Vinay and Darbelnet's translation procedures in Djenar's Painting a Window.

ABSTRACT

Ardhani, Yuvita. 2015. Vinay and Darbelnet’s Translation Procedures in

Djenar’s Painting a Window. Yogyakarta: English Language Education Study Program. Department of Language and Arts Education. Faculty of Teachers Training and Education. Sanata Dharma University.

Melukis Jendela is a literary piece of Djenar Maesa Ayu, a short story published by Horison. The English version of Melukis Jendela, Painting a Window was published as a compilation along with the book in 2005. Michael Nieto Garcia is the person who translates Melukis Jendela into Painting a Window. There were two blocks formed after the release of Djena‟r book. The first block thinks that Djenar‟s work is sex-oriented and too vulgar for Indonesian reader. The other side agreed that Djenar‟s work is a breakthrough for the modern literature. Obviously, there are pros and cons about Djenar Maesa Ayu and her works. The researcher finds it interesting to conduct a research on Djenar‟s works. There is one research problem in this study: What are the Vinay and Darbelnet‟s translation procedures found on Djenar‟s Melukis Jendela? To answer the research problem, the researcher uses Jean-Paul Vinay and Jean Darbelnet (1958) theory on translation procedures.

This study is qualitative content analysis research. The data is one of the short stories from the antology Djenar‟s book Melukis Jendela translated into Painting a Window by Michael Nieto Garcia.

At the end, the researcher find 185 collected data which were analyzed using Jean-Paul Vinay and Jean Darbelnet‟s translation procedures. There are seven procedures in this theory, namely, „borrowing‟, „calque‟, „literal‟, „transposition‟,„modulation‟,„equivalence‟, and „adaptation‟.

Key words: Melukis Jendela, Painting a Window, Vinay and Darbelnet‟s translation procedures

ABSTRAK

Ardhani, Yuvita. 2015. Vinay and Darbelnet’s Translation Procedures in Painting a Window. Yogyakarta: Program Studi Pendidikan Bahasa Inggris, Jurusan Pendidikan Bahasa dan Seni, Fakultas Keguruan dan Ilmu Pendidikan, Universitas Sanata Dharma.

Melukis Jendela adalah sebuah karya sastra Djenar yang dipublikasikan sebagai cerita pendek oleh Horison. Versi berbahasa Inggris dari Melukis Jendela, Painting a Window diterbitkan sebagai bagian dari kompilasi dalam buku tersebut pada 2005. Michael Nieto Garcia adalah orang yang meterjemahkan Melukis Jendela ke dalam Painting a Window. Setelah diterbitkannya buku Djenar ini, masyarakat terbagi menjadi dua kubu. Salah satu kubu mengganggap karya Djenar sarat akan sex dan terlalu vulgar untuk kalangan pembaca Indonesia. Kubu yang lain setuju bahwa karya Djenar merupakan terobosan bagi sastra modern. Jelas bahwa karya Djenar menimbulkan pro dan kontra. Penulis merasa tertarik untuk mengadakan penelitian tentang karya Djenar.Ketertarikan tersebut mendasari penulis untuk mengadakan sebuah studi mengenai penggunaan prosedur terjemahan milik Jean-Paul Vinay dan Jean Darbelnet di dalam“Painting a Window”.

Ada sebuah pokok permasalahan dalam studi ini: Apa saja prosedur terjemahan milik Jean-Paul Vinay dan Jean Darbelnet yang ditemukan dalam “Painting a Window”?Untuk menjawab pokok permasalahan tersebut, peneliti menggunakan teori Jean-Paul Vinay dan Jean Darbelnet (1958) tentang prosedur terjemahan.

Studi ini merupakan sebuah penelitian konten analisis kualitatif. Data yang dianalisa adalah cerita pendek dari antologi cerita pendek Djenar Maesa Ayu “Melukis Jendela” yang diterjemahkan oleh Michael Nieto Garcia ke dalam versi Bahasa Inggris yang berjudul “Painting a Window”.

Pada akhirnya, peneliti menemukan 185 data terjemahan, yang dianalisa dengan menggunakan prosedur terjemahan milik Jean-Paul Vinay dan Jean Darbelnet. Dalam prosedur terjemahan tersebut terdapat tujuh prosedur. Prosedur tersebut meliputi kategori dari „borrowing,‟„calque,‟ „literal,‟ „transposition,‟ „modulation,‟ „equivalence,‟dan„adaptation‟.

Kata kunci: Melukis Jendela, Painting a Window, Vinay and Darbelnet‟s translation procedures

VINAY AND DARBELNET’S TRANSLATION PROCEDURES

IN DJENAR’S

PAINTING A WINDOW

A SARJANA PENDIDIKAN THESIS

Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree

in English Language Education

By Yuvita Ardhani Student Number: 091214116

ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION

SANATA DHARMA UNIVERSITY YOGYAKARTA

i

VINAY AND DARBELNET’S TRANSLATION PROCEDURES

IN DJENAR’S

PAINTING A WINDOW

A SARJANA PENDIDIKAN THESIS

Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree

in English Language Education

By Yuvita Ardhani Student Number: 091214116

ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION

SANATA DHARMA UNIVERSITY YOGYAKARTA

iv

DEDICATION

I dedicate this paper to the greatest love of my life, Rahayuning Prapti (†) and my lifetime hero, Sudaryanto.

vii ABSTRACT

Ardhani, Yuvita. 2015. Vinay and Darbelnet’s Translation Procedures in Djenar’s Painting a Window. Yogyakarta: English Language Education Study Program. Department of Language and Arts Education. Faculty of Teachers Training and Education. Sanata Dharma University.

Melukis Jendela is a literary piece of Djenar Maesa Ayu, a short story published by Horison. The English version of Melukis Jendela, Painting a Window was published as a compilation along with the book in 2005. Michael Nieto Garcia is the person who translates Melukis Jendela into Painting a Window. There were two blocks formed after the release of Djena‟r book. The first block thinks that Djenar‟s work is sex-oriented and too vulgar for Indonesian reader. The other side agreed that Djenar‟s work is a breakthrough for the modern literature. Obviously, there are pros and cons about Djenar Maesa Ayu and her works. The researcher finds it interesting to conduct a research on Djenar‟s works. There is one research problem in this study: What are the Vinay and Darbelnet‟s translation procedures found on Djenar‟s Melukis Jendela? To answer the research problem, the researcher uses Jean-Paul Vinay and Jean Darbelnet (1958) theory on translation procedures.

This study is qualitative content analysis research. The data is one of the short stories from the antology Djenar‟s book Melukis Jendela translated into Painting a Window by Michael Nieto Garcia.

At the end, the researcher find 185 collected data which were analyzed using Jean-Paul Vinay and Jean Darbelnet‟s translation procedures. There are seven procedures in this theory, namely, „borrowing‟, „calque‟, „literal‟, „transposition‟,„modulation‟,„equivalence‟, and „adaptation‟.

Key words: Melukis Jendela, Painting a Window, Vinay and Darbelnet‟s translation procedures

viii

ABSTRAK

Ardhani, Yuvita. 2015. Vinay and Darbelnet’s Translation Procedures in Painting a Window. Yogyakarta: Program Studi Pendidikan Bahasa Inggris, Jurusan Pendidikan Bahasa dan Seni, Fakultas Keguruan dan Ilmu Pendidikan, Universitas Sanata Dharma.

Melukis Jendela adalah sebuah karya sastra Djenar yang dipublikasikan sebagai cerita pendek oleh Horison. Versi berbahasa Inggris dari Melukis Jendela, Painting a Window diterbitkan sebagai bagian dari kompilasi dalam buku tersebut pada 2005. Michael Nieto Garcia adalah orang yang meterjemahkan Melukis Jendela ke dalam Painting a Window. Setelah diterbitkannya buku Djenar ini, masyarakat terbagi menjadi dua kubu. Salah satu kubu mengganggap karya Djenar sarat akan sex dan terlalu vulgar untuk kalangan pembaca Indonesia. Kubu yang lain setuju bahwa karya Djenar merupakan terobosan bagi sastra modern. Jelas bahwa karya Djenar menimbulkan pro dan kontra. Penulis merasa tertarik untuk mengadakan penelitian tentang karya Djenar.Ketertarikan tersebut mendasari penulis untuk mengadakan sebuah studi mengenai penggunaan prosedur terjemahan milik Jean-Paul Vinay dan Jean Darbelnet di dalam“Painting a Window”.

Ada sebuah pokok permasalahan dalam studi ini: Apa saja prosedur terjemahan milik Jean-Paul Vinay dan Jean Darbelnet yang ditemukan dalam “Painting a Window”?Untuk menjawab pokok permasalahan tersebut, peneliti menggunakan teori Jean-Paul Vinay dan Jean Darbelnet (1958) tentang prosedur terjemahan.

Studi ini merupakan sebuah penelitian konten analisis kualitatif. Data yang dianalisa adalah cerita pendek dari antologi cerita pendek Djenar Maesa Ayu “Melukis Jendela” yang diterjemahkan oleh Michael Nieto Garcia ke dalam versi Bahasa Inggris yang berjudul “Painting a Window”.

Pada akhirnya, peneliti menemukan 185 data terjemahan, yang dianalisa dengan menggunakan prosedur terjemahan milik Jean-Paul Vinay dan Jean Darbelnet. Dalam prosedur terjemahan tersebut terdapat tujuh prosedur. Prosedur tersebut meliputi kategori dari „borrowing,‟„calque,‟ „literal,‟ „transposition,‟ „modulation,‟ „equivalence,‟dan„adaptation‟.

Kata kunci: Melukis Jendela, Painting a Window, Vinay and Darbelnet‟s translation procedures

ix

ACKNOWLEDGEMENTS

I would like to express my gratitude to Jesus Christ for the guidance and the wonderful blessings upon me. I would also thank myself for finally went through hardships and proving that pain is not an excuse. It is an honor for me to let myself achieve the wonderful feeling of self-trust.

Second, my gratitude goes to my faithful friends Astika Christia Destin, Ika Wahyuti and Sandy Ferianda. They have always been by my side, giving me the love and support. I also do not want to miss to thank my fellow co-workers of PT PMA MINDO for their support and affection.

I am very grateful to have my academic advisor, Christina Kristiyani, S.Pd., M.Pd. and Paulus Kuswandono, Ph.D., for inspiring me to regain the strength and faith in myself. The next gratitude goes to my thesis advisor, Drs. Barli Bram M.Ed., Ph.D. The coolest and the most meticulous lecturer and thesis advisor I have ever met.

Lastly, I would like to thank my wonderful family for the advice and understanding. It is a blessing to have Hery Stiawan and Krisna Wahyu Prahmawati, my brother and sister, for being good parents while I was away from my father. I cannot thank them enough for all the sincere love and now I will do what is best for me.

The Writer

xi

TABLE OF CONTENTS

TITLE PAGE ... i

APPROVAL PAGE ... ii

DEDICATION PAGE ... iv

STATEMENT OF WORK’S ORIGINALITY ... v

PERNYATAAN PERSETUJUAN PUBLIKASI ... vi

ABSTRACT ... vii

ABSTRAK ... viii

ACKNOWLEDGEMENTS ... ix

TABLE OF CONTENTS ... xi

LIST OF APPENDICES ... xiii

LIST OF TABLES ... xiv

LIST OF FIGURES ... xv

CHAPTER I: INTRODUCTION ... 1

A. Research Background ... 1

B. Research Problem... 3

C. Problem Limitation ... 4

D. Research Objective... 4

E. Research Benefit ... 5

1. The students of ELESP Sanata Dharma University ... 5

2. Readers ... 5

3. Future Researchers ... 5

F. Definition of Terms ... 6

1. Translation ... 6

2. Vinay and Darbelnet’s Translation Procedures ... 6

CHAPTER II: REVIEW OF RELATED LITERATURE ... 10

A. Theoretical Description ... 10

1. Translation ... 10

2. Theory of Integrated Skills ... 12

a. Borrowing ... 12

b. Calque ... 13

c. Literal Translation ... 15

d. Transposition ... 16

e. Modulation ... 17

f. Equivalence ... 18

g. Adaptation ... 19

B. Theoretical Framework ... 20

CHAPTER III: METHODOLOGY ... 21

A. Research Method ... 21

xii

C. Research Instruments and Data Gathering Technique ... 23

D. Data Analysis Technique ... 23

E. Research Procedure ... 25

CHAPTER IV: RESEARCH RESULTS AND DISCUSSION ... 26

A. Vinay and Darbelnet’s Translation Procedures in Djenar’s Painting a Window ... 26

B. Occurence Frequency of Vinay and Darbelnet’s Translation Procedures Applied in Djenar’s Translation ... 35

CHAPTER V: CONCLUSIONS AND RECOMMENDATIONS ... 41

A. Conclusions ... 41

B. Recommendations ... 42

REFERENCES ... 44

xiii

LIST OF APPENDICES

xiv

LIST OF TABLES Table 4.1

Sample Data of Borrowing Procedure ... 27 Table 4.2

Sample Data of Calque Procedure ... 28 Table 4.3

Sample Data of Literal Procedure ... 29 Table 4.4

Sample Data of Transposition Procedure ... 30 Table 4.5

Sample Data of Modulation Procedure ... 32 Table 4.6

Sample Data of Equivalence Procedure ... 33 Table 4.7

Sample Data of Adaptation Procedure ... 34 Table 4.8

Data Collection Result ... 35 Table 4.9

Sample Data of Double Procedure ... 36 Table 4.10

xv

LIST OF FIGURES Figure 2.1

Translation Process (Larson 1984; 4) ... 11 Figure 3.1

Data Calculation Formula ... 24 Figure 4.1

1 CHAPTER I

INTRODUCTION

This chapter presents six sections of subdivided parts of the introduction. The six sections presented are namely (1) research background, (2) research problem, (3) problem limitation, (4) research objectives, (5) research benefits, and (6) definition of terms.

A. Research Background

Day (1971) states that everyone is born with a natural desire to be entertained by fiction. He also admits that reading a piece of literary piece gives different satisfactions and pleasures also wider and deeper feeling of enjoyment from reading to obtain facts (p. ix). Therefore literary piece could be one of some simple ways to lose the tense from the routines. Reading literary piece such as novel, novella, short story, or poem enables the reader to explore and interpret the meaning by themselves because there are no boundaries which limit reader’s imagination.

Still in his book, Grove Day says that reading a fiction provides many rewards for the readers, but the ultimate reward which the readers could obtain is that it enables the readers to understand the meaning of being a human and understand it better (1971, p.x). Fiction tells a tale or a story to the readers and also delivers a message in which the writer implicitly or explicitly states. When the readers obtain the message, have a thought of it, and understand it then it can

be concluded like Grove Day said that the readers have found the so called reader’s reward.

As a literary piece devotee, the researcher tries to show that each literary piece has its characteristics to be admired. The Encyclopedia of Indonesian Literature affirms that the characteristic of the piece reflects the author’s characteristic (“Karakteristik”). Therefore, each literary piece devotee has its own favorite author based on the characteristic of the literary piece.

In Indonesia, there is a quite controversial author emerged in the last decade. She is Djenar Maesa Ayu, a defiant author who has successfully published her first book, a compilation of her short stories entitled Mereka Bilang Saya Monyet in 2003 followed by the English version They Say I’m a Monkey in 2005 translated by Michael Nieto Garcia. Sutardji Calzoum Bachri as a senior in Indonesian modern literature on Djenar’s book commented that Djenar is one of the most impressive fiction writers in the last decade. Bachri adds that Djenar’s language also expresses herself simply and directly (2005: p.124). As seen from Bachri’s comment, he sees Djenar’s work in a positive way that the language used in Djenar’s work is the expressions of herself as a simple and direct person. Bachri did not mention any words related to the word controversy. There were two blocks formed after the release of Djenar’s book. The contrary side stated that there were too much sexual content exposed in her book, in which, exposing sexuality is quite taboo on our country. On the other hand, the pro society agreed that Djenar’s way of expressing the message through her book is a breakthrough

in the modern literature. Obviously, there are pros and cons about Djenar Maesa Ayu and her works.

The researcher finds it interesting to conduct a research on Djenar’s works. This study limits the scope of the research in one of Djenar’s short story titled Melukis Jendela or Painting a Window. The research will not focus on the overall quality of the translation. However, the focus of this research will be more on the application and the occurence of Vinay and Darbelnet’s translation procedures in the translation.

Melukis Jendela is a literary work of Djenar Maesa Ayu, printed as a short story by Horison, November edition in 2001. The English version of Melukis Jendela, Painting a Window was published as a compilation along with the book in 2005. Michael Nieto Garcia is the man who translates Melukis Jendela into Painting a Window.

Djenar Maesa Ayu’s work is famous for its direct language and sex -oriented content. This could be an interesting study to gain further knowledge on how well do a translator translate such a controversy work. The researcher decides to analyze further on Djenar’s Painting a Window and compare it to the original version Melukis Jendela. The researcher conducted a surface research by comparing Painting a Window to Melukis Jendela using Vinay and Darbelnet’s translation procedures.

B. Research Problem

The study aims to address the following research question:

1. What are the Vinay and Darbelnet’s translation procedures found in Djenar’s Melukis Jendela?

C. Problem Limitation

In this study the researcher sets some parameters in order to obtain the deep and content answers from the research problem without going out of the boundary. This study focuses on the translation procedures proposed by Vinay and Darbelnet which are applied in Djenar’s Painting a Window.

There is one main point to be concerned in this study. The main point is the occurence of Vinay and Darbelnet’s translation procedures in the translation of Djenar’s Painting a Window. However, there is an additional point that can also be concluded after finding the results of the first point. The additional point that can be added what the most applied procedure in Djenar’s Melukis Jendela is.

The results of these two important points will be presented as a precentage. Data calculation will be the main task for the researcher to answer the research problem.

D. Research Objectives

Based on the problem limitation, this study has two objectives. The first objective is that this study aims to first, analyse the translation procedures applied in Djenar’s Painting a Window using Vinay and Darbelnet’s translation

procedures. Moving on to the second objective of this study is that it aims to point out the most applied procedure proposed by Vinay and Darbelnet in the translation of Djenar’s short story .

E. Research Benefits

This study is expected to have valuable contributions heartily for ELESP (English Language Education Study Program) students, readers who put interest in fictional piece and translated fiction, and for future researchers.

1. ELESP Students

This study might be useful and valuable for Sanata Dharma ELESP students to become critical and aware of the expansions and reductions in translation. Further contribution of this study for students of ELESP is to expand and enrich their knowledge on translation study.

2. Readers

Readers who enjoy reading fictional work and translated fictional work, it is expected that this study could give valuable information about measuring a good translated fictional work.

3. Future Researchers

Other researchers who will be discussing issues in translation especially the translation of fictional work, it is hoped that this study would be able to provide sufficient data and information for the research.

F. Definition of Terms

This section provides some definition of terms related to this study. 1. Translation

Meetham and Hudson (1972) as cited by Bell (1991) define translation as the replacement of a representation text in certain language by the most likely best representation of the text in the other language (p.6). Synthesizing from what Meetham and Hudson said, translation here could be defined as an equivalence representation of a text derived from the source language into the target language.

2. Vinay and Darbelnet’s Translation Procedures

This study uses Vinay and Darbelet’s translation procedure as a core of analysis to get the precentage of occurence of theie procedure in Djenar’s Painting a Window. The following list are the procedures proposed by Vinay and Darblenet’s.

The following list are the procedures proposed by Vinay and Darblenet’s.

1. Borrowing

Borrowing is the simplest procedure of all translation procedures proposed by Jean-Paul Vinay and Jean Darbelnet. The nature of borrowing is to introduce the element of the source language into the target language by simply borrows the original words (Vinay and Darbelnet, 1958:84).

2. Calque

A calque is a special kind of borrowing whereby a language borrows an expression form of another, but then translates literally each of its elements (Vinay and Darbelnet, 1958:85).

3. Literal Translation

This procedure directly transfers the source language into the target language. Literal translation procedure is most commonly used when translating between two languages of the same family (Vinay and Darbelnet, 1958:86).

4. Transposition

Transposition procedure is a procedure of changing the word class of certain elements of translation (Vinay and Darbelnet, 1958:88).

5. Modulation

The fifth translation procedure is the modulation procedure. Modulation procedure let the translator to translate the source language in different points of view (Vinay and Darbelnet, 1958:89).

6. Equivalence

Equivalence enables the translator to observe the message certain unfamiliar phrases or idioms from the source language and then translate it into the commonly used phrases or idioms in the target language (Vinay and Darbelnet, 1958:90).

7. Adaptation

The last translation procedure is called adaptation. In general, adaptation procedure is adapting certain segment of source language and then applied the adopted worh in the target language (Vinay and Darbelnet, 1958:90).

The researcher used these procedures as the guidance to analyze and calculate the occurence of Vinay and Darbelnet’s translation procedures.

9 CHAPTER II

REVIEW OF RELATED LITERATURE

This chapter consists of two sections. The first section contains the theories in relevance with the subject matter. The second section of this chapter presents the synthesis of the first section, which is theoretical description. The synthesis of the theoretical description will be used to solve the research problem of the study.

A. Theoretical Description

In this part, the researcher explains some theories employed in this study. There are definition of translation and Jean-Paul Vinay and Jean Darbelnet’s translation procedures.

1. Translation

Meetham and Hudson as cited by Bell (1991) define translation as the replacement of a representation text in certain language by the most likely best representation of the text in the other language (p.6). Synthesizing from what Meetham and Hudson said, translation here could be defined as an equivalence representation of a text derived from the source language into the target language. According to Cartford (1965), translation is an operation of text substitution in one language to another (p.1). By Catford definition, it can be clearly seen that there is a linkage between languages engaged in the translation process. Catford

added that the linkage between the languages offer a condition where any theory of translation must be related to a theory of language (p.1).

On the other hand, Larson (1984) simply said that translation is a change of form. Further, Larson explained that the form of the SL which changed, is replaced by the form of the receptor (target) language (p.3). The replacement of the SL form to the receptor language (TL) form indicates a change of form. In his book Meaning-Based Translation: A Guide to Cross-Language Equivalence (1984), Larson described how the change is accomplished. It is done by going from the form of the SL to the form of the TL within the semantic area (p.3). It means that it is only the form which changes and the meaning being transferred must be the same with the original form. The following figure is the visualization of translation process according to Larson (p.4).

Figure 2.1 Translation Process (Larson, 1984;4) SOURCE LANGUAGE

MEANING

RECEPTOR LANGUAGE

Re-express the meaning

Discover the meaning

Translation Text to be translated

Larson further explains, a translator needs to learn about every aspects of language, such as lexicon, grammar, cultural context and communication situation (1984;4). The text need to be analyzed in order to establish the meaning and then transfer it to TL appropriately on behalf of every language aspects. It is on the translator’s hand to choose the most agreeable definitions of translation proposed by the expertise. The ultimate goal of translation is to deliver the meaning of the text in a natural way, no matter what side translator stand behind.

Larson (1984, p.6) presented three criteria of the best translation.The first one is that best translation uses normal language form of the target language. When a translation uses a normal form of the target language, the translation language forms will become more natural. Second is the generous amount of communication between the target language speaker and the source language speaker using the same meaning that was understood by both groups. The last one is to maintain the dynamics of the source language text originality. Maintaining the dynamics of the source language text originality means that the translation can hopefully evoke the respose in the same way as the source language did.

2. Vinay and Darbelnet’s Translation Procedures

a. Borrowing

In general speaking, borrowing is the the simplest of all translation methods. Vinay and Darlbernet (1958, p.84) agreed that borrowing is the proper method to overcome a lacuna or gap. (p.84) This method can be applied to

introduce a characteristic of the culture that was delivered in the source language into a foreign term. For example, some Italian and German food names such as pizza and lasagna or frankfurter and bratwurst. As a Bahasa Indonesia speaking country, Japanese words like tsunami and karaoke are already familiar. As Vinay and Darbelnet (1958) said that, many borrowings enter a language through translation. New borrowings are waiting to enter a language when the decision to borrow a source language (SL) word or expression for introducing an element of local color is a matter of style and consequently of the message

SL: I ate pizza yesterday. TL: Saya makan pizza kemarin.

As can be seen above, the linguistic features are the same as the source language text and target language.

b. Calque

Calque is a translation of the word-by-word literal of a phrase or even a word in the source language into the target language by maintaining a sequence of linguistic units phrase or word original. Calque produces linguistic forms (meaning and structure of the phrase) on the same target language to the source language (Vinay and Darbelnet, 1958:85). This is actually a loan that was translated literally without changing the composition of the morpheme or word. Consider the following example:

English : Antibody Indonesian : Antibodi

English : Blue blood Indonesian : Darah Biru English : Spiderman Indonesian : Spiderman

In Bahasa Indonesia it is possible to literary translate it into Manusia Laba-laba. Calque is a special kind of borrowing whereby a language borrows an expression form of another, but then translates literally each of its elements. The result is either a (i) lexical calque, as in the first example, below, i.e. a calque which respects the syntactic structure of the TL, whilst introducing a new mode of expression; or (ii) a structural calque, as in the second example, below, which introduces a new construction into the language, e.g.:

English-French calque

Adam’s Apple - pomme d'Adam

English-Latin calque

Rest in Peace - requiescat in pace

Almost similar to borrowing, calque translates the source language into the target language without adding any necessary changes. The examples above are called structural calque translation. English and French do not share the same root language, that is why there are some differences in the translation, structurally. However, these small differences do not change the meaning and the message of the translation at all. It will be a different case when French and Italian are compared since they are basically share the same root language and even cultures.

On the other hand, as English and Latin shares the same root since the root of English is Latin, there is no difference in the translation, structurally. The researcher does not need to make any adjustment to the translation since they share the same structural arrangement. Therefore, it is easier to apply calque procedure when the source language and the target language share the same root language.

As with borrowings, there are many fixed calques which, after a period of time, become an integral part of the language. These too, like borrowings, may have undergone a semantic change, turning them into faux amis.

c. Literal Translation

The next translation procedure of Jean-Paul Vinay and Jean Darbelnet’s translation procedures is the literal translation. Literal translation procedure also known as word to word translation is the commonly used translation procedure among all (Vinay and Darbelnet, 1958:86). This procedure lets the translator to directly translate the source language into the target language into grammatically and idiomatically appropriate translation. Below is the example of a literal translation.

SL: Yesterday I met Mary in the canteen. TL: Kemarin saya bertemu Mary di kantin.

It is obvious that the sentences above, both the source language sentence and the target language sentence share the same grammatical structure. Each word in the target language translation is translated exactly the same translation of the

source language sentence. That is why literal translation procedure is also known as word to word translation.

This translation procedure is also known as the simplest procedure of all Jean-Paul Vinay and Jean Darbelnet’s translation procedures. Borrowing becomes the simplest procedure out of all translation procedures simply because it limits the translation only to observe the language and translate the word into the best closest translation of the target language.

However, there are five important indicators which can measure when the use of literal translation procedure is unacceptable. Literal translation procedure is unacceptable when it: (i) gives another meaning ; (ii) has no meaning, or; (iii) is structurally impossible, or; (iv) does not have a corresponding expression within the metalinguistic experience of the target language, or; (v) has a corresponding expression, but not within the same register. When these five indicators occured, translator must turn the method into the oblique translation. These indicators do not necessarily appear all together in a translation. However, when one of the indicators appears in a translation, then the translation should be considered as an unacceptable translation.

d. Transposition

Another translation procedure is transposition. It is a procedure that can change the arrangement of the words in the sentence. Its main characteristic is to change the type of the verb into a noun or vice versa. Yet, this procedure does not necessarily change the meaning of the sentence. In fact, every word class changes,

for example from a noun into a verb, an adjective into an adverb, can be called transposition (Vinay and Darbelnet, 1958:88).

See the following example:

SL: Setelah dia berdiri, saya menjatuhkan sendok tersebut. TL: As soon as he gets up, I dropped the spoon.

In the above example, setelah belongs to preposition word class which means after. Setelah is translated into the target language as as long as. As long as on the other hand, is a conjuction. It is obvious that the original word from the source language which belongs to the preposition word class is changed into a conjuction.

From a stylistic point of view, the base and the transposed expression do not necessarily share the same value. Translators must, therefore, choose to carry out a transposition if the translation thus obtained fits better into the utterance, or allows a particular nuance of style to be retained. Indeed, the transposed form is generally more literary in character.

e. Modulation

Modulation is a transposition that leads to different points of view within the target language (TL). This change can be justified when, although a literal, or even transposed, translation results in a grammatically correct utterance, it is considered unsuitable, unidiomatic or awkward in the TL (Vinay and Darbelnet, 1958:89).

TL: Kamu orang yang aneh.

The above example shows modulation from English to Bahasa Indonesia. Strangers in the example above particularly carries the meaning of a weird guy, instead of the literal meaning which is an outsider. Therefore, the word aneh which literally means weird, can be used to translate the word stanger.

f. Equivalence

Equivalence or equivalent further 'distance' to the linguistic form of the source language (Vinay and Darbelnet, 1958:90), (Note that the use of word equivalence or equivalent here has completely different meanings the word "equivalence" or 'equivalent' in the discussion of translation theory in general.)With this procedure, the translator said wear style and different structures with subtitles sources. This is usually used to translate proverbs, idioms, or the like. Consider the following examples:

SL : It rains cats and dogs. TL : Hujannya sungguh lebat.

SL: Joko tertangkap tangan mencuri kalung. TL: Joko caught redhanded stealing the necklace.

Rain cats and dogs is an English idiom. The real meaning of hujan lebat is heavy rain. In this case, the translator needs to use the equivalence procedure to deliver the closet equivalence of the idiom. The example of the proper translation for idioms can be seen from the examples above.

The second example is similar to the first one. Tertangkap tangan is an Indonesian idiom which means someone getting caught doing something. The best english word to translate this idiom is redhanded. Joko got caught when he tried to steal a necklace. From this sentence, it is clear that Joko is redhanded stealing a necklace. It can be concluded that the use of the equivalence procedure in both idioms are well executed.

Each country has different idioms and this is where equivalence translation procedure becomes the most efficient procedure to be used as a translation procedure. Equivalence translation procedure enables the translator to observe the idiom and find the meaning of the idiom in the source language. The next step is, the translator needs to find an idiom in the target language which shares the same meaning as the idiom from the source language.

g. Adaptation

Last procedure according to Vinay and Darbelnet (1958) is an adaptation. Linguistic form (meaning of words and sentence structure) generated target language text further than the equivalence results. Adaptation is done if the situation described in the source language text is not in the target language culture (Vinay and Darbelnet, 1958:90). This procedure enables the translator to adapt the situation so that it can describe events equivalent in the target culture with the events described in the text of the source language.

Adaptation can, therefore, be described as a special kind of equivalence, a situational equivalence. The refusal to make an adaptation is invariably detected

within a translation because it affects not only the syntactic structure, but also the development of ideas and how they are represented within the paragraph. Even though translators may produce a perfectly correct text without adaptation, the absence of adaptation may still be noticeable by an indefinable tone, something that does not sound quite right.

B. Theoretical Framework

This section presents the framework of the discussion using some relevant theories. The aim of this section is to solve the reserarch problem, related to the translation procedure used in Djenar’s Melukis Jendela. The first problem focuses on the occurence of Vinay and Darbelnet’s translation procedures in Djenar’s Melukis Jendela. The second problem focuses on the procedure which most widely applied in the translation. In this case, the researcher employs some calculations in order to narrow down the data and points out the most applied procedure.

The researcher applies Jean Paul Vinay and Jean Darbelnet’s translation procedures theories. There are two methods which translator can choose from Vinay and Darbelnet’s translation procedures, namely direct, or literal translation and oblique translation. Using Vinay and Darbelnet’s translation procedures, translator can transpose the source language message from substant to substant into the target language. The basic of using this way are (i) parallel categories, cope the structural parallelism field, or (ii) on parallel concepts, which are the

result of metalinguistic parallelisms. In this phase, translator can apply the direct method.

It possible for the translator to find gaps or lacunae during the process of translating the source language into the target language. In his book, Vinay and Darbelnet’s also states that it is possible that certain stylistic effects cannot be transposed into the target language without violating the syntactic order and any small elements of the language. This happens because of the difference of the structural or metalinguistic. (Vinay and Darblenet p.1)

In this case more advanced methods need to be used to overcome the problem. This advanced method used to overcome the lacunae during the translation process called oblique translation.

21 CHAPTER III

METHODOLOGY

In this chapter, the researcher discussed the method used in this study to solve the research problem. The discussion consists of some parts, namely, the research method, research subjects, instruments and data gathering techniques, data analysis techniques, and research procedures.

A. Research Method

The researcher employed qualitative research in conducting the research. According to Merriam (2002), qualitative research explores the interpretation in a certain point in time and context. In addition, Miles and Huberman (1994) state that qualitative data presents data in the form of words. Since the data of this study are Melukis Jendela and Painting a Window. Thus, the researcher considered qualitative research is likely the best fit to analyze and interpret the data.

The method used in this study was qualitative content analysis. According to Smith (1966), content analysis is a method to synthesize certain information from a body of material by objectively and systematically identifying specified characteristics of material (p. 314). Content analysis enables the researcher to identifies and analyze the content of the text. Leedy and Ormord (2005) state that content analysis is typically performed on forms of human communication, including books, newspapers, films, televisions, art, music, videotapes of human

interaction, and transcript of conversations (p. 142). In line with Leedy and Ormord’s statement, Smith (1966) states content analysis is applied to qualitative material obtained from archived records, recording of naturally occurring behavior, or evoked responses (p. 314). In this research the data were obtained from two short stories, Melukis Jendela and Painting a Window. The Glossary of Literary Terms (2011, Vol. III) defines short story as a brief work of prose fiction and it can be analyzed as the way the components elements, types, and narrative techniques of novel are analyzed (“short story”).

Considering the purpose, the aim of the method and the possible match of the method for analyzing the short story, the researcher used content analysis as a method to analyze the translation product because it is the most applicable method.

B. Research Subjects

The subject of this study was Djenar’s short story entitled Melukis Jendela and the English version Painting a Window translated by Michael Nieto Garcia. Melukis Jendela was published along with other of Djenar’s short stories on December 2003 by Gramedia Pustaka Utama. The short stories are compiled into one book of fictional stories titled Mereka Bilang Saya Monyet. The title of the book is taken from the title of one of Djenar’s short stories within. The book contains eleven short stories.

The details of the sources analyzed in the study were as follows:

1. Melukis Jendela, a short story by Djenar Maesa Ayu, Modern Indonesian Fiction writer.

2. Painting a Window, the translated version of Djenar’s Melukis Jendela by Michael Nieto Garcia.

Mereka Bilang Saya Monyet!, is an anthology of Djenar’s short stories. Gramedia Pustaka Utama is the publishing house of Mereka Bilang Saya Monyet!. The book is one hundred and fifty (150) pages thick and published in January 2002.

C. Research Instruments and Data Gathering Techniques

The instruments of this study were Djenar’s original work Melukis Jendela and translation product Painting a Window. There is one research problem which this study focused on. The research problem of this study aims to convey the translation procedures proposed by Vinay and Darbelnet.

The rresearcher gathered the data for the first research problem by putting the source text and translated text side by side. Then, the source text and the translated text were compared at words, phrase, and sentence level. Since Garcia stated that the punctuation had been standardized as in Standard English, the researcher did not include the punctuation as the data to be analyzed. The reserarched added some addtional information regarding the numbers of occurence of each procedure. This additional research aims to find out what

procedure is most used in the translation. To answer this research, the researcher employed data calculation.

D. Data Analysis Techniques

This section presents the techniques used by the researcher to analyze the object of the study, which is Djenar’s Painting a Window. There were five techniques used by the researcher to solve the research problem.

1. Data Input

The researcher collected the data and put it into data compilation. This technique helps the researcher to make the data categorization much easier.

2. Data Categorization

Data categorization aims to help the researcher analyze and identify the data one by one. There are seven categories based on Vinay and Darbelnet’s research procedures.

3. Data Analysis and Identification

The researcher analyzed each category to find certain features in the translation and thoroughly observed them. Identification is a further step to validate whether the features found in the translation match to the given category. 4. Data Measurement

The final step is data measurement. This technique aims to provide logic and countable research findings.

The researcher calculated the precentage of the data by using the formula below:

Figure 3.1 Data Calculation Formula In where:

=

The total of the collected data based on the category

=

The total of the collected data

The formula above is used to calculate the percentage of the data on each of the procedure by dividing the total of the collected data based on the category by the total of the collected data. The result of the calculation represents the amount of each data based on the category.

E. Research Procedures

This study applied several procedures, which were done as follows:

1. Collecting the data

The researcher observed the data to find some insights. Then, the researcher collected the data from Djenar’s Melukis Jendela and Painting a Window.

2. Inputting data into the table.

The second step requires the reserarcher to put the data into the table. The organized data in the table helps the data analysing process become much easier.

�

3. Analysing the data

After putting the data into the table, the researcher analysed the data by using Vinay and Darbelnet’s translation procedures as the guidance.

4. Placing the data based on the category

Categorization was the second last step in this section. After finishing the analisis part, the researcher placed each data based on their translation procedures category.

5. Calculating the occurence of each procedure in the translation

The last step after completing data collection and analysis was calculating the occurence of each procedure in the translation. The researcher used a formula (see figure 3.1 ) to gather the occurence precentage of each procedures.

27 CHAPTER IV

RESEARCH RESULTS AND DISCUSSION

This chapter consists of two parts where the researcher discusses the results of the research. There is an additional part which has a relation with the main part. The main part discusses the translation procedures used in Djenar Maesa

Ayu’s Melukis Jendela. Whereas the additional part points out the occurence of the procedures in Painting a Window. The researcher calculated the results and presented it as a calculated data in a form of precentage.

A. Vinay and Dalbernet Translation Procedures in Djenar's Painting a Window

Research results section contains the data collected from Djenar’s Painting a Window. The data were categorized into different group according to Vinay and

Darbelnet’s theory on Translation Procedures. In categorizing the data, the researcher uses the methods described in the previous chapter, Methodology. The researcher underlined the sentences, phrases, or words in the source and target language for the parts using Vinay and Darbelnet’s certain translation procedures. Table 4.1 contains the list of data (sentences, phrases, and words) from Painting a Window which used Vinay and Darbelnet’s translation procedures.

The sample of the data collection results can be seen from the following tables: a. Borrowing

Borrowing is the simplest procedure of all translation procedures proposed by Jean-Paul Vinay and Jean Darbelnet. The nature of borrowing is to introduce the element of the source language into the target language by simply borrows the original words.

Table 4.1 Sample Data of Borrowing Procedure SL.003

Maka ia mulai melukis seorang ibu, bersanggul dan berkebaya emas dengan selendang coklat muda yang kontras dengan kain berwarna coklat tua yang dikenakannya, sedang duduk memangku Mayra sambil menatap mata Mayra hangat dan mesra.

TL.003 So she began to paint a mother, with hair done up in a formal bun and wearing a golden kebaya and a light brown scarf

contrasted with the brown saroong that she wore. In the painting she was sitting with Mayra on her lap, gazing into her daughter's eyes affectionately.

SL.024 "Wah… Anton KO sama cewek!"

TL.024 "Whoa! Anton got knocked out by a girl!"

Equivalence

Table 4.1 shows that the translation used borrowing procedure. It can be seen from the word kebaya which is literally translated into the original word kebaya. As Vinay and Darbelnet’s points out that borrowing introduces the taste

of the source language’s culture or tradition, Garcia applied borrowing properly to

translate kebaya. By applying this procedure, the readers will gain an opportunity to learn about Indonesian culture.

The second example in SL.024 is KO which is basically an English abbreviation for knocked out. In this sentence, the translator did not make any dramatic change despite breaking down the abbreviation into the original phrasal word of knocked out. KO or knocked out is obviously a borrowing from English to Bahasa Indonesia.

b. Calque

A calque is a special kind of borrowing whereby a language borrows an expression form of another, but then translates literally each of its elements. The result is either a (i) lexical calque, as in the first example, below, i.e. a calque which respects the syntactic structure of the TL, whilst introducing a new mode of expression; or (ii) a structural calque.

Table 4.2 Sample Data of Calque Procedure

SL.073 Ia meluapkan kegembiraannya.

TL.073 She let her joy bubble

over, …

Calque

SL.079 Ayah dan Ibu

menciumnya bertubi-tubi.

TL.079 Mommy and Daddy kissed her over and over again.

Calque

The idea of calque procedure is to deliver an expression form then translates it into the target language without violating the linguistics structure. Generally almost the same as borrowing but calque procedure enables the translator to deliver it using the target language.

SL.073 shows an expressions of joy from the word kegembiraan. It is not an ordinary joy but the overflowing one, as further described by using the verb meluapkan. In TL.073 the translator used the word bubble over to deliver the message of the overflowing feeling that Mayra experienced. The translator put it

together in a sentence into “She let her joy bubble over, ...” which best described

what Mayra felt. The same case happened in TL.079 where the word bertubi-tubi which means non-stop is translated into over and over again.

c. Literal

The third procedure of Vinay and Darbelnet’s translation procedures is

when translating between two languages of the same family. This procedure directly transfers the source language into the target language.

Table 4.3 Sample Data of Literal Procedure

SL.006 Ia mendengar Ibu dengan lembut

mengatakan segalanya akan membaik esok hari.

TL.006 She heard her mother softly say everything would be better tomorrow.

Literal

SL.051 Ia tersenyum. TL.051 She smiled. Literal SL.057 Sudah hampir dua

tahun sejak Mayra menyayat mukanya.

TL.057 It was almost two years since Mayra cut her face.

Literal

SL.062 SL.062

Siang itu Mayra sangat bahagia.

TL.062 TL.062

That afternoon Mayra was very happy.

Literal Literal

There are several examples of literal translation in table 4.3. In SL. The sentences from table 4.3 are transalated word to word from Bahasa Indoneasia to English. The most obvious example is from SL. 051. Ia tersenyum, the word ia refer to Mayra so the pronoun is “she” and tersenyum is a verb meaning smile in

English. Then, the final literal translation for “Ia tersenyum.” is “She smiled.” The same procedure applied in SL.057 and SL. 062. There is one example of quite complex version of litereal translation, which can be seen in SL. 006. Nothing complicated but there is one word which needs more elaboration to be translated

in English. The word Ibu which means mother, gets some additional replacement

to make a clear point that it refers to Mayra’s mother. In this transalation, the

translator uses possesive noun and translated as “... her mother.”

d. Transposition

Transposition procedure is a procedure of changing the word class of certain elements of translation.

Table 4.4 Sample Data of Transposition Procedure

SL.080 Mayra merasa geli dan girang.

TL.080 It tickled her … Transposition

SL.116 Kepada Ayah dan Ibu ia sudah tidak punya pengharapan apa-apa.

TL.116 She had no more expectations whatsoever of her mother and father.

Transposition

SL.124 Bayangan rambut hitam laki-laki yang tergerai hingga dada menari-nari tertiup angin di atas kuda putih tak berpelana.

TL.124 In her imagination the man rode

bareback on a white horse. His black hair hung down his chest, dancing in the wind.

Transposition procedure is a procedure of changing the word class without changing the meaning or message. As can be seen in TL.080 Where the subject is Mayra, in the source language, the translator moved it all the way around. The translator change Mayra as the object and the action that tickled her as subject without changing the meaning or message.

The same action of swifting the subject all the way into object occured in TL.116 and TL.124. In SL.116 it is the father and mother playing the role as a subject in the sentence but then the translator change it to an object and vice versa. As in TL.080 and TL.116, TL.124 also applied the same method of changing the

subject into the object and vice versa. In TL.124, Mayra’s imagination plays a role

as a subject and the imaginary man as an object.

e. Modulation

The fifth translation procedure is the modulation procedure. Modulation procedure let the translator to translate the source language in different points of view. Once again, this procedure is free to use as long as it does not violate the meaning or the message from the source language.

Table 4.5 Sample Data of Modulation Procedure

SL.021 Mereka kembali tertawa sambil memegangi perut.

TL.021 They all started laughing again, and grabbed her around the midriff.

SL.117 Ia sudah menerima bahwa kenyataan itulah yang mutlak ia telan bulat-bulat.

TL.117 She had already accepted this was reality, she had to swallow it

unconditionally.

Modulation

The fourth procedure is called modulation. It is simply applied by changing the point of view without violating the message. SL.021 delivers a simple message of the boys laughing at Mayra. Then, in TL.021 some changes were made where the translator added some more words to points out some details of the actions.

Eventhough there were some addition in the sentence, it does not necessarily changed the message from the source language. The traslator added

“again” as the boys laughed several times before. There are some more words

added to let the readers get some insights and visualization regarding the action.

The changes can be seen from this little part of the sentence, “ ... grabbed her around the midriff.” TL.117 also used the same method of delivering message by using transposition procedure.

f. Equivalence

Idioms are usually translated by using equivalence procedure. Equivalence enables the translator to observe the message certain unfamiliar phrases or idioms

from the source language and then translate it into the commonly used phrases or idioms in the target language.

Table 4.6 Sample Data of Equivalence Procedure

SL.020 Biar kami garap sekalian!"

TL.020 We should have a go at her too!"

Equivalence

SL.141 Seperti kerbau dicucuk hidungnya mereka mengikuti langkah Mayra menuju kantin.

TL.141 Like water buffaloes led by the nose, they followed her steps to the canteen.

Equivalence

There are two samples presented in table 4.6 . The first one is the word garap which is translated into water have a go in SL. 020. The word garap is an expression which carries a meaning getting an act on something. In SL. 020 the word garap is translated into have a go which have the same equivalence as getting an act on something.

SL.141 is a unique example of equivalence as the original source is using Indonesian proverb. Vinay and Darbelnet in his book suggested that it is better to translate a proverb using equivalence procedure. The reason behind it is that as it is a local proveb that might contains some cultural knowledge and meanings, translator does not want to deliver a wrong message. The equivalence of “Seperti kerbau dicucuk hidungnya ...”is best translated into “Like water buffaloes led by

g. Adaptation

The last translation procedure is called adaptation. In general, adaptation procedure is adapting certain segment of source language and then applied the adopted worh in the target language. Adaptation enables the translator adapt the situation so that it can describe events equivalent in the target culture with the events described in the text of the source language.

Table 4.7 Sample Data of Adaptation Procedure

SL.173 Mereka lebih mirip bidadari ketimbang anak manusia.

TL.173 … looking more like fairies than human children.

Adaptation and Calque

Note: SL: Source Language; TL: Target Language

Table 4.7 shows that Garcia used adaptation procedure to translate bidadari into fairies. Bidadari in Indonesia is illustrated as a princess or a goddess from heaven than fairy is a type of mythical being which is illustrated as a small sparkly creature with wings. In conclusion, bidadari and fairy are two different kind of creatures.

The discussion is given to each points of Vinay and Darbelnet’s translation

procedure in general. This section presents the calculation of the occurrence frequency of each translation procedure. Some examples will are already explained in section A of this chapter. This section will mainly discuss the percentage of occurence of Vinay and Darbelent’s translation procedures in the translation. The following table presents the data in a form of number.

Researcher reviewed and calculated the precentage from the table data which can be seen in the appendix.

B. Occurrence Frequency of Vinay and Darbelnet's Translation Procedure Applied in Djenar's Translation

The discussion is given to each points of Vinay and Darbelnet’s translation

procedure in general. This section presents the calculation of the occurrence frequency of each translation procedure. Some examples are already explained in section A of this chapter. This section will mainly discuss the percentage of

occurence of Vinay and Darbelent’s translation procedures in the translation. The following table presents the data in a form of numbers. Reseracher reviewed and calculated the precentage from the table data which can be see in the appendix.

Table 4.8 Data Collection Result

TP B C L T M E A Double

Total 2 3 130 25 19 5 1 4

Note: TP: Translation Procedures; B: Borrowing; C: Calque; L: Literal; T: Transposition; M: Modulation; E: Equivalence; A: Adaptation

Table 4.8 shows that literal translation procedure dominates the results. Literal translation procedure is in the first place followed by transposition, modulation, equivalence , calque, and the last is borrowing. However, there are four data which have double procedure in a sentence.

Table 4.9 Sample data of Double Procedure

SL.002 Sebagai anak tunggal ia menghabiskan banyak waktu hanya dengan melamun tanpa seorang pun untuk diajak berbicara.

TL.002 As an only child she spent much of her time day dreaming, since she had no one to talk to.

Literal and Modulation

SL.046 Mayra menerima pisau itu kedalam tangannya dan

mereka bergandengan kembali ke kamar lalu mengunci pintu.

TL.046 Mayra took the knife in her hand and they walked arm in arm back to the bedroom, locking the door.

Literal and Equivalence

SL.056

SL.056

Ibu sudah kembali ke dalam lukisan, duduk tersenyum manis sambil memangku dirinya, mengenakan kebaya emas dan selendang coklat muda.

TL.056

TL.056

She was back in the painting, sitting there smiling sweetly, while taking Mayra on her lap, wearing golden kebaya with the light brown scarf.

Literal and Borrowing

Double procedure sentence is a sentece which applied two procedures in a sentence. In TL.002, the first half part of the sentence applied literal translation. The first half part of the literal translation is:

“Sebagai anak tunggal ia banyak menghabiskan waktu dengan melamun ...”

translated into “As an only child she spent much of her time day dreaming ...”.

This half part of the sentence is structurally and grammaticaly the same between the source language and the target language. However, starting from the second half of the sentence, Garcia changed the procedure into modulation. In this part of the sentence:

“... tanpa seorang pun untuk di ajak bicara.” Garcia translated the sentence into

“... since she had no one to talk to.” The translator added the conjunction “since”

and change the point of view of the message. The actual message visualizes that it was there was no one around. That is why Mayra spent much of her time day dreaming. It is the environment which made Mayra does not have any companion. By applying modulation procedure, Garcia actually did not change the message at all. The use of the conjuction simplify the structure of the source language. The conjuction let the translator to directly points out that Mayra does not have anyone to talk to. However, the outcome of the translation did not really points out why Mayra does not have anyone to talk to.

The second combination of the procedures is in SL.046. The translator combines literal translation procedure and equivalence translation procedure. Most of the words are literaly word to word translation except for one word

bergandengan which means holding hands. The translator translated the word bergandengan into an English idiom arm in arm, ehic shares the same message of holding hands or bergandengan in Bahasa Indonesia.

SL.056 on the other hand, used the combination of literal procedure and borrowing procedure. The procedure can be clearly seen from the structure and grammar of both source and target language. Borrowing procedure is used mainly to translate the cultural word, kebaya.

The researcher gathered and calculated the results in order to find the precentage of each procedures used in the translation. The following formula is the formula used in the data calculation (see figure 4.1). The results of the data calculation is presented in table. 4.1.

Figure 4.1 Data Calculation Formula

In where:

=

The total of the data based on the category

=

The total of the collected data

�

Table 4.10

Data Calculation Result

No. Category Total Data Result

1. Borrowing 2 1.08%

2. Calque 3 1.62%

3. Literal 130 70.27%

4. Transposition 25 13.5%

5. Modulation 19 10.27%

6. Equivalence 5 2.7%

7. Adaptation 1 0.54%

8. Double Procedure 4 2.16%

Michael Nieto Garcia as the translator of Djenar Maesa Ayu’s Melukis

Jendela used all of the translation procedures proposed by Jean-Paul Vinay and Jean Darbelnet. The calculation above shows that the most applied procedure is the literal translation. Literal translation dominates all other procedures by seventy point twenty seven percent (70. 27%). There are one hundred and thirty (130) entries of literal translation in Painting a Window. The second procedure which occurs frequently is transpotion (25 entries), followed by modulation (19 entries), equivalence (5 entries), calque (3 entries) and borrowing (2 entries). Adaptation is the least used procedure in this translation. Double procedure data are not commoly found in the translation but the researcher managed to point out four entries.

42 CHAPTER V

CONCLUSIONS AND RECOMMENDATIONS

This chapter consists of two parts, namely, conclusions and recommendations. Conclusions present the essential points of the discussion. Recommendations present some suggestions for students of English Departments, readers and future researchers.

A. Conclusions

The researcher discovered one hundred and eighty five (185) data from

Djenar’s Painting a Window. Vinay and Darbelnet’s literal translation procedure

is the most applied procedure found in this translation. There are one hundred and thirty (130) data which are using this procedure. The least applied translation procedure is the adaptation procedure. There are only a few cultural words in this translation which affected the use of borrowing procedure application in this translation. Based on the analysis, there were two borrowings discovered, namely, kebaya and saroong.

Since Bahasa Indonesia and English have different structure, modulation helps Garcia deliver the message from a different point of view. While transposition is used to simplify the sentence structure without changing the meaning. Calque, on the other hand, is used to translate the expression of some words in Bahasa Indonesia to English so that they will share the same corresponding expressions. Equivalence is also used by Garcia to translate

Indonesian proverb “Seperti kerbau dicucuk hidungnya...” to “Like water buffaloes led by the nose...”. From the analysis, the researcher concluded that

Vinay and Darbelnet’s literal translation procedure is the most inconveninent

procedure to help Garcia translate Djenar’s Melukis Jendela. As this

procedure is the simplest and safest procedure to avoid amibiguity and

incoherence in translating Djenar’s short story. In addition, adaptation is the least

procedure to be found in this study as this procedure could lead to innacuracy in translation. Moreover, adaptation could sometimes violate the meaning of the actual message in the source language.

Moreover, the researcher also discovered what the most applied translation procedures from Vinay and Darbelnet is. There is an important point related to

Vinay and Darbelnet’s translation procedures in this study. The important point

is that literal translation procedure is the most applied procedure in this study as this procedure is the simplest yet the safest.

B. Recommendations

In this section, the researcher addressed some recommendations for students of English Departments, readers and next researchers. First, for students of English Departments, this research will be useful to enrich their

understanding on Vinay and Darbelnet’s translation procedures. Moreover, this

study can be used as a reference in the translation class. Therefore, this study can help them understand more about Vinay and Darbelnet’s translation procedures.

Second, for the readers to enrich their understanding on translation study, especially translation procedures. Moreover, the researcher hopes that the reader could gain some insights translation procedures that are useful to be used in translate a fictional work from Bahasa Indonesia to English.

Lastly, future researchers can use this study as a reference for a similar study. In addition, this study can also be extended to discuss other translations. In addition, the future researchers can analyze the innacuracy of Djenar’s Painting a Window translation.

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APPENDIX I

No. Source Language No. Target Language SL.001 Sejak kecil Mayra senang

melukis. TL.001

From an early age Mayra liked to paint.

SL.002

Sebagai anak tunggal ia menghabiskan banyak waktu hanya dengan melamun tanpa seorang pun untuk diajak berbicara.

TL.002

As an only child she spent much of her time day dreaming, since she had no one to talk to.

SL.003

Maka ia mulai melukis seorang ibu, bersanggul dan berkebaya emas dengan selendang coklat muda yang kontras dengan kain berwarna coklat tua yang dikenakannya, sedang duduk memangku Mayra sambil menatap mata Mayra hangat dan mesra.

TL.003

So she began to paint a mother, with her hair done up in a formal bun and wearing a golden kebaya and a light brown scarf that contrasted with the dark brown saroong that she wore. In the painting she was sitting with Mayra on her lap, gazing into her daughter's eyes affectionately.

SL.004

Setiap Mayra pulang sekolah, disambut dengan kelengangan dan kesejukan dari dalam rumahnya yang ber-AC, ia akan segera masuk kamar dan menghabiskan waktu bercakap-cakap dengan lukisan itu.

TL.004

Whenever Mayra come home from school-- greeted only by the loneliness and coldness of the airconditioned house-- she would go straight to her room and spend her time talking to the painting.

SL.005

Ia berkeluh kesah tentang teman-teman prianya di sekolah yang kerap meraba-raba payudara dan

TL.005

With sigh, she complained about the boys at school who often fondled her breasts and genitals, filling her with terror

terjamah penderitaan.

SL.132 Dunia penuh sukacita dan

kebahagiaan. TL.132

A world full of happiness and laughter.

SL.133

Atau, Mayra masuk ke dalam jendela dan menemukan dirinya berada di sekolah.

TL.133

Or, Mayra would enter the window and find herself a

school, …

SL.134

Udara pagi menusuk kulitnya namun hatinya hangat oleh rasa suka cita.

TL.134

… the chilly morning air

pierced her skin, but her heart warmed by feeling of joy. SL.135 Seragam SD-nya berlumuran

darah. TL.135

Her school uniform was smeared with blood.

SL.136

Tangan kanannya

menggenggam pisau yang sama denga pisau yang pernah ia gunakan untuk menyayat pipinya.

TL.136

Her right hand clasped a knife, the same knife she had use to cut her cheek.

SL.137

Dan tangan kiri Mayra menggenggam sebuah kantong plastik hitam juga penuh darah.

TL.137

And in her left hand she clutched a black plastic bag full of blood.

SL.138

Beberapa menit yang lalu ia tiba di sekolah dan seperti biasa lima anak berandalan itu mencegatnya di pintu pagar.

TL.138

A few minutes earlier she had arrived at school and, as usual, the five naughty boys cut her off at the gate.

SL.139

Sebelum mereka menarik tangan Mayra, Mayra berkata bahwa ia ingin segera ke kanin sekolah.

TL.139

But before they could grab her hand and yank her away, Mayra said that she wanted to go with them to the canteen. SL.140 Segerombolan anak laki-laki

iu menyeringai senang. TL.140

The gang of boys grinned with pleasure.

SL.141

Seperti kerbau dicucuk hidungnya mereka mengikuti langkah Mayra menuju kantin.

TL.141

Like water buffaloes led by the nose, they followed her steps to the canteen.

SL.142

Dengan pasti Mayra berdiri bersandar pada tembok lalu

perlahan membuka

kancingnya satu-persatu.

TL.142

Mayra leaned against the wall self-assuredly and slowly undid her buttons one by one.

SL.143 Kini Mayra tak lagi

berbusana. TL.143 She stood completely naked.

SL.144

Kelima anak berandal itu menatap Mayra dengan pandangan kosong.

TL.144 The five rogues stared at her with blank looks.

SL.145 Lalu Mayra berkata, TL.145 Then Mayra said, … SL.146 "Mengapa kalian diam saja? TL.146 "Why are you all so quiet?

SL.147

Tidakkah kalian ingin segera melucuti pakaian kalian dan menggarap saya satu per satu?"

TL.147

Don't you guys want to strip your clothes and have a go at me?"

SL.148 Mereka semua terdiam kelu. TL.148 They were all dumbstruck.

SL.149

Selama ini mereka senang melihat Mayra ketakutan, memberontak dan berteriak.

TL.149

Up until now they had been happy just to see Mayra's terror as she struggled and screamed.

SL.150

Mereka ingin menunjukkan kepada Mayra, seorang anak berayahkan penulis dan pengusaha terkenal, satu-satunya murid yang pulang dan pergi sekolah dengan

TL.150

They wanted to show Mayra--the child of a celebrated author and well-known businessman, and the only student who was always dropped off and picked up in

selalu mengendarai mobil mewah dengan sopir pribadi, agar tidak seenaknya saja melihat mereka dengan sebelah mata.

a luxury car driven by a private chauffeur--that she couldn't just look down on them.

SL.151

Namun akhirnya keheningan pecah oleh sebuah suara dari salah satu anak berandalan itu.

TL.151 Finally, the silence was broken by one of the gang.

SL.152 "Apa susahnya buka baju?! TL.152 "What's the big deal about taking your clothes off?! SL.153 Ayo kita buka, kita garap

beneran…!" TL.153

Come on! Strip! We'll do her good!"

SL.154

Lalu laki-laki bernama Anton yang pernah Mayra tinju hidungnya membuka bajunya.

TL.154

Then he boy, Anton, the boy that Mayra had punched in the nose, took his shirt off.

SL.155 Yang lain mengikuti namun

tetap diam di tempat. TL.155

The rest did so too, but they remained motionless where

they stood, …

SL.156

Mereka membiarkan Anton berjalan lebih dulu mendekati Mayra.

TL.156 … letting Anton walk toward her first.

SL.157

"Kalian boleh menyergap saya semau kalian, tapi bergiliran dan tidak di sini.

TL.157

"You guys can do me all you want, but you have to take turns, and not in here.

SL.158 Kita ke kamar mandi. TL.158 We'll do it in the bathroom.

SL.159

Kalian berlima harus menunggu satu per satu di setiap kamar mandi.

TL.159 Each of you has to wait in one of the stalls.

mendatangi kalian." get you. SL.161 Mereka setuju dan berjalan

beriringan ke kamar mandi. TL.161

They agreed and filed off to the stalls.

SL.162

Mayra berjalan lebih dulu dengan Anton sementara yang lainnya mengikuti dari belakang dan masing-masing menunggu dalam kamar mandi sekolah yang berjajar.

TL.162

Mayra went off with Anton first, while the rest followed behind and then waited in the row of stalls.

SL.163

Mereka mendengar Anton mendesah pelan, lalu makin lama makin tak beraturan hingga Anton berteriak kencang dan setelah itu tidak ada suara lagi terdengar.

TL.163

They heard Anton moaning softly. Then the moaning became increasingly irregular until Anton suddenly cried out, and then it was quiet.

SL.164

Setelah itu Mayra pindah ke kamar mandi sebelah, mereka kembali mendengar apa yang baru saja mereka dengar.

TL.164

After that Mayra moved to the next stall, and they each heard the same thing over again.

SL.165

Mereka tidak tahan menunggu giliran, mereka ingin cepat-cepat Mayra datang.

TL.165

Each of them could hardly wait his turn, wanting her to hurry up and get to him.

SL.166

Semua berlangsung sama dengan sebelumnya hingga kamar mandi yang kelima.

TL.166

And each got his turn, just as the one in front of him had, right down to one in the fifth stall.

SL.167

Mayra mengenakan kembali baju seragamnya hingga darah di tangannya menempel pada seragam sekolahnya.

TL.167

Mayra put her school uniform back on, staining it with the blood on her hands.

SL.168

Sebelum Mayra pergi, ia melirik sepintas ke arah Anton yang telentang di kamar mandi tanpa penis lagi.

TL.168

Before she left, she glanced at Anton stretched out on the bathroom floor--with no penis.

SL.169

Mayra melukis jendela, masuk dan menemukan dirinya berada di sebuah taman indah penuh warna-warni bunga.

TL.169

Mayra painted a window, entered it, and found herself in a beautiful garden filled with flowers of all colors.

SL.170

Dua anak perempuan kecil menghampiri dan tersenyum kepadanya.

TL.170 Two young girls came up to her and smiled.

SL.171

Wajah mereka mirip dengan Mayra namun jauh lebih cantik.

TL.171 Their faces looked like hers but they were much prettier.

SL.172

Pipi mereka merona merah, kulit mereka putih bersih, baju yang mereka kenakan begitu indah dengan mahkota bunga di kepala mereka.

TL.172

Their cheeks were rosy, their skin fair and spotless. They wore beautiful dresses, and flower tiaras on their heads,

…

SL.173 Mereka lebih mirip bidadari

ketimbang anak manusia. TL.173

… looking more like fairies

than human children.

SL.174

Mayra mengecup mereka dengan lembut dan menuntun mereka menuju pelangi emas bertahtakan mutiara.

TL.174

Mayra kissed them gently, took their hands and led them to a golden rainbow inlaid with pearls.

SL.175 Seorang laki-laki sudah

menunggu di sana. TL.175 A man was waiting there. SL.176 Merentangkan tangan untuk

memeluk mereka semua. TL.176

He stretched out his arms to embrace them all.

SL.177

Pagi-pagi sekali Bi Inah mengetuk pintu kamar Mayra untuk membangunkan Mayra sekolah.

TL.177

Early in the morning Bi Inah knocked on Mayra's bedroom door to wake her up for school.

SL.178 Tidak seperti biasa, kamar itu

tidak terkunci. TL.178

The door wasn't locked as it usually was.

SL.179

Bi Inah menemukan kertas-kertas bergambar jendela berserakan di seisi kamar.

TL.179

Bi Inah found sheets of paper with windows drawn on them, scattered all over the bedroom.

SL.180 Mayra tidak ada di kamarnya. TL.180 Mayra was not in her room. SL.181 Seprainya tetap rapi seperti

tidak pernah ditiduri. TL.181

The bed was made, as if it hadn't been slept in.

SL.182 Bi Inah mengetuk kamar

majikannya. TL.182

Bi Inah knocked on her employer's door.

SL.183

Seorang wanita membukakan pintu mengatakan tuannya masih tidur.

TL.183

A woman opened it and said that her boss was still sleeping.

SL.184 Bi Inah menghela napas dan

menunggu. TL.184 Bi Inah sighed and waited. SL.185 Tapi ia tahu, Mayra tidak

akan pernah kembali. TL.185

But she knew Mayra would never be'back.