CHAPTER IINTRODUCTION

A. Background of Study

Language is the communication tool used in society, which is transmitter of

each language and pour some ideas, thoughts, and ideas on the partner said. Every

idea they convey according to specific goals and interests of partners in order to catch

some clearly said. The purpose of submission of these languages depends on the

speakers, the owner of the first idea. Then it came from a wide variety of languages

due the background, purpose, goals, and different messages. As Chaer and Agustina

said about the language was varied. Even if a language has certain rules or patterns

are similar, but due to a social background and habits are different, then it becomes a

variety of languages, both from the level of phonological, syntactic, and at the level

of the lexicon.

Language born of an individual to another individual. Then the two

individuals forming a group (community) has to hold communication. In

communications, the language is influence of local accent and her social everyday.

And if it is calculated not just one or two groups, they are following the use of the

same language. Back to each community they can not be separated by language

background and habits in which they originated.

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Translation is the transfer in writing a text message from a language into

another language text.1 Understanding the content level is not only related to the basic

meaning (meaning of material), an idea or concept contained in the content, but all

the information in the text SL, ie all the norms of language, such as lexical meaning,

grammatical meaning, nuance stilistis / expressive nuance. In other words, the

translation is an assessment of the lexicon, grammatical structure, communication

situation, and cultural contacts between the two languages are done through the

analysis to determine the meaning.

The definition of the translation above refers to the importance of disclosure

of meaning or the message intended in the original discourse. In translation, the

author of the message should be maintained and communicated to the reader the

translation, the contents of the SL should be the same as the TL to the message

intended by the SL can be understood in a reader TL although its form may differ.

Thus, equivalent in this case does not mean the same, but contain the same message.

From the description above, it can be argued that the translation is not

something simple, not limited to transliterate from one language into another

language and not anyone can do without studied. As stated in Simatupang Luther2

that "Translation is not everybody's art". Translate, for Luther, is an art that can not

simply belong to every person. This suggests that translating is not easy. He requires

1 Hoed, Proses tentang penerjemahan, (Jakarta : Pusat Pembinaan dan Pengembangan Bahasa, 2006 ) ,p.512 Simatupang Luther, Proses Pengantar teori terjemahan, ( Jakarta : Ditjen. Dikti, Departemen Pendidikan Nasional, 2000 ), p.3-5

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a complex skill. As an art, as well as art music, visual arts, dance, translating intuitive

therefore unlikely to be developed without the knowledge, training and experience.

The opinion above, Hidayat suggested that developing proficiency may not

translate into professional skills without the knowledge of translation techniques,

intensive training and experience that a lot.3 In line with what was raised suggests

that translation is a series of learning process that moves continuously through three

phases, namely the instinct, experience and habits.4 These three stages are actually

thinking an American philosopher and inventor of the science of semiotics, Charles

Sanders Peirce is simplified by Robinson as a foundation in translating. Peirce states

that the relationship between experience and habits of a triad framework that stems

from instinct through experience and eventually become a habit. In this process,

instinct (instinct) or a general readiness unfocused ranks first; second is the

experience (experience) which is based on events and activities that affect the lives of

individuals from the outside; and third, custom (habit) is more important than the

differences between general readiness and experience from outside because it

combines the precision of both the process actions in particular to act in certain ways

under certain conditions which are formed by experience, for example translating

certain texts in certain ways. The accuracy of this action is by Piaget referred to as

intelligence. According to Piaget, intelligence is what we use when we do not know

what to do. If someone managed to find the right answer to a problem of living with

3 Rahayu. S. Hidayat, Pengatar Penerjemahan, ( Depok : Lembaga Penelitian Universitas Indonesia, 2000 ), p. 354 Ibid,p.163-164

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many possible answers, he is a clever man. But there is more that needed to be a

creative aspect that is smart as a means to discover something new.

Indonesian vocabulary words are enriched by absorption of various foreign

languages, for example from English, German, Dutch, French, and Arabic. Uptake

words entered into the Indonesian language through the ways the word was adopted,

namely the adoption, adaptation, translation and creation. How to adoption occurs

when the language user to take shape and meaning of foreign words being absorbed

as a whole, like supermarkets, plaza, mall, hotdog is an example of how the

absorption of adoption. Way of adaptation occurs when the language user simply

takes the meaning of Source Language (English language) being absorbed and

spelling or the way of writing customized by Target Language (bahasa). Such as

scare crow, Neighborhoods watch scheme, food on the ground, and presents an

example of uptake word Cultural adaptation.

Therefore, the writer interested in analysis the adaptation that occurs in

Kamus Lengkap Indonesia-Inggris by Allan M. Stevens and A. Ed Schimidgall-

Telling For determine the culture equivalent between two situations that can be

accepted or understood by the reader and the message in the source language and can

be instantly understandable.

So, which is the analyzed in this research there is a change in adaptation when

translating a source language into target language in. Kamus Lengkap Indonesia-

Inggris by Allan M. Stevens and A. Ed Schimidgall-Telling

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B. Focus of the Study

In order to limit this research, the writer only focuses on the adaptation

occurred in the translation Kamus Lengkap Indonesia-Inggris by Allan M.

Stevens and A. Ed Schimidgall-Telling in two languages English as the source

language and Bahasa as the target language.

C. The Research Question

The questions in this research is:

1. How does change of meaning in adaptation from bahasa Indonesia into

English language in Kamus Lengkap Indonesia-Inggris by Allan M. Stevens

and A. Ed Schimidgall-Telling?

2. What are the differences of meaning adaptation between Bahasa Indonesia

and English language in the Kamus Lengkap Indonesia-Inggris by Allan M.

Stevens and A. Ed Schimidgall-Telling?

D. Objective of the Research

Based on the research questions above, the writer has several objectives of the

research as following:

To know change of meaning in adaptation from bahasa into English language in

Kamus Lengkap Indonesia-Inggris by Allan M. Stevens and A. Ed Schimidgall-

Telling.

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To know what meaning change in adaptation from Bahasa Indonesia into English

language Kamus Lengkap Indonesia-Inggris by Allan M. Stevens and A. Ed

Schimidgall-Telling”

E. Benefit of the Research

The benefit of this research is to increase knowledge about the adaptation of

translation that a translator can be more aware of the change some language to be

adapted to the meanings that exist in the target language. To know the language

element transferred from one culture to another, which may often, as in this case,

involve translation, and which, as mentioned earlier, has been ignored in many

studies on adaptations.

F. Research Methodology

1. The Method of Research

In this research the writer use the qualitative descriptive method, the writer

tries to describe the adaptation in translation “Kamus Lengkap Indonesia-Inggris by

Allan M. Stevens and A. Ed Schimidgall-Telling

2. Data Analysis

The Analyze data are collected by using qualitative, among others;

1. The writer read Kamus Lengkap Indonesia-Inggris by Allan M. Stevens and A.

Ed Schimidgall-Telling Then, search for a words using the adaptation from the

text.

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2. The writer read the bahasa Indonesia and English language text, and then

search for text which includes adaptation. After that, the writer marked and

recorded on a small note.

3. The Technique of Data Collecting

The technique of data collecting by the writer take advantage of the research’s

own self as the main instrument to obtain the required data. First, the writer reads the

theory of translation from various sources; book, internet, etc. second, the writer

reading Kamus Lengkap Indonesia-Inggris by Allan M. Stevens and A. Ed

Schimidgall-Telling between Bahasa Indonesia as a source language and English

language as a target language and choose which contains the adaptation of translation

by using Adaptation Culture Theory.

4. The Unit of Analysis

This unit of analysis in this research is Kamus Lengkap Indonesia-Inggris by

Allan M. Stevens and A. Ed Schimidgall-Telling

CHAPTER II

THEORETICAL FRAMEWORK

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A. The Meaning of Translation

Translation is the communication process in how you communicate to each

other even in cross culture, it provides access to something, some message, that

already exist, than it always therefore a secondary communication. Normally, a

communicative event happens just once. With translation communication more

easier reduplicated for people originally and preventing miscommunication to

each other and appreciating the original event. and translation is the replacement

of an original text with another text

1. Translation is the communication of the meaning of a source-language

text by means of an equivalent target-language text.5 Whereas interpreting

undoubtedly antedates writing, translation began only after the appearance

of written literature; there exist partial translations of the Sumerian Epic of

Gilgamesh (ca. 2000 BC) into Southwest Asian languages of the second

millennium BCE.6

2. Translators always risk inappropriate spill-over of source-language idiom

and usage into the target-language translation. On the other hand, spill-

overs have imported useful source-language calques and loanwords that

have enriched the target languages. Indeed, translators have helped

substantially to shape the languages into which they have translated.7

5 Tom McArthur, The Oxford Companion to the English Language,( Oxford: Pergamon Press ed., 1992), p.54.

6 J.M. Cohen, "Translation", (New York: Encyclopedia Americana, 1986), vol. 27, p. 12.

7 Christopher Kasparek, The Translator's Endless Toil, ( The Polish Review, vol. XXVIII, no. 2, 1983), p. 84-87.

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3. The word translation derives from the Latin translatio (which itself comes

from trans- and fero, together meaning "to carry across" or "to bring

across"). The modern Romance languages use words for translation

derived from that source and from the alternative Latin traduco ("to lead

across"). The Germanic and Slavic languages likewise use calques based

on these Latin sources.8

4. Translation can be defined as an act of interpretation of the meaning of a

content and consequent re-production of equivalent content. The content

or the text that is required to be translated is called "Source Text" and the

language in which the source text is to be translated is known as "Target

Text". In simple language, translation is also described as a

communication written in second language having the identical meaning

as written in a first language.

B. The Meaning Adaptation in Translation

Adaptation may be understood as a set of translative operations which result

in a text that is not accepted as a translation but is nevertheless recognized as

representing a source text of about the same length. As such, the term may

embrace numerous vague notions such as imitation, rewriting, and so on. Strictly

speaking, the concept of adaptation requires recognition of translation as non-

adaptation, as a somehow more constrained mode of transfer. For this reason, the

history of adaptation is parasitic on historical concepts of translation.

8 Ibid, p. 83.

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The initial divide between adaptation and translation might be dated from

CICERO and Horace, both of whom referred to the interpret (translator) as

working word-for-word and distinguished this method from what they saw as

freer but entirely legitimate results of transfer operations. The different

interpretations given to the Horatian verse, Nee verbum verbo eurabis reddere

fidus interpres (' and you will not render word-for-word [like a] faithful

translator') - irrespective of whether they were for or against the word-for-word

precept - effectively reproduced the logic by which adaptations could be

recognized.9

The golden age of adaptation was in the seventeenth and eighteenth

centuries, the epoch of the belles infideles, which started in France and then

spread to the rest of the world. In the 1970s, the formalist theorist tried to define

Translation as a communicative act while a knowledge the domestic values that

come into play the target norms that constrain communication10. The very free

translations carried out during this period were justified in terms of the need for

foreign texts to be adapted to the tastes and habits of the target culture, regardless

of the damage done to the original. The nineteenth century witnessed a reaction

to this 'infidelity', but adaptations continued to predominate in the theatre. In the

twentieth century, the proliferation of technical, scientific and commercial

9 John Milton, Research Model In Translation Studies, (Brazil: Universidade de São Paulo, Brazil 2011),p.1-210 Lawrence Venuti, The Translation Studies Reader ( London: Routledge 2000 ),p.483

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documents has given rise to a preference for transparency in translation, with an

emphasis on efficient communication; this could be seen as licensing a form of

adaptation which involves rewriting a text for a new readership.

Generally speaking, historians and scholars of translation take a negative

view of adaptation, dismissing the phenomenon as distortion, falsification or

censorship, but it is rare to find clear definitions of the terminology used in

discussing this controversial concept.

C. Distinction Adaptation In Translation.

Sometime it’s very difficult to say that Adaptation is part of Translation while

it is true that in certain situations, a so-called "straight" translation is not appropriate

it is not true that all good translations are in fact adaptations. In reality, a good

translation is not an adaptation. A truly good translation must remain faithful to the

full context of the source text in terms of meaning as well as style, appearance,

register and message. The words used to convey it are as important as the message,

and while of course one must make allowances for what the reader will or will not

understand in the target language, the translator should be understand “neighborhood

watch scheme” if it is targeted to a particular text and is written in a particular

register in the source language, it must be targeted to the corresponding text and

written in the corresponding register of the target language.

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An adaptation, on the other hand, takes the ideas of the source text and re-

writes them in a completely new way. The source text may be altered somewhat to

appeal more to a new text in some movie or it may be placed in a different setting.

Adaptations are more common in literary, poetic or advertising media, where you can

choose to, either media (form) or literal meaning in favor of conveying a particular

message or emotion, if one or the other is considered more important to the individual

situation. The same kind of decision can be made on whether to translate or to adapt a

piece of text. For example, "pakeweuh in a translation meant “ feel shy but an

adaptation that creates a new version of the same text, but with a twist that is meant

awkwardness or uncomfortable different from feel shy. Both, however, are equally

good but serve different purposes.

A related nation is that of localization. This is where this concept gets tricky,

because while localization often involves translation, it belongs to a very specific

modern reality. Localization is the process used to adjust a product or service (usually

software and websites but it can also include products that come with a lot of manuals

and accessory packages) to a particular language, culture, and desired local "look-

and-feel." In localizing a product, in addition to idiomatic language translation, such

details as time zones, currencies, national holidays, local color sensitivities, product

or service names, gender roles and geographic examples must all be considered.

A successfully localized service or product is one that appears to have been

developed within the local culture. Basil Hatim and Ian Mason said when translating

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is looked upon as an act of communication which attempt to relay, across cultural and

linguistic boundaries, another act of communication (which may have been intended

for different purpose and different readers/hearers).11 Localized texts include texts

that may have to be produced several times in the same language, but adjusted for

dialectal and other cultural differences (Blangkon versus headgear, dagelan versus

joke, etc.), or texts that specifically target one area where that language is spoken.

However, an adaptation have the same content and message are generally still

expressed in the same way, and such products are often designed to be easily

localized without needing to alter the format, style or imagery. Meanwhile, it is not

only translations of scientific and legal texts that require faithfulness to the text -

often referred to as straight translations. Newspaper articles, dictionary must retain

all the same facts and be addressed to a corresponding audience in the target language

community. Government documents, corporate literature, public information

booklets, travel guides, textbooks and many other types of texts have to retain the

same content, same register, same style and same format when translated even while

respecting the structure, grammar and cultural baggage of the target language.

Otherwise, you no longer have a translation but have moved into the area of

adaptation. Language is culturally embedded: it both expresses and shapes cultural

reality, and the meaning of linguistic item are used. For example, a simple expression

such as we had Dinner written in British cultural context cannot be transposed into

11 Basil Hatim, Ian Mason, The Translator as communicator,(London : Routledge 1997),p.1-2

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Arabic, German, Finnish or indeed an American English context without considering

the different cultural meaning this expression acquires in these different context12

in order to concentrate now on what happens to the text world in translation

independently of situation of cultural hegemony, let us first consider an example

which the target language culture might be expected to share the cultural assumption,

beliefs and value systems discernible in the source language. a true translation must

be written in a manner that is natural and appropriate to the target language, but may

not diverge from the essence of the source text; nothing may be added, deleted or in

any other way altered from the source text.13 A true adaptation is a re-invention of the

message to suit a new audience, whether that be a new language or different age or

cultural group, modern vs. previous era, etc. Is an innovative translation agency that

provides diverse language solutions that include customized translation, editing,

revision and proofreading services to meet clients' communication needs.

D. Kind of Adaptation

A Theory of Adaptation presents a comprehensive and general theory of adaptations.

Adaptations are widespread and universal. They seem common and natural, but pose

curious problems in content, structure, and intertextual. The work here looks to

develop a theory of adaptations in general, not just with novels to film.

12 Juliana House, Translation, ( Oxford: University press 2009 ),p.11-12 13 Op.cit.146

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It is possible to classify definition of adaptation under specific themes (translation'

technique, genre, meta-language, faithfulness), though inevitably these definitions

tend to overlap.this is the freest form translation. It is used mainly for plays

( comedies ) and poetry; the theme; characters, the SL culture converted to the TL

culture and text rewritten.14 And then sometime adaptation can be untranslatable from

Source language into Target language it call Untranslatability is a property of a text,

or of any utterance, in one language, for which no equivalent text or utterance can be

found in another language when translated.

Terms are, however, neither exclusively translatable nor exclusively untranslatable;

rather, the degree of difficulty of translation depends on their nature, as well as on the

translator's knowledge of the languages in question. In before explanation, we have

talked about the kind of translation, but we will learn the other kind of adaptation

according Juliana. Language is culturally embedded: it both expresses and shapes

cultural reality, and the meaning of linguistic item are used.15 There are two kind

adaptation in translation, ; Intransbility and Untransbility

14 Peter Newmark, A Text Book of Translation (UK: Prentice hall International 1988),p.4615 Juliana house (2009),op.cit

15

Here, the example intransbility adaptation in translation from source language into

target language

Table 1.Intransbility adaptation Translation

No. Source Language Target Language

1.

2.

3.

4.

5.

Gado-gado

Keblinger

Blangkon

Pocong

Pontang-panting

Uncooked vegetables

Walking fallen into trap

Style headgear permanent sewn in shape

Burial Shroud

Scattered

Untranslatability is a property of a text, or of any utterance, in one language, for

which no equivalent text or utterance can be found in another language when

translated.

Terms are, however, neither exclusively translatable nor exclusively untranslatable;

rather, the degree of difficulty of translation depends on their nature, as well as on the

translator's knowledge of the languages in question.

Quite often, a text or utterance that is considered to be "untranslatable" is actually

a lacuna, or lexical gap. That is, there is no one-to-one equivalence between the

word, expression or turn of phrase in the source language and another word,

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expression or turn of phrase in the target language. A translator can, however, resort

to a number of translation procedures to compensate for this16.

Here, the example Untransbility adaptation in translation from source language into

target language

Table 2.Untransbility adaptation Translation

No. Source Language Target Language

1.

2.

3.

4.

5.

Parafin

Paragraf

Parafrase

Paradoks

Paranoid

Paraffin

Paragraph

Paraphrase

Paradox

Paranoid

Based on the example above, Adaptation in translation have two kind the first is

Intrasbility and the second is Untransbility, Because the both of those terms

extremely happen in a dictionary, either from English to Indonesian dictionary or vice

versa, so the experts extremely cautious in translating word-for-word from a source

language into target language, if translators or do not have an equivalent to the word

that difficult to translate the language translator to write back and kemuadian adjusted

to the equivalent of words and grammar of the target language.

16 http://EzineArticles.com/3033978

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Example: blangkon on the source language word meaning a hat or head covering used

by the Javanese people, especially men, but said there has been no word blangkon

headcloth meaningful, then translators translate into style head gear, or that means the

head covering that full of style. From the the word has the good sense of the word

meaning or cultural significance, then the interpreter interpret these words mean by

looking from the cultural side.

E. Adaptation in Translation studies

As a translation technique, adaptation can be defined in a technical and

objective way. Translation never communicate in an untroubled fashion because

the translator negotiate the Linguistic and cultural differences of the foreign text

by reducing them and supply another set to differences, basically domestic, drawn

from the receiving language and culture to enable the foreign language to be

received there17 who list adaptation as their seventh translation procedure:

adaptation is a procedure which can be used whenever the context referred to in

the original text does not exist in the culture of the target text, thereby

necessitating some form of re-creation. This widely accepted definition views

adaptation as a procedure employed to achieve an equivalence of situations

wherever cultural mismatches are encountered.

Adaptation is, perhaps, most easily justified when the original text is of a

metalinguistic nature, that is, when the subject matter of the text is language itself.

17 Loc cit,p.482

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This is especially so with didactic works on language generally, or on specific

languages.18 Points out that in these cases the adaptation has to be based on the

translator's judgment about readers' knowledge. Argues that this kind of adaptation

gives precedence to the function over the form, with a view to producing the same

effect as the original text. However, while such writers start from the principle that

nothing is untranslatable.

Definitions of adaptation reflect widely varying views about the concept the

issue of remaining 'faithful' to the original text. Some argue that adaptation is

necessary precisely in order to keep the message intact (at least on the global

level), while others see it as a betrayal of the original author. For the former, the

refusal to adapt confines the reader to an artificial world of foreignness; for the

latter, adaptation is tantamount to the destruction and violation of the original text.

Even those who recognize the need for adaptation in certain circumstances are

obliged to admit that, if remaining faithful to the text, then there is a point at which

adaptation ceases to be translation at all.

F. Definition of Adaptation in Translating

Adaptation is defined as one specific, sometimes even quintessential, form of

intertextual activity, where a story is transposed from one text to another, usually

from one medium or signification system to another as well. Delineated as a form of

dialogic relation among texts, the problem of an adaptation is generally theorized as a

text-based issue, concerned with what happens to a text when it is transferred to 18 Peter Newmark, Approaches to Translation,( Oxford:Pergamon Press 1981), p.

19

another medum. For example the problem of fidelity, the articulations of and

departures form the source text, the measure of structural changes between the source

text and adaptated text, when someone talking neighborhood watch scheme the so-

called adaptation of intertextuality as such and the function of adapted stories in

culture. Even the question of medium specificity – a perspective that assumes that

representational practices have individual material and formal structures that

distinguish and differentiate them from other practices or to put it more shortly that

every medium should develop its own unique language a perspective, that might, at

first glace, seem rather as a question of expressive material.19 Adaptation is also

associated with the genres of advertising and subtitling. The emphasis here is on

preserving the character and function of the original text, in preference to preserving

the form or even the semantic meaning, especially where acoustic and/or visual

factors have to be taken into account. Other genres, such as children's literature,

require the re-creation of the message according to the sociolinguistic needs of a

different readership The main features of this type of adaptation are the use of

summarizing techniques, paraphrase and omission.

.When we take broader perspective, the inter-relationship between the languages

of comic and film language is rather intriguing as a system of mediation. The birth of

a comic as sequential art coincides by and large with the birth of the cinema and as

cinema in the beginning, comic strips too struggled with the static and “theatrical”

19 Corrigan, Timothy “Literature on Screen, a history: in the gap”. ( In Cartmell, Debora,Imelda Whelehan (eds.) A Cambridge Companion to Literature on Screen 2007). p. 29-43

20

point of view. Both consist of sequential arrangement of framed elements combined

to form a narrative, thus sharing many common problems and developments, at the

same time borrowing visual solutions from one another.20

Thus one hand the languages have a constant need to discover and develop

their specificity and uniqueness that differenciates them from other languages of

culture. On the other hand we have a constant process of hybridisation and

creolisation, languages influencing each other. And Lotman notes that many texts are

made in mixed languages but we do not notice that. Even the film languages can be

viewed as a mixture of the principles and elements of the language of silent cinema

and the language of sound cinema. Thus in the sphere of language, there are always

these two process of disintegration of languages on one hand and of integratsion of

languages on the other – that is part of cultural dynamics.21

When we approach the field of adaptation and translation with extended and yet

limited notion of language as semiotic resources any medium must have to be able to

produce texts, adaptations emerge as a meeting point of not only stories but languages

as well – sphere of their interplay, mutual influences and hybridisation. If text as

transposed from one language to another adapts to new means of expression, doesn’t

this text, being uncompatible at first, trigger some changes or developments in

recipient language as well. What kind of literacy these intermedial and intersemiotic

20 Lacassin, Francis, “The Comic Strip and Film Language“ ( Film Quarterly: Autumn 1972), Vol. 26, p. 11-19

21 Lotman, Mihhail, Kultuuri fenomen/ Phenomena of culture (Akademiaa : Sign System Studies 2002), Vol. 30.2.,pp. 2644-2662

21

relations require from a creator and a reader and what kind of new competences they

produce.

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