AN ANALYSIS OF VARIATIONS, STRATEGIES AND QUALITY OF
ADDRESS FORMS IN THE SUBTITLING OF FILM
CASANOVA
INTO
INDONESIAN
THESIS
Submitted as a Partial Fulfillment of Requirements for the Sarjana Degree in English Department Faculty of Letters and Fine Arts
Sebelas Maret University
BY:
MARISA CITRA PRATIWI C 0303037
ENGLISH DEPARTMENT
FACULTY OF LETTERS AND FINE ARTS SEBELAS MARET UNIVERSITY
ii
AN ANALYSIS OF VARIATIONS, STRATEGIES AND QUALITY OF ADDRESS FORMS IN THE SUBTITLING OF
FILM CASANOVA INTO INDONESIAN
By:
MARISA CITRA PRATIWI C 0303037
Approved to be examined before the Board of Examiners Of English Department Faculty of Letters and Fine Arts
Sebelas Maret University
Thesis Supervisor
Agus Dwi Priyanto, S.S., M.Call NIP 197408182000121001
Head of English Department
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AN ANALYSIS OF VARIATIONS, STRATEGIES AND QUALITY OF ADDRESS FORMS IN THE SUBTITLING OF
FILM CASANOVA INTO INDONESIAN
By:
MARISA CITRA PRATIWI C 0303037
Accepted and Approved by the Board of Examiners of English Department Faculty of Letters and Fine Arts
Sebelas Maret University
1. Chairperson ( )
DR. Djatmika, MA
NIP. 197105251998022001
2. Secretary ( )
Ida Kusuma Dewi, SS,MA NIP. 197105251998022001
3. First Examiner ( )
Agus Dwi Priyanto, SS, MA NIP. 197408182000121001
4. Second Examiner ( )
Prof. M. Nababab,M.Ed,MA,Ph.D NIP.196303281992011001
Dean of Faculty of Letters and Fine Arts
iv MOTTO
“….There is always enough light for one who wants to see..”
(Amirul Mukminin, Imam Ali Ibni Abi Thalib)
“If for an instant God forgot that I am just a puppet, and He gave me one
more piece of life, I would take the advantage of that time, The best I
could”
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DEDICATION
This thesis is fully dedicated
With respect and gratitude to
My beloved Mom, Dad and Salman.
Thanks a lot for your effort, support
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ACKNOWLEDGEMENT
Finally, thank you so much Ya Allah…Alhamdulillahi rabbil ‘alamiin. All praise is for ALLAH SWT, the Almighty God, for all the guidance and blessing for me in finishing this thesis.
Perhaps this is one of my biggest moments in my life since it needed a lot of energy, time and big patience to finish this thesis. I would like to say special thanks to people who have great role and contribution in accomplishment of my thesis. I realized that without their support and involvement, the thesis would not be done.
I would like to deliver my gratitude to:
1. Drs. Sudarno, M. A, the Dean of Faculty of Letters and Fine Arts Sebelas Maret University, for approving my thesis.
2. DR. Djatmika, M. A, the Head of English Department, and also my academic supervisor. I’d like to thank him for the great support during my study in English Department.
3. Agus Dwi Priyanto, S.S., M.Call., the Secretary of English Department my dear thesis supervisor. From the deepest of my heart, I’d like to thank him for his lesson, guidance, patience, help, concern, support and unspoken pray.
4. Drs. M. R. Nababan, M. Ed., M. A., Ph.D., as my dear lecturer and also my first rater. I’d like to thank him for being my inspiration. He really helps me so much in giving me idea to choose this title. I learnt so many things from him.
5. Herianto Nababan, S. S, as my second rater. I’d like to thank him for the contribution.
6. Ida Kusuma Dewi, S.S., M. A, as the lecturer of translation study and also my third rater. I’d like to thank her for every lesson, suggestion, help, concern, supports and unspoken pray that she has given to me. It means a lot to me. 7. All the lecturers of English Department, whom I could not mention one by one.
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8. I’d like to thank for my lovely Mom and Dad for the endless love. I cannot imagine how my life would be without them. They teach me the truth, honest and responsibility. I’m very proud being their only daughter. I love them more than anything in this world.
9. My beloved uncles, Daeng Iskandar, my grateful to him for his support both pray and financial.
10. My beloved Salman. My special thank to him for the unconditional love. He is the best chapter in my life story.
11. My lovely Grooviest
I love them all my brothers and sisters. I really miss to hang out together again just like in the past. I will never forget the moments we shared together.
...My happiness is time spent with you all guys and looking forward to sharing
time with you all again…
12. All friends and management levels in Pizza Hut, I’d like to thank them for the support and understanding. This is the place I learnt to live in the real life and became a tough girl.
13. All of EDGE 2003 (English Department Generation 2003), I’d like to thank for their pray and support. It’s great to have them all.
The researcher
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PRONOUNCEMENT
Name : Marisa Citra Pratiwi NIM : C 0303037
I hereby state whole-heartedly that I myself write this thesis entitled An Analysis of Variations, Strategies and Quality of Address Forms in the subtitling of film
Casanova into Indonesian. It is neither a plagiarism, nor made by others. Things
related to other people’s work are written in quotations and included in bibliography. If it is then proved that I cheat, I am ready to take the responsibility, including the withdrawal of my academic degree/title.
Surakarta, April 2010
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TABLE OF CONTENTS
TITLE………. i
THE APPROVAL OF THE SUPERVISOR……….. ii
THE APPROVAL OF THE BOARD OF EXAMINERS……….. iii
MOTTO……….. iv
DEDICATION……… v
ACKNOWLEDGEMENT………... vi
PRONOUNCEMENT………. viii
TABLE OF CONTENTS……… ix
ABSTRACT……… xii
CHAPTER I. INTRODUCTION………... 1
A. Research background………... 1
B. Research Limitation……… 5
C. Problem Statements………... 5
D. Research Objectives……… 6
E. Research Benefits……… 6
F. Thesis Organization……… 7
CHAPTER II. LITERATURE REVIEW………... 9
A. Definition of Translation………. 9
B. Translation Ideology ……….. 10
C. Methods of Translation……… 12
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E. Principles of Translation ……….. 19
F. Problems of Translation……….. 20
G. Quality Assessment of Translation ………. 21
H. Film Translation……….. 23
a. Dubbing 2. Definition of Dubbing………... 24
3. Problems in Dubbing………. 24
4. Strategies for dubbing……… 25
a. Subtitling 1. Definition of Subtitling……….. 26
2. Problems in Subtitling……… 26
3. Strategies for Subtitling………. 28
I. Address Forms……….. 30
1. Definition of Address Forms……….. 30
2. The Use of Address Forms………. 31
3. The Dimensions Related to The Usage of Address Forms……….. 32
4. Types of English Address Forms………. 35
5. Types of Indonesian Address Forms……….. 38
6. Strategies in Translating Address Forms……… 41
7. Synopsis of the Film ……….. 45
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CHAPTER III. RESEARCH METHODOLOGY………. 49
A. Research Type and Design……… 49
B. Data and Data Source………... 50
C. Method of Data Collection……….. 51
D. Research Procedures ………. 55
E. Technique of Data Analysis ……… 56
CHAPTER IV. RESEARCH FINDINGS AND DISCUSSION A. RESEARCH FINDINGS………... 58
1. The Analysis of the Kinds of Translation Variations of Address Forms a. Second person Pronouns (You)……….. 60
b. Kinship Terms……… 62
c. Titles………... 64
d. Names……… 68
e. Endearments and Expressions……….. 71
2. The Analysis of the Strategies in Translating Address Forms... 73
a. The Strategies In Translating Second Person Pronoun.. 73
b. The Strategies In Translating Kinship Terms………… 80
c. The Strategies In Translating Title………. 83
d. The Strategies In Translating Names……… 92
e. The Strategies In Translating Endearments and Expressions……….. 99
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A. Accuracy……… 109
a. Accurate……….. 112
b. Less Accurate………. 114
c. Inaccurate……….. 116
B. Acceptability………... 119
a. Acceptable……… 121
b. Less Acceptable………. 123
c. Unacceptable……….. 125
B. DISCUSSION OF RESEARCH FINDINGS……….. 115
1. Kinds of Translation Variation of Address Forms applied by the subtitler in Translating address forms in the Film “Casanova”……… 127
2. Strategies applied by the subtitler in translating address forms in the film “Casanova”……… 128
3. The effect of the strategies applied by the subtitler in translating address forms in the film “Casanova” toward the quality of the translation in the terms of accuracy and acceptability... 130
a. Second person pronouns……… 131
b. Kinship Terms ………... 134
c. Titles……… 136
d. Names……… 139
e. Endearments and Expressions……… 146
CHAPTER V. CONCLUSIONS AND RECOMMENDATION……… 159
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B. Recommendations……… 162
BIBLIOGRAPHY……….. 165
xiv address forms, to find out the strategies applied by the translator to translate the film “Casanova” into Indonesian and to know the effect of the strategies toward the quality of the translation in terms of accuracy and acceptability.
The research is a descriptive qualitative. The data here are purposefully selected. There are two kinds of data used in this research. They are all the data from the utterances containing address forms completed with the translation in the film “Casanova” and the data which are got from the questionnaires collected from the three intended raters.
Totally, there are 330 utterences containing address forms in the film “Casanova” published in 2005 by Touchstone Pictures. The findings of this research reveal that there are five kinds of translation variations of address forms in this film. They are second person pronouns, kinship terms, titles, names and endearments and expressions. From 330 utterences, I found 373 data of address forms since one utterence has more than one kind of address forms. 192 data or 51.48% are classified into second person pronouns. 8 data or about 2.14% are classified into kinship terms. Meanwhile, for titles, there are 57 data or 15.28 %. 93 data or 24.93 % are classified into names. And for endearments and expression, there are 23 data or 6.17 %.
Meanwhile, there are four strategies applied by the translator in translating address forms in this film. Based on the strategies, there are 380 data. The first strategy is using transference strategy. There are 94 data (24.74%) belonging to this strategy. The second strategy is using substitution strategy. It covers 13 data (3.42%). The third strategy is deletion. There are 17 data (4.47%). The last strategy is similar meaning which covers 256 data (67.37%).
These strategies influenced the level of accuracy and acceptability. In accurate level, transference strategy influenced 91 data (25.56%), substitution strategy 12 data (3.37%), deletion strategy 9 data (2.53%), and similar meaning 244 data (68.54%). For the less accurate level, transference strategy influenced 3 data (14.29%), substitution strategy 1 datum (4.76%), deletion 6 data (28.57%), and similar meaning 11 data (58.38%). In inaccurate level, only 2 kinds of strategies influenced this level, they are deletion strategy 2 data (66.67%) and similar meaning strategy 1 datum (33.33%). Meanwhile, In acceptable level, transference strategy influenced 55 data (19.37%), substitution strategy 12 data (4.22%), deletion strategy 11 data (3.87%), similar meaning 206 data (72.54%). For the less acceptable level, transference strategy influenced 39 data (40.63%), substitution strategy 1 datum (1.04%), deletion strategy 6 data (6.25%) and similar meaning strategy 50 data (52.08%).
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inaccurate. In terms of acceptability, 250 data (75.76 %) are considered acceptable, and the rest, 80 data (24.24 %) are less acceptable, no data are unacceptable.
CHAPTER I
INTRODUCTION
A. Research Background
Today, translation has improved rapidly. It is not only used in literary or scientific text but also in audiovisual field. One of the products in audiovisual field is film. Films cannot be separated from society because they have close relationship, as stated by Allen and Gomery (1993: 156) that film is a reflection of social values, interests and social phenomena and made within social context. Many films in Indonesia come from other countries, which use foreign language, especially English. Here, English and Indonesian are very different in terms of system and culture. Dealing with this case, film translation is needed because some Indonesian viewers aren’t bilingual or have a good skill in English.
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One of the important norms which plays a large part in social interaction of every culture, is the usage of address forms. Every culture has its own system of address form and has a different way in expressing it. Here, the usage of address forms is influenced by several sociolinguistic factors such as age, sex, social status, relationship (blood, intimate, or distance), attitudes (respectful or arrogant) and feelings between the speaker and the addressee and the situation; formal or informal (Luong and Nguyen in Ngo, 2006).
As can be seen, English language has the system of address forms which is quite different from Indonesian one. For instance, the form of ‘you’, as one of the kinds of address forms, can be used for addressing anybody whether the situation is formal or familiar and can be functioned as a plural and singular form. In addition, people of English speaking countries are familiar to use only the first name for addressing others without considering the addressee is younger, equal or older than him/her.
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others only with his first name without title especially for people who are older than him or her will be considered impolite.
In a line with this condition, translation and sociolinguistic competence are needed by the subtitler in order to find appropriate kinds of translation variations to solve the problem of socio-cultural differences between English and Indonesian language dealing with the usage of address forms. For that reason, I analyze the address forms and their translation in the film’s dialogue of “Casanova” to find out the kinds of translation variations of English address forms applied by the translator, the strategies used by the subtitler and their effects toward the accuracy and the acceptability of the translation. Below are the examples of the usage of address forms found in the film “Casanova”, a classic film which took place in Venice as its setting, around 18th
century, Example I:
Father Dalfonso SL: Prince, we were just talking about you. What brings you here? TL: Pangeran, kami baru saja membicarakan Tuan. Kenapa Tuan
kemari?
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substitution strategy. In general, the pronoun you is translated into anda for formal situation or kau for familial situation. However, the subtitler substitutes the meaning of pronoun you into title form Tuan to show a respect in the formal situation. Therefore, the resulted translation is appropriate in order to accommodate the setting of the film and to show a politeness between the speaker and the interlocutor.
Example II:
Father Dalfonso SL: Signor Casanova, it seems to be another case of mistaken identity. You are free to go.
TL: Signor Casanova, sepertinya ini kasus salah penangkapan. Kau boleh pergi.
The example above is foud in one part of the movie in which Father Dalfonso released Casanova from any accusation. As seen, Signor Casanova which refers to Casanova uttered by Father Dalfonso is translated into the same way. It can be seen that the subtitler still keeps the form of Italian address form “Signor” in the translation of the film. The form of “Signor” here has an equivalent meaning with Mr. which means to show respect and politeness for a man in a formal situation. The use of Signor in the translation aims to attract the viewers and give local color atmosphere especially Italian atmosphere as the setting of the film.
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analyze the effect of the strategies applied by the subtitler in the film “Casanova” toward the quality of the translation in terms of accuracy and acceptability.
The consideration to choose the film as the source of data is because it is interesting to study the translation of the address forms since it has an important part in contributing to the enjoyment of the viewers. Besides, this film is inspired partially from the autobiography of Giacomo Girolamo Casanova or the real Casanova, a famous Venetian adventurer, writer and womanizer.
B. Research Limitation
In this research, I only focus the analysis on the translation of address forms in the dialogue of the film “Casanova”. The expression would be in words. This research copes with the kinds of translation variations, the strategies applied by the subtitler in translating address forms and the effect of using the strategies toward the accuracy and acceptability of the translation.
C. Problem Statements
Based on the research background, I will analyze the following problems:
1. What kinds of translation variations of address forms are applied by the subtitler in translating address forms in the film “Casanova”?
2. What are the strategies applied by the subtitler in translating address forms in the film “Casanova”?
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D. Research Objectives
According to the problem statements, the objectives of the research are:
1. To find out the kinds of translation variations of address forms applied by the subtitler in translating address forms in the film “Casanova”.
2. To find out the strategies applied by the subtitler in translating address forms in the film “Casanova”
3. To find out the effect of the strategies applied by the subtitler in the film “Casanova” toward the quality of the translation in terms of accuracy and
acceptability.
E. Research Benefits
This research is expected to give benefits for film translators/subtitlers. The result of this research can be used as a reference to give information about what should be well considered in translating address forms in film in order to produce not only accurate but also acceptable translation.
Meanwhile, it is also expected that the result of this research can give additional knowledge for English Department students about translation study in terms of the kinds of translation variations of address forms and the translation strategies applied by the subtitler in translating address forms. It also makes them aware about the importance of accuracy and acceptability of the translation.
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F. Thesis Organization
This thesis consists of five chapters, bibliography and Appendices. Here, each chapter is subdivided further. This thesis is arranged systematically as follows:
CHAPTER: INTRODUCTION, it consists of Research Background, Research
Limitation, Problem Statements, Research Objectives, Research Benefits, and Thesis Organization.
CHAPTER II : LITERATURE REVIEW, it consists of Definition of Translation,
Types of Translation, Process of Translation, Problems of Translation, Quality Assessment of Translation, Definition of Subtitling, Problems of Subtitling, Strategies for Subtitling, Definition of Address Forms, Rules of Address, The Dimensions Related to The Usage of Address Forms, Types of English Address Forms, Types of Indonesian Address Forms, Strategies in Translating Address Forms and Synopsis of the Film.
CHAPTER III: RESEARCH METHODOLOGY, it consists of Research Type and
Design, Data and Data Source, Method of Data Collection, Research Procedures and Technique of Data Analysis.
CHAPTER IV: ANALYSIS, it consists of The Analysis of The Kinds of Translation
Variations of Address Forms Applied by the Subtitler in Translating Address Forms in the Film “Casanova”, The Analysis of the Strategies in Translating Address Forms in the film “Casanova” and the Effect of Using the Strategies in Translating Address Forms in the film “Casanova” toward the Quality of The Translation in Terms of Accuracy and Acceptability.
xxii BIBLIOGRAPHY
APPENDICES
CHAPTER II
LITERATURE REVIEW
This chapter explains some theories related to this research. It explains definition of translation, types of translation, process of translation, principles of translation, problems in translation, quality assessment of translation and sociocultural aspects in translation. Then, I will explain about definition of film translation, problems in subtitling, and strategies for subtitling. This chapter will also discuss some theories related to this research covering the definition of address forms, rules of address, the dimensions related to the usage of address forms, type of English address forms, type of Indonesian address forms, and strategies for translating address forms. In the end of this chapter, I will give the synopsis of the film.
A. Definition of Translation
In general understanding, translation concerns with transferring information from source language to target or receptor language. Nida and Taber (1974: 14) give a brief definition of translation as follows: “Translation consists of reproducing the receptor language the closest natural equivalence of the source language, first in terms of meaning and secondly in terms of style”.
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put together. If a translator emphasizes only on expressing the style, she/he will fail to transfer the message of the SL and vice versa.
Related to the style, De Maar (in Widyamartaya, 1989: 34) says, “Consider carefully in what spirit or mood the original is written! If its style is familiar, be familiar in your translation; if elevated, give to your translation an elevated tone.” From the quotation above, style can influence the quality of translation. Here, the style of the translation should be loyal to the original style.
Meanwhile, Bell (1991: 5) explains, “Translation is the expression in another language (TL) on what has been expressed in another (SL), source language, preserving semantic and stylistic equivalents”. It can be seen that translation is related to the reproduction of equal message, which should include semantic equivalence and stylistic equivalence.
From all the statements above, it can be noted that the definition of translation are the same, that translation is a process of transferring the message from SL to TL properly. Here, the translators should also consider the equivalence and sociocultural aspects to reach a good and natural translation.
B. Translation Ideology
There are two main kinds of translation ideology; domestication and foreignization.
a. Domestication
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means that this ideology allows the translator to adapt the source message to the receptor’s language values includes the linguistic and cultural values.
The main characteristic of this ideology are fluency, naturalness, transparency and readability (Venuti in Thangho, 2000). According to Nida (1964), the fluency and naturalness means that it allows the adaptation of the SL such as shifting word order, using verbs in place of nouns and substituting nouns for pronouns. That’s why this ideology is also called dynamic equivalence. Meanwhile, the naturalness also means gives the illusion that the text is not a translation but appears as if it were written in the TL.
b. Foreignization
Foreignization or source language translation approach or formal equivalence translation is the ideology of translation that puts “an ethno deviant pressure on TL culture values to register the linguistic and cultural difference of the foreign text, sending the target readers abroad” (Venuti in Thangho, 2000). By using this approach, the translator is expected to maintain the foreign identity of the source text or to preserve the linguistic and cultural differences of the source text.
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C. Methods of Translation
A translation does not consist of one method of translation only since it is influenced by several factors. According to Nababan (2003: 29), those factors are: the different system between the SL and the TL, the different type of text material which should be translated from SL to TL, the perception that translation is a communication means, and the different purposes in translating a text. Therefore, a translator has to decide the most suitable method fitted to the text because it will affect the result of translation. Newmark (1988: 45) divides the methods of translation into eight, based on the purpose of translation and the nature of readership. He pictured those methods in V diagram:
Diagram 1 Methods of Translation
SL emphasis TL emphasis
Word-for-word translation Adaptation
Literal translation Free translation Faithful translation Idiomatic translation
Semantic translation Communicative translation Source: Newmark, 1988: 45.
1. Word-for-word translation
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Conversely, if the system of SL and TL is different, this kind of method cannot be used properly because the result of the translation would be difficult to be understood. For example:
1. SL: We watch television in the evening. TL: Kami menonton televisi di malam hari. 2. SL: This is the best year for our company.
TL: Ini adalah terbaik tahun untuk kita perusahaan.
From the example above, the sentence (1) is acceptable because the SL and the TL have the same structure, while the sentence (2) is not acceptable. It should be Ini adalah tahun terbaik untuk perusahaan kita. Therefore, a professional translator rarely
uses this type of translation.
1. Literal Translation
Dealing with literal translation, Newmark (1988: 46) states “The SL grammatical construction is converted to their nearest TL equivalents but the lexical words are again translated singly, out of context, as pre-translation process, this indicates the problems to be solved”. This method of translation enables the translator to change some parts in order to get a good translation. Meanwhile, Catford (1974: 25) states,
Literal translation lies between these extremes; it may start as it were from a word-for-word translation but make changes in conformity with the (TL) grammar (e.g. inserting additional words, changing structures at any ranks, etc); this make it a group-group or clause-clause translation.
From the quotation above, it can be seen that Catford defines that literal translation lies between two extremes. It may start as it were from word for word translation, but make changes in conformity with TL grammar. There can be inserted by additional words, changing structure at any rank, or other else.
xxvii SL: She is the smartest girl in this room. TL: Ia adalah gadis terpandai di ruangan ini.
From the example above, it can be seen that there are some changes in the grammatical construction in order to fit the TL grammar.
3. Faithful Translation
Faithful translation needs to be faithful to the original text. As Newmark states, A faithful translation attempts to produce the precise contextual meaning of the original within the constraints of the TL grammatical structures. It ‘transfers’ cultural words and preserves the degree of grammatical and lexical ‘abnormality’ (deviation from SL norms) in the translation. It attempts to be completely faithful to the intentions and text-realization of the SL writer (1988: 46).
This method of translation tends to emphasize on the SL. This is applied in order to present the SL culture.
4. Semantic Translation
Semantic translation tries to get closer to the original text. According to Newmark (1981: 39), semantic translation attempts to render, as closely as possible the semantic and syntactic structures of the second language allow, the exact contextual meaning of the original. This type of translation aims at finding word equivalences in the target language by analyzing the meaning components based on the context of the sentence. The transferring process of this meaning component from the source into the target language is closely related to the culture of the source language. As stated by Nababan (2003: 45), semantic translation focuses on finding the equivalence in word level which is still tied up by the culture of the source language.
Example:
Context/ situation A:
xxviii Context/ situation B:
Mrs. Dina: You should stay at home tonight. Ana : Yes, Ma’am.
From those examples above, it seems that Ana responses her mother’s order in different ways. In dialogue A, Ana uses Mom and Ma’am for dialogue B. Both of them refer to the same person, Mrs. Dina. Nevertheless, these words are different in terms of their meaning component. The word Mom should be translated into Mama which has informal sense, while the word Ma’am should be translated into Ibu which has formal sense.
5. Adaptation
This method is the most ‘freest’ form of translation. As stated by Newmark (1988: 46) that adaptation is used mainly for plays (comedies) and poetry. The themes, characters and plots are usually preserved. Here, the SL converted to the TL culture and the text rewritten.
6. Free Translation
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style of the original writer cannot be seen because the style has been adapted to the translator’s style.
Below is the example of this kind of translation taken from Machali (2000: 54) SL: (Times, May 28, 1990): “Hollywood Rage for Remakes”
TL: (Suara Merdeka, July 15, 1990): “Hollywood Kekurangan Cerita: Lantas Rame-rame Bikin Film Ulang”
7. Idiomatic Translation
Idiomatic translation basically can be included in free translation. In relation to this method, Newmark (1988: 46) states that idiomatic translation reproduces the ‘message’ of the original text but tends to distort the nuances of meaning by preferring colloquialisms and idiom where these do not exist in the original”.
Meanwhile, Larson (1984: 10) states that idiomatic translations use the natural form of the receptor language, both in grammatical constructions and in the choice of lexical items. A truly idiomatic translation does not sound like a translation. It sounds like it was written originally in the receptor language. Therefore, translating idiom is not an easy work. The translator should be able to recognize that he/she is dealing with an idiomatic expression.
For example (in Machali, 2000: 55)
SL: Mari minum bir sama-sama; saya yang bayar. TL: I’ll shout you a beer.
From the example above, the English version is more idiomatic than the original version. If it is translated in common way, the translation would become: Let me buy a beer.
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Newmark (1988: 46) states, “Communicative translation attempts to render the exact contextual meaning of the original in such way that both content and language are readily acceptable and comprehensible to the readership”. Communicative translation attempts to produce on its readers an effect as closely as possible to that obtained on the readers of the original (Newmark, 1981:39). He also states,
The most important problem is the intuitive nature of communicative translation- fact that its success canbe measured only by investigating the reaction of the readers to whom it is addressed.
(1981: 63) For example:
· Could you open the window?
Dapatkah anda membukakan pintu itu? · Can you open the window?
Bisa Anda bukakan pintu itu? · Open the window, please!
Tolong buka pintunya! · Open the window, will you?
Buka pintunya, ya?
For native English speaker these sentences have a different effect. For instance, the word could is more formal than can (Hornby, 2005). Could is used to politely ask someone to do something, while can is used to ask someone to help in informal situation. These effects are also can be seen in the translated version.
D. Process of Translation
xxxi meaning of words and combination of words.
2. Transfer. Here, the analysis material is transferred in the translator’s mind from the language A to language B.
3. Restructuring. In this step, the transferred material is restructured in order to make the final message is acceptable in the TL.
Meanwhile, According to Nababan (2003: 24-25), translation process can be defined as series of activity done by a translator during transferring message from source text to target text. He also divides the process into three steps; text analysis (SL), transfer and restructuring. These three stages can be pictured as follows:
Diagram 2 Process of Translation
Analysis Restructuring
Understanding Evaluation and Revision
1 3
Quoted from Suryawininata (in Nababan, 2003: 25).
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E. Principles of Translation
In translation activity, a translator must attempt to transfer mainly the message of SL into TL. Nida and Taber (1974: 14) states, “Translating must aim primarily at producing message”. They continue, “but to reproduce the message one must make a good may grammatical and lexical adjustment” (1974: 14). Then it should be considered that there are some conditions for a translator in reproducing the message.
Nida and Taber (1974: 14) also state, “The best translation does not sound like a translation”. It means that the translated text should sound natural for the target readers. Here, understanding the target reader’s characteristic and background will help the translator in determining the way of the method and technique in translating process. Newmark says, “The translator should produce a different type of translation of the same text for a different type of audience.”
Meanwhile, according to Kridalaksana (1985), there are four factors to be fulfilled by a translator in running the transferring message. First, the translator should be mastering the SL. It is required since the translator has to find the meaning of the text. Second, the translator should be mastering the TL so that he can transfer the message correctly. Third, the translator should comprehend the materials so that he can master the text perfectly. Then, the translator should be mastering the method and technique of the translation so that he can transfer the whole text in a suitable way. Moreover, much experience in translating activity can be a good additional point in producing a good translation.
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F. Problems of Translation
In transferring process, a translator will find some difficulties. As stated by Nababan (2003: 55), the problems in translation are due to the different system of the SL and the TL, semantic and stylistic complexity, translator’s competence and the quality of the source texts.
The different systems of the SL and TL can cause a problem since each language has their own system, either in terms of syntactical, lexical, or morphological structure.
Another problem is the semantic and stylistic complexity. Nababan (2003: 58) states that semantic complexity has strong relation to socio-cultural background of the speaker of the language. The difficulty will come up if the equivalence of SL cannot be found in the TL, especially if the contents steps on the cultural ground (cultural untranslatability). As Nida and Taber (1974: 4) say, “Each language is rich in vocabulary for the areas of cultural focus…”. For example, in English society, the word you can be used for addressing everyone whether he/she is older, equal or younger. In Indonesian language, the word you has a variations meaning (kau/ kamu, anda, saudara, bapak, ibu) depend on whom the speaker talk to and the situation of the
conversation (formal or informal).
The stylistic complexity is also one of the difficulties in transferring process, which is usually found in poems, prose and drama. Those kinds of texts have their own style.
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the comprehension of the text, and the experience in translating activity. Therefore, a text translated by a good translator will be more understandable for the readers.
Finally, the translator could have a problem in translating text because of the low quality of the source text (Nababan, 2003: 78). The low quality of the source text makes the message from the SL would be difficult to be understood because the source text contains incorrect grammar, ambiguous sentences, poor coherency within sentences or paragraph, mispunctuation, and so on. As a result, it will make the translator cannot translate the source text correctly.
G. Quality Assessment of Translation
In general, the quality of a translation is focused on three basic aspects; the accuracy in transferring the message, the acceptability of the translation and readability of the translation.
1. Accuracy
Accuracy is the main priority in translating a text. Here, a translator has to be able to send the meaning or message of the SL text. As Baker (1992: 57) states, “accuracy is no doubt an important aim in translation, but it is also important to bear in mind that the use of common target language patterns which are familiar to the target reader plays an important role in keeping the channels open.”.
In conclusion, accuracy means that the message of the original text is transferred in the target language text correctly.
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As stated by Toury (in Dewi, 2000: 22), acceptability relates to the naturalness of the translated text to the target readers. It is determined by the faithfulness to the linguistic and cultural bounds of the target system.
Therefore, the translator needs to observe the norms of the source language and the target system before he translates a text, the translated text will be considered acceptable if it is read as an original written in TL and sound natural for the target readers. If the language of translation were contradicted with the culture and norm of the TL, the audiences would reject the translation. For example, the word you translated into kamu whereas in fact, this word is used by a child who spoke to his father or a young boy/girl to an old man/woman. Even though this translation is correct but it would not be acceptable in Indonesian culture since it was considered impolite.
3. Readability
Readability is one of the important aspects in measuring the quality of a translation since it influences the readers’ understanding of the message of the translation. As stated by Richards et al (in Nababan, 2003: 62), readability refers to how easily written materials can be read and understood. Therefore, readability is closely related to the involvement of the readers. Dale and Chall (in Nababan, 2003: 63) states,
Readability…the sum total (including the ons) of all those elements within a given piece of printed material that affects the success a group of readers have with it.
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states that there are some factors that influence the readability of text: (1) the use of new words, (2) the use of foreign and local words, (3) the use of ambiguous words, (4) the use of foreign sentences, (5) the use of ambiguous sentences, (6) the use of incomplete sentences, (7) the length of the sentences, (8) the use of complex sentences, (9) how a translator arranges the idea of the original text into the target text since the original texts are not always good and logic enough. The other factors that influenced the readability of a text are the content of the text, the appearance of the text and the capability of the readers and the translators.
H. Film Translation
At present, watching a film becomes one of the alternative entertainments for many people in various age, sex and backgrounds including culture and language. People enjoy film because it may reflect the desires, needs, fears, and aspirations of a society (Allen and Gomery, 1993: 154). It may also reflect the social values, interest and phenomena in the society.
Since the twentieth century, when films reached international audiences, film translation is needed to solve the language differences including Indonesia who consume imported films. The aim of film translation is to help the viewers in enjoying the film whether it is a documentary, drama, action or cartoon films etc. There are two dominant methods in film translation; subtitling and dubbing. Finlay (1971: 81) mentions:
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1. Definition of Dubbing
As stated by Finlay (1971: 81), there are two ways of translating a film; dubbing and subtitling. As stated by Cintas (in Budianto, 2005) dubbing is the process of recording or replacing voices of the original soundtrack containing the actor’s dialogue with the TL recording that reproduces the original message, while at the same time ensuring that the TL sound and the same actor’s lip movements are more or less synchronized. By using dubbing, the translation is covert and the target audiences will hear the TL dialogue only.
2. Problems in Dubbing
The main problem in this type is caused by the difference between the speed of the spoken language and the speed in reading. Besides, it needs a translator and a dubber to read the translated script. Nida states that the translation of titles is no great task, but ‘dubbing’…is difficult and complicated (1964: 178). It can be seen that dubbing is not an easy work.
In dubbing, the translator has to be faithful not only in the theatrical sense but also in terms of phonological synchronization. Here, the aim of dubbing is to make the audiences feel as if they were listening the actors speaking in their language (TL). Further, Nida (1964: 177) mentions some factors that should be considered by the translator in doing the dubbing system;
- Timing, both the syllables and breath group
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- Words appropriate to the gestures (some words just do not fit a shrug of the shoulders)
- Characteristic differences of dialect in the various actors
- Timing of humor or expressions which produce special responses from other actors.
3. Strategies for Dubbing
There are some strategies to get a successful dubbing. First, the performed translation must match, as closely as possible, the lip movements of the speaker on the screen in order to seem "natural" or authentic. Moreover, there should be a strict, though easy to achieve, equivalence of extra-linguistic features of voice, especially gender and age. The matching of other markers of speech such as personality, class, and ethnicity is most difficult because these features are not universally available or comparable.
The second is the compatibility of the dubber's voice with the facial and body expressions visible on the screen. Here, lip synchronization is usually considered as the strongest constraint on the accuracy of the translation.
The third is the use of a method called ‘rythmo band’ or ‘lip-sync band’. This band provides a more precise guide for the actors, directors and technicians and can be used to complement the traditional headphone method because the lip-sync band is projected in studio and scrolls in perfect synchronization with the picture.
b. Subtitling
1. Definition of Subtitling
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“Subtitling is one of two possible methods for providing the translation of a movie dialogue, where the original dialogue soundtrack is left in place and the translation is printed along the bottom of the film.”
Here, the translator puts the translation in form of text, put under the scene, to translate the dialogues of the actors. As stated by Nida (1964: 178), “there are ‘titles’ reproduced along with the picture sequence, and exhibited immediately below the picture itself”. Here, subtitles are usually placed below the picture itself to enable the viewers to understand what the characters are saying.
2. Problems in Subtitling
Subtitling is extremely difficult and complex work since it is not only bringing the message of the dialogue but also the culture of the source language. It means that the subtitler has a responsibility to transfer the culture, semantic and pragmatic meaning of the SL. Here, the foreign identity of the SL is highlighted. The result of subtitling is that the audience is not allowed to forget about the foreignness of a translated film. The difficulties that may appear in doing the subtitling process can be divided into two categories, taken from Hariyanto (2005):
v Culture and Language Aspects.
This category consists of several problems: a. Cultural references
It becomes a problem if the subtitler did not know the custom of the SL b. Idiomatic meanings
c. Wordplays/Puns
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It is difficult to translate because heavy humor is related to the culture of the SL.
e. Pragmatic meanings
v Media Aspects
There are two problems from this category; they are time limitation and layout/place to put the subtitle. Below are the criteria of layout to put the subtitle on the screen:
a. The position of the subtitles is under the screen. b. A single subtitle showing must be two lines
c. The position of the text is in the middle of the screen d. A line of subtitles should less than 35 characters.
e. Type of font is without sheriff usually Helvetica or Arial. f. The color and background of the font is white or transparent. The criteria of time limitation are:
a. The duration for two full lines: 3-6 second
b. The duration for single line (7-8 words): <3.5 second c. The duration for one single subtitle: 1.5 second
d. The subtitles come up after the dialogue of the character approximately about 0.25 second
e. The subtitles end up after the dialogue of the character approximately about 2 second
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h. The subtitles should be ended before cut because it indicated the thematic changes.
In conclusion, a subtitler should consider the aspects above carefully. Since the viewers should read the subtitles in few seconds, the translator must consider the length and duration of time of that available no matter how long the original dialogue is. However, in the same time the subtitler should also consider the cultural and language aspects both the SL and TL.
3. Strategies in Subtitling
Here, strategy means a technique to translate a word, phrase or the sentences of the character’s dialogues.
-Expansion
It means adding some words to make it easier to be understood by the viewers Example: that’s in the dead-duck day
Itu terjadi di bebek mati (hari itu seekor bebek mati kena lemparan rotiku). -Paraphrase
Here, the subtitler explains part of the sentence based on its own meaning such as translating idiomatic expression.
Example: turn back no longer
Jangan lagi melihat ke masa lalu. -Transfer
This is a literal translation. Here, the subtitler does not add or change the point of view of the word.
Example: turn back no longer
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The subtitle rewrites the words just like the original ones, mainly for names and names of a place.
-Transcription
Rewrite the use of a word to fulfill the textual function. For instance how a word is spelled.
Example: Understand what I’m saying? Mengerti apa yang ku-ka-ta-kan? -Dislocation
Here, the subtitler focuses on the effect of the ST, not the content of it. For example, funny song in a cartoon film.
-Condensation
Here, the original text is summarized to delete some words, which are considered unnecessary according to the subtitler. Consequently, it could delete the pragmatic effect of the word, phrase or sentence. Therefore, the subtitler should pay attention to the purpose of the character for saying it.
-Decimation
This is an extreme condensation. This strategy is usually used to translate the dialogues between the characters that are in quarrels and saying it in fast.
-Deletion
xliii -Taming
This strategy is used to translate a rude word such as swearing word in order to be accepted by the viewers.
-Resignation
There is no translation solution. Therefore, the words are not translated. I. Address Forms
1. Definition of Address Forms
Address forms are forms of expression used by one person to another he/she talks to (Trudgill, 1974: 105). Meanwhile, Fasold (1990: 1-2) defines, “address forms are the words speakers use to designate the person they are talking to while they are talking to them”. It means that address forms are used when a speaker already has the listener’s attention.
2. The Use of Address Forms
Address forms are closely related to the social relationships of the participants in verbal interaction and sociocultural backgrounds of the participants. The use of address forms depends on the relationship between addresser/speaker and addressee and the relative status of individual involved in a conversation (Trudgill, 1974).
According to Luong and Nguyen (in Thanh Ngo, 2006), the usage of address forms also influenced by sociolinguistic factors such age, sex, social status, relationship (blood, intimate, or distance), attitudes (respectful or arrogant) and feelings between the speaker and the addressee and the situation; formal or informal. In a line with this, Trudgill (1974: 105) states,
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involved in a conversation. Thus, the addresser-addressee of unequal rank including wealth, social stratification, age, are more formal and less relaxed than those between equals. And this brings the different forms of address caused by different degrees of status and intimacy.
From the quotation above, it can be seen that there are a lot of factors that influencing the usage of address forms. They are wealth, social status, age and the situation involved in the conversation.
Meanwhile, Parkinson states that “Knowledge of the proper use of terms of address is…as important to the overall success of communication as knowledge of the conjugation of verbs would be”. It implies that the appropriate choice in using address forms is needed in order to build a successful communication. Inappropriate use of address forms can cause a failure in establishing a good relationship. For example, Indonesians are not familiar calling older people using name only. It can be seen that the usage of address forms are the reflection of politeness of the speaker to the interlocutors.
3. The Dimensions Related to the Usage of Address Forms
Related to the use of address forms, Brown and Gilman (in Fasold, 1990) propose the study of the usage of address forms and their social relationships which was governed by two semantics called power and solidarity. Here, power semantic is non-reciprocal. It is called non-reciprocal because two people cannot have power over each other in the same area. This power semantic governs the non-reciprocal use of the two pronouns called T (familiar form) and V (polite form) pronouns.
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between the speakers and the addressee. The less powerful person says vous (V) to the more powerful one and receives tu (T). It can be seen that power has an influence in deciding the usage of those address forms.
For example, older people are assumed to have power toward younger people; parents toward children etc. Power semantic would be sufficient if there is stratification in the society in which each person has an asymmetrical relationship toward each other.
Meanwhile, Solidarity relates to the degrees of closeness and intimacy. Here, solidarity semantic is reciprocal. It came into play if the power of the speaker and the addressee is equally powerful. However, V pronoun will be used if the participants equally powerful but not ‘solidary’ just like the noble classes did in the past. T pronoun will be used if the power of addresser and the addressee were equal and close to each other, even if they were members of the higher classes.
Diagram 3
The two-dimensional semantic in equilibrium Brown and Gilman in Fasold (1990: 5)
Superiors Equal and Solidary
<---T--->
Equal and not Solidary <---V--->
Inferiors
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form). The speaker will give V if he/she has less powerful and get T. If there is no power difference, they can use T or V depends on their closeness.
However, problems may come up from the dimension of power and solidarity. For instance, the relationship between parents and children will be more close to each other if both used mutual T. However, the power semantic requires a child to address his/her parents with V.
Another is between a customer and waiter. Logically, a customer is more powerful than the waiter, so, the customer addresses the waiter with T. However, the relationship between them is not solider, so the customer dictate V. Brown and Gilman illustrate this kind of conflict in the diagram below,
Diagram 4
The two dimensional semantic under conflict Brown and Gilman in Fasold (1990: 60)
Superior and Solidary T V Superior and not Solidary Equal and Solidary
ßTà
Equal and not Solidary
ßVà
Inferior and Solidary T V Inferior and not Solidary
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should receive T by the solidarity semantic). The opposite conflict can be seen in the lower right part.
Similar to the Brown and Gilman theory, the usage of address forms in Indonesia is related to the reciprocal and non reciprocal relationship. As stated by Kridalaksana (1982) that second person address forms consist of two dimensions; they are reciprocal and non reciprocal relationship. Reciprocal relationship means the status of the participants is equal. This dimension has its own form of address. For example, A and B are men who have the same job in their office as lecturers. A addresses B with Bapak or Pak and vice versa. Meanwhile, nonreciprocal relationship means the
participants have a different social status or positions. It makes the forms of address are different. For example, a lecturer will address his/her students by using name, while the students should address his/her lecturer by using title such as Ba pak or Ibu.
3. Type of English Address Forms
According to Brown and Ford (in Hymes, 1964), address forms are divided into to forms; major and variant. The major form consists of term of first name (FN) such as Jack etc. and title plus last name (TLN) such as Mr. or Mrs. Jefferson etc. Meanwhile, the variant form consists of term of title alone (T) such as Sir, Madam, Mr, Mrs., Miss etc, last name (LN) such as Jones, Brown etc. and multiple names (MN) such as Buddy, Dear, Darling, Sweetheart, Honey etc.
Meanwhile, Spolsky (1998: 21) also states the same opinion that address forms in the society consist of four categories; Title alone, TLN, FN and MN.
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may include pronoun ‘you’ (identifying the person or persons addressed), title, names and endearment and expression. Therefore, I will discuss about second-person pronouns, kinship terms, titles, names, endearments and other expressions.
1. Second-Person Pronoun Table 2.1 English Pronoun System
Singular Plural
1st person I We
2nd person You
3rd person masculine Feminine Neuter they
he she it
(Adopted from Larson, 1984: 121)
From the table above, it can be seen that English second-person pronoun system is simpler than Indonesian second-person pronoun system. For instance, the form ‘you’, as the English second person address can be used for addressing anyone whether the interlocutors are older or younger than the speaker. In English, there is no distinction between formal/polite form and familiar form of ‘you’ such as in most European languages or in Indonesia. As stated by Larson (1984: 122), “…there is no component of meaning in English which distinguishes familiar from formal in the second person.”
2. Kinships Terms Table 2.2 English kinship System
Lineal Colineal Ablineal
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Second generation following
Grand son Grand daughter (Adopted from Larson, 1984: 82)
As can be seen, in English kinship terms, there is no particular form to distinguish the age, for example between the younger brother/sister and older brother/sister. Therefore, a translator has to consider carefully in translating kinship terms of the SL into TL. Here, he/she needs to consider the socio linguistic factors of the TL in order to find the closest equivalent. As stated by Larson (1984: 83),
Each time a kinships term needs to be translated, the translator should consider carefully the referent in the non-linguistic word, and how that person would be referred to, rather than simply translating literally the words that looks like the closest equivalent.
3.Titles
Title is the most formal address form and it is closely related to the honorific system particles. The use of title aims to show respect and politeness to the interlocutor. It indicates the least intimacy or distant relationship between the addresser and addressee. M. Shibatani in Brown and Miller (1999: 192) says,
The term ‘honorific’ refers to special linguistic forms that are used as a signs of deference toward the nominal referents of the addressee. The system of honorific constitutes an integral components of the politeness dimension of language use, but whereas every language appears to have ways in expressing politeness, only certain language have well-developed honorific.
l 4.Names
In English, there are three main kinds of name; they are first name, last name and Title plus last name. First name is one of the informal addresses in the communication. This form is used to show intimacy and a close relationship between the participants, to tease the addressee, to show solidarity relationship or minimize the distance of the participants, to tease the addressee, to show power both positive or negative affective message toward the addressee and etc. it depends on the situational factors in use.
Meanwhile, as states by Brown and Ford (in Hymes, 1964), last name also represents a degree of intimacy that is greater than TLN but less than FN. This type of address form is used to show solidarity, respect or even anger of the speaker to the addressee. Title plus last name is used to show the respect of the addresser to the addressee.
5. Endearment and Other Expression
As stated by Trudgill (1992) Endearment and other expressions are usually used when people become very close. It is the most informal addresses in the communication. Endearments are used by the addresser to express an affectionate feeling and intimacy, while other expressions are used by the addresser to express mock or humiliate the addressee etc. depending on the situation.
4. Type of Indonesian Address Forms
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the position of the participants and the situation whether it is formal or non-formal/informal/familiar
According to Simatupang (2000), Indonesian address forms are classified into pronominal systems and kinship system, while Kridalaksana (1982) divides Indonesian address forms into nine types. There are the personal pronouns (kamu, engkau, anda, kita and others), proper name (the name of the second person), kin-term (bapak, ibu, adik, kakak etc), title (dokter, suster etc.), the term of pe + Verb (pendengar, penonton, penulis etc.), Noun + ku (sayangku, Tuhanku, etc.), deictic (sini, situ), noun (Tuan, Nyonya, Nona and others) and zero.
The Indonesian pronoun system can be pictured as follow, Table 2.3 Indonesian Pronoun System
Singular Plural
Familiar Formal Familiar Formal
1st person Aku Saya Kami (exclusive), kita (inclusive)
2nd person Kau/kamu anda kalian
3rd person dia beliau mereka Beliau-beliau (Adopted from Simatupang, 2000: 77)
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Meanwhile, the form of kalian is used if the addressee is more than one person. It is the plural form of you. From the gender aspect, this form is neutral.
Meanwhile, the kinship system of Indonesian can be seen from the table below, Table 2.4 Indonesian kinship System
Lineal Colineal Ablineal
masculine feminine masculine feminine masculine feminine 2nd gender
(Adopted from Simatupang, 2000: 81)
Kinship terms are used either between persons who are related to one another, or between persons who assume such relationship although they are not related to one another as kith and kin. For example, Indonesian often uses the term Ba pak/Pak for addressing man and Ibu for addressing woman. These terms are used to show respect and as a polite form in Indonesian culture.
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the names of the parents are Haryo Wiranata (father) and Diana Rosalina (mother), while their children’s name is Kiki Amalia.
5. Strategies in Translating Address Forms
Translating a text from one language into another is not an easy task since it is strongly related to both culture (SL and TL). Here, the different culture between English and Indonesian in using address forms sometimes makes a subtitler face a serious problem. On the one hand, a subtitler needs to conform to the rules of the TL understanding since the TL viewers will now read the subtitle; while on the other hand, the subtitler tries to be faithful to the original text.
Moreover, a film instantly deals with cultural aspect of the SL since the viewers enjoy both the pictures and the sounds simultaneously. It means that the subtitler has a responsibility to transfer both meaning and custom of the SL. Meanwhile, in Indonesia, the choice of words especially for address terms was tied up with the social status and power. There are different usages of address forms of Indonesian since hierarchies still exist in the socio-culture.
Related to this case, a subtitler needs to find the most appropriate technique without losing the cultural aspects of the SL. There are some strategies in translating address forms in Indonesia,
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Transference or can be called emprunt, loan word or transcription is the process of transferring a SL word to a TL text as the procedure of translation (Newmark, 1988: 81). Meanwhile Catford (1995: 43) states, “it is possible to carry out on operation in which the TL text, or rather, parts of the TL text, do have values set up in the SL; in other words, have SL meanings. We call this process, transference”
The aims of using transference strategy are to present the local color atmosphere of the SL to the TL and give respect for the SL country’s culture. As stated by Newmark (1988: 82), “in regional novels and essays, cultural word are often transferred to give local color, to attract the reader, to give a sense of intimacy between the text and the reader-sometimes the sounds or the evoked image appears attractive.” Nevertheless, transference is found not only in literally text but also audio visual field such as subtitling. Here is the example of the transference strategy,
SL: Signor, Bishop Pucci wishes to see you TL: Signor, Uskup Pucci ingin bertemu.
The example above is taken from one of the dialogues in a film and its subtitle. It can be seen that the subtitler still maintains the address forms such as ‘Signor’ in the subtitling in order to make the viewers feel the Italian culture as the setting of the film.
2. Substitution
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substitute words are used in the TL in order to translate the words naturally. A translator will not purely translate a pronoun with a pronoun and a verb with a pro-verb. He/she should consider carefully the use of pronouns or proverbs in the TL. Here is the example of substitution strategy,
SL: Prince, we were just talking about you. What brings you here?
TL: Pangeran, kami baru saja membicarakan Tuan. Kenapa Tuan kemari?
From the example above, it can be seen that the subtitler is not translating the pronouns with pronouns. Usually, the pronoun ‘you’ is translated into ‘anda’ for formal situation or ‘kau’ for familiar situation. However, here, the translator substitutes the meaning of pronoun ‘you’ with title ‘Tuan’ in order to show polite form which is basically referring to the same meaning.
3. Deletion
According to Newmark, “a term of little importance in the TL culture may be deleted in translation, provided it is marginal to the text and some indication of function given where required.” Nevertheless, this strategy may influence the formality of the utterances and diminishes the strategy build by the speaker. Here is the example of deletion strategy,
SL: Actually, Your Reverence, I believe it’s because hot air rises, Conteracting the gravitational forces of…witchcraft.
TL: Sebenarnya, itu karena tekanan udara panas terhadap gravitasi…ilmu sihir.
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in the subtitling. The omission of address forms not only changes the formality but also reduce the strategy of the speaker to establish sense of respect.
4. Similar Meaning
Similar meaning here refers to propositional meaning. As stated by Cruse (in Baker 1992: 13), “The propositional meaning of a word or an utterance arises from the relation between it and what it refers to or describes in a real or imaginary world, as conceived by the speakers of the particular language to which the word or utterance belong. It is this type of meaning which provides the basis on which we can judge an utterance as true or false”. Here is the example of similar meaning strategy,
SL: Take care of me, My dear friend. TL: Jaga diriku, Sahabatku.
The example above is found in one part of the film. As seen, My dear friend which refers to Lupo, a servant uttered by Casanova, a master is translated into sahabatku. Here the subtitler translates that form of endearment into its similar
meaning in Indonesian.
I. Synopsis of the Film
