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An Analysis of the Techniques
and the Accuracy of the Translation of the Song Lyrics
in Children Oriented Program Entitled “Fimbles Show”
THESIS
Submitted as a Partial Fulfillment of Requirement
For the Sarjana Degree in English Department
By:
RAHAYU WIDIATI
C 1306511
FACULTY OF LETTERS AND FINE ARTS
SEBELAS MARET UNIVERSITY
SURAKARTA
2011
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PRONOUNCEMENT
Name : Rahayu Widiati
Student Number : C 1306511
Pronounces truthfully that this thesis entitled An Analysis of the Techniques
and the Accuracy of the Translation of the Song Lyrics in Children Oriented
Program Entitled “Fimbles Show” is originally made by the researcher. It is
neither a plagiarism, nor made by others. Things related to other people’s work
are written in quotations and included in references.
If this pronouncement is proved incorrect in the future, the researcher is
ready to accept academicals sanction in the form of the withdrawal of academic
title.
Surakarta, April 2011
The researcher
Rahayu Widiati
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MOTTO
Man jadda wa jadda
…Lord knows dreams are hard to follow,
But don't let anyone tear them away.
Hold on, there will be tomorrow,
In time you'll find the way…
(Hero, Mariah Carey)
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DEDICATION
I wholeheartedly dedicate this thesis to:
My Beloved Ibu and Bapak
My Beloved Sister
My life, my future
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ACKNOWLEDGMENT
It has been a long and winding journey until I finally finished this thesis. I
hope this is one of ways to pursuit my happiness in the future. First and foremost I
would like to give all praises to Allah SWT who always loving me in every single
breath I take. He enables me to actualize my dreams through the efforts and
prayers. Alhamdulillahirabbil alamiin.
I thank Drs. Sudarno, M.A., The Dean of Faculty of Letters and Fine Arts,
Sebelas Maret University and Drs. Budi Waskito, M. Pd., The Head of S1 Non-
Regular English Department for the support given during my study.
I also extend my gratitude to my translation lecturers; Prof. Drs. MR.
Nababan, M.Ed., MA., Ph.D, Ida kusuma Dewi, SS, MA, Dyah Ayu Nila K, SS,
M.Hum who have introduced me into translation world.
I am also grateful for the great supervision of Ida Kusuma Dewi, SS, MA
who patiently supervised me in finishing this thesis.
A deep appreciation and thanks go to my raters; Sudiyono,SS, Bayu
Budiharjo, SS and Ambhita Dhyaningrum who significantly help me assessing my
work.
I owe special debts to my beloved parents and sister for their never ending
love, prayers and supports which inspire and empower me a lot in finishing this
hard time of my life. Thank you so much.
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My special gratitude personally goes to my proofreaders; Betaria NAE
Hastuti, SS for the inputs and much assistance given and Iheanacho George
Chidiebere for his time and patience in reading this work chapter by chapter.
I wish to express my thanks and appreciation for the support from all of
friends in my exciting worlds; SYH, ROTARACT, MAHAFISIPPA, FSC,
Terrasse de France and Focus Independent School for letting me learn about many
things.
I extend my gratefulness to the one who is always in my prayers. It is
indeed a privilege to finish this thesis with his prayers, encouragements and spirits
continuously.
I must acknowledge my beloved friends; Tiwi, Dj, Susi, Inul, Amel and
Lina, for their companionships during my stay in Solo.
Last but not least, I thank my boardinghouse mates in the White House;
Ana, Tata, Mba Lucy who have become my serious and fun discussion partners.
Life is a long discussion, indeed.
There are many more people, named or unnamed; I offer my thanks for
giving contributions in this thesis.
Surakarta, April 2011
Rahayu Widiati
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TABLE OF CONTENTS
TITLE………………………………………………………………….. i
THE APPROVAL OF CONSULTANT ...... ii
THE APPROVAL OF THE BOARD OF EXAMINERS ...... iii
PRONOUNCEMENT ...... iv
MOTTO ...... v
DEDICATION ...... vi
ACKNOWLEDGMENT ...... vii
TABLE OF CONTENTS ...... ix
ABSTRACT ...... xi
CHAPTER I. INTRODUCTION
A. Research Background...... 1
B. Research Limitation ...... 4
C. Research Problems ...... 4
D. Research Objectives ...... 4
E. Research Benefits ...... 5
F. Thesis Organization ...... 5
CHAPTER II. LITERATURE REVIEW
A. Definition of Translation ...... 7
B. Translation Techniques ...... 8 commit to user ix perpustakaan.uns.ac.id digilib.uns.ac.id
C. Literary Translation ...... 13
D. Difficulties in Translating Songs ...... 14
E. Subtitling ...... 16
F. Fimble Show at Glance ...... 22
CHAPTER III. RESEARCH METHODOLOGY
A. Research Type and Design ...... 19
B. Data and Source of Data ...... 20
C. Sampling Technique...... 20
D. Method of Data Collection ...... 21
E. Technique of Data Analysis ...... 23
F. Research Procedures ...... 24
Chapter IV. RESEARCH FINDINGS AND DISCUSSION A. The Translation Techniques Employed in the Songs Translation of Fimble Show ...... 25 B. Accuracy Quality Assessment...... 60
1. Accurate Translation ...... 62
2. Less Accurate Translation ...... 65
3. Inaccurate Translation ...... 70
CHAPTER V. CONCLUSION AND SUGESSTION
A. Conclusion ...... 84
B. Suggestions ...... 85
REFERENCES
APPENDICES
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ABSTRACT
Rahayu Widiati. C1306511. 2011. An Analysis of the Techniques and the
Accuracy of the Translation of the Song Lyrics in Children Oriented Program Entitled “Fimbles Show”. Thesis: English Department. Faculty of Letters and Fine Arts. Sebelas Maret University. Surakarta.
The research aims to describe the translation techniques applied by the translator and to know the accuracy level of the songs in a children oriented program entitled Fimbles Show; As fun As can be into Seceria mungkin. The research is descriptive qualitative study which employs total sampling technique. The data were taken from the songs in the Fimbles Show which totally contain 112 sentences. The other supporting data were taken from the assessment of three raters who were given questionnaires to be fulfilled. The analysis of the translation techniques shows that there are are twelve techniques applied by the translator in translating the songs of the Fimbles Show; Literal 18(16,07%), Generalization 3(2,67%), Reduction 11 (11,6%), Linguistic compression 12(10,71%), Discursive creation 10(8,92%), Modulation 18(16,07%), Particularization 3(2,67%), Compensation 1(0,89%), Amplification 7(6,25%), Transposition 13(11,60%), Adaptation 2(1,78%) and couplets 15 (13,39%). Dealing with accuracy, there are 53 data (47,32%) considered accurate. The most frequently used technique in this category is literal. There are 54 (48,21%) data translated less accurately with modulation as the most frequent technique applied in the lyric translations, and 5 others (4,46%) belong to inaccurate ones which is mostly translated by using discursive creation technique. No data are classified as very inaccurate. The analysis towards techniques applied in the translation and the accuracy have extended to the impacts of the translation
in terms of structures, dictions and also physical forms of the songs in the target language.
It is expected that the research will provide an input to the readers who work on translation field especially in subtitling and literary work translation. It is also suggested that other researchers will be triggered to analyze deeper the
translation strategies with different point of view in terms of quality translation.
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CHAPTER I
Introduction
A. Research Background
There are many educative VCDs which teach morality, science, etc imported
from English speaking countries. They help children and adults to learn in very
attractive ways.
The imported VCDs are presented in various ways. There are VCDs that
provide subtitles to help audience to learn and to understand the program. There are
also programs which employ dubbing in the scene so that the audience does not have
to read the subtitles. Apart from these packages, other programs combine dubbing
and subtitling in order to facilitate learning. In this type of program, the dubbing can
be found in the scene dialogue while subtitling is usually in certain parts of the
program such as stories, songs, etc. This method was clearly applied in Fimble Show,
a children oriented program.
Interestingly, the Fimble Show is published in two versions, in English and in
Indonesian language. Fimbles Show teaches good values to children. It tells children
about sharing with others, emphasizing team work among friends in their own world
as a way of solving the problem they face. It gives children an opportunity to learn
and listen, each story also allows them to learn and have faith that books can have
answers to many questions.
(http://www.bbc.co.uk/cbeebies/grownups/about_cbeebies/shows/rolymo.html) commit to user 1 perpustakaan.uns.ac.id digilib.uns.ac.id
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The Fimble Show has many episodes and the researcher chooses the episode
entitled As Fun As Can Be which is translated into Fimble Seceria Mungkin. This
episode was chosen because of many considerations. Beyond its excellent
visualization, the episode contains challenges dealing with subtitling of the song
lyrics.
Translating a song is quite different from translating a common text because a
song is one of the literary products. Working on song translation in children oriented
program is not an easy thing to do. A good translation has to fulfill the three
requirements, namely: accuracy, readability and the acceptability. When the translator
fails to translate the meaning or atmosphere depicted in the source language, it can be
said for sure that the translation is not reliable enough. The notion of culture is
essential in consideration the implications for a translation. Concerning culture, Nida
states equal importance to both linguistic and cultural differences between the SL and
the TL (Nida, 1964:130).
When a translator is required to translate a song, it means that the translator
has to challenge the stylistic effect as well as the message transferred from the source
text into the target language. Dealing with stylistic effect, a translator sometimes fail
to convey it well because the source text contains rhyme. In some cases, the translator
tends to sacrifice the artistic aspect like rhyme when translating the song to keep the
message conveyed in the TT.
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Here are the examples of song translation for children which reflect the
problem dealing with keeping rhyme in song translation;
With a shake and a rattle Bergoyang mainkan
And a hop hop hop Lalu lompat-lompat Keep on shaking don’t u stop Terus mainkan jangan berhenti With the shake at the bottom and shake at Goyang diatas goyang dibawah the top
The examples above show the translator failed to keep the ST rhyme in the
target text. The source text provides a pattern of rhyme (a-b-b-b) showing the same
rhyme of rattle, hop, stop, and top while the translation shows free style of rhyme of
mainkan, lompat, terhenti, and dibawah. As it is reflected in the examples above, it
can be said that the song is translated literary without considering the stylistic effect
although the message is conveyed well.
Another example focuses on the effort of keeping literary aspects.
ST : Diddley doo, diddley doo, you can see Pom
TT : Di dadu di dadu kau bisa lihat Pom
The above example shows that the words Diddley doo, diddley doo actually
have no literal meaning. The translator translates it by using some repetitive words to
convey the rhyming sound.
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The above phenomena lead the researcher to do a research on the translation
of songs in the Fimbles Show as fun as can be and its translation dunia seceria
mungkin, to analyze the translation technique and the accuracy of the translation.
B. Research Limitation
In this research, the analysis is limited on the translation techniques applied
and the accuracy of the translation.
C. Research Problems
Based on the research background, the problems proposed in the present
research are:
1. What translation techniques are employed in translating songs in Fimbles
Show as Fun as Can Be into Fimbles Show Dunia Seceria Mungkin?
2. What are the impacts of the techniques to the accuracy?
D. Research Objectives
The goals of the research are:
1. To describe the techniques applied in translating songs in the Fimbles
Show as Fun as Can Be into Fimbles Show Dunia Seceria Mungkin
2. To know the impact of the techniques to the accuracy of the translation.
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E. Research Benefits
This research is expected to give some benefits to:
1. The Students of English Department
For students of English Program especially those who take
translation as their mainstream, the research result of this study can give
knowledge and information about how songs are translated into Bahasa
Indonesia.
2. Other Researchers
For those who want to do research centered on translation, this
research will give additional information about the translation techniques of
song translation.
3. Broadcasters, Producers and Song Translators
It is expected to be more beneficial especially for producers,
broadcasters or song translators when they want to make such a program like
Fimble Show.
F. Thesis Organization
The present thesis is organized as follows:
Chapter I : Introduction containing Research Background, Research
Limitation, Research Problems, Research Objectives, Research
Benefits, and Thesis Organization.
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Chapter II : Literature Review consisting of Definition of Translation,
Translation Techniques, Literary Translation, Subtitling, and
Fimbles Show at Glance
Chapter III : Research Methodology containing Research Type and Design,
Data and Data Source, Sampling Technique, Method of Data
Collection, Technique of Data Analysis, Research Procedures
Chapter IV : Research Findings and Data Analysis consisting of The
Translation Techniques Employed in the Songs Translation of
Fimbles Show, Accuracy Quality Assessment
Chapter V : Conclusion and Suggestion
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CHAPTER II
LITERATURE REVIEW
A. Definition of Translation
J. C Catford defines translation as “the replacement of textual material in one
language (source language) by equivalent textual material in another language (target
language)” (1974: 20). According to this definition, translation is a kind of activity to
transfer message from one language to another.
Another definition comes from Roger T. Bell (1991:6) which states that
“translation is the replacement of the representation of a text in one language by a
representation of an equivalent text in a second language”. He refers to the idea that
translation is an activity dealing with the replacement of a text in the source text by
finding the equivalence in the target text.
Dealing with poem, Roman Jacobson reveals the process of translation as an
activity in which transferring sense or content and form or style is included. Within
some definitions from some experts, translation commonly deals with the process of
conveying the source language into the target language without changing the
message. A translator may find some difficulties during the process of transferring
meaning and sense of those two languages.
Some problems which may be faced by translator commonly deals with the
equivalency of text in both source and target languages. The message as the
translation should be equivalent to the source text, it may not be reduced or added.
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Thus, translation requires skill that supports the quality of translation. The translator
should understand at least two languages of source and target.
“Translation is a kind of activity which inevitably involves at least two
languages and two cultural traditions”. (Toury, 1978: 200) It means that translator is
challenged to convey not only the message but also the cultural aspects in the source
text (ST) to target text (TT) by employing the most appropriate technique. These
problems may vary depending on the cultural and linguistic gap between the two (or
more) languages concerned.
According to those definitions, in other words, translation is a process of
transferring meaning, force, and message from the source text to the target text that
complete the accuracy. To complete those required aspects, a good translation has to
be able to convey both messages and cultural implication of both source and target
texts.
B. Translation Techniques
According to Molina and Albir (2002), translation technique is a result of
choices chosen by the translator in micro level which can be seen by comparing both
ST and TT. Some techniques adopted from Molina and Albir;
1. Adaptation
Adaptation is a technique used to replace a ST cultural element with one from the
target culture.
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Example:
ST: A monkey who says boo!
TT: Kera yang senang mengejutkan door!
The adaptation technique is used in the expression of surprise from boo into door
in the target language. Door in Indonesian language is a derisive shout commonly
used to surprise another. The expression has the same function as boo in English.
2. Amplification
Amplification is a translation technique which introduces details that are not
formulated in the ST: information, explicative paraphrasing. The example is
when translating from Arabic (to English) to add the Moslem month of fasting to
the noun Ramadhan.
Example:
ST: im going to smell as fresh as rose
TT: badanku harum, halus buluku
It is clear that the translator adds more information to convey the message of
fresh. In the source text, the sense of fresh relates to rose while in the target
language it is related to the softness of fur.
3. Borrowing
Borrowing is a translation technique which takes a word or expression straight
from another language, it can be pure (without any change). As the example, the
use of the word basket in English, or it can be naturalized according to the target
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Example:
ST: we‟re Fimbles
TT: Kami Fimbles
4. Discursive creation
Discursive creation is a translation technique which establishes a temporary
equivalence which is totally out of context. This technique is easily found in the
some literary works such as film, novel or book.
Example:
ST: what could it be?
TT: dimanakah kiranya?
From the translation above, the translator translates the word what into
dimanakah instead of translating it into apakah in the target language.
5. Generalization
Generalization is to use a more general or neutral term.
Example:
ST: every boys and every girls
TT: anak-anak semua
It is clear that the words boys and girls are translated into anak-anak semua
instead of translating it into anak laki-laki and anak perempuan.
6. Linguistic compression
Linguistic compression is used to synthesize linguistic elements in the TT.
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Example:
ST: look! I‟ve found something
TT: Lihat! aku menemukan sesuatu
The word „have‟ is compressed in the word menemukan in the TT. In Indonesian
language, the translation already expresses the concept of something which
already found.
7. Literal translation
Literal translation is used to translate a word or an expression word for word.
ST: books, books everywhere
TT: buku buku dimana mana
The words in the ST are translated one by one in the ST by finding the
equivalence in the ST.
8. Modulation
Modulation is a translation technique which changes the point of view, focus or
cognitive category in relation to the ST, it can be lexical or structural. For
example you are going to have a child, instead of, you are going to be a father.
Example:
ST: Books over here
TT: Disini buku
The change of point of view is shown in the ST which focuses noun as the subject
while the TT emphasises the adverb of places.
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9. Particularization
Particularization is a translation technique which uses a more precise or concrete
term.
Example:
ST: those are the sound
TT: begitulah musik
The example above shows the use of more specific word, that is „musik‟ as the
translation of the word „sound‟.
10. Reduction
Reduction is a translation technique which suppresses a ST information item in
the TT. The example is the month of fasting in opposition to Ramadhan when
translating into Arabic.
Example:
ST: waiting to be found
TT: sesuatu menunggu
The above example shows that there is untranslated information from the ST into
TT.
11. Transposition
Transposition is a translation technique used to change a grammatical category.
Example:
ST: In the magical world of the Fimbles
TT: Dunia ajaib dunia Fimbles commit to user
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Those sentences show the changing phrase from preposition phrase into noun
one.
12. Compensation
Compensation is a translation technique which introduces a ST element of
information or stylistic effect in another place in the TT because it cannot be
reflected in the same places as in the ST.
Example:
ST: Rub a dub dub, scrubiddy scrub
TT: Gosok, gosok, gosok, sikat sikat sikat
C. Literary Translation
According to the definition of literary translation from Catford, there is
another relevant definition coming from another expert. According to Newmark
(1988), literal translation is a translation in which the SL grammatical translations are
converted to their nearest TL equivalents, but the lexical words are again translated
singly, out of context. Further, Newmark‟s theories deal with literary works such like
poetry. He notes that poetry is the most difficult work to be translated since it
employs figurative language, artistic properties and so on. For translators, indeed,
translating poetry is a kind of challenge since it employs both science and art.
Due to poem translation, Hariyanto supports the idea that the translator has to
transfer the aesthetic and expressive values as well as transferring the meaning of the
poem. Understanding the basic elements of a poem such as rhyme, meter (if any), commit to user
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metaphor, choice of words, figurative language, can be considered as the best thing to
do by the translator in order to get the poet's style.
(http://www.translationdirectory.com/article638.htm)
D. Difficulties in Translating Songs
According to Nida (1964), there are some difficulties found in translation
process. The problems are usually dealing with ecological problem, social culture,
material culture, religious culture and linguistic culture. Nida (1964) confers equal
importance to both linguistic and cultural differences between the SL and the TL and
concludes that "differences between cultures may cause more severe complications
for the translator than do differences in language structure" (Nida, 1964:130). In
translating songs, the dominant problem related to social and linguistic culture.
Actually, translating song is almost similar to translating poem or poetry. The
difficulty of translating poetry is twofold: the words and meaning on the one hand,
the flow and rhythm (or rhyme) on the other. In addition, dealing with songs
translation, the sound is a matter of primary concern. Thus, the translator cannot
render a “faithful” word-by-word translation of the original. He has to compromise,
offering after the proper sacrifice, compensation, and cultural transposition, a
balanced rendition in the target language.
(http://www.translationdirectory.com/article13.html)
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Here is an example of children song translation taken from
www.mamalisa.com, which fails to keep the cultural aspect in the source text.
Nina bobok Lullaby
Nina bobok Oh lullaby Kalau tidak bobok if you are not sleeping Digigit nyamuk The mosquito will bite you
From the examples above, the English translation sounds unnatural. In the English
version, the word mosquito is quite odd to be applied in such situation when a mother
asks her children to sleep. In foreign cultures, parents prefer some words which are
associated with something scary like ghost, or big animals. Further, the example
above also shows the difficulty in translating song dealing with the style of passive
and active sentences.
Based on an interview with a song composer of a band (on Saturday, March
15th, 2008), there are some difficulties found in translating a song. Once a song made
by a composer, it has a special intention as a media to express certain feelings. The
inspirations are commonly taken from personal experiences or observations toward
social phenomenon. A composer somehow prefers to find the melody than to make
the lyric as the first step of composing a song. A melody is commonly composed
though some melody instruments such as guitar, organ and piano. When the melody
is ready, a composer then has to find the lyric which suits to the melody based on
some considerations related to the message that is going to be delivered and the target
audience of the song.
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Considering the message delivery through a song, translation can be a good
way to express and deliver the feeling of the composer or singer to the audience.
When a song is translated, it means that a translator has to convey the style,
expression and the lyric at the same time. Before being launched by a recording
company, songs have to come to some recording stages like mixing and editing.
Technically, in the mixing process songs are modified to be accordance with the
melody. This stage includes a process where a fixed song is edited from some
distortions. The next stage is editing. This is done and extended to the making of
Cassettes, CD or VCD. The making of those three media is usually helped by
designers in order to make the cassettes, CD or VCD look good (An interview with
Apri on Saturday, March 15th, 2008).
E. Subtitling
Subtitling has become an interesting activity in translation world. Besides
dealing with translating the SL into TL, a subtittler has to correlate translation to the
motion appears on the scene.
Another way of translating the SL into TL is by dubbing. Different from
subtitling, dubbing employ the translation directly, following the original motion but
using target language. In fact, sometimes dubbing is considered uninteresting for the
sake of originality. The dubbing will give impact to the character‟s voice, accent,
expression and gesture.
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Nida (1964) supports the idea of some important factors in translating movie
(1) timing, syllables and breath group, (2) synchronization of consonants and vowels
with obvious lip movements by the actors, (3) words appropriate to the gestures, (4)
the characteristics differences of dialect in the various actors and (5) timing of humor
or expressions which produce special responses from other actors (Nida, 1964: 177).
F. Fimbles Show at Glance
The Fimbles are dedicated to young children between the ages of 2 and 4 and
are produced by Novel Entertainment. It is a fable show representing a nice mouse
which likes to tell good stories to friends. Fimbo is a fun-loving character who can be
mischievous at times. He often sings and dances and even has his own instrument -
the Shimmy Shaker. Fimbo is a big green and yellow striped character who likes
singing. Florrie is a big blue and purple character. She has blue ears, purple hair, a
purple nose and a big mouth. She is usually seen with her doll, Little One, and also
loves to sing and dance. Roly Mo is the eldest of the Fimbles and has huge purple and
green stripes, with a smaller nose than the rest of the characters. Baby Pom is a green
and pink striped character. She has green ears and pink hair. In this episode, Fimbles
are supported with their friends who live in Fimble valley. Rockit is a blue tree-frog.
He has bright red stripes across his body and yellow hands and feet. Rockit has big
eyes and always tries to make the Fimbles laugh. Bessie is a pink, fluffy bird and has
a chick of her own. Ribble, Bessie‟s chick is a little orange, furry character with only
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This show formed in a VCD provided good visualization and sound will
enable viewers to enjoy the message inside the program. Distributed under licence
from BBC London and completed with bilingual versions, this fantastic video
contains stories galore, songs to get everyone dancing, and oodles of fun with Pom,
Fimbo, Florrie and their friends. Like other children shows, all the characters wear
bright costumes but keep them simple with minimal detail. Based on those
advantages of the show, the researcher is curious to know about the accuracy of songs
translation which are designed for children.
(http://www.thetoyreview.com/wiki/Fimbles.html)
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CHAPTER III
RESEARCH METHODOLOGY
A. Research Type and Design
The researcher tries to describe ways in which the songs are translated and
how the translation achieves requirement of accuracy. The research adopts descriptive
method aimed at solving problems by collecting data, classifying the data, analyzing
the data, and drawing conclusion. The data are lyrics of songs taken from the show of
Fimbles and scores of questionnaire ratters about the technique applied in the
translation. Further more, according to Bogdan and Guba, the qualitative research
tries to gain the descriptive data both written and spoken from the interviewees. The
data are gained through observing the subjects or objects directly. (http://www.um-
pwr.ac.id/publikasi/13/analisis-kualitatif-dalam-penelitian-sosial.html)
Qualitative research enables the researcher in gaining detail information in
order to answer the problems statement (Sutopo 2002:183). In addition, this research
employs the embedded case study research which requires translator to decide the
focus and the target before conducting the research. As stated in the previous chapter,
this research focuses on the techniques and accuracy of songs translation in the
Fimbles Show.
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B. Data and Data Source
The main data used are taken from the songs of the Fimbles Show. The data
were taken from the two series of bilingual CD (Compact Disc) of Fimbles Show. In
a good visualization, the Fimbles Show provides educational elements and god
method of learning which can help children in developing knowledge and
understanding of the world, the social development, and the language development.
The songs and rhyme are beneficial to give young viewers the opportunity of learning
some words and vocabularies.
(http://www.bbc.co.uk/cbeebies/grownups/about_cbeebies/shows/rolymo.html)
The main data is supported with secondary data gained through
questionnaires. They are in forms of scores and comments towards the accuracy of
the translation given by the ratters. The raters are Ambitha Dian, Bayu Budiarjo and
Sudiyono.
C. Sampling Technique
Samples of this research cover all of the collected data taken from the songs in
Fimbles Show as Fun as Can Be and Tippity Toppity Games to Play into Fimbles
Show Dunia Seceria Mungkin and Bermain Permainan Tipitty Toppity. Therefore, the
researcher applies the qualitative research with total sampling technique. It means
that this research aims to represent the information through the data which are
relevant with the objectives (Sutopo: 2002).
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Beside analysing songs by examining every line of the songs as a unit of
meaning, the researcher involved three reliable raters. The raters involved are highly
qualified persons who are able to provide supporting data dealing with accuracy of
the translation.
D. Method of Data Collection
The primary data were taken from the VCD of Fimbles Show as Fun as Can
Be and Tippity Toppity Games to Play into Fimbles Show Dunia Seceria Mungkin
and Bermain Permainan Tipitty Toppity.
Through observing and watching the program, both the English and the
Indonesian versions, the researcher acknowledges the content of the show which
focuses on the song and the songs translation in both Source Language and Target
Language. The secondary data were collected from ratters as they assessed how the
accuracy requirement of a good translation has been fulfilled in translation product.
To help raters in doing the analysis, the researcher used questionnaire in the process.
The raters are English Department graduates who work on translation.
Here is the scale and translation quality of accuracy aspect:
Score Description
4 Accurate: all the sentences are completely conveyed in the target
language. There is no change towards the message. No
revision needed.
(Pesan dari bahasa sumber tersampaikan secara akurat.
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Tidak ada penambahan atau pengurangan pesan.
Tidak memerlukan perbaikan).
3 Less Accurate : the message from the source language is accurately
translated in the target language. There are certain
changes but they do not influence the message radically. There is minor revision needed. (Pesan teks bahasa sumber tersampaikan secara akurat. Terdapat sedikit pengurangan atau penambahan pesan tanpa mengakibatkan perubahan pesan secara signifikan. Perlu ada sedkit perbaikan). 2 Inaccurate : the message in the source language is not conveyed accurately in the target language. There are certain additions or lost in the meaning that influence the translations. The changes make the translation quite different and become ambiguous. (Pesan teks bahasa sumber tidak tersampaikan secara akurat. Terdapat penambahan yang mempengaruhi
pesan pada bahasa sasaran sehingga terjemahan
menjadi ambigu atau sedikit berbeda).
1 Very Inaccurate: the message from the source language is not
accurately conveyed in the target text. The message in
the target language is totally different from the source
text.
(Pesan teks bahasa sumber tidak tersampaikan secara
akurat. Pesan teks bahasa sasaran sama sekali berbeda
dengan pesan teks bahasa sumber).
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E. Technique of Data Analysis
The data were analyzed and classified based on how the songs are translated
and fulfilled the accuracy of good translation in order to understand its impact on
children. The translation product will be analyzed through statistical calculation of
the scores given by the ratters.
The steps taken as techniques of data analysis are:
1) The researcher analyzed the songs from the source text and compared
those songs in the target text.
2) The researcher compared the form and the message in both source text
and the target text.
3) The researcher analyzed the translation process, the technique
employed in the songs translation. The researcher should go deeper in
order to analyze the problems dealing with equivalent and non-
equivalent words. Researcher should notice the solution technique that
applied to solve the problem of equivalent and non-equivalent.
4) Apart from those steps, the main step is analyzing the accuracy of the
songs. In this case, the researcher recorded the score given by three
ratters, gained through questionnaire.
5) The researcher classified the datum and preceded the step to
conclusion.
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F. Research Procedures
The research procedures deal with steps conducted by the researcher. The
procedures in this research can be arranged as follows;
1. Collecting data
The data are all the songs and the translation in the Fimbles ‘Fun As Fun Can
Be’ and the Fimbles ‘Seceria Mungkin’. The researcher started with observing
and listening to the songs and comparing the translations of both source and
target languages. Then, the researcher wrote down the lyrics.
2. Numbering and classifying the data
In order to make the analysis easier, the researcher numbered the data using
both numbers and letters. Making a list of the data in the form of
questionnaire and asking some ratters to assess the accuracy aspect(s) of the
translation.
3. Analyzing the data
Analyzing the data is a process of analyzing the data based on the findings
and relating such findings to the theoretical context of the study. It covers the
analysis of the technique employed in the translation, the scores given by
ratters, and the effect of the technique found in both versions.
4. Drawing conclusions and proposing suggestions
Through the data analysis and the research findings, the researcher is expected
to draw conclusion in order to propose suggestions.
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CHAPTER IV
RESEARCH FINDINGS AND DATA ANALYSIS
This chapter consists of three parts. In the first part, the researcher will discuss
the techniques employed by the translator to translate the songs. The next discussion
will focus on the accuracy assessment and the impacts of the techniques applied
towards the accuracy of the translation.
A. The translation techniques employed in the songs translation of Fimbles
Show
The discussion on the translation techniques is presented based on the title of
the song.
A. 1. We’re Fimbles Song - Kami Fimbles (Song A)
As an opening song which consists of eight lines, this song describes the
children world which is full of wonder and surprise. At the same time, this song also
introduces the main figures and the setting of Fimbo world. The detail lyrics and
techniques are described in the table below;
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NO Source Text Target Text Techniques
A1 Look! I’ve found something Lihat!Aku menemukan Linguistic compression
sesuatu
A2 Every boys and every girls Anak-anak semua Generalization
A3 Come and open up your eyes Bukalah mata kalian Reduction
A4 There’s a world right here full Disini dunia penuh Modulation of wonder and surprise dengan keajaiban A5 We’re the Fimbles! Kami Fimbles! Literal, borrowing
A6 Sing along with Fimbo Mari bernyanyi Reduction
A7 Every day we’ll find and play Setiap hari belajar dan Modulation bermain A8 In the magical world of the Dunia ajaib dunia Transposition, borrowing Fimbles Fimbles
The above table shows that Linguistic compression is applied once, in the first
line. Generalization is also found once in the second line. Both modulation and
reduction are applied twice in A4, A7, A3 and A6. There are two lines which are
translated using more than one technique (couplet techniques). They are line A5 and
A8.
The first line in the first song is a declarative sentence. One of the characters
in the program tells that he has found something. The translator translates the word
Look! I’ve found something into lihat! aku menemukan sesuatu. The translator
conveys both meaning and form from the ST into TT by using linguistic compression.
The word have, one of the linguistic components in the sentence, which means telah,
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is compressed in the TT. The expressions of aku menemukan sesuatu means that
someone has already found something. Thus, the word telah can be compressed
without changing the meaning in the target language. This might be done by the
translator to follow the rhythm of the song. The next line reads every boys and every
girls and translated into anak-anak semua. In this case, the translator generalizes the
words boys and girls (which are supposed to be translated in a plural and repeated
form) into anak-anak semua instead of translating it into setiap anak laki-laki and
setiap anak perempuan. The translator also deleted the word every which means
setiap in the TT. By employing generalization technique, the meaning is still
transferred well.
Different from the previous two lines in the opening song, line 3 and 6 show
the reduction technique. In those two lines, the translator possibly tries to express the
meaning by reducing some information in the TT. The ST which reads come and
open up your eyes is conveyed into bukalah mata kalian which is supposed to be
kesinilah dan buka mata kalian. In this sentence, the word come is reduced, the
translator only translates the words open up your eyes.
In the next line, the fifth one is obvious that the translator conveys We’re the
Fimbles into Kami Fimbles instead of translating it into Kami adalah Fimbles or
Kamilah Fimbles. It shows the phenomenon of English-Indonesian language system
difference. In the ST, the sentence literally means kami adalah Fimbles but the
translator does not translate the word adalah which is the equivalence of ‘to be’ in the
ST. In Indonesian language structure, the word ‘adalah’ does not always occur in commit to user
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nominal sentences. According to Nababan (2003: 56) in Indonesian language, the
word adalah which usually appears as ‘to be’ in English is commonly used to refer to
a definition.
Moreover, the translator prefers to keep using the name Fimbles in TT by
borrowing the name from the ST to TT. The name is fully taken from the TT and it
does not sound like Indonesian name. The last two sentences are translated by using
modulation and transposition techniques. Line seven reads every day we’ll find and
play and it is translated into setiap hari belajar dan bermain. It is obvious that the
words we’ll (we will) are not translated. As the result, the ST refers to the message of
everyday activity of finding and playing while the TT refers to different point of view
of learning and playing. The last line is in the magical world of the Fimbles and it is
translated into dunia ajaib dunia Fimbles by using transposition technique and
borrowing. The technique is used to translate the ST which is prepositional phrase
into noun. The preposition word ‘in’ in the ST which means di or dalam in Bahasa, is
not translated. There is also borrowing found in this line to maintain the name of the
Fimble character in the TT.
In the sixth line, sing along with Fimbo is translated into mari bernyanyi. This
shows that the translator uses reduction in translating line six since there is
untranslated information. The ST is supposed to be translated into mari bernyanyi
bersama Fimbo while the translation only read mari bernyanyi and the word Fimbo is
not conveyed in the TT.
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In this opening song, the translator attempts to apply reduction and
modulation techniques to translate modals, present perfect and preposition. The
reduction might be done to keep the song rhythm conveyed in both ST and TT. The
modulation is probably applied to meet the natural lyric to follow the rhythm in the
ST.
A. 2. With the shake and the rattle song - Bergoyang Mainkan Lalu Lompat-
Lompat (Song B)
Different from the previous one, this song has a faster beat. It introduces
simple movements such as shake and hop. The detail lyrics and techniques applied are
shown in the table below;
NO Source Text Target Text Techniques B9 With a shake and a rattle and a Bergoyang mainkan lalu Transposition hop hop hop lompat-lompat
B10 Keep on shaking don’t you stop terus mainkan jangan Generalization,
berhenti linguistic
compression
B11 With the shake at the bottom and goyang diatas goyang Transposition
shake at the top dibawah
B12 Shake rattle (hop hop hop) goyang mainkan (lompat Generalization
lompat)
B13 With a hop and a rattle and A melompat mainkan dan Transposition
shake shake shake goyang goyang
B14 Listen to the sound that Fimbo Dengar nada yang Fimbo Literal, borrowing,
makes mainkan particularization
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B15 Then hop around that’s all it takes Mari melompat sambil Reduction
berputar
B16 Hop hop shake shake shake (lompat lompat, goyang Literal
goyang..goyang…)
In this second song, the translator applies transposition, generalization, literal,
particularization, linguistic compression and reduction techniques.
In the B9, transposition technique occurs when the translator translates the
words with a shake and a rattle and a hop hop hop into bergoyang mainkan lalu
lompat-lompat. The ST which contains of preposition phrase is translated into verb
phrase. This case is repeated in line three and five as well.
Different from those three lines, B10 and B12 are translated by using
generalization. In B10, generalization is used to translate the word shake into
mainkan. The word shake literally means goyangkan in the TL but in this case, it is
translated into a more general word that is mainkan which means to play in the SL.
An interesting case reveals in line four. It reads shake, rattle (hop hop hop) and it is
translated into goyang, mainkan (lompat lompat). The word rattle in the ST refers to
a toy which can produce sound when it is shaked. Besides generalization, there is also
linguistic compression technique found in this line which synthesizes the word you in
the TT. Generalization is also used in B12 in the ST which translates rattle into
mainkan. The word mainkan is chosen instead of more specific term such as
goyangkan or gerakkan which has closer meaning to the word rattle. This might be
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done to differentiate the word shake and rattle which have close relation and are put
together in a sentence.
The next line reads listen to the sound that Fimbo makes and is translated into
dengar nada yang Fimbo mainkan by applying literal, borrowing and
particularization techniques. Literal technique is shown in the translation of each
word in the ST and its equivalence in the TT. There is also borrowing technique
applied to keep the name of the character, Fimbo. The particularization is shown in a
more specific word to translate the word makes in the ST. The translator translates
makes into mainkan (to play) besides translating it into buat which is closer to the
word. The translator probably does it to strengthen the message for the ST actually
refers to a toy, a rattle. Another line which is translated by using literal technique is
the last one, B16. All the words in the ST meet the equivalences in the TT.
Line seven, the words then hop around that’s all it takes, is translated into
mari melompat sambil berputar. On one hand, the translator keeps transfering the
meaning by conveying the words then hop around into mari melompat sambil
berputar. On another hand, it is clear that the translator does not translate the words
that’s all it takes. As the result, there is reductio of information in the TT.
The explanation above shows the dominant technique in the second song is
transposition.
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A. 3. The Twinkling Song – Kelap Kelip Cahaya (Song C)
This eight line song can build the children curiosity due to some questions in
the song. At glance, it describes a mysterious feeling and sounds to be guessed and
found.
Below is the description of the lyrics and the translation techniques applied
in the song;
NO Source Text Target Text Techniques C17 Feel a twinkling Kelap-kelip cahaya Reduction C18 Hear a sound Kudengar suara Amplification C19 There’s something Datang memberitahu Discursive creation C20 Waiting to be found Sesuatu menunggu Reduction, Amplification C21 Where is it? Where is it? Dimana dia? Dimana dia? Literal
C22 What could it be? Dimanakah kiranya? Discursive creation
C23 Something over there Oh, mungkinkah disana? Transposition
C24 Let’s go and see Ayo lihat bersama Reduction
The table above shows that there are five types of technique applied in the
song which tells about the twinkling feeling; reduction, amplification, literal,
linguistic compression, transposition and discursive creation. Reduction and
discursive creation are applied twice in lines C17, C19 and C22. Amplification,
literal, transposition and modulation are found once in lines C18, C21, C23 and C24.
The first sentence is feel a twinkling while the translation reads kelap-kelip
cahaya. At glance, those two sentences give different ‘effect’ in terms of
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interpretation. The ST tends to involve feeling to respond the twinkling sign while the
TT involves eyes as the receptor of the twinkling sign. This might be caused by the
reduction of the word feel which is supposed to be translated as rasakan in the TT.
Therefore the reduction technique is applied to reduce the information of feeling
something in the ST.
The next line is translated using amplification technique. The second line is
translated from hear a sound into kudengar suara. Structurally, the ST does not have
any subject, therefore the sentence sounds as imperative ones, while the TT reads ku
dengar suara and clearly shows the occurrence of subject ku in the word ku dengar.
The ST is supposed to be I hear a sound when the word ku is in the TT. The result of
this subject addition is called as amplification in the technique.
The words there’s something are translated into datang memberitahu, instead
of ada sesuatu. In fact, the TT refers to the message of an activity of telling
something. This fact supports the idea that the translator translates the ST differently
from what is shown in the TT. This kind of technique is known as discursive creation.
The next line, the fourth one, reads waiting to be found and it is conveyed
into sesuatu menunggu. The translator applies reduction technique to reduce the
information of to be found which means untuk ditemukan. Therefore, the translator is
considered employing reduction technique because there is untranslated information
in the ST.
In line five, it is clear that the translator conveys the ST literally into TT because the words where is it? where is it? are translated into dimana dia? dimana
dia?.
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The sixth line reads what could it be? and it is conveyed into dimanakah
kiranya? Just like line three, the TT does not really translate what in the ST is. The
translation is dimanakah (where) instead of apakah (what). Therefore, the technique
applied is discursive creation.
The next line which reads something over there is translated into oh,
mungkinkah? In the target language structure, this belongs to an interrogative
expression while the ST shows an imperative one. This change of form contributes to
transposition technique in which the translator tries to change the grammatical
category.
The last line reads let’s go and see and is translated into ayo lihat bersama by
using reduction technique. Literally, the ST consists of two combined sentences, they
are let’s go and let’s see which are supposed to be translated into ayo kita pergi and
ayo kita lihat. In this case, the translator suppresses the information item in the TT
that comes from the words let’s see.
A. 4. Shake and rattle Song – Bergoyang Bunyikan (Song D)
This song is almost similar with the song B. There are some lines in the ST
which are the same but translated differently in the TT.
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Here is the table of the lyric in the forth song;
NO Source Text Target Text Techniques
D25 With a shake and a rattle and Bergoyang bunyikan lalu lompat- Transposition
A hop hop hop lompat
D26 Hop! Hop! Rattle! Rattle! Lompat!Lompat!Bunyikan! Literal Bunyikan! D27 Keep on shaking don’t you terus goyangkan jangan berhenti Linguistic stop compression D28 Hop! Hop! Shake! Shake! Lompat!Lompat!Goyang!Goyang! Literal D29 A Shake! Shake! Shake! goyang goyang goyang Reduction, Literal D30 Shakey! Shakey! Shakey! goyang goyang goyang Literal D31 Those are the sound Begitulah music Particularization D32 That we can make Yang kami mainkan Linguistic compression
The table above shows that the most frequent technique applied in translating
this song lyric is literal as it is employed in its four lines. The other techniques are
transposition, reduction, particularization and linguistic compression.
The ST in the first line reads totally the same with the first one of the second
song but the TT reads differently in translating the word rattle. In the previous song,
it is translated into mainkan while the latest one conveyed into goyangkan. Referring
to the meaning, according to an English–Indonesian dictionary by Echols, John M
and Hasan Shadilly, the word rattle refers to a baby toy which can produce sounds by
shaking it. In short, referring to the words meaning those two translations in the TT
are not wrong at all. Then, the reason why the translator conveys it differently is commit to user
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probably for the purpose of making unboring song for the reader. The word with in
the ST forms the preposition phrase. Since it is untranslated in the TT, the translation
becomes a verb phrase and the technique used is known as transposition.
There are some lines conveyed by using literal technique only, without any
deleted words; line 2, 4 and 6. The translator tries to find the equivalence words by
searching its literal meaning. For instance, hop! hop! hop! are translated into lompat!
lompat! lompat!, and shake! shake! shake into goyang! goyang! goyang!.
In line 3, keep on shaking don’t you stop is translated into terus goyangkan
jangan berhenti. The word you is compressed in the TT, and the words don’t you stop
are conveyed into jangan berhenti. Therefore, the translator probably applied
linguistic compression technique in this line for the sake of meaning which refers to a
command to keep shaking.
Different from the previous lines, this seventh line, those are the sound is
translated into begitulah musik. The translator chooses the word suara into musik.
Suara usually deals with any sounds while musik (music) is more specific for it has
rhythm, melody, etc. The choosing of more specific term from suara into music, in
this case is called particularization.
Linguistic compression is also applied in the last line of the song. Obviously,
the translator seems to find a simpler sentence and expression from the ST. The ST
reads that we can make and is conveyed into yang kami mainkan. In this case, the
words can make are omitted and substituted by a single expression – mainkan. The
translator might consider that the sense of ‘can make’ is synthesized in the word commit to user
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‘mainkan’ in the TT which literally means play. Further, this might be done to make
the audience easier to understand the song especially about the context in it.
In shorts, some conjunctions and articles are not conveyed all in the target
language but they should not influence the accuracy of the translation in order to
make the message conveyed well. Literal is obviously applied to translate words or
expressions which already exist in the target language. This phenomenon may result
to the equivalence of words in the TT.
A. 5. Book over here Song – Di sini buku (Song E)
This song reveals the importance of reading book for children. Supported
with attractive ideas of the benefits of reading book, this song is quite imaginative,
easy to listen and understand for the audience who are kids. Totally, there are 15 lines
presented in a nice rhythm.
By retaining the nuances of kid’s world which is full of fun, curiosities,
stories, etc, the translator succeeds to convey them in the TT. The lyric is described in
the table below;
NO Source Text Target Text Techniques
E33 Books over here Disini buku Modulation
E34 Books over there Disana buku Modulation
E35 Books, books everywhere Buku buku dimana-mana Literal
E36 When you take a look inside Saat melihat ke dalam buku Linguistic
a book
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compression
E37 Who knows what you will Lihat yang kau temukan Transposition
see?
E38 When you take a look inside Saat melihat ke dalam buku Linguistic a book compression
E39 It’s fun as fun as can be Sangat menyenangkan Linguistic
compression
E40 With cats and dogs and Kucing anjing, burung, Transposition birds and frogs katak
E41 A monkey who says boo! Kera yang senang Adaptation (boo!) mengejutkan Door…
E42 Wonderful things, giants Kisah-kisah hebat, raja, Particularization
and kings raksasa
E43 Maybe a Fimble or two Dan mungkin para Fimbles Modulation
E44 Now what have we here? Ups ada apa disini? Discursive creation
E45 When you take a look inside Saat melihat ke dalam buku Transposition
a book
E46 Who knows what you might Lihat yang kau temukan Discursive creation
see?
E47 A story or rhyme Cerita, sajak Linguistic compression
E48 Just take the time to read Kau bacalah baca Modulation bersamaku along with me
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This fifth song contains of thirteen lines of lyrics and employs seven
techniques. There are modulation, linguistic compression, literal, discursive creation,
transposition, adaptation and particularization.
The first two lines of this song are translated using modulation technique. The
first line, books over here is conveyed into disini buku. The next line is books over
there and translated into disana buku. These two sentences have the same pattern in
translating the ST. Both the sentences in the ST emphasize the subject of the
sentence, thus, the word books is put at the beginning of the sentence. In the TT, the
word buku which means book is put behind the adverb of place. So in other words,
the translator sees the case in different point of view in translating the message of
these two lines. Therefore, the technique is called as modulation.
The next line, books, books everywhere is translated literally into buku buku
dimana-mana. Every word in the ST found its equivalence in the TT. Different from
the third line, the fourth line, E36 is when you take a look inside a book and translated
into saat melihat ke dalam buku. Comparig those two sentences in both ST and TT,
there is one obvious difference in terms of subject. In the TT, the word you is
compressed so the form of the sentence is little bit different from what in the ST is.
The meaning is conveyed by using linguistic compression technique. The translator
does not translate the words you and a literally in the TT although each of word has
equivalence in the ST. Those two words are compressed in the TT. At glance, the
translator seems to maintain the originality of the song to meet the rhythm. Probably,
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if those two words are translated word by word, the rhythm in the TT might be
influenced as well. The same technique is found in E38, E39 and E47.
The next line, E37, who knows what you will see is translated into lihat yang
kau temukan. The two sentences in the ST and TT are extremely different. In ST, the
message is referring to a sense of finding something new while the TT is a sentence
of telling something of a finding. Since the translation is extremely different, the
possible technique used in the translation is discursive creation.
The next line is with cats and dogs and birds and frogs and translated into
kucing, anjing, burung, katak by using transposition. It is clear that the technique is
used to translate preposition phrase into noun one without translating the word and.
Adaptation technique is applied to translate the next line, a monkey who says
boo and it is translated into kera yang senang mengejutkan door!. The translator tries
to adopt the word baa as a surprise expression into the target language which reads
door. Indeed, it is a derisive shout which is often used to surprise another.
The next line is translated using particularization in translating wonderful
things, giants and kings into kisah-kisah hebat, raja, raksasa. The translator prefers
to use kisah hebat to refer wonderful things instead of translating it into hal hebat.
The E43 is maybe a Fimble or two. It is translated into dan mungkin para Fimbles by
using modulation. The ST emphasizes to one or two Fimbles family but the TT refers
to the whole Fimbles family. This different point of view is called as modulation.
This is also employed in E48 which reads just take the time to read along with me
and translated into kau bacalah, baca bersamaku. It emphasises the importance of commit to user
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spending the time to read while the TT tries to make the sense in such an invitation or
encouragement to read the book together.
A. 6. The Fimbly Song – Lagu Fimble (Song F)
The song tells about numbers and persuades the audience to know and learn
how to count in a very simple way. Sung by Roly Mo, one of the figures in this
program, the numbers introduced are only one, two and three.
This sixth song contains seven lines and amplification technique is frequently
used to translate the lyrics, except the last line which is translated literally. At glance,
this song has some rhyming words may lead to the translator translating them into
simpler ones. This could be done for the sake of the target readers and or the rhythm
of the song. To make it clearer, the table is below;
NO Source Text Target Text Techniques
F49 Here is one, Fimbly fun on its Ini ada satu buku sendirian Amplification
own, that makes one berarti satu
F50 Fimbly fun, Fimbly fun one Ada buku satu buku Amplification
and no more, that makes one sendirian berarti satu
F51 Here is one, Fimbly foo and Ini ada satu buku tambah Amplification
one more, that makes two satu jadi dua
F52 Fimbly fun, Fimbly fun one Satu buku sendirian Amplification
and one more, that makes two tambah satu jadi dua
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F53 Here are two, Fimbly fee and Ada buku dua buku Amplification
one more, that makes three tambah satu jadi tiga
F54 Fimbli foo, Fimbly fee two Dua buku tambah lagi Amplification
and one more, that makes tambah satu jadi tiga
three
F55 You see! Kalian lihat! Literal
The table above shows the first line to the seventh one have rhyming words.
The ST is here is one, fimbly fun on its own, that makes one and translated into ini
ada satu buku sendirian berarti satu. Here is one is supposed to be translated into ini
ada satu buku while the ST has no words refer to a book. Therefore, the technique
used in this lyric is amplification. The words Fimbly fun are added in this line and not
translated in the TT. The words fimbly fun are called exclamation which has no
meaning. It is probably added in the ST to give more aesthetic point to the line
regarding to the rhythm of the song. The translator omitted them in the TT because
there is no equivalence found for an exclamation. Another possibility is literally, the
word fimbly comes from the name of the show, Fimble. Fun means happy, while on
its own refer to the sense of itself and it is simplified into sendirian. The last part that
makes one is conveyed into berarti satu by using amplification. Those two techniques
are applied in the next five lines of the song. Literal is only applied in the last line
which conveys you see into kalian lihat.
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The same changes are also shown in the next five lines. There are some other
additional rhyming words in the F51, F53 and F54 which have fimbly foo and fimbly
fee. Similar to the previous line in the ST which has fimbly fun, these two rhyming
words are aimed to meet the aesthetic point in the song. However, in fact, the
translation in the TT is quite different from the ST.
Unlike the previous six lines which are translated using amplification, the last
line of this song is conveyed literally. Amplification is mostly applied in translating
rhyming words in the song. Indeed, the rhyming words do not have exact equivalence
in the target language. The last sentence, you see is translated literally into kalian
lihat because the equal words are provided in the target language.
A.7. Oh A Home for A Mole Song – Rumah Tikus Tanah (Song G)
Sung by a frog figure, this song nicely tells about animals such as mole,
tortoise and bird which have different place to live in. Likewise the previous song,
this eighth song consists of four lines lyrics, employs some rhyming words as well. In
details, the lyrics are;
NO Source Text Target Text Techniques
G56 Oh home for a mole is a hole Rumah tikus tanah Literal
in the ground adalah lubang di tanah
G57 But a frog is fond of a pond Dan katak suka tinggal di Reduction
I’ve heard dalam kolam
G58 A tortoise has a shell which he Kura-kura bercangkang Modulation
lives in as well tinggal nyaman di dalam
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G59 But a nest is best for a bird Tapi sarang terbaik untuk Literal
burung
From the table, it is clearly seen that two lines are translated by using literal
technique, they are the first and the fourth lines. Though those two lines employ
literal technique, some words such as for and a which mean untuk and sebuah, are not
translated in the TT.
The second line, G57 is translated using reduction. The ST is but a frog is
fond of a pond i’ve heard and translated into dan katak suka tinggal di dalam kolam.
From the translation, it is clear that the translator does not translate the information of
i’ve heard which could mean yang ku dengar or yang ku tahu in the TT. Therefore,
the translator is considered to employ reduction technique for that reducing
information.
Line three, G58, a tortoise has a shell which he lives in as well, is translated
into kura-kura bercangkang tinggal nyaman di dalam. In the ST, the context
emphasizes on the shell as a place where the tortoise lives. Little bit different from
the ST, the TT emphasizes on the tortoise which lives comfortably in the shell.
Therefore, by using different point of view to refer the same context, the technique
applied in this line is modulation.
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A. 8. The Twinkling (part two) Song - Kelap-Kelip Cahaya (Song H)
Similar to the previous twinkling song, this song tells about the twinkling
feeling of the Fimbles anytime they found something. But this song occurs more
completely because in this segment, they are busy to guess what inside the bag is. At
glance, this song sounds like a dialogue chanted with rhythm. The song is broken
down into 17 lines.
NO Source Text Target Text Techniques H60 I can feel a twinkling Kelap-kelip cahaya Reduction H61 I can hear a sound Kudengar suara Linguistic compression
H62 It’s telling me there’s Datang memberitahu Reduction something H63 Waiting to be found Sesuatu menunggu Reduction
H64 Where is it? Where is it? Dimanakah dia? Literal Dimanakah dia? H65 What could it be? Dimanakah kiranya? Discursive creation H66 I think it might be over Mungkinkah disana? Transposition there
H67 Let’s go and see Ayo lihat bersama… Modulation
H68 What’s in the bag? Apa isinya? Modulation
H69 What could it be? Bisakah kau terka? Discursive creation
H70 Is there something Adakah sesuatu di dalam Literal inside (something (sesuatu di dalam)?
inside)? H71 Something special to Sesuatu yang istimewa Reduction see
H72 Maybe it’s a house (a Mungkin sebuah rumah Linguistic compression house) (sebuah rumah)
H73 A tiny tiny house Rumah sangat kecil Literal H74 Who live in this house? Siapa tinggal di dalamnya? Literal H75 Who would live in it? Siapa yang muat? Discursive creation
H76 A tiny tiny mouse Tikus yang sangat kecil Literal commit to user
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Overall, this song is dominantly conveyed by literal techniques. Besides,
reduction and modulation are also applied in this song. Those two techniques are
applied in translating conjunction, article and repeated words. In fact, that might be
done for the sake of the song or the audience itself.
Similar to the third song, this song is telling about the twinkling feeling but
there are some different parts in the song. This song contains more lines and more
techniques to translate the ST. The extra lines starts from the datum number H68 to
H76.
The line which reads what’s in the bag and it is translated into apa isinya by
using modulation. The TT uses different perspective, to translate the word bag into
isinya. In the target language, bag is equal with tas while isi refers to the word
contain in English. The next line, H69 is what could it be and translated into bisakah
kau terka by using discursive creation because the translation is very different from
the ST. Related to meaning, the ST shows an expression of asking for a guess of what
inside the bag is. The sentence is supposed to be translated into apa kiranya. In this
case, the translation in the TT tends to refer to a question of asking can you guess.
The next line, H70 is literally translated is there something inside into adakah
sesuatu di dalam. Different from it, the next line is translated using reduction. The ST
is something special to see and translated into sesuatu yang istimewa whereas the
information of to see is reduced.
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The ST is maybe it’s a house and conveyed into mungkin sebuah rumah. The next
two lines and the last are translated literally.
Datum H75 is employing discursive creation since the ST is translated
extremely different in the TT.
A. 9. The Little Game Song – Sebuah Permainan (Song I)
In this very simple song telling about a game, the translator is challenged to
translate some rhyming effects from ST into TT in its seven lines lyrics. This could
be uneasy way to do for the translator to find the closest and the most suitable
expression in the target language by always considering the target readers. Here is
the table which shows the lyrics and the techniques applied in the translation;
NO Source Text Target Text Techniques I77 Here’s a little game Pom like Ini yang suka Pom Reduction, to play mainkan borrowing
I78 You can join in too Ikutlah denganku Modulation
I79 A diddley, diddley, doo Di del didel du Adaptation
I80 Diddley doo, diddley doo you Di dadu di dadu kau Literal, adaptation can see Pom bisa lihat Pom
I81 But Pom can’t see you diddley, Tapi Pom tak bisa Literal, adaptation diddley, doo, boo! melihatmu Di del du
Baa! I82 Diddley doo, diddley doo you Di dadu di dadu kau Literal, adaptation
can see Pom bisa lihat Pom
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I83 But Pom can’t see you diddley, Tapi Pom tak bisa Literal, adaptation
melihatmud Di del du
Baa!
The first line reads here’s a little game Pom like to play and translated into ini
yang suka Pom mainkan. It is obvious that the words a little games which means
permainan kecil/ sederhana (in the TT), are untranslated while the rest of the words
are conveyed well. Therefore, the first line is translated using the reduction technique.
Moreover, the translation in the TT still keeps the original name from the ST by using
borrowing technique. This technique is also applied in I80, I81, I82 and I83.
The second line, I78, you can join in too is translated into ikutlah denganku
instead of translated into kau juga bisa bergabung. The translator prefers translating
it into a different expression of inviting someone to join the game. This might be
thought as a more simple way to translate the message of that sentence and inviting
the readers at the same time. In fact, the sense of persuading someone is still
conveyed well. This different way of translating it, is called as modulation.
The third line, the words a diddley, diddley, doo are translated into di del didel
du. Referring to English, those words in both ST and TT don’t really have meaning.
The translator probably conveys them based on how it sounds, and tries to find the
closest sound and expression in the TT. This kind of imitating sound technique is
known as adaptation.
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The next line, diddley doo, diddley doo you can see Pom, is translated into di
dadu di dadu kau bisa lihat Pom. The same technique is applied in translating the
rhyming words sound of diddley doo, diddley doo. Literally, the words you can see
Pom are translated into kau bisa lihat Pom. These techniques are also employed in the
last three lines.
The table above shows that adaptation is applied predominantly in translating
the lyrics. It translates the sound in the ST by finding the closest sound in the TT.
Borrowing is used to translate the name of one character, Pom.
A. 10. What’s in the Bag Song – Apa di dalam tas (Song J)
This song is like the last twinkling song which involves the audience to guess
what they are talking about. Consisting of sixteen lines, this song tries to build the
curiosity by asking what inside the bag is, and some characters try to guess by
delivering some words which are closely related to children world.
NO Source Text Target Text Techniques
J84 What’s in the bag? (what’s Apa isinya? (apa Modulation
in the bag) isinya)
J85 What could it be? Bisakah kau terka? Discursive creation
J86 There’s something inside Sesuatu di dalam Modulation
(there’s something inside)? (sesuatu di dalam)
J87 Let’s look and see Mari lihat bersama Modulation
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J88 Maybe it’s a mouse (a Mungkin tikus (tikus) Linguistic compression
mouse)
J89 A tiny tiny mouse Tikus sangat kecil Literal, Linguistic
compression
J90 The paper bag’s house Kantung kertas Modulation
(bag’s house) rumahnya (rumahnya)
J91 For a tiny, tiny mouse Untuk si tikus kecil Linguistic compression
J92 Could it be a flower? (be a Mungkin bunga Transposition flower) (bunga)
J93 Could it be a tree? Mungkin juga pohon Transposition
J94 Could it be a story (be a Mungkin sebuah cerita Transposition story) (cerita) J95 Specially for Pom Khusus untuk Pom Literal, borrowing
J96 I think it’s a treat (a treat) Kurasa gula-gula Literal, particularization
(gula-gula) J97 A very special treat Gula-gula istimewa Particularization
J98 Oh, wouldn’t it be a neat? Pasti akan hebat (Pasti Transposition akan hebat) (Wouldn’t it be a neat?)
J99 If it was something to Jika rasanya lezat Discursive creation (yaaa) eat?(yummy)
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The table above shows that the most dominant techniques applied in the
translation are modulation and transposition. The first line, reads what’s in the bag?
and it is translated into apa isinya? by using modulation. The translator does not keep
the word bag in the TT, but the message of curiosity over the bag still exists. The
point of view is changed when the ST refers to what in the bag is, and the TT
emphasizes the question by asking about the content inside. Modulation is also used
in the datum number J86, J87, J90.
The next line, J85 is translated using discursive creation technique in
translating what could it be into bisakah kau terka. This technique appears in the last
line of the lyric as well. In this case, the translator translates if it was something to eat
into jika rasanya lezat. The ST refers to the message of asking whether it is a food or
not while the TT reads differently from the ST to refer to the message of asking taste.
Another technique applied in this song is linguistic compression. It is found in
data J88 and J91. In datum J88, the translator compresses the words it’s a in the TT.
The ST is maybe it’s a mouse and translated into mungkin tikus. The word a is
compressed in the TT. Though the TT does not translate all the words in the ST, the
message is still the same.
There is also borrowing technique applied in conveying the name of one of
the characters from ST into TT in datum J95. At the same time, it applies literally
technique to translate the sentence from the ST into TT.
An interesting discussion comes in data J96 and J97 which show
particularization technique. Line J96 reads I think it’s a treat (a treat) and translated commit to user
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into kurasa gula-gula (gula-gula). The word treat in the ST is conveyed more
specific into gula-gula in TT, which literally refers to candy or sweet in English. This
might be done by the consideration of the target audience who are kids. The next line
is translated using the same technique but there is reduction as well by deleting the
word very which means sangat in the TT.
Some other lines are translated using transposition because there are some
form changes from the ST into the TT, in this case interogative is translated into
declarative. The techniques remain are still following previous cases occured in the
other songs which deal with repetition, conjucntion and article. For instance, in datum
J92 the ST is an interogative sentence and translated into declarative one in the TT.
A. 11. Rub a Dub Song- Sikat dan gosok (Song K)
Containing of thirteen lines, this song is the closing part in the program. This
tells about how nice and beneficial taking a bath is. Supported with a fun beat and
rhythm, this song is quite interesting for the audience, who are mostly kids. The detail
data and techniques are described in the table below;
NO Source Text Target Text Techniques
K100 Rub a dub dub, scrubiddy scrub Gosok gosok gosok, Compensation
sikat, sikat, sikat
K101 I love bathing in my tub Aku suka berendam di Literal
bak mandiku K102 Come on everyone Ayo semua Literal
K103 Let’s splish splash splosh Byur byur byur Reduction, adaptation
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K104 There’s nothing to beat Tak ada yang menandingi Literal
K105 A really good wash Nikmatnya mandi Modulation
K106 Rub a dub my nose Gosok hidungku Linguistic compression
K107 Scrub between my toes Sikat kakiku Generalization
K108 Im going to smell as fresh as a Badanku harum, halus Modulation rose buluku K109 Come on everyone Ayo semua Literal
K110 I think you know what I mean Kalian pasti tau Reduction
K111 It feels so good Senang rasanya Modulation
K112 When you really squeaky clean Saat badanmu bersih Modulation
From the table above, the dominant technique applied in the song is
modulation. There is also compensation technique employed at in the first line, when
translating rub a dub dub, scrubiddy scrub into gosok gosok gosok, sikat, sikat, sikat.
The word rub means gosok while scrub refers to menyikat in the TT. The translator
does not translate the word scrubiddy because it has no literal equivalence in the TT,
and it is already compensated by the word sikat in the TT as well. It is possibly done
to keep the aesthetic aspect in the lyric in terms of rhyming words.
Literal is also employed in this song, found in data K 101, K102, K104 and
K109. For the example, i love bathing in my tub is translated into aku suka berendam
di bak mandiku. Another example is come on everyone and translated into ayo semua.
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From those two examples given, it is clear that every single word in the ST is
translated one by one to meet the equivalence in the TT.
Modulation occurs in some lines, for instance the last line which reads when
you really squeaky clean and is translated into saat badanmu bersih. In fact, the ST
does not have any words refering to a body in the ST but to make it clear, the
translator places the word badanmu (which means body) in the TT. Therefore, a
change of point of view is found in the translation to translate the word you. In the
ST, it could mean as the whole part of someone including the outer and inner ones,
while the TT tends to see the outlook only by choosing the word badan, refers to
body.
Overall, the whole techniques applied in the song translation discussed
previously are describes in the table below;
No of data Song Technique applied
A A1 Linguistic compression
A2 Generalization
A3 Reduction
A4 Modulation
A5 Literal, borrowing A6 Reduction A7 Modulation
A8 Transposition, borrowing B B9 Transposition B10 Generalization, linguistic compression
B11 Transposition B12 Generalization
B13 Transposition
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B14 Literal, borrowing, particularization
B15 Reduction
B16 Literal
C C17 Reduction
C18 Amplification C19 Discursive creation C20 Reduction C21 Literal C22 Discursive creation C23 Transposition C24 Reduction D D25 Transposition D26 Literal
D27 Linguistic compression D28 Literal D29 Reduction, Literal D30 Literal D31 Particularization D32 Linguistic compression E E33 Modulation E34 Modulation E35 Literal E36 Linguistic compression
E37 Discursive creation
E38 Linguistic compression E39 Linguistic compression
E40 Transposition
E41 Adaptation E42 Particularization
E43 Modulation
E44 Discursive creation E45 Transposition
E46 Discursive creation
E47 Linguistic compression E48 Modulation
F F49 Amplification F50 Amplification
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F51 Amplifications F52 Amplification F53 Amplification
F54 Amplification F55 Literal
G56 Literal G G57 Reduction G58 Modulation G59 Literal H60 Reduction H61 Linguistic compression H62 Reduction H H63 Reduction H64 Literal H65 Discursive creation H66 Transposition H67 Modulation H68 Modulation H69 Discursive creation H70 Literal H71 Reduction H72 Linguistic compression H73 Literal H74 Literal H75 Discursive creation
H76 Literal
I I77 Reduction, borrowing I78 Modulation
I79 Adaptation I80 Literal, adaptation I81 Literal, adaptation
I82 Literal, adaptation I83 Literal, adaptation
J J84 Modulation J85 Discursive creation
J86 Modulation J87 Modulation J88 Linguistic compression
J89 Literal, Linguistic compression J90 Modulation
J91 Linguistic compression commit to user
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J92 Transposition J93 Transposition
J94 Transposition
J95 Literal, borrowing
J96 Literal, particularization
J97 Particularization J98 Transposition J99 Discursive creation K K100 Compensation K101 Literal K102 Literal K103 Reduction, adaptation K104 Literal K105 Modulation K106 Linguistic compression K107 Generalization K108 Modulation Literal K109
K110 Reduction
K111 Modulation
K112 Modulation
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From the data above, here is the percentage of the techniques applied in the
song translation.
No Techniques Number of appearance Percentage(s) %
1 Literal 18 16,07 2 Generalization 3 2,67 3 Reduction 11 9,82 4 Linguistic Compression 13 11,60 5 Modulation 18 16,07 6 Particularization 3 2,67 7 Amplification 1 0,89 8 Transposition 14 12,5 9 Adaptation 2 1,78 10 Discursive creation 10 8,92 11 Compensation 1 0,89
The above table clearly shows that transposition is the most frequently used
technique in translating the song lyrics. They are applied mostly in translating
repetitive words, articles and also conjunctions. The least frequently used technique is
amplification which is found in the third song and compensation in the last song used
to add a subject in incomplete sentence into a complete one.
Besides the data above, there are also some data translated by using more than
one technique. Regarding to Newmark’s theory, this case is called as couplet. Couplet
occurs when the translator combines two different procedures. (Newmark, 1988b:91) commit to user
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Below is the couplets data found in the lyrics translation;
No Techniques Data Percentage(s) % 1 Literal, borrowing A5, J95 2 (1,78%)
2 Transportation, Borrowing A8 1 (0,89%)
3 Generalization, Linguistic B10 1 (0,89%) Compresion 4 Literal, borrowing, B14 1 (0,89%) particularization 5 Reduction, Literal D29 1 (0,89%)
6 Literal, adaptation I80, I81, I82, I83 4 (3,57%)
7 Reduction, borrowing I77 1 (0,89%)
8 Literal, linguistic J89 1 (0,89%) compression
9 Literal, particularization J97 1 (0,89%)
10 Reduction, adaptation K103 1 (0,89%)
11 Reduction, amplification C20 1 (0,89%)
The above table shows that there are five kinds of couplet used to translate the
song lyrics. Literal and borrowing are found twice in song A and song J. The next
couplet is transposition and borrowing techniques. They are applied at the same time
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in song A, datum A8. In song B, there are three techniques applied at once in B14. It
is translated by using literal, particularization and borrowing. Literal and adaptation
are applied four times in song I.
B. Accuracy Quality Assessment
Accuracy is one of the requirements of assessing quality translation. The data
were gained through questionnaires distributed to three raters. The raters are people
who work and deal with translation professionally and have a lot of experiences
towards translation.
To complete this research, there were three raters asked to complete the
questionnaires related to the accuracy point. As the results, there are some
classifications found:
A. Accurate is when all the sentences are completely conveyed in the target language.
There is no change towards the message. No revision needed.
B. Less Accurate is when the message from the source language is accurately
translated in the target language. There are certain changes but they do not
influence the message radically, and there is minor revision needed.
C. Innacurate is when the message in the source language is not conveyed accurately
in the target language. There are certain additions or lost in the meaning that
influence the translations. The changes make the translation quite different and
become ambiguous.
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D. Very inaccurate is when the message from the source language is not accurately
conveyed in the target text. The message in the target language is totally different
from the source text.
Dealing with accuracy, there are scales made to enable researcher to find the
accuracy level from each datum. The scales applied toward the categories, are below;
Categories Scales Notes
A 4 Accurate
B 2,6 – 3,9 Less Accurate
C 1,1 – 2,5 Inaccurate
D 1,0 Very Inaccurate
The scales are used to measure the raters assessment toward the questioners
given. The results were gained as a mean (average) of the accumulated point of the
three raters. The first criterion is accurate with the accuracy level of four. The second
one is less accurate with the scale of 2,6 - 3,9. The third one is inaccurate with 1,1 –
2,5 scale. The lowest criterion belongs to very inaccurate with 1,0 as the scale.
In fact, the data are only found in three categories and no datum belongs to the
very inaccurate one in this research. The categories found are;
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1. Accurate Translation
The data considered accurate when they attempt to maintain the sentence and
sense well from ST into TT. In addition, the raters will consider the line as an
accurate data There are 44 over 112 data or about 39,28% data considered accurate
according to the raters assessment.
Here are two examples of the accurate translation;
Example 1:
028/ A/ST Hop! Hop! Shake! Shake! 028/ A/TT Lompat! Lompat! Goyang! Goyang! (Datum No. 28)
From the datum above, the words hop and shake are translated into lompat
and goyang in the TT and all raters agreed to give the highest score for the translation
since both sentence and meaning are conveyed well into TT by using literal
technique.
Example 2:
061/H /ST I can hear a sound
061/H /TT Kudengar suara
(Datum No. 61)
In the example 2, datum no 61, it is seen that the translator does not translate
the words can and a in the ST which mean dapat and sebuah.in the TT. Though those commit to user
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two words are not preserved in the TT, the message and sense are accurately
delivered well in TT. Further, the raters gave 4 point which means that they had the
same opinion that the changes did not give significant impact to the translation.
In more detail, the accuracy table is described below;
Songs Data numbers Amount Percentage Percentage
of data (%) of (%) of all
song data
A A1, A2, A5, A7 4 50 3,57
B B11, B16 2 25 1,78
C C24 1 12,5 0,89
D D25, D26, D27, D28, D29, D30 6 75 5,35
E E33, E34, E35, E36, E38, E42, 9 56,2 8,03
E43, E45, E47
F - - - -
G G56, G59 2 28,5 1,78
H H61, H67, H70, H72, H73, H76 6 35,2 5,35
I I79, I80, I81, I82, I83 5 71,4 4,46
J J87, J88, J89, J91, J92, J93, J94, 9 56,2 8,03
J95, J96
K K100, K101, K102, K103, K104, 9 69,2 8,03
K106, K109, K111, K112
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There are 53 accurate data. Literal is the most frequently used technique in the
translation. The technique is employed to translate 19 accurate data. Secondly
linguistic compression is applied to translate 11 accurate data. Interestingly, in song
F, no data are considered to be accurate. Below is a table which shows the correlation
of techniques applied in the data which are considered accurate:
Songs Lines Techniques
A A1 Linguistic compression A2 Generalization A5 Literal, borrowing A7 Modulation B B11 Transposition B16 Literal C C24 Reduction D D25 Transposition
D26 Literal D27 Linguistic compression
D28 Literal D29 Reduction, Literal D30 Literal
E E33 Modulation E34 Modulation
E35 Literal E36 Linguistic compression
E38 Linguistic compression E42 Particularization E43 Modulation
E45 Linguistic compression E47 Linguistic compression
F - - G G56 Literal commit to user
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G59 Literal H H61 Linguistic compression H67 Modulation
H70 Literal H72 Linguistic compression
H73 Literal H76 Literal I I79 Adaptation I80 Literal, adaptation I81 Literal, adaptation I82 Literal, adaptation I83 Literal, adaptation J J87 Modulation J88 Linguistic compression J89 Literal, linguistic compression J91 Linguistic compression J92 Transposition J93 Transposition J94 Transposition J95 Literal, borrowing J96 Literal, particularization K K100 Compensation K101 Literal K102 Literal K103 Reduction, adaptation
K104 Literal
K106 Linguistic compression K109 Literal K111 Modulation
K112 Modulation
2. Less Accurate Translation
The data that belong to this classification are considered less accurate. It
means that the message from the source language is accurately translated in the target
language. There are certain changes but they do not influence the message radically.
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There is minor revision needed. The scale range for this classification is around 2,6
up to 3,9. There are 52 of 112 data or 46, 42% data included into less accurate ones.
Here are some examples taken from the songs;
Example 1:
054/C/ST Fimbli foo, Fimbly fee two and one more, that makes three 054/C/TT Dua buku tambah lagi tambah satu jadi tiga (Datum No. 54)
As responses to the datum above, the two raters gave 3 while the other one gave 2.
Dealing with meaning, the translator succeeds in delivering the message though there
are some untranslated words such as Fimbli foo, Fimbly fee. Literally, those words do
not have the equivalences in the TT. Probably, the translator plays the rhyme of the
words for making the song interesting and not boring for the audience.
In line with it, another example is considered less accurate because there is
some reduced information from the ST. From the translation, it is seen that the
translator did not translate the word surprise which means kejutan in the TT. It means
that the translator uses reduction technique. The context is actually related to the
excitement of Fimbo’s world which is fully filled with wonder and surprise. All raters
consider the line is translated less accurately so that the average score is 3.
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Example 2:
004 /A/ST There’s a world right here full of wonder and surprise
004/A/TT Disini dunia penuh keajaiban
(Datum No. 4)
The detail data which have the same scale for this category are;
Songs Data numbers Amount Percentage Percentage
of data (%) of the (%) of all
song data
A A3, A4, A6, A8 4 50 3,57
B B9, B10, B12, B13, B14, B15 6 75 5,35
C C17, C18, C20, C21, C22, C23 6 75 5,35
D D31, D32 2 25 1,78
E E37, E39, E40, E41, E44, E46, 7 43,7 6,25
E48
F F49, F50, F51, F52, F53, F54, 7 43,7 6,25
F55
G G57, G58 2 28,5 1,78
H H60, H63, H64, H66, H68, 8 47,0 7,14
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H69, H71, H74
I I77, I78 2 28,5 1,78
J J84, J85, J86, J90, J97, J98 6 37,5 5,35
K K105, K107, K108, K110 4 30,7 3,57
The further info about the techniques employed in the data which belong to
less accurate is below;
Songs Lines Techniques
A A3 Reduction A4 Modulation A6 Reduction A8 Transposition, borrowing B B9 Transposition B10 Generalization, linguistic compression B12 Generalization B13 Transposition
B14 Literal, particularization, borrowing
B15 Reduction C C17 Reduction C18 Amplification
C20 Reduction C21 Literal
C22 Discursive creation C23 Transposition
D D31 Particularization D32 Linguistic compression Discursive creation E E37 E39 Linguistic compression E40 Transposition
E41 Adaptation E44 Discursive creation
E46 Discursive creation
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E48 Modulation
F F49 Amplification F50 Amplification F51 Amplification
F52 Amplification F53 Amplification F54 Amplification F55 Literal G G57 Reduction G58 Modulation H H60 Reduction H63 Reduction H64 Literal H66 Transposition H68 Modulation H69 Discursive creation H71 Reduction H74 Literal I I77 Reduction, borrowing I78 Modulation J J84 Modulation J85 Discursive creation J86 Modulation
J90 Modulation J97 Particularization
J98 Transposition K K105 Modulation
K107 Generalization K108 Modulation
K110 Reduction
The above table shows that modulation is applied dominantly in translating the data
in the lyrics and categorized as the less accurate ones because the message from the
source language is accurately translated in the target language. There are certain
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changes but they do not influence the message radically. There is minor revision
needed.
3. Innacurate
The data are considered inaccurate when the message in the source language
is not conveyed accurately in the target language. There are certain additions or lost
in the meaning that influence the translations. To support the assessment, the score
given to this classification is 2, for the scale is 1,1 up to 2,5. There are 5 of 112 data
or 4, 46% data belong to inaccurate translation.
Some examples are:
Example 1:
019/ G/ST There’s something 019/ G/ TT Datang memberitahu (Datum No. 19)
In the example above, the message in both ST and TT is different. That is why the
average score is 1, 3.
Another example is in the datum no 75 which reaches 2 as the average score
from the three raters. According to the raters, the translation would be more
appropriate if it was translated into siapa mau tinggal di dalamnya?.
Example 2:
075/A/ST (Who would live in it?)
075 A/TT (siapa yang muat?)
(Datum No. 75)
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Below is the table which shows the inaccurate data of the song lyrics in the
Fimble Show;
Songs Data numbers Amount of Percentage Percentage (%)
data (%) of of all data
song
C C19 1 12,5 0,89
H H62, H65, H75 3 17,6 2,67
J J99 1 6,25 0,89
In detail, the techniques used in those data are;
Songs Lines Techniques
C C19 Discursive creation H H62 Reduction H65 Discursive creation
H75 Discursive creation J J99 Discursive creation
From the table, the most frequent technique used in the translation is
discursive creation. There are 5 data classified as inaccurate ones.
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Overall, the accuracy table can be drawn as below:
Classifications Data number Total Percentage number
Accurate A1, A2, A5, A7, B11, B16, 53 47,32 % (A) C24, D25, D26, D27, D28, D29, D30, E33, E34, E35, E36, E38, E42, E43, E45, E47, G56, G59, H61, H67, H70, H72, H73, H76, I79, I80, I81, I82, I83, J87, J88, J89, J91, J92, J93, J94, J95, J96, K100, K101, K102, K103, K104, K106, K109, K111, K112 Less Accurate A3, A4, A6, A8, B9, B10, 54 48,21 % (B) B12, B13, B14, B15, C17,
C18, C20, C21, C22, C23,
D31, D32, E37, E39, E40,
E41, E44, E46, E48, F49,
F50, F51, F52, F53, F54,
F55, G57, G58, H60, H63,
H64, H66, H68, H69, H71,
H74, I77, I78, J84, J85,
J86, J90, J97, J98, K105,
K107, K108, K110
Inaccurate C19, H62, H65, H75, J99 5 4, 46 %
(C)
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There are 12 techniques applied by the translator in translating the songs of
the Fimbles Show; Literal 18(16,07%), Generalization 3(2,67%), Reduction 11
(11,6%), Linguistic compression 12(10,71%), Discursive creation 10(8,92%),
Modulation 18(16,07%), Particularization 3(2,67%), Compensation 1(0,89%),
Amplification 7(6,25%), Transposition 13(11,60%), Adaptation 2(1,78%) and
couplets 15 (13,39%).
Literal and modulation are the most frequently used techniques in the
translation. Literal results in accurate translations. There are 14 lines (12,5%) in the
songs translated accurately using this technique, 3 lines (3,67%) belong to less
accurate translation, and none of them is considered inaccurate and very inaccurate.
This can be due to the fact that the song lyrics are in simple sentences since the songs
are for children. This technique is used to translate the lyrics of song B in line B16,
song D (3 lines), song E (1 line), song G (2 lines), song H (3 lines) and song K
(4lines). The less accurate translations resulted from literal technique are found in
song C (1 line) and song H (2 lines).
Another technique used in the translation is generalization technique. It is
applied in this song to translate some specific terms in the ST to be more general.
Further, the translator, in this case applies this technique to minimize repetitive words
in order to maintain the original form of the song. Line A2 in song A is considered
accurate. The less accurate translation resulted from generalization technique is found
in two lines (1,78%). They are found in song B (line B2) and song K(line K107). commit to user
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None of translations resulted form generalization technique is considered inaccurate
and very inaccurate.
Amplification is also applied in translating the lyrics. This technique only
results in less accurate translation, and it is found in song C (1 line).
Reduction is found in song A (2 lines), B (1 line), C (1 line), G (1 line), H (3
lines), and K (1 line). This technique results in accurate translation (0,89%), less
accurate translation (8,92%) and inaccurate translation (0,89%). The accurate
translation resulted from this technique is found in song A (line A3, A6), song B (line
B15), song C (line C17, C20), song G (line G57), song H (H60, H63, H71) and song
K (line K110). The inaccurate translation resulted from this technique is found in
song H (line H62).
The next technique applied in the translation is linguistic compression. It
results in accurate translation (9,82%) and less accurate translation (3,57%). None of
them belongs to inaccurate and very inaccurate translations. This technique is found
in translating song A, D, E, H, J and K. the accurate translations resulted from this
technique are found in song A (1 line), D (1 line), E(4 lines), H (2 lines), J (2 lines)
and K (1 line). The less accurate translations resulted this technique are found in song
D (1 line), E (2 lines) and H (1 line).
Particularization is also applied in the lyrics translation. It is employed in the
song translation to give clearer information in the TT by giving more specific term in
the target language. The information could be too general and it does not really fit to commit to user
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the children as the target readers. This technique results in accurate translation
(1,78%) and less accurate translations (1,78%). This technique is used to translate the
lyrics of song. D, E, and J. The accurate translation resulted from this technique are
found in song e (line E 42) and song J (line J 96). The less accurate translations are
found in song D (line D 31) and song J (line J 97).
Adaptation is another technique applied in the lyrics translation. In most
cases, this is employed to translate some cultural aspects related to sound in the
source language in order to be more acceptable in the target language. The most
obvious case is translating onomatopoeia expressions. Onomatopoeia is a kind of
sound or expression reflecting as the way it sounds.
(www.raf.ifac.ufop.br/pdf/artefilosofia_03). This technique results in accurate
(0,89%) and less accurate translation (0,89%). The accurate translation translated
using this technique is found in song I (line I 79). The less accurate translation
resulted from this technique is found in song E (line E 41).
Another technique applied in the lyrics translation is transposition. It lies on
the shift of word class, such as verb for noun, noun for preposition, etc. This change
is commonly employed to meet the natural expression in the TT. This results in 5
accurate lines (4,46%) and 8 less accurate translations (7,14%) which can be found in
song B, C, D, E, H, and J. The accurate translations resulted from transposition are
found in song B, (line B 11), song D(line D 25) and song J(line J 92, J 93, J 94).The
less accurate translation resulted from this technique are found in song B(line B9, B13),
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song C (line C 20, C 23), song E (line E37, E40, E46), song H (line H66) and song J
(line 98).
The next technique applied is modulation. Modulation deals with the change
of point of view. This has something to do with the way of expressing the same idea
or message in the ST but conveyed. In a different way or form in the TT. In this case,
the technique might appear because of difference system of the languages. This
technique results to accurate (7,14%) and less accurate (14,28%) translations which
are found in song A, C, E, F, G, H, I, J and K. The accurate translations are found in
song A (1 line), song E (3 lines), song H (I line), song J (1 line) and song K (2 lines).
The less accurate translations are found in song A (1 line), song E (1 line), song F (6
lines), song G (1 line), song H (1 line), song I (1 line), song J (3 lines) and song K (2
lines).
Discursive creation is also found in translating the lyrics. It results in both less
accurate (5,35%) and inaccurate translations (3,57%) in song C, E, H and J. the less
accurate translations resulted from this technique are found in song C (1 line), E (1
line), H (1 line) and song J (1 line). The inaccurate translations are found in song C (1
line), H (12 line)n and song J (1 line).
Compensation technique only results accurate translation found in song K (1
line). Now of them belongs to less accurate and inaccurate translation.
Couplets result in accurate and less accurate translations. The correlation
between the accuracy and the techniques applied in the songs translation is described
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Translation Songs Quality of Translation Techniques Accurate Less accurate Inaccurate
A - - - B B16 - -
1(0,89%)
C - C21 - L 1(0,89%) I T D D26, D28, D30 - - E 3(2,67%) R E E35 - - A 1(0,89%) L F - F55 -
1(0,89%) G G56,G59 - - 2(1,78 %) H H70, H73, H76 H64, H74 - 3(2,67 %) 2(1,78 %) I - - - J - - - K K101, K102, - -
K104, K109
4 ( 3,57 %)
Translation Songs Quality of Translation Techniques
Accurate Less accurate Inaccurate
A A2 - - G 1(0,89%) E B - B12 - N 1(0,89%) E R C - - - A D - - - L E - - -
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I F - - - Z G - - - A T H - - - I I - - - O J - - - N K - K107 -
1(0,89%)
Translation Songs Quality of Translation Techniques Accurate Less accurate Inaccurate A A - - - M P B - L C - C18 - I - 1(0,89%) - F D - - - I C E - - - A F - - - T G - - - I H - - - O N I - - - J - - -
K - - -
Translation Songs Quality of Translation
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Techniques Accurate Less accurate Inaccurate
A - A3, A6 -
2(1,78%) B - B15 - R E 1 (0,89%)
D C C24 C17, C20 - U C 1 (0,89%) 2(1,78%) T I D - - - O N E - - -
F - - -
G - G57 - 1 (0,89%) H - H60,H63, H71 H62 3 (2,67%) 1 (0,89%) I - - -
J - - -
K - K110 -
1 (0,89%)
Translation Songs Quality of Translation
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Techniques Accurate Less accurate Inaccurate
A A1 - - L 1(0,89%) I N B - - - G C - - - C D D27 D32 - O M 1(0,89%) 1(0,89%) P E E36, E38, E45, E47 E39 - R 4(3,57%) 1(0,89%) E F - - - S S G - - - I H H61, H72 - - O 2(1,78%) N I - - - J J88, J91 - - 2(1,78%) K K106 - - 1(1,78%)
Translation Songs Quality of Translation Techniques Accurate Less accurate Inaccurate
P A - - - A R T B - - - I C - - -
C D - D31 - U 1(0,89%) L A E E42 - - R 1(0,89%) I F - - - Z G - - - A T H - - -
I I - - - commit to user
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O J J96 J97 - N 1(0,89%) 1(0,89%) -
K - - -
Translation Songs Quality of Translation Techniques Accurate Less accurate Inaccurate A - - - A D B - - - A C - - - P D - - - T E - E41 - A T 1(0,89%) I F - - - O G - - - N H - - -
I I79 - - 1(0,89%) - - J - - - K - - -
Translation Songs Quality of Translation
Techniques Accurate Less accurate Inaccurate
A - - - B B11 B9, B13 - T 1(0,89%) 2(1,78%) R A C - C23 - N 1(0,89%)
S D D25 - - P 1(0,89%) O S E - E37, E40, E46 - I 3(2,67%) T F - - - commit to user
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I G - - - O H - H66 - N 1(0,89%) I - - -
J J92, J93, J94 J98 - 3(2,67%) 1(0,89%) K - - -
Translation Songs Quality of Translation Techniques Accurate Less accurate Inaccurate A A7 A4 - 1(0,89%) 1(0,89%) M O B - - - D C C24 - - U 1(0,89%) L D - - - A T I E E33, E34, E43 E48 - O 3(2,67%) 1(0,89%) N F - F49, F50, F51, -
F52, F53, F54
6(5,35%)
G - G58 -
1(0,89%) H H67 H68 -
1(0,89%) 1(0,89%) I - I78 -
1(0,89%)
J J87 J84, J86, J90 -
1(0,89%) 3(2,67%)
K K111, K112 K105, K108 -
2(1,78%) 2(1,78%) - Translation Songs Quality of Translation
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Techniques Accurate Less accurate Inaccurate
D A - - - I S B - - - C C - C22 C19 U 1(0,89%) 1(0,89%) R D - - - S I E - E44 - V 1(0,89%) E F - - - G - - - C R H - H69 H65, H75 E 1(0,89%) 2(1,78%) A T I - - - I O J - J85 J99 N 1(0,89%) 1(0,89%) K - - -
Translation Songs Quality of Translation Techniques Accurate Less accurate Inaccurate
C A - - - O M B - P C - - -
E D - - - N E - - - S A F - - - T G - - - I H - - - O N I - - - J - - -
K K100 - - 1(0,89%)
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Translation Songs Quality of Translation Techniques Accurate Less accurate Inaccurate
A A5 A2 - 1(0,89%) 1(0,89%) C O B B10, B14 U 2(1,78%) P C - C20 - L 1(0,89%) E T D D29 - - S 1(0,89%) E - - - F - - -
G - - - H - - - I I80, I81, I82, I83 I77 - 4 (3,57%) 1(0,89%) J J89, J95, J96 - - 3(2,67%) K K103 - - 1(0,89%)
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CHAPTER V
CONCLUSION AND SUGGESTION
A. Conclusion
Truly, this chapter comes into conclusions gained through the analysis and
discussion as the answers toward two problem statements in the previous chapter.
The conclusions include several techniques applied in the translation and how those
techniques affect the translation itself.
1. The analysis on translation techniques show that there are twelve techniques
applied by the translator in translating the songs of the Fimbles Show; Literal
18(16,07%), Generalization 3(2,67%), Reduction 11 (11,6%), Linguistic
compression 12(10,71%), Discursive creation 10(8,92%), Modulation 18(16,07%),
Particularization 3(2,67%), Compensation 1(0,89%), Amplification 7(6,25%),
Transposition 13(11,60%), Adaptation 2(1,78%) and couplets 15 (13,39%).
It is clear that literal and modulation techniques are dominantly used since most
of the song lyrics are simple sentences. Apart from that, particularization is
sometimes needed to make the message clearer in the target text, depending on
the context.
2. The analysis on accuracy shows that 53 lines (47,32%) data are considered
accurate, 54 lines (48,21%) are considered less accurate, 5 lines (4,46%) belong
to inaccurate ones, and no data are classified as very inaccurate.
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In relation with the techniques applied, literal is the most frequently used
technique which results in the accurate translations. Modulation technique results to
less accurate one. There are 5 lines that belong to inaccurate data and most of them
are translated using discursive creation.
B. Suggestions
B. 1. For Subtittlers
In translation, subtitling is interesting. Making a good subtitle does not mean
translating text only but it should be in line with the context of the act or expression
appears. This children oriented program originally has an English subtitle and is
translated into Indonesian language in order to enable Indonesian readers in
understanding it.
Before doing subtitling, the subtitler should really understand what is in the
source text to the extent of eliminating misconception in translating it. In this case,
literal translation becomes the most dominant technique applied by the translator but
it does not guarantee that good subtitle should be dominated with this technique as
well. The accuracy level score is 2,8. It refers to the sense that the translation is
actually good but there are some changes that make the translation quite different
from the source text.
In this program, it is not possible for both makers and translators to translate
the text in literary format. The reason is clear, the translation should not be too
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B. 2. Other Researchers
Although this deals with translation, hopefully, this research will be beneficial
for other researchers who want to conduct deeper study in relation with translation or
subtitling. By applying different angle in analyzing, other possible research fields
could deal with semiotics, animation making or such a making of soundtrack film,
etc. Moreover, teachers or other academic officers will be able to easily develop their
academic program and consider the impact of children oriented program which apply
songs as the media in the learning process.
Since this song deals with children interpretation, it is also suggested to other
researchers to analyze the readability aspect together with the accuracy.
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