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THE ANALYSIS OF TRANSLATION QUALITY ON
DUBBED KIDS’ FAVOURITE SONGS
IN
SESAME STREET
THESIS
Submitted as a Partial Fulfillment of Requirements for Sarjana Sastra Degree in the English Department of
Faculty of Letters and Fine Arts
By:
RIZKI NOVIANI
C1306065
ENGLISH DEPARTMENT
FACULTY OF LETTERS AND FINE ARTS
SEBELAS MARET UNIVERSITY
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ii
THE ANALYSIS OF TRANSLATION QUALITY ON
DUBBED KIDS’ FAVO
RITE SONGS
IN
SESAME STREET
By:
Rizki Noviani
C1306065
Approved to be examined before the Board of Examiners
Faculty of Letters and Fine Arts
Sebelas Maret University
Thesis Consultant
Dr. Djatmika, M.A.
NIP. 196707261993021001
The Head of English Department Non Regular Program
Drs. S. Budi Waskita, MPd.
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iii
THE ANALYSIS OF TRANSLATION QUALITY ON
DUBBED KIDS’
FAVORITE SONGS
IN
SESAME STREET
By:
Rizki Noviani
C1306065
Approved to be examined before the Board of Examiners Faculty of Letters and Fine Arts
Sebelas Maret University
February 2, 2011 The Board Examiner
Position Name Signature
Chairman Dr. Sri Marmanto, M.Hum (……….)
NIP. 195009011986011001
Secretary Drs. Agus Hari Wibowo, M.A. (……….)
NIP. 196708301993021001
Main Examiner Dr. Djatmika, M.A. (……….………)
NIP. 196707261993021001
Assistant Examiner Ardianna Nuraeni, S.S, M.Hum (……….) NIP. 198209272008122001
The Dean of Faculty of Letters and Fine Arts
Sebelas Maret University
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iv MOTTO
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v Dedication
I wholeheartedly dedicate this thesis to:
My beloved Mom and Dad My beloved brother
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vi
ACKNOWLEDGEMENT
Bismillahirrahmanirrahim
Firstly, I would like to praise to my Lord, Allah SWT, the one and the
almighty for the wonderful things for me so that I am able to finish this thesis.
I would like to thank to the people who gave great role in completing
this thesis. I am very well aware if there had not been many great people helping
me, it would have been impossible for me to reach this point. I would like to
express my special gratitude to whom I owe a lot of contributions.
My first gratitude is delivered to the Dean of Faculty of Letters and
Fine Arts, Drs. Sudarno, M.A, then to the head of English Department Non
Regular program, Drs. S. Budi Waskita, MPd, thanks for giving me permission to
write this thesis.
I would also like to express my deepest gratitude to my thesis
consultant, Dr. Djatmika, M.A, for your advices, patience, support, and everything
in helping me to finish this thesis. Thanks also to Mr. Yuyun Kusdianto, SS who
has been my academic consultant, for advices and care. The great thank also goes
to all English Department Lecturers for much knowledge they gave to me.
Thank you so much to Mr Heri Nababan, Mr Sumardiono and Miss
Fatkhuna’imah Rhina for being my raters. Thanks for encouraging comments and
useful suggestions for my thesis. It was very wonderful to discuss with you all.
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vii
kids I have ever met. Thanks for your funny comments. Free internet service for
you kids!
My special thanks go to my family for everything they gave to me.
Thanks to Ibuk and Babeh for such a big trust you give me and for supporting me.
I am still your little daughter. Thanks to my brother, mas Agung, for your support
to keep moving on.
I also want to thank to my best friends who live far there, Topan and
Septi, keep supporting each other gals. And mbekayu Rena, thanks for
accompanying me from junior high school till college, hehe sure that someday we
will meet The Used and will jam together with them, by the way I can’t wait your
next incredible story, you are the best writer I have ever met, long live rock!, to
my idiot friends Ida and Ridho, what can I say for you guys? Thanks for teaching
me how to be an idiot haha, Een, I will miss you and all of our memories together,
hehe, bang Eross, let’s fishing! And don’t forget to our pilgrimage of fried duck
and chicken noodle, miss Red and miss Green, still keep funny twins, Mimah,
viva girl power!, Mba Tune, you are like my oldest sister, Tabita, keep fighting
Tab, Astri, keep becoming my private consultant, and all of my wonderful friends
in English Department year 2006, Agung, Tri, Nana, Debo, Vivi, Faridha, Ruri,
Ulunc, Richa, Tychan, Jiryan, Rosyid, Ludmi, Galuh, Ika, Oscar, Yogi, Gaby,
Noni, Adit, Berlin, Dewi W, Dewi L, Phina, Dian, Citra, Yuda Pink, Yuda, Vira,
Ichwan, Gunung, and others who can not be mentioned one by one, thank for your
support and teaching me how to have fun. You are marvelous college mates I have
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viii
My special thanks go to RamaSultan Net Crew, Cinemax Crew,
Aikidoka Dojo Shoshin, Totalflasher crew, Motou crew, you are all my other
family which always supports and helps me finding inspirations, I love you guys.
I realize that this thesis is far from being perfect, so that all suggestions
are welcomed in order to make it better. Last, I expect this thesis can be beneficial
for English Department students and those who are interested in translation.
Surakarta, February 2011
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ix
PRONOUNCEMENT
Name : RIZKI NOVIANI
NIM : C1306065
This thesis which entitled “The Analysis of Translation Quality on
Dubbed Kids’ Favorite Songs in Sesame Street” is originally made by the
researcher. The things related to other people’s works are written in quotation and
included within bibliography. If it is, then, proved that I cheated, I am ready to
take the responsibility.
Surakarta, February 2011
The researcher,
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x
TABLE OF CONTENTS
THE APPROVAL OF THE CONSULTANT………. ii
THE APPROVAL OF THE BOARD OF EXAMINERS……… iii
MOTTOS………. iv
DEDICATION………. v
ACKNOWLEDGMENT………. vi
PRONOUNCEMENT………... ix
TABLE OF CONTENTS……… x
LIST OF TABLES……….. xiii
ABSTRACT……… xiv
CHAPTER I INTRODUCTION A. Research Background……… 1
B. Research Limitation……….. 5
C. Research Problem……….. 6
D. Research Objectives………. 6
E. Research Benefits………. 7
F. Thesis Organization………. 7
CHAPTER II LITERATURE REVIEW A. Definition of Translation………. 9
B. Types of Translation………. 10
C. Translation Quality Assessment……….. 11
D. Sentence, Clause, Phrase……….. 12
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xi
F. Elements of Poetry………. 15
G. Literary Translation……… 20
H. Poetry Translation………. 21
I. Synopsis of Sesame Street, Kids’ Favorite Songs……… 23
J. Subtitling vs Dubbing……… 24
CHAPTER III METHODOLOGY OF RESEARCH A. Research Type and Design……… 28
B. Data and Source of Data……… 28
C. Sampling Technique……….. 30
D. Method of Data Collection………. 31 E. Technique of Data Analysis……… 32 F. Research Procedure……… 32 CHAPTER IV DATA ANALYSIS A. Introduction……… 34
B. Classification of each line stanza……….. 34
C. Research Findings………. 53
C.1. Accuracy of the Translation……….. 54
C.2. Acceptability of the Translation……… 64
C.3 Readability of the Translation……… 69
D. Discussion……….. 77
CHAPTER V CONCLUSION AND SUGGESTION A. Conclusion………. 79
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xii BIBLIOGRAPHY
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xiii
LIST OF TABLES
Table 1. Total and Percentage Number of Data (Accuracy)
Table 2. Total and Percentage Number of Data (Acceptability)
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xiv ABSTRACT
Rizki Noviani. C1306065. The Analysis of Translation Quality on Dubbed Kids’ Favorite Songs in Sesame Street. Thesis: English Department. Faculty of Letters and Fine Arts. Sebelas Maret University. Surakarta.
This research focuses on the analysis on the translation quality of dubbed
kids’ favorite song in Sesame Street.
It is conducted to find out the quality translation of dubbed kids’ favorite songs involves the accuracy, the acceptability and the readability value of the translation.
This is a descriptive qualitative research. There are two kinds of data used in this research. The data are all the songs completed with the result of dubbed song
in the Sesame Street, Kids’ Favorite Songs and data which are got from the
questionnaire collected from the three intended raters and four readers. The informants are purposively selected.
Totally, there are nine songs in the DVD Sesame Street, Kids’ Favorite
Songs which are divided into 90 lines.
Dealing with the accuracy, the translation of dubbed kids’ favorite songs in
Sesame Street is less accurate. In term of accuracy level, 45 data (50%) are accurate, 43 data (47.8%) are less accurate and 2 data (2.2%) are inaccurate.
Dealing with the acceptability, the translation of dubbed kids’ favorite songs in
Sesame Street is acceptable. In term of acceptability level, 80 data (88.9%) are acceptable, 10 data (11.1%) are less acceptable and there is no data which are included in unacceptable. Dealing with the readability, the translation of dubbed
kids’ favorite songs in Sesame Street is readable. In term of the readability level,
THE ANALYSIS OF TRANSLATION QUALITY ON
This research focuses on the analysis on the translation quality of dubbed kids’ favorite song in Sesame Street.
It is conducted to find out the quality translation of dubbed kids’ favorite songs involves the accuracy, the acceptability and the readability value of the translation.
This is a descriptive qualitative research. There are two kinds of data used in this research. The data are all the songs completed with the result of dubbed song in the Sesame Street, Kids’ Favorite Songs and data which are got from the questionnaire collected from the three intended raters and four readers. The informants are purposively selected.
Totally, there are nine songs in the DVD Sesame Street, Kids’ Favorite Songs which are divided into 90 lines.
Dealing with the accuracy, the translation of dubbed kids’ favorite songs in Sesame Street is less accurate. In term of accuracy level, 45 data (50%) are accurate, 43 data (47.8%) are less accurate and 2 data (2.2%) are inaccurate. Dealing with the acceptability, the translation of dubbed kids’ favorite songs in Sesame Street is acceptable. In term of acceptability level, 80 data (88.9%) are acceptable, 10 data (11.1%) are less acceptable and there is no data which are included in unacceptable. Dealing with the readability, the translation of dubbed kids’ favorite songs in Sesame Street is readable. In term of the readability level, 55 data (61.1%) are
1
Mahasiswa Jurusan Sastra Inggris dengan NIM C1306065
2
Dosen Pembimbing
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1 CHAPTER I
INTRODUCTION
A. RESEARCH BACKGROUND
Sesame Street is an American educational children's television
program which gives contribution to children's development. It is a pioneer of
the modern educational television program combining both education and
entertainment. The purpose of Sesame Street is to be the world's largest
informal educator of children around the world.
That is why there are many countries encouraged to adopt Sesame
Street to enter their country in Television Series version or VCD/DVD version
in order to develop the children in entertainment and education field.
Furthermore, Indonesia has made work relationship to Sesame Workshop in
order to create Indonesia Sesame Street Version which is known as Jalan
Sesama. It shows that Sesame Street is included in influential children’s
television program which runs in entertaining, parenting and educating. The
adopting of the television program from another country like this needs the
existence of translation much in order to deliver the message of the television
program brought, especially for the educational television program like
Sesame Street.
The major target consumers of Sesame Street are children (Target
Language: Indonesia). It is hard for them if the product is still given in
original language (Source Language: English). That is why, almost of the
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There are two types of film translations which are commonly used; they are
dubbed and subtitled. Concerning that the program is created to entertain and
educate the children, the film translation method which is commonly used is
dubbing. If the children television programs are presented in subtitling, it is
hard for children who do not have reading skill yet. On the other hand,
dubbing tends to help the children improve their competence in learning and
receiving languages. Finally, dubbing is used in order to make the children
easy in achieving the message. Moreover, the consumers who come from
different cultures make dubbing become the right way to make the content
sounds natural for the consumer (domesticating) so that the message is
accepted easily.
Like other children’s television programs, Sesame Street has dialogue,
sense of humor, music, songs, etc. All of them are common in children’s
television programs in order to attract the children. Beside the dialogue which
is presented in dubbing technique, songs which cannot be separated to
children’s television program are dubbed too. Consequently there will be
many problems which are faced by the translator because he or she has to
concern to dubbing rule. Coelh argues in his Subtitling and Dubbing:
Restrictions and Priorities that “synchronisation is also a key term when
talking about dubbing, since it has to be more visual rather than acoustic and
depends to a large extent on the distance of the camera from the speaker”
(http://www.translationdirectory.com/article326.htm). In this case, the
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are dubbed. It means the translator has to concern to the synchronization
between the songs in both source language and target language.
Moreover, a song has specific characteristics just like poetry. It is
limited by the number of syllables (meter), rhymes, etc. It becomes the
challenge to the translator in the way to deliver the message under the rule of
literary translation. The translator has to remember that almost of the failure of
many translators in understanding a literary text is the lack of concerning to its
boundaries of a literary work.
In analysing the songs, even the popular songs, dubbing should not be
seen as a strict kind of translation where the source text is transferred sound by
sound in order to make the speakers look like speak in the target language.
Dubbing tends to be more natural than subtitling. Moreover, translating songs
should be related to the rule of literary translation that is poetry translation. It
involves many factors might contribute to the quality of translation of the
dubbed songs.
The examples representing the problems above can be seen as follows:
Example 1: Twinkle Twinkle Litle Star
Twinkle, twinkle, little star, a
How I wonder what you are! a
Up above the world so high, b
Like a diamond in the sky. b
Twinkle, twinkle, little star, a
How I wonder what you are! a
Bintang kecil yang indah a
Apa kabar dirimu b
Kau yang jauh di sana a
Bagai berlian di langit c
Bintang kecil yang indah a
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The example above shows that the target text fails to adapt the rhyme
of the source text. The source text has six lines which has pattern of rhyme
(aabbaa) is translated into the target text which has different rhyme (abacab).
Example 2: Baa, baa Black Sheep
One for the master
one for the dame
and one for the little girl
who lives down the lane.
untuk tuan
untuk nyonya
untuk gadis manis
di desa
The example above shows that the stanza has free rhymes. It makes the
translator translates the source text more easily without seeing the pattern of
rhyme. But a translation technique has been found to translate this. In the first
line, ST: One for the master is translated into TT: untuk tuan. It shows that
there is deletion in the target text. It might be done to fix it to the meter of its
line. However, the translator has to remember that the song translation will be
sung then by dubbing.
Example 3: I've been working on The Railroad
I've been working on the railroad
All the livelong day
I've been working on the railroad
Just to pass the time away
Di stasiun ku bekerja
Sehari penuh
Di stasiun ku bekerja
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The example above shows that the translator keeps the rule of rhyme.
It is abab. But there are many problems inside the translation. The word
railroad is translated to be stasiun. However, railroad means rel kereta api.
Next, there is the change of word structure. The line 1 and 3 is changed where
the object is in front of subject. Concerning that it will be presented in
dubbing, the diction and the change word structure are done.
Such kinds of the translation techniques, the choosing relevant words,
and the change of word structure are used by translator to translate the songs.
They are used not only based on the Poetry translation rule but also under the
dubbing rule where the translator used such things concerning to the meter of
song when it is dubbed. The big question is whether the message is delivered
correctly or not.
Concerning many kinds of the translations which are resulted by
dubbing technique above, it is interesting to make a research about the
analysis of translation quality on kids’ favorite songs in Sesame Street (DVD
version) which are dubbed into Indonesia.
B. RESEARCH LIMITATION
The researcher makes limitation concerning the data and the analysis.
The researcher provides nine kids’ favorite songs entitled I’ve been Working
on the Railroad, The Old Bat, The Alphabet Song, Row, row, row your Boat,
Twinkle twinkle little star, John Jacob Jingleheimer Schmidt, Baa, baa black
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with their Indonesian version which are resulted from dubbing technique on
DVD entitled Sesame Street, Kids’ Favorite Songs which were published by
Sesame Work on January 27th, 2006 to see how the quality of the translation
produced.
C. RESEARCH PROBLEMS
Based on Research Background above, the research problems are as
follows:
1. How accurate is the translation of the kids’ favorite songs which
are dubbed in Sesame Street?
2. How acceptable is the translation of the kids’ favorite songs which
are dubbed in Sesame Street?
3. How readable is the translation of the kids’ favorite songs which
are dubbed in Sesame Street?
D. RESEARCH OBJECTIVES
The objectives of the research are
1. To find out the accuracy the translation of the kids’ favorite songs
which are dubbed in Sesame Street.
2. To find out the acceptability the translation of the kids’ favorite
songs which are dubbed in Sesame Street.
3. To find out the readability the translation of the kids’ favorite
commit to user E. RESEARCH BENEFITS
The research may have some benefits for:
1. The Translator of Sesame Street
The findings in this study can be used as a contribution in relation
to the strength and the weaknesses of translation for dubbing.
2. English Department Students
The result of this research can give additional reference for the
students in studying translation
3. Lecturers
The result of this research can be used as additional reference for
lecturers in teaching translation subject.
4. Other Researchers
The present study focuses on the dubbing quality of the kids’
favorite songs in Sesame Street, its findings may intrigue other
researchers to research the translation technique aspects of
dubbing.
5. Readers
The result of this research may give knowledge about translation.
F. THESIS ORGANIZATION
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Chapter I : INTRODUCTION consists of Research Background, Research
Limitation, Research Problems, Research Objectives, Research
Benefits and Thesis Organization.
Chapter II : LITERATURE REVIEW consists of Definition of Translation,
Types of Translation, Translation Quality Assessment, Sentence
Clause Phrase, Poetry, Elements of Poetry, Literary Translation,
Poetry Translation, Synopsis of Sesame Street Kids’ Favorite
Songs and Subtitling vs Dubbing.
Chapter III: RESEARCH METODOLOGY consists of Research Type and
Design, Data and Source of Data, Sampling Technique, Method
of Data Collection, Technique of Data Analysis, Research
Procedure.
Chapter IV: DATA ANALYSIS contains of Introduction, Research Findings
and Discussion.
commit to user CHAPTER II
LITERATURE REVIEW
A. Definition of Translation
There are many ideas from many experts concerning translation. One
of them is stated by Newmark. In A Textbook of Translation, he states that
translation is rendering the meaning of a text into another language in the way
that the author intended the text (1988:5). From the definition above,
Newmark only focuses on the transferring the meaning.
However, Nida and Taber in their book entitled The Theory and
Practice of Translation states that translating consists in reproducing in
receptor language, the closest natural equivalent of the source language
message, first in terms of meaning and secondly in term of style (1974: 14).
The statement above concerns to both important things, they are meaning and
style. This statement is in line to Bell who adds that translation is the
expression in another language (or target language) of what has been
expressed in another, source language, preserving semantic and stylistic
equivalences (1991:5). From both ideas above, we see that translation not only
focuses on the meaning but also concerns to the style equivalence which is
very important in translating to produce good translation.
Moreover, Basnett (1980:2) adds that translation involves the
interpretation of a source language (SL) text into the target language (TL) as
to ensure that (1) the surface meaning of the two will be approximately similar
and (2) the structures of the SL will be presented as closely as possible.
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However, the translator will face many kinds of text which are simple or even
complex texts. In this case, the translator is faced with such a complex text as
literary text (poem/ song). It means that the translator should re-express not
only with the same meaning but also with the same style.
B. Types of Translation
Casagrande in Weller (1989:42) distinguishes several types of
translation:
1. Pragmatic
The translation which maintains the accuracy of the message in the source
language form. It is not concerned to other aspects of the source language
version. For example: a technical translation on how to repair a machine.
2. Aesthetic-poetic
The translation which maintains the beauty, the affective and the
emotional aspects of an original language version and any information in
the message, for example: literature.
3. Ethnographic
The translation which covers the cultural context of the source and target
language versions. Translators have to know in the way of choosing words
and placing the words in the cultures of both the source and target
languages, for example: the Bible.
4. Linguistic
The translation which concerns to equivalent meaning and grammatical
commit to user C. Translation Quality Assessment
Nababan states that translation quality assessment is an integral part of
the translation process (2004:54). He said (1999: 86) “the assessment of
translation quality focuses on three aspects, they are 1) the accuracy of
transferring message, 2) the exactness of expressing the message in TL, 3) the
natural of the translation language”. It can be concluded that three aspects of
quality assessment of translation are:
Accuracy
It concerns with how equal message of the translation to Source Text is. A
piece of translation is considered to be accurate when the message of the
Target Text is similar to Source Text. It can be tested by comparing it with
ST or using back translation. A rater who can test the accuracy of
translation is a person who is competent in SL and TL, like translator,
translation consultant, reviewer, etc.
Readability
It is about how easy a text for target readers to understand is. The level of
readability can be influenced by sentence length, difficult terms, new
terms, ambiguity, and arrangement ideas. It can be tested by readability
testing, such as reading the text loudly.
Acceptability
It concerns with how natural a translation for target reader is. It sounds
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are willing to spend time in reading and making comment and suggestion
to the translation.
Moreover, in translating a literary text, the translator has to put much
concentration in its boundaries which can influence to the quality of
translation. Venuti (1995:1) said that “A translated text, whether prose or
poetry or non-fiction, is judged acceptable by most publishers, reviewers and
readers when it reads fluently, when the absence of any linguistic or stylistic
peculiarities makes it seem transparent, giving the appearance that it reflects
the foreign writer‟s personality or intention or the essential meaning the
foreign text, in other words, that the translation is not in fact a translation, but
the original”.
The statement above shows that translating a literary text is more
complicated than others, moreover it is presented in dubbing. The translator
has to make the translation sound like original where its aesthetic is still in it.
It is big challenge for the translator, because in this case he or she is not only
as the translator but also as the author too.
D. Sentence, Clause, Phrase
Song is like poetry. It contains beautiful words which are formed line
by line. Every line is not always showed by a complete sentence; it can be a
phrase or a clause.
A sentence is a group of words containing a verb and its subject and
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and the predicate. The classification of sentences by type can be showed as
follows:
1. A declarative sentence which makes a statement
Statements that declare something, for example: Robin watched TV.
2. An imperative sentence which gives a command or makes a request
A command or a request usually is used to ask someone to do something,
for example: Send me letter.
3. An interrogative sentence which asks a question
To interrogate means to ask, an interrogative sentence is followed by a
question mark, for example: Where are you going, Don?
4. An exclamatory sentence which expresses strong feeling
A sentence expressing strong feeling is always followed by an exclamation
mark, for example: How lucky you are!
The phrase is a group of words used as a single part of speech and not
containing a verb and its subject. The classification of phrase can be seen as
follows:
1. Noun Phrase
A group of words where the noun as the head and other words as
modifiers, for example: my book
2. Adjective Phrase
A group of words where the adjective as the head and other words as
commit to user 3. Prepositional Phrase
A group of words beginning with a preposition and ending with a noun or
pronoun, for example: at home
4. Adverbial Phrase
A group of words where adverb as the head and other words as modifiers,
for example: He learns that machine quite easily.
5. Verbal Phrase
A verbal is a word formed from a verb but it is a part of sentence, for
example: She has been reading for an hour.
A clause is a group of words that contains a verb and its subject and is
used as a part of a sentence. The classification of clause can be seen as follows:
1. Adjective Clause
A subordinate clause is used as an adjective to modify a noun or a pronoun,
for example: I want the book that I bought yesterday back
2. Adverb Clause
A subordinate clause is used as an adverb, for example: After having dinner,
Billy watches the TV.
3. Noun Clause
A subordinate clause is used as a noun, for example: What he said is very
important.
E. Poetry
Talking about song, it can be called as the accumulation of lyrics.
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usually divided into stanzas and directly expressing the thoughts.
All poems are poetry. Raharjo (2009:2) in his Introduction to Poetry
said that poetry is a part of literature that evokes a concentrated imaginative
awareness of experience or a specific emotional response through language
chosen and arranged for its meaning, sound and rhythm. It can be concluded
that poetry is a patterned form of verbal or written expression of ideas in
imaginative and rhythmical terms. Poetry usually contains rhyme and a
specific meter.
F. Elements of Poetry
Mugijatna in his Pengantar Kajian Puisi Inggris dan Amerika states
that poetry can be seen from its content and its form which cannot be
separated each other. The content means the message inside, while the form
focuses on the style of the poetry. These are the elements of poetry:
1. Writing Style
It is about the form of poetry writing. It is visible that the form of poetry
and prose or drama is different. Poetry is written in stanza form. It is not
always written from the left to the right of paper. One line is not always
filled by a complete sentence; it can be a phrase or a clause. Poetry can
have one stanza or more.
o Kinds of stanza:
a. Couplet stanza which consists of one line
b. Triplet stanza which consists of three lines
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d. Quintet stanza which consists of five lines
e. Sestet stanza which consists of six lines
f. Septet stanza which consists of seven lines
g. Octave stanza which consists of eight lines
h. Spenserian: stanza which has nine lines, ten lines, eleven lines, etc
A stanza is created to express the unit of idea of the poetry. There is a
pause between stanzas which can create tone. Tone is used to influence
the message.
2. Rhythm
It is signed by the stressed and unstressed in certain words (certain
syllables).
o The common metrical foots in English poetry based on the existence of
the stress or not are:
Iamb a pattern of stressed-unstressed syllables (two syllables)
Trochee a pattern of unstressed-stressed syllables (two syllables)
Anapest a pattern of stressed-stressed-unstressed syllables (three
syllables)
Dactyl a pattern of stressed-unstressed-unstressed syllables
(three syllables)
Spondee a pattern of stressed-stressed syllables (two syllables)
Pyrrh a pattern of unstressed-unstressed syllables (two syllables)
o Kinds of stanza based on how many foot it contains:
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Dimeter is a line which consists of two-feet
Trimeter is a line which consists of three-feet
Tetrameter is a line which consists of four-feet
Pentameter is a line which consists of five-feet
Hexameter is a line which consists of six-feet
Heptameter is a line which consists of seven-feet
Octameter ia a line which consists of eight-feet
Pause (coma) and enjambment (the incomplete line which has
continuation in the next line).
3. Rhyme
Rhyme is similar sounds in the end of words. It is created to produce the
aesthetic of poetry. Here some kinds of rhymes:
End rhyme, where the similar sound is in the end two lines or more
Internal rhyme, where the similar sound is in different words in one
line
Masculine rhyme, where the similar sound is presented by two
different words in different lines which have similar syllable.
Feminine or double rhyme, where the similar sound is formed by two
last syllables in two different words.
Triple rhyme, the similar sound is formed by three last syllables in
two different words.
o Sound Repetition is divided as follows:
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Assonance is the similarity of middle vowel sound of two or
several words.
Consonance is the repetition of consonance in one line.
Repetition is the repetition of word, phrase or line
Refrain is like repetition but it happens in certain interval in the last
stanza (It can be called chorus).
Onomatopoeia is imitation of sound. It can be sound of animal,
wind, etc.
4. Imagery
It is the description of the author‟s feeling which is poured in language into
the poetry. These are kinds of imagery:
Auditory imagery is imagery which can be felt by ear.
Tactile imagery is imagery which can make audiences touched.
Gustatory imagery is imagery which is felt by tongue, like sweet, bitter,
etc.
Olfactory imagery is imagery which can create scent/ odor.
Organic imagery is imagery which presents the body moving.
Kinesthetic imagery is imagery which presents of things moving.
Literal imagery is imagery which can be felt by five senses.
Figurative imagery is imagery which can produce figurative feeling.
5. Diction
Media of poetry is words. Diction is choice of words. It can be simple or
commit to user Diction is divided into three types:
a. Denotation is lexical meaning/ real meaning.
b. Connotation is figurative meaning.
c. Poetic word is a beautiful word which is usually used in poetry.
6. Figurative Language
Simile contains of comparison between two things which has different
characteristics (opposite). It uses device comparison words such as
like, as, resembles or than, for example: The audience watching the
concert was like zoo full of noisy animal.
Metaphor is about comparison between two different thing but it is
implicit comparison without using device comparison (like, as, etc) to
compare. For example: The moon was a ball of green cheese.
Symbol is a thing which represents of something, for example: You are
red rose.
Personification is a thing which is given characteristic like human, for
example: The wave is dancing.
Apostrophe is figurative expression to greet a thing as it is alive, for
example: Hey moon, Oh God, etc
Hyperbole is figurative language which is created too much, for
example: I won’t live to see another day if you leave me.
Litotes is so called as understatement; it is the apposite of hyperbole,
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Metonymy is figurative language which eliminates the real name of a
thing and substitutes it with another name dealing with, for example:
Give me a smoke means Give me a cigarette.
Synecdoche is figurative language which uses a part of thing‟s name to
call it all, for example: Netherlands vs Spain (in football match).
Irony is the opposite of the lexical meaning, for example: War is kind.
7. Tone
Tone is the author‟s attitude which is showed by reading the stressed
and unstressed words, for example I love you which is words to represent
hateness or I hate you to represent the madness to someone can be traced by
the tone when it is read.
G. Literary Translation
Translating literary works differs to translating other texts. It is more
difficult than translating other types of text because literary works have
specific characteristics. It has the beauty of the words (diction), figurative
language, metaphor, etc. It also has functions to pour the writer's thought,
emotion, feeling, passion, etc. It becomes the big challenge to translator in
facing literary works. The translator has to transfer these specific values into
the target language (TL).
A song is a kind of literature. It is like poetry. It consists of beautiful
words which express the author‟s thought, but it is presented in singing. In
translating song, there are difficulties which can be found in translating poetry.
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Translation states that translating song has great challenge, the translator has
to work with song lyrics which are represented in oral and written. The
translator has to start with a recorded ST in oral, then transfers it to the
written, and composes a TT which has to be fit with oral performance because
the sound is an important matter in song. The translator cannot deliver a
faithful or word-by-word translation of the original. He or she has to concern
to fix the result in the target language. It can either make the audience believe
that the song translation what they are hearing are the song which the
composer creates. (http://www.translationdirectory.com/article13.htm).
As one genre of literature, poetry has specific characteristics too. In a
poetry, the beauty is not only transferred by the choice of words and figurative
language, but also transferred dealing with rhythm, rhyme, meter, and specific
expressions and structures that are usually unusual in daily language. In short,
translating poetry needs more concentration than translating other genres of
literature in order to maintain the soul of poetry.
H. Poetry Translation
There are some considerations in translating poetry. Andre Lafevere
(in Bassnett-McGuire, 1980: 81-82) stated seven methods which are usually
used by English translators in translating Catullus's poems, they are:
o Phonemic translation
This method focuses on maintaining the similar sound which is resulted.
According to Lafevere, the result of this method sounds awkward and
commit to user o Literal translation
It can be called as word-for-word translation. This method will not be able
to transfer the original meaning because of differences of the phrase,
sentence structures, the metrical translation, specific stressing, and
pronunciation system between SL and TL which tend to produce
inappropriate translation in terms of meaning and structure.
o Verse-to-prose translation
The poem is translated into the prose in target language. It tends to make
the beauty of the original poem disappear.
o Rhymed translation
This method tends to maintain the pattern of rhyme. It can maintain the
style and form but it neglects the semantics factor of the poetry.
o Free verse translation
The opposite of rhymed translation, free verse translation is used to
maintain the semantics aspect of poetry than the physical aspect.
o Interpretation.
According to Lavefere, there are two types of interpretation, they are
version and imitation. Version maintains the semantics aspect, but neglects
the physics aspect. Imitation tends to produce the different poem by using
the similarity of title, topic, and starting point.
Hariyanto in Steps in Translating Poetry adds there are two main
stages in translating a poem, they are reading and writing. In reading, the
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In this stage the translator has to understand the basic elements of a poem such
as rhyme, meter, metaphor, choice of words, figurative language, etc to get the
poet's style. The next important stage is re-writing the message in the TL.
Therefore, the quality of the result of the writing process depends on the
reading. (http://www.translationdirectory.com/article642.htm).
However in translating poetry, the translator is forced to maintain the
poetry becomes poetry although it is presented in translation. These can be
concluded that the translator of poetry must be a poet. To overcome this, the
translators who can translate poetry are those who have deep interest in poetry.
I. Synopsis of Sesame Street Kids’ Favorite Songs
The idea of this story is Elmo has been asked to do a “Top Ten
Countdown” on the radio. Everyone on Sesame Street thinks that Elmo is
going to do a top ten countdown of his popular songs on the radio, so they are
trying to convince him to exercise their favorite song when Elmo travels
around Sesame Street, each of them sings their favorite song to or with him so
that the sesame street characters want their favorite songs are included in the
“Top Ten.”. But actually what Elmo is going to do on the radio is counting
backwards from 10 to 1. The song is popular song which can gain a toddler‟s
attention. They are I’ve Been Working on the Railroad, This Old Bat, Baa Baa
Black Sheep, The Alphabet Song, Twinkle Twinkle Star, Row Row Row Your
Boat, She’ll Be Comin’ Round the Mountain, John Jacob Jingle-Heimer
commit to user J. Subtitling vs Dubbing
Film can be an influential and powerful vehicle for transferring
information, ideas and values through picture, dialogue and music. Film is
presented not only audiolly but also visually. Objects of film tend to spread
upon other cultures. The film translation can give contribution in transferring
the message of what film brought.
Coelh in his Subtitling and Dubbing: Restrictions and Priorities,
states that “subtitling and dubbing are the two methods of language transfer in
translating types of mass audio-visual communication such as film and
television” (http://www.translationdirectory.com/article326.htm). It means
that there are two translation methods which are common in film translation,
they are subtitling and dubbing. Mera in Szarkowska also says “among all
kinds of film translation, dubbing is the one that interferes the most in the
structure of the original. Many critics raise objections to its authenticity. In
principle, dubbing is considered to be less authentic than subtitling because
the original performance is altered by the addition of a different voice"
(http://accurapid.com/journal/32film.htm).
The statement above shows that in film translation, dubbing and
subtitling have different characteristics. In other words, the subtitling or
dubbing process has strength and weaknesses which can be seen as follows:
Dubbing
Dubbed films may look like new products. A dubbed film tends to
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domestication, it is also supported by the statement which is stated by Venuti
as follows:
Translation is often regarded with suspicion because it inevitably domesticates foreign texts, inscribing them with linguistic and cultural values that are intelligible to specific domestic constituencies. This process of inscription operates at every stage in the production, circulation, and reception of the translation. It is initiated by the very choice of a foreign text to translate, always an exclusion of other foreign texts and literatures, which answers to particular domestic interests. It continues most forcefully in the development of a translation strategy that rewrites the foreign text in domestic dialects and discourses, always a choice of certain domestic values to the exclusion of others. And it is further complicated by the diverse forms in which the translation is published, reviewed, read, and taught, producing cultural and political effects that vary with different institutional contexts and social positions. (1998: 67).
In dubbing, the translator has to be faithful not only in the sense but
also in terms of phonological synchronization. Coelh argues in his Subtitling
and Dubbing: Restrictions and Priorities that “synchronisation is also a key
term when talking about dubbing, since it has to be more visual rather than
acoustic and depends to a large extent on the distance of the camera from the
speaker” (http://www.translationdirectory.com/article326.htm).
In dubbing, there is synchronization between what actors say and how
they move their lips, and their voices which affects the audience. Actually,
translators are usually only supposed to translate the text without worrying
about synchronicity, but in dubbing, most of them keep lip synchrony when
translating. In fact, most of the result of dubbing process tends to focus on the
lip synchronization which does not always obey the rule of linguistic. This
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on lip movements and synchronicity. Sometimes the results tend to cause the
loss of messages.
From the discussion above, it clearly that dubbing appears as part of
the domestication where the source culture is not really maintained, and let it
gets the influence of the target culture.
It is supported by the following quote of Hatim and Mason (1997:145):
“It is important to appreciate that this view of domestication holds within a translation situation in which the TL, not the SL, is culturally dominant. Conversely, if a domesticating strategy is adopted in the case of translating from a culturally dominant SL to a minority-status TL, it may help to protect the latter against a prevailing tendency for it to absorb and thus be undermined by SL textual practice. One of the modes of translating in which this trend may most clearly be observed is the dubbing of imported English language television serials into minority-status TL”.
Subtitling
Most of the method of translating films which is common used is
subtitling. Subtitling is a more authentic than dubbing. In subtitling, the
audience is not allowed to neglect the foreignness of a translated film and
maintain the authenticity by hearing the original dialogues of the film. In other
words, it is more neutral than dubbing. Therefore, subtitling contributes the
sense of the foreign language. Although there are cuts in the length of the
dialogues due to the column of subtitling, it can be handled by hearing the
original. It can be said that subtitling is more authentic, since it does not hide
the original sound. Obviously, in dubbing, the viewers can not claim the
problem because as the audience are not given a chance to compare the
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From the discussion above, it is clear that subtitling can be considered
part of the foreignization where the source culture and foreignness are
maintained so that it minimizes the influence of the target culture.
Two major translation film types, dubbing and subtitling, can be said
into translation method of domestication-foreignisation. Dubbing is a
domesticating strategy which reduces the effect foreign elements of the source
text and tends to present it in the target culture style. In contrast, subtitling is
an example of a foreignisation strategy because it maintains the foreign nature
of a film. In his later book „The Scandals of Translation‟, Venuti said that
Foreignization is close to the ST. The foriegnizing method comes through
foreignizing elements in order to make the translation is visible and to make
the reader realizes that translation they read or watch is the work from a
foreign culture. It is clear that translated material can be domesticated or
foreignisated to different culture of target reader or target viewer.
Subtitling and Dubbing are the two methods of translation in
translating types of mass audio-visual communication such as film and
television. Moreover, dubbing is known as the method that modifies the
source text to a large and makes it familiar to the target audience, while,
subtitling is translation of the spoken source language dialogue into the target
language in the form of written. Usually it is put in the bottom of the screen.
commit to user CHAPTER III
RESEARCH METODOLOGY
A. Research Type and Design
I. Research Type
The research is descriptive-qualitative. It contains description and
explanation about data which are examined. Hadi said that a descriptive
research is collecting data, analyzing data and making conclusion of those data
(1983:3). It means that a descriptive method is a method applying techniques
of collecting, arranging, classifying and analyzing data. The data were
collected first. And then they were analyzed and arranged using findings
which were found in data analysis. They are presented in description form
where the data are described completely.
II. Research Design
The researcher used a single-embedded case study. It means that the
analysis focuses on one phenomenon. There is no population and sample.
B. Data and Source of Data
I. Data
Data are in the form of nine songs which are in English version and
their translation of nine kids’ favorite songs which are resulted from dubbing
technique. The kids’ favorite songs translations were analyzed to find out the
quality of the translation.
II. Source
The data source which is used in this research contains documents
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and informants. Walizer (1987:36) said that the document is the use of visible
document as the basic data, while informant is person who has role on the
research.
In this research, the data were obtained from nine kids’ favorite songs
in Sesame Street DVD version (both the source text of English version and the
target text of Indonesian is resulted from dubbing technique). The informants
are three raters who have sufficient background of translation and four
children who have capability in reading and speaking Indonesian as the
respondents. Hadi (1983:158-159) stated that a respondent is a person who
gives answers to a questionnaire.
DVD Sesame Street Kids’ Favorite Songs which is used in this
research was published by Sesame Work on January 27th, 2006, USA. It was
published in subtitle version with the dubbed one.
The reasons of choosing Sesame Street become my source of data can be seen
as follows:
1. Sesame Street is one of breakthrough of kids programs which
brings education through dialogue, humor and song inside.
2. Most of the viewers of this program are children, so it becomes a
great challenge for the translator in producing translation which
can be acceptable for children. So that the writer is curious to
analyze the quality (accuracy, acceptability and readability) of the
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3. There are many songs which are dubbed inside and they affect to
the quality of their translation.
This research involves seven informants who are categorized into two
groups. They are the raters and the readers. The raters consist of three persons
who are competent in English and translation subject to provide the
information of accuracy and acceptability level of dubbed kids’ favorite songs
in Sesame Street. The other respondents as the readers consist of four children
who have good capability in understanding Indonesian text and they love this
kid’s TV program in order to provide the information about the readability
level of dubbed kids favorite songs in Sesame Street.
C. Sampling Technique
In qualitative research, there is no population; it tends to represent the
information. In this research, the researcher used two types of sampling
techniques. They are total sampling which is used to collect the songs and
purposive-sampling which is used to select respondents. The respondents are
divided into two groups. They are raters who are competent in English and
translation subject and the readers who have good capability in understanding
Indonesian text and they love this kid’s TV program. Sutopo (1998:26) states
purposive sampling, where the researcher tends to choose informants which
are considered competent in case and they can be trusted to be source data.
The researcher employed informants who are considered competent
with the case and she selected them based on the certain characteristics
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From the explanation above, it means that the researcher used all kids’
favorite songs in English and Indonesian (dubbed) version in Sesame Street,
but informants were taken purposively, in other word, it used some criteria in
selecting informants.
D. Method of Data Collection
By collecting all kids’ favorite songs in the source text and the target
text, the researcher analyzed the quality of translation on dubbed kids’ favorite
songs in Sesame Street.
The researcher analyzed the translation of nine kids’ favorite songs
which are dubbed from English (SL) into Indonesian (TL). This research
analyzed the translation quality on dubbed songs by giving questionnaires to
three raters who are competent in English to examine the accuracy and
acceptability level of translation. It was presented in open-close ended form.
Hadi states that an open form questionnaire is questionnaire which gives
freedom to respondents to express their arguments. Closed form questionnaire
is questionnaire which gives limited freedom to the respondent in answer the
questionnaire; it means the respondent provides answer to the needed
questions (1983:158-159).
The researcher also arranged questionnaires to four target readers (the
children) to find out the readability level of translation on dubbed songs in
Sesame Street. It is presented in an open-close ended form too, but it is done
trough interview. Free response can help the researcher to identify the feel, the
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questionnaire open close ended form is done so that respondents can give the
answer freely by using their words and adding important explanations dealing
with the case in available column.
In the research, the raters chose one of four available answers to show
the score of rating and they have chance to give reasons.
E. Technique Of Data Analysis
1. The researcher analyzed those nine songs translation that represent the
problems which give contribution to the quality of translation.
2. The researcher grouped the data into classification based on the score of
each set of questionnaire which then they were calculated to know the
score.
3. The researcher drew the conclusion.
F. Research Procedure
1. Watching the DVD
The researcher watched the DVD of Sesame Street and noted the result of
dubbed songs inside.
2. Collecting the data
The researcher collected and compared the data both English version and
Indonesia version (dubbed version) which are taken from DVD of Sesame
Street, Kids’ Favorite Songs.
3. Coding Data
The researcher coded the data based on each stanza. Each line of stanza is
commit to user 4. Classifying Data
The researcher classified data (each line of stanza) into sentences, phrases
or clauses.
5. Determining Data
The researcher determined the accuracy, acceptability and readability with
the help of raters and the respondents who completed the questionnaire.
6. Analyzing Data
The researcher accessed the accuracy, acceptability and readability of
translation quality on dubbed songs based on data which were got from the
raters and the readers.
7. Drawing conclusion and suggestion
Based on the data analysis and the research findings, the researcher drew
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CHAPTER IV
DATA ANALYSIS
A. Introduction
As has been explained in the chapter I, this study aims to evaluate The
Analysis of Translation Quality on Dubbed Kids‟ Favorite Songs in Sesame
Street. This chapter presents and discusses the findings of this study with
regard to the quality of translation resulted by dubbing technique.
Analyzing translation quality on dubbed songs is not only seen from
one aspect but also seen from many aspects which give contribution to the
result of the translation. It involves the rules of poetry translation which relate
some particular aspects such as pattern of rhyme, meter, diction, rhythm. It
also concerns to the dubbing rules which are usually related to a
synchronization of the lip moving and the meter.
B. Classification of each line stanza
The analysis covers the whole dubbed songs. The research contains
nine famous kid‟s songs and their translation which are resulted from dubbing
technique. Every song is divided into stanzas. Every stanza has some lines
which contain of united poems. In this part, the researcher analyzed the data
line by line for each stanza. Song has lines of each stanza which is arranged
free in words structure. It means that in one line can be presented in sentence
form, clause form or phrase form. To solve the case, the researcher classified
every line of every stanza in these nine songs (source language and target
language) into sentences, clauses or phrases.
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B. I. I’ve been Working on The Railroad
Stanza A
A1. I've been working on the railroad A2. All the livelong day, yeah
A3. I've been working on the railroad A4. Just to pass the time away
Stanza B
B5. Can't you hear the whistle blowing? B6. Rise up so early in the morn
B7. Can't you hear the captain shouting? B8. Dinah, blow your horn
Stanza C
C9. Dinah, won't you blow C10. Dinah, won't you blow
C11. Dinah, won't you blow your horn C12. Dinah, won't you blow
C13. Dinah, won't you blow
C14. Dinah, won't you blow your honk! Stanza D
D15.Someone's in the kitchen with Dinah D16.Someone's in the kitchen I know D17.Someone's in the kitchen with Dinah D18.Strumming on the old banjo
Stanza E
E19. Fie, fi, fiddly i oh E20. Fie, fi, fiddly i oh E21. fi, fiddly i oh
E22. Strumming on the old banjo
Di stasiun ku bekerja
In the first song entitled I‟ve been working on The Railroad, stanza A,
datum A1, I‟ve been working on the railroad and A3, I‟ve been working on
the railroad are sentences (declarative) because they have complete part of
sentence which consists of subject, predicate and object. These data are
translated similarly into declarative sentences (Di stasiun ku bekerja). Datum
A2, All the livelong day is a phrase because it does not have a subject and a
predicate. Datum A4, Just to pass the time away, is a phrase too. Datum A2 is
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predicate. Datum A4 is presented into a sentence (Hingga waktu berlalu)
because the word waktu is as subject and the word berlalu is as a predicate.
Datum B5 in stanza B, Can‟t you hear the whistle blowing?, has a
different case. It is an interrogative sentence because it has question word. It is
similar to datum B7, Can't you hear the captain shouting. Unfortunately, data
B5 and B7 are not translated into interrogative sentence. They are presented as
follows:
Bunyi peluit kereta (phrase), because there is no predicate
Dengar teriak sang kapten (phrase), because there is only predicate
without having subject.
Datum B6, Rise up so early in the morn, is an imperative sentence
because it is started by verb. The translation of datum B6 is presented in a
phrase. (Bangunkan di pagi buta). Datum B8, Dinah, blow your horn, is an
imperative sentence. Dinah here is not the subject. It is called imperative
because the sentence started by a verb. The translation of datum B8 is
presented into an imperative sentence too (Dinah bunyikan).
In stanza C, datum C9, datum C10, datum C12 and datum C13 have
similar form, Dinah, wont you blow. They are sentences because they have a
subject and a predicate. But it is included in interrogative sentence where the
word won‟t is as question word. Their translations are presented in imperative
sentences (Dinah bunyikan). Datum C11 and datum C14, Won‟t you blow
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word. Their translations are presented in imperative sentences (Dinah coba
bunyikan).
In stanza D, datum D15 and datum D17 have similar form, Someone‟s
in kitchen with Dinah. They are sentences. Their translations are presented in
sentences too (Di dapur ada teman Dinah). Datum D16, Someone‟s in the
kitchen I know is a sentence. Its translation is presented in a phrase (Teman
yang ku kenal) because yang ku kenal explains teman. Datum D18, Strumming
on the old banjo is a phrase because there is no subject and verb. The
translation of datum D18 is presented in a phrase too (Sedang mainkan banjo).
Stanza E, datum E19 up to datum E21, Fie, fi, fiddly i o are not
sentences, clauses or phrases. They are just like improvisation of song. Datum
E22 is similar to D18 (Strumming on the old banjo). It is a phrase and its
translation is also presented in phrase too (Sedang mainkan banjo).
The result of the analysis of first song can be seen on the table:
Source Text
Stanza A
A1. I've been working on the railroad Sentence (declarative)
A2. All the livelong day Phrase (noun)
A3. I've been working on the railroad Sentence (declarative) A4. Just to pass the time away Phrase (prepositional)
Stanza B
B5. Can't you hear the whistle blowing Sentence (interrogative) B6. Rise up so early in the morn Sentence (imperative) B7. Can't you hear the captain shouting Sentence (interrogative) B8. Dinah, blow your horn Sentence (imperative)
Stanza C
