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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
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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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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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
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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
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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
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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
.
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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
and Pirated Versions of Maleficent ...................................... 40
Chart 4.8 The Equivalence of Synecdoche in the Official
and Pirated Versions of Maleficent ...................................... 42
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
and Pirated Versions of Maleficent ...................................... 45
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
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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
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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.
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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.
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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
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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:
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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.
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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
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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
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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.
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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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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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.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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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
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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.
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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.
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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
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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
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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.
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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.
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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.
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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
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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.”
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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.
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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.
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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)
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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.
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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
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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.
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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
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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
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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.
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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%
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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%
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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
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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%
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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
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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
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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
10/TT/A/00:28:23 Harapanku adalah bahwa engkau takkan
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
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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
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“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.
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.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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60%
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100%
120%
OFFICIAL ARCHANGELGABRIEL
LEBAH GANTENG
FORM…
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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
12/TT/A/00:38:31 Hari-hari terus berlalu, Stefan semakin
murung
DYNAMIC
12TT/L/00:38:31 Hari - hari berlalu, Stefan makin muram. DYNAMIC
0%
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100%
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LEBAHGANTENG
DYNAMIC
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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%
OFFICIAL ARCHANGELGABRIEL
LEBAH GANTENG
FORMAL
DYNAMIC
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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
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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
Versions of Maleficent
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60%
80%
100%
120%
OFFICIAL ARCHANGELGABRIEL
LEBAH GANTENG
FORMAL
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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.
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Chart 4.9 The Equivalence of Overstatement in the Official and Pirated
Versions of Maleficent
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
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OFFICIAL ARCHANGELGABRIEL
LEBAH GANTENG
FORMAL
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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
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60%
80%
100%
120%
OFFICIAL ARCHANGELGABRIEL
LEBAH GANTENG
FORMAL
DYNAMIC
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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.
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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
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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
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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%
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30%
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50%
60%
70%
OFFICIAL MARCHIANGEL GABRIEL LEBAH GANTENG
PARAPHRASE
TRANSFER
IMITATION
ARCHANGEL GABRIEL
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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:
06/ST/00:15:07 And upon my death, you will take the
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
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40%
60%
80%
100%
120%
OFFICIAL ARCHANGELGABRIEL
LEBAH GANTENG
LITERAL LANGUAGE
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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.
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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. -
10/TT/A/00:28:23 Harapanku adalah bahwa engkau takkan
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, -
12/TT/A/00:38:31 Hari-hari terus berlalu, Stefan semakin
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
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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
27/TT/O/01:26:22 Ketika Maleficent masih kecil dan hatinya
bahagia.
-
27/TT/A/01:26:22 Ketika Maleficent masih kecil.dan hatinya
yang gembira.
-
27/TT/L/01:26:22 Saat Maleficent masih kecil dan hatinya
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.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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.
06/ST/00:15:07 And upon my death, you will take the
crown.
METONYMY
06/TT/O/00:15:07 Dan setelah aku mati, kau akan menerima
mahkota
METONYMY
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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
12/TT/A/00:38:31 Hari-hari terus berlalu, Stefan semakin
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%
OFFICIAL ARCHANGELGABRIEL
LEBAHGANTENG
LITERAL LANGUAGE
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
59
27/ST/01:26:23 When Maleficent was but a child and her
heart was bright.
IMITATION
27/TT/O/01:26:23 Ketika Maleficent masih kecil dan hatinya
bahagia.
IMITATION
27/TT/A/01:26:23 Dahulu kala ketika Maleficent masih
kecil.dan hatinya yang gembira.
IMITATION
27/TT/L/01:26:23 Saat Maleficent masih kecil dan hatinya
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.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
62
BIBLIOGRAPHY
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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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
Only a great hero or
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
I present to you the
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
you'll never be blue.
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
As the days went on,
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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
66
misarable hovel with
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
Only a great hero or
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
I present to you the
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
you'll never be blue.
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
As the days went on,
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.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
67
20/ST/01:03:
15
I am spending 16
years in this
misarable hovel with
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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI