39
FOUND IN THE FILM “THE GURU”
THESIS
Submitted as a Partial Fulfillment of the Requirement for Sarjana Degree at English Department of Faculty of Letters and Fine Arts
Sebelas Maret University
By:
ALBERTUS AGUNG YUWONO C0303007
ENGLISH DEPARTMENT
FACULTY OF LETTERS AND FINE ARTS
SEBELAS MARET UNIVERSITY
A TRANSLATION ANALYSIS OF SEXUAL SLANGS FOUND IN THE FILM “THE GURU”
By:
ALBERTUS AGUNG YUWONO C0303007
Approved to be examined before the Board of Examiners of English Department Faculty of Letters and Fine Arts
Sebelas Maret University
Thesis Supervisor:
Dr. Djatmika, M. A NIP. 196707261993021001
Head of English Department
A TRANSLATION ANALYSIS OF SEXUAL SLANGS FOUND IN THE FILM “THE GURU”
By:
ALBERTUS AGUNG YUWONO C0303007
Accepted and Approved by the Board of Examiners of English Department Faculty of Letters and Fine Arts
Sebelas Maret University
Chairperson Agus Dwi Priyanto, S.S., MCALL (...) NIP. 197408182000121001
Secretary Dyah Ayu Nila Khrisna, S.S., M. Hum. (...) NIP. 198302112006042001
First Examiner Dr. Djatmika, M. A. (...) NIP. 196707261993021001
Second Examiner Ida Kusuma Dewi, S.S., M. A. (...) NIP. 197105251998022001
Dean of Faculty of Letters and Fine Arts Sebelas Maret University
PRONOUNCEMENT
I state whole-heartedly that I myself made this thesis entitled A Translation Analysis of Sexual Slangs found in the film “The Guru”. It is neither a plagiarism, nor made by others. Things related to other people’s work are written in quotation and included in bibliography.
If it is then proved that I cheat, I am ready to take the responsibility, including withdrawal of my academic title.
Surakarta, June 2010
The researcher
MOTTO
“You’ve got to get to the stage in life
where going for it is more important
than winning or losing”
Arthur Ashe“Enjoy the journey,
enjoy ever moment,
and quit stop worrying about winning or losing”
Matt Biondi“Whether you're winning or losing,
it is important to always be yourself
You can't change because of the circumstances around you”
Cotton Fitzsimmons“Winning isn't everything to me, but it's a close second.
Losing isn't something that I can just brush off
and fake a smile to hide my frustration.
It's that will and determination
that I hope will get me where I want to go”
Dale Earnhardt, Jr.
“If you can react the same way to winning and losing,
that is a big accomplishment.
That quality is important
DEDICATION
I whole heartedly dedicate this thesis to:
M om and D ad, for the everlasting patience and understanding
M y L ittle Brother, for the jokes, and peacef ul guitar melody
ACKNOWLEDGMENTS
First, I thank my God, Jesus Christ, for the blessing and guidance, so that I can finally complete this thesis. I also want to express my gratitude to some people around me for their unflagging supports during my thesis completion. My deepest gratitude goes to:
1. The Dean of Faculty of Letters and Fine Arts, Drs. Sudarno, M. A., for approving this thesis.
2. The Head of English Department and also my thesis supervisor, Dr. Djatmika, M. A. I thank him for his patience and wisdom during the consultation.
3. Prof. Drs. M. R. Nababan, M. Ed, M.A., Ph. D, my lecturer and academic supervisor. I thank him so much for teaching me more about translation. 4. Ida Kusuma Dewi, S.S., M. A., for giving me valuable suggestions and inputs
for my thesis.
5. The guest lecturer from America, Sarah Pearsall, M. TESOL. I thank her very much for her assistance in validating my data.
6. Dyah Ayu Nila Khrisna, S.S, M. Hum. I thank her for being my rater and lecturer and at the same time, a good sister for me.
7. My other two raters, Ardianna Nuraeni, S.S, M. Hum. and Bayu Budiharjo, S. S., for being so attentive and cooperative in completing the assessment of my questionnaires.
9. My beloved family, Mom and Dad and also my little Brother. I will not be able to finish my final project without their prayers.
10. Sr. Birgitta Ginung, OSU and the big family of Regina Pacis Junior High School. I should say ‘thank you’ for her prayers and good wishes. May God bless her and the Ursuline family.
11. Mr. Hartoto’s family, especially for Mrs. Heni Kartini, S. Pd., M. Pd., for being a nice and lovely mother for me. She never gets bored to remind and support me to complete my thesis soon. Thanks a lot, Mommy!
12. Mrs. Naning Susilo’s family, for providing me with such comfortable boarding house where I can pleasantly continue writing my thesis and finally complete it. I would also like to express my gratitude to “Xto” who has never stopped motivating me to finish my thesis. Be ready for the coming vacation with The Susilos!
13. Mr. Slamet Gunandar’s family, especially for Awan “Krebo” for being a nice pal and at the same time, my fashion consultant, for recommending me what to wear and not to wear. Thanks a lot, Brother! Good luck with Enpi!
14. Groovies (Gideon, Syarqi, Salman, Marisa, Ira, Ari, Arum, and Ganing), for being the first comfortable community to share and for the never-ending friendship. “True friendship is like sound health; the value of it is seldom known until it be lost”- Charles Caleb Colton.
16. Voca Erudita Student Choir of Sebelas Maret University, as a pleasant place for me to sing and learn how to solve a problem. There are so many happy and sad experiences at VE which I hope they can turn me into a wiser, better, and more mature individual. Let me also express my gratitude to each member of the beloved choir that I cannot mention one by one here. Every memory I have with them will always stay and live in my heart.
17. Brother Bernard T. R. Sirait, for the unconditional support and encouragement to pursue my interests. Thanks also go to Karmelita Agni Ayu Pratiwi, for the chance she gives me to have her as my cute, funny, and sometimes, insane little sister. “Ipank” Jati K., for believing in me to be his big brother and as a place to discuss any unsolvable problems.
18. Everyone who has ever drawn his/her colour on my life canvas.
Last but not least, I realize that this thesis is far from being perfect. Therefore, I look forward for any supporting criticism and suggestions.
Surakarta, June 2010
TABLE OF CONTENTS
TITLE... i
APPROVAL OF THE SUPERVISOR ... ii
APPROVAL OF THE BOARD EXAMINERS ... iii
PRONOUNCEMENT ... iv
MOTTO... v
DEDICATION... vi
ACKNOWLEDGMENTS ... vii
TABLE OF CONTENTS ... x
ABSTRACT ... xii
CHAPTER I. INTRODUCTION ... 1
A. Research Background ... 1
B. Research Limitation ... 4
C. Problem Statements ... 4
D. Research Objectives ... 5
E. Research Benefits ... 5
F. Thesis Organization ... 6
CHAPTER II. LITERATURE REVIEW ... 8
A. Definition of Translation ... 8
B. Meanings in Translation ... 9
C. Problems in Translating ... 13
D. Translation Strategies ... 16
E. Translation Quality Assessment ... 20
G. Sexual Slang ... 25
H. Subtitling ... 26
I. Summary of THE GURU film ... 28
CHAPTER III. RESEARCH METHODOLOGY ... 31
A. Research Type and Design ... 31
B. Data and Source of Data ... 32
C. Sampling Technique ... 33
D. Method of Data Collection ... 34
E. Technique of Data Analysis ... 36
F. Research Procedures ... 37
CHAPTER IV. RESEARCH FINDING AND DISCUSSION ... 39
A. Introduction ... 39
B. Research Finding ... 39
C. Discussion ... 76
CHAPTER V. CONCLUSION AND RECOMMENDATION ... 88
A. Conclusion ... 88
B. Recommendation ... 91
ABSTRACT
Albertus Agung Yuwono. C0303007. 2010. A Translation Analysis of Sexual Slangs found in the film “THE GURU”. Thesis: English Department, Faculty of Letters and Fine Arts, Sebelas Maret University, Surakarta.
This research was conducted to know the types of sexual slangs, the translation strategies to translate them, and the effects of the strategies to the quality of the translation in terms of accuracy and acceptability.
This is a descriptive qualitative research and is designed as a single-embedded case study. The researcher used both total sampling technique to collect the primary data and purposive sampling technique to gain the secondary data from the three raters. There are two methods of data collection in this research, namely: (1) content analysis done by selecting all dialogues in the film containing sexual slangs (34 data), and (2) questionnaires distributed to the three raters which are in the forms of closed and open format.
The result of the research shows that there are four types of sexual slangs in the film THE GURU, namely (1) sexual slangs referring to sexual organs (10 data or 29.4%), (2) sexual slangs referring to sexual processes (12 data or 35.3%), (3) sexual slangs referring to sexual activities (7 data or 20.6%), and (4) sexual slangs referring to people and their psychological characteristics (5 data or 15.7%). Dealing with the translation strategies, the researcher found four translation strategies, namely: (1) translation using words or phrases of similar referential and expressive meaning (8 data or 23.5%), (2) translation using words or phrases of similar referential but dissimilar expressive meaning (19 data or 55.9%), (3) translation using words or phrases of dissimilar referential and expressive meaning (3 data or 8.8%), (4) translation using loan words (4 data or 11.8%). The most dominant strategy used by the translator is translation using words or phrases of similar referential but dissimilar expressive meaning, while the strategy which is rarely used by the translator is translation using words or phrases of dissimilar referential and expressive meaning.
Regarding the level of accuracy of the translation, the researcher found that from the total 34 data, there are 28 data or 82.4% considered to be accurate, 3 data or 8.8% considered to be less accurate, and 3 data or 8.8% considered to be inaccurate.The average of the mean for accuracy is 2.67 meaning that the sexual slangs translation is accurate. The strategies used by the translator producing high level of accuracy are (1) translation using words or phrases of similar referential and expressive meaning, and (2) translation using loan words, because both of the strategies result in 100% accurate translation. However, both of the two strategies are rarely used by the translator. Meanwhile, the strategy producing poor level of accuracy is translation using words or phrases of dissimilar referential and expressive meaning which has only 3 data or 8.8% and all the three are considered inaccurate.
producing high level of acceptability is translation using words or phrases of similar referential but dissimilar expressive meaning which covers 19 data and 17 data or 89.5% are considered to be acceptable and 2 data or 10.5% are considered to be less acceptable. Meanwhile, the strategy producing poor level of acceptability is translation using words or phrases of dissimilar referential and expressive meaning which covers only 3 data or 8.8% and all of them are considered to be less acceptable.
CHAPTER I
INTRODUCTION
A. Research Background
Nowadays, that the existence of films in our society is very big cannot be denied by everyone in this world. People around the world have ever watched films, at least once during their lives, as films cannot be separated from people’s life. This is in line with Allen and Gomery who state that film is a reflection of social values, interests, and social phenomena and made between social context (1993:156).
Film is very popular almost in every country in the world, including in Indonesia. Many films in Indonesia come from foreign countries and use English in the dialogue. However, not all Indonesian people can understand or speak English well. This condition, of course, has created problems for those who do not have the ability to understand English. Therefore, a film translation is needed to solve the problem, so that people can easily understand and enjoy the film.
should consider when doing subtitiling. These conditions also must be fulfilled when a translator is trying to translate sexual slangs.
We can easily find many translation products that contain sexual slangs, for example, a subtitle of a film. It is obvious that film has a great number of audiences, as stated by Gottlieb in Baker (2001: 244) that since 1929 the first sound films have reached an international audience. Not only adults but also children watch film on television every day, so that it is expected that the translation of sexual slangs in a film will be appropriate for the target audience. Therefore, a translator must apply certain strategies in order to make the translation accurate, acceptable, and readable for Indonesian people without abandoning the value and culture of Indonesian.
This research was conducted to find out the types of sexual slangs found in the film THE GURU, the translation strategies used by the translator to translate sexual slangs, and the effects of the strategies to the quality of the translation in terms of accuracy and acceptability. Below are some examples of sexual slangs translation:
Example 1
Context of Situation
Ramu starts his first shooting of his film. Peaches, the make up girl (actually, she is a transvestite) is with him in the make up room. Suddenly, she touches Ramu’s penis and it makes Ramu get mad. Here, Peaches tells him what film Ramu will act.
Peaches:
Giving Mr. Happy a shine. Menghangatkan Tn. Happy.
meaning, which is man’s sexual organ. In the translation above, Mr. Happy is translated into Tn. Happy. It implies that the translator used loan word strategy with a certain purpose. The translation above is accurate in meaning, acceptable in our culture, but it is not readable, as the translator does not give any additional information about Tn. Happy. People who do not have knowledge about sexual slang will not understand the real meaning of Mr. Happy and eventually they will not understand what it is going on the film.
Example 2
Context of Situation
After knowing the truth from Peaches, Ramu continues his shooting. As the film director, Dwain explains the story of the film. During the shooting, Ramu finds many difficulties, especially when he cannot reach an erection. In fact, he has to reach it to be able to do a sexual intercourse with Sharrona, his partner in the movie.
Dwain:
You see her, you screw her, we go home. Kau melihatnya, bercinta, lalu kita pulang.
Sharrona:
So the way I look at it is...my pussy is the door to my soul. Jadi menurutku…alat kelaminku adalah pintu ke jiwaku.
26/A/38:18 Pussy is a slang for vagina (www.sex-lexis.com). Pussy is then translated into alat kelamin which is the direct term to refer to genitalia, both penis and vagina. Translating pussy into alat kelamin is accurate in a way that both terms
refer to vagina. The translation is also acceptable since alat kelamin is a common word to refer to genitalia.
Based on these premises, the researcher is interesting in investigating the translation of sexual slangs found in the film THE GURU.
B. Research Limitation
This study is limited to sexual slangs found in the film THE GURU and the Indonesian subtitle. The focus of analysis includes the types of the sexual slangs, the translation strategies used by the translator, and the effects of the strategies to the translation quality in terms of accuracy and acceptability.
C. Problem Statements
Considering the research background, the problems are formulated as follows:
1. What are the types of sexual slangs found in the film THE GURU? 2. What strategies are the translator used to translate sexual slangs?
D. Research Objectives The objectives of this study are as follows:
1. To find out the types of sexual slangs found in the film THE GURU. 2. To find out the strategies used by the translator to translate sexual slangs. 3. To find out the effects of the strategies to the translation quality in terms of
accuracy and acceptability.
E. Research Benefits It is expected that the study will be beneficial to: 1. Translators
The activity of translation is not only transferring the message from the source text into the target text, but also considering the cultural background of the target readers/audiences. In order to produce a good translation, a translator must have an ability of speaking at least two languages, mastering translation theories, and knowing the cultural background of the target readers/audiences. From this research, it is expected that translators will get an input or additional knowledge, so that they will pay more attention and be more careful to translate sexual slangs.
2. Lecturers
can get additional information about sexual slangs that can be used as a material source to teach their students, especially those who take translation study. Besides, they can encourage their students to conduct a further research on translation of sexual slangs.
3. Students and other researchers
Conducting a research to investigate the translation of sexual slangs is an interesting activity since this topic brings a challenge for the researcher himself. From this research, it is expected that this research will inspire other researchers to conduct a further research on translation of sexual slangs and take this research as an input or a reference.
F. Thesis Organization The thesis organization of the research is as follows:
CHAPTER I : INTRODUCTION which consists of Research Background, Research Limitation, Problem Statements, Research Objectives, Research Benefits, and Thesis Organization.
CHAPTER II : LITERATURE REVIEW which consists of Definition of Translation, Meanings in Translation, Problems in Translating, Translation Strategies, Translation Quality Assessment, Slang, Sexual Slang, Subtitling, and Summary of THE GURU film.
Sampling Technique, Method of Data Collection, Technique of Data Analysis, and Research Procedures. CHAPTER IV : RESEARCH FINDING AND DISCUSSION which
consists of Introduction, Research Finding, and Discussion.
CHAPTER II
LITERATURE REVIEW
A. Definition of Translation
Many definitions of translation have been proposed by some experts. Newmark (1981: 7) states translation as “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”. The above definition only focuses on how to replace the meaning of a written message or statement from a source text into a target text. Another definition is given by Brislin (1976:1) who states that “translation is the general term referring to the transfer of thoughts and ideas from one language (source) to another (target), whether the languages are in written or oral form...”. From Brislin’s definition about translation, it can be referred that translation is not only in the written form, but also in the oral form.
Based on the definitions above, it can be concluded that translation is a process of transferring a written or oral message from one language (source text) to another language (target text) in terms of the meaning and the style.
B. Meanings in Translation
According to Cruse (in Baker 1992: 13), there are four types of lexical meaning in words and utterances, namely: (1) propositional meaning, (2) expressive meaning, (3) presupposed meaning, and (4) evoked meaning.
1. Propositional meaning
Baker (1992:13) states that
“The propositional meaning of a word or an utterance arises from the relation between it and what it refers to or describes in a real or imaginary world, as conceived by the speakers of the particular language to which the word or utterance belongs. It is this type of meaning which provides the basis on which we can judge an utterance as true or false”.
For example, Microsoft® Encarta® Reference Library 2005 gives the definition of the word stud as a man considered to be sexually active or good at sex. It will not be appropriate to use the word stud to refer to a woman who is sexually active or good at sex.
2. Expressive meaning
activity, but the word fuck has stronger emotive meaning than the word copulate.
3. Presupposed meaning
“Presupposed meaning arises from co-occurrence restrictions, i.e. restrictions on what other words or expressions we expect to see before or after a particular lexical unit.” (Baker 1992: 14). There are two types of restrictions, namely:
a. Selectional restrictions
Selectional restriction is a function of propositional meaning of word. For example, we expect a human (male) subject for the adjective masculine (for example, masculine boy), and an inanimate one for the adjective erect (for example, erect penis).
b. Collocational restrictions
These restrictions are semantically arbitrary restrictions which do not follow logically from the propositional meaning of a word, and because they are arbitrary, they tend to show more variation across languages. For example, teeth are brushed in English, but in German and Italian they are polished. In Polish they are washed, and in Russian they are cleaned
(Baker 1992: 14-15). 4. Evoked meaning
a. Dialect
A dialect is a variety of language which has currency within a specific community or group of speakers. It may be classified based on one of the following bases:
1. Geographical, for example: the difference between American English and British English in naming lift and elevator. (Baker 1992: 15) 2. Temporal, words and structures used by members of different age
group within a community, or words used at different periods in the history of a language, for example: verily and really (Baker 1992: 15). In line with Baker’s opinion, the site of http://dictionary.reference.com/browse states that verily (at 1250) is older than really (at 1400).
3. Social, words and structures used by members of different social classes, for example: the word scent and perfume. (Baker 1992: 15). Slang refers to a general phenomenon common to the whole language community, while dialect is restricted to one region or social class within the language community (Andersson and Trudgill, 1990: 73). Further, they state that slang is not a dialect, because slang is used to express sense of belonging to a particular group within a community which is not specific to any geographic location. For example, English has the slang cool and is spoken in English-speaking countries such as America and
b. Register
According to Baker (1992: 15), register is a variety of a language that a language user considers appropriate to a specific situation, and that register variation arises from variations in the following:
1. Field of discourse
“This is an abstract term for ‘what is going on’ that is relevant to the speaker’s choice of linguistic items. Different linguistic choices are made by different speakers depending on what kind of action other than the immediate action of speaking they see themselves as participating in” (Baker 1992: 16)
2. Tenor of discourse
This is an abstract term for the relationships between the people taking part in the discourse. (Baker: 1992: 16)
3. Mode of discourse
This is an abstract term for the role that the language is playing (speech, essay, lecture, instructions) and for its medium of transmission either written or spoken. (Baker 1992: 16)
Besides the above four meanings in translation, there is also one more meaning called referential meaning. Eugene Albert Nida and Charles Russell Taber in their book, The Theory and Practice of Translation (1974: 56), define referential meaning as the meaning of the words as symbols which refer to objects, events, abstracts, and relations.
C. Problems in Translating
Some problems may occur during the translation activity. One problem usually faced by a translator is to find the appropriate equivalence in the target language. Baker (1992: 21) mentions some common types of non-equivalence at word level, namely:
1. Culture-specific concepts
The source-language word may express a concept which is totally unknown in the target culture. The concepts in question may be abstract or concrete; it may relate to a religious belief, a social custom, or even a type of food. For example, chicken tikka masala is a name of Indian food found in the film THE GURU. The food contains culture-specific term which has no equivalence in Indonesian.
2. The source-language concept is not lexicalized in the target language
3. The source-language word is semantically complex
The source-language word may be semantically complex. This is a fairly common problem in translation. Words do not have to be morphologically complex to be semantically complex (Bolinger and Sears in Baker 1992: 22), for example, the word petting. Petting is a sexual activity done by repeatedly rubbing one’s genital into others’ for sexual pleasure and may also be done by touching, squeezing, kissing others’ body part, but does not include sexual intercourse.
4. The source and target languages make different distinctions in meaning “The target language may make more or fewer distinctions in meaning than the
source language. What one language regards as an important distinction in meaning may be the otherwise in another language. For example, Indonesian makes a distinction between going out in the rain without the knowledge that it is raining (kehujanan) and going out in the rain with the knowledge that it is raining (hujan-hujanan)” (Baker, 1992:22).
5. The target language lacks a superordinate
The target language may have specific words (hyponyms) but no general word (superordinate) to head the semantic field. For example, Russian does not have a ready equivalence of the word facilities, although Russian has some words that can be thought as facilities, such as sredsiva peredvizheniya (means of tranpsort), and neobkhodimye pomeschcheniya (essential accomodation) (Baker, 1992: 23).
6. The target language lacks a specific term (hyponym)
target language, then cunnilingus, fellatio, mutual oral sex, analingus, and rimming will only be possibly translated into mengoral or melakukan oral
seks.
7. Differences in physical or interpersonal perspective
“Physical perspective may be of more importance in one language than it is in another. Physical perspective has to do with where things or people are in relation to one another or to a place, as expressed in pairs of words such as come/go, take/bring, arrive/depart, and so on” (ibid.: 23).
For example, Javanese has six equivalences for the word give, depending on who gives to whom: maringke, ngaturke, nyaosi, ngekeki, nyukani, and menehi.
8. Differences in expressive meaning
There may be a target-language word which has the same propositional meaning as the source-language word, but it may have a different expressive meaning. For example, the sexual slang screw is translated into bercinta in Indonesian. The word bercinta may have the similar propositional meaning as the word screw, but it has dissimilar (less) expressive meaning than the word screw.
9. Differences in form
10.Differences in frequency and purpose of using specific forms
Even when a particular form does have a ready equivalence in the target language, there may be a difference in the frequency with which it is used or the purpose for which it is used. For example, English has many continuous – ing forms which are often used to bind clauses (such as in: She is singing, he
is crying, father is walking, etc) than other languages. Rendering –ing form in a German, Danish, or Swedish target text would result in unnatural style (Baker, 1992: 25).
11.The use of loan words in the source text
The use of loan words in the source text poses a special problem in translation, since their meanings are often lost in translation because it is not always possible to find a loan word with the same meaning in the target language. For example, the slang duck is borrowed in Thai, but it has slight difference in meaning from the slang duck in America. Duck in Thai is usually used to describe a transvestite prostitute in Thailand. Duck is used to differ Thai female prostitutes (chick) from Thai transvestites, who are well-known to have a sexy body (they also have boobs) and beautiful face like a real woman. Meanwhile, duck in America means a male prostitute or a gigolo.
D. Translation Strategies
While, Loescher (1991:8) defines translation strategy as “a potentially conscious procedure for solving a problem faced in translating a text, or any segment of it.”
Dealing with translation strategies, Baker (1992: 26) proposes several strategies that can be used, especially in translating non-equivalence at word level. Those strategies are as follows:
1. Translation by a more general word (superordinate)
This is one of the commonest strategies for dealing with many types of non-equivalence, particularly in the area of propositional meaning (ibid.: 26). In this strategy, a translator changes the source text word by finding its more general word in the target text.
Example
ST: So the way I look at it is...my pussy is the door to my soul. TT: Jadi menurutku…alat kelaminku adalah pintu ke jiwaku.
The word pussy meaning female’s genital organ is translated using its superordinate into alat kelamin.
2. Translation by a more neutral/less expressive word
This strategy deals with finding the equivalent word of the source text in the target text which is considered to be more neutral/less expressive. Applying this strategy may reduce or even remove the expressive meaning of the word. Example
SL : You see her, you screw her, we go home. TL : Kau melihatnya, bercinta, lalu kita pulang.
The word screw meaning having a sexual intercourse is then translated into bercinta in Indonesian. This strategy makes the expressive meaning of the
3. Translation by cultural substitution
“This strategy involves replacing a culture-specific item or expression with target-language item which does not have the same propositional meaning but is likely to have a similar impact on the target reader. The main advantage of using this strategy is that it gives the reader a concept with which s/he can identify something familiar and appealing.” (Baker, 1992:31)
Example
SL : The lovemaking art of Kama sutra is believed to be the solution of our problem.
TL : Seni bercinta Serat Centhini adalah solusi masalah kita.
Kama Sutra and Serat Centhini have different propositional meaning. Serat
Centhini is used as the equivalence of Kama Sutra to give Indonesian readers
a concept with which they can identify and get the similar impact. 4. Translation using a loan word or loan word plus explanation
Baker says that this strategy is particularly common in dealing with culture-specific items, modern concepts, and buzz words. Following the loan word with an explanation is very useful when the word in question is repeated several times in the text. Once explained, the loan word can be used on its own; the reader can understand it and is not distracted by further lengthy explanations (ibid.: 34).
Example
ST : Giving Mr. Happy a shine. TT : Menghangatkan Tn. Happy.
5. Translation by paraphrase using a related word
Example
ST : The lipstick makes her performance sexier.
TT : Pewarna bibir membuat penampilannya lebih seksi. 6.Translation by paraphrase using unrelated words
This strategy can still be used in some contexts if the concept expressed by the source item is not lexicalized at all in the target language. Instead of a related word, the paraphrase may be based on modifying a superordinate or simply on unpacking the meaning of the source item, particularly if the item in question is semantically complex (ibid.: 38).
Example
ST : Roni is a real stud that he made Susi come twice last night. TT : Roni benar-benar perkasa. Ia membuat Susi mencapai puncak kenikmatan sampai dua kali tadi malam
7. Translation by omission
“This strategy may sound rather drastic, but in fact, it does no harm to omit translating a word or expression in some contexts. If the meaning conveyed by a particular item or expression is not vital enough to the development of the text to justify distracting the reader with lengthy explanations, translator can and often do simply omit translating the word or expression in question” particularly if there are restrictions on space and if the text has to remain short, concise, and to the point” (ibid.: 42).
Example
E. Translation Quality Assessment
Nababan says that assessment toward a translation is needed since it will give benefit to the translator, the publisher, and the target readers (2003: 85). This assessment should be done in terms of accuracy, acceptability, and readability.
Accuracy in translation refers to the meaning in both of the source and target text. “The essence of translation lies on the preservation of ‘meaning’ across two different languages” (House, 1977: 25). A translation is called accurate if the message of the target text reveals the same message of the source text without having distortion, addition, or deletion of the original message.
Acceptability of a translation refers to the naturalness of the translation in relation to the target language system. Before translating, a translator should firstly consider the target readers’ culture in order to produce a natural translation. Thus, a translator may in some extent reconstruct, adapt or even rewrite whatever stated in the source text, not only translate it (Dewi, 2000: 22).
Nababan says that there are some factors which make the level of readability of a text become poor. They are (1) the use of new words, (2) the use of foreign and regional words, (3) the use of ambiguous words, (4) the use of foreign language sentences, (5) the use of ambiguous sentences, (6) the use of incomplete sentence, (7) the average sentence length, (8) the use of complex sentence, (9) unwell-arranged or illogical source text, (10) the other factors (2003: 64-78).
F. Slang
Lars G. Andersson and Peter Trudgill define slang as words or uses of words or expressions which are extremely informal and which are very often fashionable and therefore rather temporary-they may come into the language, be very popular, and then die out again fairly rapidly (1990: 16). Paul Roberts (in Andersson and Trudgill 1990: 69) says that slang is one of those things that everybody can recognize and nobody can define.
Meanwhile, Bethany K. Dumas and Jonathan Lighter argue that an expression should be considered "true slang" if it meets at least two of these following criteria: (1) it lowers the dignity of formal or serious speech or writing, (2) the user is familiar with whatever is referred to, or with a group of people who are familiar with it and use the term, (3) it is a taboo term in ordinary discourse with people of a higher social status or greater responsibility, (4) it replaces a well-known conventional term (http://en.wikipedia.org/wiki/slang).
are usually considered unsuitable for formal contexts. Slang is a form of language used by a particular group of people, often deliberately created and used to exclude people outside the group.
As stated in the above definition, slang is used to exclude people outside the group. It can be referred from the definition that slang can be used as an identity whether one belongs to a certain group or not. Slang may thus contribute to a sense of group identity and may convey to the listener information about the speaker's background (Microsoft ® Encarta ® Reference Library 2005). Another function of slang is to make your speech vivid, colorful, and interesting (Andersson and Trudgill, 1990: 16).
Not only mention the function of slang, Andersson and Trudgill also state some characteristics of slang. The characteristics are as follows:
a. Slang is language use below the neutral stylistic level
Neutral stylistic level here refers to the standard language used in the formal situation. “…slang is a relative concept. Since slang is relative, changes in neutral or formal usage will lead to changes in what is seen as slang” (Andersson and Trudgill, 1990:69). They also give some examples of slang which are nowadays considered as neutral or formal language. They are bus, bike, and phone which are actually slangy words of omnibus, bicycle, and
telephone. Bus, bike, and phone are now considered to be part of neutral
b. Slang is typical of informal situation
Andersson and Trudgill give an interesting example dealing with this characteristic: You hire a man to work for you and it has been a half of year you hire him. One day, while you are having a conversation with your worker, he uses more sloppy kind of language, with slang and swearing, for no special reason. From the example above, it can be noticed that there is a change of stylistic level of language and it can be interpreted as a friendly gesture, even as sign of respect. Language used between equals or near-equals tends to be less formal (ibid.: 71-72).
c. Slang is typical of spoken language
Most of us will act more formal in a situation in which we write than in a situation in which we talk (ibid.: 72). For example, when we watch a football match, we will hear a lot of slangs from the crowd around us, and in the next morning, we will find less slang in the newspaper reporting about the football match we watched. However, there are also written materials containing quite a lot of slangs, such as novels and short stories. We can find slang especially in the dialogue existing in the novels or short stories, as the author wants to describe the characters are like (Andersson and Trudgill, 1990: 72).
d. Slang is creative
“The creative aspect of slang is important. The point of slang words is often to be startling, amusing or shocking. Something must be done to make them stand out against the other, more ordinary lexical items” (ibid.: 78).
the groups. Microsoft ® Encarta ® Reference Library 2005 gives further explanation on how to form a new slang as the following:
Slang expressions may take form as metaphor (for example, brown eye means anus) and simile (for example, like a dog with two dicks means happy).
Words may acquire new meanings (for example, cool, originally it is used to describe weather condition-somewhat cold, usually pleasantly so, later it means very good, excellent).
A narrow meaning may become generalized (for example, fink, originally a strikebreaker, later it means a betrayer or disappointer) or vice versa (for example, heap, a run-down car).
Words may be clipped, or abbreviated (for example, mike from microphone), and acronyms may gain currency (for examples, VIP-very important person, AWOL,-absent without leave, SNAFU-messed up as usual).
A foreign suffix may be added (the Yiddish and Russian -nik in beatnik means literary works written by American writers in 1950s. They also called themselves as the Beat Generation) and foreign words adopted (for example, baloney from Bologna means nonsense).
A change in meaning may make a vulgar word acceptable (for example, jazz, which originally has sexual connotation, later it means to enliven) or
Words are newly coined (for example, oomph, sex appeal, and later, energy or impact).
G. Sexual Slang
When slang is used to refer to sexual things, then it will be sexual slang. The site of http://en.wikipedia.org/wiki/Sexual_slang gives the definition of sexual slang as a set of linguistic terms and phrases used to refer to sexual organs, processes, and activities and generally considered impolite or improper.
As stated in the definition above, slang can be used to refer to sexual organs both penis for male and vagina for female. Some sexual slangs referring to penis are johnson, dick, beaver cleaver, baloney pony, pork sword, button mushroom, etc. While pussy, bloom pudding, cock hotel, crack of heaven, cheese
factory, double doors, etc are usually used to refer to vagina
(www.sex-lexis.com).
Slangs can be also used to refer to sexual intercourse and masturbation as both of the two are part of sexual activities. Bang, boff, screw, bonk, laid, nooky, pork, shag, etc are the examples of sexual slang used to refer to sexual intercourse
(http://www.slangsearch.com). Meanwhile, sexual slangs for masturbation are divided into two categories, namely: (1) slangs for male masturbation and (2) slangs for female masturbation. The examples of the first category are beating the snake, beating the stick, beating your meat, buffing the banana, buffing the wood,
charm the cobra, jack off, wax the dolphin, etc. While beat the beaver, brushing
pineapple, making soup, muffin buffin’, etc are some sexual slangs used to refer to
female masturbation (http://nowscape.com/mast/slang_mast.htm).
H. Subtitling
Henrik Gottlieb in Baker (2001: 244-245) gives the definition of subtitling as follows:
“Subtitles, sometimes referred to as captions are transcriptions of film or TV dialogue presented simultaneously on the screen. Subtitles usually consist of one or two lines of an average maximum length of 35 characters. As a rule, subtitles are placed at the bottom of the picture and are either centred or left-aligned.”
In line with the above definition, the site of http://en.wikipedia.org/wiki/Subtitling defines subtitling as following:
“Subtitles are textual versions of the dialog in films and television programs, usually displayed at the bottom of the screen. They can either be a form of written translation of a dialog in a foreign language, or a written rendering of the dialog in the same language, with or without added information to help viewers who are deaf and hard-of-hearing to follow the dialog”.
programs which is usually displayed simultaneously at the bottom of the screen. Subtitling can be done by: (1) writing the dialogue in the original/same language (with or without added information) as the language used in the film or television program (intralingual subtitling), which is primarily aimed for deaf people or those who cannot hear well, or (2) writing the dialogue in a foreign language (interlingual subtitling), allowing a subtitler to change or translate the original language into another language.
Subtitling has two features that differentiate it from translating a common. The two factors are (1) semiotic composition, and (2) time and duration.
1. Semiotic composition
In subtitling, when a translator translates dialogue in the film, he/she will be supported by auditory and visual channel of the film. This will be different when a translator is translating a book without any illustration in it. Gottlieb in Baker (2001: 245) states that:
Any further, he states that there are four simultaneous channels that a translator must consider:
a) the verbal auditory channels, including dialogue, background voices, and sometimes lyrics.
b) the non-verbal auditory channel, including music, natural sound, and sound effects.
c) the verbal visual channel, including superimposed titles and written signs on the screen.
d) the non-verbal visual channel: picture composition and flow. 2. Time and Duration
The notion of time covers two phenomena: (1) time of text production and (2) time of text presentation in the target language audience (ibid.)
I. Summary of THE GURU film
THE GURU begins with Ramu, a dance instructor in New Delhi, who wants to move to America to pursue a better life and reaches his dream. He wants to be like Vijay, his cousin, who has moved there and told Ramu that he has already had a red Mercedes and lived in a penthouse apartment in New York City.
Ramu does not give up to pursue his dream as he then joins an audition to be a film star in a production house without knowing that it actually produces a porn movie. He finally gets the job as the main actor in the movie as Dwain, the director of the movie, likes his performance and that Ramu is suitable with his next film project. Ramu is really happy and tells his friends in the apartment that he is now an actor.
When the shooting day has come, Ramu has just realized that the film which he will act in is a porn movie, and it is also too late for him to pull back. He meets Sharrona, a sexy and beautiful porn actress, as his partner in the shooting area and then Dwain commands to start the shooting of the porn film. The shooting does not run well because Ramu is unable to reach an erection due to the crowd around him (the cameraman, soundman, Dwain, etc) and it causes the shooting to be repeated over and over again. Sharrona gives him some advices dealing with sex matters and Ramu finally asks her to be his private teacher of sex.
finally she introduces Ramu to all her friends as a guru of sex who is available for a sex consultation.
Ramu’s life gradually changes after that time and soon he becomes rich. He realizes that he should keep having Sharrona as his teacher to get her sex thoughts more. He keeps lying to Sharrona until someday he feels so guilty of being a fake guru and wants a remedy. However, Vijay forbids Ramu to stop his intention as he also enjoys the luxurious life as Ramu’s manager and that he does not want to lose it very soon.
Ramu starts feeling worried and guilty and the most important thing is that he starts falling in love with Sharrona. He has no guts to tell his feeling to Sharrona for she will get married soon with her fiancé, Rusty. He also wants to confess his mistakes to Sharrona for breaking the promise he made with Sharrona before. Unfortunately, Sharrona uncovers Ramu’s lies first before he makes a confession. She is so angry that she feels so stupid of believing in Ramu’s promise. Ramu chases her and tries to explain but she does not want to hear anything from Ramu. It makes Ramu upset and finally he says that she has done the same thing as him by pretending to be a good school teacher to Rusty and denying that she is actually a porn star. It makes Sharrona angrier and hates Ramu much more. Even, she does not want to meet him again.
man named Randy who also does the same things. Then, Ramu encourages himself to tell about his feeling and that he wants Sharrona to be his couple. Later, Randy makes a shocking statement for all the audience in the church by saying that Rusty is his boyfriend and that they are a gay couple, so that he does not want Rusty to marry Sharrona. After hearing Randy’s words, Rusty starts crying while running for Randy and then they hug and kiss each other. The same action is done by Ramu, he runs for Sharrona and then they kiss each other passionately.
CHAPTER III
RESEARCH METHODOLOGY
Research Type and Design
This is a qualitative research. According to Creswell, qualitative research is a research conducted based on distinct methodological traditions of inquiry, which rely on text and image data without establishing prediction and generalization of findings (Creswell, 1998: 15). In line with the definition of qualitative research, Blaxter, Hughes, and Tight define qualitative research as follows:
Qualitative research is concerned with collecting and analyzing information in as many forms, chiefly non-numeric, as possible, smaller number of instances or examples which are seen as being interesting or illuminating, and aims to achieve ‘depth’ rather than ‘breadth’. (Blaxter, Hughes, and Tight, 1996: 60).
This research is a single embedded-case study, since this research is focused on certain characteristics of a particular case: (1) the types of sexual slangs found in the film, (2) the translation strategies used by the translator to translate sexual slangs, (3) the effect of the translation strategies on the quality of translations. Creswell states that a specific case is examined in a case study (1998: 38). Case study may employ embedded analysis of particular aspects of a case, or holistic analysis of the entire case (1998: 63). In line with Creswell, Sutopo also states that a research can be called as a single embedded case study if it focuses on one characteristic (2002: 112).
Data and Source of Data
Source of data refers to the subject from which the data of the research are obtained. Sutopo states that source of data in qualitative research can be informant, event, place, and document (2002: 50-54). In conducting a qualitative research, a researcher is allowed to make use of quantitative data, as Sutopo states that both qualitative and quantitative research recognize two kinds of data, which are quantitative data (related to quantity) and qualitative data (related to quality). A researcher is allowed to analyze qualitative data quantitatively and use it as supporting phenomena (of qualitative analysis) for the final conclusion of the research (2002: 48).
Specifically, this research has three kinds of source of data. They are document, informant, and video.
Document is a written source of data. The data used in this research are sexual slangs which are in the form of a single word and a phrase found in THE GURU film.
2. Informants
In this research, informants are considered as source of data. They have an important role since they provide information as a contribution to the research (Sutopo, 2002: 50). There are three raters assessing the quality of translation in terms of accuracy and acceptability.
3. Video
In this research, video is included in the source of data since the researcher needs to watch the actions on the movie in order to determine and understand the sexual slangs found in the film.
Meanwhile, the researcher took the data by taking all sexual slangs found in THE GURU film, and collecting the result of the questionnaires distributed to the raters which are in the form of scores and comments. Then, the researcher focused the analysis on the types of the sexual slangs, the strategies used by the translator to translate sexual slangs, and the effects of the strategies on the accuracy and acceptability of the translation.
Sampling Technique
previous definition, Sutopo says that the researcher has to select source of data (documents and informants) that can give important information about the problems of the research (2002: 36). In this research, the researcher used both total sampling technique and purposive sampling technique. The researcher used the total sampling technique in order to collect the primary data by taking all data containing sexual slangs in THE GURU script and the Indonesian subtitle. Meanwhile, the researcher used the purposive sampling technique to collect the secondary data which are in the form of scores and comments given by the raters. Considering the important role of the raters toward this research, they should fulfill some criteria below:
1.
Having good ability in mastering
both English and Indonesian
2. Having good knowledge about translation 3. Having practical experiences in translating texts 4. Having good willingness in taking part of the research
Method of Data Collection
In collecting the data, the researcher employed two methods, which are: 1. Content Analysis
from a book or document. In this research, the researcher carried out content analysis by (in order to collect the primary data): (1) watching the movie, (2) analyzing the original script and the Indonesian subtitle, (3) and giving notes on the dialogues containing sexual slangs.
2. Questionnaire
The researcher also used questionnaire to collect the secondary data. Questionnaire is the list of questions for data collection in research (Sutopo, 2002:70). There are two kinds of questionnaires which are employed in this research, namely: (1) closed format, (2) and open format. The closed format is in the form of scaled questionnaire. It is given to the raters and they are asked to assess the accuracy and acceptability of the translation. Meanwhile, the open format is in the form of column for the raters’ comment.
Meanwhile, the scale and description for assessing the acceptability of the translation of sexual slangs are adapted from the scale for assessing acceptability proposed by Machali (2000: 119-120). The scale and description are as follows:
Scale Level Description
3 Acceptable
The translation is culturally acceptable, sounds natural and almost does not feel like a translation. There are no problems with the choice of lexical items.
2 Less Acceptable
The translation is not so culturally acceptable and sounds clumsy. There are problems with the choice of lexical items
1 Unacceptable
The translation is culturally forbidden, extremely sounds like a translation and is extremely clumsy or is not translated.
Scale Level Description
3 Accurate
The message of the source language is accurately conveyed into the target language. The intention of the speaker of using the slang can be rendered well.
2 Less Accurate
The message of the source language is not so accurately conveyed into the target language. The intention of the speaker of using the slang is not really rendered well.
1 Inaccurate
Technique of Data Analysis
In analyzing the data, the researcher used some steps as follows: Analyzing the sexual slangs
The primary data were taken from the dialogues containing sexual slangs. Analyzing the translation strategies
After determining the types of sexual slangs, the researcher analyzed the strategies applied and classified the data based on the translation strategy used. Distributing questionnaires to the raters
The researcher distributed questionnaires containing the scales of accuracy and acceptability to the raters. They were asked to assess the questionnaires based on the provided scale and were allowed to give comments on them.
Classifying the data
After the raters have finished assessing the questionnaires, the researcher took and then used them to classify the data based on the accuracy and acceptability.
Calculating the percentage of each classification
This step was done by recording and calculating the scores given by the raters. Afterwards, the researcher made the percentage of each classification based on the result of the calculation of the data.
F. Research Procedures
In conducting this research, the researcher followed the following steps: 1. Determining the movie
The researcher looked for a suitable film to analyze, i.e. it should contain sexual slangs.
2. Watching movie
After determining the film, the researcher watched it and analyzed the dialogue in the film and the Indonesian subtitle.
3. Collecting the primary data
The researcher collected the primary data by selecting words, phrases, clauses, or sentences in the film containing sexual slangs.
4. Encoding the primary data
After collecting the primary data, each datum was given number and code in order to make it easier to analyze. The data codification was done as follows: Dwain:
How big are you hard? Kalau tegang seberapa besar?
01/A/10:49 a. 01 refers to the number of the datum
b. A refers to the side of the compact disc
c. 10:49 refers to the time of emergence of the datum (at minute 10 second 49)
5. Collecting the secondary data
6. Analyzing the data
The data were analyzed to find out the effect of the translation strategies toward the quality of the translation in terms of the accuracy and acceptability. 7. Classifying the data
From the result of the analysis, the data were put into classifications. Then, each classification was calculated to get percentage.
8. Drawing conclusion
CHAPTER IV
RESEARCH FINDING AND DISCUSSION
A. Introduction
This chapter presents the research finding of the study and the answers to the problem statements which are mentioned in the first chapter. Therefore, this chapter consists of three parts, they are: (1) Part one clarifies the types of the sexual slangs found in the film THE GURU and the Indonesian subtitle, (2) Part two deals with the translation strategy used by the translator to translate sexual slangs, and (3) Part three discusses about the effects of the translation strategy on the quality of the translation in terms of accuracy and acceptability.
B. Research Finding 1. Types of Sexual Slangs
Table 3
Types of Sexual Slangs found in the film
No Type of Sexual Slang Datum Number Total Percentage (%) 1 Sexual slangs referring to
sexual organs
02, 03, 04, 05, 06,
07, 09, 17, 26, 28 10 29.4% 2 Sexual slangs referring to
sexual processes
01, 13, 14, 15, 16, 18, 21, 24, 25, 27, 30, 33
12 35.3%
3 Sexual slangs referring to sexual activities
1. Sexual slangs referring to sexual organs
The site of http://simple.wikipedia.org/wiki/Sex_organ gives the definition of sexual organs, which are also scientifically known as genitalia or genitals, as the parts of the body that allow sexual reproduction. Males and females have different sex organs. Sex organs belonging to males are penis, testicles, seminal vesicles, prostate, and Cowper’s glands. Meanwhile, female sex organs cover vagina, vulva, cervix, uterus, ovaries, and fallopian tubes. However, most sexual slangs found in this research refer to penis and vagina only.
Here are the examples of sexual slangs referring to sexual organs: Example 1
Context of Situation
Dwain:
No. Your Johnson. How big is your Johnson?
Tidak. Johnson-mu. Berapa besar ukuran si Johnson?
02/A/10:54 Johnson is a sexual slang referring to penis. It is originally derived from a
name of a person and it is usually used by old people as a euphemism for penis. Younger people prefer to use the word dick instead of Johnson as they consider it is an old-fashioned slang. Dwain uses the word Johnson instead of penis since he does not directly want to mention the word penis in front of Ramu. He wants to minimize the expressive meaning of the word. From the dialogue above, it is also clear that we need to consider about the context of the situation first to understand the exact meaning of the word Johnson, instead of directly looking it up in a dictionary.
Example 2
Context of Situation
Due to an appointment with his new client, Ramu wants to see Sharrona to get more knowledge about sex. He stalks behind Sharrona to persuade her to be his teacher of sex.
Sharrona:
So the way I look at it is...my pussy is the door to my soul. Jadi menurutku…alat kelaminku adalah pintu ke jiwaku.
There are 10 data embedded within this type as can be seen in the following table:
Table 4
Sexual slangs referring to sexual organs
No Datum Number Source Text Target Text
1 02 Johnson Johnson
2. Sexual slangs referring to sexual processes
This classification covers the sexual slangs referring to sexual processes. Sexual process here refers to a condition or process happening to males or females related to their sex organs. Below are the examples of the data:
Example 1
Context of Situation
http://onlineslangdictionary.com/definition+of/wood states that wood is a slang meaning an erection or a term used on reference to penile erection. Since erection is a part of sexual process, then this datum is classified into this category. Besides wood, there are more sexual slangs referring to an erection, they are stiffy, boner,
chubby, hard on, and jimber.
Example 2
Context of Situation
Sharrona agrees to be Ramu’s teacher and they start their lesson of sex at Sharrona’s apartment.
Sharrona:
When we come, we let go of our fears. Sewaktu orgasme, rasa takut itu hilang.
25/A/38:08 Another sexual process which can be found in the film is the process of orgasm. Microsoft® Encarta® Reference Library 2005 defines orgasm as the climax of sexual excitement, consisting of intense muscle tightening around the genital area experienced as a pleasurable wave of tingling sensations through parts of the body. The word come in the above dialogue is a sexual slang referring to the process of orgasm. The translator has made a perfect decision by translating the word come into the word orgasme. It proves that the translator can understand the context of situation well and does not make any mistranslation of the slang come. Besides come, orgasm can be expressed through other sexual slangs, such
as big-O, climax, blast-off, cumming, etc.
Table 5
Sexual slangs referring to sexual processes
No Datum Number Source Text Target Text
1 01 hard tegang
3. Sexual slangs referring to sexual activities
The site of http://en.wikipedia.org/wiki/Human_sexual_activity states that human sexual activity refers to the manner in which humans experience and express their sexuality. Humans may do sexual activities which involve one person, such as masturbation, or two people, such as sexual intercourse, oral sex, or mutual masturbation to express their sexuality. Sexual activities also include activities which are intended to arousal the sexual interest of another, such as deep kissing in foreplay.
The examples of the data belonging to this classification are as follows: Example 1
Context of Situation
Dwain:
I must say, most guys come in here, they wax the dolphin. Kebanyakan pria yang datang ke sini, mereka hanya beronani.
08/A/12:27 Wax the dolphin is a sexual slang referring to male masturbation. The
activity of masturbation which involves only one person can be put into sexual activity since it is done to gain a sexual gratification. Dwain uses the slang wax the dolphin to euphemize the word masturbate which is considered vulgar.
Unfortunately, Ramu, who newly arrives in America, does not know at all about this slang and it leads to a misunderstanding between them. There are some other sexual slangs to refer to male masturbation, they are beat the meat, beat the stick, buff the banana, charm the snake, do the pork sword jiggle, jack off, jerk off, etc.
Example 2
Context of Situation
After knowing the truth from Peaches, Ramu continues his shooting. As the film director, Dwain explains the story of the film. During the shooting, Ramu finds many difficulties, especially when he cannot reach an erection. In fact, he has to reach it to be able to do a sexual intercourse with Sharrona, his partner in the movie. Consequently, she must repeat the dialogues and actions over and over due to Ramu’s failure.
Dwain
You see her, you screw her, we go home. Kau melihatnya, bercinta, lalu kita pulang.
11/A/15:43 The word screw (as a verb) in the dialogue has nothing to do with the activity of tightening a screw (as a noun) onto something. It is a sexual slang for doing sexual intercourse involving at least two people. There are some synonyms
for the word screw, such as: fornicate, procreate, jazz, hump, bank, bonk, drill, and rock.
Table 6
Sexual slangs referring to sexual activities
No Datum Number Source Text Target Text
1 08 wax the dolphin beronani
4. Sexual slangs referring to people and their psychological characteristics This classification refers to people and their psychological condition related to their sexuality both mentally and physically. The sexual slangs which can be found under this classification are usually used to label a person or people due to their performance or sex ability. The examples and the explanations of the data belonging to this classification are as follows:
Example 1
Context of Situation
After knowing the truth from Peaches, Ramu continues his shooting. As the film director, Dwain explains the story of the film. During the shooting, Ramu finds many difficulties, especially when he cannot reach an erection. In fact, he has to reach it to be able to do a sexual intercourse with Sharrona, his partner in the movie. Consequently, she must repeat the dialogues and actions over and over due to Ramu’s failure.
Ramu:
I promise, in India I’m a real stud. Sumpah, di India aku jantan betul.
