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AN ANALYSIS OF TRANSLATION
OF SECOND-PERSON ADDRESS FORMS IN THE FILM ENTITLED
“THE PACIFIER”
Thesis
Submitted as a Partial Fulfillment of Requirement for the Sarjana Degree at
the English Department Faculty of Letters and Fine Arts
Sebelas Maret University
By:
DHANI FAJAR NURCAHYO
C 0303022
ENGLISH DEPARTMENT
FACULTY OF LETTERS AND FINE ARTS
SEBELAS MARET UNIVERSITY
SURAKARTA
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PRONOUNCEMENT
Name : Dhani Fajar Nurcahyo NIM : C 0303022
Stated whole-heartedly that this thesis entitled An Analysis of Translation of Second-Person Address Forms in the Film Entitled “The Pacifier” is originally made by the researcher. It is neither a plagiarism, nor made by others. The things related to other people’s work are written in quotation and included within
bibliography.
If it is then proved that the researcher cheats, the researcher is ready to take the
responsibility.
Surakarta, March 29, 2011 The Researcher
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MOTTO
To feel that you’re a loser will make you try to be a winner,
To feel that you’re a winner will make you think like a loser
You don’t have to be perfect,
Just try to be worthy
You own your destiny
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DEDICATION
This thesis is dedicated to:
My beloved mother
My beloved father
My sisters, Mbak Novi and Mbak Nonik
My lovely niece Evie
My Carys, Uwie
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ACKNOWLEDGMENT
Alhamdulillahirobbil’alamin. All praises just for Allah SWT. Without the guidance and blessing, I cannot finish this thesis. I also need the support and help
from the people around me. Therefore, I would like to give special thanks for the people who give contribution to my thesis.
1. Drs. Sudarno, M.A. as the Dean of Letter and Fine Arts Faculty, for
approving this thesis.
2. Dr. Djatmika, M.A. as the Head of English Department, my academic consultant, and also my thesis supervisor. Thank you so much for your
support, time, patience and advice.
3. Ida Kusuma Dewi, S.S., M.A. as my earlier thesis supervisor. Thank you so
much for every lesson, suggestion, help, concern, and guidance.
4. The late, Prof. Diah Bekti Ernawati. Thank you so much for teach and gave me the great example how to fight for my life. Thank you for made me
believe that life is cannot judge by the prediction
5. All the lecturers of the English Department. It was a great time for me to be
taught by all of you.
6. My mother and my father, thank you so much for everything. I cannot do
this without your bless. Thank you for your patience and trust. I’m proud to have mother and father like both of you. You’re the best. Mbak Novi, Mbak
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beautiful niece Evie, thank you so much for bringing a lot of happiness into
our family.
7. Nanunk, thank you for always treat me Bebek Goreng Sari when I come to your home. Wul2 and Wuri, thank you for our friendship, I miss you all. I
know life goes on, but I hope we will be friends forever.
8. My raters. Bayu Budiharjo, thank you for your kindness, help, and advices.
Ambhita Dhyaningrum and Tiara Dwi Andarastuti, thank you so much. You’re so helpful.
9. All of my friends in 2003 EDGE, thank you for our togetherness. It was a
great experience having friends like all of you.
10. X-Tra Basketball Team of Letter and Fine Arts Faculty, we have a great
time together in our practice and competition. It is so pity we cannot be a champion. Keep on fighting baller!
11. All of the doctors and nurses in the DR. Oen Hospitals, thank you so much
for keeping me alive until now.
12. My carys, Uwie. Thank you for your support, accompaniment and
everything. Thank you for pushing me harder when I stop fighting for my life. I am so sorry for making you waiting for me so long. As you know that you are everything to me.
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TABLE OF CONTENTS
TITLE ...
APPROVAL OF THE CONSULTANT ... ii
APPROVAL OF THE BOARD EXAMINERS ... iii
PRONOUNCEMENT ... iv
MOTTO ... v
DEDICATION ... vi
ACKNOWLEDGMENT ... vii
TABLE OF CONTENTS ... ix
ABSTRACT ... xi
CHAPTER I : INTRODUCTION ... 1
A. Research Background ... 1
B. Research Limitation ... 4
C. Problem Statements ... 5
D. Research Objectives ... 5
E. Research Benefits ... 6
F. Thesis Organization ... 6
CHAPTER II : LITERATURE REVIEW ... 8
A. The Definition of Translation ... 8
B. The Types of Translation ... 10
C. The Problems in Translating ... 13
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E. Subtitling ... 18
F. The Definition of Sociolinguistics ... 20
G. Address Forms ... 21
H. Synopsis of the Film ... 33
CHAPTER III : RESEARCH METHODOLOGY ... 35
A. Research Method ... 35
B. Data and Source of Data ... 35
C. Method of Data Collection ... 36
D. Technique of Data Analysis ... 39
E. Research Procedure ... 39
CHAPTER IV : DATA ANALYSIS ... 41
A. Introduction ... 41
B. Data Analysis ... 41
C. Discussion ... 72
CHAPTER V : CONCLUSION AND RECOMMENDATION ... 83
A. Conclusion ... 83
B. Recommendation ... 86
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This research was conducted to find out the translation variation of the use of the second-person address forms in the film “The Pacifier”, to identify translation strategies used by the subtitler in translating second-person address forms, and to know the effects of the strategies used by the subtitler to the quality of the translation, in terms of accuracy and acceptability.
This research employed descriptive qualitative method. The data source of the research was the film “The Pacifier”, both the dialogue in the source language and its translation. The data in this research were second-person address forms found in the film “The Pacifier” dialogue, its translation and comments from raters.
The result of the research shows that there are four classifications of second-person address forms in the film “The Pacifier”. They are second-person address forms in term of pronoun you, titles alone, kinship terms, and other expressions. From 354 data, 268 data (75.71%) are classified into second-person pronouns (in term of pronoun you), 16 data (4.52%) are classified into second-person address form in term of title alone, 4 data (1.13%) classified into kinship term, and 66 data (18.64%) are belong to other expressions. Thus, it can be seen that most data of second-person address form in the film “The Pacifier” are (0.57%), deletion, covers 7 data (10.45%), and similar meaning, covers 311 data (87.85%). From the result, it can be concluded that the translation using similar meaning is the most common strategy used by the subtitler.
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In the case of acceptability, from 354 data, there are 296 data (83.62 %) considered to be acceptable, 46 data (12.99 %) considered being less acceptable and 12 data (3.39 %) considered to be unacceptable translation. The strategy used by the subtitler that produces translation result with high level of acceptability is translation by using substitution strategy. There are 2 data that are translated by using this strategy and all of them considered to be acceptable translation. Meanwhile, the most dominant strategy that produces the translation result with poor level of acceptability is the strategy by using transference strategy. This strategy covers 4 data (1.13%). There are, 2 data (50%) considered being acceptable and 2 data (50%) considered to be unacceptable translation.
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CHAPTER I
INTRODUCTION
A. Research Background
In recent time, film cannot be separated from people‟s life. It is caused by
the fact that film is a reflection of social values, interests, and social phenomena. It is also made within social context (Allen and Gomery, 1993: 156). In Indonesia, a lot of foreign movies are imported. Most of them are watched by
many Indonesian viewers and reach success.
As we know, the movies which are imported mostly use English language;
unfortunately not all people in Indonesia have a good command in English. Many of them still have problems in understanding films that are performed in English. It can create constraints for them to enjoy that film. However, translation can be a
solution for the language problem. Through translation, viewers can enjoy the film and more easily understand the story.
Translating a film is not as easy as translating a written text. In the movie translation, the translator does not only focus on the text to be translated, but he/she also has to consider the other elements of a film such as the situation and
condition when the dialogue occurs, the expressions of the characters in the dialogues, the tone of the speeches, and the cultural aspect of that film. Dealing
with that, the translator does not only face the script of the film, which is being translated but he/she also has to watch the movie to produce a good translation.
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As stated by Veltrusky in Bassnett (1981), translating film does not only consider
the dialogue, but also the extra linguistic situation, because both are closely related and inseparable.
In the translation, especially in movie subtitle, there are some problems
that must be faced by the translator. One of them is translating address terms. According to Trudgill (1995: 105-108), address terms are terms of expressions
used by one person to another he/ she talks to. The use of address terms depends on several aspects such as age, sex, the relationship between addresser and addressee (blood, intimate or distance), attitudes (respectful or arrogant), the
relative statuses of individual involved in a conversation. Thus, term of address is related to the social culture or social status background of the participants,
feelings between the addresser and the addressee and also the situation (formal or informal). (http://www.accurapid.com/journal)
One of the problems concerning with the form of address is the second
person address. In translating the second person address, the translator should have the sociolinguistic competence, because he/she has to be able to translate in
the target language appropriate utterances of second person address by considering the text (the topic, the participants, the purposes of the interaction, and others). The different degrees of status and intimacy, for example is influence
of the use of second person address term, as it is reflected in Indonesian address system, such as pronoun „you‟. In English second person addressing system, there
is no difference in using „you‟ as a second person address based on the context.
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gratitude the address form is also „you‟. There is no exception in using „you‟ as a
second person address form.
On the other hand, Indonesian culture and language has its own system in the use of second person address forms. In Indonesian language system, the use of
second person address form is more complex than that in English language. Indonesian addressing system recognizes more than one form of second person address form as the translation of „you‟. They are, „kamu’, ‘kau’, ‘engkau’, ,
‘Anda’, ‘Saudara’ ‘kalian’, ,etc. „kamu‟, „kau‟, „engkau‟ are used as familiar
pronoun, „Anda‟ and „Saudara‟ are used as polite pronoun, while „kalian‟ is used
to address more than one person, familiarly, and to show higher position, as example, a teacher uses „kalian‟ to address his/her students in class whether the
object is singular or plural. It shows that he/she has power toward his/her students. To make the explanation clearer, the researcher gives some examples of the use of second person address forms in the film “The Pacifier”
Example:
1. English second-person address „you‟ translated into „kalian’
SL : I‟ll take you guys in, until we hit radar range.
TT : Aku akan membawa kalian sampai ke jangkauan radar
(The Pacifier/ 1)
The setting of dialogues is in the beach. Helicopter pilot gives an
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As it can be seen from the example above, English second person address ‘you’ is translated into Indonesian second person address ‘kalian’. The translator
translated ‘you’ into ‘kalian’ because, here, the addressee is more than one person, the other reason of the English second-person address translation of ‘you’’ into
Indonesian second person address ‘kalian’ is also because the addresser, as the leader, has higher position, a power toward the addressees.
SL : No, ma'am TL : Tidak.
(The Pacifier/ 39)
The above example is found in one part of the movie when Lieutenant Wolfe answers Helga‟s question if he has been licensed to kill, then Lieutenant
Wolfe answers no. He has not been licensed to kill. As it can be seen, ma’am which refers to Helga uttered by Lieutenant Wolfe is translated into zero form (Ø) or not translated. This deletion strategy applied by the subtitler automatically
reduces the formality and the politeness of utterance which is built by the speaker. Concerning with that phenomena, the researcher is interested in analyzing the translation of the second person address forms in the film “The Pacifier” to
find the strategy applied by the subtitler and the effect toward the quality of the translation in terms of accuracy and acceptability.
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The problem in the research is limited to avoid the expansion of study. In
this research, the researcher only makes an analysis of translation on the dialogues in which contain the second-person address forms that found in the film “The Pacifier” produced by Walt Disney Pictures. This research focused on the kinds
of translation variations, the strategies of the second-person address forms translation, and the impact of the strategy toward the quality in terms of accuracy
and acceptability of the translation.
C. Problem Statements
Based on the research background, this research proposes some problems as follows:
1. What are translation variations of the use of the second-person address forms in the film “The Pacifier”
2. What are strategies used by the translator in translating address forms in the
film “The Pacifier”
3. What are the effects of the translator strategies to the quality of the translation,
in terms of accuracy and acceptability?
D. Research Objectives
The objectives of this research are to find out the answer of the question as stated in the problem statements above that they are:
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2. To identify translation strategies used by the translator in translating address forms in the film “The Pacifier”
3. To know the effects of the strategies used by the translator to the quality of the translation, in terms of accuracy and acceptability.
E. Research Benefits
1. Students of English Department
This research is useful as supplementary reference for the students in studying translation subject.
2. Lecturers
It can be an additional reference for the lecturer in teaching translation subject.
3. Other researchers
The research can stimulate them to conduct many kinds of research in deeper analysis in translation subject.
F. Thesis Organization
The thesis organization of the research is as follows:
CHAPTER I : INTRODUCTION which consists of Research Background; Research Limitation; Problem Statements; Research
Objectives; Research Benefits; and Thesis Organization. CHAPTER II : LITERATURE REVIEW which consists of The Definition
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Quality Assessment; Subtitling: The Definition of
Sociolinguistics; Address Forms; Synopsis of the Film. CHAPTER III : RESEARCH METHODOLOGY which consists of
Research Method; Data and Source of Data; Method of
Data Collection; Technique of Data Analysis; and Research Procedure.
CHAPTER IV : DATA ANALYSIS which consists of Introduction; Data Analysis; and Discussion.
CHAPTER V : CONCLUSION AND SUGGESTION.
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CHAPTER II
LITERATURE REVIEW
A. The Definition of Translation
In general, translation is a process of transferring message from one language (source language) to another (target language). Catford defines that
translation is about the replacement of a text in one language for equivalent in another language (1974:20). He describes that translation consists of two factors i.e. source language (SL) and target language (TL).
However, Nababan (2003:19) states that the definition of translation given by Catford is weak. According to him, it is impossible for a translator to replace
source text language with target text language since there are differences in both languages. The textual material of source text language is never replaced by the textual material of target text language because in translation, it is emphasized that
the content of target text language should be faithful to the content of source text language.
It is impossible to replace the textual material of source text to target text because of the structural differences between source text language and target text language. The most important thing in translation is that transferring the message
from source language and the content of source text message should be faithful with the content and the message of target text. Newmark also states that
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and/or statement in one language by the same message and/or statement in another
language” (1976:7).
Nida and Taber define translation by focusing not only on the message or the idea of source language but also on the style of language “Translating consists
in reproducing in the receptor language the closest natural equivalence of a source
language message, firstly in terms of meaning and secondly in terms of style”
(1974:14). According to Nida and Taber, the translator also has to consider the style of language in the translation, besides focusing to the transferring idea or message. Bell states that translation is the expression in the target language of
what has been expressed in the source language, preserving two aspects, which are semantic and stylistic equivalences (1997:5). It explains that the translator also
has to produce translation which style is similar to the style used in source text. Kridalaksana (1985) quoted by Nababan (2003:19-20) also states that translation is transferring a message from source language into target language by
expressing the meaning and then expressing the style. It can be concluded from both statements that translation is transferring the message from source language
into target language and then re-express the meaning and style in target language. Larson (1984:3) says that translation consists of translating the meaning of the source language into the receptor language. This is done by going from the
form of the first language to the form of a second language by way of semantic structure. It is meaning which is being transferred and must be held constant and
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language) into second language (target language) by using the semantic structure.
Here, we can only changes the form not the meaning.
From those definitions above, we can conclude that translation is the process of transferring ideas, thought, and message from the source language (SL)
into the target language (TL), in the written or spoken form by considering the accuracy of the transferring message, the acceptability, the form and also the style
of the language.
B. The Types of Translation
According to Catford, there are three types of translation. They are word-for-word translation, free translation and literal translation. They are described
below:
1. Word-for-word Translation
“Word-for-word translation generally means what it says: i.e. is essentially
rank-bound at word-rank (but may include some morpheme-morpheme
equivalences)” (1974:25). In word-for-word translation, the translator only
transfers the meaning of every word from SL to TL without paying any attention to the structure of the TL. This translation type can only be applied on sentence of SL which has the same structure as the TL.
Example:
a. SL : She can read two novels in one day
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b. SL : I cut my finger
TL : Saya memotong kepunyaan saya jari
2. Free Translation
“A free translation is always unbounded – equivalences shunt up and
down the rank scale, but tend to be at the higher rank – sometimes between
larger units than the sentence” (1974:25).
In free translation, the translator is free to translate the text and only focuses
on the messages and ideas of the text in the source language. The translator may change a word into a phrase, or may change a phrase into a clause or a sentence in order to make the content of the SL more understandable by the
readers when they read the text in TL. In this translation type, the translator must have the ability to understand all the sentences in one paragraph or even
one discourse as a whole in order to avoid misunderstanding the meaning of the material in the target language. This type of translation also usually used in the translation of idiomatic expression and proverb.
Example:
1. SL : She sings like a bird
TL : Dia bernyanyi dengan merdu 2. SL : Killing two birds with one stone
TL : Sambil menyelam minum air
3. Literal Translation
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conformity with the TL grammar (i.e. inserting additional words, changing
structure at any rank, etc); this may make it a group-group or clause-clause
translation” (1974:25).
As defined by Catford, literal translation begins from word-for-word
translation, and then the translator makes some adjustment to target language rule. It means that the translator replaces the words in source language with
their equivalences in target language and then continued by adjusting the structure of the words into words structure in target language.
Example:
SL : His heart is in the right place
TL : Hatinya berada ditempat yang benar
(Nababan, 2003:33) translation, free translation, and literal translation.
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C. The Problems in Translating
Every language in this world has its own system. One language differs from the others. These language system differences cause problems in translation. Nida and Taber divide the translation problems into linguistic and extra-linguistic
problems. Linguistic problems as stated by Nida and Taber “are related to the difference of linguistic feature, such as word building capacities, unique patterns
of phrase order, technique for linking clauses into sentences, and markers of discourse” (1974:6).
Another problem is extra-linguistic problem. Extra-linguistic problem
consists of the aspect of social, geographical, and cultural context, which can make the meaning of one language, differs from the others (Nababan, 2003: 58).
For example, when we see Indonesian movies that contain Indonesian jokes on TV, we may understand and sometimes laugh. But it differs when we see foreign movie with their jokes, which the dialogues they speak are not understood by us.
It is caused by the differences of our culture with foreign culture. So the translator should be able to find and change the dialogues with its translation. The purpose
is to make the audience understand the story they see.
Beside cultural aspect, there is another extra-linguistic problem in translation, a geographical aspect. When we watch foreign movies on TV,
especially soap opera and Indian movies which have been dubbed in Indonesian, we sometimes feel strange when the dialogue is read without considering the
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The translator is the main actor in process of translation, thus his/her
competence in translation will determine the translation product (Nababan, 2003: 59-60). A high competence translator can easily solve the problems on translation. On the contrary, an amateur translator, who has limited competence and
experience, will find it difficult to solve the translation problems. It is not enough for the translator to only be fluent or to have knowledge of other languages. There
are also another competence needed by a translator, such as language competence, cultural competence, subject competence, textual competence, transfer competence and sufficient experience in translating practice.
The problem also comes from the text itself when the quality of the source text is low. It can happen when it is found incorrect grammar, ambiguous
sentence, poor coherency within sentence or paragraph, mispunctuation, and etc (Nababan, 2003:60).
Another problem faced by the translator is that he/she should be able to
find the closest equivalence in the target language in order to make the translation natural. In this case, Nida and Taber (1969:12 in Choliludin, 2005:21) state that
the best translation does not sound like a translation. It means that a translation should sound naturally in the target language.
D. Translation Quality Assessment
Translation quality assessment is also known as translation criticism.
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difficult task, because it needs vast ability in translation to do it. The critic must
have both ability in translation theory and its practice.
According to Newmark (1988:184), translation criticism is an essential link between translation theory and its practice. It means that in criticizing a
translation product, a critic usually criticizes it by assessing the product based on his/her knowledge of translation.
According to Machali (2000:108), there are two reasons why the translation quality assessment is necessary, namely:
1. To create dialectic link between translation theory and its practice;
2. For the criteria and standard importance in assessing translation competence, especially if we assess some versions of target text from the same source text.
Assessment of translation is important thing to do, because the result of assessment shows the quality of translation. Translation quality assessment is used to identify whether a translator can produce a translation, which is accurate,
acceptable, and easy to be read and not sound as a translation product. In order to achieve the goal of quality assessment we must consider about assessment
instrument and persons who will be assigned to do the assessment. The quality assessment covers among others three points, they are: accuracy, acceptability and readability.
1. Accuracy
Baker (1992:57) states that, accuracy is no doubt an important aim in
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important role in keeping the communication channels open. It means that
beside paying attention to the accuracy of translation, the translator also has to pay attention to the use of common target language pattern which is familiar to the target readers in order to make the translation sounds natural,
easily understood and acceptable for the target readers.
Basically, accuracy is related to choose the correct words in order to
reveal the same idea in target language. Choosing the right word is very important because if the translator is wrong to choose the word, the text will not be accurate. Choosing the right word should consider some factors, such
as, the target readers, context of the text, and socio-cultural condition. A translation is considered to be accurate if it conveys the meaning of the source
language to the target language correctly.
2. Acceptability
Acceptability refers to how the translation product can be accepted
by the target readers. Bell (1997:90) states that the target text must be intended to be a text and accepted as such in order to be utilized in
communicative interaction. In translating a text, a translator should not only transfer the message accurately, but also observe whether the idea or message will be accepted by the target readers or not.
To measure how acceptable a text is, a person must be familiar to the target language system, and also must understand translation theory and
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sensitivity to the naturalness of the target language. This sensitivity can be
owned by native speaker or mother tongue speaker of the target language. It is based on a reason that they must have more sensitivity to the naturalness of the target language. However, not all of those who are target
language speakers can become the respondents of acceptability. For each text has its own consumers or target readers, only the appropriate target readers of
the translated text are qualified to be the respondents.
Therefore, the translator needs to observe the norms of the source language and the target system before he/she translates a text. The translated
text will be considered acceptable if it is read as an original written in TL and sounds natural for the target readers. If the language of translation is
contradicted with the culture and norm of the TL, the audience will reject the translation. For example, the word you translated into kau whereas in fact, this word is used by young boy/girl who speaks to an elder man/woman or a
child to his mother. Even though this translation is correct, it would not be acceptable in Indonesia culture, since it was considered impolite.
3. Readability
The purpose of translation is to help people to understand a text in their own language. It means the readability of a text should also be the
general concern for translators. According to Richards et al (1985:238) in Nababan (2003:62), readability refers to how easily written materials can be
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of new words, and the grammatical complexity of the language which is used.
Meanwhile, Nababan (2003,64-78) 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 the translator arranges the idea of the original text into the target text since the original texts is not always good and logic enough. The other factors that influence the readability of the text are the content of the
text, the appearance of the text and the capability of the readers and the translators.
E. Subtitling
Subtitling is one of the most dominant methods besides dubbing. It is one
kind of film translations which is presented simultaneously on the screen in the form of text. Subtitle is very important due to the development of information and
media. Matsumoto explains “Subtitles play an important role in the programs.
Subtitle gives information to the viewers and the same time, share the cultural differences. Translation for screen is translation of culture and it reflection of the
knowledge, creativity, and imagination of the translators” (2003:104). While in
dubbing the main limitation is the movement of the speaker‟s life, in subtitling the
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Subtitles usually consist of one or two lines and each line can usually
accommodate a maximum length of 35 characters (including blanks and punctuation symbols). It is placed at the bottom of the picture. (http://www.literarytranslation.com/workshops/almodovar/)
According to Chen (2004:115), subtitling is a process of information transfer from the source language (TL) and information reconstruction in the TL,
following TL writing conventions. It has to be adjusting to the space of the screen and time when the speakers utter the sentence.
Subtitling, like any other type of translation, can be divined by two factors;
semiotic composition and time and duration.
1. Semiotic composition: Multiply of channels. Any translated text must
function within a specific communication situation and monosemiotic text use only the channels of communication and the translator, therefore controls the entire medium of expression. This means subtitle is bringing clearer
information for viewer of target language. Subtitle is also the bridge for exchanging other culture.
2. Time and duration. The important thing of time and duration covers two phenomena: time of text production, and time of the text presentation to the target language audience. (Baker and KJAER, 2001:245)
Translation process for subtitle is different and difficult. There are special steps that must be taken in translating subtitle. It is different since the ordinary
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also highly connected with special technology that not everyone is able to operate
them. (Matsumoto, 2003:104). Most of the time, to translate subtitle must be done in-group. Some are working on listening to the source language, some are translating to target language, and the others type the text to the screen in a limited
time and must be accurately put in the part of the dialogues are uttered by the actor or narrator. (Nida, 1964:178)
Subtitle translation is not as simple as ordinary translation process. It actually needs a lot of time and the subtitles mostly work under pressure and deadline.
Retmono (2003:106), explain “film dialogs have characteristics which set them apart from other kinds of text or documents to be transferred”. In this paper
presented in September 2003 at the Kongres Nasional Penerjemahan, he also explains that different registered of dialogs are used in different genres of films such as comedians, musicals, action films, science fictions, horror movies,
historical blockbusters, westerns and many others
F. The Definition of Sociolinguistics
Sociolinguistics is a branch of linguistics newly developed by linguists after the previous discovery of linguistics field such as phonology, morphology,
syntax, and semantics. The word sociolinguistics itself derived from the word
„socio‟ and „linguistic‟. Therefore, sociolinguistics has relation both with
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Chaika states, “Sociolinguistics is the study of the ways people use
language in social interactions of all kinds” (1982:2)
Spolsky (1998:5) states that, “Sociolinguistics is the field that studies the relation between the user of the language and the social structures in which the
users of the language live”
G. Address Forms
Forms of address constitute an important part of everyday communication in every culture, and they therefore should not be disregarded in translation.
Address terms themselves are terms of expressions used by one person to another he/ she talks to. The use of terms of address depends on the relationship between
addresser and addressee, and the relative status of individual involved in a conversation (Trudgill, 1995:4). In other words, address terms are a word, phrase, name, title, or some combination of these, which are used in addressing someone.
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.
The usage of address forms also influenced by sociolinguistics factors
such as age, sex, social status, relationship (blood, intimate, or distance), attitude (respectful or arrogant) and feelings between the speaker and the addressee and
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“The use of personal address depends on the relationship between an addresser and addressee and the relative status of individuals 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.”
(Trudgill, 1995:105)
From the quotation above, it can be seen that there are a lot of factors that
influence the use of address forms. They are wealth, social status, age, and the situation involved in the conversation.
Parkinson (1985:3) states, in the overall success of communication, knowledge of proper term of address forms is as important as knowledge of the conjugation of verb. 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,
Indonesian people are not familiar in calling elder people using name only. It can be seen that the use of address forms are the reflection of politeness of the speaker to the interlocutors.
Related to the use of address forms, there are two semantics, power and solidarity that govern the pronoun usage, as stated by Brown and Gilman (in
Fasold, 1990:6). Here, power semantic is reciprocal. It is called non-reciprocal because two people cannot have power over each other in the same
area. A person has power over another person to the degree that he/she can control
the other person‟s behavior. This power semantic governs the non-reciprocal use
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Here, the T and V pronouns are taken from the French tu and vous. The
less powerful person says vous (V) to the more powerful one and receives tu (T). Indonesian address term recognizes kamu for term tu, and Anda for the term vous. Power has an influence in deciding the usages of those address terms. It is based
on the age, elder people toward younger people; the position in family, parents toward children; position in the society, nobles toward peasants; and others. This
power semantic will be best applied only if a society has stratification in which each person has an asymmetrical relationship toward each other. In other words, power exists in society where there are no power equals.
Solidarity means there is closeness and intimacy between the speakers. It is reciprocal; if someone feels close to another, the other will feel the same way
too. Mutual V will be used between non-solidarity equals, as it is seen among common people as well as among nobles. Meanwhile, mutual T will be exchanged between power equals, solidarity, even if they are members of the higher class.
Brown and Gilman illustrate it in diagram 2: Diagram 2
The two-dimensional semantic in equilibrium Brown and Gilman in Fasold (1990:5)
V Superior V
Equal and solidary T
Equal and not solidary V
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From the diagram 2, Brown and Gilman explain how the speakers decide
what pronoun to use with the person they are talking to. First, a speaker will determine his/her power relationship to the addressee. The speaker will give use T if he/she thinks he/she has more powerful than the addressee and expect to receive
V. The speaker will give V if he/she has powerful and get T. if there is no power difference, both may use either T or V depends on the solidarity between them.
However, power and solidarity can conflict. For instance, the relationship between parents and children can be closer to each other, therefore mutual T is used, but the power semantic would lead a child to address his/her parents with V.
Another example is in the restaurant, a relationship between customer and waiter. Logically, a customer is more powerful than the waiter. It allows the
customer to address the waiter with T, but they may be total stranger for one another if there is no basis for solidarity so the customer dictates V. As the solidarity semantic gained in importance, conflict of this type arose. This tension
in the system is illustrated by Brown and Gilman in the diagram 3, Diagram 3
The two dimensional semantic under conflict Brown and Gilman in Fasold (1990: 60)
V Superior and Solidary T
V Superior and not Solidary V
Equal and Solidary T
Equal and not Solidary V
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From the diagram 3, the top right part, a superior and not solidary
addressee should receive V, similarly both call for T to the inferior and solidary addressee in the lower left part. There is no conflict between the two in either case. But in the two remaining parts, the two semantics call for the opposite
choice. The addressee defined by the upper left part is superior (he/she should receive T by the power semantic) but also solidary (he/she should receive T by the
solidarity semantic). The opposite conflict can be seen in the lower right part. According to Brown and Ford (in Hymes, 1964), address forms are divided into two forms: major and variant Major forms of address include term of
first name („John, „Alex‟, „Jane‟), and term of titles plus last name („Mr. Bean‟,
„Miss Smith‟, Dr. Dolittle‟). The variant forms of address consists of term of title
alone („Sir‟, „Your Highness‟, „Madam‟, „Mr.‟, „Mrs.‟, „Miss‟.), last name
(„Smith‟, „Brown‟, „Jones‟),and multiple names („Dear‟, „Honey‟, „Sweetheart‟).
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. Another expert says that there are two kinds of address forms; names and
second-person pronouns (Fasold, 1990:2). Trudgill (1995) states that address
forms may include pronoun „you‟ (identifying the person or persons addressed),
title, names and endearment, and expression. Therefore, the researcher will focus
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1. English Second-Person Address Forms
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 2.1, it can be seen that English second-person address
system is simpler than Indonesian second person address system. For instance, the English second-person address in the form of pronoun you has a
difference than any other of personal pronoun. Catford (1974) states that the second person term of you has no distinction in its usage. It means that the
second person term of you is used for the term of single and plural subject and object even the feminine and masculine. It does not undergo any changes in the form and use.
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non-reciprocally by more people to their subordinate to express superior
status or power.
If the use of address term is in “formal terms” non-reciprocally, it is obviously seen that the relationship between the addresser and the addressee
is not intimate or distant because of the difference status or power. On the other hand, if the addressee is someone who has higher status or older by
using “informal terms” reciprocally, it means that their relationship is
intimate or close. The solidarity variant form of address consists of term of title alone (T), term of last name (LN), and term of multiple name (MN) such
as Title plus Last Name (TLN).
The use of Title (T) indicates least intimacy between participants, it is
the most formal address term and it usually designates one‟s rank or occupation such as general, doctor, and others. While LN is not so intimate as FN and less formal than TLN. The other address form is MN. It is usually
used when people become very good friends. Although, mutual FN can be used to show their intimacy, but it is no longer enough to symbolize the
closeness. It is time when MN is used to address each other by using TLN sometimes, FN at the other time, or LN or a nickname, sometimes creating phonetic variants of either FN or the nickname (Brown and Ford in Fasold,
1990).
2. Indonesian Second-Person Address Forms
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status, education, age, sex, and others. The other factor is situational factor. It
consists of the position of the addresser, the position of the addressee, and also the situation, whether it is formal or non-formal (1991: 3-4). Those factors have to be considered in addressing someone. Someone uses the different
address form in having conversation with his/her best friend and with the parents or with someone who has higher status in society.
Kridalaksana suggests that Indonesian second-person addresses are classified into nine fields. They are the personal pronoun (kau, kamu, kita, and others), proper name (the name of the second person: Doni, Wati. Iwan, and
others), kin term (bapak, ibu, adik, kakak, and others), title (jendral, dokter, haji, and others), the term of pe + verb (penonton, pendengar, pejalan kaki,
and others), Noun + ku (mobilku, kekasihku, and others), deictic (sini, situ), Noun (Tuan, Nyonya, Nona, and others), and zero.
Table 2.2
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
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As can be seen in the table 2.2, the English second person address you
can be translated variously into Indonesian second person address. The participants (addresser and addressee) may choose the form kau/ kamu if they are equal in status, age, and other sociolinguistic factor. Here, this form has T
dimension (familiar). If the addresser is younger than the addressee, he/she may choose Anda for the polite form of address. However in practice, the
word Anda can be substituted by Bapak/Pak, Tuan or Saudara for man, Ibu/Bu, Nyonya or Saudari for woman, nona for unmarried woman, etc. those
substitution forms have a V dimension (polite, formal, and distant).
Meanwhile, the form of kalian is used if the addressee is more than one person. It is plural form of you. From the gender aspect, this form is neutral.
The terms of second person address has something to do with the reciprocal and non-reciprocal relationship. “Tutur kata orang kedua ini
mempunyai dimensi resiprokal dan nonresiprokal” (Kridalaksana, 1982:16). Reciprocal relationship means that the relationship or the status of the participants is equal. The reciprocal relationship usually has reciprocal term of
address between the addresser and the addressee. For example, A and B have the same occupation in their office as a teachers. A addresses B with ‘Ibu’, and B, in the return addresses A also with ‘Ibu’.
Meanwhile non-reciprocal relationship means that between participants who have different positions or social status. It makes the forms
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address the teacher with „Ibu‟, and the teacher will address the student with
his/her FN.
3. Strategies In Translating Second Person Address Forms
The different culture between English and Indonesian in using
second-person address forms sometimes makes a subtitler face a serious problem. In one side, a subtitler needs to conform to the rules of the TL understanding
since the TL viewers will now read the subtitle, while in the other side, 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 second person forms in Indonesia:
a. Transference
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
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TL text, do have values set up in the SL, in the other words, have SL
meanings. We call this process, transference” (1974: 43)
The aims of using transference strategy are to present a local color
atmosphere of the SL to the TL and give respect for the SL country‟s
culture. As stated by Newmark, “in regional novels and essay, cultural word are often transferred to give local color, to attract the reader, to give
sense of intimacy between the reader-sometimes the sounds or the
evoked image appears attractive.” (1988: 82). Nevertheless, transference
is found not only in literally text but also audio visual field such as
subtitling. Example :
SL : Signorina, I was afraid I‟ve lost you. TL : Signorina, aku takut kehilanganmu.
From the example above, it can be seen that the address forms
Signorina did not translate into nona. It still maintains by the translator in
order to show the culture of the SL.
b. Substitution
According to Larson, “a substitute word refers to something
already introduced to the text.” (1984: 72). It means that a substitute
word refers to the same thing. Further, Larson also states that it is very important for a translator to know how substitute words are used in the
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translate a pronoun with a pronoun and pro-verb with a pro-verb. He/she
should consider carefully the use of pronouns or pro-verbs in the TL Example :
ST : Just as soon as you provide us with the password
TT : Setelah Nyonya berikan kata sandinya
From the example above, it can be seen that the subtitler is not
translating a pronoun with pronoun. Usually, the pronoun „you‟ is
translated into ‘anda’ for formal situation or „kau‟ for familiar situation.
However, the translator substitutes the meaning of pronoun „you‟ with
title „Nyonya‟ in order to show polite form which is basically refer to the
same meaning.
c. 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.” (1988: 83).
Nevertheless, this strategy may influence the formality of the utterances
and diminishes the strategy build by the speaker. Example :
ST : Don't worry, Mrs. Plummer, your kids'll be safe with me.
TT : Jangan khawatir. anak-anakmu akan aman bersamaku In the example above, the speaker addresses the interlocutor with
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since he/she did not include it 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.
d. Similar Meaning
Similar meaning refers to prepositional meaning. As stated by
Cruse (in Baker, 1992: 13), “The prepositional 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 type
of meaning which provides the basis on which we can judge an utterance
as true or false.”
Example :
ST : Good night, little fella. TT : Selamat tidur, kawan kecil.
In the example above, Shane called Peter with little fella which is translated into kawan kecil. Here the subtitler translates that form of
endearments into its similar meaning in Indonesia
H. Synopsis of the Film
The Pacifier is a drama comedy film produced by Walt Disney Pictures in
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on any duty no matter how perilous or impossible, was assigned to protect a
scientist working on a top-secret defense project for the government.
Despite Wolf's efforts, however, an assassin slipped past him and murdered the man he was guarding. The inventor's project is still being stored in
his home, so Wolf has now been assigned to protect Julie, the scientist's widow, as well as her five out-of-control children of an assassinated scientist working on
vital government secrets, Shane is suddenly faced with juggling two outrageously incompatible jobs: fighting the bad guys while keeping house. Replacing his usual arsenal of wetsuits and weapons with diapers and juice boxes, Shane not only
must battle a deceptive enemy but wrangle teen rebel Zoe, sullen 14 years-old Seth, eight-years-old Lulu, as well as three-year-old Peter and baby Tyler, not to
mention their off-beat Romanian Nanny. But while drop zones, demolitions and destroying enemy targets come naturally to Shane, he has no idea what tough really is until he puts his courage against diapering, den-mothering and driver's
education. He's truly a SEAL out of water, and now it's up to this one-time lone warrior to take on the most important mission of his life: keeping a family
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CHAPTER III
METHODOLOGY
A. Research Method
This research employs a descriptive qualitative method since the data are in the form of words, phrases, clauses and sentences, not in the form of numbers.
Subroto stated, “A qualitative research is descriptive one. The researcher notes the
data in the forms of words, sentences, discourse, picture, diary, memorandum, and video-tape,” (1992:7) and “… the descriptive method studies and investigates the
language system based on the data available.” (1992:23).
In this research, the researcher employed descriptive method. It means that
the research describes the phenomenon based on the facts happen in the field. The data in descriptive method is factual, accurate and systematic, as Winarno stated that the characteristic of descriptive method concentrates on the problem
nowadays, on the actual problem (1982:139). In this result, the collected data here arranged, described, and then analyzed. The researcher describes the object
of the study without generalizing the result of the study. Qualitative method describes phenomena in words instead of numbers or measures.
B. Data and Source of Data
The data source of this research is a film “The Pacifier”, the dialogue
script of the movie and its translation. This movie was made in 2005 and released by Walt Disney Pictures. The researcher chooses this film because it contains a
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large number of the second-person address forms that vary in their usages,
according to the participants, situations, and places.
The other data source on this research are the three raters who have both Indonesian and English competence, communicative competence and translation
competence, who will provide data in relation to the quality of the translation. The data of this research are the second-person address forms found in the
film “The Pacifier” in both English and Indonesian versions and the result of questionnaires of quality assessment. This data were analyzed to find out the form of second-person address, the strategies of translation and the quality of
translation.
C. Method of Data Collection
1. Content Analysis
In this research, the researcher carried out content analysis by:
a. Watched the film ”The Pacifier”, and compared the dialogue script of the movie and its translation.
b. Found out the translation variations of the use of the second-person address forms in the film ”The Pacifier”
c. Determined the strategies applied in translating the dialogue of the movie
in the target language.
d. Found out the quality in term of accuracy and acceptability in translating
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2. Questionnaire
In this research, the researcher used close format and open ended questionnaire. This questionnaire means that three raters determined the accuracy and acceptability of the translation based on the classification
determined by the researcher, and they are given the opportunity to give any reason or information related to each question. The raters had to rate the
accuracy and acceptability of the data based on scales determined by the researcher. The scale for accuracy is as follows:
Table 3.1 Accuracy Scale
Scale Accuracy Description
3 Accurate The meaning of the second-person address form
in the sentence from the source language to the target language is translated exactly and any
rewriting is not needed.
2 Less Accurate The meaning of the second-person address form in the sentence from the source language to the target language is translated less exactly and
some rewritings are needed.
1 Inaccurate The meaning of the address form in the sentence from the source language to the target language
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The scale of acceptability is shown below:
Table 3.2 Acceptability Scale
Scale Acceptability Description
3 Acceptable The use of the second-person address form’s
translation in the sentences is natural or has
fulfilled the Indonesian society’s cultural values.
Whether the second address form is natural or
not natural can be known by looking at the context of situation, addresser, and addressee
2 Less Acceptable The use of the second-person address form’s
translation in the sentence is less natural or has less fulfilled the society’s culture and norm
values of the TL. It can be known by seeing the context of situation, addresser, and addressee.
1 Unacceptable The use of the second-person address form’s
translation in the sentence is unnatural or has not fulfilled the culture and norm values of the TL. It can be known by seeing the context of
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D. Technique of Data Analysis
The technique of analyzing data was carried out as follows:
1. The researcher read the English and Indonesian versions of each data and identified them.
2. The researcher collected the data from the movie dialogue and its translation. 3. The researcher compared the second-person address forms in the dialogue to
their translation in Indonesia.
4. The researcher classified the data to find out the kinds of translation variations of second-person address form used in the dialogue.
5. The researcher analyzed the data to find out the kinds of translation strategies applied by the subtitler in the data.
6. The researcher distributed the questionnaire containing the scale of accuracy and acceptability to three raters.
7. The result of the analysis and the result of the questionnaire were used to
draw the conclusion.
E. Research Procedure
The research was conducted in the following procedures:
1. The researcher collected all dialogues that contain the second-person address
forms in the movie “The Pacifier” and its translation in Indonesia.
2. The data were analyzed to find out the translation variations of the use of the
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3. The secondary data, which were collected from the questionnaire distributed
to the raters, were used to assess the accuracy and acceptability of the translation.
4. The secondary data were analyzed to find out the quality of the translation in
terms of accuracy and acceptability.
5. Finally, both data and analysis result were used to draw the conclusion of the
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CHAPTER IV
DATA ANALYSIS
A. Introduction
This chapter presents the data analysis. It is divided into two parts; they are the strategy in translating the second-person addresses in the movie entitled
“The Pacifier” and the impact of the strategies to the quality of the translation.
Firstly, the researcher analyzed the data to know the strategies used in translating the second-person addresses. Secondly, the researcher analyzed the data to find
out the accuracy and acceptability of the translation and draw a conclusion to find out the impacts of the strategies to the quality of the translation especially the
accuracy and the acceptability.
B. Data Analysis
I. Analysis of the Translation Variation of the Use of the Second-Person
Address Forms in the Film “The Pacifier”.
There are four variations of the use of the second person addresses; 1. Classification A : Second-Person Address Forms in Term of Pronoun you.
2. Classification B : Second-Person Address Forms in Term of Title Alone.
3. Classification C : Second-Person Address Forms in Term of Kinship. 4. Classification D : Second-Person Address Forms in Term of Other
Expressions.
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1) Classification A : Second-Person Address Forms in Term of Pronoun you.
The followings are the examples of the data that are second-person address forms in term of pronoun you. The English second-person address in the form of pronoun you has some differences than any other of personal pronoun. Catford
(1961) states that the second person term of you does not have distinction in its usage. It means that the second person term of you is used singular or plural
subject and object and also for feminine and masculine. It does not undergo any changes in the form and use. The English second person address you can be translated variously into Indonesian second person address. The participants
(addresser and addressee) may choose the form kau/ kamu if they are equal in status, age, and other sociolinguistic factors. Here, this form has familiar form
called T (from the French tu) dimension. If the addresser is younger than the addressee, he/she may choose Anda for the polite form of address.
The number of data of second-person address forms in term of pronoun
you (classification A) is 268 or 75.71 %, as can be seen in the following table:
Table 4.1
Second-Person Address Forms in Term of Pronoun you.
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*) data have more than one form of address forms
The discussions of some examples of the data are presented below: Example :
1. SL : I’ll take you guys in, until we hit radar range.
TL : Aku akan membawa kalian sampai ke jangkauan radar
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The example number 1 is found in one part of the movie in which the
helicopter pilot and Lieutenant Shane Wolfe give a briefing to the Navy Seal trooper before they start the mission to save Professor Plummer. As it can be seen, you which refers to the Navy Seal troopers is translated into kalian.
2. SL : Ya, but I want you to know I take a full responsibility for the happen with the professor.
TL : Ya, tapi aku ingin kau tahu bahwa aku bertanggung jawab untuk ini. (The Pacifier/ 22) The example above is found in one part of the movie when Lieutenant
Shane Wolfe is talking to Admiral Blair that he still feels guilty because he cannot complete his mission to save Professor Plummer. As it can be seen, you which
refers to Admiral Blair uttered by Lieutenant Shane Wolfe is translated into kau. 3. SL : Is performing what makes you happy?
TL : Apakah tampil di panggung membuatmu bahagia?
(The Pacifier/ 193) The example above is found in one part of the movie when Shane asks
Seth about his feeling about performing in the stage. As it can be seen, you which refers to Seth uttered by Shane is translated into –mu (from kamu).
2) Classification B : Second-Person Address Forms in Term of Title Alone
The data belonging to this classification are those containing the second
