Strategi Penerjemahan Bahasa Inggris Ber

Skripsi dikumpulkan untuk Penguji sebagai Persyaratan untuk Mendapatkan Gelar Sarjana di Jurusan Sastra Inggris Fakultas Ilmu Budaya Universitas Gadjah Mada 2014

Strategies of the English Translation to Deal with Non-Equivalence at Word

Level in Ada Apa Dengan Cinta Movie

By: Sri Rahmawati 09/280073/SA/14628

A Graduating Paper Submitted to the Board of Examiners in Partial Fulfillment of the Requirement for the Undergraduate Degree in the English Department Faculty of Cultural Sciences Universitas Gadjah Mada 2014

This paper is dedicated to:

My Gorgeous Father and Mother

ACKNOWLEDGMENTS

Alhamdulillahirobbilalamin. First and foremost, I would like to express my greatest gratitude to Allah SWT for the uncounted bless. My sincere thanks also goes to my supervisor, Amin Basuki, S.S., M.A. for his encouragement. Without his guidance and persistent help, this thesis would not have been possible. Above and beyond, I am deeply indebted to all of lecturers in English Department of Universitas Gadjah Mada for the immense knowledge over the past four years, especially Drs. Djoko Moerdianto, M.A. as my academic supervisor.

My special thanks also goes to all members of English Literature Fellowship (ELF) 2009, especially my best friends Dhian Heyda Agustina, Dewinta Mentari Melodia, Rachmalita Widyaswara, and Dily Maulida Nurisilfi for the stimulating discussions. My deepest appreciation is addressed to my families in MAPAGAMA (Mahasiswa Pencinta Alam Universitas Gadjah Mada), SEMATA WAYANG (Sekumpulan Mahasiswa Pencinta Wayang), KPTY (Komunitas Panjat Tebing Yogyakarta), Laskar Pengadangan (KKN-PPM unit 132 Lombok Timur), and Kost Nirwana for all the fun we have had.

Furthermore, I am very grateful to my beloved parents, H. Muhammad Idris Sardi and Hj. Siti Maryam for their wholehearted support throughout my life. Finally, I cannot fully express my appreciation to all people whose direct and indirect supports assist me to accomplish this thesis. May the Almighty God richly bless all of you.

LIST OF ABBREVIATIONS

SL : Source Language

ST : Source Text

TL : Source Language

TT : Target Text

Strategies of the English Translation to Deal with Non-Equivalence at Word Level in Ada Apa Dengan Cinta Movie ABSTRACT

This research attempts to investigate the translation strategies to deal with non-equivalence in the English subtitle of Indonesian movie Ada Apa Dengan Cinta at word level. It aims to examine the non-equivalence types and classified the translation strategies applied by the translator to overcome the non-equivalence. This study used a comparative research method in which the SL and the TL were compared and grouped based on translation strategies suggested by Baker. The results of this research showed that there were eight translation strategies proposed by Mona Baker which were applied in34 non-equivalence cases which were classified into seven types of non-equivalence. The most frequent strategy used in the translation work is translation by a more general word (32.35%) while the rarest strategy is translation by a loan word and loan word plus explanation (2.94%). Considering that the overall translation results have a good quality, it can be concluded that the strategies used by the translator are suitable to solve the non-equivalence problem in Ada Apa Dengan Cinta movie.

Keywords: translation, subtitle, non-equivalence types, translation strategies.

Strategi Penerjemahan Bahasa Inggris Berkaitan dengan Ketidaksetaraan pada

Tingkat Kata dalam Film Ada Apa Dengan Cinta

INTISARI

Skripsi ini meneliti tentang strategi terjemahan dalam mengatasi masalah ketidaksetaraan hasil terjemahan bahasa Inggris yang terdapat dalam subtile film Indonesia Ada Apa Dengan Cinta pada tingkat kata. Secara khusus, skripsi ini bertujuan untuk mengidentifikasi jenis- jenis ketidaksetaraan serta mengklasifikasikan strategi yang digunakan si penerjemah untuk mengatasi masalah ketidaksetaraan tersebut. Penelitian ini menggunakan metode perbandingan dengan membandingkan teks bahasa sumber dan bahasa sasaran yang kemudian dikelompokkan berdasarkan strategi penerjemahan yang diusulkan oleh Mona Baker. Penelitian ini menunjukkan bahwa terdapat delapan jenis strategi yang diaplikasikan untuk mengatasi 34 data yang dianggap tidak setara. Ketidaksetaraan tersebut diklasifikasikan menjadi tujuh jenis. Strategi yang paling banyak digunakan adalah strategi terjemahan dengan kata yang lebih umum (32.35%) sedangkan strategi yang paling sedikit digunakan adalah strategi terjemahan dengan kata serapan dan kata serapan yang diikuti penjelasan (2,94%). Dengan pertimbangan bahwa sebagian besar hasil terjemahan dalam film tersebut memiliki kualitas yang bagus, dapat disimpulkan bahwa strategi yang digunakan si penerjemah cukup akurat untuk mengatasi masalah ketidaksetaraan dalam film Ada Apa Dengan Cinta.

Kata kunci: terjemahan, subtitle, jenis-jenis ketidaksetaraan, strategi terjemahan.

CHAPTER I INTRODUCTION

1.1 Background of Choosing the Subject

Various forms of pop culture, especially movies, have grown rapidly over recent decades. The demand of movies including foreign language movies with a variety of different genres and plots keeps increasing every year. Thus, inevitably, the role of subtitling is very essential in order to make the foreign language movies comprehensible to the target audiences.

Translation is broadly defined by Nadar (2007: 5) as “a process of transferring idea or c oncept of source language (SL) into target language (TL)”. Obviously, to be able to transfer the idea or concept and to gain a good quality of translation work, a translator should master both the SL and the TL very well. In more detail, House (1997) expla ins that “the quality of a translation depends largely on the translator’s subjective interpretation and transfer decisions, which are based on his linguistic and cultural intuitive knowledge and experience”.

This present research will discuss the translation strategies in dealing with non-equivalence at word level in the translation of Ada Apa Dengan Cinta into What’s Up With Love. The Indonesian title is a play on words, in which “Cinta” can refer to both love and the name of the main character .

The movie portrays the life of middle class young people in a major Asian capital city, Jakarta, through a love story of two idealistic teenagers; Cinta and Rangga who have very different characteristics. Cinta is a popular girl who The movie portrays the life of middle class young people in a major Asian capital city, Jakarta, through a love story of two idealistic teenagers; Cinta and Rangga who have very different characteristics. Cinta is a popular girl who

The movie was a milestone in Indonesian cinematography. It is hugely popular in Indonesia and overseas (Malaysia, Singapore, and Australia) and broke box office record in 2002. In addition, it becomes a teaching material of Indonesian language and Asian Studies as it promotes literature and spreads the use of Jakarta teenage slang which is a part of Indonesian culture. Moreover, it is adopted to a novel entitled Beautiful Days in Japan.

The facts show that the movie has a good quality in many aspects including the translation of the subtitle. For this reason, the writer is interested to observe more deeply about the English translation, especially about the strategies used by translator in overcoming the non-equivalence translation since this issue is almost impossible to avoid in translating two different languages.

1.2 Research Questions

1. How is the equivalence of English translation in the subtitle of Ada Apa Dengan Cinta movie at word level?

2. What strategies used by the translator to solve the translation problems?

1.3 Objectives of the Research

The objectives of this research are:

1. to describe the equivalence and non-equivalence of English translation in the subtitle of Ada Apa dengan Cinta movie at word level

2. to classify the translation strategies used by the translator in overcoming the translation problems of Ada Apa Dengan Cinta movie.

1.4 Scope of the Study

The research focuses on the translation strategies of Ada Apa Dengan Cinta subtitle to deal with non-equivalence problems at word level. As the limitation, the other treatments of non-equivalence at various levels such as above word or the textual one will not be discussed in this research.

1.5 Methodology

1. 5.1 Method of Data Collection

The primary data of this paper is taken from the movie script and the subtitle of Ada Apa Dengan Cinta movie attached on the original DVD. In order to find the non- equivalence translations at world level and the strategies used by the translator to overcome the problems, both the subtitle and the original script were compared and carefully identified.

1.5.2 Method of Data Analysis

This research is analysed qualitatively, in which, most of the data are formed in words. This is considered the most suitable method to be applied in this study for the reason that, as defined by Myers (1997), “qualitative research was developed in the social sciences to enable researchers to study social and cultural phenomena”.

Furthermore, Baker’s theories are used to analyse the data. The clarity of the theories in classifying the types non-equivalence and proposing the strategies to solve the non-equivalence at word level, made the writer found it easy to understand them.

1.5.3 Method of Data Presentation

The data will be grouped based on the types of the non-equivalence and the translation strategies to deal with the non-equivalence at word level. Among the whole data, only several samples would be chosen to be presented in this research. The words representing the non-equivalence translation are highlighted in bold style, both in the SL and the TL.

1.6 Literature Review

In academic field, numerous researches about translation strategies to deal with non-equivalence at word level have been completed previously. Wibyaninggar (2013), on her paper entitled “Translation Strategies and Their Impacts on the Translation of A. Fuadi’s Negeri 5 Menara ”, for instance, examined the strategies used in translating cultural terms in A. Fuadi’s Negeri 5 Menara into The Land of Five Towers and the impacts of using the translation strategies. The research focuses on the cultural terms found in the novel which are then classified into the translation strategies proposed by Baker (1992). Analysis using semantic properties is also applied in this research to examine the impacts of using translation strategies in translating cultural terms, whether it is loss meaning, gain meaning, wrong translation, accurate translation, or untranslatability.

Binh (2010), on his paper entitled “Strategies to Deal with Non- equivalence at Word Level in Translation”, selected English-Vietnamese concept such as concept on kinship, color, temperature, and communication to be contrasted. He also elucidated lexical and semantic fields in various aspects such Binh (2010), on his paper entitled “Strategies to Deal with Non- equivalence at Word Level in Translation”, selected English-Vietnamese concept such as concept on kinship, color, temperature, and communication to be contrasted. He also elucidated lexical and semantic fields in various aspects such

In conclusion, Baker’s theory about strategies for resolving non- equivalence problems at word level is found genuinely applicable to the previous research. This theory is also used in the present paper.

Besides the similarity, there are prominent differences between the previous researches and the present research. While the first previous research only focuses on the cultural terms found in the novel, the present research includes all types of non-equivalence proposed by Baker (1992) found in the movie. Lastly, this paper does not provide suggestions on exercise as the second previous research does.

1.7 Presentation

This paper consists of four chapters. Following this chapter, chapter II explains the theoretical framework which becomes the reference of this research, particularly Baker’s theories. Chapter III explains the data presentation and the

analysis. Lastly, chapter IV, explains the conclusion.

CHAPTER II THEORETICAL FRAMEWORK

2.1 Theories of Translation

Various definitions of translation are proposed by many experts. Guire (1980, in Nadar: 6), for instance, argues that translation is “rendering of a source language (SL) text into the target language (TL) so as to ensure that the surface meaning of the two will be preserved as closely as possible but not so closely that the TL structures will be distorted.”

Another expert, Newmark (1988, in Nadar 2007: 7), defines translation as “the process of rendering the meaning of a text into another language in the way that the author intended the text.”

In addition, Nida (1969, in Nadar, 2007: 7), believes that “translation consists in reproducing in the receptor language the closest natural equivalent of the source language message first in terms of meaning and secondly in term of style.”

From the definitions of translation above, it could be concluded that the main concern in rendering languages is communicating the overall meaning of the language. Halliday (1985, in Baker, 1992: 6) believes that “meanings are realized through words, and without a theory of wordings, there is no way of making explicit one’s interpretation of the meaning of the text.”

2.2 The Non-equivalence at Word Level

Defined loosely, the word is „the smallest unit of language that can be used by itself’ (Bolinger and Sears, 1968, in Baker, 1992: 11). Word is commonly

considered as the basic meaningful element in a language but in fact, this is not strictly accurate. Meaning can be carried by units smaller than the word. Elements of meaning in English for instance, which are represented by one word may be represented by many words in Indonesian language and vice versa.

Maintaining the equivalence of translation work is quite important to guarantee the overall meaning of the language is delivered well, and as stated by Baker (1992), word is the basic unit to be considered in meaning of translation text. She believes that equivalence at word level is the first element to be taken into consideration by the translator.

Equivalent itself, as noted in Oxford Advanced Learner’s Dictionary, means “equal in value, amount, meaning, importance, etc.” So, a translation work

is equivalent when both the SL and TL are equal on those aspects. However, of course, a perfect equivalence translation is difficult to

achieve because as stated by Bell (1991, in Bahn, 2010: 14), “there is no word equivalence among languages since even the same language there is no absolute

synonym between words.” So far, Baker was the most outstanding theorist dramatically focusing on equivalence at word level (Bahn, 2010: 14). The following are the types of non-equivalence at word level proposed by Baker (1992: 21):

2.2.1 Culture-specific Concept

Each place surely has its own culture which is different to each other. This matter often causes difficulty in translating certain cultural specific concept since the concept existing in the SL is perfectly exotic for the TL. The concept could be both abstract and concrete such as a religious belief, a social custom, or a type of food. Privacy , for instance, is a very “English” concept which is rarely understood by people from other cultures and difficult to translate into other languages (ibid).

2.2.2 The SL is not lexicalized in the TL

Occasionally, a certain idea existing in the SL is known in the target culture. However, sometimes it is hard to find the direct equivalent word representing that concept since it is not allocated or not lexicalized in the TL. Adjective savoury, for instance, expresses an understandable concept but has no equivalent in many languages (ibid).

2.2.3 The SL is semantically complex

Bolinger and Sears (1989, in Baker, 1992: 22) state that “words do not have to be morphologically complex to be semantically complex”. It is then made clearer by Baker by saying that “a single word which consists of a single

morpheme can sometimes express more complex set meanings than a whole sentence”. She picks one Brazilian word that becomes complex when it is translated into English, namely arruacao which means “clearing the ground under coffee tress of rubbish and pilling it in the middle of the row in order to aid in recovery of beans dropped during harvesting” (ITI News, 1899: 57) (ibid).

2.2.4 The SL and the TL makes different distinctions in meaning

The element which is considered as an essential thing which brings the distinction in meaning of the SL sometimes does not perceive as relevant in

the TL. Indonesian words kehujanan and hujan - hujanan, for instance, have different meaning which in English, perhaps, would be hard to be translated appropriately unless the context makes it clear whether or not the person in question knew that it was raining (ibid).

2.2.5 The TL lacks of a superordinate

Circumstances obviously cause a variant of specific words in one language. As every culture has different circumstance, it possibly causes the

absence of specific words or hyponym in another language. Equivalent of facilities (any equipment, building services, etc), which is provided for a particular activity, for instance, is missing in Russian but it has several specific words and expressions which can be thought as types of facilities such as sredstvaperedvizeniya

name („loan’), neobkhodimyepomescheniya

accomodation’), and neobhodimoeoborudovanie („essential equipment’) (ibid: 23).

(„essential

2.2.6 The TL lacks a specific term (hyponym)

A language, sometimes, provides a general word or superordinate but the specific word or hyponym is absent. For example, English has many specific

words referring hyponyms article such as feature, survey, report, critique, commentary and review but the exact equivalent hyponyms in other languages are difficult to find (ibid).

2.2.7 Differences in physical or interpersonal perspective

Physical perspective affects the language use as well. This perspective considers about where things or people are in relation to one another or to a place.

This also has to do with the relationship between participants in the discourse. For example, Japanese has six equivalents for give, depending who gives to whom: yaru, ageru, morau, kureru, itadaku, and kudasaru (McCreary, 1989) (ibid).

2.2.8 Differences in expressive meaning

In translating, the same proportional meaning of the SL might be available in the TL. Yet, it is sometimes different in expressive meaning. The words in the TL could be more or less expressive than the SL. The case is

frequently found in sensitive issues such as religion, politics, and sex. Word homosexual, for instance, has more negative sense and quite difficult to use in a neutral context without suggesting strong disapproval when it is rendered in Arabic; hithuthjinsi which literally means sexual perversion (ibid).

2.2.9 Differences in form

The differences of form in each language also often cause difficulty in finding the direct equivalents in the TL. Suffixes and prefixes are the prominent element of language which is difficult to render. English suffix –able as in

conceivable, retrievable and drinkable, for example, is missing in Arabic so that the words with –able are often replaced by an appropriate paraphrase, depending on the meaning they convey e.g. retrievable as can be retrieved and drinkable as suitable for drinking (ibid: 24)

2.2.10 Differences in frequency and purpose of using specific forms

Each language has its own characteristic. Even when a particular form has a ready equivalent in the TL, it is not always having the same application

with the SL in term of frequency and purpose. English, for instance, uses the continuous –ing form for binding clauses more often than other languages which have equivalent –ing form in a German, Danish, or Swedish target text would result in stilted, unnatural style (ibid: 25).

2.2.11 The use of loan words in the ST

The use of loan word in the ST often causes lost in translation because it is difficult to find a loan word that has the same meaning with the SL. Words

au fait, chic, and alfresco in English for instance, are used for their prestige value as the air of their sophistication to the text or its subject matter (ibid).

2.3 Translation Strategies for Dealing with Non-equivalence at Word Level

As stated in the previous part, a perfect equivalence is extremly difficult to achieve but gaining the closest equivalence result is not impossible in translation. Baker (1992: 26-42) proposes some strategies used by professional translators for resolving the various types of non-equivalence at word level which have been classified in the previous part. The strategies are divided as follows:

2.3.1 Translation by a more general word (superordinate)

Translation by a more general word is usually used when the TL lacks of a specific word. The consequence of this strategy, it may result in excessive generalization and eventually in oversimplification (loss in meaning) in the translated text (Bihn, 2010: 38). However, this is one of the commonest strategies Translation by a more general word is usually used when the TL lacks of a specific word. The consequence of this strategy, it may result in excessive generalization and eventually in oversimplification (loss in meaning) in the translated text (Bihn, 2010: 38). However, this is one of the commonest strategies

SL: A well-known scientist (some say it was Bertrand Russell) once gave a public lecture on astronomy. He described how the earth orbits around the sun and how the sun, in turn, orbits around the center of a vast collection of stars called our galaxy.

TL: (Back translation from Spanish) A well-known scientist (some say that it was Bertrand Russell) once gave a lecture on astronomy. In it he described how the Earth revolved around the Sun and how the latter in its turn revolved around the centre of a vast collection of stars known as our gala.

In the case above, the translator tries to find a more general word that covers the core propositional meaning of the missing hyponym in the TL. „Revolving’ is considered as the correct one to replace „orbiting’ which is a types of „revolving’ but it only applies to a smaller object revolving around a larger one in space (Baker, 1992: 28).

2.3.2 Translation by a more neutral/ less expressive word

There is a warning that this strategy might lead to over interpretation of the source language meaning, which in the majority of cases seems to be more dangerous than over generalization (Binh, 2010: 36). However, in some cases, it may be appropriate or necessary to use a more specific word as seen in the following case:

SL: The panda is something of a zoological mystery.

TL: (back-translated from Chinese): The panda may be called a riddle in zoology.

There is an equivalent for mystery in Chinese, but it is mostly associated with religion. The translator felt that it would be wrong to use it in a zoological context (Baker, 1992: 30).

2.3.3 Translation by cultural substitution

This strategy is used when the TL lacks of the same proportional meaning in term of culture-specific item. The main advantage of using this strategy is that it gives the reader a concept with which s/he can identify something familiar and appealing as it should have a similar impact on the target reader. For example:

SL: The Patrick Collection has restaurant facilities to suit every taste – from the discerning gourmet, to the Cream Tea expert.

TL: (Back translation from Italian) . . . to satisfy all tastes: from those of the demanding gastronomist to those of the expert in pastry.

In Britain, cream tea is “an afternoon meal consisting of tea to drink and scones with jam and clotted cream to eat. It can also include sandwiches and cakes” . As it has no equivalent in other cultures, the translator replaces it with pastry , which does not have the same meaning (for one thing, cream tea is a meal in Britain, whereas pastry is only a type of food). However, pastry is familiar to the Italian reader and therefore provides a good cultural substitution (Baker, 1992: 33).

2.3.4 Translation using a loan word or loan word plus explanation

This strategy is particularly common in dealing with culture-specific items, modern concepts, and buzz words. It is also necessary to put an explanation This strategy is particularly common in dealing with culture-specific items, modern concepts, and buzz words. It is also necessary to put an explanation

SL: The shamanic practices we have investigated are rightly seen as an archaic mysticism.

TL: (back-translated from Japanese): The shamanic behavior which we have been researching should rightly be considered as ancient mysticism.

Shaman is a technical word using in religious studies to refer to a priest or a priest doctor among the northern tribes of Asia. It has no ready equivalent in Japanese. The equivalent word using in the translation is made up of shaman as a loan word, written in katakana script (the script commonly used to transcribe

foreign words into Japanese) plus a Japanese suffix which means „like’ to replace the - ic ending in English. The Japanese suffix is written in the Kanji script (the Chinese system used to transcribe ordinary Japanese) (ibid: 35).

2.3.5 Translation by paraphrase using a related word

This strategy is used when the concept expressing by the source item is lexicalized in the TL but in a different form, and when the frequency with which a certain form is used in the source text is significantly higher than would be natural in the TL, for example:

SL: Hot and cold food and drinks can be found in the Hornet’s Nest, overlooking the Alexick Hall.

TL: (Back translation from German) In the Hornet’s Nest, which overlooks the Alexick-Hall, you can have hot and cold meals and drinks.

2.3.6 Translation by paraphrase using unrelated words

This strategy is used when the concept in the SL is not lexicalized at all in the TL. The paraphrase may be based on modifying a superordinate or simply on unpacking the meaning of the source item, particularly if the item in question is semantically complex. For example:

SL: You can even dine „alfresco’ in the summer on our open air terrace.

TL: (Back translation in German) In the summer you can also sit and eat on the terrace in the open.

Alfresco , “in the open air”, is a loan word in English. The meaning is missing in the TL. The two expressions, alfresco and in the open , have the same „propositional’ meaning, but the German expression lacks the „evoked’ meaning of alfresco, which is perhaps inevitable in this case (ibid: 39).

2.3.7 Translation by omission

Omitting a word or expression in some contexts if they are not vital enough to the development of the text in order to justify distracting the reader with lengthy explanations is acceptable. For example:

SL: The panda’s mountain home is rich in plant life and gave us many of the trees, shrubs and herbs most prized in European gardens.

TL: (back-translated from Chinese) The mountain settlements of the panda have rich varieties of plants. There are many kinds of trees, shrubs and herbal plants that are preciously regarded by European gardens.

The ST addresses an European audience, and the use of „gave us’ highlights its intended orientation. The Chinese translation addresses a different The ST addresses an European audience, and the use of „gave us’ highlights its intended orientation. The Chinese translation addresses a different

2.3.8 Translation by illustration

This strategy used when the TL lacks of equivalent words referring to

a physical entity which can be illustrated, particularly if there are restrictions on space and if the text has to remain short, concise, and to the point. For example, there is no easy way of translating tagged, as in tagged teabags, into Arabic without going into lengthy explanations which would clutter the text. An illustration of a tagged teabag is therefore used instead of a paraphrase (ibid: 42).

CHAPTER III The Non-equivalence and the Strategies of Translation at Word Level

In this chapter, the researcher classifies 34 of 58 non-equivalence cases into eight categorize of translation strategies applied by the translator in the movie which are grouped into seven non-equivalence types proposed by Baker. The analysis of the non-equivalence types would show that in translating different languages, various problems regarding equivalence are unavoidable. Meanwhile, by analysing the result of the translation, the accuracy of the strategies applied could be identified.

3.1 Translation by a more general word

3.1.1 Culture-specific concepts

(1) ST: Ya kamu. Biasanya ngomongnya loe-gue?

TT: You said: “You”. Usually you use the colloquial “you”.

Loe , sometimes spelled as lo/elu/lu , which means “you” and gue , sometimes spelled as gua, which means “I”, are Jakartanese forms from Chinese culture which are used massively by people in several big cities in Indonesia (Muhadjir, 2000: 25). These pronouns are also known as Indonesian slang.

In Jakarta, in which the setting of the movie, pronoun loe and gue convey different sense with aku (I) and kamu (you), which are also informal Indonesian pronoun. Elo and gue are commonly used by teenagers when they converse to their friends. They do not use aku and kamu , unless the addressee

has a very special position since the pronouns could be used to show affection. For this reason, pronoun aku and kamu are usually used by those who have very close relation; between husband and wife or boy and girlfriend, for instance. In the dialogue above, Rangga shows his surprise when Cinta uses pronoun kamu instead of loe when she talks to him, as second person singular kamu, is used in very informal speech among teenagers and adults in flirtatious or romantic context (Zimman, 2014: 85), whereas they often involve in fighting. The switch of the pronoun could indicate that Cinta starts having affection for Rangga. She keeps using pronoun kamu until one day they engage in a conflict that makes her switch the aku-kamu into elo-gue .

In conclusion, the use of pronoun aku-kamu and elo-gue , especially in big cities such as Jakarta, could indicate the addresser’s feeling to the

addressee. In contrary, the TL does not make distinction in using first and second pronouns. For this reason, the translator applied “translation with a more general word” strategy which is seemingly the most appropriate strategy to overcome the

non-equivalence.

(2) ST: Cinta, sudah dengerin nggak lagu buat Cinta waktu itu dari Memet ?

TT: Cinta! Did you listen to the song I wrote for you?

The dialogue above is spoken by Memet. He uses personal name to address himself instead of using first pronoun such as gue , like the other teenagers in the movie do. He also mentions the addressee’s name instead of

using second person pronoun.

Those who commonly using personal name to address the first person are children (male and female), female teenagers, and transsexual people while personal name to refer to the second person can be used by all people, but it is commonly used by young people, transsexual and male teenagers (Roselani, in Basuki, 1995:124).

Using personal name, whether as first or second person pronoun is a common thing to do in the SL culture. It is used in informal situation to show intimacy, for instance to address those who have lower status (age and social status) or those who are older than the speaker including family terms such as „bapak’ or „bu’ before the name (ibid).

In addition, Wardaugh (1986, in Djenar: 33) states that it has been pointed out that the use o f a person’s name for address indicates intimacy or a desire for intimacy. One might propose that the same applies to its use for self reference.

In the dialogue above, the speaker is a boy. It is not common to use personal name as first person pronoun by a male except for a certain purpose. In this case, Memet uses personal name because he tries to build intimacy as he has affection for Cinta. When talking to the other friends, Memet switches the pronouns into elo-gue .

This concept actually exists in the TL culture as well but it is commonly used by children only. When teenagers, moreover adults, using

personal name or known as “talking in third person”, the readers will find it very annoying.

If the dialogue is translated precisely like the source text, it would be: Cinta! Did Cinta listen to the song Memet wrote for Cinta? It obviously sounds weird and unnatural. Hence, the translator prefers to use pronouns I and you instead of personal names. So, translation with a more general word is seemingly the best strategy in this case.

3.1.2 The SL and TL makes distinction in meaning

(3) ST: Aduh, aduh. Pedes banget lho, sumpah. TT: It’s incredibly hot , I swear.

Pedes is derived from formal Indonesian pedas which is defined by Kamus Besar Bahasa In donesia as “taste like chili or pepper”. In the target language, it is translated into hot which according to Oxford Advanced Learner’s Dictionary means “having a high temperature or (food) containing pepper or spices, and producing a burning sensation when tasted”.

The dialogue above is spoken by Cinta when she was slicing onion. She feels smarting on eyes and shedding tears because of the onion. So, the adjective pedes on the dialogue above modifies noun eye which is collocationally incorrect. The correct one should be pedih (a sharp pain). So, it would be, “ Aduh, aduh. Pedih banget lho, sumpah.”

However, even thought the adjective is incorrect, it still acceptable and comprehensible for the native SL audiences because its habitual use. In contrary, it is not appropriate to use adjective hot even though in literal meaning, it is equivalent with pedes . Adjective hot in this context will leave the target However, even thought the adjective is incorrect, it still acceptable and comprehensible for the native SL audiences because its habitual use. In contrary, it is not appropriate to use adjective hot even though in literal meaning, it is equivalent with pedes . Adjective hot in this context will leave the target

tasted”, not refers to “a sharp pain”. So, the strategy applied here is less appropriate.

(4) SL: Aduh, Maura dah nggak sabar pingin beli baju baru.

TL: I can’t wait to get a new outfit !

Proportionally, baju , as defined by Kamus Besar Bahasa Indonesia means “a piece of clothing worn on the upper part of body” while outfit according

to Oxford Advanced Learner’s Dictionary means “clothes worn together as a set, especially for a particular occasion or purpose”.

From the definition, it is obvious that outfit is more general than baju as it refers to clothes in general, not only clothes worn in a certain part of body. However, in this context, noun baju actually refers to general clothes. It could be shirt, jacket, sweater, blouse, even trouser or skirt. The speaker in the dialogue uses noun baju to refer to the clothes because it is more commonly used in daily conversation than pakaian (defined by Kamus Besar Bahasa Indonesia as “things worn; shirt, trouser, etc”) which sounds somewhat formal.

In fact, the generalization does not exist in the TL culture. When people say that they would buy a new shirt, for instance, it means that they would only buy a piece of clothing worn on the upper part of body. That is why, in order to deliver an accurate message, the translator uses more general word in the TL i.e. outfit .

So, using a more general word strategy in this case is seemingly appropriate to achieve the same message as the SL.

3.1.3 The TL lacks a specific term (hyponym)

(5) ST: Angan, debur dan emosi bersatu dalam jubah terpautan

TT: Imaginings, sounds, emotions, mingled together weaving one robe around us

Kamus Besar Bahasa Indonesia , defines debur as “imitation sound of

a large object falling into water ” while Oxford Advanced Learner’s Dictionary defines sound as “a sensation detected by the ear caused by the vibration of the air surrounding it”.

By considering the definitions, it is clear that those two words are different in meaning. Word debur refers to “the sound of a large thing falling into water” while sound , may refer to “anything detected by ear, whether it is a big or small thing.” In other words, debur is one of the specific terms of sound s.

The other hyponyms of sound are thud (a sound like the one which is made when a heavy object hit something else), noise (a sound, especially when it is loud, unpleasant, or disturbing), crash (sudden loud noise made),etc. but none of them can represent the exact meaning of debur . That is why the strategy applied here is seemingly suitable to overcome the non-equivalence.

(6) ST: Trus, rencana elo apaan Ta? Kalau anaknya belagu, sini deh

gue yang ngadepin.

TT: What are you saying? If he has a bad attitude, let me confront him!

Belagu is an Indonesian slang which means arrogant or proud , roughly equivalent to the standard Indonesian sombong . Someone who is considered belagu is often, quite simply, one who refuses to bergaul or socializes with others (Wallach, 2008: 156). It is quite matched to label Rangga, the one being talked about in the dialogue as he does not want to socializes with others.

In the TL, the translator renders word belagu to a more general word,

i.e. bad attitude which is defined by Oxford Advanced Learner’s D ictionary as “bad way of behaving toward somebody or something”. Bad attitude is obviously

more general than belagu as there is no specific detail about what kind of bad behaviour is done. It could refer to any bad behaviour such as dishonest, impolite, rough, temperamental, etc.

This generalization is seemingly appropriate in this context because direct equivalent words that have the same meaning as belagu which conveys more than one meaning is difficult to find in the TL. If it is rendered into arrogant, which is the equivalent for belagu , the audience might get the message wrong because word belagu it self could refer to two different contexts; the first one is, as has been explained above; “people who refused to socialized” and the second one is “behaving in a proud and superior manner or showing too much pride in oneself and too little considerati on for other” which is an arrogant explanation according to Oxford Advanced Learner’s Dictionary.

When it is rendered to arrogant , the audience must consider the second meaning whereas the context here is showed by the first definition; “people who refused to socialized”. So, the strategy applied in this context is

seemingly appropriate.

3.1.4 Differences in physical or interpersonal perspective

In the movie, there are different first and second pronouns which provide a distinction between them in terms of social variables such as formality, neutrality, and intimacy, namely saya, aku-kamu, and elo-gue . It gives a very clear portrait of how Indonesian and English make distinctions in this concept. (7)

Cinta:

ST: Pak Wardiman! Lho, Pak Wardiman kok cuek sih sama saya. TT: Pak Wardiman, why are you ignoring me?

Pak Wardiman:

ST: Lho, masak saya suruh manggil-manggil neng Cinta kayak cowok kelas tiga aja?

TT: Excuse me, I don’t like to tease Miss Cinta like the Class III boys do.

Saya is described as a formal and neutral term which can be used when speaking to anyone. Formality is suggested as corresponding to neutrality, and neutrality as corresponding to non offensiveness (Mintz: 1994, in Djenar: 2007: 25). In other words, informal pronouns are not neutral, in the sense that by using them, a speaker may inadvertently offend the addressee. In a certain case, pronoun saya is used in informal situation, as seen in the dialogue above. Saya , as an informal pronoun, is considered neutral in social connotation (ibid).

In addition, the pronoun saya is normally used when speaking with older people and person whom one does not know well (Wallach, 2008: 85). It is used to respect the interlocutor for certain reasons, such as because he is older or has a higher social status.

In the case above, the dialogue occurs between Cinta and pak Wardiman who works as an office boy at the school. Cinta uses pronoun saya because the addressee is older than her. Pak Wardiman also uses pronoun saya even though the addressee is younger than him to show respect because the social status of the addressee is higher than him.

In other words, pronoun saya is used when the addresser and the addressee has intermediate or distant relation. For instance, between two people who just met or between them who do not know the identity or the status of the

addressee. It is supported by Sneddon by saying that the use of saya indicates the absence of an intimate relationship (Djenar: 2006: 25). Englebretson (2007: 84) also says that when speaker using saya in informal conversation, they are shifting their stance: they are using this form to construct social distance or formality at a particular point in the on going interaction. It can be seen in the male character of the movie, Rangga.

Rangga always uses pronoun saya when he talks to everyone, even to his peers. This is perhaps a way to build an intermediate relation due to his uncomfortable feeling of being surrounded by other people. His inferiority causing by the background of his troublesome family makes him to do so. That is why he does not have any close friends at school.

The first pronoun saya has the same level with second pronoun anda . However, in the movie, pronound anda is absent. In the dialogue above, for instance, the speaker uses kinship terms followed by name (i.e Pak Wardiman and Neng Cinta ) rather than pronoun anda . This is because anda is usually used

in formal situation, whereas saya can be used both in formal and informal situation.

(8a) ST: Bilangin aku lagi nggak ada Bu. TT: Tell him I am not here.

(8b) SL: Heh monyet, katanya kamu mau masak. Jadi nggak? TL: Hey, Ape boy, you said you were going to cook. Have you done it?

Aku (I) is an informal Indonesian first person pronoun. As an informal pronoun, aku can be used between adults and children, or between equals who have a close relationship or share a similar social status (Mintz, 1994; Sneddon, 1996; Kaswanti Purwo, 1984 in Djenar, 2007: 24). In a certain case, in family

for instance, it is acceptable to use aku although the addressee is older, as seen

in (8a). In the dialogue, the speaker is Cinta while the addressee is her mother.

As stated in the previous part, for Jakartans, especially the young people, pronoun aku and kamu is used between those who have a very close relation because it is used to show affection. However, in other cultures, Javanese, for instance, aku is in informal conversation which is neutral pronoun and not to show affection. Meanwhile, some Sumatran groups find kamu offensive and prefer to use kau , which most Jakartans consider somewhat coarser than kamu (Wallach, 2008: 277)

Similar to aku , kamu (you) is used when the addressee has the same age or younger than the speaker but it will be considered offensive when kamu is used to address the older addressee. Kamu is used by people who have higher status (older/richer/etc.) to address people who have lower status, as seen in (8b). In the second dialogue (8b), the addressor is Mr. Yosrizal while the addressee is his son, Rangga.

(9) ST: Gimana sih, gue ngejelasin ke elo semua? TT: How can I explain it to you all?

Pronouns gue (I) and elo (you), as stated before, are not Indonesian standard words which are usually used by teenagers when they converse to their mates in informal situation as seen in the dialogue above. They are familiar, sometimes rude or offensive, depends on the situation. .

The dialogue is spoken by Alya when she was sharing her problem to her best friend, Cinta. The use of the pronoun shows the closeness of their relation.

The pronouns can also used between them who have distance relation if they have the same age or social status. The positive impact, the interlocutor will feel that the addresser has accepted him/her as a close acquaintance and is ready to start a friendship.

However, in another case, pronoun elo and gue are used to make distance between the addressor and the addressee. For example, when a Jakartan meet a stranger who is compromising and make them uncomfortable, on a public However, in another case, pronoun elo and gue are used to make distance between the addressor and the addressee. For example, when a Jakartan meet a stranger who is compromising and make them uncomfortable, on a public

In summary, each forms of first and second person pronoun in Indonesian such as saya-anda, aku-kamu, and elo-gue are used differently depends on the addresser, the addressee, the situation, etc. However, in the TL, there is only one form to refer to first and second person pronoun namely I and you . So, the strategy applied here is seemingly appropriate to overcome the problem.

3.1.5 Differences in expressive meaning

(10) ST: Siapa tau, Yuki ngelirik gue.

TT: Who knows, the singer may notice me, right? Ngelirik (melirik) as defined by Kamus Besar Bahasa Indonesia means “glancing sharply to left or right side”. However, it has different

connotation in some contexts. In the context above, in which the speaker tries to tease the referent’s attention by wearing a new outfit, the literal meaning of ngelirik seemingly does not work. It likely means “noticing and attracted to the object that being looked”.

By considering the context, the SL audiences would be able to figure out the hidden meaning of ngelirik because it is familiar to use the term in such situation. However, when it is rendered into English, verb notice which is according to Oxford Advanced Learner’s Dictionary means “become aware of By considering the context, the SL audiences would be able to figure out the hidden meaning of ngelirik because it is familiar to use the term in such situation. However, when it is rendered into English, verb notice which is according to Oxford Advanced Learner’s Dictionary means “become aware of

So, the strategy used in this case, namely translation with a more general word is appropriate as it could bring the closest impact to the TL audience.

3.1.6 Differences in form

(11) ST: Mmm, yaudah nanti ditelepon dulu, sorean.

TT: I’ll call you later

Sorean is an -an suffixation whose stem is sore (afternoon; the period from 3 p.m. until about 6 p.m). The suffix -an here conveys comparison more

which is in the SL usually says agak or lebih , so it becomes agak/lebih sore. The other words for instance; pagi , becomes pagian , siang becomes siangan , and malam becomes malaman .

It is difficult to mention the exact time showing by word sorean , but sure thing, it is still in the period of afternoon and is closer to the end of the