A THESIS
Presented in Partial Fulfillment of the Requirements for the Attainment of a Sarjana Sastra Degree in English Language and Literature
By:
Permadi Tenrisau 10211144004
ENGLISH LITERATURE STUDY PROGRAM ENGLISH LANGUAGE EDUCATION DEPARTMENT
FACULTY OF LANGUAGES AND ARTS YOGYAKARTA STATE UNIVERSITY
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“To be the
BEST
. You need toACCEPT
the fact that You’reNOT
theBEST
and have theWILL
to strive to beBETTER
than anyone youface.”
- Roronoa Zoro -
“Don’t just count everything you’ve lost. What has gone, is gone. Think about what you have now.”
- Jinbei -
“Why so serious?”
- The Joker -
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This thesis is specially dedicated to:
My Mom,
All members of Lawet10 Family, and
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way I could complete this thesis unless with His blessings. The completion of this thesis is a long journey that I did not go through alone. There are some people who have helped me reach the destination. Without their support, patience, and guidance of the following people, this thesis would not have been completed. I owe my deepest gratitude to:
1. my mom (Mama Heni), my sister (Goprit) and all members of Lawet10 family, for their support, love, criticism advice, affection, support, and encouragement so that I can be highly motivated to finish this study;
2. my first and second consultants, Pak Asruddin Barori Tou, M.A., Ph. D and Pak Andy Bayu Nugroho, S.S., M.Hum. for all their help, guidance, and patience throughout the undertaking of this study;
3. my academic consultant Pak Yosa Abduh Alzuhdy, S.S., M.Hum., who has always given me the support to complete this thesis as soon as possible;
4. my best friends, the members of English Literature G class 2010: Putri, Nadindra, Evrilia, Damast, Rian KP, Arif Mendo, Hanif, Debby, Wulan, Okka Mawon, Septian, Andhika, Anisa, and Nofiar Nox for the happiness that have been shared crazy, stupid, and love things together in the this last six years; 5. all my friends in Translation concentration: Rizka, Tsasa, Aci, Ershandra,
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APPROVAL SHEET ... ii
RATIFICATION SHEET ... iii
PERNYATAAN ... iv
MOTTOS ... v
DEDICATIONS ... vi
ACKNOWLEDGEMENTS ... vii
TABLE OF CONTENTS ... ix
LIST OF TABLES AND FIGURES ... xii
LIST OF ABBREVIATIONS ... xiii
ABSTRACT ... xiv
CHAPTER I INTRODUCTION A. Background of the Problem ... 1
B. Identification of the Problem ... 3
C. Focus of the Problem ... 5
D. Formulation of the Problem ... 5
E. Objectives of the Research ... ... 6
F. Significance of the Research ... ... 6
CHAPTER II LITERATURE REVIEW AND CONCEPTUAL FRAMEWORK A. Theoretical Review ... 7
1. Translation ... 7
a. Translation Phenomenon ... 7
b. Translation Classification... 8
x
3. Subtitling Strategies ... 17
4. Verbal Humor... 20
5. Kinds of Verbal Humor ... 22
a. Wordplay ... 22
b. Allusion ... 26
c. Verbal Irony ... 28
6. The Degree of Meaning Equivalence ... 30
7. Related Studies ... 34
8. Hotel Transylvania ... 35
B. Conceptual Framework ... 36
C. Analytical Construct ... 41
CHAPTER III RESEARCH METHOD A. Type of Research... 43
B. Data and Sources of Data ... 43
C. Research Instruments ... 43
D. Technique of Data Collection ... 44
E. Data Analysis Techniques ... 46
F. Trustworthiness ... 46
CHAPTER IV FINDINGS AND DISCUSSION A. Findings ... 48
1. Types of the English Verbal Humor ... 48
2. Subtitling Strategies of the English Verbal Humor... 50
3. The Frequencies of the Degree of Meaning Equivalence of the Verbal Humor ... 51
B. Discussion ... 54
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Hotel Transylvania Movie ... 86
CHAPTER V CONCLUSIONS AND SUGGESTIONS A. Conclusions ... 95
B. Suggestions ... 97
REFERENCES ... 99
APPENDICES ... 103
A. The Data Sheet ... 104
xii
Table 2.Data Finding of Types of English Verbal Humor in Hotel
Transylvania Movie ... 49
Table 3.Data Finding of Subtitling Strategies to Translate the Verbal Humor in
Hotel Transylvania Movie ... 50
Table 4.Data Finding of Degree of Equivalence of the Translation of Verbal
Humor in Hotel Transylvania Movies ... 51
Table 5. Relationship of Types, Strategies and Degree of Meaning
Equivalence ... 52
Figure 1. Process of Translation ... 10
xiii AVT : Audiovisual translation
Con : Condensation
Hy : Hyperbolic expression Ij : Interjections
xiv English Hotel Transylvania and its Bahasa Indonesia subtitling text, to describe subtitling strategies employed in translating the verbal humor, and to describe the degree of meaning equivalence from the result of strategies employed.
This research employs a qualitative method since it provides descriptions of translation phenomena in Hotel Transylvania movie. The data of this research were taken from words, phrases, and sentences, that containing verbal humor, which exist in the form of expressions or sentences. The data were categorized based on some theories. The first is verbal humor theory proposed by Spanakaki (2007) and the second is subtitling strategies theory proposed by Gottlieb (2001). To achieve data trustworthiness, the data sheets are repeatedly checked by the researcher and some peers and the results were discussed with the consultants and the respondents. They are collected manually from English text as the phonic channel and Bahasa Indonesia text as the graphic channel of the original DVD of Hotel Transylvania movie. The researcher as the main instrument in this research manually collected and analyzed the data from the movie.
The results of this research show three important findings. First, the types of verbal humor found in the Hotel Transylvania movie text. Those are wordplay, allusion, and verbal irony. Verbal irony is the most frequent occurrence of verbal humor. It can be concluded that verbal irony is the most amusing verbal humor in Hotel Transylvania movie. Paronymy becomes the most frequent wordplay found in the data of this research because paronymy is the easiest verbal humor that can be understood by the viewers. One of the possible reasons why paronymy becomes the most frequent type of wordplay in Hotel Transylvania movie is that it plays with two or more words that are almost similar, but there are slight differences in both spelling and sound. Second, the translator applies seven subtitling strategies in translating the verbal humor in which transfer becomes the most frequently used strategy. It is because the translation of verbal humor in Hotel Transylvania movie still focuses with transfer of meaning of the humor, not on how to make the verbal humor in the target text. Third, from 67 data, 40 data of verbal humor in this research is considered as fully equivalent; 19 data are considered as partly equivalent; and there is no data considered as no meaning.
CHAPTER I
INTRODUCTION
A. Background of the Problem
Translation spreads rapidly into many fields because people‟s need of
information becomes higher every day. People recently not only want domestic information but also overseas one. This situation gives translation an important role to fulfill the needs. Because translation is a bridge to deliver meaning from one language into another language, it is very important to be conveyed. For example, there are many scholar books that have been translated into many languages. Moreover, there are still numerous other foreign movies imported to Indonesia and then translated into Bahasa Indonesia.
According to Jakobson (in Munday, 2001), there are three types of translation. They are intralingual translation, interlingual translation, and intersemiotic translation. The object of the research is interlingual translation which refers to a translation in which verbal texts are interpreted by means of other texts in different languages. Since it translates into different languages, there are many aspects to deal with in order to keep the message of the source language. It is common to change some expressions in phrase or sentence forms in order to fit the different perspectives that mostly appear between the translations of two languages from two different cultures.
Translation can be applied into several works. One of them as a popular work is movie. Movie is very popular in this world. There are many movies made
every day to entertain people. There are many aspects that can be taken from movies. Movies provide enjoyment or pleasure, knowledge and experiences. A good movie usually has some versions of languages. For example, some movies produced by famous production house like Fast & Furious, Transformer, and The Avengers have been translated into some versions of language although their
original language is English. It has business purpose to catch the global viewer, including Indonesian movie lovers.
Most Indonesians tend to watch foreign movies rather than Indonesian movies. However, not everyone or Indonesian viewers have access to the language in which the movie is provided. Through translation, they are helped to get and understand the information that has been translated into Bahasa Indonesia. With translators‟ action of translating the source language, they are responsible for conveying the messages in the movies in order to make it easier for people who watch a foreign movie to understand it. They should know not only both languages but also both cultures so that they can deliver the information to the target language correctly. Hence, a good movie translation is very important to help the viewers to appreciate the movies and furthermore learn from foreign language movies.
such as humor. In this particular study however, the forms of the research is in the particular problems in translation commonly found in translating movies and the study choose Hotel Transylvania as the main movie. Hotel Transylvania animated movie is one of the foreign comedy movies that has been translated into Bahasa Indonesia.
Hotel Transylvania animated movie is chosen by the researcher as the object
of this research because animation movie is quite popular in Indonesia. It is targeted for a wide range of viewers from children to adults. Furthermore, it has a great deal of verbal and visual humor in it, which children may not understand, to create a humorous nuance. However, there are problems in the subtitles when the humorous dialogues appear. The difficulties in translating humor are reflected in the object of this research since the Indonesian subtitling cannot render well.
B. Identification of the Problem
Due to the fact that the sense and taste for humor are always subjective without mentioning a culture or language specifically, it causes problems for translators, now it can be said that humor is difficult to translate. When translators translate the humor, they have to make the source humor function as humor in the target language. When translating humor a number of factors need to be taken into consideration. Besides having to decide whether the target language reader understands the humor, translators also have to render the humor‟s effect of the source text.
identified. These problems are linguistic aspect, cultural aspect, and natural aspect of subtitling.
The linguistic aspect of the humor is the first problem. In the process of translation, translators may modify the structure of the language as long as the meaning of the whole sentence is delivered. In the case of translating humor, which is linguistics in nature, the problem is for more complicated. Humor of this kind is very much dependent on the structure of the language.
The second problem, which is as problematic as the first one, is related to the cultural aspect of humor. Many said that translation is not only an act of translating the words from one language with those of another but also includes the process of transferring the culture of the source language because every language is always closely related to the culture to which it belongs. Translators need to make sure that the translated text is culturally equivalence in meaning to the target viewer. This situation may cause problems when there are no equivalent words to be translated into the target text. In other words, what is humorous in one culture may not be so in another culture.
can use a variety of subtitling strategies whether they have to change or maintain the meaning in order to fit with the limitation space of subtitling.
Moreover, the animation movie Hotel Transylvania is mainly targeted for children which can cause other problems. Since children mostly do not have the same background knowledge as adults do, the translators should concern with the basic translation theories that can be applied to the translation for children.
Furthermore, the children‟s background knowledge and understanding depend on
their knowledge in intercultural differences.
C. Focus of the Problem
Considering that there are several aspects that cause problems in Hotel Transylvania animated movie, this research focuses on three problems. They are
kinds of verbal humor found in English Hotel Transylvania animated movie and how are they realized in the Bahasa Indonesia subtitling text, the subtitling strategies employed by the translator in translating the verbal humor of the English verbal humor, and the degree of meaning of equivalence of verbal humor in the English Hotel Transylvania movie and the Bahasa Indonesia subtitling text.
D. Formulation of the Problem
Based on the problems identified above, the problems of this research are formulated as follows.
2. What are the subtitling strategies of the English verbal humor seen in the Bahasa Indonesia subtitling text?
3. What is the degree of meaning equivalence of the translation of the verbal humor in Hotel Transylvania movie into Bahasa Indonesia?
E. Objectives of the Research
Based on the formulation of the problems, the objectives of this research are:
1. to classify the types of verbal humor found in English Hotel Transylvania movie,
2. to describe the subtitling strategies used by the translators in translating verbal humor in Hotel Transylvania subtitling text, and
3. to describe the degree of meaning equivalence of the translation of verbal humor in Hotel Transylvania movie into Bahasa Indonesia.
F. Significance of the Research
The aim of this research is to give understanding and information of humor translation in animated movies. Hopefully, this research can bring the following significances.
1. This research can be used as a reference for those who are interested in conducting a study related to the translation of verbal humor, especially in animated movies.
2. This research can give contribution to the field of translation studies especially in relation to the translation of verbal humor.
CHAPTER II
LITERATURE REVIEW AND CONCEPTUAL FRAMEWORK
A. Theoretical Review 1. Translation
Translation is generally seen as a process of translating a text or a piece of information from one language to another language to make readers understand the information of the text without necessarily learning the source language first. It currently can be done by translation machine system such as Google Translate, Bing Translator or online dictionary. They can just type a sentence into one of the
machines and the result will show up in a few seconds. However, translation is more complex than replacing source language text with target language text. It has various definitions depending on perspective of the experts who give the definitions.
a. Translation Phenomenon
Some experts have given some definitions of translation to clarify the exact perception of what translation is. Hatim and Munday (2004: 6), for example,
define translation as “the process of transferring a written text from source
language (SL) to target language (TL), conducted by a translator, or translators.” This definition seems too general because what is transferred in the written text is not clearly stated.
A slightly different definition is proposed by Catford (1965: 20). In his book A Linguistic Theory of Translation: An Essay in Applied Linguistics, he defines
translation as “the replacement of textual material in one language (SL) by
equivalent textual material in another language (TL).” According to him,
translation is the process of transferring text from one language into another by maintaining the equivalent level of the SL expressions.
In a similar way, Nida and Taber (2003: 12) suggest that, “translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of
style.” It means that they emphasize on the equivalence between the SL and the
TL. This means that in translating the text from the SL translators should seek the equivalence in the TL.
When it comes in defining translation, Newmark (in Anderman and Rogers 2003: 55) writes that there is no such thing as one basic or classical text that defines translation. Translation is taking the meaning from one text and integrating it into another language for a new and sometimes different readership.
In summary, translation has several meanings that can be seen above. It refers to the product (the translated text) and the process done by the translator to transfer the source text into the target text. It can be said that in translating the text from source language translators should seek the equivalence in target language.
b. Translation Classification
Roman Jakobson (in Munday, 2001:5) in his paper, “On Linguistic Aspects
of Translation”, categorizes three types of translation.
1) Intralingual translation, or “rewarding” is an interpretation of verbal signs by
translation is synonyms in the same linguistic code or language, paraphrase or replacing an idiom such as pass away by die.
2) Interlingual translation, or “translation proper” is an interpretation of verbal signs by means of some other languages. What make different interlingual translation from intralingual translation is that it involves two or more language. This type of translation can be seen in replacing certain code-units in the source language by equivalent code-units in the target language.
3) Intersemiotic translation, or “transmutation” is an interpretation of verbal
signs by means of signs of non-verbal signs system. It refers to the use of signs or signals for the purpose of communication such as sign language and traffic signals.
Larson (1984) classifies translation into two main types. 1) Form-based translation
In this kind of translation, the translators are attempting to follow the form of the language.
2) Meaning-based translation
In this kind of translation, the translators express the meaning of source language in the natural form of target language.
that is audiovisual translation which is a sub-field of translation studies
(Baranauskienė andBlaževičienė, 2008 pp 14). A need to translate them into other
languages increase acutely. Therefore, along with the development of the media, audiovisual translation (AVT) started to gain prominence. However, although widely used in many non-English speaking countries, this area was not thoroughly researched until relatively recently. During the last 20 years, the audiovisual translation has grown at a remarkable rate and several researchers have addressed the various forms of audiovisual translation, such as dubbing and subtitling.
c. Translation Process
Translation process is an activity of a person (translator) when doing translation. Nida has three steps of translation process that can be used by a translator: 1) analysis, 2) transferring, and 3) restructuring (1975: 80). It is drawn as follows.
Figure 1. Process of Translation (Nida, 1975: 80) Source Language
Text
Receptor Language Translation
Analysis Restructuring
The process of analysis is relatively complex. It contains three different sets of features: the grammatical relationship between constituent parts, the referential meanings of the semantic units, and the connotative values of the grammatical structures and the semantic units. (Nida, 1975:80)
2. Audiovisual Translation
Audiovisual translation (AVT) is relatively new in translation studies. It can be defined as the translation of any material in audio, visual or audiovisual format. The translation products of audiovisual translation are TV programs, TV series and serials, films, videos, documentaries, sitcoms, advertisements, and so on.
Cintas and Anderman (2009: 8) describe that audiovisual translation is one of the most vibrant and vigorous field within Translation Studies in recent times. It becomes a prominent area of the study since the growth of media, especially in television programs or cinemas and the need for audiovisual translation in most countries. Cintas (in Chiaro, Heiss, and Bucaria 2008: 5) also explains that Audiovisual translation (AVT) is a field that has been growing in significance and visibility in recent decades, and many young, enterprising scholars are directing their interests and efforts to the analysis of audiovisual programs. It clearly explains that this field has been expanded rapidly increasing interest at educational, professional, and research level.
She also adds that audiovisual translation has two most widespread modalities adopted for translating products for the screen. They are dubbing and subtitling.
a. Dubbing
Dubbing or revoicing is a process which means “the replacement of the
original speech by a voice track which attempts to follow as closely as possible the timing, phrasing and lip-movements of the original dialogue” (Luyken 1991: 31). The key of a dubbing process can be analyzed in the term „voice tract‟. The voice track changes the original dialogues and attempts to follow as closely as possible the timing, phrasing and lip movements of the original dialogue (Chiaro 2008: 144). Dubbing aims at making the target dialogues sound as if the original actors are uttering them. With dubbing, viewers can actually watch the film in its entirety as they are not distracted by also having to concentrate on reading the dialogues (Chiaro 2008: 147).
Chiaro (2008: 145) divides the dubbing process into four basic steps that is involved in the process of dubbing a film from start to finish. First, the script is translated; second, it is adapted to sound both natural in the target language and to fit in with the lip movements of the actors on screen; third, the new, translated script is recorded by actors; and finally it is mixed into the original recording.
synchronic dialogues between the translation of each utterance and the lips movement.
There are two advantages of dubbing according to Serban (2004:7). Dubbing does not distract attention from the image. The viewers can focus their attention on the images and the words at the same time whereas in subtitled versions they constantly have to look up and down the screen to be able to follow the story. Moreover, it is considered better for children who have not yet learnt to read and for people with poor reading skills.
Synchronization is the major element that needs to be taken into account and it poses considerable problems as dubbing disadvantages. When dubbing, the writer is not free to modify the text as he wishes to make the speech in the target language more natural. On the contrary, he has to strictly follow what appears on the screen and the dubbed dialogue should fit the lip movements of the actors.
It is much more expensive than subtitling and it takes more time (Serban 2004:8). It can be up to 15 times more expensive than adding subtitles. Furthermore, it may involve loss of the original soundtrack. The voices of dubbing actors can be repetitive after sometime. Last, another disadvantage can be noticed when a dubbed film contains some scenes in which the actors speak two languages, particularly, if one of these two languages is said to be the TL of the dubbed film.
b. Subtitling
Subtitling can be defined as “the rendering in a different language of verbal
presented on the screen in sync with the original written message” (Gottlieb, 2001: 87). If we watch a foreign movie in cinema, we may see that there is a text in the bottom of the screen video. This text is subtitles, the translated text from the source text on the dialog to the target text.
Subtitles usually consist of one or two lines of average maximum length of 30-40 characters including spaces. Chiaro (2008: 148) says subtitling consists of incorporating on the screen a written text that is a condensed version in the target text of what can be heard on screen. The subtitle text has to be shorter than the audio so the viewers have enough time to read the subtitles while they enjoy the visual image at the same time.
Furthermore, Hatim and Mason (2000: 430-1) mention four main constraints on subtitling, which create particular kinds of difficulties for the translator, they are:
1) the shift in style from speech to writing,
2) the physical constraints of available space and the position of the sound-track dialogue,
3) the reduction of the source text as a consequence of the second constraint above, and
4) the requirement of matching the visual image.
the part of translator. With the aid of the dialogue list annotated for cueing, the translator will then take over and carry out the actual translation. The last stage is job for the third operator to check language and technical aspects, such as ensuring that subtitles are in sync with changes of frame.
According to Gottlieb (in Baker, 2001: 247), subtitling can be distinguished into two types from a linguistic viewpoint.
1) Intralingual subtitling is a subtitle in the original language that includes subtitling of domestic programmes for the Deaf and hard of hearing and subtiling of foreign-language programmes for language learners. Intralingual subtitling involves taking speech down in writing, changing mode but not for language.
2) Interlingual subtitling is a subtitle in another language (translation between two cultural language). This type is diagonal, the subtitler crosses over from speech in one language to writing in another, than changing made and language. Whereas technically speakingsubtitles can be either open (not optional, i.e. shown with the film) and closed (optional, i.e. shown via teletext).
Additionally, Kuhiwczak and Littau (2007: 129) propose the other categories of subtitling. They can be seen as follows.
2) Closed subtitling is the opposite of closed subtitle. It mostly used in DVDs with interlingual subtilting inmany language. It makes easier for the viewers, because thay can choose which language that they want to use or even they do not want to show the subtitles. Kuhiwczak and Littau also explain that nowadays people tend to use closed subtitling.
Subtitling is considered the most neutral, minimally mediated method that involves the least interference with the original Szarkowska (2005:10). For this reason, it can be argued that subtitling makes the viewers experience the flavor of the foreign language as well as the sense of a different 'other' culture. This is because the original soundtrack is preserved.
Subtitling may have a role in language learning (Serban 2004:6) and in a better understanding of the narrative network of a film. As Mera (1998:75) mentions, "hearing the real voices of the characters not only facilitates understanding in terms of the specific dialogue or plot structure, but gives vital clues to status, class and relationship". The researcher believes that there is no one could ever replace Adam Sandler or Morgan Freeman‟s voice. Furthermore, subtitling is far less expensive than dubbing. In other words, subtitling is cheaper to meet the needs of movie markets since it provides subtitles that are more economical and easier to produce (Szarkowska 2005:10).
subtitled versions to detect mistakes. There is greater loss of information because of compression (Serban 2004:6).
The viewers cannot see the screen clearly. The attention of the viewers is split between soundtrack, image and subtitles. They have to pay too much attention to the translated words at the expense of the other surrounding elements such as the sound, the movie set or the characters.
3. Subtitling Strategies
Subtitling does not only translate the dialogue, but also other meaningful language in movies such as signs, letters, and captions. Subtitling becomes more dominant rather than dubbing because it is simpler and cheaper. Some scholars develop the technique or strategies of inserting subtitles onto movie. One prominent scholar in the media translation field who has proposed corresponding subtitle translation strategies is Henrik Gotlieb. In categorizing the subtitling strategies, the researcher adopts theory comes from Gotlieb (2001) who introduce ten kinds of subtitling strategies to deal with the problem of subtitling.
a. Expansion
Expansion is used when the original text requires an explanation because some cultural nuance are not retrievable in the target language. The following is an example of this strategy.
SL: I‟m your Vlad-y daddy
b. Paraphrase
This strategy is resorted to in cases where the phrase of the original text cannot be reconstructed in the same syntactic way in the target language. Translators usually apply this strategy when they considered the space is available and the translated subtitles short enough. One example follows.
SL: I should really clear my throat before I speak. TL: Aku seharusnya berdehem dulu sebelum bicara.
c. Transfer
Transfer refers to the strategy of translating the same text completely and accurately. The following is an example of this strategy.
SL: Welcome to Hotel Transylvania!
TL: Selamat datang di Hotel Transylvania!
d. Imitation
Imitation maintains the same forms, typically with names of people and places. Here is an example.
SL: I've got tickets to six Dave Matthews Band concerts. TL: Aku punya enam tiket ke konser Dave Matthews Band.
e. Transcription
Transcription is used in those cases where a term is unusual even in the source text. For example, the using of a third language or nonsense language. The following is an example.
TL: Manusia memang kejam.
f. Dislocation
This method is normally employed in a situation where the special effect of the text or subtitling needs to be maintained. For example, a silly song in a cartoon movie, the translation of the effect is more important than the content. The following is an example.
SL: He flips, he slides, he falls TL: Berputar, Berseluncur, Jatuh
g. Condensation
Condensation usually applies by the translator when there is a long dialogue so those translators used necessarily reduction information and thus increases coherence for the viewers. It can be said condensation is the shortening of the text. The aim of this strategy is to reduce partially without deleting a meaning.
SL: Winnie! Front and center! TL: Winnie! Kesinilah!
h. Decimation
Decimation is an extreme form of condensation where perhaps for reason of discourse speed even partially important elements are entitled. The strategy is characterized by using shorter expressions and a reduction in content. This process may result the less of neither semantic nor stylistic content.
TL: Aku akan memanggilnya. Tuhan melarang. Juliet
i. Deletion
Deletion refers to the total elimination of parts of a text. Moreover, deletion is mainly used to deal with non-verbal content. Repetitions word and tag question can be deleted without losing any information from the source text to the semantic or stylistic content.
SL: I was wrong, Devil-chops. TL: Aku salah.
j. Resignation
Resignation describes the strategy adopted when there is no translation solution can be found and meaning inevitably lost.
SL: It is lockin’ in the crackin’, my friend. TL: Ini tak baik.
4. Verbal Humor
Vandaele (2002: 147) explains that humor is defined as a humorous effect. The humorous effect here refers to the fact that people will laugh and smile when they find something humorous. According to the Incongruity Theory (Franzini 2002: 16), humor arises when there are unexpected outcomes in familiar circumstances. A person may suddenly look or act in such a way that is unexpected or different from the norm.
Humor might be defined as a humorous effect such as laugh or smile, but analyzing the humor is not easy. According to Attardo (1994: 4 in Spanakaki 2007), laughter is not necessarily a condition for humor. Humor is whatever is intended to be funny, even if it might not always be perceived or interpreted as humor. This definition indicates that humor is a subjective thing since different people react differently to the same humorous stimuli (Veiga in Cintas and Anderman 2009: 163)
In analyzing the humor, laughter cannot be used as orientation of humor. There are some considerations to take something humorous or not. Neale and Krutnik (1990: 87-88 in Nieminen 2007: 8) have noticed that most examples of dialogues based on humor specifically involve deviations from the norms that govern conventional everyday communication. They also note that breaking the rules of politeness is fairly characteristic to all kinds of comedy. The viewers will know something is intended as humor if they can find the unconventional or unexpected response of the characters.
is, but there is more to humor than just the ability to make people laugh or to be able to laugh at funny things. Spanakaki (2007) even states no matter how ordinary or commonplace humor seems to be in everyday life, it is found to be much more problematic and indefinable as a theoretical concept.
There are two types of humor. They are verbal humor and visual humor. Verbal humor is, that can be written or spoken, usually plays with words to create the humorous effects. Franzini (2002: 24) defines that verbal humor is specific humor resulting from the manipulation of language as in riddles, wordplay, puns, jokes, sarcasm, wit, and name-calling. Visual humor does not use words in order to produce humorous effect. It can be defined as a humorous situation, which is not created, described, and expressed by a text. It always uses visual image to arise the humor, such as facial expression, body movement, make up or clothes which are arranged in such a way that makes the viewers laugh.
5. Kinds of Verbal Humor
Verbally expressed humor is among the most difficult to translate. As opposed to referential humor, verbal humor is often viewed as untranslatable due to its language dependent quality. Verbal humor divided into three (Spanakaki, 2007). They are wordplay, allusion, and verbal irony.
a. Wordplay
addition, Chiaro (1992:2) states that wordplay is “the use of language with intent
to amuse”. From the definition above, the intention of wordplay is to arouse
laughterer and amusement.
Meanwhile, the most comprehensive definition about wordplay that covers all the above-mentioned definitions is probably proposed by Delabastita (1996: 128 in Spanakaki 2007, in Vandaele 2010: 180). He states that
“Wordplay is the general name for the various textual phenomena in which
structural features of the language(s) are used are exploited in order to bring about a communicatively significant confrontation of two (or more) linguistic structures with more or less similar forms and more or less
different meanings.”
In sum, wordplay is textual phenomena. It means that wordplay needs to be used in particular textual settings. In other words, wordplay requires context. Moreover, wordplay occurs in a sentence which has ambiguity or confrontation of two linguistic structure with more or less dissimilar meanings and more or less similar forms. In some cases, wordplay also plays with the sounds of the words.
According to Delabastita (1996:128 in Spanakaki 2007), wordplay based on the types on degree of similarity can be further divided in the following categories.
1) Homonymy
Homonymy is a type of wordplay which has identical spelling and sounds but different meaning. For example, the word left in English refers to two different meanings. The first means „the past simple and past participle of leave‟
P1: You are on fire. P2: Oh, thank you.
P1: No, you are really on fire!
In the example above, Person 1 (P1) told Person 2 (P2) that he/she is on fire. P2 misunderstood what P1 means about on fire (enthusiasm). The fact is that P2 is really on fire (gets burn).
2) Homophony
Homophony is two or more words which has identical sounds but different spelling and meaning. A homophony is also considered as a type of homonymy. For instance, there are the words in English meat and meet that are pronounced the same but differ in meaning and spelling.
A: I need your advice.
B: I advise you to bring plastic bags.
3) Homograph
Homograph is a type of wordplay which has identical spelling but different sounds and meaning. For example, the word object in English refers to a thing that can be seen or touched but not a living animal, plant or person and the second refers to feel or express opposition of something or someone.
TL: They seemed to think the opportunity lost, if they failed to point the conversaton to me, evert now and then, and stick the point into me.
4) Paronymy
Paronymy refers to a condition when words or group words are nearly but not differences in both spelling and pronunciation. For example, the word naughty with the word knotty in English.
SL: Did that just say Grand Central Station? Or my aunt‟s constipation?
TL: Katanya “Stasiun Grand Central” atau “bibiku mual”
Both of the words Central Station and constipation are considered as paronymy—wordplay because they have similarity of sound. The translator translates them into Bahasa Indonesia by replacing the wordplay with two words with the same rhyme of „al‟, that is central and mual.
5) Polysemy
Polysemy is a type of wordplay which there is one word with different meaning. It must be realized that the difference between polysemy and homonymy sometimes is subtle since both are words with the same spelling and pronunciation, but different meanings. The difference between polysemy and homonymy can be seen from their meaning. When the meaning is related it belongs to polysemy, while when the meaning is unrelated it is called homonymy.
a. The newspaper fired its editor.
The word newspaper both in the first and second example has exactly the same spellingvand pronounciation, but the meaning is different. The first refers to newspaper as acompany that published the newspaper, while the second one means the physical form of newspaper.
b. Allusion
Allusion is categorized as one of kinds verbal humor which is stated by Ritva Leppihalme (in Spanakaki 2007). Allusion is a form of verbal humor that involves literary terms like proper names to refer something and to indicate implicit meaning. One way allusion is done is by reminding the viewers to certain popular terms such as name as popular figures, popular events, popular places, popular music, and so on, thus creating humor.
Defining allusion in kind of verbal humor is probably easier than translating it. It is started with looking the definition of allusion based on Cambridge Advanced Learner Dictionary 3rd edition. It defines allusion as something that is
said or written that is intended to make you think of particular thing or person. Meanwhile, Leppihalme (in Spanakaki, 2007) defines the allusion related to the
humor function. She refers to “allusion‟ as the use of proper names or to
to Mita, “It has rained so long, it seems as though it has rained for 40 days and
nights!” This example refers to allusion of a well-known event Noach Arch.
Moreover, allusion forms from applying slogans from movies, advertisement and political campaign, various catch phrases, clichés, proverbs, popular believe, assumptions and stories (Niknasab 2009). Spanakaki (2007) also adds that many allusions are adopted from history, literature, cinema, television, and music. For the purpose of humor, an allusion involves some modification of frames. Such frames include idioms, proverbs, catchphrases, and allusion to various sources (Leppihalme 1996: 200 in Spanakaki 2007).
Leppihalme (1997 in Hellgren 2007: 12) also divides allusion into two divisions. They are proper name allusion and key phrase allusion.
1) Proper Name allusion
The frame that carries the allusive meaning is a proper name. The corpus of this frame includes numerous examples, typically names people real-life and fictional, titles of fictional work, and names of organizations.
P1: Hey! Watch where you're going!
P2: It's a crosswalk, jackass. We have the right of way. Yeah.
P1: Hey, what the hell you doing walking around dressed like Star Wars. P2: It's Comic Con, you idiot. We're going to the Javits Center.
P1: You're the idiots, 'cause you three guys would never be walking together. You are his boss, and you two guys are enemies.
P3: Bite me, Captain Kirk!
P2: Whoa, whoa. Hey! That's Star Trek. That's two different franchises. P1: Sorry, guys. She doesn't know.
There are some data in the scene above which belong to allusion of famous movies, Star Trek and Star Wars. Both movies tell about the space battle.
2) Key Phrase allusion
Key Phrase allusion can be defined as encompassing all other allusions, those which do not contain a proper name, for example as references to song lyrics and well-known literary works.
In the case of translating allusive texts, it arises difficulty, Niknasab (2009: 52) says that allusion are culture-bound. Given that the sources of allusion, such as name the most important person, history, literature, are only relatively familiar in the source culture. Leppihalme (1994: 180 in Nieminen, 2007: 14) proposes because of the culture bound knowledge that the allusion require, they often lose their humorous effect in translation.
P1: You will know when you fall in love. P2: Yeah, I know. Love is deaf.
P1: You mean Love is blind?
The key phrase allusion Love is deaf is adapted from the popular idiom, Love is blind. Love is blind is made by Shakespeare. It is propbably Shakespeare‟s
favorite line because he mentions this line in some of his plays such as Two Gentlemen of Verona, Henry V, and The Merchant of Venice (1596).
In expressing humor, words can be created ironically to evoke the laughter. It is called as verbal irony. Irony in verbal humor is using word to express something completely different from the literal meaning. Usually, the speaker says something opposite of what he/she means and the listener believes the opposite of what the speaker says.
Irony can be formed by some features (Marleau 1982, Hurt and Widler 1998, in Peyroux 2011: 24-25), as:
1) interjections and formulae of greeting, politeness, affirmation, negation, amazement, exclamation, question tags,
2) forms of address with a proper noun,
3) forms of address with a common noun with a familiar sound, 4) phatic dialogue, and
5) repetitions that is clear from the context
When talking about ironic clues, Klreuz (1996: 32 in Salik 2010: 10) emphasizes the importance of the surrounding context. Knowing the overall context can indicate the ironic intent. Moreover, Pelsmaekers and Van Bensien (2002: 246 in Salik 2010: 9) explain that the verbal clues to irony may occur in spoken language or written texts. These include.
1) Hyperbolic Expressions
Example: “After a million hours, she finally appeared”
2) Tag Questions
Example: “That was easy, wasn’t it?” said after completing an extremely difficult
3) Hyperformality
Example: “I’m really sorry to bother you, young lady, but would you please
be so kind and clean your room?” said by mother to her daughter who has repeatedly ignored her request to clean her room
4) Intensifiers
Example: “I really appreciate your input in class discussion”, said by a teacher to
a student who is clearly not engaged in class activity
5) Interjections
Example: “Oh’ no, poor you!” said by someone who is not at all sorry for the
person”
6) Ironic Repetition of Previous Talk
Irony can bring fun in the conversation and create pleased situation. For instance, there is kind of situation; a friend falls in the puddle of mud by mistake, and you
smile then help her and say, “Well now, you have the greatest luck today!” The
comment will probably be funny and the two of you will be laugh because of that accident.
6. The Degree of Meaning Equivalence
“sameness of meaning”, but in terms of the greatest possible overlap of situational
range. Thus, equivalence in translation should not approach as a search for sameness since sameness of meaning cannot easily exist between the source language and the target language.
Some experts, such as Nida and Bell, have their own interpretation to explore deeper about the issue. According to Nida, because it is impossible for a
text in SL to be identically equivalent in TL, translators must seek “the closest
possible equivalent” (Nida and Taber, 2003: 159). Nida classifies equivalence into
two types, formal and dynamic equivalence. About formal equivalence, he
explains that “[f]ormal equivalence focuses on the message itself, in both form
and content … One is concerned that the message in the receptor language should
match as closely as possible the different elements in the source language.”
Furthermore, Nida adds that in order for the message in the receptor language to match as closely as possible to the elements in the receptor language, the message in the receptor culture should be constantly compared to the message in source
culture. By doing so, what Nida calls „accuracy‟ and „correctness‟ can be
determined.
In contrast, dynamic equivalence is based on what Nida calls “the principle
of equivalent effect”. In this kind of translation, translators do not seek to try to
match the receptor language message with the source language message, but
translators should seek „dynamic relationship‟ where the relationship between
Nida concludes that there are three essential terms in his definition of dynamic equivalent: (1) equivalent, which points toward the source-language message, (2) natural, which points toward the receptor language, and (3) closest, which binds
the two orientations together on the basis of the highest degree of approximation. The word natural itself must fit (1) the receptor language and culture as a whole, (2) the context of the particular message, and (3) the receptor-language viewers. (Nida and Taber, 2003: 166-7).
Another scholar who has discussed the problem of equivalence in translation is Roger T. Bell. Bell (1991:6) says that texts in different languages can be equivalent in different degrees (fully or partially equivalent), in respect of different levels of presentation (equivalent in respect of context, of semantics, of grammar, of lexis, etc) and at different ranks.
Sometimes, the source language text does not have the same meaning in the target language text so that the meaning in the target language. It can be fully or partly equivalent, but the meaning in the target text can be said as equivalent to the meaning in source text when they have function in the same communicate situation and express the same purpose.
For the conception of equivalence, the researcher adapts Bell‟s Theory
(1991:6) stating that text in different languages can be equivalent in different degrees (fully or partially equivalent). The classification divided into.
a. Equivalent
Example:
SL: Welcome to Hotel Transylavnia! TL: Selamat datang di Hotel Transylvania!
2) Partially Equivalent is when the verbal humor expression in the ST are translated into the TT as verbal humor expression with the different content but have the same meaning in humor. It also can be the verbal humor expression are being translated as non-verbal humor expression in the TT, but have the same meaning as in the ST.
Example:
SL: I'm wondering if there's a better setting for this back and forth. TL: Mungkin ada cara untuk menyelesaikan masalah ini?
b. Non-Equivalent
a. Different meaning happens when the translated changes the information contained in the ST text by using words, which have different meaning and form in the TT.
Example:
SL: I've got tickets to six Dave Matthews Band concerts. TL: Aku punya tiket konser Dave Matthews Band.
b. No meaning occurs when the translator omits to translate the words or expression in the ST looses all information contained in the ST.
SL: I don‟t care, slap them!
TL: Aku tak peduli, tepukkan!
There are two earlier researches used as references in doing this research.
Two of them are an undergraduate thesis entitled “Verbal Humor in the Rio
Animated Film and Its Translation in the Indonesian Subtitling” written by Anindia Ayu Rahmawati and a master thesis entitled “Comparing and Contrasting the Translations of Verbal Humor in Screen Translations of Shrek” written by Sini Nieminen from University of Jyväskylä.
In her thesis, Rahmawati discusses the various kinds of verbal humor and subtitling strategies used to translate Rio animated movie from English into Bahasa Indonesia. The results show that there are three kinds of verbal humor that found in Rio animated movie. Those are wordplay, allusion, and verbal irony. Allusion is the most frequently appeared as the kind of verbal humor in Rio. Wordplay and Verbal irony are considered as the second most frequency appeared. Moreover, there are eight subtitling strategies the translator applied in translating the verbal humor dialogue. They are Expansion, paraphrase, transfer, imitation, transcription, condensation, and decimation. Paraphrase becomes the most often subtitling strategy appeared in Indonesian subtitling of Rio animated movie.
The differences of both researches above with this research lies in the aim of
the research. Rahmawati‟s thesis want to measure the acceptability of the
translation, while Nieminen wants to compare the translation in screen translation. This research itself aimed to measure the degree of meaning equivalence of the translation.
8. Hotel Transylvania
Hotel Transylvania is an American 3D animated comedy movie produced
B. Conceptual Framework
The aims of this research are to classify the kinds of verbal humor, to describe the subtitling strategies applied in the Indonesian subtitling, and to assess the degree of meaning equivalence of the translated text. The main concern of this translation product is the translation product of Hotel Transylvania movie.
There are some theories used as the framework of this research. Those theories help to analyze the problems formulated in this research and to be used to set up a standard of judgment in analyzing the data. Moreover, the field of this research is mainly audiovisual translation, especially subtitling.
There are three frameworks of theories in this research. The first framework that would be discussed is related to the different kinds of verbal humor. As references for the analysis, some relevant theories concerning audiovisual translation, which includes subtitling and subtitling strategies, are applied. According to some theories, the data in this research were divided into three categories based on the kinds of verbal humor they contain. All categories that are relevant to analyze the translation of verbal humor are proposed by Spanakaki (2007). They are wordplay, allusion, and verbal irony.
1. Wordplay
sounds but different spellings); Homograph (different sounds but identical spelling); Paronymy (there are slight differences in both spelling and sound); and Polysemy (same spelling and pronunciation, but different meanings).
2. Allusion
Allusion is a form of verbal humor that involves literary terms like proper names to refer something and to indicate implicit meaning. One way allusion is done is by reminding the viewers to certain popular terms such as name of popular figures, popular events, popular places, popular music, and so on, thus creating humor. Leppihalme (in Hellgren 2007: 12) divides allusion into two; proper name allusion and key phrase allusion.
3. Verbal Irony
Irony in verbal humor is using words to imply the opposite of their literal meaning, or a situation where the outcome is the opposite from that intended or expected. Usually, the speaker says something opposite of what he/she means and the listener believes the opposite of what speaker says. Pelsmaekers and Van Bensien (2002: 246 in Salik 2010: 9) explain that the verbal clues to irony may occur in spoken language or written texts. These include:
a. hyperbolic expressions, b. tag questions,
f. ironic repetition of previous talk.
The second framework discusses about subtitling strategies that is used by translator to translate verbal humor. This research applied the theory based on
Henrik Gottlieb‟s classification of interlingual translation strategies. There are ten
strategies based on this theory. They are expansion, paraphrase, transfer, imitation, transcription, dislocation, condensation, decimation, deletion, and resignation.
1. Expansion is applied when the original requires an explanation because of some cultural nuance not retrievable in the target language.
2. Paraphrase is resorted to in cases where the phraseology of the original cannot be reconstructed in the same syntactic way in the target language.
3. Transfer refers to the strategy of translating the source text completely and correctly.
4. Imitation maintains the same forms, typically with names of people and places. 5. Transcription is used in those cases where a term is unusual even in the source
text, for example the use of a third language or nonsense language.
6. Dislocation is adopted when the original employs some sort of special effect, for example a silly song in a cartoon movie, where the translation of the effect is more important than the content.
7. Condensation would seem to be the typical strategy used, that is the shortening of the text in the least obtrusive way possible.
9. Deletion refers to the total elimination of parts of a text.
10. Resignation describes the strategy adopted when no translation solution can be found and meaning is inevitably lost.
The third framework explains about the degree of meaning equivalence of the translated humor text. Regarding degree of equivalence, Hartman and Strok in Bell (1991: 6) states that equivalence can be either fully or partially. In their
words, “(t)ext in different languages can be equivalent in different degrees (fully
or partially equivalent), in respect of different levels of presentation...”. Moreover,
in addressing the type of equivalence, Nida and Taber‟s definition about
translation can be taken into consideration. According to them, what should be equivalent in translation is meaning and style (Nida and Taber, 2003: 12).
For the concept of equivalence, the researcher adapts Bell‟s theory (1991:6)
stating that text in different languages can be seen that there are two types of equivalence (fully and partly) and two categorizations when the translation is not equivalent (different meaning) and no meaning in the ST. Therefore, in the translation of humor, not only meaning is translated but also form of the humor. In reference to the discussions above, the type and degree of translation equivalence of humor can be formulated in the following explanation.
1. Equivalent
a. Fully Equivalent
function of the ST can be maintained in the TT and the meaning of the original verbal humor can be fully transferred.
SL:
P: Yeah, it‟s all about swagger. You got to puff out that chest! Swing that
tails! Eyes narrow, Like some kind of crazy love-hawk! TL:
P: Ya, yang penting tampil jantan. Kau harus busungkan dadamu. Ayun ekormu. Sipitkan matamu, seperti elang yang sedang mabuk cinta b. Partly Equivalent
There are three criteria when the translated humor can be considered as partly equivalent. Firstly, ST verbal humor is translated or replaced by TT verbal humor with different content. The form and the function of ST verbal humor can be maintained, but the meaning is different from the original. Secondly, ST verbal humor is translated or replaced by TT with the same content, but the form and the function are different from the original. Last, ST verbal humor is translated or replaced by TT verbal humor with different content. The form and the function change in the TT, but still can be categorized into verbal humor.
SL:
P: Nobody needs your deals anymore, Grumblestinkypants.
TL:
P: Tak ada lagi yang ingin membuat kesepakatan denganmu, Rumpel yang bau.
The TT changes the information contained in the ST text by using words, which have different meaning in the TT.
SL:
P: DRACULA: Did you see that? Who is that guy, Sir Breaks-a-lot? Oh, boy, I have to say, that was fun. Okay?
TL:
P: DRACULA: Kau melihatnya? Siapa orang ini? Tuan menyenangkan? Oh, harus kukatakan. Tadi menyenangkan.
b. No meaning
Verbal humor in the ST is not realized in the TT.
SL:
P: That is so darn sad.
TL:
P: Menyedihkan sekali.
C. Analytical Construct
Figure 2. Analytical Construct
Audiovisual Translation
Subtitling Dubbing
Interlingual Intralingual
English Hotel Transylvania
movie text (ST) Transylvania movie text (TT) Bahasa Indonesia Hotel
Types of Verbal Humor Translations of the Verbal Humor
Subtitling Strategies
Degree of Meaning Equivalence
1. Equivalent 2. Non-equivalent
a. Fully equivalent a. Different meaning
CHAPTER III
RESEARCH METHOD
A. Type of Research
This research is used descriptive qualitative research. It does not deal with the testing of a theory or a hypothesis, but it deals with the understanding of theory (Hadi 2000: 23). It is a research which the researcher collects and analyzes the data to draw conclusions. Three main purposes of a descriptive qualitative research are to describe, to explain, and to validate findings.
This research describes the translation of verbal humor, to classify the types of verbal humor, to describe the subtitle strategies applied in the Indonesian subtitling text, and to describe the degree of meaning equivalence in Indonesian subtitling text of Hotel Transylvania animated movie. In conducting this research, the researcher collected, rewrote, classified, analyzed the data and made some conclusions.
B. Data and Source of Data
The data sources were taken from words, group of words (phrase), and sentences, expressed by the characters that containing verbal humor, which exist in the form of expression or sentences. The data of this research were taken from original DVD Hotel Transylvania animated movie.
C. Research Instruments
There are two kinds of instruments used in this research concerning the method of collecting data. The two instruments are the researcher and data sheets. The researcher is the key instrument for collecting, measuring, and analyzing the
data. He is the center of the whole research process because he plans the research, collect, analyze, interpret the data, and eventually report the research findings. As the supporting instrument, data sheets were employed to record and classify the data. They were used to record phrases and sentences that contain verbal humor. Verbal humor in the original movie is written down to be analyzed further with those in the translated versions.
D. Technique of Data Collection
In collecting the data, the researcher, as the primary research instrument, applied some steps, i.e.:
1. replaying Hotel Transylvania animated movie several times to comprehend the whole of stories,
2. selecting the data from English dialogues (English subtitling text) employing the verbal humor,
3. transcribing the English text that contains verbal humor and their Bahasa Indonesia subtitling text,
4. identifying all verbal humor and their translations as the main data, 5. classifying the verbal humor and their Bahasa Indonesia subtitling text,
6. comparing the data and making classification based on their subtitling strategies,
7. classifying based on the equivalence of meaning, 8. coding the data in order to make easier the analysis, and 9. putting the data into the data sheet.
Hm Hp Hg Pr Po Pn Kp Hy Tq Hf In Ij Ir
Jadi kau akan tinggal dengan Ayah.
Below is the complete convention of abbreviation used in data coding.
1 : number of the datum Hp : homophony Pr : paronymy
AL : allusion Hy : hyperbolic Res : resignation
Con : condensation Ij : interjenction ST : source text
Dec : decimation Imi : imitation Trc : transcription
Del : deletion In : intensifiers TT : target text
Diff : different meaning Ir : ironic repetition Tf : transfer
Dis : dislocation Kp : key phrase Tq : tag question
Ex : expansion No : no meaning VI : verbal irony
Full : fully equivalent Part : partly equivalent WP : wordplay
Hf : hyperformality Pn : poroper name
Hg : homograph Po : polysemy
Hm : homonymy Pp : paraphrase
Table 1. The Example of Data Sheet
√ √ tay" in purpose to follow the rhyme.
Res Full Part Diff No
E. Data Analysis Techniques
The data in this research were analyzed using some steps as follows. 1. Reading
In this first step all the data that had been collected before, both from the ST and from TT, were read comprehensively.
2. Classifying
The relevant data were categorized using a table. The table was made to classify the data into types of verbal humor, subtitling strategies used to translate the humor, and the degree of equivalence of the verbal humor. They are classified based on the theory discussed in Chapter II
3. Interpreting
When the classification was finished, the data were analyzed further by interpreting each datum based on main theories that have been explained in Chapter II to answer the research questions.
4. Reporting
In this last step, the data were presented in the discussion. Some examples from the findings were taken and further explanations of the interpretation were elaborated.
F. Trustworthiness
According to Given and Saumure (2008: 895), trustworthiness is “the ways
Credibility implies that the data are accurately represented by the researcher (Given and Saumure, 2008: 895). In achieving the degree of credibility, detail observation of the data is performed. The data were read and re-read carefully and comprehensively, then they were collected and classified in accordance with the research question.
CHAPTER IV
FINDINGS AND DISCUSSION
A. FINDINGS
There are three findings in this part. They are types of verbal humor in Hotel Transylvania English movie, subtitling strategies used by the translator to
translate the verbal humor in Hotel Transylvania English movie into Bahasa Indonesia subtitling text, and degree of meaning equivalence of the translation of verbal humor in Hotel Transylvania movie into Bahasa Indonesia. Each finding is presented in a table which contains frequency and percentage of the total 67 data. They are classified based on the theory discussed in Chapter II.
1. Types of the English Verbal Humor
There are three types of verbal humor found in this research. They are wordplay, allusion and verbal irony. Besides, there are sub-types of each type of the verbal humor. The following Table 2 provides a description of the first finding. It contains the list of the types of verbal humor (wordplay, allusion and verbal irony) that are expressed by the characters in Hotel Transylvania animated movie and defines their frequency of the occurrence as well as their percentages.
