OBLIQUE TRANSLATION OF LABEL COLLECTIONS AT MUSEUM NASIONAL INDONESIA (NATIONAL MUSEUM OF INDONESIA)
A Thesis
Submitted to Letters and Humanities Faculty in Partial Fulfillment of The Requirements for
The Degree of Strata One
TIA ASKAYULI NIM. 1110026000043
ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY
STATE ISLAMIC UNIVERSITY OF SYARIF HIDAYATULLAH JAKARTA
i
ABSTRACT
Tia Askayuli, Oblique Translation of Label Collections at Museum Nasional Indonesia (National Museum of Indonesia). Thesis: English Letters Department, Letters and Humanities Faculty, State Islamic University of Syarif Hidayatullah Jakarta, September 2014.
The purpose of this research is to analyze the oblique translation of label collections at National Museum of Indonesia which in this case they are applied in two languages, Indonesian and English. In other words, the objectives of the research are: (1) to know the types of oblique translation on the selected labels, (2) to analyze the types of oblique translation that are applied in translating the text on the selected labels.
The writer uses qualitative descriptive method. She tries to answer the research question by describing the problem in this research. The writer reads the data one by one, writes down the sentences that contain the types of oblique translations and analyzes them by using the Vinay and Darbelnet’s theory.
The result of this research shows that from four types of oblique translation procedures, which are transposition, modulation, equivalence and adaptation, there are only three procedures which can be found on the translation of the selected labels, they are transposition, modulation and adaptation. The translators applied the types of oblique translation on the selected labels by choosing the words which have the similar meaning in order to adjust the meaning of words and sentences between SL text and TL text.
iv
DECLARATION
I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of the university or other institute of higher learning, except where due acknowledgement has been made in the text.
Jakarta, October 2014
v
ACKNOWLEDGEMENT
Bismillahirrahmanirrahim
In the name of Allah, the most Beneficent and the most Merciful.
All praises be to Allah SWT, the Lord of universe, who had blessed the writer
in finishing this research. May peace and salutation be upon the honorable prophet
Muhammad SAW and all of his family, companions and adherents.
The writer’s deep gratitude goes to her beloved parents, Abraham Zein and
Hj. Irianti Iskandar, for all their great love, patience, support and prayer. Thanks for
being the strength and the best supporter of her life. The writer also wants to give her
gratitude to Mrs. Danti Pudjiati, S.Pd, MM, M.Hum and Mr. M. Agus Suriadi,
M.Hum, as her advisors for their time, help, patience and motivation from the first to
the final level of this research.
The gratitude is also dedicated to Prof. Dr. Oman Fathurahman, M.Hum, the
Dean of Letters and Humanities Faculty; Mr. Dr. H. Muhammad Farkhan, M.Pd, the
Assistant of Dean of Letters and Humanities Faculty; Mr. Drs. Saefuddin, M.Pd, the
Head of English Letters Department; Mrs. Elve Oktafiyani, M.Hum, the Secretary of
English Letters Department; and all the lecturers of English Letters Department who
vi
In addition, the writer would like to give appreciation to the following friends
and people, namely:
1. All the staff and the securities of Museum Nasional Indonesia (National Museum of Indonesia), especially for Mr. Oting Rudy Hidayat as the
public relation manager of the museum, for helping the writer gathered the
data of this research.
2. RISBA (Remaja Islam Mesjid Baitul Akbar) Arinda 2, especially for
Shabrina Septiandini, Lovina Ameldian, Amalia Adani, Aldi Ramayana,
Sebastian Adinegoro, M. Angga Saputra, Reynard Rhesa and Dimas
Hendra P. Thanks for making her know how it feels to have a second
family.
3. Fahmi Fahrurroji. You are the ‘happy’ in my happiness.
4. HAHA Family: Fithria Luthfiyani, Rana Meisara, Yuliana Kuslambang
Ningrum, Debi Novia Ningrum, Bagus Putra Ramadhansya and Sazali
Muhammad. Thanks for always bring the bliss and laugh during these four
years.
5. Youth Influential Fellowship (YELLOW): M. Adi Rahman, M. Reza
Hermanto, Shakuntala Febrina, Ridho Alfin Harfian, Melina Hadera,
Christie Adi Oktaviana, Pranisa Syifa Delima, Andriesta Saputri, Leiza
Thanks for the joy of friendship which is still lasting from KKN 2013
until now.
6. Annona Livia Questa, Sara Aisah, Nurul Nurshadrina (Avhoo), Catur
Pangestu and Pandu Hidayat. Thanks for these six years and thanks for
always there whenever the writer needs to take a break of the ‘hard’ time
of this thesis. I hope we can always be like this forever.
7. With all due respect, especially to all friends and people who cannot be
mentioned one by one.
May Allah always bless and protect them wherever they are, Aamiin.
Hopefully, this research will be useful for the people who read it.
Jakarta, September 2014
viii
[image:9.612.106.540.108.544.2]LIST OF TABLE
ix 3 4 4 4 5 5 5 5 iv 1 viii v 6 iii ii i 4 1 3 6 ix ABSTRACT ……….…….... APPROVAL SHEET ………..……… LEGALIZATION ………..…….…… DECLARATION ……….….…….. ACKNOWLEDGEMENT ……….……...…. THE LIST OF TABLE ……… TABLE OF CONTENTS ………..
CHAPTER I INTRODUCTION ………
A. Background of Research .……….………
B. Focus of Research ………
C. Research Questions ………..…
D. Significance of Research ………..
E. Objective of Research ………..
F. Research Methodology ………....
1. The Method of Research ………....
2. Research Instrument ………...
3. Technique of Data Analysis ………...
4. Unit Analysis ………..
5. Time and place of the Research ……….
CHAPTER II THE THEORITICAL DESCRIPTION ………
x 9 12 13 16 19 19 25 29 25 47 46 46 48 51 12 20 21 22 23 12 B. Label Collections in Museum ..………..
C. Translation ………..
1. Brief History of Translation ………...
2. Definition of Translation ………...………...
3. Process of Translation ……….…...
4. Method and Procedure of Translation …...
5. Oblique Translation ………..
a. Transposition ………..
b. Modulation ………...
c. Equivalence ………....
d. Adaptation ………...
CHAPTER III DATA ANALYSIS ………
A. The Data Description …..………...
B. The Data Analysis ………..………
CHAPTER IV CONCLUSIONS AND SUGGESTIONS ..…………..
A. Conclusions ...……….
B. Suggestions ..……….…..
1
CHAPTER I
INTRODUCTION
A. Background of Research
Translation is a process of changing a text from source language (SL) into
target language (TL). When translating a text, it means the translator not only
translating both of the languages, but also transferring the cultures and
messages in the SL text in order to produce a good translation for the readers.
Nida and Taber similarly maintain that translation is delivering the content of
messages of SL text without changing its meaning and language style to TL
text.1
In translation, there are some certain methods which can be used by the
translator to translate a text. Different from Peter Newmark who mentioned that
a translation text can be translated in three ways; they are methods, techniques
and procedures, Vinay and Darbelnet divided the translation methods into two
types covering the seven translation procedures, direct translation and indirect
translation. Each method consists of three and four procedures. Furthermore,
they named the indirect translation as the oblique translation.
1
Eugene A. Nida and Charles R. Taber, The Theory and Practice of Translation, (Leiden: E.J.
2
Direct translation has the same meaning with the word for word
translation and oblique translation is a method which allows the translator using
the other procedures whenever the direct translation is impossible to use.2 In some cases, there are texts which cannot be translated literally because it will
produce different meaning in TL and it causes the translator to find the
equivalent meaning of both languages. Therefore, the oblique translation is
needed.
Translation can be applied in many kinds of texts and one of the examples
is translation on label collections in museum. Label means a text which is put
near an object or group of objects in a museum and its function is to explain or
describe about the ancient object itself. Basically, in Indonesia, it only uses
Indonesian, but the labels nowadays are made in dual language,
Indonesian-English, due to the number of tourists who come to Indonesia and often visit
museums.
The oblique translation is used as the translation method to render the
labels in Indonesian into English descriptions because sometimes the
description cannot be translated directly due to the selected words or sentences
in SL text have no equivalent meaning in TL text. In this case, the translator
needs to change the structure of the TL text and find the equivalence of both
2
texts. So, the same interpretation can be transferred appropriately by the
translator of the text.
In this research, the writer tries to analyze the types of oblique translation
and how those types are applied in Indonesian-English translation which is used
by the translators or the museum practitioners to translate the label collections at
Museum Nasional Indonesia (National Museum of Indonesia). Consequently, a research using the translation theory is needed to analyze the process.
B. Focus of Research
The focus of this research is limited to the types of oblique translation which are
applied in the sentences of the selected labels at National Museum of Indonesia
and how the translator applied those types in translating the label texts.
C. Research Questions
Based on the limitation of the study above, the writer formulates the problem in
the following research question:
1. What types of oblique translation are found on the selected labels at
National Museum of Indonesia?
2. How are the oblique translations applied in translating text on the selected
4
D. Significance of the Research
The writer hopes this research will advance the knowledge and ability of the
readers in the field of translation, especially in oblique translation and its
varieties when translating a text.
E. Objective of the Research
The objectives of the research are:
1. To know the types of oblique translation on the selected labels at National
Museum of Indonesia.
2. To analyze the types of oblique translation applied in translating the text
on the selected labels at National Museum of Indonesia.
F. Research Methodology
1. The Method of Research
The writer analyzes the data using the qualitative method with descriptive
analysis. She would like to analyze the oblique translation and its varieties
2. Research Instrument
To conduct this study, the writer uses some books and the other references
as its basic foundation. Besides, she uses herself as its main instrument.
3. Technique of Data Analysis
In this research, the writer reads the data one by one, writes down the
sentences that contain the types of oblique translations and analyzes them
by using the Vinay and Darbelnet’s theory. Therefore, the writer uses
descriptive analysis technique.
4. Unit analysis
To analyze the oblique translation and its varieties, the writer uses some of
the labels at National Museum of Indonesia which are translated by the
people from IHS (Indonesian Heritage Society), some curators,
professional translators and volunteers. The data were gathered from
March to May 2014.
5. Time and place of the Research
The writer does the research from March to May, 2014, at English Letters
Department, Adab and Humanities Faculty, Ciputat, South Tangerang,
6
CHAPTER II
THEORETICAL DESCRIPTION
A. Previous Research
This is not the only one research that discusses about the oblique
translation because the writer found that there are some previous researches
which discuss about the same topic. They are; Lili Ni (2009),
Hosseini-Maasoum, Seyed Mohammad and Hoda Davtalab (2012), Mah Nazir Riaz,
Tahir Khalily and Umm-e-Kalsoom (2013), Rina Purwati (2010) and Rindianti
Irawan (2010).
The first study is entitled For “Translation and Theories” by Lili Ni (2009). The focus is comparative literature and contrastive analysis that
involved the transfer of messages of two different cultures and languages,
English and Chinese, which are in the texts of many publishing forms. She used
two theories from Vinay and Darbelnet (2004) also Jeremy Munday (2001), but
she focused the types of translation procedures based on Vinay and Darbelnet’s
theory. In this study, she found some problems. First, there are many ways to
divide the units into small or longer segments of thought and in this occasion
the units between the TT and the ST fail to be equivalent. Second, the procedure
for identifying units, which are based on the taxonomy of linguistic approaches.
Third, the shifts are on the micro-level of translation, there is an uncertainty
concerns how to deal with the register of the text.3
The second study is entitled Contrastive Analysis of Different Types of Shifts in Persian Translation of The Secret by Dr. Seyed Mohammad Hosseini-Maasoum and Hoda Davtalab (2012). The focus is about a literary text which
the title is The Secret by Rhonda Byrne and its several Persian translations. The
theory which is used is from Vinay and Darbelnet and different translation shift
to deliver the proper message. In this study, they found that the translators in
The Secret used different kinds of shifts for every sentence in their translation.
One translator may use transposition for a sentence, another translator may use
modulation for the same sentence. The translators can also decide to use and not
to use shift for the translation.4
The third study is entitled Translation, Adaptation, and Cross Language Validation of Short Schema Mode Inventory (SMI) by Mah Nazir Riaz, Tahir Khalily and Umm-e-Kalsoom (2013). The focus is to translate and adapt
English version of SMI into Urdu language and to assess its reliability for
people in Khyber Pukhtoon Khwa. They used the theory of oblique translation
3
Lili Ni, “For “Translation and Theories””, English Language Teaching, Vol. 2 No.2 (2009), pp.78-83. Accessed on March 11th 2014. http://www.ccsenet.org/journal.html
4
8
from Mason (1994). In this study, they found that SMI Urdu version is a valid
instrument which suits for the assessment of schema modes. It can be used in
clinical and academic settings. The SMI (Urdu) can aid in the understanding of
a wide a range of psychiatric disorders and can form the basis for Schema
Focused Therapy (SFT), a therapy showing promise for a number of clinical
conditions, especially Borderline Personality Disorder.5
The fourth study is entitled An Analysis of Literal Translation and Oblique Translation in Some Fable Books by Rina Purwati (2010). The focus of this study is on analyzing the translation procedures found in three fable books
(Little Humpty, Lucy Goosey, and Kiss Kiss). She used the translation
procedure of Vinay and Darbelnet. In this study, she found that modulation is
the dominant procedure in the books, but borrowing and calque do not exist.
The theory that are used to analysis data are also easy to apply because each
procedure is easy to understand and the most relevant to be used in order to
analyze translation procedures.6
The fifth study is entitled An Oblique Translation Analysis of Mandala Magazine by Rindianti Irawan (2010). The focus is on analyzing the oblique translation. She only used one kind of translation procedure from Vinay and
5
Mah Nazir Riaz, Tahir Khalily and Umm-e-Kalsoom, “Translation, Adaptation, and Cross Language Validation of Short Schema Mode Inventory (SMI)”, Pakistan Journal of Psychological Research, Vol.28 No.1 (2013), pp.51-64. Accessed on August 27th 2014. http://e-resources.pnri.go.id:2056/docview/1458278446/473391E6A47C4542PQ/23?accountid=25704
6
Darbelnet’s theory, it is oblique translation. In this study, she found all types of
oblique translation and the most dominant is modulation.7
Therefore, the writer is interested in the study about the oblique translation
and the writer focuses on the types of oblique translation of label collections in
museum. Comparing to the five researches above, there are no previous
research which discuss about label collections in museum and the writer’s
research is more detail because it has further explanation in the transposition
and modulation point.
B. Label Collections in Museum
Archaeology is a study about ancient objects. It consists of two branches
of study, pre-historic archaeology and historical archaeology. Pre-historic
archaeology concerns only on the invention of historic things because the
societies did not recognize written language at that time. Historical archaeology
is a study about the period of recorded history because archaeologists found
many material remains of human past.8 Archaeologists are a group of people that recover things and culture in the past.
7
Rindianti Irawan, An Oblique Translation Analysis of Mandala Magazine. (Medan: Universitas Sumatera Utara, 2010), p.29
8
10
Archaeologists distinguish the archaeological remains into three main of
categories. They are artifacts, ecofacts and features. Artifacts are objects which
made and formed by people in the past hundred years, like stones, metals,
ceramics and pottery. Ecofacts are objects that come from nature, like the
skeletons of animal and plants which are remained from ritual.9 Features are similar with artifacts because it also made by the people, like buildings, houses,
temples and the other small objects.10
Some of the ancient objects from the excavation are put in museum.
Burcaw defines in his book, “a museum dealing with several or all fields instead
of just art, just history, just geology, etc.”11 Besides the result of excavation, the objects in a museum are also gifts and contributions from some people and
some curators. Before publishing the objects, the museum practitioners need to
record the information on a text which is called a ‘label’.
Label is a text which is put near an object in a museum and its function is
to explain or describe about the ancient object information itself. There are two
types of label; they are group label and individual label. Group label is a text
which explains about the same types of objects or a number of objects that are
9
Wendy Ashmore and Robert J. Sharer, Discovering Our Past. A Brief Introduction to Archaeology, (New York: The McGraw-Hill Companies, Inc., 2006), 4th ed, p.140
10
Pam J. Crabtree and Douglas V. Campana, Exploring Prehistory. How Archaeology Reveals Our Past, (New York: The McGraw-Hill Companies, Inc., 2006), 2nd ed, p.20-21
11
from the same area. Different with group label, individual label is a text which
explains about a specific object.
The information that is written on the label has to be clear or the words
have to work together with the objects.12 The labels have to be printed along with the accession numbers and the location where the ancient objects are
found.13 Besides, it also has to be written permanently on stable materials, whether on the tombstones or specific papers. The labels placement, font
choices and the lighting of ancient objects’ spaces are also the important things
that have to be considered. The placement of labels should be put at eye level. It
means that the placement should not be too low or too high for the museum
visitors, the selection of label font should not be too big or too small to be read,
and the lightning should be placed in the appropriate position.14
The material remains are put in many museums in Indonesia and one of
the museums is known as Museum Nasional Indonesia (National Museum of Indonesia) which located in Central Jakarta, close to the National Monument or
Monas. It usually can be called ‘Elephant Building’ because of the bronze
12
Beverly Serrel, Exhibit Labels: An Interpretive Approach, (Walnut Creek: Altamira Press, 1996), p.10
13
Thomas J. Braun, “Short Communication. An Alternative Technique for Applying Accession Numbers to Museum Artifacts”, Journal of The American Institute for Conservation, Vol.46 No.2
(2007), pp.91-104. Accessed on April 11th 2014.
http://www.mnhs.org/preserve/conservation/docs_pdfs/ApplyAccessionnos.pdf
14
12
elephant statue in front of the museum. This museum is chosen for the research
because it displays many statues from different periods and the labels which are
displayed using dual language, Indonesian-English, to describe the ancient
objects.
Originally, the labels applied only in one language, Indonesian, but due to
the numbers of tourists who come to Indonesia and visit museum, the museum
practitioners decide to use bilingual or dual language, Indonesian-English, as
the languages that are applied on the labels in the museum. Therefore,
translation is a significant thing to be concerned. The label might be understood
by the local visitors because it uses Indonesian as the first language, but if the
label is translated wrong into English or the second language, it can make
another perspective to the foreign tourists and it is a shame thing. Hence the
translation is very important not only from the process but also from the
procedure.
C. Translation
1. Brief History of Translation
Translation theory is the orientation of a translator of his translation work.
“Whenever they do it, whenever they decide to opt for one rendition and not
should be carried out.”15 Thus, it helps translator to choose the best concept of his work.
The classification of translation of the twentieth century is ‘literal’, ‘free’
and ‘faithful’ or ‘word-for-word’ and ‘sense-for-sense’.16 It can be said that word-for-word translation is another term from literal or faithful translation and
sense-for-sense translation is another term from free translation.
In the end of 1950s, the distinction of translation is developed by Vinay
and Darbelnet. They divide two methods, namely direct translation and oblique
translation, along with its procedures. Those both methods have the same
meaning with literal translation and free translation. The difference from the
translation classification of twentieth century is that these two methods have
seven procedures. They are borrowing, calque, literal translation, transposition,
modulation, equivalence and adaptation.
2. Definition of Translation
Translation means a transform of language structure of two different texts
in totally different languages. Someone whose profession is translating a text is
usually called a translator. A good translator makes no ambiguity words and
15
Anthony Pym, Exploring Translation Theories, (New York: Routledge, 2010), p.1
16
14
unclear meaning in his translation text because the translation which he
provides is a good translation.17
According to Nida, “skilled translators must have a special capacity for
sensing the closest natural equivalent of a text, whether oral or written.”18 In translation study, there are two similar terms, translation and interpretation.
Translation concerns on the written message and interpretation concerns on the
verbal message.19 It means that a good skill and a sensitivity feeling are needed by a translator in order to match the meaning of languages in any form.
There are many explanations of translation. J.C Catford defines translation
as an effort to deliver meaning of a text to another text which the languages are
different. “Translation is the replacement of textual material in one language
(SL) by equivalent textual material in another language.”20 Machali explains translation as an activity of delivering the same meaning of SL to TL text
concerning some aspects so a good communication through both languages will
be achieved.21 In the other hand, Brislin also defines the meaning of translation:
17
Geoffrey Samuelsson-Brown, A Practical Guide for Translators, (Bristol:Multilingual Matters, 2010), p.3
18
Eugene A. Nida, “Theories of Translation”, Pliegos de Yuste, Vol.1 No.4 (2006), pp.11-14. Accessed on April 13th 2014. http://www.pliegosdeyuste.eu/n4pliegos/eugeneanida.pdf
19
Drs. M. Rudolf Nababan, M.Ed., Teori Menerjemah Bahasa Inggris, (Yogyakarta: Pustaka Pelajar., 2003), p.18
20
J.C. Catford, A Linguistic Theory of Translation: An Essay in Applied Linguistic, (London: Oxford University Press, 1974), p.20
21
“Translation is the general form referring to the transfer of thoughts and ideas from one language (source) to another (target), whether the languages are in written or oral form whether the language have established ortographies or do not have such standardization or whether one or both language is based on signs, as with signs of the deaf.”22
The three statements above mean translation is not only changing the
language in both of texts, but also transferring the messages based on the intent
of the author or speaker because the translation can be in written or spoken
language.
Hatim and Mason explain translation from another perspective, “an act of
communication which attempts to rely, across cultural and linguistic
boundaries, another act of communication (which may have been intended for
different purposes and different readers/hearers).”23
There is another explanation which is defined by Bassnett about culture in
translation text, “translation is not just the transfer of texts from one language
into another, it is now rightly seen as a process of negotiation between texts and
between cultures.”24
It can be concluded from all the explanations that the meaning
replacement of a text in a language to another text in another language is not the
22
Richard W. Brislin, Translation: Application and Research, (New York: Gardner Press, 1976), p.1
23
Basil Hatim and Ian Mason, The Translator as Communicator, (London: Routledge, 1997), p.1
24
16
only significant thing of the translation. There is another thing that has to be
concerned by the translator, the cultural effect. Thus, a text which contains
cultural element can be a good intermediary of culture to its translation text
because it is obvious that two texts which have different languages also mean
two texts with different cultural backgrounds as it is applied on the labels of
ancient objects.
3. Process of Translation
In translating text, a translator needs to do some particular steps in order to
produce a good translation. The steps are also can be called process. Based on
Oxford Advanced Learner’s Dictionary, process means “a series of things that
are done in order to achieve a particular result.”25
According to Bathgate as quoted by Widyamartaya, he also defines seven
steps of translation process as follow:
1. Tuning. It is an activity of examining the material text that are going
to be translated because the language used and the messages in
source text have to be properly matched with target text. The style of
an original text and its content are also the significant things to be
considered before translating the text.
25
2. Analysis. The translator has to examine the words and phrases in
each sentence then determines the relation between the sentence
elements. “Tiap-tiap kalimat dalam bahasa sumber harus diurai ke dalam satuan berupa kata-kata atau frase-frase. Kemudian penerjemah harus dapat menentukan hubungan sintaksis antara pelbagai unsur kalimat itu.”26
3. Understanding. It is the next step after the text has been analyzed by
the translator. The translator needs to get the main idea and its
supporting ideas in each paragraph. The translator needs to have a
good comprehension over his translation work before translating the
text.
4. Terminology. It is another essential thing in translation process.
“Kata, ungkapan atau istilah yang dipakai dalam bahasa sasaran jangan sampai menyesatkan, menertawakan, atau menusuk hati pemakai bahasa sasaran.”27 In the other words, there must be no sentences which misleading and make some ambiguities for the
reader in the receptor language.
5. Restructuring. The target language has to be properly arranged by
the translator in order to produce a good translation text. It is not
26
A. Widyamartaya, Seni Menerjemahkan, (Yogyakarta: Kanisius, 1989), p.16
27
18
only about the language style of source language, but the translator
also needs to make the sentences and meanings in a translation text
related each other.
6. Checking. If a translation text has only been translated once by the
translator, it cannot be said as a final result translation. It must be
revised multiple times. The things that should be checked from the
first draft translation are the error of the words selection and its
punctuations in the sentences. It has to be appropriate with the
meaning.
7. Discussion. The translator ends the process of translation by
discussing his translation with some translators or some people in
certain fields of the translation text. The focus of discusses is the
content of translation text and the language used. “Cara yang baik untuk mengakhiri proses penerjemahan ialah penerjemah mendiskusikan hasil terjemahannya, baik menyangkut isinya maupun menyangkut bahasanya.”28
28
4. Method andProcedure of Translation
There are many methods and procedures which a translator uses in the
translation work. According to Oxford Advanced Learner’s Dictionary, the
meaning of method is “a particular way of doing something”29 and the meaning of procedure is “a way of doing something, especially the usual or correct
way.”30
Vinay and Darbelnet divided the translation methods into two terms,
direct translation and oblique translation. It is because sometimes a text cannot
be translated literally and it makes the translator has to use another method to
translate the text. Direct translation covers three procedures; they are
borrowing, calque and literal translation. Oblique translation covers four
procedures; they are transposition, modulation, equivalence and adaptation.
Thus, the writer stresses this research on the oblique translation method and its
four procedures as the theory.
5. Oblique Translation
Vinay and Darbelnet explicitly state about oblique translation in their
book that “it is understood that more complex methods have to be used which at
29
A.S. Hornby, (2000), op.cit, p.837
30
20
first may look unusual but which nevertheless can permit translators a strict
control over the reliability of their work: these procedures are called oblique
translation.”31
In the other words, it can be said that oblique translation is used when
sentences in a text cannot be translated literally without altering the
grammatical structure because it will produce another or different meaning in
target language. Therefore, a translator is allowed to use another complicated
method to be applied in the translation text. Hence in order to find the
equivalent of both languages, changing the structure of a sentence is permitted.
The four procedures of oblique translation that are explained by Vinay and
Darbelnet as follow:
a. Transposition
Transposition is the procedure which “involves replacing one word
class with another without changing the meaning of the message. Beside,
being a special translation procedure, transposition can also be applied
within a language.”32 According to Newmark, shift or transposition also means a grammar changing from SL text to TL text.33 In the other words, transposition means a procedure which its part of speech is altering but not
31
Jean Paul Vinay and Jean Darbelnet, (1995), op.cit, p.31
32
Ibid, p.36
33
with the sense. There are two kinds of transposition: obligatory
transposition and optional transposition.34 Obligatory transposition appears when the source text cannot be literary translated and optional
transposition is related to the language style, it is chosen in order to
produce a translation which good to be read or heard.
Examples: Dès son lever…. As soon as he gets/got up…. As soon as he gets up.... Dès son lever….
Dès qu’il se lève….35
Après qu’il sera revenu…. After he comes back….
Après son retour…. After his return….36
b. Modulation
In a translation work, Fawcett states that modulation is the changing
of viewpoint.37 Vinay and Darbelnet also states that modulation changes the point of view from an original text into its translation, not the semantic
of the sentences.38 The translator is allowed to change the viewpoint from a text into its translation text as long as it does not change the meaning of
34
Ibid. 35
Ibid. 36
Ibid.
37
Peter Fawcett, Translation and Language: Linguistic Theories Explained, (Manchester: St. Jerome Publishing, 1997), p.37
38
22
the text. Vinay and Darbelnet distinguish modulation into two types; they
are free or optional modulation and fixed or obligatory modulation.39 Free or optional modulation is a kind of modulation which is used to stress the
meaning in the target text and fixed or obligatory modulation is when a
passive sentence turns into an active sentence and vice versa.
Examples:
Le moment où…. The time when….
Il est facile de dèmontrer…. It is not difficult to show….40
c. Equivalence
Equivalence is used to explain a certain situation by using the whole
different structure or style language in order to produce equivalent texts.41 House, as quoted by Leonardo, also give an explanation of equivalence,
“every text is in itself is placed within a particular situation which has to
be correctly identified and taken into account by the translator.”42 This procedure is often used in the case of animal sounds like:
cocorico cock-a-doodle-do
39
Ibid. 40
Ibid. 41 Ibid,
p.38
42
Vanessa Leonardo, “Equivalence in Translation: Between Myth and Reality”, Translation Journal, Vol.4 No.4 (2000). Accessed on October 31st 2014.
miaou miaow
hi-han heehaw43
Besides, proverbs and idioms are also the best example of
equivalence.44
Examples:
Il pleut à seaux/des cordes. It is raining cats and dogs. Like a bull in a china shop.
Too many cooks spoil the broth.
Deux patrons font chavirer la barque.45
d. Adaptation
Newmark explains that adaptation is “use of a recognized equivalent
between two situations.”46 Vinay and Darbelnet also explain that adaptation refers to a procedure when a certain culture is mentioned in the
SL text but the culture does not exist in the TL text, so a translator needs
to make a new situation from the SL text which has the same or the closest
43
Ibid.
44 Ibid. 45
Ibid. 46
Peter Newmark, (1988), op.cit, p.91
24
meaning into the TL text.47 The translator has to put more effort in translating the totally different culture in source language without
changing the meaning of both texts at all.
Examples:
Trois hommes et un couffin. Three men and a baby. [film]
Le grand Meaulnes. The Wanderer. [book title]48
47
Ibid, p.39
25
A. The Data Description
In this chapter, the writer analyzes the words, phrases and sentences from
the label collections of Museum Nasional Indonesia (National Museum of Indonesia) which are applied in two languages, Indonesian-English and finds
the types of oblique translation which are used in the labels. Then, the writer
also finds out how the oblique translations are applied in translating the labels.
The selected labels can be tabulated as follows:
Table 1: The Data of Label Collections and the Types of Oblique Translation.
No Name of the Museum Object Source Language Target Language
Oblique Translation
Types
(in SL) (in TL)
1 ALAT TENUN LOOM
Alat untuk menenun kain geringsing berukuran kecil, seperti selendang.
Loom for weaving small sized geringsing cloth, for example a shoulder cloth or selendang.
26
2 TIFA (KUNDU) DRUM
Tifa dibunyikan selama upacara peperangan, ritual kepahlawanan dan upacara tertentu yang diadakan di rumah laki-laki (yeu) untuk mengiringi tarian.
The tifa is
sounded for battle ceremonies, warrior rituals and special ceremonies in the men’s house (yeu) to add excitement to the dancing.
Obligatory Transposition
3 GELANG KAKI ANKLET
Gelang kaki yang berongga ini di dalamnya diisi dengan metal bulat (peluru) sehingga berbunyi kalau digerak-gerakkan.
A hollow anklet filled with round metal objects (pellets) which produce a sound when the it is moved.
Obligatory Transposition
4 KARONDING
AWI JEW’S HARP
Sejenis harpa mulut dengan nama lokal ‘karonding awi’, biasanya dimainkan oleh petani untuk menghibur diri saat menunggu sawah.
A kind of jew’s harp called ‘karinding awi’ in local language, which is usually played by farmer as an
entertainment during waiting the rice field.
Optional Transposition
5 TOPENG
GEBOGAN GEBOGAN MASK Bagian badannya terdiri dari susunan buah-buahan dan jajan tradisional Bali.
The body from stacked up fruit and traditional Balinese cakes.
6 SI GALE-GALE SI GALE-GALE
Si gale-gale merupakan
boneka kayu yang dibuat seukuran tubuh manusia dengan pakaian lengkap adat Batak Toba.
Si gale-gale is a life-sized wooden puppet, dressed in traditional Batak Toba costume.
Optional Transposition
7 TANDU SEDAN
CHAIR Tandu merupakan alat transportasi jarak dekat dengan menggunakan tenaga manusia. Tandu biasanya dipikul oleh dua orang atau lebih.
Two or more men would carry this sedan chair over short distances. Fixed Modulation 8 TOKEN PERKEBUNAN DI INDONESIA PLANTATION TOKENS IN INDONESIA Di Indonesia, bidang usaha yang sangat diminati adalah membuka perkebunan.
In Indonesia, they preferred to establish
plantations. Modulation Fixed
9 HIASAN TELINGA/SUM PING EARRING Sumping (bahasa Jawa) adalah perhiasan Jawa yang digunakan oleh penari. Dancers wore earrings, known as sumping in Javanese.
Fixed Modulation
10 SALOHAT
(TALATOAT) FLUTE
Alat musik tiup yang dimainkan secara tunggal.
A simple flute played as a single instrument.
Free Modulation
11 CELENGAN SAVING IS
HAVING Dalam masa Majapahit, celengan sangat populer dalam kalangan masyarakat. During the Majapahit period, people were very fond of saving their money.
28
12
MINIATUR RUMAH
RAKIT
MODEL OF A RAFT HOUSE
Sungai Musi, yang menjadi urat nadi kota
Palembang, menjadi kawasan hunian penduduk yang tinggal di rumah rakit ini.
They are built along the banks of the Musi river, which is the main artery of
Palembang.
Free Modulation
13 WADAH CONTAINER
Wadah kapur sirih atau tembakau ini merupakan bagian perangkat untuk menginang pada acara adat.
A hinged lime or tobacco container forms part of a ceremonial betel
chewing set. Adaptation
14 KARAPAN
SAPI BULL RACE
Bagi orang Madura, memacu binatang peliharaan di arena untuk memenangkan pacuan sudah menjadi kegemaran penduduk sejak dulu. For Madurese people, a custom of racing
domestic animal in the arena for winning the race have already been their amusement in formerly times.
Adaptation 15 SITUS BANTEN LAMA BANTEN LAMA SITE Unsur bangunan, wadah makanan dan minuman, hiasan rumah, perhiasan, alat produksi (cetakan, kowi, pelandas), celengan, bandul jala, lampu, tungku dan permainan. Building elements, food and beverage containers, home decoration, jewelry, tools of production (mold, kowi, anvil), piggy bank, pendulum nets, light, stove and kids games.
B. The Data Analysis
In the data analysis, the writer classified and analyzed how the translator
applied the types of oblique translations in translating the text on the selected
labels at Museum Nasional Indonesia (National Museum of Indonesia) based on the tabulated data above. The types of oblique translations which would be the
name of the categories are transposition, modulation and adaptation.
a. Transposition
a.1. Obligatory Transposition
Obligatory transposition is a kind of transposition which occurs when
structures in source text and target text have to be changed due to the language
system.
1. ALAT TENUN - LOOM
Source Language Target Language Oblique
Translation Types Alat untuk menenun
kain geringsing berukuran kecil, seperti selendang.
Loom for weaving small sized
geringsing cloth, for example a shoulder cloth or selendang.
Obligatory Transposition
The data above is classified as an obligatory transposition. As it can be
30
sized geringsing cloth. Kain geringsing berukuran kecil consists of noun + adjective form, kain geringsing is a noun and berukuran kecil is an adjective. In Indonesian, it can be said as nomina (kata benda) yang diikuti oleh adjektiva (kata sifat)45 or noun which is followed by an adjective. In the target text, small sized geringsing cloth consists of adjective + noun form, small sized is an adjective and geringsing cloth is a noun. In English, it can be said as adjective modifying a noun.46
Therefore, the obligatory transposition occurs in the data above and the
result of translation is acceptable. The translator made the equivalence meaning
between SL and TL text by changing the class of word of kain geringsing berukuran kecil into its translation, small sized geringsing cloth.
2. TIFA (KUNDU) - DRUM
Source Language Target Language Oblique
Translation Types Tifa dibunyikan
selama upacara peperangan, ritual kepahlawanan dan upacara tertentu yang diadakan di rumah laki-laki (yeu) untuk mengiringi tarian.
The tifa is sounded for battle ceremonies, warrior rituals and special ceremonies in the men’s house (yeu) to add excitement to the dancing.
Obligatory Transposition
45
Hasan Alwi, et.al, Tata Bahasa Baku Bahasa Indonesia, (Jakarta: Balai Pustaka, 2003), 3rd ed, p.213
46
The data above is categorized as an obligatory transposition. The
translator translated upacara peperangan, ritual kepahlawanan dan upacara tertentu yang diadakan di rumah laki-laki into battle ceremonies, warrior rituals and special ceremonies in the men’s house. The singular in SL text are changed into plural in TL text. Singular means that there is only one thing and
plural means that there are more than one thing.47
The data which is translated by the translator above is good enough. It is
because the translator succeeded to deliver the exact meaning of SL text into the
TL text. The meaning of all the underlined phrases in SL text is something
which happens for several times and if the translator translated them wrong, for
the example, upacara peperangan is translated into battle ceremony, the target readers will get different assumption because it is different with the exact
meaning of the SL text.
3. GELANG KAKI - ANKLET
Source Language Target Language Oblique
Translation Types Gelang kaki yang
berongga ini di dalamnya diisi dengan metal bulat (peluru) sehingga berbunyi kalau digerak-gerakkan.
A hollow anklet filled with round metal objects (pellets) which produce a sound when the it is moved.
Obligatory Transposition
47
32
The data above is classified as an obligatory transposition. It can be seen
from the structural change which happens between SL text and TL text. Gelang kaki yang berongga is translated to a hollow anklet. Gelang kaki yang berongga
contains noun + modifier form, gelang kaki is a noun and yang berongga is a modifier. In Indonesian, it can be said as suatu nomina (kata benda) yang diikuti oleh adjektiva (kata sifat) dan disisipkan kata ‘yang’48 or noun which is followed by an adjective and the word ‘yang’ is put between the sentences. A hollow anklet contains adjective + noun form, a hollow is an adjective and
anklet is a noun. In English, it can be said as adjective modifying a noun.49 Furthermore, there is also a little mistyped in the TL text. It can be seen
from the word the which should not be written there because it has no meaning. Although it does not change the meaning of TL text but it is still considered as a
little mistake that should be a concern for the translator because it can confuse
the target readers. It can be said that the result of the translation is not
acceptable enough.
a.2. Optional Transposition
Optional transposition is a kind of transposition which can be chosen by
the translator to vary the style of language of words or sentences.
48
Hasan Alwi, (2003), op.cit, p.246
49
1. KARONDING AWI – JEW’S HARP
Source Language Target Language Oblique
Translation Types Sejenis harpa mulut
dengan nama lokal ‘karonding awi’, biasanya dimainkan oleh petani untuk menghibur diri saat menunggu sawah.
A kind of jew’s harp called ‘karinding awi’ in local language, which is usually played by farmer as an entertainment during waiting the rice field.
Optional Transposition
The data above is categorized as an optional transposition because the
translator does not translate nama lokal literally to local name, but local language. Actually, the translator can use local name in translating nama lokal
in SL text but since the label name is ‘karonding awi’ and it is a music
instrument which name is from the language of local area, in this case is West
Java, hence the using of local language for the translation of nama lokal in TL text is more appropriate.
A good translation is a kind of translation which does not make any
ambiguities appears in its final result. There is a little mistyped which can make
the target readers confuse in the translation above. The real name of the music
instrument is karinding awi, but it is written karonding awi on the label text. It is a little mistake which needs more attention because it can cause confusion for
the target readers to know the actual name of this music instrument since the
34
2. TOPENG GEBOGAN - GEBOGAN MASK
Source Language Target Language Oblique
Translation Types Bagian badannya
terdiri dari susunan buah-buahan dan jajan tradisional Bali.
The body from stacked up fruit and traditional Balinese cakes.
Optional Transposition
The data above is classified as an optional transposition. It can be seen
from the way translator translated jajan tradisional Bali into traditional Balinese cakes. The word cakes is chose to translate jajan. In Indonesian, jajan
means penganan50 or snacks. It covers all the kinds of snacks which can be eaten. In English, cake means a sweet food made from a mixture of flour, eggs,
butter, sugar, etc. that is baked in an oven.51
Actually, if the word cake is used to be the translation of jajan, it is not communicative enough. That is because the meaning of cake is too specific, while the meaning of jajan is too wide and it covers all kinds of snacks, not just cakes. However, since cakes still can be counted as snacks, hence the word choice from the translator in translating jajan into cakes is still appropriate. The sense of jajan in SL text does not change too much in TL text and the readers of target language still get the meaning of SL text.
50
Kamus Besar Bahasa Indonesia (KBBI) Online, s.v. “Jajan,” accessed September 14th, 2014. http://kbbi.web.id/jajan
51
3. SI GALE-GALE – SI GALE-GALE
Source Language Target Language Oblique
Translation Types Si gale-gale
merupakan boneka kayu yang dibuat seukuran tubuh manusia dengan pakaian lengkap adat Batak Toba.
Si gale-gale is a life-sized wooden puppet, dressed in traditional
Batak Toba costume. Optional Transposition
The data above is categorized as an optional transposition. The noun
phrase boneka kayu is translated into wooden puppet. It is very appropriate to choose puppet as the translation of boneka. In Indonesian, boneka has the equal meaning with doll and puppet52 but if the translator chooses to translate boneka
to doll instead of puppet, it will make the readers of TL text get another assumption. It is because in Indonesia, doll has the same meaning with boneka
or (girl) gadis cantik.53
In the other words, it can be said that doll also means something that relates to a girl, while boneka which is discussed in SL text is something that is played to perform death dance for Batak people. Hence the optional
transposition which is chose by the translator of the labels to translate boneka kayu into wooden puppet is proper enough.
52
John M. Echols dan Hassan Shadily, Kamus Indonesia – Inggris, (Jakarta: PT. Gramedia Pustaka, 1992), p.86
53
36
b. Modulation b.1 Fixed Modulation
Fixed modulation is a kind of modulation which occurs when the active
sentence in SL is translated into the passive sentence in TL or the passive
sentence in SL is translated into the active sentence in TL but the meaning does
not change at all.
1. TANDU – SEDAN CHAIR
Source Language Target Language Oblique
Translation Types Tandu merupakan
alat transportasi jarak dekat dengan
menggunakan tenaga manusia. Tandu biasanya dipikul oleh dua orang atau lebih.
Two or more men would carry this sedan chair over short
distances. Fixed Modulation
The data above is classified as a fixed modulation. The passive sentence
of SL text can be seen when the word tandu as the object is put in front of the sentence, while the active sentence of TL text can be seen when two or more men as the subject is put in front of the sentence. The translator translated two sentences in SL text by summarizing it into just one sentence in TL text, but
still kept the meaning of the origin text. It means a fixed modulation from the
data above can be seen from the changing of passive sentence to the active
According to an Indonesian – English dictionary, the meaning of tandu is a litter or sedan chair.54 Furthermore, according to Oxford Dictionary, litter is a kind of chair or bed that was used in the past for carrying important people and
sedan chair means a box containing a seat for one person, carried on poles, by two people, used in 17th and 18th centuries.55 Thus, it can be the conclusion that the translator preferred to choose tandu into sedan chair because it fits perfectly with the meaning.
2. TOKEN PERKEBUNAN DI INDONESIA – PLANTATION TOKENS IN INDONESIA
Source Language Target Language Oblique
Translation Types Di Indonesia, bidang
usaha yang sangat diminati adalah membuka perkebunan.
In Indonesia, they preferred to establish
plantations. Fixed
Modulation
The data above is categorized as a fixed modulation. It can be seen from
the passive sentence in SL text which is changed by the translator to the active
sentence in TL text. In SL text, perkebunan is the main point of the sentence but the subject is not mentioned because the subject is already explained in the
first sentence of the text. In TL text, they appears in the sentence as the subject
54
John M. Echols dan Hassan Shadily, (1992), op.cit, p.549
55
38
and the word plantations as the translation of perkebunan56 is put in the end of sentence as the object.
The result of translation above is communicative enough because the
translator’s decision to translate the data from passive to active did not make the
SL text losing its actual meaning. The equal assumption between the readers of
both target text and source text will be still obtained.
3. HIASAN TELINGA/SUMPING - EARRING
Source Language Target Language Oblique
Translation Types Sumping (bahasa
Jawa) adalah
perhiasan Jawa yang digunakan oleh penari.
Dancers wore earrings, known as
sumping in Javanese. Fixed Modulation
It is clear that the data above is categorized as a fixed modulation. The
translator replaced the passive sentence into the active one. The passive
sentence of SL text can be seen when the object of sentence, sumping, is put in the front of the sentence and penari as the subject is in the end of the sentence, whereas the active sentence of TL text can be seen at the word dancers as the subject is put in front of the sentence and sumping is in the end of the sentence.
In SL text, sumping is not specifically mentioned as an earring because it is already mentioned in the name of the object, hiasan telinga, which is the
56
Indonesian of earring. In TL text, the translator explained sumping very clearly by writing earrings as the explanation of sumping. Besides, the translator also preferred to translate hiasan telinga/sumping into just an earring as the name of the object, not just adapted it from its original name. It does not affect the
meaning since it is already explained that earrings are also sumping in TL text and the target readers will still know the real name of the object.
b.2 Free Modulation
Free modulation is a kind of modulation which is used to stress the
meaning of SL text.
1. SALOHAT (TALATOAT) – FLUTE
Source Language Target Language Oblique
Translation Types Alat musik tiup yang
dimainkan secara tunggal.
A simple flute played as a single
instrument. Free Modulation
The data above is classified as a free modulation. It is because the
translator changed the viewpoint of SL text but the meaning of both texts are
still related. It can be seen from secara tunggal which is translated to a single instrument. Those are two different phrases which have similar meaning.
40
related meaning with single.57 The meaning of single in Indonesian is tunggal
or satu.58 Thus, it can be concluded that the translation of the data above is acceptable because the meaning of secara tunggal and a single instrument are related to each other. It means Salohat or a flute which is discussed on the label
can be played individually.
2. CELENGAN – SAVING IS HAVING
Source Language Target Language Oblique
Translation Types Dalam masa
Majapahit, celengan sangat populer dalam kalangan masyarakat.
During the Majapahit period, people were very fond of saving their money.
Free Modulation
Both of the object’s name and the label text above contain free
modulation. It can be seen from the SL text which explains about how celengan
was very popular and the TL text explains about how people had a great passion
of saving money at that time. Two different viewpoints occur on the data above because the SL text discusses about celengan as a noun and the TL text discusses about the saving money as an activity but both of the meaning are still
related.
57
Thesaurus.com, s.v. “Individual,” accessed September 14th, 2014. http://www.thesaurus.com/browse/individual?s=ts
58
The translator also translated the name of this object in a different way,
celengan into saving is having.Celengan is a noun in Indonesian and saving is having is a sentence in English. Although the meaning of saving is having is similar with the function of celengan itself, but it is better not to translate
celengan into saving is having. It is because the readers of target language will not explicitly get the exact meaning of celengan as a noun. The translator should choose piggy bank or money box which more appropriate to represent
celengan.59
3. MINIATUR RUMAH RAKIT – MODEL OF A RAFT HOUSE
Source Language Target Language Oblique
Translation Types Sungai Musi, yang
menjadi urat nadi kota Palembang, menjadi kawasan hunian penduduk yang tinggal di rumah rakit ini.
They are built along the banks of the Musi river, which is the main artery of Palembang.
Free Modulation
The data above is classified as a free modulation. It can be seen from the
way translator changed the point of view of the SL text into the TL text. As it
can be seen in the sentence of SL text, it discusses about sungai Musi yang menjadi urat nadi kota Palembang and sungai Musi is the main topic. In TL text, it discusses about the raft houses which are explained with subject they by
59
42
the translator, they are built along the banks of the Musi river. The main topic of TL text is the raft house.
Actually, both sentences above are discussing about the same topic. It can
be seen from the very first sentence of both texts which discusses about the
same thing, the raft house. In the next sentence, as it can be seen in the data
above, the translator changed the way he translated the text by translating it
with different point of view. Therefore, in order to make a good translation or to
make the TL text as natural as it can be, the translator translated both of
sentences above by changing the point of view but the object of the discussion
in SL text does not change.
c. Adaptation
1. WADAH – CONTAINER
Source Language Target Language Oblique
Translation Types Wadah kapur sirih
atau tembakau ini merupakan bagian perangkat untuk menginang pada acara adat.
A hinged lime or tobacco container forms part of a ceremonial betel chewing set.
Adaptation
The data above is categorized as an adaptation. It can be seen from the
means upacara yang berhubungan dengan adat suatu masyarakat60 or a ceremony which is related with a tradition of some group of people, while the
meaning of ceremonial is something that related to or used for formal religious or public events.61 In the other words, ceremonial means something which related to a ceremony, while acara adat is a kind of ceremony itself.
Actually, the meaning of ceremonial is still too wide and it is not proper enough to choose ceremonial as the translation of acara adat. The actual message in SL text is not clearly conveyed in the TL text. The target readers
still do not get that acara adat is a special ceremony although it is still can be counted as a part of ceremonial.
2. KARAPAN SAPI – BULL RACE
Source Language Target Language Oblique
Translation Types Bagi orang Madura,
memacu binatang peliharaan di arena untuk memenangkan pacuan sudah
menjadi kegemaran penduduk sejak dulu.
For Madurese people, a custom of racing domestic animal in the arena for winning the race have already been their amusement in formerly times.
Adaptation
The data above is classified as an adaptation. It can be seen from the
translation of binatang peliharaan which is freely translated into domestic
60
Kamus Besar Bahasa Indonesia (KBBI) Online, s.v. “Acara Adat,” accessed August 20th, 2014. http://kbbi.web.id/upacara
61
44
animal in TL text by the translator of the label. The translator chose a phrase in TL text which has the closer meaning with the phrase in SL text.
Actually, binatang peliharaan can be translated to pet literally, but the consequence is another perspective for the readers of the target language will
appear. It is because the meaning of pet is an animal that is kept for pleasure at home or for work or food62 and the meaning of binatang peliharaan which is discussed in SL text is an animal from the local area, which in this case is a bull
from Madura because most of the Madurese people have bulls and buffalos as
their pets. Thus, it can be said that the translator translated binatang peliharaan
into a proper translation, domestic animal.
3. SITUS BANTEN LAMA – BANTEN LAMA SITE
Source Language Target Language Oblique
Translation Types Unsur bangunan,
wadah makanan dan minuman, hiasan rumah, perhiasan, alat produksi (cetakan, kowi, pelandas), celengan, bandul jala, lampu, tungku dan permainan.
Building elements, food and beverage containers, home decoration, jewelry, tools of production (mold, kowi, anvil), piggy bank,
pendulum nets, light, stove and kids games.
Adaptation
The data above is categorized as an adaptation. The translator chose piggy bank as the translation of celengan in the TL text. In Indonesian, the meaning of
62
celengan is tabung (terbuat dr tanah, plastik, dsb, biasanya berbentuk binatang, spt babi hutan dsb) untuk menyimpan uang63 or a tube (made of soil, plastic, etc, usually in the form of animals like wild boar, etc.) for saving
money.
According to an Indonesian – English dictionary, celengan has three meanings; they are savings, money box and piggy bank.64 Since the object is not in the display space of the museum, hence the translator tried to equalize the
meaning of SL and TL text by choosing the most appropriate word for the
translation of celengan and piggy bank is chose because it is usually more represent celengan (as it is also mentioned in KBBI) than money box which has the similar meaning.
63
Kamus Besar Bahasa Indonesia (KBBI) Online, s.v. “Celengan,” accessed September 14th, 2014. http://kbbi.web.id/celeng-2
64
46
CHAPTER IV
CONCLUSIONS AND SUGGESTIONS
A. Conclusions
Based on the result of the research which has been conducted by the
writer about the oblique translation of the label collections, it can be
concluded that:
1. There were only three from the four types of oblique translation which
were found in the