The Study on Cultural Untranslatability: The

THE STUDY ON CULTURAL UNTRANSLATABILITY: THE ACCURACY, THE ACCEPTABILITY, AND THE TRANSLATION STRATEGIES IN TRANSLATING THE JOY LUCK CLUB INTO PERKUMPULAN KEBAHAGIAAN DAN KEBERUNTUNGAN

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the degree of Sarjana Sastra in English Letters

Nur Indah

Student Number: 044214130

ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2008 THE STUDY ON CULTURAL UNTRANSLATABILITY: THE ACCURACY, THE ACCEPTABILITY, AND THE TRANSLATION STRATEGIES IN TRANSLATING THE JOY LUCK CLUB INTO PERKUMPULAN KEBAHAGIAAN DAN KEBERUNTUNGAN

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the degree of Sarjana Sastra in English Letters

Nur Indah

Student Number: 044214130

ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2008

i ii

iii

Newton and the apple, Freud and anxiety, Jung and dreams, Piaget and his children, Darwin and Galapagos tortoises, Marx and England factories, Whyne and street corners, What are you obsessed with?

-Halcolm

I dedicated This Undergraduate Thesis to My late Dad

vi ACKNOWLEDGEMENTS

First and foremost, I would like to start by thanking Heavenly and

Gracious Father for this day and the blessings He has bestowed upon me.

Secondly, I would like to thank my wonderful family. Mom and Dad, thank you so much for your constant love and support. Dad, you are right I can make it,

Mom I can never repay what you have done for me, and my dear Li sisters, it has been a pleasure to growing up with you.

Thirdly, I am very grateful to have Harris Hermasyah S., S.S., M.Hum. as my advisor for helping this possible with the advice, guidance, and invaluable counsel. Fourthly, I would like to sincerely thank Dra. Bernardine Ria Lestari,

M.S., my co-advisor, for her corrections and suggestion on the stage of this thesis writing. I also wish to express my appreciation and special thanks to all of English

Letters lecturers and the staff in all these years.

Fifthly, a special thanks must be given to Nopi (thank you for being so understand and remaining such a true friend, I hope our friendship will remain the same), my wonderful and helpful friends Hilda, Reena, Ayu, Lucia, Vina, and

Nita (thanks for being my best friend), and students of English Letters 2004, especially D class. Finally, to anyone I can not mention here, sorry and thank you.

Nur Indah

vii TABLE OF CONTENTS

TITLE PAGE ...... I APPROVAL PAGE ...... II ACCEPTANCE PAGE...... III MOTTO PAGE...... IV STATEMENT PAGE ...... V DEDICATION PAGE...... VI ACKNOWLEDGEMENTS...... VII TABLE OF CONTENTS...... VIII ABSTRACT...... X ABSTRAK...... XI

CHAPTER I INTRODUCTION...... 1 A. BACKGROUND OF THE STUDY...... 1 B. PROBLEM FORMULATION ...... 4 C. OBJECTIVES OF THE STUDY...... 4 D. DEFINITION OF TERMS ...... 5

CHAPTER II THEORETICAL REVIEW...... 7 A. REVIEW OF RELATED STUDIES...... 7 B. REVIEW OF RELATED THEORIES...... 9 1. Definition of Translation...... 9 2. Criteria of a Good Translation ...... 10 3. Problems in Translation ...... 11 4. Cultural Translation ...... 14 5. Translation Strategies...... 17 a. Borrowing ...... 18 b. Cultural Equivalent ...... 18 c. Descriptive Equivalent...... 18 d. Synonym ...... 19 e. Official Translation ...... 19 f. Reduction and Expansion...... 19 g. Addition ...... 19 h. Omission ...... 20 i. Modulation ...... 20 C. THEORETICAL FRAMEWORK...... 20 D. RESEARCH FRAMEWORK...... 21

CHAPTER III METHODOLOGY ...... 22 A. OBJECT OF THE STUDY ...... 22 B. METHOD OF THE STUDY ...... 22 C. RESEARCH PROCEDURE ...... 23 1. Data Sources...... 23 a. Objective ...... 23 b. Affective...... 24

viii 2. Data Collection ...... 25 3. Data Analysis ...... 25

CHAPTER IV ANALYSIS ...... 28 A. THE TRANSLATION ACCURACY ...... 29 B. THE TRANSLATION ACCEPTABILITY AND CULTURAL BACKGROUND INFLUENCE...... 38 1. The Joy Luck Club Translation Acceptability...... 38 2. Cultural Background Influence...... 45 C. THE TRANSLATION STRATEGIES AND ITS POSSIBLE INFLUENCE TO THE TRANSLATION ACCEPTABILITY...... 47 1. The Joy Luck Club Translation Strategies...... 47 a. Borrowing...... 47 i. Transliteration ...... 48 ii. Naturalization...... 50 b. Cultural Equivalent ...... 50 c. The Combination of Descriptive Equivalent and Transliteration Strategy ...... 51 d. Synonym ...... 52 e. Addition...... 53 2. The Possible Influence of Translation Strategy on the Translation Acceptability ...... 55

CHAPTER V CONCLUSION ...... 58

BIBLIOGRAPHY ...... 61

APPENDICES ...... 64 APPENDIX 1: LIST OF SENTENCES WHICH HOLD CHINESE CULTURAL CONCEPT 64 APPENDIX 2: ACCURACY QUESTIONAIRE ...... 66 APPENDIX 3: ACCEPTABILITY QUESTIONAIRE...... 71 APPENDIX 5: DATA OF TABULATION (ACCEPTABILITY)...... 75 APPENDIX 6: DATA OF TABULATION (RESPONDENTS WITH CHINESE CULTURAL BACKGROUND’S ACCEPTABILITY) ...... 76 APPENDIX 7: DATA OF TABULATION (RESPONDENTS WITH NON CHINESE CULTURAL BACKGROUND’S ACCEPTABILITY)...... 77

viii ABSTRACT

Nur Indah. The Study on Cultural Untranslatability: The Accuracy, the Acceptability, and the Translation Strategies in Translating The Joy Luck Club into Perkumpulan Kebahagiaan dan Keberuntungan. Yogyakarta: Department of English Letters, Sanata Dharma University, 2008.

This undergraduate thesis is about cultural untranslatability found in Amy Tan’s The Joy Luck Club and its translation version, Perkumpulan Kebahagiaan dan Keberuntungan. In this literary work, there are many expressions which hold Chinese cultural concept and they need to be translated to allow the target readers who have totally different culture understand the whole context in the story. In this case, the translation quality in terms of the accuracy and the acceptability is an important factor to identify how these Chinese terms are translated. In dealing with the problem of cultural untranslatability, the translation strategies are other important aspects for a translation to be accepted without difficulties by the target readers with the minimum loss of meaning implied in the SL. There are three problems analyzed in this undergraduate thesis. The first problem is how accurate the Chinese expressions in The Joy Luck Club are translated in Perkumpulan Kebahagiaan dan Keberuntungan. The second problem is how the readers’ cultural background affects the acceptability of the Chinese expressions in Perkumpulan Kebahagiaan dan Keberuntungan. The last problem is how the translation strategy applied influences the acceptability of the Chinese expressions in Perkumpulan Kebahagiaan dan Keberuntungan. The method used in this study is the combination of library and field research. The method of library research is used to find out the applied translation strategies by collecting theories and concept to support the study, while the field research is used to find out the accuracy and the acceptability of the translation by spreading questionnaires to find the readers’ response toward the translation. There are 18 expressions with cultural untranslatability found in The Joy Luck Club. The first result found in the analysis is the translation accuracy which is 80 % accurate. Based on Nababan’s accuracy rating instrument, this result indicates that the content of the SL sentences is accurately conveyed in the TL sentence. The sentence as the result of translation is understood clearly by assessor but there are needs of rewriting and word rearranging (Setiajid, 2007: 10). The second result is that the grade of translation acceptability given by respondent with Chinese cultural background (67.5 %) is lower than the one given by respondents with non Chinese cultural background (75 %). The third result is the ways of translating cultural untranslatability that show the application of translation strategies. They are borrowing, cultural equivalent, the combination of descriptive equivalent and transliteration, synonym, and addition. As the result from comparing two frequent uses of translation strategies (borrowing and addition) with its translation acceptability scores, the use of translation strategy indeed influences its translation acceptability. The percentage of translation acceptability from applying addition strategy (70 %) is higher than the one from applying borrowing strategy (67.5 %).

x ABSTRAK

Nur Indah. The Study on Cultural Untranslatability: The Accuracy, the Acceptability, and the Translation Strategies in Translating The Joy Luck Club into Perkumpulan Kebahagiaan dan Keberuntungan. Yogyakarta: Jurusan Sastra Inggris, Fakultas Sastra, University Sanata Dharma, 2008.

Skripsi ini membahas tentang cultural untranlatability yang ditemukan dalam The Joy Luck Club karya Amy Tan dan versi terjemahannya, Perkumpulan Kebahagiaan dan Keberuntungan. Dalam karya sastra ini, terdapat banyak ungkapan yang bermuatan konsep budaya Cina dan ungkapan-ungkapan ini perlu diterjemahkan supaya pembaca sasaran yang latar budayanya yang berbeda sama sekali memahami keseluruhan konteks di dalam cerita. Dalam hal ini, kualitas terjemahan dalam hal keakuratan dan keberterimaan adalah faktor penting untuk mengetahui bagaimana istilah-istilah bahasa Cina ini diterjemahkan. Dalam menangani masalah cultural untranlatability, strategi-strategi penterjemahan merupakan aspek penting lain dari terjemahan agar bisa diterima tanpa kesulitan oleh pembaca sasaran dengan kehilangan makna yang minimal pada Bsu. Terdapat 3 masalah yang dibahas dalam skripsi ini. Masalah pertama adalah seberapa akurat ungkapan-ungkapan bahasa Cina dalam The Joy Luck Club diterjemahkan dalam Perkumpulan Kebahagiaan dan Keberuntungan. Masalah kedua adalah bagaimana latar budaya pembaca mempengaruhi keberterimaan ungkapan-ungkapan bahasa Cina dalam Perkumpulan Kebahagiaan dan Keberuntungan. Masalah terakhir adalah bagaimana strategi penterjemahn yang diterapkan mempengaruhi keberterimaan ungkapan-ungkapan bahasa Cina dalam Perkumpulan Kebahagiaan dan Keberuntungan. Metode yang digunakan dalam penelitian ini adalah gabungan dari penelitian perpustakaan dan penelitian lapangan. Metode penelitian perpustakaan digunakan untuk mengetahui strategi penterjemahan yang diterapkan dengan mengumpulkan teori dan konsep untuk mendukung penelitian, sedangkan penelitian lapangan digunakan untuk mengetahui keakuratan dan keberterimaan dengan menyebarkan kuesioner untuk mencari respon pembaca terhadap terjemahan. Terdapat 18 ungkapan dengan cultural untranslatability yang ditemukan dalam The Joy Luck Club. Hasil pertama yang diperoleh dalam analisis adalah keakuratan terjemahan yakni 80 % akurat. Berdasarkan skala dan indikator kualitas terjemahan versi Nababan, hasil ini mengindikasikan bahwa isi kalimat Bsu secara akurat tersampaikan ke dalam kalimat Bsa. Kalimat hasil terjemahan bisa dengan jelas dipahami oleh penilai, tetapi penulisan kembali dan perubahan susunan kata diperlukan (Setiajid, 2007:10). Hasil kedua yang diperoleh adalah tingkat keberterimaan terjemahan yang diberikan oleh responden dengan latar budaya Cina (67.5 %) lebih rendah dari tingkat keberterimaan yang diberikan oleh responden dengan latar budaya selain Cina. Hasil ketiga yang diperoleh yaitu ditemukannya cara menerjemahkan yang menunjukkan penerapan strategi-strategi penterjemahan, antara lain berupa pungutan, padanan budaya, gabungan antara padanan deskriptif dan transliterasi, sinonim, dan penambahan. Sebagai hasil dari

xi membandingkan dua strategi penterjemahan yang sering digunakan (pungutan dan penambahan) dengan skor keberterimaan terjemahannya, pengunaan strategi penterjemahan mempengaruhi perolehan keberterimaan terjemahan. Persentase keberterimaan terjemahan dari penerapan strategi penambahan (70 %) lebih tinggi dari persentase keberterimaan terjemahan dari penerapan strategi pungutan (67.5 %).

xii CHAPTER I

INTRODUCTION

A. Background of the study

In many book stores or libraries, it is easy to find novels, popular books, scientific books, comics, magazines and other types of readings, which have been translated from English into Indonesian as the result of the need of learning about technology, economics, politics, culture and other subjects from foreign countries.

In this case, translation holds an important role for communication.

However, some problems start to arise in the practice of translation. One of them is cultural differences (Larson, 1984:137). Each language is influenced by the culture in the place where it is spoken. Therefore, there will be some words in the source language (SL), especially words related to cultural differences that have no equivalence to the target language (TL). The Chinese word, Tao for example, can not be translated easily even by using a long explanation. This is called cultural untranslatability.

On the other hand, a text’s job is to communicate all information including the culture values that may appear in order to allow people exchange information with other societies who have different cultures and languages. This can be a big deal if some terms in the SL can not be easily translated into the TL. The target readers will misunderstand with the given information, especially about cultural values. This can be seen from Pepsi’s slogan “ Pepsi Adds Life” that met some resistance in China, where the translation promised: “Pepsi Brings Your Ancestor

back from the grave”. Marketers quickly launched a new translation, Baishi Kele, literally meaning “One Hundred Things to be Happy About”. (Robinson, 1997:

223)

In dealing with the problem on cultural untranslatability, some strategies may be applied so the translation can be accepted without difficulties by the TL readers with the minimum loss of meaning implied in the SL. Some terms related to cultural differences, although have been translated into the TL using some translation strategies, may be confusing for those who have different culture because of the low accuracy in a translation. Related to the accuracy of a translation, then there comes a question, is the translation acceptable in the TL? A text may be accurate in its meanings but at the same time it may not be accepted by readers because the text is hard to be understood by the readers. These three aspects (the accuracy, the acceptability, and strategies applied by the translator) are very important in the practice of translation considering the fact that the misunderstanding of certain cultural values may give a bad impression of certain culture to the target readers.

From many literary works, Amy Tan’s The Joy Luck Club is chosen in particular because this novel is a work of popular literature which is produced by the society. It communicates many values in it, especially cultural values. Its story is dominated by Chinese culture because it explores the clash between Chinese culture and American culture. Many expressions uttered in the novel may be difficult to translate because they hold cultural concepts that can only be understood by Chinese society, while the Chinese culture itself is an important

aspect of the plot. This can be a big deal for a translator to transfer the messages from the SL into the TL, in this case Indonesian, as many Chinese terms used to present the story may be confusing for target readers who have different culture, although those terms have been translated into Indonesia.

Here, the translation strategies applied, the accuracy and acceptability in translating the cultural untranslatability are chosen as the focus of the study because analyzing these three aspects can be a worthwhile challenge considering the fact that one of the most difficult problem found in translation is cultural difference.

The Joy Luck Club is an interesting book. This novel offers a unique story of old world versus modern American visions. It describes the lives of four

Chinese mothers and their daughters. The barriers that exist between the mothers and the daughters are often due to their inability to communicate with one another. Although the daughters know some Chinese words and the mothers speak some English, communication often becomes a matter of translation which often leads them to misunderstandings. Here, translation is not only holding important role of communication in tranferring meanings, but it is also becoming the power of the story. Consequently, translator should be careful in translating both Chinese concepts and American concepts brought by characters throughout the book.

There are a lot of similar books which are still written in English. The translation of such books will be useful for more Indonesian people because such books would deliver many other values that are important to be learnt. The analysis on the novel in this study gives some insights about problems and

consideration in cultural translation and it can be a reference for other translators who are interested in translating similar books.

Due to the facts above, the researcher is interested to discuss the Chinese expressions found in the work The Joy Luck Club written by Amy Tan and how they are translated in Perkumpulan Kebahagiaan dan Keberuntungan.

B. Problem Formulation

1. How accurate are the Chinese expressions in The Joy Luck Club translated in

Perkumpulan Kebahagiaan dan Keberuntungan?

2. How does the readers’ cultural background affect the acceptability of the

Chinese expressions in Perkumpulan Kebahagiaan dan Keberuntungan?

3. How does the translation strategy applied influence the acceptability of the

Chinese expressions in Perkumpulan Kebahagiaan dan Keberuntungan?

C. Objectives of the Study

This study aims at exploring the translation problem on untranslatabilty because of cultural differences between the source language and the target language. By using Tan’s The Joy Luck Club, which has been translated into

Perkumpulan Kebahagiaan dan Keberuntungan, as the example of English to

Indonesian translation product, this study tries firstly to find out how accurate the

Chinese expressions in The Joy Luck Club, which are culturally problematic to translate are translated in Perkumpulan Kebahagiaan dan Keberuntungan.

Secondly, how the readers cultural background affects the acceptability of the

Chinese expressions in Perkumpulan Kebahagiaan dan Keberuntungan. Thirdly, how the translation strategy applied influences the acceptability of the Chinese expressions in Perkumpulan Kebahagiaan dan Keberuntungan.

D. Definition of Terms

The following exaplanations might help readers to get into the discussion.

Cultural Untranslatability

J.C. Catford in A Linguistic Theory of Translation mentions the term

‘cultural untranslatability’ to describe translation failure which is due to the absence of the SL situational feature which is relevant in the TL culture. In other words cultural untranslatability is cultural terms or expressions that are difficult to be translated without something missing from the original message and addition to the target text.

Accuracy

Accuracy refers to preserving the meaning of the original text. The term accuracy is essentially synonymous with the term faithfulness, A translation which is accurate is faithful to the intended meaning of the original author. A translation can be accurate, at least in a commonly used sense of the term.

Acceptability

Hatim in his book Teaching and Researching Translation defines acceptability in a simplest way as text receiver’s response (2001:117). In the same book, Toury suggest another definition. According to him acceptability is a

function of the adherence to those norms and conventions (both linguistic-textual and literary-aesthetic) which operate in the target system (2007:147).

Translation Strategies

Strategies are also known as shifts or procedures or techniques.

Suryawinata and Hariyanto in their book “Translation” define translation strategy as a tactic of translator for translating words, phrases or a sentence (2003:67).

CHAPTER II

THEORETICAL REVIEW

A. Review of Related Studies

A study comes from Nababan who tries to explore translation as a process in relation to exploitation of given strategies and how those strategies have impact on the quality of the resulting translation (2007: 202). In his research, Nababan finds out that there is interplay between the process, the strategies and the product.

Strategies to increase readability are used consistently by producing more paragraphs and less complex sentences. He also finds out that readability and accuracy of translation are two distinct outcomes and may not be balanced (2007:

213-214).

A similar study about translation strategies is also done by Wulandari and

Setiajid. They discuss the translation strategies used in translating Burung-burung

Manyar into the Weaverbirds, a novel by Y.B. Mangunwijaya, where there are many Javanese expressions having no English equivalent (2007: 57). As the result, they find out that the strategies used by the translator to translate Burung- burung Manyar into English are translation by a more general word, by cultural substitution, by using a loan-word plus explanation, by paraphrase using unrelated/related words, and by omission (2007:67).

According to Angela Loo Siang Yen, human translator may be armed with some grammatical knowledge of the target language, but may not be able to translate the meaning accurately from one language to another even if s/he were

provided with a dictionary. In her study English to Japanese—to What Extent Can

Translation Be Accurate? She discusses the simulation of a computer by a translator who is "pre-programmed" with standard Japanese grammatical rules and structures, notwithstanding the fact that she does not possess the proficiency to deal with exceptional cases or idiomatic phrases. Her conclusions demonstrate that the intricacies of languages do not allow for perfect translation. The translated sentences would have to be as close in meaning to the English idiom as possible.

Such is perhaps one of the best forms of translation that translators could hope to achieve for MT or machine translation (www.accurapid.com).

Another study focuses on criterion for assessing the acceptability or even the quality of a translation done by the native speaker of the TL (Pokorn, 2005: ix). As the findings, it is stated that native English speakers are not always able to identify inverse translations. The assumption that every native speaker is able to rapidly detect any non-member of his/her linguistic community, when confronted only with a written document, has no solid foundation. On the other hand, translations into a non-mother tongue are often regarded as acceptable by the target readership, with the degree of acceptability depending on the individual capacities of the translator'' (2005: 117).

Meanwhile, Jordi Mas López, who studies on how Japanese humor can be expressed within the context of Catalan culture in translating Japanese Anime into

Catalan, finds out that in the dubbing process, the priority is given to acceptability in the target language, rather than to faithfulness to the original text. This is done by considering the fact that the vast majority of the audience is simply seeking

entertainment: they expect to sit in front of the TV and enjoy a coherent, realistic story with easy-flowing dialogue (www.translationdirectory.com).

Based on the explanation previously, it can be classified that this study will develop other studies that have been studied before. If other studies merely focus on one problem translation, whether it is the strategies used in translating or the accuracy of a translation or the acceptability of a translation, on the other hand, this study will focus on those three problems with different perspective.

Different perspective here means this study tries to discuss another side of the translation problems, for example if a study previously explores the acceptability of a translation from the quality of the translator as the native speaker, this study will focus on how acceptable the translation can be gained by the readers and how the translation strategies can affect it.

B. Review of Related Theories

1. Definition of Translation

According to Larson (1984: 3), translation is transferring the meaning of the source language into the receptor language by going from the form of the first language to the form of a second language by way of semantic structure.

A similar definition comes from Mauritus D.S. Simatupang, in his book,

Pengantar Teori Terjemahan, he stated that translating is transferring the meaning existing in the SL (source language) to the TL (target language), and make it as natural as possible along with the rules of the TL (2003: 3).

Nida and Taber (1974: 12) define translation as the reproduction in a receptor language of the closest natural equivalent of the source message, first in terms of meaning, and secondly in terms of style.

As quoted in Nababan’s study, Astika said that regardless of the various ways the scholar define translation differently, they agree on the basic principles of which focus on meaning as the most important consideration (1993:66).

2. Criteria of a Good Translation

As said by Larson, it is meaning which is being transferred and must be held constant. A good translation is the one which a) uses the normal language forms of the target language, b) communicates, as much as possible, to target language speaker the same meaning that was understood by the speaker of the source language, and c) maintains the dynamics of the original source language text (1984:6).

From a different perspective, El Touny, in Antar S.Abdellah’s study, focused on differentiating between different types of translation. He indicated that there are eight types of translation: word-for-word translation, literal translation, faithful translation, semantic translation, adaptive translation, free translation, idiomatic translation, and communicative translation. He advocated the last type as the one which transmits the meaning from the context, respecting the form and structure of the original and which is easily comprehensible by the readers of the target language (www.accurapid.com). It can be said that a good translation is one that carries all the ideas of the original as well as its structural and cultural features, omitting nothing and adding nothing.

3. Problems in Translation

Making an ideal translation, which fulfills the requirements, is not easy. In doing translation process, a translator may be faced with terms or concept in the

SL that do not exist in the TL. When “there is no lexical or syntactical substitute in the TL for an SL item” (Bassnett, 1991), it means the translator is dealing with the untranslatability.

Here, the untranslatability must not be understood as “impossible to be translated”. The translation of words with the untranslatability is possible. The one which is untranslatable is the concept that follows the word. This is because in the untranslatbility the “same” meaning is usually imposibble.

Catford in A linguistic Theory of Translation distinguished untranslatability into two categories, namely linguistic and cultural untranslatabilty. Linguistic untranslatability is due to differences in the SL and the

TL, whereas cultural untranslatability is due to the absence in the TL culture of a relevant situational feature for the SL (1974:98-99).

Untranslatability problems are often originated by cultural differences. In cultures where there is snow six months of the year, there are many verbs to express "to snow" and many nouns to express "snow", depending on the quality of the snow: icy, wet, friable, etc. Translating into a language/culture where snow is seldom seen, a word-for-word translation is obviously impossible. In countries like Italy or France, there are qualities and varieties of cheese and wine that, elsewhere, could be simply unimaginable, and so can be untranslatable.

Culture constitutes another major problem that faces translators. A bad model of translated pieces of literature may give misconceptions about the original. The problem on cultural lies on cultural concepts, and it mostly deals with the difficulties at word level. Most cultural concepts which are often specific are untranslatable. In the Indonesian translation of Amy Tan’s the Joy Luck Club, the translator keeps the word popo because the literal translation nenek

(grandmother) cannot match the concept.

When a translator deals with the difficulties in translating untranslatable concepts, then accuracy is the most important parameter for an adequate translation. If a translation is offered with its clarity or its rhetoric flourishes, but is not accurate, then it is not worth using, since we cannot trust what it says. The level of accuracy of translation demanded by Brophy-Phillips is mainly achieved by a combination of the use of translators of the highest quality and the systematic application of methodical checking system. To maintain a high standard of translation, a translator must translate into their native language to ensure that the resulting translation is both clear and succinct. The translator must also have a sufficient knowledge of the field being translated to have a full understanding of the subject matter. Only by having a full and clear understanding of the concepts involved in the subject matter can a translator produce a translation which is both accurate and easy to read.

The following categories that have been proposed by Nababan as cited in

Setaijid’s study could be used to find out the accuracy of a translation. In these categories, one thing to note is that the meaning has been focus of the translation.

Scale Indicator 1 The content of the SL sentence is accurately conveyed in the TL sentence. The sentence as the result of translation is felt clear by assessor and there is no need of rewriting. 2 The content of the SL sentence is accurately conveyed in the TL sentence. The sentence as the result of translation is felt clear by assessor but there are needs of rewriting and word rearranging. 3 The content of the SL sentence is not accurately conveyed in the TL sentence. There are some problems in choosing words and its relation with phrase, clause, and sentence elements. 4 The SL sentence is not completely translated in the TL sentence, omitted in purpose. Table 1. Accuracy Rating Instrument (In Setiajid, 2007: 10; my translation)

A translation that is “accurate” but does not communicate the proper message is not really accurate at all. If the term “accuracy” is to mean anything, its definition must include reference to reader comprehension. If a translation is truly clear, accurate, naturally worded, it will be powerful and full of impact.

Since translations are meant to communicate (and not just reproduce the form of the source text), the question of audience comprehension – the reader’s understanding – is of utmost importance (Munger, 1999: 20-22).

A translation can communicate its messages and a measure of that is the acceptability of the text. Acceptability is text receiver’s response (Hatim,

2001:117). As cited in Hatim, Toury states that what should be addressed instead in a translation is whether and to what extent the translation is ‘acceptable’. The translations which tend towards the ‘acceptability’ pole may be thought of as fulfilling the dream of ‘reading as an original’ (2001:147).

4. Cultural Translation

Cultural knowledge and cultural differences have been a major focus of translator training and translation theory for long. The main concern has traditionally been with words and phrases that are so heavily and exclusively grounded in one culture that they are almost impossible to translate into the terms

– verbal or otherwise – of another (Robinson, 1997: 223).

One example of this issue can be seen in the case of translating Japanese anime (Crayon Shinchan) into Catalan. There are some uniquely Japanese expressions in order to produce humor for which there is no exact equivalent in

European languages. Shinchan, the cheeky 5 years old main character, always uses the set expression okaeri when he returns home – literally meaning It’s good you’re back – an expression normally uttered by the people who are at the receiving end of returning family members. People returning home should normally say tadaima – I’m back. Furthermore, okaeri is an honorific expression used to show respect to the returning party, thus one should not use it for oneself.

This deliberate misuse of okaeri by Shinchan is translated into Catalan simply as adéu (goodbye), so part of its humor is inevitably lost. Worse still, when Shinchan feels like expanding his okaeri into a pun – okaeringosarada (okaeri + apple salad), for example – the translator must come up with something equally ridiculous. In this particular case, it is hola, hola, escarola (hello, hello, endive), which does not make sense, but rhymes and sounds funny

(www.translationdirectory.com).

Nida discussed the importance to both linguistic and cultural differences between the SL and the TL and concluded that differences between cultures may cause more severe complications for the translator than do differences in language structure. It is further explained that parallels in culture often provide a common understanding despite significant formal shifts in the translation. According to him cultural implications for translation are thus of significant importance as well as lexical concerns (1964: 153).

Mona Baker stated that S.L word might express a concept that is totally unknown in the target culture. It can be abstract or concrete. It may be a religious belief, a social custom or even a type of food. In her book, In Other Words, she argued about the common non-equivalents to which a translator come across while translating from SL into TL, while both languages have their distinguished specific culture. She put them in the following order (Baker, 1992: 21-25): a) Culture specific concepts b) The SL concept which is not lexicalized in TL c) The SL word which is semantically complex d) The source and target languages make different distinction in meaning e) The TL lacks a super ordinate f) The TL lacks a specific term (hyponym) g) Differences in physical or interpersonal perspective h) Differences in expressive meaning i) Differences in form

j) Differences in frequency and purpose of using specific forms k) The use of loan words in the source text

Coulthard as cited in Kate James’s study believed that once the ideal ST readership has been determined, considerations must be made concerning the TT.

He said that the translator's first and major difficulty is the construction of a new ideal reader who, even if he has the same academic, professional and intellectual level as the original reader, will have significantly different textual expectations and cultural knowledge (www.accurapid.com).

In the case of translating Shakespeare’s works that are full with classical and Renaissance cultures and literatures into Arabic where Islamic culture predominates for example, the religious considerations are an important aspect since there are differences in belief between Islam and Christianity. Some of the oaths that are used by the Shakespearean characters might sound particularly blasphemous to a Muslim audience. The translators in most cases, when faced with such problems, change the oath to make it suit Islamic beliefs or omit it entirely. To be sure, successful translation Shakespeare’s works into Arabic can only be accomplished as the translators become more and more familiar with

Shakespearean culture. At the same time, however, translator must also maintain balance in their understanding of the two cultures they represent because the point of successful translation is to bridge two cultures; it is not to eviscerate the translations’ own culture (Amin-zaki, 1995:223-240).

In his essay “globalization and translation” Nico Wiersema

(www.accurapid.com) stated that Cultures are getting closer and closer and this is

something that he believed translators need to take into account. According to him translator has three options for the translation of cultural elements:

1- Adopting the foreign word without any explanation.

2- Adopting the foreign word with extensive explanations.

3- Rewriting the text to make it more comprehensible to the target-language audience.

5. Translation Strategies

Language and culture may thus be seen as being closely related and both aspects must be considered for translation. When considering the translation of cultural words and notions, Newmark proposed two opposing methods: transference and componential analysis. According to him transference gives

"local colour," keeping cultural names and concepts. Although placing the emphasis on culture, meaningful to initiated readers, he claimed this method might cause problems for the general readership and limit the comprehension of certain aspects. The importance of the translation process in communication led

Newmark to propose componential analysis that he described as being "the most accurate translation procedure, which excludes the culture and highlights the message" (1988: 96). Newmark also stated the relevance of componential analysis in translation as a flexible but orderly method of bridging the numerous lexical gaps, both linguistic and cultural, between one language and another (1988:96).

Another perspective about translation strategies comes from Suryawinata and Hariyanto. They divide the translation strategy into two main types. They are

structural strategy, a strategy related with sentence structure, and semantic structure, a strategy related with word meaning (2003: 67).

Semantic strategy consists of a number of strategies (Suryawinata,

2003:70-76). These include:

a. Borrowing

Borrowing is the simplest of all translation strategies. Borrowing is a translation strategy whereby the translator uses a word or expression from the ST in the TT. One reason of using foreign terms is to introduce the flavor of the SL culture into a translation. There are two kinds of borrowing. The first one is transliteration, a borrowing that keeps the SL word in its original form, either its sound or spelling. The second one is naturalization. By naturalization, the SL word’s sound and spelling are adapted into the TL. b. Cultural Equivalent

In this strategy, the translator translates the SL cultural word with the TL cultural word. As the example, the Indonesian word “jaksa agung” is translated as

Attorney general in English (not great attorney). c. Descriptive Equivalent

This strategy is used when the SL word is expressed by its description and function. For example, the word samurai is described as ‘the Japanese aristocracy from the eleventh to nineteenth century’; its function was ‘to provide officers and administrators’.

d. Synonym

This strategy is used when the translator uses the TL words that have more or less the same meaning for the SL words. A synonym is only appropriate where literal translation is not possible and because the word is not important in the text, in particular for adjective or adverbs quality. e. Official Translation

In this strategy, the translator uses the official translation that has been standardized in translating the SL words. As the example, “read-only memory” is translated as “memori simpan tetap” in “Pendoman Pengindonesiaan Nama dan

Kata Asing”. f. Reduction and Expansion

Reduction means reducing the SL word component, for example, translating the word “automobile” as “mobil” in Indonesia. Here, the word element “auto” is omitted. The expansion is the opposite of reduction. Here, the word component is expanded in the TL, for example, translating “whale as “ikan paus” in Indonesia because if it is not added the word “ikan”, it may mean the pope. g. Addition

In this strategy, the translator gives extra information to the TL readers.

He/she would explain this extra information in a footnote. It may come at the bottom of the page, at the end of chapter or at the end of the book.

h. Omission

Omission means deleting a word or a text part of the SL in the TL. This strategy is used when the meaning carried by the words is not important enough to the development of the text. i. Modulation

Modulation is a variation of the form of the message, obtained by a change in the point of view. This change can be justified when, literal translation results in a grammatically correct utterance, it is considered unsuitable, unidiomatic or awkward in the TL. Translating “I broke my leg” as “kakiku patah” in Indonesia is an example of modulation. In this translation, the translator views the problem from its object (“kaki”), not from its subject (“saya”). This is a must because

Indonesian grammar does not allow such structure like “saya mematahkan kaki saya”.

D. Theoretical Framework

The theories applied in this study are the theories on definition of translation, the criteria of good translation, problems in translation, cultural translation and the strategies applied in translating the untranslatability. The definition of translation helps the writer to get the basic understanding to the topic being discussed, the criteria of good translation are included to give an idea what is actually a good translation, the problems of translation are needed to give description about translation difficulties, cultural translation gives an insight about the relation between culture and translation, while strategies in translating the

untranslatabilty are used to help analyzing how culturally problematic expressions are translated. In other words, the theories on translation strategies itself are important to help the writer answering the third problem formulation.

E. Research Framework

TT ST Perkumpulan The Joy Luck Club Kebahagiaan dan Background Keberuntungan

Readers Cultural Untranslatability

Strategy Acceptability Accuracy

Translation Qualities

CHAPTER III

METHODOLOGY

A. Object of the Study

There are two works analyzed in this research. The first one is the Joy

Luck Club by Amy Tan. It was published by Ballantine Books in 1989 in New

York. This book received the Commonwealth Club Gold award for fiction and the

American Library Association’s best book for Young Adults award in 1989 and stayed on the New York Times’ bestseller list for nine months (www.amytan.net).

The Joy Luck Club talks about mother-daughter relationships as well as relationships between Chinese American women and their immigrant parents.

There are many Chinese expressions used to present the story because it was written with most Chinese culture as the background. The second work is

Pekumpulan Kebahagiaan dan Keberuntungan, the translated version of The Joy

Luck Club. It was translated from English by Joyce K. Isa and published by PT.

Gramedia Pustaka Utama Jakarta in May 1995.

B. Method of the Study

The method used in this study is the combination of library and field research. The method of library research is done to find out the strategies applied in translating the Chinese expression found in The Joy Luck Club. On the other hand, the field research is used to find out the accuracy of the translation used in

translating The Joy Luck Club, and the acceptability of the translation as a part of the study.

The library survey is held to find the theories of translation needed for the study. In doing the library research, the researcher reads through some books related with this study to gain information about concept and theories that can support this study. The library research is done to form a strong basic for conducting the survey. The library research is also used to construct the questionnaires as the research instrument and to support the result of the study.

After that it is followed by the field survey to find the response of the readers toward the translation version of The Joy Luck Club, in this case the accuracy and the acceptability. It is done by spreading questionaires to respondents with certain criteria.

C. Research Procedure

1. Data Sources

The data sources are divided into two, they are: a. Objective

The objective data used in this research are The Joy Luck Club and

Perkumpulan kebahagiaan dan Keberuntungan. The Joy Luck Club was written by Amy Tan and published by G. P. Putnam's Sons in 1989. This work consists of

288 pages. It presents the stories of four Chinese-immigrant women and their

American-born daughters. Each of the four Chinese women has her own view of the world based on her experiences in China and wants to share that vision with

her daughter. The daughters try to understand and appreciate their mothers' pasts, adapt to the American way of life, and win their mothers' acceptance. The interesting fact about this novel is that every chapter told each mother and their daughters’ life from their own perspective.

The Joy Luck Club was translated into Indonesian by Kathleen SW. The translation was entitled Perkumpulan Kebahagiaan dan Keberuntungan and published by PT. Gramedia Pustaka Utama Jakarta in May 1995. This English version consists of 487 pages. b. Affective

The survey research is done in this study to collect the affective data from the respondents. It is done by developing a questionnaire of translation acceptability in which the respondents are asked to reflect on translation version of The Joy Luck Club.

This study only involves ten respondents because ten respondents are considered enough to become the representative of the data. Taking one or a hundred more respondents will take the same effect with taking ten respondents.

Besides, having more than a hundred respondents for example will be time consuming and not practical enough. By having limited respondents, this study present an efficiency and quality of the research rather than the quantity of the data.

They are not chosen randomly as the cultural background respondents may influence the acceptability of the translation. The ones with Chinese culture background may consider the acceptability of the translation higher than the ones

with no Chinese culture background, or vice versa. Thus this study takes five respondents with Chinese cultural background and five with other cultural backgrounds.

2. Data Collection

The data are Chinese expressions which are culturally problematic to translate. These expressions consist of phrases and terms which hold cultural concepts and are not available in the SL. The form of the data is quotations taken from The Joy Luck Club that contain Chinese expressions.

The sentences and phrases which hold cultural concepts like in the sentences “…then the woman and the swan sailed across an ocean many thousands of li wide, stretching their necks toward America.” is underlined and given a tick. The page number of the original text is given, thus rechecking can be easier. This sentence in English version is on page 3, but in Indonesian version it can be found on page 15. After the data in the ST are collected, the next step is to note their translations in the TL.

3. Data Analysis

The analysis is done on the expressions in Amy Tan’s the Joy Luck Club and its translated version Perkumpulan Kebahagiaan dan Keberuntungan. To answer the first problem formulation, the Chinese culture-bound expressions are listed based on the criteria of the accuracy of translation to find out how accurate the translated version of those expressions. In assessing the translation quality in

term of accuracy, the validity is considered. To meet the face validity, the assessment of the translation is done under Triangulation technique. There are three types of triangulation; there are Methods triangulation, Triangulation of sources, and Analyst triangulation. In this study, the Analyst Triangulation is chosen as the method. It is a method that is having two or more persons independently analyze the same qualitative data and compare their findings

(Patton, 2002:556-560).

The data of translation accuracy are consulted to 3 respondents. By having other people examine the test, the absurdities and ambiguities are discovered, and the face validity of the assessment can be obtained. The Respondents with knowledge on Chinese culture are asked to judge the content of each item, and to scale each translation item using a 1-4 score scale. Their comments and corrections on the test items make the test much more valid.

The next step, the data collected from respondents are processed to find the acceptability of the translation in order to answer the second problem formulation. The scores given by each respondent are calculated by totaling the scores and dividing it by the number of respondents. The result would be the grade of acceptability. The grade of acceptability later relates to the readers’ cultural background as the factor that may influence the result of translation acceptability.

After that, to answer the third problem formulation, document analysis is used. Each expression is explained using its meaning and significance toward the text. Interpreting those expression based on theories used in the theoretical review

is the next step. The Chinese expression in the Indonesian and English version are compared to the theories to find out how those culturally problematic expressions are translated based on certain translation strategies. Then it is followed by finding out how these translation strategies may give influence on the acceptability of the translation. Lastly, some conclusions are drawn as the result of the analysis of translation product and the data from the responders that have been processed.

CHAPTER IV

ANALYSIS

This chapter consists of three main sections. The first section is the accuracy of the translated version of The Joy Luck Club. This section concerns with the quality of translation, in the term of accuracy. The sentences with cultural concept found in the TT would be assessed based on accuracy rating instrument proposed by Nababan (Setiajid, 2007: 10). The second section is about the acceptability of the TT sentences. In this section, based on the respondents’ answer on the questionnaires, the researcher would find out how acceptable the

TT sentences that hold cultural concepts are. The factor of readers’ cultural background is included here in analyzing the Chinese expressions acceptability because the ones with Chinese cultural background may assess the acceptability higher than the ones with non Chinese cultural background, or vice versa. The third section is about the strategies used in translating the literary work. Here, the

ST sentences which hold cultural concept would be compared to the TT sentences, after that these sentences would be analyzed using document analysis based on the theories in chapter two. Then, the revealed translation strategies as factors that influence the grade of acceptability is analyzed related to the acceptability of the translation by comparing some translation strategies applied to its acceptability score. Through the analysis in this chapter, at the end it could be revealed the accuracy, the acceptability and cultural background influence on it, and the

translation strategy and its relation with the grade of acceptability from the translation product.

A. The Translation Accuracy

One of the aspects that requires some attentions in the discussion of translation is about assessment. Setting up the categories for assessing translation may not be easy. The accuracy rating instrument that have been proposed by

Nababan as cited in Setiajid’s study (2007:10) are used to find out how accurate the Chinese expressions are translated in Perkumpulan Kebahagiaan dan

Keberuntungan.

There are 1-4 scale options in the accuracy rating instrument. Each option is indicated by some criteria and these indicators can be seen in chapter two. The scale 1 is given to sentences with very accurate translation, the scale 2 is given to sentences with accurate translation, the scale 3 is given to sentences with inaccurate translation, and the scale 4 is given to sentences with very inaccurate translation. To make an easier calculation, each scale option is given score, score

4 is given to sentences with scale 1, score 3 is given to sentences with scale 2, score 2 is given to sentences with scale 3, and score 1 is given to sentence with scale 4.

In assessing the Chinese expressions accuracy, each sentence which holds

Chinese cultural concept is read several times and examined carefully to place it into group where it belongs to, whether it is a sentence with scale 1 or scale 2 or scale 3 or scale 4 based on indicator proposed in accuracy rating instrument. As

illustration, if a sentence with Chinese cultural concept is translated accurately, then it belongs to sentences with scale 2 and it means it has score 3.

To meet the face validity, there are questionnaires about the accuracy that are consulted to two respondents. By having other people examine the accuracy, the absurdities and ambiguities are discovered, and the face validity of the test could be obtained. After the data about the translation accuracy are collected from two other respondents, the next step is to calculate the average score given the researcher and two other respondents by totaling scores from each sentence and dividing it into three. For example, if the researcher gives score a sentence 3, and two other respondent give score 4 and 2, then the average score would be the total of 3, 4, and 2 divided into 3 and 3 as the result is the accuracy score of the sentence.

Later, to find out the translation accuracy of The Joy Luck Club, the whole score are calculated to find out the average as the number of translation accuracy.

The average score from each sentence are totaled and divided by the total translation items.

To make an easier understanding about the assessment on the translation accuracy, the average score from the whole sentences which Chinese cultural concept is changed into percentage form. The followings are the accuracy score of each sentence that has been calculated (the more detailed score given by the researcher and the respondents can be seen in the appendix), and the average score of the whole sentences.

ST.1. Then the woman and the swan sailed across an ocean many thousands of li wide, stretching their necks toward America. (p.3) TT.1. Lalu wanita dan angsa berleher panjang ini mengarungi lautan yang beribu-ribu li* lebarnya, menjulurkan leher mereka ke arah Benua Amerika. (p.15) (*1 li = 540 meter) Score: 3.3 (accurate)

The explanation of li as the Chinese unit of distance which has length 540 meter is accurate. However, the used of lebar in phrase “beribu-ribu li lebarnya” is felt awkward. It would be better if the translator changes it into “beribu-ribu li luasnya”. A respondent said that the exact number of one li is 500 metre not 540 metre.

ST.2. I am to replace my mother, whose seat at the mah jong table has been empty since she died two months ago. (p.5)

TT.2. Untuk mangantikan ibuku, yang kursinya di meja mahyong menjadi kosong sejak kematiaanya dua bulan yang lalu. (p.17) Score: 3.3 (accurate)

Mahjong is a game from Chinese, and it is quite familiar in Indonesian culture.

Therefore, the translator keeps the word mahjong and transfers it into the SL as mahyong.

ST.3. The hostess had to serve special dyansyin foods to bring good fortune of all kinds—dumplings shaped like silver money ingots, long rice noodles for long life, boiled peanuts for conceiving sons, and of course, many good-luck oranges for a plentiful, sweet life. (p.10)

TT.3. Si nyonya rumah harus menghidangkan dimsum khusus untuk mendatangkan segala jenis keberuntungan—bulatan-bulatan tepung isi yang dibentuk seperti uang perak, mi panjang dari beras sebagai simbol panjang umur, kacang rebus supaya mendapat anak laki-laki, dan tentu saja banyak jeruk keberuntungan untuk mendapatkan hidup yang manis dan berkelimpahan. (p.24-25)

Score: 3.7 (very accurate)

Dimsum is the name for a Chinese cuisine which involves a wide range of light dishes served alongside Chinese tea. Equivalent terms, such as dyansyin in

Mandarin, exist in other varieties of Chinese, as a generic term for any of a variety of snacks or small food items.

ST.4. “Once we started to play, nobody could speak, except to say ‘Pung!’ or ‘Chr!’ when taking a tile. (p.11)

TT.4. “Begitu kami mulai bermain, tak ada yang berbicara, kecuali untuk mangatakan Pung!* Atau Chr!** saat mengambil sebuah kartu. (p.26) (*Bentur! ) (**Makan! )

Score: 3.3 (accurate)

Both pung and chr are terms in mahjong game. They are not translated in the text but there are footnotes as the explanation of the terms. The explanation is accurate and there is no need of rewriting because the terms itself are hard to be translated in the text. A respondent gives note that Pung is an exclamation when a player has formed a row of tiles, while Chr is an exclamation when a player has formed a row of tiles in order.

ST.5. I abandoned my beautiful mahjong table of hong mu. (p.13)

TT.5. Kutinggalkan meja mahyongku yng indah, yang terbuat dari kayu merah. (p.30)

Score: 4 (very accurate)

Kayu merah (red wood) is the literal translation of hong mu. Even though hong mu is just translated literally, the readers still can imagine the description of hong

mu from the characteristic given by its translation that is the red color of the wood.

ST.6. She’s already made five rows of eight wonton each. (p.18)

TT.6. Dia sudah membuat lima deretan masing-masing delapan pangsit. (p.37)

Score: 3.3 (accurate)

Wonton is translated into pangsit, a type of food that is more common in the target culture. A wonton is a type of dumpling commonly found in a number of

Chinese cuisines, A wonton is made with a thin ten centimeter square lye-water pastry wrapper and filled with savory minced meat, while Pangsit is chopped meat wrapped with flour eaten with noodles. Even though both wonton and pangsit are foods which have different concept, they share the same characteristics, they are a type of dumpling, served as snack, and they may be served in soup or deep-fried. From their similar characteristics, pangsit can substitute wonton.

ST.7. I’m drawn first to a large platter of chaswei, sweet barbecued pork cut into coin-sized slices. (p.20) TT.7. Pertama-tama aku lebih tertarik kepada sepinggan chaswei, daging babi panggang manis yang diiris-iris setipis kepingan uang logam. (p.40) Score: 3.3 (accurate)

Chaswei is a simple Chinese dish known as barbecued pork. It literally means

"fork burn/roast" the traditional cooking method for the dish. Long strips of seasoned boneless pork are skewered with long forks and placed in a covered oven or over a fire. From its context, it is already clear the description of chaswei

(sweet barbecued pork cut into coin-sized slices). Thus, there is no need of rewriting. In other words it is already accurate translation.

ST.8. So I knew Popo wanted me to forget my mother on purpose, and this is how I came to remember nothing of her. (p.33) TT.8. Maka aku tahu, Popo sengaja ingin aku melupakan ibuku. (p.59) Score: 2 (inaccurate)

Popo literally can be translated as grandmother. However, the translator keeps it in the SL form for some purpose. Consequently, the readers can not understand because it is not clear except it is read with the whole context. A respondent gives a suggestion that it would be better if popo is translated as “nenek”. In translating this word, it is all right to keep the word popo because this word is used to explain a character of a grandmother who lives in traditional way in China, not another grandmother. To make readers understand the word popo, then it can be paraphrased for the first time this word appears in the text without repeating several times for another appearance in the text.

ST.9. “You are the son of a mother who has so little respect she has become ni, a traitor to our ancestors. (p.36) TT.9. “Kau ini anak seorang ibu hina, yang telah mengkhianati nenek moyang kita. (p.63) Score: 2.3 (inaccurate) The translated version of ni should be durhaka not hina. Therefore, it is not accurate enough. The meaning of the word ni is durhaka, and it should be translated as durhaka not hina, because they totally have different level of meaning.

ST.10. It is shou so deep it is in your bones (p.41)

TT.10. Itulah shou* yang begitu dalam sampai terasa ke tulang. (p.70) (*bakti seorang anak kepada orang tuanya) Score: 3 (accurate)

Even though the translated version of shou is already clear and accurate, translated version of the sentence is not accurate. It should be translated as “itulah shou yang begitu dalam mengakar dalam tulang”.

ST.11. Huang Taitai whispered in her shrrhh-shrrhh voice that perhaps I had an unusually bad pichi, a bad temper. (p.44) TT.11. Huang Taitai berbisik dengan suara shrrhh-shrrhh-nya, bahwa kemungkinan aku punya pichi—temperamen—yang sangat buruk, suka marah. (p.75) Score: 3.7 (very accurate)

The translated version of pichi is already accurate and clear. There is no need of rewriting.

ST.12. I remember it was once a lump of syaumei, a little dumpling I loved to eat. (p.47) TT.12. Aku ingat suatu kali aku memberi Huang Taitai sebiji syaumei, kulit berisi daging yang kugemari. (p.79) Score: 3 (accurate)

Syaumei is a type of dumpling with pork inside a thin wheat flour wrapper.

Although it is translated clearly, it is not accurate enough because there are some missing information, like what kind of kulit used in making syaumei, it is just simply said as kulit. It should be translated as “kulit tepung yang berisi daging”.

While a respondent said syaumei should be translated as siomai, a term which is more familiar for TL readers and she also gives revision for the sentence as aku ingat, suatu kali aku memberi Nyonya Huang sebiji siomai, adonan bulat berisi daging yg kugemari.

ST.13. But he could not stop my mother from giving me her chang, a necklace made out of a table of red jade. (p.47-48) TT.13. Tetapi dia tidak dapat mencegah ibuku memberiku chang*-nya, seuntai kalung terbuat dari lempengan batu kumala merah. (p.80) (*semacam jimat supaya selalu beruntung)

Score: 3.3 (accurate)

To the Chinese, the most precious and treasure on earth is jade. Since jade is the most valued accessory of the Chinese, they often carved on jade the image of what they regarded as important. Parents use to buy a donut-liked piece of jade pendant to child to bring good luck. Chinese believe in wearing jade accessory with its extreme hardness, is a way to drive away evil and bad luck. The jade would be called chang. The explanation of chang in the footnote is accurate. However, it would be better if the jade which is translated as “batu kumala” is translated as

“batu giok”, a more popular term for the readers.

ST.14. “What’s that stinky smell?” I asked my amah, who always managed to appear next to my bed the instant I was awake. (p.65)

TT.14. “Bau busuk apa itu?” tanyaku pada amah-ku*, yang selalu siap di samping tempat tidurku, begitu aku membuka mata. (p.106) (*pembantu pribadi)

Score: 3 (accurate)

Amah is a nursemaid. Rather than translating amah as pembantu pribadi, which has negative connotation, it would be better if it is translated as pengasuh.

According to a respondent, amah is not nursemaid. Amah is grandmother. She also adds that it does not need to keep the word amah. It should be translated as nenek.

ST.15. The servant had already packed and loaded a rickshaw with the day’s basic provisions: a woven hamper filled with zong zi, the sticky rice wrapped in lotus leaves, some filled with roasted ham, some with sweet lotus seeds. (p.71) TT.15. Para pembantu sudah berkemas dan mememenuhi sebuah becak dengan makanan untuk hari itu: keranjang yang dipenuhi dengan zong zi*--ketan yang dibungkus dalam daun teratai, ada yang diisi dengan babi panggang, ada yang diisi dengan biji teratai manis. (p.115) (*bakcang) Score: 3.3 (accurate)

Zong-zi is pyramid-shaped dumpling made of glutinous rice wrapped in bamboo or reed leaves. It is translated as bakcang. It is accurate and clear. However, it will be better if in the text zong zi is replaced by bakcang.

ST.16. “For woman is yin, “she cried sadly, “the darkness within, where untempered passions lie. (p.82)

TT.16. “Karena perempuan adalah yin,” ratapnya sedih, “kegelapan yang tersembnyi, tempat nafsu yang tak terkendalikan bersarang. (p.131)

Score: 3.7 ( very accurate) ST.17. And man is yang, bright truth lighting our minds.” (p.82)

TT.17. Dan laki-laki adalah yang, kebenaran yang bersinar, menerangi pikiran kita.” (p.131) Score: 3.7 (very accurate)

Both yin and yang is not translated in the TL. It is just simply transferred in their original form. Even though the readers understand the concept of yin and yang from the context, it would be better if the translator gives additional information about yin and yang in the footnote.

ST.18. My mother placed my first trophy to a new plastic chess set that the neighborhood Tao society had given to me. (p.98) TT.18. Ibu meletakan piala pertamaku di sebelah perangkat catur plastik yang baru, sumbangan dari perkumpulan Tao tetangga. (p.154) Score: 3.2 (accurate)

Tao society is a civilization that goes by the Chinese philosophy that teaches its believers to follow the path of life as it is; a way of life. Tao society is not translated in the TL. It is just simply transferred as perkumpulan tao.

Consequently the readers are not clear the concept of tao.

From accuracy score of each translation item, then it can be calculated the number of translation accuracy in The Joy Luck Club:

∑ = total score

Total sentences

∑ =

3.3+3.3+3.7+3.3+4.0+3.3+3.3+2.0+2.3+3.0+3.7+3.0+3.3+3.0+3.3+3.7+3.7+3.0

∑ = 3.2

In percentage it would be:

∑ = 3.2/4 × 100 %

∑ = 80 %

The translation accuracy in The Joy Luck Club is 80%. It means that most of translations are done accurately. It is not easy for a translator translating ST words with specific cultural concept into a TT. They may be translated with the loss of meaning. In other words, it may be translated with low accuracy. However, it does not occur in translating Chinese expression in The Joy Luck Club, because as a literary work, its story is dominated with Chinese culture and it means it is not familiar for audiences, even for its former readers in USA where this book is produced for the first time. Thus, it is not awkward if most of the Chinese terms have been described by its author, Amy Tan. This thing makes the translator’s job easier.

B. The Translation Acceptability and Cultural Background Influence

1. The Joy Luck Club Translation Acceptability

Besides accuracy, acceptability is another important aspect in assessing the quality of translation. Acceptability is a state where the translation do not offend the cultural rules in the language, that is, they are acceptable culturally as well as socially. A text should be acceptable for its readers, if not then the text could be called as the failure of translation. The grade of acceptability differs from respondent to respondent. There is a tendency to value a translation based on their background.

In this research the respondents are divided into two groups; the respondent with Chinese cultural background and the respondents with non

Chinese cultural background. As previously known that the focus of this research is the sentences which hold Chinese cultural concept. Consequently, respondents with Chinese cultural background may assess the translation acceptability higher than respondents with non Chinese cultural background, or vice versa. By separating the respondents into two groups, it can be seen later how the cultural background may influnce the grade of acceptability in assessing a translation.

The ten respondents are asked to judge the content of each translation item which contain certain Chinese cultural concept, and to scale options of each item using a 1-4 score scale. Score 4 is given to sentences with very acceptable translation, score 3 is given to sentences with acceptable translation, sore 2 is given to sentences with unacceptable translation, and score 1 is given to sentences with very unacceptable translation. Their comments and corrections on the

questionaire are used to find out why some translations of cultural untranslatability are acceptable and why others are not.

In interpreting the grade of translation acceptability, the score given by each respondent are calculated then the total is divided by the number of the repondents (ten). this result would be the grade of translation acceptabilty for each

Chinese expression found in the text. Later to find out the exact number of translation acceptibility in The Joy Luck Club, the scores given by all respondents are calculated. This grade of acceptibility are counted from the total score divided by the the total sentences. The result of translation acceptability is changed into percentage form in order to have an easier understanding on how many proportion of Chinese expressions that can be accepted by the readers are.

The following are the score of each translation item and its reason and the explanation:

TT.1. Lalu wanita dan angsa berleher panjang ini mengarungi lautan yang beribu-ribu li* lebarnya, menjulurkan leher mereka ke arah Benua Amerika. (p.15) (*1 li = 540 meter) Score: 2.9 (acceptable)

Most of respondents can accept the translation because of the footnote. However, some other suggest that it would be better if li is translated into the TL distance unit like metre or kilometre because li is not common in the TL.

TT.2. Untuk mangantikan ibuku, yang kursinya di meja mahyong menjadi kosong sejak kematiaanya dua bulan yang lalu. (p.17) Score: 2.5 (unaccepatable)

Some respondents can accept the word mahyong because they are familiar with this word from games or movies. However, some others can not accept it because

they do not know the description of mahyong although they have heard the term before.

Most of respondents can accept the translation beacause the word dimsum is already exists in the TL. Moreover, they may refer to the additional information that follows the word dimsum khusus if they do not know the meaning of dimsum khusus.

TT.4. “Begitu kami mulai bermain, tak ada yang berbicara, kecuali untuk mangatakan Pung!* Atau Chr!** saat mengambil sebuah kartu. (p.26) (*Bentur! ) (**Makan! ) Score: 2.9 (acceptable)

Although the explanation of the terms in the footnotes are quite helpful to understand the translation, still the respondents can not imagine how to play the mahjong game because they are not familiar with it.

TT.5. Kutinggalkan meja mahyongku yng indah, yang terbuat dari kayu merah. (p.30) Score: 2.8 (acceptable)

Some respondents can accept easily the literal translation. Some others can not simply understand the translation because the term kayu merah is not commonly used in the TL. The meaning is also confusing whether it is wood which is red or it has proper name like Jati wood.

TT.6. Dia sudah membuat lima deretan masing-masing delapan pangsit. (p.37) Score: 3.4 (acceptable)

There is no problem with the term pangsit because it is very common in

Indonesian. Everybody knows what pangsit is.

TT.7 Pertama-tama aku lebih tertarik kepada sepinggan chaswei, daging babi panggang manis yang diiris-iris setipis kepingan uang logam. (p.40) . Score: 3.2 (acceptable)

Most of repondents assess the translation as quite acceptable beacuse of the explanation that follows the term chaswei.

TT.8. Maka aku tahu, Popo sengaja ingin aku melupakan ibuku. (p.59)

Score: 2.4 (unacceptable)

Some of respondents with Chinese cultural background know that popo is grandmother. While others with non Chinese cultural background feel confused with the term because it is not clear who is popo, whether it is a name or it has its own meaning.

TT.9. “Kau ini anak seorang ibu hina, yang telah mengkhianati nenek moyang kita. (p.63)

Score: 3.0 (acceptable)

There is no problem with the translation because all the words have been translated into Indonesian. The translation is acceptable contextually.

TT.10. Itulah shou* yang begitu dalam sampai terasa ke tulang. (p.70) (*bakti seorang anak kepada orang tuanya)

Score: 3.0 (acceptable)

(*bakti seorang anak kepada orang tuanya)

The term shou is acceptable because of the footnote.

TT.11. Huang Taitai berbisik dengan suara shrrhh-shrrhh-nya, bahwa kemungkinan aku punya pichi—temperamen—yang sangat buruk, suka marah. (p.75)

Score: 2.6 (acceptable)

The respondents can accept the translation because of the explanation that follows the word pichi.

TT.12. Aku ingat suatu kali aku memberi Huang Taitai sebiji syaumei, kulit berisi daging yang kugemari. (p.79)

Score: 3.2 (acceptable)

Syaumei is known as siomai in the TL, thus there is no problem in understanding what syaumei is. Beside, there is an explanation that follows syaumei.

TT.13. Tetapi dia tidak dapat mencegah ibuku memberiku chang*-nya, seuntai kalung terbuat dari lempengan batu kumala merah. (p.80) (*semacam jimat supaya selalu beruntung)

Score: 2.8 (acceptable)

The respondents can accept the translation because of the footnote. There are some respondents that can not accept it because the sense of sacred of chang is untranslatable.

TT.14. “Bau busuk apa itu?” tanyaku pada amah-ku*, yang selalu siap di samping tempat tidurku, begitu aku membuka mata. (p.106) (*pembantu pribadi) Score: 2.7 (acceptable)

The respondents can accept it beacuse of the footnote although some others who are respondents with Chinese cultural background can not accept it because according to them, the additional information of amah should be grandmother

(nenek) not nursemaid (pembantu pribadi).

TT.15. Para pembantu sudah berkemas dan mememenuhi sebuah becak dengan makanan untuk hari itu: keranjang yang dipenuhi dengan

zong zi*--ketan yang dibungkus dalam daun teratai, ada yang diisi dengan babi panggang, ada yang diisi dengan biji teratai manis. (p.115) (*bakcang) Score: 2.8 (acceptable)

Some respondents can accept the translation because the explanation that follows the term and the additional information given by the translator. However, respondents with non Chinese cultural background can not accept it because they are not familiar with bakcang (written in the footnote).

TT.16. “Karena perempuan adalah yin,” ratapnya sedih, “kegelapan yang tersembnyi, tempat nafsu yang tak terkendalikan bersarang. (p.131) Score: 2.7 (acceptable)

The term yin is familiar for respondent, although they do not understand what yin is.

TT.17. Dan laki-laki adalah yang, kebenaran yang bersinar, menerangi pikiran kita.” (p.131) Score: 2.7 (acceptable)

The respondent do not know the meaning of yang, but they are very familiar with term itself.

TT.18. Ibu meletakan piala pertamaku di sebelah perangkat catur plastik yang baru, sumbangan dari perkumpulan Tao tetangga. (p.154) Score: 2.7 (acceptable)

The respondents do not know the meaning of tao, whether it is a philosophy or a religion or a sect tough they are familiar with the word.

From acceptability score of each translation item, then the number of translation acceptability in The Joy Luck Club can be calculated as follows:

∑ = total score

Total sentences

∑ =

2.9+2.5+3.1+2.9+2.8+3.4+3.2+2.4+3.0+3.0+2.6+3.2+2.8+2.7+2.8+2.6+2.7+2.7

∑ = 2.8

In percentage it would be:

∑ = 2.8/4 × 100%

∑ = 70 %

The result of acceptability score is 70 %. It means that the translation of

The Joy Luck Club in Perkumpulan Kebahagiaan dan Keberuntungan is acceptable. It also means that only 30 % of the translation need rewriting and word rearranging.

2. Cultural Background Influence

As previously stated, in this research there are two group of respondents.

There are respondents with Chinese cultural background and respondents with non Chinese cultural background. This is done in order to find out how respondent cultural background may influence the translation acceptability. The one with

Chinese culture background may consider the acceptability of the translation higher than the one with non Chinese cultural background, or vice versa.

One way to see how the readers cultural background influence on the translation acceptability is by comparing scores from each group of respondents.

The scores from respondents are calculated separatedly based on the cultural backround group where they belong to. Then it is followed by comparing the result score from each group of respondents. After that, the result scores are changed into percentage to get a better understanding on the result.

If respondent with Chinese cultural background is Rc, and respondent with non Chinese cultural background is Rnc, then the grade of acceptability from each group of respondent would be:

Rc = total score >< Rnc = total score

total sentences total sentences

Rc =

2.8+2.0+3.0+2.8+3.2+3.4+3.0+2.4+2.8+2.8+2.2+3.0+2.6+2.2+2.6+2.2+2.4+2.6 18

Rc = 2.7

Rnc =

3.0+3.0+3.2+3.0+2.4+3.4+3.4+2.4+3.2+3.2+3.0+3.4+3.0+3.2+3.0+3.0+3.0+2.7 18

Rnc = 3.0

Rc = 2.7 >< Rnc = 3.0

Rc = 2.7/4 × 100 % >< Rnc = 3.0/4 × 100 %

Rc = 67.5 % >< Rnc = 75 %

It can be seen from the previous page that the grade acceptability of respondents with Chinese cultural background is 7.5 % lower than the grade acceptability of respondents with non Chinese cultural background. One possible reason is because some Chinese terms have different meaning with knowledge that they know from their background as a Chinese. Another possible reason is because the translation is more easily accepted by respondents when they do not have background at all about the terms.

C. The Translation Strategies and Its Possible Influence to the Translation

Acceptability

1. The Joy Luck Club Translation Strategies

The data used in this part are the Chinese expressions that hold specific culture concept. This means that there are no available words in the target language for the translator to use for translating those words. Thus, certain strategies are needed in translating these expressions in order to make the TL readers understand the unknown concept for understanding the whole context.

In revealing the strategies used by the translator to overcome the cultural untranslatability found in the TT, the researcher would use the document analysis.

In this analysis, the ST sentences which hold certain cultural concept are compared to the TT sentences. Then based on certain types of strategies found in chapter two, the researcher would decide what kind of strategies used in each sentences. After that, the translation strategies applied are compared to its acceptability score to find out how translation strategies may give influence on the

grade of translation acceptability. These translation strategies in translating the culture concepts found in the translated version of The Joy Luck Club can be seen below. a. Borrowing

Borrowing is a translation strategy whereby the translator uses a word or expression from the ST in the TT. Borrowing can be divided into two; there are

Transliteration (a strategy when there is the direct transfer of the SL word into the

TT without changing the form) and Naturalization (a strategy when a SL word is transferred into the TL text by changing either its spelling or sound). i. Transliteration

ST.7 I’m drawn first to a large platter of chaswei, sweet barbecued pork cut into coin-sized slices. (p.20) . TT.7 Pertama-tama aku lebih tertarik kepada sepinggan chaswei, daging babi panggang manis yang diiris-iris setipis kepingan uang logam. (p.40) .

From the context itself, it is already explained the characteristic of chaswei (sweet barbecued pork cut into coin-sized slices), thus the translator does not need to translate the word and just simply transfers the word in its original form into the

TL language. Without giving any explanation, the readers still understand the concept of chaswei from the illustration given in the context.

ST.8. So I knew Popo wanted me to forget my mother on purpose, and this is how I came to remember nothing of her. (p.33) TT.8. Maka aku tahu, Popo sengaja ingin aku melupakan ibuku. (p.59)

Literally popo can be translated as grandmother. However, it is just transliterated as popo. This is done because the word popo is used to tell about the character’s grandmother in China, not her other grandmother. Her grandmother is the one who still lives with traditional way. Therefore, to illustrate this type of grandmother is by keeping the word popo in the TL language.

ST.16. “For woman is yin, “she cried sadly, “the darkness within, where untempered passions lie. (p.82) TT.16. “Karena perempuan adalah yin,” ratapnya sedih, “kegelapan yang tersembnyi, tempat nafsu yang tak terkendalikan bersarang. (p.131)

Yin is the positive female principle of the universe, characterized as female and sustaining. It is associated with earthy, dark and cold. Yin is transferred in the TL language in its original form, because some of yin’s characteristics are illustrated in the context and the readers may understand the concept of yin from the context.

Therefore, it may be understood why the translator keeps the word yin.

ST.17. And man is yang, bright truth lighting our minds.” (p.82)

TT.17. Dan laki-laki adalah yang, kebenaran yang bersinar, menerangi pikiran kita.” (p.131)

Yang is the active male principle of the universe, characterized as male and creative. It is associated with heaven, heat and light. Although yang is not illustrated as a whole, the readers still can understand the concept of yang.

Therefore, the translator only needs to transfer the word.

Tao is philosophical religion signifying the way or code of behavior that is in harmony with the natural order. Tao is simply transferred as tao in the TL language. There is no any explanation about tao. One possible reason is because the term tao is considered as something common in the TL culture. ii. Naturalization ST.2. I am to replace my mother, whose seat at the mah jong table has been empty since she died two months ago. (p.5)

TT.2. Untuk mangantikan ibuku, yang kursinya di meja mahyong menjadi kosong sejak kematiaanya dua bulan yang lalu. (p.17)

Mahjong is a Chinese game played by four people. In Chinese culture, to invite a person to a mahjong game, is to befriend the person. The character in the story was asked to replace her mother seat in mahjong table. In other words she was welcomed as a member of the club formed by her mother. The word mahjong is simply transfered into the TL language without any explanation or paraphrasing.

As the consequence, the information about the concept in mahjong game is missing. b. Cultural Equivalent

The strategy called cultural equivalent involves replacing the SL cultural items with the TL cultural items. These items have different proportional meaning, but they are likely to have the same impact on the target readers.

ST.6. She’s already made five rows of eight wonton each. (p.18)

TT.6. Dia sudah membuat lima deretan masing-masing delapan pangsit. (p.37)

Wontons are a kind of snack, served in two styles. Firstly cooked in the aforementioned soup, but also simply steamed and served with a dipping sauce accompaniment. Wonton is translated into pangsit, a different kind of food that is more common in Indonesian culture. Pangsit is chopped meat wrapped with flour, and eaten with noodles. Though wonton and pangsit have different characteristics, they are similar in some way, they are served as snack and they can be categorized as a small dumpling with certain filling.

c. The Combination of Descriptive Equivalent and Transliteration Strategy

Descriptive equivalent is a kind of paraphrase. This strategy is used when the SL word is expressed by its description and function, while transliteration is a kind of borrowing which uses direct transfer of an SL item without changing the form. These two strategies are used at the same time for translating some Chinese expressions by transferring the SL word and it is followed by the description of the word.

ST.11. Huang Taitai whispered in her shrrhh-shrrhh voice that perhaps I had an unusually bad pichi, a bad temper. (p.44)

TT.11. Huang Taitai berbisik dengan suara shrrhh-shrrhh-nya, bahwa kemungkinan aku punya pichi—temperamen—yang sangat buruk, suka marah. (p.75)

As told in the story, pichi is a bad temper. However it is not clear what kind of bad temper meant by the author. So, the translator adds more explanation about that by giving a characteristic of pichi, that is easily to get angry.

ST.12. I remember it was once a lump of syaumei, a little dumpling I loved to eat. (p.47)

TT.12. Aku ingat suatu kali aku memberi Huang Taitai sebiji syaumei, kulit berisi daging yang kugemari. (p.79)

Syaumei is transferred in its original form and described by giving additional information. Additional information here is given because the readers will not understand what syaumei is only from the context.

d. Synonym This strategy is used when the translator uses the TL words that have more or less the same meaning for the SL words.

ST.5. I abandoned my beautiful mahjong table of hong mu. (p.13)

TT.5. Kutinggalkan meja mahyongku yng indah, yang terbuat dari kayu merah. (p.30)

Hong mu is a kind of red wood that can only be found in China. It has unique charateristics, they are aromatic and very smooth. Here hong mu is translated literally as kayu merah. Even though the specific features of hong mu concept is missing, this strategy makes the sentence easier to understand.

ST.9. “You are the son of a mother who has so little respect she has become ni, a traitor to our ancestors. (p.36)

TT.9. “Kau ini anak seorang ibu hina, yang telah mengkhianati nenek moyang kita. (p.63)

The expression ni is translated as hina. Actually the exact meaning of ni in the TL is durhaka. One possible reason is because the translator feels that hina is more appropriate translation than durhaka.

e. Addition

Addition is additional information provided by translator pertaining to the limits of the translation, the cultural background, or any other explanation.

The li is a traditional Chinese unit of distance, which has varied considerably over time but now has a standardized length of 500 meters or half a kilometer.

(www.wikipedia.om). Since a li has generally been only about a third as long as a mile, translating the character as "Chinese mile" or simply "li" is much less likely to produce confusion or error.

ST.4. “Once we started to play, nobody could speak, except to say ‘Pung!’ or ‘Chr!’ when taking a tile. (p.11)

TT.4. “Begitu kami mulai bermain, tak ada yang berbicara, kecuali untuk mangatakan Pung!* Atau Chr!** saat mengambil sebuah kartu. (p.26) (*Bentur! ) (**Makan! )

Both pung and chr are terms in the mahjong game. They do not give significance to the whole story. Without understanding the concept, the readers still may

understand the story. However, by introducing pung and chr as parts of mahjong game in the footnote, it gives additional information to the readers’ knowledge.

ST.10. It is shou so deep it is in your bones (p.41)

TT.10. Itulah shou* yang begitu dalam sampai terasa ke tulang. (p.70) (*bakti seorang anak kepada orang tuanya)

Shou is a kind of devotion as a form of respect from a child to her/his parent. It will be done when her/his parent is dying by cutting her/his own flesh then it is cooked with her/his own blood as a medicine to be given to the parent. The concept of shou will not be understood by only giving footnote. However, when the readers read the whole context, they will understand it clearly.

Chang is a kind of charm to bring luck. It can be made of anything, but usually from jade. Chang is not translated as jimat, because the sense of chinese culture will lost. Therefore, the translator keeps the word chang and gives additional information.

ST.14. “What’s that stinky smell?” I asked my amah, who always managed to appear next to my bed the instant I was awake. (p.65) TT.14. “Bau busuk apa itu?” tanyaku pada amah-ku*, yang selalu siap di samping tempat tidurku, begitu aku membuka mata. (p.106) (*pembantu pribadi) Amah can be translated as a nursemaid or maid. However, it is not directly translated like that. It is done in order to keep the sense of Chinese culture in the story, because the story took place in China.

zong-zi is pyramid-shaped dumpling made of glutinous rice wrapped in bamboo or reed leaves. From the context itself, the concept of zong zi is already clear.

However, in order to make clearer explanation, the translator gives the common term in the TL language, that is bakcang.

2. The Possible Influence of Translation Strategy on the Translation

Acceptability

The translation strategies are used to help translator in translating ‘difficult words’, for example words with cultural concept. However, the use of these translation strategies have different numbers of translation acceptabilty because some translation strategies can be accepted easily, whereas some others are not. In order to see how translation strategies give influence on the translation acceptability, translation strategies with its translation accepatbility score are compared. In this part, there are only two translation strategies used in analyzing the translation strategy influence on translation acceptability. There are borrowing and additon because these two strategies have a high portion used in translating

the Chinese expressions found in The Joy Luck Club. Moreover, other translation strategy is only used once or twice, thus it is quite difficult to see their influence on translation acceptability. On other words, it is not valid enough analyzing translation strategies which are just used few times.

No. Borrowing No. Addition TT.7 3.2 TT.1 2.9 TT.8 2.4 TT.4 2.9 TT.16 2.6 TT.10 3.0 TT.17 2.7 TT.13 2.8 TT.18 2.7 TT.14 2.7 TT.2 2.5 TT.15 2.8 Table 2. The translation acceptability based on translation strategies

If the number of translation acceptability from applying borrowing strategy is Bs, and the number of translation acceptability from applying addition strategy is As, then the grade of acceptability from each translation strategy would be:

Bs >< As Bs = Total Scores >< As = Total Scores Total Sentences Total Sentences

Bs = 3.2+2.4+2.6+2.7+2.7+2.5 >< As = 2.9+2.9+3.0+2.8+2.7+2.8 6 6

Bs = 2.7 >< As = 2.8 Bs = 2.7/4 X 100% >< As = 2.8/4 X 100% Bs = 67.5 % >< As = 70 %

As seen on previous page, the number of translation acceptability from applying addition strategy (70 %) is higher than the number of translation acceptability from applying borrowing strategy (67.5 %). Although background information is not communicated by the source text itself, some of this information is needed by the readers of a translation so that they can understand the text. When the readers do not know this information, it needs to be provided by a careful use of addition. Assuming that additions are too complicated for their readers in a way that indicates they are not part of the text itself, some translators have attempted to use another strategy. This strategy is called borrowing strategy.

Borrowings allow words carrying the background information in this case the cultural concept, without giving extra information added by translator. However, this strategy sometimes is problematical in a way that it makes readers can not understand the terms. In fact, getting the translation accepted by the target audience is a challenge in either case—whether background material is added to the text or left out of it. With the proper use of addition and borrowing strategies, translator can resolve major differences between ST and TT.

CHAPTER V

CONCLUSION

In this study, culture is seen as an important factor in the translation process that involves some attentions in transferring meanings from source language to target language in order to reach the closest natural equivalence of the source message. With the three questions in the problem formulation as the guidance, this study has aimed at exploring the translation problem on the cultural untranslatability in general and finding out the translation qualities in terms of accuracy and acceptability in particular.

The Joy Luck Club is chosen as the object of the study. There are many

Chinese expressions found in this literary work. However, there are only eight teen sentences which hold cultural untranslatability.

The translation accuracy of The Joy Luck Club is obtained from the calculation of the accuracy scores given by the researcher and the other two respondents and the final accuracy score resulting from the calculation process is

80 %. It means that the translation quality of The Joy Luck Club is 80% accurate.

Based on Nababan’s description of accurate translation on the Accuracy Rating

Instrument (Setiajid, 2007: 10), it can be described the result of translation accuracy in this study: The content of the TL sentence is accurately conveyed in the SL sentence. The sentence as the result of translation is understood clearly by assessor but there are needs of rewriting and word rearranging (2007: 10).

Meanwhile, a surprising result comes from the translation acceptability.

The grade of translation acceptability given by respondent with Chinese cultural background is lower than the grade of translation acceptability given by respondents with non Chinese cultural background. The respondents with

Chinese cultural background are supposed to consider the translation acceptability higher than the ones with non Chinese cultural background because as

Perkumpulan Kebahagiaan dan Keberuntungan as the translation product contains a lot of Chinese expression. The results of translation acceptability are

67.5 % for respondents with Chinese cultural background and 75 % for respondents with non Chinese cultural background.

This result occurs because of the following possible reasons. First, some

Chinese terms found in The Joy Luck Club have different meaning with the knowledge that the respondents know from their background as the Chinese.

Second, a translation is more easily accepted by respondents when they do not have background at all about the terms.

In dealing with the problem of cultural untranslatability found in the translation process, some translation strategies may be applied. The Chinese expressions which hold Chinese cultural concepts found in The Joy Luck Club are translated by using some translation strategies. They are borrowing, cultural equivalent, the combination of descriptive equivalent and transliteration, synonym, and addition.

From some translation strategies applied by the translator, Borrowing and

Addition strategy take dominations from other strategies. These two strategies

then with its acceptability scores are compared in order to see how translation strategies may give influence on translation acceptability. As the result, the percentage of translation acceptability from applying addition strategy is 70 % acceptable, and the percentage of translation acceptability from applying borrowing strategy is 67.5 %. It means that the acceptability of applying addition strategy is higher than the acceptability of applying borrowing strategy. This is because some background information provided by addition strategy is needed by readers to understand a text. Some words which hold cultural concept especially are hard to be understood when they are just brought from the ST into the TT.

Therefore, in some way, addition strategy makes the translation more acceptable.

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APPENDICES

Appendix 1: List of Sentences which Hold Chinese Cultural Concept

No The Joy Luck Club No Perkumpulan Kebahagiaan dan Keberuntungan ST Then the woman and the swan TT Lalu wanita dan angsa berleher 1. sailed across an ocean many 1. panjang ini mngarungi lautan thousands of li wide, stretching yang beribu-ribu li* lebarnya, their necks toward America. menjulurkan leher mereka ke arah (p.3) Benua Amerika. (p.15) (*1 li = 540 meter) ST I am to replace my mother, TT Untuk mengantikan ibuku, yang 2. whose seat at the mah jong 2. kursinya di meja mahyong table has been empty since she menjadi kosong sejak kematiannya died two months ago. (p.5) dua bulan yang lalu. (p.17) ST The hostess had to serve TT Si nyonya rumah harus 3. special dyansyin foods to bring 3. menghidangkan dimsum khusus good fortune of all kinds— untuk mendatangkan segala jenis dumplings shaped like silver keberuntungan—bulatan-bulatan money ingots, long rice tepung isi yang dibentuk seperti noodles for long life, boiled uang perak, mi panjang dari beras peanuts for conceiving sons, sebagai simbol panjang umur, and of course, many good-luck kacang rebus supaya mendapat oranges for a plentiful, sweet anak laki-laki, dan tentu saja life. (p.10) banyak jeruk keberuntungan untuk mendapatkan hidup yang manis dan berkelimpahan. (p.24-25) ST “Once we started to play, TT “Begitu kami mulai bermain, tak 4. nobody could speak, except to 4. ada yang berbicara, kecuali untuk say ‘Pung!’ or ‘Chr!’ when mengatakan Pung!* Atau Chr!** taking a tile. (p.11) saat mengambil sebuah kartu. (p.26) (*Bentur! ) (**Makan! ) ST I abandoned my beautiful mah TT Kutinggalkan meja mahyongku 5. jong table of hong mu. (p.13) 5. yang indah, yang terbuat dari kayu merah. (p.30) ST She’s already made five rows TT Dia sudah membuat lima deretan 6. of eight wonton each. (p.18) 6. masing-masing delapan pangsit.

(p.37) ST I’m drawn first to a large TT Pertama-tama aku lebih tertarik 7. platter of chaswei, sweet 7. kepada sepinggan chaswei, daging barbecued pork cut into coin- babi panggang manis yang diiris- sized slices. (p.20) iris setipis kepingan uang logam. (p.40)

ST So I knew Popo wanted me to TT Maka aku tahu, Popo sengaja ingin 8. forget my mother on purpose, 8. aku melupakan ibuku. (p.59) and this is how I came to remember nothing of her. (p.33) ST “You are the son of a mother TT “Kau ini anak seorang ibu hina, 9. who has so little respect she 9. yang telah mengkhianati nenek has become ni, a traitor to our moyang kita. (p.63) ancestors. (p.36) ST It is shou so deep it is in your TT Itulah shou*yang begitu dalam 10. bones (p.41) 10. sampai terasa ke tulang. (p.70)(*bakti seorang anak kepada orang tuanya) ST Huang Taitai whispered in her TT Huang Taitai berbisik dengan 11. shrrhh-shrrhh voice that 11. suara shrrhh-shrrhh-nya, bahwa perhaps I had an unusually bad kemungkinan aku punya pichi— pichi, a bad temper. (p.44) temperamen—yang sangat buruk, suka marah. (p.75) ST I remember it was once a lump TT Aku ingat suatu kali aku memberi 12. of syaumei, a little dumpling I 12. Huang Taitai sebiji syaumei, kulit loved to eat. (p.47) berisi daging yang kugemari. (p.79) ST But he could not stop my TT Tetapi dia tidak dapat mencegah 13. mother from giving me her 13. ibuku memberiku chang*-nya, chang, a necklace made out of seuntai kalung terbuat dari a table of red jade. (p.47-48) lempengan batu kumala merah. (p.80) (*semacam jimat supaya selalu beruntung) ST “What’s that stinky smell?” I TT “Bau busuk apa itu?” tanyaku pada 14. asked my amah, who always 14. amah-ku*, yang selalu siap di managed to appear next to my samping tempat tidurku, begitu bed the instant I was awake. aku membuka mata. (p.106) (p.65) (*pembantu pribadi) ST The servant had already TT Para pembantu sudah berkemas 15. packed and loaded a rickshaw 15. dan memenuhi sebuah becak with the day’s basic dengan makanan untuk hari itu: provisions: a woven hamper keranjang yang dipenuhi dengan filled with zong zi, the sticky zong zi*--ketan yang dibungkus

rice wrapped in lotus leaves, dalam daun teratai, ada yang diisi some filled with roasted ham, dengan babi panggang, ada yang some with sweet lotus seeds. diisi dengan biji teratai manis. (p.71) (p.115) (*bakcang) ST “For woman is yin, “she cried TT “Karena perempuan adalah yin,” 16. sadly, “the darkness within, 16. ratapnya sedih, “kegelapan yang where untempered passions lie. tersembunyi, tempat nafsu yang (p.82) tak terkendalikan bersarang. (p.131) ST And man is yang, bright truth TT Dan laki-laki adalah yang, 17. lighting our minds.” (p.82) 17 kebenaran yang bersinar, menerangi pikiran kita.” (p.131) ST My mother placed my first TT Ibu meletakan piala pertamaku di 18. trophy to a new plastic chess 18. sebelah perangkat catur plastik set that the neighborhood Tao yang baru, sumbangan dari society had given to me. (p.98) perkumpulan Tao tetangga. (p.154)

Appendix 2: Accuracy Questionaire

ANGKET KEAKURATAN TERJEMAHAN DALAM MENERJEMAHKAN THE JOY LUCK CLUB MENJADI PERKUMPULAN KEBAHAGIAAN DAN KEBERUNTUNGAN

Responden Yth,

Dalam rangka penulisan skripsi dengan judul The Cultural Untranslatability: The Strategies, The Accuracy, and The Acceptability in Translating The Joy Luck Club into Perkumpulan Kebahagiaan dan Keberuntungan, saya mengharapkan kesediaan saudara/I untuk dapat meluangkan wakt mengisi kuesioner ni. Kuesioner ini bertujuan untuk mengukur kualitas terjemahan kata-kata yang mengandung konsep budaya Cina dalam hal keakuratan (accuracy) menurut persepsi responden. Atas kesediaan dan kerjasama saudara/I, saya ucapkan terima kasih.

Hormat saya

Nur Indah Mahasiswa Universitas Sanata Dharma Nomor Induk Mahasiswa: 044214130

Pada bagian di bawah ini, disediakan empat alternatif penilaian untuk setiap terjemahan. Berilah tanda silang (X) ada salah satu kolom alternatif yang disediakan, yaitu : (1) : jika anda menganggap terjemahan tersebut sangat akurat. (2) : jika anda menganggap terjemahan tersebut akurat. (3) : jika anda menganggap terjemahan tersebut tidak akurat. (4) : jika anda menganggap terjemahan tersebut sangat tidak akurat.

Dan berilah komentar anda berupa alasan atau saran perbaikan terjemahan pada kolom yang disediakan

No The Joy Luck Club No Perkumpulan 1 2 3 4 Kebahagiaan dan Keberuntungan ST1. Then the woman and TT1. Lalu wanita dan angsa the swan sailed across berleher panjang ini an ocean many mengarungi lautan yang thousands of li wide, beribu-ribu li* lebarnya, stretching their necks menjulurkan leher mereka toward America. (p.3) ke arah Benua Amerika. (p.15) (*1 li = 540 meter) Catatan:

ST2. I am to replace my TT2. Untuk mangantikan ibuku, mother, whose seat at yang kursinya di meja the mah jong table has mahyong menjadi kosong been empty since she sejak kematiaanya dua died two months ago. bulan yang lalu. (p.17) (p.5) Catatan:

ST3. The hostess had to TT3. Si nyonya rumah harus serve special dyansyin mnghidangkan dimsum foods to bring good khusus untuk fortune of all kinds— mendatangkan segala jenis dumplings shaped like keberuntungan—bulatan- silver money ingots, bulatan tepung isi yang long rice noodles for dibentuk seperti uang long life, boiled perak, mi panjang dari peanuts for conceiving beras sebagai simbol sons, and of course, panjang umur, kacang many good-luck rebus supaya mendapat oranges for a plentiful, anak laki-laki, dan tentu

sweet life. (p.10) saja banyak jeruk keberuntungan untuk mendapatkan hidup yang manis dan berkelimpahan. (p.24-25) Catatan:

ST4. “Once we started to TT4. “Begitu kami mulai play, nobody could bermain, tak ada yang speak, except to say berbicara, kecuali untuk ‘Pung!’ or ‘Chr!’ mangatakan Pung!* Atau when taking a tile. Chr!** saat mengambil (p.11) sebuah kartu. (p.26) (*Bentur! ) (**Makan! ) Catatan:

ST5. I abandoned my TT5. Kutinggalkan meja beautiful mah jong mahyongku yang indah, table of hong mu. yang terbuat dari kayu (p.13) merah. (p.30) Catatan:

ST6. She’s already made TT6. Dia sudah membuat lima five rows of eight deretan masing-masing wonton each. (p.18) delapan pangsit. (p.37) Catatan:

ST7. I’m drawn first to a TT7. Pertama-tama aku lebih large platter of tertarik kepada sepinggan chaswei, sweet chaswei, daging babi barbecued pork cut panggang manis yang into coin-sized slices. diiris-iris setipis kepingan (p.20) uang logam. (p.40) Catatan:

ST8. So I knew Popo TT8. Maka aku tahu, Popo wanted me to forget sengaja ingin aku

my mother on melupakan ibuku. (p.59) purpose. (p.33) Catatan:

ST9. “You are the son of a TT9. “Kau ini anak seorang ibu mother who has so hina, yang telah little respect she has mengkhianati nenek become ni, a traitor to moyang kita. (p.63) our ancestors. (p.36) Catatan:

ST10. It is shou so deep it is TT10. Itulah shou*yang begitu in your bones (p.41) dalam sampai terasa ke tulang. (p.70) (*bakti seorang anak kepada orang tuanya) Catatan:

ST11. Huang Taitai TT11. Huang Taitai berbisik whispered in her dengan suara shrrhh- shrrhh-shrrhh voice shrrhh-nya, bahwa that perhaps I had an kemungkinan aku punya unusually bad pichi, a pichi—temperamen—yang bad temper. (p.44) sangat buruk, suka marah. (p.75) Catatan:

ST12. I remember it was TT12. Aku ingat suatu kali aku once a lump of memberi Huang Taitai syaumei, a little sebiji syaumei, kulit berisi dumpling I loved to daging yang kugemari. eat. (p.47) (p.79) Catatan:

ST13. But he could not stop TT13. Tetapi dia tidak dapat my mother from mencegah ibuku giving me her chang, memberiku chang*-nya, a necklace made out seuntai kalung terbuat dari of a table of red jade. lempengan batu kumala (p.47-48) merah. (p.80) (*semacam jimat supaya selalu beruntung) Catatan:

ST14. “What’s that stinky TT14. “Bau busuk apa itu?”

smell?” I asked my tanyaku pada amah-ku*, amah, who always yang selalu siap di samping managed to appear tempat tidurku, begitu aku next to my bed the membuka mata. (p.106) instant I was awake. (*pembantu pribadi) (p.65) Catatan:

ST15. The servant had TT15. Para pembantu sudah already packed and berkemas dan memmenuhi loaded a rickshaw sebuah becak dengan with the day’s basic makanan untuk hari itu: provisions: a woven keranjang yang dipenuhi hamper filled with dengan zong zi*--ketan zong zi, the sticky rice yang dibungkus dalam wrapped in lotus daun teratai, ada yang diisi leaves, some filled dengan babi panggang, ada with roasted ham, yang diisi dengan biji some with sweet lotus teratai manis. (p.115) seeds. (p.71) (*bakcang) Catatan:

ST16. “For woman is yin, TT16. “Karena perempuan adalah “she cried sadly, “the yin,” ratapnya sedih, darkness within, “kegelapan yang where untempered tersembnyi, tempat nafsu passions lie. (p.82) yang tak terkendalikan bersarang. (p.131) Catatan:

ST17. And man is yang, TT17 Dan laki-laki adalah yang, bright truth lighting kebenaran yang bersinar, our minds.” (p.82) menerangi pikiran kita.” (p.131) Catatan:

ST18. My mother placed my TT18. Ibu meletakan piala first trophy to a new pertamaku di sebelah plastic chess set that perangkat catur plastik the neighborhood Tao yang baru, sumbangan dari society had given to perkumpulan Tao tetangga. me. (p.98) (p.154) Catatan:

Appendix 3: Acceptability Questionaire

ANGKET KEBERTERIMAAN TERJEMAHAN DALAM MENERJEMAHKAN THE JOY LUCK CLUB MENJADI PERKUMPULAN KEBAHAGIAAN DAN KEBERUNTUNGAN

Responden Yth,

Dalam rangka penulisan skrisi dengan judul The Cultural Untranslatability: The Strategies, The Accuracy, and The Accetability in Translating The Joy Luck Club into Perkumpulan Kebahagiaan dan Keberuntungan, saya mengharapkan kesediaan saudara/I untuk dapat meluangkan wakt mengisi kuesioner ni. Kuesioner ini bertujuan untuk mengukur kualitas terjemahan kata-kata yang mengandung konsep budaya Cina dalam hal keberterimaan (acceptability) menurut persepsi responden. Atas kesediaan dan kerjasama saudara/I, saya ucapkan terima kasih.

Hormat saya

Nur Indah Mahasiswa Universitas Sanata Dharma Nomor Induk Mahasiswa: 044214130

Pada bagian di bawah ini, disediakan empat alternatif penilaian untuk setiap terjemahan. Berilah tanda silang (X) ada salah satu kolom alternatif yang disediakan, yaitu : (4) : jika anda menganggap terjemahan tersebut sangat mudah diterima. (3) : jika anda menganggap terjemahan tersebut mudah diterima. (2) : jika anda menganggap terjemahan tersebut sulit diterima. (1) : jika anda menganggap terjemahan tersebut sangat sulit diterima.

Dan berilah komentar Anda pada kolom yang telah disediakan.

No. Terjemahan 1 2 3 4 TT.1. Lalu wanita dan angsa berleher panjang ini mengarungi lautan yang beribu-ribu li* lebarnya, menjulurkan leher mereka ke arah Benua Amerika. (p.15) (*1 li = 540 meter) Catatan:

TT.2. Untuk mangantikan ibuku, yang kursinya di meja mahyong menjadi kosong sejak kematiannya dua bulan yang lalu. (p.17)

Catatan:

TT.4. “Begitu kami mulai bermain, tak ada yang berbicara, kecuali untuk mangatakan Pung!* Atau Chr!** saat mengambil sebuah kartu. (p.26) (*Bentur! ) (**Makan! ) Catatan:

TT.5. Kutinggalkan meja mahyongku yang indah, yang terbuat dari kayu merah. (p.30) Catatan:

TT.6. Dia sudah membuat lima deretan masing-masing delapan pangsit. (p.37) Catatan:

TT.7. Pertama-tama aku lebih tertarik kepada sepinggan chaswei, daging babi panggang manis yang diiris-iris setipis kepingan uang logam. (p.40) Catatan:

TT.8. Maka aku tahu, Popo sengaja ingin aku melupakan ibuku. (p.59) Catatan:

TT.9. “Kau ini anak seorang ibu hina, yang telah

mengkhianati nenek moyang kita. (p.63) Catatan:

TT.10. Itulah shou*yang begitu dalam sampai terasa ke tulang. (p.70) (*bakti seorang anak kepada orang tuanya) Catatan:

TT.11. Huang Taitai berbisik dengan suara shrrhh- shrrhh-nya, bahwa kemungkinan aku punya pichi—temperamen—yang sangat buruk, suka marah. (p.75) Catatan:

TT.12. Aku ingat suatu kali aku memberi Huang Taitai sebiji syaumei, kulit berisi daging yang kugemari. (p.79) Catatan:

TT.13. Tetapi dia tidak dapat mencegah ibuku memberiku chang*-nya, seuntai kalung terbuat dari lempengan batu kumala merah. (p.80) (*semacam jimat supaya selalu beruntung) Catatan:

TT.14. “Bau busuk apa itu?” tanyaku pada amah-ku*, yang selalu siap di samping tempat tidurku, begitu aku membuka mata. (p.106) (*pembantu pribadi) Catatan:

TT.15. Para pembantu sudah berkemas dan memenuhi sebuah becak dengan makanan untuk hari itu: keranjang yang dipenuhi dengan zong zi*--ketan yang dibungkus dalam daun teratai, ada yang diisi dengan babi panggang, ada yang diisi dengan biji teratai manis. (p.115) (*bakcang) Catatan:

TT.16. “Karena perempuan adalah yin,” ratapnya sedih, “kegelapan yang tersembunyi, tempat nafsu yang tak terkendalikan bersarang. (p.131) Catatan:

TT.17. Dan laki-laki adalah yang, kebenaran yang bersinar, menerangi pikiran kita.” (p.131) Catatan:

TT.18. Ibu meletakan piala pertamaku di sebelah perangkat catur plastik yang baru, sumbangan dari perkumpulan Tao tetangga. (p.154) Catatan:

Appendix 4: Data of Tabulation (Accuracy)

No. Researcher Respondent 1 Respondent 2 ∑ ST.1.>

Appendix 5: Data of Tabulation (Acceptability)

No. Respondents with Chinese Respondents with Non ∑ Cultural Background Chinese Cultural Background R1 R2 R3 R4 R5 R6 R7 R8 R9 R10 TT.1. 4 2 2 3 3 4 2 2 3 4 2.9 TT.2. 1 2 2 3 2 4 1 2 4 4 2.5 TT.3. 3 3 4 2 3 4 3 3 2 4 3.1 TT.4. 3 2 3 3 3 4 3 2 3 3 2.9 TT.5. 3 2 3 4 4 2 3 2 2 3 2.8 TT.6. 3 3 4 4 3 4 2 3 4 4 3.4 TT.7. 3 3 2 4 3 4 3 3 3 4 3.2 TT.8. 3 3 1 2 3 2 2 2 3 3 2.4 TT.9. 3 2 2 4 3 3 3 2 4 4 3.0 TT.10. 3 2 2 3 4 4 3 2 4 3 3.0 TT.11. 2 2 1 3 3 4 2 3 3 3 2.6 TT.12. 3 2 3 3 4 4 3 3 4 3 3.2 TT.13. 3 2 2 3 3 4 2 2 4 3 2.8 TT.14. 2 2 1 3 3 4 3 2 4 3 2.7 TT.15. 3 2 2 3 3 4 2 3 3 3 2.8 TT.16. 2 2 1 3 3 3 2 3 4 3 2.6 TT.17. 2 2 2 3 3 3 2 3 4 3 2.7 TT.18. 3 3 2 2 3 2 3 2 4 3 2.7 ∑ 2.8

Note: ∑ = Average

Appendix 6: Data of Tabulation (Respondents with Chinese Cultural Background’s Acceptability)

No. Rc1 Rc2 Rc3 Rc4 Rc5 ∑ TT.1. 4 2 2 3 3 2.8 TT.2. 1 2 2 3 2 2.0 TT.3. 3 3 4 2 3 3.0 TT.4. 3 2 3 3 3 2.8 TT.5. 3 2 3 4 4 3.2 TT.6. 3 3 4 4 3 3.4 TT.7. 3 3 2 4 3 3.0 TT.8. 3 3 1 2 3 2.4 TT.9. 3 2 2 4 3 2.8 TT.10. 3 2 2 3 4 2.8 TT.11. 2 2 1 3 3 2.2 TT.12. 3 2 3 3 4 3.0 TT.13. 3 2 2 3 3 2.6 TT.14. 2 2 1 3 3 2.2 TT.15. 3 2 2 3 3 2.6 TT.16. 2 2 1 3 3 2.2 TT.17. 2 2 2 3 3 2.4 TT.18. 3 3 2 2 3 2.6 ∑ 2.7

Note: TT = target text Rc = respondent with Chinese cultural background ∑ = average

Appendix 7: Data of Tabulation (Respondents with Non Chinese Cultural Background’s Acceptability)

No. Rnc1 Rnc2 Rnc3 Rnc4 Rnc5 ∑ TT.1. 4 2 2 3 4 3.0 TT.2. 4 1 2 4 4 3.0 TT.3. 4 3 3 2 4 3.2 TT.4. 4 3 2 3 3 3.0 TT.5. 2 3 2 2 3 2.4 TT.6. 4 2 3 4 4 3.4 TT.7. 4 3 3 3 4 3.4 TT.8. 2 2 2 3 3 2.4 TT.9. 3 3 2 4 4 3.2 TT.10. 4 3 2 4 3 3.2 TT.11. 4 2 3 3 3 3.0 TT.12. 4 3 3 4 3 3.4 TT.13. 4 2 2 4 3 3.0 TT.14. 4 3 2 4 3 3.2 TT.15. 4 2 3 3 3 3.0 TT.16. 3 2 3 4 3 3.0 TT.17. 3 2 3 4 3 3.0 TT.18. 2 3 2 4 3 2.7 ∑ 3.0

Note: TT = target text Rnc = respondent with non Chinese cultural background ∑ = average