download (42mb)
TRANSCRIPT
TRANSLATION OF WORDPLAY IN THE SUBTITLE OF DESPICABLE
ME MOVIE SERIES
A GRADUATING PAPER
Submitted in Partial Fulfillment of the Requirements for Gaining
The Bachelor Degree in English Literature
By:
YUNIATI LUTFI MAR’ATUN S 11150064
ENGLISH DEPARTMENT
FACULTY OF ADAB AND CULTURAL SCIENCES
STATE ISLAMIC UNIVERSITY SUNAN KALIJAGA
YOGYAKARTA
2016
v
TRANSLATION OF WORDPLAY IN THE SUBTITLE OF DESPICABLE ME MOVIE SERIES
By: Yuniati Lutfi Mar’atun S
ABSTRACT
Wordplay is clever play on words that considered problematic in translation because it involves specific structure of language. This research is conducted to analyze how wordplay in Despicable Me movie series is translated into Bahasa Indonesia. The writer describes types of wordplay in the movies and how it is translated, as well as the effects of the translation technique used. This is a qualitative research. The writer uses Schröter’s classification of wordplay and Humanika’s translation techniques for wordplay into Bahasa Indonesia. The result of this research are: (1) there are 11 instances of homonyms, 3 instances of homophones, 14 instances of paronyms, and 13 instances of polysemies (2) the techniques used to translate the wordplay into Bahasa Indonesia is literal translation, using related rhetorical device, using editorial techniques, loan translation, and deletion (3) the effects of the use of wordplay translation techniques are divided into 2. The wordplay is maintained and lost in the subtitle of the movies. Wordplay is maintained in TT by using related rhetorical device and loan translation. Wordplay is lost in TT as a result of the use literal translation and deletion. Keywords: translation, subtitle, wordplay, Despicable Me series
vi
TRANSLATION OF WORDPLAY IN THE SUBTITLE OF DESPICABLE ME MOVIE SERIES
By: Yuniati Lutfi Mar’atun S
ABSTRAK Permainan kata merupakan permainan pada kata dengan cerdik yang dianggap problematik dalam penerjemahan karena melibatkan struktur khusus dari bahasa. penelitian ini dilakukan untuk menganalisis bagaimana permainan kata dalam serial film Despicable Me diterjemahkan ke dalam Bahasa Indonesia. Penulis mendeskripsikan apa saja jenis permainan kata yang ada dalam serial film tersebut, cara permainan kata tersebut diterjemahkan, serta efek dari penerjemahan permainan kata tersebut. Ini merupakan penelitian kualitatif. Penulis menggunakan teori klasifikasi permainan kata yang dikemukakan oleh Schröter dan teknik penerjemahan permainan kata yang dikemukakan oleh Humanika. Hasil dari penelitian ini adalah: (1) ada 11 contoh homonim, 3 contoh homofon, 14 contoh paronim, dan 13 contoh polisemi (2) teknik yang digunakan untuk menerjemahkan permainan kata ke dalam Bahasa Indonesia adalah penerjemahan literal, dengan peranti retoris, dengan teknik editorial, peminjaman, dan penghilangan (3) efek dari penggunaan strategi penerjemahan permainan kata dibagi menjadi 2, yaitu permainan kata dipertahankan dan permainan kata hilang dalam subtitle film tersebut. Permainan kata dipertahankan dalam teks sasaran dengan teknik penerjemahan dengan alat retorik dan peminjaman. Permainan kata hilang dalam teks sasaran akibat penggunaan tehnik penerjemahan permainan kata dengan penerjemahan literal dan penghilangan.
Kata Kunci : terjemah, subtitle, permainan kata, serial Despicable Me
vii
ACKNOWLEDGEMENT
Assalamu’alaikum Wr. Wb.
First of all, Alhamdulillah hirabbil alamin, all praise to Allah SWT, who
has been giving mercy and blessing to me so that I can complete this graduating
paper entitled “Translation of Wordplay in the Subtitle of Despicable Me Movie
Series”.
Peace may be graced upon the Prophet Muhammad SAW who has guided
us from the darkness to the lightness in the world as well as in the next world.
The completion of this research is a long journey that the writer did not go
through alone. There are so many people that always help, support, and give
motivation in completing this research. Thus, in this opportunity, as the writer I
want to express my sincere gratitude to:
1. My beloved parents, Lilik Masyhuri and Supardini who always give me
love, support, motivation and encouragement.
2. All of my sisters and brothers, Afini Ftrianingsih, Aghniya Ayu Wiryani,
Sulaiman Abdul Karim, and Ilham Muhammad Firdaus;
3. My graduating paper consultant, Mr. Dwi Margo Yuwono, M.Hum for all
the help, advices, guidance, corrections, and patience throughout the
undertaking of this graduating paper;
4. The examiners of my graduating paper, Mr. Arif Budiman, S.S, M.A and
Mr. Bambang Hariyanto, S.S, M.A.
5. My academic advisor Mrs. Witriani, M. Hum
6. All lecturers of English Department for all knowledge given to me during
my academic years;
7. My best friends: Nayla, Yeli, Safrina, and all my close friends for the
happiness have been shared & memories have been made together;
8. All friends of SI chapter 2011;
9. All friends of HIMASI and English Department UIN Sunan Kalijaga;
10. All friends from Bidikmisi ASSAFFA;
ix
DEDICATION
This graduating paper is simply and sincerely I dedicate to my parents and siblings who throughout the undertaking this study have taught me what family truly means.
x
MOTTO
“Then which of the favours of your Lord will ye deny?”
- Qs. Ar Rahman
“Urip iku mung sawang sinawang, mula aja mung nyawang sing kesawang.”
- Javanese Proverb
xi
TABLE OF CONTENTS
TITLE ................................................................................................................. i
FINAL PROJECT STATEMENT .................................................................... ii
APPROVAL ....................................................................................................... iii
NOTA DINAS ..................................................................................................... iv
ABSTRACT ........................................................................................................ v
ABSTRAK .......................................................................................................... vi
ACKNOWLEDGEMENT ................................................................................. vii
DEDICATION .................................................................................................... ix
MOTTO .............................................................................................................. x
TABLE OF CONTENTS ................................................................................... xi
LIST OF ABBREVIATION .............................................................................. xiv
LIST OF IMAGE ............................................................................................... xv
LIST OF TABLE ................................................................................................ xvi
LIST OF APENDICES ...................................................................................... xvii
CHAPTER I: INTRODUCTION
xii
1.1 Background of Study ..................................................................................... 1
1.2 Research Questions ........................................................................................ 5
1.3 Objectives of Study ........................................................................................ 5
1.4 Significances of Study .................................................................................... 5
1.5 Literature Review ........................................................................................... 6
1.6 Theoretical Approach ..................................................................................... 9
1.7 Method of Research ....................................................................................... 10
1.8 Paper Organization ......................................................................................... 12
CHAPTER II: THEORETICAL BACKGROUND
2.1 Translation....................................................................................................... 14
2.2 Screen Translation .......................................................................................... 14
2.2.1 Subtitling .............................................................................................. 15
2.3 Wordplay ........................................................................................................ 16
2.3.1 Notions of Wordplay ............................................................................ 16
2.3.2 Wordplay in Polysemiotic Text ............................................................ 17
2.3.3 Classification of Wordplay ................................................................... 18
2.3.4 Translation techniques for Wordplay ................................................... 22
CHAPTER III: RESEARCH FINDING AND DISCUSSION
3.1 Research Finding ............................................................................................ 25
3.2 Discussion ...................................................................................................... 26
3.2.1 Homonymy .......................................................................................... 26
3.2.2 Polysemy .............................................................................................. 32
3.2.3 Homophony ......................................................................................... 35
xiii
3.2.4 Paronymy ............................................................................................. 38
CHAPTER IV: CONCLUSION AND SUGGESTION
4.1 Conclusion ..................................................................................................... 43
4.2 Suggestion ...................................................................................................... 44
REFERENCES ..................................................................................................... 46
APPENDICES ..................................................................................................... 48
CURRICULUM VITAE ...................................................................................... 62
xiv
LIST OF ABBREVIATION
o
Abbreviat
ion
Meaning
1. CALD3 Cambridge Advance Learner’s Dictionary
3rd Edition
2. KBI Kamus Bahasa Indonesia
3. SL Source Language
.
ST Source Text
.
TL Target Language
.
TT Target Text
xv
LIST OF IMAGE
Picture ................................................................................................................... Page
Picture 1 ............................................................................................................... 36
Picture 2 ................................................................................................................ 38
Picture 3 ............................................................................................................... 39
Picture 4 ............................................................................................................... 41
xvi
LIST OF TABLE
Page
Table1. Findings of wordplay and Delabastita strategies .................................... 26
xvii
LIST OF APPENDICES
Table 2. Wordplay found in Despicable Me ........................................................ 48
Table 3. Wordplay found in Despicable Me 2 ..................................................... 54
Table 4. Wordplay found in Minions ................................................................... 57
1
CHAPTER I
INTRODUCTION
1.1. Background of Study
Language is not only an important communicative means for mankind,
but also is a unique phenomenon. To be precisely, it is a language phenomenon
created from, as Schröter defined it, “the peculiarities of a linguistic system”
(2005: 78). The peculiarities of linguistics elements in a language involved many
aspects in the language itself such as sound, spelling, pronunciation, meaning, etc.
The combination of two or more of those aspects creates many types of wordplay
such as homonymy, homophony, etc.
In correlation with communication, it is acceptable if a person employs
wordplay for communicative purpose such as make slip of taboo words. However,
it is not recommended if wordplay is used to utter ambiguous message in a
conversation. A verse in Quran states that people should say the truth and do not
lie. The message is clearly stated in Surah ‘Isra verse 53 as can be seen below:
“Say to My servants that they should (only) say those things that are best: for
Satan doth sow dissensions among them: For Satan is to man an avowed enemy.”
(Ali, 1999: 688)
2
The employment of wordplay in daily life also can be seen in many works
such as literary works, comedic TV programs, advertisements, films, and so on.
The employment generates different kind of effects. For example, wordplay
uttered by a film character can create such a witty and humorous effect that can be
sensed by audience or other film characters. For a film especially family film or
“comedic nature”, as stated by Schröter, the use of wordplay correlates with
humor function (2005: 94). Therefore, it is often found in family or a comedic
film, to gain the humor function, wordplay is employed in the dialogues.
As comedy movies contain humorous aspects and humorous aspects can
be felt through employment of wordplay, it can be said that comedy movies is
noticeable source for the instances of wordplay in this research. Despicable Me,
Despicable Me 2, and Minions are animation comedy movies and seemingly
employs wordplay. The movies also fulfill another aspect; they are well-known
movies in target audience. They are included as one of best-entertaining movies
both for adult and children (www.IMDb.com). Many film critics say that the film
can be liked by children as its humorous dialogues and scene beside its easily
understood storyline by children (http://www.cinemablend.com/reviews/Minions-
66621.html).
Despicable Me movie series so far consist of three movies. The first
movie entitled Despicable Me is released in July 9th 2010. Its sequels entitled
Despicable Me 2 was released in July 3rd 2013 and its prequels entitled Minions
was released in July 10th 2015. Despicable Me movie series is animation family
comedy movies produced by Illumination Entertainment and distributed by
3
Universal Pictures. It is movie series known by audience as entertaining movies
seen from the witty and humorous dialogue. Here are the examples of wordplay in
English source text (ST) and Bahasa Indonesia target text (TT) found in the
material.
1. SL:
GRU. But am I upset? No! I am not. A little. But we have had a pretty
good year ourselves. And you guys are alright in my book!
MINION. (eagerly raises his hand) Ooh ooh ohh!
GRU. No, no raises! You’re not going to get any raises.
TL:
GRU. Namun apakah aku kesal? Tentu tidak! memang sedikit kesal…tapi
kita sendiri sudah mengalami satu tahun yang cukup baik…dan kalian
semua mematuhi perintahku.
MINION. no translation
GRU. Tidak, tak ada kenaikan gaji! Kalian tak kan dapatkan kenaikan gaji
apa pun.
2. SL:
The Queen. Hahaha! Oh, what about this one? Hahaha! Why did the
Queen go to the Dentist? To get her teeth crowned!
TL:
Sang Ratu. Bagaimana dengan yang ini. Kenapa sang Ratu pergi
mengunjungi dokter gigi? Agar gigi-nya dapat dimahkotai.
As can be seen through the words in bold above, there is wordplay played
in the characters’ utterance. In example 1, in my book is ambiguous. The minions
assume book as ‘money record’ while actually what Gru thinks is in my book as
an idioms which means ‘in my opinion’ (CALD3). It can be seen that there is no
translation of in my book. In example 2, the two meanings of word crowned are
4
evoked. The first meaning of crowned is ‘to put a circular decoration for the head,
usually made of gold and jewels, that makes them king or queen’ (CALD3). This
first meaning correlates with word the Queen. The second meaning which the
meaning is ‘to put artificial piece used to cover damaged tooth’ is evoked by word
dentist. In TL, we can see that the word crowned is translated into dimahkotai. In
bahasa Indonesia, crowned means ‘dimahkotai (kepala)’. Thus, this wordplay is
translated literally. Different from example 1, the subtitler translates the meaning
of crowned.
In fact, not all international film fans can understand the humor triggered
from the employment of wordplay. To solve this matter, the role of subtitler is
needed. However, there’s another matter emerged. As stated by Pedersen “the
translation of wordplay is challenging” to be learnt, since wordplay or pun often
problematic to be translated (2010:1). It is because wordplay often involved
specific source language pattern and influenced by certain social context and
culture. Wordplay in a dialogue of films will be easily understood by natives but
might not fully be understood by different language natives. Considering this, it is
important to know and understand how the subtitler deal with this constrains.
Thus, the researcher is interested to make the translation of wordplay as the object
of this research.
Considering many aspects above, it can be concluded that research about the
study of wordplay and its Indonesian translation is worth to be done. The research
is done further by analyzing the category of wordplay in the films and its Bahasa
Indonesia translation by employing Schröter’s classification and Humanikaa’s
5
translation techniques. By knowing how each type of wordplay is translated with
certain translation strategies, the effect of the TT renderings can be analyzed.
1.2. Research Questions
The problem statements for this research are:
1. What types of wordplay are found in Despicable Me movie series?
2. How the original wordplay in Despicable Me movie series is translated
into Bahasa Indonesia?
3. How is the effect of the ST wordplay of Despicable Me movie series in TT
audiences after the wordplay being translated with the applied technique?
1.3. Objective of Study
The objectives of this research are:
1. to find out the types of wordplay in Despicable Me movie series
2. to describe translation each type of wordplay found in Despicable Me
movie series into Bahasa Indonesia; and
3. to describe the effect of the ST wordplay of Despicable Me movie series in
TT audiences after the wordplay being translated with the applied
technique.
1.4. Significances of Study
This research shows how wordplay is translated in Bahasa Indonesia
subtitle text. How the wordplay in the subtitle of the movies is translated is
important because it might influence other aspects of the movies such as
supporting the movies’ genre, the dialogue and characterization, and so on. This
research presents practical significances for many people. This research can
6
contribute knowledge for academician of English Department who want to learn
about translation of wordplay in movies subtitling text since this research presents
the classification of wordplay and techniques in rendering the wordplay. It is also
expected that this research can be one of source references for readers who want
to learn about the translation of wordplay from English into Bahasa Indonesia. In
addition, this research of translation and wordplay aspect in movies may useful for
helpful for subtitles maker when they find the difficulties in translating wordplay.
So, they can decide the best way to do in dealing with wordplay in the process of
subtitling.
1.5. Literature Review
There are some prior researches correlating with this research. The first
research is thesis entitled “An Analysis of the fate of puns in subtitling with Sex
and the City as an empirical example” (2010) by Camilla Ostergaard Pedersen
from Aarhus University, Denmark. The researcher questions whether the effect of
ST wordplay tends to be lost in the TT. The researcher chooses Sex and the City
comedy series as the subject of research. The research uses the qualitative
approach. The researcher applies Delabastita’s classification and translation
strategies and Nida’s equivalence. By this research, the author concludes that from
12 selected data in Sex and the City comedy series, four data were translated
successfully and the effect of the ST wordplay maintained in the TT while the rest
were not translated and the effect considered loss in the TT.
The second research is a thesis entitled “Wordplay in Shrek movies and its
Bahasa Indonesia Subtitling Texts” (2014) by Sigit Wibisono from Yogyakarta
7
State University. The researcher employs descriptive qualitative method. To gain
trustworthiness and credibility of the data taken, the researcher also applied
triangulation method, a method which one of its form is using peer debriefing
done by qualified outside researcher. The researcher employs Delabastita’s
classification, Humanika’s translation technique of wordplay, and the theory of
degree and type of equivalence by Nida and Taber (2003). There are 3 research
questions of this thesis: (1) what types of wordplay are found in Shrek movies?
(2) What techniques are used to translate the wordplay in Shrek movies into
Bahasa Indonesia? And (3) how is the degree of equivalence of the translation of
the wordplay in Shrek movies into Bahasa Indonesia? The result of the research
questions is (1) there are five types of wordplay found in Shrek movies, they are
homonymy, paronymy, polysemy, idioms, and wordplay based on morphological
developments (affixation, conversion, nominalization, neologism, etc), (2) there
are 7 techniques applied in translating wordplay in Shrek movies they are literal
translation on 39 data, loan translation on 3 data, deletion on 7 data, literal-
wordplay to wordplay on 2 data, literal-loan on 1 data, and literal-deletion on 1
data. (3) Related to the third objective study, 79,24 % translation of wordplay in
Shrek movies is equivalent which is 2 data translation is fully equivalent and 40
translation is partially equivalent.
The third research is a thesis entitled “Parents’ and Children’s Use of
Cooperative Principle in Despicable Me 2” (2014) by Rosiana Rizqy Wijayanti
from State Islamic University of Sunan Kalijaga Yogyakarta. The research
answers questions: (1) How does Gru as the father use the cooperative principle in
8
Despicable Me 2; (2) How do Gru’s children use the cooperative principle in
Despicable Me 2; and (3) how are the difference and similarity of Gru’s and
children’s use of cooperative principle in Despicable Me 2. The research uses the
qualitative method. The researcher applies the cooperative principles from Grice
(1975). By this research, the author concludes (1) both parent and children
observe and do not observe the cooperative principle; (2) the characters observe
the maxims because they want to be cooperate in their conversation, and fail to
observe because the speaker had known that the hearer already know the context
the thing talked; (3) the similarities and differences cannot be found while
characters observe maxims. The characters fail to observe because they have their
own reason or intention to fail or to observe the maxims.
Although similar with the previous researches above, this research has
differences at some points. This research is different to the first and second prior
research in choosing the subject of study. Compared to the third prior research,
this research is different in the theory used and not only use the sequel Despicable
Me 2 as the subject research but also use the first movie, Despicable Me and its
prequel movie entitled Minions.
1.6. Theoretical Approach
Some studies are applied in this research to answer the research questions.
To find out how the English wordplay translated into Bahasa Indonesia and the
effect of the translated wordplay in TT audience, the researcher uses some
theories to be applied in analysis. The theories needed to answer the research
9
questions are screen translation, Schröter’s classification, and translation
technique for wordplay.
The theory of screen subtitling of films is needed in this research as the
object of this research is film. The researcher includes a description of Schröter’s
screen translation, which consists of dubbing and subtitling. It is because Schröter
had been known for his research about wordplay translation in family film. Then,
in order to know types of wordplay, the researcher requires a theory of the
wordplay classification with regard to semantic approach. According to Visan,
Schröter is one of those who classify wordplay based on semantic approach
(2015: 252). His classification consists of:
1. Homonymy 2. Polysemy 3. Homophony 4. Paronymy
(Schröter, 2005: 168-206)
In the process to analyze wordplay in ST and its translation as well as its effect on
TT, theories of translation techniques of wordplay are required. The theory is
translation technique of wordplay by Humanika. The techniques proposed by
Humanika consist of:
1. wordplay →wordplay 2. using rhetorical device 3. situational translation 4. literal translation 5. editorial techniques 6. compensation 7. loan translation 8. deletion
(Humanika, 2012: 3)
10
1.7. Research Methods
1.7.1 Type of Research
This study uses descriptive qualitative method since in order to answer the
research questions; the researcher explains the research data descriptively.
According to Mackey and Gass in their book entitled Second Language Research:
Methodology and Design, “the term qualitative research refers to research that is
based on descriptive data that does not make (regular) use of statistical
procedures” (2005: 162). According to Creswell, qualitative research focuses on
the analyzing or describing words and/or image so then it can be grouped (i.e. into
categories) to get wider understanding (Jatmika, 2015: 44). This research attempts
to identify wordplay in utterances in the movie and its Bahasa Indonesia so then
the researcher can classify them and analyze the translation technique used.
Library research method is also applied in this study since the analysis of the
meaning of words involved references such as book, dictionary, etc.
1.7.2 Data Sources
The data source of this research is the original scripts of the movies
(Despicable Me, Despicable Me 2, and Minions) and the subtitles in Indonesian
version. The original script of Despicable Me is written by Cinco Paul, Ken
Daurio, and Sergio Pablos. Despicable Me 2 movie script is written by Cinco Paul
and Ken Daurio while Minions movie script is written by Brian Lynch. The three
movie scripts are taken from site ‘Script-o-Rama’ in http://www.script-o-
rama.com. As said by Iranmanesh this site is considered as professional and
reliable source for those who search movie scripts (2014: 107). The Bahasa
11
Indonesia subtitles are translated by Rizal Adam (Despicable Me), Novi
(Despicable Me 2), and Dimas Daffa Yanuardi (Minions). The research data are
words or phrases in characters’ utterance considered as wordplay both from the
movies and the Bahasa Indonesia subtitle texts.
1.7.3 Data Collection Technique
This research uses documentation method since in collecting the wordplay
the researcher is watching the movie and then listing and numbering the wordplay.
Documentation method, according to Subroto, is a method which used a written
source as the reference in order to collect the data (1992:42). The researcher also
applies content analysis in this research since the data used is the original scripts
and Bahasa Indonesia subtitles.
The steps in collecting data in this research are: first, the researcher reads
the original scripts of the movies. To make sure the better insight of the wordplay,
the researcher also considers other aspects such as the non verbal and visual
channel by watching the movies several times, especially in which the wordplay is
assumed to occur. It is because sometimes the wordplay spoken by characters
involved other aspects such as non verbal and visual channel. Second, the
researcher makes note and listing the words or phrase considered wordplay. Then,
the step is finding the translation of the wordplay in the Bahasa Indonesia
subtitles texts.
1.7.4 Data Analyzing Technique
The method of analyzing data in this research is divided into three parts.
The steps are:
12
1. Classifying wordplay into four classifications (homonymy, polysemy,
homophony, and paronymy).
2. Analyzing the ST and TT by:
a. Identifying the SL wordplay component and its meaning
b. Identifying the translation strategies used
c. Analyzing the effect of TT renderings
3. Drawing conclusion
1.8. Paper Organization
This paper is divided into four chapters. They are introduction, theoretical
background, analysis, and conclusion. The first chapter contains general
information of this study including background of the study, research questions,
objective of study, significances of study, literature reviews, theoretical
approaches, methods of the research, and paper organization. The second chapter
contains all related theories. In this chapter, there is detailed explanation of
classification and translation technique for wordplay. The third chapter contains
the analysis of the data and explanation of the study findings. The last chapter
contains the conclusion and suggestion of the researcher.
40
CHAPTER IV
CONCLUSION AND SUGGESTION
4.1 Conclusion
According to the finding and discussion, there are 41 instances of
wordplay found in the three movies (Despicable Me, Despicable Me 2, and
Minions). In Despicable me, there are 2 homonymy, 8 polysemy, and 3 paronymy.
In Despicable Me 2, there are 4 instances of homonymy, 1 homophony, 4
polysemy, and 3 paronymy. In Minions movie, there are 5 homonymy, 2
homophony, 1 polysemy, and 8 paronymy.
The techniques used in translating the wordplay are literal translation,
deletion, using related rhetorical device, with editorial techniques, and loan
translation. Homonymy in the three movies is translated with six techniques; they
are literal, deletion, with editorial techniques, with related rhetorical device, and
deletion. Polysemy is translated using two techniques; they are into into wordplay,
and couplet. Homophony is translated using two techniques; they are into
wordplay and deletion. Finally, paronymy is translated using three techniques;
they are literal, deletion, and loan translation.
There are effects to the instances of original wordplay after being
translated in subtitle texts using certain strategies that make wordplay have two
possibilities. It can be transmitted in TT or it cannot be retained in TT. The effect
of wordplay can be maintained in TT through the techniques such as wordplay to
wordplay, rhetorical device technique, and loan translation. Meanwhile, the effect
41
in the original wordplay tends to lost when the translator applies technique such as
literal, and deletion. Since the most technique used in the three movies is literal
translation, it can be an indication that the effect of original wordplay is lost either
partially or completely. It leads wordplay as one of elements contributes comedy
film does not have much contribution.
4.2 Suggestion
According to the findings and conclusion of the discussion, it is suggested
for subtitler and translator in general about many aspects when dealing with
wordplay. First, it is inevitably that a translator, especially a subtitler should
understand and recognize the occurrence of wordplay in media like films. They
should know the source language well and the other aspect sometimes involved,
in example culture. In addition, they should have a good knowledge about how to
transmit or recreate the wordplay for the target audience understands the intended
wordplay. Therefore, a translator should be creative and wise whether to transmit
both message and wordplay, or to sacrifice the wordplay for gaining the
successful delivery of the message.
The study of wordplay and its translation needs more attention as it is
proven that the research about wordplay is rarely found. Therefore, for those who
are interested in doing research about wordplay, it is suggested that many aspects
about translation of wordplay should be deeply kept in mind. This research is
about analysis of wordplay in animation comedy movies, so for other researcher,
they can find broaden data from other domains such as speech, advertisement, or
talkshow.
42
By studying wordplay, hopefully readers can apply many purposes of the
usage of wordplay in many opportunities still by considering Islamic value. Some
characters in the movie apply wordplay to confuse the person they spoke with
about what they actually want to say. In other cases, characters use wordplay to
entertain and make the situation more casual when interacting with other parties.
43
REFERENCES
Ali, Abdullah Yusuf. 1999. The Meaning of the Holy Qur’an. Maryland: Amana Publications.
Catford, J.C. A Linguistics Theory of Translation. 1965. London: Oxford University Press.
Chengzhi, Zhang; Goh Sang Seong, and Suzana Hj Muhammad. 2014. “Restructuring a New Approach of Puns Translation Strategy.” Theory and Practice in Language Studies 4.12: 2498-2506.
Cintas, J. D. and Aline Remael. 2007. Audiovisual Translation: Subtitling. New York: St. Jerome Publishing.
Cintaz, J. D, eds. 2008. The Didactics of Audiovisual Translation volume 77. Amsterdam & Philadelphia: John Benjamin Publishing Company.
Cintas, J. D, eds. 2009. New Trends in Audiovisual Translation. Bristol: Multilingual Matters.
Cintas, J. D. and Gunilla Anderman, eds. 2009. Audiovisual Translation: Language Transfer on Screen. New York: Palgrave Macmillan.
Delabastita, Dirk. 1998. “Wordplay as a Translation problem: A linguistic perspective.” Ubersetzung Translation Traduction: An international Encyclopedia of Translation Studies 1.66: 600-606. accessed on 15 June. 2016.http://www.academia.edu/4406989/Wordplay_as_a_translation_problem_a_linguistic_perspective.
Digital Cambridge Advanced Learner’s Dictionary, Third Edition.
Fudiyartanto, Fuad Ari, et, al. 2013. Panduan Akademik dan Pedoman Penyusunan Skripsi. Yogyakarta: English Department.
Humanika, E.S. 2012. “Ideologi Penerjemahan Wordplay dalam Alice’s Adventure in Wonderland ke dalam Bahasa Indonesia.” accessed on 12 July. 2016.http://www.balaibahasa.org/file/3IDEOLOGI PENERJEMAHAN WORDPLAY.pdf.
Hurford, James R; Brendan Heasley, and Michael B. Smith. 2007. Semantics: A Coursebook 2nd Edition. New York: Cambridge University Press.
Iranmanesh, Ahmad. 2014. “Translation of Metaphors into Persian in the Subtitling of American Movies”. Kuala Lumpur: University Malaya.
44
Jackobson, R. 1959. On Linguistics Aspects of Translation. accessed on 14 July. 2016. http://www.stanford.edu/~eckert/PDF/jakobson.pdf.
Jatmika, I Made Joni. 2015. “Proverbs in “Awaken the Giant within” and their translation Techniques in “Bangunkan Kuasa Raksasa di dalam Diri””: A postgraduate Thesis”. Denpasar: Udayana University.
Kamus Bahasa Indonesia. 2008. Jakarta: Pusat Bahasa Departemen Pendidikan Nasional
Khan, Nabahat. 2015. Despicable Me and Minions Film Series. accessed August 30. 2015. http://www.imdb.com/list/ls056770459/
Korcak, Jan. 2012. “Wordplay in Advertising: A Linguistic Analysis”. Zlin: Tomas Bata University.
Korhonen, Elina. 2008. “Translation Strategies for Wordplay in The Simpsons”: A Thesis. Helsinki: University of Helsinki.
Kothari, C.R. 2004. Research Methodology. New Delhi: New Age International (P) Limited, Publishers.
Kuhiwczak, Piotr and Karin Littau, eds. 2007. A Companion to Translation Studies. Clevedon, Buffalo, Toronto: Multilingual Matters.
Mackey, Allison and Susan M. Gass. 2005. Second Language Research Methodology and Design. New Jersey: Lawrence Erlbaum Associates Inc. Publishers.
Natarina, Ari. 2012. “The Strategy of Translating Pun in English-Indonesian Subtitle of Austin Powers: Goldmember”. Celt 12.2: 160-179.
Newmark, P. 1981. Approaches to Translation. New York: Pergamon Press.
Newmark, P. 1988. A Textbook of Translation. Shanghai: Shanghai Foreign Language Education Press.
Nida, Eugene A and Charles R Taber. 1982. The Theory and Practice of Translation. Leiden: E. J. Brill.
O’Connell, Eithne. 2007. “Screen Translation” in Piotr Kuhiwczak and Karin Littau, eds. A Companion to Translation Studies 34.8: 120-133. Clevedon, Buffalo, Toronto: Multilingual Matters.
Pedersen, Camilla O. 2010. “The Translation of Puns: An Analysis of the Fate of Puns in subtitling with Sex and the City as an empirical example”. Aarhus: Aarhus University.
45
Perego, E. 2009. “The Codification of Nonverbal Information in Subtitled Texts”. In J. D Cintaz and Gunilla Anderman eds., Audiovisual Translation: Language Transfer on Screen. New York: Palgrave Macmillan.
Robinson, Douglas. 2004. Becoming a Translator: An Introduction to the Theory and Practice of Translation 2nd Edition. London & New York: Routledge.
Schröter, Thorsten. 2005. “Shun the Pun, Rescue the Rhyme? The dubbing and Subtitling of Language-Play in Film”: A Dissertation. Karlstad: Karlstad University Studies.
Spanakaki, K. 2007.Translating Humor for Subtitling. accessed on August 29. 2015. http://translationjournal.net/journal/40humor.htm.
Subroto, D. Edi. 1992. Pengantar Metode Linguistik Struktural. Surakarta: Sebelas Maret University Press.
Visan, Nadina. 2015. “Pundering over Puns in the Translation of Michell Faber’s The Crimson Petal & The White”. 11th Conference on British and American Studies Embracing Multitudes of Meaning: 251-253.
Wibisono, Sigit. 2014. “Wordplay in Shrek Movies and its Bahasa Indonesia Subtitling Texts”: A Thesis. Yogyakarta: Yogyakarta State University.
Wijayanti, Rosiana Rizky. 2014. “Parents’ and Children’s Use of Cooperative Principle in Despicable Me 2”: A Thesis. Yogyakarta: State Islamic University Sunan Kalijaga.
http://www.filmsite.org/animatedfilms7.html. Accessed on August 29 2015.
46
APPENDICES
WORDPLAY IN 3 MOVIES
(DESPICABLE ME, DESPICABLE ME 2, MINIONS)
A. DESPICABLE ME No ST and TT Subtitles Explanation Type TP
Data 1
GRU. But am I upset? No! I am not. A little. But we have had a pretty good year ourselves. And you guys are alright in my book! MINION.(eagerly raises his hand) Ooh ooh ohh! GRU. No, no raises! You’re not going to get any raises.
‘ In my book’ is an idiom which means ‘in my opinion’. However, a minion misunderstood book as money record. This second meaning is evoked since there’s word ‘no raises’ in Gru’s utterance.
Homonymy deletion
GRU. Namun apakah aku kesal? Tentu tidak! memang sedikit kesal…tapi kita sendiri sudah mengalami satu tahun yang cukup baik…dan kalian semua mematuhi perintahku. MINION. no translation GRU. Tidak, tak ada kenaikan gaji! Kalian tak kan dapatkan kenaikan gaji apa pun.
Data 2
VECTOR. Hey. I’m applying for a new villain loan. Go by the name of “Vector”.
The two meaning of Vector is evoked. The first meaning is
Homonymy loan translation
47
(gives Gru a smile) It’s a mathematical term. A quantity represented by an arrow with both direction and magnitude! Vector. That’s me. Cause I’m committing crimes with both direction and magnitude. Oh yeah!
calculation term and the second refers to proper name (the one speaks).
VECTOR. Hey. Sedang kuajukan pinjaman bagi penjahat baru. aku dikenal dengan nama Vector. Itu istilah matematika…sebuah jumlah diwakili oleh anak panah, dengan arah dan besaran. Vector! Itu aku.. sebab aku melakukan kejahatan dengan arah dan besaran.
Data 3
MR. PERKINS. Get the picture?
The doble meaning of get the picture is evoked verbally and visually. The first meaning is an idiom which means to understand. Meanwhile, the second meaning refers to the situation described by Mr. Perkins as he describes he will squeeze Gru like
Polysemy Literal translation
MR. PERKINS. Kau mengerti?
48
he squeezes apple until it explodes.
Data 4
MINION. (laughs) Suckers! (grunting) Suckers.
The meanings are evoked by the image. The first meaning refers to person who is easy to deceive. The second refers to ‘unpleasant’ other minion who bumps the minion who speaks twice.
Polysemy Literal translation
MINION. Dasar para pecundang! Dasar para pecundang!
Data 5
VECTOR. Ha! Hey Gru, try this on for size!
The word size actually is a part of idiom ‘try sth on for size’. Yet, considering the image, the literal meaning of size is evoked as Gru’s ship start to get smaller.
Polysemy Couplets (literal-rhetorical device)
VECTOR. Hei, Gru! Cobalah ukuran yang ini!
Data 6
GRU. This is claustrophobic. Oh, no, no. (Vector laughs and disappear) GRU. Too small. This is too small for me.
Claustrophobic means ‘a small and closed place that makes a person uncomfortable in it’. Yet, another meaning which is ‘a person fear of small and closed place’ is evoked as Gru start to panic when his ship getting smaller.
Polysemy Literal-
GRU. Ini untuk orang yang takut ruangan sempit! Tidak, tidak, tidak! GRU. Terlalu kecil! Ini terlalu kecil buatku!
Data 7
GRU. Dr. Nefario? DR. NEFARIO. Huh?
The first meaning of ‘what’ is an
Polysemy Literal translation
49
GRU. I’m going to need a dozen tiny remote control robots that look like cookies. NEFARIO. What? GRU. Cookie robots! DR. NEFARIO. Who is this? GRU. Cookie, oh forget it.
exclamation so Gru say something again. However, considering how Dr. Nefario reacts after Gru repeats what he asks, the second meaning of what which more like an expression of surprise is evoked.
GRU. Dr. Nefario! DR. NEFARIO. No translation GRU. Aku akan butuh selusin robot mungil menyamar sebagai kue! Dr. NEFARIO. Apa? GRU. Robot kue! DR. NEFARIO. Siapa ini? GRU. Lupakan.
Data 8
GRU. You are a beautiful woman. Do you speak Spanish? MISS HATTIE. Do I look like I speak Spanish?
What Gru means of speak is to (be able to talk in Spanish. Yet, Miss Hattie rather sarcastically asks back if she look like say words in Spanish.
Polysemy Literal translation
GRU. Kau wanita yang cantik. Kau bicara berbahasa Spanyol? MISS HATTIE. Apa aku kelihatan bicara berbahasa Spanyol?
Data 9
VECTOR. Yello? Yello is paronym of Hello. Instead of saying hello when someone calls him, Vector says Yello.
Paronymy Literal translation
VECTOR. Halo?
Data GRU. Uh, question. ‘Boogie robots’ is Paronymy Literal
50
10 What are these? DR. NEFARIO. A dozen boogie robots. Boogieee! Ha — look at this! Watch me. GRU. Cookie robots! I said cookie robots! Why—are you so old?
a paronymy of cookie robots.
translation
GRU. Ada pertanyaan. Apa ini? DR. NEFARIO. Selusin robot menari! Menari! Lihat ini. Perhatikan aku! GRU. Robot kue. Kataku, robot kue. Kenapa kau begitu pikun?
Data 11
DR. NEFARIO. And here of course is the new weapon you ordered. (pulls out an impressive looking ray gun and pulls the trigger so a loud fart comes out) GRU. No, no, no. I said dart gun. Not…ok.
Unspoken ‘fart gun’ is paronymy of dart gun.
Paronymy Literal translation
DR. NEFARIO. Dan ini, tentu saja adalah senjata baru yang kau pesan. GRU. Tidak, tidak. Aku bilang “senjata panah”, bukannya…baiklah.
Data 12
GRU. Actually, we’re going to have to skip the dance class today. MARGO. Actually, we can’t skip the dance
Gru’s ‘actually’ used to inform that what he says is the opposite of what his children
Polysemy Literal translation
51
class today. We have a big recital coming up. We’re doing an excerpt from Swan Lake.
would expect (they expect go to dance class). Yet, Margo use ‘actually’ as a slightly polite form to disagree and decline Gru’s opinion.
GRU. Sebenarnya, kita terpaksa akan melewatkan kelas balet hari ini. MARGO. Sebenarnya, kami tak bisa melewatkan kelas dansa hari ini. Kami akan mengadakan pertunjukan besar nanti. Kami akan menari balet Swan Lake.
Data 13
GRU. Alright, our first customer is a man named Vector. MARGO. Bur he’s a “V”. You know, we’re supposed to start with the A’s, then we go to the B’s, then we go to the— GRU. Yes, yes, I went to kindergarten, I know how the alphabet works! (catching himself) I, I was just thinking that it might be nice to deliver Mr. Vector’s first, that is all.
Margo refers ‘V’ as the initial letter of Vector name and Gru refers ‘V’ as the part of alphabet.
Polysemy literal
GRU. Baiklah. Pelanggan pertama kita adalah seorang pria bernama Vector. MARGO. Tapi namanya diawali huruf V. Mestinya kita
52
memulai dengan huruf A. Lalu berikutnya ke B. Kemudian kita… GRU. Ya! Aku pernah sekolah TK. Aku tahu urutan abjadnya! Aku hanya merasa bahwa mungkin menyenangkan kirimkan kuenya lebih dulu pada Tn. Vector.
Table2. Wordplay found in Despicable Me B. DESPICABLE ME 2
No ST and TT Subtitles Explanation T TP Data 14
GRU. (in falsetto) It is I, Gru…zinkerbell! The most magical fairy princess of all! And I am here to wish Princess Agnes a very happy birthday!
Gruzinkerbell is a paronymy for a fictional fairy named Tinkerbell. Since Gru dressed in puffy pink dress complete with magical wand, wings, and tiara, he called himself Gruzingkerbell.
Paronymy loan translation
GRU. Inilah aku GruTinkerbell. Putri Peri yang paling ajaib sepanjang masa. Aku datang untuk menemui putri Agnes. Selamat Ulang Tahun.
Data 15
SILAS. I am the League’s director, Silas Ramsbottom. TOM THE MINION. Bottom. SILAS. Hilarious
Bottom as part of proper name is played by Tom the Minion which it is literally means part of body that used to sit on.
Homonymy editorial techniques
SILAS. Aku pemimpin organisasi ini Silas Ramsbottom. TOM THE MINION. Hihihi, Bottom [pantat]
53
SILAS. Lucu sekali.
Data 16
GRU. Good day, Mr. Sheepsbutt! SILAS. Ramsbottom. GRU. (chuckles) Oh, yeah, like that’s any better!
A proper name Ramsbottom which literal meaning is ‘adult male sheep’s butt’ is played by Gru into another name which is synonymous with the literal meaning.
Homonymy Loan translation
GRU. Selamat siang Tuan Misbut. SILAS. Ramsbottom GRU. Oh ya, yang tadi lebih bagus.
Data 17
GRU. Hey Lisa, I was wondering if you— (Gru taps Lisa’s shoulder with his pointer finger. Other girl points to Gru’s finger on Lisa’a shoulder. GIRL. Ewww! Gru touched Lisa! Gru touched Lisa! RED HAIRED GIRL. Lisa’s got Grooties!
The part of word Groo in Grooties is homophone with Gru.
Homophonic Related rhetorical device
GRU. Hei Lisa. Aku penasaran.. ANAK PEREMPUAN. Ew! Gru menyentuh Lisa! Gru menyentuh Lisa. ANAK PEREMPUAN BERAMBUT MERAH. Lisa terkena kutu Gru.
Data 18
GRU. And don’t go nuts with the sprinkles!
Nuts means a kind of food is evoked since the utterance talks about cake.
Homonymy Literal translation
GRU. Dan jangan
54
beri terlalu banyak taburan.
Yet, an idiom ‘go nuts’ also possible to be emerged since in the picture the minions look enthusiastic.
Data 19
GRU. Oh, that’s an image I’ll never get out of my brain. Blagh!
The word image can mean ‘picture’ (Gru looked through googles) and ‘picture or idea’ in Gru’s mind about Lucy’s skeleton when he looks Lucy through X-Ray googles.
Polysemy Literal
GRU. Gambar itu tak pernah pergi dari otakku. Bwek…
Data 20
GRU. (whispers) I think the son is the mastermind. There’s a look. There’s a devilish look in his eyes and I don’t like it!
Devilish can means ‘evil’ and ‘evil or bad in attractive way’
Polysemy literal
GRU. Kupikir anaknya adalah otaknya. Tatapannya, ada tipu daya…di matanya yang tak kusuka.
Data 21
Magazine’s ad: GO NOW – To Hawaii! Lucy’s look it as “GRU NOW!”
Go and Gru is paronymic
Paronymy deletion
No translation
Data 22
GRU. No, forget it. One hundred percent I am in! (pretending to hear something)I
In means ‘involved’ and in means ‘inside’
Polysemy- literal
55
think—what is--do you hear that? I do. That’s Agnes calling me from on the surf--. (steps into the elevator and press the button) Totally in! EDUARDO. You know what? I’m not so convinced that he is in. GRU. Tidak, tidak. lupakanlah. 100% aku bergabung. Apa itu? kalian dengar itu? aku mendengarnya. Itu Agnes memanggilku dari tempat lain. Sungguh bergabung! EDUARDO. Kau tahu? Aku tak yakin dia ingin bergabung.
Data 23
MARGO. I hate boys. GRU. Yes…they stink. Sorry, honey, we’ve got to go.
Stink can mean ‘bad or unpleasant’ and ‘smell’
Homonymy literal
MARGO. Aku benci anak laki-laki. GRU. Ya, mereka bau.
Data 24
EDITH. So Eduardo’s actually El Macho? Cool! GRU. No, it is not cool. Plus, I pretty much knew it was him all along, so if anyone’s cool, it’s me.
Cool can be an exclamation of ‘excellent’ and ‘calm’
Polysemy Literal-related rhetorical device
EDITH. Jadi Eduardo
56
sebenarnya El Macho. Keren! GRU. Tidak. itu tidak keren. Aku jadi penjahat lebih lama dari dia. Kalau ada yang keren, itu adalah aku.
Data 25
MINION. (sing I swear) underwear
Paronymy- zero
MINION. (no translation)
Table3. Wordplay found in Despicable Me 2 C. MINION
No ST and TT Subtitles Explanation Type Data 26
VNC BROADCASTER. There’s a new bad man in town, and that man…IS A WOMAN!
The items man in ‘bad man’ and woman
Homonymy literal
VNC BROADCASTER. Ada orang jahat baru di kota, dan orang itu adalah wanita.
Data 27
KEVIN. Bello! Orlando?
Bello is paronym of hello
Paronymy zero
KEVIN. (no translation) Data 28
TINA. Frankie Fish-Lips! He lives in the Ocean.
A proper name and a villain whose lips looks like fish lips
Homonymy Loan
TINA. Frankie Fishlips. Dia tinggal di lautan.
Data 29
TINA. Scarlet Overkill, the coolest super villain, like, EVER! She started out as your average little girl, braces, pigtails…BUT by the time she was
Minion is a group name of creature like Kevin, Bob, and Stuart. It also means ‘someone who exists in
Homonymy Loan
57
THIRTEEN she built a criminal empire. If I was a Minion, that’s who I’D want to work for.
order to do what another person orders them to do.
TINA. Scarlet Overkill! Penjahat super terkeren yang pernah ada. Dia memulainya saat masih kecil. Dasi, rambut kumcir. Tapi, saat dia berumur 13, dia membangun kerajaan criminal. Jika aku seorang Minion, dengan dialah aku akan bekerja.
Data 30
KEVIN. Ahh.. Scarlet Popapeil
Paronym of Overkill
Paronymy deletion
KEVIN. (no translation) Data 31
LUV2ROB LUV is homophonic with love
Homophone deletion
(no translation)
Data 32
LUV2ROB 2 is homophonic with to infinitive
Homophone deletion (no translation)
Data 33
TINA. Dad! It’s FRANKIE FISH-LIPS! I can smell him from heeeeeeeere!
A proper name and ‘lips with fishy smell’
Homonymy loan
TINA.Ayah! itu Frankie Fishlips. Aku bisa menciumnya dari sini!
Data 34
SCARLET. Wow, who who…are you, my knights in shining denim?
The actual idiom is ‘a knight in shining armour’
Paronymy Literal translation
SCARLET. Siapa kau? Pangeranku yang bersinar.
Data HERB. Bob, Robert, Play on real Paronymy literal
58
35 Bobby my Boy. You get my far out stretch suit.
saying ‘you’re my boy bobby’ which from popular film
Bob, Robert, Bobby anakku. Kau mendapat tangan lincah-ku.
Data 36
HERB. Kevin, Kevo, Seventh Kevin. You are the proud owner of my Lava Lamp Gun
Seventh Kevin is paronymy of Seventh Son movie, Kevo is ‘a title of highest level of cool & humorous person’
Paronymy loan
HERB. Kevin, kevo, Seventh Kevin. Kau adalah pemilik dari senjata lava-ku
Data 37
HERB. And finally, Stu. Stu-art. Stu-perman. Beef Stu. I got you the coolest invention, probably ever.
Stuart as proper name and stu whose ‘art’ has literal meaning. Stuperman is paronymy of Superman, hero’s name. Pitstu is paronymy of pit stop.
Paronymy loan
HERB. Dan terakhir, Stu, Stu-art, Stuperman, Pitstu.
Data 38
SCARLET. Oh, yes. I’ve got a really, really good bedtime porry.
Paronymy of bedtime story
Paronymy- literal
SCARLET. Oh ya, aku wordplayya kisah sebelum tidur yang bagus.
Data 39
THE QUEEN. Hahaha! Oh, what about this one? Hahaha! Why did the Queen go to the Dentist? To get her teeth CROWNED!
Crowned means ‘to put a circular decoration for the head’ and ‘to put artificial piece used to cover damaged tooth’
Homonymy- related rhetorical device
THE QUEEN. Bagaimana dengan yang ini. Kenapa sang
59
ratu pergi mengunjungi dokter gigi? Agar gigi-nya dapat dimahkotai.
Data 40
SCARLET. You are three tiny golden pill-shaped miracle workers, and you have stolen not just England, but my heart.
stolen has figurative and literal meaning (stolen England and stolen my heart)
Polysemy literal
SCARLET. Kalian ada tiga pekerja keajaiban menggemaskan berwarna emas. Dan kalian tidak hanya mencuri Inggris, tapi juga hatiku.
Data 41
HERB. Who’s this handsome Herb fella? No, my name is…Blerb, I’m a, a dungeon master. PREPARE FOR TORTURE, WHICH I DO!
Herb makes a paronym of his own name into Blerb when he will torture the minions.
Paronymy- Loan
HERB. Siapa si tampan Herb ini? Tidak, namaku Blerb. Aku pemilik sel bawah tanah ini. Bersiaplah akan siksaan yang kulakukan.
Table4. Wordplay found in Minions
60
CURRICULUM VITAE
A. Personal Information
Name : Yuniati Lutfi Mar’atun Sholikhah
Place & Date of Birth : Bantul, 10 Mei 1993
Address : Rt. 002 Carikan Mulyodadi Bambanglipuro Bantul
Email : [email protected]
B. Educational Background
1999-2005 : SDN 2 Grogol
2005-2008 : SMP N 1 Pandak
2008-2011 : SMA N 1 Bambanglipuro
2011-2016 : English Department UIN Sunan Kalijaga