Post on 28-Oct-2021
TRANSLATION SHIFTS IN THE JAPANESE-ENGLISH
AND THE ENGLISH-INDONESIAN SUBTITLES
IN HOWL’S MOVING CASTLE MOVIE
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements
for the Degree of Sarjana Sastra
in English Letters
By
MAURA MICHELLE KISKE TRISNATEA Student Number: 164214106
DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS
UNIVERSITAS SANATA DHARMA
YOGYAKARTA
2020
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TRANSLATION SHIFTS IN THE JAPANESE-ENGLISH
AND THE ENGLISH-INDONESIAN SUBTITLE
IN HOWL’S MOVING CASTLE MOVIE
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements
for the Degree of Sarjana Sastra
in English Letters
By
MAURA MICHELLE KISKE TRISNATEA Student Number: 164214106
DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS
UNIVERSITAS SANATA DHARMA
YOGYAKARTA
2020
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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Your life goes on to whichever path you chose.
Stay true to yourself, and believe in those around you
no matter how unfair the world is to you.
Do your best, and be like a tree. Keep growing.
“And all you need is
And a little ”
-JM Barrie
負けないで
がんばって ね
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For my beloved
I present
My hundred pages of love
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ACKNOWLEDGEMENTS
First of all, I want to present my deepest gratitude for my Jesus Christ,
who always give me the strength, patience, and passion to finish this research and
walk beside me in every step of the way.
My greatest love, hope, and thanks go to my amazing parents, who always
support me with their best efforts. Mom and dad, thank you because even though
you do not know my struggles and hardships, you keep believing that I will
always make the best of it. Also, for my two furry friends, Gilly and Puppy,
thanks for always accompany and comfort me during my hard times.
I want to send my gratitude to my thesis advisor, Harris Hermansyah
Setiajid, M.Hum. for all his guidance and suggestions from the very beginning of
conducting this thesis. I would also like to thank my co-advisor, Scolastica
Wedhowerti, S.Pd., M.Hum. for the criticism and suggestions that enrich my
study.
I also want to thank Yuki Matsuura and mbak Aurelia Nanda Phalya who
are willing to help me as my Japanese references. Thanks for your times, and
detailed explanations you gave to me. It really helped me a lot in my analysis.
To my goofy friends in campus, Ayu, Riris, Dimas, and others, who I
cannot mentioned one by one, thanks for being there for me in my tough times,
and always help brighten my days. Finally, to my dear Yosaphat Made. Thanks
for always supporting me and being there for me when no one else does.
Maura Michelle
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TABLE OF CONTENTS
TITLE PAGE ....................................................................................................... ii
APPROVAL PAGE ............................................................................................ iii
ACCEPTANCE PAGE ....................................................................................... iv
STATEMENT OF ORIGINALITY ................................................................... v
LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH .. vi
MOTTO PAGE .................................................................................................. vii
DEDICATION PAGE ....................................................................................... viii
ACKNOWLEDGEMENTS ................................................................................ ix
TABLE OF CONTENTS ..................................................................................... x
LIST OF FIGURES .......................................................................................... xiii
LIST OF TABLES ............................................................................................ xiv
ABSTRACT ........................................................................................................ xv
ABSTRAK ........................................................................................................... xvi
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: REVIEW OF LITERATURE ................................................... 6
A. Review of Related Studies .............................................................................. 6
1. Torre’s Research Paper “A Trilingual Translation of Selected Children’s
Tales Towards the Production of Culturally Relevant Materials” ................... 6
2. Fonte’s Thesis “A Trilingual Study of the Translation of Idioms in
Miguel Torga’s A Criação do Mundo” ............................................................ 7
3. Sunarto, Mukarto, Bismoko, and Dewi’s Article “Trilingual
Textualization to Deliver Indonesian Local Cultures to High School
Students” .......................................................................................................... 7
4. Susanti’s Undergraduate Thesis “Official and Pirated Versions of
Indonesian Translation Subtitle of Figurative Language in Maleficent: A
Study of Equivalence and Subtitling Strategies Applied” ............................... 8
5. Febriarieski’s Undergraduate Thesis “The Subtitle of the Figurative
Languages in Authorized and Unauthorized Versions of Maleficent Movie: A
Study of Equivalence and Readability” ........................................................... 9
B. Review of Related Theories .......................................................................... 10
1. Theory of Subtitle ................................................................................... 10
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2. Translation Shifts Theory ....................................................................... 10
a. Level Shifts ......................................................................................... 11
b. Category Shifts ................................................................................... 11
i. Structure Shifts ................................................................................ 11
ii. Class Shifts ...................................................................................... 12
iii. Unit Shifts ....................................................................................... 12
iv. Intra-system Shifts .......................................................................... 12
c. Semantic Shifts ................................................................................... 13
3. Subtitling Strategies Theory ................................................................... 13
C. Theoretical Framework ................................................................................. 17
CHAPTER III: METHODOLOGY ................................................................. 18
A. Areas of Research ......................................................................................... 18
B. Object of the Study ....................................................................................... 19
C. Method of the Study ..................................................................................... 19
D. Research Procedure ...................................................................................... 20
1. Types of Data ......................................................................................... 20
2. Data Collection ....................................................................................... 21
3. Population and Sample ........................................................................... 22
4. Data Analysis ......................................................................................... 22
CHAPTER IV: ANALYSIS AND DISCUSSIONS ......................................... 24
A. Translation Shifts Found in Howl’s Moving Castle Movie Subtitle ............ 24
1. Category Shift Analysis .......................................................................... 26
a. Structure Shift ..................................................................................... 26
i. ST1-ST2 Structure Shift Analysis ................................................... 28
ii. ST2-TT Structure Shift Analysis .................................................... 30
iii. Structure: Pre-post Modifier Shift Analysis .................................... 32
b. Class Shift ........................................................................................... 34
c. Unit Shift............................................................................................. 35
d. Intra-system Shift ................................................................................ 37
2. Semantic Shift Analysis ......................................................................... 40
B. Subtitling Strategies Applied in Howl’s Moving Castle Movie Subtitle ...... 53
1. Direct Transfer ....................................................................................... 55
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2. Calque ..................................................................................................... 57
3. Direct Translation ................................................................................... 60
4. Oblique ................................................................................................... 62
5. Explication .............................................................................................. 69
6. Paraphrase .............................................................................................. 74
7. Condensation .......................................................................................... 78
8. Adaptation .............................................................................................. 81
9. Addition .................................................................................................. 86
10. Substitution ......................................................................................... 90
11. Deletion ............................................................................................... 94
12. Permutation ......................................................................................... 96
CHAPTER V: CONCLUSION ....................................................................... 100
REFERENCES ................................................................................................. 103
APPENDIX ....................................................................................................... 107
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LIST OF FIGURES
No. Figure Page
1. Figure 1. Predicate Concept in English 38
2. Figure 2. Scene 1 Screenshot 1 44
3. Figure 3. Scene 1 Screenshot 2 42
4. Figure 4. Scene 2 Screenshot 43
5. Figure 5. Scene 13 Screenshot 48
6. Figure 6. Scene 18 Screenshot 1 53
7. Figure 7. Scene 18 Screenshot 2 51
8. Figure 8. Scene 7 Screenshot 66
9. Figure 9. Scene 19 Screenshot 1 75
10. Figure 10. Scene 19 Screenshot 2 73
11. Figure 11. Scene 20 Screenshot 77
12. Figure 12. Scene 6 Screenshot 84
13. Figure 13. Scene 10 Screenshot 84
14. Figure 14. Scene 19 Screenshot 84
15. Figure 15. Scene 19 Screenshot 95
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LIST OF TABLES
No. Table Page
1. Table 1. Schjoldager’s Subtitling Strategies 14
2. Table 2. Catford's Translation Shift Category 25
3. Table 3. Catford's Category Shift 25
4. Table 4. Structure Shift Analysis 27
5. Table 5. Structure: Pre-post Modifier Shifts Analysis 32
6. Table 6. Class Shifts Analysis 34
7. Table 7. Unit Shifts Analysis 35
8. Table 8. Intra-system Shifts Analysis 37
9. Table 9. Semantic Shifts Analysis 40
10. Table 10. Schjoldager's Subtitling Strategies 54
11. Table 11. Direct Transfer Strategy Analysis 55
12. Table 12. Calque Strategy Analysis 58
13. Table 13. Direct Translation Strategy Analysis 60
14. Table 14. Oblique Strategy Analysis 63
15. Table 15. Explication Strategy Analysis 69
16. Table 16. Paraphrase Strategy Analysis 75
17. Table 17. Condensation Strategy Analysis 78
18. Table 18. Adaptation Strategy Analysis 81
19. Table 19. Addition Strategy Analysis 87
20. Table 20. Substitution Strategy Analysis 90
21. Table 21. Deletion Strategy Analysis 95
22. Table 22. Permutation Strategy Analysis 97
23. Table 23. All Data Research 107
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ABSTRACT
KISKE TRISNATEA, MAURA MICHELLE. (2020). Translation Shifts in the
Japanese-English and the English-Indonesian Subtitle of Howl’s Moving
Castle Movie. Yogyakarta: Department of English Letters, Faculty of Letters,
Universitas Sanata Dharma.
Subtitle is one of the important elements in movies due to their worldwide
distribution which requires a translation understood by the local people. In
translating movie subtitle, the translators are sure to come across some problems
in the translations process. Translation shift is one of the major problems found in
translating subtitle. Shifts happen due to the adjustments between the Source Text
(ST) and the Target Text (TT). There are many shifts found in this research such
as level shift, categorical shift, and syntactical shift. Aside from translation shifts
occurrences, cultural differences also play an important role in translating a text or
a subtitle from one language to another.
This research is conducted to analyze the translation shifts found in the
Japanese-English and English-Indonesian subtitle of Howl’s Moving Castle
movie, and to identify the strategies applied in the Japanese-English and English-
Indonesian subtitling in the movie. The movie was originally made in Japanese,
and later the English version of the movie was released. The researcher intended
to identify the shifts through both versions of the movie and its Indonesian
subtitle.
The data were primary data which were collected from the transcription of
the English version of the movie and also from the Indonesian subtitle made by
Pein Akatsuki. The research applied empirical approach which sought for new
data and new information derived from the observation done by the researcher.
The empirical approach was applied to analyze the translation difference and to
relate the translations to the scenes and the characters’ actions. This research also
applied qualitative methods by analyzing the translated subtitle employed in the
movie.
In analyzing the data, the researcher applied translation shifts theory by
Catford and subtitling strategies by Schjoldager. The result shows that category
shift has the highest occurrence in the translation with structural difference at its
peak. Different language systems can lead to different translation methods and
create differences between the source texts and the target texts. However, the
analysis proves that the translators are able to transfer the idea from the original
text as all of the 12 strategies are applied, and the texts can be comprehended well.
Keywords: translation shift, subtitling strategy, movie subtitle.
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ABSTRAK
KISKE TRISNATEA, MAURA MICHELLE. (2020). Translation Shift in the
Japanese-English and the English-Indonesian Subtitle in Howl’s Moving
Castle Movie. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra,
Universitas Sanata Dharma.
Takarir adalah salah satu elemen penting dalam film. Oleh karena
penyebarannya yang sangat luas, terjemahan sangat diperlukan agar film dapat
dimengerti oleh masyarakat. Dalam menerjemahkan takarir, para penerjemah pasti
dihadapkan dengan berbagai tantangan. Pergeseran makna terjemahan merupakan
salah satu masalah yang kerap ditemui dalam menerjemahkan takarir. Pergeseran
ini terjadi karena adanya penyesuaian dari Bahasa Sumber (BSu) ke Bahasa
Sasaran (BSas). Ada banyak pergeseran yang ditemukan dalam penelitian ini,
seperti pergeseran level, kategori, dan sintaksis. Selain salah terjemahan,
perbedaan budaya juga sangat berpengaruh dalam menerjemahkan suatu teks dari
satu bahasa ke bahasa lain.
Penelitian ini dibuat untuk menganalisis pergeseran makna terjemahan
yang ada di terjemahan tiga bahasa dalam subtitle film Howl’s Moving Castle, dan
untuk mengenali strategi yang digunakan dalam pembuatan takarir dari bahasa
Jepang-Inggris ke bahasa Inggris-Indonesia. Versi asli film tersebut diproduksi
dalam bahasa Jepang yang kemudian dibuat lagi dalam bahasa Inggris. Selain
dengan takarir Indonesian, analisis pergeseran makna terjemahan ini juga
dilakukan dengan meneliti kedua versi dari film tersebut.
Data yang digunakan ialah data primer yang dikumpulkan dari transkripsi
film versi bahasa Inggris dan takarir Indonesian yang diterjemahkan oleh Pein
Akatsuki. Penelitian ini menggunakan pendekatan empiris yang mencari data dan
informasi baru dari observasi yang telah dilakukan oleh peneliti. Pendekatan ini
digunakan untuk meneliti perbedaan yang ada dalam terjemahan dan untuk
mengaitkan terjemahan tersebut pa/da adegan dan perbuatan karakter dalam film.
Penelitian ini juga menggunakan metode kualitatif yang menganalisis hasil
terjemahan takarir yang digunakan dalam film.
Peneliti menggunakan teori pergeseran makna terjemahan milik Catford
dan strategi pembuatan takarir oleh Schjoldager dalam menganalisis sampel data.
Hasil penelitian menunjukkan bahwa pergeseran kategori memiliki tingkat
kejadian tertinggi dengan banyaknya angka perbedaan struktur dari ketiga
terjemahan tersebut. Perbedaan sistem bahasa dapat memunculkan perbedaan
metode penerjemahan dan adanya pergeseran diantara BSu dan BSas. Meskipun
demikian, para penerjemah berhasil menerjemahkan ide cerita dengan baik. Hal
ini dibuktikan dengan ditemukannya ke 12 strategi yang digunakan dalam
terjemahan.
Kata kunci: translation shift, subtitling strategy, movie subtitle.
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CHAPTER I
INTRODUCTION
A. Background of the Study
In this modern era, technologies are getting more and more sophisticated
by the years. It affects not just the growth of the world, but also the daily life of
the people who live in it. In the world of moving pictures for example. Nowadays,
people love to go to the cinemas to watch movies. They can also enjoy them just
by sitting cozily on their sofas at home. After the 1920s, film makers reinvented
subtitles to help them with their communication problem (Language Reach,
2016). Subtitle is one of the important elements in movies due to their worldwide
distribution which requires a translation understood by local people. Subtitle acts
not only as a language communicator, but also plays an important role in foreign
influences. English as an influential language has been used as an international
language and learned by a lot of people in the world. Most commonly, an English
subtitle is always provided for movies not originally English. Sometimes, the
movies are also dubbed into English. Aside from that, subtitles were not only
made for movies that originally use languages other than English. They were also
made for English-based movies, so that the spectators can follow what the actors
are saying. Therefore, subtitles were made so that the spectators can understand
the movie better.
Subtitles have 6 (six) other importance according to Dann in a website 7
Reasons Your Videos Need Subtitles (n.d.), they are,
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1) Not all of the spectators have the ability to hear well, 2) Many people
do not or cannot turn on the audio, 3) People prefer watching video with
subtitles, 4) Viewers are more engaged, 5) Subtitles increase video social
reach, and 6) Captions improve SEO.
One of the major problems found in translating movies are the cultural
differences between the source language (SL) and the target language (TL). “Such
interaction two or more cultures in the process of translation results in a creation
of a ‘hybrid’ text, which appears in the target culture by adopting some of the
features of the text in the source culture” (Ginter, 2002, p. 27). Another is the
change of the word meaning during the process of translation from one language
to another. It can be seen on how the translators choose the closest equivalent
words for the translation or how the translation sometimes loses their meanings.
Different languages have, of course, their own system which are not
compatible to each other. Translation activity tries to create an equivalent between
to differing languages in terms of referential, pragmatic, and intra-lingual
meaning, as elaborated by Sun in his article (2011).
For two sentences from different languages to be translationally equivalent
they must convey the same referential, pragmatic and intralingual
meaning. However, due to differences between two cultures, semantic
equivalence are limited to some degree (2011, p. 160).
The example can be taken from the word “the waiters and waitresses.” If
the phrase is translated into Indonesian, they become “pelayan-pelayan.” The
phrase originally indicates gender and plurality. But when it is translated into
Indonesian, it becomes genderless but still has the plurality sense. The phrase does
not lose its whole meaning, but it is considered as an effective translation because
it is not necessary to include the gender in Indonesian unless the gender becomes
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an important matter such in a story. This matter can be found in translating
through a three language translation. It can be seen that different language
background can affect the translation from one language to another, even though it
is considered as an effective translation.
In this research, for example, Japanese is the source language 1 (SL1),
English acts as the target language 1 and also the source language 2, which
hereafter will be stated as SL2, and Bahasa Indonesia or the Indonesian language
is the target language (TL). What is said in Japanese may be translated well in
English, but loses some of its meaning in Indonesian because it is a rather
genderless language. It can also happen where in English the word loses some of
its meaning, and the word starts to refer to a different meaning in Indonesian. But
if a direct translation is applied, and the word is translated directly from Japanese
to Indonesian, the translation may be closer to what it means in the source
language 1 rather than it is first translated into English.
This study intends to examine the translation shifts that occurs between the
Indonesian subtitles and the English version of Howl’s Moving Castle movie and
also reviews some terms with the Japanese version of the movie to observe the
changes that happened during the translation process. The research analyzes the
translation shifts through the change of the word meaning, the word structure, and
the metaphorical terms in the subtitles. The example can be seen as follows:
Source Text
(Japanese) Kakureta dakedeshou, guntai ga ippai kiteru kara
Source Text 2
(English) No, he’s just hiding in the fog from those planes
Target Text
(Indonesian) Tidak, dia hanya bersembunyi dalam kabut di lembah
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The object of the research is a movie from Disney Ghibli’s production,
entitled Howl’s Moving Castle. The movie, in Japanese language, tells about a
boy named Howl who was cursed because he ate a shooting star. Years after that,
Howl was famous for his handsomeness and strength, especially among women
throughout the kingdoms. Then, he met a girl named Sophie on her way to see her
sister. Due to her encounter with Howl, the witch of the Wasteland cursed and
turned her into an old lady. After she was cursed, she decided to leave her house
and life in the town and go to the mountains where the wizards and witches live.
Shortly, she found Howl and Calcifer, the fire demon who is actually the shooting
star itself previously consumed by Howl. Sophie eventually wanted to break the
curse between all three of them.
B. Problem Formulation
The research questions can be formulated as follows:
1. What are the translation shifts that occur in the Japanese-English and English-
Indonesian subtitling in Howl’s Moving Castle movie subtitle?
2. What strategies are applied in the Japanese-English and English-Indonesian
subtitling in Howl’s Moving Castle movie subtitle?
C. Objectives of the Study
The research intends, first, to analyze the translation shifts that occur
between the Japanese-English and English-Bahasa Indonesia, which hereafter will
be stated as Indonesian, subtitling in Howl’s Moving Castle movie subtitle, and,
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second, to identify the strategies applied between the Japanese-English and
English-Indonesian subtitling in Howl’s Moving Castle movie subtitle.
D. Definition of Terms
There are some terms often to be mentioned by the researcher that may
sound unfamiliar for the readers. In order to avoid the misunderstanding between
the readers and the researcher, a definition of some terms are provided as follows:
The translation shifts that the researcher analyzes are the linguistic
changes occurring in translation of ST to TT (Munday, 2016). In another words,
translation shifts are changes that happen in the process of translation from ST to
TT.
The researcher takes the Indonesian data from the Indonesian subtitle of
the movie. According to an article on BBC (My Web My Way), subtitles or
captions are textual versions of the dialogue in films and television programmes,
usually displayed at the bottom of the screen.
Japanese language does not uses Latin alphabet as in English and
Indonesian. They use Japanese alphabets such as kana and kanji. In this research,
the Japanese data that are collected are written in the form of romaji in order to
ease both the researcher and the readers to read the Japanese terms. Romaji is a
way to write Japanese words using the Latin alphabet (2016).
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CHAPTER II
REVIEW OF LITERATURE
This chapter is divided into three parts. The first part discusses some
studies done previously by other researchers who have similar topics with this
undergraduate research. This part shows the similarities and differences between
the studies. At the end of the first part, the researcher also shows where this
research stands. The second part discusses the theories applied by the researcher
in conducting this research. The third part explains how the theories help the
researcher analyze the data.
A. Review of Related Studies
1. Torre’s Research Paper “A Trilingual Translation of Selected Children’s
Tales Towards the Production of Culturally Relevant Materials”
“A Trilingual Translation of Selected Children’s Tales Towards the
Production of Culturally Relevant Materials” is a paper written by Torre (2018)
who discusses the translation of selected children’s tales from English to Filipino
then from Filipino to Bisakol. He applies Newmark’s 11 procedures of translation,
and reveals that transposition and one-to-one translation are the most frequently
utilized translation procedures. However, the translators in Filipino and other
Philippine languages cannot fully rely on this methods and translation procedures
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due to the various needs and demands of translating English into Filipino.
Therefore, segmentation method is also applied to fill the missing link.
This undergraduate thesis also discusses a translation between three
languages. However, in his research, Torre tends to evaluate the translation
towards the production of error-free and culturally relevant instructional materials
for Mother Tongue-Based Multilingual Education (MTBMLE).
2. Fonte’s Thesis “A Trilingual Study of the Translation of Idioms in Miguel
Torga’s A Criação do Mundo”
“A Trilingual Study of the Translation of Idioms in Miguel Torga’s A
Criação do Mundo” (2012) is aimed to explore how the English and Spanish
translators of a Portuguese fictional autobiography carried out the translation of
idiomatic expressions in Torga’s work. The research shows that idioms pose
specific semantic, cultural, and morphological problems for translators because
idioms have very complex features which vary from one language to another.
This undergraduate thesis also discusses a translation process involving
three languages. However, Fonte, in her thesis, analyzes idioms instead of movie
subtitles. Also, the data sample are back-translated into English in order to see the
procedures that the translators applied in translating different idiom categories.
3. Sunarto, Mukarto, Bismoko, and Dewi’s Article “Trilingual
Textualization to Deliver Indonesian Local Cultures to High School
Students”
“Trilingual Textualization to Deliver Indonesian Local Cultures to High
School Students” (2018) is an article written by E. Sunarto, F. X. Mukarto, J.
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Bismoko, and Novita Dewi which discusses issues regarding the translation of
local texts from regional languages and cultures throughout the Indonesian
archipelago into Indonesian and English. The result shows that textualization of
local texts help supporting the politics of the national language such as the use of
Indonesian as the national language, the preservation of local languages as the
fundamental support of the national culture, and the exposure of various local
wisdoms to the global community.
This undergraduate thesis also discusses a three language translation
process, but this article discusses deeper into the formulation of the basic
philosophy, themes, and values that are carried and preserved in the translation
from local languages into Indonesian and English.
4. Susanti’s Undergraduate Thesis “Official and Pirated Versions of
Indonesian Translation Subtitle of Figurative Language in Maleficent: A
Study of Equivalence and Subtitling Strategies Applied”
“Official and Pirated Versions of Indonesian Translation Subtitle of
Figurative Language in Maleficent: A Study of Equivalence and Subtitling
Strategies Applied” (2017) aims to analyze the equivalence of the figurative
language translation and to determine the subtitling strategies applied in the
authorized and unauthorized versions of Maleficent movie. Susanti takes the data
from the official version and unauthorized versions by Archangel Gabriel, and by
Lebah Ganteng of the movie. The result shows that the unauthorized versions are
better than the authorized version due to their dynamic equivalence and
application of paraphrase strategy.
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This undergraduate thesis also analyzes movie subtitle and employ the
theory of subtitling strategy. However, Susanti, in her study tries to focus more on
the translation equivalence of figurative languages in the movie.
5. Febriarieski’s Undergraduate Thesis “The Subtitle of the Figurative
Languages in Authorized and Unauthorized Versions of Maleficent
Movie: A Study of Equivalence and Readability”
“The Subtitle of the Figurative Languages in Authorized and Unauthorized
Versions of Maleficent Movie: A Study of Equivalence and Readability” (2019)
aims to find out the readability and the translation equivalence in authorized and
unauthorized versions of Maleficent movie subtitle. The result shows that the
unauthorized version of the movie is considered as readable due to the translation
is not ambiguous, sounds familiar, no double meanings, and supported the visual
context in the movie.
This undergraduate thesis also analyzes movie subtitle translation, but this
study focuses more on the readability of the subtitle based on the applied
equivalence.
It can be concluded from the five related studies above that this
undergraduate research discusses the similar topic in terms of a translation
involving three different languages, subtitling, and translation shift matters.
However, the researcher aims to discover new ideas by focusing on the translation
shifts that occur in the Japanese and English version of Howl’s Moving Castle
movie, and the subtitling strategies applies in its Indonesian subtitle made by Pein
Akatsuki.
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B. Review of Related Theories
1. Theory of Subtitle
Gottlieb mentions that subtitles are “less than a true representation” of the
original massage of a moving picture, such in a television program (1991).
Subtitles are in form of texts that represent the dialogues uttered by the characters
in movies or TV programs. They pop out and display at the bottom of the screen
in order to attract “as little attention as possible” for the spectators (Cintas, 2012).
Commonly, subtitles are displayed horizontally with no more than two lines of
dialogue. Subtitles must be positioned in the exact same timing when the character
utters the dialogue. If the subtitles are too early or too late, it can be confusing and
may ruin the enjoyment of the program.
According to Gottlieb, there are two main distinctions of subtitles (1991).
All film and normal modern television subtitling belong to the open subtitles
category as they are “received with the original film or television version.” The
second category is closed subtitles. Domestic language television programs which
are broadcast with subtitles transmitted via separate signal, and satellite-
transmitted television across language boundaries are included in this category, as
the subtitles are optionally added to the original version.
2. Translation Shifts Theory
According Catford (1965), translation shifts are divided into two major
types, they are: level shifts and category shifts. The researcher also applies
semantic shifts theory by Holmann (2009) because the researcher found semantic
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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change in the analyzed data, which is not included in Catford’s translation shift
types.
a. Level Shifts
Level shift explains that “a [sic] SL item at one linguistic level has a TL
translation equivalent at a different level” (p. 73). The only possible level shifts in
translation is shifts from grammar in one language to lexis in another language.
The example can be taken from the word “Amelia is baking cookies” which is
translated into “Amelia sedang memanggang kue” in Indonesian. The word –ing
is translated into sedang in Indonesian. It can be seen that the word level changes
from grammar in English into lexis in Indonesian.
b. Category Shifts
Category shifts are “departures from formal correspondence in one
translation” (Catford, 1965, p. 76). Category shifts cover structure shifts, class
shifts, unit shifts, and intra system shifts (p. 76). Category shifts can only be
discussed if it is assumed that there are some degrees of formal correspondence
between SL and TL. It means that there has to be an assumption that both
languages have the same number of categories or hierarchy in their language
systems.
i. Structure Shifts
According to Catford in Munday (2016, p. 96), structure shifts are “the
most common and to involve mostly a shift in grammatical structure.” Structural
shifts can occur in all ranks such in clause rank and group rank. The example can
be taken from Luffy-san wa umi ni imasu which is translated into “Luffy berada di
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
12
laut” in Indonesian. It can be seen from the example that the structure changes
from S-Preposition-V in Japanese into S-V-Preposition in Indonesian.
ii. Class Shifts
Class shifts “occur when the translation equivalent of a [sic] SL item is a
member of a different class from the original item” (Catford, 1965, p. 78). It
changes from one part of speech to another. The example can be taken from
“Have a seat, please” which is translated into “Silakan duduk” in Indonesian. The
word ‘a seat’ here acts as a noun, while the word ‘duduk’ in Indonesian acts as an
action that is addressed to the listener.
iii. Unit Shifts
Unit or rank shifts are shifts that occur in sentence unit such in sentence,
clause, group, word, and morpheme (Munday, 2016, p. 97). The shifts happen due
to the rank differences between the SL and TL. The example can be taken from
Don’t Call Me Angel’s (2019) song lyric “You better stop the sweet talk” which is
translated into “Hentikan mulut manismu” in Indonesian. It can be seen that the
lyric form changes from sentence in English into phrase in Indonesian.
iv. Intra-system Shifts
Intra-system shifts happen due to the different language systems between
ST and TT. The example can be taken from the nouns in Japanese and English.
Japanese nouns cannot inflect the same way as in English. They can refer to plural
and singular noun at the same time. Meanwhile, English plural nouns are
indicated by the addition of –s or –es in the final position of the noun. The word
neko, for example, can be translated into a cat, the cat, or even cats in English.
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c. Semantic Shifts
Semantic shifts are meaning shifts or changes that occur between
languages. Expressions are “said to be meaningful because they are connected to
aspects of the real world in some objective ways” (Hollmann, 2009). The shifts
can turn the meaning of a word, phrase, sentence, or even text, and gave a more
positive or negative meaning, make it broader or narrower, or change it into
metaphor or metonymy. The internal and external language factors also play
important roles in semantic change due to its strong relation with arbitrary cultural
and social changes, as elaborated by Oklah in his article (2014). The example can
be seen as follows:
Source Text 1 (Japanese) Source Text 2 (English) Target Text (Indonesian)
Onee-chan Sophie Kakak
(Howl's Moving Castle, 2004)
Onee-chan in Japanese means elder sister. Lettie, the character who said
the dialogue, was addressing her elder sister, but it is translated into ‘Sophie,’ the
elder sister’s name, in the ST2. Meanwhile, the meaning changes back again to
‘Kakak’ as in the TT. It can be seen that the TT translate it according to the ST1.
3. Subtitling Strategies Theory
Schjoldager, in her book, mentions that “on a concrete level, in the course
of the actual message transfer from one text to another, you need to make a
number of specific choices based on the source text in front of you” (2008, p. 89).
In 1992, Gottlieb introduces ten strategies applied by subtitlers such as himself.
Schjoldager develops these strategies and divides them into twelve.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
14
Table 1. Schjoldager’s Subtitling Strategies
Subtitling
Strategy Explanation
Example Example
Source ST TT D
irec
t T
ran
sfer
Similar to Gottlieb’s
imitation theory
which transfers terms
such as names,
places, and brands
exactly as they are
stated in the SL.
… but there
was no course
in “Queen” or
“How to Run
A Country
101”
… tapi tidak
ada kursus di
“Ratu” atau
“How to Run
A Country
101”
The Princess
Diaries 2:
Royal
Engagement
movie (2004)
Ca
lqu
e
Calque is applied by
maintaining the
structure of the ST or
by making a very
close translation to
the ST.
Of course, I
wonder… will
I ever be ready
Tentu saja, aku
bertanya-
tanya… akan
saya pernah
siap?
The Princess
Diaries 2:
Royal
Engagement
movie (2004)
Dir
ect
Tra
nsl
ati
on
This strategy is
applied by translating
the source text with
word-for-word
procedure
(Schjoldager, 2008, p.
92).
Now we pray. Sekarang kita
berdoa.
Kubo and the
Two Strings
movie (2016)
Ob
liq
ue
Tra
nsl
ati
on
In contrary from
direct translation,
oblique translation is
applied by translating
the source text with
sense-for-sense
procedure.
What do we do
next, daddy?
Terus
bagaimana,
Ayah?
Kubo and the
Two Strings
movie (2016)
Exp
lica
tion
Explication makes the
implicit information
in the ST becomes
explicit in the TT.
Mother says,
I’ll grow into
it.
Kata Ibu, aku
harus
memakainya
sampai
dewasa.
Kubo and the
Two Strings
movie (2016)
Pa
rap
hra
se
This strategy allows
the translators to
translate the text
rather freely (p. 92).
With every day
that goes by,
she drifts
further away.
Hari demi hari,
Ibu makin tak
karuan.
Kubo and the
Two Strings
movie (2016)
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Subtitling
Strategy Explanation
Example Example
Source ST TT C
on
den
sati
on
Condensation is
applied to translate
the text in a shorter
way. Condensation
works contrary with
explication because it
makes explicit
information becomes
implicit.
We’re going to
find the
armor.
Kita harus
temukan
senjata itu.
Kubo and the
Two Strings
movie (2016)
Ad
ap
tati
on
This strategy is
similar to Gottlieb’s
dislocation strategy.
However, Schjoldager
(p. 92) adds that
adaptation tends to
recreate the effect of
the ST in the TT
entirely or partially.
Kita no shima
wa
Samui~
Hyakkoi-koikoi
Atama
buruburu
Aho baka
Dinginnya pula
utara
Yang
menyenangkan
~
Hyakkoi-
koikoi~
Membuat
kepalamu beku
Dan tambah
tolol
One Piece
anime series
episode 169
in the Skypea
Arc (2003)
Ad
dit
ion
Addition strategy
allows translators to
“adds a unit of
meaning” in the
translated text.
Sessha Okiku
to
moushimasu.
Namaku
(sessha)
Okiku.
One Piece
anime series
episode 900
in the Wano
Arc (2019)
Su
bst
itu
tion
Substitution is applied
when the translator
change a meaning(s)
in the ST with another
term(s) in the TT.
I am delighted
to welcome
you here this
evening.
Saya gembira
untuk
menyambut
Anda di sisni
malam ini.
The Princess
Diaries 2:
Royal
Engagement
movie (2004)
Del
etio
n This strategy is
applied when a unit of
meaning(s) in the ST
is omitted in the TT.
But you were a
wooden
charm.
Tapi kau cuma
jimat.
Kubo and the
Two Strings
movie (2016)
Per
mu
tati
on
According to
Schjoldager in her
book (2001),
“permutation occurs
when a TT item is
placed in a textual
position which is
different from that of
its ST item.”
(00:01:49)
Otoko tachi wo
… sekushi
garu
(00:01:49)
Seorang gadis
cantik yang
mampu …
One Piece:
Episode of
Luffy – Hand
Island no
Bouken
movie (2012)
(00:01:53) …
no koukaishi,
Nami
(00:01:53)
Navigator
cerdas dan
seksi kami,
Nami.
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Every language has its own background and system. There are languages
involving gender in almost everything in their vocabulary, such in French and
Spanish, or languages that indicate gender only in some part of their vocabulary.
Also, there are languages that use uncommon writing or reading order such in
Japanese and Arabic. Iida, Sumita, and Furuse in their paper entitled “Spoken-
Language Translation Method Using Examples” (1996) discuss the difficulties of
spoken language translation between Japanese and English. Difficulties such in
the Japanese left to right order writing system and Japanese topic marker. Ulatus
website (Inherent Problems in Japanese to English Translation Accuracy, 2016)
also mentions the difficulties in translating from Japanese to English such as the
grammar differences, the kanji writing, and the content based translation.
Sandra in her article journal discusses that the problems found in
translating from English to Indonesian are mostly around lexical, grammatical,
and semantical elements (2018). In such translation, aspects such as cultural
content, the availability of equivalencies, and the ability to use monolingual
dictionary need to be considered properly to produce an acceptable translation.
The definition of words in Japanese and Indonesian can also have different
interpretation, such in the words kenry and ‘hak.’ Azhar and Yoshiyuki in their
journal article mention that there are some contradictions in connection of the
relation between the people and society (2010). They also explain the different
understanding of the Japanese and Indonesian people’s concept of kenri and ‘hak.’
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C. Theoretical Framework
In this research, there are two theories applied to answer the problem
formulation stated in the previous chapter. They are translation shifts theory and
subtitling strategies.
The translation shifts theory helps the researcher analyze the kind of shifts
that are found in both translations of Howl’s Moving Castle movie, while the
subtitling theory helps the researcher identify the strategies applied in the
Indonesian subtitle of the movie.
The first research question is answered by applying the translation shifts
theory. The theory is applied to classify the shifts that are found in Howl’s Moving
Castle movie into three major categories: level shifts, category shifts, and
semantic shifts.
The second research question is answered by applying the subtitling
strategies theory. This theory is employed to identify the subtitling strategies
applied by the subtitlers.
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CHAPTER III
METHODOLOGY
This chapter discusses the methodology that the researcher applied in
order to help answering the research questions. There are four parts in this
chapter. The first part describes the areas of translation research conducted by the
researcher. The second part provides the description of the object being studied.
The third part describes the methods applied by the researcher in analyzing the
data. The fourth part consists of four subparts which explain the types of data
collected by the researcher, the data collecting process, the population and
sampling applied in order to acquire the final data, and data analysis to describe
the condition of research variables.
A. Areas of Research
The research applied multimedia translation areas of research which deals
with analysis of sur- or subtitled material as it analyzed the translation shifts
found between the Japanese and English version of Howl’s Moving Castle movie,
and its Indonesian subtitle. According to Williams and Chesterman in their book
(2002), films are included in audiovisual texts which are translated by revoicing or
sur- or subtitling. “Sur- or subtitling leaves the original spoken or sung text intact
and adds a written translation” (p. 13) as usually displayed at the bottom of the
screen.
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B. Object of the Study
This study analyzed the movie subtitle, or the dialogues uttered by the
characters in Disney Ghibli’s Howl’s Moving Castle movie, both in Japanese and
English version of the movie, and the Indonesian subtitle made by Pein Akatsuki.
The dialogues were in form of sentences which were spoken by the characters in
the movie. The Japanese version of the movie was taken as the source text or the
original text for this research. The English version of the movie was taken as the
Japanese target text, and the source text for the Indonesian subtitle, while the
Indonesian subtitle was taken as the final target text.
C. Method of the Study
The researcher applied qualitative method in conducting the study.
Qualitative method was utilized to capture the results of this research in words,
images, or non-numeric symbols (George, 2008, p. 7). It was employed “to learn
about distributed or private knowledge,” and to answer questions about
experience, meaning, and perspective from the standpoint of the researcher
(Hammarberg, Kirkman, & Lacey, 2006, p. 499).
This study also applied explicative and library research methods.
Explicative method involved a careful examination of a major text in order to
understand the aspects of the text (George, 2008, p. 6). The method was employed
to help the researcher identified the subtitling strategies and the shifts found in the
movie subtitle. Meanwhile, library method was applied to help the researcher
identified and located sources which “provide factual information or personal or
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
20
expert opinion on a research question” (p. 6). This method was utilized to find out
Catford’s translation shifts theory and Gottlieb’s subtitling strategies. The data
were primary data collected by the researcher.
D. Research Procedure
1. Types of Data
The type of data applied in this research is objective data. The data were
taken from the unauthorized Japanese and English version of Howl’s Moving
Castle movie and the Indonesian subtitle of the movie made by Pein Akatsuki.
The researcher chooses the unauthorized version due to the limitations access to
the authorized version of the movie. Some previous studies also show that
unauthorized movie version is better than the authorized ones. It can be seen in
Febriarieski’s and Susanti’s undergraduate thesis as mentioned in the previous
chapter.
The movie was produced from a novel entitled Hauru no Ugoku Shiro by
Jones. It was directed by Miazaki, and was released on 21 November 2004 in
Japan. Then, it was released in USA on 17 June 2005. The genres of the movie are
animation, adventure, family, and fantasy. The movie took about one hour and 59
minutes. It was rated as Parental Guide for frightening images and brief mild
language (IMDb, n.d.).
There are 20 scenes in the movie with more or less 775 dialogues in total.
The number of the scenes are divided accordingly by the researcher.
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2. Data Collection
The researcher collected three language data, Japanese-English-
Indonesian. The English and Japanese data were acquired by transcribing both
versions of Howl's Moving Castle movie. The Indonesian data were downloaded
from Film Bioskop 21’s website (n.d.). First, the researcher transcribed the
English version of the movie by watching the movie with a headset and took notes
of the whole dialogues that the characters spoken in the movie. Then, the
researcher numbered the dialogues and put the Indonesian subtitle along with the
English transcription. Next, the researcher put on a headset and watched the
Japanese version of the movie while reading the English-Indonesian transcription
in another laptop. The researcher also took notes and transcribed the possible
Japanese data. Unlike the English data, the Japanese data were not acquired by
transcribing the whole dialogues in the movie. The researcher only transcribed the
possible final data, and wrote the dialogue in the form of romaji. Finally, the
Japanese, English, and Indonesian data were compared and sampled in order to
acquire the final data sample.
After collecting the data from the movie, the researcher encoded the data
in a table such as below.
No of Data Source Text 1
(Japanese)
Target Text 1/
Source Text 2
(English)
Target Text
(Indonesian)
1/ST1/S1/00:02:14/CH10
1/ESIT/S1/00:02:12/CH10
1/TT/S1/00:02:13/CH10
Kakureta
dakedeshou, guntai
ga ippai kiteru kara
No, he’s just hiding
in the fog from
those planes
Tidak, dia hanya
bersembunyi dalam
kabut di lembah
in which
1 : The number of the data
ST1 : Source Text (Japanese)
ESIT : English Target Text – Indonesian Source Text (English)
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TT : Target Text (Indonesian)
S1 : The number of the scene where the dialogue is said (Scene 1: At the
Hatter’s)
Time 1 : The exact time when the dialogue is said in the Japanese version of the
movie
Time 2 : The exact time when the dialogue is said in the English version of the
movie
Time 3 : The exact time when the Indonesian subtitle appears in the English
version of the movie
CH : The character who said the dialogue
CH1 : Sophie
CH2 : Howl
CH3 : Calcifer
CH4 : Markl
CH5 : Witch of the Waste
CH6 : Sophie’s mother
CH7 : Madame Saliman
CH8 : King
CH9 : Hatter girl 2 (the one with green dress)
CH10 : Hater girl 3 (the one with blue dress)
CH11 : Soldier 1 (who does not have mustache)
CH12 : Bakery worker
CH13 : Man on the mountain foot
CH14 : The woman in front of Jenkin’s
3. Population and Sample
Howl’s Moving Castle movie has 20 scenes in total. The scenes were
divided accordingly by the researcher. The research applied stratified sampling
where the population that was being sampled is categorized. The population
covered all of the dialogues found in Howl’s Moving Castle movie. Two set of
dialogues were taken from each scenes as data sample.
4. Data Analysis
This research employed several steps in analyzing the data in order to
answer the problem formulation as stated in the first chapter.
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The first step was done by analyzing the translation shifts found in the
Japanese-English and English-Indonesian movie subtitle. The data was coded,
analyzed, labeled, and categorized as can be seen as follows:
No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
13/ST/S7/00:14:43/CH13
13/ESIT/S7/00:14:42/CH13
13/TT/S7/00:14:42/CH13
Kono saki ni
wa
mahoutsukai shika
urotsuitenai ze
There’s
nothing but
witches and
wizards out
there.
Disana tak ada
apapun
kecuali para
penyihir.
Intra-
system
21/ST/S11/00:42:31/CH2
21/ESIT/S11/00:42:30/CH2
21/TT/S11/00:42:31/CH2
Maa nee… I’m tired Aku capek. Intra-
system
The second step was done by identifying the subtitling strategies applies in
the English transcription and Indonesian subtitle. This step was done in order to
explain the cause of the occurring shifts found in the movie subtitle, and to
support the researcher’s analysis. The analyzed data is displayed as follows:
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
17/ST/S9/00:23:44/CH3
17/ESIT/S9/00:23:43/CH3
17/TT/S9/00:23:44/CH3
Minatomachi Port Haven door.
Pintu
Porthaven!
Direct
Transfer
33/ST/S17/01:25:30/CH4
33/ESIT/S17/01:25:29/CH4
33/TT/S17/01:25:30/CH4
Sophie,
Hauru-san nara shinpai
iranai yo.
Mae mo
nannichimo
inakata koto
ga
aru/kotowaru
kara.
Oh, don’t
worry about
Master Howl,
Sophie.
Sometimes he
likes to go
away for days
on end.
Sophie,
Jangan
mengkhawati
rkan Howl-
san.
Terkadang,
dia suka pergi
berhari – hari.
Direct
Transfer
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CHAPTER IV
ANALYSIS RESULTS AND DISCUSSIONS
This chapter explains the analysis of the translation shifts and the
subtitling strategies applied in Howl’s Moving Castle movie subtitle. There are
two main points that the researcher analyzed. The first point is examining and
categorizing the translation shifts occurrence in the Japanese-English and English-
Indonesian movie subtitle. The second point is identifying the subtitling strategies
applied in the Japanese-English and English-Indonesian movie subtitle.
A. Translation Shifts Found in Howl’s Moving Castle Movie Subtitle
In order to solve the first problem of this study, the translation shifts which
occur in the Japanese-English and English-Indonesian subtitling in Howl’s
Moving Castle movie subtitle are categorized and explained in this part based on
Catford’s translation shift theory. All of the shifts are categorized into three
majors, they are level shifts, category shifts and semantic shifts. The category
shifts cover structure shift, class shifts, unit shifts, and intra-system shifts. In this
subchapter, two charts are provided to show the number of the major shifts
occurrence, and the number of each category shift that are found in the data. There
are 80 shift occurrences found in the data. However, this discussion does not
cover every single shift analysis of the data. Instead, samples are chosen to give
more detail explanation. A table contains of the data samples is provided in each
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
25
subchapters which is followed by repeating data table due to the long analysis
elaboration. Similar data samples are also often to be displayed because various
shifts are found in one data.
Table 2. Catford's Translation Shift Category
There are 79 shift occurrences found in Howl’s Moving Castle movie
subtitle. It can be seen from table 2 that category shift holds the most frequent
shift category with 57% occurrences. Meanwhile, semantic shift also occurs with
the percentage of 43%, and there is no level shift found in the data.
Table 3. Catford's Category Shift
Table 3 shows the details of the category shifts occurrences that are
mentioned previously in table 2. Structure shift is the most frequent category shift
with a percentage of 64%, followed by unit shift with 20%, class shift with 7%
and intra-system shift with 9%.
34
45
0
0 10 20 30 40 50
Semantic Shift
Category Shift
Level Shift
Caftofd's Translation Shift Category
4
9
3
29
0 10 20 30 40
Intra-system
Unit
Class
Structure
Catford's Category Shift
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1. Category Shift Analysis
Catford divides category shift into four subcategories. Besides the changes
of ranks, category shifts also cover the changes of structure, changes of class, and
changes of terms in language systems.
a. Structure Shift
A shift is categorized as structure shift when the data shows different
grammatical structure from one text to another. It can be in the rank of a sentence,
phrase, or clause. However, a general structure shift analysis cannot be applied
properly in the data due to the differences between the structure of dialogues and
the structure commonly found in general sentences. Sentences commonly contain
subjects, verbs, and complete thoughts (Butte College, n.d.), while such structures
are not obligatory in both written and spoken dialogues. This research takes
dialogue as the analyzed data, and dialogue is a two way type of conversation “to
exchange information and build relationships” between the participants (Angel,
2017). Sentences in conversation cannot be treated as in general sentences
because incomplete sentences are usually found in conversation, as explained by
O’Brien on her website (Sentence Fragments, n.d.). Such sentences are called as
sentence fragments. On the contrary of common sentences, sentence fragments
“lack one or more” of the three important elements in common sentences such in
subjects, verbs, and complete thoughts (Butte College, n.d.). Due to the fact that
fragments are often found in conversation (Butte College, n.d.), and they are also
found in the data, the researcher decides to take part(s) of the dialogues when
there are indications of incomplete structure in order to ease the data analysis. The
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27
highlighted parts in the following table shows the dialogue parts taken in the
analysis, while the brackets show the word function of the underlined dialogues.
Table 4. Structure Shift Analysis No of Data
Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
2/ST/S1/00:02:23/CH10
2/ESIT/S1/00:02:22/CH10
2/TT/S1/00:02:23/CH10
Daijobu, anta
(S) wa
nerawarenai (V) kara
Don’t worry,
he (S) only
preys (V) on
pretty girl (O).
Jangan
khawatir,
mangsa Howl (S) hanya
gadis cantik (P).
Structure
5/ST/S3/00:08:02/CH1
5/ESIT/S3/00:08:02/CH1
5/TT/S3/00:08:01/CH1
Howl (S) wa
bijin (O) shika
nerawanai
mono (V)
Howl (S) only
does (V) that
(Od) to
beautiful girls
(Oi).
Howl (S)
hanya
melakukannya
(V) ke gadis
cantik (O).
Structure
15/ST/S8/00:22:03/CH3
15/ESIT/S8/00:22:01/CH3
15/TT/S8/00:22:02/CH3
Akuma (S) wa
yakusoku (O)
wa shinai (V)
sa
Ah, I don’t
know, lady.
Demons (S)
don’t make (V) promises
(O).
Aku tak tahu
nenek, iblis
(S) tak
membuat (V)
janji (O).
Structure
30/ST/S15/01:14:45/CH1
30/ESIT/S15/01:14:44/CH1
30/TT/S15/01:14:44/CH1
Calcifar,
Salliman ga
itte ta wa,
Howl (S) wa
taisetsu na
mono (Od) wa
anata (Oi) ni
watashitatte (V). Nani
sore? Doko ni
aru no?
Do you know
what Madame
Sulliman said?
She said that
Howl’s heart (S) was stolen
(V) by a
demon (O).
Tell me now,
what do you
know.
Calcifer, kau
tahu apa yang
dikatakan
Madam
Suliman ? Dia
bilang bahwa
jantung Howl (S) dicuri (V)
oleh iblis (O).
Katakan
padaku, apa
yang kau
ketahui ?
Structure
33/ST/S17/01:25:30/CH4
33/ESIT/S17/01:25:29/CH4
33/TT/S17/01:25:30/CH4
Sophie (S),
Hauru-san (O) nara
shinpai iranai
yo (V). Mae
mo
nannichimo
inakata koto
ga aru kara.
Oh, don’t
worry (V)
about Master
Howl (O),
Sophie (S).
Sometimes he
likes to go
away for days
on end.
Sophie (S),
Jangan
mengkhawati
rkan (V)
Howl-san (O).
Terkadang,
dia suka pergi
berhari – hari.
Structure
35/ST/S18/01:31:15/CH1
35/ESIT/S18/01:31:14/CH1
35/TT/S18/01:31:14/CH1
Marukuru (S), obaa-
chan (O)
onegai (V).
O-mise
mitekuru.
Marko (S) get
back (V)
inside (Prep).
I’m gonna
check on the
shop.
Markl (S),
masuklah (V)
ke dalam (Prep), Aku
akan
memeriksa di
dalam toko.
Structure
37/ST/S19/01:35:41/CH1 Asoko (Prep) Looks like Sepertinya Structure
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28
No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
37/ESIT/S19/01:35:40/CH1
37/TT/S19/01:35:40/CH1
ni Hauru (S)
ga iru (V).
Howl (S) ’s
(V) in (Prep)
trouble (O).
Howl look
out!
Howl (S)
berada (V)
dalam (Prep)
masalah (O).
Howl !
39/ST/S20/01:52:20/CH1
39/ESIT/S20/01:52:19/CH1
39/TT/S20/01:52:19/CH1
Kabu,
daijoubu?
Tsugu
atarashi bou
(O) mitsukete
ageru (V) ne.
Kabu,
arigatou.
His pole
snapped. Are
you alright?
We (S) ’ll get
(V) you (Oi) a
new pole (Od)
ok? You saved
us, Turnip.
Lobak ? Apa
kau baik saja ?
Kita (S) akan
mencarikanm
u (V) tiang
baru (O), oke
? Lobak,
terima kasih
Structure
i. ST1-ST2 Structure Shift Analysis
As mentioned in the previous chapter, Japanese language has different
grammatical structure compare to English and Indonesian. Japanese language
tends to put the object after the subject, and put the verb behind. It can be seen in
ST1 datum 5, 15, 30, 33, and 35.
Japanese language also often to omit the subject of a sentence especially in
conversations. The omission is done because the subject does not really matter or
it only acts as an optional element. It can be seen from table 4 that all the chosen
parts of the dialogues in ST2 and TT have at least one subject, unlike in the ST1.
This kind of shift can be found in ST1 datum 39 as the sentence Tsugu atarashi
bou mitsukete ageru ne does not have a subject.
ST1 Tsugu atarashi bou mitsukete ageru ne
O V
ST2 We will get you a new pole ok?
S V Oi Od
In case of datum 39, the structure shifts are found between both ST1-ST2
and ST2-TT. It can be seen above that the structure in ST1 is not maintained in the
ST2 as ST1 does not have a subject, and such structure is not possible to be
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
29
transferred in both target texts. A subject is an important matter in sentences in
English and Indonesian, therefore the translator decides to put the word ‘we’ as
the subject to make a proper structure in ST2, even though the dialogue in ST1
does not specifically mentioned them.
ST1 Anta wa nerawarenai kara
S V
ST2 He only preys on pretty girl
S V O
In datum 2, ST1 and ST2 show slightly different word order as ST2 adds
an object in the sentence. The word Anta, which means ‘you,’ in ST1 acts as the
subject of the sentence, while in ST2, the subject of the sentence points to the
word ‘he.’ It can be seen that both sentences already have different subjects as
they also have opposing verbs. Nerawarenai in ST1 means ‘not to aim at’ which
is rather similar to the word ‘preys’ in ST2, in spite of that, the word nerawarenai
stands as the negative form of the word ‘preys,’ which make them have slightly
different meaning. It can be considered that the different word order occurs due to
the different way of uttering the dialogues. A semantic difference also plays an
important role in this issue because the dialogues literally have different
meanings. A further explanation regarding the sentence meaning can be found in
the subtitling strategy subchapter.
ST1 Asoko ni Hauru ga iru
Prep S V
ST2 Howl is in trouble
S V Prep O
Datum 37 highlights the structure shift occurrence due to a switched word
order. It can be seen that ST1 has Prep-S-V word order, while ST2 has S-V-Prep-
O word order. In ST2, the translator decides to switch the preposition from the
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
30
initial position of the sentence (before S-V) to the third order position (after S-V).
Such matter is often to be found between all three texts, such in the general word
order rules between ST1 and ST2. Similar to datum 2, an additional order is also
found in the dialogue. In datum 37, ST1 does not have an object because in the
context of Japanese language, the dialogue already has a complete thought, and
the verb iru does not need any additional information or can be referred as an
intransitive verb. As in datum 2, a meaning difference also plays an important role
in the shift, therefore a further explanation regarding the issue is provided within
the subtitling strategy subchapter.
ii. ST2-TT Structure Shift Analysis
The grammatical word order in English is not so different from the word
order in Indonesian, as both languages utilize the S-V-O word order. Aside from
the tenses, both languages have similar concept in writing a sentence compared to
the Japanese language. Even though English and Indonesian have so much in
common, the researcher finds that there are minor structure shifts between the two
languages.
ST2 He only preys on pretty girl
S V O
TT Mangsa Howl hanya gadis cantik
S P
It can be seen in datum 2 that TT has a different word function as the verb
and the object positions in ST2 are replaced by P or Predicate in TT. The sentence
in TT shows word orders which only contain of a subject and a predicate, and
does not have any verbs or objects as in ST2. A structure shift is definitely occur
between ST2 and TT, however, the issue cannot be explained in this part due to
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
31
the different concepts that lead to a different language system between both
languages. Therefore, a further elaboration regarding this issue is provided in the
intra-system shift part.
ST2 Howl only does that to beautiful girls
S V Od Oi
TT Howl hanya melakukannya ke gadis cantik
S V O
In datum 5, the structure shift occurs due to the different number of objects
between the dialogues. The dialogue in TT is translated with word by word
procedure, so the structure in TT should be more or less the same as in ST2 as the
procedure allows the translator to be able to transfer the structure from the source
text to the target text. However, it can be seen that TT only has one object, while
ST2 has two objects. The difference occurs due to the adaptation of Indonesian
language system towards the translation. The word ‘that’ in ST2 is translated into
the addition word ‘-nya’ in TT. In TT, the word ‘-nya’ cannot be treated as an
object because it is attached to the verb ‘melakukan,’ which make it also acts as a
verb instead of an object as in the ST2.
ST2 We will get you a new pole ok?
S V Oi Od
TT Kita akan mencarikanmu tiang baru oke?
S V O
Datum 39 also shows a similar structure shift as in datum 5. It can be seen
that ST2 has indirect and direct objects, while TT only has one kind of object. The
word ‘you’ in ST2 is translated as the additional word ‘-mu’ in TT. As in the case
of datum 5, the additional word ‘-mu’ is not treated as an object such in ST2 due
to the word’s attachment to the verb ‘mencarikan.’ Even so, the meaning and the
word function of ‘a new pole’ are maintained in TT by the word ‘tiang baru.’
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
32
ST2 Don’t worry about Master Howl, Sophie
V O S
TT Sophie, jangan mengkhawatirkan Howl-san
S V O
Datum 33 highlights a structure shift which occurs due to the
rearrangement of the dialogue in one of the text. It can be seen that the subject in
ST2 is placed at the final position of the sentence. Meanwhile, the translator
decides to rearrange the word position and placed the subject into the initial
position of the sentence. ST2 and TT actually have the same word order as they
both have the same word function elements. It is possible for the sentence in ST2
to be rearranged into S-V-O word order such in TT. However, because the
dialogue is a result of a transcribing procedure, the researcher must write it as how
the character utters the dialogue in the movie.
iii. Structure: Pre-post Modifier Shift Analysis
Table 5. Structure: Pre-post Modifier Shifts Analysis No of Data
Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
11/ST/S6/00:13:10/CH6
11/ESIT/S6/00:13:07/CH6
11/TT/S6/00:13:07/CH6
Kyuu juusai
no obaa-chan mitai
You sound
ghastly, like
some ninety
year old
woman.
Suaramu
terdengar
mengerikan,
seperti wanita
tua berusia
90 tahun.
Structure
39/ST/S20/01:52:20/CH1
39/ESIT/S20/01:52:19/CH1
39/TT/S20/01:52:19/CH1
Kabu,
daijoubu?
Tsugu
atarashi bou mitsukete
ageru ne.
Kabu,
arigatou.
His pole
snapped. Are
you alright?
We’ll get you
a new pole ok? You saved
us, Turnip.
Lobak ? Apa
kau baik saja ?
Kita akan
mencarikanmu
tiang baru,
oke ? Lobak,
terima kasih
Structure
Between three different languages with their unique language systems, a
shifting of structure is sure to be found even in a small unit such in phrases within
dialogues. The examples can be seen in table 5 as the highlighted words mark the
structure shifts that are found in a level of phrases.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
33
In datum 11, the structure shifts are found between the phrases of the old
woman in all three texts. The three phrases have the similar meaning to one
another as they all indicate that there is a character who sounds like a ninety years
old woman. However, the modifier in TT does not have the same position as in
ST1 and ST2.
ST1 Kyuu juusai no obaa-chan
Pre-modifier Head
ST2 Ninety year old woman
Pre-modifier Head
TT Wanita tua berusia 90 tahun
Head Post-modifier
It can be seen that the words kyuu juusai and ‘ninety year old’ act as the
pre modifier in ST1 and ST2, while the words ‘berusia 90 tahun’ acts as the post
modifier in TT. This kind of shifts are often to be found in the translation from
English to Indonesian as the language tends to put the modifier of a phrase after
the head.
Similar structure shift is also found in datum 39. In both source texts, the
head of the noun phrases atarashi bou and ‘a new pole’ are modified by pre
modifiers. Meanwhile, the translator changes the modifier’s function into post
modifier in the phrase ‘tiang baru’ in TT. The shift and the word function can be
seen clearly as follows:
ST1 Atarashi bou
Pre-modifier Head
ST2 A new pole
Pre-modifier Head
TT Tiang baru
Head Post-modifier
It can be seen from the two samples that in such short noun phrases,
Japanese and English tend to put the modifiers before the head. Meanwhile,
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
34
Indonesian has its own distinct system to put the pre modifiers after the noun head
and changes them into post modifiers in the translation result. It can be concluded
that this kind of structure shifts can also be caused by the different systems
between languages. Different language systems can lead to different structures,
but if the systems in both source text and target text are similar –in such matter, a
shifting of structure is most likely not to occur in the translation.
b. Class Shift
A shift is categorized as class shift when a part or an item of the source
text changes its part of speech during the translation process, and changes into a
different part of speech in the target text.
Table 6. Class Shifts Analysis No of Data
Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
2/ST/S1/00:02:23/CH10
2/ESIT/S1/00:02:22/CH10
2/TT/S1/00:02:23/CH10
Daijobu, anta
wa
nerawarenai kara
Don’t worry,
he only preys
on pretty girl.
Jangan
khawatir,
mangsa Howl
hanya gadis
cantik.
Class
10/ST/S5/00:12:45/CH9
10/ESIT/S5/00:12:44/CH9
10/TT/S5/00:12:44/CH9
Okku-sama,
Sophie-san wa
kyou wa
oritekite
imasen
I’m afraid
your daughter
hasn’t come
downstairs yet today,
ma’am.
Kurasa
putrimu belum
turun kesini
hari ini,
nyonya.
Class
25/ST/S13/00:49:15/CH14
25/ESIT/S13/00:49:14/CH14
25/TT/S13/00:49:14/CH14 Mite North. Utara. Class
In datum 2, the class shift is found between the word ‘preys’ in ST2 and
the word ‘mangsa’ in TT. Nerawarenai in ST1 comes from the word nerau which
means ‘to aim at’ in English. The word nerawarenai and the word ‘preys’ indicate
verbs or actions done by Howl that he is only onto pretty girls, while the word
‘mangsa’ in TT indicates a noun as it is the head of the noun phrase ‘mangsa
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
35
Howl.’ It can be concluded that in datum 2, the word changes its part of speech
from verbs in both source texts into a noun in TT.
Similar class shift also found in datum 25. The word mite in ST1 is
translated into ‘North’ and ‘Utara’ in both target texts. Mite in Japanese means
‘look’ in English, and it acts as a verb. Meanwhile both ‘North’ and ‘Utara’ acts
as nouns in ST2 and TT, which indicate directions, and not actions as in ST1.
Datum 10 shows a class shift between ST1 and ST2. Oritekite means ‘to
come down’ in English. Oritekite and the word ‘turun’ in TT both act as actions or
verbs that Sophie has not yet come to the hat shop. Meanwhile, the word
‘downstairs’ in ST2 indicates a place in which Sophie has not come to because her
room is located upstairs. The word ‘downstairs’ is not a verb as in ST1 and TT. It
is an adverb which complements the verb ‘hasn’t come’ in ST2. It can be
concluded that in datum 10, the class changes from verb in ST1 into adverb in
ST2, and change back into verb in TT.
c. Unit Shift
A shift is categorized as unit shift when unit or rank changes are found
between the source text and the target text. The unit change points to changes of
ranks such in sentence, clause, phrase, word, and morpheme.
Table 7. Unit Shifts Analysis No of Data
Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
7/ST/S4/00:10:19/CH5
7/ESIT/S4/00:10:17/CH5
7/TT/S4/00:10:16/CH5
Yasupai
boushi.
I’ve never
seen such
tacky little
hats.
aku tak pernah
melihat topi -
topi kecil
sejelek ini.
Unit
20/ST/S10/00:36:37/CH3
20/ESIT/S10/00:36:36/CH3
20/TT/S10/00:36:36/CH3
Sou ka na?
sou ka na?!
She likes my
spark! Hahaha
Benarkah itu ?
Benarkah itu
?!
Unit
22/ST/S11/00:43:09/CH1
22/ESIT/S11/00:43:08/CH1 Hauru? Is Howl back?
Apa Howl
sudah kembali Unit
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
36
No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
22/TT/S11/00:43:09/CH1 ?
32/ST/S16/01:21:07/CH1
32/ESIT/S16/01:21:06/CH1
32/TT/S16/01:21:06/CH1
Hauru,
arigatou! Yume mitai
This place is
gorgeous,
Howl! It’s like
a dream.
Howl, terima
kasih ! Ini
seperti mimpi
Unit
39/ST/S20/01:52:20/CH1
39/ESIT/S20/01:52:19/CH1
39/TT/S20/01:52:19/CH1
Kabu,
daijoubu?
Tsugu
atarashi bou
mitsukete
ageru ne.
Kabu,
arigatou.
His pole
snapped. Are
you alright?
We’ll get you
a new pole
ok? You saved
us, Turnip.
Lobak ? Apa
kau baik saja ?
Kita akan
mencarikanmu
tiang baru,
oke ? Lobak,
terima kasih
Unit
In datum 7, the character in ST1 says yasupai boshi which mean ‘Tacky
hats’ in English. It means that yasupai boshi is a noun phrase with the word ‘hat’
as the head. Meanwhile, the translator changes the form during the translation
process and turns it as sentences in ST2 and TT. Similar shift is also found in
datum 20 and 32. In datum 20, the shift occur between all three texts. The
dialogue in ST1 is in form of a phrase which has similar meaning and form as in
TT, while the dialogue in ST2 is in form of a sentence. The changes occur two
times between ST1 to ST2, and ST2 to TT. It is also found in datum 32 as ST1
and TT are in form of phrases, while ST2 is in form of a sentence.
Datum 22 and 39 shows a different unit shift from a single word in one
text into sentence in another text. In datum 22, ST1 is in form of a single word,
Hauru, which mean ‘Howl.’ Meanwhile, the translator prolongs the dialogue and
changes it into sentences in both ST2 and TT. In datum 39, the changes occur two
times. As can be seen in the table, the word Kabu in ST1, which refers to the
Turnip Head character, changes into ‘His pole snapped’ which stands as a
sentence in ST2. The sentence in ST2 changes back into a single word ‘Lobak’ in
TT.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
37
d. Intra-system Shift
A shift is categorized as intra-system shift when the shift occurs due to the
different language systems utilized in the data. As mentioned in the previous
chapters, the language systems between Japanese, English, and Indonesian has
their own characteristics. The three languages have similarities and differences
between them, such in gender words, inflections-repetitions, singular-plural
words, grammatical structure, and particles. Two data are chosen as samples as
provided in the following table.
Table 8. Intra-system Shifts Analysis No of Data
Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
2/ST/S1/00:02:23/CH10
2/ESIT/S1/00:02:22/CH10
2/TT/S1/00:02:23/CH10
Daijobu, anta
wa
nerawarenai
kara
Don’t worry,
he only preys
on pretty girl.
Jangan
khawatir,
mangsa Howl
hanya gadis
cantik.
Intra-
system
13/ST/S7/00:14:43/CH13
13/ESIT/S7/00:14:42/CH13
13/TT/S7/00:14:42/CH13
Kono saki ni
wa
mahoutsukai shika
urotsuitenai ze
There’s
nothing but
witches and
wizards out
there.
Disana tak ada
apapun
kecuali para
penyihir.
Intra-
system
21/ST/S11/00:42:31/CH2
21/ESIT/S11/00:42:30/CH2
21/TT/S11/00:42:31/CH2
Maa nee… I’m tired Aku capek. Intra-
system
It is mentioned in the structure shift part that besides a shifting of
structure, the researcher also finds an intra-system shift entangled to the issue in
datum 2. The structure shift between ST2 and TT in datum 2 cannot be explained
properly in the structure shift part due to the different concept of predicate
between English and Indonesian. The structure difference occurs due to the
absence of verb in TT.
ST2 He only preys on pretty girl
S V O
TT Mangsa Howl hanya gadis cantik
S P
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
38
It can be seen that the verb and the object in ST2 are replaced by a
predicate in TT. In English, a simple predicate may contains of a verb, modifying
words, phrases, or clauses. It expresses the action of the subject in a sentence
(Butte College). In another word, the verb of the sentence is included within the
predicate. The illustration of a predicate form can be seen as displayed in the
following figure.
Figure 1. Predicate Concept in English
It can be seen that in English, the predicate covers structures such in verb
phrases as displayed in the example in figure 1 above. On the contrary, Indonesian
does not employ such system. The ‘predikat’ in Indonesian does not necessarily
need a verb. In a sentence, a ‘predikat’ can be in form of a verb or a noun
(Prayogi, 2015). As displayed in datum 2, the sentence structure in TT only
contains of a subject and a ‘predikat.’ The verb is missing because the translator
decides to omit it and make the sentence more efficient to be displayed as a
subtitle. Such omission is referred as ‘pelesapan predikat’ (Prayogi, 2015) or
ellipsis. As mentioned in the introduction part, subtitles have limited space and
displayed time. Subtitles must be displayed at the exact moments when the
characters utter the exact same dialogues in the movie. Therefore, an efficient
translation is needed to fulfill such condition. The ellipsis method is applied
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
39
because the dialogue is already able to be understood well by the spectators, even
without the verb.
No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
13/ST/S7/00:14:43/CH13
13/ESIT/S7/00:14:42/CH13
13/TT/S7/00:14:42/CH13
Kono saki ni
wa
mahoutsukai shika
urotsuitenai ze
There’s
nothing but
witches and
wizards out
there.
Disana tak ada
apapun
kecuali para
penyihir.
Intra-
system
It can be seen in datum 13 that the word mahoutsukai in ST1 is translated
into ‘witches and wizards’ in ST2 and ‘para penyihir’ in TT. The word
mahoutsukai means ‘magic users’ and does not indicates gender as in ST2. The
word ‘para penyihir’ also indicates plural noun and does not contain gender
meaning. Meanwhile, the word ‘witches and wizards’ in ST2 indicates both plural
noun and gender.
Nouns in English are able to inflect to indicate plurality by adding –s or –
es in the final position of the word. In the contrary, nouns in Indonesian cannot
inflect as in English, but the nouns has their own inflections to indicate plurality
by adding post modifier words such in ‘para’ or by adding repetition of the nouns
such in ‘penyihir-penyihir.’ As for the Japanese, the researcher considers applying
plural noun in ST1 based on the context because in Japanese a noun can be plural
and singular at the same time.
Even though the gender indication in the word ‘witches and wizards’ can
be transferred in Indonesian, the translation can be considered as unnatural. The
word ‘witch’ can be translated as ‘penyihir perempuan,’ or it is commonly called
as ‘nenek sihir.’ If the word is translated as such, then the word ‘wizard’ can be
translated as ‘penyihir laki-laki’ or ‘kakek sihir’ as the matching gender.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
40
However, these words are not accepted and considered unnatural because
Indonesian people do not commonly use them, and have other terms for that.
No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
21/ST/S11/00:42:31/CH2
21/ESIT/S11/00:42:30/CH2
21/TT/S11/00:42:31/CH2
Maa nee… I’m tired Aku capek. Intra-
system
Datum 21 highlights the omission of the word ‘am’ in TT from the ST2.
Another example of the language system difference between English and
Indonesian is the ‘to be’ in English. Indonesian does not have ‘to be,’ and
commonly translate them as ‘adalah.’ The word ‘adalah’ is not a ‘to be’, but it is
considered as a verb in Indonesian. In datum 21, the word ‘am’ is omitted in TT
because it can make the dialogue sounds odd, as in ‘aku adalah capek.’ On the
other hand, Japanese language has different system as it applies particles such in
wa, ga, ni, and so on, to indicate or highlight the subject as such.
2. Semantic Shift Analysis
A shift is categorized as semantic shift when a meaning from one text
changes in another text. The changes occur in meaning, context or even concept.
As mentioned in the previous chapter, semantic shift can change the meaning of a
word, phrase, sentence, or text, and gives a more positive or negative meaning,
makes it broader or narrower, or change it into metaphor or metonymy.
Table 9. Semantic Shifts Analysis No of Data
Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
1/ST/S1/00:02:14/CH9
1/ESIT/S1/00:02:12/CH9
1/TT/S1/00:02:13/CH9
Kakureta
dakedeshou,
guntai ga
ippai kiteru
kara
No, he’s just
hiding in the
fog from those
planes.
Tidak, dia
hanya
bersembunyi
dalam kabut di
lembah.
Semantic
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
41
No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
3/ST/S2/00:04:41/CH11
3/ESIT/S2/00:04:39/CH11
3/TT/S2/00:04:40/CH11
De wa, ocha
nan o ikaga
deshou? O
tsukiai e
negaimasu ka
This little
mouse looks
thirsty, we
should take
her for a cup
of tea.
Tikus kecil ini
terlihat haus,
kita
seharusnya
membawaka
nnya
secangkir teh.
Semantic
6/ST/S3/00:08:22/CH12
6/ESIT/S3/00:08:20/CH12
6/TT/TT/S3/00:08:21/CH12
Lettie,
Madoreenu ga agatte yo
Lettie, the
chocolate
éclairs are
done.
Lettie, coklat
éclairs sudah
habis.
Semantic
14/ST/S7/00:19:29/CH1
14/ESIT/S7/00:19:27/CH1
14/TT/S7/00:19:28/CH1
Kore chotto For Heaven’s
sake! Demi surga! Semantic
17/ST/S9/00:23:44/CH3
17/ESIT/S9/00:23:43/CH3
17/TT/S9/00:23:44/CH3
Minatomachi Port Haven
door.
Pintu
Porthaven ! Semantic
22/ST/S11/00:43:09/CH1
22/ESIT/S11/00:43:08/CH1
22/TT/S11/00:43:09/CH1
Hauru? Is Howl back?
Apa Howl
sudah kembali
?
Semantic
25/ST/S13/00:49:15/CH14
25/ESIT/S13/00:49:14/CH14
25/TT/S13/00:49:14/CH14
Mite North. Utara. Semantic
27/ST/S14/01:01:54/CH7
27/ESIT/S14/01:01:53/CH7
27/TT/S14/01:01:53/CH7
Okka-sama Mrs.
Pendragon. Ibu Semantic
28/ST/S14/01:04:49/CH8
28/ESIT/S14/01:04:47/CH8
28/TT/S14/01:04:48/CH8
Shoguntachi
wa atsumatta
ka
Get my
generals
assemble.
Panggil
Jenderal
Umum !
Semantic
31/ST/S16/01:17:06/CH2
31/ESIT/S16/01:17:05/CH2
31/TT/S16/01:17:06/CH2
Hya, kimi ga
Kabu da ne?
Looks like we
have yet
another
addition to the
family.
Sepertinya
kita memiliki
tambahan
anggota
keluarga.
Semantic
34/ST/S17/01:25:38/CH1
34/ESIT/S17/01:25:37/CH1
34/TT/S17/01:25:37/CH1
Toire wa Need anything
else?
Perlu lainnya
lagi ? Semantic
36/ST/S18/01:33:21/CH5
36/ESIT/S18/01:33:20/CH5
36/TT/S18/01:33:21/CH5
Ara, Hauru ja
nai.
Why, if it isn’t
Howl.
Mengapa, jika
bukan dari dia
Howl ?
Semantic
The semantic shifts in datum 1 is found between the word guntai in ST1,
‘planes’ in ST2, and ‘lembah’ in TT. ST1 employs the word guntai which means
‘soldier’ in English. ST2 choses the word ‘planes’ instead. Meanwhile, the TT
employs neither and choses the word ‘lembah’ or valley. The meaning changes in
both target texts. The word ‘plane’ in ST2 is related to the word guntai in ST1
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42
because ‘soldiers’ are familiar or must be able to operate military vehicles such in
tanks, planes, battleships, or helicopters. It is also supported by the fact that in the
scene, the soldiers were riding separately on airplanes which is designed to look
like dragonfly.
The word ‘planes’ in ST2 can also be considered as ambiguous by looking
from two perspectives at the translation result in TT. First, is by looking from the
word meaning point of view. The word ‘plane,’ as noun, has two related meanings
with the dialogues above, which are (1) a surface in which if any two points are
chosen a straight line joining them lies wholly in that surface, and (2) airplane. It
can be seen that the word ‘lembah’ is another translation of ‘plane’ besides the
word ‘pesawat.’ However (second), the meaning is different based on the
contextual perspective of the whole sentence. In the ST2, the word ‘planes’ acts as
the ‘what’ or something that Howl runs from. Meanwhile, the word ‘lembah’ in
TT indicates the place where Howl hides.
The meaning changes from guntai or soldier in ST1 to ‘plane’ in ST2 and
to ‘lembah’ in TT. The reason for the translators choosing these words can also be
seen from the scene itself as displayed through the screenshots taken from the
movie as follows:
Figure 2. Scene 1 Screenshot 1 Figure 3. Scene 1 Screenshot 2
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43
It can be seen from the pictures that the scene takes place on a valley or
‘lembah’ as stated in the TT. Figure 2 shows that Howl’s caste is hiding in the fog
because there were soldiers riding on dragonfly airplanes moving towards the
castle as displayed in Figure 3. Both translations actually make sense and related
to the scene as well, even though each translation changes, add, or omits some
meanings from the original text.
No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
3/ST/S2/00:04:41/CH11
3/ESIT/S2/00:04:39/CH11
3/TT/S2/00:04:40/CH11
De wa, ocha
nan o ikaga
deshou? O
tsukiai e
negaimasu ka
This little
mouse looks
thirsty, we
should take
her for a cup
of tea.
Tikus kecil ini
terlihat haus,
kita
seharusnya
membawaka
nnya
secangkir teh.
Semantic
Figure 4. Scene 2 Screenshot
In datum 3, the dialogues occur when Sophie meet two soldiers in blue
uniforms in a small alley on her way to the Caesari’s. In the terms of sense, ST1
indicates that Soldier 1 is talking to Sophie, and he offers her a drink. Meanwhile,
ST2 and TT indicates that Soldier 1 is talking to Soldier 2, but the TT has
different interpretation from what the ST2 tries to express. In ST2, it can be seen
that Soldier 1 gives a suggestion to Soldier 2 to take Sophie somewhere, so that
they can have a drink together, as indicates by the word O tsukiai in ST1 which
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
44
means ‘together’. On the other hand, in TT, Soldier 1 suggests to bring a tea to her
instead of taking her for the tea, as in ‘membawakannya secangkir teh.’
The meaning of the word ‘take her’ in ST2 has different meaning with the
word ‘membawakannya’ in TT. The word ‘take’ can be translated into ‘bawa’ or
‘membawa.’ The objective pronoun ‘her’ is translated into ‘-nya’ in TT. However,
the translator put an addition ‘-kan’ in front of ‘-nya’ which make the meaning
slightly different with ST2. Both words indicates an action of movement from one
point to another, yet the starting point of the movement is different. The word
‘membawakannya’ suggests that the soldiers will ‘bring her the tea,’ in another
word, the tea is the one who experiences the movement. Meanwhile, the word
‘take her’ indicates that the soldiers cause Sophie to come along with them for
some tea, which makes Sophie is the one who experiences the movement.
No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
6/ST/S3/00:08:22/CH12
6/ESIT/S3/00:08:20/CH12
6/TT/TT/S3/00:08:21/CH12
Lettie,
Madoreenu ga agatte yo
Lettie, the
chocolate
éclairs are
done.
Lettie, coklat
éclairs sudah
habis.
Semantic
In datum 6, there are two parts of the dialogues that experience semantic
shift. The first part is the word Madoreenu in ST1. Madoreenu or Madeleines are
“small cakelike cookies” which are baked in scallop or shell-like molds (Grate,
2016). It can be seen that the translators put the word ‘chocolate éclairs’ instead in
both ST2 and TT as the result of the translations. Madeleines and éclairs are
different from one another because éclairs are “long French pastries made from
choux pastry, filled with pastry cream or custard and dipped in fondant icing”
(Alfaro, 2019). Even though Madeleines and éclairs are French pastries, they have
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
45
different sizes, shapes, and roles. Madeleines are commonly served with tea, while
éclairs are served for desserts.
The second part is the semantic shift between the words agate in ST1, ‘are
done’ in ST2, and ‘sudah habis’ in TT. Agatte is the past form of the Japanese
word agaru which can be comprehend like ‘take out’ such in “the Madeleines
were freshly taken out from the oven,” or simply ‘diangkat’ in Indonesian. It
means that the Madeleines making process is over or finished. The translator
manages to transfer the word meaning in ST1 to ST2 perfectly as they both
mention that ‘they’ or probably ‘the bakers’ are done making the Madeleines.
Meanwhile the idea is not transferred properly in TT.
The Word agatte
in ST1
The Word ‘done’
in ST2
The Word ‘habis’
in TT
The end of an action (an
action of making the
Madeleines)
The end of an action (an
action of making the
Madeleines)
The ending state of something
(the empty stock of the
Madeleines)
+ Madeleines + Madeleines - Madeleines
In TT, the character mentions that the Madeleines are ‘sudah habis’ or ‘out
of stock.’ Both ‘done’ and ‘habis’ indicate the end of an action or a thing. It can
be seen that the word ‘done’ in ST2 indicates that an action of making the
Madeleines is finished, and the Madeleines can be restocked. Meanwhile, the
word ‘habis’ in TT indicates that some things –or in this case, the Madeleines, are
sold out or the bakery no longer has any stock of Madeleines. The difference is
that in ST1 and ST2, the words agatte and ‘are done’ show results of having
Madeleines, while TT shows that there are no more Madeleines in the storage. In
another words, the word ‘habis’ in TT tends to point to an action of consuming the
Madeleines which make the Madeleines stocks empty.
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46
No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
14/ST/S7/00:19:29/CH1
14/ESIT/S7/00:19:27/CH1
14/TT/S7/00:19:28/CH1
Kore chotto For Heaven’s
sake! Demi surga! Semantic
In datum 14, the semantic shifts are found in all of the target texts. Kore
chotto can be translated as ‘hey (you), wait!’ in English. It can be seen that in
ST2, the dialogues literal meaning is not transferred, but the translator decides to
adapt it instead. The word ‘For Heaven’s sake!’ does not have the same literal
meaning with ST1, but it can be considered as the equal translation of the dialogue
based on the character’s situation at the current scene. In the scene, Sophie is
trying to reach out the front door of Howl’s moving castle while running. She is
struggling because the castle is moving so fast and, due to her curse, she does not
have enough strength to catch up. Even though the meaning is different, it fits to
the scene and the expression of the character as in the ST1.
The other semantic shift is found between the dialogues in ST2 and TT.
The shift found in TT is an interesting case because the translator applies literal
translation of the dialogue from the ST2 as ‘Demi surga’. Due to the related
concept to a specific literal translation process, a further explanation of the matter
is provided in the direct translation analysis in the following subchapter in the
direct translation section.
No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
17/ST/S9/00:23:44/CH3
17/ESIT/S9/00:23:43/CH3
17/TT/S9/00:23:44/CH3
Minatomachi Port Haven
door.
Pintu
Porthaven ! Semantic
In datum 17, the semantic shift is found between ST1 and ST2.
Minatomachi is the name of the city port in the movie that can be visit through the
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47
blue disc door at Howl’s castle, and it is translated in ST2 as Port Haven. It can be
seen clearly that the dialogue in ST2 refers to the door that leads to Port Haven
city. Semantically, both dialogues refer to the same final destination, but ST2
specifically points to the word ‘door,’ as it is also the head of the phrase ‘Port
Haven door.’ Meanwhile, ST1 tends to point to the city where the knock comes
from.
No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
22/ST/S11/00:43:09/CH1
22/ESIT/S11/00:43:08/CH1
22/TT/S11/00:43:09/CH1
Hauru? Is Howl back?
Apa Howl
sudah kembali
?
Semantic
Datum 22 highlights the semantic shift found in both ST2 and TT. It can
be seen that the number of words of the dialogues in the two texts are developing
from ST1 to ST2 and from ST2 to TT. The dialogues occur when Sophie wakes
up from her sleep because she hears the sound of running water from the
bathroom upstairs. In ST1, the character only said Hauru or ‘Howl’ with the
rising intonation at the final position, which indicates that Sophie is asking a
question about Howl’s presence in the house. It may or may not be heard well, so
the translator decides to make the question clearer for the spectators, and
translates it as ‘Is Howl back?’ in ST2, and as ‘Apa Howl sudah kembali?’ in TT.
The meanings in ST2 and TT are slightly different because originally Sophie only
said ‘Hauru?’ and nothing else, but the way the dialogues are said in ST2 and TT
is actually implied in ST1.
No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
25/ST/S13/00:49:15/CH14
25/ESIT/S13/00:49:14/CH14
25/TT/S13/00:49:14/CH14
Mite North. Utara. Semantic
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48
In datum 25, the semantic meanings in ST2 and TT are completely
different from the original text. The word Mite in ST1 means ‘look’ as in ‘to see’
or ‘to direct one’s attention.’ Meanwhile, it is translated as ‘North’ or ‘Utara’ in
ST2 and TT. The shift occurs due to the different translation found in the previous
dialogues.
Figure 5. Scene 13 Screenshot
In the scene, there are two women, one with the green dress and the other
with a blue dress, in front of the Jenkins’ shop. They are discussing the leaflet
which are spread by the king’s henchmen. In the original version of the movie, the
woman in green dress is the one who read the leaflet for the other, while the
woman in blue dress only responds with her gestures, and does not reply verbally.
Meanwhile, the English version of the movie shows that the two women are
having conversation as the woman in blue dress responds verbally to the other
woman.
The leaflet gives report about the update of the war condition, as the
soldiers landed on coastline. As the woman in green dress reads the report, the
other responds with ‘where?’ and she replies, ‘North.’ In the contrary, the original
version of the movie shows that the woman in green dress only reads the report
and asks the other to read it by uttering Mite while pointing the leaflet, while the
woman in blue dress does not say a word.
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No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
27/ST/S14/01:01:54/CH7
27/ESIT/S14/01:01:53/CH7
27/TT/S14/01:01:53/CH7
Okka-sama Mrs.
Pendragon. Ibu Semantic
Datum 27 shows semantic shift in a matter of addressing a character in the
movie. The word Okka-sama means ‘mother’ in English. It can be seen that ST1
and TT has similar meaning as Madame Salliman tries to address Sophie as a
‘mother,’ Howl’s mother. In ST2, the translator tries to make the dialogue more
formal or specific by addressing Sophie as ‘Mrs. Pendragon.’ All three dialogues
point to the same person and have similar meaning, but the dialogue in ST2 tends
to be more specific and formal, while ST1 and TT tend to be polite yet personal.
No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
28/ST/S14/01:04:49/CH8
28/ESIT/S14/01:04:47/CH8
28/TT/S14/01:04:48/CH8
Shoguntachi
wa atsumatta
ka
Get my
generals
assemble.
Panggil
Jenderal
Umum !
Semantic
In datum 28, the semantic shifts are found in both target texts. The first
semantic shift relates to the context of the dialogues between ST1 and ST2. The
dialogue in ST1 can be translated as ‘Have my generals assembled?’ in English.
The dialogue in ST1 indicates a question statement as the question tag is marked
by the particle ka at the final position of the dialogue. In the contrary, ST2 shows
no question tag but acts as an order or an imperative statement, which is also
transferred in TT. The imperative tag in TT can be seen clearly through the
exclamation mark (!) at the final position of the dialogue.
Second, the semantic shifts also occur between the words ‘general’ in each
dialogue. As mentioned in the previous chapters, nouns in Japanese may indicate
both singular and plural at the same time, and depend on the context. In datum 28,
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
50
the word shoguntachi in ST1 indicates plurality due to the post modifier word –
tachi at the final position. The meaning is indeed transferred in ST2 as the noun
inflects into ‘generals.’ However, the meaning is omitted in TT, but another
meaning is added instead. It can be seen that the word ‘Jenderal’ is not inflected,
and only indicates singular meaning. The translator also add the word ‘Umum’
which make the term is rather specific to one person which is the ‘Jenderal
Umum.’
No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
31/ST/S16/01:17:06/CH2
31/ESIT/S16/01:17:05/CH2
31/TT/S16/01:17:06/CH2
Hya, kimi ga
Kabu da ne?
Looks like we
have yet
another
addition to the
family.
Sepertinya
kita memiliki
tambahan
anggota
keluarga.
Semantic
The semantic shift in datum 31 is found between the dialogues in ST1 and
ST2. The dialogue in ST1 can be translated into ‘So, you’re Turnip’ or ‘Hey,
you’re Turnip, right?’ in English. ST1 and ST2 have different meaning, and both
dialogues are not just refer to the same character, Turnip, but each dialogue also
has different point of view. It can be seen that the dialogue in ST1 has the sense
that Howl is talking to Turnip directly, as highlighted by kimi ga Kabu or ‘You’re
Turnip.’ Meanwhile, the dialogue in ST2 indicates that Howl is talking to ‘his
family,’ about Turnip as the new addition to the family. It can be concluded that
datum 31 shows semantic difference between ST1 and ST2 in a matter of meaning
and the way the character express them.
No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
34/ST/S17/01:25:38/CH1
34/ESIT/S17/01:25:37/CH1
34/TT/S17/01:25:37/CH1
Toire wa Need anything
else?
Perlu lainnya
lagi ? Semantic
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51
The semantic meaning of the dialogues in datum 34 does not shift to a
more specific meaning such in datum 27. Instead, the meaning tends to be more
generalized in both target texts. It can be seen that in ST1, Sophie offers whether
the witch of the Waste wants to go to the toilet. Meanwhile, the translators change
the meaning in ST2 and TT as they expand the word toire in ST1 into ‘anything
else’ and ‘lainnya lagi.’ The meanings in ST2 and TT are different due to the
word ‘anything else’ refers to any other things and does not specifically points to
one thing such in ‘toilet’ as mentioned in the ST1.
No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian) Shift
36/ST/S18/01:33:21/CH5
36/ESIT/S18/01:33:20/CH5
36/TT/S18/01:33:21/CH5
Ara, Hauru ja
nai.
Why, if it isn’t
Howl.
Mengapa, jika
bukan dari dia
Howl ?
Semantic
Datum 36 highlights an interesting case of semantic issue. If the dialogues
are seen as such, the semantic shift can only be found between ST2 and TT. The
dialogue in ST2 can be considered as the proper translation of ST1 because they
literally have the same meaning and intention as the witch of the waste tries to flirt
with Howl. Meanwhile, the dialogue in TT has slightly different meaning as
highlight by the addition word ‘dia.’ The shifts can actually be seen more clearly
by considering the context in the movie with the previous dialogue.
Figure 6. Scene 18 Screenshot 1 Figure 7. Scene 18 Screenshot 2
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52
The dialogues occur in scene 18 where Howl’s castle at Sophie’s town get
hit by air raid. In the scene, the witch is smoking a cigarette which has a very
strong scent in the living room. Then, Howl asks whether the cigarette is a present
from Madame Salliman.
The semantic shift in datum 36 is an interesting matter because an
ambiguity is found in the ST2. The ambiguity can be seen from two different
perspectives. First is by looking from ST1-ST2 point of view. As mentioned
before, ST1 and ST2 have the same literal meaning and idea where the flirting
intention is transferred in the ST2. However, if the dialogue in TT is displayed
and compared with both source texts, the semantic difference can be seen clearly
in TT as it has the addition word ‘dia.’ Second is by looking from ST2-TT literal
and contextual point of view.
Why → Mengapa
If → Jika
Isn’t → Bukan
Howl → Howl
If the comparison is done only between ST2 and TT, it can be seen that
ST2 and TT actually have similar literal meaning, as displayed above. The
difference is only in the word ‘it’ in the ST2 which is translated into ‘dari dia’ in
TT. Even so, if other elements of the dialogue, such in the word stress, pause, and
contextual perspective, are added, the meaning in ST2 is different from the first
point of view. In the English version of Howl’s Moving Castle, the pause in the
dialogue ‘Why, if it isn’t Howl’ is found after the word ‘why,’ which indicates
that the dialogue meaning in the first point is correct. However, the stress and the
rising intonation in the word ‘isn’t’ make the meaning rather ambiguous. Due to
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53
the stress and spiking intonation, the researcher finds another meaning of the
dialogue in ST2 which leads to the same meaning and intention as express in the
TT. In this contextual point of view, ST2 and TT actually have the same intention
as they both answer Howl’s question whether the cigarette is a present from
Madame Salliman. Both target texts fit perfectly to answer Howl’s question,
despite the different meaning as explained in the first point. The following figure
shows the concluding similarities and differences from the elaboration above:
Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian)
+ Flirting intention
+ Flirting intention
+ Same literal meaning to
ST1
- Flirting intention
- Same literal meaning to ST1
- Answers Howl’s question + Answers Howl’s question + Answers Howl’s question
From the elaboration, it can be concluded that the dialogue in TT is
actually related to the scene even though it has slightly different literal meaning
from ST1 and ST2. Also, the dialogues in ST2 and TT are able to respond to
Howl’s question regarding the cigarette, even though ST1 has no such intention.
Moreover, unlike ST1 and ST2, the TT is actually in form of subtitle. If the
translator wants to transfer the flirting intention to the target text, an equal
translation of the idea must be created such in the dialogue ‘eh ada Howl’ in TT.
B. Subtitling Strategies Applied in Howl’s Moving Castle Movie Subtitle
In order to solve the second problem of this study, the strategies which are
applied in the Japanese-English and English-Indonesian subtitling in Howl’s
Moving Castle movie subtitle are categorized and elaborated in this part based on
Schjoldager’s subtitling strategies (2008, p. 89). Schjoldager develops her theory
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
54
based on Henrik Gottlieb’s subtitling strategies. Schjoldager omits, adds,
preserves, and divides some of Gottlieb’s strategies, and develops them from 10
into 12 strategies. The subtitling strategies include direct transfer, calque, direct
translation, oblique translation, explication, paraphrase, condensation, adaptation,
addition, substitution, deletion, and permutation. In this subchapter, a chart is
provided to show the number of the subtitling strategies that are found in the data.
The data that are analyzed in this section are the same data as utilized in the
previous subchapter, therefore some similar samples may also be found in the
analysis. There are 86 strategy employments found in the data. However, this
discussion does not cover every single subtitling analysis of the data. Instead,
samples are chosen to give more detail explanation.
Table 10. Schjoldager's Subtitling Strategies
2
2
6
7
12
10
3
6
19
7
10
2
0 5 10 15 20
Permutation
Deletion
Substitution
Addition
Adaptation
Condensation
Paraphrase
Explication
Oblique
Direct Translation
Calque
Direct Transfer
Schjoldager's Subtitling Strategies
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
55
There are 86 subtitling strategies applied in Howl’s Moving Castle movie
subtitle in total. It can be seen from table 10 that oblique translation is the most
frequent strategy with 22% occurrences. Next, adaptation strategy comes with
14% occurrences. Calque and condensation strategies take the third place of the
occurrence number with the percentage of 12% for each strategy. Direct
translation and addition strategies with 8% occurrences each. Then, explication
and substitution strategy with the percentage of 7% occurrences. Paraphrase
strategy comes up with 3% occurrences. Finally, direct transfer, deletion, and
permutation strategies which occupy the lowest employment with the percentage
of 2% occurrences.
1. Direct Transfer
Direct transfer is applied when terms such in names, places, and brands are
transferred in the target text exactly as they are stated in the source text. Henrik
Gottlieb defines this strategy as imitation strategy as the target text ‘imitates’ the
terms or names from the source text. This strategy can also be considered as
‘copy-paste’ strategy. There are 2 data which apply this subtitling strategy, and
both data are explained in the following discussion.
Table 11. Direct Transfer Strategy Analysis
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
17/ST/S9/00:23:44/CH3
17/ESIT/S9/00:23:43/CH3
17/TT/S9/00:23:44/CH3
Minatomachi Port Haven door.
Pintu
Porthaven!
Direct
Transfer
33/ST/S17/01:25:30/CH4
33/ESIT/S17/01:25:29/CH4
33/TT/S17/01:25:30/CH4
Sophie,
Hauru-san nara shinpai
iranai yo.
Mae mo
Oh, don’t
worry about
Master Howl,
Sophie.
Sometimes he
Sophie,
Jangan
mengkhawati
rkan Howl-
san.
Direct
Transfer
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
nannichimo
inakata koto
ga aru kara.
likes to go
away for days
on end.
Terkadang,
dia suka pergi
berhari – hari.
It can be seen in table 11 that the direct transfer only occur between either
ST1 to TT or ST2 to TT. In datum 17, the word ‘Port Haven’ in ST2 is directly
transferred as ‘Porthaven’ in TT. The difference between the two words only lies
on the space which divides the word ‘Port’ and ‘Haven’ as stated in ST2. Beside,
datum 17 also highlights a unique direct transfer issue. It can be seen that the
word ‘Porthaven’ only appears in ST2 and TT, while ST1 mentions the word
Minatomachi instead. Both Minatomachi and ‘Porthaven’ refer to the same place
in the movie. The place is a town which has a famous busy port, and the people
name the town as Minatomachi or can be translated as the city port. The thing that
makes the strategy unique is the appearance of the word ‘Porthaven’ in ST2 and
TT. The words ‘Port’ and ‘Haven’ both have similar meaning which refer to a port
or a harbor, but they do not indicate a city. Nevertheless, the word ‘Porthaven’
becomes the name of the port city as it is already mentioned in ST2 and TT. This
case is not included in the paraphrase subtitling strategy because the word is not a
‘make up’ word or something that the translator decides to name it out of the
context in the movie.
The movie is based on Diana Wynn Jones’ novel titled Howl’s Moving
Castle. The novel is originally an English-based novel and the word Porthaven is
the name given by the author to the port city that datum 17 refers to in the movie.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
57
It can be seen that the translator in ST2 does not make up the word, but take it
from the original novel.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
33/ST/S17/01:25:30/CH4
33/ESIT/S17/01:25:29/CH4
33/TT/S17/01:25:30/CH4
Sophie,
Hauru-san nara shinpai
iranai yo.
Mae mo
nannichimo
inakata koto
ga aru kara.
Oh, don’t
worry about
Master Howl,
Sophie.
Sometimes he
likes to go
away for days
on end.
Sophie,
Jangan
mengkhawati
rkan Howl-
san.
Terkadang,
dia suka pergi
berhari – hari.
Direct
Transfer
Datum 33 shows the direct transfer of the word Hauru-san from ST1 to
TT. The writings in both texts are indeed different, but the word Hauru is written
as such by the researcher only to show the way the characters in the original
version of the movie mention it. Both Hauru and ‘Howl’ refer to the same
character, however, it is unusual for TT to utilize the addition –san after the
character’s name because Indonesian does not have such additional word. The
addition –san comes from the Japanese language system which allows one person
to address others, either men or women, politely by putting the addition –san after
their names. It can be concluded that instead of following the translation in ST2,
the translator decide to preserve the polite addressing –san, that only exist in ST1,
in TT.
2. Calque
Calque strategy allows the translator to maintain the structure of the source
text into the target text. Calque strategy is connected to direct translation strategy
as the sentence structure in the source text is most likely to be transferred in the
target text when word by word translation is applied.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
58
Table 12. Calque Strategy Analysis
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
7/ST/S4/00:10:19/CH5
7/ESIT/S4/00:10:17/CH5
7/TT/S4/00:10:16/CH5
Yasupai
boushi.
I (S) ’ve
never seen
(V) such
tacky little
hats (O).
Aku (S) tak
pernah
melihat (V)
topi - topi
kecil sejelek
ini (O).
Calque
9/ST/S5/00:12:40/CH6
9/ESIT/S5/00:12:39/CH6
9/TT/S5/00:12:39/CH6
Kore zettai
ikeru to
omowanai
I (S) know
(V), our
customers
will love it
(O).
Aku (S) tahu
(V),
pelanggan
kita akan
menyukainya
(O).
Calque
15/ST/S8/00:22:03/CH3
15/ESIT/S8/00:22:01/CH3
15/TT/S8/00:22:02/CH3
Akuma wa
yakusoku wa
shinai sa
Ah, I don’t
know, lady.
Demons (S)
don’t make (V) promises
(O).
Aku tak tahu
nenek, iblis
(S) tak
membuat (V) janji (O).
Calque
21/ST/S11/00:42:31/CH2
21/ESIT/S11/00:42:30/CH2
21/TT/S11/00:42:31/CH2
Maa nee… I (S) ’m tired
(V)
Aku (S)
capek (V). Calque
35/ST/S18/01:31:15/CH1
35/ESIT/S18/01:31:14/CH1
35/TT/S18/01:31:14/CH1
Marukuru,
obaa-chan
onegai. O-
mise
mitekuru.
Markl (S)
get back (V)
inside (Prep).
I’m gonna
check on the
shop.
Markl (S),
masuklah (V) ke dalam
(Prep), Aku
akan
memeriksa di
dalam toko.
Calque
Almost similar to the structure shift analysis, this strategy also discuss the
structures between the dialogues in the movie. However, instead of the
differences, this strategy observe the structure similarities between the dialogues.
As mentioned in the structure shift analysis part, English and Indonesian
have rather similar structure compared to Japanese. It can be considered that the
sentence structures in ST2 has bigger chances to be transferred in TT rather than
from ST1 to ST2. Such transfer can be found in datum 21 and datum 35.
Datum 21
ST2 I am tired
S V
TT Aku capek
S V
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Datum 35
ST2 Markl get back inside
S V Prep
TT Markl masuklah ke dalam
S V Prep
Data 21 and 35 show the same structures with their exact meanings
between ST2 and TT. ‘Exact’ here means that beside the structure, the meaning in
each word in the translations are the same, as the word ‘I’ is translated as ‘Aku,’
and the word ‘inside’ is translated as ‘ke dalam,’ and so on.
There are also cases where the dialogues have minor differences such in
the matter of determiner, plural word sense, and phrase level difference, but the
structure is still maintained. Such cases can be found in datum 7, 9 and 15.
Datum 7
ST2 I have never seen such tacky little hats.
S V O
TT Aku tak pernah melihat topi-topi kecil sejelek ini.
S V O
Datum 9
ST2 I know our customers will love it.
S V O
TT Aku tahu pelanggan kita akan menyukainya
S V O
Datum 15
ST2 Demons don’t make promises.
S V O
TT Iblis tak membuat janji.
S V O
In data 7 and 9, changes in a level of phrase are found between the objects
in ST2 and TT. The differences lie in the placement of modifiers and compliments
between the two texts. In datum 7, the word order of the noun phrase ‘topi-topi
kecil sejelek ini’ in TT is actually the exact opposite from the noun phrase ‘such
tacky little hats’ in ST2. Meanwhile, in datum 9, the position of the word ‘our’
from the phrase ‘our customers’ which acts as the post modifier in ST2, changes
into a pre modifier as transferred in the word ‘kita’ in TT.
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60
Datum 15 shows the omissions of plural sense from the word ‘Demons’
and ‘Promises’ in TT. As explained in the previous analysis, Indonesian adapts
the plural sense of a word in English with repetitions or post additional words
such the word ‘para’. In some texts such matter is often to be omitted to make the
translation more simple and effective for the spectators, as can be seen in datum
15.
Despite the differences, the translator manages to maintain the sentence
structure from the ST2 to the TT. The changes do not really give big impacts to
alter the structure because they are set in the smaller unit of the sentence such in
phrases or words.
3. Direct Translation
Direct translation is applied when the translator employs word for word
translation process. By employing this strategy, the translator transfers the idea
from every word of the source text into the target text.
Table 13. Direct Translation Strategy Analysis
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
14/ST/S7/00:19:29/CH1
14/ESIT/S7/00:19:27/CH1
14/TT/S7/00:19:28/CH1
Kore chotto For
Heaven’s
sake!
Demi surga! Direct
Translation
32/ST/S16/01:21:07/CH1
32/ESIT/S16/01:21:06/CH1
32/TT/S16/01:21:06/CH1
Hauru,
arigatou!
Yume mitai
This place is
gorgeous,
Howl! It’s
like a dream.
Howl, terima
kasih ! Ini
seperti mimpi
Direct
Translation
39/ST/S20/01:52:20/CH1
39/ESIT/S20/01:52:19/CH1
39/TT/S20/01:52:19/CH1
Kabu,
daijoubu?
Tsugu
atarashi bou
mitsukete
ageru ne.
Kabu,
arigatou.
His pole
snapped. Are
you alright?
We’ll get you
a new pole
ok? You
saved us,
Turnip.
Lobak ? Apa
kau baik
saja ? Kita
akan
mencarikanm
u tiang baru,
oke ? Lobak,
terima kasih
Direct
Translation
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
61
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
40/ST/S20/01:54:21/CH1
40/ESIT/S20/01:54:20/CH1
40/TT/S20/01:54:20/CH1
Arigatou,
Calcifar
I miss you
too Calcifer.
Terima
kasih,
Calcifer
Direct
Translation
Among the other direct translation samples, datum 14 is the only data
which applies the direct translation strategy from ST2 to TT. Beside, datum 14
also shows an interesting case of literal translation. The issue is highlighted by the
way the translator applies the word for word translation method between ST2 and
TT. It can be seen that the translator tries to transfer the literal meaning of ST2,
but the translation is not qualified for word by word translation method because it
does not cover all of the words and their literal meanings in the dialogue in the
source text. When a literal translation method is applied on a text, the translator is
supposed to translate the dialogue word by word, but the word ‘sake’ in ST2 is not
translated in TT. Even so, this is not the only issue in the translation. The
translation ‘Demi surga’ is considered as unnatural translation in the concept of
TT. It is not commonly said in daily expressions nor considered as swear words
for Indonesian people. It can be concluded that the translation in ST2 has similar
idea to the dialogue in ST1 even though they have different literal meanings. On
the contrary, the translation in TT transfers the exact literal meaning of the
dialogue in ST2, but fails to transfer the idea from ST2 and connect the dialogue
with the context in the scene.
The researcher finds that the direct translation strategy is mostly applied
between ST1 and TT in Howl’s Moving Castle movie subtitle. The employment of
the strategy can be seen clearly in datum 32, 39, and 40.
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62
Number
of Data
ST1
Japanese
TT
Indonesian
32 Hauru, arigatou! Howl, terima kasih !
39 Kabu, daijoubu? Lobak ? Apa kau baik saja ?
Kabu, arigatou. Lobak, terima kasih
40 Arigatou, Calcifar Terima kasih, Calcifer
It can be seen that some dialogues from ST1 are omitted or replaced in the
dialogues in ST2 but preserved by the translator in TT. The flow of the translation
is supposed to transfer the ideas of the dialogues from ST1 to ST2 and then from
ST2 to TT. Therefore, when some ideas are omitted or changed in ST2, the
dialogues in TT are supposed to follow how they are mentioned in ST2. However,
instead of following the ideas displayed in ST2, the TT translator seems to also
consider the ideas from the Japanese original text or from the dialogues in ST1.
Such strategy leads to a direct translation from ST1 to TT, besides observing the
translation in ST2.
4. Oblique
Oblique strategy is included as one of the most common method applied
by translator, as it allows them to translate a text with sense for sense translation
procedure (Schjoldager, 2008). The purpose of this strategy is similar with the
direct translation strategy. The translators are able to maintain the same idea from
the source text, and combine them with sensible words in order to make a good
translation. Oblique strategy also provides more possibilities for translators who
cannot transferred the meaning of a text with word by word translation. This
strategy can be considered as an effective method in this research especially in the
translation between ST1 and ST2.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
63
Table 14. Oblique Strategy Analysis
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
5/ST/S3/00:08:02/CH1
5/ESIT/S3/00:08:02/CH1
5/TT/S3/00:08:01/CH1
Howl wa bijin
shika
nerawanai
mono
Howl only
does that to
beautiful
girls.
Howl hanya
melakukanny
a ke gadis
cantik.
Oblique
11/ST/S6/00:13:10/CH6
11/ESIT/S6/00:13:07/CH6
11/TT/S6/00:13:07/CH6
Kyu juusai no
obaa-chan
mitai
You sound
ghastly, like
some ninety
year old
woman.
Suaramu
terdengar
mengerikan,
seperti wanita
tua berusia 90
tahun.
Oblique
13/ST/S7/00:14:43/CH13
13/ESIT/S7/00:14:42/CH13
13/TT/S7/00:14:42/CH13
Kono saki ni
wa
mahoutsukai
shika
urotsuitenai
ze
There’s
nothing but
witches and
wizards out
there.
Disana tak
ada apapun
kecuali para
penyihir.
Oblique
20/ST/S10/00:36:37/CH3
20/ESIT/S10/00:36:36/CH3
20/TT/S10/00:36:36/CH3
Sou ka na?
sou ka na?!
She likes my
spark!
Hahaha
Benarkah itu
? Benarkah
itu ?!
Oblique
26/ST/S13/00:51:53/CH1
26/ESIT/S13/00:51:52/CH1
26/TT/S13/00:51:53/CH1
Ittekuru ne Take care of
him, Marko.
Jagalah dia,
Markl ! Oblique
29/ST/S15/01:07:05/CH5
29/ESIT/S15/01:07:04/CH5
29/TT/S15/01:07:05/CH5
Wanchan Nice doggy. Anjing pintar Oblique
31/ST/S16/01:17:06/CH2
31/ESIT/S16/01:17:05/CH2
31/TT/S16/01:17:06/CH2
Hya, kimi ga
Kabu da ne?
Looks like we
have yet
another
addition to
the family.
Sepertinya
kita memiliki
tambahan
anggota
keluarga.
Oblique
33/ST/S17/01:25:30/CH4
33/ESIT/S17/01:25:29/CH4
33/TT/S17/01:25:30/CH4
Sophie,
Hauru-san
nara shinpai
iranai yo.
Mae mo
nannichimo
inakata koto
ga aru kara.
Oh, don’t
worry about
Master Howl,
Sophie.
Sometimes he
likes to go
away for days
on end.
Sophie,
Jangan
mengkhawati
rkan Howl-
san.
Terkadang,
dia suka pergi
berhari – hari.
Oblique
In this study, the researcher finds that a word for word translation method
is not effective against texts with different grammatical structures. As mentioned
in the previous chapters, Japanese language has different grammatical structures
compared to English and Indonesian. One of the simplest method that can be
applied to overcome such matters is by sense for sense translation method. This
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
64
method is able to maintain the idea of the source text, despite the different
grammatical structure between both texts. The simplest examples can be seen in
datum 5, 11, 13, and 33.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
5/ST/S3/00:08:02/CH1
5/ESIT/S3/00:08:02/CH1
5/TT/S3/00:08:01/CH1
Hauru wa
bijin shika
nerawanai
mono
Howl only
does that to
beautiful
girls.
Howl hanya
melakukanny
a ke gadis
cantik.
Oblique
In datum 5, the translation in ST2 has slightly different meaning with the
dialogue in ST1. Below is the display of literal translation of the dialogue in ST1.
ST1 Hauru wa bijin shika nerawanai mono
Translation Howl beautiful girls only does not aim
If the translation is reconstructed, the dialogue can be read as “Howl does
not aim only to beautiful girls.” However, that is not the intended meaning in the
text. The problem is that the word nai which indicates a negative sentence is
combined with the word shika or ‘only’ in ST1. The character intends to console
her friend that she is safe as long as she is not beautiful because Howl only aims at
beautiful girls –and that hatter girl is not beautiful. The word nerawanai mono
itself means an object that Howl does not after, as mono means ‘object.’ The
meaning changes because of the combination with the word shika which make it
as an object that Howl is after. In another words, the sentence can be
comprehended as “Howl does not after girls that are not beautiful.” The dialogue
in ST1 is correct because it is supposed to be displayed as such. It can be seen that
the translator transfers the dialogue as “Howl only does that to beautiful girls” in
ST2 in order to make a statement that can be comprehend well and to avoid
misunderstandings between the spectators.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
65
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
11/ST/S6/00:13:10/CH6
11/ESIT/S6/00:13:07/CH6
11/TT/S6/00:13:07/CH6
Kyu juusai no
obaa-chan
mitai
You sound
ghastly, like
some ninety
year old
woman.
Suaramu
terdengar
mengerikan,
seperti wanita
tua berusia 90
tahun.
Oblique
Datum 11 shows the employment of oblique strategy between ST1 and
ST2. The word mitai in ST1 can be referred as resembles, like, or similar to
something. The dialogue in ST1 indicates that the character, Sophie’s mother,
thinks that Sophie’s voice is horrible and just like a ninety year old woman as
stated in ST2. However, the idea of the ‘ghastly voice’ is not exactly stated in
ST1, and only mentions in ST2 and ST1 as ‘mengerikan.’ The translator adds the
dialogue “You sound ghastly” in ST2 in order to give a better explanation of
Sophie’s resemblance to something in the next sentence. In the scene, Sophie’s
mother does not actually see Sophie’s condition or appearance, but she can hear
her old woman voice from outside of her bedroom door. Such translation is made
to create a complete meaning and to create a sensible translation in ST2.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
13/ST/S7/00:14:43/CH13
13/ESIT/S7/00:14:42/CH13
13/TT/S7/00:14:42/CH13
Kono saki ni
wa
mahoutsukai
shika
urotsuitenai
ze
There’s
nothing but
witches and
wizards out
there.
Disana tak
ada apapun
kecuali para
penyihir.
Oblique
In datum 13, the oblique strategy is applied especially between the words
Kono saki ni wa in ST1, ‘There’s’ and ‘Out there’ in ST2, and ‘Disana’ in TT.
The word Kono includes in one of the pre-nominal words which “connect directly
to a noun without any particles between the two” in Japanese (All About Teaching
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
66
English In Japan, n.d.). The others are sono, ano, and dono. Kono means ‘here’ or
‘this thing that is very near to you.’ In Indonesian, the term is supposed to be
translated as ‘disini,’ but it can be seen that the translator transfers it differently.
Figure 8. Scene 7 Screenshot
In the scene, the old Sophie is walking up to the mountains of the
Wasteland all by herself. She pass through the furthest house from the city which
is also the last house before the mountains in the Wasteland. The man warns her
that beyond that very place, there are only Mahoutsukai or magic users prowling
throughout the mountains. They are considered to be harmful and supposed to be
avoided. The translator transfers the dialogue as such because the idea in ST1 can
be comprehend easier through the dialogue “There’s nothing but witches and
wizards out there” since the words ‘out there’ and ‘disana’ represent similar idea
such in the dialogue in ST1.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
33/ST/S17/01:25:30/CH4
33/ESIT/S17/01:25:29/CH4
33/TT/S17/01:25:30/CH4
Sophie,
Hauru-san
nara shinpai
iranai yo.
Mae mo
nannichimo
inakata koto
ga aru kara.
Oh, don’t
worry about
Master Howl,
Sophie.
Sometimes he
likes to go
away for days
on end.
Sophie,
Jangan
mengkhawati
rkan Howl-
san.
Terkadang,
dia suka pergi
berhari – hari.
Oblique
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
67
The employment of oblique strategy in datum 33 can be seen especially
between the phrase Mae mo nannichimo in ST1, the terms ‘for days on end’ in
ST2, and the words ‘berhari-hari’ in TT. The three parts of the dialogues basically
indicate the same intention which is a period of time stated in days. The idea is
that Howl often to go out without words for many days. Mae mo nannichi mo can
be translated as ‘tomorrow or even for many days’ in English. Such idea is also
transferred by the idiom ‘for days on end’ in ST2, and the repetition words
‘berhari-hari’ in TT. Similar reason as in datum 13, the translator transfers it as
such because it is the proper terms to describe the idea of the original text with
similar concept in the target texts which make the dialogue easier to be
comprehended by the spectators.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
20/ST/S10/00:36:37/CH3
20/ESIT/S10/00:36:36/CH3
20/TT/S10/00:36:36/CH3
Sou ka na?
sou ka na?!
She likes my
spark!
Hahaha
Benarkah itu
? Benarkah
itu ?!
Oblique
29/ST/S15/01:07:05/CH5
29/ESIT/S15/01:07:04/CH5
29/TT/S15/01:07:05/CH5
Wanchan Nice doggy. Anjing pintar Oblique
The idea of oblique strategy is basically to transfer an idea in a source text
with terms which has similar meanings to the source text, but with the concept
that can be comprehend properly in the target text. Other examples of the strategy
can be found in datum 20, 26, 29, and 31. In datum 20 for example. The
translation in ST2 has different meaning with the dialogues in ST1 and TT.
Similar case can also be found in datum 29 but in the dialogues in ST2 and TT.
The translator actually tries to transfer the idea of the dialogue in ST1 properly as
it may sounds odd if translated as it is. The translator wants to create similar
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
68
situation in the translated text, and thus, a further elaboration is provided in the
adaptation strategy section.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
31/ST/S16/01:17:06/CH2
31/ESIT/S16/01:17:05/CH2
31/TT/S16/01:17:06/CH2
Hya, kimi ga
Kabu da ne?
Looks like we
have yet
another
addition to
the family.
Sepertinya
kita memiliki
tambahan
anggota
keluarga.
Oblique
Previously, it is mentioned that the dialogues in ST2 and TT have different
meanings from the dialogue in ST1. Such matter occurs because perhaps the
translator feels if the dialogue is translated literally, the dialogue may have an
incomplete meaning. The dialogue can be too short and unnatural for the target
text if it is only translated as “You are Turnip Head, right?” in ST2. In order to
avoid such things, the translator picks up a term which can linked the dialogue in
datum 31 with the next dialogue. In the next dialogue, Howl mentions that Turnip
Head has a nasty spell on him, and Howl thinks that everyone in the family has
problems, as they all are cursed or magic has done numbers on them. The
dialogue intends to express that Turnip Head is considered as a part of the family
because he is closed with Sophie and Markl. It can be considered that the terms
‘another addition to the family’ help the translator to make more sense to the
translation in ST2 as the dialogue clearly stated that Turnip Head is a part of the
family.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
26/ST/S13/00:51:53/CH1
26/ESIT/S13/00:51:52/CH1
26/TT/S13/00:51:53/CH1
Ittekuru ne Take care of
him, Marko.
Jagalah dia,
Markl ! Oblique
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
69
The employment of oblique strategy in datum 26 is based on the absence
of culture in the target texts which is brought by the dialogue in ST1. The phrase
ittekuru ne is another form of the Japanese term ittekimasu. This phrase is uttered
when someone “is about to leave somewhere,” such as a home or an office, and it
is supposed to be replied with itterashai by the listeners (Coto Academy, n.d.).
Ittekimasu is not just a simple farewell. The term embodies that the person who
utters it “will return to the place” that he or she is leaving, and the reply itterashai
indicates that “the other party is waiting” for their return (Coto Academy, n.d.).
The translator transfers the term as such because it is the closest translation for the
dialogue. Aside from ‘Take care’ the term can also be translated as ‘see you later’
or ‘have a good day’ in English. Such concept cannot be found in both target
texts, and even though a transfer of meaning is possible, “the Japanese spirit and
nuance” which is brought by the term “are lost during the translation process”
(Coto Academy, n.d.).
5. Explication
Explication strategy is applied to make the idea of a sentence clearer. This
strategy allows the translator to elaborate the implied meaning of a sentence in
more explicit way.
Table 15. Explication Strategy Analysis
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
4/ST/S2/00:05:04/CH2
4/ESIT/S2/00:05:03/CH2
4/TT/S2/00:05:04/CH2
Konoko no
tsure sa. Kimi
tachi chotto
sanposhite
kite kurenai
ka
Are you
really? It
looked to me
like the two
of you were
just leaving.
Benarkah
kalian sibuk ?
Dia
mencariku,
sebaiknya
kalian
berdua pergi
saja.
Explication
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
70
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
18/ST/S9/00:30:17/CH1
18/ESIT/S9/00:30:15/CH1
18/TT/S9/00:30:16/CH1
Sore o
watashi sa Calcifer did.
Calcifer
yang
mengijinkan.
Explication
22/ST/S11/00:43:09/CH1
22/ESIT/S11/00:43:08/CH1
22/TT/S11/00:43:09/CH1
Hauru? Is Howl
back?
Apa Howl
sudah
kembali ?
Explication
27/ST/S14/01:01:54/CH7
27/ESIT/S14/01:01:53/CH7
27/TT/S14/01:01:53/CH7
Okka-sama Mrs.
Pendragon. Ibu Explication
37/ST/S19/01:35:41/CH1
37/ESIT/S19/01:35:40/CH1
37/TT/S19/01:35:40/CH1
Asoko ni
Hauru ga iru.
Looks like
Howl’s in
trouble. Howl look
out!
Sepertinya
Howl berada
dalam
masalah.
Howl !
Explication
38/ST/S19/01:36:03/CH4
38/ESIT/S19/01:36:02/CH4
38/TT/S19/01:36:02/CH4
Sophie…
kabu!
What’s going
on? Turnip!
Sophie, Ada
apa dengan
Howl ?!
Explication
As can be seen in table 15, the translator often to employ explication
strategy in TT. Some of the dialogues such in data 4, 18, and 38, are displayed in
more specific ways in TT. In datum 4, all three texts display Howl’s intention to
send away the soldiers. However, the texts show rather different ways on how the
dialogues were uttered. The dialogue in ST1 is enclosed with the word ka, which
indicates a question sentence. It can be translated as “why don’t you just take a
walk” in a polite manner in Japanese. It can be seen that the dialogue implies
Howl’s intention to send away the soldiers with such polite question. This idea is
transferred in ST2 by applying allusion towards the soldiers. Meanwhile, the
dialogue in TT does not seem to employ either. Instead, the translator makes Howl
shows his intention and directly tell them to go away without any implications.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
18/ST/S9/00:30:17/CH1
18/ESIT/S9/00:30:15/CH1
18/TT/S9/00:30:16/CH1
Sore o
watashi sa Calcifer did.
Calcifer
yang
mengijinkan.
Explication
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
71
In the contrary of datum 8, datum 18 shows the employment of explication
strategy in an effective sentence from ST2 to TT. If the dialogues are seen as such,
the dialogue in ST2 cannot really explain the question with “Calcifer did.”
Without displaying the question, the sentence seems incomplete as it does not
mention the action that Calcifer does to Sophie. Meanwhile, TT delivers rather a
complete answer as in “Calcifer yang mengijinkan.” It means that Howl asks
about the one who gives permission for Sophie to do something, and such idea
can be concluded without even displaying the question in TT. It can be seen that
explication strategy is applied between the two texts to elaborate the word ‘did’ in
ST2 into ‘yang mengijinkan’ in TT. Despite of that, the dialogue in ST2 is
actually considered as an effective sentence. Effectiveness plays an important role
to make a conversation goes well. People do not need to deliver a complete
sentence to express their intentions. It is always applied for conversations in all
language systems. However, it cannot be applied for a ‘who’ or ‘yes-or-no’
question in Indonesian. The idea of permission needs to be transferred in order to
make a good translation in TT.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
38/ST/S19/01:36:03/CH4
38/ESIT/S19/01:36:02/CH4
38/TT/S19/01:36:02/CH4
Sophie…
kabu!
What’s going
on? Turnip!
Sophie, Ada
apa dengan
Howl ?!
Explication
Another example of explication strategy in TT can be seen in datum 38. In
ST2, the dialogue “What’s going on?” is translated into “Sophie, ada apa dengan
Howl?” in TT. The meaning is narrowed from a general to a specific question
regarding Howl. The dialogue “What’s going on?” shows that Markl asks Sophie
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
72
about the things that happen outside the castle. Meanwhile, the dialogue in TT
shows that Markl specifically asks Sophie about Howl.
The employment of explication strategy in ST2 can be seen in datum 22,
27, and 37. Datum 22 and 37 highlights the results of explication strategy as the
same meanings of the dialogues in ST2 are also transferred to TT.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
22/ST/S11/00:43:09/CH1
22/ESIT/S11/00:43:08/CH1
22/TT/S11/00:43:09/CH1
Hauru? Is Howl
back?
Apa Howl
sudah
kembali ?
Explication
In datum 22, the explication strategy is only applied between the dialogues
in ST1 and ST2. In the scene, Howl is already back from the war and he decides
to take a bath. Sophie seems surprised and wake up from her sleep, and confronts
Calcifer. It can be seen that Sophie only says Hauru? in ST1, and it is translated
as “Is Howl back?” in ST2. Both dialogues indicate that Sophie asks about Howl’s
arrival to the house to Calcifer. However, ST2 delivers rather a specific question
than the dialogue in ST1. In ST2, Sophie asks whether Howl is back because
someone turns on the faucet and make the water runs in the bathroom upstairs. If
the answer is ‘yes,’ it means that Howl is the one who turns on the water because
everyone else in the house is already fallen asleep and no one in that castle would
take a bath in such hour. On the other hand, ST1 shows that Sophie directly ask
whether Howl is the one who use the bathroom upstairs. If Calcifer says ‘yes,’ it
means that Howl is already back and he is the one who turns on the water upstairs.
Even though ST1 does not display a specific question, the spectators can still
comprehend Howl’s presence through Calcifer’s answer and the way Sophie looks
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
73
up before she utters the dialogue. It can be seen that the dialogue becomes explicit
in ST2 as the translator does not only want rely on the implications of the actions
that the character does, but also to create a good and clear translation.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
37/ST/S19/01:35:41/CH1
37/ESIT/S19/01:35:40/CH1
37/TT/S19/01:35:40/CH1
Asoko ni
Hauru ga iru.
Looks like
Howl’s in
trouble. Howl look
out!
Sepertinya
Howl berada
dalam
masalah.
Howl !
Explication
Similar to datum 22, the explication strategy in datum 37 is only applied
between ST1 and ST2. The translation result in ST2 is also transferred by the
translator in the dialogues in TT. The researcher notices that the dialogue meaning
in ST1 is different with the dialogue in ST2. However, if the dialogues are
displayed or connected with the scene in the movie, ST2 actually shows further
details of the dialogue in ST1.
Figure 9. Scene 19 Screenshot 1 Figure 10. Scene 19 Screenshot 2
In the scene, Sophie and the others are trying to reach Howl so that Howl
stops protecting the hat shop in town. The dialogue is uttered at the same time
with Figure 9, while Figure 10 shows that Howl is fighting with a lot of enemies,
and the airship where he is on is about to fall. It can be seen that the dialogue in
ST2 is actually give an intro to the next frame of the movie that the spectators are
expected to see, especially after Sophie’s anxious expression. The dialogue in ST1
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
74
tends to only give information regarding Howl’s whereabouts while ST2 gives
more detail information regarding Howl’s situation that Howl is over there and he
is in trouble.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
27/ST/S14/01:01:54/CH7
27/ESIT/S14/01:01:53/CH7
27/TT/S14/01:01:53/CH7
Okka-sama Mrs.
Pendragon. Ibu Explication
Datum 27 shows the employment of explication strategy between ST1 and
ST2, and unlike datum 22 and 37, the translation result in ST2 is not transferred in
TT. It can be seen that the word Okka-sama in ST1 is translated into ‘Mrs.
Pendragon’ in ST2. The meaning is not transferred in TT because it seems that the
translator decides to consider the dialogue meaning in ST1 as both dialogues refer
to the same word, ‘mother.’ The suffix –sama indicates a very formal addressing
to show the addressed person’s superiority (Coto Academy, 2016). In ST2, the
translator decides to employ the name ‘Mrs. Pendragon’ to address Sophie in
order to create the similar formal entitlement. It can be seen that the meaning okka
or ‘mother’ is already represented by the title ‘Mrs,’ as it indicates that someone is
a wife or a mother of a Pendragon. The dialogue in ST2 tends to be more specific
as it mentions Sophie’s last name instead of just ‘mother’ or ‘ibu.’
6. Paraphrase
Occasionally, some texts are found difficult to be translated due to the
different cultures or the absence of the ideas that the writer wants to express.
Paraphrase strategy allows the translators to translate the texts rather freely
(Schjoldager, 2008, p. 92) in order to fill in these difficulties.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
75
Table 16. Paraphrase Strategy Analysis
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
24/ST/S12/00:44:50/CH1
24/ESIT/S12/00:44:48/CH1
24/TT/S12/00:44:49/CH1
Arechi no
majou no
teshitai yo.
They’re only
a few feet
away.
Mereka
hanya
beberapa
kaki saja
jauhnya.
Paraphrase
25/ST/S13/00:49:15/CH14
25/ESIT/S13/00:49:14/CH14
25/TT/S13/00:49:14/CH14
Mite North. Utara. Paraphrase
39/ST/S20/01:52:20/CH1
39/ESIT/S20/01:52:19/CH1
39/TT/S20/01:52:19/CH1
Kabu,
daijoubu?
Tsugu
atarashi bou
mitsukete
ageru ne.
Kabu,
arigatou.
His pole
snapped. Are
you alright?
We’ll get you
a new pole
ok? You
saved us,
Turnip.
Lobak ? Apa
kau baik saja
? Kita akan
mencarikanm
u tiang baru,
oke ? Lobak,
terima kasih
Paraphrase
The results of explication strategy are varied and depend on the way the
translators applied them. The meaning in the target text may not be related at all
with the meaning from the source text. However, the researcher finds that there
are texts which actually related to what happens in the scene and fit whenever
displayed or watched along with the movie. There are also texts which completely
have different meanings from the source texts and do not seem to make any sense
or not related to the scene of the movie such in datum 25.
Datum 25 includes as one of the interesting cases which are found in the
analysis. As mentioned in the semantic shift analysis, datum 25 displays
completely different dialogue meaning between ST1 and ST2. The word mite is
translated rather differently as the translator create a new dialogue in ST2. The
word ‘North’ is mentioned to answer the question ‘Where?’ from the blue dressed
woman, which does not exist in the original version of the movie. It can be seen
that the translator applies this strategy to complete the conversation that the
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
76
translator created, even though it is not mentioned in the original version of the
movie.
In datum 23 and 39, the translator does not transfer the dialogue meaning
from ST1 to ST2 as supposed to. Previously, the researcher mentions that some
data display some free translations between ST1 and ST2. Some of the results are
transferred in TT, and the rest of the samples preserve the dialogue meaning from
the original text. Even though the dialogues in ST2 do not transferred the meaning
as stated in ST1, the dialogues are actually acceptable as the subtitles for the
movie.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
24/ST/S12/00:44:50/CH1
24/ESIT/S12/00:44:48/CH1
24/TT/S12/00:44:49/CH1
Arechi no
majou no
teshitai yo.
They’re only
a few feet
away.
Mereka
hanya
beberapa
kaki saja
jauhnya.
Paraphrase
Datum 23 highlights the employment of paraphrase strategy in order to fill
a missing part in the dialogue. The missing part in the dialogue is apparently
entangled with the permutation strategy that the translator applied in the same
dialogue. Due to the entanglement, a further elaboration regarding the issue is
provided in the permutation strategy analysis.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
39/ST/S20/01:52:20/CH1
39/ESIT/S20/01:52:19/CH1
39/TT/S20/01:52:19/CH1
Kabu,
daijoubu?
Tsugu
atarashi bou
mitsukete
ageru ne.
Kabu,
arigatou.
His pole
snapped. Are
you alright?
We’ll get you
a new pole
ok? You
saved us,
Turnip.
Lobak ? Apa
kau baik saja
? Kita akan
mencarikanm
u tiang baru,
oke ? Lobak,
terima kasih
Paraphrase
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
77
In datum 39, the word Kabu is translated into ‘His pole snapped’ in ST2.
The translation in ST2 does not have the same meaning as in ST1. However, the
researcher finds that the translation is actually acceptable. The sentence rather
describe Kabu’s or Turnip Head’s condition in the current scene.
Figure 11. Scene 20 Screenshot
In the scene, after letting Calcifer go, Sophie and the others who still stay
at the remnants of Howl’s moving castle fall from the cliff because no one is
powering the castle remnants anymore. Then, Turnip Head tries to stop their fall
and ended up snapping his pole. Figure 11 marks the exact timing when Sophie
utters the dialogues Kabu and ‘His pole snapped.’ It can be seen that the dialogue
in ST2 matches with Sophie’s action as she picks up Turnip Head in such
condition.
The strategy is identified as paraphrase strategy because the translation
result in ST2 does not create the same effect as in ST1. In ST1, the word Kabu
indicates a second person point of view as Sophie is talking directly to the
character Turnip Head. Meanwhile, the dialogue ‘His pole snapped’ indicates a
third person point of view as Sophie describes Kabu’s condition to the others.
Even so, the idea of ‘His pole snapped’ is not transferred in TT, as it follows the
original text. It can be concluded that paraphrase strategy is applied because the
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
78
translator, perhaps, sees a more befitting dialogue as it describe the condition of
Turnip Head in the scene.
Paraphrase strategy is different with adaptation strategy. Even though they
both hold a similar concept that a free translation or a translation that is not
completely consider the actual meaning in the original text is acceptable.
Paraphrase strategy does not mainly consider the original effect that the text
created in the movie. This strategy is more likely to fill the missing part that the
translator created due to translation errors which cannot be replaced simply by
literal or sense for sense translation.
7. Condensation
In the contrary of explication strategy, condensation strategy allows the
translator to make an explicit information becomes implicit. This strategy also
allows the translator to translate the text in a shorter way (Schjoldager, 2008, p.
92). Such method can be considered as one of the effective methods in translating
subtitles due to the limited time and space provided for the subtitles in movies.
Table 17. Condensation Strategy Analysis
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
2/ST/S1/00:02:23/CH10
2/ESIT/S1/00:02:22/CH10
2/TT/S1/00:02:23/CH10
Daijobu, anta
wa
nerawarenai
kara
Don’t worry,
he only preys
on pretty
girl.
Jangan
khawatir,
mangsa Howl
hanya gadis
cantik.
Condensation
10/ST/S5/00:12:45/CH9
10/ESIT/S5/00:12:44/CH9
10/TT/S5/00:12:44/CH9
Okku-sama,
Sophie-san wa kyou wa
oritekiteimase
n
I’m afraid
your
daughter hasn’t come
downstairs
yet today,
ma’am.
Kurasa
putrimu
belum turun
kesini hari
ini, nyonya.
Condensation
17/ST/S9/00:23:44/CH3
17/ESIT/S9/00:23:43/CH3
17/TT/S9/00:23:44/CH3
Minatomachi Port Haven
door.
Pintu
Porthaven ! Condensation
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
79
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
23/ST/S12/00:44:45/CH1
23/ESIT/S12/00:44:44/CH1
23/TT/S12/00:44:45/CH1
Markl, gomu
ningen ga iru
The witch’s
henchmen are here.
Markl, kaki
tangan
penyihir ada
disini.
Condensation
34/ST/S17/01:25:38/CH1
34/ESIT/S17/01:25:37/CH1
34/TT/S17/01:25:37/CH1
Toire wa
Need
anything
else?
Perlu lainnya
lagi ? Condensation
The employment of condensation strategy is highlighted by the broader
meaning the translator transferred in the target texts. The simplest examples can
be taken from datum 10, 17, and 34. In the data, the translator utilizes more
general terms for the names or the places that the character refers to in the movie.
In datum 10, the addressing name Sophie-san in ST1 is transferred as ‘your
daughter’ in ST2. The city port Minatomachi in datum 17 is transferred as ‘Port
Haven door,’ while the word Toire, which means ‘toilet,’ is transferred as
‘anything else’ in datum 34.
In data 10 and 12, the translator employs rather a less detailed subject in
ST2. The name Sophie-san in ST1 is transferred as ‘your daughter’ in ST2. Such
changes are actually acceptable because the meanings are not too different as in
the ST1 and the terms are still comprehendible by the spectators.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
23/ST/S12/00:44:45/CH1
23/ESIT/S12/00:44:44/CH1
23/TT/S12/00:44:45/CH1
Markl, gomu
ningen ga iru
The witch’s
henchmen are here.
Markl, kaki
tangan
penyihir ada
disini.
Condensation
Similar to data 10, 17, and 34, the translator also applies broader terms in
datum 23 as can be seen in the data display above. The word gomu ningen, which
means blob men based on the movie, is transferred as ‘The witch’s henchmen’ in
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
80
ST2. These terms represent the same semantic meanings as they both refer to the
same characters who looks like the black and blobby men that wear masks and tip
hats. The translator employs the term ‘The witch’s henchmen’ because the witch
of the Wasteland is on her own and only has the blob men as her subordinates.
These terms are acceptable because the spectators can comprehend them well
even though ST2 does not mentioned which one is the henchmen that Sophie talks
about.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
2/ST/S1/00:02:23/CH10
2/ESIT/S1/00:02:22/CH10
2/TT/S1/00:02:23/CH10
Daijobu, anta
wa
nerawarenai
kara
Don’t worry,
he only preys
on pretty
girl.
Jangan
khawatir,
mangsa Howl
hanya gadis
cantik.
Condensation
In datum 2, the condensation strategy is applied between the dialogues in
ST1 and ST2. In ST1, the hatter girl with the blue dress, specifically points to the
other hatter girl that she is talking with. Previously on the scene, the hatter girls
are gossiping that Howl approaches someone named Martha from South Haven,
and tears out her heart, and that makes the other girls are afraid to go out. The blue
dressed hatter girl implies that it will not happen to her as anta wa nerawarenai
kara in the dialogue in ST1 which means that ‘He (Howl) does not want her.’ The
meaning gets broaden in ST2 as the dialogue states that Howl only preys on pretty
girl. If the dialogue in ST2 is back-translated to ST1, it can be considered that
both translations have implied connections. CH10 makes it clear to her friend in
both ST1 and ST2 that Howl will not prey on her because she is not pretty. It is
not mentioned in ST1, but the meaning is implied by the translator in ST2.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
81
8. Adaptation
Adaptation strategy can help the translator to create the same effect from
the source text into the target text. This strategy highlights that subtitle also brings
senses and effects that the characters create in the movie.
Table 18. Adaptation Strategy Analysis
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
3/ST/S2/00:04:41/CH11
3/ESIT/S2/00:04:39/CH11
3/TT/S2/00:04:40/CH11
De wa, ocha
nan o ikaga
deshou? O
tsukiai e
negaimasu ka
This little
mouse looks
thirsty, we
should take
her for a cup
of tea.
Tikus kecil
ini terlihat
haus, kita
seharusnya
membawakan
nya secangkir
teh.
Adaptation
12/ST/S6/00:13:15/CH6
12/ESIT/S6/00:13:14/CH6
12/TT/S6/00:13:14/CH6
Sou? Jaa ne Well, if you
insist.
Baiklah,
Selamat
tinggal.
Adaptation
16/ST/S8/00:22:39/CH3
16/ESIT/S8/00:22:34/CH3
16/TT/S8/00:22:34/CH3
Baa-chan.
Baa-chan.
Daijoubu ka
na
Hey, lady.
Lady? Hello?
Lady? Hello?
Hey, hey,
hey! Lady?
Lady? Hey,
lemme get
over there,
no… some
big help
you’re gonna
be.
Hei… Nenek
? Nenek !
Hei, biarkan
aku disini…
Dengan
bantuan
besar kau
bisa bebas…
Adaptation
20/ST/S10/00:36:37/CH3
20/ESIT/S10/00:36:36/CH3
20/TT/S10/00:36:36/CH3
Sou ka na?
sou ka na?!
She likes my
spark!
Hahaha
Benarkah itu
? Benarkah
itu ?!
Adaptation
38/ST/S19/01:36:03/CH4
38/ESIT/S19/01:36:02/CH4
38/TT/S19/01:36:02/CH4
Sophie…
kabu!
What’s going
on? Turnip!
Sophie, Ada
apa dengan
Howl ?!
Adaptation
Adaptation strategy wants to highlights that subtitles mean a lot more than
just a group of words which are displayed at the bottom of the screen. Subtitles
provide lexical information, and support perceptual learning about foreign speech
for the spectators of the movie. Subtitles can also provide “the extra information
about the words” spoken by the characters (UK Essays, 2017). Subtitles also
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portray the expressions, emotions, and actions of the characters in the movie.
Subtitles represent so much more than just texts or a group of words, and their
role can be seen clearly if displayed alongside with the movie.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
3/ST/S2/00:04:41/CH11
3/ESIT/S2/00:04:39/CH11
3/TT/S2/00:04:40/CH11
De wa, ocha
nan o ikaga
deshou? O
tsukiai e
negaimasu ka
This little
mouse looks
thirsty, we
should take
her for a cup
of tea.
Tikus kecil
ini terlihat
haus, kita
seharusnya
membawakan
nya secangkir
teh.
Adaptation
In datum 3, one of the soldiers, who interrupts Sophie, calls her as ‘Little
mouse’ in ST2. The nickname ‘Little mouse’ highlights the soldiers’ intentions to
flirt with Sophie. The term is also transferred from ST2 to TT, even though it is
not mentioned in ST1. The name is actually brought up for the first time in the
previous dialogues as the soldiers called Sophie as the Konezumi-chan, as the
word nezumi means mouse in Japanese, as well as its translations in ST2 and TT.
The translator transfers the name Konezumi-chan in datum 3 in order to make the
same effect as the soldier in ST1 is flirting with Sophie.
In Japanese, it is very important for someone to address another politely.
The honorific title –chan is a childish version of the addressing –san in Japanese
which refers to children and girls (Coto Academy, 2016). The title can also be
employed to address lovers or an endearing adult as can be seen in datum 3. The
adaptation strategy is also applied to make a clear impression where the word
‘mouse’ represent a timid person. In the scene, Sophie is lost and looks afraid
when she meets the soldiers. The soldiers consider that she is shy and does not fall
in to their seduction.
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No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
16/ST/S8/00:22:39/CH3
16/ESIT/S8/00:22:34/CH3
16/TT/S8/00:22:34/CH3
Baa-chan.
Baa-chan.
Daijoubu ka
na
Hey, lady.
Lady? Hello?
Lady? Hello?
Hey, hey,
hey! Lady?
Lady? Hey,
lemme get
over there,
no… some
big help
you’re gonna
be.
Hei… Nenek
? Nenek !
Hei, biarkan
aku disini…
Dengan
bantuan besar
kau bisa
bebas…
Adaptation
Datum 16 wants to highlight that the translation result in ST2 gives similar
yet sharper effect than the dialogue in ST1. The dialogue Daijobou ka na? can
actually be translated as ‘Is this ok?’ in English. It can be seen that both dialogues
does not have the same or related meaning to each other, but they deliver similar
effects in the scene. The dialogue in ST1 indicates Calcifer’s worries of letting
Sophie in to the castle. It could be a mistake and might bring troubles along the
way. Meanwhile, the dialogue in ST2 shows a disappointed feeling from Calcifer
because he doubts that Sophie will keep her promise of helping him breaks his
curse. It can be seen that the employment of adaptation strategy between ST1 and
ST2 manages to give similar feelings of doubts and worries.
The employment of adaptation strategy is best seen through the
combination of watching the movie, listen carefully to the dialogues uttered by the
characters, and reading the translation subtitles of the movie. Due to the limited
facilities that a written research can give, a table contains of not only the dialogues
uttered by the characters in ST1 and ST2, but also the screenshots and the
explanation of the scenes where dialogues appeared, is provided as follows.
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No Scene Dialogue
ST1 ST2
12
Figure 12. Scene 6 Screenshot
In the scene Sophie’s mother is standing in front of
Sophie’s bedroom to check on her daughter. At first, she is
concerned about her daughter because the hatter girls said
that she has not come down to the shop yet. She checks on
Sophie and finds out that she is having a bad cold as her
voice sound horrible. Sophie says that she is fine and just
want to stay in bed for the day, and insists her mother to just
let her be.
Sou? Jaa
ne
Well, if
you insist.
20
Figure 13. Scene 10 Screenshot
At that time, Sophie is cleaning the castle and she is
excited when she finds out that Calcifer is able to move such
huge house. Sophie is really amazed and praises Calcifer so
that he bursts out of excitement.
Sou ka na?
sou ka na?!
She likes
my spark!
Hahaha
38
Figure 14. Scene 19 Screenshot
In the scene, Markl gets out of the castle because he heard
a lot of noise from outside.
Sophie… What’s
going on?
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Some translation results in target texts have different meaning from the
source texts. The examples can be seen in datum 12, 20, and 38 as displayed in the
data display above. Yet even though the meaning in the target texts do not have
any related meaning with the source texts, the translation is acceptable and
matches the scene perfectly. Such matter occurs due to the effect of employing the
adaptation strategy.
In Datum 12 the dialogue Sou? Jaa ne in ST1 is translated into ‘Well, if
you insist’ in ST2. The word Sou in ST1 can actually be translated as ‘Is that so’
in English, and the word Jaa ne indicates a farewell greeting. It can be seen that
the translation in ST2 does not have the same meaning as in ST1. Instead, the
translator adapts the dialogue in ST2 and make a good result as the dialogue in
ST2 gives similar effect to the condition in ST1.
In datum 20, the words sou ka na?! can be translated as ‘really?’ in
English. The dialogue shows a sense of disbelieve of Sophie’s admiration to
Calcifer. The dialogue is translated well in TT as the dialogue ‘Benarkah itu?
Benarkah itu’ transfers the exact same meaning as in ST1. However, the translator
comes up with another term for the dialogue in ST2 as it mentions the word
‘spark’ which is not displayed in both ST1 and TT. Such adaptation is made to
complete the idea from the previous dialogue in ST2 as Sophie mentions that she
like his (Calcifer’s) sparks. In ST1, the word ‘spark’ is not mentioned both in the
previous or the current dialogues. The translator employs the word ‘spark’ to
match the word ‘number one’ or ‘first class’ in the previous dialogue as Sophie
praises Calcifer’s magic. Through the dialogue ‘She likes my spark,’ the translator
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wants to highlight the similar excitement that Calcifer feels after hearing Sophie’s
praise and admiration. The adaptation strategy manages to deliver such excitement
as the dialogue is also followed by exclamation tone at the final position of the
word ‘spark.’
As mentioned previously, the result of the translations may or may not
have related meanings to the target texts. Adaptation strategy prioritize the effect
that the dialogues give, instead of just their meanings. Such issue is also found in
datum 38 as the translator transferred the dialogue differently even though literal
and sense for sense translation is possible. It can be seen in the display that the
word Sophie in ST1 is transferred as ‘What’s going on?’ in ST2. It is clear that
both dialogue have different meaning. However, ST2 manages to deliver similar
intention as in ST1. The role of the dialogue can be seen clearly as displayed
above. The dialogue is uttered when Markl was running out of the house to get
Sophie. The translator choses the terms ‘What’s going on?’ because it describes
the situation perfectly as a loud noise is heard from outside. It drives Markl to go
out and asks such question because Sophie is the one who knows what happened.
It can be concluded that, in this case, the adaptation strategy does not only
recreate the same effect as in ST1, but also brings detailed ideas from the scene.
9. Addition
Addition strategy works in contrast with deletion strategy. It allows the
translator to “add a unit of meaning” in the translated text (Schjoldager, 2008).
The additional unit can be in a form of words, or a description regarding a foreign
or ambiguous word in a text.
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Table 19. Addition Strategy Analysis
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
1/ST/S1/00:02:14/CH9
1/ESIT/S1/00:02:12/CH9
1/TT/S1/00:02:13/CH9
Kakureta
dakedeshou,
guntai ga
ippai kiteru
kara
No, he’s just
hiding in the
fog from
those planes.
Tidak, dia
hanya
bersembunyi
dalam kabut
di lembah.
Addition
16/ST/S8/00:22:39/CH3
16/ESIT/S8/00:22:34/CH3
16/TT/S8/00:22:34/CH3
Baa-chan.
Baa-chan.
Daijoubu ka
na
Hey, lady.
Lady?
Hello?
Lady?
Hello? Hey,
hey, hey!
Lady?
Lady? Hey,
lemme get
over there,
no… some
big help
you’re gonna
be.
Hei… Nenek
? Nenek !
Hei, biarkan
aku disini…
Dengan
bantuan besar
kau bisa
bebas…
Addition
28/ST/S14/01:04:49/CH8
28/ESIT/S14/01:04:47/CH8
28/TT/S14/01:04:48/CH8
Shoguntachi
wa atsumatta
ka
Get my
generals
assemble.
Panggil
Jenderal
Umum !
Addition
36/ST/S18/01:33:21/CH5
36/ESIT/S18/01:33:20/CH5
36/TT/S18/01:33:21/CH5
Ara, Hauru ja
nai.
Why, if it
isn’t Howl.
Mengapa,
jika bukan
dari dia Howl ?
Addition
The researcher finds that there are three kinds of effects that the addition
strategy gives to the translated texts. The first effect is that the additional words do
not show big impacts in the translated texts nor alter the main idea transferred
from the source texts, as can be seen in datum 16. Second, the additional words
only extend some meanings in the translated texts, such in datum 28. Finally, the
most important effect is that additional strategy can alter the meaning and the
condition of an idea from the source text into the translated text, such examples
can be found in datum 1 and datum 36.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
16/ST/S8/00:22:39/CH3
16/ESIT/S8/00:22:34/CH3
Baa-chan.
Baa-chan. Hey, lady.
Lady?
Hei… Nenek
? Nenek ! Addition
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16/TT/S8/00:22:34/CH3 Daijoubu ka
na Hello?
Lady?
Hello? Hey,
hey, hey!
Lady?
Lady? Hey,
lemme get
over there,
no… some
big help
you’re gonna
be.
Hei, biarkan
aku disini…
Dengan
bantuan besar
kau bisa
bebas…
Datum 16 shows repetitive additional words in ST2. It can be seen from
the data display that the word Baa-chan, or ‘grandma,’ is only repeated once in
ST1, as well as the word ‘Nenek’ in TT. Meanwhile, the translated word ‘Lady’ is
mentioned five times in ST2, alongside with the words ‘Hey’ and ‘Hello.’ Such
additional words are actually unnecessary, even though they do not seem to alter
the idea of the original text. The reason such strategy is applied in ST2 because
the translator probably wants to fill the void or the silence in the scene between
the words Baa-chan in ST1. It can be seen that the dialogue in ST2 has five
seconds time advance from the dialogue in ST1. The translator leaves plenty of
spaces from the dialogue in ST1. Therefore repetitions are added so that the
dialogue can fill in these spaces without altering the main idea from the original
text.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
28/ST/S14/01:04:49/CH8
28/ESIT/S14/01:04:47/CH8
28/TT/S14/01:04:48/CH8
Shoguntachi
wa atsumatta
ka
Get my
generals
assemble.
Panggil
Jenderal
Umum !
Addition
The employment of addition strategy in datum 28 is found between ST2
and TT. In ST2, the king gives order to assemble his generals immediately. The
word ‘general’ can be translated as ‘jenderal’ in Indonesian. Instead of just
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following the translation as it is, the translator adds the word ‘umum’ after the
word ‘jenderal’ in TT. This is the example of addition that expand a word
meaning as it provides more information about the kind of general that is
summoned. The additional word does not play a major role in the text, but it
manages to maintain the main idea from ST2.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
1/ST/S1/00:02:14/CH9
1/ESIT/S1/00:02:12/CH9
1/TT/S1/00:02:13/CH9
Kakureta
dakedeshou,
guntai ga
ippai kiteru
kara
No, he’s just
hiding in the
fog from
those planes.
Tidak, dia
hanya
bersembunyi
dalam kabut
di lembah.
Addition
Datum 1 highlights the third effect of employing the addition strategy
between both ST2 and TT. Previously, the researcher mentions that the dialogues
in datum 1 have different meanings in all three texts. ST1, ST2, and TT show
different ideas as the translators keeps adding more information in each
translation. ST1 only mentions that Howl is hiding because there are many
soldiers coming toward him. A new information is added in the text through the
phrase ‘in the fog’ as displayed above. Another information is also added through
the word ‘lembah’ in TT. Both additions are related to each other. They provide
detailed information about the scene continuously. However, the additions alter
the main idea as some information are not mentioned in order to make the
dialogues shorter as some words are added in the texts.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
36/ST/S18/01:33:21/CH5
36/ESIT/S18/01:33:20/CH5
36/TT/S18/01:33:21/CH5
Ara, Hauru ja
nai.
Why, if it
isn’t Howl.
Mengapa,
jika bukan
dari dia Howl ?
Addition
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Similar to datum 1, the third effect of addition strategy is also found in
datum 36 between ST2 and TT. The dialogue ‘Why, if it isn’t Howl’ is translated
into ‘Mengapa jika bukan dari dia Howl?’ in TT. As mentioned in the previous
semantic shift analysis, both dialogues actually have similar meanings. The
different lies in the addition words ‘dari dia’ in TT. The context of the dialogues
in ST1 and ST2 is that the witch of the Waste is trying to flirt a little with Howl as
he was asking about the cigarette on her hands. Meanwhile, the dialogue in TT
does not transferred the same intention but to answer Howl’s previous question.
Such matter occurs due to the employment of the addition strategy as it alters the
original idea from both ST1 and ST2.
10. Substitution
Just like the name, substitution strategy allows the translator to replace one
(or more) term with another term, or replaces one meaning with another
(Schjoldager, 2008).
Table 20. Substitution Strategy Analysis
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
1/ST/S1/00:02:14/CH9
1/ESIT/S1/00:02:12/CH9
1/TT/S1/00:02:13/CH9
Kakureta
dakedeshou,
guntai ga
ippai kiteru
kara
No, he’s just
hiding in the
fog from
those planes.
Tidak, dia
hanya
bersembunyi
dalam kabut
di lembah.
Substitution
6/ST/S3/00:08:22/CH12
6/ESIT/S3/00:08:20/CH12
6/TT/TT/S3/00:08:21/CH12
Lettie,
Madoreenu ga agate yo
Lettie, the
chocolate
éclairs are
done.
Lettie, coklat
éclairs sudah
habis.
Substitution
18/ST/S9/00:30:17/CH1
18/ESIT/S9/00:30:15/CH1
18/TT/S9/00:30:16/CH1
Sore o
watashi sa Calcifer did.
Calcifer yang
mengijinkan. Substitution
28/ST/S14/01:04:49/CH8
28/ESIT/S14/01:04:47/CH8
28/TT/S14/01:04:48/CH8
Shoguntachi
wa atsumatta
ka
Get my
generals
assemble.
Panggil
Jenderal
Umum !
Substitution
32/ST/S16/01:21:07/CH1 Hauru, This place is Howl, terima Substitution
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No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
32/ESIT/S16/01:21:06/CH1
32/TT/S16/01:21:06/CH1
arigatou!
Yume mitai gorgeous,
Howl! It’s
like a dream.
kasih ! Ini
seperti mimpi
40/ST/S20/01:54:21/CH1
40/ESIT/S20/01:54:20/CH1
40/TT/S20/01:54:20/CH1
Arigatou,
Calcifar I miss you
too Calcifer.
Terima kasih,
Calcifer Substitution
In this analysis, 6 samples are provided to show the employment of
substitution strategy in Howl’s Moving Castle movie subtitle. The results of the
strategy are varied as some of them are transferred from one target text to another,
as can be seen in datum 6, 18, and 28. The rest of the results remain only in that
current text, and are not transferred to another text such in datum 1, 32, and 40.
Datum ST1 ST2 TT
6 Madoreenu → Chocolate éclairs → Coklat éclairs
18 Watashi → Calcifer → Calcifer
28 Atsumata ka → Get → Panggil
The illustration above displays the list of the terms that are replaced by
another terms in ST2, and also transferred from ST2 to TT. In datum 6, the word
Madoreenu or ‘Madeleine’ in ST1 is replaced by the word ‘Chocolate éclairs’ in
ST2. As mentioned in the previous analysis, both ‘Madeleine’ and ‘Chocolate
éclairs’ are baked goods originated from French. The reason for the translator’s
decision to replace the term is still unknown by the researcher. As for the case in
TT, aside from the fact that the term ‘Chocolate éclairs’ is employed in ST2, the
term ‘Madeleine’ cake does not sound as popular in Indonesia as stated by Blue
Band in its website (Cara Membuat Kue Basah: Resep Kue Madeleine, n.d.).
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
18/ST/S9/00:30:17/CH1
18/ESIT/S9/00:30:15/CH1
18/TT/S9/00:30:16/CH1
Sore o
watashi sa Calcifer did.
Calcifer yang
mengijinkan. Substitution
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In datum 18, the translator change the subject of the dialogue as the
pronoun Watashi or ‘I’ is replaced by the name ‘Calcifer’ in ST2. In the scene,
Howl asks Sophie about who hired her to be the cleaning lady of the castle.
According to the dialogue in ST1, the answer is supposed to be Sophie herself as
she states Sore o watashi sa which can be refer as ‘I hired myself.’ However, the
translator changes the subject and makes Sophie put the blame on Calcifer. The
employment of the strategy does not actually ends in the dialogue in datum 18.
The substitution is also applied on the next dialogue in ST2 as the translator tries
to make both dialogues match to one another.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
28/ST/S14/01:04:49/CH8
28/ESIT/S14/01:04:47/CH8
28/TT/S14/01:04:48/CH8
Shoguntachi
wa atsumatta
ka
Get my
generals
assemble.
Panggil
Jenderal
Umum !
Substitution
Datum 28 highlights the change of tone between the dialogues caused by
the employment of substitution strategy. In ST1, the word Atsumata ka is replaced
by the word ‘Get’ in ST2. The term atsumata is an action verb which can be
translated as ‘to assemble,’ while the particle word ka indicates that the dialogue
is a question. In another words, the dialogue in ST1 can be translated into ‘Have
my generals assemble’ in English. The tone of the dialogues in ST1 indicates that
the character is asking a question. Meanwhile, the words Atsumata ka are replaced
by the word ‘Get’ in ST2. The replacement causes a change of tone as the
dialogue in ST2 becomes an order from the king instead of a polite question.
Moreover, the imperative tone is also transferred in TT through the word
‘Panggil.’
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No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
32/ST/S16/01:21:07/CH1
32/ESIT/S16/01:21:06/CH1
32/TT/S16/01:21:06/CH1
Hauru,
arigatou!
Yume mitai
This place is
gorgeous,
Howl! It’s
like a dream.
Howl, terima
kasih ! Ini
seperti mimpi
Substitution
In datum 32, the substitution strategy is only applied between ST1 and
ST2. It can be seen from the table that the dialogue Hauru, arigatou! is replaced
by the dialogue ‘This place is gorgeous, Howl!’ in ST2. In the scene, Howl gives
Sophie a really spacious opened green garden full with various kinds of flower.
Sophie looks around and give her thanks to Howl as displayed in the dialogues in
ST1. Both dialogues have different meaning, as the dialogue in ST2 only indicates
how Sophie admire that beautiful place. Even so, the dialogue in ST2 is actually
fit to the character’s action in the scene as the dialogue is uttered right after
Sophie looks around the place. Unlike the previous samples, the substitution in
datum 32 is not transferred from ST2 to TT. The substitution is being ‘re-
replaced’ again by the original idea as stated in ST1.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
40/ST/S20/01:54:21/CH1
40/ESIT/S20/01:54:20/CH1
40/TT/S20/01:54:20/CH1
Arigatou,
Calcifar I miss you
too Calcifer.
Terima kasih,
Calcifer Substitution
Similar to the previous case, the substitution strategy in datum 40 is
employed between the dialogues in ST1 and ST2, and the result is not transferred
in TT. It can be seen that the dialogue Arigatou, Calcifar in ST1 is replaced by the
dialogue ‘I miss you too Calcifer’ in ST2. Even though the two dialogues have
different meanings, the dialogue in ST2 is actually replaced to connect the context
to the previous dialogue in the scene where Calcifer states that he missed Sophie
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94
and the others when he was away. Such reason is also supported by the word ‘too’
as mentioned by Sophie in datum 40. Even though the dialogue is not stated as
such in the original text, the idea of the dialogue in ST2 is not transferred in TT as
it follows the way the dialogue is stated in ST1.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
1/ST/S1/00:02:14/CH9
1/ESIT/S1/00:02:12/CH9
1/TT/S1/00:02:13/CH9
Kakureta
dakedeshou,
guntai ga
ippai kiteru
kara
No, he’s just
hiding in the
fog from
those planes.
Tidak, dia
hanya
bersembunyi
dalam kabut
di lembah.
Substitution
Datum 1 shows the employment of substitution strategy between the word
Guntai in ST1 and the word ‘Planes’ in ST2. Both guntai and ‘Planes’ indicate
different meanings as the word Guntai means ‘Soldiers’ in English. However, the
word ‘Planes’ is actually related to the soldiers in the scene as they were riding on
airplanes which is designed in the similar shape of dragonflies above the
Wastelands. Unlike the other samples provided for this strategy, the dialogue in
TT does not either follow the result of the translation in ST2 or in ST1. Instead,
the translation provides another perspective of the scene as explained in the
previous analysis.
11. Deletion
In deletion strategy, the translators are allowed to omit a unit of
meaning(s) from the source texts to the target texts (Schjoldager, 2008). The
translators do not always omit the unimportant terms to the texts. Sometimes, they
also omit the terms that actually play an important role in the texts so that the
spectators can comprehend them well.
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Table 21. Deletion Strategy Analysis
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
38/ST/S19/01:36:03/CH4
38/ESIT/S19/01:36:02/CH4
38/TT/S19/01:36:02/CH4
Sophie…
kabu!
What’s going
on? Turnip!
Sophie, Ada
apa dengan
Howl ?!
Deletion
Omissions are often to leave spaces in the texts, like some things are
‘missing.’ The translators need to fill these spaces in order to complete the
meaning in the texts. In some cases, the readers –or spectators, cannot really see
the difference between the original text and the translated text which omits an
important unit of meaning from the source text. Such issue happens because the
omitted meaning does not play a significant role in the text, or the meaning is
already complete even without the omitted unit.
Figure 15. Scene 19 Screenshot
In datum 38, the name ‘Turnip’ in ST2 is omitted in TT. The name is
actually transferred from Kabu in ST1. It can be seen in both source texts that the
character mentions Kabu because Turnip Head suddenly appears in the scene. It is
also supported by the facts that Markl is looking toward Turnip Head when he
utters the dialogue. However, the translator does not have the same idea as in both
source texts and decides to delete the name in TT. The translator seems to feel that
the dialogue meaning is already complete even without the name Turnip. Besides,
the name is deleted because of the limited time for the dialogue.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
96
There are time gaps and different time stamps between the Japanese and
the English versions of the movie. The time difference does not give a big impact
between the two versions of the movie, but it does matter for the Indonesian
subtitle. As mentioned in the previous chapters, the English text is a result from a
transcription process from the English version of the movie. It is in form of a dub
where the dialogues are supposed to match the characters’ lip movements or
mimics with the exact timing in the movie. Meanwhile, the Indonesian subtitle is
supposed to match the exact timing when the first sound of a dialogue is spoken in
the English version of the movie. It can be seen in the time stamp coding in table
21 that the dialogues in ST2 and TT have the same timing. However, the dialogue
in ST2 is actually came out earlier than the subtitles. After watching and
comparing the Japanese and English versions of Howl’s Moving Castle movie, the
researcher understands that the characters speak faster in the English version of
the movie. The subtitle already lose some milliseconds for the duration within the
dialogues in datum 38, and therefore, the translator decides to ‘cut-loose’ Markl’s
greet to Turnip Head so that the spectators can read the before it disappear.
12. Permutation
Permutation strategy is a unique strategy where the translators are allowed
to place an item in a different textual position from the source text in the target
text. In another word, one dialogue is able to be placed in the next or previous
dialogue in the target text, even though it is different from the dialogue’s original
position in the source text. The employment of this strategy can be seen clearly in
a movie or a subtitle translation as the replacement have different time stamps.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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Table 22. Permutation Strategy Analysis
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
19A/ST/S10/00:33:16
19A/ESIT/S10/00:33:15
19A/TT/S10/00:33:16
Mushi-domo,
sasato
nigeraita
hagirashita
yo
I’ve had
enough of
this.
Aku sudah
muak dengan
ini
Permutation
19/ST/S10/00:33:22/CH1
19/ESIT/S10/00:33:18/CH1
19/TT/S10/00:33:16/CH1
Doitsumo
koitsumo tou
baka ni shite
You bugs
better run
before I cut
your heads
off.
Kalian para
serangga
sebaiknya lari
sebelum
kugigit
kepala kalian
23/ST/S12/00:44:45/CH1
23/ESIT/S12/00:44:44/CH1
23/TT/S12/00:44:45/CH1
Markl, gomu
ningen ga iru
The witch’s
henchmen are
here.
Markl, kaki
tangan
penyihir ada
disini. Permutation
24/ST/S12/00:44:50/CH1
24/ESIT/S12/00:44:48/CH1
24/TT/S12/00:44:49/CH1
Arechi no
majou no
teshitai yo.
They’re only
a few feet
away.
Mereka
hanya
beberapa kaki
saja jauhnya.
Datum 19 shows the employment of permutation strategy between the
dialogue in datum 19 and the previous dialogue as displayed in table 22. In order
to avoid misunderstandings between the data numbers in this analysis, the first
dialogue is referred as datum 19A, as it does not include as the data sample for
this study. In datum 19, the dialogue Mushi-domo, sasato nigeraita hagirashita yo
in ST1 is translated from datum 19A to ST2 and TT in datum 19. The dialogue in
ST1 indicates that Sophie told the bugs to just run away or she would cut their
heads off.
Similar case also happens to the dialogue Doitsumo koitsumo tou baka ni
shite in ST1 datum 19. The dialogue is actually translated to ST2 and TT in datum
19A. The dialogue in ST1 datum 19 indicates that Sophie was pissed because it
feels like the bugs are mocking her. This idea is transferred in datum 19A as ‘I’ve
had enough with this’ in ST2. It can be seen that in both cases, the dialogues in
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
98
ST1 datum 19A and 19 are ‘swapped-transferred’ to one another. Even though the
dialogues are placed in different textual positions, the employment of the strategy
does not alter the elements in the dialogues because the original ideas and the
character’s emotions are transferred completely in the target texts.
No of Data
Source
Text 1
(Japanese)
Source Text
2 (English)
Target Text
(Indonesian)
Subtitling
Strategy
23/ST/S12/00:44:45/CH1
23/ESIT/S12/00:44:44/CH1
23/TT/S12/00:44:45/CH1
Markl, gomu
ningen ga iru
The witch’s
henchmen are
here.
Markl, kaki
tangan
penyihir ada
disini. Permutation
24/ST/S12/00:44:50/CH1
24/ESIT/S12/00:44:48/CH1
24/TT/S12/00:44:49/CH1
Arechi no
majou no
teshitai yo.
They’re only
a few feet
away.
Mereka
hanya
beberapa kaki
saja jauhnya.
In the second sample of permutation strategy analysis, the translator
applies the strategy between datum 23 and 24. Unlike the permutation in datum 19
and 19A, the dialogue transfer only occur between ST1 datum 24 and ST2, and
TT in datum 23. The translation result in ST2 datum 23 actually has similarities
with the dialogues in ST1 datum 23 and 24.
Source Text 1
(Japanese) Translation
Source Text 2
(English)
Markl, gomu ningen ga iru → Markl, the blob men are here. The witch’s henchmen are
here. Arechi no majou no teshitai
yo. →
They’re the witch’s
henchmen.
It can be seen in the data above that the two dialogues in ST1 has some
similarities with the translation result in ST2 which are the words ‘are here’ from
the word iru, and the words ‘The witch’s henchmen’ from the words Arechi no
majou no teshitai in ST1. Unlike the case in datum 19 and 19A, the dialogue in
ST1 datum 23 is not translated at all. Instead, the translator employs permutation
strategy to transfer the dialogue, which is supposed to be in datum 24, in datum
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
99
23. Such employment leaves a blank space behind as the textual position in ST2
datum 24 is empty. Then, the translator decides to make up a dialogue to fill the
space. Even though the dialogue “They’re only a few feet away” is not transferred
from the original text, the translator makes sure that the dialogue fits to the
situation in the scene.
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CHAPTER V
CONCLUSION
The analysis and discussion chapter has shown the type of shifts that occur
between the three texts, and also the strategies that help the translators create the
subtitles for the movie. The 40 samples only show the shifts in categorical and
semantic matters, as level shifts occurrences are not found in the data. The
analysis also show the importance of the 12 subtitling strategies as they are fully
applied as elaborated within the discussion.
English and Indonesian has rather similar grammatical structure. Due to
the structure differences, it is expected that structure shifts are found mostly
between ST1 and ST2 with 100 percent occurrences. The result shows that
structure shift does occupy the highest number of shift occurrences. However, the
number only show 29 out of 40 chances in the samples. It turns out that structure
shifts are only occur until some extend of level between ST1 and ST2, such in
phrases or incomplete sentences. Meanwhile, the other samples show that there
are 3 occurrences of class shift, 9 occurrences of unit shift, 4 occurrences of intra-
system shift, and 34 occurrences for the semantic shift category.
Among the 12 subtitling strategies, oblique strategy stands as the most
frequent strategy applied by the translators with 19 occurrences in total. It means
that the translators are sure to struggle with the translations especially between the
Japanese and English texts. This theory is also supported by the fact that the
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
101
adaptation strategy holds the second highest strategy employed by the translators,
and it is followed by calque and condensation strategy. Due to the different
grammatical structure, the translators need to transfer the idea of the source text
utilizing a sense for sense or other kinds of translation methods such in adaptation
strategy.
Some subtitling strategies also show an important fact from this research.
Even though direct transfer and direct translation strategies have low number of
employment in the texts, they support the fact that the TT translator is not only
transfer the dialogue from the ST2, but also consider the idea from ST1. The
researcher also finds that some dialogues indicate similarities only between ST1
and TT, while ST2 displays different idea.
Through the two analysis elaborated in the previous chapter, the researcher
wants to highlight the contrasts and relations between the shifts and the strategies
applied in Disney Ghibli Howl’s Moving Castle movie subtitle. The translation
shift analysis manages to show the different ideas transferred between the source
and target texts. Meanwhile, the subtitling strategies outlines the perspective of
the translators in translating the texts. The two analysis support each other by
showing the ‘actions’ and ‘risks’ that the translators take during the translation
process. The strategies are their ‘actions’ needed in order to make a good
translation, and the shifts are the ‘risks’ caused by the ‘actions.’ It can be
concluded that in translating a text, shifts or errors are avoidable, let alone in a
three language translation such in the topic of this research. Different language
systems can lead to different translation methods and create voids or differences
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
102
between the source texts and the target texts. These differences are in form of
mistranslations, as displayed in semantic shift and intra-system shift, and structure
reconstruction, as displayed in structure shift, class shift, and unit shift. The
subtitling methods are also proven to be very effective within this translations as
all of the strategies are found between the Japanese-English and English-
Indonesian subtitle of Howl’s Moving Castle movie.
For further research, it is suggested to explore the different translation
between the English dubbing version and the English subtitle of the Japanese
version of the movie. A comparison between the novel and the movie version of
Howl’s Moving Castle can also be conducted for the research of literary studies.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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APPENDIX
Table 23. All Data Research No of Data
Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian)
1/ST/S1/00:02:14/CH9
1/ESIT/S1/00:02:12/CH9
1/TT/S1/00:02:13/CH9
Kakureta
dakedeshou, guntai
ga ippai kiteru
kara
No, he’s just
hiding in the fog
from those planes.
Tidak, dia hanya
bersembunyi dalam
kabut di lembah.
2/ST/S1/00:02:23/CH10
2/ESIT/S1/00:02:22/CH10
2/TT/S1/00:02:23/CH10
Daijobu, anta wa
nerawarenai kara
Don’t worry, he
only preys on
pretty girl.
Jangan khawatir,
mangsa Howl
hanya gadis cantik.
3/ST/S2/00:04:41/CH11
3/ESIT/S2/00:04:39/CH11
3/TT/S2/00:04:40/CH11
De wa, ocha nan o
ikaga deshou? O
tsukiai e
negaimasu ka
This little mouse
looks thirsty, we
should take her for
a cup of tea.
Tikus kecil ini
terlihat haus, kita
seharusnya
membawakannya
secangkir teh.
4/ST/S2/00:05:04/CH2
4/ESIT/S2/00:05:03/CH2
4/TT/S2/00:05:04/CH2
Konoko no tsure
sa. Kimi tachi
chotto sanposhite
kite kurenai ka
Are you really? It
looked to me like
the two of you
were just leaving.
Benarkah kalian
sibuk ? Dia
mencariku,
sebaiknya kalian
berdua pergi saja.
5/ST/S3/00:08:02/CH1
5/ESIT/S3/00:08:02/CH1
5/TT/S3/00:08:01/CH1
Howl wa bijin
shika
nerawanaimono
Howl only does
that to beautiful
girls.
Howl hanya
melakukannya ke
gadis cantik.
6/ST/S3/00:08:22/CH12
6/ESIT/S3/00:08:20/CH12
6/TT/TT/S3/00:08:21/CH12
Lettie, Madoreenu
ga agate yo
Lettie, the
chocolate éclairs
are done.
Lettie, coklat
éclairs sudah habis.
7/ST/S4/00:10:19/CH5
7/ESIT/S4/00:10:17/CH5
7/TT/S4/00:10:16/CH5
Yasupai boushi.
I’ve never seen
such tacky little
hats.
aku tak pernah
melihat topi - topi
kecil sejelek ini.
8/ST/S4/00:10:52/CH5
8/ESIT/S4/00:10:50/CH5
8/TT/S4/00:10:51/CH5
Sono noroi wa hito
ni wa hanasanai
kara ne. Hauru ni
yoroshiku ne.
The best part of
that spell is you
can’t tell anyone
about it. My
regards to Howl.
Bagian terbaik dari
mantranya adalah,
kau tak bisa
memberitahu
siapapun soal ini.
Sampaikan
salamku ke Howl.
9/ST/S5/00:12:40/CH6
9/ESIT/S5/00:12:39/CH6
9/TT/S5/00:12:39/CH6
Kore zettai ikeru to
omowanai
I know, our
customers will love
it.
Aku tahu,
pelanggan kita
akan menyukainya.
10/ST/S5/00:12:45/CH9
10/ESIT/S5/00:12:44/CH9
10/TT/S5/00:12:44/CH9
Okku-sama,
Sophie-san wa
kyou wa
oritekiteimasen
I’m afraid your
daughter hasn’t
come downstairs
yet today, ma’am.
Kurasa putrimu
belum turun kesini
hari ini, nyonya.
11/ST/S6/00:13:10/CH6
11/ESIT/S6/00:13:07/CH6
11/TT/S6/00:13:07/CH6
Kyu juusai no
obaa-chan mitai
You sound ghastly,
like some ninety
year old woman.
Suaramu terdengar
mengerikan,
seperti wanita tua
berusia 90 tahun.
12/ST/S6/00:13:15/CH6
12/ESIT/S6/00:13:14/CH6
12/TT/S6/00:13:14/CH6
Sou? Jaa ne Well, if you insist. Baiklah, Selamat
tinggal.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
108
No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian)
13/ST/S7/00:14:43/CH13
13/ESIT/S7/00:14:42/CH13
13/TT/S7/00:14:42/CH13
Kono saki ni wa
mahoutsukai shika
urotsuitenai ze
There’s nothing
but witches and
wizards out there.
Disana tak ada
apapun kecuali
para penyihir.
14/ST/S7/00:19:29/CH1
14/ESIT/S7/00:19:27/CH1
14/TT/S7/00:19:28/CH1
Kore chotto For Heaven’s sake! Demi surga!
15/ST/S8/00:22:03/CH3
15/ESIT/S8/00:22:01/CH3
15/TT/S8/00:22:02/CH3
Akuma wa
yakusoku wa shinai
sa
Ah, I don’t know,
lady. Demons
don’t make
promises.
Aku tak tahu
nenek, iblis tak
membuat janji.
16/ST/S8/00:22:39/CH3
16/ESIT/S8/00:22:34/CH3
16/TT/S8/00:22:34/CH3
Baa-chan. Baa-
chan. Daijoubu ka
na
Hey, lady. Lady?
Hello? Lady?
Hello? Hey, hey,
hey! Lady? Lady?
Hey, lemme get
over there, no…
some big help
you’re gonna be.
Hei… Nenek ?
Nenek ! Hei,
biarkan aku
disini… Dengan
bantuan besar kau
bisa bebas…
17/ST/S9/00:23:44/CH3
17/ESIT/S9/00:23:43/CH3
17/TT/S9/00:23:44/CH3
Minatomachi Port Haven door. Pintu Porthaven !
18/ST/S9/00:30:17/CH1
18/ESIT/S9/00:30:15/CH1
18/TT/S9/00:30:16/CH1
Sore o watashi sa Calcifer did. Calcifer yang
mengijinkan.
19/ST/S10/00:33:22/CH1
19/ESIT/S10/00:33:18/CH1
19/TT/S10/00:33:16/CH1
Doitsumo koitsumo
tou baka ni shite
You bugs better
run before I cut
your heads off.
Kalian para
serangga sebaiknya
lari sebelum
kugigit kepala
kalian
20/ST/S10/00:36:37/CH3
20/ESIT/S10/00:36:36/CH3
20/TT/S10/00:36:36/CH3
Sou ka na? sou ka
na?!
She likes my
spark! Hahaha
Benarkah itu ?
Benarkah itu ?!
21/ST/S11/00:42:31/CH2
21/ESIT/S11/00:42:30/CH2
21/TT/S11/00:42:31/CH2
Maa nee… I’m tired Aku capek.
22/ST/S11/00:43:09/CH1
22/ESIT/S11/00:43:08/CH1
22/TT/S11/00:43:09/CH1
Hauru? Is Howl back? Apa Howl sudah
kembali ?
23/ST/S12/00:44:45/CH1
23/ESIT/S12/00:44:44/CH1
23/TT/S12/00:44:45/CH1
Markl, gomu
ningen ga iru
The witch’s
henchmen are here.
Markl, kaki tangan
penyihir ada disini.
24/ST/S12/00:44:50/CH1
24/ESIT/S12/00:44:48/CH1
24/TT/S12/00:44:49/CH1
Arechi no majou
no teshitai yo.
They’re only a few
feet away.
Mereka hanya
beberapa kaki saja
jauhnya.
25/ST/S13/00:49:15/CH14
25/ESIT/S13/00:49:14/CH14
25/TT/S13/00:49:14/CH14
Mite North. Utara.
26/ST/S13/00:51:53/CH1
26/ESIT/S13/00:51:52/CH1
26/TT/S13/00:51:53/CH1
Ittekuru ne Take care of him,
Marko.
Jagalah dia, Markl
!
27/ST/S14/01:01:54/CH7
27/ESIT/S14/01:01:53/CH7
27/TT/S14/01:01:53/CH7
Okka-sama Mrs. Pendragon. Ibu
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
109
No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian)
28/ST/S14/01:04:49/CH8
28/ESIT/S14/01:04:47/CH8
28/TT/S14/01:04:48/CH8
Shoguntachi wa
atsumatta ka
Get my generals
assemble.
Panggil Jenderal
Umum !
29/ST/S15/01:07:05/CH5
29/ESIT/S15/01:07:04/CH5
29/TT/S15/01:07:05/CH5
Wanchan Nice doggy. Anjing pintar
30/ST/S15/01:14:45/CH1
30/ESIT/S15/01:14:44/CH1
30/TT/S15/01:14:44/CH1
Calcifar, Salliman
ga itte ta wa, Howl
wa taisetsu na
mono wa anata ni
watashitatte. Nani
sore? Doko ni aru
no?
Do you know what
Madame Sulliman
said? She said that
Howl’s heart was
stolen by a demon.
Tell me now, what
do you know.
Calcifer, kau tahu
apa yang dikatakan
Madam Suliman ?
Dia bilang bahwa
jantung Howl
dicuri oleh iblis.
Katakan padaku,
apa yang kau
ketahui ?
31/ST/S16/01:17:06/CH2
31/ESIT/S16/01:17:05/CH2
31/TT/S16/01:17:06/CH2
Hya, kimi ga Kabu
da ne?
Looks like we have
yet another
addition to the
family.
Sepertinya kita
memiliki tambahan
anggota keluarga.
32/ST/S16/01:21:07/CH1
32/ESIT/S16/01:21:06/CH1
32/TT/S16/01:21:06/CH1
Hauru, arigatou!
Yume mitai
This place is
gorgeous, Howl!
It’s like a dream.
Howl, terima kasih
! Ini seperti mimpi
33/ST/S17/01:25:30/CH4
33/ESIT/S17/01:25:29/CH4
33/TT/S17/01:25:30/CH4
Sophie, Hauru-san
nara shinpai iranai
yo. Mae mo
nannichimo
inakata koto ga aru
kara.
Oh, don’t worry
about Master
Howl, Sophie.
Sometimes he likes
to go away for
days on end.
Sophie, Jangan
mengkhawatirkan
Howl-san.
Terkadang, dia
suka pergi berhari
– hari.
34/ST/S17/01:25:38/CH1
34/ESIT/S17/01:25:37/CH1
34/TT/S17/01:25:37/CH1
Toire wa Need anything
else? Perlu lainnya lagi ?
35/ST/S18/01:31:15/CH1
35/ESIT/S18/01:31:14/CH1
35/TT/S18/01:31:14/CH1
Marukuru, obaa-
chan onegai. O-
mise mitekuru.
Marko get back
inside. I’m gonna
check on the shop.
Markl, masuklah
ke dalam, Aku
akan memeriksa di
dalam toko.
36/ST/S18/01:33:21/CH5
36/ESIT/S18/01:33:20/CH5
36/TT/S18/01:33:21/CH5
Ara, Hauru ja nai. Why, if it isn’t
Howl.
Mengapa, jika
bukan dari dia
Howl ?
37/ST/S19/01:35:41/CH1
37/ESIT/S19/01:35:40/CH1
37/TT/S19/01:35:40/CH1
Asoko ni Hauru ga
iru.
Looks like Howl’s
in trouble. Howl
look out!
Sepertinya Howl
berada dalam
masalah. Howl !
38/ST/S19/01:36:03/CH4
38/ESIT/S19/01:36:02/CH4
38/TT/S19/01:36:02/CH4
Sophie… kabu! What’s going on?
Turnip!
Sophie, Ada apa
dengan Howl ?!
39/ST/S20/01:52:20/CH1
39/ESIT/S20/01:52:19/CH1
39/TT/S20/01:52:19/CH1
Kabu, daijoubu?
Tsugu atarashi bou
mitsukete ageru ne.
Kabu, arigatou.
His pole snapped.
Are you alright?
We’ll get you a
new pole ok? You
saved us, Turnip.
Lobak ? Apa kau
baik saja ? Kita
akan
mencarikanmu
tiang baru, oke ?
Lobak, terima
kasih
40/ST/S20/01:54:21/CH1
40/ESIT/S20/01:54:20/CH1 Arigatou, Calcifar
I miss you too
Calcifer.
Terima kasih,
Calcifer
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
110
No of Data Source Text 1
(Japanese)
Source Text 2
(English)
Target Text
(Indonesian)
40/TT/S20/01:54:20/CH1
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI