MEANING AND SENTENCE REALIZATION VARIATIONS OF THE ENGLISH – BAHASA INDONESIA OF STEVE MCQUEEN’S ‘12 YEARS A SLAVE’ MOVIE TEXTS.

A THESIS

Submitted in Partial Fulfilment of the Requirements for the Attainment of

a Sarjana Sastra degree in English Literature

Written by:

SALINDRI

(08211144010)

ENGLISH LITERATURE STUDY PROGRAM

FACULTY OF LANGUAGES AND ARTS

YOGYAKARTA STATE UNIVERSITY

2016

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

Allah SWT, for all life experience He gave me.



My beloved parents, Daryono (the late) and Umiyati.



My beloved sister Kinanti Rejeki and my best friend Isna Azizah Ulfah

for supporting me and accompanying me any time I need.

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MOTTOS



Kowe arep dadi abang opo ijo gumantung awakmu dhewe.

(RNgt. Probowetjono)



Nek wani ojo wedi-wedi, nek wedi ojo wani-wani.

(Sujiatmi)



Jika Anda menginginkan sesuatu yang belum pernah

Anda miliki maka bersiaplah melakukan sesuatu yang

belum pernah Anda lakukan.

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All praise and gratefulness be with the Almighty Allah SWT for all the

blessing, grace and abundant love given to the researcher in accomplishing

her thesis.

The greatest gratitude and appreciation go to her thesis consultants,

Asrudin B. Tou, M.A., Ph.D. and Yosa A. Alzuhdy, S.S, M.Hum., who have

given her knowledge, support, guidance and correction during her thesis

writing.

Her sincerest gratitude goes to her late father Daryono, her mother

Umiyati and her sister Kinanti Rejeki for their unconditional love and prayers,

also to Isna Azizah Ulfah, who has been her best friend since high school and

Verena Asti W. as well as Rosalia Wulur Savitri for every happiness and

helps they have given to her.

The warmest thanks also go to Magenta Radio UNY, especially “The

Sista - Ayuk”, McDonalds Malioboro Crew, Kantor Notaris & PPAT Sri

Soewanti Soeweno, SH., all dermatologists and supporting staffs Bagian Kulit

& Kelamin Fakultas Kedokteran UGM, all Game Fantasia Galeria Mall

crews, as well as oncologists and “Tulipers” at Instalasi Kanker Tulip RSUP

Dr.Sardjito Yogyakarta for all experiences she has had. She also would like to

thank Nina and Nana, her close friends who have been willing to help

proofread her thesis.

Finally, needless to say, this thesis is far from being perfect even

though the researcher herself had worked hard and tried her best. She will be

glad to receive some criticism for the betterment of this thesis. She hopes that

this thesis will give some contribution, no matter how small it is, to the

learning of linguistics and literature studies especially to the English

Department.

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TABLE OF CONTENTS

TITLE ... i

APPROVAL SHEET ... ii

RATIFICATION SHEET ... iii

PERNYATAAN ... iv

DEDICATIONS ... v

MOTTOS ... vi

ACKNOWLEDGEMENTS ... vii

TABLE OF CONTENTS ... viii

LIST OF TABLES ... xii

LIST OF FIGURES ... xiii

ABSTRACT ... xiv

CHAPTER I INTRODUCTION ... 1

A. Background of the Research ... 1

B. Focus of the Research ... 2

C. Objectives of the Research ... 4

D. Significance of the Research ... 4

CHAPTER II LITERATURE REVIEW ... 6

A. Theoritical Review ... 6

1. Translation ... 6

a. Notions of Translation ... 6

ix

 

e. Translation Equivalence ... 13

f. Film Translation ... 15

1) Dubbing ... 15

2) Subtitling ... 16

2. Meaning Equivalence and Sentence Realization Variations ... 21

a. Meaning ... 21

b. Sentence Realization ... 24

3. 12 Years A Slave ... 28

B. Conceptual Framework ... 29

C. Analytical Construct ... 29

CHAPTER III RESEARCH METHOD ... 31

A. Type of the Research ... 31

B. Data and Data Sources ... 31

C. Data Collection ... 32

D. Data Analysis ... 33

E. Trustworthiness of the Data and Data Analysis ... 34

CHAPTER IV FINDINGS AND DISCUSSION ... 36

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1. The Meaning and Sentence Realization Variations of the

English – Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’

Movie Texts in a Realization Terms ... 36

2. The Meaning and Sentence Realization Variations of the

English – Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’

Movie Texts in Terms of Fully or Partly/Incomplete

Sentences ... 37

3. The Classification of the Sentence Realization and Variations in the

Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’ Movie

Texts in Terms of Meaning ... 38

B. Discussion of the Findings ... 39

1. Discussion about the Meaning and Sentence Realization Variations

of the English – Bahasa Indonesia of Steve McQueen’s ‘12 Years

A Slave’ Movie Texts in Realization Terms ... 40

2. Discussion about the Meaning and Sentence Realization Variations

of the English – Bahasa Indonesia of Steve McQueen’s ‘12 Years

A Slave’ Movie Texts in Terms of Fully or Partly/Incomplete

Sentences Terms ... 44

3. Discussion about the Classification of the Sentence Realization

Variations in the Bahasa Indonesia of Steve McQueen’s ‘12 Years

A Slave’ Movie Texts in Meaning Terms ... 47

CHAPTER V CONCLUSION AND SUGGESTIONS ... 54

A. Conclusion ... 54

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xii

 

LIST OF TABLES

Table 1. The Data Sheet ... 32

Table 2.

  

The Meaning and Sentence Realization Variations of the English –

Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’ Movie

Texts in Realization Terms ... 36

Table 3. The Meaning and Sentence Realization Variations of the English –

Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’ Movie

Texts in Terms of Fully or Partly/Incomplete Sentences ... 37

Table 4. The Classifications of the Sentence Realization Variations in the

Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’ Movie

xiii

 

Figure 2 : The Model of Translation ... 11

Figure 3 : The ‘12 Years A Slave’ Movie ... 28

Figure 4 : Analytical Construct ... 29

xiv

 

MEANING AND SENTENCE REALIZATION VARIATIONS OF THE

ENGLISH – BAHASA INDONESIA OF STEVE MCQUEEN’S

‘

12 YEARS A SLAVE

’ MOVIE TEXTS

Salindri

08211144010

ABSTRACT

This study aims to analyse the meaning and sentence realization of the

English subtitles of a movie entitled 12 Years A Slave in Bahasa Indonesia

translation. In addition, this study also analysed the types of translation

techniques, namely realized and unrealized. The classifications of meaning

realization into equivalence were also analysed. The three questions raised in

this study are: 1). What types of translation techniques can be identified in the

source text (the English movie subtitles) that are realized in the target text (the

Bahasa Indonesia movie subtitles)?; 2). How are the fully expressed sentences

in the source text realized in the target text?; and 3). To what extent are the

meaning and the expressions in the target text equivalent to the fully

expressed sentences in the source text?

This is a descriptive qualitative study. Therefore, the discussion was

presented descriptively. Frequencies and percentages were used to support the

data analysis and to strengthen the findings. The data were analysed by doing

some steps, namely classifying the data into realized and unrealized sentences,

classifying the realized sentences into fully expressed and partly expressed

sentences, making an analysis in terms of equivalence, and drawing

conclusions from the extent of equivalence.

The findings of this study show that 98.9% or 894 English sentences in

the source text are realized in the target text while 1.1% or 10 sentences are

not realized. The realized sentences in the source text are in the forms of Fully

Realized sentences (87%) and Partly Realized Sentences (13%), whereas the

classification results in terms of meaning are Fully Equivalent (81.3%), Partly

Equivalent (11.4%), Different Meaning (6.2%), and No Meaning or

Unrealized (1.1%). It means that the overall translation of sentence

realizations and meaning variations can be accepted for the viewers. It can be

concluded that the translator transfers the meaning of the subtitles of the

movie entitled 12 Years A Slave appropriately and that the resulting

translation can be accepted as good subtitles.

A. Background of the Research

Translation is the replacement of textual material in one language (source language/SL) by equivalent textual material in another language (target language/TL). In doing translation, translators have to understand the meaning of the source language and translate it into the target language without change the meaning (Catford, 1965: 20). To make a good translation, the translator should be able find the appropriate methods to translate certain text (SL to TL) without changing the meaning suppose the readers easily understand the meaning. In a process of translation the translator may find some problems with the language. The difference of language may cause some problems such as grammar, vocabulary, pronunciation, structure, etc.

In these recent years, the international film industry has promoted these two forms of translation, subtitles and dubbing. Subtitles are an abbreviated version of the dialogue, which is projected on the screen and dubbing itself is an alternate by synchronized soundtrack of the complete dialogue. Most cities and large town like Indonesia pretend the cinema where foreign film share regularly screened by translated the original language with subtitles. According Jay Boyar (1986), he points out that with subtitles the viewer must simultaneously take in the visual image while reading a script across the bottom of the movie frame.

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The distribution format subtitles in a film translation usually presented on cinema, television, video, DVD, internet (streaming) and mobile technology. Based on those formats the DVD’s is the most popular now especially in Indonesia. The reason why subtitles become popular because it’s easy and fast to understand by our people and culture, people that really like everything flexible and instantly. Moreover subtitling also has positive advantages, people preserves the flavor and originality of the original sound, dialogues and characterizations that is why a lot of film translated into their mother tongue.

This research is designed to analyze meaning and sentence realization variations of the English – Bahasa Indonesia ‘12 Years A Slave’ movie texts.

B. Focus of the Research

Based on AnIntroduction to Functional Grammar by Halliday language is a system for making meaning. The system of language itself has three level of language organization. They are phonology (realized in phoneme) or graphology (realized in grapheme), lexicogrammar (realized in clause/sentence, group/phrase, word and morpheme) and semantics (realized in text).

Those categories have sub-categories that influence the target text realization. The researcher should find and choosing the appropriate words and grammar to influences the target text realization. The problem is the source text must be realized to the target text, but somehow they are unrealized. Different languages also influence translating process, it’s happen because the researcher does not use the appropriate words and makes dismissed meaning.

During process of translating the translator often have some problems, the researcher should pay attention in analyzing the source text, transferring the message from SL to TL and restructuring the target text language.

In a movie translating, there is a discipline of audiovisual translation that can be classified into subtitling and dubbing. Subtitling and dubbing represent the two methods for transferring language in the translation process of audio-visual communication form such as film and television. Subtitling and dubbing have different characteristics, subtitling involves the process of supplying a translation of the spoken SL dialogue into the TL in the form of synchronized captions, usually at the bottom of the screen.

12 Years A Slave is a British-American historical drama film and adaptation of the 1853 slave narrative memoir by Solomon Northup. Solomon Northup is a free black man living in upstate New York is kidnaped and sold into slavery. Solomon Northup was kidnapped in Washington D.C. in 1841 and sold into slavery. Solomon Northup worked on plantations in the state of Louisiana for twelve years before his release. This movie represents the violence or cruelty, some nudity and brief sexuality to the black people in the pre-Civil War of United States. This movie released on August 30, 2013, directed by Steve McQueen won more over 141 awards and 135 nominated.

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Slave movie text. The scopes of this research are the realized and the unrealized expressions sentence level.

Formulation of the problems:

1. What types of translation techniques can be identified from the source text (12 Years A Slave movie text) into the Bahasa Indonesia ‘12 Years A Slave’ movie text?

2. How are the realizations of sentences in the source text (12 Years A Slave

movie text) represented in the target text?

3. To what extent are the expressions in the target text equivalent in meaning with the expressions in the source text?

C. Objective of the Research

The objective of the research is to analyze the meaning and sentence realization variations of the English – bahasa Indonesia “12 Years A Slave” movie texts.

D. Significance of the Research 1. Theoretical Benefits

From this research, the researcher and the readers who have the same interesting in the same field can get more benefit. This research concerned to the language translation competence for translator especially about realization in the process of translation in a subtitling field.

2. Practical Benefits

This research also provides the supporting information for the viewer and the researcher expects that it could help the viewers of the movie and the readers of this research report get more information about the topic under discussion.

   

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CHAPTER II LITERATURE REVIEW

A. Theoretical Review 1. Translation

a. Notions of Translation

Translation theorists give different definitions about translation. It is because they have their own perspectives in translation. According to Meethem and Hudson in Bell (1991: 6), translation is the replacement of a representation of a text in one language. Besides, Nida (1982: 1) mentions that translation consists of reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style. Similar definition is also mentioned by Dubois in Bell (1991: 5), he defines translation as the expression in another language of what has been expressed in the source language preserving semantic and stylistic equivalences.

In spite of differences, common features are shared by the definitions. There are obligations to find “equivalents” which “preserve” features of the original text as close as possible in the translated text.

According to Brislin (1961: 1) he defines translation as general terms referring to the transfer of thoughts and ideas from one language (SL) to another language (TL), whether the languages are in written or oral forms. Whether the languages are established orthographies or do not have such standardizations or

whether one or both languages is based on signs, as with sign languages of the deaf.

Contrasting through Nida and Taber (1996: 12) that explicitly giving the idea about translation as a definition as process, in case translating consist of reproducing in the receptor language the closest natural equivalent of the source-language message, first in terms of meaning and secondly in terms of style.

The various views, opinions and definition from the experts can complete each other. The equivalent meaning when the translator doing translating is important, therefore the translator should pay attention to the content and style of both languages (SL and TL).

b. Types of Translation

Jakobson, in article entitled ‘On Linguistic Aspects of Translation’ (in McGuire, 1991: 14) states that there are 3 types of translation:

1) Intralingual translation or rewarding is an interpretation of verbal signs by means of other signs of the same language.

2) Interlingual translation or translation proper is an interpretation of verbal signs by means of some other language.

3) Intersemiotic translation or transmutation is an interpretation of verbal signs by means of nonverbal sign systems or vice versa.

Intralingual translation has the same meaning in one language and also called monolingual translation, paraphrasing a poem in the same language and simplifying a novel can be defined as an intralingual translation process. In interlingual translation there are two or more languages involved while there is only one language involved in intralingual translation. This kind of translation process which is done the most often by the translator, like translated a book,

translation, in intersemiotic translations, the message is transferred from one symbol system or sign system into a language or another form. In the case of intralingual translation, the translator uses synonyms in order to get the message from the source language. This kind of translation process often occurs on people’s daily activities, such as reading newspaper, seeing the traffic light sign, understanding the pictures meaning, etc.

Larson (1984: 17) classifies two main kinds of translation, namely form-based translations and meaning-form-based translations. They are explained as follows. 1) Form-based translations

Form-based translations attempt to follow the form of the source language and are known as literal translations. If the two languages are related, the literal translation can often be understood, since the general grammatical form may be similar. However, the literal choice of lexical items makes the translation sound foreign.

2) Meaning-based translations

Meaning-based translations make every effort to communicate the meaning of the source language text in the natural forms of the receptor language. The translator’s goal should be to reproduce in the receptor language, a text which communicates the same message as the source language but using the natural grammatical and lexical choices of the receptor language.

Based on Catford (1965: 21-22), there are 3 broad types or categories of translation in terms of the extent, levels, and ranks.

1) Extent of Translation

Extent translation is classified into fully and partly translation. In a fully translation, the entire text is submitted to the translation process, part of the SL is replaced by the TL material. In a partly translation, some part or parts of the SL are left un-translated. They are simply transferred to and incorporated in the TL. 2) Level of translation

Two categories of the level of translation are total and restricted translation. The total translation is a misleading term, however the total replacement involved is not replacement by equivalents at all levels. In other words, the total translation is replacement of SL grammar and lexis by equivalent TL grammar and lexis with consequential replacement of SL phonology or graphology by (non-equivalent) TL phonology or graphology. While restricted translation is replacement of SL material by equivalent TL material at only one level. That is translation performed only at the phonological or at the graphological level, or at one of the two levels of grammar and lexis.

3) Ranks of Translation

Ranks of translation have two categories, rank-bounded and unbounded

translation. It relates to the rank in a grammatical (or phonological) hierarchy at which translation equivalence is established. Rank-bounded translation always selects TL equivalence at the same rank or one rank.

c. Process of Translation

Nababan (1999: 25), divides the process of translation in three major steps. They are:

1) Analyzing the ST

The first step is analyzing the text. The translator analyzes the text by first reading the ST and gain the meaning in the text. The translator also analyzes the linguistics and exstralinguistics elements in the text. Linguistics elements are the elements deal with language, while exstralinguitics is the elements beyond the language, such as the culture and the social context of the text. In analyzing the linguistics elements, the translator analyzes the text at all level such as in the level of word, clause, phrase and sentence. By doing this, the translator’s analysis can gain the understanding of the meaning in the ST.

2) Transferring the meaning

The second step is transferring the meaning. In this step the translator has to find the equivalent of the ST. This process happens in mind (Nababan called it as proses batin). It means that this process is in the abstract form.

3) Reconstructuring

The last step is reconstructuring. After finding the equivalent of ST, we reconstruct it in the form of TL becoming TT. In this step, we must decide what style that suits best to the text and the readers.

This three steps, would be explained by the picture bellow (Suryawininata in Nababan, 1999: 25):

Acc translators analysis o expression

ording to T s in order t f meaning, n of meanin

Figu

Tou (1989: 1 to move th the discove ng of the sou

Figure 2.

ure 1: Recon

134), there he source la ery of mean

urce languag

. The Mode

nstructuring

are four ma anguage int ing, the tran ge into the t

l of Transla

ain stages to to target la nsfer of mea

target langu

ation

o be followe anguage. i.e aning and th uage.

ed by e. the he

re-In translation process, the first thing to do is to understand the total meaning of the source text. Understanding the source language involves much more than what the words refer to. Language should be related to contexts in order to enable the reader to really understand the text. In the transferring stage, the translator should be able to transfer the meaning from the source language to the target language.

The final step in the translation process is the re-expression in which the translator works out what has been his or her mind and actualizes it in the target language.

d. Shifting in Translation

Shift in translation is allowed since every language has its own characteristics. Shift in translation is not something to avoid by translator. Machali (2000: 62-75) in her book entitled ‘Pedoman Bagi Penerjemah’ even use shift as one of technique or procedure that can be used by the translator to overcome the problems in translation especially in translating from English to

Bahasa Indonesia. By using the shift, such as modulation, transposition, etc, the translator can avoid the awkwardness of the translation product.

Larson (in Machali, 1997: 12) views shift as the mismatch of the structure, while Newmark (in Machali, 1997:12) refers to the same concept as transposition (structure shift). The shift itself could be viewed as the consequence of the translator's effort to establish translation equivalence (TE) between two different language systems.

Basically, the differences that occur in TL that is not the same in SL may be called as shift. Shift does not only happen in the linguistics features (such category and level shifts by Catford), but also in culture (adaptation) or in point of view (modulation).

For example: if a translator doing an adaptation in translating a text such as changing the name of the place so the target readers could more familiar with the name, then we may call this as shift in culture.

e. Translation Equivalence

In producing translation, it is impossible to produce a translation that has the same “exact” meaning between the SL and TL. It is because every language is different (Catford, 1965: 27). Therefore, as a translator, we must concern to the term equivalent in producing a translation. Translation equivalence is the similarity between a word or expression in one language and its translation in another (www.sil.org). A translator must look for the equivalence between source text and target text, suppose there is no missing information when he transfers the message from SL to TL (in Venuti, 2000:133).

Based on Nida & Taber (1997) there are two types of equivalent. They are formal and dynamic equivalent.

1) The formal equivalent focuses attention on the message itself, in both form and content. In such a translation one is concern with such correspondences as poetry to poetry, sentence to sentence, and concept to concept. Viewed from this formal orientation, one is concerned that the message in the receptor language should match as closely as possible with the different elements in the

source language. This means, for example, that the message in the receptor culture is constantly compared with the message in the source culture to determine standards of accuracy and correctness (in Venuti, 2000: 129). Formal equivalence is basically source-oriented (in Venuti, 2000: 134), it is designed to reveal as much form and content of the original message as possible. In doing so, a formal equivalence attempts to reproduce several formal elements, including: grammatical units, consistency in word usage, and meanings in terms of the source context.

2) Dynamic equivalence is based on the principle of equivalent effect, i.e. the relationship between the receiver and message should aim at being the same as that between the original receivers and the ST message. In such a translation the focus of attention is directed, not so much toward the source message, the receptor response. One way of defining a dynamic equivalence translation is to describe it as “the closest natural equivalent to the source-language message.” This type of definition contains three essential items: equivalent, which points toward the source-language message, natural, which points toward the receptor language, and closest, which binds the two orientations together on the basis of the highest degree of approximation.

A translation, which aims at dynamic equivalences, inevitably involves a number of formal adjustments. In general, this limitation involves three principal areas: special literary forms, semantically exocentric expressions, and intraorganismic meanings.

f. Film Translation

Subtitled material attracts more and more viewers, especially where cinema is concerned, in many different countries and language groups. There are a variety of explanations for this enthusiasm. Film lovers want to watch their favorite films in the original text. It is because they want to hear the real voice of their favorite actors, which they can understand trough the subtitles. Another important incentive is the desire to learn a foreign language, as is illustrated by viewing patterns in my home country, Indonesia.

Subtitling and dubbing represent the two methods for transferring language in the translation process of mass audio-visual communication such as film and television (Jorda o’Coelh, 2003: 2). The two methods have different characteristics and have not received enough attention from the discipline of Translation Studies (Ibid).

1) Dubbing

Dries in Shuttleworth and Cowie (1997) defines dubbing as follows:

Dubbing is the method in which the foreign dialogue is adjusted to the mouth and movements of the actor in the film (Dries 1995, cited in Shuttleworth and Cowie 1997: 45).

As Szarkowska (2005: 2) claims, the main aim of dubbing is to make the audience feel as if they were watching a movie whose actors actually speak the target language.

2) Subtitling

Szarkowska (2005) defines subtitling as follows:

Subtitling involves the process of “supplying a translation of the spoken source language dialogue into the target language in the form of synchronized captions, usually at the bottom of the screen. It is the form that alters the source text to the least possible 6 extent and enables the target audience to express the foreign and be aware of its 'foreignness' at all times” (Szarkowska, 2005: 2).

Furthermore, there are a number of advantages subtitling offers. The main advantages of subtitling can be put in the following points:

a) According Szarkowska (2005: 10) she defines that subtitling is considered the most neutral, minimally mediated method that involves the least interference with the original. It can be argued that subtitling makes the audience experiences the flavor of the foreign language as well as the sense of a different other culture. This is due to the fact that the original soundtrack is preserved. b) Subtitling may have a role in language learning (Serban 2004: 6) and in a better

understanding of the narrative network of a film. As Mera (1998: 75) mentions, “hearing the real voices of the characters not only facilitates understanding in terms of the specific dialogue or plot structure, but also gives vital clues to status, class and relationship”.

c) It is not expensive. In other words, subtitling is cheaper to meet the needs of film markets since it provides subtitles that are more economical and easier to produce (Szarkowska 2005: 10). It is better for “the hard-of-hearing and the deaf and for immigrants and tourists” (Serban 2004: 6).

To make subtitles, Matsumoto (2003) states that there are seven rules to follow. Those rules are:

a) Subtitle consists of two lines every times it appears.

b) Subtitle appears at the bottom of the screen and in the middle position of the screen.

c) If there is another text at the bottom of the screen, such as: credit title, people’s name, place’s name, or subtitle in another language, the position of subtitle should be higher.

d) A line of subtitle consists of 40 characters maximum, including space and punctuation mark.

e) When two lines of subtitle appear together, the second line should be shorter than the first line.

f) The duration of displaying one subtitle is 3-5 seconds; meanwhile the duration of displaying 2 lines of subtitle is 7-8 seconds. In the displaying of subtitles, the translator has to consider the synchronization between the picture and the voice.

g) If the subtitle has to be separated; the translator has to consider that the viewer can understand the subtitle itself although it stands alone. So, the viewer can understand the meaning of the subtitle.

According to Matsumoto (2003: 101) there are two stages in the process of subtitling. First stage is translating materials from source language text into the target language text and the second stage is making subtitles from translated

material. However in this globalization era experts prefer use computer program than manual ways.

Fotios Karamitroglou, Ph.D from European Association for Studies in Screen Translation (ESIST) defines the Guidelines for Production and Layout of TV Subtitles. The general practice of the production and layout of TV subtitles should be guided by the aim to provide maximum appreciation and comprehension of the target film as a whole by maximizing the legibility and readability of the inserted subtitled text. The guidelines are as follows:

a) Spatial Parameter/ Layout i. Position on the Screen

Subtitles should be positioned at the lower part of the screen, so that they cover an area usually occupied by image action which is un-important (aesthetic appreciation of the target film).

ii. Number of Lines

A maximum of two lines of subtitles should be presented at a time. iii. Text Positioning

The subtitled text should be presented centered on its allocated line(s) to simplify the eye travel of the viewer to start reading the subtitle.

iv. Number of Characters Per Line

Each subtitle line should allow around 35 characters to accommodate a satisfactory portion of the translated text and minimize the original text reduction and omissions.

v. Typeface and Distribution

Typefaces like Helvetica and Arial are qualified, it saves the space required to fit the desired 35 characters into a subtitle line.

vi. Font Color and Background

Type characters should be colored pale white (not “snow-bright” white) because a too flashy pigment will tire to the viewers’ eye.

b) Punctuation and Letter Case

i. “Sequence Dots” (or “ending triple dots”) {...}

Used right after the last character of a subtitle (no space character inserted), indicate the subtitled sentence is not finished/ incomplete, so that the eye and the brain of the viewers can expect the appearance of a new flash to follow. ii. “Linking Dots” (or “starting triple dots”) {...}

Used right before the first character of a subtitle (no space character inserted, the first character non-capitalized), when this subtitle carries the follow-up text of the previous uncompleted sentence.

iii. Full Stops {.}

The full stop or period, should be used right after the last character of a subtitle (no space character inserted) to indicate the end of the subtitled sentence.

iv. Dashes and Hyphens {-}

Used before the first character of each of the lines of a two-line subtitle (a space character inserted each time) to indicate the exchange of speakers’ utterances, namely a dialogue.

v. Question Marks {?} and Exclamation Points {!}

Used to indicate a question or emphasis respectively, positioned right after the last character of a subtitle.

vi. Parentheses {( )} and Brackets {[ ]}

Parentheses and brackets should be used to embrace comments which are explanatory to the preceding phrase.

vii. Single Quotation Marks {‘ ’}

Single quotation marks should be used just like in printed materials, in order to embrace alleged information.

viii. Double Quotation Marks {“ “}

It is used just like in printed materials in order to embrace quoted information. For reasons similar to the use of parentheses and brackets, double quotation marks should be used cautiously.

ix. Commas {,}, Colons {:} and Semicolons {;}

It is used in order to suggest a short pause in the reading pace. x. Italics

Italics is used to indicate an off-screen source of the spoken text, (e.g. when there is a voice of someone contemplating something, speaking over the phone from the other end, or narrating something).

xi. Quotation Marks {““} Embracing Text in Italics

Quotation marks embracing text in italics should be used to indicate a public broadcast, i.e. spoken text coming from an off-screen source and addressed to a number of people (e.g. through a TV, a radio, or a loudspeaker).

xii. Upper- and Lower-Case Letters

Upper- and lower-case letters should be used just like in printed materials, as if the subtitle was to appear on paper. Subtitles typed only in upper-case letters should be used when transferring a display or a caption (i.e. a written sign that appears on the screen).

xiii. Boldface and Underline

Boldface and underline typing conventions are not permitted in subtitling.

2. Meaning Equivalence and Sentence Realization Variations a. Meaning

1) Types of Meaning

a) Referential Meaning and Connotative Meaning

According to Nida and Taber (1969:56), there are two types of meaning. They are referential meaning and connotative meaning. Referential meaning is word as symbol which refers to an object process, process, abstract things, and relation. For example is the word “machine” in this short conversation:

A: Oh, the machine broke!

B: Where did you buy the old thing? A: I bought it at the discount house B: Then toss the stuff out.

The words old thing, it, and the stuff refer to the word machine. Meanwhile, connotative meaning is the words as prompters of reaction of the participants in communication. For example is the word heart. Its connotative meaning is love; its referential meaning is part of inner body.

b)Meaning According to Machali i. Referential Meaning

Referential meaning refers to what the communication is about. ii. Organizational Meaning

Organizational meaning is putting together of referential information into a coherent whole.

iii. Situational Meaning

Situational meaning is encoding the interpersonal aspect of communication such as speaker-addressee relationship, their social status, age as well as the setting and the purpose of communication.

In this research, the types of meaning in SFL perspective will be used in this research. According to Halliday and Matthiessen (2204:29-30) propose aspect of meaning called metafunction. Metafunction is the three principal functions which are used as the basis of grammar. Metafunction of language consists of three kinds of meaning. They are Ideational meaning, Interpersonal meaning, and Textual meaning.

2). Meaning Equivalence

According to Hatim and Munday (2004: 339), equivalence is defined as a central term in linguistic based translational studies, relating to the relationship of similarity between source text and target text. To maximize the equivalence, the translator needs to transfer the message from the source text into target text. Machali (1998:3) also states that the central problem of translating is to find the translation equivalence for a text in a given context. Larson also emphasizes the

importance of equivalence by explaining that translation involves ‘communication situation’ in translating. The diction or the choices of vocabulary are affected by this because different vocabulary can be used in different situation and for different purpose. Meanwhile, Catford (1965: 50) states that translation equivalence occurs when a source language and target language or items are related at least some of the same features or substance.

Below are types of meaning equivalence and degree of meaning equivalence.

1) Fully Equivalence

Fully equivalence means the meaning in the source language text is completely transferred into the target language text.

2) Partly Equivalence

Partly equivalence is a translated text in which there are some elements or meaning that is lost or changes from the SL.

3) No Equivalence

No equivalence means the meaning of translated text is totally different from the SL.

4) No Meaning

No meaning means the translated text has no meaning at all from the SL.

b. Sentence Realization 1) The Notion of Sentences

Bloomfield in his book entitled Language (1993:170) defines sentences as “... an independent linguistic form, not included by virtue of any grammatical construction in any larger linguistic form.” In other words, a sentence is capable of standing alone. Sentences can be classified into a number of categories. The following are classifications of sentences based on their structure, the purpose/ form and completeness of the Subject-Predicate elements.

a) The Classification by the Structure i. Simple Sentences

A simple sentence is a sentence which consists of a single independent clause and no subordinate clauses. The simple sentence always contains one subject and one verb.

Example: Nancy is a singer. ii. Compound Sentences

A compound sentence is a sentence that consists of two or more clauses or has equal relations.

Example: Maya is a singer but I am a teacher.

iii. Complex Sentences

A complex sentence is a sentence that consists of two or more clauses of unequal relations and joined by one or more coordinating conjunction. Example: I did not come because I was sick.

iv. Compound-Complex Sentences

A compound-complex sentence is a sentence that consists of multiple independent clauses, at least one of which has at least one dependent clause. Example: My best friend who is a singer named Nancy is beautiful, but she is still single until now.

b) The Classification by the Purpose or Form Classifications of sentence by purpose or form are: i. Declarative Sentences

Declarative sentence or declaration sentence functions to make or to declare a statement.

Example: I am not hungry. ii. Interrogative Sentences

Interrogative sentence or question sentence functions to request information. Example: Where is the bus station?

iii. Exclamatory Sentences

Exclamatory sentence is generally more emphatic from statement of emotions expressions.

Example: What a beautiful art you made.

iv. Imperative Sentences

Imperative sentence or command sentence is functions used to make demand or request.

c) The Classification by the Completeness of the Subject-Predicate Elements

i. Complete Sentences

A complete sentence is a regular sentence, it has a subject and a predicate. Example: I have a new fan. In this sentence one can change the persons into: We have a new fan.

ii. Incomplete Sentences

An incomplete sentence is an irregular type of sentence. It does not contain a main clause or follows the grammatical rules.

Example: - Mary! - Precisely so.

- Next Tuesday evening after it gets dark. - Headings (e.g. the heading of this entry) - Stereotyped expressions (“Hello!”) - Emotional expressions (“Wow!”) - Proverbs

- Abbreviation form

- Words and phrases use as exclamations, questions or commands: Nice day! Taxi? No entry.

In addition to those categories of sentences, Bloomfield also offers other sentence categories, namely fully expressed sentences (major sentences) and partly expressed sentences (minor sentences). Fully expressed sentences are also

called major sentences and usually have the complete subject - predicate construction, begin with a capital letter and end with a full-stop, exclamation or question mark. As for partly expressed sentences or minor sentences, these sentences can be called elliptical sentences because some parts of their structure are omitted.

2) Types of Sentence Realization

Kridalaksana (2001: 1985) explains that realization is an actual expression of a characteristic or unit of phonology, grammar or semantics. Realization is what we commonly speak of as form, the form itself is related to the actual words, phrases, clauses, sentences, paragraph, and so on.

This research follows Halliday’s theory about the levels of language organization. If there is a realization between ST and TT, this sentence is termed

realized while if there is no realization, it is termed unrealized. Furthermore, in addition to the realized and unrealized terms, the researcher also further classified the sentence realization into fully-realized and partly realized. The term fully realized is used when a full sentence in the ST is realized in the form of a fully-expressed or complete sentence in the TT while the term partly realized is used when a full sentence in the ST is realized in the form of a partly-expressed or incomplete sentence in the TT.

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ownership of a southern planter named Edwin Epps. In January 1853, Northup was finally freed by Northern friends who came to his rescue. He returned home to his family in New York with the help of editor David Wilson, and wrote his account in 12 Years a Slave.

This movie represents violence, some nudity and brief sexuality to the black people in the pre-Civil War United States. This movie was directed by Steve McQueen; released on August 30, 2013, and won over 141 awards and 135 nominations.

B. Conceptual Framework

Subtitling translation and written translation is different. In subtitle of translation, the translator should design and produce the subtitle that ensures the target language viewers with the content of his/her subtitle.

This research focuses on the realization variations of the English “12 Years A Slave” movie texts (ST) in its Bahasa Indonesia “12 Years A Slave” movie texts (TT). This level becomes the main point because it usually occurs in subtitle translation, especially from the English into Bahasa Indonesia. This research also discusses the equivalence between Source Text (English movie texts) and Target Text (Bahasa Indonesia movie text).

C. Analytical Construct Figures of analytical construct:

Billingual Text Translation

ST: 12 Years a Slave English Movie Text

TT: 12 Years a Slave Bahasa Indonesia Movie Text

Meaning Realization Variations Sentence Realization Variations

No Meaning Fully Equivalent

Meaning

Partly Equivalent Meaning

Non-Equivalent Meaning Realized

Sentence

Unrealized Sentence

English Movie Text Bahasa Indonesia Movie Text

   

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CHAPTER III RESEARCH METHOD

A. Type of the Research

This is a descriptive qualitative study. In this research, the researcher analyzed the data in the form of English and its Bahasa Indonesia movie texts of a

movie entitled 12 Years A Slave based on the context and natural setting. To find

the real fact without any manipulation, the researcher analyzed the data based on

the context of the movie, namely the source text (the English ‘12 Years A Slave’

movie text).

B. Data and Data Sources

The data collected in this research are qualitative data supported by quantitative data. The qualitative data are the whole language expressions in the

English and its bahasa Indonesia movie texts of a movie entitled 12 Years A Slave.

The researcher took the English movie text (ST) from the movie CD, written by

John Ridley and released in 2013 by New Regency Production. As for the Bahasa

Indonesia movie text (TT), it is written by Prince Shinra and was taken from the

internet (http://subscene.com/subtitles/12-years-a-slave/indonesian/865008). On

the other hand, the quantitative data are in the form of percentages of the languange expressions belonging to each realization category which the researcher shall explain in the next section.

C. Data Collection

To collect data, the research employed a primary data collection instrument, i.e. the researcher herself (Meriem and Tisdell, 2015) and an additional instrument, in the form of data sheets. In these data sheets, the qualitative data in the form of language expressions in the English movie text taken from the movie CD and its Bahasa Indonesia movie text retrieved from the Internet were rewriten in a table in the data sheets. In addition, the data sheets also contained realization and meaning classifications of the qualitative data. The realization category was

divided into two, namely realized and unrealized and then the realized category

was further classified into two, i.e. fully realized and partly realized. As for the

meaning category, it was divided into four categories, namely fully equivalent,

partly equivalent, different meaning and no meaning. After all the qualitative data were distributed to their respective category, the final result of each category was indicated in percentages (the quantitative data). The data sheet is presented below.

Table 1: The Data Sheet

No English Movie Text Bahasa Indonesia Movie Text Realizations Sentence Realization Variations

Meaning Realization Variations Realized Sentence Un-Realized Sentence Fully Realized Sentence Partly Realized Sentence Fully Equivalent Meaning Partly Equivalent Meaning Different Meaning No Meaning                              

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D. Data Analysis

After the researcher had done collecting the data, the next step was to analyze the obtained data by filling the data into the data sheet. The following are the stages to carry out the data analysis:

1. To begin the data analysis, the researcher firstly watched the movie to gain the

general understanding of the movie plot.

2. The next step was to compare the English subtitle and its Bahasa Indonesia

subtitle to determine to which category each expression belongs based on the

relevant theories by putting a thick (√) in the right category in the data sheet.

To analyze each expression of the subtitle written in the target text in comparison with the subtitle written in the source text, the researcher used two categories, namely realization and meaning. With regard to realization, the researcher firstly looked at each expression in the target text whether it

belonged to the “realized” category or the “unrealized” category. If it

belonged to the “realized” category, the researcher further decided whether the

datum belonged to the “fully realized” category or the “partly realized”

category. As for meaning, the researcher looked at an expression in the target

text whether it belonged to the categories of fully equivalent, partly equivalent,

different meaning or no meaning.

3. The final result of each category was indicated in percentages (%). After

E. Trustworthiness of the Data and Data Analysis

To ensure trustworthiness of the research findings, the researcher employ four criteria proposed by Lincoln and Guba (1985) in O’Donoghue (2015),

namely credibility, transferability, dependability, and conformability. However,

this research only used three of them, which were credibility, dependability, and

conformability. This is consistent with Lincoln and Guba (1985) in O’Donoghue (2015) who argue that transferability is not relevant for qualitative research. These criteria have something to do with determining the extent to which we can have confidence in the research findings and the extent to which we believe what the researcher has reported (O’Donoghue, 2015). They are explained as follows.

Credibility refers to the truthfulness of the data. The credibility of this research was enhanced by the extended period of data gathering and peer debriefing with proofreaders were utilized throughout the planning and data-gathering phases of the research. In achieving the degree of credibility, deep and detail observation of the data were performed. The data were read and reread comprehensively, they then were classified based on their respective features. Credibility is also obtained by conducting triangulation. In this research, the source triangulation and the theory triangulation were applied. The sources are the English subtitle of the “12 Years A Slave” and its Bahasa Indonesia subtitle, while

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Next, dependability refers to the stability and trackability of data and the development of theory in qualitative studies.. In order to reach the degree of dependability, the processes of data collection and data analysis in this study were examined. The data were inspected carefully to ensure that they were in accordance with the research questions.

The last criterion to ensure data trustworthiness is conformability. Lincoln and Guba (1985) in O’Donoghue (2015: p. 100) define conformability as “the extent to which the data and interpretations of the study are grounded in events rather than the inquirer’s personal constructions”. In this research, the researcher provide elucidation of the research stages from the beginning until it finally obtained the research findings. For the details of the research stages, please refer to Data Analysis on page 37 was the major strategy which was used to ensure that conformbility was achieved.

A.Description of the Findings

1. The Meaning and Sentence Realization Variations of the English – Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’ Movie Texts in Realization Terms

Bloomfield divides sentences into two: full sentences (usually have a complete Subject - Predicate construction, begin with capital a letter and end with a full-stop, exclamation or question mark), and minor sentences which can be called elliptical sentences because some part of their structure has been omitted. Related to Halliday’s theory, fully realized sentences are also divided into two parts: realized (if there is a realization of the sentence in the TT) and unrealized (if there is no realization). The analysis of the ‘12 Years A Slave’ movie texts was conducted by the researcher, which focused on the realization of expressed sentences in the movie texts. Results of the analysis show that there are 907 fully realized sentences in the movie subtitles.

Table 2. The Meaning and Sentence Realization Variations of the English – Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’ Movie Texts in Realization Terms

No Sentence Realization

Variations Total %

1. Realized Sentences 894 98.9%

2. Unrealized Sentences 10 1.1%

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Based on the table above, it can be seen that there is a total of 904 sentences. The researcher also found that there are 894 sentences (98.9%) realized to the Indonesian subtitles (TT), while 10 fully realized sentences (1.1%) are not realized (unrealized).

2. The Meaning and Sentence Realization Variations of the English – Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’ Movie Texts in Terms of Fully or Partly/Incomplete Sentences

Partly or incomplete sentences are sentences whose part of their structure has been omitted. They cannot be analyzed in the same way as the way regular or complete sentences are analyzed. The analysis of the ‘12 Years A Slave’ movie texts was conducted by the researcher, which focused on the meaning and sentence realization variations in the movie texts in terms of fully or partly/incomplete sentences.

Table 3. The Meaning and Sentence Realization Variations of the English – Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’ Movie Texts in Terms of Fully or Partly/Incomplete Sentences

No Sentence Realization Variations Total %

1. Fully Realized Sentences 778 87%

2. Partly Realized Sentences 116 13%

Total 897 100%

From the data above, the researcher finds that from 897 realized sentences in the ST, there were 778 sentences (87%) realized in a fully realized form and

116 sentences (13%) realized in a partly expressed form. The data prove that the translator does not make any omission of the words, phrases or clauses in the ‘12 Years A Slave’ movie subtitles. It is shown by the higher percentage of the fully realized sentences above.

3. The Classification of the Sentence Realization and Variations in the Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’ Movie Texts in Terms of Meaning

In general, meaning has priority over form in translation. According to Halliday (1985: 53), there are three kinds of meaning, namely: ideational, interpersonal, and textual meaning. In this research, the researcher focused on the ideational meaning that refers to a certain thing, event, attribution, or relation which a person can perceive or imagine. The data of this research are in the form of simultaneous translation, so the researcher used the terms of fully equivalent (the meaning of a given expression in the ST is regarded as being fully equivalent to the meaning of a given expression in the TT), partly equivalent (sentences in the ST which meanings are not completely the same as the meaning in their realization in the TT), different meaning (the meaning of the sentences in the ST is not completely the same as the meaning in their realization in the TT), and no meaning (if there is no realization in the TT of a sentence in the ST).

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Table 4. The Classification of the Sentence Realization and Variations in the Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’ Movie Texts in Terms of Meaning

No Meaning Realization Variations Total %

1. Fully Equivalent Sentences 735 81.3%

2. Partly Equivalent Sentences 103 11.4%

3. Different Meaning Sentences 56 6.2%

4. No Meaning (Unrealized

Sentences) 10 1.1%

Total 904 100%

Based on the table, the data with the highest percentage in the analysis fall into the category of fully equivalent meaning realization. From 904 sentences, 735 sentences (81.3%) are fully equivalent in meaning, 103 sentences (11.4%) are partly equivalent in meaning, 56 sentences (6.2%) have different meanings and 10 sentences (1.1%) have no meaning or are unrealized. With regard to the category of fully equivalent meaning realization as the data with the highest percentage in the analysis, it is shown that the researcher did not change any data during the process of translation into new meaning. In bilingual translation, the researcher found lots of difficulties, especially from English into Bahasa Indonesia, such as differences in the grammatical system.

B. Discussion of the Findings

Based on the finding section, there are three strategies that are used by the translator to translate meaning and sentence realization in ‘12 Years A Slave'

1. the meaning realization of fully expressed sentences;

2. the realization of the fully realized sentences in terms of full or partly/incomplete sentences; and

3. the classification of the sentence realizations in meaning terms. Further discussions about findings are presented as follows.

1. Discussion about the Meaning and Sentence Realization Variations of the English – Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’ Movie Texts in Realization Terms

From Table 2 above, the result shows that fully realized sentences are the sentences with the highest number (98.9%). It means that the ST sentences are realized into the TT.

a. Realized Sentences

Based on the finding above (Table 2), the fully realized sentences in the ST are realized to the TT. From 904 sentences, there are 894sentences (98,9%) realized into TT. Some of the realized sentences are discussed as follows:

1) Fully Realized Sentences

a) Datum 11

ST : Give me a kiss.

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translator translated “me” into “ayah” because the picture on the movie showed the dialogue between a father and his son. The translator tried to minimize the written meaning by leading the movie text readers to use their feelings on this movie.

b) Datum 56

ST : And your talents are undeniable.

TT : Dan bakatmu tak terbantahkan.

The translator did not omit anything from the above sentence, the result of the data realization is fully realized sentence (it is used when the sentences are realized in the form of fully realized or complete sentences). The meaning realization result is fully equivalent (the meaning occurs when the meaning in the ST is completely transferred in the TT).

2) Partly Realized Sentences a) Datum 13

ST : I love you too, Dad. TT : Aku juga, ayah. b) Datum 69

ST : Well, my boy, how yah feel now?

TT : Baiklah, nak. Bagaimana perasaanmu?

From the above example, the translator did not translate all the sentence elements. Rather, the translator only translated some of the sentence elements. In the first example which is the Datum 39, both sentences have the Subject element. However, in the TT the translator omitted the Predicate element. As for the second

example, some words are also not translated in the TT (the words “my” and “now”). In this case, those sentences can be said as partly realized.

b. Unrealized Sentences

The table 2 above also shows that the findings about unrealized sentences are only 10 sentences (1.1%) unrealized to the TT from a total of 904 sentences. The unrealized sentences happen because the translator did the omission process, in this case the translator fully omitted the sentences. Usually, sentence elimination occurs because there is limitation of time and space in running text movie subtitles to the readers.

1) Datum 541

ST : There'll be none for you, Patsey.

TT : ---

The dialogue above happens at midnight, dancing and drunken Mr. Epps was there looking at Patsey passionately. At the same time, their mistress brought cookies and all the slavers ate those cookies, except Patsey. From the beginning, the mistress showed her jealousy and hatred to Patsey. That is why the translator did not make translation or omission into this sentence because it can be explained by the situation and expression shown during the movie. Another example of unrealized sentences is provided below.

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This dialogue occurred in the alteration of emotional time. Mr. Epps felt like being smitten by God, his land was full of plague and he should rent his black slave to someone else to earn money. The sentence above was not translated for some reasons, because of the limitation in time and therefore, in this movie the translator tried to omit the meaning of the sentence in the TT and changed it by leading the readers into the emotional moment of Mr. Epps’ rudeness. The translator did not translate it, the translator thinks that the emotional response from the readers is enough to explain the situation and it will also take less time to read the subtitles.

3) Datum 750

ST : What you standing there for?

TT : ----

This dialogue in the movie occurred very fast. The time is very limited to translate all that Mr. Epps said. The sentence above is said by Mr. Epps when he

was mad because Patsey disappeared from her room. He ran out of his house asking all Niggers who might know where Patsey was. The indignation of Mr. Epps frightened the Niggers and that was why they were only standing without giving any answer. The frightened faces of the Nigger also explain the meaning and it is the best way to move to another dialogue without omitting the important dialogue of this movie. The important dialogue refers to the main dialogue explaining the plot of the movie.

2. Discussion about the Meaning and Sentence Realization Variations of the English – Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’ Movie Texts in Terms of Fully or Partly/Incomplete Sentences

a. Fully Realized Sentences

To get the best translation result, the translation must be translated in fully or complete meaning. Complete meaning can be achieved if the meaning of the source language text is completely transferred into the target language text. The finding above (Table 3) shows that from a total of 894 sentences (fully realized and partly realized) in TT, 778 sentences (87%) are fully realized. Based on that finding, we can conclude that it will be easier for the viewers to understand the movie because the meaning is explicitly expressed in the sentences.

1) Datum 19

ST : I wonder what you'll do without me?

TT : Aku penasaran apa yang akan kau lakukan tanpa aku? 2) Datum 20

ST : I won't stay idle.

TT : Aku takan bermalas-malasan. 3) Datum 50

ST : Welcome to Washington, Solomon. TT : Selamat datang di Washington, Solomon.

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b. Partly Realized Sentences

In some condition, the complete meaning of translation is hard to be achieved. Sometimes, the fully equivalent translation cannot be found. That is why some of them are translated in partially equivalent sentence. It is because of the addition or omission of the information carried by the translation expressions in the target language text. From the data above, there is a total of 116 partly expressed sentences (13%).

The definition of partly expressed sentences or minor sentences here is based on Bloomflied’s definition in his book Language (1993:171). He defines that :

Minor sentence refers to a sentence which does not have a subject or predicate or both, but it can be understood as a complete unit meaning. It mostly happens in the spoken language, because in the spoken language, sometimes the sentence is not explicitly expressed.

1) Datum 146

ST : Unless you want to be a dead nigger. TT : Kecuali jika kau ingin mati.

The clause is partly realized because there is one element which is not translated, namely the word “nigger”. The reason for the translator not to translate it might be because in Indonesian culture, mentioning one’s ethnics is considered offensive and thus the translator omitted the word ‘nigger’.

2) Datum 731

ST : It is a fact, a plain and simple fact that what is true and right

This is another example of a partly realized sentence. It happens because the translator does not rewrite the meaning in the target text. If the translator translated it into a full meaning sentence, the sentence above will be ”Itulah faktanya, sebuah fakta yang jelas dan sederhana, apa yang benar dan tepat.”. The translator doesn’t want to make the readers confused about the meaning and that is why the translator omitted some of the words in the ST to make it more efficient in the subtitles.

3) Datum 838

ST : I would beg that you write my friends in the north, acquainting them with my situation.

TT : Aku akan memohon agar anda menulis surat pada temanku di utara.

The dialogue above shows that the translator again did some omission when subtitling this movie. There is no realization in the clause “acquainting them with my situation…” so the sentence in the TT is being partly realized. It will be better if the translator translated it into “Aku akan memohon agar anda menulis surat pada teman dekatku di utara terkait dengan keaadaanku.”

4) Datum 744

ST : A fine supposition if yah lived among Yankees in New England.

TT : Anggapanmu benar, jika kau tinggal di New England.

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meaning it will be “Anggapanmu benar jika kau tinggal di tengah-tengah orang Amerika (kulit putih) di daerah New England.” Literally, the meaning of that sentence is that Bass hopes that Platt never discriminates the minor ethnics, in fact not all white people discriminate the minor ethnics.

3. Discussion about the Classification of the Sentence Realization Variations in the Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’ Movie Texts in Meaning Terms

We can see from Table 4 above that from 904 sentences of sentence realization in the ST, 735 sentences of them (81.3%) have fully equivalent meaning, 103 sentences (11.4%) have partly equivalent meaning, 56 sentences (6.2%) have different meaning, and 10 sentences (1.1%) have no meaning or unrealized.

a. Fully Equivalent Meaning

Fully equivalent meaning means that the expression in ST has the same information content with the expression in TT. The realization of fully equivalent meaning found by the researcher shows that the expression in ST has completely equivalent meaning with the expression in TT. This complete meaning of TT gives the viewer complete information from the ST to the TT.

1) Datum 6

ST : Throw it on the pile for replanting again.

The translator translated the Subject and Predicate elements in both sentences. Each sentence has a “S + V + O” form and thus, it can be concluded that the ST (English text) is realized into the TT (Indonesian text). In this case, the translator did not translate the sentence literally. The translator made accurate meaning and the meaning of the ST expression is fully transferred into the TT expression.

2) Datum 74

ST : Yah ain't a free man.

TT : Kau bukan orang bebas.

Each sentence has a “S + V + O” form in both sentences above. The translator translated the Subject and Predicate elements in both sentences. The translator made accurate meaning and the meaning of the ST expression is fully transferred into the TT. Thus, the translated sentence can be categorized into the fully equivalent meaning.

3) Datum 100

ST : We need a sympathetic ear. TT : Kita harus saling menolong.

In this case, the translator translated the phrase idiomatically. The word “sympathetic ear” is an idiom, the translator made an accurate meaning and the meaning of the ST expression is fully transferred into the TT. Based on

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idiomatically. The dialogue above occurred when a little Nigger slave cried asking where his mother was and Mr. Northup tried soothing the little boy. That is why the translator defined the phrase “a good listener” (which should be “pendengar yang baik”) into “saling menolong” (help each other).

b. Partly Equivalent Meaning

If the information content of the expression in the TT is not completely equivalent to the information content in the ST, this is called partly equivalent meaning. The findings also show that 67 sentences (7.4%) sentences have partly equivalent meaning. It can be concluded that expressed sentences in the TT have no similar meaning with the sentences in the ST. based on the observation, it happens because the translator did omission or deletion of the sentence elements. 1) Datum 1

ST : Alright now! you all fresh niggers,You all gonna be in the cutting game. TT : Baiklah! Para negro, Kalian semua ditugaskan memotong.

The translator did a lot of deletion on the above sentence, he/she did not do literal translation. For example the words “now” and “game”, the translator did not translate them. It will be equivalent in meaning if the realization is “Baiklah! Sekarang kalian para negro, kalian semua akan ditugaskan sebagai tukang pangkas.”

2) Datum 13

ST : I love you too, Dad. TT : Aku juga, ayah.

The sentence above could be translated into a fully expressed sentence, but the translator made it simpler instead of translating the sentence into “Aku juga menyayangi ayah”. The simplification was done by deleting the words “love you”. The translator tried to explain the meaning to the readers by seeing the dialogue between a father and his son. The dialogue and the picture can explain the meaning deeper than written translation.

3) Datum 31

ST : Mr. Moon is being overly gracious. TT : Tn. Moon terlalu berlebihan.

The translator made the sentence simpler by omitting the word “gracious”. The meaning of the above sentence could be fully expressed It can be clearer if the dialogue is translated into “Tn. Moon, kebaikan anda terlalu berlebihan.”

c. Different Meaning

There are 56 sentences (6.2%) which fall into the category of different meaning. Different meaning occurs when all or most of the information content in the ST expression is represented by words that have different meaning in the TT.

1) Datum 327

ST : Oh ... my ...You are a brute.

TT : Oh.. beraninya kau.

51

The nigger tried not to obey the order and the master got mad. The changes of

beraninya kau and betapa kasarnya anda also based on the social status of a master and a slave. To talk to a slave, the language which is used is usually abusive.

2) Datum 440

ST : Pick it up, Platt. Play that thing, boy!

TT : Mainkan, Platt. Mainkan alat itu!

In this case, the meaning is not equivalent. The sentence “pick it up” is translated into “mainkan”. It will be better and equivalent in meaning if the translator translated it into “Ambil benda itu, Platt! Mainkan benda itu.”

The translator tried to translate the sentence above literally. It can be explained by the situation and the pictures showed during the movie. The drunken Mr. Epps threw a violin to Platt and wanted Platt to play it. That is why the meaning of “pick it up” ischanged into “mainkan.”

3) Datum 487

ST : I meant no disrespect.

TT : Maksudku tak terhormat.

In this case, the meaning is not equivalent. The phrase “no disrespect”

is translated into “tidak menghormati.” It will be better and equivalent in meaning if the translator translated it into “Saya tidak bermaksud untuk tidak menghormati.” This dialogue occurred between Mrs. Shawn and Platt in a tea time while she was telling her story. The meaning of “tak terhormat” and that of “tidak menghormati” are totally different. “Tak terhomat” refers to someone who

is not respected by another or miserable people. If the translator uses “tak menghormati”, the language will be more polite and the person to whom the expression is mentioned is a respected person in their region or village.

d. No Meaning (Unrealized Sentences)

The last category, which is, no meaning or unrealized occurs when all of the information found in the ST is not found in the TT and vice versa. From the data above, there are 10 sentences (1.1%) in the category of no meaning or unrealized. The translator has her/his own reasons of why he/she did it.

1) Datum 541

ST : There'll be none for you, Patsey. TT : ----

The dialogue above happened at midnight. The dancing and drunken Mr. Epps was there looking at Patsey passionately. At the same time, their mistress brought cookies and all the slavers ate the cookies, except Patsey. From the beginning, the mistress had shown her jealousy and dislike to Patsey and that is why the translator did not make translation or omitted this sentence because it can be explained by the situation and expression shown during the movie.

2) Datum 573

Sentence

Sentence Meaning Meaning Meaning Meaning

810 Until I say no more! I ain't said nothing! Sampai aku bilang berhenti. Aku belum bilang berhenti! √ √

811 Give me the whip ! Berikan cambuknya. √ √

812 You're the devil! Kau iblis. √ √

813 Sooner or later. Cepat atau lambat. √ √

814 Somewhere in the course of eternal justice thou shalt answer for this sin!

Di pengadilan yang abadi kau akan menanggung semua

dosa ini. √ √

815 Sin? There is no sin. Dosa? Tak ada dosa! √ √

816 A man does how he pleases with his property. Seseorang bisa melakukan apa saja pada benda miliknya. √ √

817 At the moment, Platt, I am of great pleasure. Saat ini, Platt, aku sangat senang. √ √

818 You be goddamn careful, I don't come to wantin' to lightenin' my mood no further.

Kau harus berhati-hati. Aku takan memaafkan jika kau

rusak mood ku. √ √

819 Master Bass, I want to ask you what part of the

country you came from? Tn. Bass, Aku ingin bertanya. Darimana kau berasal? √ √

820 No part of this land. Tidak dari tanah ini. √ √

821 I was born in Canada. Aku lahir di Kanada. √ √

822 Now guess where that is. Coba tebak dimana itu. √ √

823 Oh, I know where Canada is. Aku tahu Kanada. √ √

824 I have been there myself. Aku pernah kesana. √ √

825 Montreal and Kingston and Queenston and a great many places.

Montreal dan Kingston and Queenston dan banyak tempat

lain. √ √

826 Well traveled for a slave. Perjalanan yang hebat untuk seorang budak. √ √

828 Master Bass, if justice had been done I never would

have been here. Tn. Bass, Jika keadilan di tegakkan, aku takan ada disini. √ √

829 How's this? Bagaimana bisa? √ √

830 Tell me all. Katakan semuanya. √ √

831 I am afraid to tell you. Aku takut mengatakannya. √ √

832 Every word you speak is a profound secret. Setiap kata yang kau ucapkan adalah rahasia besar. √ √

833 Your story it is amazing, and in no good way. Kisahmu luar biasa, dan tak ada yang lebih baik. √ √

834 Do you believe , sir in justice as you have said? Anda percaya, Tuan pada keadilan yang anda katakan? √ √ 835 Yes , I do. That slavery is an evil that should befall

none?

Ya, aku percaya Perbudakan adalah kejahatan yang harus

dihapuskan. √ √

836 I believe so. If you truly do. Aku juga yakin. Jika kau benar-benar mau melakukannya. √ √

837 Then, I would ask... Maka aku minta.. √ √

838 I would beg that you write my friends in the north, acquainting them with my situation.

Aku akan memohon agar anda menulis surat pada temanku

di utara. √ √

839 And beseeching them to forward free papers. Dan mintalah pada mereka untuk mengirimkan Surat

Kebebasan. √ √

840 It would be an unspeakable happiness. To see my wife and my family again.

Itu akan jadi satu kebahagiaan yang tiada tara. Untuk

melihat istriku. Dan keluargaku lagi. √ √

841 I've been traveling this country for the best part of twenty years.

Aku sudah menyusuri keindahan negeri ini selama 20

tahun. √ √

842 My freedom is everything. Kebebasanku adalah segalanya. √ √

843 The fact that I can walk out of here tomorrow gives me most pleasure.

Kenyataan bahwa aku bisa pergi dari sini besok,

Sentence

Sentence Meaning Meaning Meaning Meaning

844 My life doesn't mean much to anyone, but it seems your life means a lot to a lot of people.

Hidupku tak begitu berarti untuk orang lain. Tapi

sepertinya hidupmu sangat berguna bagi banyak orang. √ √

845 About what you're asking me.. Soal permintaanmu.. √ √

846 Sir, scares me. Tuan, menakutkan bagiku.. √ √

847 I must say, I am afraid. Not just for you, but for me. Aku harus katakan, aku takut. Tidak hanya untukmu,

untukku juga. √ √

848 I will write Your letter sir, for if I could bring freedom, it will be more than a pleasure.

Akan kutulis suratmu Tuan. Jika aku bisa membawa

kebebasan. Itu lebih dari sekedar kebahagiaan √ √

849 It will be my duty. Ini akan jadi tugasku. √ √

850 Now, would you be so kindly hand me those sickles? Sekarang, berikan papannya padaku. √ √

851 Platt? Where is the boy called Platt? Platt? Mana yang bernama Platt? √ √

852 Come here, boy . Kemarilah, nak! √ √

853 Your name is Platt, is it? Namamu Platt, kan? √ √

854 Do you know that man? Kau tahu orang itu? √ √

855 Say again? Katakan lagi? √ √

856 That man received a letter compiling many

accusations. Orang itu menerima surat yang berisi banyak tuduhan. √ √

857 You look me in the eye and on your life answer me truthfully. have You any other name than Platt?

Tatap mataku Dan demi hidupmu jawablah sejujurnya.

Apa kau punya nama selain Platt? √ √

858 Solomon Northup is my name. Solomon Northup adalah namaku. √ √

860 It's official business. Ini urusan resmi. √ √

861 My nigga 's my job . Negroku urusanku. √ √

862 Your business waits. Tahan urusanmu. √ √

863 Tell me of Your family. Sebutkan keluargamu. √ √

864 I have a wife and two children. Aku punya seorang istri dan dua orang anak. √ √

865 Two. What the hell ? What were Your children's

names? Dua ?Siapa nama anak-anakmu? √ √

866 Margaret and Alonzo. Margaret dan Alonzo. √ √

867 And your wife's name before her marriage? Dan siapa nama istrimu sebelum menikah? √ √

868 Anne Hampton. I am who I say. Anne Hampton. Itulah yang kukatakan. √ √

869 Where are you going, Platt ? Mau kemana kau, Platt ? √ √

870 Who authorized you to roam on my property? Siapa yang mengizinkanmu menggeledah milikku. √ √

871 My mistake . Salahku. √ √

872 Platt, come back here! Platt! Platt, kembali kesini! Platt! √ √

873 Come back here, boy ! Kemarilah, nak! √ √

874 Nah... You will unhand 'em. Platt is my nigger! Jauhkan tanganmu darinya Platt adalah negroku! √ √

875 He is Mr. Solomon Northup ! Dia Tn. Solomon Northup! √ √

876 You say... Apa kau bilang.. √ √

877 You come here, humiliate me and make claims. Kau datang kesini merendahkanku, dan mengklaim. √ √

Sentence

Sentence Meaning Meaning Meaning Meaning

879 To hell with that! My nigger, and I'll fight you for

'em! Persetan! Kau negroku, dan akan kuperjuangkan! √ √

880 As is your right. Itu menurutmu. √ √

881 As it will be my pleasure to bankrupt you in the

courts. Dengan senang hati akan ku jatuhkan kau di pengadilan. √ √

882 Your decision. Terserah kau! √ √

883 Unhand him ! Lepaskan dia! √ √

884 You think this is the last you'll see of me, boy? Kau pikir ini terakhir kali kau melihatku, nak? √ √

885 It ain't. Tidak akan. √ √

886 I paid fairly for this nigga ! The court has the documents to prove it!

Aku sudah membeli negro ini! Ada dokumen pengadilan

sebagai buktinya! √ √

887 And we have the documents also proving that it is free !

Dan kami juga punya dokumen sebagai bukti bahwa dia

bebas! √ √

888 I own you ! You belong to me ! Can you hear me ? Aku memilikimu ! Kau punyaku ! Kau dengar? √ √

889 Keep your hands off him ! The court will take you back before sundown!

Lepaskan tanganmu! Pengadilan akan mengembalikanmu

sebelum matahari tenggelam. √ √

890 Platt! Get my horse,Please. Platt! Naik kuda ku! √ √

891 Get away from him, Pats' ! Menjauhlah darinya, Pats ! √ √

892 I'll be seeing you real soon. Solomon? Aku akan menemuimu secepatnya. Solomon, Kita harus

bergegas. √ √

893 Solomon! √ √

895 But I have had a difficult time these past many years Aku mengalami masa-masa sulit belakangan tahun ini. √ √

896 Who is this? Siapa ini? √ √

897 This is my husband . Ini suamiku. √ √

898 It is very good to meet you, sir. Senang bertemu anda, Tuan. √ √

899 We have much acquainting to do. Kita harus saling mengenal. √ √

900 And this is your grandson. Dan ini cucumu. √ √

901 Solomon Northup Staunton. Solomon Northup Staunton. √ √

902 Forgive me . Maafkan aku. √ √

903 There is nothing to forgive. Tak ada yang perlu dimaafkan. √ √

904 As is your right. √ √

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