oblique translation of label collections at...

OBLIQUE TRANSLATION OF LABEL COLLECTIONS AT MUSEUM

NASIONAL INDONESIA (NATIONAL MUSEUM OF INDONESIA)

A Thesis Submitted to Letters and Humanities Faculty

in Partial Fulfillment of The Requirements for The Degree of Strata One

TIA ASKAYULI

NIM. 1110026000043

ENGLISH LETTERS DEPARTMENT

LETTERS AND HUMANITIES FACULTY

STATE ISLAMIC UNIVERSITY OF SYARIF HIDAYATULLAH

JAKARTA

2014

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ABSTRACT

Tia Askayuli, Oblique Translation of Label Collections at Museum Nasional Indonesia (National Museum of Indonesia). Thesis: English Letters Department, Letters and Humanities Faculty, State Islamic University of Syarif Hidayatullah Jakarta, September 2014.

The purpose of this research is to analyze the oblique translation of label collections at National Museum of Indonesia which in this case they are applied in two languages, Indonesian and English. In other words, the objectives of the research are: (1) to know the types of oblique translation on the selected labels, (2) to analyze the types of oblique translation that are applied in translating the text on the selected labels. The writer uses qualitative descriptive method. She tries to answer the research question by describing the problem in this research. The writer reads the data one by one, writes down the sentences that contain the types of oblique translations and analyzes them by using the Vinay and Darbelnet’s theory. The result of this research shows that from four types of oblique translation procedures, which are transposition, modulation, equivalence and adaptation, there are only three procedures which can be found on the translation of the selected labels, they are transposition, modulation and adaptation. The translators applied the types of oblique translation on the selected labels by choosing the words which have the similar meaning in order to adjust the meaning of words and sentences between SL text and TL text. Keywords: Translation Procedures, Oblique Translation, Label Collections

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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, October 2014

Tia Askayuli

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ACKNOWLEDGEMENT

Bismillahirrahmanirrahim

In the name of Allah, the most Beneficent and the most Merciful.

All praises be to Allah SWT, the Lord of universe, who had blessed the writer

in finishing this research. May peace and salutation be upon the honorable prophet

Muhammad SAW and all of his family, companions and adherents.

The writer’s deep gratitude goes to her beloved parents, Abraham Zein and

Hj. Irianti Iskandar, for all their great love, patience, support and prayer. Thanks for

being the strength and the best supporter of her life. The writer also wants to give her

gratitude to Mrs. Danti Pudjiati, S.Pd, MM, M.Hum and Mr. M. Agus Suriadi,

M.Hum, as her advisors for their time, help, patience and motivation from the first to

the final level of this research.

The gratitude is also dedicated to Prof. Dr. Oman Fathurahman, M.Hum, the

Dean of Letters and Humanities Faculty; Mr. Dr. H. Muhammad Farkhan, M.Pd, the

Assistant of Dean of Letters and Humanities Faculty; Mr. Drs. Saefuddin, M.Pd, the

Head of English Letters Department; Mrs. Elve Oktafiyani, M.Hum, the Secretary of

English Letters Department; and all the lecturers of English Letters Department who

had taught her during her study at UIN Jakarta.

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In addition, the writer would like to give appreciation to the following friends

and people, namely:

1. All the staff and the securities of Museum Nasional Indonesia (National

Museum of Indonesia), especially for Mr. Oting Rudy Hidayat as the

public relation manager of the museum, for helping the writer gathered the

data of this research.

2. RISBA (Remaja Islam Mesjid Baitul Akbar) Arinda 2, especially for

Shabrina Septiandini, Lovina Ameldian, Amalia Adani, Aldi Ramayana,

Sebastian Adinegoro, M. Angga Saputra, Reynard Rhesa and Dimas

Hendra P. Thanks for making her know how it feels to have a second

family.

3. Fahmi Fahrurroji. You are the ‘happy’ in my happiness.

4. HAHA Family: Fithria Luthfiyani, Rana Meisara, Yuliana Kuslambang

Ningrum, Debi Novia Ningrum, Bagus Putra Ramadhansya and Sazali

Muhammad. Thanks for always bring the bliss and laugh during these four

years.

5. Youth Influential Fellowship (YELLOW): M. Adi Rahman, M. Reza

Hermanto, Shakuntala Febrina, Ridho Alfin Harfian, Melina Hadera,

Christie Adi Oktaviana, Pranisa Syifa Delima, Andriesta Saputri, Leiza

Sixmansyah, M. Ryan Lisandi, M. Samih, Nur Ali and M. Fatih Adzkia.

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Thanks for the joy of friendship which is still lasting from KKN 2013

until now.

6. Annona Livia Questa, Sara Aisah, Nurul Nurshadrina (Avhoo), Catur

Pangestu and Pandu Hidayat. Thanks for these six years and thanks for

always there whenever the writer needs to take a break of the ‘hard’ time

of this thesis. I hope we can always be like this forever.

7. With all due respect, especially to all friends and people who cannot be

mentioned one by one.

May Allah always bless and protect them wherever they are, Aamiin.

Hopefully, this research will be useful for the people who read it.

Jakarta, September 2014

The Writer

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LIST OF TABLE

Table 1 : The Data of Label Collections and the Types of Oblique Translation.

…………………………………………………………………… 25

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3

4

4

4

5

5

5 5

iv

1

viii

v

6

iii

ii

i

4

1

3

6

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TABLE OF CONTENTS

ABSTRACT …………………………………………………………….……....

APPROVAL SHEET ……………………………………………..……………

LEGALIZATION …………………………………………………..…….……

DECLARATION …………………………………………………….….……..

ACKNOWLEDGEMENT ………………………………………….……...….

THE LIST OF TABLE ………………………………………………………

TABLE OF CONTENTS ……………………………………………………..

CHAPTER I INTRODUCTION ………………………………………

A. Background of Research .……….……………………

B. Focus of Research ……………………………………

C. Research Questions ………………………………..…

D. Significance of Research ……………………………..

E. Objective of Research ………………………………..

F. Research Methodology ……………………………....

1. The Method of Research ………………………....

2. Research Instrument ……………………………...

3. Technique of Data Analysis ……………………...

4. Unit Analysis ……………………………………..

5. Time and place of the Research ………………….

CHAPTER II THE THEORITICAL DESCRIPTION ………………

A. Previous Research ……………………………………

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9

12 13

16

19

19

25

29

25

47

46

46

48

51

12

20 21

22

23

12 B. Label Collections in Museum ..……………………..

C. Translation …………………………………………..

1. Brief History of Translation ……………….........

2. Definition of Translation ……………...………...

3. Process of Translation ………………….….........

4. Method and Procedure of Translation …..............

5. Oblique Translation ……………………………..

a. Transposition ………………………………..

b. Modulation …………………………….........

c. Equivalence ………………………………....

d. Adaptation ………………………….............

CHAPTER III DATA ANALYSIS ……………………………………

A. The Data Description …..…………………………...

B. The Data Analysis ………..…………………………

CHAPTER IV CONCLUSIONS AND SUGGESTIONS ..…………..

A. Conclusions ...……………………………………….

B. Suggestions ..…………………………………….…..

BIBLIOGRAPHY ………………………………………………….………….

APPENDICES …………………………………………………………….…...

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CHAPTER I

INTRODUCTION

A. Background of Research

Translation is a process of changing a text from source language (SL) into

target language (TL). When translating a text, it means the translator not only

translating both of the languages, but also transferring the cultures and

messages in the SL text in order to produce a good translation for the readers.

Nida and Taber similarly maintain that translation is delivering the content of

messages of SL text without changing its meaning and language style to TL

text.1

In translation, there are some certain methods which can be used by the

translator to translate a text. Different from Peter Newmark who mentioned that

a translation text can be translated in three ways; they are methods, techniques

and procedures, Vinay and Darbelnet divided the translation methods into two

types covering the seven translation procedures, direct translation and indirect

translation. Each method consists of three and four procedures. Furthermore,

they named the indirect translation as the oblique translation.

1 Eugene A. Nida and Charles R. Taber, The Theory and Practice of Translation, (Leiden: E.J.

Brill, 1982), p.12

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Direct translation has the same meaning with the word for word

translation and oblique translation is a method which allows the translator using

the other procedures whenever the direct translation is impossible to use.2 In

some cases, there are texts which cannot be translated literally because it will

produce different meaning in TL and it causes the translator to find the

equivalent meaning of both languages. Therefore, the oblique translation is

needed.

Translation can be applied in many kinds of texts and one of the examples

is translation on label collections in museum. Label means a text which is put

near an object or group of objects in a museum and its function is to explain or

describe about the ancient object itself. Basically, in Indonesia, it only uses

Indonesian, but the labels nowadays are made in dual language, Indonesian-

English, due to the number of tourists who come to Indonesia and often visit

museums.

The oblique translation is used as the translation method to render the

labels in Indonesian into English descriptions because sometimes the

description cannot be translated directly due to the selected words or sentences

in SL text have no equivalent meaning in TL text. In this case, the translator

needs to change the structure of the TL text and find the equivalence of both

2 Jean-Paul Vinay and Jean Darbelnet, Comparative Stylistics of French and English: A

Methodology for Translation translated by Juan C. Sager and M.-J. Hamel, (Netherland: John Benjamins Publishing Co., 1995), p.31

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texts. So, the same interpretation can be transferred appropriately by the

translator of the text.

In this research, the writer tries to analyze the types of oblique translation

and how those types are applied in Indonesian-English translation which is used

by the translators or the museum practitioners to translate the label collections at

Museum Nasional Indonesia (National Museum of Indonesia). Consequently, a

research using the translation theory is needed to analyze the process.

B. Focus of Research

The focus of this research is limited to the types of oblique translation which are

applied in the sentences of the selected labels at National Museum of Indonesia

and how the translator applied those types in translating the label texts.

C. Research Questions

Based on the limitation of the study above, the writer formulates the problem in

the following research question:

1. What types of oblique translation are found on the selected labels at

National Museum of Indonesia?

2. How are the oblique translations applied in translating text on the selected

labels at National Museum of Indonesia?

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D. Significance of the Research

The writer hopes this research will advance the knowledge and ability of the

readers in the field of translation, especially in oblique translation and its

varieties when translating a text.

E. Objective of the Research

The objectives of the research are:

1. To know the types of oblique translation on the selected labels at National

Museum of Indonesia.

2. To analyze the types of oblique translation applied in translating the text

on the selected labels at National Museum of Indonesia.

F. Research Methodology

1. The Method of Research

The writer analyzes the data using the qualitative method with descriptive

analysis. She would like to analyze the oblique translation and its varieties

which are applied on the selected labels at National Museum of Indonesia.

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2. Research Instrument

To conduct this study, the writer uses some books and the other references

as its basic foundation. Besides, she uses herself as its main instrument.

3. Technique of Data Analysis

In this research, the writer reads the data one by one, writes down the

sentences that contain the types of oblique translations and analyzes them

by using the Vinay and Darbelnet’s theory. Therefore, the writer uses

descriptive analysis technique.

4. Unit analysis

To analyze the oblique translation and its varieties, the writer uses some of

the labels at National Museum of Indonesia which are translated by the

people from IHS (Indonesian Heritage Society), some curators,

professional translators and volunteers. The data were gathered from

March to May 2014.

5. Time and place of the Research

The writer does the research from March to May, 2014, at English Letters

Department, Adab and Humanities Faculty, Ciputat, South Tangerang,

Banten.

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CHAPTER II

THEORETICAL DESCRIPTION

A. Previous Research

This is not the only one research that discusses about the oblique

translation because the writer found that there are some previous researches

which discuss about the same topic. They are; Lili Ni (2009), Hosseini-

Maasoum, Seyed Mohammad and Hoda Davtalab (2012), Mah Nazir Riaz,

Tahir Khalily and Umm-e-Kalsoom (2013), Rina Purwati (2010) and Rindianti

Irawan (2010).

The first study is entitled For “Translation and Theories” by Lili Ni

(2009). The focus is comparative literature and contrastive analysis that

involved the transfer of messages of two different cultures and languages,

English and Chinese, which are in the texts of many publishing forms. She used

two theories from Vinay and Darbelnet (2004) also Jeremy Munday (2001), but

she focused the types of translation procedures based on Vinay and Darbelnet’s

theory. In this study, she found some problems. First, there are many ways to

divide the units into small or longer segments of thought and in this occasion

the units between the TT and the ST fail to be equivalent. Second, the procedure

of Vinay and Darbelnet focuses on the translation product due to the basic step

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for identifying units, which are based on the taxonomy of linguistic approaches.

Third, the shifts are on the micro-level of translation, there is an uncertainty

concerns how to deal with the register of the text.3

The second study is entitled Contrastive Analysis of Different Types of

Shifts in Persian Translation of The Secret by Dr. Seyed Mohammad Hosseini-

Maasoum and Hoda Davtalab (2012). The focus is about a literary text which

the title is The Secret by Rhonda Byrne and its several Persian translations. The

theory which is used is from Vinay and Darbelnet and different translation shift

to deliver the proper message. In this study, they found that the translators in

The Secret used different kinds of shifts for every sentence in their translation.

One translator may use transposition for a sentence, another translator may use

modulation for the same sentence. The translators can also decide to use and not

to use shift for the translation.4

The third study is entitled Translation, Adaptation, and Cross Language

Validation of Short Schema Mode Inventory (SMI) by Mah Nazir Riaz, Tahir

Khalily and Umm-e-Kalsoom (2013). The focus is to translate and adapt

English version of SMI into Urdu language and to assess its reliability for

people in Khyber Pukhtoon Khwa. They used the theory of oblique translation

3 Lili Ni, “For “Translation and Theories””, English Language Teaching, Vol. 2 No.2 (2009),

pp.78-83. Accessed on March 11th 2014. http://www.ccsenet.org/journal.html 4 Dr. Seyed Mohammad Hosseini-Maasoum and Hoda Davtalab, “Contrastive Analysis of

Different Types of Shifts in Persian Translation of The Secret”, Mediterranean Journal of Social Sciences, Vol. 3 No.11 (2012), pp.659-666. Accessed on August 27th 2014. http://e-resources.pnri.go.id:2056/docview/1411785398/473391E6A47C4542PQ/36?accountid=25704

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from Mason (1994). In this study, they found that SMI Urdu version is a valid

instrument which suits for the assessment of schema modes. It can be used in

clinical and academic settings. The SMI (Urdu) can aid in the understanding of

a wide a range of psychiatric disorders and can form the basis for Schema

Focused Therapy (SFT), a therapy showing promise for a number of clinical

conditions, especially Borderline Personality Disorder.5

The fourth study is entitled An Analysis of Literal Translation and

Oblique Translation in Some Fable Books by Rina Purwati (2010). The focus of

this study is on analyzing the translation procedures found in three fable books

(Little Humpty, Lucy Goosey, and Kiss Kiss). She used the translation

procedure of Vinay and Darbelnet. In this study, she found that modulation is

the dominant procedure in the books, but borrowing and calque do not exist.

The theory that are used to analysis data are also easy to apply because each

procedure is easy to understand and the most relevant to be used in order to

analyze translation procedures.6

The fifth study is entitled An Oblique Translation Analysis of Mandala

Magazine by Rindianti Irawan (2010). The focus is on analyzing the oblique

translation. She only used one kind of translation procedure from Vinay and

5 Mah Nazir Riaz, Tahir Khalily and Umm-e-Kalsoom, “Translation, Adaptation, and Cross

Language Validation of Short Schema Mode Inventory (SMI)”, Pakistan Journal of Psychological Research, Vol.28 No.1 (2013), pp.51-64. Accessed on August 27th 2014. http://e-resources.pnri.go.id:2056/docview/1458278446/473391E6A47C4542PQ/23?accountid=25704

6 Rina Purwati, An Analysis of Literal Translation and Oblique Translation in Some Fable Books. (Medan: Universitas Sumatera Utara, 2010), p.48

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Darbelnet’s theory, it is oblique translation. In this study, she found all types of

oblique translation and the most dominant is modulation.7

Therefore, the writer is interested in the study about the oblique translation

and the writer focuses on the types of oblique translation of label collections in

museum. Comparing to the five researches above, there are no previous

research which discuss about label collections in museum and the writer’s

research is more detail because it has further explanation in the transposition

and modulation point.

B. Label Collections in Museum

Archaeology is a study about ancient objects. It consists of two branches

of study, pre-historic archaeology and historical archaeology. Pre-historic

archaeology concerns only on the invention of historic things because the

societies did not recognize written language at that time. Historical archaeology

is a study about the period of recorded history because archaeologists found

many material remains of human past.8 Archaeologists are a group of people

that recover things and culture in the past.

7 Rindianti Irawan, An Oblique Translation Analysis of Mandala Magazine. (Medan:

Universitas Sumatera Utara, 2010), p.29 8 Kenneth. L. Feder, et.al, Field Methods in Archaeology, (New York: The McGraw-Hill

Companies, Inc., 1997), p.8

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Archaeologists distinguish the archaeological remains into three main of

categories. They are artifacts, ecofacts and features. Artifacts are objects which

made and formed by people in the past hundred years, like stones, metals,

ceramics and pottery. Ecofacts are objects that come from nature, like the

skeletons of animal and plants which are remained from ritual.9 Features are

similar with artifacts because it also made by the people, like buildings, houses,

temples and the other small objects.10

Some of the ancient objects from the excavation are put in museum.

Burcaw defines in his book, “a museum dealing with several or all fields instead

of just art, just history, just geology, etc.”11 Besides the result of excavation, the

objects in a museum are also gifts and contributions from some people and

some curators. Before publishing the objects, the museum practitioners need to

record the information on a text which is called a ‘label’.

Label is a text which is put near an object in a museum and its function is

to explain or describe about the ancient object information itself. There are two

types of label; they are group label and individual label. Group label is a text

which explains about the same types of objects or a number of objects that are

9 Wendy Ashmore and Robert J. Sharer, Discovering Our Past. A Brief Introduction to

Archaeology, (New York: The McGraw-Hill Companies, Inc., 2006), 4th ed, p.140 10 Pam J. Crabtree and Douglas V. Campana, Exploring Prehistory. How Archaeology Reveals

Our Past, (New York: The McGraw-Hill Companies, Inc., 2006), 2nd ed, p.20-21 11 George Ellis Burcaw, Introduction to Museum Work, (Walnut Creek: Altamira Press, 1996),

p.16

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from the same area. Different with group label, individual label is a text which

explains about a specific object.

The information that is written on the label has to be clear or the words

have to work together with the objects.12 The labels have to be printed along

with the accession numbers and the location where the ancient objects are

found.13 Besides, it also has to be written permanently on stable materials,

whether on the tombstones or specific papers. The labels placement, font

choices and the lighting of ancient objects’ spaces are also the important things

that have to be considered. The placement of labels should be put at eye level. It

means that the placement should not be too low or too high for the museum

visitors, the selection of label font should not be too big or too small to be read,

and the lightning should be placed in the appropriate position.14

The material remains are put in many museums in Indonesia and one of

the museums is known as Museum Nasional Indonesia (National Museum of

Indonesia) which located in Central Jakarta, close to the National Monument or

Monas. It usually can be called ‘Elephant Building’ because of the bronze

12 Beverly Serrel, Exhibit Labels: An Interpretive Approach, (Walnut Creek: Altamira Press,

1996), p.10 13 Thomas J. Braun, “Short Communication. An Alternative Technique for Applying Accession

Numbers to Museum Artifacts”, Journal of The American Institute for Conservation, Vol.46 No.2 (2007), pp.91-104. Accessed on April 11th 2014. http://www.mnhs.org/preserve/conservation/docs_pdfs/ApplyAccessionnos.pdf

14 Katherine Liss Saffle, “Reinventing Museum Labels: Overcoming an Archtype with Technology and Visitor-Centered Label Writing”, Journal of Museum Studies, Vol.7 No.1 (2013), pp.1-35. Accessed on April 11th 2014. https://www.ou.edu/content/dam/cls/documents/CLS-8324%20Museum%20Studies%20iBookV1-Proof4.pdf

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elephant statue in front of the museum. This museum is chosen for the research

because it displays many statues from different periods and the labels which are

displayed using dual language, Indonesian-English, to describe the ancient

objects.

Originally, the labels applied only in one language, Indonesian, but due to

the numbers of tourists who come to Indonesia and visit museum, the museum

practitioners decide to use bilingual or dual language, Indonesian-English, as

the languages that are applied on the labels in the museum. Therefore,

translation is a significant thing to be concerned. The label might be understood

by the local visitors because it uses Indonesian as the first language, but if the

label is translated wrong into English or the second language, it can make

another perspective to the foreign tourists and it is a shame thing. Hence the

translation is very important not only from the process but also from the

procedure.

C. Translation

1. Brief History of Translation

Translation theory is the orientation of a translator of his translation work.

“Whenever they do it, whenever they decide to opt for one rendition and not

others, they bring into play a series of ideas about what translation is and how it

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should be carried out.”15 Thus, it helps translator to choose the best concept of

his work.

The classification of translation of the twentieth century is ‘literal’, ‘free’

and ‘faithful’ or ‘word-for-word’ and ‘sense-for-sense’.16 It can be said that

word-for-word translation is another term from literal or faithful translation and

sense-for-sense translation is another term from free translation.

In the end of 1950s, the distinction of translation is developed by Vinay

and Darbelnet. They divide two methods, namely direct translation and oblique

translation, along with its procedures. Those both methods have the same

meaning with literal translation and free translation. The difference from the

translation classification of twentieth century is that these two methods have

seven procedures. They are borrowing, calque, literal translation, transposition,

modulation, equivalence and adaptation.

2. Definition of Translation

Translation means a transform of language structure of two different texts

in totally different languages. Someone whose profession is translating a text is

usually called a translator. A good translator makes no ambiguity words and

15 Anthony Pym, Exploring Translation Theories, (New York: Routledge, 2010), p.1 16 Jeremy Munday, Introducing Translation Studies: Theories and Application, (New York:

Routledge, 2008), 2nd ed, p.19

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unclear meaning in his translation text because the translation which he

provides is a good translation.17

According to Nida, “skilled translators must have a special capacity for

sensing the closest natural equivalent of a text, whether oral or written.”18 In

translation study, there are two similar terms, translation and interpretation.

Translation concerns on the written message and interpretation concerns on the

verbal message.19 It means that a good skill and a sensitivity feeling are needed

by a translator in order to match the meaning of languages in any form.

There are many explanations of translation. J.C Catford defines translation

as an effort to deliver meaning of a text to another text which the languages are

different. “Translation is the replacement of textual material in one language

(SL) by equivalent textual material in another language.”20 Machali explains

translation as an activity of delivering the same meaning of SL to TL text

concerning some aspects so a good communication through both languages will

be achieved.21 In the other hand, Brislin also defines the meaning of translation:

17 Geoffrey Samuelsson-Brown, A Practical Guide for Translators, (Bristol:Multilingual

Matters, 2010), p.3 18 Eugene A. Nida, “Theories of Translation”, Pliegos de Yuste, Vol.1 No.4 (2006), pp.11-14.

Accessed on April 13th 2014. http://www.pliegosdeyuste.eu/n4pliegos/eugeneanida.pdf 19 Drs. M. Rudolf Nababan, M.Ed., Teori Menerjemah Bahasa Inggris, (Yogyakarta: Pustaka

Pelajar., 2003), p.18 20 J.C. Catford, A Linguistic Theory of Translation: An Essay in Applied Linguistic, (London:

Oxford University Press, 1974), p.20 21 Rochayah Machali, Pedoman Bagi Penerjemah, (Jakarta: PT.Grasindo, 2000), p.6

15

“Translation is the general form referring to the transfer of thoughts and ideas from one language (source) to another (target), whether the languages are in written or oral form whether the language have established ortographies or do not have such standardization or whether one or both language is based on signs, as with signs of the deaf.”22

The three statements above mean translation is not only changing the

language in both of texts, but also transferring the messages based on the intent

of the author or speaker because the translation can be in written or spoken

language.

Hatim and Mason explain translation from another perspective, “an act of

communication which attempts to rely, across cultural and linguistic

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

different purposes and different readers/hearers).”23

There is another explanation which is defined by Bassnett about culture in

translation text, “translation is not just the transfer of texts from one language

into another, it is now rightly seen as a process of negotiation between texts and

between cultures.”24

It can be concluded from all the explanations that the meaning

replacement of a text in a language to another text in another language is not the

22 Richard W. Brislin, Translation: Application and Research, (New York: Gardner Press,

1976), p.1 23 Basil Hatim and Ian Mason, The Translator as Communicator, (London: Routledge, 1997),

p.1 24 Susan Bassnett, Translation Studies, (London: Routledge, 2002), 3rd ed, p.6

16

only significant thing of the translation. There is another thing that has to be

concerned by the translator, the cultural effect. Thus, a text which contains

cultural element can be a good intermediary of culture to its translation text

because it is obvious that two texts which have different languages also mean

two texts with different cultural backgrounds as it is applied on the labels of

ancient objects.

3. Process of Translation

In translating text, a translator needs to do some particular steps in order to

produce a good translation. The steps are also can be called process. Based on

Oxford Advanced Learner’s Dictionary, process means “a series of things that

are done in order to achieve a particular result.”25

According to Bathgate as quoted by Widyamartaya, he also defines seven

steps of translation process as follow:

1. Tuning. It is an activity of examining the material text that are going

to be translated because the language used and the messages in

source text have to be properly matched with target text. The style of

an original text and its content are also the significant things to be

considered before translating the text.

25 A.S. Hornby, Oxford Advanced Learner’s Dictionary of Current English, (New York: Oxford

University Press, 2000), p.1050

17

2. Analysis. The translator has to examine the words and phrases in

each sentence then determines the relation between the sentence

elements. “Tiap-tiap kalimat dalam bahasa sumber harus diurai ke

dalam satuan berupa kata-kata atau frase-frase. Kemudian

penerjemah harus dapat menentukan hubungan sintaksis antara

pelbagai unsur kalimat itu.”26

3. Understanding. It is the next step after the text has been analyzed by

the translator. The translator needs to get the main idea and its

supporting ideas in each paragraph. The translator needs to have a

good comprehension over his translation work before translating the

text.

4. Terminology. It is another essential thing in translation process.

“Kata, ungkapan atau istilah yang dipakai dalam bahasa sasaran

jangan sampai menyesatkan, menertawakan, atau menusuk hati

pemakai bahasa sasaran.”27 In the other words, there must be no

sentences which misleading and make some ambiguities for the

reader in the receptor language.

5. Restructuring. The target language has to be properly arranged by

the translator in order to produce a good translation text. It is not

26 A. Widyamartaya, Seni Menerjemahkan, (Yogyakarta: Kanisius, 1989), p.16 27 Ibid, p.17

18

only about the language style of source language, but the translator

also needs to make the sentences and meanings in a translation text

related each other.

6. Checking. If a translation text has only been translated once by the

translator, it cannot be said as a final result translation. It must be

revised multiple times. The things that should be checked from the

first draft translation are the error of the words selection and its

punctuations in the sentences. It has to be appropriate with the

meaning.

7. Discussion. The translator ends the process of translation by

discussing his translation with some translators or some people in

certain fields of the translation text. The focus of discusses is the

content of translation text and the language used. “Cara yang baik

untuk mengakhiri proses penerjemahan ialah penerjemah

mendiskusikan hasil terjemahannya, baik menyangkut isinya

maupun menyangkut bahasanya.”28

28 Ibid, p.18

19

4. Method and Procedure of Translation

There are many methods and procedures which a translator uses in the

translation work. According to Oxford Advanced Learner’s Dictionary, the

meaning of method is “a particular way of doing something”29 and the meaning

of procedure is “a way of doing something, especially the usual or correct

way.”30

Vinay and Darbelnet divided the translation methods into two terms,

direct translation and oblique translation. It is because sometimes a text cannot

be translated literally and it makes the translator has to use another method to

translate the text. Direct translation covers three procedures; they are

borrowing, calque and literal translation. Oblique translation covers four

procedures; they are transposition, modulation, equivalence and adaptation.

Thus, the writer stresses this research on the oblique translation method and its

four procedures as the theory.

5. Oblique Translation

Vinay and Darbelnet explicitly state about oblique translation in their

book that “it is understood that more complex methods have to be used which at

29 A.S. Hornby, (2000), op.cit, p.837 30 Ibid, p.1050

20

first may look unusual but which nevertheless can permit translators a strict

control over the reliability of their work: these procedures are called oblique

translation.”31

In the other words, it can be said that oblique translation is used when

sentences in a text cannot be translated literally without altering the

grammatical structure because it will produce another or different meaning in

target language. Therefore, a translator is allowed to use another complicated

method to be applied in the translation text. Hence in order to find the

equivalent of both languages, changing the structure of a sentence is permitted.

The four procedures of oblique translation that are explained by Vinay and

Darbelnet as follow:

a. Transposition

Transposition is the procedure which “involves replacing one word

class with another without changing the meaning of the message. Beside,

being a special translation procedure, transposition can also be applied

within a language.”32 According to Newmark, shift or transposition also

means a grammar changing from SL text to TL text.33 In the other words,

transposition means a procedure which its part of speech is altering but not

31 Jean Paul Vinay and Jean Darbelnet, (1995), op.cit, p.31 32 Ibid, p.36 33 Peter Newmark, A Textbook of Translation, (London: Prentice Hall International, 1988), p.85

21

with the sense. There are two kinds of transposition: obligatory

transposition and optional transposition.34 Obligatory transposition

appears when the source text cannot be literary translated and optional

transposition is related to the language style, it is chosen in order to

produce a translation which good to be read or heard.

Examples: Dès son lever…. As soon as he gets/got up….

As soon as he gets up.... Dès son lever….

Dès qu’il se lève….35

Après qu’il sera revenu…. After he comes back….

Après son retour…. After his return….36

b. Modulation

In a translation work, Fawcett states that modulation is the changing

of viewpoint.37 Vinay and Darbelnet also states that modulation changes

the point of view from an original text into its translation, not the semantic

of the sentences.38 The translator is allowed to change the viewpoint from

a text into its translation text as long as it does not change the meaning of

34 Ibid. 35 Ibid. 36 Ibid. 37 Peter Fawcett, Translation and Language: Linguistic Theories Explained, (Manchester: St.

Jerome Publishing, 1997), p.37 38 Ibid, p.37

22

the text. Vinay and Darbelnet distinguish modulation into two types; they

are free or optional modulation and fixed or obligatory modulation.39 Free

or optional modulation is a kind of modulation which is used to stress the

meaning in the target text and fixed or obligatory modulation is when a

passive sentence turns into an active sentence and vice versa.

Examples:

Le moment où…. The time when….

Il est facile de dèmontrer…. It is not difficult to show….40

c. Equivalence

Equivalence is used to explain a certain situation by using the whole

different structure or style language in order to produce equivalent texts.41

House, as quoted by Leonardo, also give an explanation of equivalence,

“every text is in itself is placed within a particular situation which has to

be correctly identified and taken into account by the translator.”42 This

procedure is often used in the case of animal sounds like:

cocorico cock-a-doodle-do

39 Ibid. 40 Ibid. 41 Ibid, p.38 42 Vanessa Leonardo, “Equivalence in Translation: Between Myth and Reality”, Translation

Journal, Vol.4 No.4 (2000). Accessed on October 31st 2014. translation.journal.net/journal/14equiv.htm

23

miaou miaow

hi-han heehaw43

Besides, proverbs and idioms are also the best example of

equivalence.44

Examples:

Il pleut à seaux/des cordes. It is raining cats and dogs.

Like a bull in a china shop.

Too many cooks spoil the broth.

Deux patrons font chavirer la barque.45

d. Adaptation

Newmark explains that adaptation is “use of a recognized equivalent

between two situations.”46 Vinay and Darbelnet also explain that

adaptation refers to a procedure when a certain culture is mentioned in the

SL text but the culture does not exist in the TL text, so a translator needs

to make a new situation from the SL text which has the same or the closest

43 Ibid. 44 Ibid. 45 Ibid. 46 Peter Newmark, (1988), op.cit, p.91

Comme un chien dans un

jeu de quills.

24

meaning into the TL text.47 The translator has to put more effort in

translating the totally different culture in source language without

changing the meaning of both texts at all.

Examples:

Trois hommes et un couffin. Three men and a baby. [film]

Le grand Meaulnes. The Wanderer. [book title]48

47 Ibid, p.39 48 Ibid.

25

CHAPTER III

DATA ANALYSIS

A. The Data Description

In this chapter, the writer analyzes the words, phrases and sentences from

the label collections of Museum Nasional Indonesia (National Museum of

Indonesia) which are applied in two languages, Indonesian-English and finds

the types of oblique translation which are used in the labels. Then, the writer

also finds out how the oblique translations are applied in translating the labels.

The selected labels can be tabulated as follows:

Table 1: The Data of Label Collections and the Types of Oblique Translation.

No Name of the Museum Object

Source Language Target Language Oblique

Translation Types (in SL) (in TL)

1 ALAT TENUN LOOM

Alat untuk menenun kain geringsing berukuran kecil, seperti selendang.

Loom for weaving small sized geringsing cloth, for example a shoulder cloth or selendang.

Obligatory Transposition

26

2 TIFA (KUNDU) DRUM

Tifa dibunyikan selama upacara peperangan, ritual kepahlawanan dan upacara tertentu yang diadakan di rumah laki-laki (yeu) untuk mengiringi tarian.

The tifa is sounded for battle ceremonies, warrior rituals and special ceremonies in the men’s house (yeu) to add excitement to the dancing.


3 GELANG KAKI ANKLET

Gelang kaki yang berongga ini di dalamnya diisi dengan metal bulat (peluru) sehingga berbunyi kalau digerak-gerakkan.

A hollow anklet filled with round metal objects (pellets) which produce a sound when the it is moved.


4 KARONDING AWI JEW’S HARP

Sejenis harpa mulut dengan nama lokal ‘karonding awi’, biasanya dimainkan oleh petani untuk menghibur diri saat menunggu sawah.

A kind of jew’s harp called ‘karinding awi’ in local language, which is usually played by farmer as an entertainment during waiting the rice field.

Optional Transposition

5 TOPENG GEBOGAN

GEBOGAN MASK

Bagian badannya terdiri dari susunan buah-buahan dan jajan tradisional Bali.

The body from stacked up fruit and traditional Balinese cakes.


27

6 SI GALE-GALE SI GALE-GALE

Si gale-gale merupakan boneka kayu yang dibuat seukuran tubuh manusia dengan pakaian lengkap adat Batak Toba.

Si gale-gale is a life-sized wooden puppet, dressed in traditional Batak Toba costume.


7 TANDU SEDAN CHAIR

Tandu merupakan alat transportasi jarak dekat dengan menggunakan tenaga manusia. Tandu biasanya dipikul oleh dua orang atau lebih.

Two or more men would carry this sedan chair over short distances.

Fixed Modulation

8 TOKEN

PERKEBUNAN DI INDONESIA

PLANTATION TOKENS IN INDONESIA

Di Indonesia, bidang usaha yang sangat diminati adalah membuka perkebunan.

In Indonesia, they preferred to establish plantations.

Fixed Modulation

9 HIASAN

TELINGA/SUMPING

EARRING

Sumping (bahasa Jawa) adalah perhiasan Jawa yang digunakan oleh penari.

Dancers wore earrings, known as sumping in Javanese.

Fixed Modulation

10 SALOHAT (TALATOAT) FLUTE

Alat musik tiup yang dimainkan secara tunggal.

A simple flute played as a single instrument.

Free Modulation

11 CELENGAN SAVING IS HAVING

Dalam masa Majapahit, celengan sangat populer dalam kalangan masyarakat.

During the Majapahit period, people were very fond of saving their money.

Free Modulation

28

12 MINIATUR

RUMAH RAKIT

MODEL OF A RAFT HOUSE

Sungai Musi, yang menjadi urat nadi kota Palembang, menjadi kawasan hunian penduduk yang tinggal di rumah rakit ini.

They are built along the banks of the Musi river, which is the main artery of Palembang.

Free Modulation

13 WADAH CONTAINER

Wadah kapur sirih atau tembakau ini merupakan bagian perangkat untuk menginang pada acara adat.

A hinged lime or tobacco container forms part of a ceremonial betel chewing set.

Adaptation

14 KARAPAN SAPI BULL RACE

Bagi orang Madura, memacu binatang peliharaan di arena untuk memenangkan pacuan sudah menjadi kegemaran penduduk sejak dulu.

For Madurese people, a custom of racing domestic animal in the arena for winning the race have already been their amusement in formerly times.

Adaptation

15 SITUS

BANTEN LAMA

BANTEN LAMA SITE

Unsur bangunan, wadah makanan dan minuman, hiasan rumah, perhiasan, alat produksi (cetakan, kowi, pelandas), celengan, bandul jala, lampu, tungku dan permainan.

Building elements, food and beverage containers, home decoration, jewelry, tools of production (mold, kowi, anvil), piggy bank, pendulum nets, light, stove and kids games.

Adaptation

29

B. The Data Analysis

In the data analysis, the writer classified and analyzed how the translator

applied the types of oblique translations in translating the text on the selected

labels at Museum Nasional Indonesia (National Museum of Indonesia) based on

the tabulated data above. The types of oblique translations which would be the

name of the categories are transposition, modulation and adaptation.

a. Transposition

a.1. Obligatory Transposition

Obligatory transposition is a kind of transposition which occurs when

structures in source text and target text have to be changed due to the language

system.

1. ALAT TENUN - LOOM

Source Language Target Language Oblique Translation Types

Alat untuk menenun kain geringsing berukuran kecil, seperti selendang.

Loom for weaving small sized geringsing cloth, for example a shoulder cloth or selendang.


The data above is classified as an obligatory transposition. As it can be

seen from the data above, kain geringsing berukuran kecil is translated to small

30

sized geringsing cloth. Kain geringsing berukuran kecil consists of noun +

adjective form, kain geringsing is a noun and berukuran kecil is an adjective. In

Indonesian, it can be said as nomina (kata benda) yang diikuti oleh adjektiva

(kata sifat)45 or noun which is followed by an adjective. In the target text, small

sized geringsing cloth consists of adjective + noun form, small sized is an

adjective and geringsing cloth is a noun. In English, it can be said as adjective

modifying a noun.46

Therefore, the obligatory transposition occurs in the data above and the

result of translation is acceptable. The translator made the equivalence meaning

between SL and TL text by changing the class of word of kain geringsing

berukuran kecil into its translation, small sized geringsing cloth.

2. TIFA (KUNDU) - DRUM


Tifa dibunyikan selama upacara peperangan, ritual kepahlawanan dan upacara tertentu yang diadakan di rumah laki-laki (yeu) untuk mengiringi tarian.

The tifa is sounded for battle ceremonies, warrior rituals and special ceremonies in the men’s house (yeu) to add excitement to the dancing.


45 Hasan Alwi, et.al, Tata Bahasa Baku Bahasa Indonesia, (Jakarta: Balai Pustaka, 2003), 3rd

ed, p.213 46 Marcella Frank, Modern English: A Practical Reference Guide, (New Jersey: Prentice-Hall,

Inc., 1972), p.111

31

The data above is categorized as an obligatory transposition. The

translator translated upacara peperangan, ritual kepahlawanan dan upacara

tertentu yang diadakan di rumah laki-laki into battle ceremonies, warrior

rituals and special ceremonies in the men’s house. The singular in SL text are

changed into plural in TL text. Singular means that there is only one thing and

plural means that there are more than one thing.47

The data which is translated by the translator above is good enough. It is

because the translator succeeded to deliver the exact meaning of SL text into the

TL text. The meaning of all the underlined phrases in SL text is something

which happens for several times and if the translator translated them wrong, for

the example, upacara peperangan is translated into battle ceremony, the target

readers will get different assumption because it is different with the exact

meaning of the SL text.

3. GELANG KAKI - ANKLET


Gelang kaki yang berongga ini di dalamnya diisi dengan metal bulat (peluru) sehingga berbunyi kalau digerak-gerakkan.

A hollow anklet filled with round metal objects (pellets) which produce a sound when the it is moved.


47 Drs. Rudy Hariyono, Complete English Grammar: Tata Bahasa Inggris Lengkap, (Surabaya:

Gitamedia Press, 2002), p.23-24

32

The data above is classified as an obligatory transposition. It can be seen

from the structural change which happens between SL text and TL text. Gelang

kaki yang berongga is translated to a hollow anklet. Gelang kaki yang berongga

contains noun + modifier form, gelang kaki is a noun and yang berongga is a

modifier. In Indonesian, it can be said as suatu nomina (kata benda) yang

diikuti oleh adjektiva (kata sifat) dan disisipkan kata ‘yang’48 or noun which is

followed by an adjective and the word ‘yang’ is put between the sentences. A

hollow anklet contains adjective + noun form, a hollow is an adjective and

anklet is a noun. In English, it can be said as adjective modifying a noun.49

Furthermore, there is also a little mistyped in the TL text. It can be seen

from the word the which should not be written there because it has no meaning.

Although it does not change the meaning of TL text but it is still considered as a

little mistake that should be a concern for the translator because it can confuse

the target readers. It can be said that the result of the translation is not

acceptable enough.

a.2. Optional Transposition

Optional transposition is a kind of transposition which can be chosen by

the translator to vary the style of language of words or sentences.

48 Hasan Alwi, (2003), op.cit, p.246 49 Marcella Frank, (1972), op.cit, p.111

33

1. KARONDING AWI – JEW’S HARP


Sejenis harpa mulut dengan nama lokal ‘karonding awi’, biasanya dimainkan oleh petani untuk menghibur diri saat menunggu sawah.

A kind of jew’s harp called ‘karinding awi’ in local language, which is usually played by farmer as an entertainment during waiting the rice field.


The data above is categorized as an optional transposition because the

translator does not translate nama lokal literally to local name, but local

language. Actually, the translator can use local name in translating nama lokal

in SL text but since the label name is ‘karonding awi’ and it is a music

instrument which name is from the language of local area, in this case is West

Java, hence the using of local language for the translation of nama lokal in TL

text is more appropriate.

A good translation is a kind of translation which does not make any

ambiguities appears in its final result. There is a little mistyped which can make

the target readers confuse in the translation above. The real name of the music

instrument is karinding awi, but it is written karonding awi on the label text. It

is a little mistake which needs more attention because it can cause confusion for

the target readers to know the actual name of this music instrument since the

origin of karinding awi is only from Indonesia.

34

2. TOPENG GEBOGAN - GEBOGAN MASK


Bagian badannya terdiri dari susunan buah-buahan dan jajan tradisional Bali.

The body from stacked up fruit and traditional Balinese cakes.


The data above is classified as an optional transposition. It can be seen

from the way translator translated jajan tradisional Bali into traditional

Balinese cakes. The word cakes is chose to translate jajan. In Indonesian, jajan

means penganan50 or snacks. It covers all the kinds of snacks which can be

eaten. In English, cake means a sweet food made from a mixture of flour, eggs,

butter, sugar, etc. that is baked in an oven.51

Actually, if the word cake is used to be the translation of jajan, it is not

communicative enough. That is because the meaning of cake is too specific,

while the meaning of jajan is too wide and it covers all kinds of snacks, not just

cakes. However, since cakes still can be counted as snacks, hence the word

choice from the translator in translating jajan into cakes is still appropriate. The

sense of jajan in SL text does not change too much in TL text and the readers of

target language still get the meaning of SL text.

50 Kamus Besar Bahasa Indonesia (KBBI) Online, s.v. “Jajan,” accessed September 14th, 2014.

http://kbbi.web.id/jajan 51 A.S Hornby, (2000), op.cit, p.176

35

3. SI GALE-GALE – SI GALE-GALE


Si gale-gale merupakan boneka kayu yang dibuat seukuran tubuh manusia dengan pakaian lengkap adat Batak Toba.

Si gale-gale is a life-sized wooden puppet, dressed in traditional Batak Toba costume. Optional

Transposition

The data above is categorized as an optional transposition. The noun

phrase boneka kayu is translated into wooden puppet. It is very appropriate to

choose puppet as the translation of boneka. In Indonesian, boneka has the equal

meaning with doll and puppet52 but if the translator chooses to translate boneka

to doll instead of puppet, it will make the readers of TL text get another

assumption. It is because in Indonesia, doll has the same meaning with boneka

or (girl) gadis cantik.53

In the other words, it can be said that doll also means something that

relates to a girl, while boneka which is discussed in SL text is something that is

played to perform death dance for Batak people. Hence the optional

transposition which is chose by the translator of the labels to translate boneka

kayu into wooden puppet is proper enough.

52 John M. Echols dan Hassan Shadily, Kamus Indonesia – Inggris, (Jakarta: PT. Gramedia

Pustaka, 1992), p.86 53 John M. Echols dan Hassan Shadily, Kamus Inggris – Indonesia, (Jakarta: PT. Gramedia

Pustaka, 1997), p.193

36

b. Modulation

b.1 Fixed Modulation

Fixed modulation is a kind of modulation which occurs when the active

sentence in SL is translated into the passive sentence in TL or the passive

sentence in SL is translated into the active sentence in TL but the meaning does

not change at all.

1. TANDU – SEDAN CHAIR


Tandu merupakan alat transportasi jarak dekat dengan menggunakan tenaga manusia. Tandu biasanya dipikul oleh dua orang atau lebih.

Two or more men would carry this sedan chair over short distances. Fixed Modulation

The data above is classified as a fixed modulation. The passive sentence

of SL text can be seen when the word tandu as the object is put in front of the

sentence, while the active sentence of TL text can be seen when two or more

men as the subject is put in front of the sentence. The translator translated two

sentences in SL text by summarizing it into just one sentence in TL text, but

still kept the meaning of the origin text. It means a fixed modulation from the

data above can be seen from the changing of passive sentence to the active

sentence.

37

According to an Indonesian – English dictionary, the meaning of tandu is

a litter or sedan chair.54 Furthermore, according to Oxford Dictionary, litter is a

kind of chair or bed that was used in the past for carrying important people and

sedan chair means a box containing a seat for one person, carried on poles, by

two people, used in 17th and 18th centuries.55 Thus, it can be the conclusion that

the translator preferred to choose tandu into sedan chair because it fits perfectly

with the meaning.

2. TOKEN PERKEBUNAN DI INDONESIA – PLANTATION TOKENS IN INDONESIA


Di Indonesia, bidang usaha yang sangat diminati adalah membuka perkebunan.

In Indonesia, they preferred to establish plantations. Fixed

Modulation

The data above is categorized as a fixed modulation. It can be seen from

the passive sentence in SL text which is changed by the translator to the active

sentence in TL text. In SL text, perkebunan is the main point of the sentence

but the subject is not mentioned because the subject is already explained in the

first sentence of the text. In TL text, they appears in the sentence as the subject

54 John M. Echols dan Hassan Shadily, (1992), op.cit, p.549 55 A.S Hornby, (2000), op.cit, p.1202

38

and the word plantations as the translation of perkebunan56 is put in the end of

sentence as the object.

The result of translation above is communicative enough because the

translator’s decision to translate the data from passive to active did not make the

SL text losing its actual meaning. The equal assumption between the readers of

both target text and source text will be still obtained.

3. HIASAN TELINGA/SUMPING - EARRING


Sumping (bahasa Jawa) adalah perhiasan Jawa yang digunakan oleh penari.

Dancers wore earrings, known as sumping in Javanese. Fixed

Modulation

It is clear that the data above is categorized as a fixed modulation. The

translator replaced the passive sentence into the active one. The passive

sentence of SL text can be seen when the object of sentence, sumping, is put in

the front of the sentence and penari as the subject is in the end of the sentence,

whereas the active sentence of TL text can be seen at the word dancers as the

subject is put in front of the sentence and sumping is in the end of the sentence.

In SL text, sumping is not specifically mentioned as an earring because it

is already mentioned in the name of the object, hiasan telinga, which is the

56 John M. Echols dan Hassan Shadily, (1997), op.cit, p.433

39

Indonesian of earring. In TL text, the translator explained sumping very clearly

by writing earrings as the explanation of sumping. Besides, the translator also

preferred to translate hiasan telinga/sumping into just an earring as the name of

the object, not just adapted it from its original name. It does not affect the

meaning since it is already explained that earrings are also sumping in TL text

and the target readers will still know the real name of the object.

b.2 Free Modulation

Free modulation is a kind of modulation which is used to stress the

meaning of SL text.

1. SALOHAT (TALATOAT) – FLUTE


Alat musik tiup yang dimainkan secara tunggal.

A simple flute played as a single instrument.

Free Modulation

The data above is classified as a free modulation. It is because the

translator changed the viewpoint of SL text but the meaning of both texts are

still related. It can be seen from secara tunggal which is translated to a single

instrument. Those are two different phrases which have similar meaning.

Actually, secara tunggal can be translated into ‘individually’ because

those two words have similar meaning and the word individual itself has the

40

related meaning with single.57 The meaning of single in Indonesian is tunggal

or satu.58 Thus, it can be concluded that the translation of the data above is

acceptable because the meaning of secara tunggal and a single instrument are

related to each other. It means Salohat or a flute which is discussed on the label

can be played individually.

2. CELENGAN – SAVING IS HAVING


Dalam masa Majapahit, celengan sangat populer dalam kalangan masyarakat.

During the Majapahit period, people were very fond of saving their money.

Free Modulation

Both of the object’s name and the label text above contain free

modulation. It can be seen from the SL text which explains about how celengan

was very popular and the TL text explains about how people had a great passion

of saving money at that time. Two different viewpoints occur on the data above

because the SL text discusses about celengan as a noun and the TL text

discusses about the saving money as an activity but both of the meaning are still

related.

57 Thesaurus.com, s.v. “Individual,” accessed September 14th, 2014.

http://www.thesaurus.com/browse/individual?s=ts 58 John M. Echols dan Hassan Shadily, (1997), op.cit, p.528

41

The translator also translated the name of this object in a different way,

celengan into saving is having. Celengan is a noun in Indonesian and saving is

having is a sentence in English. Although the meaning of saving is having is

similar with the function of celengan itself, but it is better not to translate

celengan into saving is having. It is because the readers of target language will

not explicitly get the exact meaning of celengan as a noun. The translator

should choose piggy bank or money box which more appropriate to represent

celengan.59

3. MINIATUR RUMAH RAKIT – MODEL OF A RAFT HOUSE


Sungai Musi, yang menjadi urat nadi kota Palembang, menjadi kawasan hunian penduduk yang tinggal di rumah rakit ini.

They are built along the banks of the Musi river, which is the main artery of Palembang.

Free Modulation

The data above is classified as a free modulation. It can be seen from the

way translator changed the point of view of the SL text into the TL text. As it

can be seen in the sentence of SL text, it discusses about sungai Musi yang

menjadi urat nadi kota Palembang and sungai Musi is the main topic. In TL

text, it discusses about the raft houses which are explained with subject they by

59 John M. Echols dan Hassan Shadily, (1992), op.cit, p.110

42

the translator, they are built along the banks of the Musi river. The main topic

of TL text is the raft house.

Actually, both sentences above are discussing about the same topic. It can

be seen from the very first sentence of both texts which discusses about the

same thing, the raft house. In the next sentence, as it can be seen in the data

above, the translator changed the way he translated the text by translating it

with different point of view. Therefore, in order to make a good translation or to

make the TL text as natural as it can be, the translator translated both of

sentences above by changing the point of view but the object of the discussion

in SL text does not change.

c. Adaptation

1. WADAH – CONTAINER


Wadah kapur sirih atau tembakau ini merupakan bagian perangkat untuk menginang pada acara adat.

A hinged lime or tobacco container forms part of a ceremonial betel chewing set.

Adaptation

The data above is categorized as an adaptation. It can be seen from the

way translator translated acara adat into ceremonial. In Indonesian, acara adat

43

means upacara yang berhubungan dengan adat suatu masyarakat60 or a

ceremony which is related with a tradition of some group of people, while the

meaning of ceremonial is something that related to or used for formal religious

or public events.61 In the other words, ceremonial means something which

related to a ceremony, while acara adat is a kind of ceremony itself.

Actually, the meaning of ceremonial is still too wide and it is not proper

enough to choose ceremonial as the translation of acara adat. The actual

message in SL text is not clearly conveyed in the TL text. The target readers

still do not get that acara adat is a special ceremony although it is still can be

counted as a part of ceremonial.

2. KARAPAN SAPI – BULL RACE


Bagi orang Madura, memacu binatang peliharaan di arena untuk memenangkan pacuan sudah menjadi kegemaran penduduk sejak dulu.

For Madurese people, a custom of racing domestic animal in the arena for winning the race have already been their amusement in formerly times.

Adaptation

The data above is classified as an adaptation. It can be seen from the

translation of binatang peliharaan which is freely translated into domestic

60 Kamus Besar Bahasa Indonesia (KBBI) Online, s.v. “Acara Adat,” accessed August 20th, 2014. http://kbbi.web.id/upacara

61 Oxford Dictionaries, s.v. “Ceremonial,” accessed September 13th, 2014. http://www.oxforddictionaries.com/definition/english/ceremonial

44

animal in TL text by the translator of the label. The translator chose a phrase in

TL text which has the closer meaning with the phrase in SL text.

Actually, binatang peliharaan can be translated to pet literally, but the

consequence is another perspective for the readers of the target language will

appear. It is because the meaning of pet is an animal that is kept for pleasure at

home or for work or food62 and the meaning of binatang peliharaan which is

discussed in SL text is an animal from the local area, which in this case is a bull

from Madura because most of the Madurese people have bulls and buffalos as

their pets. Thus, it can be said that the translator translated binatang peliharaan

into a proper translation, domestic animal.

3. SITUS BANTEN LAMA – BANTEN LAMA SITE


Unsur bangunan, wadah makanan dan minuman, hiasan rumah, perhiasan, alat produksi (cetakan, kowi, pelandas), celengan, bandul jala, lampu, tungku dan permainan.

Building elements, food and beverage containers, home decoration, jewelry, tools of production (mold, kowi, anvil), piggy bank, pendulum nets, light, stove and kids games.

Adaptation

The data above is categorized as an adaptation. The translator chose piggy

bank as the translation of celengan in the TL text. In Indonesian, the meaning of

62 A.S. Hornby, (2000), op.cit, p.984

45

celengan is tabung (terbuat dr tanah, plastik, dsb, biasanya berbentuk

binatang, spt babi hutan dsb) untuk menyimpan uang63 or a tube (made of soil,

plastic, etc, usually in the form of animals like wild boar, etc.) for saving

money.

According to an Indonesian – English dictionary, celengan has three

meanings; they are savings, money box and piggy bank.64 Since the object is

not in the display space of the museum, hence the translator tried to equalize the

meaning of SL and TL text by choosing the most appropriate word for the

translation of celengan and piggy bank is chose because it is usually more

represent celengan (as it is also mentioned in KBBI) than money box which has

the similar meaning.

63 Kamus Besar Bahasa Indonesia (KBBI) Online, s.v. “Celengan,” accessed September 14th,

2014. http://kbbi.web.id/celeng-2 64 John M. Echols dan Hassan Shadily, (1992), op.cit, p.110

46

CHAPTER IV

CONCLUSIONS AND SUGGESTIONS

A. Conclusions

Based on the result of the research which has been conducted by the

writer about the oblique translation of the label collections, it can be

concluded that:

1. There were only three from the four types of oblique translation which

were found in the data; they were transposition, modulation and

adaptation. There were two types of transposition; obligatory

transposition and optional transposition. There are also two types of

modulation; they were fixed modulation and free modulation.

2. Equivalence is the only type of oblique translation which was not

appeared in the writer’s data. It is because equivalence is usually only

used in translating animal sounds, proverbs and idioms. Since the data

which is used by the writer was label collections of museum, the writer

could not find the example of equivalence on the labels.

3. Although the labels were translated by professional translator, but

some of mistyped still could be found on the label collections. It

should be a concern for them because it can lead the readers of target

language, which in this case is the visitors from the other countries, to

the misunderstanding and confusion.

47

B. Suggestions

After finishing this research study, there are some suggestions the

writer would like to give as follows:

1. To the students of translation studies, it is a must to have a good

understanding of grammar, word class, idiom, proverb, and the other

knowledge of language because translation is not only about

translating text.

2. To the museum management, since there are some mistyped which

still can be found in many labels, it should be a little concern to the

management, particularly to the translator of labels, because the

visitors of museum do not come from Indonesia only but also from the

other countries. There must be some labels checking before they are

ready to be put along the objects in the display space.

3. To the translator in general, the culture issue is another significant

thing that has to be understood in order to get a good translation which

can be accepted by not only the reader of source language but also the

reader of target language without make some ambiguities in the text.

4. For the next research, there are only three types from four types of

oblique translation which can be found in this research. Thus, it can be

a good suggestion for the next researcher to find the all types of

oblique translation procedures on the other label collections of

museum or the other data.

48

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APPENDICES

oblique translation of label collections at...

Documents