OFFICIAL AND PIRATED VERSIONS OF INDONESIAN … · adalah parafrase dan 13.33% adalah imitasion. Dalam versi bajakan oleh Lebah Ganteng, 47% strategi subtitel adalah parafrase, 40%

OFFICIAL AND PIRATED VERSIONS OF INDONESIAN

TRANSLATION SUBTITLE OF FIGURATIVE LANGUAGE IN

MALEFICENT: A STUDY OF EQUIVALENCE AND

SUBTITLING STRATEGIES APPLIED

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements

for the Degree of Sarjana Sastra

In English Letters

By

AGUSTINA LIA SUSANTI

Student Number: 134214027

ENGLISH LETTERS STUDY PROGRAM

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

SANATA DHARMA UNIVERSITY

YOGYAKARTA

2017

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

ii

OFFICIAL AND PIRATED VERSIONS OF INDONESIAN

TRANSLATION SUBTITLE OF FIGURATIVE LANGUAGE IN

MALEFICENT: A STUDY OF EQUIVALENCE AND

SUBTITLING STRATEGIES APPLIED

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements

for the Degree of Sarjana Sastra

In English Letters

By

AGUSTINA LIA SUSANTI

Student Number: 134214027

ENGLISH LETTERS STUDY PROGRAM

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

SANATA DHARMA UNIVERSITY

YOGYAKARTA

2017






vii


viii


ix

ACKNOWLEDGEMENTS

First of all, I would like to praise Jesus Christ for His blessing on me

during the process of this undergraduate thesis writing. I would like to thank my

beloved parents, my older brother, and my twin brother for every prayer, love,

and support so I can finish my undergraduate thesis.

I am also very grateful to my advisor Harris Hermansyah Setiajid M.

Hum. for helping and guiding me in every single step during this process with his

laughter, patience, advice, and suggestion. I would like to thank Dr. Bernardine

Ria Lestari, my co-advisor for the correction and suggestion to finish my

undergraduate thesis.

A lot of thank goes to my boyfriend, Valentinus Yogi Prastio who always

supports me to finish my undergraduate thesis. I also would like to thank my

best friend Monic, Farel, Upik, Sari, Soraya, Agnes, Yustin, Icut, Molly, Reti,

Agnes, Lintang, Ester, Ronny, Andri for their support, and laughter. I would like

to thank all of my friends that I cannot mention one by one.

Agustina Lia Susanti


x

TABLE OF CONTENT

TITLE PAGE ........................................................................................... ii

APPROVAL PAGE ................................................................................. iii

ACCEPTANCE PAGE ........................................................................... iv

LEMBAR PERNYATAAN PERSETUJUAN

PUBLIKASI KARYA ILMIAH ............................................................. v

STATEMENT OF ORIGINALITY ....................................................... vi

MOTTO PAGE ........................................................................................ vii

DEDICATION PAGE .............................................................................. viii

ACKNOWLEDGEMENTS .................................................................... ix

TABLE OF CONTENTS ........................................................................ x

LIST OF TABLES AND CHARS............................................................. xiii

LIST OF ABBREVATIONS ................................................................... xiv

ABSTRACT .............................................................................................. xv

ABSTRAK ................................................................................................ xvi

CHAPTER I: INTRODUCTION

A. Background of the Study ........................................................ 1

B. Problem Formulation ............................................................... 3

C. Objective of the Study ............................................................. 4

D. Definition Terms ..................................................................... 4

CHAPTER II: REVIEW OF LITERATURE

A. Review of Related Studies ....................................................... 7

B. Review of Related Theories ..................................................... 9

1. Theories of Translation ................................................ 9

2. Theories of Equivalence .............................................. 10

3. Theory of Figurative Language .................................... 11

a. Metaphor and Simile .............................................. 11

b. Personification ........................................................ 12

c. Metonymy ................................................................ 13

d. Synecdoche ............................................................ 13

e. Symbol ................................................................... 14

f. Allegory .................................................................. 14

g. Paradox .................................................................. 15

h. Overstatement ........................................................ 15

i. Understatement ...................................................... 16

j. Irony ....................................................................... 16

k. Sarcasm ................................................................. 17

4. Theories of Subtitle ...................................................... 17

a. Intralingual Subtitling .............................................. 18

b. Interlingual Subtitling ............................................. 18


xi

5. Theory of Subtitling Strategy ....................................... 18

a. Expansion ............................................................... 18

b. Paraphrase .............................................................. 19

c. Transfer .................................................................. 20

d. Imitation ................................................................. 20

e. Transcription .......................................................... 20

f. Dislocation ............................................................. 21

g. Condensation .......................................................... 21

h. Decimation ............................................................. 22

i. Deletion .................................................................. 22

j. Resignation ............................................................. 22

C. Theoritical Framework ............................................................ 23

CHAPTER III: METHODOLOGY

A. Area of Research ....................................................................... 24

B. Object of the Study .................................................................... 24

C. Method of the Study .................................................................. 25

D. Research Procedure .................................................................... 25

1. Types of Data ...................................................................... 25

2. Data Collection ................................................................... 25

3. Population and Sample ........................................................ 27

4. Data Analysis ...................................................................... 27

CHAPTER IV: ANALYSIS RESULTS AND DISCUSSION

A. The Figurative Language in Maleficent ............................... 29

B. The Equivalence of the Figurative Language of the Subtitle

in the Official and Pirated Versions of Maleficent ............. 30

1. Metaphor.................................................................. 32

2. Simile ....................................................................... 37

3. Personification .......................................................... 39

4. Metonymy ................................................................ 40

5. Synecdoche .............................................................. 42

6. Overstatement ........................................................... 44

7. Sarcasm .................................................................... 45

C. Subtitling Strategy of the Figurative in the

Official and Pirated Versions of Maleficent ....................... 47

1. Paraphrase ................................................................ 50

2. Transfer .................................................................... 53

3. Imitation ................................................................... 58

CHAPTER V: CONCLUSION ............................................................ 60

BIBLIOGRAPHY ............................................................................... 62

APPENDICES .................................................................................... 64

APENDIX 1: Data of the Indonesian subtitle


xii

of Maleficent in the Official Version ....................... 64

APENDIX 2: Data of the Indonesian substitle of Maleficent

in the Pirated Version by Archangel Gabriel ........... 65

APENDIX 3: Data of the Indonesian subtitle of Maleficent

in the Pirated Version by Lebah Ganteng ............... 66

APENDIX 4: The Result of the Official Version’s Equivalence

and Subtitling Strategy ............................................. 67

APENDIX 5: The Result of the Pirated Version by Archangel

Gabriel’s Equivalence and Subtitling Strategy ........ 69

APENDIX 6: The Result of the Pirataed Version by Lebah

Ganteng’s Equivalence and Subtitling Strategy ...... 70

.


xiii

LIST OF TABLES AND CHARTS

Table 3.1 Example of the data coding ................................................ 26

Table 3.2 The Indonesian Subtitle of Maleficent ................................ 26

Table 3.3 Equivalence of Figurative Language

of Metaphor in Maleficent ................................................... 27

Table 3.4 Subtitling Strategy of Figurative Language in

Maleficent.............................................................................. 28

Chart 4.1 The Figurative Language in Maleficent ............................... 29

Chart 4.2 The Equivalence of the Indonesian Translation

of Maleficent ...................................................................... 30

Chart 4.3 The Equivalence in Each Version Translation

of Maleficent ........................................................................ 31

Chart 4.4 The Equivalence of the Metaphor in All Versions

of Subtitle ............................................................................ 32

Chart 4.5 The Equivalence of Simile in the Official

and Pirated Versions of Maleficent ...................................... 38

Chart 4.6 The Equivalence of Personification in the Official

and Pirated Versions of Maleficent ..................................... 39

Chart 4.7 The Equivalence of Metonymy in the Official


Chart 4.8 The Equivalence of Synecdoche in the Official


Chart 4.9 The Equivalence of Overstatementin the Official and

Pirated Versions of Maleficent.............................................. 44

Chart 4.10 The Equivalence of Sarcasm in the Official


Chart 4.11 Subtitling Strategies in Maleficent........................................ 48

Chart 4.12 Subtitling Strategies in the Official Version

and Pirated Versions Subtitle of Maleficent ........................ 49

Chart 4.13 The Literal Language in the Official and Pirated

Version of Maleficent ......................................................... 50

Chart 4.14 Transfer strategy in the Official and Pirated

Versions of Maleficent ........................................................ 54

Chart 4.15 Transfer strategy in the Official and Pirated

Versions of Maleficent ........................................................ 58


xiv

LIST OF ABBREVATIONS

ST : Source Text

TT : Target Text

O : Official version of Indonesian Subtitle of Maleficent

L : Pirated version of Indonesian Subtitle of Maleficent by Lebah Ganteng

M : Pirated version of Indonesian Subtitle of Maleficent by Archangel

Gabriel


xv

ABSTRACT

SUSANTI, AGUSTINA LIA. Official and Pirated Versions of Indonesian

Translation Subtitles of Figurative Language in Maleficent: A Study of

Equivalence and Subtitling Strategies Applied. Yogyakarta: Department of

English Letters, Faculty of Letters, Sanata Dharma University, 2017.

Language takes an important role in human communication. There are two

kinds of languages; figurative and literal languages. This undergraduate thesis is

about the figurative language found in Maleficent. There are many kinds of

figurative languages in this research, such as metaphor, simile, personification

metonymy, overstatement, and sarcasm. The subtitling strategies are applied in

order to know what and how the English figurative languages are translated.

There are two problems analyzed in this undergraduate thesis. The first

problem is how the equivalence of the figurative language translation of the

subtitles in the official and pirated versions of Maleficent. The second problem is

what the subtitling strategies applied in the figurative language in the official and

pirated versions.

The method applied in this research is library research. It is used to find

out the theory of translation, equivalence, figurative language, subtitle, and

subtitling strategies. The data analyzed in this research consist of figurative

languages in Maleficent. The total data of this research is thirteen.

In average, the result of all translation shows that 62% of figurative

language is formal equivalence and 38% uses dynamic equivalence. In the official

version, 69% of figurative language is formal equivalence and 31% is dynamic

equivalence. In the pirated version by Archangel Gabriel, 62% of figurative

language is formal equivalence and 38% is dynamic equivalence. In the pirated

version by Lebah Ganteng, 54% of figurative language is formal equivalence and

46% is dynamic equivalence.

In average, the most subtitling strategy applied in all translations is

transfer which is 53.33% and 33.33% of subtitling strategy applied is paraphrase

and 13.33% is imitation. In the official version, 60% of subtitling strategy is

transfer, 27% is paraphrase, and 13% is imitation. Secondly, 53.33% of subtitling

strategy by Archangel Gabriel is transfer, 33.33% of subtitling strategy is

paraphrase, and 13.33% of subtitling strategy is imitation. In the pirated version

by Lebah Ganteng, 47% of subtitling strategy is transfer, 40% of subtitling

strategy is paraphrase, and 13% of subtitling strategy is imitation.

The result indicated that in translating the figurative language, all

translations apply formal equivalence more than dynamic equivalence, and the

subtitling strategy mostly used are transfer.


xvi

ABSTRAK

SUSANTI, AGUSTINA LIA. Official and Pirated Versions of Indonesian

Translation Subtitles of Figurative Language in Maleficent: A Study of

Equivalence and Subtitling Strategies Applied. Yogyakarta: Jurusan Sastra

Inggris, Fakultas Sastra. Universitas Sanata Dharma, 2017.

Bahasa mengambil peranan penting dalam komunikasi antara sesama

manusia. Bahasa dibagi menjadi dua yaitu gaya bahasa dan bahasa literal.

Penelitian ini mengacu pada gaya bahasa yang digunakan dalam Maleficent.

Terdapat beberapa macam gaya bahasa yang diaplikasikan dalam studi ini,

diantaranya metapor, simile, personifikasi, metonim, hiperbola, and sarkasme.

Strategi dalam subtitel diaplikasikan untuk mengetahui apa dan bagaimana gaya

bahasa dalam bahasa Inggris diterjemahkan.

Ada dua masalah yang dibahas dalam penelitian ini. Masalah yang

pertama adalah bagaimana kesepadanan dari terjemahan subtitel gaya bahasa

dalam versi asli dan bajakan Maleficent. Masalah yang kedua adalah apa strategi-

strategi subtitel yang diaplikasikan dari gaya bahasa dalam versi asli dan bajakan.

Metode yang digunakan dalam penelitian ini adalah studi pustaka. Metode

ini dilakukan untuk mengetahui teori terjemahan, gaya bahasa, kesepadanan,

subtitel, dan strategi subtitel. Data yang dianalisis dalam penelitian ini terdiri dari

gaya bahasa dalam Maleficent. Terdapat tiga belas data gaya bahasa.

Hasil rata-rata dari semua terjemahan dalam penelitian ini menunjukkan

bahwa 62% gaya bahasa adalah kesepadanan formal and 38% menggunakan

kesepadanan dinamis. Dalam versi asli tejemahan Indonesia, 69% gaya bahasa

adalah kesepadanan formal dan 31% kesepadanan dinamis. Dalam versi bajakan

oleh Archangel Gabriel, 62% gaya bahasa adalah kesepadanan formal dan 38%

kesepadanan dinamis. Dalam versi bajakan oleh Lebah Ganteng, 54% gaya bahasa

adalah kesepadanan formal dan 46% kesepadanan dinamis.

Rata-rata, sebagian besar strategi subtitel yang diaplikasikan adalah

transfer yaitu 53.33% dan 33.33% strategi subtitel adalah parafrase and 13.33%

adalah imitasion. Dalam versi asli tejemahan Indonesia, 60% strategi subtitel

adalah transfer, 27% adalah paraphrase dan 13% adalah imitasion. Dalam versi

bajakan oleh Archangel Gabriel, 53.33% strategi subtitel adalah transfer, 33.33%

adalah parafrase dan 13.33% adalah imitasion. Dalam versi bajakan oleh Lebah

Ganteng, 47% strategi subtitel adalah parafrase, 40% adalah transfer dan 13%

adalah imitasi.

Hasil penelitian menunjukkan bahwa dalam menerjemahkan gaya bahasa,

semua terjemahan mengaplikasikan kesepadanan formal lebih banyak daripada

kesepadana dinamis, dan strategi subtitel yang banyak digunakan adalah transfer.


1

CHAPTER I

INTRODUCTION

A. Background of the Study

Language takes an important role in our daily life. Due to the language,

people can communicate to each other and express whatever they want in their

mind. The information can be accepted and understood if people have the same

knowledge of the language. The problem is that there are many languages in this

world. People come from different city, island, country, even continent, therefore

they also have the different backgrounds of language.

There are two kinds of languages, literal and figurative languages. The

literal language means exactly what it says. The figurative language is the

language that uses words or expressions with a meaning that is different from the

literal interpretation. It has non-literal meaning. According to Perrine, “Figurative

language is language using figures of speech or language that cannot be taken

literally, broadly defined a figure of speech is any way of saying something other

than the ordinary way” (1969: 65).

These kinds of languages cause people who have different background of

languages cannot do well in the term of communication. The solution for this

problem is making a bridge of language by translating the source language (SL)

into the target language (TL).

Newmark states “translation is a craft consisting of the attempt to replace a

written message and/ or a statement in one language by the same message and/ or


2

statement in another language” (1981:7).

From the definition above, it can be concluded that translation is the

replacement from the SL to the TL or the activity in transferring message by

changing a language. The definition of translation explains that translation is a

kind of process of transferring meaning from one language into another language

without changing the message of the source text.

There are two types of translations; written and oral translations. Oral

translation deals with spoken language and translates it orally. Written translation

can be found in movies by making subtitles on the screen. Nowadays, movies

cannot be separated from modern human life. People can watch movies by going

to the cinemas. On the other hand, people choose to download or buying copies

(DVD/ VCD) and watch it by themselves. There are two kinds of copies; official

and pirated. Famous movies in the world usually provide subtitle to give a direct

message from the SL to the TL. It can be found in the official and pirated version

of the copies, but they have different version of subtitles because they have

different subtitler.

Maleficent is an American dark fantasy film directed by Robert Stomberg

which was released in 2014. It is adopted from Disney’s Sleeping Beauty. It is

chosen to be analyzed in this research because Maleficent uses many figurative

languages on the conversations. This research does not use only one target text of

Maleficent since this research analyzed the official and pirated versions. That is

why they have different version of subtitles of Indonesian translation, as follow:


3

There are three versions of Indonesian translation. In the official version,

the subtitler translates the words “crown” into “mahkota,” but on the pirated 1 and

2 “crown” is translated into “raja.” Every kind of translation of figurative

language has different subtitling strategy and this interest the researcher in

analyzing the contrast of Maleficent’s official and pirated versions of Indonesian

translations.

This study is focused on the equivalence that occurs in transferring a

message from SL into TL. The study also considers that it is important to analyze

some subtitling strategies used in translating the figurative languages. By

discovering what type of equivalence and the subtitling strategies, the researcher

looks for the differences between the official version and pirated versions of

Indonesian subtitle by Archangel Gabriel and by Lebah Ganteng in Maleficent.

Furthermore, the researcher expects that this research can be a reference for

another researcher to make further analysis dealing with this topic.

B. Problem Formulation

1. How is the equivalence of the figurative language of the subtitle in the official

and pirated versions of Maleficent applied?

06/ 00:15:07

SOURCE TEXT

And upon my death, you will take the crown.

06/00:15:07

OFFICIAL

Dan saat aku mati, kau akan menerima mahkota

06/ 00:15:08

PIRATED 1

Dan setelah aku mati, kau akan menjadi Raja

06/ 00:15:07

PIRATED 2

Dan setelah kematianku, kalian akan jadi Raja.


4

2. What are the subtitling strategies applied in the figurative language from the

official and pirated versions of Maleficent?

C. Objective of the Study

First, the researcher aims to find out the equivalence of the figurative

language of the subtitle in the official and pirated versions of Maleficent. Second,

the researcher identifies the subtitling strategies of the figurative language that are

applied in the official and pirated versions of Maleficent.

D. Definition of Term

Translation is a craft consisting of the attempt to replace a written

message and/ or statement in one language by the same message and/ or statement

in another language. From the definition, it can be concluded that translation is the

replacement from SL to TL or the activity in transferring message by changing a

language. The definition of translation explains that translation is a kind of

process of transferring meaning from one language into another language without

changing the message of the source text (Newmark, 1981:7).

Equivalence is a replacement of a representation of a text in one language

by a representation of an equivalent text in a second language (Bell, 1991:6). It

means that the translation does not only translate word by word, but transfers a

message which exists in the SL.

Literal language is taking words or phrases in their usual or most basic

sense without metaphor or exaggeration. The non-figurative sense of words of


5

phrase that is not perceived as metaphorical, hyperbolic, or sarcastic is called

literal language. It contrasts with figurative meaning or non-literal meaning

(Oxford Advanced Learner’s Dictionary, 1995: 678).

Figurative language is a language using figures of speech or language

that cannot be taken literally, broadly defined a figure of speech is any way of

saying something other than the ordinary way. Perrine categorizes figurative

language in several kinds. They are metaphor, simile, personification, metonymy,

allegory, paradox, overstatement, understatement, and irony (Perrine, 1969: 65).

Subtitle is a transcription of film or TV dialogue, presented

simultaneously on the screen. From the definition above, subtitle can also be

defined as translation of a film dialogue which is shown in one or two lines of

texts on the screen. Subtitle can help the audience to understand the dialogues

spoken in the film (Baker and Malmkjaer, 1998: 244).

According to Gottlieb in Ghaemi and Benyamin (2010: 4), subtitling

strategy is the strategy used in translating a subtitle in order to balance the

content in the SL and TL. Subtitling strategies classified into several kinds. They

are expansion, paraphrase, transfer, imitation, transcription, dislocation,

condensation, decimation, deletion, and resignation.

Official movie the movie that is released by the permission of copy right.

It can be found on DVD, cinema, television, website, etc. It is approved by

authority.

Pirated movie is the illegal coppying distribution or uses of software

without permission from the copyright. It refers to the unauhorized duplication or


6

copyrighted content that is then sold out at substantially lower prices in the grey

market. Pirated movie is done in many ways like video piracy, cable piracy, and

DVD/VCD piracy.


7

CHAPTER II

REVIEW OF LITERATURE

This chapter elaborates the studies done by other researchers on the similar

topic and reviews some theories applied in this thesis. The studies similar to this

thesis are taken from Asmara‟s, Rohmah‟s, and Nirwinastu‟s thesis. Some

theories applied are reviewed and discussed to find as the base on which this

thesis carried on.

A. Review of Related Studies

1. Asmara’s thesis “Indonesian Translation of Aircraft Safety Manuals: The

Study of Equivalence, Readability, and Method Applied”

This undergraduate thesis discusses the Indonesian translation of aircraft

safety manuals. Asmara‟s thesis focuses on the equivalence, the readability, and

the method applied in translating from the SL to the TL. Questionnaires were

distributed to ask the respondents to measure the readability.

There are three points that Asmara focuses. First, Asmara‟s thesis tries to

find out the equivalence of the translation in aircraft safety manual. Second, it

tries to measure the readability translations. Finally, it tries to show what methods

have been used to translate the safety manuals of three different aircrafts.

This present thesis has different focus from Asmara‟s thesis, although it

has certain similarities in finding the equivalence and translation method. This

research does not discuss the readability of figurative language in Maleficent


8

movie, while Asmara discusses the readability of translation aircraft safety

manuals.

2. Rohmah’s thesis “Subtitling Strategies of English Slang Expressions in the

Indonesian Subtitle of TV Series: Hannah Montana Season 4”

This undergraduate thesis discusses the translation of English slang

expressions in: Hannah Montana Season 4. Rohmah focuses on finding kinds of

the slang expressions, the equivalence, and the subtitling strategies applied.

There are three points that Rohmah focuses. First, it describes the slang

expression found in TV series entitled Hannah Montana Season 4. Second, it

describes the subtitling strategies of the slang expressions. Third, it describes the

equivalence of the slang expression translation.

This present thesis is different from Rohmah‟s thesis, but it has similarity

in analyzing the equivalence and subtitling strategies applied. This research

discusses the subtitle translation of figurative language in Maleficent, while

Rohmah discusses the slang expressions in Hannah Montana.

3. Nirwinastu’s Thesis “Women’s Oppression as Seen through the Use of

Figurative Language in Marge Pierce’s: A Work of Article, Barbie Doll, and,

What are Big Girl Made of?”

This undergraduate thesis discusses the figurative language of women‟s

oppression. Nirwinastu focuses on finding the figurative language and the

women‟s oppression revealed through the use of that figurative language.


9

There are three points that Nirwinastu focuses. First, finding the

explication of the poem. Second, finding the figurative language which is

employed in the poem. Third, describing how women‟s oppression is revealed

through the use of that figurative language.

This present thesis is different from Nirwinastu‟s thesis, but it has the

similarity in finding the figurative language applied. This research discusses the

equivalence and the subtitling strategy applied of Indonesian subtitle of the

figurative language in Maleficent movie, while Nirwinastu discusses the

explication and the women‟s oppression revealed through the use of the figurative

language in the poem.

B. Review of Related Theories

1. Theories of Translation

Translation is a process of translating word or text from one language into

another. It is a replacement from SL into TL or the activity in transferring

message by changing a language. “Translation is a craft consisting of the attempt

to replace a written message and/ or statement in one language by the same

message and/ or statement in another language” (Newmark, 1981: 7).

The definition above explains that translation is a kind of process of

transferring meaning from one language into another language without changing

the message of the source text.

Translation is the replacement of a representation by an equivalent text in

the second language (Bell, 1991:6). It is a condition when the message of the SL


10

text is equivalent with TL text.

2. Theories of Equivalence

Translation is a replacement of a representation of a text in one language

by a representation of an equivalent text in a second language (Bell, 1991:6). It

means that equivalence means that the TL and the SL text must convey the same

message.

Nida divides equivalence into two types; formal equivalence and dynamic

equivalence. The first type is formal equivalence. It focuses on the form and the

meaning of the SL.

Formal equivalence focuses attention on the message itself in both form

and content. It distorts the grammatical and stylistic patterns of the

receptor language (Nida, 1964:159).

The second type is dynamic equivalence. It requires the additional

explanation on the translated text because the reader may not understand the

reason behind the chosen translated word.

Dynamic equivalence is based on „the principle of equivalence effect‟

where the relationship between receptor and the message should be

substantially the same as that which existed between the original receptors

and the message (Nida, 1964: 159).

Dynamic equivalence does not focus on the form, but it focuses on the the

principle of equivalence effect. For example, the phrase you are darkened is

translated into kamu semakin murung.

Dynamic equivalence in translation is far more than mere correct

communication of information. In fact, one of the most essential, and yet often

neglected, element is the expressive factor, for people must also feel as well as


11

understand what it said. Dynamic equivalence translation tries to reproduce the

same response in the ST and TT. (Nida and Taber, 1982: 25).

3. Theory of Figurative Language

According to Perrine, “Figurative language is a language using figures of

speech or language that cannot be taken literally, broadly defined a figure of

speech is any way of saying something other than the ordinary way” (1969: 65).

Perrine categorizes figurative language into several kinds. They are metaphor,

simile, personification, metonymy, synecdoche, symbol, allegory, paradox,

overstatement, understatement, and irony. Each will be explained further.

a. Metaphor and Simile

Perrine (1969: 65) states that metaphor and simile are both used as means

of comparing things that are essentially unlike. When two things are compared, it

can be called simile or metaphor. Nevertheless, they are different in a way that

metaphor states implicitly, thus making it more subtle, more compress, and less

obvious. In language, a metaphor is defined as an indirect comparison between

two or more seemingly unrelated subjects that typically uses “is a” to join the

subjects. In the other hand, simile states the comparison explicitly. It usually uses

certain words to compare the things, such as “like,” “similar to,” “seems,” and

“as.”

Example of metaphor:

1). The skies of his future began to darken.


http://en.wikipedia.org/wiki/Comparison

12

Darkness is a threat; therefore, this implies that the coming times are going

to be hard for him.

2). Her life was a rainbow of experiences.

Her life is so colourful like a rainbow. She has so many experiences which

are not same so the speaker compares „her life‟ with „rainbow‟.

Example of simile:

1). Life is like a box of chocolate, you never know what you're going to get.

It compares the uncertainty of life to the uncertainty of choosing a

chocolate from a box.

2). You were as brave as a lion.

It compares person with lion because lion is known as the brave animal in

the jungle.

b. Personification

Personification consists in giving the attributes of a human being to an

animal, and object, or a concept. It allows us to comprehend non-human entities in

terms of human motivations, characteristics, and activities. Perrine states that in

personification, the readers are asked to visualize the non-human entities as

behaving like human beings (Perrine, 1969: 67).

Example of personification:

1). The leaves danced in the cool breeze.

Leaves have the characteristics as human being which is danced in the cool

breeze.


13

2). Wind whispered at the night.

Wind also has the human‟s characteristics. Whispering is the characteristic

of human.

c. Metonymy

Metonymy is a way of referring an entity using another closely related to it

(Perrine, 1969: 69). It is used to stand in for another word. Sometimes a

metonymy is chosen because it is a well-known characteristic of the word.

Example of metonymy:

1). We must wait to hear from the crown until we make any further decisions.

Crown has the meaning in place of a royal person.

2). The White House will be announcing the decision around noon today.

White house has the meaning in place of the President or others who work

there.

d. Synecdoche

Synecdoche is a figurative language that uses a part of something to

explain the whole or the whole for a part, the special for general or the general for

special.

Example of synecdoche:

1). All eyes on me


14

It means that all people looking at me. The word eyes used to designate

the part of things for the whole. Eyes are a part of human‟s body that represent the

whole body of people.

2). His parents bought him a new set of wheels.

The word wheels used to designate the part things for the whole. The

whole in this context is a car.

e. Symbol

A symbol may be defined as something means more than itself (Perrine,

1969: 83). Usually, symbol can be a person, a place, a thing, or an event that

figuratively represents or stands for something else.

Examples of commonly used literary symbols are:

1). Fire symbolizes passion

2). Black/darkness symbolizes evil

f. Allegory

Perrine (1969: 81) defines allegory as a narrative or description that has a

second meaning beneath the surface one.

Example of allegory:

George Orwell‟s Animal Farm is one of literature‟s most famous allegories. The

surface story is about a group of farm animals who rise up, kick out the humans,

and try to run the farm themselves. The hidden story, however, is about the

Russian Revolution, and each of the characters represents some figure from that


http://literaryterms.net/character/

15

revolution. The pigs represent Communist leaders like Stalin, Lenin, and Trotsky,

the dogs represent KGB, the humans represent capitalists, the horses represent the

working class.

g. Paradox

A paradox is an apparent contradiction that is nevertheless somehow true.

(Perrine, 1969: 109).

Example of paradox:

1). He was poor in the middle of his riches.

The man was poor when he has so much money. It is a contradictory

statement because it doesn‟t make sense.

2). I can resist anything but temptation.

It is a contradictory that the speaker can do anything but temptation.

h. Overstatement

Overstatement is usually called a hyperbole. It is an exaggeration in order

to emphasize the truth (Perrine, 1969: 110).

Example of overstatement:

1). I‟ll love you till the oceans is folded and hung up to dry.

2). Greg was very thirsty that he dries up the sea.

Both of the examples are overstatement because those are impossible. The

speaker uses those words to make an exaggeration in order to emphasize the truth.


16

i. Understatement

Understatement is defined as the way of saying less than what people

actually mean (Perrine, 1969: 111).

Example of understatement:

1). It‟s a bit wet out there.

You are using understatement if you come in from a torrential downpour

and say that it is a bit wet out there.

2). Not exactly a small dog.

You are using understatement if you describe a Great Dane as not exactly

a small dog.

j. Irony

Perrine (1969: 117) explains that there are three kinds of irony. They are

verbal irony, dramatic irony, and irony of situation. First, verbal irony means

saying the opposite of what it meant. Second, dramatic irony means there is

discrepancy between what speaker says and what the author means. Third, irony

of situation means that the discrepancy exists between the actual circumstances

and those that will seem appropriate or between what one anticipates and what

actually comes in the circumstance.

Example of irony:

1). Verbal irony: Great, someone stained my new dress.

It is ironic because exclaiming “oh great” after staining my new dress.


17

2). Dramatic irony: In Shakespeare‟s Oedipus Rex, the audience are aware that

Oedipus‟s journey to find the murderer will be fruitless because he himself is the

murderer.

3). Situational Irony: Being thirsty in the sea

k. Sarcasm

Sarcasm is simply bitter or cutting speech, intended to wound the feelings.

(Perrine, 1969: 118). It is a teasing allusion which is said rudely and directly.

Example of irony:

I don‟t need your help, idiot! You cannot do anything for me.

4. Theories of Subtitle

Subtitle is a transcription of film or TV dialogue, presented simultaneously

on the screen. From the definition above, subtitle can also be defined as

translation of a film dialogue which is shown in one or two lines of texts on the

screen (Baker and Malmkjaer, 1998: 244). Subtitle helps the audience to

understand the dialogues spoken in the film. Oxford Advanced Learner’s

Dictionary defines „subtitle‟ as words that translate what it said in a film/ movie

into a different language and appear on the screen at the bottom (1995: 1193).

Gottlieb in Marashi and Poursoltani (2009: 17) presents two general

categories for subtitling.


18

a. Intralingual Subtitling

In intralingual subtitling, the TL is the same as the SL. It is a subtitle in

the original language that includes subtitling of domestic programmes for the deaf

and hard of hearing and subtitling programmes for language learners. Intralingual

subtitling involves taking speech down in writing. It changes the mode but not for

language.

b. Interlingual Subtitling

In interlingual subtitling, the TL is different from the SL. The subtitler

crosses over from speech in one language to writing in another, thus it changes the

text. This research uses interlingual subtitling because Maleficent has different ST

and TT. The ST is English and the TT is Bahasa Indonesian.

5. Theory of Subtitling Strategies

In subtitle translation, the context in the TT should have the same message

as in ST. In order to balance the message in the SL and in the TT, the subtitlers

use subtitling strategy. Gottlieb in Ghaemi and Benyamin (2010: 4) classifies

subtitling strategies into several kinds. They are expansion, paraphrase, transfer,

imitation, transcription, dislocation, condensation, decimation, deletion, and

resignation.

a. Expansion

Expansion is used when the original text requires an explanation because of

some cultural nuance not retrievable in the TT. It adds an explanation in the TT


19

because some cultural references from the ST do not exist in the TT. For

example:

SL: Welcome to the big, Junior!

TL: Selamat datang ke pertandingan besar, junior!

The strategy used in the utterance above is expansion strategy. This

strategy used to translate the sources language “welcome to the big, junior!” Into

the target language “selamat datang ke pertandingan besar, junior?” The subtitler

added the word “pertandingan” into the TL as the meaning from expansion

strategy. The word “pertandingan” is used to explain the meaning of the word

“big” in the SL because the speaker talks about the robot competition that was

called Liga, which is a big competition for the robots from all over the world.

b. Paraphrase

Paraphrase is used to makes the translation easier to understand and

readable by the audiences. Sometimes the subtitler does not use the same

syntactical rules in subtitling the dialogue. For example:

SL: He is a black-hearted person and I‟m done with him.

TL: Dia orang yang berhati jahat dan aku sudah tak mau berurusan dengannya.

The use of paraphrase strategy could be seen on “black-hearted” which

was translated into “berhati jahat”. The subtitler does not translated to “ berhati

hitam.”


20

c. Transfer

Transfer refers to the strategy of translating the ST completely and

accurately. There is no added explanation or modifying of view because the

subtitler translates the dialogue literally. For example:

SL: He needs a drink

TL: Dia butuh minum

This utterance from the SL “He needs a drink” translated into “Dia butuh

minum.” There is no addition or deletion in this utterance that was found by

subtitler.

d. Imitation

Imitation maintains the same form, typically with names of people and

places. For example:

SL: Are you Louis McLarence?

TL: Apakah kamu Louis McLarence?

Louis McLarence was the name of a person. Therefore, the subtitler did

not have to translate it.

e. Transcription

Transcription is used in the case where a term is unusual even in the

source text. The example is the use of a third language or nonsense language.

SL: Railroad Pinkertons are hot on our trail, amigo.

TL: Jalur kereta Pinkertons sasaran kita, teman.


21

It could be seen in the word “amigo” which is translated into “teman.” The

word “amigo” was a third language which was a Spanish word meaning “friend.”

f. Dislocation

Dislocation is adopted when the original employs some sort of special

effect; for example where the translation of the effect is more important than the

content. For example:

SL: Spider-pig, spider-pig, can he swing from a web? No, he cannot he‟s a pig.

TL : Babi labalaba, babi labalaba, dapatkah dia berayun dari jaringnya? Tidak

bisa, dia seekor babi.

It can be seen that the subtitler translates it word-to-word without

changing the content because the effect is more important.

g. Condensation

Condensation is making the text brief to omit unnecessary utterance using

shorter utterance, but it does not lose the message. Sometimes pragmatic effect

can be lost by using condensation strategy. Therefore, the real aim of the text must

be conveyed. For example:

SL: I‟m not talking to him. There is no way.

TL: Aku tidak mungkin bicara padanya.

The subtitler uses condensation strategy. If it is translated into word-to-

word the sentence structure in TL, the meaning is the same as SL text.


22

h. Decimation

Decimation is used to translate when the speakers are quttering the words

in a fast pace, thus the subtitler condenses the utterance because the utterances

have difficulty in absorbing unstructured written text quickly. For example:

SL: You're not, by any chance, referring to Spot, are you?

TL: Maksud anda Spot?

The phrase “You‟re not, by any chance, referring to Spot, are you?” was

translated “Maksud anda Spot?” It was not translated word-to-word because it

was represented by “are you?” which in TL could be translated “maksud anda?”

i. Deletion

Deletion refers to the elimination of parts of a text. For example:

SL: That‟s enough

TL: Cukup

The words “that‟s enough” into “cukup”. The word “that‟s” in this term

carry less semantic meaning; therefore, it can be deleted without changing the

information to the audience.

j. Resignation

Resignation is used to describe the strategy adopted when no translation

solution can be found and meaning is inevitably lost. For example:

SL: Beyotch!

Subtitle: - (No translation)


23

The subtitler use resignation strategy when there is no solution in

translating the meaning of SL.

C. Theoretical Framework

The definition of translation, the theory of equivalence of Nida and the

theory of subtitling strategies from Gottlieb are applied in this research on the

ground theories. This study focuses on two points. They are the equivalence and

strategies employed by the subtitlers.

In order to answer the first problem, the researcher uses the theory of

equivalence to find out the equivalence translation of the figurative language in

Maleficent. Then, the researcher uses the theory of subtitling strategy in order to

determine the subtitling strategies applied in the subtitle.


24

CHAPTER III

METHODOLOGY

This chapter presents the methodology applied in order to answer two

problems formulated. It consists of four parts. The first part is area of research. In

this part, the researcher explains the area of this research. The second part is the

object of this research. The third part is the method of the study. The method used

in this study is library research. The last part is the procedure and the steps taken

in the analysis of the study.

A. Area of Research

The area of this research is multimedia translation where the audiovisual

texts are used. “Audiovisual texts are primarily spoken texts- radio/TV programs

films, DVDs, videos, opera, theatre, which are translated either by revoicing or

sur-/subtitling” (Williams and Chesterman, 2002: 13). The analysis focuses on the

three different versions of Indonesian subtitles of figurative language. The

functions of this research are to know the subtitling strategies applied and to show

its equivalence in the official and pirated versions of Maleficent.

B. Object of the Study

The object of this research is the figurative languages of Indonesian

subtitle of Maleficent in three different versions of the copies which are the

official from DVD and two pirated versions by Lebah Ganteng and Archangel


25

Gabriel. Maleficent is a live-action reimagining of Walt Disney’s Sleeping Beauty

and it portrays the story from the perspective of the antagonist, Maleficent herself.

C. Method of the Study

The method used in this research is library research. The researcher uses

library research to find out the theory of translation, figurative language,

equivalence, subtitle, and subtitling strategies. The research uses primary data.

D. Research Procedure

1. Types of Data

The kind of data in this research is objective data. This research collected

13 data from the ST. The data analyzed were taken from English subtitle and three

different versions of Indonesian subtitles of Maleficent. They were official

version from DVD and two pirated versions by Archangel Gabriel and by Lebah

Ganteng.

2. Data Collection

The researcher had to understand the definition of figurative language in

order to collect the data from the ST. After that, the researcher started to collect

the figurative language from the ST. In the process of collecting data, the

researcher watched the movie more than one time by using subtitle from both

sources.


26

Table 3.1. Example of the data coding

No. Data Source Text No. Data Target Text

08/ST/00:23.07 I need you to be

my wings

08/TT/O/00:23.07 Aku butuh kau

untuk menjadi

sayapku

How to Read the Data Coding

01 : The number of data

ST : Source Text

00: 23. 07 : Time of English and Indonesian sentence appeared in the

subtitle

TT : Target Text

O : Official version of Indonesian subtitle

Here, the different versions of Indonesian subtitle were taken from the

official version and the pirated versions by Lebah Ganteng and by Archangel

Gabriel. In order to know the contrast between the Indonesian subtitles of

Maleficent, the researcher collected data gathered from these versions.

Table 3.2 The Indonesian Subtitles of Maleficent

No. Data Text O No. Data Text A No. Data Text L

08/TT/O/00

:23.07

Aku butuh

kau untuk

menjadi

sayapku

08/TT/A/00:

23.07

Aku ingin

kau

menjadi

sayapku.

08/TT/L/

00:23.07

Kuingin

kau jadi

sayapku

How to Read Data Coding

01 : The number of data

O : Official version of Indonesian Subtitle of Maleficent

L : Pirated version of Indonesian Subtitle of Maleficent by Lebah Ganteng

A : Pirated version of Indonesian Subtitle of Maleficent by Archangel


27

Gabriel

00: 23. 07 : Time of English and Indonesian sentence appeared in the subtitle..

3. Population and Sample

The population of this study is the figurative languages according to

Perrine which are found in ST of Maleficent. The sampling method used is

stratified random sampling. The total population of this study are 27 data. Each of

data contained of the ST and the TT in three different versions. They were the

official, Archangel Gabriel, and Lebah Ganteng. The data used after applying

stratified random sampling are 13 data of ST and TT in the official and pirated

versions of Maleficent.

4. Data Analysis

There were several steps in analyzing data of this research. The first step

was the researcher found out the figurative language and categorized it according

to Perrine’s figurative language. The figurative languages then analyzed whether

it was formal or dynamic equivalence.

Table 3.3 Equivalence of Figurative Language of Metaphor in Maleficent

10/ST/00:28:23 My wish is that you'll never be blue.

10/TT/O/00:28:23 Hadiahku ialah kau takkan merasa

sedih.

DYNAMIC

10/TT/A/00:28:23 Harapanku adalah bahwa engkau takkan

pernah bersedih.

DYNAMIC

10/TT/L/00:28:23 Hadiahku untukmu adalahkau takkan

pernah bersedih.

DYNAMIC


28

The sentence above is spoken by a fairy who comes to Aurora’s birth to

give her a gift. The sentence “my wish is that you'll never be blue” is a metaphor.

There are two kinds of a gifts. It can be a thing that we can use and save or it can

be a wish. The fairy gives a wih to Aurora as a gift of her birth. The word “blue”

refers to “sad,” thus it is not as the literal meaning of the kinds of color. She wants

Aurora never be sad in her life. This figurative meaning of metaphor and its

translations were equivalent because both of them had similar message. The

message was that the fairy wanted Aurora to never be sad. Based on Nida’s

definition, this translation was dynamic equivalence. The translator used another

word in the same context.

The second step, the researcher found out the subtitling strategies used in

the figurative language in Maleficent.

Table 3.4 Subtitling Strategy of Figurative Language in Maleficent

08/ST/00:23:15 I need you to be my wings. METAPHOR

08/TT/O/00:23:15 Aku butuh kau untuk menjadi sayapku METAPHOR

08/TT/A/00:23:15 Aku ingin kau menjadi sayapku. METAPHOR

08/TT/L/00:23:15 Kuingin kau jadi sayapku. METAPHOR

The subtitling strategy which was applied in the translation above was

transfer strategy. There was no added explanation or modification because the

subtitlers translated the dialogue literally.


29

CHAPTER IV

ANALYSIS RESULTS AND DISCUSSIONS

This chapter discusses the equivalence and the subtitling strategies of the

figurative language in Maleficent. There are two points that will be analyzed. The

first point is analyzing the equivalence of the figurative language in Maleficent.

The second point is analyzing the subtitling strategies applied in the official and

the pirated versions of Maleficent.

A. The Figurative Language in Maleficent

Maleficent contains various figurative languages. They are metaphor,

simile, metonymy, synecdoche, overstatement, personification, and sarcasm.

More than half of Perrine’s figurative languages are found in Maleficent. Even

though this research identifies many figurative languages, not all of Perrine’s

figurative languages are found. The types of figurative languages that are not

found in Maleficent are symbol, allegory, paradox, understatement, and irony.

Chart 4.1 The Figurative Language in Maleficent

012345678 50%

7.14% 7.14% 7.14% 7.14% 7.14% 7.14% 7.14%

14.30%


30

The result shows that half of the figurative language found in the ST is

metaphor. Simile, personification, metonymy, synecdoche, and overstatement

have the same proportion. Each of them has 7.14%, while sarcasm is 14.30%.

B. The Equivalence of the Figurative Language of the Subtitle in the Official

and Pirated Versions of Maleficent

This research aims to see the equivalence of the subtitle of the figurative

language in the official and pirated versions of Maleficent. The subtitles of

Indonesian translations are taken from the official version and pirated versions by

Archangel Gabriel and by Lebah Ganteng. The researcher analyzes and

categorizes the figurative languages to the formal or dynamic equivalence in order

to contrast the Indonesian subtitle of all versions. The equivalence in Maleficent

analyzed in order to know the types of figurative languages which are translated

formaly of dinamicaly. The Chart below shows the result of the formal and

dynamic equivalence found in the official version and pirated versions subtitle by

Archangel Gabriel and by Lebah Ganteng.

Chart 4.2 The Equivalence of the Indonesian Translation of Maleficent

FORMAL

DYNAMIC62%

38%


31

The results of this research show the types of equivalence that are found in

Maleficent. Based on the Chart above, the equivalence of all versions subtitles

categorized 62% as formal equivalence and 38% as dynamic equivalence. The

subtitles on there are labeled as formal or dynamic equivalence.

Chart 4.3 The Equivalence in Each Version Translation of Maleficent

The Chart above shows each version of the subtitle. Based on the Chart,

the proportion of equivalence in each version is different. First, the official

version has 69% formal equivalence and 31% dynamic equivalence. Second, the

pirated version by Archangelngel Gabriel has 62% formal equivalence and 38%

dynamic equivalence. Finally, the pirated version by Lebah Ganteng has 54%

formal and 46% dynamic equivalence.

The following discussion explores the types of equivalence in the

figurative language translation. Each type of figurative language is discussed at

length to find whether it is translated formally or dynamically.

0%

10%

20%

30%

40%

50%

60%

70%

80%

OFFICIAL ARCHANGELGABRIEL

LEBAH GANTENG

FORMAL

DYNAMIC


32

1. Metaphor

Metaphor is one of the figurative languages as means of comparing things

that are essentially unlike. There are many metaphors found in Maleficent.

Chart 4.4 The Equivalence of the Metaphor in All Versions of Subtitle

The Chart above shows the proportion of the formal equivalence and

dynamic equivalence in the metaphor of three different versions of Indonesian

subtitle. Based on the Chart, there is 57% of dynamic equivalence of metaphor

that occurs in each of the official version, and pirated versions subtitle by

Archangel Gabriel and Lebah Ganteng.

Meanwhile, all versions of Indonesian translation have the same

percentage of formal equivalence in metaphor which is 43%. The analysis is

shown from the table as follows:

04/ST/00:06:49 And her heart was moved.

04/TT/O/00:06:49 Dan tergeraklah hatinya. FORMAL

04/TT/A/00:06:49 Dan hatinya tergerak. FORMAL

04/TT/L/00:06:49 Dan hatinya tergerak. FORMAL

0

0,5

1

1,5

2

2,5

3

3,5

4

4,5

OFFICIAL ARCHANGEL GABRIEL LEBAH GANTENG

FORMAL

DYNAMIC

57%

43% 43%

57% 57%

43%


33

The sentence “and her heart was moved” is metaphor because something

that moves is not the “heart” of the literal meaning. It is not the “heart” of the

organ of our body which is a muscular organ that pumps blood through the body.

“Heart” here is the heart of the figurative language. It is a replacement word for

understanding or will; usually in a good sense; personality. Her heart is moved to

do something good that she has never done before. “Her” refers to Maleficent.

First, Maleficent hates Aurora because of her father. Then, she traps Aurora in a

curse until she sleeps and never wakes up. Maleficent is aware that what she has

done is wrong. Aurora is an innocent girl. Her love makes Maleficent to undo her

own curse.

In the official, Archiangel Gabriel, and Lebah Ganteng versions, “and her

heart was moved” is translated into “dan tergeraklah hatinya” and “dan hatinya

tergerak. The subtitlers do not change the figurative language to non-figurative

language. The sentence in the TT has figurative meaning which is called metaphor

as well as the ST. The subtitlers render the message based on its form and content,

thus the translation is formal equivalence.

05/ST/00:11:41 It's the dark creatures!

05/TT/O/00:11:41 Itu makhluk-makhluk kegelapan! FORMAL

05/TT/A/00:11:41 Itu makhluk-makhluk kegelapan! FORMAL

05/TT/L/00:11:41 Itu makhluk-makhluk kegelapan! FORMAL

The sentence “it’s the dark creature” is metaphor. It does not mean as the

literal meaning. It is not the creatures that have no or very little light, but as the

figurative meaning. It has magic power that can destroy human. When Stefan and

his men come to destroy Maleficent’s kingdom, they fail. It is because Maleficent


34

asks for help to her friends. They are the dark creatures who have magic power to

save the Moor from the greedy human.

The sentence in the ST is translated to the TT without changing the

figurative language to the non-figurative language. This translation called formal

equivalence because the subtitlers deliver the message based on its form.

08/ST00:23:12 I need you to be my wings.

08/TT/O/00:23:12 Aku butuh kau untuk menjadi sayapku FORMAL

08/TT/A/00:23:12 Aku ingin kau menjadi sayapku. FORMAL

08/TT/L/00:23:12 Kuingin kau jadi sayapku. FORMAL

“I need you to be my wings” has a figurative meaning. “Wings” do not

imply to the literal meaning that used to fly. It means someone who is being the

right-hand-man. He is the person who contributes to the fulfillment of a need or

furtherance of an effort or purpose. Maleficent has helped someone who will be

killed by human. Maleficent asks him to be her wings to help her as the right-

hand-man to know everything about Stefan and his kingdom.

In the source text, it is translated into the target texts similarly. The

subtitlers maintain the figurative language. The subtitlers deliver the message

based on its form and content, thus the translation is formal equivalence.

09/ ST/00:23:36 I present to you the first of his line.

09/ TT/O/00:23:36 Kupersembahkan kepadamu pertama dari

keturunannya.

DYNAMIC

09/ TT/A/00:23:36 Aku persembahkan kepadamu pertama

dari keturunannya.

DYNAMIC

09/TT/L/00:23:36 Saya persembahkan kepadamu pertama

dari keturunannya.

DYNAMIC


35

The ST “I present to you the first of his line” is metaphor. In language, a

metaphor is defined as an indirect comparison between two or more seemingly

unrelated subjects. The word “ line” and “descendant” are two unrelated subjects.

It substitutes concept with another and drawing a similarity between two things.

“Line” has the figurative meaning because “line” does not mean as the literal

meaning of a path through two or more points. It has the figurative meaning as a

succession of descendant of given person; a family. It refers to Stefan as the new

king. He and his descendant will be the heirs of the kingdom.

In all versions of Indonesian subtitles, “I present to you the first of his

line” is translated similarly. The translation of SL metaphor is equivalent because

the ST and TT have the same context and message. Based on Nida’s definition,

this translation is called dynamic equivalence. It is because the subtitlers use the

other word in the same context. “Line” describes the descendant of the king.

10/ST/00:28:23 My wish is that you'll never be blue.

10/TT/O/00:28:23 Hadiahku ialah kau takkan merasa

sedih.

DYNAMIC


pernah bersedih.

DYNAMIC

10/TT/L/00:28:23 Hadiahku untukmu adalah kau takkan

pernah bersedih.

DYNAMIC

The sentence above is spoken by a fairy who comes to Aurora’s birth to

give her a gift. The sentence “my wish is that you'll never be blue” is a metaphor.

There are two kinds of a gifts. It can be a thing that we can use and save or it can

be a wish. The fairy gives a wish to Aurora as a gift of her birth. The word “blue”

refers to “sad,” thus it is not as the literal meaning of the kinds of color. She wants

Aurora never be sad in her life. This figurative meaning of metaphor and its


http://en.wikipedia.org/wiki/Comparison

36

translations are equivalent because both of them had similar message. The

message is that the fairy wanted Aurora to never be sad. Based on Nida’s

definition, this translation is dynamic equivalence. The translator used another

word in the same context.

In the official and the pirated versions, the subtitlers translate “my wish is

that you'll never be blue” into “hadiahku ialah kau takkan merasa sedih,

harapanku adalah bahwa engkau takkan pernah bersedih,” and “hadiahku

untukmu adalah kau takkan pernah bersedih.” The metaphor in ST and TT are

equivalent because both of them have similar message. Based on Nida’s

definition, this translation is called dynamic equivalence. The metaphor “you’ll

never be blue” means that you’ll never be sad. The message for this case is that

the fairy wants Aurora to never be sad.

12/ST/00:38:31 As the days went on, Stefan darkened,

12/TT/O/00:38:31 Hari-hari berlalu Stefan semakin

murung.

DYNAMIC

12/TT/A/00:38:31 Hari-hari terus berlalu, Stefan semakin

murung.

DYNAMIC

12/TT/L/00:38:31 Hari - hari berlalu, Stefan makin

muram.

DYNAMIC

The ST “As the days went on, Stefan darkened” is a metaphor. The word

“darkened” has a figurative meaning of unhappy. It is not as the literal meaning of

the character of the skin color. As the days go on, Stefan is unhappy because he

has many problems that he cannot solve yet. He is distress because his daughter’s

life is in danger.

In all versions of Indonesian translation, the ST “as the days went on,

Stefan darkened,” is translated similarly. The word “darkened” is translated into


37

“murung or muram.” Based on Nida’s definition, this translation is called

dynamic equivalence. The subtitlers translate the metaphor to the literal meaning

which has the same message with the context of SL figurative language.

27/ST/01:26:22 When Maleficent was a child and her

heart was bright.

27/TT/O/01:26:22 Ketika Maleficent masih kecil dan hatinya

bahagia.

DYNAMIC

27/TT/A/01:26:22 Ketika Maleficent masih kecil dan hatinya

yang gembira.

DYNAMIC

27/TT/L/01:26:22 Saat Maleficent masih kecil dan hatinya

yang bijaksana

DYNAMIC

The ST “when Maleficent was but a child and her heart was bright” is a

metaphor because “bright” is not as full of light. It has a figurative meaning of

happy and wise. In all versions of the subtitle, the figurative meaning in ST is

translated into its literal meaning in the TT. The word “bright” is translated into

“bahagia, gembira,” and “bijaksana.” All of these translations have the same

context. This translation is called dynamic equivalence. The subtitlers use another

word, but in the same context.

2. Simile

Simile is one of figurative language that is found in Maleficent. It states

explicit comparison. Simile usually uses certain words to compare these things,

such as like, similar to, seems, and as. All of translations of simile in Maleficent

use formal equivalence.


38

.Chart 4.5 The Equivalence of Simile in the Official and Pirated Versions of

Maleficent

The Chart above is the result of the equivalence in simile of three different

versions of Indonesian subtitles. Based on the Chart, all of the versions of

Indonesian subtitle of simile are categorized as formal equivalence. The analysis

is shown from the table as follows:

23/ST/00:31:47 Fall asleep like death.

23/TT/O/00:31:47 Tertidur bagaikan mati. FORMAL

23/ TT/A/00:31:47 Tertidur seperti mati FORMAL

23/TT/L/00:31:47 Tertidur layaknya mati FORMAL

The sentence “Fall asleep like death” is simile because “sleep” is

compared with “death.” It is described as death when Aurora falls into a deep

slumber, she cannot do anything and her state is a lot like dead. The word “like” is

used to describe the comparion between asleep and death.

The figurative language in the sentence above is translated from the source

language “fall asleep like death” to the target language “tidur bagaikan mati,

tertidur seperti mati,” and “tertidur layaknya orang mati.” All of the translations

0%

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40%

60%

80%

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120%


LEBAH GANTENG

FORM…


39

are equivalent because they have the same message. The subtitlers deliver the

message based on its form and content, thus the translations are formal

equivalence.

3. Personification

Personification consists in giving the attributes of a human being to an

object. In this study, the researcher finds only one personification of Maleficent. It

is dynamic equivalence.

Chart 4.6 The Equivalence of Personification in the Official and Pirated

Versions of Maleficent

This Chart shows that personification in all of the versions of Indonesian

subtile categorized as dynamic equivalence.

12/ST/00:38:31 As the days went on, Stefan darkened,

12/TT/O/00:38:31 Hari-hari berlalu Stefan semakin murung, DYNAMIC


murung

DYNAMIC

12TT/L/00:38:31 Hari - hari berlalu, Stefan makin muram. DYNAMIC

0%

20%

40%

60%

80%

100%

120%


LEBAHGANTENG

DYNAMIC


40

The ST “As the days went on, Stefan darkened” is personification. The

phrase “went on” has a figurative meaning as “to pass.” In fact, this is the

characteristic of a human being. Only a human who can go on. This phrase is

chosen in order to create personification.

In all versions of the translation, the ST “as the days went on, Stefan

darkened,” is translated in the similar way. The word “went on” is translated into

“berlalu.” This translation is called dynamic equivalence because the subtitlers

use the literal meaning of the personification which has the same message with

the context of SL figurative language. The subtitlers choose the other word in the

same context.

4. Metonymy

The researcher finds the figurative language of metonymy in thr ST of

Maleficent. Metonymy is used to refer an entity using another closely related to it.

Chart 4.7 The Equivalence of Metonymy in the Official and Pirated Versions

of Maleficent

0%

20%

40%

60%

80%

100%

120%


LEBAH GANTENG

FORMAL

DYNAMIC


41

The Chart above is the result of the equivalence in the metonymy of three

different version of Indonesian subtitle. The Chart shows that in the metonymy of

the official version uses formal equivalence.

Meanwhile, according to the Chart, there are 100% dynamic equivalence

occurs in the translation of metonymy of Archangel Gabriel and Lebah Ganteng.

The analysis is shown from the table as follows:

06/ST/00:15:07 And upon my death, you will take the

crown.

06/TT/O/00:15:07 Dan saat aku mati, kau akan menerima

mahkota

FORMAL

06/TT/A/00:15:07 Dan setelah aku mati, kau akan menjadi

Raja

DYNAMIC

06/TT/L/00:15:07 Dan setelah kematianku, kau akan jadi

Raja.

DYNAMIC

The source text “and upon my death, you will take the crown” is

metonymy. “Crown” has a figurative meaning because it refers to “king.” It is not

the literal meaning of a headdress. The king wants to choose one of them to be the

new king after his death.

In the official version of Indonesian subtitle the ST “and upon my death,

you will take the crown” is translated into “dan saat aku mati, kau akan menerima

mahkota.” When the English figurative language is translated into the TT, the

meaning does not change to the literal meaning. Both of these figurative

languages are equivalent because both of them have the same message. The

subtitlers delivered the message based on its form and content. It is formal

equivalence.

In the pirated versions subtitle by Archangel Gabriel and Lebah Ganteng,

the ST is translated into “dan setelah aku mati, kau akan menjadi Raja,” and “dan


42

setelah kematianku, kalian akan jadi Raja.” The word “crown” is translated into

“raja.” Even though the subtitlers translate “crown” to “raja,” this translation have

the same context. “Crown” is translated into “raja.”. It is the figurative language

of metonymy. It is a way of referring an entity using another closely related to it.

“Crown” is used to stand in for another word. Sometimes a metonymy is chosen

because it is a well-known characteristic of the word. That is why these

translations are dynamic equivalence. The subtitlers use the other word in the

same context.

5. Synecdoche

Synecdoche is the figurative language found in the target text. It is the

figurative language which is a part is used for the whole or the whole for a part,

the special for general, the general for special.

Chart 4.8 The Equivalence of Synecdoche in the Official and Pirated


0%

20%

40%

60%

80%

100%

120%


LEBAH GANTENG

FORMAL


43

The Chart above shows that synecdoche in the official version and pirated

versions is formal equivalence. The analysis is shown from the table as follows:

19/ST/00:49:36 Wherever I went, your shadow was always

with me.

19/TT/O/00:49:36 Kemanapun aku pergi, bayanganmu selalu

bersamaku

FORMAL

19/TT/A/00:49:36 Ke mana pun aku pergi, bayanganmu

selalu menemaniku.

FORMAL

19/TT/L/00:49:36 Ke manapun aku pergi, bayanganmu

selalu bersamaku.

FORMAL

The sentence “your shadow, it's been following me” is a synecdoche. This

is figurative language which is a part is used for the whole or the special for

general. In fact, all of her body has been following her, not only her shadow. It

just represents the whole body of the person.

In all versions of the Indonesian subtitle, “wherever I went, your shadow

was always with me” is translated similarly in the TT. All of the translations of

the ST to the TT are equivalent. It is called formal equivalence. The subtitlers try

to reproduce the same meaning in the the ST and TT.

6. Overstatement

Overstatement is usually called hyperbole. It is and It is exaggeration

statement. There are many overstatements found in the TT of official version in

Maleficent.


44

Chart 4.9 The Equivalence of Overstatement in the Official and Pirated


The figurative languages of overstatement in the official and the pirated

version by Archangel Gabriel and Lebah Ganteng are classified as formal

equivalence. The analysis is shown from the table as follows:

01/ST/00:00:43 Only a great hero or a terrible villain might

bring them together.

01/TT/O/00:00:43 Hanya pahlawan terbesar atau penjahat

terburuk yang dapat menyatukan mereka.

FORMAL

01/TT/A/00:00:43 Hanya seorang pahlawan yang baik atau

penjahat yang kejam yang bisa

menyatukan mereka.

FORMAL

01/TT/L/00:00:43 Hanya pahlawan hebat atau penjahat

mengerikan yang dapat menyatukan

mereka.

FORMAL

The sentence “only a great hero or a terrible villain might bring them

together” is an overstatement because the narrator states this sentence more than

the truth in order to make the point more serious or important or beautiful. Who

might bring them together is not a great hero or a terrible villain, she is

0%

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40%

60%

80%

100%

120%


LEBAH GANTENG

FORMAL


45

Maleficent. Even though Maleficent has mixed personality, she is not a great hero

or terrible villain. This is just an exaggerating statement.

In the official and pirated versions subtitle by Archangel Gabriel and

Lebah Ganteng, the source text “only a great hero or a terrible villain might bring

them together” is translated similarly to the target texts. All of the translations are

equivalent with the source text. This translation is called formal equivalence. The

subtitlers deliver the message based on its form and content.

7. Sarcasm

Sarcasm is the kind of figurative language that is found in Maleficent that

is simply bitter or cutting speech, intended to wound the feelings. It is a teasing

allusion which is said rudely and directly.

Chart 4.10 The Equivalence of Sarcasm in the Official and Pirated Versions

of Maleficent

0%

20%

40%

60%

80%

100%

120%


LEBAH GANTENG

FORMAL

DYNAMIC


46

The Chart above is the result of the formal and dynamic equivalence in the

sarcasm of three different version of Indonesian subtitle. Based on the Chart,

there are 100% of formal equivalence occurs in the sarcasm of the official and

Archangel Gabriel. Meanwhile, according to the Chart, formal and dynamic

equivalence have the same proportion in the pirated version by Lebah Ganteng.

The analysis is shown from the table as follows:

11/ST/00:37:29 Bloated goat!!

11/TT/O/00:37:29 Kambing gemuk FORMAL

11/TT/A/00:37:29 Kambing gendut! FORMAL

11/TT/L/00:37:29 Gendut tua! DYNAMIC

The ST “bloated goat” is a sarcasm because the words used is not good to

hear. They said it in order to insult, to remark, or to ridicule someone. Based on

the context of the story in the movie, “bloated goat” refers to someone who is fat

and old. It is just like a teasing allusion which is said rudely and directly

In the official version and pirated version subtitle by Archangel Gabriel,

“bloated goat” is translated into “kambing gendut” and “kambing gemuk.” Both

of the translations are equivalence because the subtitlers try to reproduce the same

meaning. “ Kambing gendut” and “ kambing gemuk” have the same meaning

from the phrase “ bloated goat”. The subtitlers deliver the message based on its

form and content.

In the pirated version by Lebah Ganteng, the ST “bloated goat” is

translated into “gendut tua.” This is dynamic equivalence. It is a creative

translation to make it understandable. The subtitlers try to reproduce the same

response by using dynamic equivalence.


47

20/ST/01:03:15 I am spending 16 years in this miserable

hovel with two imbeciles

20/TT/O/1:03:1 Aku menghabiskan 16 tahun di pondok reyot

ini bersama dua orang bodoh ini.

FORMAL

20/TT/A/01:03:

15

Aku habiskan 16 tahun di gubuk yang

menyedihkan ini dengan dua orang bodoh ini

FORMAL

20/TT/L/01:03:1

5

Kuhabiskan 16 tahun di gubuk jelek ini

dengan dua orang bodoh ini

FORMAL

The sentence “I am spending 16 years in this miserable hovel with two

imbeciles” is a sarcasm because the word imbecile refers to someone who is

stupid. They said it in order to insult, to remark, or to ridicule.

In all versions of subtitle whether official and pirated, the ST “I am

spending 16 years in this miserable hovel with two imbeciles” is translated into

”aku menghabiskan 16 tahun di pondok reyot ini bersama dua orang bodoh ini,

aku habiskan 16 tahun di gubuk yang menyedihkan ini dengan dua orang bodoh

ini,” and “kuhabiskan 16 tahun di gubuk jelek ini dengan dua orang bodoh ini.”

All of the translations are equivalent. It is formal equivalence. The subtitlers

deliver the message based on its form and content. Moreover, It distorts the

grammatical and stylistic pattern of the receptor language. The subtutlers adjust

the structure pattern in TL.

C. Subtitling Strategies of the Figurative Language in the Official and

Pirated Versions of Maleficent

In translating the English subtitle of Maleficent to the Indonesian subtitle,

the subtitlers applied the subtitling strategies in order to balance the content in the

ST to the TT. The figurative language of ST can change to the non-figurative

language in the TT. It depends on which subtitling strategies applied to translate


48

the ST. Based on the second problem formulation, the researcher analyzes and

categorizes the subtitling strategies of the figurative in Maleficent in order to

contrast the Indonesian subtitle of the official and pirated versions by Archangel

Gabriel and by Lebah Ganteng. The equivalence in Maleficent needs to be

analyzed in order to know which subtitling strategies found in the each version.

Each of them does not conduct the same subtitling strategies in translating the

figurative language.

Chart 4.11 Subtitling Strategies in Maleficent

There are three types of subtitling strategies found in Maleficent. They are

paraphrase, transfer, and imitation. The results of this research show the type of

subtitling strategy that is most used in Maleficent. Based on the Chart above,

transfer is 53%, paraphrase is 33% and imitation is 13%.

The researcher categorizes the figurative language to the subtitling strategy

in order to contrast the Indonesian subtitle of the official version and pirated

versions. Every subtitlers has theur own way in translating the figurative

language. The contrasting of each version is shown on the Chart below.

PARAPHRASE

TRANSFER

IMITATION


49

Chart 4.12 Subtitling Strategies in the Official Version and Pirated Versions

Subtitle of Maleficent

There are three versions of Indonesian subtitle. Each of them does not use

the same subtitling strategies in translating all of the figurative languages. In the

official, transfer is 60%, paraphrase is 27%, and imitation is 13%. In the pirated

version by Archangel Gabriel, transfer is the most subtitling strategy used and it is

53%, paraphrase is 33%, and imitation has the same as in the official which is

13%. In the pirated version by Lebah Ganteng paraphrase and transfer is almost

the same. Transfer is 47%, paraphrase is 40%, and imitation is 13%.

The figurative language in the ST will change to the non-figurative

language in the TT if the subtitlers used paraphrase subtitling strategy. The

figurative language of ST will not change if the subtitling strategy applied is

transfer. There is also some imitation applied because there are so many names of

the people and place in Maleficent in the ST.

0%

10%

20%

30%

40%

50%

60%

70%

OFFICIAL MARCHIANGEL GABRIEL LEBAH GANTENG

PARAPHRASE

TRANSFER

IMITATION

ARCHANGEL GABRIEL


50

1. Paraphrase

If the the subtitling strategy of ST to the TT is paraphrase, the figurative

language in the ST change to literal language. The most figurative language that

changed to the literal meaning is metaphor. The subtitlers usually translates the

ST metaphor to the non figurative language in order to make the reader

understand the meaning of the figurative language.

Chart 4.13 The Literal Language in the Official and Pirated Version of

Maleficent

All of the target texts in the paraphrase is literal language. There are the

translations found in this strategy. The analysis is shown from the table as

follows:


crown.

METONYMY

06/TT/A/00:15:07 Dan setelah aku mati, kau akan menjadi

raja

-

06/TT/L/00:15:07 Dan setelah kematianku, kau akan jadi

raja.

-

In Archangel Gabriel and Lebah Ganteng the ST “and upon my death, you

will take the crown” is translated into “dan setelah aku mati, kau akan menjadi

0%

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60%

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120%


LEBAH GANTENG

LITERAL LANGUAGE


51

raja and dan setelah kematianku, kau akan jadi raja.” The figurative language in

the English subtitle is metonymy. In the Indonesian subtitle of Archangel Gabriel

and Lebah Ganteng is translated into non-figurative language because the strategy

used is paraphrase.

“Crown” is translated into “raja.”. It is the figurative language of

metonymy. Itis a way of referring an entity using another closely related to it.

“Crown” is used to stand in for another word. Sometimes a metonymy is chosen

because it is a well-known characteristic of the word. Based on the example, the

strategy is used to make it easier to understand and readable by the audience.

09/ST/00:23:36 I present to you the first of his line. METAPHOR

09/TT/O/00:23:36 Kupersembahkan kepadamu pertama dari

keturunannya.

-

09/TT/A/00:23:36 Aku persembahkan kepadamu, yang

pertama

dari keturunannya

-

09/TT/L/00:23:36 Saya persembahkan kepadamu, pertama

dari keturunannya

-

In the official and pirated version by Lebah Ganteng and Archangel

Gabriel, the ST “I present to you the first of his line” is translated similarly to the

TT. The subtitling strategy applied is paraphrase because the subtitlers use another

word in order to make it understandable.

The word ”line” is translated into” keturunan.” It is not literally a “line”

which is a path through two or more points. “Line” here has the figurative

meaning as a succession of descendant of given person; a family, thus it is

translated into raja.


52

10/ST00:28:23 My wish is that you'll never be blue. METAPHOR

10/TT/O/00:28:23 Hadiahku ialah kau takkan merasa sedih. -


pernah bersedih.

-

10/TT/L/00:28:23 Hadiahku adalah kau takkan pernah

bersedih.

-

In all versions of the subtitle, the ST “my wish is that you'll never be blue”

is translated in similar way to the target texts. This subtitling strategy is

paraphrase. The subtitlers use this strategy to make it easier to understand and

readable.

The word “blue” is translated into “sedih.” It has the figurative meaning as

”sad,” thus it is not as the literal meaning as “the kinds of color.” Based on the

example, the subtitling strategy applied is paraphrase because the ST of metaphor

translated to its literal meaning.

11/ST/00:37:29 Bloated goat!! SARCASM

11/TT/L/00:37:29 Gendut tua! -

In Lebah Ganteng, the ST “bloated goat” is translated into “gendut tua.”

The subtitler uses the other word in the same context Based on the example, the

subtitling strategy applied is paraphrase because ST of metaphor is translated into

its literal meaning.

12/ST/00:38:31 As the days went on, Stefan darkened, METAPHOR

12/TT/O/00:38:31 Hari-hari berlalu Sefan semakin murung, -


murung

-

12/TT/L/00:38:31 Hari-hari terus berlalu, Stefan makin

muram.

-

In the official and pirated versions by Lebah Ganteng and by Archangel

Gabriel, the ST” as the days went on, Stefan darkened,” is transferred similarly to


53

the TT. Based on the example, this strategy is paraphrase. This strategy is used to

make it easier to understand and readable by the audience. The use of paraphrase

strategy could be seen on “Stefen darkened” which is translated into “Stefan

semakin murung/muram.”

27/ST/01:26:22 When Maleficent was but a child and her

heart was bright.

METAPHOR


bahagia.

-

27/TT/A/01:26:22 Ketika Maleficent masih kecil.dan hatinya

yang gembira.

-


bijaksana.

-

In the official version and pirated versions by Lebah Ganteng and

Archangel, “when Maleficent was but a child and her heart was bright,” is

transferred similarly to the TT.

Based on the example, this strategy is paraphrase. Here, the word

“bright” means full of light. However, the subtitlers translated it into bahagia,

gembira, or bijaksana.

2. Transfer

The first type of Gottlieb’s subtitling strategy is transfer. It. refers to the

strategy of translating the ST completely and accurately. There is no addition

explanation or modifying of view because the subtitlers translate the dialogue

literally. The figurative languages like metonymy, synecdoche, overstatement, and

sarcasm in the sources text transfer to the figurative language of the target text.

This translation called transfer subtitling strategy.


54

Chart 4.14 Transfer strategy in the Official and Pirated Versions of

Maleficent

According to the Chart above, metaphor is commonly found in the official

and pirated versions. Simile, metonymy, synecdoche, overstatement, and sarcasm

in each of the version has the same percentage. In the official, metaphor is 44%.

Simile, metonymy, synecdoche, overstatement, and sarcasm is 11%. In Archangel

Gabriel, simile, synecdoche, overstatement, sarcasm share the same percentage

that is 13%, while metaphor is 50%. Simile, synecdoche, and overstatement in

Lebah Ganteng is 14%, while metaphor is 57%.

01/ST/00:00:4

3

Only a great hero or a terrible villain might

bring them together.

OVERSTAT

EMENT

01/TT/O/00:00

:43

Hanya seorang pahlawan terbesar atau

penjahat terburuk yang dapat menyatukan

mereka.

OVERSTAT

EMENT

01/TT/A/00:00

:43

Hanya seorang pahlawan yang baik atau

penjahat yang kejam yang bisa menyatukan

mereka.

OVERSTAT

EMENT

01/TT/L/00:00

:43

Hanya seorang pahlawan hebat atau penjahat

mengerikan dapat menyatukan mereka.

OVERSTAT

EMENT

In all versions of the Indonesian subtitles, the ST “only a great hero or a

terrible villain might bring them together” is translated into “hanya seorang

0%

10%

20%

30%

40%

50%

60%

OFFICIAL ARCHANGEL GABRIEL LEBAH GANTENG

METAPHOR

SIMILE

METONYMY

SYNECDOCHE

OVERSTATEMENT

SARCASM


55

pahlawan terbesar atau penjahat terburuk yang dapat menyatukan mereka, hanya

seorang pahlawan yang baik atau penjahat yang kejam yang bisa menyatukan

mereka,” and “hanya seorang pahlawan hebat atau penjahat mengerikan dapat

menyatukan mereka.” Based on the example, this strategy is transfer. There is no

added explanation or modifying of view because the subtitlers translate the

dialogue literally.

04/ST/00:06:49 And her heart was moved. METAPHOR

04/TT/O/00:06:49 Dan tergeraklah hatinya METAPHOR

04/TT/A/00:06:49 Dan hatinya tergerak. METAPHOR

04/TT/L/00:06:49 Dan hatinya tergerak. METAPHOR

In the official and pirated versions by Archangel Gabriel and Lebah

Ganteng, the ST “and her hearth was moved” is translated into “dan hatinya

tergerak.” Based on the example, this strategy is transfer. There is no added

explanation or modifying of view because the subtitlers translate the dialogue

literally.

05/ST/00:11:41 It's the dark creatures! METAPHOR

05/TT/0/00:11:41 Itu makhluk-makhluk kegelapan! METAPHOR

05/TT/A/00:11:41 Itu makhluk-makhluk kegelapan! METAPHOR

05/TT/L/00:11:41 Itu makhluk-makhluk kegelapan! METAPHOR

In all versions of subtitle, the ST “it's the dark creatures!” is intranslated

into “itu makhluk-makhluk kegelapan!” Based on the example, this strategy is a

transfer strategy. There is no added explanation or modification of view because

the subtitlers translate the dialogue literally.


crown.

METONYMY

06/TT/O/00:15:07 Dan setelah aku mati, kau akan menerima

mahkota

METONYMY


56

In the official, the ST “and upon my death, you will take the crown is

translated into” dan setelah aku mati, kau akan menerima mahkota.” It is transfer

because there is no addition or deletion in that phrase. The subtitlers translate

the dialogue literally.

08/ST/00:23:15 I need you to be my wings. METAPHOR

08/TT/O/00:23:15 Aku butuh kau untuk menjadi sayapku METAPHOR

08/TT/A/00:23:15 Aku ingin kau menjadi sayapku. METAPHOR

08/TT/L/00:23:15 Kuingin kau jadi sayapku. METAPHOR

In the official and pirated versions, the ST “I need you to be my wings” is

translated into “aku butuh kau untuk menjadi sayapku, aku ingin kau menjadi

sayapku,” and “kuingin kau jadi sayapku”. It is a transfer strategy because there is

no addition or deletion in that phrase. The subtitlers translate the dialogue

literally.

11/ ST/ 00:37:29 Bloated goat SARCASM

11/ TT/O/00:37:29 Kambing gendut SARCASM

11/ TT/A/00:37:29 Kambing gemuk SARCASM

In the official and Archangel Gabriel, the ST “bloated goat” is translated

into “kambing gendut” and” kambing gemuk.” This strategy is transfer. The

subtitlers translate the dialogue literally.

19/ST/00:49:36

Wherever I went, your shadow was

always with me.

SYNECDOCHE

19/TT/O/00:49:36 Kemanapun aku pergi, bayanganmu

selalu bersamaku

SYNECDOCHE

19/TT/A/00:49:36 Ke mana pun aku pergi, bayanganmu

selalu menemaniku

SYNECDOCHE

19/TT/L/00:49:36 Ke manapun aku pergi, bayanganmu

selalu bersamaku.

SYNECDOCHE

In the official and pirate versions by Archangel Gabriel and by Lebah

Ganteng, the ST “wherever I went, your shadow was always with me” is


57

transferred similarly to the TT. It is a transfer strategy because there is no

addition or deletion in that phrase. The subtitlers translate the dialogue literally.

20/ST/01:03:15 I am spending 16 years in this

miserable hovel with two

imbeciles.

OVERSTATEMENT

20/TT/O/01:03:15 Aku menghabiskan

16 tahun di pondok reyot ini

bersama dua orang bodoh ini.

OVERSTATEMENT

20/TT/A/01:03:15 Ku habiskan 16 tahun di gubuk

yang menyedihkan ini bersama

dua orang bodoh ini.

OVERSTATEMENT

20/TT/L/01:03:15 Aku habiskan 16 tahun di gubuk

jelek ini bersama dua orang

bodoh ini.

OVERSTATEMENT

In the official and the pirated versions, the ST “I am spending 16 years in

this miserable hovel with two imbeciles” is transferred into “aku menghabiskan16

tahun di pondok reyot ini bersama dua orang bodoh ini, ku habiskan 16 tahun di

gubuk jelek ini bersama dua orang bodoh ini”, and “aku habiskan 16 tahun di

gubuk yang menyedihkan ini bersama dua orang bodoh ini.” It is a transfer

strategy because there is no addition or deletion in that phrase. The subtitlers

translate the dialogue literally.

23/ST/00:31:47 Asleep like death. SIMILE

23/TT/O/00:31:47 Tertidur bagaikan mati. SIMILE

23/ TT/A/00:31:47 Tertidur seperti mati SIMILE

23/TT/L/00:31:47 Tertidur layaknya mati SIMILE

In all versions of subtitles, “a sleep like death” is translated similarly into

the target text. It is a transfer strategy because there is no addition or deletion

in its phrase. The subtitlers translate the dialogue literally.


58

3. Imitation

The fourth subtitling strategy is imitation. It maintains the same form,

typically with names of people and places. In this research, the imitation found

maintains the same form tipically with the name of people in the figurative

language of Maleficent.

Chart 4.15 Transfer strategy in the Official and Pirated Versions of

Maleficent

According to the Chart above, there is a non-figurative language or literal

language of imitation in Maleficent. It occurs in all versions whether in the

official or pirated versions subtitle by Archangel Gabriel and Lebah Ganteng. The

analysis of imitation is shown from the table as follows:

12/ST/00:38:31 As the days went on, Stefan darkened, IMITATION

12/TT/O/00:38:31 Hari-hari berlalu Sefan semakin murung, IMITATION


murung

IMITATION

12/TT/L/00:38:31 Hari-hari berlalu Sefan makin muram IMITATION

The subtitle strategy applied in the table above is imitation. It maintains

the same form, typically with names of people and places. Stefan is a name of a

character in the story; therefore, the subtitlers do not have to translate it.

0%

20%

40%

60%

80%

100%

120%


LEBAHGANTENG

LITERAL LANGUAGE


59

27/ST/01:26:23 When Maleficent was but a child and her

heart was bright.

IMITATION


bahagia.

IMITATION

27/TT/A/01:26:23 Dahulu kala ketika Maleficent masih

kecil.dan hatinya yang gembira.

IMITATION


bijaksana.

IMITATION

The translation of subtitle above shows the subtitling strategy of imitation.

The ST “When Maleficent was but a child and her heart was bright.” is translated

similarly into the TT “Ketika Maleficent masih kecil dan hatinya bahagia.” The

name of Maleficent is not translated.


60

CHAPTER V

CONCLUSION

The focus of this research is to find out the equivalence and the subtitling

strategies of the figurative language of the subtitle in the official version and

pirated versions by Archangel Gabriel and by Lebah Ganteng of Maleficent. There

were 13 data selected to be analyzed.

The three versions of translation employ both formal and dynamic

equivalence. Formal equivalence is found when the figurative languages in ST are

not translated to the literal language in TT. If the figurative languages in ST are

translated to the non-figurative language, it is dynamic equivalence. .

The application of formal and dynamic translations depends upon the

types of the figurative languages. The analysis indicates that formal equivalences

found in metaphor, simile, overstatement, synecdoche, metonymy, and sarcasm.

Dynamic equivalences found in metaphor, metonymy, sarcasm, and

personification.The analysis reveals that all of the translations of the figurative

languages in the three versions are equivalent whether it uses formal or dynamic

equivalence. The result shows that 62% of figurative language is formal

equivalence. Meanwhile, 38% of figurative language uses dynamic equivalence.

The subtitling strategies applied in three versions of translation are

paraphrase, transfer, and imitation. Paraphrase subtitling strategy is applied when

the figurative languages in ST translated to the non-figurative language in TT. If

the figurative languages in ST are not translated into the literal language, the

transfer strategy is applied.


61

The subtitling strategies applied also depend on the type of equivalence. If

the subtitling strategy applied is transfer, it means that it uses formal equivalence.

If the subtitling strategy applied is paraphrase, it means that it uses dynamic

equivalence. If the subtitling strategy applied is imitation, it can be formal and

dynamic equivalence. The finding shows that 33.33% of subtitling strategy

applied is paraphrase, 53.33% is transfer, and 13.33% is imitation.

Pirated versions is better compared to the other two versions. It is proven

by its dynamic equivalence and application of paraphrase strategy in Lebah

Ganteng and Archangel Gabriel.

For further research, it is suggested to explore the translation quality by

measuring the accuracy, the acceptability, and the readability of the official and

the pirated versions of Maleficent.


62

BIBLIOGRAPHY

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/1018220090102. p df ). October 1, 2016.

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Nida, Eugene A. Toward A Science of Translating. Leiden: E.J. Brill, 1964.

Nida, Eugene and Charles R. Taber. The Theory abd Practice of Translation.

Leiden: E.J. Brill, 1964..

Nirwinastu, Diksita Galuh. Women’s Oppression as Seen through the Use of

Figurative Language in Marge Pierce’s: A Work of Article, Barbie Doll,

and, What are Big Girl Made of? Undergraduate Thesis. Yogyakarta:

Sanata Dharma University, 2012.

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http://www.sid.ir/En/VEWSSID/J_pdf%20/1018220090102.%20p%20df

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63

Stomberg, Robert. Maleficent [DVD-ROM]. United Kingdom: Disney Enterprises,

Inc., 2014

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n.d (https://subscene.com/subtitles/maleficent/indonesian/978598). August 31,

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n.d (http://www.imdb.com/title/tt1587310/). August 31, 2016.


https://subscene.com/subtitles/maleficent/indonesian/978598

http://www.imdb.com/title/tt1587310/

64

APPENDICES

APENDIX 1: Data of the Indonesian subtitle of Maleficent in the Official

Version

No. Data ST No. Data TT

01/ST/00:

00:43

Only a great hero or

a terrible villain

might bring them

together.

01/TT/O/00

:00:43

Hanya pahlawan terbesar

atau penjahat terburuk yang

dapat menyatukan mereka.

04/ST/00:

06:49

And her heart was

moved.

04/TT/O/00

:06:49

Dan tergeraklah hatinya.

05/ST/00:

011:41

It's the dark

creatures!

05/TT/O/00

:11:41

Itu makhluk-makhluk

kegelapan!

06/ST/00:

015:07

And upon my death,

you will take the

crown.

06/TT/O/00

:15:07

Dan saat aku mati, kau akan

menerima mahkota

08/ST/00:

23:15

I need you to be my

wings.

08/TT/O/00

:23:15

Aku butuh kau untuk

menjadi sayapku

09/ST/00:

23:36

I present to you the

first of his line.

09/TT/O/00

:23:36

Kupersembahkan kepadamu

pertama dari keturunannya.

10/ST/00:

28:23

My wish is that

you'll never be blue.

10/TT/O/00

:28:23

Hadiahku ialah kau takkan

merasa sedih.

11/ST/00:

37:29

Bloated goat!! 11/TTO//00

:37:29

Kambing gemuk

12/ST/00:

38:31

As the days went on,

Stefan darkened,

12/TT/O/00

:38:31

Hari-hari berlalu Stefan

semakin murung,

19/ST/00:

49:36

Wherever I went,

your shadow was

always with me.

19/TT/O/00

:49:36

Kemanapun aku pergi,

bayanganmu selalu

bersamaku

20/ST/01:

03:15

I am spending 16

years in this

misarable hovel with

two imbeciles

20/TT/O/01

:03:15

Aku menghabiskan

16 tahun di pondok reyot ini

bersama dua orang bodoh

ini.

23/ST/01:

09:05

Fall asleep like

death.

23/TT/O/01

:09:05

Tertidur bagaikan mati.


65

27/ST/01:

26:22

When Maleficent

was but a child and

her heart was

bright.

27/TT/O/01

:26:22

Ketika Maleficent masih

kecil dan hatinya bahagia.

APENDIX 2: Data of the Indonesian subtitle of Maleficent in the Pirated

Version by Archangel Gabriel

No. Data ST No. Data TT

01/ST/00:

00:43


a terrible villain

might bring them

together.

01/TT/A/00

:00:43

Hanya seorang pahlawan

yang baik atau penjahat

yang kejam yang bisa

menyatukan mereka.

04/ST/00:

06:49

And her heart was

moved.

04/TT/A/00

:06:49

Dan hatinya tergerak.

05/ST/00:

11:41

It's the dark

creatures!

05/TT/A/00

:11:41

Itu makhluk-makhluk

kegelapan!

06/ST/00:

15:07

And upon my death,

you will take the

crown.

06/TT/A/00

:15:07

Dan setelah aku mati,kau

akan menjadi Raja

08/ST/00:

23:15

I need you to be my

wings.

08/TT/A/00

:23:15

Aku ingin kau menjadi

sayapku.

09/ST/00:

23:36


first of his line.

09/TT/A/00

:23:36

Aku persembahkan

kepadamu, pertama dari

keturunannya:

10/ST/00:

28:23

My wish is that


10/TT/A/00

:28:23

Harapanku adalah bahwa

engkau takkan pernah

bersedih.

11/ST/00:

37:29

Bloated goat!! 11/TT/A/00

:37:29

Kambing gendut!

12/ST/00:

38:31


Stefan darkened,

12/TT/A/00

:38:31

Hari-hari terus berlalu,

Stefan semakin murung.

19/ST/00:

49:36

Wherever I went,

your shadow was

always with me.

19/TT/A/00

:49:36

Ke mana pun aku pergi,

bayanganmu selalu

menemaniku.

20/ST/01:

03:15

I am spending 16

years in this

20/TT/A/01

:03:15

Aku habiskan 16 tahun di

gubuk yang menyedihkan


66


two imbeciles

ini dengan dua orang bodoh

ini

23/ST/01:

09:05

Fall asleep like

death.

23/TT/A/01

:09:05

Tertidur seperti mati

27/ST/01:

26:22

When Maleficent

was a child and her

heart was bright.

27/TT/A/01

:26:22

Ketika Maleficent masih

kecil.dan hatinya yang

gembira.

APENDIX 3: Data of the Indonesian subtitle of Maleficent in the Pirated

Version by Lebah Ganteng

No. Data ST No. Data

TT

01/ST/00:00:

43


a terrible villain

might bring them

together.

01/TT/L/00:0

0:43

Hanya pahlawan hebat

atau penjahat

mengerikan yang dapat

menyatukan mereka.

04/ST/00:06:

49

And her heart was

moved.

04/TT/L/00:0

6:49

Dan hatinya tergerak.

05/ST/00:11:

41

It's the dark

creatures!

05/TT/L/00:1

1:41

Itu makhluk-makhluk

kegelapan!

06/ST/00:15:

07

And upon my death,

you will take the

crown.

06/TT/L/00:1

5:07

Dan setelah

kematianku, kau akan

jadi Raja.

08/ST/00:23:

15

I need you to be my

wings.

08/TT/L/00:2

3:15

Kuingin kau jadi

sayapku.

09/ST/00:23:

36


first of his line.

09/TT/L/00:2

3:36

Saya persembahkan

kepadamu, pertama dari

keturunannya:

10/ST/00:28:

23

My wish is that


10/TT/L/00:2

8:23

Hadiahku untukmu

adalah kau takkan

pernah bersedih.

11/ST/00:37:

29

Bloated goat!! 11/TT/L/00:3

7:29

Gendut tua!

12/ST/00:38:

31


Stefan darkened,

12/TT/L/00:3

8:31

Hari - hari berlalu,

Stefan makin muram.

19/ST/00:49:

36

Wherever I went,

your shadow was

always with me.

19/TT/L/00:4

9:36

Ke manapun aku pergi,

bayanganmu selalu

bersamaku.


67

20/ST/01:03:

15

I am spending 16

years in this


two imbeciles

20/TT/L/01:0

3:15

Ku habiskan 16 tahun

di gubuk jelek ini

dengan dua orang

bodoh ini

23/ST/01:09:

05

Fall asleep like

death.

23/TT/L/01:0

9:05

Tertidur layaknya mati

27/ST/01:26:

22

When Maleficent

was a child and her

heart was bright.

27/TT/L/01:2

6:22

Saat Maleficent masih

kecil dan hatinya yang

bijaksana.

APENDIX 4: The Result of the Official Version’s Equivalence and Subtitling

Strategy

No.

Data

ST No.

Data

TT Equiva

Lence

Subtutling

Strategy

01/ST

/00:00

:43

Only a great

hero or a terrible

villain might

bring them

together.

01/TT/

O/00:0

0:43

Hanya

pahlawan

terbesar atau

penjahat

terburuk yang

dapat

menyatukan

mereka.

Formal Transfer

04/ST

/00:06

:49

And her heart

was moved.

04/TT/

O/00:0

6:49

Dan

tergeraklah

hatinya.

Formal Transfer

05/ST

/00:01

1:41

It's the dark

creatures!

05/TT/

O/00:1

1:41

Itu makhluk-

makhluk

kegelapan!

Formal Transfer

06/ST

/00:01

5:07

And upon my

death, you will

take the crown.

06/TT/

O/00:1

5:07

Dan saat aku

mati, kau akan

menerima

mahkota

Formal Transfer

08/ST

/00:23

:15

I need you to be

my wings.

08/TT/

O/00:2

3:15

Aku butuh kau

untuk menjadi

sayapku

Formal Transfer

09/ST

/00:23

:36

I present to you

the first of his

line.

09/TT/

O/00:2

3:36

Kupersembahk

an kepadamu

pertama dari

keturunannya.

Dynamic Paraphrase


68

10/ST

/00:28

:23

My wish is that

you'll never be

blue.

10/TT/

O/00:2

8:23

Hadiahku ialah

kau takkan

merasa sedih.

Dynamic Paraphrase

11/ST

/00:37

:29

Bloated goat!! 11/TTO

//00:37:

29

Kambing

gemuk

Formal Transfer

12/ST

/00:38

:31

As the days

went on, Stefan

darkened,

12/TT/

O/00:3

8:31

Hari-hari

berlalu Stefan

semakin

murung,

Dynamic Paraphrase

Imitation

19/ST

/00:49

:36

Wherever I

went, your

shadow was

always with me.

19/TT/

O/00:4

9:36

Kemanapun

aku pergi,

bayanganmu

selalu

bersamaku

Formal Transfer

20/ST

/01:03

:15

I am spending

16 years in this

misarable hovel

with two

imbeciles

20/TT/

O/01:0

3:15

Aku

menghabiskan

16 tahun di

pondok reyot

ini bersama

dua orang

bodoh ini.

Formal Transfer

23/ST

/01:09

:05

Fall asleep like

death.

23/TT/

O/01:0

9:05

Tertidur

bagaikan mati.

Formal Transfer

27/ST

/01:26

:22

When

Maleficent was

but a child and

her heart was

bright.

27/TT/

O/01:2

6:22

Ketika

Maleficent

masih kecil

dan hatinya

bahagia.

Dynamic Paraphrase

Imitation


69

APENDIX 5: The Result of the Pirated Version by Archangel Gabriel’s

Equivalence and Subtitling Strategy

No.

Data

ST No.

Data

TT Equiva

Lence

Subtitling

Strategy

01/ST

/00:00

:43

Only a great hero

or a terrible

villain might

bring them

together.

01/TT/

A/00:0

0:43

Hanya seorang

pahlawan yang

baik atau

penjahat yang

kejam yang bisa

menyatukan

mereka.

Formal Transfer

04/ST

/00:06

:49

And her heart was

moved.

04/TT/

A/00:0

6:49

Dan hatinya

tergerak.

Formal Transfer

05/ST

/00:11

:41

It's the dark

creatures!

05/TT/

A/00:1

1:41

Itu makhluk-

makhluk

kegelapan!

Formal Transfer

06/ST

/00:15

:07

And upon my

death, you will

take the crown.

06/TT/

A/00:1

5:07

Dan setelah aku

mati,kau akan

menjadi Raja

Dynami

c

Paraphrase

08/ST

/00:23

:15

I need you to be

my wings.

08/TT/

A/00:2

3:15

Aku ingin kau

menjadi

sayapku.

Formal Transfer

09/ST

/00:23

:36

I present to you

the first of his

line.

09/TT/

A/00:2

3:36

Aku

persembahkan

kepadamu,

pertama dari

keturunannya:

Dynami

c

Paraphrase

10/ST

/00:28

:23

My wish is that

you'll never be

blue.

10/TT/

A/00:2

8:23

Harapanku

adalah bahwa

engkau takkan

pernah bersedih.

Dynami

c

Paraphrase

11/ST

/00:37

:29

Bloated goat!! 11/TT/

A/00:3

7:29

Dasar kambing

gendut!

Formal Transfer

12/ST

/00:38

:31

As the days went

on, Stefan

darkened,

12/TT/

A/00:3

8:31

Hari-hari terus

berlalu, Stefan

semakin

murung.

Dynami

c

Paraphrase

Imitation

19/ST

/00:49

:36

Wherever I went,

your shadow was

always with me.

19/TT/

A/00:4

9:36

Ke mana pun

aku pergi,

bayanganmu

selalu

menemaniku.

Formal Transfer


70

20/ST

/01:03

:15

I am spending 16

years in this

misarable hovel

with two

imbeciles

20/TT/

A/01:0

3:15

Aku habiskan

16 tahun di

gubuk yang

menyedihkan ini

dengan dua

orang bodoh ini

Formal Transfer

23/ST

/01:09

:05

Fall asleep like

death.

23/TT/

A/01:0

9:05

Tertidur seperti

mati

Formal Transfer

27/ST

/01:26

:22

When

Maleficent was a

child and her

heart was bright.

27/TT/

A/01:2

6:22

Ketika

Maleficent

masih kecil.dan

hatinya yang

gembira.

Dynami

c

Paraphrase

Imitation

APENDIX 6: The Result of the Pirataed Version by Lebah Ganteng’s

Equivalence and Subtitling Strategy

No.

Data

ST No. Data TT Equiva

lence

Subtitling

Strategy

01/ST/0

0:00:43

Only a great

hero or a

terrible villain

might bring

them together.

01/TT/L/

00:00:43

Hanya

pahlawan

hebat atau

penjahat

mengerikan

yang dapat

menyatukan

mereka.

Formal Transfer

04/ST/0

0:06:49

And her heart

was moved.

04/TT/L/

00:06:49

Dan hatinya

tergerak.

Formal Transfer

05/ST/0

0:11:41

It's the dark

creatures!

05/TT/L/

00:11:41

Itu makhluk-

makhluk

kegelapan!

Formal Transfer

06/ST/0

0:15:07

And upon my

death, you

will take the

crown.

06/TT/L/

00:15:07

Dan setelah

kematianku,

kau akan jadi

Raja.

Dynamic Paraphrase

08/ST/0

0:23:15

I need you to

be my wings.

08/TT/L/

00:23:15

Kuingin kau

jadi sayapku.

Formal Transfer

09/ST/0

0:23:36

I present to

you the first

of his line.

09/TT/L/

00:23:36

Saya

persembahkan

kepadamu,

pertama dari

Dynamic Paraphrase


71

keturunannya:

10/ST/0

0:28:23

My wish is

that you'll

never be blue.

10/TT/L/

00:28:23

Hadiahku

untukmu

adalah kau

takkan pernah

bersedih.

Dynamic Paraphrase

11/ST/0

0:37:29

Bloated goat!! 11/TT/L/

00:37:29

Gendut tua! Dynamic Paraphrase

12/ST/0

0:38:31

As the days

went on,

Stefan

darkened,

12/TT/L/

00:38:31

Hari - hari

berlalu, Stefan

makin muram.

Dynamic Paraphrase

Imitation

19/ST/0

0:49:36

Wherever I

went, your

shadow was

always with

me.

19/TT/L/

00:49:36

Ke manapun

aku pergi,

bayanganmu

selalu

bersamaku.

Formal Transfer

20/ST/0

1:03:15

I am spending

16 years in

this misarable

hovel with

two imbeciles

20/TT/L/

01:03:15

Ku habiskan

16 tahun di

gubuk jelek ini

dengan dua

orang bodoh

ini

Formal Transfer

23/ST/0

1:09:05

Fall asleep

like death.

23/TT/L/

01:09:05

Tertidur

layaknya mati

Formal Transfer

27/ST/0

1:26:22

When

Maleficent

was a child

and her heart

was bright.

27/TT/L/

01:26:22

Saat

Maleficent

masih kecil

dan hatinya

yang

bijaksana.

Dynamic Paraphrase

Imitation


Documents

OFFICIAL AND PIRATED VERSIONS OF INDONESIAN … · adalah parafrase dan 13.33% adalah imitasion. Dalam versi bajakan oleh Lebah Ganteng, 47% strategi subtitel adalah parafrase, 40%