Melman, why am I the parade and you're the rain?
Melman : Why are you driving your parade under my rain?
Gloria : Maybe I'll parade in another part of town!
Melman said the sentence because he felt disappointed as Gloria was going to have a date with Moto-moto while he was dying from the witch doctor illness. At the same time, Melman also felt jealous for actually he had a crush to
Gloria. On the other hand, Gloria was annoyed by Melman’s utterance. Gloria
thought that all of his friends, including Melman, should have felt happy for her. Those reasons made Melman and Gloria got involved in a conflict.
The sentence “Maybe I'll parade in another part of town!” is the continuance of the previous sentence “Melman, why am I the parade and you're
the rain?” which is drawn from the saying “To parade under someone’s rain.” The
similarity of the sentence “Maybe I'll parade in another part of town!” to the
saying, lays on the words „parade’. Though the similarity only lays on one word,
the audience can recognize the similarity as the previous sentences between Melman and Gloria also contain puns which are derived from the saying. Therefore, the sentence “Maybe I'll parade in another part of town!” can be classified into paronymy.
The example of paronymy puns which refers to specific group or event in the native country is datum number 30.23/Pn/011.
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Tourist : You are one tough cookie.
Nana : Brownies Troop 416, Yonkers.
In the first sequel of Madagascar, Nana had a fight with Alex and beat
him up. In this second sequel, Nana met Alex and beat him up once more. The tourists who saw it were amazed and admired her courage and spirit in fighting against Alex, considering that she was a senior citizen and Alex was a young and
strong lion. The tourist gave compliment by saying “You are one tough cookie.”,
and Nana explained that she became a tough woman since in her young ages she joined the brownies troop community.
The sentence spoken by Nana “Brownies Troop 416, Yonkers.” is drawn from the name of a very famous Boy Scout community namely Boy Scout America 416 or known as Boy Scout Troop 416. Troop 416 was formed in 2000 to serve the community with road cleanups, food drives, and various other
activities (www.bsa416.org). As the result, the sentence “Brownies Troop 416,
Yonkers” can be categorized as paronymy pun.
Several paronymy puns in the movie dialogue are derived from the previous dialogue. They occurs when the previous dialogue of one character are being misheard by another character in the movie. The examples are data number 16.45/Pn/007, and 01:12:47/Pn/028.
Datum number 16.45/Pn/007.
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Skipper: Grit, spit and a whole lot of duct tape. We should be up and running in, say, six to nine months.
Alex : Sixty-nine months?! Skipper: No, six to nine months.
The visual of the movie showed a scene where Alex was wondering how long the penguin would repair the plane after the plane had crash landing.
Therefore, Skipper said “We should be up and running in, say, six to nine
months.” However, as Alex got panic, he misheard Skipper’s sentence. To confirm what he had heard, he uttered “Sixty-nine months?!”
In the movie, the scene showed that Alex was in panic as he wanted to go home to New York while the plane had crash landing in a place which is certainly not New York. As he got panic, he was not fully engaged to the conversation and
misheard what Skipper said. When Skipper said “six to”, Alex thought that it was
“sixty”. The pronunciation of “six to” is similar to the pronunciation of “sixty” however, the words six to and sixty have totally different meanings. Therefore, the pun can be categorized as paronymy.
Datum number 01:12:47/Pn/028.
Alex: she’s got a gun! Get out while we can! Pass it on!
Monkey: He said let's have some fun and take out the dam.
Marty: Skipper! Alex wants to take out the dam.
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The scene showed that Alex was trying to get away from the dam and Nana, who intended to cook him into a lion casserole. His friends came to rescue him by throwing down a bucket which was tied to an airplane, where he could get on to, yet he was trapped in the bucket. Therefore, Alex tried to give instructions to take them away from that place by saying “She’s got a gun”. However, what he
has said was misheard by the monkeys into “Let’s have some fun”. As a
consequence, his friends who are on the plane got the wrong message and took a wrong action.
By saying the sentence “She’s got a gun”, Alex tried to warn everyone that
Nana was holding a weapon. Alex was in the bucket, and the monkeys tried to help passing the message to his friends on the airplane. What Alex has said was
misheard by the monkeys so that they said “Let’s have some fun” instead of
“She’s got a gun”. Though not identical, the two sentences are similar in their pronunciation. Therefore, the pun can be classified as paronymy.
Below is a table which lists down the paronymy found in the dialogue.
Table 4. 2. Paronymy Puns
No No of Data Data
1. 09.15/Pn/001 King Julien:
He's carrying scissors and hand cream! 2. 12.08/Pn/002 Melman:
Darn it! 3. 12.42/Pn/003 King Julien:
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commit to user 4. 13.38/Pn/004 Skipper;
Don't look, doll. This might get hairy. 5. 14.34/Pn/005 Marty:
- The horror! 6. 16.07/Pn/006 Gloria:
What in the world?
7. 16.45/Pn/007 Alex:
Sixty-nine months?!
8. 17.34/Pn/008 Gloria:
How in the hell-o will they fix this plane?! 9. 25.40/Pn/009 Marty:
- It's one for all... Zebra herd:
- And all for all, y'all! 10. 28.32/Pn/010 Skipper:
Operation Tourist Trap is a go. 11. 30.23/Pn/011 Nana:
Brownies Troop 416, Yonkers. 12. 30.35/Pn/012 Nana:
I'm too old to die.
13. 35.39/Pn/013 Mort:
No, shark, no! Sit!
14. 35.53/Pn/014 Kowalski:
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commit to user 15. 36.04/Pn/015 Kowalski:
Darn you, Darwin! 16. 37.04/Pn/016 Monkey:
All right, but you're so darn ugly. 17. 37.14/Pn/017 Alex:
Remember, little cub scouts, 18. 39.26/Pn/018 Alex:
Come on, little tsetse fly. 19. 41.55/Pn/019 Makunga:
He shall wear this Hat of Shame...
20. 43.40/Pn/020 Someone's been knotty.
21. 46.07/Pn/021 Alex:
It is lackin' in the crackin', my friend. 22. 46.50/Pn/022 Gloria:
Melman, why am I the parade and you're the rain? 23. 46.50/Pn/023 Melman:
Why are you driving your parade under my rain? 24. 46.50/Pn/024 Gloria:
Maybe I'll parade in another part of town! 25. 47.31/Pn/025 Marty:
What the heck is going on? 26. 01.05.58/Pn/026 Marty:
Oh, snap! I just used my last stick this morning! 27. 01.10.58/Pn/027 Tourist guide:
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28. 01:12:47/Pn/028 Monkey:
He said let's have some fun and take out the dam.
29. 01:12:47/Pn/029 Monkey:
Basset hound.
30. 01:13:45/Pn/030 Monkey:
They say no pull up. Kill us.
31. 01:13:45/Pn/031 Monkey:
There's no other way.
32. 01:13:45/Pn/032 Monkey:
Basset hound.
b. Homonymy
It is mentioned in the second chapter that Routledge Dictionary of Language and Linguistics defines homonymy as a type of lexical ambiguity involving two or more different words (Bussman, 1996:210). Schroter also delivers a definition that homonymy is the relationship between two (or more) linguistics structures that are formally identical, both in spelling and sound, but have divergent meanings (2005:168).
There are 5 numbers or 12,5% of all data found in the movie which can be classified as homonymy. Homonymy is employed throughout the dialogue to add
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a humorous atmosphere to the movie. Following are the examples that show the application of homonymy in the dialogue. The puns are underlined.
Datum number 11.32/Hn/001.
Alex: It was incredible. I think it'll seem more fun the further we are from it.
Marty: Like when you bit me on the butt?
Alex: I'm gonna take that thing you're holding onto and use it onstage. It's all part of my little actor's salad bar of emotional tidbits.
Marty: Are the butts next to the croutons?
Alex and Marty were discussing a situation where Alex got crazy because
of his hunger and bit Marty’s butt. The scene referred to the first sequel of
Madagascar in which the visual showed that Alex was terribly hungry and had a
hallucination that Marty’s butt was a fresh meat steak. Therefore, Alex bit Marty’s
butt. Marty tried to remind Alex to this moment in a cynical way. When Alex
said “It’s all part of my little actor’s salad bar of emotional tidbits”, Marty replied
it “Are the butts next to the croutons?”
Alex intended to cover his action in the past by saying that when he bit Marty’s butt he was just acting to do so. However, Marty disbelieved him, and in
a cynical way he said “Are the butts next to the croutons?” as the reply of Alex’s
sentence “It’s all part of my little actor’s salad barof emotional tidbits”. In saying
the sentence, Alex defined actor’s salad bar as a skill to act in various character in
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method a punning phrase may retains all the initial senses (selective non-pun), or a non-punning phrase renders only one of the pertinent senses (selective non-pun), or diffuse paraphrase or a combination of the above. “ (1996:134). On the other hand, the translator fails in producing the same humorous effect in the translation.
Another technique which is applied in the movie dialogue translation is pun rendered as zero pun. The application of this technique indicates that SL pun do not have an equivalence in TL (Delabatista, 1996:134). By applying this technique, the translator can simply omit the pun. The application of this technique should not change the whole meaning of the dialogue. In this research, however, the analysis result shows that the application of this strategy results in inaccurate translation.
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CHAPTER V
CONCLUSION AND SUGGESTION
The last chapter of this thesis presents the conclusions of the research and suggestions in relation to puns translation in a movie dialogue into subtitle text.
A. Conclusion
Throughout the research activity which is presented in the fourth chapter, the researcher is able to draw these following conclusions:
1. The analysis on types of pun in the dialogue of the animation movie
Madagascar II Escape to Africa shows that there are three types of puns; they are paronymy, homonymy, and polisemy pun. Paronymy puns dominate the dialogue with 32 data or 80% of all 40 data. The next dominating pun is homonymy puns which amounts 5 data or 12,5% of all 40 data. The least dominant pun is polysemy puns which amounts only 3 data or 7,5% of all 40 data. The interesting finding is that paronymy is exploited throughout the movie to create a funny and more child friendly atmosphere by concealing harsh swearing words and slip them into jokes.
2. The analysis on translation techniques shows that there are two techniques used namely pun rendered as non pun and pun rendered as zero pun. Among the puns that are rendered as non pun, 30 puns or 75% are paronymy puns, 3 puns or 7,5% are polysemy puns, and 4 puns or 10% are homonymy puns. Among the puns that are rendered as zero pun, 2 puns or 5% are paronymy puns and 1 pun or 2,5% is homonymy pun.
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3. The analysis on the translation accuracy level shows that 35 translations (87,5%) are considered to be less accurate and 5 translations (12,5%) are considered as inaccurate. Among the less accurate translations, 34 translations or 85% of them are resulted from pun rendered as non pun technique and 1 translation or 2,5% is resulted from pun rendered as zero pun technique. Among the inaccurate translation, 4 translations or 10% are resulted from pun rendered as non pun technique, and 1 translations or 2,5% is resulted from pun rendered as zero pun technique. The analysis also shows that none of the translations are considered to be accurate.
B. Suggestion
Based on the findings and the experience in conducting the research, the researcher can give suggestions to students, translators, and other researchers. 1. Students
The students are suggested not only to enjoy but also to study humor in order to have a better understanding upon translation in general, and particularly pun translation into subtitle text.
2. Translator
It is advised that the translator pays more attention on the occurrence of pun in comedy movies. Furthermore, the translator should be more aware of the characteristics of the pun as each type of pun needs specific translation
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technique. The result of the analysis shows that most puns in the movie dialogue are literally translated. To some extent, it indicates that the translator is not aware at the existence of puns in the movie dialogue,
3. Other researchers are suggested to know the characteristics of different type of puns so the pun can be analyzed thoroughly. As the result, they can share more reliable information about puns to students and other researchers.
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BIBLIOGRAPHY
Baker, M. (1992). In other words: A course book on translation. London: Sage Publication.
Baker, M. (2000). Routledge encyclopedia of translation studies. London: Routledge Bassnett, S.(1991). Translation studies. London: Routledge.
Bussman, H. (1996). Routledge encyclopedia of language and linguistic. New York: Routledge.
Cambridge Advanced Learner’s Dictionary. (2008). 3rd ed. Cambridge: Cambridge University
Press.
Delabatista, D. (1996). Traductio: Essays on punning and translation. United Kingdom: St. Jerome Publishing.
Gottlieb, H. (1994). Subtitling People Translating People. In Dollerup, Cay, and Annette Lindegaard (eds). Teaching translation and interpreting II: Insights, aims, visions.
Amsterdam: Benjamins.
Hervey, S & Higgins, I. (1995). Thinking spanish translation. London: Routledge.
Larson, M. L. (1984). Meaning-based translation: A guide to cross language acquisition. USA: University Press of America Inc.
Nida, E & Taber, Chr, E. (1996). The theory and practice of translation. Leiden: E. J. Brill. Shuttleworth, M, & Cowie, M. (1997). Dictionary of translation studies. Manchester: St. Jerome
Publishing.
Simatupang, M. D. S. (2000). Pengantar teori terjemahan. Jakarta: Direktorat Jenderal Pendidikan Tinggi Depdiknas.
Schroter, T. (2005). Shun the pun, rescue the rhyme?- The dubbing and subtitling of language play in film (dissertation). Sweden: Universitetstryckiet. (online) Available at
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http://wwwdiva-portal.org/diva/getDocument?urn_nbn_se_kau_diva-704-1fulltext.pdf
Spanakaki, K. (2007). Translating humor for subtitling. (online) Available at: URL: http://wwwtranslationjournal.net/journal/40humor.htm
Webster’s Dictionary and Thesaurus. (2001). Scotland: Geddes& Grosset.
Newmark, P. (1998). A textbook of translation. New York: Prentice hall. http://en.wikipedia.org/wiki/Timeline_of_United_States_military_operations http://www.rottentomatoes.com/m/madagascar_escape_2_africa/
http://www.bsa416.org/
http://chicagotribune.com/topic/entertainment/movies/madagascar%3A-escape-2-africa-%28movie%29-ENMV000003255.topic