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METAPHOR TRANSLATION FROM AN INDONESIAN POEM ENTITLED
TIDAK ADA NEW YORK HARI INI INTO ENGLISH
An Undergraduate Thesis
Submitted to Letters and Humanities Faculty in Partial Fulfillment of the
Requirements for the Degree of Strata One
DWI NURMAYUNITA
1113026000069
ENGLISH LETTERS DEPARTMENT
FACULTY OF ADAB AND HUMANITIES
STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH
JAKARTA
2017
i
ABSTRACT
Dwi Nurmayunita. Metaphor Translation from an Indonesian Poem Entitled Tidak Ada
New York Hari Ini Into English. A thesis: English Letters Department: Faculty of Adab
and Humanities, State Islamic University Syarif Hidayatullah, Jakarta 2017.
This research analyzes the metaphor translation in a poem entitled Tidak Ada
New York Hari Ini written by M. Aan Mansyur translated into English by John H.
McGlynn entitled There is No New York Today The researcher classifies the
metaphorical expressions based on the procedure to translate it. In this research, the
researcher found out 14 metaphor expressions in the poem. Then, they are classified
into several types of metaphor based on conceptual metaphor theory by Lakoff and
Johnson. They are structural metaphor, ontological metaphor and orientational
metaphor. As the result, the data are categorized into the types of metaphor. Most of
the data are categorized into ontological metaphor. Furthermore, the data are analyzed
into four types of metaphor based on the procedure that is applied by the translator
according to Newmark’s theory. As the result, the researcher found two dead
metaphors, nine standard metaphors, one recent metaphor and two original metaphors.
Most of them are categorized as standard metaphor.
Keywords: Metaphor Translation, Conceptual Metaphor, Poetry
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DECLARATION
I hereby declare that this submission is my own work and that, to the best of my
knowledge and belief, it contains no material previously published or written by
another person nor material which to a substantial extent has been accepted for the
award of any other degree or diploma of the university or other institute of higher
learning, except where due acknowledgement has been made in the text.
Jakarta, August 2017
Dwi Nurmayunita
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iv
DECLARATION
I hereby declare that this submission is my own work and that, to the best of my
knowledge and belief, it contains no material previously published or written by
another person nor material which to a substantial extent has been accepted for the
award of any other degree or diploma of the university or other institute of higher
learning, except where due acknowledgement has been made in the text.
Jakarta, August 2017
Dwi Nurmayunita
v
ACKNOWLEDGEMENT
In the name of Allah. The Beneficent the Merciful
In the name of Allah Subhanallahu wa Ta’ala, the Proprietor of life. First of
all, the researcher reveals all praise and gratitude to Him for every grace given from
the beginning until the completion of this research. During the research, there are so
many obstacles which the researcher faces, from the trivial thing such as striving to
appear positive atmosphere, inuring herself to straighten up her health and stress and
overcoming the uncertainty in determining the proper analysis in this undergraduate
thesis. However, Allah has given a great way to the researcher so that she is given an
ease in doing her obligation as a student in Syarif Hidayatullah State Islamic
University.
Secondly, the researcher thanks to her parents for their support in this research
process. Thanks for reminding her to eat and rest when the researcher takes too long in
her room to do this research. Thanks for the kindness and advice that had been given.
Then, researcher thanks to her siblings, Safitri Purnamayanti and Aldi Darmawan for
being a friend to talk and joke at home, they are a healer when the researcher got tired.
The third is the researcher’s advisor, Mr. Moh. Supardi, M.Hum. who has an
important role in doing this research. The researcher thanks to his patience, support and
kindness during the advisory times. The researcher also thanks him for every advice,
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suggestion, correction and his contribution until this thesis can be finished. May
Allah’s blessings always be with him and his family.
The researcher also would like to express her gratitude to the following persons
who have a role in finishing this undergraduate thesis:
1. Prof. Dr. Sukron Kamil, M.A., the Dean of Adab and Humanites Faculty, Syarif
Hidayatullah State Islamic University.
2. Drs. H. Saefudin, M.Pd., the Head of English Letters Department.
3. Elve Oktafiany, M. Hum., the Secretary of English Letters Department
4. All the lecturers of English Letters Department for their experiences that have
been shared and knowledge that have been taught during the lectures at Syarif
Hidayatullah State Islamic University.
5. All of the Translation Classmate that cannot be mentioned one by one who have
inspired the researcher. Especially for Purnama Kelam WhatsApp group:
Ni’mah, Sekar, Iqbal, Bila and Lilianih who have become a place to tell stories
in every condition about everything in Translation Class.
6. Thanks to big family of Bintang Revolusi Public Speaking and Motivator
Academy. Especially for Kak Archan and Kak Dilla who have taught the
researcher to resist her self-talk so she can be more confident and motivated in
every step of her life.
7. The researcher’s closest friends, the member of Grup Sucik such as Jeannita,
Desi, Japira, Sekar, Ni’mah, Lilianih, Ika, and Bundo who have consoled the
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researcher in stress time with receh jokes ever, they are her shoulders when
problems appear. Especially, the researcher thanks to Ismaniar, the first
researcher’s friend in college. She is an inspirator for the researcher because of
her advices to solve some problems, fosters the researcher to be more
independent and brave and encourage her to ride motorcycles so that the
researcher could attend her advisory. Moreover, the researcher thanks to
Aphriliana who has been a roommate when the researcher lived in a boarding
house. She taught so many things to the researcher. For her, Aphril is a place to
tell everything.
8. The researcher also thanks to Hapers, a name derived from the word “hap”
popularized by someone. However, the word “hap” connotes a positive thing
because Haper is a group of young women who like culinary.
9. For the researcher’s ex-crushes. Although the researcher cannot put them in her
heart, but she will always remember them in her life, thanks to filled and colored
her days.
10. Other people that cannot be mentioned one by one who give some support and
prayer for the researcher.
Jakarta, August 2017
The researcher
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TABLE OF CONTENTS
ABSTRACT .................................................................................................................. i
APPROVEMENT ....................................................................................................... ii
LEGALIZATION ...................................................................................................... iii
DECLARATION ........................................................................................................ iv
ACKNOWLEDGEMENT .......................................................................................... v
TABLE OF CONTENTS ......................................................................................... viii
CHAPTER I INTODUCTION
A. Background of Study ........................................................................................ 1
B. Focus of Study .................................................................................................. 4
C. Research Question ............................................................................................. 4
D. Objective and Significance of Study ................................................................. 4
E. Research Methodology...................................................................................... 5
1. Method of the Research .............................................................................. 5
2. Technique of Data Analysis ........................................................................ 5
3. Instrument of Study ..................................................................................... 5
4. Unit Analysis ............................................................................................... 5
CHAPTER II THEORITICAL FRAMEWORK
A. Previous Researches .......................................................................................... 7
B. Translation Concept and Definition ................................................................ 12
C. Poetry Translation ........................................................................................... 13
D. Literary Translation ......................................................................................... 14
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E. Metaphor Translation ...................................................................................... 14
F. Definitions and Concepts of Metaphor ........................................................... 15
1. Zoltán Kövecses ........................................................................................ 15
a. Structural Metaphor ............................................................................ 17
b. Ontological Metaphor ......................................................................... 19
c. Orientational Metaphor ....................................................................... 20
2. Peter Newmark .......................................................................................... 20
a. Dead Metaphor .................................................................................... 21
b. Cliché Metaphor .................................................................................. 21
c. Stock or Standard Metaphor................................................................ 22
d. Adapted Metaphor ............................................................................... 23
e. Recent Metaphor ................................................................................. 23
f. Original Metaphor ............................................................................... 24
g. Procedure to Translate Metaphor ........................................................ 24
CHAPTER III RESEARCH FINDINGS
A. Data Description.............................................................................................. 28
B. Data Analysis .................................................................................................. 29
1. Dead Metaphor ......................................................................................... 29
2. Stock and Standard Metaphor .................................................................. 33
3. Recent Metaphor ...................................................................................... 48
4. Original Metaphor .................................................................................... 50
CHAPTER IV CONCLUSIONS AND SUGGESTIONS
A. Conclusions ................................................................................................... 53
B. Suggestions ................................................................................................... 54
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BIBLIOGRAPHY ..................................................................................................... 56
APPENDICES ........................................................................................................... 58
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CHAPTER I
INTRODUCTION
A. Background of Study
In this research, the researcher analyzes the metaphor translation in a poem. The
title of the poem is “Tidak Ada New York Hari Ini” which translated into English
entitled “There is No New York Today.” The researcher analyzes the translator’s
procedure in translating metaphor from Indonesian to English in the poem. The
researcher is interested to analyze the metaphor in “Tidak Ada New York Hari Ini”
poem, because she likes the figure of speech that is appeared in the poem and the diction
to express what the poet’s feel is very touching and deep. Besides that, the translator
can convey the personal emotion of the poet and make the poem to be more poetic with
the distinctive diction through his translation work. Since then, the researcher is
interested with several M. Aan Mansyur’s work, especially his poems entitled “Cinta,”
“Tidak Ada New York Hari Ini,” and “Ketika Ada Yang Bertanya Tentang Cinta”
which have a romantic impression. Those poems are the three of thirty one poem which
collected in a book entitled “Tidak Ada New York Hari Ini” which translated by John
H. McGlynn entitled “There is No New York Today.”
In language field, metaphor is interesting to be discussed because metaphor is the
part of language and human’s cognitive system. As outlined in Business Dictionary,
cognitive system involves an individual’s world view and determines how a person
abstracts, filters and structures some information he or she received from around.
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Michael (2014) argues that language is an independent system made with abstract
symbol and tightly connected to human’s body experience. Metaphors enable in
communication and it is created to develop human’s language to be more poetic and
alive. Furthermore, by metaphor, a person can express every word freely. Especially in
writing poetry, a poet should be synchronic in express his or her mind and the words
that must be written. Because if he uses common language, it can be lack of aesthetic
and harmonic nuance and make it lifeless that causes the readers feel bored. This is the
following sample of the study:
Source Text: Masa remaja dan negeri jauh. Jatuh dan patah.
Target Text: Days of youth and a far-away land. Fallen and broken.
The text above is categorized into dead metaphor. This translated text is clear and
easy to be understood by the reader because it is applied in common language. In a
major study (Newmark 106), it was found that dead metaphor often defy literal
translation and relate to universal terms of space and time, the main part of body such
as foot, mouth, eyes and the main human activities such as drop, fall and rise. The
words “fallen and broken” means that the hard situation or experience of someone who
lives in a country that far from his or her hometown.
In “Tidak Ada New York Hari Ini,” the researcher analyzes the types of metaphor
based on the procedure used by translator to translate the poem. According to “There
is No New York Today” book, John H. McGlynn is the world’s foremost editor and
translator of Indonesian literature. He is a co-founder of Lontar Foundation with some
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Indonesian man of letters. Currently, he already translated several dozen publications
under his own name and through the Lontar Foundation. Therefore, the researcher is
interested to analyze the procedures applied in translating metaphor is expected to
develop metaphor translation and enrich the knowledge of metaphor, to know the
procedure in translating and understanding the meaning of metaphor for the researcher.
Besides that, the researcher also hopes that this research can help poetry lovers or others
society to understand the message implied in the poem written in figure of speech such
metaphor, so it can be understood well.
Before deciding the topic, the researcher read some literary works, such as novel
and song lyrics with the same discussion, in terms of metaphor. At first, she wanted to
analyze metaphor in a novel entitled “The Fault in Our Stars” written by John Green,
because there are many metaphorical expression appeared in it. But after some time,
she found that this novel had been analyzed by another researcher. Thus, the researcher
no longer used novels as her corpus in the study because the most of English letters
students has already used it for their own research. After that, the researcher wanted to
analyze a song lyrics entitled “Up and Up” which popularized by Coldplay, but she
found a number of obstacles, among the song lyrics that is too hard to be interpreted.
Finally, the researcher chose a poem written by M. Aan Mansyur entitled “Tidak Ada
New York Hari Ini” which translated by John H. McGlynn into English with the title
“There is No New York Today.”
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B. Focus of Study
As outlined in Medium (2015), poetry has several elements that can make it alive
such as imagery, rhythm, sound, density and line. However, these elements will not be
discussed in this study. In this study, the researcher focuses on the metaphor translation
in “Tidak Ada New York Hari Ini” poem written by M. Aan Mansyur translated by
John H. McGlynn entitled “There is No New York Today.”
C. Research Questions
Based on the background of study, the question of this research is:
1. How are metaphors translated from Indonesian poem Tidak Ada New York
Hari Ini into English?
D. Objectives of Study
Based on the research question above, here is the purpose of this study:
1. To find out metaphors and its types translated from Indonesian to English.
E. Significance of Study
Theoretically, this research is expected to enrich the knowledge of metaphor
and metaphor translation and to know the procedure in translating and understanding
the meaning of metaphor for the researcher.
Practically, this research is expected to help poetry lovers or others society to
understand the message implied in the poem that has a figure of speech such as
metaphors.
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F. Research Methodology
1. Method of the Research
This study applies descriptive method, it is used to describe and explain
the problems through a process of data collection that enables them to describe
the situation more completely. In this research, the researcher will describe the
metaphor found in the Indonesian poem when it is translated to English (Tidak
Ada New York Hari Ini-There is No New York Today).
2. Technique of Data Analysis
In this study, the researcher will analyze the data line by line in the
poem. Then the data will be classified and analyzed based on the procedure of
translating metaphor.
3. Instrument of Study
The instrument of this research is the researcher herself by reading,
classifying and describing types of the metaphor in “There is No New York
Today” poem translated by John H. McGlynn.
4. Unit Analysis
The unit analysis of this study is the poem entitled “There is No New
York Today” translated by John H. McGlynn from Indonesian poem entitled
“Tidak Ada New York Hari Ini” written by M. Aan Mansyur. It is one of 31
poems in “Tidak Ada New York Hari Ini” book which first published in 2016.
The poem is presented in a movie entitled “Ada Apa Dengan Cinta? 2.” At the
launch of the movie, M. Aan Mansyur is believed to be a poet of romantic
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poems behind Rangga character in the movie which attracts the public interest
to be a best seller book.
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CHAPTER II
THEORETICAL FRAMEWORK
A. Previous Researches
Discussing about metaphor translation, there are several researches that the
researcher takes as the previous research. The first is a research is done by Fatemeh
Behnamnia from The University of Isfahan, Iran. Her study in 2016 was about
translating metaphor in a poem entitled “Translating Metaphor and Allusion from
Persian to English: A Comparative Study of Rumi’s the Song of the Road.” Fatemeh
analyzed the strategies for translating metaphor and strategies for translating allusion.
In theoretical framework, she cited some theories about translating poetry, strategies
for translating metaphor and allusion such as the perspective about translating poetry
based on Vahid (2004) who stated that poetry has many contrary and critic when it is
translated because basically, poetry is “untranslatable” and the translator usually re-
created the poetry in order to find the equivalence (Behnamnia 200). Moreover, she
also cited three functions of metaphor based on Newmark’s theory, strategies for
translating metaphor proposed by Larson, definition about allusion according to Perrine
(2006) and strategies for translating allusion proposed by Leppihalme (1997).
However, in analyzing her research, Fatemeh decided to use the strategies for
translating metaphor based on Larson’s theory and strategies for translating allusion
based on Leppihalme’s theory. The unit analysis of her study is the Persian text of
Mawlana’s “The Song of the Road” translated into English by Whinfield and
Nicholson. The objective of her study is to compare between Whinfield and Niclson’s
translation strategies to translate the Persian poem. The original text consists of
eighteen distiches, so do the English translations.
As the results of the whole data, she found many different methods that applied by
both translators. Nicholson applied literal translation by retaining metaphors and
explaining the meaning at the note part as translator’s interpretation to help TT (Target
Text) readers and the translator makes his translation work successfully by his
explanation, while Whinfield’s was preferred fidelity because he used the literal
translation and makes it difficult to be understood by the target readers. As a
comparison of this study, Fatemeh researched the strategies for translating metaphor
and strategies for translating allusion while the researcher studies about procedure for
translating metaphor including their types. In addition, Fatemeh and the researcher
apply the different theories in their own studies, Fatemeh applied Larson’s theory to
analyze the metaphor translation strategies and Leppihalme’s theory to analyze the
allusion translation strategies while the researcher prefers to analyze her study based
on Newmark’s theory. Moreover, Fatemeh decided to analyze a poem from Persian
into English while the researcher decides to analyze a poem from Indonesian into
English.
Another research is done by Arini Dina Yushofa (2014), she is an undergraduate
student of State Islamic University Syarif Hidayatullah Jakarta who did the research
entitled “An Analysis of Metaphor Translation in ‘Mendorong Jack Kuntikunti’
Books.” She discussed about metaphor translation in poems entitled “Prayer for Rain”
by David Campbell; “Every Night About this Time” by Chris Wallace-Crabbe; and
“Transit Hotel” by Dimitris Tsalomas which translated into Indonesian by Sapardi
Djoko Damono that collected in book entitled “Mendorong Jack Kuntikunti.” The
focus of the study is to analyze the types of metaphor in the poems which collected in
the book. In theoretical framework, she took several theories, such as definition of
metaphor from Peter Newmark, George Lakoff and Mark Johnson, Victoria Fromkin,
and other theories to obtain the different perspective to be compared. In addition, she
also cited the types of metaphor from Newmark’s theory combined with other
definition about dead metaphor from Sam Glucksburg.
As the result, she found several types of metaphors. They are 1 dead metaphor
(1%) (No image yet except the falling star—Tak terlihat apapun kecuali bintang jatuh),
1 cliché metaphor (1%) (Above the static-crackle, the burning bush—Di atas suara
meretas, di atas semak bernyala), 4 standard metaphors (4%) (Whistling like a hawk—
Bersiul bagai seekor elang), (Down through fitful bars of light—Menukik menembus
kilatan-kilatan cahaya), (Between landscapes of past and time to come—
Pemandangan masa lampau dan masa datang), (Tugging upon uneven hair—
Menjambaki rambut yang kuat), 2 recent metaphors (2%) in sentence (Stepping round
in skirt of storm—Kuyupkan bumi dengan basah taufan), (Open to an empty sky—
Membuka di bawah langit terbentang) and 3 original metaphors (3%) in sentences
(During such vigils in transit hotels—Di saat seperti ini di hotel transit), (And shake
our Gothic churches by their spires—Dan mengguncang menara-menara Gothic kita),
(And couples in dark Fords lay bare the heart—Dan dalam keremangan mobil Ford
muda-mudi mengungkapkan isi hati mereka) (Arini 22). The difference between
Arini’s and this research is Arini discussed poems from English into Indonesia while
this research discuss Indonesian poem translated into English.
Zohdi and Saeedi stated that poetry is kind of difficult thing to be translated,
because in poetry, the translator has little options because of its sound devices and
compactness. Morteza Zohdi was a student of English Language Department in
University of Applied Science and Technology, Iran. Ali Asghar Rostami Abou Saeedi
was a student of English Department in University of Sistan and Baluchestan, Iran. In
their study in 2011 entitled “Translating Metaphor and Simile from Persian to English:
A Case Study of Khayyam’s Quatrains” analyzed the translation accuracy of Rubaiyat
poem written by Omar Khayyam and translated by FitzGerald and Arberry. Because
both translators have different strategy in translated the poem, Zohdi and Saeedi
compared the way of translators in translated the poem. In the theoretical framework,
the researchers took some theories such as the definition of translation according to
Catford and Wilss, the translation processes according to Kiraly, House and Tirkkonen-
Condit, some definition and concept of simile according to Newmark and Larson and
metaphor definition by Abrams and Newmark. Rubaiyat is Rubai in plural. Rubai is
known in west since Rubaiyat of Omar Khayyam by FitzGerald that translated in free
translation and translated again by some translators such as Arberry, Edward Heron-
Allen, Omar Alishah and Robert Graves (Zohdi 1123). However, Zohdi and Saeedi
compare two version of Rubaiyat, they are FitzGerald version and Arberry version. In
analyze the poem, the researchers used Larson’s theory to identify the procedure in
translate the Persian poem. They analyzed eighty three of Rubai and found thirty five
of it that contain either simile or metaphor or both translated by both FitzGerald and
Arberry. There are nine strategies found in Rubai, they are omission, literally translated
with metaphor, literal translation with addition of meaning, metaphor has been
translated with a new metaphor with the same meaning, literal translation and the
meaning had been translated without retaining the metaphor.
As the result, FitzGerald translation is not match with the original text because
they are completely different. In this research, Zohdi and Saeedi argued that Arberry’s
translation is better than FitzGerald translation because Arberry has created metaphors
to the same meaning more than FitzGerald that make his translation work to be more
successful (Zohdi 1124-1137). Finally, as comparison, Zohdi and Saeedi’s research
and this research have some similarities, both of them use poem as the corpus in their
study. However, there are some differences of these researches, this research use
Newmark’s theory in her study while Zohdi and Saeedi’s research use Larson’s theory.
In addition, the researcher analyzes the types of metaphor based on how it is translated
from Indonesian to English while Zohdi and Saeedi analyzed the strategy or procedure
of metaphor and simile translation by comparing two versions from Persian to English.
B. Theoretical Framework
1. Translation Concept and Definition
Before discussing the meaning of metaphor, the types, and how to translate
it, knowing the meaning of translation is the most important aspect. Eugene A.
Nida and Charles R. Taber (12) defines "Translation consists in reproducing in the
receptor language the closest natural equivalent of the source language message,
first in terms of meaning and secondly in terms of style." Thus, translation is the
process of conveying a message to the language by considering the closest
equivalence, in terms of both meaning and style of language. The concept of this
theory inclines to source language in order to maintain the language style, but the
target language readers will be understood if the meaning is transferred clearly. It
is a crucial thing to make the translated text be easier to be understood and
readable.
Meanwhile, Larson, as cited by Sayogie (6), focuses translation as meaning
transferring from the source language (SL) into the target language (TL) which can
be done on the first language form to the second language form through the
semantic structure, so the language should be changed, but the text translated
meaning must be maintained to avoid misunderstandings. Based on the concept
above, it is not focused on the source language structure, but more likely on the
meaning transferring from the source text. As the translation goal, it prefers to
readers’ understanding in order to the content of the translated text can be
understood.
2. Poetry Translation
Asim Gunawan, as cited by Sayogie (202-203), translation in poetry is the
aesthetically poetic translation which the message transferred to the target
language with aesthetically form too. In poetry translation, a translator has the dual
demands and several problems, among which to keep the content and the message
in the original poems and keep the original image of the poems.
In translation field, there is an opinion that poem is impossible to be
translated. If the translator wants to do it, the translated poem must be in prose, not
in a poem form anymore. Even so, the translators still do that. Holmes, as cited by
Sayogie (202-203), there are four categories to translating poem as follows:
- The first approach to translate poetry is to maintain the original poem’s form,
although this is impossible since there is no similarity in poetic forms between
two languages. But, the translator can produce the same form of the poem by
mimetic approach. Mimetic approach is the form transfer of the source
language by simulating to the target language as well as possible.
- The second approach uses the analogical form by emphasis on the function of
the original form in source language poetry tradition, then giving equivalence
in target language by considerate target language tradition.
- The third approach uses the derivative content form. The translator can
determine the form of the poem freely, but he or she has to use the contents of
the original poems as the basis for translating.
- In the fourth approach, the translator merely uses the original poem as an
inspiration, and the translated poem does not reflect to the original, both in form
and the content.
3. Literary Translation
In a major study (Landers 3-8), it was found that literary translation
consistently shares a creative process in translation. Here alone does the translator
experience the aesthetic joys of working with great literature beyond reach,
effectively ‘in code,’ in the metaphor of the celebrated Dutch novelist Cees
Nooteboom. For a literary translator, some capabilities is considered such as tone,
style, flexibility, inventiveness, knowledge of the SL culture, the ability to glean
meaning for ambiguity, an ear for sonority and humility.
4. Metaphor Translation
Metaphor has been discussed between translatology, mainly in the
translatability of it and the strategies of their translation. In translatology, metaphor
were reflected on to appreciate the translatability of a language such as what lost
in translating them, their originality, the cultural background of other language or
respect the TL language richness was argued (Bojović 3).
5. Definitions and Concepts of Metaphor.
5.1. Zoltán Kövecses
In a major study (Kövecses), it was found that metaphor is a figure of
speech that compare one thing to another by saying that one is the other. The
aims of metaphor are to express some deep emotion. There are five of the
most commonly accepted features to characterize the traditional concept of
metaphor:
1. Metaphor is a property of words, it is a linguistic phenomenon. The
metaphorical use of lion in “He is a lion” is a characteristic of linguistic
expression.
2. Metaphor is used for some artistic and rhetorical purpose, for instance
when Shakespeare writes “All the world’s a stage.”
3. Metaphor is based on a likeness between two objects that are compared
or identified.
4. Metaphor is a mindful and thoughtful use of words, so everyone must
have a capability to do it. Some of the masters of metaphor are
Shakespeare, Churchill.
5. Metaphor is a figure of speech for appear a special effect and inevitable
in human communication.
In a major study (Kövecses 4-7), it was found that metaphor in cognitive
linguistic is described as understanding one conceptual domain in terms of
another conceptual domain, as a short hand, conceptual domain A is
conceptual domain B, this is called as conceptual metaphor. Some of the
examples of conceptual metaphor are from Lakoff and Johnson’s Metaphor
We Live By,they are terms about journey, love, argument, food, and so on
as following:
AN ARGUMENT IS WAR
Your claims are indefensible.
He attacked every weak point in my argument.
LOVE IS A JOURNEY
Look how far we’ve come.
We’re at a crossroad.
THEORIES ARE BUILDING
Is that the foundation for your theory?
We need to construct a strong argument for that.
IDEAS ARE FOOD
Let me stew over that for a while
That’s food for thought.
The italic words are metaphorical linguistic expression, while the
capitals for the statement of conceptual metaphors. Briefly, conceptual
metaphor is the way to thinking while the metaphorical linguistic
expression is the way to express explicitly.
Conceptual metaphor can be classified in relation to the cognitive
functions. In a major study (Kövecses 37), it was found that there are three
kinds of conceptual metaphor that can be classified as following:
1. Structural Metaphors
In a major study (Kövecses 37-38), it was found that structural
metaphors are the metaphors which the source domain provides a rich
knowledge structure for the target concept. The aim of structural metaphors
is to enable speakers to understand target A by means of the structure of
source B.
For instance, the concept “time” can be structured according to motion
and space, here are the ways to understanding time is motion metaphor
(Kövecses 37):
IS
Target Domain Source Domain
Time in terms of some basic elements, such as physical objects, their
location, and their motion.
MOTION TIME
In understanding time, there is a background situation that applies to this
way: the present time is at the same location as a canonical observer.
From the basic elements and the background condition, here are the
following mappings:
Times are things.
The passing of time is motion.
Future times are in front of the observer, past times are behind the observer.
One thing is moving, the other is stationary; the stationary thing is the
deictic center.
From the set mappings above, it is clear about notion of time.
Other examples of structural metaphors:
LOVE IS A JOURNEY
IS A
Target Domain Source Domain
JOURNEY LOVE
A path has
some obstacles
to be
traversed.
Something that
has value to be
fighted for.
Something that
bring a
destination.
A relationship
has a marriage
goal
In a map above, the term “love” as a source domain that is influenced
by the term “journey” which is a source domain.
2. Ontological Metaphors
In a major study (Kövecses 38-39), it was found that ontology is a
branch of philosophy that has to do with the nature of existence. The
cognitive role of ontological metaphors seems to give a new ontological
status to general categories of abstract target concept and to bring about
new abstract entities. It means that someone must conceive their
experiences in terms of objects, substances, and containers without
specifying what kind of object, substance and container is meant.
Ontological metaphors are useful to explain some undelineated physical
objects. For instance, conceiving of fear as an object, people can
conceptualize it as “possession” that linguistically, people can say my fear
or your fear. Moreover, people can also say “mind” as an object and find a
metaphor such as “machine” as in ”My mind is rusty this morning.”
Besides that, ontological metaphor can be conceived as personification.
In this case, human qualities are given to nonhuman entities. Here are some
examples:
Life has cheated me.
Cancer finally caught up with him.
Her tears melted me.
3. Orientational Metaphors
In a major study (Kövecses 40), it was found that cognitive function of
orientational metaphors is to set the target concepts in order to be coherent
in human’s conceptual system. The orientational metaphors discuss about
basic human spatial orientations such as up-down and center-periphery
which derives from the fact of metaphors that serve the function in life. In
addition, orientational metaphors are more appropriate to be called
“coherence metaphor” because of its function in cognitive level. These are
the following examples:
MORE IS UP; LESS IS DOWN: Speak up, please. Keep your voice down
please.
HAPPY IS UP; SAD IS DOWN: I’m feeling up today. He’s really low
these days.
5.2.Peter Newmark
In a major study (Newmark 104), it was found that metaphor as an
expression of figurative language that can convey a sense of the physical
word, personification of an abstraction or the application of a word and
collocation that cannot show the real sense, like describing something that
refer to other objects. Therefore, a translator should be sharp and have a
sense for its own language, it does not mean to relate mystically as a 'sixth
sense', but to get all that, should combine intelligence, sensitivity and
intuition and science.
In a major study (Newmark 108-112), it was found that Newmark
classified metaphors into six types and presented them with the contextual
factors and translation procedures, the kinds of metaphors according to
Newmark namely:
a. Dead Metaphors
Dead metaphor is a metaphor that is difficult to realize on an image,
often associated with the term universal space and time, parts of the body,
prioritize ecologically speaking, and human activities. For example, in
English: 'space' , 'top' , 'foot' , 'mouth' , 'fall', 'rise'. Generally, a dead
metaphor is not very difficult to be translated because it is translated literally.
Dead metaphor is used too often in common language, so the figurative sense
was no longer impressed. In a major study (Sayogie 209), it was found that
the example of dead metaphor: Kaki gunung which translated as foot of the
mountain.
b. Cliché Metaphors
Cliché metaphor is a metaphor that has long been used which is used as
an alternate from clear thinking, impress touching, but no resemblance to the
facts. However, a translator had to peel the cliché metaphor, especially when
used on a 'no name' text, which is as informative texts that only contain facts
or theories, announcements and instructions when a translator tries to get the
best reaction from readers. Then, it is used for giving the additional
explanation and connotative information but it does not matter to be removed
from the text if it is inefficient. As outlined in Translation Dictionary, the
example for cliché metaphor is ‘a jewel in the crown.’ The sentence is
inefficient because a jewel is certainly available in a crown.
c. Stock or Standard Metaphor
Stock or standard metaphor is set on an informal compact and efficient
context include physical and mental situation of reference and pragmatic.
Stock metaphor has a certain emotional warmth, its use is too often, but this
metaphor will not die. Then, standard metaphor sometimes is tricky to be
translated because of its ancient equivalence or influenced and used by social
groups or specific age groups. In a major study (Sayogie 211-215), it was
found that there are several ways to translate the standard metaphor:
1. Translation of metaphor by simile;
For example: Budi adalah lintah darat which can be changed
into Budi seperti lintah darat.
2. Deletion;
Arini was argued that the example of deletion procedure for
translate metaphors is ‘Down through fitful bars of light’ which had
been translated into menukik menembus kilatan-kilatan cahaya.
3. Same metaphor combined with sense;
For example: ‘Tongue is a fire’ which added a sense ‘fire ruins
thing’
4. Reproducing to the same image in the target language.
In a major study (Sayogie 211), it was found that the example
of this procedure is ‘I see a ray of hope’ which translated into saya
melihat secercah harapan.
d. Adapted Metaphors
In translation, adapted metaphor should be translated in adapted
equivalences metaphor, especially in a script 'sacred'. As outlined in
Translation Dictionary, adapted metaphor is actually a stock metaphor that
has been adapted into a new context by its writer. For instance, the stock
metaphor of ‘carrying coals to Newcastle’ can be turned into adapted
metaphor by saying ‘almost carrying coals to Newcastle.’
e. Recent Metaphors
Recent metaphor indicates the objects or processes that are treated as
neologisms, with particular reference to 'exportability' in reference and
metaphor language levels. When the metaphor following the time, this
metaphor can also called metonymy. Recent metaphor can be conveyed by
exploring the connotation source text of metaphor in other language that has
the closest meaning to the target language in order to the reader can get the
point of the message in source language. Tetyana was argued that the
examples of recent metaphors are ‘fashionable,’ ‘headhunter’ and
‘walkman.’
f. Original Metaphors
Original metaphor invented or quoted by SL (source language) author.
Based on the original principles of metaphor, the authoritative texts and
expressive must be translated in real sense/literally, either universal, cultural,
or vague subjectively. So, the translator does not change the word. Arini was
argued that the examples of original metaphors are: ‘During such vigils in
transit hotels’ which had been translated into di saat seperti ini di hotel transit,
‘and shake our Gothic churches by their spires’ which had been translated into
dan mengguncang menara-menara Gothic kita.
Newmark, as cited by Sayogie (211-215), there are seven procedures to
translate the metaphor as following:
1. Reproducing the same image in the target language
In this procedure, the translator should translate the metaphor into the
same image between in Source Language and the Target Language without
changing the images.
For example: You are my sunshine which translated into Indonesian as
Engkaulah matahariku. The translator reproduces the same image of the text
without changing or affecting in the target language.
2. Replacing the image in the SL with a standard TL image which does
not clash with the TL culture
In this procedure, the translator changed the image of the source
language to the target language when there is a different culture and no image
that corresponds in source language when the text is translated to the target
language. This procedure usually applied in translating a proverb.
For example: It’s no use crying over spilled milk which translated into
Nasi sudah menjadi bubur. In some countries, milk is the largest production
while in Indonesia, the largest production is rice. The both languages have
the different culture but the text can be translated with the same meaning.
3. Translation of metaphor by simile, retaining the image
This procedure is applied to modify stock metaphor if the target
language is not emotive. Moreover, this procedure can be applied to modify
and clarify the metaphor that is considered as a strange metaphor in the
source language and the sense is needed.
For example: He is a lion which translated into Dia seperti singa. The
expression of lion is a metaphor that describes as a strong characteristic of
the man.
4. Translation of metaphor or simile by simile plus sense occasionally a
metaphor plus sense
This procedure used when the translation cannot be understood and the
translator use simile to translate it and add the sense to the translated
metaphor.
For example: It rains cat and dogs which translated into Hujan turun
bagai air bah, lebat sekali. In English, cats and dogs is an analogy for heavy
rain and it is added by lebat sekali as a sense to explain about the meaning.
5. Conversion of metaphor to sense
This procedure used when the image of the SL is reduced to its sense
and rewritten to equal the TL. This procedure commonly applied to change
the image of the SL to the TL which needed an explanation and describe the
meaning of the metaphor.
For example: Earn a living which translated into Mencari sesuap nasi.
The SL meaning is described to the closest meaning in the TL.
6. Deletion
This procedure used when the source text is confusing when it is
translated. Thus, the translator deletes some words in the text and considers
which is more important in the text because not all the text needs to be
translated, it may be a personal expression of the writer but translator adds
the sense component.
7. Same metaphor combined with sense.
This procedure used when the translator aims to convince by adds the
explanation.
For example: Still waters run deep translated into Air tenang
menghanyutkan, jangan dianggap remeh. The text jangan dianggap remeh
is an affirmation form of air tenang menghanyutkan.
28
CHAPTER III
RESEARCH FINDINGS
A. Data Description
As in the previous chapter, the researcher focuses on the metaphor translation
method. The metaphor will be classified into four types based on the procedure
applied, namely dead metaphor, stock and standard metaphor, recent metaphor and
original metaphor.
After analyzing the whole lines of poem Tidak Ada New York Hari Ini written
by M. Aan Mansyur and translated into English by John H. McGlynn entitled There
is No New York Today, the researcher found 15 metaphor in the poem. They are 2
dead metaphors (Dan cinta—kau tak ingin aku mematikan mata lampu – And love—
you don’t want me to extinguish light’s eyes), (Masa remaja dan negeri jauh. Jatuh
dan patah – Days of youth and a far-away land. Fallen and broken), 10 standard
metaphors (Jendela terbuka dan masa lampau memasukiku sebagai angin - Through
the open window, the past enters me like wind.), (Semua kata tubuh mati semata -
Words are but lifeless souls) , (Aku sendiri dan tidak berada di sini - I am alone and
am not here), (Semua orang adalah orang lain. - Everyone is someone else.),
(Kupeluk tubuh sendiri - I embrace myself.), (Hari ini tidak pernah ada. Kemarin
tidak nyata - There is no today. Yesterday is not real.), (Tidak ada pengunjung.
Tidak ada pengunjung. - There are no visitors. There are no visitors.), (Di balik
jendela, langit sedang mendung. - Outside the window, the sky is overcast.),
(Bahasa ibu adalah kamar tidurku. - My mother tongue is my bedroom.), (Aroma
kemeja ayah dan senyum perempuan yang tidak membiarkanku merindukan senyum
lain. - The smell of my father’s shirt. The smile of a woman who will not permit me
to pine for a different smile.), 1 recent metaphor (Kau yang panas di kening, kau
yang dingin. di kenang. - You are the fever in my mind. You are the frost in my
memory.) and 2 original metaphors (Tidak ada New York hari ini. - There is no New
York today.), (Puisi adalah museum yang lengang. - Poetry is a deserted museum.).
From the data above, the researcher found that the most types of metaphor based
on the translation procedure applied by the translator in poem Tidak Ada New York
Hari Ini is standard metaphor.
B. Data Analysis
In this study, the researcher describes the metaphor translation procedures in
poem “Tidak Ada New York Hari Ini.” The data that will be analyzed as follows:
1. Dead Metaphor
Dead metaphor is one of the types of metaphor that is easy to be understood
because the metaphor is often expressed in daily language. Moreover, dead
metaphor is translated literally. They are the data that categorized into dead
metaphor:
Table 1
No. Source Text Target Text Translation
procedure
1. Dan cinta—kau tak
ingin aku mematikan
mata lampu.
And love—you
don’t want me to
extinguish light’s
eyes.
Reproducing the
same image in
the TL.
Line 5 Line 7
2. Masa remaja dan negeri
jauh. Jatuh dan patah.
Days of youth
and a far-away
land. Fallen and
broken.
Reproducing the
same image in
the TL.
Line 12 Line 16
Datum 1
SL : Dan cinta—kau tak ingin aku mematikan mata lampu.
TL : And love—you don’t want me to extinguish light’s eyes.
Based on the conceptual metaphor theory, the text above is categorized into
ontological metaphor because the sentence “Dan cinta—kau tak ingin aku
mematikan mata lampu“ indicates human activities carried out by nonhuman.
In a major study (Kövecses 38), it was found that ontological metaphor can be
conceived as personification. As outlined in Dictionary, ontological relates to
ontology, the branch of metaphysics that studies the nature of existence or being
as such metaphysical.
In translation theory, the text above is categorized into dead metaphor. This
translated text is clear and easy to be understood by the reader because it is
applied in common language. In a major study (Newmark 106), it was found
that dead metaphor often defy literal translation and relate to universal terms of
space and time, the main part of body such as foot, mouth, eyes and the main
human activities such as drop, fall and rise. The text above represents to
someone who cannot sleep since he is thinking someone whom he loves.
From the text above, the procedure that is applied by the translator is
reproducing the same image in the target language. The translator can convey
the meaning of the metaphor above successfully and the researcher argues that
the metaphor translation from Indonesian (mata lampu) into English (light's
eyes) has an equal meaning in both of the languages. Although the translator
translates it word for word, but the text can be directly understood by the
researcher.
Datum 2
SL : Masa remaja dan negeri jauh. Jatuh dan patah.
TL : Days of youth and a far-away land. Fallen and broken.
Based on the conceptual metaphor theory by Lakoff and Johnson, the text
above is categorized into orientational metaphor. In a major study (Kövecses
40), it was found that orientational metaphors are more appropriate to be called
“coherence metaphor” because of its role in cognitive level. Thus, the text
above needs the cognitive system of human to get the meaning. The word
“fallen and broken” is the negative evaluation of spatial orientation up-down.
The words “fallen and broken” means that the hard situation or experience of
someone who lives in a country that far from his or her hometown.
In translation theory, the text above is categorized into dead metaphor. This
translated text is clear and easy to be understood by the reader because it is
applied in common language and translated literally. In a major study
(Newmark 106), it was found that dead metaphor often defy literal translation
and relate to universal terms of space and time, the main part of body such as
foot, mouth, eyes and the main human activities such as drop, fall and rise. The
italic text above is classified into dead metaphors, besides it is translated
literally, the words “jatuh” or “fallen” is the main of human activities.
From the text above, the translator reproduce the metaphor to the same image
in the target language and transferred the meaning successfully. Moreover, the
researcher argues that the metaphor translation from Indonesian (jatuh dan
patah) into English (fallen and broken) has the equal meaning. Although the
translator translates the text by word for word, but the researcher gets the
meaning of the text.
2. Standard Metaphor
Standard metaphor keeps sense of the text to maintain the cultural meaning
of it. According to Newmark (1988: 109), there are several procedures that can
be applied to translate this type of metaphor. In analyzing the data, the
researcher found 10 data of standard metaphors as follows:
Table 2
No. Source Text Target Text Translation
Procedure
3. Jendela terbuka dan
masa lampau
memasukiku sebagai
angin.
Through the open
window, the past
enters me like wind.
Translating
metaphor by
simile.
Line 6 Line 9
4.
Semua kata tubuh
mati semata.
Words are but lifeless
souls.
Deletion.
Line 11 Line 16
5. Aku sendiri dan tidak
berada di sini.
I am alone and am not
here.
Reproducing
the
metaphor to
the same
image in the
TL.
Line 2 Line 3
6. Semua orang adalah
orang lain.
Everyone is someone
else.
Reproducing
the
metaphor to
the same
image in the
TL.
Line 3 Line 4
7. Kupeluk tubuh
sendiri.
I embrace myself. Reproducing
the
metaphor to
the same
image in the
TL.
Line 4 Line 6
8. Hari ini tidak pernah
ada. Kemarin tidak
nyata.
There is no today.
Yesterday is not real.
Reproducing
the
metaphor to
the same
image in the
TL.
Line 10 Line 14
9. Tidak ada
pengunjung. Tidak
ada pengunjung.
There are no visitors.
There are no visitors.
Reproducing
the
metaphor to
the same
image in the
TL.
Line 17 Line 21
10. Bahasa ibu adalah
kamar tidurku.
My mother tongue is
my bedroom.
Reproducing
the
metaphor to
the same
image in the
TL.
Line 4 Line 5
11. Aroma kemeja ayah
dan senyum
perempuan yang
tidak membiarkanku
merindukan senyum
lain.
The smell of my
father’s shirt. The
smile of a woman
who will not permit
me to pine for a
different smile.
Reproducing
the
metaphor to
the same
image in the
TL.
Line 15 Line 19
Datum 3
SL : Jendela terbuka dan masa lampau memasukiku sebagai angin.
TL : Through the open window, the past enters me like wind.
Based on the conceptual metaphor theory, the text above is categorized into
structural metaphor. In a major study (Kövecses 37), it was found that structural
metaphor occurred when the source domain provides a relatively rich
knowledge structure for the target concept. To determine that the text above is
a structural metaphor, the mapping can be illustrated as follows:
THE PAST IS WIND
Source Domain: Wind Target Domain: The past
Enters a house through a window => Enters through someone’s heart
Brings dust grains => Brings some memories
In translation theory, translating metaphor by simile procedure can be used
to modify and clarify a strange metaphor and it needs a further explanation
(Sayogie 212). The underlined text “Jendela terbuka dan masa lampau
memasukiku sebagai angin” had been translated literally to “Through the open
window, the past enters me like wind.” The text above is categorized into
standard metaphor which the translator use the procedure by applying simile.
The wind is reflected to the past which enters to his mind.
Based on the text above, the translator can convey the texts to the same image
successfully and the texts have the equal meaning. However, the translated
metaphor is not categorized into translating metaphor to the same image
procedures, it is categorized into translating metaphor by simile because there
is the characteristic of simile such as “like”. In a major study (Sayogie 212), it
was found that this procedure is applied to modify stock metaphor if the target
language is not emotive.
Datum 4
SL : Semua kata tubuh mati semata.
TL : Words are but lifeless souls.
Based on conceptual theory by Lakoff and Johnson, the text above is
categorized into orientational metaphor. In a major study (Kövecses 40), it was
found that orientational metaphors are more appropriate to be called “coherence
metaphor” because of its function in cognitive level. The orientation metaphor
derives from the fact that most metaphors that serve the function to do with
basic human spatial orientations such as up-down. Thus, the word “lifeless” is
the negative evaluation of spatial orientation up-down.
In a major study (Sayogie 214), it was found that deletion procedure to
translating metaphor is needed if it is confusing. Frequently, the source
language text does not necessarily have to be translated because it may be a
personal expression of the author.
Based on the text above, the translator used the deletion procedure in this
context. In the text above, word “semua” is deleted because the word is a poet’s
expression to make it felt stronger. However, in this datum, the text is not
transferred successfully because the text above has the different meaning.
According to KBBI, semata means hanya or satu-satunya. In addition, the word
“but” can be translated into hanya. However, in this context, the SL means that
the words cannot be expressed while in the TL means that the word does not
have meaning.
Datum 5
SL : Aku sendiri dan tidak berada di sini.
TL : I am alone and am not here.
Based on conceptual metaphor theory by Lakoff and Johnson, the text above
is categorized into ontological metaphor. In a major study (Kövecses 38), it was
found that ontological metaphor occurred when human conceive their
experience in terms of objects, substances and container. The text “I am not
here” is conceptualized into container as the source domain and physical and
nonphysical objects as the target domain. The text above represents to someone
who lives in New York, but there is no family or people he knows who makes
him feels empty and considers that his soul is not there.
In translation theory, the sentence “Aku sendiri dan tidak berada di sini” that
translated into “I am alone and am not here” is categorized into standard
metaphor. In this case, the translator applies the procedure to translate this
metaphor by reproducing the metaphor to the same image in target language
because the image or sense in source language has an equal sense in the target
language. In a major study (Newmark 208), it was found that reproducing
metaphor to the same image is a procedure that provides the comparable
frequency from the source text to the target text because the source language is
translated by the translator as “I am alone and am not here.”
Based on the text above, the translator produces the metaphor to the same
image because the translated text is equal to the source text. Moreover, the
researcher argues that the translated metaphor has the equal meaning between
the source language (Indonesian) and target language (English) because the
word “tidak berada di sini” translated into “am not here” is delivered by the
translator with the same image and emotion which described someone’s
aloneness in New York and he considers that his soul is not there.
Datum 6
SL : Semua orang adalah orang lain.
TL : Everyone is someone else.
Based on conceptual metaphor theory by Lakoff and Johnson, the text above
is categorized into structural metaphor because the text “orang lain” is the
image of everyone except his self. But in this context, the image is replaced to
everyone he does not recognized because according to Kövecses, structural
metaphor conceptualize one thing to others. The text above represents to
someone who lives in far-away place and there is no family, friends or someone
who have the emotional attachment in his life that makes him feels lonely in his
place without them so he considers everyone in New York as a stranger.
In translation theory, the sentence “Semua orang adalah orang lain” had been
translated into “Everyone is someone else.” The text above is categorized into
standard metaphor. The translator translated the text by reproducing the
metaphor to the same image and maintained the taste and meaning of source
text in the target text. In a major study (Newmark 108), it was found that
reproducing metaphor to the same image is a procedure that provides the
comparable frequency from the source text to the target text.
Based on the text above, the translator produces the metaphor to the same
image to the target language because the image is not changed and affected in
the target language and the translator translates it successfully with the equal
meaning in two languages and he does not deviate at all in translating the text.
Moreover, in the researcher’s perspective, the metaphor translation from
Indonesian (orang lain) into English (someone else) has the equal meaning.
Datum 7
SL : Kupeluk tubuh sendiri.
TL : I embrace myself.
Based on conceptual metaphor theory by Lakoff and Johnson, the text above
is categorized into ontological metaphor. In a major study (Kövecses 38), it was
found that ontological metaphor occurred when human conceive their
experience in terms of objects, substances and container. The text “Kupeluk
tubuh sendiri” is conceptualized into substance as the source domain and
activities as the target domain. Text above represents to someone who feels such
a deep friendless and he considers that embarce can makes him comfortable.
The text above, the sentence “Kupeluk tubuh sendiri” had been translated
into “I embrace myself.” The translator uses standard metaphor by reproduce
the same image or sense as the procedure of translate metaphor and it is
classified into standard metaphor. In a major study (Newmark 108), it was
found that reproducing metaphor to the same image is a procedure that provides
the comparable frequency from the source text to the target text. The translator
can convey the image in both languages with a precise diction.
Based on the translated text, the translator can transfer the meaning
successfully and the researcher argues that the metaphor translation from
Indonesian (kupeluk) into English (I embrace) has the equal meaning and it
evokes the same image between both languages. In addition, the word that used
by the translator is suitable because the word “memeluk” in English are “hug”
and “embrace.” As outlined in Quora (2014), the word “hug” is used as an
action that involves physical while the word “embrace” does not imply physical
involvement but it has a strong emotional meaning such as to affect or protect
a person.
Datum 8
SL : Hari ini tidak pernah ada. Kemarin tidak nyata.
TL : There is no today. Yesterday is not real.
Based on conceptual metaphor theory by Lakoff and Johnson, the text above
is categorized into ontological metaphor. In a major study (Kövecses 38), it was
found that ontological metaphor occurred when human conceive their
experience in terms of objects, substances and container. The text “Hari ini
tidak pernah ada” is conceptualized into physical object as the source domain
and nonphysical or abstract entities as the target domain. Text above represents
to someone who feels lonely in each day because there is no family, friend, or
someone he loves during in New York.
In translation theory, the sentence “Hari ini tidak pernah ada. Kemarin tidak
nyata” had been translated to “There is no today. Yesterday is not real” is
categorized into standard metaphor. The translator’s procedure is reproducing
the metaphor to the same image. In a major study (Newmark 108), it was found
that reproducing metaphor to the same image is a procedure that provides the
comparable frequency from the source text to the target text. In the underlined
text above, the image is comparable in the source language and in the target
language.
Based on the text above, the translator transfers the image and the meaning
successfully because he produces the metaphor to the same image without
replacement. Additionally, the researcher argues that the text feels good in its
translation and the taste of two languages which describes a person who feels
empty in his days during in New York.
Datum 9
SL : Tidak ada pengunjung. Tidak ada pengunjung.
TL : There are no visitors. There are no visitors.
Based on the conceptual metaphor theory, the text above is refers to the
previous text “puisi adalah museum yang lengang.” Thus, it is categorized
into structural metaphor. In a major study (Kövecses 37), it was found that
structural metaphor occurred when the source domain provides a relatively
rich knowledge structure for the target concept. To determine that the text
above is a structural metaphor, the mapping can be illustrated as follows:
POETRY IS A MUSEUM
Source Domain: Museum Target Domain: Poetry
A place to store historical objects => A way to store someone’s feeling
There are objects to be looked at => There are words to be read
There are visitors => There are readers
In translation theory, the sentence “Tidak ada pengunjung. Tidak ada
pengunjung” had been translated to “There are no visitors. There are no
visitors” is categorized into standard metaphor. The text is translated by utilize
reproduce the metaphor to the same image procedure because there is no
changed meaning and image from the source text. In a major study (Newmark
108), it was found that reproducing metaphor to the same image is a procedure
that provides the comparable frequency from the source text to the target text.
From the text above, the translator reproduces the image and the meaning
successfully in the target language because he produces the metaphor to the
same image without replacement. In addition, the researcher argues that the text
in the table has the equal meaning because the metaphor translation is delivered
as a metaphor as well. In addition, the text evokes the same sense. As in the
previous data, a word can be interpreted literally or as an analogy depends on
the reader’s perspective. However, in the text above, the researcher assumes
that the text is a metaphor or analogy that can be proved by conceptual metaphor
theory.
Datum 10
SL : Bahasa ibu adalah kamar tidurku.
TL : My mother tongue is my bedroom.
Based on the conceptual metaphor theory, the text above is categorized into
structural metaphor. In a major study (Kövecses 37), it was found that structural
metaphor occurred when the source domain provides a relatively rich
knowledge structure for the target concept. To determine that the text above is
a structural metaphor, the mapping can be illustrated as follows:
MOTHER TONGUE IS A BEDROOM
Source Domain: Bedroom Target Domain: Mother Tongue
Comfortable place to take a rest => Comfortable language to be
spoken
Inside the house => In the hometown
In translation theory, the sentence “Bahasa ibu adalah kamar tidurku” had
been translated into “My mother tongue is my bedroom.” The text above is
classified to standard metaphor. The translator uses reproduce the metaphor in
the SL with a standard TL image which does not clash with the TL culture. In
a major study (Sayogie 212), it was found that in this procedure, the translator
changed the image of the source language to the target language when there is
a different culture and no image that corresponds in source language when the
text is translated to the target language. The text in the table above represents
to someone who feels more comfortable to use mother tongue because it makes
him feels like he has someone whom he knows and has an emotional attachment
as like as his family or his friends.
From the text above, the translator adjusts the culture in SL to the TL
successfully with the same meaning. In addition, the researcher argues that the
translated text has the same meaning because the translator matches the culture
between source language and the target language. If the text is translated by
word for word, then the word “bahasa” will be translated into “language.” In
fact, the word “bahasa ibu” is a word that can be translated into “mother
tongue.”
Datum 11
SL : Aroma kemeja ayah dan senyum perempuan yang tidak
membiarkanku merindukan senyum lain.
TL : The smell of my father’s shirt. The smile of a woman who will
not permit me to pine for a different smile.
Based on conceptual metaphor theory by Lakoff and Johnson, the text above
is categorized into ontological metaphor because the sentence “Aroma kemeja
ayah dan senyum perempuan yang tidak membiarkanku merindukan senyum
lain“ indicates human activities carried out by nonhuman. In a major study
(Kövecses 38), it was found that ontological metaphor can be conceived as
personification. As outlined in Dictionary, ontological relates to ontology, the
branch of metaphysics that studies the nature of existence or being as such
metaphysical.
The sentence “Aroma kemeja ayah dan senyum perempuan yang tidak
membiarkanku merindukan senyum lain” had been translated to “The smell of
my father’s shirt. The smile of a woman who will not permit me to pine for a
different smile” is categorized as standard metaphor. The translator uses
reproduce the metaphor to the same image procedure. In a major study
(Newmark 108), it was found that reproducing metaphor to the same image is
a procedure that provides the comparable frequency from the source text to the
target text. Although the word “merindukan” can be translated to “miss” or
“longing” but the translator uses the term “pine for.” Based on Merriam
Webster Dictionary, the word “pine for” can be found as an inseparable word
and it means “to yearn intensely and persistently especially for something
unattainable.” Thus, the translator chooses the word “pine for” to evoke the
strong sense in the text.
From the text above, the translator can convey the aim of the poet
successfully and evokes the equal meaning. Based on several sources such as
Vocabulary.com, it defines “pine” as “to torture or cause to experience pain”
whereas in Merriam Webster Dictionary, the word “pine for” can be found as
an inseparable word and it means “to yearn intensely and persistently especially
for something unattainable.” Thus, the text above evokes a same meaning
between in source text and the target text.
3. Recent Metaphor
Recent metaphor is occurred when an author create a new term or phrase as
metaphor. According to Newmark, the translating metaphor is usually called
neologism. In analyzing data, the researcher found 1 recent metaphor as
follows:
Table 3
Datum 12
SL : Kau yang panas di kening, kau yang dingin di kenang.
TL : You are the fever in my mind. You are the frost in my memory.
Based on conceptual metaphor theory by Lakoff and Johnson, the text above
is categorized into orientational metaphor. In a major study (Kövecses 40), it
No. Source Text Target Text Translation
Procedure
12. Kau yang panas di
kening, kau yang
dingin di kenang.
You are the fever in
my mind. You are
the frost in my
memory.
Replacing the
image in the
SL with a
standard TL
image.
Line 9 Line 12
was found that orientational metaphors are more appropriate to be called
“coherence metaphor” because of its function in cognitive level. The word
“fever” is up and “frost” is down in spatial orientation up-down. The sentence
“You are the fever in my mind. You are the frost in my memory” means that
there is a woman who is still very strong in someone’s mind.
The sentence “Kau yang panas di kening, kau yang dingin di kenang” had
been translated into “You are the fever in my mind. You are the frost in my
memory” is categorized into recent metaphor because the word “di kenang” is
a new term which created by the poet. In a major study (Newmark 111), it was
found that recent metaphor pointed the objects or processes that are treated as
neologisms or new term with particular reference to 'exportability' in reference
and metaphor language levels. It occurs when the writer use the new term to
reinforce sense in the language. Newmark, as cited by Sayogie (216), in
translate this type of metaphors, the translator should exploring the connotation
in source culture and searching the closest equivalent in the target culture in
order to the metaphor can be translated successfully.
Based on the text above, the translator successfully reproduces the meaning
of “panas” which translated into “fever” and “di kenang” which translated into
“in my memory.” Most of people argued that “di kenang” is misspelled and
considered as a prefix. However, it is a preposition as in the original book in
Indonesian version. Based on the text above, the translator used the replacing
the image in the SL with a standard TL image procedure. The translated text is
equal and the translator can convey the same message between in source
language and the target language. According to Merriam Webster Dictionary,
fever means a stated of excited emotion or activity. It means that there is
someone who still strong in his mind. In addition, the word “di kenang” is
translated into “in my memory,” which has the same image and clear meaning
when it is translated.
4. Original Metaphor
Table 4
No. Source Text Target Text Translation
Procedure
13. Tidak ada New
York hari ini.
There is no New York
today.
Reproducing the
same image in
the TL.
Line 1 Line 1
14. Puisi adalah
museum yang
lengang.
Poetry is a deserted
museum.
Reproducing the
same image in
the TL.
Line 13 Line 17
Datum 13
SL : Tidak ada New York hari ini.
TL : There is no New York today.
Based on conceptual metaphor theory by Lakoff and Johnson, the text above
is categorized into ontological metaphor. In a major study (Kövecses 38), it was
found that ontological metaphor occurred when human conceive their
experience in terms of objects, substances and container. The text “Tidak ada
New York hari ini” is nonthing experience that has received a thing status. In
this context, New York is symbolized as someone’s feeling. The sentence
“Tidak ada New York hari ini” means that someone feels lonely during the day.
In fact, New York is a busy and lively town along day and night.
In translation theory, the sentence “Tidak ada New York hari ini” had been
translated to “There is no New York today” is categorized into original
metaphor. Original metaphor should be translated literally. In a major study
(Newmark 112), it was found that original metaphor invented or quoted by SL
(source language) author. Based on the original principles of metaphor, the
authoritative texts and expressive must be translated in real sense or literally,
either universal, cultural, or vague subjectively. The translator did not change
the text “New York” in the sentences because it is the name of city in the United
States, so the translator kept it in the target language and reproduce to the same
image in the TL.
Based on the text above, the translator used the reproducing the same image
in the TL procedure. Moreover, the translator translated the text successfully
because he reproduced the same image without changing and affecting in the
target text. Although the translator translates it by word for word, the text
looked good because the image which appeared in the text still be maintained.
Datum 14
SL : Puisi adalah museum yang lengang.
TL : Poetry is a deserted museum.
Based on the conceptual metaphor theory, the text above is categorized into
structural metaphor. In a major study (Kövecses 37), it was found that structural
metaphor occurred when the source domain provides a relatively rich
knowledge structure for the target concept. To determine that the text above is
a structural metaphor, the mapping can be illustrated as follows:
POETRY IS A MUSEUM
Source Domain: Museum Target Domain: Poetry
A place to store historical objects => A way to store someone’s feeling
There are objects to be looked at => There are words to be read
There are visitors => There are readers
The text “Puisi adalah museum yang lengang” had been translated “Poetry
is a deserted museum,” the word “museum” in Bahasa constantly translated as
“museum” in English. The translator kept it in the target language. This type of
metaphor is appropriate as original metaphor. Original metaphor should be
translated literally. In a major study (Newmark 112), it was found that original
metaphor invented or quoted by SL (source language) author. Based on the
original principles of metaphor, the authoritative texts and expressive must be
translated in real sense or literally, either universal, cultural, or vague
subjectively.
Based on the text above, translator translated the text successfully because
he reproduced the same image in the TL without changing and affecting in the
target text. Although the translator translates it by word for word, the image
which appeared in the text still be maintained.
53
CHAPTER IV
CONCLUSIONS AND SUGGESTIONS
A. Conclusions
After analyzing the data, the researcher comes to describe some conclusions. In
this research, the researcher discusses about the types of metaphor in Indonesian poem
“Tidak Ada New York Hari Ini” by M. Aan Mansyur which translated into English by
John H. McGlynn entitled “There is No New York Today.” At first, the researcher
makes sure that the texts are metaphor. To identify the texts, the researcher classifies
them into three types of conceptual metaphor. As the result, the researcher finds 14
expression of metaphor. They are categorized into structural metaphor, ontological
metaphor and orientational metaphor. Ontological metaphor is the type of metaphor
that found frequently in this research.
Afterward, the researcher classifies the data into several types of metaphor and the
way to translate it. As the result, the researcher finds four types of metaphor. They are
two dead metaphors, nine stock or standard metaphors, one recent metaphor and two
original metaphors that become the focus of this study. Standard metaphor is the type
of metaphor that is found frequently in poem “Tidak Ada New York Hari Ini.” In
standard metaphor, there are several procedures to identify the metaphor translation
such as translation of metaphor by simile, translation of metaphor by deletion and
translation of metaphor by reproduce the same image in the target language that applied
by the researcher based on Newmark’s theory to analyze the poem.
In metaphor translation, the translator frequently translates the metaphors to the
metaphors as well because metaphor is a set or a word that has the implied meaning.
Thus, a translator must understand its meaning in advance to get the same message or
equivalence between two languages. Moreover, a translator should consider and adjust
the context so the readers can get the message and the implied meaning of the text.
B. Suggestions
There is number of suggestion after conducting this research as follows:
1. For translator, it is very important to know the implied message in a text that
will be translated by a high sensitivity. However, the translator’s awareness is
the key to produce the same sense or image of a literary work especially to
translate a poem. In addition, the translator should comprehend about the
culture and adjust the diction of the author or poet.
2. For English Letters Department students who are interested in translating
metaphor research especially in a literary work such as poem. To master the
translation study, they must comprehend and apply the procedure or strategy
from a lot of theory to make sure that the text is equal between the source
language and the target language. Thus, it can be helpful for the readers
especially the student in reading a lecture book or a literary work. In addition,
the researcher also suggests the other researchers who are interested in this
study to comprehend the knowledge about metaphor translation to improve this
research.
56
BIBLIOGRAPHY
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58
APPENDICES
Indonesian version
Tidak Ada New York Hari Ini
Tidak ada New York hari ini. Tidak ada
New York kemarin. Aku sendiri dan tidak
berada di sini. Semua orang adalah orang lain.
Bahasa ibu adalah kamar tidurku. Kupeluk
tubuh sendiri. Dan cinta—kau tak ingin aku
mematikan mata lampu. Jendela terbuka
dan masa lampau memasukiku sebagai angin.
Meriang. Meriang. Aku meriang. Kau yang panas
di kening. Kau yang dingin di kenang.
Hari ini tidak pernah ada. Kemarin tidak nyata.
Aku sendiri dan tidak menulis puisi ini. Semua
kata tubuh mati semata.
Puisi adalah museum yang lengang. Masa remaja
dan negeri jauh. Jatuh dan patah. Foto-foto hitam
putih. Aroma kemeja ayah dan senyum perempuan
yang tidak membiarkanku merindukan senyuman lain.
Tidak ada pengunjung. Tidak ada pengunjung.
Di balik jendela, langit sedang mendung.
Tidak ada puisi hari ini. Tidak ada puisi kemarin.
Aku menghapus seluruh kata sebelum sempat
menuliskannya.
English version translated by John H. McGlynn
There is No New York Today
There is No New York today.
There was no New York yesterday.
I am alone and am not here.
Everyone is someone else.
My mother tongue is my bedroom.
I embrace myself.
And love—you don’t want me
to extinguish light’s eyes.
Through the open window
the past enters me like wind.
I shiver. Shiver. Shiver.
You are the fever in my mind,
you are the frost in my memory.
There is no today. Yesterday is not real.
I am alone and not writing this poem.
Words are but lifeless souls.
Poetry is a deserted museum. Days of youth
and a far-away land. Fallen and broken. Black and white
photographs. The smell of my father’s shirt. The smile of a woman
who will not permit me to pine for a different smile.
There are no visitors. There are no visitors.
Outside the window, the sky is overcast.
There is no poetry today. There was no poetry yesterday.
I erase all the words even before I have the chance
to write them.
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