i
A STUDY OF THE ACCURACY AND READABILITY OF
THE INDONESIAN SUBTITLE IN
LILO AND STITCH
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements for the Degree ofSarjana Sastra
in English Letters
By
YEMIMA AJI PUTRA
Student Number: 054214071
ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS SANATA DHARMA UNIVERSITY
v
When a train goes through a tunnel
and it gets dark,
you don’t throw away the ticket and
jump off.
You sit still and trust the engineer.
Boom-vi
viii
ACKNOWLEDGEMENTS
First of all, I would like to thank Jesus Christ for the blessing in every single day during writing this undergraduate thesis. I thank my beloved parents for the support, encouragement, guidance, love, patience and prayer. I would also like to thank for those who were willing to be my respondents. I really appreciate the help and kindness to spare the time. I thank my thesis advisor, Harris Hermansyah S, S.S., M.Hum., for guiding me in every step of writing the thesis for almost 4 semesters. I also thank my thesis co-advisor, Anna Fitriati S.Pd., M.Hum., for the advices on preparing for the thesis defense. I thank every lecturer who has taught me. I thank the secretariat staff, mbak Ninik, for helping a lot during this process. Moreover, I thank my close friends, Dida, Bruno, Sindu, Galih, Andi, Cahyo, Niko, Iwan, Mutia, Tris, Yanie, for every single help. Finally, I thank ministers, Budi Raharja, Purwanto Rahmat, and Setyo Wahono for the prayers. Once again, I thank all people I cannot mention here who have supported me.
ix
STATEMENT OF ORIGINALITY ………. vii
ACKNOWLEDGEMENTS ………. viii
TABLE OF CONTENTS ………. ix
LIST OF TABLES……… xi
LIST OF DIAGRAMS ………. xii
ABSTRACT ……….… xiii
ABSTRAK………... xiv
CHAPTER I: INTRODUCTION A. Background of the Study……….... 1
B. Problem Formulation ………. 7
C. Objectives of the Study ……….. 8
D. Definition of Terms ……… 8
CHAPTER II: THEORETICAL REVIEW A. Review of Related Studies ………. 10
B. Review of Related Theories ………... 12
1. Translation Theories………. 12
2. Translation Process ………. 14
3. Problems in Translation……… 16
4. Meaning in Translation………. 18
a. Lexical Meaning……… 18
b. Grammatical or Structural Meaning……….. 19
c. Textual Meaning……… 20
d. Contextual or Situational Meaning……… 20
e. Socio-Cultural Meaning………. 20
5. Translation Accuracy ……… 21
6. Translation Readability ……… 24
7. Subtitling Standards ………. 27
8. Translating Film Subtitle ……….. 36
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CHAPTER III: METHODOLOGY
A. Object of the Study ……….. 40
B. Method of the Study ……….40
C. Research Procedure ……….. 41
1. Kinds of Data ……… 41
a. Objective……… 41
b. Affective……… 41
2. Data Collection ………. 42
3. Population and Sample ………. 44
4. Data Triangulation………. 45
5. Data Analysis ……… 46
D. Research Framework ……….………...48
CHAPTER IV: ANALYSIS A. Translation Accuracy ………... 50
1. Highly Accurate Translation………..51
2. Accurate Translation……… 51
3. Inaccurate Translation………56
4. Highly Inaccurate Translation………82
B. Translation Readability ………... 83
1. Highly Readable Translation………. 84
2. Readable Translation………. 89
3. Unreadable Translation……….……….... 102
4. Highly Unreadable Translation……….…….... 113
a. Inaccurate-Readable Translation…....….………….….... 116 Appendix 1 Translation Readability Questionnaire………….………….…127
Appendix 2 Data Analyzed …..………..………….……….…134
xi
LIST OF TABLES
Table 1. Accuracy Rating Instrument ……….………...… 23
Table 2. Accuracy Category…………..……….…… 24
Table 3. Readability Rating Instrument……….……….…… 26
xii
LIST OF DIAGRAMS
Diagram 1. Accuracy Score ……….……… 82
Diagram 2. Accuracy Scale Classification in Percentage ……… 83
Diagram 3. Readability Score of Each Respondent ………. 114
xiii
ABSTRACT
YEMIMA AJI PUTRA. A Study of the Accuracy and Readability of the Indonesian Subtitle inLilo and Stitch. Yogyakarta: English Department, Faculty of Letters, Sanata Dharma University, 2012.
This undergraduate thesis discusses the accuracy and readability level found in the subtitle of movieLilo and Stitch. The subtitling of Lilo and Stitch plays an important role in transferring the message from the English dialogues into the Indonesian language. Every dialogue in this movie presents important messages, but the important messages are not fully conveyed. It is due to the inaccuracy in the target language which eventually creates a different understanding and interpretation. There are two problems analyzed in this thesis. The first problem is how accurate the translated subtitles in Lilo and Stitch is. The second problem is how readable the translated subtitles to the readers is. This thesis examines and analyzes the accuracy and readability of the subtitles when compared to the dialogues spoken. It also gives the effects towards the readers when reading and understanding the translated subtitle.
xiv
ABSTRAK
YEMIMA AJI PUTRA. A Study of the Accuracy and Readability of the Indonesian Subtitle in Lilo and Stitch. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2012.
Skripsi ini membahas tingkat keakuratan dan keterbacaan pada teks terjemahan film Lilo and Stitch. Teks terjemahan Lilo and Stitch memiliki peranan penting dalam menyampaikan pesan dari dialog bahasa Inggris ke dalam bahasa Indonesia. Setiap dialog pada film menyampaikan pesan penting namun pesan penting tersebut tidak sepenuhnya tersampaikan. Hal ini disebabkan oleh ketidakakuratan pada bahasa sasaran yang pada akhirnya akan menciptakan pemahaman dan tafsiran yang berbeda. Ada dua masalah yang akan dianalisa pada skripsi ini. Masalah pertama mengenai seberapa akurat teks terjemahan dalam filmLilo and Stitch. Masalah kedua mengenai seberapa terbaca teks terjemahan terhadap para pembaca. Skripsi ini menguji dan menganalisis keakuratan dan keterbacaan teks terjemahan ketika dibandingkan dengan dialog yang dituturkan. Skripsi ini juga memberikan efek-efek terhadap pembaca saat membaca dan memahami teks terjemahan.
Metode yang digunakan pada skripsi ini adalah kualitatif atau empiris. Penelitian empiris dilakukan dengan menemukan data primer melalui dialog pada film dan penerjemahan teks. Kemudian, penulis mengumpulkan data tersebut dan mendistribusikan kuesioner kepada 10 responden.
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CHAPTER I
INTRODUCTION
A. Background of the Study
Technology has made people live a better life. In accordance with the development of technology, nowadays, people can get entertainment much more easily and frequently than in the past. For instance, it can be seen that almost all people have television as one representation of the development of technology. Before television was invented, people could only get entertained by radios. However, with the invention of color television, their views were broadened as there were many interesting visual program offered on television.
Movie as a form of entertainment can not only be watched through TV station but also through VCD (Video Compact Disc) or DVD (Digital Video Disc) player. VCD and DVD can be rent and are available at many stores. To buy a VCD or DVD people just spend at least five thousand rupiahs instead of spending fifteen thousand rupiahs to buy a ticket at cinema. Nowadays, people not only watch local movies but also watch foreign movies. Some say that they have good quality on the picture and some says that they are more interesting. By watching a foreign movie people can learn not only the content of the film itself but also the language used in the conversation.
Subtitles usually come out in one or two lines at the foot of the screen simultaneously with the spoken dialogue or narration in the source language. Subtitles play an important role as a medium used by viewers to understand the plot of the movie. Karamitroglou in his translation journal says, “In unified framework of European communication, subtitling as the means of overcoming linguistics barriers between the nations will come to play a critical role” (Karamitroglou, 1997). Subtitlers, of course, have barriers when doing and finishing their work. Therefore, it may result to the way the subtitlers comprehend the movies subtitles. They need to make their subtitling readable because movie subtitle should be enjoyed by the viewers of different background.
It is necessary for the subtitlers to understand the movies, the meaning and the uses of languages, source language and target language. It is so because there are many idioms, terms, expressions, and so forth in the movies, considering the elements of the country where the movies are made. It may also mean that they should concern with the situation or the context of the message conveyed. In relation to the movie screen, viewers should have to divide the out looking moment between two different activities, reading the subtitles and watching the moving picture, and continuously connecting them all together. Thus, to make the subtitling readable and comprehensible, the subtitlers should use good strategies in subtitling the dialogue.
considering the processes and strategies of translation. Many words, phrases, and sentences are translated incorrectly by the translator. The translator does not consider the structure, grammar, and even he changes, adds, and omits some words or phrases. Here, the accuracy of the subtitles needs to be evaluated.
The translator of the movieLilo and Stitchunconsciously or not is trapped on translating idiomatic expressions. It is because they do not know the forms of it and they just interpret or paraphrase the idiom into the source language then translate it into the target language. The example of inappropriate translation is shown below:
ST: Welook afterLilo’s dog until I get a job.
TT: Kita akan mencarikan Lilo anjing setelah aku mendapat pekerjaan.
translate it only by word for word method. It should be translated idiomatically in order to get the message.
The translator should know that some idioms are misleading that they seem transparent because they offer a reasonable literal interpretation and their idiomatic meanings are not necessarily signaled in the surrounding text. A large number of idioms in English, and probably all languages, have both literal and an idiomatic meaning, for example go out with and run out. In this case, a translator who is not familiar with the idiom may easily accept the literal interpretation and miss the translation on idiom. Another example of an inappropriate translation is shown below:
ST: All aliens know about the rule. TT:Alien semua tentang aturan.
Basically, the target language text above is unreadable. Audiences who read the target text will find a difficulty to understand the message being transferred. They will find difficulties to define whether the target text is a sentence or a noun phrase. Besides, the target language text is inaccurate to the source language text. Here, the translator mistypes the verb tahu in the target text. So, it makes audiences hard to understand the meaning and the context in the conversation.
"What he actually does is to decode the meaning, transfer the content, and then generate the message in the receptor language."(1964:68)
In short, translating is not an easy work; the difference of the linguistic and the background of culture between source language and target language is the obstacle which is difficult to avoid. Probably, the evidence of this opinion still needs to be proved, but in fact we sometimes find the difficulties of finding the equivalent. For example in Indonesian there are wordskamuandkalian,whereas in English for the two words there is only one wordyou.
In this case the translator is forced to change, to omit, or to add certain words to solve his problem, but the translator should remember that in solving problem he/she is not permitted to change the meaning. He may change the word but not the meaning. Finlay in his book Translation says:
"...any translation worthy of the name must reproduce the sense of the original, omitting nothing and adding nothing." (1974:2)
difference and sometimes they are concerned with the style or taste of the translators. (Newmark, 1993: 29-30)
Translators should know that translating subtitles on movies or TV programs is different from translating texts. In film, the dialogues are to be spoken with intonation, pattern, pitch, loudness, and rhythm. This involves the actor’s interpretation. The text may not be translated either too literary or too freely. It must give a balance among characters, scenes, and speech, for example, freer interpretations of particular expressions in the target language, the deviation of gesture patterning between the source language and the target language, etc. When the translators do the translation on subtitles, there are a lot of questions dealing with the quality of translating subtitles. Are the translations accurate? Is it readable? These questions actually give the writer an idea to do research on translating subtitle of the foreign movie into Indonesian. In order to explore the mistakes of translation, the movieLilo and Stitchhas been chosen as the case study here. Some mistakes done by the translator in subtitling movie Lilo and Stitch then give the writer idea to do analysis on the problems.
B. Problem Formulation
The problems formulation in the study is stated as follows:
C. Objectives of the Study
This study aims to find out the translation accuracy and the translation readability of the movie subtitles. The translation accuracy is evaluated by analyzing the inappropriate words, phrases, and sentences found in the Indonesian subtitles of movie entitledLilo and Stitch.Besides, this study aims to find out whether the target texts are readable to the audiences. Moreover, the translation accuracy and translation readability are evaluated in order to reach the translation level of the movie subtitles.
D. Definition of Term
There are important terms related to the study that should be clarified in order to avoid misunderstanding and give deeper understanding on it.
Helen J Lever in her article, MA in Translating & Interpreting, subtitles can be defined as textual versions of the dialog in films and television programs, and are usually displayed at the bottom of the screen. In another word, subtitles can be defined as transcriptions of film or TV dialogue, presented simultaneously on the screen. <http://www.peak-translations.co.uk/pdfs/Subtitling.pdf> (accessed on March 5, 2010)
as the source language (Larson, 1984:49). It means that the words or phrases or clauses of the target language should convey the best closest meaning to source language.
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CHAPTER II
THEORETICAL REVIEW
A. Review of Related Studies
Hilda (2009) in her undergraduate study tries to figure out the accuracy and acceptability in the translation of subtitling movie entitled Facing the Giants when compared to the dialog spoken. She examined the effects toward the viewers with the existence of the subtitling. Although translation has never been defined its standard of accuracy, an accuracy to some extent cannot be tolerated. There are changes and revisions that are truly proposed to make the translation more accurate, understandable, and acceptable.
Basically, Hilda conducted a combination of empirical and library research study in her undergraduate thesis. The empirical research was done by finding primary data through the subtitling and dialog in the movie and the questionnaire distributed to 20 respondents of 6 beliefs including Christians. The returned questionnaires were analyzed, and 10 respondents available for interview were asked for further information concerning their answer relating to the effects of the translation.
acceptability are being compared, the effects found are more negative on the viewers and it arouses misunderstandings of messages and perceptions conveyed in the movie. As a result, viewers lose track of the movie and disturb them about the truth of Christianity and its value.
Another study conducted by Rahayu (2004) also discusses translation of movie subtitle. She wanted to find out kinds of mistakes which occur in the subtitles that do not convey the meaning of the original utterances, mistake that mostly occurs in the subtitles, and the quality of the subtitle. To answer the research questions, she used the theory of translation from Newmark about unit of translating, audience criteria, and the categorization of translation mistakes. She also used theory from Durieux about the criteria of a good translation. As her research instrument, she used original VCD entitledAmerican Beautyto obtain the data.
Rahayu only analyzed twelve scenes out of seventy six scenes from the film in her study. The findings of her analysis reveal that there are two kinds of mistakes occurring in the subtitles: misleading mistakes and nuanced mistakes. The subtitles that have misleading mistakes occur more than the ones that have nuanced mistakes. There are seventy six subtitles for misleading mistakes and fifty three subtitles for nuanced mistakes. Furthermore, she concluded that the quality of the translation is good.
similarity occurs when both writers discuss the accuracy of translation. In contrast, the object of both studies is different. The movie Facing the Giants is aimed for adult viewers whereas Lilo and Stitch is aimed for kids and all ages. Of course, the translation techniques used are different when the writer does the translation. In the end, Hilda’s study discusses the effect of the translation toward audiences whereas the present study discusses the quality of the translation based on accuracy and readability.
Both Rahayu’s and Hilda’s study gives an insight for the writer’s present study. After reading this study, the writer realizes that although Rahayu concluded that the overall quality of the movie translation is good, there are still many translation mistakes occur. Thus the writer wants to know if translation mistakes occur in other movie. The study of Hilda also inspires the writer to focus more on the quality of the translation by evaluating the translation accuracy and readability.
B. Review of Related Theories
1. Translation Theories
Catford’s definition of translation becomes stronger when Peter Newmark’s is closely related to his. He defines 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 (Newmark, 1981:7). He also says that a translator must be able to translate either scientific work or fiction by considering the language, structure and content and must not focus only on one aspect.
Catford’s opinion is also supported by Finlay’s. According to Finlay, translation is a presentation of a text in a language other than that in which it was originally written (Finlay, 1971:1). Basically, a translator should not consider the language form of a text. The most important thing he/she should consider is the message of a text. He/she should interpret the message from the source language and then convey it into the target language.
Levy’s statement is actually different from Catford’s. According to Levy, as quoted by Hanafi, translation is a creative process which always leaves the translator a freedom of choice between several approximately equivalent possibilities of realizing situational meaning. Creative process means that translators have freedom to present proper equivalents based on situational context. In this case, skill has important role in translation. In order to do translation the translators must have skill and ability so that they can produce a good translation (Hanafi, 1986:24).
Nababan contrasts between Catford’s theory and Brislin’s. Brislin defines that translation is a general term points to shifting the idea from source language to target language. Nababan also supports Kridalaksana’s theory of translation. According to Kridalaksana, translation is a transferring message from source language into target language firstly by stating meaning and secondly the language style (Nababan, 1999:19).
It is concluded that the important thing in translation is transferring message from the source language into the target language. It is not a matter of transferring the language form but the message. Nida and Taber say 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 (Nida and Taber, 1969:1). They think that a translator must produce the natural equivalent which is close to the source language either the meaning or the style. Essentially, a translator must be able to adapt lexical and grammatical form of language in order to avoid misunderstanding in translation.
2. Translation Process
process. Much of the time is spent by the translator by thinking. In other words, the process of translation is mostly done in the mind of the translator.
According to Suryawinata and Hariyanto, there are four processes of translating. They are analysis, transfer, restructuring, and evaluation.
In analysis process, a translator analyzes and understands the source language text (SLT). A translator must analyze and understand the meaningful relationship between words, grammatical relation, the meaning of its words or words combinations, textual meaning, and even contextual meaning.
After having completed the process of analysis which involves both grammatical and semantic aspects of the text, it is essential for the results of the analysis to be transferred from the source language text into the target language text (TLT). This transfer process takes place in a translator’s brain.
In restructuring process, a translator finds the essential components of words, expression, and their sentence structure. Therefore, the content, meaning, and message of the source language can be fully transferred.
After transferring the text into target language, the result of translation must be evaluated and revised, or rechecked of the target text in terms of correctness with the SLT. If a translator feels that there is still awkwardness in the language, he or she must revise it again.
problems in the SLT and, then, find the strategies to be applied in the TLT (Suryawinata and Hariyanto, 2003).
1. Problems in Translation
The problems of translation can be divided into two; problems of content and problems of form (Nida, 1976:171). Talking about the content of a message, the translator must distinguish clearly between the story and the setting. That is to say, what happens in a story constitutes a series of problems, and the cultural setting of the story will give a series of new problems. The cultural setting and understanding will give a new problem when the translator does not know the real other cultures. As we know that each culture has its own identity that makes one different from other. Talking about the form, the problem of translation seems appear on lexical, semantic, stylistic and syntactic analysis.
Basically, meaning in translation plays important role. Meaning in translation cannot be easily taken from dictionary but it must be equal to the context. Style is as the same as meaning; a translator must do as an original text writer does or change it with his own style in order to make the translation easy to understand. In translation, equivalency is also a very important thing; it becomes the foundation of translation. It becomes a problem in translation since there are cultural meanings which the translator does not know much.
conveyed must have information and clear or understandable fact. Finally, the language must have relation to style. Another problem in translation is laid on word, structure, grammar, terminology, allusion etc. The target text, for instance, will be read easily if the translator uses transformation in translation. Sentence A visit to a grandmotheris translated intoSebuah kunjungan ke seorang nenek. It is correct but it is more suitable if the translator changes the noun visit into a verb. So it becomes mengunjungi nenek. Another problem in translation is laid on the idiomatic expressions. Translators say that the important thing in translating texts or subtitles is not the language but the content. When the translators do the translation on idiom they will find many problems. It is because idioms cannot be translated literally from one language to another language without several changes in meaning or its connotation.
chilblain, smelly etc. however, having cold feet, in its idiomatic use, has nothing necessarily to do with winter, feet or chilblain and will therefore generally be used with a different set of collocates (Baker, 1992:67). Another, the verb count, for instance, is translated into menghitung or menjumlah. When the verb count is attached with preposition on the meaning will be different. Count on will be translated into berharap or mengharapkan and count will be translated into menjumlahormenghitung.
2. Meaning in Translation
According to Suryawinata, there are five meanings, such as lexical meaning, grammatical or structural meaning, textual meaning, contextual or situational meaning, and socio-cultural meaning.
a. Lexical Meaning
appropriate equivalent. There are some lexical problems should be paid attention to by translators. For example:
SL: They surely needed rice.
In Indonesia, the English noun rice has a lot of equivalences such as: padi, gabah, beras, or nasi. A translator should reach and see the context beside word or sentences. If there is another sentence, the translator will not find any difficulties. For example:
SL: They all looked tired and pale. They surely needed rice.
TL:Mereka semua kelihatan letih dan pucat. Mereka tentunya membutuhkan nasi.
b. Grammatical or Structural Meaning
c. Textual Meaning
Textual meaning is a meaning which is determined by its relationship to the other words in a sentence (Suryawinata, 1989: 22). The wordhand can have several meanings depends on the other words in that sentence. For example:
1. Handme your paper. 2. Just give me ahand.
3. They’re always ready athand. 4. Handsup!
d. Contextual or Situational Meaning
Contextual meaning or situational meaning is a meaning that is appeared from a situation or context where the phrase sentence or utterance is used. An expression of good morningcan have different meaning although it is same to be pronounced by an employer to his employee. Good morning means a greeting if it is said by an employer to his employee when his employee comes earlier than the others. Good morning means a warning if the employee comes late. Therefore, a translator must be smart to translate these two expressions ofgood morning,because one of them means selamat pagi in Indonesian and the other meanskamu terlambat lagiwhich shows the situational meaning (Suryawinata, 1989: 23).
e. Socio-Cultural Meaning
English may be translated into Indonesian asmandi. This translation does not actually have a meaning that is really exactly the same as to take a bath. English native speakers would imagine to take a bath as an activity undertaken in a bath tub. In contrast, Indonesian native speakers would imagine to take a bath as an activity to clean the body by way of watering the body using a bucket and scrubbed their body with soap (Suryawinata, 1989: 24).
3. Translation Accuracy
In the process of translating a text, the message of the original should be preserved in the translation and this shows the fidelity or faithfulness of the translator to the original text. Beekman and Callow believe that a faithful translation is the one which transfers the meaning and the dynamics of the original text; and by transferring the meaning, they mean that the translation conveys the SL information to the TL reader. In fact, faithfulness is a term which shows how much the TL reconstructs the SL (Beekman and Callow, 1989: 33).
According to the discussion above, accuracycan be considered as one of the representations of the faithfulness in translation, i.e. showing how accurately the translator has managed to reproduce the message of the SL into the TL.
Larson believes that in every translation,accuracy, clearnessandnaturalness are of the great importance. Regarding the translation accuracy, she believes that in some cases, when the translator tries to get the meaning of the SL and convey it to the TL, s/he may make some mistakes, either in the analysis of the SL, or in the process of conveying the meaning, and a different meaning may result; then, there is a need for a careful check regarding the accuracy of the translation (Larson, 1984: 485). According to Khomeijani Farahani, based on what Larson proposed in 1984, the process of evaluating the accuracy of translation can be done in two possible ways: one way is recognizing the key words of the SL and their equivalences in the TL and comparing how close they are; i.e. determining whether the translator could convey the same and exact meaning of the SL by selecting the best target equivalents and whether s/he could achieve an acceptable accuracy or not. Another way is using back translation; i.e. translating the TL into the SL, then, carrying out a contrastive analysis and if the retranslated text is reasonably close to the SL, the translation has got the acceptable accuracy (Larson, 1984: 485).
In testing the translation accuracy, the study uses accuracy-rating instrument as stated by Nababan. The instrument involves four scales in which each scale has each category. The instrument is as follows.
Table 1. Accuracy Rating Instrument (Nababan’s accuracy-rating instrument)
Scale Indicator
1
The content of the source text is accurately conveyed in the target text. The sentence as the result of translation is felt clear by assessor and there is no need of reviewing.
2
The content of the source text sentence is accurately conveyed in the target text. The sentence as the results of translation is felt clear by assessor but there are needs of rewriting and word rearranging.
3
The content of the source text is inaccurately conveyed in the target text. There are some problems in choosing words and its relation with phrase, clause, and sentence elements.
4 The source text is incompletely translated in the target text, or omitted in purpose.
To reach the translation accuracy, the researcher classifies the score based on the accuracy category as follows.
Table 2. Accuracy Category
Score Accuracy Category
1 Highly accurate translation 2 Accurate translation 3 Inaccurate translation
4 Highly inaccurate translation
Score 1 refers to the highly accurate translation. The scale 2, 3, and 4, each refers to accurate translation, inaccurate translation, and highly inaccurate translation.
4. Translation Readability
According to Larson, there are ways of testing a translation. Readability is one of ways which are done by asking someone to read a part of the translation aloud. It should be a complete section; that is, a unit. As they read, the tester will notice any places where the reader hesitates. Also, if he stops and rereads the sentence, this should be noted as it indicates some problem in readability (Larson, 1984).
done with persons who will be the users of the translation. Readability may also be affected by formatting matters. The size of type, punctuation, spelling, size of margins and space between lines may all affect the readability tests.
Basically, there are two techniques used to achieve readability; one is by way of reduction and the other, by way of simplification, and it is here that we can look more closely at the implications of subtitling constraints on translation. Firstly, reduction can be achieved by simply using fewer words to render the same meaning. For example, if the term metropolitan police force were to appear in a dialogue, it would be unlikely to have an equivalent in other languages. Therefore, unless it was a key element of the story, it would be better to simply translate it as polisi, whilst at the same time adhering to the technique of reduction.
In testing the readability, the study usesreadability-rating instrumentthat is a modification of Nababan’s accuracy-rating instrument. The instrument is as follows.
Table 3. Readability Rating Instrument (modified from Nababan’s
accuracy-rating instrument)
Scale Indicator
1 The target text is very easy to read. The whole terms of the translation products can be fully understood by readers.
2 The target text is easy to read. There are some terms that cannot be fully understood by readers.
3 The target text is hard to read. There are many terms that cannot be understood by readers.
4 The target text is completely hard to read. All terms cannot be understood or are not translated at all.
To reach the translation readability, the researcher classifies the score based on the readability category as follows.
Table 4. Readability Category
Score Readability Category
1 – 1.5 Highly readable translation 1.6 – 2.5 Readable translation 2.6 – 3.5 Unreadable translation
3.6 – 4 Highly unreadable translation
Score 1 – 1.5 refers to the highly readable translation. Score 1.6 – 2.5, 2.6 – 3.5, and 3.6 – 4, each referred to readable translation, unreadable translation, and highly unreadable translation.
5. Subtitling Standards
According to Fotios Karamitroglou, PhD Audiovisual Translation UMIST, Manchester, UK, there is subtitling standards in Europe. They apply for subtitling of a film and it displays how the subtitling should be positioned, the number of lines, how many seconds before it changes into another line of text, the number of characters per line, the fonts, the font size, the font color and many more that is to be considered in the use of a subtitling <http://accurapid.com/journal/04stndrd.htm> (7 February 2009).
The standards are quoted below are taken fromSpatial parameter / layoutin his article entitledA Proposed Set of Subtitling Standards in Europein 1997:
of lesser importance to the general aesthetic appreciation of the target film. Subtitles could be positioned towards the upper part of the screen only in extreme cases where visual material (linguistic or other) of vital importance to the appreciation and the comprehension of the target film is exposed at the pre-determined part of the screen where subtitles would otherwise be inserted.
2. Number of lines: A maximum of two lines of subtitles should be presented at a time. In the case of a single-line subtitle, this should occupy the lower of the two lines, rather than the top line in order to minimize interference with the background image action.
3. Text positioning: The subtitled text should be presented centered on its allocated line(s). Since most of the image action circulates around the centre of the screen, this would enable the eye of the viewer to travel a shorter distance in order to reach the start of the subtitle.
4. Number of characters per line: Each subtitle line should allow around 35 characters in order to be able to accommodate a satisfactory portion of the (translated) spoken text and minimize the need for original text reduction and omissions. An increase in the number of characters, attempting to fit over 40 per subtitle line, reduces the legibility of the subtitles because the font size is also inevitably reduced.
in the legibility of the subtitled text. Typefaces like Helvetica and Arial are qualified.
6. Font color and background: Type characters should be colored pale white (not snow-bright white) because a too flashy pigment would render them tiring to the viewers’ eye. They should also be presented against a grey, see-through ghost box rather than in a contoured format (surrounded by a shadowed edge) since it has been proven that it easier for the eye to read against a fixed rather than a varying/moving background. In addition, the color of the ghost box (grey) is both neutral to the eye and gives the impression that it does not entirely block the background image (Karamitroglou, 1997).
1/4-1/2 of a second that the brain needs to start processing the subtitle it has traced. This can be rounded up to 6 seconds because there is a chance of the brain to read faster. This does not apply to all ages. He also noted that the duration of subtitling should be estimated accordingly because it depends on the age to get an average reading speed for the duration of the subtitle.
For a single-line subtitle, Karamitroglou explains that the maximum duration is of 7-8 words and displayed for around 3 seconds. The importance of keeping a full single-line subtitle for at least 3 1/2 seconds to secure ample reading time is the importance of retaining the same subtitle for not more than 3 1/2 seconds because this would cause automatic re-reading of the subtitle, especially by fast readers. So this standard is considering those who read slowly and those who read fast. This is the maximum time which is done by knowing the average time of speed reading of the target audience.
Another standard is on the duration of a single-word subtitle. The minimum duration stated by Karamitroglou, is at least 1 ½ seconds, no matter how simple the word is. If the time is lessened, it would make the word appear like a mere flash on the screen, irritating the viewers’ eye.
seconds. This is because subtitles are supposed to transfer the spoken text as faithfully as possible. This theory shows the general aim of a subtitle, that it is to give meaning in a target language of what is said by the dialogues in the film clearly and readable.
AboutPunctuation and letter case,Fotios Karamitroglou says that there are also standards on how punctuation and letter cases should be used in subtitling. Punctuations include sequence dots (ending triple dots {…}), linking dots, (starting triple dots) {…}), full stops {.}, dashes and hyphens {-}, question marks {?} and exclamation points {!}, parentheses {( )} and brackets {[]}, single quotation marks {‘’}, double quotation marks {“”}, commas {,}, colons {:}, semicolons {;}, italics, quotation marks embracing texts in italics, upper- and lower-case letters, and
boldfaceand underline.
7. Sequence dots (or ending triple dots) {...}: Three dots should be used right after the last character of a subtitle (no space character inserted), when the subtitled sentence is not finished on one subtitle and has to continue over the consecutive subtitle. The three sequence dots indicate that the subtitled sentence is incomplete, so that the eye and the brain of the viewers can expect the appearance of a new flash to follow (Karamitroglou, 1997).
8. Linking dots (or starting triple dots) {...}: Three dots should be used right before the first character of a subtitle (no space character inserted, the first character non-capitalized), when this subtitle carries the follow-up text of the previous uncompleted sentence. The tracing of the three linking dots signals the arrival of the expected new flash of subtitle, something anticipated because of the presence of sequence dots in the previous subtitle. The absence of any punctuation mark as an alternative means of indicating the arrival of the remaining part of an incomplete subtitled sentence does not provide such an obvious signal and as a result the brain takes more time to process the new subtitle flash as related to the previous subtitle (Karamitroglou, 1997).
Linking dots talk about the dots that go before a line of subtitle to indicate that the previous sentence has not ended and it is continued with the sentence following these starting triple dots. By the help of these dots, the viewers get the message that they are reading a line that is a sentence continuing the previous sentence.
the eye of the viewer that there is no more to read and that they can go on looking at the image screen to see the actions.
Below is the explanation of dashes and hyphens that is a part of punctuations. It says that dashes are used to indicate that there is a change of speakers. The dashes are inserted at the beginning of the line before the first character or letter of that line. Dashes are in the same form as hyphens but hyphens are used to link one word with another and should be inserted between words that are purposely linked to each other.
10. Dashes and hyphens {-}: Dashes are used before the first character of each of the lines of a two-line subtitle (with a space character inserted each time) to indicate the exchange of speakers’ utterances, namely a dialogue, presented either in a single flash as static double text, or with the second speaker’s exchange as an overlay to the first subtitle line, i.e. as dynamic double text. When dashes are used to link words as hyphens no space characters should be inserted between the linked words (Karamitroglou, 1997).
11. Question marks {?} and exclamation points {!}: Question marks and exclamation points should be used to indicate a question or emphasis respectively, just like in printed materials, positioned right after the last character of a subtitle (Karamitroglou, 1997).
12. Parentheses {( )} and brackets {[ ]}: Parentheses and brackets should be used to embrace comments which are explanatory to the preceding phrase. As the duration time for each subtitle is considerably limited and the convention of parentheses or brackets is not extremely widespread in printed materials either, they function as wild cards and, therefore, they should be used cautiously (Karamitroglou, 1997).
Parentheses and brackets are said to be used for explanations that are needed but they are to be used cautiously so that the viewers are not spending a lot of time reading the explanations and are behind with the subtitle.
13. Single quotation marks {‘’}: Single quotation marks should be used just like in printed materials, in order to embrace alleged information. For reasons similar to the use of parentheses and brackets, single quotation marks should be used cautiously (Karamitroglou, 1997).
14. Double quotation marks {“”}: Double quotation should be used just like in printed materials, in order to embrace quoted information (Karamitroglou, 1997).
These two punctuation marks are used to embrace one or two words of certain information that is said with no facts. They are to be used carefully as well.
This above mark is to indicate a pause when reading the subtitling. This is also proposed by Karamitroglou in his article.
16. Italics: Italics on the subtitled text should be used to indicate an off-screen source of the spoken text, (e.g. when there is a voice of someone contemplating something, speaking over the phone from the other end, or narrating something). They should also be used when retaining foreign-language words in their original foreign-foreign-language version (e.g. “He’s got a certainje ne sais quoi.”). (Karamitroglou, 1997).
Italics are used in subtitling to make a difference between the target language and another foreign language like the example given by the writer of the above article, Karamitroglou, in 1997. By using this punctuation, it is easy for the viewers to identify that the word(s) in italics are of another language or the source language of the film.
17. Quotation marks {“”} embracing text in italics: Quotation marks embracing text in italics should be used to indicate a public broadcast (Karamitroglou, 1997).
The quotation marks are used in subtitling when at that time there was a broadcast such as through the TV, a radio, or a loudspeaker. This is to indicate that the spoken text is coming from off-screen source and not from the speaker in that image.
Subtitles typed only in upper-case letters should be used when transferring a display or a caption (i.e. a written sign that appears on the screen) (Karamitroglou, 1997).
The upper-case letters are used when there is a sign on the top, and the letters appear below it. The lower-case appears at the bottom of the screen below a sign that appears at the bottom of the screen.
19. Boldface and underline: Boldface and underline typing conventions are not permitted in subtitling (Karamitroglou, 1997).
Karamitroglou says that boldface and underline are not permitted to be used in subtitling. They do not belong to the standards.
6. Translating Film Subtitle
of medium. Similarly, if the length of certain utterances is too great or the structure is too complex, it will be necessary to make some modifications in order to give understanding through the written text. A long, complex sentence, although easy to comprehend if heard, would be very difficult to follow if it were left unaltered, given the timeframe available to read subtitles. For example, if we take the following narration as the spoken version of a text:would you like to think about the best thing you can do for Lilo, even if he removed you from the picture. The translation of written subtitle would more than likely be rendered in a more simplistic fashion, such as:pikirkan hal terbaik bagi Lilo, meski dia akan menyingkirkanmu dari keluarga.
This also relates to the reading speed of the viewer, which needs to be taken into consideration. Clearly, establishing the profile of the target audience will be crucial in assessing the viewer’s potential reading speed and is an important factor for the translator. In this aspect, literacy and age are both influencing factors. For example, there is likely to be a great deal of difference between an adult’s and a child’s reading speed, and, as such, the subtitles would need to be altered accordingly, for example, by simplifying the vocabulary for a child. Also, if the subtitled version of a broadcast were to be shown in a country with a low level of literacy, it would be necessary to ensure the subtitles were fairly basic. So, an accurate assessment of audience literacy and of the viewers’ knowledge of the subject matter is therefore essential to the success of subtitling.
up with what the viewer is seeing and hearing on the screen, so they are able to maintain their coherence. This is especially important if the translator is dealing with a visual gag or comedy element, in which case it would not be correct to spoil the surprise before the joke has happened. The same would apply in awhodunit type of scene, where it is vital to the story for the viewer who had never heard such kind of word or not to be aware of a clue which is not given in the text or dialog.
The final constraint, which must be accounted for, involves the medium through which the subtitles are to be shown, which, in turn, will affect factors such as font size and audience age range. In cinemas, for example, the size of the screen is much larger and therefore, will allow more flexibility with regard to the font size of the subtitles, making the reading of them easier and more comfortable for the viewer, whereas, on television, the translator is restricted to a smaller screen space, thereby limiting the size of the font. Also, the type of audience likely to be attracted by these two mediums will differ, in which case the translator’s task is made more difficult as they are less likely to be able to assess the reading speed and literacy of the audience.
C. Theoretical Framework
40
CHAPTER III
METHODOLOGY
A. Object of the Study
The object of this study was a movie entitledLilo and Stitch.It was produced by Walt Disney Feature Animation and released on June 21, 2002. It was written and directed by Chris Sanders and Dean DeBlois, and features the voices of Sanders, Daveigh Chase, Tia Carrere, David Ogden Stiers, Kevin McDonald, Ving Rhames, and Jason Scott Lee.Lilo & Stitch was the second of three Disney animated features produced primarily at the Walt Disney Feature Animation Florida studio located at Walt Disney World's Disney-MGM Studios in Orlando, Florida. Lilo & Stitch was nominated for the 2002 Academy Award for Best Animated Feature and had been a best seller in America. In Indonesia, the movie Lilo and Stitch was available in CD and DVD format and was sold in most local disc stores. The movie formatted in CD and DVD was in Indonesian subtitle and was for all ages.
B. Method of the Study
field research, the research involved the respondents to assess the readability of the translation. The respondents were needed in order to get validity of the data assessment.
C. Research Procedure
1. Kinds of Data
a. Objective
The movieLilo and Stitchin a CD format was taken as the object of the study. The movie in a CD format was the original version. It could be bought at local disc stores and could be rented at CD rentals. In the CD format movie, the dialogues of the movie were spoken in English whereas the subtitles were in Indonesian. The source texts of the movie were translated into Indonesian which would be evaluated and compared to gain the accuracy and readability level.
b. Affective
respondents of ten people. Five of them were taken from university students studying in English department field, three of them were taken from senior high school students and two of them were taken from junior high school students. They are randomly chosen as representatives of the target language readers based on the different level of educational backgrounds. Since the object of the study was a movie for all ages, three different levels of respondents would cover the age levels.
2. Data Collection
The data in this study were taken from the books, movie scripts, and questionnaires. The researcher collected the data by watching the film more than once, and then synchronizing the spoken dialogues and the subtitles in the film. The researcher compared the English dialogue as the source texts to the Indonesian subtitles as the target texts. In term of accuracy, the researcher wrote down the mistranslated words, phrases, and sentences on a piece of paper. Then, the researcher chose some sentences from the subtitles and assessed the translation accuracy. After that, the researcher made the table for accuracy and gave a code for each sentence. The coding was done as follows:
ST.39 Get that out of your mouth.
ST.39 means the source text number 39. TT.39 means the target text number 39. Since the subtitles on the film did not have page number, the researcher gave the code classification based on the data analysis. The given score above indicates that the translation accuracy reaches score 2 and will be considered as an accurate translation. In each number of the sentence, the assessor gave the explanation of the translation. Then, the assessor gave the score based on the accuracy rating instrument.
highly unreadable. Finally, the researcher made a table and gave a code for each target text. The coding was done as follows:
TT.14 means the target text number 14. Since the subtitles on the film did not have page number, the researcher gave the code classification based on the data analysis. The given score above indicates that the rate of the translation readability scores from 10 respondents reaches score 2 and will be considered as a readable translation.
3. Population and Sample
The population of the study was 65 data of subtitles. It would be too much data if the researcher took all the subtitles. So this study needed samples from the populations. According to Table for Determining Sample Size from a Given Population proposed by Krejcie, the samples of data were 56 of 65 populations (Krejcie, 1970). In order to make an easy calculation, 50 samples were taken in the study. It was classified into four parts: mistranslations, deletions of significant information, additions without equivalent reference to the original text, and narrowing interpretations of the original message. The sample selection was done because qualitative research tended to emphasizes more on deep and complete information rather than on the amount of the data. Meanwhile, the reason why the
study took only one assessor for evaluating translation accuracy and ten respondents for evaluating translation readability was to make an effective analysis. Therefore, the study wanted to present quality of the research rather than quantity of the data.
4. Data Triangulation
This study used triangulation technique to meet the face validity of the data. According to Sutopo, there are four kinds of triangulation: (1) source triangulation, (2) method triangulation, (3) researcher triangulation, and (4) theoretical triangulation (Sutopo, 2002: 73). The study, however, applied the data source triangulation. It was a method that had two or more different respondents to analyze the same qualitative data. The researcher, next, could compare the findings. The fact that data analyzed by different respondents produced different results, thus later, the researcher might attempt to understand the reasons for the differences. The following anagram would explain the application of the triangulation.
Questionnaires Method triangulation
Document analysis
College Students
Source triangulation Senior High School Students
To answer the data validity, the study applied source triangulation by distributing the questionnaires to 10 respondents from three different levels of educational backgrounds.
5. Data Analysis
Here is the example of the analysis: a. The translation accuracy
The above translation is considered as inaccurate. First, the translator prefers to translate the pronoun heinto kau. Semantically, the pronoun heis translated into Indonesian as dia laki-laki and it has a different meaning with the pronoun you. Pronoun he refers to a male person whereas pronoun you refers to the person or people that someone is speaking or writing. Second, the translator prefers to translate verb eat into amankan. According to Kamus Praktis Bahasa Indonesia-Inggris dan Inggris-Indonesia Lengkap(Sulistyo, 1999), the verbeatis translated intomakanand cannot be translated into amankan. The last, the clause kukira kau suka does not transfer the message of noun clause that you left. It should be translated into yang kamu sisakan. So, the target text would be accurate if it is translated intodia bahkan tidak makan kentang manis yang kamu sisakan.
b. The translation readability
ST.2 He didn’t even eat sweet potato that you left.
TT.2 Kau bahkan tak amankan kentang manismu, kukira kau suka. Score: 3inaccurate translation
ST.14 Finally he decides to stay on earth for good.
The translation is considered unreadable. The unreadability of the translation is shown in the target text for good in the source text finally he decides to stay on earth for good. In the translation, the target text for good is an idiom. Since it has own rule in translation, it cannot be translated literally from one language to another language without several changes in meaning or its connotation. Here, the wordgood as a separate item may collocate with words like quality, condition or feeling etc. However, for good, in its idiomatic use, has nothing necessarily to do with action or turn and will therefore generally be used with a different set of collocates (Baker, 1992:67). According to Kamus Saku Idiom Inggris-Indonesia (Herpinus, 2011), the idiomfor goodwould be readable if it is translated intountuk selama-lamanya.
D. Research Framework
ST
TT
Translation Errors
Respondents Assessor
Subtitling Readability and Accuracy
Level
50
CHAPTER IV
ANALYSIS
This chapter consists of two main parts. The first part concerns with the translation accuracy of the words, phrases, and sentences in the Indonesian subtitle of Lilo and Stitch. In this sub-chapter, the writer discusses the accuracy of the text first as it is the first problem to be analyzed. In this context, accuracy deals with the correctness of a translated word, phrase, sentence and text. The words, phrases, and sentences found in the ST would be compared to those found in the TT and assessed based on Nababan’s accuracy rating instrument. To meet the accuracy, the study assesses about 50 data. The second part explains the readability of the translations. To find out the readability of the target text, the questionnaires were evaluated in the analysis.
A. Translation Accuracy
1. Highly Accurate Translation (Score Range: 1)
Because the writer does not find the data in the translations which are highly accurate, the analysis on the highly accurate translation will not be discussed and will be omitted.
2. Accurate Translation (Score Range: 2)
The translation is considered accurate. The content of the source text is conveyed in the target text. The target text vampir will be fully understood as a metaphor which shows an expression that ordinarily designates one concept, and it should be translated literally. In literal meaning, it maybe collocates with adjective scared, horrible, cruel, immoral, etc. Vampire is representing the person who has unaffectionate, unforgiving, hard-to-please, cruel or even resentful character.
The above translation is considered accurate. The sentence you don’t have one, which is translated into kau tak punya, delivers the message of not having a
ST.3 No, the manager is a vampire. He wanted me to join till I’m dead. TT.3 Tidak, menejernya vampir. Dia ingin aku bergabung hingga akhir
hidupku. Score: 3
ST.10 Hmm..waiting? For what? Family? You don’t have one. I made you.
TT.10 Menunggu? Untuk apa? Keluarga? Kau tak punya. Aku membuatmu.
family. The translator uses deletion on the noun onewhich refers to family. Since the noun family has been discussed in the previous dialogue, it can be omitted. So, the target text above has transferred the message from the source text.
The translation above is considered accurate although need revising. The noun barbarian can be translated into Bar-Bar if the audiences know the meaning of it. Since the audiences come from different ages, for example; children or adults, the target text above will be hard to understand for children. It will be easy to understand when it is translated intoorang jahatbecause it means a person who behaves badly or cruelly. In the dialog of the movie, the term of barbarian tends to give negative expression. It shows Dr Jumba’s anger when trying to force Stitch to get out of the ship. Contextually, the nounbarbarian can be translated into orang jahat. By using the nounorang jahat, it will give clear understanding in the meaning ofbarbarian.
Basically, the above translation is accurate. The audiences will find it easy to understand the translation. Both its grammar and structure are accepted in the target language. In this case, the translator tries to translate the compound sentence into a complex sentence. The translator might translate the conjunction and into comma.
ST.11 Little barbarian! Get off my ship! TT.11 Bar-Bar kecil, keluar dari kapalku! Score: 2
ST.24 Come to me and I’ll be with you.
Theoretically, the use of conjunction and and comma will create a different comprehension of a sentence. Contextually, the message in the source text is well transferred. As a suggestion, the conjunctions and in the source text should be translated intodanin order to make the target text be more accurate.
The above translation is considered accurate. The audience will actually get clear understanding on the translation. They will understand that fire has burned their house in that morning. Here, the translator translates the verb burn into noun kebakaran. Grammatically, the verb burn will be read easily if the translator uses transformation in translation. It is more suitable if the translator changes the verb burninto an adjectiveterbakar. As a result, the passive form is proper to use in this translation.
The above translation is considered accurate and understandable. The audiences who read the translation can get the meaning clearly without any problem. In the dialog, Nani convinced Lilo that she will always get the best thing after she
ST.26 Our house’s burnt this morning. TT.26 Rumah kami kebakaran pagi ini. Score: 2
ST.28 You will always get the best.
found her best friend Stitch. As a suggestion, the translator must translate the modal verbwillin the source text. In order to make the whole translation be more accurate, it should be translated intoakan.
The target text above is considered accurate. The source text above creates ambiguity for readers. There are two possibilities when translating the word hang. First, it is considered as a verb hangwhich followed by prepositionon. Second, it is considered as a verb phrase hang on means to hold something tightly. According to Kamus Praktis Bahasa Indonesia-Inggris dan Inggris-Indonesia Lengkap (Sulistyo, 1999),hang on somethingis translated into bergelantungan pada sesuatu. Textually, the above sentence represents an activity of holding something with hands. In the dialog, Lilo plays and hangs on the tree. At a certain place, Dr Jumba and his assistant see her activity. Then, it makes him to sayshe hangs on that thing.
The translation on the question above is considered accurate although it needs revision. Actually, the message being conveyed in the source text has been successfully transferred in the target text. Nonetheless, the translator seems to omit
ST.34 She hangs on that thing.
TT.34 Dia bergantung pada benda ini. Score: 2
ST.38 How can you get in here?
the modal can in the source text. In order to complete the translation, the translator must translate it intobisa ordapat. So, the target text bagaimana bisa kamu sampai di sini?will be proper in the translation
According to the context, the above translation is accurate. The readers understand the message that someone asks to a person to open his mouth and get something out of his mouth. In the dialog, Nani finds Stitch puts a remote control into his mouth and she asks Stitch to get it out of his mouth. As a suggestion, the verb muntahkan in the translation would be better if it is changed into keluarkan. The reason of using the word keluarkan is to make the sentence clear. The verb muntahkanwill be translated intoto vomit, which means food or something comes up from stomach and comes out of the mouth. Contextually, the remote control does not come up from Stitch’s stomach and does not come out of the mouth. So, the verb muntahkan will be inappropriate in the translation. It will be appropriate if it is changed into a verbkeluarkan. Still, the message is well transferred.
ST.39 Get that out of your mouth.
TT.39 Muntahkan benda itu dari mulutmu. Score 2
ST.48 The dog is barking at nothing.
The above translation is considered accurate although there is a revision. The adverbial clause at nothing is translated into bukan apa-apa. According to Kamus Praktis Bahasa Indonesia-Inggris dan Inggris-Indonesia Lengkap (Sulistyo, 1999), the noun nothing is translated into tidak ada apa-apa. When it is preceded by preposition at, the source text at nothing will be equal to not anything and will be understood if it is translated into tanpa sebab or tanpa alasan. As a result, the translation above will be more accurate if it is written intoanjing itu menggonggong tanpa alasan.
Although there are some revisions, the above translation is considered accurate. The adjective rainy in the source text cannot be translated into berhujan. According to Kamus Praktis Bahasa Indonesia-Inggris dan Inggris-Indonesia Lengkap (Sulistyo, 1999), the adjective rainy is translated into hujan. The adjective rainywill be appropriate if it is translated intohujan. Although the addition of initial ber-in the target textberhujanis not appropriate, the message being conveyed in the source text is successfully transferred and understood. In the end, the correct translation will beini hujan, dan mereka pergi berkendara.
3. Inaccurate Translation (Score Range: 3)
The above translation is considered inaccurate. The translator fails to transfer the important information in the source text. The translator omits the pronounheand creates a new meaning which does not transfer the real message of the source text. The translator seems to use addition strategy by putting the adjective senang in the beginning of the sentence. Contextually, the expression of happiness in the dialog does not represent the actual expression. As a result, the adjectivesenangabove does not transfer the real message being conveyed in the dialog. Moreover, the noun phrasepulau tanpa kota besardoes not convey the message of the source text a big island. When it is translated by word-for-word, it is clear that the translation would be sebuah pulau besar. Semantically, the noun phrase a big island would be inaccurate if it is translated into pulau tanpa kota besar. Besides, the translator also omits the translation of adjective clause responsible for her. As a suggestion, the above translation should be written into dia tinggal di pulau besar dan bertanggung jawab atas dia.
ST.1 He is living in a big island and responsible for her. TT.1 Senang tinggal di pulau tanpa kota besar.
Score: 3
ST.2 He didn’t even eat sweet potato that you left.
The above translation is considered as inaccurate. First, the translator prefers to translate the pronoun heinto kau. Semantically, the pronoun heis translated into Indonesian as dia laki-laki and it has different meaning with the pronoun you. Pronoun he refers to a male person whereas pronoun you refers to the person or people that someone is speaking or writing. Second, the translator prefers to translate verb eat into amankan. According to Kamus Praktis Bahasa Indonesia-Inggris dan Inggris-Indonesia Lengkap(Sulistyo, 1999), the verbeatmeansmakanand cannot be translated into amankan. The last, the clause kukira kau suka does not transfer the message of noun clausethat you left. It should be translated intoyang kamu sisakan. So, the target text would be accurate if it is translated intodia bahkan tidak makan kentang manismu yang kamu sisakan.
Basically, the language of the translation is clumsy. It does not follow certain rule of structure which, in fact, results in the difficulty to understand it. The words do not match each other in the structure. The sentence does not have any verb which makes the target text is hard to understand. The translator seems to omit the verb knowin the translation. Another, the plural count noun in the subject of the sentence is misplaced. All aliens should be translated into semua alien. As a suggestion, the
