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AN ANALYSIS OF PUN TRANSLATION

IN THE ANIMATION MOVIE

“Madagascar II Escape to Africa”

THESIS

Submitted as a Partial Fulfillment of the Requirement for Sarjana Degree at English Department of Faculty of Letters and Fine Arts

Sebelas Maret University

By:

NIKEN WINARTI C 1306508

ENGLISH DEPARTMENT

FACULTY OF LETTERS AND FINE ARTS SEBELAS MARET UNIVERSITY

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PRONOUNCEMENT

Name : Niken Winarti

NIM : C1306508

Stated whole-heartedly that this thesis entitled An Analysis of Pun Translation in

the Animation Movie “Madagascar II Escape to Africa” is originally made by the

researcher. It is neither a plagiarism, nor made by others. The things related to other people’s works 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, April 2011

The researcher

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MOTTO

Smile…and the world will smile back at you. (Anonym).

Do good…feel good…and loo

k good. (Anonym).

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DEDICATION

This thesis is dedicated to:

Lord the Almighty, Allah SWT

Bunda, and my beloved family

Beibies

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ACKNOWLEDGEMENT

First of all, I would like to bestow my greatest thank to Allah SWT for the

blessing, guidance, and love that have been given to me throughout my entire life,

especially lately, that I am able to finish writing this thesis as partial fulfillment of

graduating requirement of Sarjana degree. However, I deeply realize that I will

not be able to accomplish this thesis without support and assistance from people

surrounding me. Therefore, I would like express my gratitude to these following

people:

1. The Dean of the Faculty of Letters and Fine Arts, Drs. Sudarno, M.A for

approving this thesis.

2. The Head of S1 Non Regular English Department, and my Academic

Consultant, Drs. Budi Waskito, M.Pd for giving an admission to this thesis

to be examined.

3. My Thesis Consultant, Ida Kusuma Dewi, S.S, M.A for giving not only

assistance and guidance in compiling the thesis, but also precious life

lessons.

4. All the lecturers who have shared their knowledge through each course.

5. All raters, Mr. Heri, Mr. Dion, and Ms. Umi for the comments, inputs, and

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6. My second home and family at Focus Independent School Solo for all the

happiness and support, especially Ms. Ririn for giving me a way to make

one of my dreams comes true.

7. All 2006 Non Regular English Department, especially Diong, Ayu, Tiwi,

Susi, Inul, and Rika for the support and assistance.

8. My new family in Tipes, brothers and sisters in law, Dhea, Diva, and

Fanny, for the warm welcome and love.

9. My beloved Bunda, Babhe, brothers, sisters in law, and my lovely niece

and nephew for the remarkable support and love. Words can’t express my

gratitude.

10.My beloved beibi, for accompanying, supporting, helping, and loving me.

You mean the world to me. L.U.

11.My baby, you’re not here yet, but you already bring tons of happiness and

strength.

14.Last but not least, to myself for being who I am today through all ups and

down, tears and joy.

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TABLE OF CONTENT

THE APPROVAL OF THE CONSULTANT ... ii

THE APPROVAL OF THE BOARD OF EXAMINERS ... iii

PRONOUNCEMENT ... iv

MOTTO ... v

DEDICATION ... vi

ACKNOWLEDGEMENT ... vii

TABLE OF CONTENT ... ix

ABSTRACT ... xi

CHAPTER I. INTRODUCTION A. Research Background ... 1

B. Problem Statements ... 3

C. Research Limitation ... 4

D. Research Objective ... 4

E. Research Benefit ... 4

F. Thesis Organization ... 5

CHAPTER II. LITERATURE REVIEW A. Definition of Translation ... 7

B. Problems in Translation ... 8

C. Film Translation ... 12

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F. Assessing Translation Quality ... 24

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2. Pun Rendered as Zero Pun ... 62

C. ACCURACY LEVEL OF THE TRANSLATION ... 64

1. Less Accurate Translation ... 65

2. Inaccurate Translation ... 75

CHAPTER V. CONCLUSION AND SUGGESTION A. Conclusion ... 83

B. Suggestion ... 84 BIBLIOGRAPHY

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ABSTRACT

Niken Winarti. C 1306508. An Analysis of Pun Translation in the Animation Movie “Madagascar II Escape to Africa”. Undergraduate Thesis: English Department, Faculty of Letters and Fine Arts. Sebelas Maret University. Surakarta. 2011.

This research is a descriptive qualitative research aimed to describe the types of pun, the translation technique, and the impact of the application of the techniques on the accuracy level of the pun translation in the animation movie “Madagascar II Escape to Africa

This research analyzed 40 puns taken from animation movie “Madagascar

II Escape to Africa” and its translation in form of subtitle texts, and the comments and suggestions from the raters.

The result of the analysis showed that there were three types of pun found throughout the movie dialogue. They are paronymy, polysemy , and homonymy. Paronymy puns dominate the dialogue with 32 data or 80% of all 40 data. The next dominating pun is homonymy puns which amount 5 data or 12,5% of all 40 data. The least dominant pun is polysemy puns which amount only 3 data or 7,5% of all 40 data.

The analysis on translation techniques showed that there were two techniques used namely pun rendered as non pun and pun rendered as zero pun. Among the puns that were rendered as non pun, 30 puns or 75% are paronymy puns, 3 puns or 7,5% are polysemy puns, and 4 puns or 10% are homonymy puns. Among the puns that were rendered as zero pun, 2 puns or 5% are paronymy puns and 1 pun or 2,5% is homonymy pun.

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CHAPTER I INTRODUCTION

A. Research Background

It is undeniable that comedy as one of movie genres has shown its

significance in entertainment world. People are getting more and more excited to

watch comedy movies so that some comedies films become best seller movies. Thus,

developing countries including Indonesia are vastly interested to import comedy.

Regarding to this fact, translation demand has increased due to the translation purpose

of facilitating people who come from different countries and speak different

languages to understand the message intended in the source language. Comedy films,

however, might be challenging for translators since they contain humour which is

closely related to the source language culture.

Wordplay is one of humor sources which can be found in movies. Wordplay

as a part of humor which can be found in movie dialogues is not easy to translate

since it is closely related to the source language (SL) culture and the SL system of

grammar. A joke which is considered to be very funny for SL speakers can be

meaningless for the target language speakers.

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The animation movie entitled Madagascar II Escape to Africa is an example

of a comedy movie which exploits wordplay to create a humorous atmosphere within.

The movie which is directed by Eric Darnell and Tom McGrath was released on

November 7, 2008. It was produced by DreamWorks Animation and distributed by

Paramount Pictures. It stars the voices of Ben Stiller, Chris Rock, David Schwimmer,

Jada Pinkett Smith, Sacha Baron Cohen, Cedric the Entertainer, and Andy Richter. It

is also supported with the voices of Bernie Mac, Alec Baldwin, Sherri Shepherd,

Elisa Gabrielli, and will.i.am.

The film starts as a prequel, showing a small part of Alex's early life, which

includes his capture by the hunters. It soon moves to shortly after the point where the

original left off that the animals decide to return to New York. They board an airplane

in Madagascar, but crash-land in Africa, where each of the main characters meets

other animals of the same species. Eventually, Alex is reunited with his parents.

Problems arise, and their resolution takes part on the rest of the film.

Several wordplays are found in the movie dialogues, for instance:

Marty is enjoying his new experience with his new friends, the zebra herd and as

Marty feels that he has chemistry with the herd, he says “It's one for all...”

Afterwards, the zebra herd reply “ And all for all, y'all!” The dialogue can be

recognized as similar to a well known proverb taken from Three Musketeers movie,

being “one for all, and all for one”. The sentence “It's one for all...” is translated into

“Satu untuk semua….”, and the sentence “ And all for all, y'all!” is translated into

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Based on the example above, it is obvious that translating humor in a movie is a

complicated task to accomplish. Furthermore, translating wordplay in a movie

dialogue into subtitle is even more challenging as the translator is expected to

produce translation which must consider time limits and space constrains. At the

same time, the translator is required to present the same sense and effect of the source

language expression into the expression in target language having different culture

and sense of humor.

The above phenomena leads the researcher to analyze types of pun which occur

in the movie, the technique of translation applied in translating the puns, and the

accuracy level of the pun translation.

B. Problem Statements

In current research, the following problems are proposed:

1. What kinds of puns are found in the animation movie Madagascar II

Escape to Africa?

2. What techniques of translation are applied in translating the puns found in

the animation movie Madagascar II Escape to Africa?

3. What are the impacts of the translation technique on the accuracy level of

translation of the dialogue containing puns of the animation movie

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C. Research Limitation

This research focuses its discussion and analysis upon subtitling pun in a

movie dialogue. It also highlights the types of pun found in the animation movie

Madagascar II Escape to Africa”. This thesis also analyzes the technique of

translation. Furthermore, the research examines the accuracy level of pun translation.

D. Research Objectives

There are three objectives achieved in this research, they are:

1. To describe the types of pun found in the animation movie Madagascar II

Escape to Africa

2. To describe translation techniques applied in translating the puns in the

animation movie Madagascar II Escape to Africa

3. To explain the impact of the translation techniques on the accuracy of the pun

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E. Research Benefits

This thesis is compiled to give benefits to these following parties, being:

1. Students.

The result of the study can be used as additional information about puns and how

to translate them.

2. Other researchers.

The content of this thesis is expected to provide information on pun translation in

the form of subtitle and be able to stimulate other researchers to conduct further

research of the similar subject.

F. Thesis Organization

In order to be able to present data and discussion effectively and

informatively, this thesis is divided into five chapters. The five chapters are organized

as follow:

CHAPTER I, Introduction.

This chapter consists of research background, problem limitation, problem

statements, research objectives, research benefits, and thesis organization.

CHAPTER II, Literature Review.

The second chapter of this paper provides reference-based definitions, explanations,

and theories related to the research such as translation, subtitling, wordplay, and so

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CHAPTER III, Research Methodology.

The third chapter of the paper discusses the type of research done by the researcher.

Furthermore, this chapter presents the data along with its source of data, method of

data collection, techniques of data analysis, and research procedure.

CHAPTER IV, Research Findings and Discussion.

This chapter discusses the analysis of the data including the types of pun, the

translation techniques, and the accuracy level of the pun translations.

CHAPTER V, Conclusion.

The last chapter of this thesis presents the conclusion. As an addition, it provides

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CHAPTER II LITERATURE REVIEW

A. Definitions of Translation

Many experts have delivered various ideas upon the definition of

translation. “Translation, generally understood involves the rendering of a source

language (SL) text into the target language (TL) so as to ensure that (1) the

surface meaning of the two will be approximately similar and (2) the structures of

the SL will be preserved as closely as possible but not so closely that the TL

structures will be seriously distorted.” (Bassnett, 1991:2). In his book Pengantar

Teori Terjemahan, Maurits D.S. Simatupang (2000: 2) states that translating is

transferring the meaning existing in the SL to the TL, and makes it as natural as

possible along with the rules of the TL. He highlights an issue that a translation

product should read as an original text instead of a translation. To achieve it, a

translation product should apply natural TL forms, optimally communicate the

intended meaning of the ST, and retain the ST dynamism.

The book Thinking Spanish Translation mentions that translation as a

process includes two types of activity; they are to understand a ST, and to

formulate a TT. These two activities occur simultaneously (1995:7). In other

words, “translation encompasses the process of extracting information (by way of

comprehension and interpretation) from a given text, and then re-expressing the

details of that information in another text using a different form of words”

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(1995:8). Furthermore, according to Nida (1991:33), “the activity of 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.”

From those definitions, it can be concluded that translation is a process to

transfer messages in SL into TL, which should consider the content of the

messages, the language structures, and the style as well.

Throughout the process of translating a SL text, a translator is highly

required to understand the content of the text to subsequently be able to produce

their equivalence in the TL, as natural and close as possible.

B. Problems in Translation

Several problems may occur during the process of translation. In a more

specific examination, the most common problem is non-equivalence take place in

the word level or so called non-equivalence at word level. It means that the target

language has no direct equivalence for a word which occurs in the source text.

The type and difficulty of non equivalence depend on the nature of the non

equivalence. There are eleven non-equivalences proposed by Baker (1992:18),

namely culture-specific concepts, the source-language concept is not lexicalized

in the target language, the source-language word is semantically complex, the

source and target languages make distinctions in meaning, the target language

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differences in physical or interpersonal perspective, differences in expressive

meaning, differences in form, differences in frequency and purpose of using

specific forms, the use of loan words in the source text.

Culture-specific concepts mean that the source language word may express

a concept which is totally unknown in the target culture. The concept maybe

abstract or concrete; it may relate to a religious belief, a social custom, or even a

type of food. Such concepts are often referred to as “culture-specific”. An

„ordinary,not extra’, as in standard range of products) expresses a concept which

is very accessible and readily understood by most people, yet Arabic has no

equivalent for it.

Another difficulty in translating from SL to TL is that the source-language

word is semantically complex. A single word which consists of a single

morpheme can sometimes express a more complex set of meaning than a whole

sentence. Languages automatically develop very concise forms for referring to

complex concepts if the concepts become important enough to be talked about

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the ground under coffee trees of rubbish and pilling it in the middle of the row in

order to aid the recovery beans dropped during harvesting (ITI News, 1988:57).

The source and target languages make distinctions in meaning as the target

language may make more or fewer distinctions in meaning than the source

language. What one language regards as an important distinction in meaning,

another language may not perceive as relevant. For example, Indonesian makes a

distinction between going out in the rain without the knowledge that it is raining

(kehujanan) and going out in the rain with the knowledge that it is raining (

hujan-hujanan). English does not make this distinction, that it brings the difficulties for

the translator to translate such context.

The target language lacks of a superordinate as the target language may

have specific words (hyponyms) but no general word (superordinate) to head the

semantic field. For example, Russian has no ready equivalent for facilities,

meaning „any equipment, building, services, etc, that are provided for a particular

activity or purpose’. It does, however, have several specific words and

expressions which can be thought as a type of facilities, for example sredstva

peredvizheniya („means of transport’), naem („loan’), etc.

The target language lacks of a specific term (hyponym) as generally,

languages tend to have general words (superordinates) but lack specific ones

(hyponyms), since each language makes only those distinctions in meaning which

seem relevant to its particular environment. For example the word house, English

has variety of hyponyms which has no equivalents in many languages, such as

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A difference in physical or interpersonal perspective is another difficulty

that the translator may face in transferring the message from the SL to the TL.

Physical perspective may be of more importance in one language that it is in

another. Physical perspective has to do with where things or people are in relation

to one another, or to a place, as expressed in pairs of words such as come/go,

take/bring, arrival/depart, and so on. Perspective may also include the

relationship between participants in the discourse (tenor).

Differences in expressive meaning mean that there may be a

target-language word which has the same propositional meaning as the source target-language

word, but it may have different expressive meaning. The difference may be

considerable or it may be subtle but important enough to pose a translation

problem in a given context. It is usually easier to add expressive meaning than to

subtract it.

Differences in form are caused by, often, no equivalent in the target

language for a particular form in the source text. Certain suffixes and prefixes

which convey propositional meaning and other types of meaning in English often

have no direct equivalents in other languages. It is relatively easy to paraphrase

propositional meaning, but other types of meaning cannot always be spelt out in a

translation.

Differences in frequency and purpose of using specific forms mean that

even when a particular form does have a ready equivalent in the target language,

there may be difference in the frequency with which it is used or the purpose for

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The use of loan words in the source text possesses a special problem in

translation. Loan words such as au fait, chic, and alfresco in English are often

used for their prestige value, because they can add an air of sophistication to the

text or its subject matter. This is often lost in translation because it is not always

possible to find a loan word with the same meaning in the target language. Once a

word or expression is borrowed into a language, we cannot predict or control its

development or the additional meanings it might or might not take on.

C. Film Translation

It is stated in Routledge encyclopedia of Translation Studies (2000: 245)

that translating a movie, or so-called film translation, is slightly different from

translating a text. The differences lay in the source materials and the product

itself. The materials in film translation can be in the form of movie dialogues or

movie text. Moreover, the outcomes are in form of dialogue and subtitle text. The

process of film translation to produce spoken product is known as dubbing, while

the written product of film translation is known as subtitle text.

Spanakaki in www.wikipedia.com states that there are two types of film

translation. They are interlingual and intralingual film translation. In interlingual

the ST is foreign language, whereas in intralingual film translation the ST is

native language. Generally, intralingual film translation occurs in subtitle text in

which the text is intended to assist people with hearing disabilities to enjoy the

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there are two types of film translation which are interlingual film translation or so

called diagonal translation and intralingual film translation which is known as

vertical translation.

1. Subtitles

Generally, subtitle is known as the written product of a film translation. It

can be found in form of written text in the bottom of the screen that appears at the

same time the audience hear the dialogue (www.wikipedia.com). According to

Shuttleworth and Cowie's Dictionary of Translation Studies (1997: 161),

subtitling is defined as the process of providing synchronized captions for film

and television dialogue. www.wikipedia.com also cited that subtitles are textual

versions of the dialog in films and television programs, usually displayed at the

bottom of the screen. They can either be a form of written translation of a dialog

in a foreign language or a written rendering of the dialog in the same language—

with or without added information intended to help viewers who are deaf and

hard-of-hearing to follow the dialog.

In accordance to the definition of subtitle as a process, Gottlieb in Baker

(2001: 244) mentions that, “Subtitles sometimes referred to as captions are

transcription of a film or TV dialogue presented simultaneously on the screen.

They usually consist of one or two lines of an average maximum length of 35

characters. Furthermore, as a rule, subtitles are placed at the bottom of the picture

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Subtitle as one of film translation types can be used to translate dialog

from a foreign language to the native language of the audience. It is the quickest

and the cheapest method of translating content, and by employing this technique,

the audiences still have the possibility to hear the original dialog and voices of the

actors. In the book THINKING SPANISH TRANSLATION, it is stated that a

subtitle is not an oral target text, but an excellent example of crossover between an

oral ST and written TT.

As an addition, in www.translationjournal.net, Spanakaki mentions that

translation of subtitling is sometimes very different from the translation of written

text. Usually, when a film or a TV program is subtitled, the translator watches the

picture and listens to the audio sentence by sentence. The translator may or may

not have access to a written transcript of the dialog. Especially in commercial

subtitles, the translator often interprets what is meant, rather than translating how

it is said, i.e. meaning being more important than form.

Moreover, Gottlieb mentions that linguistically there are two kinds of

subtitles, being intralingual subtitling and interlingual subtitles. Intralingual

subtitling is defined as a vertical subtitling in which the speech is taken down to

writing by changing its style but not its language. In the other hand, intralingual

subtitling is considered as a diagonal type where the speech of one language is

transferred to writing of another language. Therefore, intralingual subtitling

changes both mode and language of the source language message (2001:245).

As an addition, Gottlieb (in Baker, 2001: 245) states that in subtitling, the

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channel, including dialogue, background voices, and sometimes lyrics; b)

non-verbal auditory channel, including music, natural sounds, and sound effect; c)

verbal visual channel, including superimposed titles and written signs on the

screen, d) non verbal visual channel, being picture composition and flow.

In sum, subtitle text always focusing on the speech act as intentions and

effects are more important than isolated lexical elements. Moreover, as a basic

rule, most television broadcasters demand a two-line subtitle that consist of more

or less 60-70 characters to stay on the screen for about 5-6 seconds, and

presentation rates of more than 12 characters per second (cps) are not acceptable

(Baker, 2001:247).

2. Dubbing

It has been stated that one of the types in film translation that produces

spoken product is known as dubbing. By applying this film translation technique

into foreign movies, the voice of the actor speaking in SL is replaced with the

voice of the voice actor in TL. In www.wikipedia.com, it is stated that dubbing is

the process of recording or replacing voices for a motion picture. The term most

commonly refers to voices recorded that do not belong to the original actors and

speak in a different language from the one in which the actor is speaking.

"Dubbing" also describes the process of an actor re-recording lines they spoke

during filming that must be replaced to improve audio quality or reflect dialog

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Foreign-language films and videos are often dubbed into the local

language of their target markets to increase their popularity with the local

audience by making them more accessible. In Indonesia, most South American

movies or known as telenovelas are translated into Indonesian in order to

popularize the movies. This goal can be achieved by employing dubbing

technique as this technique facilitates the audience to easily understand the story

of the movies.

D. Humour

In general, humour is defined as a funny thing which arouses laughter,

which can be found both in verbal and written expression. The term humour, as it

is mentioned in www.wikipedia.com, derives from the humoural medicine of the

ancient Greeks, which stated that a mix of fluids known as humours controlled

human health and emotion. As an addition, in www.wikipedia.com, Alastair

Clarke explains that humour is an evolutionary and cognitive explanation of how

and why any individual finds anything funny. Effectively it explains that “humour

occurs when the brain recognizes a pattern that surprises it, and that recognition of

this sort is rewarded with the experience of the humorous response, an element of

which is broadcast as laughter."

Moreover, as it is mentioned in Cambridge Advanced Learner’s

Dictionary, humour is defined as the ability to find thing funny, the way in which

people see that some things are funny or the quality of being funny (2008:705).

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mentioned that humour is a fluid of the body, esp one of the four that were

formerly believed to determine temperament; the ability to appreciate or express

what is funny (2002: 182).

As an addition, Attardo (in Katia Spanakaki in

www.translationjournal.net) mentions that, in the field of literary criticism for

instance, there is a need for a fine-grained categorization, whereas linguists have

often accepted broader definitions, arguing that whatever evokes laughter or is felt

to be funny is humour, e.g. that humour can be deduced from its effect.

As an addition, Katia Spanakaki also states that there are three general

categories of humour/jokes: a) universal humour/jokes, b) culture-specific

humour/jokes, and c) language-specific humour/jokes.

1. Wordplay or Punning

Widely known, wordplay as one type of humour is quite common in oral

cultures as a method of reinforcing meaning. It is stated in www.wikipedia.com

that wordplay is a literary and narrative technique in which the nature of the

words used themselves becomes part of the subject of the work. Puns, phonetic

mix-ups such as spoonerisms, obscure words and meanings, clever rhetorical

excursions, oddly formed sentences, and telling character names are common

examples of wordplay.

Wordplay or punning, is defined by Delabastita as follow: "Wordplay is

the general name for the various textual phenomena in which structural features of

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significant confrontation of two (or more) linguistic structures with more or less

similar forms and more or less different meanings" (Delabastita, 1996: 128,

original emphasis). Further, "the pun contrasts linguistic structures with different

meanings on the basis of their formal similarity". Furthermore, a pun may be

either vertical or horizontal. “The formal similarity of two linguistic structures

may clash by being co-present in the same portion of text (in this case it is vertical

wordplay), or by being in a relation of contiguity by occurring one after another in

the text (the horizontal wordplay)”, ( Delabastita, 1996:128).

According to wikipedia.com, pun is classified into a type of punning

which is based on the techniques that involve the phonetic values of words.

Moreover, according to the type and degree of similarity, puns can be further

divided into four types namely: homonymy, homophony, homograph, and

paronymy (Delabastita, 1996:128). Other types of pun are proposed by Schr ter,

they are polisemy and paronymy which are specifically deal with linguistic

structures (1996:210).

Below are the definition and examples of homonymy, homophony,

homograph, paronimy, and polisemy.

a. Homonymy according to Delabatista is words that have identical sounds and

spelling (1996:128). As an addition, it is mentioned in wikipedia.com that

homonym means words with same sounds and same spellings but with

different meanings. Examples of homonyms are stalk (which as a noun can

mean part of a plant, and, as a verb, to follow/harass a person), bear (animal)

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example of homonymy in the movie is “I'll need a CAT scan just to get

started!” The dialogue exploits the identical sounds and spelling of the word

“CAT” which refer to computer-assisted tomography scan (Webster’s

Dictionary and Thesaurus, 2002: 61) or generally known as a health check up

scan and “cat” as a small animal with fur, four legs, a tail, and claws, usually

kept as a pet or for catching mice, or any member of the group of similar

animals such as the lion (Cambridge Advanced Learner’s Dictionary, 2008:

212)

Word Example of first meaning Example of second meaning

Dove

The dove cooed at the

passers-by.

(A white or grey bird, often

used as a symbol of peace.)

Patricia dove into the pool

with barely a splash.

(Past simple form of the word

dive)

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(To turn or cause something to

turn.)

sounds but different spellings (1996: 128). Moreover, in Wikipedia.com it is

mentioned that homophone is words with same sounds but with different

meanings such as rose (flower) and rose (past tense of "rise"), or differently,

such as carat, caret, and carrot, or to, two and too.

d. Paronymy is the relationship between linguistic structures that are

formally similar, but not identical on either phonetic or the orthographical

level. De Fries also highlighted the difference of words on the surface

level as the characteristic of paronymy. Most similarities involve only one

or two letters. The similarity of paronymy is weaker than homonymy.

However, the relation is strong enough for the reader or listener to spot out

(De Fries in Schroter, 2005: 207). Moreover, Schroter also mentions that

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similar, but not identical on either phonetic or the orthographical level

(2005:197). The example of paronymy in the movie is the dialogue

“Someone's been knotty. This won't hurt a bit.” The pun “knotty” is the

play on the word “naughty”. When the dialogue was said, at the same

time, the scene showed Melman’s teasing expression. It highlights the play

between the word “knotty” that refers to the elephant’s tangled trunk, and

“naughty” which represents bad behavior. The sound of “knotty” and

“naughty” are not identical. However, it can be recognized that Melman

also intended to say “naughty” as the scene showed his teasing expression.

e. Polisemy is a clash of orthographically and phonetically identical

structures with divergent meanings and etymologically connected.

Schr ter stated that puns can be categorized as polysemy when they have

semantic link between the core items which readily established without the

assistance of additional information (2005:181). In addition, Bussman

stated that polysemy is an expression which has two or more definitions

with some common features that are usually derived from a single basic

meaning (1996:210). The example of polisemy in the movie is the

dialogue “You're a little tangled,aren't you?”. The word “tangled” has two

meanings being messy condition that refers to the thread, and puzzled or

clueless condition of the man. The scene supports the play on both words

as when the dialogue is uttered, the scene shows the man’s puzzled face,

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E. Pun Translation

When it comes to translating humor in subtitling, the translator needs to

use the limited space and time in an optimal way, in order to virtually retain the

meaning effect in the subtitle translation. Though, the constraints themselves

clearly cannot predict whether the meaning effect tends to be preserved or lost in

subtitles.

The translation methods of puns available for the translator's disposal are

presented as follow (Delabastita, 1993:192-226; Delabastita, 1996:134):

Pun to pun or so called pun rendered as pun. By applying this method, the

ST pun is translated by a TL pun. This method is possible to be conducted if in

both languages can be found pun that have identical meaning.

Pun to non pun or by rendering pun as pun. In this method a

punning phrase may retains all the initial senses (selective pun), or a

non-punning phrase renders only one of the pertinent senses (selective non-pun), or

diffuse paraphrase or a combination of the above. The application of this

technique in the movie translation is for example:

ST: Don't look, doll. This might get hairy.

TT: Jangan menatap, manis.Ini menakutkan.

In the sentence, the pun “hairy” is derived from the word “scarry”.

Generally known, in the native culture, something hairy is scarry for children.

Moreover, the word “hairy” and “scarry” has similar sound. Therefore, the word

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translation, it can be seen that the translator employed pun rendered as non pun

technique to transfer the referential meaning into the receptor’s language.

Pun translated into related rhetorical device. In this method, pun is

rendered with another rhetorical device, or punoid (repetition, alliteration, rhyme,

referential vagueness, irony, paradox etc), which aim to recapture the effect of the

ST pun.

Pun to zero, or so called pun rendered as zero pun, means that pun in SL is

rendered with zero pun in TL. In other words, in this method, the pun is simply

omitted. When this method is applied, it indicates that SL pun do not have an

equivalence in TL. The example of the application of this technique in the movie

translation is

ST: What the heck is going on?

TT: Apa yang terjadi?

In the sentence which is said by Marty, the pun “the heck” can be simply

recognized as “the hell” by adults. However, this pun succeeds in concealing the

harsh atmosphere for the young viewers. The translation of the sentence “What

the heck is going on?” is “Apa yang terjadi?”, in which it can be seen that there is

no translation of “the heck” in the subtitle text. In other words, the pun “the heck”

is simply omitted in the translation. Therefore, the technique which is applied in

translating the sentence containing swearing word pun is pun rendered as zero

pun.

Pun in ST = Pun in TT. Here, the ST pun is copied as TT pun, without

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Non pun à Pun is introducing a new pun. At this point, a compensatory

pun is inserted, where there was none in the ST, possibly making up for ST puns

lost elsewhere (strategy 4 where no other solution was found), or for any other

reason.

Zero to pun. In other words, it is a method of giving addition of a new pun.

By applying this method, totally new textual material is added, containing

wordplay as a compensatory device.

Editorial Techniques are done by providing explanatory footnotes or

endnotes, comments in translator's forewords, 'anthological' presentation of

different, complementary solutions, and so forth.

Responding to the methods delivered by Delabastita, in www.translation

journal.net, Spanakaki states that although techniques 2 and 4, as well as

techniques 6 and 7, are found overlapping with each other at some point, they can

be combined in variety of ways. For instance, in the case of technique 2, where

the pun is suppressed, it can be followed by a footnote explaining what was left

out and why (technique 8, Editorial Techniques), as same combination can apply

with technique 6. In subtitling, the case of footnotes is out of a question, the

combination of these techniques and especially technique 8 (editorial techniques)

are inadequate and completely irrelevant for the purpose of this study.

F. Assessing Translation Quality

Subsequent to the activity of translating certain work, assessing the quality

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translator translates the work. A good translation product should meet several

requirements which encompass several aspects such as readability, accuracy, and

acceptability. These three aspects determine the quality of a translation product.

Subsequently, every translator should attempt to formulate a translation from SL

text into TL text that is readable, accurate, and acceptable to the readers.

Readability means that the translation product is understandable by its reader. It

relates to the choice of vocabulary, the length of the sentence, and so forth.

Accuracy indicates the degree of conformity. It deals with how accurate is a

translator transfers the message in SL into TL. In this case, the translator is

required to translate the content of the text correctly. Acceptability deals with how

the reader accepts the translation product in terms of cultural aspects, literary

systems, and how the reader finds that the translation product is appropriate.

Related to this, generally there are several aspects of translation quality

assessment. In his first significant book of translation, Tytler states that “a good

translation is one in which the merit of original work is so completely transfused

into another language as to be as distinctly apprehended and as strongly felt by a

native of the country to which that language belongs as it is by those who speak

the original work”. Furthermore, a translator must respect good writing

scrupulously by accounting for its language, structures and content, whether the

piece is scientific or poetic, philosophical or fictional (Newmark, 1981: 43).

Accordingly, Larson states that there are three main reasons for testing a

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There are several ways to assess a translation product. An expert or

experienced translator will put a big favor in assessing a translation product.

However the readers’ reaction towards the translation product can also measure

the quality of the translation product.

In film translation, especially in form of subtitle text, a translator should

highly consider the accuracy, acceptability, and the readability of the film

translation product. The readability and acceptability of a subtitle text examined

not only by the viewers understanding upon the subtitle text, but also by the

length of the sentence of the subtitle text considering that the text appears on

screen for limited time.

G. The animation movie Madagascar II Escape to Africa

Madagascar: Escape 2 Africa (or simply just Madagascar 2) is the 2008

animated sequel to the 2005 film Madagascar, about the continuing adventures of

Alex the Lion, Marty the Zebra, Melman the Giraffe, and Gloria the Hippo. It is

directed by Eric Darnell and written by Etan Cohen. It stars the voices of Ben

Stiller, Chris Rock, David Schwimmer, Jada Pinkett Smith, Sacha Baron Cohen,

Cedric the Entertainer, and Andy Richter. The movie is also providing voices are

Bernie Mac, Alec Baldwin, Sherri Shepherd, Elisa Gabrielli, and will.i.am. It was

produced by DreamWorks Animation and distributed by Paramount Pictures, and

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The film has received mixed to positive reviews from critics. Rotten

Tomatoes has reported that 65% of critics based on 137 reviews with the

consensus stating that "Madagascar: Escape 2 Africa is an improvement on the

original, with more fleshed-out characters, crisper animation and more consistent

humor." Another review aggretagor, Metacritic classified the film into the

"generally favorable reviews" category with 61/100 approval rating based on 24

reviews, also a bit higher a score than the original.

Michael Phillips of the Chicago Tribune has stated in his review that the

film "goes easy on the pop culture jokes, I should clarify: one of the smarter

things in the script is how Alex, who digs his Bob Fosse and Jerome Robbins

dance moves, becomes the film's primary pop-cult gag." Roger Ebert of the

Chicago Sun-Times gave the film 3 stars and wrote "This is a brighter, more

engaging film than the original Madagascar. Steven D. Greydanus complained

the film's plot was similar to The Lion King, Joe Vs. The Volcano, and Happy

Feet. Carrie Rickey of the Philadelphia Inquirer gave the film 2 stars and wrote

"Take the flat tire that was Madagascar. Retread it with The Lion King storyline.

Pump it up with air. Now you have Madagascar: Escape 2 Africa." John

Anderson gave the film 3 1/2 approval rating and stated "Madagascar 2: Escape

to Africa, the sequel to the enormously successful DreamWorks adventure and a

film that hews close to the whole Lion King/species-as-destiny/self-fulfillment

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The film starts as a prequel, showing a small part of Alex's early life,

including his capture by hunters. It soon moves to shortly after the point where the

original left off, with the animals deciding to return to New York. They board an

airplane in Madagascar, but crash-land in Africa, where each of the central

characters meets others of the same species; Alex is reunited with his parents.

Problems arise, and their resolution occupies much of the remainder of the film.

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CHAPTER III

RESEARCH METHODOLOGY

A. Research Method

In discussing the accuracy of wordplay translation in the animation movie

Madagascar II Escape to Africa, the researcher applies descriptive qualitative

method which deals with the observation and interpretation of the researcher

toward the subject of the research. Sutrisno Hadi states that a descriptive research

is a research in which the researcher needs only to collect and analyze the data to

subsequently be able to draw a conclusion upon the data without making a

generalization (1983: 3). Qualitative research, according to Moleong (1990: 4) is a

type of research that does not include any calculation or enumeration. In addition,

Sutopo implies that the data in qualitative research is not in the form of numbers

but in the form of words or sentences (2002:35).

In this research, the researcher does not need to find and prove the

hypothesis. The research encompasses the process where the researcher collects,

observes, and presents the data in the form of sentences. Next, the researcher

analyzes the data and interprets the analysis result. As the research conducts those

steps, it can be said that the research employs a descriptive qualitative method.

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B. Data and Sources of Data

This thesis is compiled and analyzed based on two kinds of data. The first

data were taken from animation movie Madagascar II Escape to Africa. The

movie which is directed by Eric Darnell and Tom McGrath was released on

November 7, 2008. It was produced by DreamWorks Animation and distributed

by Paramount Pictures. The researcher decided to choose the animation movie

Madagascar II Escape to Africa because of these following reasons:

1. The movie was awarded as the Favorite Animated Film by Nickelodeon Kids

Choice Awards (www.imdb/title/tt0429952/awards)

2. The movie contains numerous wordplays. Subsequently, the subtitle text of

the serial into Indonesian shows various wordplay translation, which functions

as the data of the research.

The second data were taken from the raters in the form of questionnaire

result and the comments given upon the translation. The raters were expected to

determine the accuracy level of the subtitle text of dialogues containing wordplay

in the animation movie Madagascar II Escape to Africa.

The other sources of data were written sources such as books and also

information taken from relevant and reliable online journals or other

internet-based information.

In his book Metodologi Penelitian Kualitatif, Sutopo states that in

choosing resource person, researcher is required to acknowledge the stand point

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relevant to the need (2002: 51). Referring to Sutopo’s statement, the researcher

sets several standards for the raters. The qualifications are as follow:

1. The raters are fluent both in source and target languages

2. The raters have background knowledge and experience in translation

3. The raters are willing to take a part in this research

The raters’ responsibilities are to examine the data and to give score to the

translation indicating the accuracy level of the puns translation presented in the

questionnaire. Moreover, they can give comment, information, suggestion, or to

make revisions if it is felt to be necessary.

C. Sample and Sampling Technique

As it has been stated in the previous part, the subject of this research is pun

translation in the animation movie Madagascar II Escape to Africa. Therefore, the

samples of this research are the dialogues containing puns, along with the

translations. To be able to present relevant samples, the researcher employed total

sampling. The sampling technique was chosen as it will help the researcher in

holistically analyzing the pun translation as the subject of the research discussion.

Furthermore, this sampling technique accommodates the researcher in presenting

the complete examples of three types of pun from the movie along with their

translation in Indonesian subtitle text.

D. Research Procedure

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1. Preparation.

Preparation includes deciding the object of the research, collecting references,

composing research proposal, and having the research proposal presented in a

seminar class.

2. Data Collection.

Data collection includes collecting data from the dialogue in the film and the

subtitles, arranging and then distributing questionnaire about the translation

accuracy to three competent raters.

3. Data Analysis.

Data analysis consists of classifying the data into types of pun and identifying

the technique applied to translate them. Afterwards, the researcher asked a

competent person to validate the wordplay types and the translation technique.

Furthermore, the researcher checked and analyzed the questionnaire result

4. Research Report.

Research report includes compiling final report to present the analysis upon

wordplay types, the translation technique, the accuracy level of the wordplay

translation and drawing a conclusion from the analysis.

E. Data Collection Technique

To be able to find the puns and to know the types of pun, and determine

the techniques which are applied in translating the puns, the researcher had a

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To support the researcher in presenting proper analysis towards the topic,

the researcher collected the data by giving questionnaire to three raters. The

questionnaire is designed to reveal the level of accuracy of the puns translation

found in the movie dialogue. Subsequently, the raters are required to score the

level of accuracy of the data based on the scale. The questions in the questionnaire

are in form of closed ended questions. However, in the questionnaire, the raters

are allowed to give their comments, information, or suggestion upon the puns

translation. The scale standards to score the accuracy of the data are as follows:

Score Category Description

1 Accurate The meaning of pun in the source text is

conveyed into target text in accordance

to the context, the effect of pun in the

target text is equal to the source text

2 Less Accurate The meaning of pun in the source text is

conveyed into target text. However the

effect of the pun in the target text is not

equal to the source text

3 Inaccurate There is a distortion of meaning of pun

in the target text

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To be able to analyze the data optimally, the researcher needs to organize

the data by encoding the data. Wiersma mentions that coding is a process of

organizing data and obtaining data reduction (2000: 203). In encoding the data,

the researcher consider several aspects, they are:

1. The exact time when the dialogue take place

2. The type classification of the data

3. The number of the data based on the type classification

Here is an example of data coding which will be presented in this thesis :

SL: He shall wear this Hat of Shame...

TL: Dia harus memakai Topi Kekalahan…

(41.55/Pn/016)

The clarification of the codes above is as follow:

1. 41.55 refers to the exact time when the dialogue take place

2. Pn refers to the type of pun

3. 016 refers to the ordinal number of the specified datum of each wordplay type

G. Technique of Data Analysis

After getting all the data needed, both from the movie dialogue and

questionnaire result, the researcher took these following steps in analyzing the

data:

1. The researcher marked out the dialogue in the movie which contains

wordplay and compared it to the translation. Afterwards, the data were

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translating the data. The techniques used in the analysis were those proposed

by Delabatista: pun rendered as pun, pun rendered as non pun, pun translated

into related rhetorical device, pun rendered as zero pun, pun in ST = Pun in

TT, non pun à Pun , zero to pun, editorial techniques.

2. The researcher examined the result of the questionnaire and made the

percentage of the quality of translation of each data category, namely the

accuracy of the translation.

3. The researcher delivered the research result and answered the problem

statement by presenting a discussion of the pun types, the translation

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CHAPTER IV

DATA ANALYSIS

This chapter will particularly discuss the result of the research analysis

which is divided into three sub-chapters. The first sub-chapter highlights the types

of pun which are found in the dialogue of the animation movie Madagascar II

Escape to Africa. The second sub-chapter focuses on the translation technique

employed by the translator in translating the puns from the dialogue in the SL into

the subtitle text in TL. The last sub-chapter will specifically discuss the level of

accuracy of the pun translation.

A. Types of Pun

There are three types of pun found in the movie of Madagascar II Escape

to Africa, they are paronymy, homonymy, and polysemy. The table below shows

the distribution of each type.

Table 4.1. Types of Pun in Madagascar II Escape to Africa.

Types of Pun Amount Percentage

Paronymy 32 data 80 %

Homonymy 5 data 12,5 %

Polysemy 3 data 7,5 %

Total 40 data 100%

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a. Paronymy

In chapter II, it is stated that according to Schroter, paronymy is the

relationship between linguistic structures that are formally similar, but not

identical on either phonetic or the orthographical level (2005:197). De Fries also

highlights the difference of words on the surface level as the characteristic of

paronymy. Most similarities involve only one or two letters. The similarity of

paronymy is weaker than homonymy. The relation, however, is strong enough for

the reader or listener to spot out (De Fries in Schroter, 2005: 207).

In the movie, the greatest amount of pun type is paronymy. It can be seen

on the table 4.1 that 80% or 32 numbers of 40 data are paronymy. There are 32

data that show how paronymy is exploited to arouse audiences’ laughter.

Following are three extracts of paronymy that illustrate the similarity of linguistic

structures in phonetic or orthographical level. The puns are underlined.

Datum number 09.15/Pn/001

Mort : King Julien, wait for me! I'm all packed! I have a whole itinerary

planned!

King Julien : Oh, no! It's Mort! He's so annoying Don't let him on. Stop that

thing! He's carrying scissors and hand cream!

King Julien, together with all New York zoo inhabitants intended to get on

the plane that left for New York. Suddenly, one of Madagascar citizen, Mort,

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join the flight as Mort was considered as an irritating fellow. King Julien tried to

stop Mort to join the flight by shouted out loud “He's carrying scissors and hand

cream!”

The visual of the movie showed that King Julien shouted out the sentence

with terrified expression as if Mort was carrying gun and bomb or another

dangerous weapon, while Mort was actually only carrying a suitcase. Though the

words “scissors and hand cream” and “gun and bomb” are not closely similar in

phonetic or orthographical level, the tone and face expression when King Julien

uttered the sentence highlighted the panic of King Julien when Mort intended to

join the flight as if he had carried dangerous weapon. Therefore the expressions

“scissors and hand cream” is considered as paronymy.

Datum number 12.08/Pn/002.

Gloria : Yeah, dating.

Melman : Other... other guys?

Gloria : What do you mean other guys?

Melman : Darn it!

Melman was trapped in a conversation which forced him to reveal his

feeling toward Gloria. To avoid this, Melman tried to distract his friends’ attention

by asking about the beverage service that seems to take so long to arrive. To

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The movie “Madagascar II” is categorized as an animation family movie

in which the movie accommodates entertainment for all family members. The

movie, however, has several swearing words in the dialogue such as “Shit!”,

“Damn it”, and so forth. Therefore, to make the dialogue more child friendly,

those swearing words are changed into less explicit expression such as “sit” for

“shit”, “darn it” for “damn it”, and so forth. In the dialogue, the swearing word

“damn” is said twice, and both swearing are changed into “darn”. The words

“darn” and “damn” are similar in phonetic level. The difference lies only on /α:n/

as the end sound of “darn”, and /æm/ as the end sound of “damn”. Consequently,

the word “darn” is considered as paronymy.

Datum number 12.42/Pn/003.

King Julien : In-flight slave.

Private : Can I help you, Mr. Mankiewicz?

King Julien : Bring my nuts on a silver platter.

Melman : We were checking on our drink order.

King Julien was enjoying a movie in his first class cabin when Melman

came in to ask about the drink order. A few second afterward, Private showed up

to ask what service he could gave to them. King Julien permitted Private to get in

to the cabin by saying “In-flight slave” and addressed Private as “flight slave”

instead of “steward” to highlight his superior position compared to other

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Generally, every airway has its flight attendants; steward for male

attendant, and stewardess for female attendant. In his plane, King Julien did not

address the attendant “steward” or “stewardess” but he called them a “flight

slave” . It can be inferred from the dialogue that King Julien is a character who

considers that class segregation still exists. As a king, he surely sits on the highest

class or society rank. Therefore, he considers himself as the noblest person in the

society, and at the same time, he looks down on other people who have lower

social class. His way of thinking explains how he changes the way he names a

flight attendant into a flight slave. The word attendant and slave share similar

meaning, which is someone who helps other people in doing specific thing.

However, the word slave highlights more on class segregation, to show that the

person holds a low social class. Therefore, the compound noun “flight slave” is

considered as a paronymy.

Datum number 43.40/Pn/020.

Elephant: Don't ask.

Melman: Someone's been knotty. This won't hurt a bit.

Melman, the new witch doctor, was seen in the scene to help to cure the

animals around him. One of them was the elephant who was in trouble for his

trunk gets tangled. With an upset expression, the elephant tried to prevent Melman

from giving any comment upon his condition. Seeing the elephant, however,

Melman gave comment “Someone’s been knotty”. Melman showed teasing

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The scene when Melman said the word “knotty” shows Melman’s teasing

expression. In relation to the visual aspect, the word “knottty”, which is uttered by

Melman when he saw the condition of the elephant’s trunk, actually refers to two

different meanings. The first is the actual meaning of the word heard, “knotty”, in

which referring to Webster’s Dictionary& Thesaurus means something is in a

messy or tangled condition (p.208). The second meaning refers to “naughty”

which has similar pronunciation to the word “knotty”. The way the word “knotty”

and “naughty” pronounced is merely similar. The word “knotty” is pronounced

/noti/, and “naughty” is pronounced /n t’i/. Therefore, the word “knotty” is

considered as paronymy.

The tendency reveals that throughout the dialogue paronymy is used not

only to give humorous effect but also to conceal harsh swearing words to develop

the atmosphere of child friendly movie. There are 9 of 32 data or 39% of all

paronymy data which confirm that the data show the similarity of the linguistic

structures in phonetic or orthographical level of swearing words. The data are

datum number 12.08/Pn/002; 14.34/Pn/005; 16.07/Pn/006; 17.34/Pn/007;

36.04/Pn/012; 37.04/Pn/013; 47.31/Pn/021; 01.05.58/Pn/022; and

01.10.58/Pn/023.

Not only does paronymy exploit similarity of linguistic structures in

phonetic or orthographical levels, but it deals with other aspects especially

cultural issues. Cultural related issues which can lead to the exploitation of

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terms or issue, saying in the source language; and specific group or event in the

native country.

The example of paronymy puns which is derived from cultural specific

terms is datum number 41.55/Pn/019.

Makunga: As your new leader, I hereby banish Alakay! He shall wear this Hat of

Shame...

...and leave the watering hole for a thousand years, or life!

In the watering hole area, the animals had a tradition that when an animal

lost in the fight of the rite passage ceremony, he or she would not be accepted in

the community and had to leave the area. Makunga uttered the expression to

banish Alakay from the animal reservation as Alakay was lost in the battle against

Teetsi.

The pun “Hat of Shame” is drawn from “Hall of Fame”, a very famous

spot in Hollywood where great actors and actresses with great achievement can

put their name on it. The pun “Hat of Shame” and its original phrase “Hall of

Fame” have similar sound but they have different meanings. “Hall of Fame”

symbolizes a success or an achievement, while the pun “Hat of Shame” represents

the penalty for someone’s lost or failure. Therefore, the pun is considered as

paronymy.

The example of paronymy puns which refer to sayings in the source

Gambar

Table 2.1. Examples of Homograph
Table 4.1. Types of Pun in Madagascar II Escape to Africa.
Table 4. 2. Paronymy Puns
Table 4. 3.Homonymy Pun
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