Indonesian translation of Agatha Christie`s book titles: the study of equivalence, translation techniques, and title writing techniques applied.

KRISTIA, ANDIRA. Indonesian Translation of Agatha Christie’s Book Titles: the Study of Equivalence, Translation Techniques, and Title Writing Techniques Applied. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2016.

This undergraduate thesis is about the equivalence, translation techniques, and title writing techniques of Agatha Christie’s books which are translated into Indonesian. Equivalence and translation techniques are considered as important things in translation studies because the comparison of texts in different languages necessarily involved theory of equivalence and what translation techniques that are being used. Moreover, the writer related the equivalence and translation techniques with the title writing techniques used to write the Indonesian book titles in order to deepen this analysis on translation.

There were three research objectives of this thesis. Firstly, this thesis analyzed the equivalence of Indonesian translation of Agatha Christie’s book titles. Secondly, the thesis examined what translation techniques used by the translators in translating the book titles. Thirdly, after the equivalence and translation techniques used are founded, the writer analyzed the techniques used by the translator to write Agatha Christie’s Indonesian book titles.

The method applied for this thesis is library research. The theories needed for this thesis were taken from various books in the field of translation studies. Thus, the theories used in this thesis are based on the theories from the experts of each field, such as Nida, Molina and Albir, and Putra.

In the analysis result, there are three findings of this thesis. Firstly, formal equivalence is mostly used by the translator to translate the book titles. There are 19 translations considered as formal equivalence and 14 translations considered as dynamic equivalence. Secondly, the translation technique that is mostly used by the translator is literal translation. There are 22 translations that used this technique. Thirdly, the title writing technique that is mostly used by the translator is the essence of the story. There are 17 translations that used this technique. Furthermore, there is a pattern emerging from the analysis of the third objectives above. Almost all Agatha Christie’s book titles which are categorized as formal equivalence are translated using literal translation. Thus, the title writing technique that is used mostly is the essence of the story. This is relevant with the characteristic of formal equivalence that tries to remain as close to the original text as possible. The book titles which are considered as dynamic equivalence are translated using discursive creation. Hence, the title writing technique that is used mostly is symbolic. This is relevant with the characteristic of dynamic equivalence that sometimes does not necessarily use the exact phrasing or idioms of the original, yet still convey the same meaning.

KRISTIA, ANDIRA. Indonesian Translation of Agatha Christie’s Book Titles: the Study of Equivalence, Translation Techniques, and Title Writing Techniques Applied. Yogyakarta: Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2016.

Skripsi ini membahas tentang kesepadanan, teknik penerjemahan, dan teknik penulisan judul pada buku Agatha Christie yang diterjemahkan ke dalam bahasa Indonesia. Kesepadanan dan teknik penerjemahan termasuk hal penting dalam studi penerjemahan karena perbandingan teks dalam bahasa yang berbeda tentu melibatkan teori kesepadanan dan teknik penerjemahan yang digunakan. Selain itu, penulis mengaitkan kesepadanan dan teknik penerjemahan dengan teknik penulisan judul yang digunakan untuk menulis judul buku dalam Bahasa Indonesia untuk memperdalam analisis ini terkait penerjemahan.

Terdapat tiga tujuan penelitian yang di analisa dalam skripsi ini. Pertama, analisis kesepadanan terjemahan bahasa Indonesia dari judul buku Agatha Christie. Kedua, analisis teknik penerjemahan apa yang digunakan oleh penerjemah dalam menerjemahkan judul buku. Ketiga, setelah kesepadanan dan teknik penerjemahan telah dianalisa, penulis menganalisa teknik yang digunakan oleh penerjemah untuk menulis judul buku Agatha Christie dalam Bahasa Indonesia.

Metode yang digunakan dalam skripsi ini adalah penelitian pustaka. Teori-teori yang dibutuhkan untuk skripsi ini diambil dari berbagai buku di bidang studi terjemahan. Dengan demikian, teori yang digunakan dalam skripsi ini berdasarkan pada teori-teori dari para ahli di bidangnya, seperti Nida, Molina dan Albir, dan Putra.

Hasil penelitian menunjukkan bahwa kesepadanan formal paling banyak digunakan oleh penerjemah untuk menerjemahkan judul buku. Ada 19 terjemahan yang termasuk kesepadanan formal dan 14 terjemahan yang termasuk kesepadanan dinamis. Teknik penerjemahan yang banyak digunakan oleh penerjemah adalah terjemahan harfiah. Ada 22 terjemahan yang menggunakan teknik ini. Teknik penulisan judul yang banyak digunakan oleh penerjemah adalah intisari cerita. Ada 17 terjemahan yang menggunakan teknik ini. Selain itu, ada pola yang muncul berdasarkan hasil ketiga penemuan di atas. Hampir semua judul buku Agatha Christie yang termasuk kesepadanan formal diterjemahkan menggunakan teknik terjemahan harfiah. Selain itu, teknik penulisan judul yang digunakan sebagian besar adalah intisari cerita. Hal ini relevan dengan karakteristik dari kesepadanan formal yang mencoba untuk menyerupai teks asli sedekat mungkin. Judul buku lainnya yang termasuk kesepadanan dinamis diterjemahkan menggunakan teknik kreasi diskursif. Oleh karena itu, teknik penulisan judul yang digunakan sebagian besar adalah simbolis. Hal ini relevan dengan karakteristik dari kesepadanan dinamis yang tidak menggunakan ungkapan atau idiom asli, namun masih menyampaikan makna yang sama.

INDONESIAN TRANSLATION OF AGATHA CHRISTIE’S

BOOK TITLES:

THE STUDY OF EQUIVALENCE, TRANSLATION

TECHNIQUES, AND TITLE WRITING TECHNIQUES APPLIED

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra

in English Letters

By

ANDIRA KRISTIA Student Number: 124214072

ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS SANATA DHARMA UNIVERSITY

YOGYAKARTA 2016

ii

INDONESIAN TRANSLATION OF AGATHA CHRISTIE’S

BOOK TITLES:

THE STUDY OF EQUIVALENCE, TRANSLATION

TECHNIQUES, AND TITLE WRITING TECHNIQUES APPLIED

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra

in English Letters

By

ANDIRA KRISTIA Student Number: 124214072

ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS SANATA DHARMA UNIVERSITY

YOGYAKARTA 2016

iv

ACKNOWLEDGEMENTS

First of all, I would like to thank Jesus Christ for His blessing on me during the whole process of this undergraduate thesis writing. He has always been besides me, holding me if I am about to fall and I am blessed because when things did not work as I expected, I know behind all of that He is working in my life and the result is amazing. I would also like to thank my advisor, Harris Hermansyah Setiajid, S.S., M.Hum., who has guided me in writing this thesis and to my co-advisor, Anna Fitriati, S.Pd., M.Hum., for every suggestion and correction which lead to the betterment of this thesis.

My deepest gratitude goes to my parents, my family, Desmond Anabrang and his family, for the unconditional love and support for me until I can finish this thesis. I am thankful for that and will cherish them for the rest of my life.

Last but not least, my heart goes to Yohana, Widya, Laksmi, Agatha, Fay, Dea, Sandra, Pieter, Alex, and all of my dearest friends whose names cannot be mentioned each. Thank you for the support, laughter, and happy memories until now.

v

TABLE OF CONTENTS

TITLE PAGE ... ii

APPROVAL PAGE ... iii

ACCEPTANCE PAGE ... iv

LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH ... v

STATEMENT OF ORIGINALITY ... vi

MOTTO PAGE ... vii

DEDICATION PAGE ... viii

ACKNOWLEDGEMENTS ... ix

TABLE OF CONTENTS ... x

LIST OF CHARTS ... xii

LIST OF TABLES ... xiii

ABSTRACT ... xiv

ABSTRAK ... xv

CHAPTER I: INTRODUCTION ... 1

A. Background of the Study ... 1

B. Problem Formulation ... 3

C. Objectives of the Study ... 4

D. Definition of Terms ... 4

CHAPTER II: REVIEW OF LITERATURE ... 6

A. Review of Related Studies ... 6

B. Review of Related Theories ... 7

1. Theories of Translation ... 7

2. Theories of Equivalence ... 9

3. Translation Techniques... 11

vi

C. Theoretical Framework... 18

CHAPTER III: METHODOLOGY ... 20

A. Areas of Research ... 20

B. Object of the Study ... 20

C. Method of the Study ... 21

D. Research Procedure ... 21

1. Types of Data... 21

2. Data Collection ... 22

3. Population and Sample ... 23

4. Data Analysis ... 23

CHAPTER IV: ANALYSIS ... 26

A. The Equivalence of Agatha Christie’s Book Titles ... 26

1. Formal Equivalence ... 28

2. Dynamic Equivalence ... 36

B. Translation Techniques Analysis of Agatha Christie’s Book Titles ... 43

a. Adaptation ... 44

b. Amplification ... 45

c. Borrowing ... 45

d. Discursive Creation ... 46

e. Literal Translation ... 47

f. Modulation ... 48

g. Particularization ... 48

h. Transposition ... 49

C. Title Writing Techniques Analysis of Agatha Christie’s Indonesian Book Titles ... 50

a. Combining the main character with a predicate ... 51

vii

c. Alias ... 52

d. The essence of the story... 53

CHAPTER V: CONCLUSION ... 54

BIBLIOGRAPHY ... 57

APPENDICES ... 59

Appendix 1: Data of Agatha Christie’s Book Titles………...59

Appendix 2: The Equivalence Analysis Result………...60

Appendix 3: The Translation Techniques Analysis Result……….62

Appendix 4: The Title Writing Technique Analysis Result………63

viii

LIST OF CHARTS

Chart 1. The Result of Equivalence in the Translation of Agatha Christie's Book Titles (in Percentage)……….………..……….27 Chart 2. The Result of Translation Techniques Analysis in Agatha Christie’s Book

Titles (in Percentage)………...43

Chart 3. The Result of Title Writing Techniques in Agatha Christie’s Indonesian Book

ix

LIST OF TABLES

Table 1. Comparison of Nida’s Formal and Dynamic Equivalence……….…..…9 Table 2. Comparison of Newmark’s Semantic and Communicative

Translation………..………...……....10

Table 3. Classification of Data……….22 Table 4. The Equivalence of Agatha Christie’s Indonesian Book Titles………..24 Table 5. The Translation Technique Used in Translating Agatha Christie’s Book Titles………...……….24 Table 6. The Technique Used to Write Indonesian Titles of Agatha Christie’s Books………...………25 Table 7. The Example of Formal Equivalence in the Translation of Agatha Christie’s Book Titles………..28 Table 8. The Example of Dynamic Equivalence in the Translation of Agatha Christie’s

x ABSTRACT

KRISTIA, ANDIRA. Indonesian Translation of Agatha Christie’s Book Titles: the Study of Equivalence, Translation Techniques, and Title Writing Techniques Applied. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2016.

This undergraduate thesis is about the equivalence, translation techniques, and title writing techniques of Agatha Christie’s books which are translated into Indonesian. Equivalence and translation techniques are considered as important things in translation studies because the comparison of texts in different languages necessarily involve those theories.

There were three research objectives of this thesis. Firstly, this thesis analyzed the equivalence of Indonesian translation of Agatha Christie’s book titles. Secondly, the thesis examined what translation techniques used by the translators in translating the book titles. Thirdly, after the equivalence and translation techniques used are founded, the writer analyzed the techniques used by the translator to write Agatha Christie’s Indonesian book titles in order to deepen this analysis on translation.

The method applied for this thesis is library research. The theories needed for this thesis were taken from various books in the field of translation studies. Thus, the theories used in this thesis are based on the theories from the experts of each field, such as Nida, Molina and Albir, and Putra.

The analysis result showed that formal equivalence is mostly used by the translator to translate the book titles. There are 19 translations considered as formal equivalence and 14 translations considered as dynamic equivalence. The translation technique mostly used by the translator is literal translation. There are 22 translations with this technique. The title writing technique that is mostly used by the translator is the essence of the story. There are 17 translations with this technique. Furthermore, there is a pattern emerging from the analysis of the third objectives above. The book titles which are categorized as formal equivalence are translated using literal translation. The title writing technique that is used mostly is the essence of the story. This is relevant with the characteristic of formal equivalence. The book titles which are considered as dynamic equivalence are translated using discursive creation. Hence, the title writing technique that is used mostly is symbolic. This is relevant with the characteristic of dynamic equivalence.

xi ABSTRAK

KRISTIA, ANDIRA. Indonesian Translation of Agatha Christie’s Book Titles: the Study of Equivalence, Translation Techniques, and Title Writing Techniques Applied. Yogyakarta: Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2016.

Skripsi ini membahas tentang kesepadanan, teknik penerjemahan, dan teknik penulisan judul pada buku Agatha Christie yang diterjemahkan ke dalam bahasa Indonesia. Kesepadanan dan teknik penerjemahan termasuk hal penting dalam studi penerjemahan karena perbandingan teks dalam bahasa yang berbeda tentu melibatkan teori-teori tersebut

Terdapat tiga tujuan penelitian yang dianalisis dalam skripsi ini. Pertama, analisis kesepadanan terjemahan bahasa Indonesia dari judul buku Agatha Christie. Kedua, analisis teknik penerjemahan apa yang digunakan oleh penerjemah dalam menerjemahkan judul buku. Ketiga, setelah kesepadanan dan teknik penerjemahan telah dianalisis, penulis menganalisis teknik yang digunakan oleh penerjemah untuk menulis judul buku Agatha Christie dalam Bahasa Indonesia untuk memperdalam analisis ini terkait penerjemahan.

Metode yang digunakan dalam skripsi ini adalah penelitian pustaka. Teori-teori yang dibutuhkan untuk skripsi ini diambil dari berbagai buku di bidang studi terjemahan. Dengan demikian, teori yang digunakan dalam skripsi ini berdasarkan pada teori-teori dari para ahli di bidangnya, seperti Nida, Molina dan Albir, dan Putra.

Hasil penelitian menunjukkan bahwa kesepadanan formal paling banyak digunakan oleh penerjemah untuk menerjemahkan judul buku. Ada 19 terjemahan yang termasuk kesepadanan formal dan 14 terjemahan yang termasuk kesepadanan dinamis. Teknik penerjemahan yang banyak digunakan oleh penerjemah adalah terjemahan harfiah. Ada 22 terjemahan yang menggunakan teknik ini. Teknik penulisan judul yang banyak digunakan oleh penerjemah adalah intisari cerita. Ada 17 terjemahan yang menggunakan teknik ini. Selain itu, ada pola yang muncul berdasarkan hasil ketiga penemuan di atas. Hampir semua judul buku Agatha Christie yang termasuk kesepadanan formal diterjemahkan menggunakan teknik terjemahan harfiah. Selain itu, teknik penulisan judul yang digunakan sebagian besar adalah intisari cerita. Hal ini relevan dengan karakteristik dari kesepadanan formal. Judul buku lainnya yang termasuk kesepadanan dinamis diterjemahkan menggunakan teknik kreasi diskursif. Oleh karena itu, teknik penulisan judul yang digunakan sebagian besar adalah simbolis. Hal ini relevan dengan karakteristik dari kesepadanan dinamis.

1 CHAPTER I INTRODUCTION

A. Background of the Study

Language is a tool used by human beings to communicate with each other. Human beings use language to transfer messages in everyday life. However, the problem is that not all people have the same mother tongue and a process is needed so that the messages in those different languages can be conveyed and understood. This process is defined as translation. Translation allows two people who have different languages to communicate with each other and share a message. Translation not only works in spoken language but also in written language.

In the context of written language, Newmark (1981:7) stated that “translation is a craft consisting in the attempt to replace a written message and/or statement in one language by the same message and/or statement in another language”. It can be concluded that translation is needed to reconstruct sentences, messages, and ideas from the source language to the target language. After the text has been translated, the next thing is to know whether the translated text is equivalent to the original text.

In translating a text, it is necessary to check whether the transferred messages from source language (SL) are equivalent to the target language (TL). Equivalence is one of the important things in translation studies because the comparison of texts in different languages necessarily involve a theory of

equivalence. This is in accordance with Nida’s statement that “the success of the translation depends above all on achieving equivalent response” (1964: 164). Hatim states that the term equivalence means “the closest possible approximation to ST meaning” (1990:8). This statement is clarified by the theory of equivalence proposed by Nida. According to Nida, there are two different types of equivalence, formal equivalence and dynamic equivalence (1964:159). Formal equivalence tries to remain as close to the original text as possible. This is much more of a word–to–word translation. Contrasted with that, dynamic equivalence involves taking each sentence from the original text and translating it into a sentence in the TL that conveys the same meaning, but does not necessarily use the exact phrasing or idioms of the original.

In this thesis, the writer did the research specifically on the translation of Agatha Christie’s books. Agatha Christie (1890-1976), a popular British author, is especially renowned for crime fiction and detective novels. The most popular fictional character that she created is Hercule Poirot. Hercule Poirot is a Belgian private detective that is characterized with moustache, perfectionism, and little gray cells. The writer used series of detective books by Agatha Christie with Hercule Poirot as the main character are the primary source of the data for this thesis.

Christie’s novels have been translated into various languages, for example Spanish, French, including Bahasa Indonesia. The translation sometimes affects the meaning of the title in the story. Some translated titles have no difference compared to the original titles, whereas some other titles are

3

translated farther from the original titles. The following are some examples that illustrate the differences occur after the translation of the book titles. One of Christie’s books, Taken at the Flood, is translated into Mengail di Air Keruh in Bahasa Indonesia. Mengail di Air Keruh holds literal meaning Fishing in the Turbid Water when it is translated literally in English. Another example is Evil Under the Sun which is translated into Pembunuhan di Teluk Pixy. Pembunuhan di Teluk Pixy holds literal meaning Murder in the Pixy Cove when it is translated literally in English. The differences in the translated titles raises the writer’s curiosity to examine whether the translation is equivalent and what translation techniques used by the translator in translating those titles. In this thesis, the writer focused on the equivalence between the SL title and the TL title. After analyzing the equivalence, it is also important to discover the translation technique used by the translator to translate the titles. By discovering the type of equivalence and the translation technique that are used, the writer deepens this thesis by analyzing the technique used to write the Indonesian titles. Moreover, the writer hopes this thesis can contribute to the study of translation, especially the translation of the book titles for other researchers who discuss topic related to this thesis.

B. Problem Formulation

There are three problems that must be solved in this research:

1. How are the equivalence level of Indonesian translated book titles in the Agatha Christie’s books?

2. What translation techniques have been used to translate Agatha Christie’s book titles?

3. What techniques are used by the translator to write Agatha Christie’s Indonesian book titles?

C. Objectives of the Study

There were three objectives of this thesis. Firstly, this thesis analyzed the equivalence of Indonesian translation of Agatha Christie’s book titles. Secondly, the thesis examined what translation techniques used by the translators in translating the book titles. Thirdly, after the equivalence and translation techniques used are founded, the writer deepened the analysis on this thesis by analyzing the techniques used by the translator to write Agatha Christie’s Indonesian book titles.

D. Definition of Terms

Some explanation of the terms used in this thesis will be given in the following passage:

Translation. According to Catford (1965:20), translation may be defined as “the replacement of textual material in one language (SL) by equivalent textual material in another language (TL).” It is the process of replacing word or sentence in one language into another language with the same meaning.

5

Equivalence. Hatim states that the term equivalence means “the closest possible approximation to ST meaning” (1990:8). It means equivalence would be achieved if the message contained in the ST can be transferred to the TT even if the words used are different.

Translation Techniques. Molina and Albir define translation techniques as “procedures to analyze and classify how translation equivalence works.” (2002:509). Thus, technique of translation can be defined as the way used to translate smaller units of language (words, phrases, or expressions) from the source language into the target.

Titles. The word title is defined as the name of a book, poem, painting, piece of music, and other artistic works (Oxford, 2010:1569). Furthermore, book titles in this thesis are represented by certain words, idioms, or phrases. Book title is sometimes referred as a 'window' to see the big picture of the story inside the book.

6 CHAPTER II

REVIEW OF LITERATURE

This chapter provides the previous studies that have been done by other researchers on similar topics and reviews on theories that applied in this thesis. The previous studies with similar topics to this thesis are taken from Dyahpramesti’s and Violine’s. Each study is reviewed in order to find the similarities and the differences in doing this thesis. The theories which are going to be used in this thesis also be reviewed and discussed in order to find the solid ground on which this thesis is carried on.

A. Review of Related Studies

1. Dyahpramesti’s thesis “The Translation of English Fictional Book Titles Into Indonesian Contexts: A Functionalist Approach”

This undergraduate thesis discusses the equivalence and acceptability of several English fictional books which are translated into Indonesian. The equivalence is analyzed by using the functionalist approach as the main theory, along with the assessment of communicative effectiveness theory. The data for this thesis are taken from books which have thriller or romance genre.

The focus of this present thesis is different from Dyahpramesti’s in a way that it observes the equivalence using the functionalist approach while this thesis focuses on the equivalence based on Nida’s formal and dynamic

equivalence. Besides, this thesis also examines the techniques used to write the Indonesian titles and translation techniques used by the translator.

2. Violine’s journal “Translating Titles of Novels: Why and How We (Don't) Translate Them”

This journal is written by a professional translator. This journal discusses the translation of novels’ titles. The purpose of this journal is to explain why translators do or do not translate novels’ titles and how they translate them. Violine also emphasizes on the title's connotative meaning and the reader's response.

This present thesis is different from Violine’s in several aspects, although it is similar in dealing with the translation of novels’ titles. While Violine’s only focuses on the translation of the titles, including equivalence, this present thesis also analyzes the techniques used by the translator to write the Indonesian titles of Agatha Christie’s books.

B. Review of Related Theories 1. Theories of Translation

The first definition of translation according to Newmark is “translation is a craft consisting in the attempt to replace a written message and/or statement in one language by the same message and/or statement in another language.” (1981:7). Here, according to Newmark, translation is an action to replace the SL with the TL, but still conveys the same message or

meaning. The reader will still get the message even though the language of the original text is changing.

Newmark’s theory is supported by Catford who states that translation is “the replacement of textual material in one language by equivalent textual material in another language.” (Catford, 1965: 20). According to Catford, translation is the replacement of the text from SL into TL. This is similar to Newmark’s that also defines translation as a process ‘to replace’. However, Catford does not explain whether the textual material should be in written language or not. Thus, the translation could have been derived from the written or spoken language.

Meanwhile, Nida and Taber state that “translating consists of reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style.” (1974: 14). Unlike Newmark, Catford along with Nida and Taber consider equivalency in their definition. Here, Nida and Taber are more interested in the process of translation, which is looking for a natural matching as closely as possible so that the message of the original text can be conveyed.

From the definitions mentioned above, the writer could see their similarities. The first similarity is that there is a change from one language to another language. Second, the meanings or messages are retained. Third, it is

an obligation for the translator to find the equivalent word in the target language as close as possible to the original text.

2. Theories of Equivalence

Nida states that “There are fundamentally two different types of equivalence: one which may be called formal and another which is primarily dynamic.” (1964: 159). In further discussion, Nida and Taber (1974: 22) define formal equivalence as “a quality of translation in which the features of the form of the source text have been mechanically reproduced in the receptor language”. In brief, formal equivalence tries to remain as close to the original text as possible. This is much more of a word–to–word translation.

Contrasted with that, Nida and Taber state that dynamic equivalence is “a quality of translation in which the message of the original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptors” (1974: 23). Dynamic equivalence sometimes does not necessarily use the exact phrasing or idioms of the original. The difference between formal and dynamic equivalence can be summarized in table as follows:

Table 1. Comparison of Nida’s Formal and Dynamic Equivalence Formal Equivalence Dynamic Equivalence Closest possible match of lexical,

grammatical, or structural form between SL and TL

Closest natural equivalent between SL and TL

Formal Equivalence Dynamic Equivalence Focus on the form of the message Focus on the response of the

message for TR – in order to be essentially like the SR

The goal is to reproduce the same meaning

The goal is to reproduce the same response

Meanwhile, Nida’s formal and dynamic equivalence are similar with Newmark’s semantic and communicative translation. According to Newmark, semantic translation attempts to render, as closely as the semantic and syntactic structures of the second language allow, the exact contextual meaning of the original (1981:39). It means, semantic translation tries to maintain the structure of the text so that the structure in the target text would be as closely as possible with the original text.

On the other hand, communicative translation attempts to render the exact contextual meaning of the original in such a way that both content and language are readily acceptable and comprehensible to the readership (1981:40). Hence, the translator thoughts and ideas are sometimes involves in this kind of translation because the translator is trying to achieve a certain effect or response from the reader in the target language. The difference between semantic and communicative translation can be summarized in table as follows:

Table 2. Comparison of Newmark’s Semantic and Communicative Translation

Semantic Translation Communicative Translation Written at author’s linguistic level Written at reader’s linguistic level Used for expressive texts, e.g.

autobiography, political statement

Used for informative texts, e.g. non-literary writin, popular fiction

Semantic Translation Communicative Translation Every word translated represents

some loss of meaning

The same words similarly translated lose no meaning at all

Translator’s thoughts and ideas are not involved in translating a text

Translator’s thoughts and ideas are involved in translating a text

From the explanation above, the writer noted several similarities of the theories as stated by Nida’s and Newmark’s. Both Nida and Newmark mention about the form of the message, both semantic and structural form, which should be as closely as possible with the original text. Moreover, dynamic equivalence and communicative translation also have basic similarity, to produce a good translation of text and easily understood by the reader.

3. Translation Techniques

Molina and Albir (2002:509) define translation techniques as procedures to analyze and classify how translation equivalence works. Therefore, method, strategies and techniques need to be distinguished since they are essentially different categories. Strategies and methods are part of the process, while techniques affect the result (Molina and Albir, 2002:507-508). Thus, translation techniques can be used to translate smaller units of language (words, phrases, or expressions) from the SL into the TL. A technique is the result of a choice made by a translator, its validity will depend on various questions related to the context, the purpose of the translation, audience expectations, and others (Molina and Albir, 2002:509).

In this research, to find out and analyze the translation techniques applied by the translator in the translation of Agatha Christie’s book titles, the writer uses the theory of translation techniques by Molina and Albir (2002: 509-511) as described below along with their examples taken from Kardimin (2013: 206-210):

a. Adaptation

The purpose of this technique is to replace a Source Text cultural element with one from the Target Text culture.

SL : How’s Jefry?

TL : Bagaimana kabar Jefry? b. Amplification

The purpose of this technique is to introduce details that are not formulated in the ST: information, explicative paraphrasing. Amplification is in opposition to reduction.

SL : There were some Texans attending the conference TL : Beberapa warga negara bagian Texas ikut menghadiri

konferensi itu c. Borrowing

The purpose of this technique is to take a word or expression straight from another language. It can be pure (without any change) or it can be naturalized (to fit the spelling rules in the TL).

i. Pure Borrowing SL : Operator TL : Operator

ii. Naturalized Borrowing SL : Polyjuice

TL : Polijus d. Calque

The purpose of this technique is to translate a foreign word or phrase literally that is common to the TL.

SL : Interest Rate

TL : Tingkat Suku Bunga e. Compensation

The purpose of this technique is to introduce a ST element of information or stylistic effect in another place in the TT because it cannot be reflected in the same place as in the ST.

SL : A pair of scissors TL : Sebuah gunting f. Description

The purpose of this technique is to replace term or expression with a description of its form or/and function.

SL : Panettone

TL : Kue tradisional Italia yang dikonsumsi saat Malam Tahun Baru g. Discursive Creation

The purpose of this technique is to establish a temporary equivalence that is totally unpredictable out of context.

SL : And Then There Were None TL : Sepuluh Orang Negro h. Established Equivalent

The purpose of this technique is to use a term or expression that is recognized (by dictionaries or language in use) as an equivalent in the TL.

SL : Great Britain TL : Britania Raya i. Generalization

The purpose of this technique is to use a more general or neutral term. It is in opposition to particularization (Molina and Albir, 2002:510).

SL : Flat TL : Apartemen j. Literal Translation

The purpose of this technique is to translate word or an expression word for word. Molina and Albir state that their theory of literal translation corresponds to Nida’s formal equivalence; when form coincides with

function and meaning (2002:510) SL : I will ring you

TL : Saya akan menelepon Anda k. Modulation

The purpose of this technique is to change the point of view, focus or cognitive category in relation to the ST; it can be lexical or structural.

SL : I cut my finger TL : Jariku teriris l. Particularization

The purpose of this technique is to use a more precise or concrete term. It is in opposition to generalization (Molina and Albir, 2002:510).

SL : Rice

TL : Padi, gabah, beras, or nasi m. Reduction

The purpose of this technique is to suppress a ST information item in the TT. It is in opposition to amplification (Molina and Albir, 2002:510).

SL : The month of fasting TL : Ramadhan

n. Substitution

The purpose of this technique is to change linguistic elements for paralinguistic elements (intonation, gestures) or vice versa. It is used above all in interpreting.

SL : The both Japanese bows each other

TL : Kedua orang Jepang itu saling memberikan salam o. Transposition

The purpose of this technique is to change a grammatical category and sentence structure in order to obtain the correct translation.

SL : She was unconscious when she arrived at the hospital

TL : Setibanya di rumah sakit, dia sudah dalam keadaan tidak sadar p. Variation

The purpose of this technique is to change linguistic or paralinguistic elements (intonation, gestures) that affect aspects of linguistic variation: changes of textual tone, style, social dialect, geographical dialect, etc. to introduce or change dialectal indicators for characters when translating for the theater, changes in tone when adapting novels for children.

SL : “He’ll never get to sleep with all this din,” said Ma Lion

4. Title Writing Techniques

Putra (2010:170) states that “interesting titles are required to attract the attention and interest of the reader”. The function of the title is to draw attention and to raise the reader’s curiosity at the same time. The making of the title is not begin at the beginning, before writing the content of the story. The title is made at the end, after the story has been created. Thus, the title can summarize the contents of the overall story and symbolizes the content of the story.

Putra proposes six techniques to write an interesting title: a. Taking the main character's name

Author can just take the name of the character that is written in the story. The example can be seen below:

- Ayu Utami: Saman

- J.K. Rowling: Harry Potter

b. Combining the main character with a predicate

One of the techniques is to create compelling titles that combine the main character's name with a predicate or a pattern of who + why. The example can be seen below:

- Teguh Esha: Ali Topan Anak Jalanan c. Symbolic

The title symbolizes the essence of the story. The example can be seen below:

- Badai Pasti Berlalu - Pelabuhan Hati d. Alias

While similar to symbolic, a technique called "alias" is very special. It is named so because it is a nickname or epithet addressing the main character. The example can be seen below:

- Sang Nabi or The Prophet is the epithet. This epithet is considered very suitable, strong character, and chosen by Kahlil Gibran for his novel. e. The essence of the story

An interesting title can be drawn from the essence of the story. The example can be seen below:

- Ashadi Siregar take the setting of UGM campus (often called kampus biru / blue campus), where the budding love between two human beings there to be titled Cintaku di Kampus Biru / My Love in Blue Campus. f. Equation and the beauty of the sound (euphony)

A writer sometimes create titles based on the equality and beauty of sound (euphony). Authors should be able to arrange the words beautifully and imaginatively. The example can be seen below:

- Arjuna Mencari Cinta (Yudhistira ANM Massardi), who plays the beauty of the sound of "a" by each word.

C. Theoretical Framework

The definition of equivalence according to Nida, the definition of translation techniques according to Molina and Albir, and the techniques to write interesting titles according to Putra were the basic understanding to the topic being discussed in this thesis.

Since the equivalence of the text plays an important role in order to get the message delivered, the definition of equivalence according to Nida is used to answer the first problem. Theory of translation techniques according to Molina and Albir is used to answer the second problem. Thus, the techniques to write interesting titles according to Putra is used to answer the third problem.

20 CHAPTER III METHODOLOGY

A. Areas of Research

This thesis is following one of twelve research areas in Translation Studies, which is text analysis and translation, focusing on the comparison of translations and their source texts. According to Williams and Chesterman, the analysis of translated texts involves the textual comparison of a translation with its original (2002: 7). The writer focused on the translation of the book titles with the evaluation of the equivalence, translation techniques, and techniques used to write the Indonesian book titles.

B. Object of the Study

As previously explained, this thesis deals specifically with the translation of Agatha Christie’s book titles into Bahasa Indonesia. Agatha Christie (1890-1976), a popular British author, is well-known for writing crime fiction and detective novels. The most popular fictional character that she created is a Belgian private detective named Hercule Poirot. A series of detective books by Agatha Christie with Hercule Poirot as the main character are the primary source for this study, along with their Indonesian versions.

C. Method of the Study

The method applied for this thesis is library research. The writer focused on the data that has been collected, which are the detective books by Agatha Christie with Hercule Poirot as the main character. The theories used to analyze the data were the theory of equivalence, translation techniques, and techniques to write interesting titles. These theories were taken from various books in the field of translation studies and journalism (for the title). Thus, the theories used in this thesis are based on the theories from the experts of each field, for example, theory of equivalence from Nida, theory of translation techniques from Molina and Albir, and techniques to write interesting titles from Putra. The writer will use examples and evidences to answer the problems which are stated in first chapter.

D. Research Procedure 1. Types of Data

The data collected are categorized as an objective data. It is because the data were taken from the Agatha Christie’s books with Hercule Poirot as the main character as the Source Text (ST) and Target Text (TT) but in two different languages, English and Bahasa Indonesia. The first data used in this thesis are the titles of Agatha Christie’s books in SL, which is English. These English versions of Agatha Christie’s books were published by two publishers, Fontana and HarperCollins. Both are large English-language publishing companies. The

publication year of the books with Hercule Poirot as the main character was from 1920-1975. The titles collected for this thesis are derived from thirty two book titles. The second data are the titles of Agatha Christie’s books in TL, which is Bahasa Indonesia. These Indonesian versions of Agatha Christie’s books were published by Gramedia Pustaka Utama. The publication year of the books with Hercule Poirot as the main character was from 1920-1975.

2. Data Collection

Data collection was done first to get the sample for the analysis. Firstly, the writer researched Christie’s books to find which ones had Hercule Poirot as the main character. After that, the writer looked at her personal collection in order to find some of those books. As the result, the writer did not have few books that are needed in this thesis. Thus, the writer searched in the campus library and located some of the books. Besides that, the writer found the rest on online resources, including Christie’s official website.

After finding and collecting the data, then the writer began the analysis. The number of Agatha Christie’s book titles with Hercule Poirot as the main character were classified based on the language used. The example is shown below:

Table 3. Classification of Data

Code SL Title Code TL Title

In which,

2 : The number of data SL : Source Language TL : Target Language

AD : Appointment with Death PM : Perjanjian dengan Maut

Once the data are grouped, the writer began to analyze the data; the first is the equivalence of the book titles. The writer compared the titles of the original book and the translated book, and assesses its equivalence using a theory of equivalence from Nida. It was needed to answer the first problem.

3. Population and Sample

In this thesis, there are no samplings because all data were analyzed. There are 33 book titles of English and Bahasa Indonesia that have been collected as the data.

4. Data Analysis

The data are analyzed by the writer to answer the problem stated in the first chapter. Firstly, the writer compared the translation of the titles by using Nida’s theory of equivalence to answer the first problem. The analysis described as follows:

Table 4. The Equivalence of Agatha Christie’s Indonesian Book Titles

Code SL Title Code TL Title Formal Dynamic 1/SL/AF After The

Funeral

1/TL/SP Setelah Pemakaman



11/SL/EUS Evil Under the Sun

11/TL/PTP Pembunuhan di Teluk Pixy



According to Nida’s theory of equivalence, this first example After The Funeral to Setelah Pemakaman is equivalence based on formal equivalence because the translation maintains the lexical meaning of the SL. The second example Evil Under the Sun to Pembunuhan di Teluk Pixy considered as dynamic equivalence. It is because the translator is using his idea to re-create the title in the TL that conveys the same meaning without using exact phrasing or idioms of the SL title.

Secondly, the writer analyzed the translation techniques that were applied in order to find the answer of the second problem. The analysis described as follows:

Table 5. The Translation Technique Used in Translating Agatha Christie’s Book Titles

Code SL Code TL Translation

Technique 8/SL/

DN

Death on the Nile 8/TL/ PSN

Pembunuhan di Sungai Nil

Amplification

According to the example, the technique used to translate the title is amplification. The translator adds the word Sungai to introduce more detailed

information about Nile to the readers. In its SL form, the word Nile itself carries the meaning of the name of a river.

Thirdly, the writer analyzed the title writing techniques used by the translator to write the Indonesian titles of Agatha Christie’s books. This analysis is to answer the third problem. The analysis described as follows:

Table 6. The Technique Used to Write Indonesian Titles of Agatha Christie’s Books

No TL Title Writing Technique Used

16/TL/MSM Mrs McGinty Sudah Mati Combining the main character with a predicate

Based on the example, it can be seen that the title involved the name of the main character. The main character of the story, also subject, is Mrs. McGinty. After that, the name of the main character is combined with a predicate. In this title, Sudah Mati is the predicate. It gives further information about the subject.

Besides using the theories that are already stated in the second chapter of this thesis, the writer also used dictionaries to check the lexical meaning of both SL and TL words. The dictionaries used are Oxford Advanced Learner’s

26

CHAPTER IV

ANALYSIS RESULTS AND DISCUSSIONS

In this chapter, the analysis is divided into three parts. The first part discusses about the equivalence of Agatha Christie’s translated book titles. This part answers the first problem formulation of this research. The second part discusses about the translation techniques used to translate Agatha Christie’s book titles. This part answers the second problem formulation of this research. The third part discusses about the title writing techniques used to write Agatha Christie’s Indonesian book titles. This part answers the third problem formulation of this research.

A. The Equivalence of Agatha Christie’s Book Titles

The aim of this study is to know the equivalence from the Indonesian translation of Agatha Christie’s book titles. There are 33 book titles that are assessed in this part. These titles are derived from Agatha Christie’s books in English which had been translated and adapted in Indonesian language. The writer wants to explain the translated titles which are categorized as formal equivalence or dynamic equivalence and which equivalence that is mostly used in the translation.

The explanation along with the related theory is given to support the writer’s analysis. This analysis is based on Nida’s theory of equivalence, with

Newmark’s semantic and communicative translation as the complementary theory. The data are analyzed and the equivalence of each title is classified into formal equivalence and dynamic equivalence, along with the explanation based on the theory. The result of analysis of the equivalence is shown from the chart below:

The data above shows that there are 19 translations which are considered as formal equivalence. In formal equivalence, the translation is focused on the lexical meaning, while the structural form of the ST is maintained. Meanwhile, there are 14 translations which are considered as dynamic equivalence. In dynamic equivalence, the translation is focused on the effect of TL readers in receiving sentences with different structural form of TT but conveyed the same meaning as ST.

58

42

0

5 10 15 20

Formal Equivalence

Dynamic Equivalence

Chart 1. The Result of Equivalence in the Translation of Agatha Christie's Book Titles (in Percentage)

1. Formal Equivalence

Based on the translation of the titles, there are 21 translations that are included into formal equivalence. The example of the translation considered as formal equivalence is shown below:

Table 7. The Example of Formal Equivalence in the Translation of Agatha Christie’s Book Titles

Code SL Title Code TL Title

2/SL/AD Appointment with

Death 2/TL/PM

Perjanjian dengan Maut 7/SL/DA

Death in the Air 7/TL/MU Maut di Udara 8/SL/DN Death on the Nile 8/TL/PSN Pembunuhan di Sungai

Nil 9/SL/DW

Dumb Witness 9/TL/SB Saksi Bisu

12/SL/HP

Halloween Party 12/TL/PH Pesta Halloween 16/SL/MMD Mrs McGinty’s Dead 16/TL/MMS Mrs McGinty Sudah

Mati 20/SL/MOE Murder on the Orient

Express 20/TL/PAO

Pembunuhan di Atas Orient Express 21/SL/OTB One, Two, Buckle My

Shoe

21/TL/SDP Satu, Dua, Pasang Gesper Sepatunya 30/SL/TMB The Mystery of the

Blue Train 30/TL/MKA

Misteri Kereta Api Biru

31/SL/TG

Third Girl 31/TL/GK Gadis Ketiga 32/SL/TAT

Three Act Tragedy 32/TL/TTB Tragedi Tiga Babak

From the data above, the translations with formal equivalence are maintained as close as possible to match lexical, grammatical, and structural form between SL and TL. In other word, the TL text will be maintained as closely as possible to the SL text. The structural form in the Target Language is not much

different from the title in the Source Language. Ideas and thoughts of the translator are not involved in this type of equivalence.

i. Data 2

Code SL Title Code TL Title

2/SL/AD Appointment with Death 2/TL/PM Perjanjian dengan Maut

In this example, the title is translated word-by-word by their literal and lexical meaning. The word Appointment is literally translated into Perjanjian. Both Appointment and Perjanjian are having the similar characteristics that refer to something which is agreed by more than one party. Death is also literally translated into Maut. The meaning of Death and Maut are both dealing with the end of the life of a person or organism. Thus, the lexical and structural form are maintained in the TL which supports the characteristic of formal equivalence. ii. Data 7

Code SL Title Code TL Title

7/SL/DA Death in the Air 7/TL/MU Maut di Udara

This translation is translated by its literal and lexical meaning. Death is translated into Maut. The meaning of Death and Maut are both dealing with the end of the life of a person or organism. The word Air is also literally translated into Udara. The meaning of Air in this title is the space above the earth (Oxford Advanced Learner’s Dictionary). This is in accordance with the meaning of the word Udara which is also related with the space above the earth (Kamus Besar

Bahasa Indonesia). Furthermore, the structural form is also maintained in the TL. Thus, formal equivalence is achieved.

iii. Data 8

Code SL Title Code TL Title

8/SL/DN Death on the Nile 8/TL/PSN Pembunuhan di Sungai Nil

The translator translates the title from SL into TL in their literal and lexical meaning. The word Death is translated into Pembunuhan. Both of them have lexical meaning that is dealing with the fact of somebody being killed. Moreover, the word Nile is translated into Sungai Nil. The translator is adding the word Sungai to introduce more detailed information about Nile to the readers. This is done by the translator to adjust the grammatical form in the TL.

In its SL form, the word Nile itself is carrying the meaning of the name of a river. Therefore, it is not a must to include the word River in the original title such as Death on the Nile River. This translation is in accordance with the theory of formal equivalence because the lexical and grammatical form between SL and TL are maintained.

iv. Data 9

Code SL Title Code TL Title

9/SL/DW Dumb Witness 9/TL/SB Saksi Bisu

This translation is categorized as formal equivalence since the title is translated by its lexical meaning and the grammatical form is adjusted to meet the

criteria of Indonesian grammatical form. The word Dumb is translated into Bisu. Both Dumb and Bisu are carrying the meaning of ‘unable to speak’. The word Witness and Saksi are also carrying the same meaning of ‘someone who is present when some events happen’. Meanwhile, the translator did not translate Dumb Witness into Bisu Saksi because it does not match the Indonesian grammatical rule.

This Indonesian grammatical rule refers to Diterangkan-Menerangkan rule. This rule was firstly proposed by Sutan Takdir Alisjahbana, an expert on Indonesian grammar. Alisjahbana states that every words that are describing about something always comes after the words that are being explained (1983: 73). This is also can be referred as head and modifier. In Indonesian grammatical rule, the modifier always comes after the head. This is contrasted with English grammatical rule, which the modifier always comes before the head. In this example, Dumb is the modifier and Witness is the head. Therefore, the title is translated into Saksi Bisu to match the Diterangkan-Menerangkan rule.

v. Data 12

Code SL Title Code TL Title

12/SL/HP Halloween Party 12/TL/PH Pesta Halloween

In this example, the title is translated word-by-word by their literal meaning. The word Party is translated into Pesta, which is indeed the literal meaning of Party. Here, the translator also borrowed a word that comes originally from the SL. The word Halloween is also translated into Halloween in the TL.

Halloween means the night of 31st October when it was believed in the past that dead people appeared from their graves and which is now celebrated in the United States, Canada, and Britain by children who dress ghosts or witches (Oxford Advanced Learner’s Dictionary). The word Halloween is borrowed because there is no equivalent word for Halloween in Bahasa Indonesia. This is due to the celebration of Halloween that is not celebrated in Indonesia. As the result, the translator takes the original word straight from the SL and transferred to the TL.

Therefore, to bridge the difference in cultural background, the translator borrowed the word Halloween for the TL title. Meanwhile, the translation of the title Halloween Party is adjusted to Pesta Halloween in order to meet the Diterangkan-Menerangkan rule. Halloween is the modifier and Party is the head. Thus, formal equivalence is achieved.

vi. Data 15

Code SL Title Code TL Title

15/SL/LED Lord Edgware Dies 15/TL/MLE Matinya Lord Edgware

In this translation, there is a change of emphasis, without change the meaning based on the lexical meaning. In this translation, the SL title’s emphasis is on the subject, Lord Edgware. But in the TL, the translator chooses to emphasize “the death” of Lord Edgware. The translator changes the focus or point of view that exist in the SL. In the SL, the emphasis lies on the actor that receives the action of “dies”, in this case Lord Edgware. In the TL, the emphasis lies on the

Indonesian gerund Matinya which emphasizes the things undergone by Lord Edgware, in this case undergoing death.

vii. Data 16

Code SL Title Code TL Title

16/SL/MMD Mrs McGinty’s Dead 16/TL/MMS Mrs McGinty Sudah Mati

In Data 16, the translator translates the title by its literal meaning. Mrs McGinty’s Dead holds meaning Mrs McGinty is dead. The translator translates ‘is dead’ literally into sudah mati. Meanwhile, the translator also borrowed the word Mrs into the TL title. This is considered as pure borrowing. The word Mrs itself actually has meaning Nyonya in Bahasa Indonesia, but the translator tends to preserve the original word probably for the sake of aesthetic.

viii. Data 20

Code SL Title Code TL Title

20/SL/MOE Murder on the Orient

Express 20/TL/PAO

Pembunuhan di Atas Orient Express

This translation is translated by its literal meaning. The word Murder is literally translated into Pembunuhan. The preposition on the also literally translated into di atas. However, the translator borrowed the name Orient Express without any further explanation on the TL title. Orient Express itself is a name of a train.

ix. Data 21

Code SL Title Code TL Title

21/SL/OTB One, Two, Buckle My Shoe

21/TL/SDP Satu, Dua, Pasang Gesper Sepatunya

In Data 21, the word Buckle is translated into Pasang Gesper. The word Pasang is added to the TL title because in the original text, Buckle is already carried a meaning of ‘to fasten something or be fastened with a buckle’ (Oxford Advanced Learning’s Dictionary). This is similar to the number 8/SL/DN. The translator added the word Pasang because if it is translated as Satu, Dua, Gesper Sepatunya, the meaning would be different.

This translation also undergoes a similar characteristic to number 15/SL/LED and 19/SL/ML, which the point of view is changed. In the SL, the point of view is indicated by the use of possessive pronoun My. My Shoe indicates that the shoe belongs to the speaker who speak that utterance. Meanwhile, in the TL, there is a change by using the suffix –nya, which indicates the third person singular pronoun. On the other hand, the lexical meaning both in SL and TL remains the same.

x. Data 31

Code SL Title Code TL Title

31/SL/TMB The Mystery of the Blue Train

31/TL/MKA Misteri Kereta Api Biru

This translation maintains the lexical meaning and the grammatical form is adjusted to meet the criteria of Indonesian grammatical form. The phrase Blue

Train is translated into Kereta Api Biru, not Biru Kereta Api because it does not meet the Indonesian grammatical rules in which the modifier always comes after the head. In this example, Blue is the modifier and Train is the head. Meanwhile, the translator also borrowed the word Mystery into the word Misteri. This is because Mystery and Misteri considered as kata serapan / naturalized borrowing in Bahasa Indonesia. Those words have the same meaning, both are related to something that is difficult to understand or to explain.

xi. Data 32

Code SL Title Code TL Title

32/SL/TG Third Girl 32/TL/GK Gadis Ketiga

The translator translates the title by its lexical meaning. The word Third is literally translated into Ketiga. Furthermore, the word Girl is also translated into Gadis. After that, the grammatical and structural form in the TL title are adjusted in order to match the Diterangkan-Menerangkan rule in TL. The word Third is the modifier and the word Girl is the head. The translator changed it into Gadis Ketiga in the TL. It is match with the Diterangkan-Menerangkan rule in which modifier always comes after the head. Even though the structural form experienced changes, it does not change the lexical meaning.

xii. Data 33

Code SL Title Code TL Title

In Data 32, the translation is word-by-word by its lexical meaning. The word Three is literally translated into Tiga. Furthermore, the translator borrowed the word Tragedy and naturalized it into Indonesian word Tragedi. This is because Tragedi is considered as kata serapan in Bahasa Indonesia. The meaning of Act in this title is one of the main divisions of a play (Oxford Advanced Learner’s Dictionary). This is in accordance with the meaning of the word Babak which is also related with one of several short pieces in a play (Kamus Besar Bahasa Indonesia). Furthermore, the grammatical and structural form in the TL title are adjusted in order to be accepted in TL. Three Act is the modifier and Tragedy is the head. The translator changed it into Tragedi Tiga Babak in the TL. It is in accordance with the Diterangkan-Menerangkan rule in which modifier always comes after the head. Thus, formal equivalence is achieved.

2. Dynamic Equivalence

The second type of Nida’s equivalence is dynamic equivalence. This theory is resembling Newmark’s communicative translation. Based on the translation of the titles assessed, there are 12 translations that are included into dynamic equivalence. The examples of the translation considered as dynamic equivalence are shown below:

Table 8. The Example of Dynamic Equivalence in the Translation of Agatha Christie’s Book Titles

Code SL Title Code TL Title

6/SL/DMF Dead Man’s Folly 6/TL/KB Kubur Berkubah 11/SL/EUS Evil Under the Sun 11/TL/PTP Pembunuhan di Teluk

14/SL/HDD Hickory Dickory Dock 14/TL/PPM Pembunuhan di Pondokan Mahasiswa 23/SL/SC Sad Cypress 23/TL/MTB Mawar Tak Berduri 24/SL/TF Taken at the Flood 24/TL/MAK Mengail di Air Keruh

In dynamic equivalence, the translator tends to re-create each sentence of the SL text and transforming it into a sentence in the TL text that conveys the same meaning, but it does not always use the exact phrase or word of the original. This may be because the sentence would be confusing if it is translated literally. This is supported by Newmark’s statement that in this type of equivalence, the thoughts and ideas of the translator are involved to reproduce the same response.

i. Data 6

Code SL Title Code TL Title

6/SL/DMF Dead Man’s Folly 6/TL/KB Kubur Berkubah

In Data 6, the TL title does not have any correlation with the SL title. The lexical and structural meaning are also different. The word Dead Man is translated into Kubur, which Kubur stands for the meaning a place in the ground where a dead person is buried. It is unpredictable out of context because the SL title does not say anything about Kubur or grave, even though Kubur is sometimes related with the dead body, while the TL title describes about grave that is domed. The word Folly also did not have equivalent word in Bahasa Indonesia. The meaning of Folly according to Oxford’s Advanced Learner’s Dictionary is a building that

has no practical purpose but was built in the past for decoration, often in the garden of a large country house.

Meanwhile, this translation achieved the dynamic equivalence because the thoughts and ideas of the translator are involved to reproduce the same response to the readers. The translator attempted to bridge the difference of cultural background generated from the image of Folly that are less familiar to readers of Indonesia. Therefore, the translator translated this title through thematic interpretation in such a way that it would be very relevant to the readers.

ii. Data 11

Code SL Title Code TL Title

11/SL/EUS Evil Under the Sun 11/TL/PTP Pembunuhan di Teluk Pixy

In the translation above, it can be seen that the TL title does not have any correlation with the SL title. It is unpredictable out of context because the SL title does not say anything about murder, even though the story is about a murder case, whereas in the TL title describes there is a murder in the Pixy Cove.

The title is translated using the sentence that is much different to the original title. The SL title is Evil Under the Sun while the TL title is Pembunuhan di Teluk Pixy. The translated title is much different with the author’s idea. The translator does not translate Evil Under the Sun literally because it will be ambiguous to the Target Reader. The SL title Evil Under the Sun has a connotative meaning, which refers to the context of the story that is about a beautiful actress body is discovered in Pixy cove. She is dead because of strangulation.

In addition, there is a probability that the title Evil Under the Sun is derived from the statement in one scripture in the bible, named Ecclesiastes, which reads, "There is an evil that I have seen under the sun, and it lies heavy upon humankind." (https://en.wikipedia.org/wiki/Evil_Under_the_Sun). This is supported by a saying in the story which indicates that the term Evil Under the Sun was taken from the bible: “I was interested, M. Poirot, in something you said just now. You said that there was evil done everywhere under the sun. It was almost a quotation from Ecclesiastes,” (Stephen Lane’s saying inside the book, page 73). The translator’s thoughts and ideas are needed to re-create this SL title in order to be understood by the Target Reader in the TL. Thus, dynamic equivalence is achieved.

iii. Data 13

Code SL Title Code TL Title

23/SL/SC Sad Cypress 23/TL/MTB Mawar Tak Berduri

In the analysis of Data 13, the original title Sad Cypress is drawn from a song in Shakespeare's play Twelfth Night, which said “Come away, come away, death, and in sad cypress let me be laid.” (Act-II, Scene-IV). In the book Shakespeare’s Feminine Endings: Disfiguring Death in the Tragedies, Berry states that “while in Twelfth Night, ‘sad cypress’ emblematizes the self-concealment of those marked by death or loss” (1999:97).

The point of Sad Cypress in this context is a term to express the deep sorrow for someone who has died. This term has no equivalent term in Indonesian

and it would be confusing if it is translated literally. According to Newmark, a translator should interpret the text if he is convinced that the relevant background is inaccessible to his reader (1981:63). Consequently, the translator should interpret this term in order to be understood by Indonesian readers. Moreover, the translator should adapt the term using a different expression but convey the same message.

The TL title Mawar Tak Berduri is chosen by the translator. The translator chose to translate the term with Mawar Tak Berduri because the term Sad Cypress is not familiar to the Indonesian readers. Thus, the translator take this Indonesian term based on the essence of the story and in accordance with the context of the story. In addition, the term Mawar Tak Berduri symbolizes a hint related to the murder case in the story. This is supported by Hercule Poirot when he investigated the murder in the story, “the plant is a kind of ground cover roses - Zephyrine Drouhin. The flowers are fragrant and the color is pink. The plant is not prickly” (2011: 239)

Dynamic equivalence is achieved because the purpose of this action is to reproduce the same response to the Indonesian readers. The thoughts and ideas of the translator are involved in order to give the hint or clue of what’s happening in the story.

iv. Data 14

Code SL Title Code TL Title

14/SL/HDD Hickory Dickory Dock 14/TL/PPM Pembunuhan di Pondokan Mahasiswa

The SL title is Hickory Dickory Dock and the TL title is Pembunuhan di Pondokan Mahasiswa. The translator’s thought and idea are involved in this translation. The translator did not translate Hickory Dickory Dock literally because it is actually an English nursery rhyme and has no equivalent word in Bahasa Indonesia. The TR, in this case Indonesian people, would probably not having knowledge or familiar about this nursery rhyme.

According to Newmark, a translator should interpret the text if he is convinced that the relevant background is inaccessible to his reader (1981:63). Thus, the SL title is translated to the TL title with adding the translator’s ideas to the translation. The translation of the SL title becomes Pembunuhan di Pondokan Mahasiswa.

The translator tends to re-create the TL title that is based on the highlight event or what is happening in the story. It also uses common words, so that it becomes more understandable to the readers. In addition, because the translator’s ideas are involved in translating the title, dynamic equivalence is achieved in this translation.

v. Data 23

Code SL Title Code TL Title

23/SL/TF Taken at the Flood 23/TL/MAK Mengail di Air Keruh

The title Taken at the Flood is originally taken from a phrase in Shakespeare’s Julius Caesar, where Brutus talks to Cassius saying “There is a tide in the affairs of men. Which, taken at the flood, leads on to fortune” (Act-IV,

Appendix 3: The Translation Techniques Analysis Result

Code SL Code TL Translation

Techniques 1/SL/ATF After The

Funeral

1/TL/SP Setelah

Pemakaman Literal Translation 2/SL/AD Appointment

with Death

2/TL/PM Perjanjian

dengan Maut Literal Translation 3/SL/CT Cards on the

Table

3/TL/KKM Kartu-Kartu di

Meja Literal Translation 4/SL/CAP Cat Among the

Pigeons

4/TL/KTB Kucing di Tengah Burung Dara

Particularization, Discursive Creation

5/SL/C Curtain 5/TL/T Tirai Literal Translation

6/SL/DMF Dead Man’s Folly

6/TL/KB Kubur Berkubah

Discursive Creation 7/SL/DA Death in the Air 7/TL/MU Maut di Udara Literal Translation 8/SL/DN Death on the Nile 8/TL/PSN Pembunuhan di

Sungai Nil

Literal Translation, Amplification 9/SL/DW Dumb Witness 9/TL/SB Saksi Bisu Literal Translation,

Transposition 10/SL/ECR Elephants Can

Remember

10/TL/GSI Gajah Selalu

Ingat Discursive Creation 11/SL/EUS Evil Under the

Sun

11/TL/PTP Pembunuhan di

Teluk Pixy Discursive Creation 12/SL/HP Halloween Party 12/TL/PH Pesta Halloween Literal Translation,

Transposition, Borrowing 13/SL/HPC Hercule Poirot’s

Christmas

13/TL/PMN Pembunuhan di

Malam Natal Discursive Creation 14/SL/HDD Hickory Dickory

Dock

14/TL/PPM Pembunuhan di Pondokan Mahasiswa

Discursive Creation 15/SL/LED Lord Edgware

Dies

15/TL/MLE Matinya Lord Edgware

Modulation, Borrowing 16/SL/MMD Mrs McGinty’s

Dead

16/TL/MMS Mrs McGinty Sudah Mati

Literal Translation, Borrowing 17/SL/MM Murder in

Mesopotamia

17/TL/PDM Pembunuhan di

Mesopotamia Literal Translation 18/SL/MR Murder in

Retrospect

18/TL/MP Mengungkit

Pembunuhan Discursive Creation 19/SL/ML Murder on the

Links

19/TL/LGM Lapangan Golf

Appendix 4: The Title Writing Technique Analysis Result 20/SL/MOE Murder on the

Orient Express

20/TL/PAO Pembunuhan di Atas Orient Express

Borrowing, Literal Translation 21/SL/OTB One, Two,

Buckle My Shoe

21/TL/SDP Satu, Dua, Pasang Gesper Sepatunya

Literal Translation, Modulation 22/SL/PEH Peril at End

House

22/TL/HM Hotel Majestic

Discursive Creation 23/SL/SC Sad Cypress 23/TL/MTB Mawar Tak

Berduri Discursive Creation 24/SL/TF Taken at the

Flood

24/TL/MAK Mengail di Air

Keruh Adaptation 25/SL/TAM The A.B.C

Murders

25/TL/PA Pembunuhan ABC

Literal Translation, Transposition 26/SL/TBF The Big Four 26/TL/EB Empat Besar Literal Translation,

Transposition 27/SL/TC The Clocks 27/TL/MM Mayat Misterius Discursive Creation 28/SL/TH The Hollow 28/TL/RG Rumah Gema Amplification 29/SL/TMR The Murder of

Roger Ackroyd

29/TL/PRA Pembunuhan atas

Roger Ackroyd Literal Translation 30/SL/TMA The Mysterious

Affair at Styles

30/TL/PS Pembunuhan di

Styles Discursive Creation 31/SL/TMB The Mystery of

the Blue Train

31/TL/MKA Misteri Kereta Api Biru

Literal Translation, Transposition,

Borrowing 32/SL/TG Third Girl 32/TL/GK Gadis Ketiga Literal Translation,

Transposition 33/SL/TAT Three Act

Tragedy

33/TL/TTB Tragedi Tiga Babak

Literal Translation, Transposition,

Borrowing

Code SL Code TL Title Writing

Techniques 1/SL/ATF After The

Funeral

1/TL/SP Setelah

Pemakaman Essence of the story 2/SL/AD Appointment

with Death

2/TL/PM Perjanjian

dengan Maut Symbolic 3/SL/CT Cards on the

Table

3/TL/KKM Kartu-Kartu di

Meja Essence of the story 4/SL/CAP Cat Among the

Pigeons

4/TL/KTB Kucing di Tengah

5/SL/C Curtain 5/TL/T Tirai Symbolic 6/SL/DMF Dead Man’s

Folly

6/TL/KB Kubur Berkubah

Symbolic 7/SL/DA Death in the Air 7/TL/MU Maut di Udara Essence of the story 8/SL/DN Death on the Nile 8/TL/PSN Pembunuhan di

Sungai Nil Essence of the story

9/SL/DW Dumb Witness 9/TL/SB Saksi Bisu Alias

10/SL/ECR Elephants Can Remember

10/TL/GSI Gajah Selalu

Ingat Symbolic 11/SL/EUS Evil Under the

Sun

11/TL/PTP Pembunuhan di

Teluk Pixy Essence of the story 12/SL/HP Halloween Party 12/TL/PH Pesta Halloween Essence of the story 13/SL/HPC Hercule Poirot’s

Christmas

13/TL/PMN Pembunuhan di

Malam Natal Essence of the story 14/SL/HDD Hickory Dickory

Dock

14/TL/PPM Pembunuhan di Pondokan Mahasiswa

Essence of the story 15/SL/LED Lord Edgware

Dies

15/TL/MLE Matinya Lord

Edgware Essence of the story 16/SL/MMD Mrs McGinty’s

Dead

16/TL/MMS Mrs McGinty Sudah Mati

Combining the main character with

a predicate 17/SL/MM Murder in

Mesopotamia

17/TL/PDM Pembunuhan di

Mesopotamia Essence of the story 18/SL/MR Murder in

Retrospect

18/TL/MP Mengungkit

Pembunuhan Essence of the story 19/SL/ML Murder on the

Links

19/TL/LGM Lapangan Golf

Maut Essence of the story 20/SL/MOE Murder on the

Orient Express

20/TL/PAO Pembunuhan di Atas Orient Express

Essence of the story 21/SL/OTB One, Two,

Buckle My Shoe

21/TL/SDP Satu, Dua, Pasang Gesper Sepatunya

Symbolic 22/SL/PEH Peril at End

House

22/TL/HM Hotel Majestic

Symbolic 23/SL/SC Sad Cypress 23/TL/MTB Mawar Tak

Berduri Symbolic 24/SL/TF Taken at the

Flood

24/TL/MAK Mengail di Air

Keruh Symbolic 25/SL/TAM The A.B.C

Murders

25/TL/PA Pembunuhan

ABC Symbolic

26/SL/TBF The Big Four 26/TL/EB Empat Besar Alias

27/SL/TC The Clocks 27/TL/MM Mayat Misterius Essence of the story 28/SL/TH The Hollow 28/TL/RG Rumah Gema Symbolic

Appendix 5: Data Recapitulation of Analysis Result 29/SL/TMR The Murder of

Roger Ackroyd

29/TL/PRA Pembunuhan atas

Roger Ackroyd Essence of the story 30/SL/TMA The Mysterious

Affair at Styles

30/TL/PS Pembunuhan di

Styles Essence of the story 31/SL/TMB The Mystery of

the Blue Train

31/TL/MKA Misteri Kereta

Api Biru Essence of the story 32/SL/TG Third Girl 32/TL/GK Gadis Ketiga Symbolic 33/SL/TAT Three Act

Tragedy

33/TL/TTB Tragedi Tiga

Babak Symbolic

Code SL Title Code TL Title Equiva-lence

Translation Techniques

Title Writing Techniques 1/SL/

ATF

After The Funeral

1/TL/ SP

Setelah

Pemakaman Formal

Literal Translation

Essence of the story 2/SL/

AD

Appointment with Death

2/TL/ PM

Perjanjian

dengan Maut Formal

Literal

Translation Symbolic 3/SL/

CT

Cards on the Table

3/TL/ KKM

Kartu-Kartu

di Meja Formal

Literal Translation

Essence of the story 4/SL/

CAP Cat Among the Pigeons

4/TL/ KTB

Kucing di Tengah Burung Dara

Dynamic

Particularization, Discursive

Creation

Symbolic 5/SL/

C Curtain

5/TL/

T Tirai Formal

Literal

Translation Symbolic 6/SL/

DMF

Dead Man’s Folly

6/TL/ KB

Kubur

Berkubah Dynamic

Discursive

Creation Symbolic 7/SL/

DA

Death in the Air

7/TL/ MU

Maut di

Udara Formal

Literal Translation

Essence of the story 8/SL/

DN Death on the Nile

8/TL/

PSN Pembunuhan

di Sungai Nil Formal

Literal Translation, Amplification

Essence of the story 9/SL/

DW Dumb

Witness

9/TL/

SB Saksi Bisu Formal

Literal Translation, Transposition

Alias 10/SL

/ECR

Elephants Can Remember

10/TL

/GSI Gajah Selalu

Ingat Dynamic

Discursive

Creation Symbolic 11/SL

/EUS

Evil Under the Sun

11/TL /PTP

Pembunuhan

di Teluk Pixy Dynamic

Discursive Creation

Essence of the story

12/SL

/HP Halloween Party

12/TL

/PH Pesta

Halloween Formal

Literal Translation, Transposition,

Borrowing

Essence of the story 13/SL /HPC Hercule Poirot’s Christmas 13/TL /PMN Pembunuhan di Malam Natal

Dynamic Discursive Creation

Essence of the story 14/SL /HDD Hickory Dickory Dock 14/TL /PPM Pembunuhan di Pondokan Mahasiswa

Dynamic Discursive Creation

Essence of the story 15/SL /LED Lord Edgware Dies 15/TL

/MLE Matinya Lord

Edgware Formal

Modulation, Borrowing

Essence of the story 16/SL /MM D Mrs McGinty’s Dead 16/TL

/MMS Mrs McGinty

Sudah Mati Formal

Literal Translation,

Borrowing

Combining the main character with

a predicate 17/SL

/MM Murder in Mesopotamia 17/TL /PDM Pembunuhan di Mesopotamia

Formal Literal Translation

Essence of the story 18/SL /MR Murder in Retrospect 18/TL /MP Mengungkit

Pembunuhan Dynamic

Discursive Creation

Essence of the story 19/SL /ML Murder on the Links 19/TL /LGM Lapangan

Golf Maut Dynamic

Discursive Creation

Essence of the story 20/SL

/MOE Murder on the Orient Express 20/TL /PAO Pembunuhan di Atas Orient Express Formal Borrowing, Literal Translation

Essence of the story 21/SL

/OTB One, Two, Buckle My Shoe 21/TL /SDP Satu, Dua, Pasang Gesper Sepatunya Formal Literal Translation, Modulation Symbolic 22/SL /PEH

Peril at End House

22/TL /HM

Hotel

Majestic Dynamic

Discursive

Creation Symbolic 23/SL

/SC Sad Cypress

23/TL /MTB

Mawar Tak

Berduri Dynamic

Discursive

Creation Symbolic 24/SL

/TF

Taken at the Flood

24/TL /MAK

Mengail di

Air Keruh Dynamic Adaptation Symbolic 25/SL

/TAM The A.B.C Murders

25/TL

/PA Pembunuhan

ABC Formal

Literal Translation, Transposition

Symbolic 26/SL

/TBF The Big Four

26/TL

/EB Empat Besar Formal

Literal Translation, Transposition

Alias 27/SL

/TC The Clocks

27/TL /MM

Mayat

Misterius Dynamic

Discursive Creation

Essence of the story

28/SL

/TH The Hollow

28/TL

/RG Rumah Gema Dynamic Amplification Symbolic 29/SL

/TMR

The Murder of Roger Ackroyd

29/TL /PRA

Pembunuhan atas Roger

Ackroyd

Formal Literal Translation

Essence of the story 30/SL

/TMA

The Mysterious

Affair at Styles

30/TL

/PS Pembunuhan

di Styles Dynamic

Discursive Creation

Essence of the story 31/SL

/TMB The Mystery of the Blue

Train

31/TL

/MKA Misteri Kereta Api

Biru

Formal

Literal Translation, Transposition,

Borrowing

Essence of the story 32/SL

/TG Third Girl

32/TL

/GK Gadis Ketiga Formal

Literal Translation, Transposition

Symbolic 33/SL

/TAT Three Act Tragedy

33/TL

/TTB Tragedi Tiga

Babak Formal

Literal Translation, Transposition,

Borrowing