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ABSTRACT
Hampir setiap negara di dunia ini memiliki bahasanya masing-masing, sehingga dunia ini terdiri dari beragam bahasa yang sangat banyak jumlahnya. Penerjemahan sangatlah dibutuhkan untuk membantu tercapainya komunikasi antar orang-orang yang menggunakan bahasa yang berbeda.
Salah satu jenis teks yang sulit diterjemahkan adalah language play (permainan bahasa). Permainan bahasa digunakan oleh para penulis yang kreatif untuk dapat mengangkat hasil karyanya menjadi suatu karya yang tidak membosankan dan memiliki suatu nilai tambah di mata para pembacanya. Dalam menerjemahan teks yang mengandung permainan bahasa, penerjemah akan menemukan kesulitan karena sebuah teks yang mengandung permainan bahasa memiliki pesan yang terungkap melalui dua hal yaitu arti kata dan bentuk kata.
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TABLE OF CONTENTS
PREFACE……….. i
TABLE OF CONTENTS………..……… iii
ABSTRACT……… iv
CHAPTER ONE: INTRODUCTION Background of the Study………. 1
Statement of the Problem………. 4
Purpose of the Study……… 5
Methods of Research………... 5
Organisation of the Thesis………. 5
CHAPTER TWO: THEORIES OF LANGUAGE PLAY AND TRANSLATION……….. 7
CHAPTER THREE: ANALYSIS OF THE TRANSLATION OF LANGUAGE PLAY IN CHARLIE AND THE GREAT GLASS ELEVATOR AND THE WITCHES………….………... 14
CHAPTER FOUR: CONCLUSION………... 48
BIBLIOGRAPHY………..… 53
APPENDICES: Summary of Charlie and the Great Glass Elevator………...….. 56
Summary of The Witches……….... 58
Table 1. Translation of Language Play in Charlie and the Great Glass Elevator …... 59
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Charlie Bucket, with his parents and his four grandparents, has been living inside the factory since Mr. Wonka gives his factory to Charlie. One day, Mr. Wonka invites all of them to travel by the Great Glass Elevator. On the way back to the factory, Grandma Josephine grabs and shakes Mr. Wonka so hard that he cannot operate the Elevator; therefore, the Elevator goes too far off into the earth orbit.
At the outer space is the new launched Space Hotel. Mr. Wonka links the Elevator so that he and the others in the Elevator can go inside the Space Hotel. Meanwhile, on earth, the President of the USA and 500 million people all over the world are watching these strange creatures, who are actually Mr. Wonka, Charlie, his parents and his four grandparents. The President of the USA thinks that those creatures, who have trespassed on the USA property, are dangerous. To Mr. Wonka and the others who have been out from the Great Glass Elevator, he gives an order through the loudspeaker inside the Space Hotel to say who they actually are. After hearing that, suddenly Mr. Wonka recites a poem with nonsense words that makes the President assume they are men from Mars.
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happens before all of them can finally go back safely to the factory.
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grandma who likes to tell stories about witches. On a summer holiday, the boy and his grandma go to a nice hotel in the South Coast of England where all the adventures happen. In the hotel, there is a "Royal Society for the Prevention of Cruelty to Children" meeting, which actually is the annual meeting of British witches. In those meetings, the Grand High Witch announces her master plan to destroy all children using chocolate which has been mixed with Formula 86 Delayed Action Mouse-Maker, a kind of magic potion that will turn children who eat it into mice at 9 a.m. on the day after they eat the chocolate.
4 3 2 1 No
You’ll never get anywhere if you go about what-iffing
like that. ( p.18)
…, there was a tremendous
hustle and bustle to send up
the first guest. ( p.11)
“He’s cracked as a crab!” said Grandma Georgina. (p.4)
“We must hurry!” said Mr Wonka. We have so much e and so little to do! tim (p.3)
Sentence
Compounding Affixation (Suffix -ing) Minimal Pair Simile Alliteration ContradictoryWo ds r
Language
Play used
English
Kalian tak bakal sampai kemana pun kalau terus ber
bagaimana-kalau seperti itu.
( p.31)
…, mereka sibuk sekali irim para tamu pertama. meng
(p.21)
“Ia sinting seperti kepiting!” bur Grandma Georgina. sem
(p.12)
“Kita harus buru-buru!” ujar Mr. Wonka. “Begitu banyak waktu
edikit sekali pekerjaan! dan s (p.12)
Sentence
Compounding Affixation (Prefix ber-) -Simile Rhyming Pair Contradictory WordsLanguage
Play used
Indonesian
Table 1. Translation of Language Play in Charlie and the Great Glass Elevator✕
✕
✕
✕
✕
✕
Conten / tSense
✕
✕
✓
✕
✕
✕
Existence of Language Play~
✓
✕
✕
✓
✕
Same type of Language Play
Form/Style
LOSS
8 7 6 5
“Great garbage!” cried the President,…
( p.29)
“You’re hot sir! You’re ling hot! Go on!” boi
p.28) (
“Knock-knock,” said the President
( p.28)
He had a false moustache, a false beard, false eyelashes, th, and a falsetto voice. false tee ( p.27)
Sentence
Contradictory words Misuse of words Onomatopoeia Misuse of Words Lexical RepetitionLanguage
Play used
“Rongsokan busuk!” President berteriak…
( p.43)
“Sudah lebih dekat lagi, Sir! t dekat sekali! Teruskan!” Sanga
(p.42)
“Tok-tok ,” kata President. ( p.43)
Pria itu memakai kumis palsu, janggut palsu, bulu mata palsu, gigi
, dan bersuara sumbang. palsu ( p.41)
Sentence
-Onomatopoeia Misuse of Words Lexical RepetitionLanguage
Play used
✕
✕
~
✕
✕
Conten / tSense
✓
✓
~
✕
✕
Existence of Language Play✓
✓
~
✕
✕
Same type of Language Play
12 11 10 9 No “Those ( p.54)
oozy-woozy grobes …” …, growing taller and taller,
thinner and thinner, curving and twisting, stretching and
stretching, curling and bending,…. ( p.52)
“You look as much like a man Mars as a bedbug! …” from
(p.45)
“It makes such a lovely
Woomph-woomph!” noise. ( p.43)
Sentence
Reduplication Rhyming Pairs SimileOnoma opoeia t
Contradictory words
Language
Play used
English
“Para g ( p.74)robe lengket berlendir …” … menjadi panjang dan pelan-pelan memanjang ke atas, lebih tinggi dan makin tinggi, lebih kurus
dan makin kurus, meliuk dan melingkar, mengulur dan terus
mengulur, melingkar dan membungkuk,… ( p.71)
“Kemiripanmu pada makhluk Mars sama seperti kemiripan kutu busuk !
…”
( p.63)
“Suaranya bagus sekali.
ummm-bummm!” B ( p.59)
Sentence
-SimileOnoma opoeia t
Contradictory words
Language
Play used
Indonesian
Table 1. Translation of Language Play in Charlie and the Great Glass Elevator✕
✕
✕
✕
✕
Conten / tSense
✓
✓
✕
✓
✕
Existence of Language Play✓
✓
✕
✓
✕
Same type of Language Play
Form/Style
LOSS
16 15 14 13
“He’s cracked as a crawfish!” Grandma Georgina.
cried
( p.84)
They’ve been frizzled to a
fritter!
( p.83)
I knew him as a tiny tot I nursed him on my knee I used to sit him on the pot
wait for him to wee
And
(p.63)
The Great Glass Elevator is shockproof, waterproof, bombproof, bulletproof, and
knidproof ( p.57)
Sentence
Alliteration Simile Alliteration Rhyming CompoundingLanguage
Play used
“Ia tak punya otak seperti
udang!” teriak Grandma Georgina.
( p.109)
Mereka sudah digoreng
garing!...
( p.107)
Aku mengenalnya sejak ia kecil sekali Aku memberinya susu dengan dot Aku mengurusnya sejak ia masih bayi
Dan sering mendudukannya di atas spot
pi
( p.84)
Elevator Kaca Luar Biasa ini kedap guncangan, kedap air, kedap bom,
p peluru dan kedap Knid keda ( p.78)
Sentence
-Simile Alliteration Rhyming-
Language
Play used
~
~
~
✕
~
Conten / t Sense
✕
✓
✕
✕
✓
Existence of Language Play✕
✓
✕
✕
✓
Same type of Language Play
20 19 18 17 No
THE HORN OF A COW (IT MUST BE A LOUD
HORN) ( p.103)
THE HIP ( AND THE PO AND THE POT) OF A
PPOPOTAMUS HI
(p.103)
THE HIDE (AND THE
SEEK) OF A SPOTTED
ANGDOODLE WH
( p.103)
THE TRUNK (AND THE SUITCASE) OF AN
LEPHANT E ( p.103)
Phrase
Homonym (horn) Clipping Homonym HomonymLanguage
Play used
English
TANDUK SAPI ( TAPI HARUS
KERAS)
( p.133)
HIP (DAN PO DAN POT) KUDA NIL
HIPPOPOTAMUS) (
(p.133)
KULIT (HIDE) (DAN SEEK) WHANGDOODLE
BERBINTIK ( p.133)
BELA ( p.132)
LAI 1 (DAN KOPER)
Phrase
Homonym (keras) Clipping-Language
Play used
Indonesian
Table 1. Translation of Language Play in Charlie and the Great Glass Elevator~
✓
✕
✕
Conten / tSense
✕
✕
✓
✓
Existence of Language Play~
✕
✓
✓
Same type of Language Play
Form/Style
LOSS
24 23 22 21
She’s more plussy than you or than me!
( p.135)
THE CHEST (AND THE DRAWERS) OF A WILD
GROUT
( p.104)
THE THREE FEET OF A SNOZZWANGER (IF YOU
CAN’T GET THREE
FEET, ONE YARD WILL
DO) (p.104)
A MO (p.103)
LE FROM A MOLE
Phrase / Sentence
Suffixation Homonym Homonym Homonym
Language
Play used
Ia lebih plus dari kau atau aku! ( p.170)
DADA (CHEST) (DAN LACI)8 GROUT LIAR
( p.133)
TIGA KAKI SEEKOR SNOZZWANGER (KALAU
KAU TIDAK BISA MENDAPATKAN TIGA
KAKI, SATU YARD JUGA
BOLEH) ( p.133)
TA ( p.133)
HI LALAT MOLE
Phrase / Sentence
-
-Homonym-Language
Play used
✕
✕
✕
✕
Conten / tSense
✓
✓
✕
✓
Existence of Language Play✓
✓
✕
✓
Same type of Language Play
3 2 1 No
…, a REALWITCH is easily the
most dangerous of all living creatures on the earth. What makes he doubly dangerous is the fact that she doesn’t
look dangerous.
( p.10)
… her mind will always be plotting and scheming and
churning and burning and
izzing and phizzing wh
( p.7)
REAL WITCHES dress in ordinary clothes and look much like ordinary women. They live
in ordinary houses and they work in ORDINARY JOBS (p.7)
Sentence
Lexical Repetition Rhyming Words Minimal pairs Nonsense Lexical RepetitionLanguage
Play used
English
…, PENYIHIR SUNGGUHAN adalah
mahkluk hidup yang paling berbahaya di muka bumi ini.
Yang membuatnya berlipat ganda berbahaya adalah fakta
bahwa dia tidak kelihatan berbahaya.
( p.12)
…otaknya selalu berputar kencang untuk memikirkan rencana-rencana menyeramkan
dan mengerikan ( p.10)
PARA PENYIHIR SUNGGUHAN mengenakan pakaian biasa dan
tampak seperti wanita biasa. Mereka tinggal di rumah biasa dan
akukan pekerjaan biasa. mel ( p.10)
Sentence
Lexical Repetition-
-
-
Lexical RepetitionLanguage
Play used
Indonesian
Table 2. Translation of Language Play in The Witches✕
~
✕
~
~
Conten / t Sense
✕
✓
✓
✓
✕
Existence of Language Play✕
✓
✓
✓
✕
Same type of Language Play
Form/Style
LOSS
6 5 4
“Useless lazy vitches! Feeble frrribbling vitches! You are a
heap of idle good-for-othing vurms!” n
( p.72)
….” The cleaner you happen to be, the more smelly you are to the witch”. “That can be true,” I said. “An absolutely clean child
gives off the most ghastly stench to a witch,” my grandmother said. ”The dirtier
you are, the less you smell.” “But that doesn’t make sense,
Grandmamma.” ( p.26)
“Bald as a boiled egg,” my grandmother said ( p.25)
Sentence
Spelling Contradictory words Simile AlliterationLanguage
Play used
“Penyihir-penyihir yang menyebalkan!” dia berteriak. “Penyihir-penyihir yang malasss!Penyihir-penyihir yang payah ! Kalian cacing-cacing yang tidak
berguna!
( p.80)
…” Makin bersih kau, makin gampang penyihir membauimu.”
“Tidak mungkin,” kataku tak percaya. “Menurut penyihir, anak yang bersih berbau sangat
menusuk,” nenekku memberitahu ”Makin kotor
mu makin samar baumu.” badan
(p.31)
“Botak seperti telur rebus,” kata nenekku. ( p.29)
Sentence
Spelling Contradictory words Simile-
Language
Play used
✕
✕
✕
✕
Conten / tSense
✕
✕
✓
✕
Existence of Language Play✕
✕
✓
✕
Same type of Language Play
10 9 8 7 No
“You are brilliant, O Your Grandness! You are
fantabulous!”( p.78)
“Pooooooo!” cried the audience. “Pooooooo! ooooo! “Pooooooo! “Poo
(p.77)
“Frrrizzled like a frrritter,” e Grand High Witch. said Th
( p.76)
“A stupid vitch who answers back Must burn until her bones are
black!”
( p.74)
Sentence
Blending Mouth Play Simile Alliteration Spelling Rhymi g Pair nAllite ation r Spelling
Language
Play used
English
“Yang Mulia memang hebat! ng Mulia luar biasa!” Ya
( p.87)
“Tuuuuuuul!” hadirin berteriak menyetujui. “Tuuuuuuul!
uuuuuul! Tuuuuuuul!” Tu
(p.86)
“Garing ssseperti ikan
kering,” kata Ratu Penyihir.
( p.85)
“Penyihir-penyihir bodoh yang
membangkang
Harusss dipanggang sampai
ulang-tulangnya jadi arang!” t
( p.82)
Sentence
-Clipping Simile Rhymi g Pair
Spel ing n
l Rhyming
W ds or
-
Spelling
Language
Play used
Indonesian
Table 2. Translation of Language Play in The Witches✕
~
✕
~
~
✕
✕
✕
Conten / tSense
✓
✕
✕
✕
✕
✕
✕
✓
Existence of Language Play✓
✕
✓
✓
✕
✕
✓
✓
Same type of Language Play
Form/Style
LOSS
14 13 12 11
…the beak of blabbersnitch … ( p.95)
…the claw of rrrabcrrruncher… c
( p.95)
But these were not field mice or house mice or wood mice or harvest mice. They were white
mice! ( p.89)
…
Now mouse-trrraps come and every trrrap
Goes snippy-snip and
snappy-snap ( p.86)
Sentence / Phrase
Compounding Compounding
Spelling Lexical Repetition Rhymi g Pair n
Reduplication
Language
Play used
…paruh betet… ( p.105)
…cakar burung camar… ( p.105)
Namun mereka bukan tikus ladang atau tikus rumah atau tikus hutan atau
awah. Mereka tikus putih! tikus s
( p.99)
…
Jebakan-jebakan tikusss pun dikeluarkan
mua dipasangi umpan. Ssse
( p.95)
Sentence / Phrase
-Minimal Pair
-Lexical Repetition Rhymi g Pair n
-Language
Play used
✓
✕
~
✓
✓
~
Conten / t Sense
✓
✕
✕
✓
✓
✕
Existence of Language Play✓
✕
✓
✓
✓
✕
Same type of Language Play
18 17 16 15 No
His black moustache was jumping up and down like
y as he spoke. craz
( p.180)
…I began tap-tap-tapping on the
Tap tap tap tap, I went.
door.
( p.145)
…will promise to squish and
squallop and squiggle one
usand children!” tho
( p.108)
…the tongue of catsprrringer… ( p.95)
Phrase / Sentence
Personification
Reduplication
Onomatopoeia
Non Sense Alliteration Compounding
Spelling
Language
Play used
English
Kumis hitamnya naik-turun heboh saat dia berbicara. dengan
( p.196)
…aku mulai mengetuk-ngetuk pintu.
Tok tok tok tok, aku mengetuk. ( p.158)
… masing-masing akan menyikat, menyapu bersih dan
bersihkan seribu anak!” mem
(p.119) …l ( p.105)
idah musssang…
Phrase / Sentence
Personification Reduplication Onomatopoeia
-SpellingLanguage
Play used
Indonesian
Table 2. Translation of Language Play in The Witches✕
✕
✕
✓
✓
✓
✓
Conten / tSense
✕
✕
✕
✓
✓
✕
✓
Existence of Language Play✕
✕
✕
✓
✓
✕
✓
Same type of Language Play
Form/Style
LOSS
Maranatha Christian University 1
CHAPTER I
INTRODUCTION
Background of the Study
Language, one of the most remarkable things in this world, is a way for people to communicate with one another. Whether we realise it or not, people need language to express their feelings and to understand one another. People communicate by speaking and listening to one another; what is more, communication also happens in writing and reading. In any form of communication, language is obviously needed; therefore, language plays the most important role in communication.
Languages in this world have their own grammar or lexeme, which are mostly caused by cultural differences. Some words that exist in one language may not exist in another language. For example, the Indonesian words kebaya and
lotek do not exist in English. It is caused by the fact that in the English culture, we
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oral forms. Therefore, translation is essential to help people all over the world to communicate. A translator translates either a written or an oral form from one language into another language.
According to Newmark, ‘Translation is a craft consisting in the attempt to replace a written message and/or statement in one language by the same message and/or statement in another language.’ (Newmark, 1982: 7) Translators must replace the language in the original source text (ST) with another language which is called the target text (TT). It is a complex job with a lot of problems in the process. Translators need to transfer the writer’s message which is put both in the sense/content and the form/style. The sense/content focuses on the meaning or the message in words or sentences, while the form/style focuses on the style of writing in order to present the idea of the writer.
In general, all texts must be translatable. However, according to Roman Jakobson,
‘Only poetry by definition is untranslatable’ since in verse the form of words contributes to the construction of the meaning of the text. Such statements express classical dichotomy in translation between sense/content on the one hand and form/style on the other. This clearly is most likely to be in poetry, song, advertising, punning and so on, where sound and rhyme and double meaning are unlikely to be recreated in the target language.
(Hatim and Murray, 2004: 10).
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as well as on its form.
According to Crystal,
We play with language when we manipulate it as a source of enjoyment, either for ourselves or for the benefit of others. I mean ‘manipulate’ literally: we take some linguistic feature - such as a word, a phrase, a sentence, a part of word, a group of sound, a series of letters- and make it do things it does not normally do. We are in effect, bending and breaking the rules of the language. And if someone were to ask why we do it, the answer is simply: for fun. (Crystal, 1987:1)
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language play in Roald Dahl’s Charlie and the Great Glass Elevator and The Witches is translated from English into Indonesian. I find this topic very challenging since translating language play is not a simple matter. The translators should be capable of delivering the author’s messages, which are put both in the content/sense and in the form/style in ST, by conveying it in TT.
Roald Dahl has become my favourite writer. I love his stories ever since I watched a film that is based on his novel, Matilda. After that, I have been interested in finding and in reading more of his books. What amazes me most is his brilliant imagination as well as his limitless creativity in playing with the language. There are a lot of implicit meanings in the language play in his stories; furthermore, I am sure that although most of his stories are intended for children, people of all ages love his stories.
Statement of the Problem
Based on the topic that I choose, I would like to discuss three problems: 1. What are the sense/content and the form/style of the language play used in the
English version of Roald Dahl’s Charlie and the Great Glass Elevator and The Witches?
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translated?
Purpose of the study
In this thesis I would like to show:
1. The sense/content and the form/style of the language play used in the English version of Roald Dahl’s Charlie and the Great Glass Elevator and The Witches.
2. How the sense/content and the form/style of the language play are conveyed in the Indonesian translation.
3. The effect when there is loss of form/style after the language play is translated.
Method of Research
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Maranatha Christian University
CHAPTER IV
CONCLUSION
Imperfect 71%
Perfect 29%
Based on the percentage above, I think the translators are not good enough at translating language play in Roald Dahl’s Charlie and the Great Glass Elevator and The Witches because more than half of the number of the language play translated are imperfect translation. I am sure it happens because, as I have mentioned in Chapter I, translating language play is difficult. Language play has a message in both the meaning of the word (content/sense) and the form of the word (form/style). Besides, the difficulty also occurs because of the different systems of the English and the Indonesian languages, such as the differences in the grammar and lexicon, which also affect the phonology and graphology. It is very difficult for a translator to keep both the content/sense and the form/style at the same time. When a translator decides to keep the content/sense only, he or she will most probably ruin the form/style of the language play. On the other hand, when he or she decides to keep only the form/style, the content/sense is most likely lost.
In my analysis, I find eighteen kinds of language play. They are onomatopoeia, alliteration, minimal pair, rhyming, mouth play, compounding, clipping, blending, affixation, reduplication, simile, personification, homonym,
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Maranatha Christian University Among these types of language play, onomatopoeia and personification can always be translated. In my opinion, onomatopoeia can easily be translated because the form/style of this language play is taken from the universal sound of things which also exists in Indonesian; while personification is relatively easy to translate because by only translating each word used in the personification, we can automatically have the same type of language play in the Indonesian translation. Therefore, there is no difficulty for the translator in translating it.
However, there are also some types of language play which can sometimes be translated and sometimes cannot be translated. They are alliterations, minimal pairs, rhyming, mouth play, compounding, clipping, blending, affixation, reduplication, similes, homonyms, contradictory words, nonsense, lexical repetition, misuse of words, and spelling. In my opinion, whether or not these kinds of language play are translated perfectly depends heavily on the translator’s ability, whether he or she can keep the existence of the content/sense or the form/style or both the content/sense and the form/style. I further notice that one of the reasons for creating the perfect translation of these kinds of language play is that the form/style of this language play is presented in the content/sense, for example, in data 12 of The Witches, which contains lexical repetition But there
were not field mice or house mice or wood mice or harvest mice. They were white
mice! Another possible reason is because one type of language play in English can also be found in Indonesian, such as simile, as it only involves such words as like,
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Maranatha Christian University Indonesian, which use the same type of language play, for example the equivalence of alliteration. Another possible reason is because the language play involves the creation of a nonsense word and the content/sense of that word cannot be translated into Indonesian. The next possible reason for the imperfect translation of language play is due to the different system of writing and sound that are involved in the language play. For example, homonyms can hardly be translated into Indonesian.
Form/Style 19.5%
Content/Sense 49.0%
Changes type of Language Play 19.5%
None 12.0%
From the above percentages, I find that most of the time the translator keeps the existence of the content/sense of the language play in the imperfect translations. In my opinion it is easier for a translator to translate the content/sense than the form/style. In addition, I also admire the translator’s creative way of keeping the existence of the language play by changing the type of language play. For example, alliteration which is replaced with rhyming, or mouth play which is replaced with clipping.
As the final remark, having carried out the study of the translation of language play, I do believe that translating language play is not a simple matter. The most ideal principle of translation, which should convey both the content/sense and the form/style, very often cannot be fulfilled. Furthermore, if the translator cannot translate the language play perfectly, I personally think that it is better for the translator to put the original version of the language play and give the translation of the content/sense separately so that the Indonesian readers can still enjoy and understand the language play. Otherwise, the author’s creativity in creating the language play will not be noticed and appreciated.
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BIBLIOGRAPHY
References:
Carroll, Lewis. Alice’s Adventures in Wonderland. New York: The New American Library, Inc, 1960.
Crane, L.Ben; et. al. An Introduction to Linguistic. Canada: Little, Brown and Company, Ltd, 1981.
Crystal, David. Language Play. London: The Penguin Group, 1998.
Fromkin, Victoria, and R. Rodman. An Introduction to Language. Orlando: Harcourt Brace College Publishers, 1974.
Giegerich, Heinz J. English Phonology. An Introduction. Cambridge: Cambridge University Press, 1992.
Hatim, Basil, and Jeremy Murray. Translation an Advanced Resources Book. London & New York : Routledge, 2004.
Henni. Analysis of Word Play in Lewis Carroll’s Alice’s Adventure in Wonderland and Through the Looking-Glass. Bandung: English Department, Faculty of Letters, Maranatha Christian University, 1999. Hurtfort, J.R & Heasley, B. Semantics. Cambridge: Cambridge University Press,
1984.
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Boston: Houghton Mifflin Company, 1981.
Murphy, M.J. Understanding Unseens: An Introduction to English Poetry and the English Novel. London: George Allen & Unwin, Ltd, 1972.
Nash, Walter. The Language of Humour. New York & London: Longman, 1994. Newmark, Peter. Approaches to Translation. London: Pergamon Press, 1982. Savory, Theodore. The Art of Translation. London : Jonathan Cape Ltd, 1968. Spencer, Andrew. Morphological Theory: An Introduction to Word Structure in
Generative Grammar. Oxford: Blackwell Publisher Ltd, 1991. Widdowson, H.G. Linguistics. Oxford: Oxford University Press, 1996.
Yule, George. The Study of Language. Cambridge: Cambridge University Press, 1996.
Electronic Publications:
http://www.ultralingua.net/?service=ee&text=rhyming (as accessed on 22 May, 2007)
Primary texts:
Dahl, Roald. Charlie and the Great Glass Elevator. New York: The Penguin Group, 1972.
Dahl, Roald. Charlie dan Elevator Kaca Luar Biasa. Trans. Ade Dina Sigarlaki Jakarta : PT. Gramedia Pustaka Utama, 2003.
