A THESIS
Submitted in Partial Fulfilment of the Requirements
for the Attainment of
a
Sarjana Sastra
degree in English Literature
Written by:
SALINDRI
(08211144010)
ENGLISH LITERATURE STUDY PROGRAM
FACULTY OF LANGUAGES AND ARTS
v
Allah SWT, for all life experience He gave me.
My beloved parents, Daryono (the late) and Umiyati.
My beloved sister Kinanti Rejeki and my best friend Isna Azizah Ulfah
vi
MOTTOS
Kowe arep dadi abang opo ijo gumantung awakmu dhewe.
(RNgt. Probowetjono)
Nek wani ojo wedi-wedi, nek wedi ojo wani-wani.
(Sujiatmi)
Jika Anda menginginkan sesuatu yang belum pernah
Anda miliki maka bersiaplah melakukan sesuatu yang
belum pernah Anda lakukan.
vii
All praise and gratefulness be with the Almighty Allah SWT for all the
blessing, grace and abundant love given to the researcher in accomplishing
her thesis.
The greatest gratitude and appreciation go to her thesis consultants,
Asrudin B. Tou, M.A., Ph.D. and Yosa A. Alzuhdy, S.S, M.Hum., who have
given her knowledge, support, guidance and correction during her thesis
writing.
Her sincerest gratitude goes to her late father Daryono, her mother
Umiyati and her sister Kinanti Rejeki for their unconditional love and prayers,
also to Isna Azizah Ulfah, who has been her best friend since high school and
Verena Asti W. as well as Rosalia Wulur Savitri for every happiness and
helps they have given to her.
The warmest thanks also go to Magenta Radio UNY, especially “The
Sista - Ayuk”, McDonalds Malioboro Crew, Kantor Notaris & PPAT Sri
Soewanti Soeweno, SH., all dermatologists and supporting staffs Bagian Kulit
& Kelamin Fakultas Kedokteran UGM, all Game Fantasia Galeria Mall
crews, as well as oncologists and “Tulipers” at Instalasi Kanker Tulip RSUP
Dr.Sardjito Yogyakarta for all experiences she has had. She also would like to
thank Nina and Nana, her close friends who have been willing to help
proofread her thesis.
viii
TABLE OF CONTENTS
TITLE ... i
APPROVAL SHEET ... ii
RATIFICATION SHEET ... iii
PERNYATAAN ... iv
DEDICATIONS ... v
MOTTOS ... vi
ACKNOWLEDGEMENTS ... vii
TABLE OF CONTENTS ... viii
LIST OF TABLES ... xii
LIST OF FIGURES ... xiii
ABSTRACT ... xiv
CHAPTER I INTRODUCTION ... 1
A. Background of the Research ... 1
B. Focus of the Research ... 2
C. Objectives of the Research ... 4
D. Significance of the Research ... 4
CHAPTER II LITERATURE REVIEW ... 6
A. Theoritical Review ... 6
1. Translation ... 6
a. Notions of Translation ... 6
ix
e. Translation Equivalence ... 13
f. Film Translation ... 15
1) Dubbing ... 15
2) Subtitling ... 16
2. Meaning Equivalence and Sentence Realization Variations ... 21
a. Meaning ... 21
b. Sentence Realization ... 24
3. 12 Years A Slave ... 28
B. Conceptual Framework ... 29
C. Analytical Construct ... 29
CHAPTER III RESEARCH METHOD ... 31
A. Type of the Research ... 31
B. Data and Data Sources ... 31
C. Data Collection ... 32
D. Data Analysis ... 33
E. Trustworthiness of the Data and Data Analysis ... 34
CHAPTER IV FINDINGS AND DISCUSSION ... 36
x
1. The Meaning and Sentence Realization Variations of the
English – Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’
Movie Texts in a Realization Terms ... 36
2. The Meaning and Sentence Realization Variations of the
English – Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’
Movie Texts in Terms of Fully or Partly/Incomplete
Sentences ... 37
3. The Classification of the Sentence Realization and Variations in the
Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’ Movie
Texts in Terms of Meaning ... 38
B. Discussion of the Findings ... 39
1. Discussion about the Meaning and Sentence Realization Variations
of the English – Bahasa Indonesia of Steve McQueen’s ‘12 Years
A Slave’ Movie Texts in Realization Terms ... 40
2. Discussion about the Meaning and Sentence Realization Variations
of the English – Bahasa Indonesia of Steve McQueen’s ‘12 Years
A Slave’ Movie Texts in Terms of Fully or Partly/Incomplete
Sentences Terms ... 44
3. Discussion about the Classification of the Sentence Realization
Variations in the Bahasa Indonesia of Steve McQueen’s ‘12 Years
A Slave’ Movie Texts in Meaning Terms ... 47
CHAPTER V CONCLUSION AND SUGGESTIONS ... 54
xi
xii
LIST OF TABLES
Table 1. The Data Sheet ... 32
Table 2.
The Meaning and Sentence Realization Variations of the English –
Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’ Movie
Texts in Realization Terms ... 36
Table 3. The Meaning and Sentence Realization Variations of the English –
Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’ Movie
Texts in Terms of Fully or Partly/Incomplete Sentences ... 37
Table 4. The Classifications of the Sentence Realization Variations in the
Bahasa Indonesia of Steve McQueen’s ‘12 Years A Slave’ Movie
xiii
Figure 2 : The Model of Translation ... 11
Figure 3 : The ‘12 Years A Slave’ Movie ... 28
xiv
MEANING AND SENTENCE REALIZATION VARIATIONS OF THE
ENGLISH – BAHASA INDONESIA OF STEVE MCQUEEN’S
‘
12 YEARS A SLAVE
’ MOVIE TEXTS
Salindri
08211144010
ABSTRACT
This study aims to analyse the meaning and sentence realization of the
English subtitles of a movie entitled 12 Years A Slave in Bahasa Indonesia
translation. In addition, this study also analysed the types of translation
techniques, namely realized and unrealized. The classifications of meaning
realization into equivalence were also analysed. The three questions raised in
this study are: 1). What types of translation techniques can be identified in the
source text (the English movie subtitles) that are realized in the target text (the
Bahasa Indonesia movie subtitles)?; 2). How are the fully expressed sentences
in the source text realized in the target text?; and 3). To what extent are the
meaning and the expressions in the target text equivalent to the fully
expressed sentences in the source text?
This is a descriptive qualitative study. Therefore, the discussion was
presented descriptively. Frequencies and percentages were used to support the
data analysis and to strengthen the findings. The data were analysed by doing
some steps, namely classifying the data into realized and unrealized sentences,
classifying the realized sentences into fully expressed and partly expressed
sentences, making an analysis in terms of equivalence, and drawing
conclusions from the extent of equivalence.
A.
Background of the Research
Translation is the replacement of textual material in one language (source
language/SL) by equivalent textual material in another language (target
language/TL). In doing translation, translators have to understand the meaning of
the source language and translate it into the target language without change the
meaning (Catford, 1965: 20). To make a good translation, the translator should be
able find the appropriate methods to translate certain text (SL to TL) without
changing the meaning suppose the readers easily understand the meaning. In a
process of translation the translator may find some problems with the language.
The difference of language may cause some problems such as grammar,
vocabulary, pronunciation, structure, etc.
In these recent years, the international film industry has promoted these two
forms of translation, subtitles and dubbing. Subtitles are an abbreviated version of
the dialogue, which is projected on the screen and dubbing itself is an alternate by
synchronized soundtrack of the complete dialogue. Most cities and large town like
Indonesia pretend the cinema where foreign film share regularly screened by
translated the original language with subtitles. According Jay Boyar (1986), he
points out that with subtitles the viewer must simultaneously take in the visual
2
The distribution format subtitles in a film translation usually presented on
cinema, television, video, DVD, internet (streaming) and mobile technology.
Based on those formats the DVD’s is the most popular now especially in
Indonesia. The reason why subtitles become popular because it’s easy and fast to
understand by our people and culture, people that really like everything flexible
and instantly. Moreover subtitling also has positive advantages, people preserves
the flavor and originality of the original sound, dialogues and characterizations
that is why a lot of film translated into their mother tongue.
This research is designed to analyze meaning and sentence realization
variations of the English – Bahasa Indonesia ‘
12 Years A Slave
’ movie texts.
B.
Focus of the Research
Based on
An
Introduction to Functional Grammar
by Halliday language is a
system for making meaning. The system of language itself has three level of
language organization. They are phonology (realized in phoneme) or graphology
(realized in grapheme), lexicogrammar (realized in clause/sentence, group/phrase,
word and morpheme) and semantics (realized in text).
Those categories have sub-categories that influence the target text
realization. The researcher should find and choosing the appropriate words and
grammar to influences the target text realization. The problem is the source text
must be realized to the target text, but somehow they are unrealized. Different
languages also influence translating process, it’s happen because the researcher
During process of translating the translator often have some problems, the
researcher should pay attention in analyzing the source text, transferring the
message from SL to TL and restructuring the target text language.
In a movie translating, there is a discipline of audiovisual translation that
can be classified into subtitling and dubbing. Subtitling and dubbing represent the
two methods for transferring language in the translation process of audio-visual
communication form such as film and television. Subtitling and dubbing have
different characteristics, subtitling involves the process of supplying a translation
of the spoken SL dialogue into the TL in the form of synchronized captions,
usually at the bottom of the screen.
12 Years A Slave
is a British-American historical drama film and adaptation
of the 1853 slave narrative memoir by Solomon Northup. Solomon Northup is a
free black man living in upstate New York is kidnaped and sold into slavery.
Solomon Northup was kidnapped in Washington D.C. in 1841 and sold into
slavery. Solomon Northup worked on plantations in the state of Louisiana for
twelve years before his release. This movie represents the violence or cruelty,
some nudity and brief sexuality to the black people in the pre-Civil War of United
States. This movie released on August 30, 2013, directed by Steve McQueen won
more over 141 awards and 135 nominated.
This research focused on the meaning and sentence realization variations of
4
Slave
movie text. The scopes of this research are the realized and the unrealized
expressions sentence level.
Formulation of the problems:
1.
What types of translation techniques can be identified from the source text (
12
Years A Slave
movie text) into the
Bahasa Indonesia ‘12 Years A Slave
’ movie
text?
2.
How are the realizations of sentences in the source text (
12 Years A Slave
movie text) represented in the target text?
3.
To what extent are the expressions in the target text equivalent in meaning with
the expressions in the source text?
C.
Objective of the Research
The objective of the research is to analyze the meaning and sentence realization
variations of the English – bahasa Indonesia “12 Years A Slave” movie texts.
D.
Significance of the Research
1.
Theoretical Benefits
From this research, the researcher and the readers who have the same
interesting in the same field can get more benefit. This research concerned to
the language translation competence for translator especially about realization
2.
Practical Benefits
This research also provides the supporting information for the viewer and the
researcher expects that it could help the viewers of the movie and the readers
6
CHAPTER II
LITERATURE REVIEW
A.
Theoretical Review
1.
Translation
a.
Notions of Translation
Translation theorists give different definitions about translation. It is
because they have their own perspectives in translation. According to Meethem
and Hudson in Bell (1991: 6), translation is the replacement of a representation
of a text in one language. Besides, Nida (1982: 1) mentions that translation
consists of reproducing in the receptor language the closest natural equivalent of
the source language message, first in terms of meaning and secondly in terms of
style. Similar definition is also mentioned by Dubois in Bell (1991: 5), he defines
translation as the expression in another language of what has been expressed in
the source language preserving semantic and stylistic equivalences.
In spite of differences, common features are shared by the definitions. There
are obligations to find “equivalents” which “preserve” features of the original
text as close as possible in the translated text.
According to Brislin (1961: 1) he defines translation as general terms
referring to the transfer of thoughts and ideas from one language (SL) to another
language (TL), whether the languages are in written or oral forms. Whether the
whether one or both languages is based on signs, as with sign languages of the
deaf.
Contrasting through Nida and Taber (1996: 12) that explicitly giving the
idea about translation as a definition as process, in case translating consist of
reproducing in the receptor language the closest natural equivalent of the
source-language message, first in terms of meaning and secondly in terms of style.
The various views, opinions and definition from the experts can complete
each other. The equivalent meaning when the translator doing translating is
important, therefore the translator should pay attention to the content and style of
both languages (SL and TL).
b.
Types of Translation
Jakobson, in article entitled ‘On Linguistic Aspects of Translation’ (in
McGuire, 1991: 14) states that there are 3 types of translation:
1)
Intralingual translation or rewarding is an interpretation of verbal signs by
means of other signs of the same language.
2)
Interlingual translation or translation proper is an interpretation of verbal
signs by means of some other language.
3)
Intersemiotic translation or transmutation is an interpretation of verbal signs
by means of nonverbal sign systems or vice versa.
Intralingual translation has the same meaning in one language and also
called monolingual translation, paraphrasing a poem in the same language and
simplifying a novel can be defined as an intralingual translation process. In
interlingual translation there are two or more languages involved while there is
only one language involved in intralingual translation. This kind of translation
process which is done the most often by the translator, like translated a book,
translation, in intersemiotic translations, the message is transferred from one
symbol system or sign system into a language or another form. In the case of
intralingual translation, the translator uses synonyms in order to get the message
from the source language. This kind of translation process often occurs on
people’s daily activities, such as reading newspaper, seeing the traffic light sign,
understanding the pictures meaning, etc.
Larson (1984: 17) classifies two main kinds of translation, namely
form-based translations and meaning-form-based translations. They are explained as follows.
1)
Form-based translations
Form-based translations attempt to follow the form of the source language
and are known as literal translations. If the two languages are related, the literal
translation can often be understood, since the general grammatical form may be
similar. However, the literal choice of lexical items makes the translation sound
foreign.
2)
Meaning-based translations
Meaning-based translations make every effort to communicate the meaning
of the source language text in the natural forms of the receptor language. The
translator’s goal should be to reproduce in the receptor language, a text which
communicates the same message as the source language but using the natural
grammatical and lexical choices of the receptor language.
Based on Catford (1965: 21-22), there are 3 broad types or categories of
1)
Extent of Translation
Extent translation is classified into
fully
and
partly
translation. In a fully
translation, the entire text is submitted to the translation process, part of the SL is
replaced by the TL material. In a partly translation, some part or parts of the SL
are left un-translated. They are simply transferred to and incorporated in the TL.
2)
Level of translation
Two categories of
the level of translation are
total
and
restricted
translation.
The total translation is a misleading term, however the total replacement involved
is not replacement by equivalents at all levels. In other words, the total translation
is replacement of SL grammar and lexis by equivalent TL grammar and lexis with
consequential replacement of SL phonology or graphology by (non-equivalent)
TL phonology or graphology. While restricted translation is replacement of SL
material by equivalent TL material at only one level. That is translation performed
only at the phonological or at the graphological level, or at one of the two levels
of grammar and lexis.
3)
Ranks of Translation
Ranks of translation have two categories,
rank
-
bounded
and
unbounded
translation
.
It relates to the rank in a grammatical (or phonological) hierarchy at
which translation equivalence is established. Rank-bounded translation always
c.
Process of Translation
Nababan (1999: 25), divides the process of translation in three major steps.
They are:
1)
Analyzing the ST
The first step is analyzing the text. The translator analyzes the text by first
reading the ST and gain the meaning in the text. The translator also analyzes the
linguistics and exstralinguistics elements in the text. Linguistics elements are the
elements deal with language, while exstralinguitics is the elements beyond the
language, such as the culture and the social context of the text. In analyzing the
linguistics elements, the translator analyzes the text at all level such as in the level
of word, clause, phrase and sentence. By doing this, the translator’s analysis can
gain the understanding of the meaning in the ST.
2)
Transferring the meaning
The second step is transferring the meaning. In this step the translator has to
find the equivalent of the ST. This process happens in mind (Nababan called it as
proses
batin
). It means that this process is in the abstract form.
3)
Reconstructuring
The last step is reconstructuring. After finding the equivalent of ST, we
reconstruct it in the form of TL becoming TT. In this step, we must decide what
style that suits best to the text and the readers.
This three steps, would be explained by the picture bellow (Suryawininata
Acc
translators
analysis o
expression
ording to T
s in order t
f meaning,
n of meanin
Figu
Tou (1989: 1
to move th
the discove
ng of the sou
Figure 2.
ure 1: Recon
134), there
he source la
ery of mean
urce languag
. The Mode
nstructuring
are four ma
anguage int
ing, the tran
ge into the t
l of Transla
ain stages to
to target la
nsfer of mea
target langu
ation
o be followe
anguage. i.e
aning and th
uage.
ed by
e. the
re-In translation process, the first thing to do is to understand the total meaning
of the source text. Understanding the source language involves much more than
what the words refer to. Language should be related to contexts in order to enable
the reader to really understand the text. In the transferring stage, the translator
should be able to transfer the meaning from the source language to the target
language.
The final step in the translation process is the re-expression in which the
translator works out what has been his or her mind and actualizes it in the target
language.
d.
Shifting in Translation
Shift in translation is allowed since every language has its own
characteristics. Shift in translation is not something to avoid by translator.
Machali (2000: 62-75) in her book entitled ‘
Pedoman Bagi Penerjemah
’ even use
shift as one of technique or procedure that can be used by the translator to
overcome the problems in translation especially in translating from English to
Bahasa Indonesia
. By using the shift, such as modulation, transposition, etc, the
translator can avoid the awkwardness of the translation product.
Larson (in Machali, 1997: 12) views shift as the mismatch of the structure,
while Newmark (in Machali, 1997:12) refers to the same concept as transposition
(structure shift). The shift itself could be viewed as the consequence of the
translator's effort to establish translation equivalence (TE) between two different
Basically, the differences that occur in TL that is not the same in SL may be
called as shift. Shift does not only happen in the linguistics features (such
category and level shifts by Catford), but also in culture (adaptation) or in point of
view (modulation).
For example: if a translator doing an adaptation in translating a text such as
changing the name of the place so the target readers could more familiar with the
name, then we may call this as shift in culture.
e.
Translation Equivalence
In producing translation, it is impossible to produce a translation that has the
same “exact” meaning between the SL and TL. It is because every language is
different (Catford, 1965: 27). Therefore, as a translator, we must concern to the
term equivalent in producing a translation. Translation equivalence is the
similarity between a word or expression in one language and its translation in
another (www.sil.org). A translator must look for the equivalence between source
text and target text, suppose there is no missing information when he transfers the
message from SL to TL (in Venuti, 2000:133).
Based on Nida & Taber (1997) there are two types of equivalent. They are
formal and dynamic equivalent.
1)
The formal equivalent focuses attention on the message itself, in both form and
content. In such a translation one is concern with such correspondences as
poetry to poetry, sentence to sentence, and concept to concept. Viewed from
this formal orientation, one is concerned that the message in the receptor
source language. This means, for example, that the message in the receptor
culture is constantly compared with the message in the source culture to
determine standards of accuracy and correctness (in Venuti, 2000: 129).
Formal equivalence is basically source-oriented (in Venuti, 2000: 134), it is
designed to reveal as much form and content of the original message as
possible. In doing so, a formal equivalence attempts to reproduce several
formal elements, including: grammatical units, consistency in word usage, and
meanings in terms of the source context.
2)
Dynamic equivalence is based on the principle of equivalent effect, i.e. the
relationship between the receiver and message should aim at being the same as
that between the original receivers and the ST message. In such a translation
the focus of attention is directed, not so much toward the source message, the
receptor response. One way of defining a dynamic equivalence translation is to
describe it as “the closest natural equivalent to the source-language message.”
This type of definition contains three essential items: equivalent, which points
toward the source-language message, natural, which points toward the receptor
language, and closest, which binds the two orientations together on the basis of
the highest degree of approximation.
A translation, which aims at dynamic equivalences, inevitably involves a
number of formal adjustments. In general, this limitation involves three principal
areas: special literary forms, semantically exocentric expressions, and
f.
Film Translation
Subtitled material attracts more and more viewers, especially where cinema
is concerned, in many different countries and language groups. There are a variety
of explanations for this enthusiasm. Film lovers want to watch their favorite films
in the original text. It is because they want to hear the real voice of their favorite
actors, which they can understand trough the subtitles. Another important
incentive is the desire to learn a foreign language, as is illustrated by viewing
patterns in my home country, Indonesia.
Subtitling and dubbing represent the two methods for transferring language
in the translation process of mass audio-visual communication such as film and
television (Jorda o’Coelh, 2003: 2). The two methods have different
characteristics and have not received enough attention from the discipline of
Translation Studies (Ibid).
1)
Dubbing
Dries in Shuttleworth and Cowie (1997) defines dubbing as follows:
Dubbing is the method in which the foreign dialogue is adjusted to the
mouth and movements of the actor in the film (Dries 1995, cited in
Shuttleworth and Cowie 1997: 45).
As Szarkowska (2005: 2) claims, the main aim of dubbing is to make the
audience feel as if they were watching a movie whose actors actually speak the
2)
Subtitling
Szarkowska (2005) defines subtitling as follows:
Subtitling involves the process of “supplying a translation of the
spoken source language dialogue into the target language in the form of
synchronized captions, usually at the bottom of the screen. It is the form that
alters the source text to the least possible 6 extent and enables the target
audience to express the foreign and be aware of its 'foreignness' at all times”
(Szarkowska, 2005: 2).
Furthermore, there are a number of advantages subtitling offers. The main
advantages of subtitling can be put in the following points:
a)
According Szarkowska (2005: 10) she defines that subtitling is considered the
most neutral, minimally mediated method that involves the least interference
with the original. It can be argued that subtitling makes the audience
experiences the flavor of the foreign language as well as the sense of a different
other culture. This is due to the fact that the original soundtrack is preserved.
b)
Subtitling may have a role in language learning (Serban 2004: 6) and in a better
understanding of the narrative network of a film. As Mera (1998: 75) mentions,
“hearing the real voices of the characters not only facilitates understanding in
terms of the specific dialogue or plot structure, but also gives vital clues to
status, class and relationship”.
c)
It is not expensive. In other words, subtitling is cheaper to meet the needs of
film markets since it provides subtitles that are more economical and easier to
produce (Szarkowska 2005: 10). It is better for “the hard-of-hearing and the
To make subtitles,
Matsumoto (2003) states that there are seven rules to
follow. Those rules are:
a)
Subtitle consists of two lines every times it appears.
b)
Subtitle appears at the bottom of the screen and in the middle position of the
screen.
c)
If there is another text at the bottom of the screen, such as: credit title, people’s
name, place’s name, or subtitle in another language, the position of subtitle
should be higher.
d)
A line of subtitle consists of 40 characters maximum, including space and
punctuation mark.
e)
When two lines of subtitle appear together, the second line should be shorter
than the first line.
f)
The duration of displaying one subtitle is 3-5 seconds; meanwhile the duration
of displaying 2 lines of subtitle is 7-8 seconds. In the displaying of subtitles,
the translator has to consider the synchronization between the picture and the
voice.
g)
If the subtitle has to be separated; the translator has to consider that the viewer
can understand the subtitle itself although it stands alone. So, the viewer can
understand the meaning of the subtitle.
According to Matsumoto (2003: 101) there are two stages in the process of
subtitling. First stage is translating materials from source language text into the
material. However in this globalization era experts prefer use computer program
than manual ways.
Fotios Karamitroglou, Ph.D from European Association for Studies in
Screen Translation (ESIST) defines the Guidelines for Production and Layout of
TV Subtitles. The general practice of the production and layout of TV subtitles
should be guided by the aim to provide maximum appreciation and
comprehension of the target film as a whole by maximizing the legibility and
readability of the inserted subtitled text. The guidelines are as follows:
a)
Spatial Parameter/ Layout
i.
Position on the Screen
Subtitles should be positioned at the lower part of the screen, so that they
cover an area usually occupied by image action which is un-important
(aesthetic appreciation of the target film).
ii.
Number of Lines
A maximum of two lines of subtitles should be presented at a time.
iii.
Text Positioning
The subtitled text should be presented centered on its allocated line(s) to
simplify the eye travel of the viewer to start reading the subtitle.
iv.
Number of Characters Per Line
Each subtitle line should allow around 35 characters to accommodate a
satisfactory portion of the translated text and minimize the original text
v.
Typeface and Distribution
Typefaces like Helvetica and Arial are qualified, it saves the space required to
fit the desired 35 characters into a subtitle line.
vi.
Font Color and Background
Type characters should be colored pale white (not “snow-bright” white)
because a too flashy pigment will tire to the viewers’ eye.
b)
Punctuation and Letter Case
i.
“Sequence Dots” (or “ending triple dots”) {...}
Used right after the last character of a subtitle (no space character inserted),
indicate the subtitled sentence is not finished/ incomplete, so that the eye and
the brain of the viewers can expect the appearance of a new flash to follow.
ii.
“Linking Dots” (or “starting triple dots”) {...}
Used right before the first character of a subtitle (no space character inserted,
the first character non-capitalized), when this subtitle carries the follow-up
text of the previous uncompleted sentence.
iii.
Full Stops {.}
The full stop or period, should be used right after the last character of a
subtitle (no space character inserted) to indicate the end of the subtitled
sentence.
iv.
Dashes and Hyphens {-}
Used before the first character of each of the lines of a two-line subtitle (a
space character inserted each time) to indicate the exchange of speakers’
v.
Question Marks {?} and Exclamation Points {!}
Used to indicate a question or emphasis respectively, positioned right after
the last character of a subtitle.
vi.
Parentheses {( )} and Brackets {[ ]}
Parentheses and brackets should be used to embrace comments which are
explanatory to the preceding phrase.
vii.
Single Quotation Marks {‘ ’}
Single quotation marks should be used just like in printed materials, in order
to embrace alleged information.
viii.
Double Quotation Marks {“ “}
It is used just like in printed materials in order to embrace quoted
information. For reasons similar to the use of parentheses and brackets,
double quotation marks should be used cautiously.
ix.
Commas {,}, Colons {:} and Semicolons {;}
It is used in order to suggest a short pause in the reading pace.
x.
Italics
Italics is used to indicate an off-screen source of the spoken text, (e.g. when
there is a voice of someone contemplating something, speaking over the
phone from the other end, or narrating something).
xi.
Quotation Marks {““} Embracing Text in Italics
Quotation marks embracing text in italics should be used to indicate a public
broadcast, i.e. spoken text coming from an off-screen source and addressed to
xii.
Upper- and Lower-Case Letters
Upper- and lower-case letters should be used just like in printed materials, as
if the subtitle was to appear on paper. Subtitles typed only in upper-case
letters should be used when transferring a display or a caption (i.e. a written
sign that appears on the screen).
xiii.
Boldface and Underline
Boldface and underline typing conventions are not permitted in subtitling.
2.
Meaning Equivalence and Sentence Realization Variations
a.
Meaning
1)
Types of Meaning
a)
Referential Meaning and Connotative Meaning
According to Nida and Taber (1969:56), there are two types of meaning.
They are referential meaning and connotative meaning. Referential meaning is
word as symbol which refers to an object process, process, abstract things, and
relation. For example is the word “machine” in this short conversation:
A:
Oh, the machine broke!
B:
Where did you buy the old thing?
A:
I bought it at the discount house
B:
Then toss the stuff out.
The words
old thing, it, and the stuff
refer to the word machine. Meanwhile,
connotative meaning is the words as prompters of reaction of the participants in
communication. For example is the word
heart.
Its connotative meaning is love;
its referential meaning is part of inner body.
b)
Meaning According to Machali
i.
Referential Meaning
Referential meaning refers to what the communication is about.
ii.
Organizational Meaning
Organizational meaning is putting together of referential information into a
coherent whole.
iii.
Situational Meaning
Situational meaning is encoding the interpersonal aspect of communication
such as speaker-addressee relationship, their social status, age as well as the
setting and the purpose of communication.
In this research, the types of meaning in SFL perspective will be used in this
research. According to Halliday and Matthiessen (2204:29-30) propose aspect of
meaning called
metafunction.
Metafunction is the three principal functions which
are used as the basis of grammar. Metafunction of language consists of three kinds
of meaning. They are Ideational
meaning,
Interpersonal
meaning,
and
Textual meaning.
2).
Meaning Equivalence
According to Hatim and Munday (2004: 339), equivalence is defined as a
central term in linguistic based translational studies, relating to the relationship of
similarity between source text and target text. To maximize the equivalence, the
translator needs to transfer the message from the source text into target text.
Machali (1998:3) also states that the central problem of translating is to find the
importance of equivalence by explaining that translation involves ‘communication
situation’ in translating. The diction or the choices of vocabulary are affected by
this because different vocabulary can be used in different situation and for
different purpose. Meanwhile, Catford (1965: 50) states that translation
equivalence occurs when a source language and target language or items are
related at least some of the same features or substance.
Below are types of meaning equivalence and degree of meaning
equivalence.
1)
Fully Equivalence
Fully equivalence means the meaning in the source language text is
completely transferred into the target language text.
2)
Partly Equivalence
Partly equivalence is a translated text in which there are some elements or
meaning that is lost or changes from the SL.
3)
No Equivalence
No equivalence means the meaning of translated text is totally different
from the SL.
4)
No Meaning
No meaning means the translated text has no meaning at all from the SL.
b.
Sentence Realization
1)
The Notion of Sentences
Bloomfield in his book entitled
Language
(1993:170) defines sentences as
“... an independent linguistic form, not included by virtue of any grammatical
construction in any larger linguistic form.” In other words, a sentence is capable
of standing alone. Sentences can be classified into a number of categories. The
following are classifications of sentences based on their structure, the purpose/
form and completeness of the Subject-Predicate elements.
a)
The Classification by the Structure
i.
Simple Sentences
A simple sentence is a sentence which consists of a single independent
clause and no subordinate clauses. The simple sentence always contains one
subject and one verb.
Example:
Nancy is a singer
.
ii.
Compound Sentences
A compound sentence is a sentence that consists of two or more clauses or
has equal relations.
Example:
Maya is a singer but I am a teacher.
iii.
Complex Sentences
A complex sentence is a sentence that consists of two or more clauses of
unequal relations and joined by one or more coordinating conjunction.
iv.
Compound-Complex Sentences
A compound-complex sentence is a sentence that consists of multiple
independent clauses, at least one of which has at least one dependent clause.
Example:
My best friend who is a singer named Nancy is beautiful, but she
is still single until now.
b)
The Classification by the Purpose or Form
Classifications of sentence by purpose or form are:
i.
Declarative Sentences
Declarative sentence or declaration sentence functions to make or to declare
a statement.
Example:
I am not hungry
.
ii.
Interrogative Sentences
Interrogative sentence or question sentence functions to request information.
Example:
Where is the bus station?
iii.
Exclamatory Sentences
Exclamatory sentence is generally more emphatic from statement of
emotions expressions.
Example:
What a beautiful art you made.
iv.
Imperative Sentences
Imperative sentence or command sentence is functions used to make
demand or request.
c)
The Classification by the Completeness of the Subject-Predicate
Elements
i.
Complete Sentences
A complete sentence is a regular sentence, it has a subject and a predicate.
Example:
I have a new fan.
In this sentence one can change the persons
into:
We have a new fan.
ii.
Incomplete Sentences
An incomplete sentence is an irregular type of sentence. It does not contain
a main clause or follows the grammatical rules.
Example:
-
Mary!
-
Precisely so.
-
Next Tuesday evening after it gets dark.
-
Headings (e.g. the heading of this entry)
-
Stereotyped expressions (“Hello!”)
-
Emotional expressions (“Wow!”)
-
Proverbs
-
Abbreviation form
-
Words and phrases use as exclamations, questions or commands:
Nice day! Taxi? No entry.
In addition to those categories of sentences, Bloomfield also offers other
sentence categories, namely fully expressed sentences (major sentences) and
called major sentences and usually have the complete subject - predicate
construction, begin with a capital letter and end with a full-stop, exclamation or
question mark. As for partly expressed sentences or minor sentences, these
sentences can be called elliptical sentences because some parts of their structure
are omitted.
2)
Types of Sentence Realization
Kridalaksana (2001: 1985) explains that realization is an actual expression
of a characteristic or unit of phonology, grammar or semantics. Realization is
what we commonly speak of as form, the form itself is related to the actual words,
phrases, clauses, sentences, paragraph, and so on.
This research follows Halliday’s theory about the levels of language
organization. If there is a realization between ST and TT, this sentence is termed
realized
while if there is no realization, it is termed
unrealized
. Furthermore, in
addition to the
realized
and
unrealized
terms, the researcher also further classified
the sentence realization into
fully-realized
and
partly realized
. The term
fully
realized
is used when a full sentence in the ST is realized in the form of a
fully-expressed or complete sentence in the TT while the term
partly realized
is used
when a full sentence in the ST is realized in the form of a partly-expressed or
3.
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of the 185
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operty of se
under the
tation
p is a
ownership of a southern planter named Edwin Epps. In January 1853, Northup
was finally freed by Northern friends who came to his rescue. He returned home
to his family in New York with the help of editor David Wilson, and wrote his
account in
12 Years a Slave
.
This movie represents violence, some nudity and brief sexuality to the black
people in the pre-Civil War United States. This movie was directed by Steve
McQueen; released on August 30, 2013, and won over 141 awards and 135
nominations.
B.
Conceptual Framework
Subtitling translation and written translation is different. In subtitle of
translation, the translator should design and produce the subtitle that ensures the
target language viewers with the content of his/her subtitle.
This research focuses on the realization variations of the English “
12 Years
A Slave
” movie texts (ST) in its Bahasa Indonesia “
12 Years A Slave
” movie texts
(TT). This level becomes the main point because it usually occurs in subtitle
translation, especially from the English into Bahasa Indonesia. This research also
discusses the equivalence between Source Text (English movie texts) and Target
Text (Bahasa Indonesia movie text).
Billingual Text
Translation
ST:
12 Years a Slave
English
Movie Text
TT:
12 Years a Slave
Bahasa
Indonesia Movie Text
Meaning Realization Variations
Sentence Realization Variations
No Meaning
Fully Equivalent
Meaning
Partly Equivalent
Meaning
Non-Equivalent
Meaning
Realized
Sentence
Unrealized
Sentence
English Movie Text
Bahasa Indonesia
Movie Text
31
CHAPTER III
RESEARCH METHOD
A.
Type of the Research
This is a descriptive qualitative study. In this research, the researcher
analyzed the data in the form of English and its Bahasa Indonesia movie texts of a
movie entitled
12 Years A Slave
based on the context and natural setting. To find
the real fact without any manipulation, the researcher analyzed the data based on
the context of the movie, namely the source text (the English ‘
12 Years A Slave
’
movie text).
B.
Data and Data Sources
The data collected in this research are qualitative data supported by
quantitative data. The qualitative data are the whole language expressions in the
English and its bahasa Indonesia movie texts of a movie entitled
12 Years A Slave
.
The researcher took the English movie text (ST) from the movie CD, written by
John Ridley and released in 2013 by
New Regency Production.
As for the Bahasa
Indonesia movie text (TT), it is written by Prince Shinra and was taken from the
internet (
http://subscene.com/subtitles/12-years-a-slave/indonesian/865008
). On
the other hand, the quantitative data are in the form of percentages of the
languange expressions belonging to each realization category which the researcher
C.
Data Collection
To collect data, the research employed a primary data collection instrument,
i.e. the researcher herself (Meriem and Tisdell, 2015) and an additional
instrument, in the form of data sheets. In these data sheets, the qualitative data in
the form of language expressions in the English movie text taken from the movie
CD and its Bahasa Indonesia movie text retrieved from the Internet were rewriten
in a table in the data sheets. In addition, the data sheets also contained realization
and meaning classifications of the qualitative data. The realization category was
divided into two, namely
realized
and
unrealized
and then the realized category
was further classified into two, i.e.
fully realized
and
partly realized
. As for the
meaning category, it was divided into four categories, namely
fully equivalent,
partly equivalent, different meaning
and
no meaning
. After all the qualitative data
were distributed to their respective category, the final result of each category was
[image:47.612.68.575.497.634.2]indicated in percentages (the quantitative data). The data sheet is presented below.
Table 1:
The Data Sheet
No
English
Movie
Text
Bahasa
Indonesia
Movie
Text
Realizations
Sentence Realization Variations
Meaning Realization Variations
Realized Sentence
Un-Realized
Sentence
Fully
Realized
Sentence
Partly
Realized
Sentence
Fully
Equivalent
Meaning
Partly
Equivalent
Meaning
Different
Meaning
No
Meaning
33
D.
Data Analysis
After the researcher had done collecting the data, the next step was to
analyze the obtained data by filling the data into the data sheet. The following are
the stages to carry out the data analysis:
1.
To begin the data analysis, the researcher firstly watched the movie to gain the
general understanding of the movie plot.
2.
The next step was to compare the English subtitle and its Bahasa Indonesia
subtitle to determine to which category each expression belongs based on the
relevant theories by putting a thick (
√
) in the right category in the data sheet.
To analyze each expression of the subtitle written in the target text in
comparison with the subtitle written in the source text, the researcher used two
categories, namely realization and meaning. With regard to realization, the
researcher firstly looked at each expression in the target text whether it
belonged to the
“realized”
category or the
“unrealized”
category. If it
belonged to the “realized” category, the researcher further decided whether the
datum belonged to the
“fully realized”
category or the
“partly realized”
category. As for meaning, the researcher looked at an expression in the target
text whether it belonged to the categories of
fully equivalent, partly equivalent,
different meaning
or
no meaning
.
3.
The final result of each category was indicated in percentages (%). After
E.
Trustworthiness of the Data and Data Analysis
To ensure trustworthiness of the research findings, the researcher employ
four criteria proposed by Lincoln and Guba (1985) in O’Donoghue (2015),
namely
credibility, transferability, dependability,
and
conformability
. However,
this research only used three of them, which were
credibility, dependability,
and
conformability
. This is consistent with Lincoln and Guba (1985) in O’Donoghue
(2015) who argue that transferability is not relevant for qualitative research. These
criteria have something to do with determining the extent to which we can have
confidence in the research findings and the extent to which we believe what the
researcher has reported (O’Donoghue, 2015). They are explained as follows.
Credibility refers to the truthfulness of the data. The credibility of this
research was enhanced by the extended period of data gathering and peer
debriefing with proofreaders were utilized throughout the planning and
data-gathering phases of the research. In achieving the degree of credibility, deep and
detail observation of the data were performed. The data were read and reread
comprehensively, they then were classified based on their respective features.
Credibility is also obtained by conducting triangulation. In this research, the
source triangulation and the theory triangulation were applied. The sources are the
English subtitle of the “12 Years A Slave” and its Bahasa Indonesia subtitle, while
the theories which are applied to conform the data were the theories from experts
35
Next, dependability refers to the stability and trackability of data and the
development of theory in qualitative studies.. In order to reach the degree of
dependability, the processes of data collection and data analysis in this study were
examined. The data were inspected carefully to ensure that they were in
accordance with the research questions.
The last criterion to ensure data trustworthiness is conformability. Lincoln
and Guba (1985) in O’Donoghue (2015: p. 100) define conformability as “the
extent to which the data and interpretations of the study are grounded in events
rather than the inquirer’s personal constructions”. In this research, the researcher
provide elucidation of the research stages from the beginning until it finally
obtained the research findings. For the details of the research stages, please refer
to Data Analysis on page 37 was the major strategy which was used to ensure that
A.
Description of the Findings
1.
The Meaning and Sentence Realization Variations of the English –
Bahasa Indonesia of Steve McQueen’s
‘12 Years A Slave’
Movie Texts
in Realization Terms
Bloomfield divides sentences into two: full sentences (usually have a
complete Subject - Predicate construction, begin with capital a letter and end with
a full-stop, exclamation or question mark), and minor sentences which can be
called elliptical sentences because some part of their structure has been omitted.
Related to Halliday’s theory, fully realized sentences are also divided into two
parts: realized (if there is a realization of the sentence in the TT) and unrealized
(if there is no realization). The analysis of the ‘
12 Years A Slave’
movie texts was
conducted by the researcher, which focused on the realization of expressed
sentences in the movie texts. Results of the analysis show that there are 907 fully
[image:51.612.135.494.599.692.2]realized sentences in the movie subtitles.
Table 2.
The Meaning and Sentence Realization Variations of the English –
Bahasa Indonesia of Steve McQueen’s
‘12 Years A Slave’
Movie
Texts in Realization Terms
No
Sentence Realization
Variations
Total %
1. Realized
Sentences
894
98.9%
2. Unrealized
Sentences
10
1.1%
37
Based on the table above, it can be seen that there is a total of 904 sentences.
The researcher also found that there are 894 sentences (98.9%) realized to the
Indonesian subtitles (TT), while 10 fully realized sentences (1.1%) are not
realized (unrealized).
2.
The Meaning and Sentence Realization Variations of the English –
Bahasa Indonesia of Steve McQueen’s
‘12 Years A Slave’
Movie Texts
in Terms of Fully or Partly/Incomplete Sentences
Partly or incomplete sentences are sentences whose part of their structure
has been omitted. They cannot be analyzed in the same way as the way regular or
complete sentences are analyzed. The analysis of the ‘
12 Years A Slave’
movie
texts was conducted by the researcher, which focused on the meaning and
sentence realization variations in the movie texts in terms of fully or
[image:52.612.129.493.550.633.2]partly/incomplete sentences.
Table 3.
The Meaning and Sentence Realization Variations of the English –
Bahasa Indonesia of Steve McQueen’s
‘12 Years A Slave’
Movie
Texts in Terms of Fully or Partly/Incomplete Sentences
No
Sentence Realization Variations
Total
%
1.
Fully Realized Sentences
778
87%
2.
Partly Realized Sentences
116
13%
Total 897
100%
From the data above, the researcher finds that from 897 realized sentences
116 sentences (13%) realized in a partly expressed form. The data prove that the
translator does not make any omission of the words, phrases or clauses in the ‘
12
Years A Slave’
movie subtitles. It is shown by the higher percentage of the fully
realized sentences above.
3.
The Classification of the Sentence Realization and Variations in the
Bahasa Indonesia of Steve McQueen’s
‘12 Years A Slave’
Movie Texts in
Terms of Meaning
In general, meaning has priority over form in translation. According to
Halliday (1985: 53), there are three kinds of meaning, namely: ideational,
interpersonal, and textual meaning. In this research, the researcher focused on the
ideational meaning that refers to a certain thing, event, attribution, or relation
which a person can perceive or imagine. The data of this research are in the form
of simultaneous translation, so the researcher used the terms of fully equivalent
(the meaning of a given expression in the ST is regarded as being fully equivalent
to the meaning of a given expression in the TT), partly equivalent (sentences in
the ST which meanings are not completely the same as the meaning in their
realization in the TT), different meaning (the meaning of the sentences in the ST
is not completely the same as the meaning in their realization in the TT), and no
39
Table 4.
The Classification of the Sentence Realization and Variations in the
Bahasa Indonesia of Steve McQueen’s
‘12 Years A Slave’
Movie
Texts in Terms of Meaning
No
Meaning Realization Variations
Total
%
1.
Fully Equivalent Sentences
735
81.3%
2.
Partly Equivalent Sentences
103
11.4%
3.
Different Meaning Sentences
56
6.2%
4.
No Meaning (Unrealized
Sentences)
10 1.1%
Total 904
100%
Based on the table, the data with the highest percentage in the analysis fall
into the category of
fully equivalent meaning realization
. From 904 sentences, 735
sentences (81.3%) are fully equivalent in meaning, 103 sentences (11.4%) are
partly equivalent in meaning, 56 sentences (6.2%) have different meanings and 10
sentences (1.1%) have no meaning or are unrealized. With regard to the category
of
fully equivalent meaning realization
as the data with the highest percentage in
the analysis, it is shown that the researcher did not change any data during the
process of translation into new meaning. In bilingual translation, the researcher
found lots of difficulties, especially from English into
Bahasa Indonesia
, such as
differences in the grammatical system.
B.
Discussion of the Findings
Based on the finding section, there are three strategies that are used by the
translator to translate meaning and sentence realization in ‘
12 Years A Slave'
1.
the meaning realization of fully expressed sentences;
2.
the realization of the fully realized sentences in terms of full or
partly/incomplete sentences; and
3.
the classification of the sentence realizations in meaning terms.
Further discussions about findings are presented as follows.
1.
Discussion about the Meaning and Sentence Realization Variations of
the English – Bahasa Indonesia of Steve McQueen’s
‘12 Years A Slave’
Movie Texts in Realization Terms
From Table 2 above, the result shows that fully realized sentences are the
sentences with the highest number (98.9%). It means that the ST sentences are
realized into the TT.
a.
Realized Sentences
Based on the finding above (Table 2), the fully realized sentences in the ST
are realized to the TT. From 904 sentences, there are 894sentences (98,9%)
realized into TT. Some of the realized sentences are discussed as follows:
1)
Fully Realized Sentences
a)
Datum 11
ST :
Give me a kiss.
TT :
Beri ayah ciuman.
41
translator translated “me” into “ayah” because the picture on the movie showed
the dialogue between a father and his son. The translator tried to minimize the
written meaning by leading the movie text readers to use their feelings on this
movie.
b)
Datum 56
ST :
And your talents are undeniable.
TT :
Dan bakatmu tak terbantahkan.
The translator did not omit anything from the above sentence, the result of
the data realization is fully realized sentence (it is used when the sentences are
realized in the form of fully realized or complete sentences). The meaning
realization result is fully equivalent (the meaning occurs when the meaning in the
ST is completely transferred in the TT).
2)
Partly Realized Sentences
a)
Datum 13
ST :
I
love you
too, Dad.
TT :
Aku juga, ayah
.
b)
Datum 69
ST :
Well,
my
boy, how yah feel
now
?
TT :
Baiklah, nak. Bagaimana perasaanmu?
From the above example, the translator did not translate all the sentence
elements. Rather, the translator only translated some of the sentence elements. In
the first example which is the Datum 39, both sentences have the Subject element.
example, some words are also not translated in the TT (the words “
my”
and
“
now”
). In this case, those sen
