The translation strategies of metaphors in Dee`s Supernova: the knight, the princess, and the falling star.

ABSTRAK

KAPARANG, ALEXANDER IGNATIUS. THE TRANSLATION STRATEGIES OF METAPHORS IN DEE’S SUPERNOVA: THE KNIGHT, THE PRINCESS, AND THE FALLING STAR. Yogyakarta: English Letters Department, Faculty of Letters, Sanata Dharma University, 2016.

Skripsi ini membahas metafora dalam novel Supernova: Ksatria, Putri, dan Bintang Jatuh karya Dee. Majas metafora dipilih sebagai objek penelitian karena merupakan gaya bahasa kiasan yang paling dinamis dalam novel. Terdapat 31 ungkapan metaforis yang ditemukan dan diteliti.

Terdapat dua hal yang menjadi fokus penelitian ini. Yang pertama adalah menemukan strategi penerjemahan yang digunakan dalam menerjemahkan ungkapan-ungkapan metaforis tersebut. Yang kedua adalah melihat bagaimana strategi penerjemahan tersebut mempertahankan majas metafora dalam masing-masing ungkapan.

Metode yang digunakan dalam penelitian ini adalah studi pustaka dan studi empiris. Sementara pelaksanaannya turut menggunakan prosedur explicatory contrastive.

Hasil dari penelitian ini menunjukkan dua hal. Yang pertama, sebagian besar terjemahan menggunakan strategi Imitative Translation. Terdapat 27 terjemahan yang terbukti mengaplikasikan strategi tersebut. Tiga terjemahan lainnya menggunakan strategi Functional Communication. Total yang didapatkan adalah 30 terjemahan karena terdapat satu ungkapan metaforis yang tidak diterjemahkan. Yang kedua, dari 31 metafora yang ada, 27 di antaranya tetap mengandung ungkapan metaforis dalam terjemahannya. Sementara, 4 lainnya tidak lagi dapat diklasifikasikan sebagai metafora. Keterkaitan kedua hasil ini selanjutnya disimpulkan dengan melihat prosedur penerjemahan metafora yang dilalui, yang kemudian memperlihatkan bahwa kunci penerjemahan metafora terletak pada sense atau arti metafora tersebut.

ABSTRACT

KAPARANG, ALEXANDER IGNATIUS. THE TRANSLATION STRATEGIES OF METAPHORS IN DEE’S SUPERNOVA: THE KNIGHT, THE PRINCESS, AND THE FALLING STAR. Yogyakarta: English Letters Department, Faculty of Letters, Sanata Dharma University, 2016.

The study is about the metaphors in Dee’s Supernova: The Knight, The Princess, and The Falling Star. The metaphors are chosen as the object of the study since it is the most dynamic figure of speech appearing in the novel. There are 31 metaphorical expressions found and examined in this study.

There were two problems to solve in this study. The first one was to find out the translation strategies applied in translating the metaphorical expressions. The second one was to determine how the translation strategies manage to maintain the metaphorical expressions in the novel.

In order to deal with the two problems, this study applied library and empirical research. It was elaborated by applying explicatory contrastive analysis as the procedure in answering the first and second research question.

The result of the first problem showed that the majority of the translations, which refered to 27 translations, applied Imitative Translation while the other 3 applied Functional Communication Translation. There was a total of only 30 translations since 1 metaphorical expression was not translated. The result of the second problem showed that the majority of the metaphors, which refered to 27 expressions, managed to maintain their metaphorical expressions in the target text. Meanwhile, the other 4 were no longer classified as metaphors since they did not satisfy the requirements anymore. As the conclusion, the relevance between the first and second problem was seen by analyzing the metaphor translation procedures which the novel underwent, in which it was seen that the key of translating metaphors is the sense of each metaphor.

THE TRANSLATION STRATEGIES OF METAPHORS IN

DEE’S

SUPERNOVA: THE KNIGHT, THE PRINCESS, AND

THE FALLING STAR

AN UNDERGRADUATE THESIS

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

In English Letters

By

Alexander Ignatius Kaparang Student Number: 124214062

ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS SANATA DHARMA UNIVERSITY

YOGYAKARTA 2016

ii

THE TRANSLATION STRATEGIES OF METAPHORS IN

DEE’S

SUPERNOVA: THE KNIGHT, THE PRINCESS, AND

THE FALLING STAR

AN UNDERGRADUATE THESIS

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

In English Letters

By

Alexander Ignatius Kaparang Student Number: 124214062

ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS SANATA DHARMA UNIVERSITY

YOGYAKARTA 2016

A Sarjarw Sastra Undergraduate Thesis

THE TRINSLATION STRATEGIES OT'METAPEORS IN

DEE,S'SUPEfiNOVA:

_{THE KNIGHT, THE PRINCESI,}

_AND

THE FALLINGSTAR

September 5h, 2016

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J. Flarris Henaansvah S.. S.S.. M.Hum.

Co-Advisor September, 5s2016

a

A Sarjana Sastra Undergraduate Thesis

TIIE TRANSLATION STRATEGIES OF METAPHORS IN

DEE'S SUPERNOVA: THE KNIGHT, THE PRINCESS.AND

T:HE FALLING STAR

By

ALEXANDER IGNATIUS KAPARANG Student Number: 124214062

Defended _{before the Board of Examiners} On September 26^,2016

and Declared Acceptable

BOARD OFEXAMINERS

Name

Chairperson : Dr. F.X. Siswadi, M.A.

Secretary : Dra. A.B. Sri Mulyani, M.A., Ph.D. Member I : Dr. Fr. B. Alip, M.Pd, M.A.

Member 2 : Adventina Putranti, S.S., M.Hum. Member 3 : J. Harris Hermansvah S.. S.S.. M.Hum.

Yogyakarta, September 30fr, 2016 Faculty of Letters

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STATEMENT OF' ORIGINALITY

I certif' that this undergraduate thesis contains no material which has been previously submitted for the award of any other degl-e at any unfverlity, and that, to the best of my knowledge, this undergraduate thesis contains no material previously written @ any other person except where due reference is made in the text of the undersraduate thesis.

Yogyakarta, September 2no 2016

LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS

Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma Nama : Alexander Ignatius Kaparang

NomorMahasiswa :124274062

Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan Universitas Sanata Dharma karya ilmiah saya yang berjudul

THE TRANSLATION STRATEGIES OF METAPHORS IN DEE'S SUPERNOVA: THE KNIGHT, THE PRINCESS, AND THE FALLING STAR beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberikan kepada Perpustakaan Universitas Sanata Dharma hak untuk menyimpan, mengalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan data, mendistribusikan secara terbatas, dan mempublikasikannya di intemet atau media lain untuk kepentingan akademis tanpa perlu meminta ijin kepada saya maupun memberikan royalti kepada saya selama tetap mencantumkan nama saya sebagai penulis.

Demikian pemyataan ini saya buat dengan sebenamya,

Dibuat di Yogyakarta

Pada tanggal 2 September 2016

vii

THIS, TOO, SHALL PASS.

viii

ix

ACKNOWLEDGEMENTS

Needless to say, I cannot list everyone who helped me during my four-year study here. It is without a doubt that I would not have been able to do much of anything without them. Some names, however, deserve to be mentioned in this page simply for who they are.

Obviously, my mother, Anna Maria Rasubala, for being a mother – being my mother. My sister, Adriana Monica, for being someone I can look up to. My thesis advisor, Adventina Putranti, S.S., M.Hum., for telling me that it is actually possible to finish this thesis writing. My thesis co-advisor, J. Harris Hermansyah S., S.S., M.Hum., for being a really cool advisor.

My friends and fellow artists, Aldo Theodorus, Bertha Palupi, Dimas Indra, Gratianus Silas, Natalia Dessensia, Stefiana Natalia, and Yuliana Sere, for being good friends with insightful and irreverent sense of humor. F. Galih, Khariton Tjahjadi, Dian Windri, Erica Atnil, and Ineke Andrayani, for everything I have learned from you. Prawita Megatama, Isnaini, A. Rafelina, and C. Rekaasta, who are some of the best people I get to know in my senior year.

So with these names in mind: Thank you, everyone.

x

TABLE OF CONTENTS

TITLE PAGE... ii

APPROVAL... iii

ACCEPTANCE PAGE... iv

LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH.... v

STATEMENT OF ORIGINALITY... vi

MOTTO PAGE... vii

DEDICATION PAGE... viii

ACKNOWLEDGEMENTS... ix

TABLE OF CONTENTS... x

LIST OF TABLES... xii

LIST OF ABBREVIATIONS... xiii

ABSTRACT... xiv

ABSTRAK... xv

CHAPTER I: INTRODUCTION... 1

A. Background of the Study... B. Problem Formulation... C. Objectives of the Study... D. Definition of Terms... 1 4 4 5 CHAPTER II: REVIEW OF LITERATURE... 6

A. Review of Related Studies... B. Review of Related Theories... 1. Theory of Translation...

6 7 7

xi

2. Theories of Metaphor... 3. Theory of Translation Strategies... 4. Theory of Metaphor Translation Procedures... C. Theoretical Framework...

8 10 12 13 CHAPTER III: METHODOLOGY... 14

A. Areas of Research... B. Object of the Study... C. Method of the Study... D. Research Procedure... 1. Types of Data... 2. Data Collection... 3. Population and Sample... 4. Data Analysis...

14 14 15 15 15 16 16 19 CHAPTER IV: ANALYSIS RESULTS AND DISCUSSIONS... 18

A. Translation Strategies... 1. Imitative Translation... a. Literal Translation... b. Faithful Translation... c. Semantic Translation... 2. Functional Communication...

a. Free Translation... b. Communicative Translation... B. The Metaphors... 1. The Maintained Metaphors... a. Original Metaphors into Original Metaphors... b. Stock Metaphors into Stock Metaphors... c. Stock Metaphors into Dead Metaphors... 2. The Non-Maintained Metaphors...

18 18 18 20 23 26 26 28 29 29 30 34 36 37 CHAPTER V: CONCLUSION... 41 BIBLIOGRAPHY... 43 APPENDIX... 45

xii

LIST OF TABLES

Table 1. Terms in Comprehending Metaphors... 9

Table 2. Types of Metaphors... 10

Table 3. Methods of Translation... 11

Table 4. Newmark’s Metaphor Translation Procedures... 12

xiii

LIST OF ABBREVIATIONS

MTP : Metaphor Translation Procedure

ST : Source Text

TM : Types of Metaphors

TS : Translation Strategies

xiv ABSTRACT

KAPARANG, ALEXANDER IGNATIUS. THE TRANSLATION

STRATEGIES OF METAPHORS IN DEE’S SUPERNOVA: THE KNIGHT,

THE PRINCESS, AND THE FALLING STAR. Yogyakarta: English Letters Department, Faculty of Letters, Sanata Dharma University, 2016.

The study is about the metaphors in Dee’s Supernova: The Knight, The Princess, and The Falling Star. The metaphors are chosen as the object of the study since it is the most dynamic figure of speech appearing in the novel. There are 31 metaphorical expressions found and examined in this study.

There were two problems to solve in this study. The first one was to find out the translation strategies applied in translating the metaphorical expressions. The second one was to determine how the translation strategies manage to maintain the metaphorical expressions in the novel.

In order to deal with the two problems, this study applied library and empirical research. It was elaborated by applying explicatory contrastive analysis as the procedure in answering the first and second research question.

The result of the first problem showed that the majority of the translations, which refered to 27 translations, applied Imitative Translation while the other 3 applied Functional Communication Translation. There was a total of only 30 translations since 1 metaphorical expression was not translated. The result of the second problem showed that the majority of the metaphors, which refered to 27 expressions, managed to maintain their metaphorical expressions in the target text. Meanwhile, the other 4 were no longer classified as metaphors since they did not satisfy the requirements anymore. As the conclusion, the relevance between the first and second problem was seen by analyzing the metaphor translation procedures which the novel underwent, in which it was seen that the key of translating metaphors is the sense of each metaphor.

xv ABSTRAK

KAPARANG, ALEXANDER IGNATIUS. THE TRANSLATION

STRATEGIES OF METAPHORS IN DEE’S SUPERNOVA: THE KNIGHT,

THE PRINCESS, AND THE FALLING STAR. Yogyakarta: English Letters Department, Faculty of Letters, Sanata Dharma University, 2016.

Skripsi ini membahas metafora dalam novel Supernova: Ksatria, Putri, dan Bintang Jatuh karya Dee. Majas metafora dipilih sebagai objek penelitian karena merupakan gaya bahasa kiasan yang paling dinamis dalam novel. Terdapat 31 ungkapan metaforis yang ditemukan dan diteliti.

Terdapat dua hal yang menjadi fokus penelitian ini. Yang pertama adalah menemukan strategi penerjemahan yang digunakan dalam menerjemahkan ungkapan-ungkapan metaforis tersebut. Yang kedua adalah melihat bagaimana strategi penerjemahan tersebut mempertahankan majas metafora dalam masing-masing ungkapan.

Metode yang digunakan dalam penelitian ini adalah studi pustaka dan studi empiris. Sementara pelaksanaannya turut menggunakan prosedur explicatory contrastive.

Hasil dari penelitian ini menunjukkan dua hal. Yang pertama, sebagian besar terjemahan menggunakan strategi Imitative Translation. Terdapat 27 terjemahan yang terbukti mengaplikasikan strategi tersebut. Tiga terjemahan lainnya menggunakan strategi Functional Communication. Total yang didapatkan adalah 30 terjemahan karena terdapat satu ungkapan metaforis yang tidak diterjemahkan. Yang kedua, dari 31 metafora yang ada, 27 di antaranya tetap mengandung ungkapan metaforis dalam terjemahannya. Sementara, 4 lainnya tidak lagi dapat diklasifikasikan sebagai metafora. Keterkaitan kedua hasil ini selanjutnya disimpulkan dengan melihat prosedur penerjemahan metafora yang dilalui, yang kemudian memperlihatkan bahwa kunci penerjemahan metafora terletak pada sense atau arti metafora tersebut.

1 CHAPTER I

INTRODUCTION

A. Background of the Study

Novels have always been one of the subjects of translation. Translation becomes the bridge linking a novel with readers who do not speak the language which the novel is written in. Obviously, there is no exception for this, including Indonesian novels. Today the number of novels written by Indonesian authors translated into English is growing. A notable example to see is Lontar Foundation, the most well-known non-profit organization which has been working on translating Indonesian literature mostly into English for the past 28 years. There have been more than 200 titles which are translated by them. This number is indeed stimulating and it is only one example coming from one publisher. Additionally, there are more works which also have been published by other publishers, even the small-scale ones. Some authors who have their works published in other languages are Ayu Utami‟s Saman, Andrea Hirata‟s The Rainbow Troops, Eka Kurniawan‟s Beauty Is a Wound and Man Tiger, and Dewi

„Dee‟ Lestari‟s Supernova: The Knight, The Princess, and The Falling Star. Those are only a few examples of Indonesian authors whose works have been available to English-speaking audiences. Looking at these facts, it is not an overstatement to say that both novel and the field of translation are worth studying.

This study is going to analyze one of the novels which title has been mentioned above. It is a Dewi „Dee‟ Lestari‟s novel, Supernova: Ksatria, Putri, dan Bintang Jatuh, or in its translated title Supernova: The Knight, The Princess, and The Falling Star. This novel was first published in 2001 by Trudee Books. It was later translated by an Australian translator, Harry Aveling to be published by Lontar Foundation in 2011. One of the most prominent chracteristics of Dee‟s writing in this novel is the use of a fairly large numbers of figures of speech, which construct this fiction. The most dominant figure of speech employed is metaphor alongside personification and simile. The three of them are under the heading of tropes which have the nature of comparison (Keraf, 1981:136).

This study then focuses on metaphor as it does not only show a considerable number of application, but also shows more distinctive features compared to personification and simile. Those distinctive features would be explained and elaborated more in chapter two. However, it is fair to see an example of metaphor in order to see why it is worth discussing. Lefevere gives an example taken from Dylan Thomas‟ One Warm Saturday. The example is one of

the sentences in the book, “the hero is running down the beach, trying to catch a ball and tripping over a castle into a coil of wet girls”. He exaplains how the word „coil‟ is normally not used to describe a group of girls rather a certain type of animal (1992:38). It is interesting to see how this sentence could be translated. The process of translation that it will undergo is going to reveal what happens to the object, the image, and the sense of its metaphor. This is intriguing since the concepts which do not normally belong together (in one particular language) need

to find their way to another language. This is why this examination of metaphor is believed to be a fascinating discussion.

The discussion may start by considering that as a matter of fact a writer must have a purpose in employing metaphor. For the majority of readers, it is easy to notice and understand that the purpose is to produce certain effects on the readers. The effects, as explained by Keraf (1981), in his book Diksi dan Gaya Bahasa, could be on clarity, emphasis, beauty, humor, or anything else (1981:129). Those effects themselves are expected to achieve some objectives. For instance, to develop characterization or to advance the storylines, which are prominent in writing a story.

Needless to say, to translate metaphor is a challenge itself. It is a challenge since the translation has to be a bridge which enables readers to not only understand the story they are reading, but also to experience the effects which the authors have created. This is where translation shows its capacity as a medium of communication.

The process of translation in which whether or not the translation in the target language manages to preserve the meaning while keeping the elevated and enhanced language from the source text becomes a crucial question to ask. The metaphorical expressions in the translated version then needs to be examined carefully in comparison to its original text. Examining the result and the process of translation used is ensuring the words mean what they are meant and the metaphors are well utilized, thus well delivered.

B. Problem Formulation

Based on the background explained above, the writer has formulated two problems to be examined in this study as follows:

1. What strategies are used to translate the metaphorical expressions in Dee‟s Supernova: Ksatria, Putri, dan Bintang Jatuh into Supernova: the Knight, the Princess, and the Falling Star?

2. How do the strategies maintain the metaphorical expressions?

C. Objectives of the Study

There are two objectives of this study. First, this study aims to study both the Indonesian version of Supernova: The Knight, The Princess, and The Falling Star and the English version in terms of the metaphorical expressions in the books. Second, it aims to discover the translation process which the novel undergoes. The two objectives, which refer to both problems, are to attain in order to determine the grounds for employing the strategis. The grounds would provide justification for the translation process which this nover undergoes in its attempt at maintaining the metaphorical expressions.

D. Definition of Terms

In order to avoid any misinterpretation of several terms, it is required and considered to be crucial to provide the definition of the terms used in this study.

Metaphor: A kind of analogy in the form of brief direct comparison between two things (Keraf, 1981: 139)

Metaphor Translation Procedures: The procedures for translating metaphors (Newmark, 1981: 88)

Strategy of Translation: A potentially conscious procedure for solving a problem faced in translating a text, or any segment of it (Loescher, 1991:8)

6

CHAPTER II

REVIEW OF LITERATURE

A. Review of Related Studies

There are two related studies to be taken into account. The first one is an undergraduate thesis by Titis Rasari (2011) entitled “A Study of A Translation of

Metaphors in Gorge Bernard Shaw‟s Man and Superman into Indonesian in

Akhmad Santoso‟s Manusia Adimanusia” which discusses the metaphors found in the play. The discussion is focusing on three things: the accuracy, the strategies, and the readability. Those three things underline the relevance of translation

strategies to the readers‟ experience in reading the work. It shows how the proper

use of translation strategies in translating metaphors results in satisfying accuracy and readability. In other words, both the final product and the readers are brought

into focus in Rasari‟s study.

The second one is by Yoana Lengari (2012) entitled “The Accuracy, The Acceptability, and Translation Strategies of Indonesian Metaphors Translation in Twilight” which also discusses metaphors that, in her study, are found in a novel.

The study is comparable to Rasari‟s. It also focuses on the application of

translation strategies to achieve an accurate result and its relation to how readers perceive the final product of the translation. The study shows that a reasonably sufficient result of accuracy is parallel to the result in acceptability. It is to say since the finding of the study confirms that, despite the appropriate application of

the translation strategies, the translation is quite accurate and quite acceptable rather than accurate and acceptable.

Reviewing those two previous studies, this research attempts to focus only on the final product of a translation. This is where the difference between this study and the other two studies lies. It has its emphasis upon how the process of translating metaphors works in order to see what the most essential element is in translating metaphor.

B. Review of Related Theories

1. Theory of Translation

In defining translation as a practice, the theory which is used in this study

is Leonard Forster‟s. His theory could be found in Hanafi‟s book (1986). It is stated that translation is the transference of the content of a text from one language into another, although we cannot always dissociate the content from the form (1986:6). It could be seen that, according to him, form also matters. Bearing in mind that content is still the priority. This theory shows its relevance to the characteristics of metaphor (as elaborated in this study).

2. Theories of Metaphor

Keraf (1981:139) states that metaphor is an analogy. It is a direct comparison between two things which is expressed concisely. Metaphor, in its form, does not use attributes which act as the indication of comparison, such as like, as if, and as though. Keraf also explains that metaphor could also be positioned as predicate rather than only as subject and object. Metaphor, according to Keraf (1981:136) is under the heading of trope as opposed to rhetorical figures. It means that it is not a deviation of language, rather is a deviation of meaning.

There are actually two other tropes which are in the same classification with metaphor. They are simile and personification. They could be classified as equally similar to metaphor since they all have the nature of comparison. Simile displays direct comparison between two things by using certain words, such as like, as if, as though. Meanwhile, personification specifies its comparison by attaching human qualities to other objects. This explanation is to point out the difference between them.

The other theory of metaphor related to this study come from Peter Newmark. Newmark (1988:85) states that metaphor is a comparison between two or more apparently unrelated things or subjects. He argues that the purpose of this is to describe something more comprehensively and concisely and in a more complex way than by using literal language (1981: 84). He explains that in understanding metaphor, there are five terms which people have to be aware of.

They are object, image, sense, metaphor, and metonym. Those five terms are essential. Here is the table of their definitions.

Table 1. Terms in Comprehending Metaphor

NO TERMS DEFINITIONS EXAMPLES

1 Object The item which is described by the metaphor

Rooting out the faults 2 Image The item in terms of which the

object is described

Rooting out the faults (rooting up weeds) 3 Sense The „point of similarity‟, which

shows in what particular aspects the object and the image are

similar

Rooting out the faults (a) To eliminate (b) With tremendous

personal effort 4 Metaphor The word(s) taken from the image Rooting out the faults

(rooting out) 5 Metonym A one-word image which replaces

the object, which may later become a dead metaphor

The „fin‟ of a motor cycle

Source: Newmark (1981:85)

However, the above mentioned terms are not the only thing which is essential in understanding metaphor. In further elaboration, Newmark also gives more details about a classification of metaphor.

There are six types of them: dead metaphor, cliché, stock metaphor, adapted metaphor, recent metaphor, and original metaphor. The six of them are different in a way how they have been used. One important thing to notice is Newmark argues that for cliché and stock metaphor, they do not necessarily need to be distinguished. It is because they are overlapping, which means they range in common with each other. Many stock metaphors are clichés. That is why, in this research, they are identified as the same. It means there will be only five types of metaphors employed here.

The table of the five types of metaphor as follows:

Table 2. Types of Metaphor NO TYPES of

METAPHOR

EXPLANATION EXAMPLES 1 Dead

Metaphor

Expression which is still metaphorical by nature, but has

been overused that it is commonly no longer perceived

as metaphor

Time is running out.

2 Stock or Cliché Metaphor

A metaphor which has been established that could be understood easily even without

any particular context

You are my breath.

3 Adapted Metaphor

A cultural and historical metaphor which has been readjusted to a new context

The early bird catches the worm. (a proverb) 4 Recent

Metaphor

A new metaphor which has been widely used in general

The world is a vampire.

(“Bullet with Butterfly Wings”, by Smashing

Pumpkins 5 Original

Metaphor

A metaphor which is personal or invented for particular purpose

based on certain context

Gregor Samsa turning into in an insect in

Kafka‟s Metamorphosis Compiled from Newmark (1981:86)

3. Theory of Translation Strategies

In his book, Newmark states that translation is a craft consisting in the attempt to replace a written message and/or statement in one language by the same message and/or statement in another language (1981:7). In making this attempt, there are strategies which are employed. The strategies, in his explanation, could be categorized as methods and procedures. Methods deal with the whole text while procedures deal with smaller chunks of a text. In this undergraduate thesis, the concern is only over the methods.

There are a total of eight methods in the table below. Four methods belong to the imitative translation while the other four belong to the functional communicative translation. The table as follows.

Table 3. Methods of Translation

NO METHODS EXPLANATION

IMITATIVE TRANSLATION 1 Word-for-Word

Translation

Preserving the word order and translating the words by their most common meanings

2 Literal Translation Converting the grammatical constructions to the closest target language structure, but still translating

them by their most common meanings 3 Faithful

Translation

Keeping precise contextual meaning of the source text within the constraints of the target language

grammatical structure 4 Semantic

Translation

Similar to faithful translation, but taking more account of the aesthetic value of the source text FUNCTIONAL COMMUNICATION

1 Adaptation Adapating the source text culture to the target text culture and then rewriting the text

2 Free Translation Producing the translation without the style, form, or content of the source text

3 Idiomatic Translation

Reproducing the message of the source text, but having a tendency to distort nuances of meaning by

prefering colloquallism and idioms which do not exist in the source text

4 Communicative Translation

Presenting the exact contextual meaning of the source text in a way both content and language are

acceptable to the readers Compiled from Newmark ( 1988:81)

4. Theory of Metaphor Translation Procedures

Newmark proposes seven strategies to translate metaphor (1981:88). He believes that a translator attempts to render the metaphors as accurately as possible. In order to do so, there are strategies which could be put into practice.

Here is the table of the seven procedures along with examples for each procedure.

Table 4. Newmark‟s Metaphor Translation Procedures

NO PROCEDURES EXAMPLES

1 Reproducing in the target text the same

image as in the source text

ST TT

You are the sun in my life.

Kau adalah matahari di hidupku. 2 Replacing the

source text image with another compatible target

text image

ST TT

You are the sun in my life.

Kau adalah nafasku.

3 Turning the metaphor into a

simile, but still maintaing the same

image

ST TT

You are the sun in my life.

Kau ibarat matahari di hidupku.

4 Turning the metaphor into a simile along with

the sense

ST TT

You are the sun in my life.

Seakan-akan kau adalah sumber

kehidupanku. 5 Turning the source

text image into its sense

ST TT

You are the sun in my life.

Kau membuatku hidup. 6 Deleting the

metaphor

ST TT

You are the sun in my life.

- 7 Describing the

metaphor

ST TT

You are the sun in my life.

Matahari adalah sumber kehidupan;

kau juga menjadi sumber kehidupanku. Compiled from Newmark (1981:88)

C. Theoretical Framework

As seen above, there are three major theories which are used in this research from which the perspective of the writer is put and developed. The first one is the theories of metaphor. These theories are of paramount importance to this research. They become the foundamental stand of the whole research. The theory of metaphor by Gorys Keraf provides a definition of what metaphor is. It is then used to collect the data from the source text novel. The theory of metaphor by Peter Newmark is employed to understand the elements of metaphor and to justify the classification of each metaphorical sentence. In other words, these theories are used as the standard of truth. The second one is the theory of translation strategies. They are used to see the general strategies applied in translating the metaphorical sentences, which is followed by the the third one, the theories of metaphor translation procedures. This theory is the continuation of the preceding theories. It is also to see the strategies applied in translating the metaphorical sentences, only within a more detailed and exact framework. It specifies the process of metaphor translation which the source text undergoes. This all explains how all the theories alongside the related studies are required to be taken into account in order to answer the questions of this research.

14

CHAPTER III

METHODOLOGY

A. Areas of Research

Target-Language Oriented Translation Assessment

This study is based on the relation between the translation and the target language (Chesterman, 2002:8). It studies how the translation works in the target language. The idea is to find a justifiable reason to regard the translation as fair in one particular aspect. The one aspect of the text, which the writer refers to, is the metaphorical expressions. Although the focus relies upon the translation, this study does involve an examination of the source text. It is done as textual reference.

B. Object of the Study

The thesis is about the translation of the metaphorical expressions from the source text to the target text. Therefore, the focus is on the target text. The data which are collected, as the object of the study, are the sentences which contain metaphorical expressions in Supernova: The Knight, The Princess, and The Falling Star.

C. Method of the Study

The study used explicatory contrastive method in conducting the research. The Indonesian metaphorical expressions in Supernova: Ksatria, Putri, dan Bintang Jatuh were contrasted to their translation in Supernova: The Knight, The Princess, and The Falling Star. It was then categorized as a qualitative research and a library research. It was a qualitative research in which the data are descriptive in the analysis. It means the method generates result in words rather than numbers and aims to understand one or some aspect in depth (Brikci and Green, 2004:4). It was a library research in which the research was conducted by performing a careful and sustained text-based analysis on the object of research (Bricki, et al, 2004:9).

D. Research Procedure

1. Types of Data

The data were categorized as objective data since they were taken from a written text material. It was also due to the fact that the data were treated in a textual analysis to find out the translation strategies employed. This analysis most ideally suited to this type of data, which signified why the data belong to this category. The writer managed to collect thirty sentences which contain metaphorical expressions. In those thirty sentences, there are thirty one metaphorical expressions. It occurs since there is one sentence which contains two metaphorical expressions.

2. Data Collection

The data taken were sentences which contained metaphorical expressions in every chapter of the novel. In order to collect them, the understanding of metaphor is paramount. The writer collected sentences which explicitly display metaphorical expressions based on Keraf’s definition on metaphor (1981:139). It was done by examining each sentence in the original text, finding the ones which contain metaphorical expressions, and finding their translation in the target text.

3. Population and Sample

This study used using purposive sampling. The data taken were only the particular ones which were considered to be appropriate and suitable for this study. All the data were matched with the content and context of the study. The data population of this study was 30 data of sentences from the original text and the translation.

4. Data Analysis

To answer the first problem, the metaphorical sentences in the source text and target text were contrasted to find out what strategies were used in the translation process. To answer the second problem, the metaphorical sentences in the source text and target text were contrasted one more time to determine what metaphor translation strategies were used in the translation process and whether the type of each metaphor was changed into another type of metaphor.

In general, there were four steps taken. Each one of them was considered to be sensible and carried out within certain frameworks as follows:

The first step was organizing all of the data that it would be easier to be explained systematically. As mentioned before, the data are the sentences which contain metaphorical expressions. When they had been collected, (to make it easier to read) the metaphorical expression in each sentence was underlined. The second step was contrasting and analyzing the source text and the target text to find out the translation strategies. The third step was contrasting and analyzing the source text and the target text one more time to determine the metaphor translation procedures. The fourth step was determining whether there had been any changes of metahpor types occured in the translation process.

The first step was performed by relying upon Keraf’s standard of truth on metaphor. The second, third, and fourth step were performed by using Newmark’s framework for translation strategies, metaphor translation procedures, and types of metaphors. The first two steps were to answer the first research question while the last two steps were to answer the second research question.

18 CHAPTER IV

ANALYSIS RESULTS AND DISCUSSIONS

A. Translation Strategies

The strategies applied are divided into two: Imitative Translation and Functional Communication Translation.

1. Imitative Translation

Among 30 data, there are 27 data which employ this strategy. The strategies employed are Literal Translation, Faithful Translation, and Semantic Translation.

a. Literal Translation

There are 7 data which apply Literal Translation. The data are as follows: TT/1/33, TT/5/61, TT/6/89, TT/10/127, TT/16/160, TT/26/172, TT/28/177. In order to be more specific, there have been examples provided to see the translation. The following are the examples.

i.

NO TEXT

ST/6/110 [Cinta tidak membebaskan. Konsep itu memang utopis.] Cinta itu tirani.

The sentence is considered as literal translation since each word is translated by its denotative meaning, not contextual meaning, and the grammatical construction is adjusted to the closest target language structure. The phrase cinta itu is translated as “love” and the word tirani is translated as “a tyrant”. Based on Kamus Indonesia Inggris, it is undeniable that tirani could also be translated as “tyranny”, not “tyrant”, but either way they are still regarded as denotative meaning. It is because

“a tyrant” is a tyrant since the way s/he uses power and control is unfair, which is basically the definition of tyranny. Thus the idea of tyranny is already there to begin with. That is why both are regarded as denotative meaning.

Meanwhile, in terms of the grammatical construction, there is an addition of the word “is” and the article “a”. They are not regarded as expansion, but they are seen as an adjustment to the target language

grammar. The word “is” is needed to act as verb to be, which is basically a

requirement in forming this sentence. The particle “a” is needed to refer to a general type of thing, which has been the rule in the target language. This adjustment is the reason why this sentence is considered as applying literal translation and not word-for-word translation.

ii.

NO TEXT

ST/26/227 ["Rana...." Seperti disengat tawon, ia terlonjak dari tempat duduknya.] Tawon itu adalah suara Arwin. TT/26/177 ["Rana?" As if stung by a bee, Rana jumped out of

As could be explicitly seen, the sentence experiences the same thing as the previous example. It is translated by its denotative meaning within the construction of target language grammar. The phrase tawon itu is translated as “the bee”, the word adalah as “was”, and the phrase suara Arwin as “Arwin‟s voice”. It is translated by its denotative meaning within the construction of target language grammar.

b. Faithful Translation

There are 17 data which apply Faithful Translation. The data are as follows: TT/4/57, TT/12/89, TT/18/91, TT/29/127, TT/7/131, TT/13/154, TT/20/155, TT/31/157, TT/8/157, TT/14/160, TT/24/160, TT/9/163, TT/15/171, TT/25/171, TT/11/177, TT/17/185, TT/27/225. The following are the examples.

i.

NO TEXT

ST/14/206 Kami adalah jalinan satelit yang saling membelit. [Mengelilingi satu planet yang menarik kami

laksana magnet.]

TT/14/157 We are satellites on parallel orbits, circling around the same planet.

The sentence is considered as faithful translation since it is not translated only by its denotative meaning, but also its contextual meaning. Additionally, the translation is still within the constraint on the target

language grammar. The phrase Kami adalah jalinan satelit, which is the beginning of the sentence, is translated by its denotative meaning, “We are

satellites”. The word jalinan signifies the idea of plurality. It is because it

carries the idea of rangkai or “to arrange”, which is only possible on a group of things, instead of only one single thing. This idea is then translated by forming the plural form of “satellite”, thus “satellites”. The next phrase, yang saling membelit, which acts as a modifier, is translated

contextually as “(being) on parallel orbits”. That is why the first two

phrases are translated as “We are satellites on parallel orbits” rather than

“We are intertwined satellites” which could be perceived as translation by its denotative meaning.

However, the resulted translation seems to undergo a transposition (change of grammar) in which it is one sentence that comes from two different sentences. This marks another indication of translation based on context. The idea of the later sentence in the source text, Mengelilingi satu planet yang menarik kami laksana magnet, is put as a modifier in the translated text. What becomes the indication of contextual translation is the fact that that sentence is not translated literally. It only translates the

main idea, “circling around the same planet”, and ignores the supporting

idea, yang menarik kami laksana magnet. This is why this sentence is considered as applying faithful translation.

ii.

NO TEXT

ST/17/210 Dan, dirinya adalah debu yang paling ingin cepat dikibas.

TT/17/160 He, her husband, was no more than a speck of dust.

The translation shows that everything is basically still translated in its denotative meaning. However, there has been an explicit difference between the source text and the target text. It could be noticed that the phrase yang paling ingin cepat dikibas (to dust off instantly), which acts as a modifier, is not literally translated. It has been altered by using the

phrase “no more than”. This phrase contextually has the same idea of

saying yang paling ingin cepat dikibas. The idea is to indicate the quality of the subject as unimportant.

iii.

NO TEXT

ST/20/215 [Dan, Rana merasa jauh lebih baik dalam dekapan Re dibandingkan obat atau infus apa pun yang dicerapkan ke dalam tubuhnya.] "Kamu di sini saja,

jadi obatku," bisik Rana.

TT/20/163 Your being here is the best medicine I could have," she whispered.

In this example, the contextual translation is indicated by the fact that the translation experiences transposition (change of grammar) without any significant changes of meaning. The translation consists of only one sentence, however, the message of the text is taken from two sentences in the source text. This is where the transposition occurs. It is considered as

faithful translation since the meaning is contextually precise and the choice of words does not indicate any explicit differences.

c. Semantic Translation

There are 3 data which apply Semantic Translation. They are as follows: TT/3/33, TT/21/164, TT/22/165. The following are the examples.

i.

NO TEXT

ST/3/34 [Tidak ada yang tahu betapa sulitnya pertanyaan itu. Re dipaksa untuk menyusuri kelamnya gua masa kecil yang penuh lumpur. Mungkin inilah gorong-gorong saluran sekresi psikologis. Tidak heran Freud tergila-gila.] Tak ada yang lebih menarik

daripada menyaksikan seseorang menyelam ke septic tank kotorannya sendiri.

TT/3/33 She does not realize how difficult that question is. It forced him back into the small dark cave of his childhood, which was filled with mud and slime.

The muck that clogged his subconscious. No wonder Frued is so popular. Nothing is more interesting than watching a man drowning in the

swamp of his own being.

The sentence is considered as semantic translation since the translation is supporting the source text in terms of meaning (within the constrain on target language grammar) and also takes the choice words of the text into account. That means there has been more consideration to choosing certain words, which are not only based on their denotative and connotative meanings, but also based on how they work and function in

the target language. Explicitly, this sentence could be regarded as a translation that applies faithful translation.

However, the functional equivalents of the word menyelam and the phrase “septic tank” indicate that there is more than just a contextual translation. Firstly, the word menyelam carries a dennotative meaning of to dive. It is based on Longman Dictionary of Contemporary English (2011). It basically means “to swim under water”. Meanwhile, the word

“drowning” basically also means “to go under water”. However, it differs

in a way there is no sense of control in drowning. This different sense is realized in the translation as a form of interpretation. The sense of this particular word might be different, but the sense of the idea of the text is still the same. Menyelam ke septic tank (diving into a septic tank) is clearly a very unpleasant activity, thus it might not feel like diving, it might feel more like drowning anyway. To use drowning rather than diving is to use a more appropriate diction since drowning conveys a more negative sense than diving. This strengthens the impression which this sentence wants to convey, which is how uncomfortable this activity is.

Secondly, the phrase “septic tank” carries a dennotative meaning of

“an underground container for holding human waste”. Meanwhile, the

word “swamp” means “a land which is always very wet or covered with a

layer of water”. Those two might seem as two different things, but they are contextually the same. It is because it is stated that “the swamp is full of his own being”. It means that the idea is still the same. The place which is

being described is filthy, but the translated version does not exactly specify the place as “septic tank”. Nonetheless, they contain the same

thing. To use “swamp of his own being” rather than “septic tank” is to

consider how the word corresponds with the idea of drowning. Swamp in general must be bigger and deeper than a septic tank and it is more common to portray someone drowning in a swamp than in a septic tank. This whole explanation is based on how the words are defined and how they function based on Kamus Besar Bahasa Indonesia Edisi Keempat and Longman Dictionary of Contemporary English.

ii.

NO TEXT

ST/21/216 Ya, Putri, tentu saja aku bersedia jadi obatmu. Aku relakan diriku untuk kau telan, kau minum, kau

kunyah, atau kau emut.

TT/21/164 Yes, Princess, I'm ready to be your medicine. You can chew me, suck me, drink me and swallow me.

The reason why this translation is considered as applying semantic translation is because the translation process does not only attempt to translate it based on its denotative and contextual meaning, but also to consider the word arrangement. As could be seen, the phrases kau telan, kau minum, kau kunyah, and kau emut are translated to their denotative meanings. However, the order has been changed: instead of “swallow me,

drink me, chew me, and suck me”, they are put as “chew me, suck me,

drink me, swallow me”. It is clear that they are put in a more logical order

The first three ones might not be really significant, since a medicine could be consumed in any way, but to swallow is indeed supposed to be the final step. This change signifies the application of semantic translation.

2. Functional Communication

Among 30 data, there are 3 data which employ this strategy. The strategies employed are Free Translation and Communicative Translation.

a. Free Translation

There is 1 data which applies Free Translation. The data is as follows.

NO TEXT

ST/2/34 [Tidak ada yang tahu betapa sulitnya pertanyaan itu. Re dipaksa untuk menyusuri kelamnya gua masa kecil yang penuh lumpur.] Mungkin inilah gorong-gorong saluran sekresi psikologis. [Tidak heran Freud tergila-gila. Tak ada yang lebih menarik daripada menyaksikan seseorang

menyelam ke septic tank kotorannya sendiri.] TT/2/33 She does not realize how difficult that question is. It

forced him back into the small dark cave of his childhood, which was filled with mud and slime. The muck that clogged his subconscious. No wonder Frued is

so popular. Nothing is more interesting than watching a man drowning in the swamp of his own being.

The sentence is considered as free translation since it explicitly does not imitate the source text in terms of style, form, and content, yet still manages to communicate the message. In the source text, there is a description of a place where all the so-called “psychological waste” are

put. The word sekresi signifies the idea that those “psychological waste” are supposed to be rid of. It is because, according to Kamus Besar Bahasa Indonesia Edisi Keempat (2008) as the reference, sekresi is where all the waste belong. Since the context here is on someone‟s state of mind, it is reasonable to say that the waste refers to the waste in one‟s mind: his psychological state. In other words, or in a more realistic description, it talks about things in the past that someone wants to forget. This idea is then interpreted and translated as “the muck that clogged his

subconscious”.”The muck” refers to the “psychological waste” which is

the idea behind the word sekresi. Meanwhile, “clogged” here refers indirectly to gorong-gorong (tunnel/water channel), which is not uncommon to be blocked or clogged. This is in reference to Kamus Inggris Indonesia Edisi Yang Diperbarui. “Subconscious” refers to the word psikologis, as well as to the whole particular context that this description is

talking about something which occurs on someone‟s mind. This whole

explanation justifies why the message of the source text is still delivered although in different style, form, and content.

b. Communicative Translation

There are 2 data which apply Communicative Translation. One of the examples is as follows:

NO TEXT

ST/19/124 [Tanpa kamu, ide-ide di otakku seperti mulut tanpa lidah. Tidak ada artinya.] Kamu adalah pesawat yang menyeberangkan nuansa dalam kepalaku ke

format yang bisa dimengerti.

TT/19/162 You are the means by which the nuances in my mind find expression in a way other people can

understand.

The sentence is considered as communicative translation since it explicitly does not imitate the source text. It is also clearly not an adaptation and as it still preserves the content, it must be not a free translation. The translation rather focuses on a more reasonable content and language of the target text, which means it applies communicative translation strategy. It could be seen that the source text is translated in a clearer and shorter way. The contents which are recognized as necessary are kept: “you”, “nuances”, “mind”, and “understand”.

They are then expressed briefly by dismissing the parts which might be considered to be avoidable: mulut tanpa lidah, pesawat, menyeberangkan (nuansa), and format. Those words potentially do not articulate the meaning well if they are translated, say imitatively. Even if they could articulate the meaning well, they are still not a must. They are

only there as elevated words which function as complements. The main idea is still carried by the other content words mentioned before. That is why it is justifiable to classify this as communicative translation.

B. The Metaphors

Among 31, there are 27 translations which manage to maintain the metaphorical expressions and 4 data which do not. The data from source text are compared to the target text in order to see whether the data in the target text still preserve the metaphorical expressions or not. When the target text data still preserve metaphorical expression, each of them is analyzed to determine whether the type of metaphor they preserve is the same as in the source text. Besides, the metaphor translation procedure is also taken into account to see how exactly the metaphor is preserved or is not.

1. The Maintained Metaphor

The data are categorized as maintained metaphor when they satisfy the requirements of a metaphor in terms of form and/or meaning, which

are based on Newmark‟s theory on metaphor. There are 27 data which

maintain the metaphorical expressions. Those data could be categorized into three: Original Metaphor into Original Metaphor, Stock Metaphor into Stock Metaphor, and Original Metaphor into Dead Metaphor.

a. Original Metaphor into Original Metaphor

There are 17 data which preserve the original metaphor in the source text to the target text. They are as follows: TT/1/33, TT/2/33, TT/3/33, TT/5/61, TT/7/89, TT/8/91, TT/12/154, TT/14/157, TT/17/160, TT/19/162, TT/22/165, TT/24/171, TT/25/171, TT/26/172, TT/27/177, TT/28/177, TT/29/185.

The following are the examples.

i.

NO TEXT MTP

ST/5/72 Tidak ada yang ramah dan menyenangkan dari

mata-mata liar yang menjalari tubuh dan melahap kaki

jenjangnya.

It employs the 1st metaphor translation

procedure. TT/5/61 There was nothing friendly

about the cruel looks which crawled over her body and

devoured her long legs.

Firstly, it is an original metaphor since the comparison is based on what happens in the story. It is about a group of people staring to the body of a female model on stage. Secondly, the original metaphor is translated still as an original metaphor by reproducing the same objects and images of the source text in the target text. It could be seen that mata-mata liar, tubuh, and kaki jenjangnya as objects are translated as “cruel looks”,

Meanwhile, menjalari and melahap as images are translated as “crawled” and “devoured”. It means that the original metaphor is maintained by using the first metaphor translation procedure.

ii.

NO TEXT MTP

ST/12/201 [Bisanya cuma ngomong tinggi.] Saya dan masalah

saya cuma kamu anggap remah-remah kue, sementara

kamu sibuk melalap potongan kue yang lebih

besar.

It employs the 1st and 2nd metaphor translation

procedures. TT/12/154 [You talk big, but you don't

care about me and my problems.] I'm stuck with the

crumbs and you're feasting on some fantastic banquet.

Firstly, it is an original metaphor since the comparison is based on what happens in the story. It is about a person who believes that the person she talks to sees her as insignificant. Secondly, the original metaphor is translated still as an original metaphor by reproducing the same object and image, as well as replacing an image with another equal image in the target text. It could be seen that the objects, saya and masalah saya are still translated as the same objects although they experience transposition. The two images however are treated differently. The first image, remah-remah kue is turned into the same image, “crumbs”. The second image, potongan kue yang lebih besar is turned into a different yet functionally

equal image, “fantastic banquet”. It means that the original metaphor is maintained by using the first and second metaphor translation procedures.

iii.

NO TEXT MTP

ST/24/226 Kenangan adalah batu-batu di antara aliran

sungai.

It employs the 3rd metaphor translation

procedure. TT/24/171 Memories are like rocks at

the bottom of a river.

Firstly, it is an original metaphor since the comparison is based on what happens in the story. It is about how a person symbolizes memories personally. Secondly, the original metaphor is translated still as an original metaphor by changing the form into simile. The object and the image, however, are still the same. Kenangan is translated as “memories” while batu-batu di antara aliran sungai as “rocks at the bottom of a river”. It means that the original metaphor is maintained by using the third metaphor translation procedure.

iv.

NO TEXT MTP

ST/2/34 [Tidak ada yang tahu betapa sulitnya pertanyaan itu. Re

dipaksa untuk menyusuri kelamnya gua masa kecil

yang penuh lumpur.] Mungkin inilah

gorong-gorong saluran sekresi psikologis. [Tidak heran Freud tergila-gila. Tak ada yang lebih menarik daripada

menyaksikan seseorang menyelam ke septic tank

kotorannya sendiri.]

It employs the 5th metaphor translation procedure.

TT/2/33 [She does not realize how difficult that question is. It

forced him back into the small dark cave of his childhood, which was filled

with mud and slime.] The muck that clogged his subconscious. [No wonder Frued is so popular. Nothing

is more interesting than watching a man drowning in the swamp of his own being.]

Firstly, it is an original metaphor since the comparison is based on what happens in the story. It is about a description of a psychological state of a character. Secondly, the original metaphor is translated still as an original metaphor by changing the object and the image into another metaphorical expression resulted from the sense of the original object and image. It means that the original metaphor is maintained by applying the fifth metaphor translation procedure.

b. Stock Metaphor into Stock Metaphor

There are 9 data which preserve the stock metaphor in the source text to the target text. They are as follows: TT/4/57, TT/6/89, TT/9/127, TT/13/155, TT/15/157, TT/18/160, TT/20/163, TT/21/164, TT/31/225. The following are the examples.

i.

NO TEXT MTP

ST/18/211 Ya, ia tak lebih dari sebuah bola pingpong. [Dilempar dari satu sisi pertimbangan

ke sisi lainnya, tanpa bisa memutuskan apa-apa.]

It employs the 1st metaphor translation

procedure. TT/18/160 A ping-pong ball. That was

all he was.

Firstly, it is considered as a stock metaphor since the comparison is easily understood even without the context. It has been a common knowledge that the nature of a ping-pong ball is to be hit backwards and forwards continuously and obviously the movement of the ball depends on the players, not the ball. When a person is perceived to have the quality of a ping-pong ball, it means that he has no control over the “movement” of his life. Secondly, the stock metaphor is still translated as the same stock metaphor. Both the object and the image are the same as in the source text. It means that the stock metaphor is translated by applying the first metaphor translation procedure.

ii.

NO TEXT MTP

ST/31/301 [Giliran Diva yang tersenyum. "Kamu sangat istimewa, aku harap kamu tahu itu." "Jangan harap

aku bakal balas mengatakan kamu

istimewa.] Kamu matahariku, Diva."

It employs the 1st metaphor translation

procedure. TT/31/225 [It was Diva's turn to

smile. "You're very special. I hope you know that." "Don't expect me to tell you that you're special too.] You're ... You're the sun that shines in my life,

Diva."

Firstly, it is a stock metaphor since the comparison is considered to be established. Meaning to say, it has been used many times by many people. In the sentence, a person is being compared to sun. Sun has always been a symbol of the source of life. Comparing a person to sun is saying that the person has a role as the source of life to anyone who is saying that. Secondly, the stock metaphor is translated still as the same stock metaphor. The object and the image are exactly the same. It means that the stock metaphor is maintained by using the first metaphor translation procedure.

c. Stock Metaphor into Dead Metaphor

There is 1 data which turns the stock metaphor in the source text into dead metaphor in the target text.

NO TEXT MTP

ST/16/210 Rana telah menjangkarkan hatinya untuk pria itu.

It employs the 1st metaphor translation

procedure. TT/16/160 Rana had set her heart on

that man.

Firstly, it is a stock metaphor since the comparison is considered to be established. Menjangkarkan hati means that hati (heart) has the same quality as an anchor. It is used to ensure a thing is staying in one place. In this case, a person is staying for another person. This comparison has been used many times and could be understood even without the context of the story. That is why it is a stock methapor. However, the translation is considered as a dead methapor. It is still a methapor as heart is not something that could be set, using the dennotative meaning of the word

“set”. It means that heart has been compared to something else which

could be set. This shows why it is by nature still a methapor. However, the

kind of phrase “had set her heart” has been overused in daily life that it is

regarded more as colloqualism. That is why this is said to be a dead methapor. Secondly, the stock metaphor is translated into a dead methapor by keeping the same object and image. It means that the metaphor is maintained by using the first metaphor translation procedure.

2. The Non-Maintained Metaphor

The data ara categorized as non-maintained metaphor when they do not satisfy the requirements of a metaphor in terms of form and/or meaning, which are based on Newmark‟s theory on metaphor. There are 4 data which are not classified as metaphor anymore. The four of them are as follows.

a.

NO TEXT MTP

ST/9/163 Tak peduli ke mana pun matanya berlabuh, [yang ia

lihat hanya cinta.]

It employs the 5th metaphor translation

procedure. TT/9/127 No matter where his eyes

turned, [he saw only love.]

To clarify first, it is only the first phrase that is no longer classified as metaphor. The second phrase is a metaphor. The phrase tak peduli ke mana pun matanya berlabuh clearly contains metaphorical meaning. It compares mata (eyes) to a ship which has lowered down its anchor. However, the translation of this phrase is no longer showing the characteristics of metaphor. It does not present anymore comparison. The meaning is revealed explicitly. Having said that, this phrase actually undergoes a metaphor translation process. It is indicated by the fact that the sense of this phrase in the source text is still delivered in the target text. It is only the final form of the sentence that does not meet the criteria of metaphor. In conclusion, the metaphor is not maintained since the translation undergoes a paraphrase process.

b.

NO TEXT MTP

ST/11/169 Semua perjalanan hidup adalah sinema.[Bahkan lebih mengerikan, Putri. Darah adalah darah, tangis

adalah tangis. Tak ada pemeran pengganti yang akan menanggung sakitmu.]

It employs the 1st metaphor translation

procedure. TT/10/131 Life's whole journey is

worse than any film, Princess. [The blood is real.

So are the tears. You can't use a double to escape the

pain.]

The sentence is no longer classified as metaphor since the translation does not show anymore comparison. In the source text, perjalanan hidup is being compared to sinema. Meanwhile, the translated version of the text is explaining the sentence even by involving the description in the later sentence of the original text. It is however true that

the object and the image are actually preserved (life‟s whole journey and

film). That is why it is still fair to say that this sentence does undergo the first metaphor translation procedure since the same object and image are reproduced. However the final result of this process shows that they are no longer presented as metaphor. In conclusion, the metaphor is not maintained since the translation undergoes a paraphrase process.

c.

NO TEXT MTP

ST/23/223 Mungkin itu adalah kali pertama Anda mencicipi

kewarasan.

It employs the 5th metaphor translation

procedure. TT/23/169 It may be the first sane

thing you've ever done.

The sentence is no longer classified as metaphor since the translation does not show anymore comparison. In the source text, the metaphor is indicated by the phrase mencicipi kewarasan (to taste sanity). Sanity here is considered as something which could be tasted-or to be more specific, as food-while it is actually an abtract noun. “To taste” is a verb, which based on its dennotative meaning, works on food-which is clearly not only not an abstraction, but is also a specific object. This however is not realized in the translation.

This idea is expressed in a different way which is more explicit and contains no more figure of speech. However, the translation shows that there is still a point of similarity between the source text and the target text. This indicates that the sense between the two of the them is still the same. The image is turned into its sense, as a process of metaphor translation, but it does not result in form of metaphor. In conclusion, the metaphor is not maintained since the translation undergoes a paraphrase process.

d.

NO TEXT MTP

ST/30/259 Bohlam di kepala mereka telah digantikan secercah

matahari yang terbit perlahan, dan pasti.

It employs the 6th metaphor translation

procedure.

TT/30/- X

Needless to say, the source text is not translated thus the metaphorical expression is not preserved. It has been deleted as suggested by the sixth metaphor translation procedure. According to Newmark, deletion is performed when the idea of the metaphor is fulfilled elsewhere in the text (1981:91), which is exactly what happens in this example. The whole chapter of where this sentence is taken from, which is chapter 26, consists of a conversation of two characters (the ones being referred as mereka or „they‟) who found an enlightenment. They just understand something clearly (which could only be understood if the readers have read the whole chapter, as well as all the other previous chapters). It means that, even without translating this one sentence, the idea contained has been reflected in the whole chapter.

41 CHAPTER V

CONCLUSION

The research manages to answer the two research problems. First, answering what translation strategies are used, the writer determines that the majority of the metaphors are translated by applying Imitative Translation. This majority refers to 7 Literal Translations, 17 Faithful Translations, and 3 Semantic Translations. It means out of 30 translated metaphorical expressions, there are 27 of them which employ Imitative Translation. Meanwhile, the 3 other remaining metaphorical expressions are translated by applying Functional Communication Translation. One is translated by employing Free Translation and 2 is by employing Communicative Translation. It signifies that in translating metaphor, both the content and the form do matter and are significant.

Second, answering how the strategies are (or are not) able to maintain the metaphors, the writer determines that the majority of the metaphors are maintained in the target text. The majority refers to 17 original metaphors turned into another original metaphors, 9 stock metaphors turned into another stock metaphors, and 1 stock metaphor turned into a dead metaphor. It means out of 31 metaphorical expressions, 27 of them are mantained. Meanwhile, the 4 other remaining metaphorical expressions are no longer classified as metaphor. There are 2 original metaphors and 1 stock metaphor turned into non-metaphorical expression and there is 1 original metaphor which has been omitted.

They, exclude the omitted metaphor, have been paraphrased which make them lose their comparison features, which is the criteria of being classified as metaphor.

To see the relevance between the first and the second problem, the connection between them is established by looking at the metaphor translation procedures. Out of 27 metaphorical expressions which are using Imitative Translation, there are 20 of them which apply the first metaphor translation procedure. One of them applies the first and second procedure at the same time. This is to explain why there will be 28 procedures in total. Four expressions are using the second procedure, 3 expressions are using the third procedure, and 1 expression is using the fifth procedure. Meanwhile, out of 3 Functional Communicative Translation, the three of them are applying the fifth procedure.

This result shows that it is a priority to reproduce the same object and image in the target text, but, in times when it is not done, the least that will do is to maintain the sense. This is especially highlighted in the 3 Functional Communicative Translation in which all of them apply the fifth procedure: to change the image into sense. In conclusion, the key in translating metaphor, both by using general translation strategies and specific metaphor translation procedures, is the sense of the metaphor.

43

BIBLIOGRAPHY

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45 APPENDIX

Table 5. Results of the Research

NO ST NO TT TS TSM TM

ST/1/34

[Tidak ada yang tahu betapa sulitnya pertanyaan itu.] Re dipaksa untuk menyusuri kelamnya gua masa kecil

yang penuh lumpur. [Mungkin inilah

gorong-gorong saluran sekresi psikologis. Tidak heran

Freud tergila-gila. Tak ada yang lebih menarik

daripada menyaksikan seseorang menyelam ke

septic tank kotorannya sendiri.]

TT/1/33

She does not realize how difficult that question is. It

forced him back into the small dark cave of his childhood, which was filled

with mud and slime. The muck that clogged his subconscious. No wonder

Frued is so popular. Nothing is more interesting

than watching a man drowning in the swamp of

his own being.

Literal

Translation 1

Original Methapor

--> Original Methapor

46 ST/2/34

[Tidak ada yang tahu betapa sulitnya pertanyaan itu. Re dipaksa untuk menyusuri kelamnya gua masa kecil

yang penuh lumpur.] Mungkin inilah

gorong-gorong saluran sekresi psikologis. [Tidak heran

Freud tergila-gila. Tak ada yang lebih menarik

daripada menyaksikan seseorang menyelam ke

septic tank kotorannya sendiri.]

TT/2/33

She does not realize how difficult that question is. It

forced him back into the small dark cave of his childhood, which was filled

with mud and slime. The muck that clogged his subconscious. No wonder

Frued is so popular. Nothing is more interesting

than watching a man drowning in the swamp of

his own being.

Free Translation 5

Original Methapor

--> Original Methapor

47 ST/3/34

[Tidak ada yang tahu betapa sulitnya pertanyaan itu. Re dipaksa untuk menyusuri kelamnya gua masa kecil

yang penuh lumpur. Mungkin inilah

gorong-gorong saluran sekresi psikologis. Tidak heran Freud tergila-gila.] Tak ada yang lebih menarik daripada menyaksikan seseorang menyelam ke

septic tank kotorannya sendiri. -p.34

TT/3/33

She does not realize how difficult that question is. It

forced him back into the small dark cave of his childhood, which was filled

with mud and slime. The muck that clogged his subconscious. No wonder

Frued is so popular. Nothing is more interesting

than watching a man drowning in the swamp of

his own being.

Semantic

Translation 2

Original Methapor

--> Original Methapor

ST/10/163

Tak peduli ke mana pun matanya berlabuh, yang

ia lihat hanya cinta.

TT/10/127 No matter where his eyes turned, he saw only love.

Literal

Translation 1

ST/11/169

Semua perjalanan hidup adalah sinema.[Bahkan lebih mengerikan, Putri.

Darah adalah darah, tangis adalah tangis. Tak

ada pemeran pengganti yang akan menanggung

sakitmu.]

TT/11/131

Life's whole journey is worse than any film, Princess. [The blood is real.

So are the tears. You can't use a double to escape the

pain.]

Faithful

Translation 1

Original Methapor

--> (Not a Methapor)

ST/12/201

[Bisanya cuma ngomong tinggi.] Saya dan masalah

saya cuma kamu anggap remah-remah kue, sementara kamu sibuk melalap potongan kue

yang lebih besar.

TT/12/154

[You talk big, but you don't care about me and my problems.] I'm stuck with

the crumbs and you're feasting on some fantastic

banquet.

Faithful

Translation 1 & 2

Original Methapor

--> Original Methapor

ST/13/203

"Kalau ada apa-apa dengan jantung ini, aku rela bernapas untukmu.”

TT/13/155

If anything happens to you, let me the breath in your

body.

Faithful

Translation 1

Stock

Methapor --> Stock Methapor

ST/14/206

Kami adalah jalinan satelit yang saling membelit. [Mengelilingi satu planet yang menarik

kami laksana magnet.]

TT/14/157

We are satellites on parallel orbits, circling around the

same planet.

Faithful

Translation 1

Original Methapor

--> Original Methapor

ST/15/207

Ale. Berusaha sekuat tenaga untuk menyuntikkan logika ke dalam pikiran sahabatnya.

TT/15/157

It was Rafael, who proceeded to try to inject

some sense into him.

Faithful

Translation 1

Stock

Methapor --> Stock Methapor

ST/16/210

Rana telah menjangkarkan hatinya

untuk pria itu.

TT/16/160 Rana had set her heart on that man.

Literal

Translation 2

Stock

Methapor --> Dead Methapor

ST/17/210

Dan, dirinya adalah debu yang paling ingin cepat

dikibas. TT/17/160 He, her husband, was no more than a speck of dust.

Faithful

Translation 1

Original Methapor

--> Original Methapor

ST/18/211

Ya, ia tak lebih dari sebuah bola pingpong. [Dilempar dari satu sisi

pertimbangan ke sisi lainnya, tanpa bisa memutuskan apa-apa.]

TT/18/160 A ping-pong ball. That was all he was.

Faithful

Translation 1

Stock

Methapor --> Stock Methapor

ST/19/124

[Tanpa kamu, ide-ide di otakku seperti mulut tanpa lidah. Tidak ada artinya.] Kamu adalah

pesawat yang menyeberangkan nuansa dalam kepalaku ke format

yang bisa dimengerti.

TT/19/162

You are the means by which the nuances in my mind find expression in a way other

people can understand.

Communicative

Translation 5

Original Methapor

--> Original Methapor

ST/20/215

[Dan, Rana merasa jauh lebih baik dalam dekapan

Re dibandingkan obat atau infus apa pun yang

dicerapkan de dalam tubuhnya.] "Kamu di sini

saja, jadi obatku," bisik Rana.

TT/20/163

Your being here is the best medicine I could have," she

whispered.

Faithful

Translation 1

Stock

Methapor --> Stock Methapor

ST/21/216

Ya, Putri, tentu saja aku bersedia jadi obatmu. Aku relakan diriku untuk

kau telan, kau minum, kau kunyah, atau kau

emut.

TT/21/164

Yes, Princess, I'm ready to be your medicine. You can chew me, suck me, drink

me and swallow me.

Semantic

Translation 1

Stock

Methapor --> Stock Methapor

ST/22/217

["Apa yang kamu inginkan?" tanya, Rana, menatapnya lurus-lurus.

Bagi Re, itulah pertanyaan tersulitnya tahun ini.] Aku ingin kau

yang memutuskan dan bukannya malah memberikan bola panas

kepadaku dengan bertanya seperti itu.

TT/22/165

[What do you want?" she asked, staring straight at

him. It was the hardest question Ferre had been asked all year.] I want you to decide for yourself, and stop passing the question back to me all the time, as if

it were too hot to hold.

Semantic

Translation 3

Original Methapor

--> Original Methapor

ST/23/223

Mungkin itu adalah kali pertama Anda mencicipi

kewarasan.

TT/23/169 It may be the first sane thing you've ever done.

Communicative

Translation 5

Original Methapor

--> (Not a Methapor)

ST/24/226

Kenangan adalah batu-batu di antara aliran

sungai.

TT/24/171 Memories are like rocks at the bottom of a river.

Faithful

Translation 3

Original Methapor

--> Original Methapor

ST/25/226

[Kenangan adalah batu-batu di antara aliran sungai.] Anda seharusnya menjadi arus, bukan batu.

TT/25/171

You should flow the way the river flows. Be the river,

not the rock.

Faithful

Translation 2

Original Methapor

--> Original Methapor

ST/26/227

["Rana...." Seperti disengat tawon, ia terlonjak dari tempak duduknya.] Tawon itu

adalah suara Arwin.

TT/26/172

["Rana?" As if stung by a bee, Rana jumped out of her chair.] The bee was Arwin's

voice.

Literal

Translation 1

Original Methapor

--> Original Methapor

ST/27/234

Di satu titik, perasaan indah itu telah mengkristal, dan aku akan

menyimpannya.

TT/27/177

The love we shared has turned into a beautiful diamond and I will keep it

forever.

Faithful

Translation 1

Original Methapor

--> Original Methapor Dan, Ferre adalah piring

kosong yang tak mampu Ferre was a bare plate that Literal

Original Methapor

ST/29/246

[Ia sadar kini.] Dirinya telah kembali menjadi robot yang tak berhasrat karena satu-satunya chip

yang masih menjadikannya

berguna-chip candu kerja, hasratnya yang terakhir-juga ikut terampas. [Tak ada lagi si Gila Kerja.] Ia

robot cacat.

TT/29/185

He realized that he had become again: a lifeless robot, without the one chip that gave him any purpose. His obsession with work, the one thing that kept him alive, had been taken from him. [He was no longer a

workaholic.] He was a broken-down robot.

Faithful

Translation 1

Original Methapor

--> Original Methapor

ST/30/259

Bohlam di kepala mereka telah digantikan secercah

matahari yang terbit perlahan, dan pasti.

TT/30/- X X X X

ST/31/301

[Giliran Diva yang tersenyum. "Kamu sangat istimewa, aku harap kamu tahu itu." "Jangan harap

aku bakal balas mengatakan kamu

istimewa.] Kamu matahariku, Diva."

TT/31/225

[It was Diva's turn to smile. "You're very special. I hope

you know that." "Don't expect me to tell you that your're special too.] You're ... You're the sun that shines

in my life, Diva."

Faithful

Translation 1

Stock

Methapor --> Stock Methapor