INDONESIAN TRANSLATION OF AGATHA CHRISTIE’S BOOK … · indonesian translation of agatha...

INDONESIAN TRANSLATION OF AGATHA CHRISTIE’S

BOOK TITLES:

THE STUDY OF EQUIVALENCE, TRANSLATION

TECHNIQUES, AND TITLE WRITING TECHNIQUES APPLIED

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements

for the Degree of Sarjana Sastra

in English Letters

By

ANDIRA KRISTIA

Student Number: 124214072

ENGLISH LETTERS STUDY PROGRAM

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

SANATA DHARMA UNIVERSITY

YOGYAKARTA

2016

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

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INDONESIAN TRANSLATION OF AGATHA CHRISTIE’S

BOOK TITLES:

THE STUDY OF EQUIVALENCE, TRANSLATION

TECHNIQUES, AND TITLE WRITING TECHNIQUES APPLIED

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements

for the Degree of Sarjana Sastra

in English Letters

By

ANDIRA KRISTIA

Student Number: 124214072

ENGLISH LETTERS STUDY PROGRAM

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

SANATA DHARMA UNIVERSITY

YOGYAKARTA

2016


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ACKNOWLEDGEMENTS

First of all, I would like to thank Jesus Christ for His blessing on me during

the whole process of this undergraduate thesis writing. He has always been besides me,

holding me if I am about to fall and I am blessed because when things did not work as

I expected, I know behind all of that He is working in my life and the result is amazing.

I would also like to thank my advisor, Harris Hermansyah Setiajid, S.S.,

M.Hum., who has guided me in writing this thesis and to my co-advisor, Anna Fitriati,

S.Pd., M.Hum., for every suggestion and correction which lead to the betterment of

this thesis.

My deepest gratitude goes to my parents, my family, Desmond Anabrang and

his family, for the unconditional love and support for me until I can finish this thesis.

I am thankful for that and will cherish them for the rest of my life.

Last but not least, my heart goes to Yohana, Widya, Laksmi, Agatha, Fay,

Dea, Sandra, Pieter, Alex, and all of my dearest friends whose names cannot be

mentioned each. Thank you for the support, laughter, and happy memories until now.

Andira Kristia


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TABLE OF CONTENTS

TITLE PAGE ........................................................................................................ ii

APPROVAL PAGE .............................................................................................. iii

ACCEPTANCE PAGE ......................................................................................... iv

LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH ... v

STATEMENT OF ORIGINALITY .................................................................... vi

MOTTO PAGE ..................................................................................................... vii

DEDICATION PAGE ........................................................................................... viii

ACKNOWLEDGEMENTS .................................................................................. ix

TABLE OF CONTENTS ...................................................................................... x

LIST OF CHARTS ............................................................................................... xii

LIST OF TABLES ................................................................................................ xiii

ABSTRACT ........................................................................................................... xiv

ABSTRAK ............................................................................................................... xv

CHAPTER I: INTRODUCTION ........................................................................ 1

A. Background of the Study ........................................................................ 1

B. Problem Formulation .............................................................................. 3

C. Objectives of the Study .......................................................................... 4

D. Definition of Terms ................................................................................ 4

CHAPTER II: REVIEW OF LITERATURE .................................................... 6

A. Review of Related Studies ...................................................................... 6

B. Review of Related Theories ................................................................... 7

1. Theories of Translation ..................................................................... 7

2. Theories of Equivalence ................................................................... 9

3. Translation Techniques..................................................................... 11

4. Title Writing Techniques .................................................................. 16


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C. Theoretical Framework........................................................................... 18

CHAPTER III: METHODOLOGY .................................................................... 20

A. Areas of Research ................................................................................... 20

B. Object of the Study ................................................................................. 20

C. Method of the Study ............................................................................... 21

D. Research Procedure ................................................................................ 21

1. Types of Data.................................................................................... 21

2. Data Collection ................................................................................. 22

3. Population and Sample ..................................................................... 23

4. Data Analysis .................................................................................... 23

CHAPTER IV: ANALYSIS ................................................................................. 26

A. The Equivalence of Agatha Christie’s Book Titles ............................... 26

1. Formal Equivalence .......................................................................... 28

2. Dynamic Equivalence ....................................................................... 36

B. Translation Techniques Analysis of Agatha Christie’s Book Titles ...... 43

a. Adaptation ........................................................................................ 44

b. Amplification .................................................................................... 45

c. Borrowing ......................................................................................... 45

d. Discursive Creation .......................................................................... 46

e. Literal Translation ............................................................................ 47

f. Modulation ....................................................................................... 48

g. Particularization ................................................................................ 48

h. Transposition .................................................................................... 49

C. Title Writing Techniques Analysis of Agatha Christie’s Indonesian

Book Titles ............................................................................................. 50

a. Combining the main character with a predicate ............................... 51

b. Symbolic ........................................................................................... 52


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c. Alias .................................................................................................. 52

d. The essence of the story.................................................................... 53

CHAPTER V: CONCLUSION ............................................................................ 54

BIBLIOGRAPHY ................................................................................................. 57

APPENDICES ....................................................................................................... 59

Appendix 1: Data of Agatha Christie’s Book Titles……………………...59

Appendix 2: The Equivalence Analysis Result…………………………...60

Appendix 3: The Translation Techniques Analysis Result……………….62

Appendix 4: The Title Writing Technique Analysis Result………………63

Appendix 5: Data Recapitulation of Analysis Result……………………..65


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LIST OF CHARTS

Chart 1. The Result of Equivalence in the Translation of Agatha Christie's Book Titles

(in Percentage)…………………………….……………………..……….27

Chart 2. The Result of Translation Techniques Analysis in Agatha Christie’s Book

Titles (in Percentage)……………………………………………………...43

Chart 3. The Result of Title Writing Techniques in Agatha Christie’s Indonesian Book

Titles (in Percentage)……………………………………………………...50


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LIST OF TABLES

Table 1. Comparison of Nida’s Formal and Dynamic Equivalence…………….…..…9

Table 2. Comparison of Newmark’s Semantic and Communicative

Translation……………………..…………………………………...……....10

Table 3. Classification of Data……………………………………………………….22

Table 4. The Equivalence of Agatha Christie’s Indonesian Book Titles……………..24

Table 5. The Translation Technique Used in Translating Agatha Christie’s Book

Titles……………………………………………………………...……….24

Table 6. The Technique Used to Write Indonesian Titles of Agatha Christie’s

Books………………………………………...……………………………25

Table 7. The Example of Formal Equivalence in the Translation of Agatha Christie’s

Book Titles………………………………………………………………..28

Table 8. The Example of Dynamic Equivalence in the Translation of Agatha Christie’s

Book Titles…………………………………………………………..........37


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ABSTRACT

KRISTIA, ANDIRA. Indonesian Translation of Agatha Christie’s Book Titles:

the Study of Equivalence, Translation Techniques, and Title Writing

Techniques Applied. Yogyakarta: Department of English Letters, Faculty of

Letters, Sanata Dharma University, 2016.

This undergraduate thesis is about the equivalence, translation techniques,

and title writing techniques of Agatha Christie’s books which are translated into

Indonesian. Equivalence and translation techniques are considered as important

things in translation studies because the comparison of texts in different languages

necessarily involve those theories.

There were three research objectives of this thesis. Firstly, this thesis

analyzed the equivalence of Indonesian translation of Agatha Christie’s book titles.

Secondly, the thesis examined what translation techniques used by the translators in

translating the book titles. Thirdly, after the equivalence and translation techniques

used are founded, the writer analyzed the techniques used by the translator to write

Agatha Christie’s Indonesian book titles in order to deepen this analysis on

translation.

The method applied for this thesis is library research. The theories needed

for this thesis were taken from various books in the field of translation studies.

Thus, the theories used in this thesis are based on the theories from the experts of

each field, such as Nida, Molina and Albir, and Putra.

The analysis result showed that formal equivalence is mostly used by the

translator to translate the book titles. There are 19 translations considered as formal

equivalence and 14 translations considered as dynamic equivalence. The

translation technique mostly used by the translator is literal translation. There are

22 translations with this technique. The title writing technique that is mostly used

by the translator is the essence of the story. There are 17 translations with this

technique. Furthermore, there is a pattern emerging from the analysis of the third

objectives above. The book titles which are categorized as formal equivalence are

translated using literal translation. The title writing technique that is used mostly

is the essence of the story. This is relevant with the characteristic of formal

equivalence. The book titles which are considered as dynamic equivalence are

translated using discursive creation. Hence, the title writing technique that is used

mostly is symbolic. This is relevant with the characteristic of dynamic equivalence.


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ABSTRAK

KRISTIA, ANDIRA. Indonesian Translation of Agatha Christie’s Book Titles:

the Study of Equivalence, Translation Techniques, and Title Writing

Techniques Applied. Yogyakarta: Sastra Inggris, Fakultas Sastra, Universitas

Sanata Dharma, 2016.

Skripsi ini membahas tentang kesepadanan, teknik penerjemahan, dan teknik

penulisan judul pada buku Agatha Christie yang diterjemahkan ke dalam bahasa

Indonesia. Kesepadanan dan teknik penerjemahan termasuk hal penting dalam studi

penerjemahan karena perbandingan teks dalam bahasa yang berbeda tentu

melibatkan teori-teori tersebut

Terdapat tiga tujuan penelitian yang dianalisis dalam skripsi ini. Pertama,

analisis kesepadanan terjemahan bahasa Indonesia dari judul buku Agatha Christie.

Kedua, analisis teknik penerjemahan apa yang digunakan oleh penerjemah dalam

menerjemahkan judul buku. Ketiga, setelah kesepadanan dan teknik penerjemahan

telah dianalisis, penulis menganalisis teknik yang digunakan oleh penerjemah untuk

menulis judul buku Agatha Christie dalam Bahasa Indonesia untuk memperdalam

analisis ini terkait penerjemahan.

Metode yang digunakan dalam skripsi ini adalah penelitian pustaka. Teori-

teori yang dibutuhkan untuk skripsi ini diambil dari berbagai buku di bidang studi

terjemahan. Dengan demikian, teori yang digunakan dalam skripsi ini berdasarkan

pada teori-teori dari para ahli di bidangnya, seperti Nida, Molina dan Albir, dan

Putra.

Hasil penelitian menunjukkan bahwa kesepadanan formal paling banyak

digunakan oleh penerjemah untuk menerjemahkan judul buku. Ada 19 terjemahan

yang termasuk kesepadanan formal dan 14 terjemahan yang termasuk kesepadanan

dinamis. Teknik penerjemahan yang banyak digunakan oleh penerjemah adalah

terjemahan harfiah. Ada 22 terjemahan yang menggunakan teknik ini. Teknik

penulisan judul yang banyak digunakan oleh penerjemah adalah intisari cerita. Ada

17 terjemahan yang menggunakan teknik ini. Selain itu, ada pola yang muncul

berdasarkan hasil ketiga penemuan di atas. Hampir semua judul buku Agatha

Christie yang termasuk kesepadanan formal diterjemahkan menggunakan teknik

terjemahan harfiah. Selain itu, teknik penulisan judul yang digunakan sebagian

besar adalah intisari cerita. Hal ini relevan dengan karakteristik dari kesepadanan

formal. Judul buku lainnya yang termasuk kesepadanan dinamis diterjemahkan

menggunakan teknik kreasi diskursif. Oleh karena itu, teknik penulisan judul yang

digunakan sebagian besar adalah simbolis. Hal ini relevan dengan karakteristik

dari kesepadanan dinamis.


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CHAPTER I

INTRODUCTION

A. Background of the Study

Language is a tool used by human beings to communicate with each

other. Human beings use language to transfer messages in everyday life.

However, the problem is that not all people have the same mother tongue and a

process is needed so that the messages in those different languages can be

conveyed and understood. This process is defined as translation. Translation

allows two people who have different languages to communicate with each

other and share a message. Translation not only works in spoken language but

also in written language.

In the context of written language, Newmark (1981:7) stated that

“translation is a craft consisting in the attempt to replace a written message

and/or statement in one language by the same message and/or statement in

another language”. It can be concluded that translation is needed to reconstruct

sentences, messages, and ideas from the source language to the target language.

After the text has been translated, the next thing is to know whether the

translated text is equivalent to the original text.

In translating a text, it is necessary to check whether the transferred

messages from source language (SL) are equivalent to the target language

(TL). Equivalence is one of the important things in translation studies because

the comparison of texts in different languages necessarily involve a theory of


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equivalence. This is in accordance with Nida’s statement that “the success of

the translation depends above all on achieving equivalent response” (1964:

164). Hatim states that the term equivalence means “the closest possible

approximation to ST meaning” (1990:8). This statement is clarified by the

theory of equivalence proposed by Nida. According to Nida, there are two

different types of equivalence, formal equivalence and dynamic equivalence

(1964:159). Formal equivalence tries to remain as close to the original text as

possible. This is much more of a word–to–word translation. Contrasted with

that, dynamic equivalence involves taking each sentence from the original text

and translating it into a sentence in the TL that conveys the same meaning, but

does not necessarily use the exact phrasing or idioms of the original.

In this thesis, the writer did the research specifically on the translation

of Agatha Christie’s books. Agatha Christie (1890-1976), a popular British

author, is especially renowned for crime fiction and detective novels. The most

popular fictional character that she created is Hercule Poirot. Hercule Poirot is

a Belgian private detective that is characterized with moustache, perfectionism,

and little gray cells. The writer used series of detective books by Agatha

Christie with Hercule Poirot as the main character are the primary source of the

data for this thesis.

Christie’s novels have been translated into various languages, for

example Spanish, French, including Bahasa Indonesia. The translation

sometimes affects the meaning of the title in the story. Some translated titles

have no difference compared to the original titles, whereas some other titles are


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translated farther from the original titles. The following are some examples that

illustrate the differences occur after the translation of the book titles. One of

Christie’s books, Taken at the Flood, is translated into Mengail di Air Keruh in

Bahasa Indonesia. Mengail di Air Keruh holds literal meaning Fishing in the

Turbid Water when it is translated literally in English. Another example is Evil

Under the Sun which is translated into Pembunuhan di Teluk Pixy.

Pembunuhan di Teluk Pixy holds literal meaning Murder in the Pixy Cove

when it is translated literally in English. The differences in the translated titles

raises the writer’s curiosity to examine whether the translation is equivalent

and what translation techniques used by the translator in translating those titles.

In this thesis, the writer focused on the equivalence between the SL title

and the TL title. After analyzing the equivalence, it is also important to

discover the translation technique used by the translator to translate the titles.

By discovering the type of equivalence and the translation technique that are

used, the writer deepens this thesis by analyzing the technique used to write the

Indonesian titles. Moreover, the writer hopes this thesis can contribute to the

study of translation, especially the translation of the book titles for other

researchers who discuss topic related to this thesis.

B. Problem Formulation

There are three problems that must be solved in this research:

1. How are the equivalence level of Indonesian translated book titles in

the Agatha Christie’s books?


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2. What translation techniques have been used to translate Agatha

Christie’s book titles?

3. What techniques are used by the translator to write Agatha Christie’s

Indonesian book titles?

C. Objectives of the Study

There were three objectives of this thesis. Firstly, this thesis analyzed

the equivalence of Indonesian translation of Agatha Christie’s book titles.

Secondly, the thesis examined what translation techniques used by the

translators in translating the book titles. Thirdly, after the equivalence and

translation techniques used are founded, the writer deepened the analysis on

this thesis by analyzing the techniques used by the translator to write Agatha

Christie’s Indonesian book titles.

D. Definition of Terms

Some explanation of the terms used in this thesis will be given in the

following passage:

Translation. According to Catford (1965:20), translation may be

defined as “the replacement of textual material in one language (SL) by

equivalent textual material in another language (TL).” It is the process of

replacing word or sentence in one language into another language with the

same meaning.


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Equivalence. Hatim states that the term equivalence means “the closest

possible approximation to ST meaning” (1990:8). It means equivalence would

be achieved if the message contained in the ST can be transferred to the TT

even if the words used are different.

Translation Techniques. Molina and Albir define translation

techniques as “procedures to analyze and classify how translation equivalence

works.” (2002:509). Thus, technique of translation can be defined as the way

used to translate smaller units of language (words, phrases, or expressions)

from the source language into the target.

Titles. The word title is defined as the name of a book, poem,

painting, piece of music, and other artistic works (Oxford, 2010:1569).

Furthermore, book titles in this thesis are represented by certain words, idioms,

or phrases. Book title is sometimes referred as a 'window' to see the big picture

of the story inside the book.


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CHAPTER II

REVIEW OF LITERATURE

This chapter provides the previous studies that have been done by

other researchers on similar topics and reviews on theories that applied in this

thesis. The previous studies with similar topics to this thesis are taken from

Dyahpramesti’s and Violine’s. Each study is reviewed in order to find the

similarities and the differences in doing this thesis. The theories which are

going to be used in this thesis also be reviewed and discussed in order to find

the solid ground on which this thesis is carried on.

A. Review of Related Studies

1. Dyahpramesti’s thesis “The Translation of English Fictional Book

Titles Into Indonesian Contexts: A Functionalist Approach”

This undergraduate thesis discusses the equivalence and acceptability

of several English fictional books which are translated into Indonesian. The

equivalence is analyzed by using the functionalist approach as the main

theory, along with the assessment of communicative effectiveness theory. The

data for this thesis are taken from books which have thriller or romance

genre.

The focus of this present thesis is different from Dyahpramesti’s in a

way that it observes the equivalence using the functionalist approach while

this thesis focuses on the equivalence based on Nida’s formal and dynamic


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equivalence. Besides, this thesis also examines the techniques used to write

the Indonesian titles and translation techniques used by the translator.

2. Violine’s journal “Translating Titles of Novels: Why and How We

(Don't) Translate Them”

This journal is written by a professional translator. This journal

discusses the translation of novels’ titles. The purpose of this journal is to

explain why translators do or do not translate novels’ titles and how they

translate them. Violine also emphasizes on the title's connotative meaning and

the reader's response.

This present thesis is different from Violine’s in several aspects,

although it is similar in dealing with the translation of novels’ titles. While

Violine’s only focuses on the translation of the titles, including equivalence,

this present thesis also analyzes the techniques used by the translator to write

the Indonesian titles of Agatha Christie’s books.

B. Review of Related Theories

1. Theories of Translation

The first definition of translation according to Newmark is

“translation is a craft consisting in the attempt to replace a written message

and/or statement in one language by the same message and/or statement in

another language.” (1981:7). Here, according to Newmark, translation is an

action to replace the SL with the TL, but still conveys the same message or


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meaning. The reader will still get the message even though the language of

the original text is changing.

Newmark’s theory is supported by Catford who states that translation

is “the replacement of textual material in one language by equivalent textual

material in another language.” (Catford, 1965: 20). According to Catford,

translation is the replacement of the text from SL into TL. This is similar to

Newmark’s that also defines translation as a process ‘to replace’. However,

Catford does not explain whether the textual material should be in written

language or not. Thus, the translation could have been derived from the

written or spoken language.

Meanwhile, Nida and Taber state that “translating consists of

reproducing in the receptor language the closest natural equivalent of the

source language message, first in terms of meaning and secondly in terms of

style.” (1974: 14). Unlike Newmark, Catford along with Nida and Taber

consider equivalency in their definition. Here, Nida and Taber are more

interested in the process of translation, which is looking for a natural

matching as closely as possible so that the message of the original text can be

conveyed.

From the definitions mentioned above, the writer could see their

similarities. The first similarity is that there is a change from one language to

another language. Second, the meanings or messages are retained. Third, it is


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an obligation for the translator to find the equivalent word in the target

language as close as possible to the original text.

2. Theories of Equivalence

Nida states that “There are fundamentally two different types of

equivalence: one which may be called formal and another which is primarily

dynamic.” (1964: 159). In further discussion, Nida and Taber (1974: 22)

define formal equivalence as “a quality of translation in which the features of

the form of the source text have been mechanically reproduced in the receptor

language”. In brief, formal equivalence tries to remain as close to the original

text as possible. This is much more of a word–to–word translation.

Contrasted with that, Nida and Taber state that dynamic equivalence is

“a quality of translation in which the message of the original text has been so

transported into the receptor language that the response of the receptor is

essentially like that of the original receptors” (1974: 23). Dynamic

equivalence sometimes does not necessarily use the exact phrasing or idioms

of the original. The difference between formal and dynamic equivalence can

be summarized in table as follows:

Table 1. Comparison of Nida’s Formal and Dynamic Equivalence

Formal Equivalence Dynamic Equivalence

Closest possible match of lexical,

grammatical, or structural form

between SL and TL

Closest natural equivalent between

SL and TL

Linguistic Interpretation Thematic Interpretation


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Formal Equivalence Dynamic Equivalence

Focus on the form of the message Focus on the response of the

message for TR – in order to be

essentially like the SR

The goal is to reproduce the same

meaning

The goal is to reproduce the same

response

Meanwhile, Nida’s formal and dynamic equivalence are similar with

Newmark’s semantic and communicative translation. According to Newmark,

semantic translation attempts to render, as closely as the semantic and

syntactic structures of the second language allow, the exact contextual

meaning of the original (1981:39). It means, semantic translation tries to

maintain the structure of the text so that the structure in the target text would

be as closely as possible with the original text.

On the other hand, communicative translation attempts to render the

exact contextual meaning of the original in such a way that both content and

language are readily acceptable and comprehensible to the readership

(1981:40). Hence, the translator thoughts and ideas are sometimes involves in

this kind of translation because the translator is trying to achieve a certain

effect or response from the reader in the target language. The difference

between semantic and communicative translation can be summarized in table

as follows:

Table 2. Comparison of Newmark’s Semantic and Communicative

Translation

Semantic Translation Communicative Translation

Written at author’s linguistic level Written at reader’s linguistic level

Used for expressive texts, e.g.

autobiography, political statement

Used for informative texts, e.g. non-

literary writin, popular fiction


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Semantic Translation Communicative Translation

Every word translated represents

some loss of meaning

The same words similarly translated

lose no meaning at all

Translator’s thoughts and ideas are

not involved in translating a text

Translator’s thoughts and ideas are

involved in translating a text

From the explanation above, the writer noted several similarities of

the theories as stated by Nida’s and Newmark’s. Both Nida and Newmark

mention about the form of the message, both semantic and structural form,

which should be as closely as possible with the original text. Moreover,

dynamic equivalence and communicative translation also have basic

similarity, to produce a good translation of text and easily understood by the

reader.

3. Translation Techniques

Molina and Albir (2002:509) define translation techniques as

procedures to analyze and classify how translation equivalence works.

Therefore, method, strategies and techniques need to be distinguished since

they are essentially different categories. Strategies and methods are part of

the process, while techniques affect the result (Molina and Albir, 2002:507-

508). Thus, translation techniques can be used to translate smaller units of

language (words, phrases, or expressions) from the SL into the TL. A

technique is the result of a choice made by a translator, its validity will

depend on various questions related to the context, the purpose of the

translation, audience expectations, and others (Molina and Albir, 2002:509).


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In this research, to find out and analyze the translation techniques

applied by the translator in the translation of Agatha Christie’s book titles,

the writer uses the theory of translation techniques by Molina and Albir

(2002: 509-511) as described below along with their examples taken from

Kardimin (2013: 206-210):

a. Adaptation

The purpose of this technique is to replace a Source Text cultural

element with one from the Target Text culture.

SL : How’s Jefry?

TL : Bagaimana kabar Jefry?

b. Amplification

The purpose of this technique is to introduce details that are not

formulated in the ST: information, explicative paraphrasing. Amplification

is in opposition to reduction.

SL : There were some Texans attending the conference

TL : Beberapa warga negara bagian Texas ikut menghadiri

konferensi itu

c. Borrowing

The purpose of this technique is to take a word or expression straight

from another language. It can be pure (without any change) or it can be

naturalized (to fit the spelling rules in the TL).


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i. Pure Borrowing

SL : Operator

TL : Operator

ii. Naturalized Borrowing

SL : Polyjuice

TL : Polijus

d. Calque

The purpose of this technique is to translate a foreign word or phrase

literally that is common to the TL.

SL : Interest Rate

TL : Tingkat Suku Bunga

e. Compensation

The purpose of this technique is to introduce a ST element of

information or stylistic effect in another place in the TT because it cannot be

reflected in the same place as in the ST.

SL : A pair of scissors

TL : Sebuah gunting

f. Description

The purpose of this technique is to replace term or expression with a

description of its form or/and function.


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SL : Panettone

TL : Kue tradisional Italia yang dikonsumsi saat Malam Tahun Baru

g. Discursive Creation

The purpose of this technique is to establish a temporary equivalence

that is totally unpredictable out of context.

SL : And Then There Were None

TL : Sepuluh Orang Negro

h. Established Equivalent

The purpose of this technique is to use a term or expression that is

recognized (by dictionaries or language in use) as an equivalent in the TL.

SL : Great Britain

TL : Britania Raya

i. Generalization

The purpose of this technique is to use a more general or neutral term.

It is in opposition to particularization (Molina and Albir, 2002:510).

SL : Flat

TL : Apartemen

j. Literal Translation

The purpose of this technique is to translate word or an expression

word for word. Molina and Albir state that their theory of literal translation

corresponds to Nida’s formal equivalence; when form coincides with


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function and meaning (2002:510)

SL : I will ring you

TL : Saya akan menelepon Anda

k. Modulation

The purpose of this technique is to change the point of view, focus or

cognitive category in relation to the ST; it can be lexical or structural.

SL : I cut my finger

TL : Jariku teriris

l. Particularization

The purpose of this technique is to use a more precise or concrete

term. It is in opposition to generalization (Molina and Albir, 2002:510).

SL : Rice

TL : Padi, gabah, beras, or nasi

m. Reduction

The purpose of this technique is to suppress a ST information item in

the TT. It is in opposition to amplification (Molina and Albir, 2002:510).

SL : The month of fasting

TL : Ramadhan


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n. Substitution

The purpose of this technique is to change linguistic elements for

paralinguistic elements (intonation, gestures) or vice versa. It is used above

all in interpreting.

SL : The both Japanese bows each other

TL : Kedua orang Jepang itu saling memberikan salam

o. Transposition

The purpose of this technique is to change a grammatical category

and sentence structure in order to obtain the correct translation.

SL : She was unconscious when she arrived at the hospital

TL : Setibanya di rumah sakit, dia sudah dalam keadaan tidak sadar

p. Variation

The purpose of this technique is to change linguistic or paralinguistic

elements (intonation, gestures) that affect aspects of linguistic variation:

changes of textual tone, style, social dialect, geographical dialect, etc. to

introduce or change dialectal indicators for characters when translating for the

theater, changes in tone when adapting novels for children.

SL : “He’ll never get to sleep with all this din,” said Ma Lion

TL : “Leo tidak akan bisa tidur jika ramai seperti ini,” kata Bu Singa


17

4. Title Writing Techniques

Putra (2010:170) states that “interesting titles are required to attract

the attention and interest of the reader”. The function of the title is to draw

attention and to raise the reader’s curiosity at the same time. The making of

the title is not begin at the beginning, before writing the content of the story.

The title is made at the end, after the story has been created. Thus, the title

can summarize the contents of the overall story and symbolizes the content of

the story.

Putra proposes six techniques to write an interesting title:

a. Taking the main character's name

Author can just take the name of the character that is written in the

story. The example can be seen below:

- Ayu Utami: Saman

- J.K. Rowling: Harry Potter

b. Combining the main character with a predicate

One of the techniques is to create compelling titles that combine the

main character's name with a predicate or a pattern of who + why. The

example can be seen below:

- Teguh Esha: Ali Topan Anak Jalanan

c. Symbolic

The title symbolizes the essence of the story. The example can be seen

below:


18

- Badai Pasti Berlalu

- Pelabuhan Hati

d. Alias

While similar to symbolic, a technique called "alias" is very special. It is

named so because it is a nickname or epithet addressing the main character.

The example can be seen below:

- Sang Nabi or The Prophet is the epithet. This epithet is considered

very suitable, strong character, and chosen by Kahlil Gibran for his novel.

e. The essence of the story

An interesting title can be drawn from the essence of the story. The

example can be seen below:

- Ashadi Siregar take the setting of UGM campus (often called

kampus biru / blue campus), where the budding love between two human

beings there to be titled Cintaku di Kampus Biru / My Love in Blue Campus.

f. Equation and the beauty of the sound (euphony)

A writer sometimes create titles based on the equality and beauty of

sound (euphony). Authors should be able to arrange the words beautifully and

imaginatively. The example can be seen below:

- Arjuna Mencari Cinta (Yudhistira ANM Massardi), who plays the

beauty of the sound of "a" by each word.


19

C. Theoretical Framework

The definition of equivalence according to Nida, the definition of

translation techniques according to Molina and Albir, and the techniques to

write interesting titles according to Putra were the basic understanding to the

topic being discussed in this thesis.

Since the equivalence of the text plays an important role in order to

get the message delivered, the definition of equivalence according to Nida is

used to answer the first problem. Theory of translation techniques according

to Molina and Albir is used to answer the second problem. Thus, the

techniques to write interesting titles according to Putra is used to answer the

third problem.


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CHAPTER III

METHODOLOGY

A. Areas of Research

This thesis is following one of twelve research areas in Translation

Studies, which is text analysis and translation, focusing on the comparison of

translations and their source texts. According to Williams and Chesterman, the

analysis of translated texts involves the textual comparison of a translation with

its original (2002: 7). The writer focused on the translation of the book titles with

the evaluation of the equivalence, translation techniques, and techniques used to

write the Indonesian book titles.

B. Object of the Study

As previously explained, this thesis deals specifically with the translation

of Agatha Christie’s book titles into Bahasa Indonesia. Agatha Christie (1890-

1976), a popular British author, is well-known for writing crime fiction and

detective novels. The most popular fictional character that she created is a

Belgian private detective named Hercule Poirot. A series of detective books by

Agatha Christie with Hercule Poirot as the main character are the primary source

for this study, along with their Indonesian versions.


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C. Method of the Study

The method applied for this thesis is library research. The writer focused

on the data that has been collected, which are the detective books by Agatha

Christie with Hercule Poirot as the main character. The theories used to analyze

the data were the theory of equivalence, translation techniques, and techniques to

write interesting titles. These theories were taken from various books in the field

of translation studies and journalism (for the title). Thus, the theories used in this

thesis are based on the theories from the experts of each field, for example,

theory of equivalence from Nida, theory of translation techniques from Molina

and Albir, and techniques to write interesting titles from Putra. The writer will

use examples and evidences to answer the problems which are stated in first

chapter.

D. Research Procedure

1. Types of Data

The data collected are categorized as an objective data. It is because the

data were taken from the Agatha Christie’s books with Hercule Poirot as the

main character as the Source Text (ST) and Target Text (TT) but in two different

languages, English and Bahasa Indonesia. The first data used in this thesis are the

titles of Agatha Christie’s books in SL, which is English. These English versions

of Agatha Christie’s books were published by two publishers, Fontana and

HarperCollins. Both are large English-language publishing companies. The


22

publication year of the books with Hercule Poirot as the main character was from

1920-1975. The titles collected for this thesis are derived from thirty two book

titles. The second data are the titles of Agatha Christie’s books in TL, which is

Bahasa Indonesia. These Indonesian versions of Agatha Christie’s books were

published by Gramedia Pustaka Utama. The publication year of the books with

Hercule Poirot as the main character was from 1920-1975.

2. Data Collection

Data collection was done first to get the sample for the analysis. Firstly,

the writer researched Christie’s books to find which ones had Hercule Poirot as

the main character. After that, the writer looked at her personal collection in

order to find some of those books. As the result, the writer did not have few

books that are needed in this thesis. Thus, the writer searched in the campus

library and located some of the books. Besides that, the writer found the rest on

online resources, including Christie’s official website.

After finding and collecting the data, then the writer began the analysis.

The number of Agatha Christie’s book titles with Hercule Poirot as the main

character were classified based on the language used. The example is shown

below:

Table 3. Classification of Data

Code SL Title Code TL Title

2/SL/AD Appointment with Death 2/TL/PM Perjanjian dengan Maut


23

In which,

2 : The number of data

SL : Source Language

TL : Target Language

AD : Appointment with Death

PM : Perjanjian dengan Maut

Once the data are grouped, the writer began to analyze the data; the first is

the equivalence of the book titles. The writer compared the titles of the original

book and the translated book, and assesses its equivalence using a theory of

equivalence from Nida. It was needed to answer the first problem.

3. Population and Sample

In this thesis, there are no samplings because all data were analyzed.

There are 33 book titles of English and Bahasa Indonesia that have been

collected as the data.

4. Data Analysis

The data are analyzed by the writer to answer the problem stated in the

first chapter. Firstly, the writer compared the translation of the titles by using

Nida’s theory of equivalence to answer the first problem. The analysis described

as follows:


24

Table 4. The Equivalence of Agatha Christie’s Indonesian Book Titles

Code SL Title Code TL Title Formal Dynamic

1/SL/AF After The

Funeral

1/TL/SP Setelah

Pemakaman

11/SL/EUS Evil Under

the Sun

11/TL/PTP Pembunuhan

di Teluk Pixy

According to Nida’s theory of equivalence, this first example After The

Funeral to Setelah Pemakaman is equivalence based on formal equivalence

because the translation maintains the lexical meaning of the SL. The second

example Evil Under the Sun to Pembunuhan di Teluk Pixy considered as

dynamic equivalence. It is because the translator is using his idea to re-create the

title in the TL that conveys the same meaning without using exact phrasing or

idioms of the SL title.

Secondly, the writer analyzed the translation techniques that were applied

in order to find the answer of the second problem. The analysis described as

follows:

Table 5. The Translation Technique Used in Translating Agatha Christie’s

Book Titles

Code SL Code TL Translation

Technique

8/SL/

DN

Death on the Nile 8/TL/

PSN

Pembunuhan di

Sungai Nil

Amplification

According to the example, the technique used to translate the title is

amplification. The translator adds the word Sungai to introduce more detailed


25

information about Nile to the readers. In its SL form, the word Nile itself carries

the meaning of the name of a river.

Thirdly, the writer analyzed the title writing techniques used by the

translator to write the Indonesian titles of Agatha Christie’s books. This analysis

is to answer the third problem. The analysis described as follows:

Table 6. The Technique Used to Write Indonesian Titles of Agatha

Christie’s Books

No TL Title Writing Technique Used

16/TL/MSM Mrs McGinty Sudah Mati Combining the main character with

a predicate

Based on the example, it can be seen that the title involved the name of

the main character. The main character of the story, also subject, is Mrs.

McGinty. After that, the name of the main character is combined with a

predicate. In this title, Sudah Mati is the predicate. It gives further information

about the subject.

Besides using the theories that are already stated in the second chapter of

this thesis, the writer also used dictionaries to check the lexical meaning of both

SL and TL words. The dictionaries used are Oxford Advanced Learner’s

Dictionary International Student’s Edition and Kamus Besar Bahasa Indonesia.


26

CHAPTER IV

ANALYSIS RESULTS AND DISCUSSIONS

In this chapter, the analysis is divided into three parts. The first part

discusses about the equivalence of Agatha Christie’s translated book titles. This

part answers the first problem formulation of this research. The second part

discusses about the translation techniques used to translate Agatha Christie’s book

titles. This part answers the second problem formulation of this research. The third

part discusses about the title writing techniques used to write Agatha Christie’s

Indonesian book titles. This part answers the third problem formulation of this

research.

A. The Equivalence of Agatha Christie’s Book Titles

The aim of this study is to know the equivalence from the Indonesian

translation of Agatha Christie’s book titles. There are 33 book titles that are

assessed in this part. These titles are derived from Agatha Christie’s books in

English which had been translated and adapted in Indonesian language. The writer

wants to explain the translated titles which are categorized as formal equivalence

or dynamic equivalence and which equivalence that is mostly used in the

translation.

The explanation along with the related theory is given to support the

writer’s analysis. This analysis is based on Nida’s theory of equivalence, with


27

Newmark’s semantic and communicative translation as the complementary

theory. The data are analyzed and the equivalence of each title is classified into

formal equivalence and dynamic equivalence, along with the explanation based

on the theory. The result of analysis of the equivalence is shown from the chart

below:

The data above shows that there are 19 translations which are considered

as formal equivalence. In formal equivalence, the translation is focused on the

lexical meaning, while the structural form of the ST is maintained. Meanwhile,

there are 14 translations which are considered as dynamic equivalence. In dynamic

equivalence, the translation is focused on the effect of TL readers in receiving

sentences with different structural form of TT but conveyed the same meaning as

ST.

5842

0

5

10

15

20

Formal

Equivalence

Dynamic

Equivalence

Chart 1. The Result of Equivalence in the Translation of

Agatha Christie's Book Titles (in Percentage)


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1. Formal Equivalence

Based on the translation of the titles, there are 21 translations that are

included into formal equivalence. The example of the translation considered as

formal equivalence is shown below:

Table 7. The Example of Formal Equivalence in the Translation of Agatha

Christie’s Book Titles


2/SL/AD Appointment with

Death 2/TL/PM

Perjanjian dengan

Maut

7/SL/DA Death in the Air

7/TL/MU Maut di Udara

8/SL/DN Death on the Nile 8/TL/PSN Pembunuhan di Sungai

Nil

9/SL/DW Dumb Witness

9/TL/SB Saksi Bisu

12/SL/HP Halloween Party

12/TL/PH Pesta Halloween

16/SL/MMD Mrs McGinty’s Dead 16/TL/MMS Mrs McGinty Sudah

Mati

20/SL/MOE Murder on the Orient

Express 20/TL/PAO

Pembunuhan di Atas

Orient Express

21/SL/OTB One, Two, Buckle My

Shoe

21/TL/SDP Satu, Dua, Pasang

Gesper Sepatunya

30/SL/TMB The Mystery of the

Blue Train 30/TL/MKA

Misteri Kereta Api

Biru

31/SL/TG Third Girl

31/TL/GK Gadis Ketiga

32/SL/TAT Three Act Tragedy

32/TL/TTB Tragedi Tiga Babak

From the data above, the translations with formal equivalence are

maintained as close as possible to match lexical, grammatical, and structural form

between SL and TL. In other word, the TL text will be maintained as closely as

possible to the SL text. The structural form in the Target Language is not much


29

different from the title in the Source Language. Ideas and thoughts of the translator

are not involved in this type of equivalence.

i. Data 2



In this example, the title is translated word-by-word by their literal and

lexical meaning. The word Appointment is literally translated into Perjanjian.

Both Appointment and Perjanjian are having the similar characteristics that refer

to something which is agreed by more than one party. Death is also literally

translated into Maut. The meaning of Death and Maut are both dealing with the

end of the life of a person or organism. Thus, the lexical and structural form are

maintained in the TL which supports the characteristic of formal equivalence.

ii. Data 7


7/SL/DA Death in the Air 7/TL/MU Maut di Udara

This translation is translated by its literal and lexical meaning. Death is

translated into Maut. The meaning of Death and Maut are both dealing with the

end of the life of a person or organism. The word Air is also literally translated

into Udara. The meaning of Air in this title is the space above the earth (Oxford

Advanced Learner’s Dictionary). This is in accordance with the meaning of the

word Udara which is also related with the space above the earth (Kamus Besar


30

Bahasa Indonesia). Furthermore, the structural form is also maintained in the TL.

Thus, formal equivalence is achieved.

iii. Data 8


8/SL/DN Death on the Nile 8/TL/PSN Pembunuhan di Sungai

Nil

The translator translates the title from SL into TL in their literal and lexical

meaning. The word Death is translated into Pembunuhan. Both of them have

lexical meaning that is dealing with the fact of somebody being killed. Moreover,

the word Nile is translated into Sungai Nil. The translator is adding the word

Sungai to introduce more detailed information about Nile to the readers. This is

done by the translator to adjust the grammatical form in the TL.

In its SL form, the word Nile itself is carrying the meaning of the name of

a river. Therefore, it is not a must to include the word River in the original title

such as Death on the Nile River. This translation is in accordance with the theory

of formal equivalence because the lexical and grammatical form between SL and

TL are maintained.

iv. Data 9


9/SL/DW Dumb Witness 9/TL/SB Saksi Bisu

This translation is categorized as formal equivalence since the title is

translated by its lexical meaning and the grammatical form is adjusted to meet the


31

criteria of Indonesian grammatical form. The word Dumb is translated into Bisu.

Both Dumb and Bisu are carrying the meaning of ‘unable to speak’. The word

Witness and Saksi are also carrying the same meaning of ‘someone who is present

when some events happen’. Meanwhile, the translator did not translate Dumb

Witness into Bisu Saksi because it does not match the Indonesian grammatical

rule.

This Indonesian grammatical rule refers to Diterangkan-Menerangkan

rule. This rule was firstly proposed by Sutan Takdir Alisjahbana, an expert on

Indonesian grammar. Alisjahbana states that every words that are describing about

something always comes after the words that are being explained (1983: 73). This

is also can be referred as head and modifier. In Indonesian grammatical rule, the

modifier always comes after the head. This is contrasted with English grammatical

rule, which the modifier always comes before the head. In this example, Dumb is

the modifier and Witness is the head. Therefore, the title is translated into Saksi

Bisu to match the Diterangkan-Menerangkan rule.

v. Data 12


12/SL/HP Halloween Party 12/TL/PH Pesta Halloween

In this example, the title is translated word-by-word by their literal

meaning. The word Party is translated into Pesta, which is indeed the literal

meaning of Party. Here, the translator also borrowed a word that comes originally

from the SL. The word Halloween is also translated into Halloween in the TL.


32

Halloween means the night of 31st October when it was believed in the past that

dead people appeared from their graves and which is now celebrated in the United

States, Canada, and Britain by children who dress ghosts or witches (Oxford

Advanced Learner’s Dictionary). The word Halloween is borrowed because there

is no equivalent word for Halloween in Bahasa Indonesia. This is due to the

celebration of Halloween that is not celebrated in Indonesia. As the result, the

translator takes the original word straight from the SL and transferred to the TL.

Therefore, to bridge the difference in cultural background, the translator

borrowed the word Halloween for the TL title. Meanwhile, the translation of the

title Halloween Party is adjusted to Pesta Halloween in order to meet the

Diterangkan-Menerangkan rule. Halloween is the modifier and Party is the head.

Thus, formal equivalence is achieved.

vi. Data 15


15/SL/LED Lord Edgware Dies 15/TL/MLE Matinya Lord Edgware

In this translation, there is a change of emphasis, without change the

meaning based on the lexical meaning. In this translation, the SL title’s emphasis

is on the subject, Lord Edgware. But in the TL, the translator chooses to emphasize

“the death” of Lord Edgware. The translator changes the focus or point of view

that exist in the SL. In the SL, the emphasis lies on the actor that receives the

action of “dies”, in this case Lord Edgware. In the TL, the emphasis lies on the


33

Indonesian gerund Matinya which emphasizes the things undergone by Lord

Edgware, in this case undergoing death.

vii. Data 16


16/SL/MMD Mrs McGinty’s Dead 16/TL/MMS Mrs McGinty Sudah

Mati

In Data 16, the translator translates the title by its literal meaning. Mrs

McGinty’s Dead holds meaning Mrs McGinty is dead. The translator translates ‘is

dead’ literally into sudah mati. Meanwhile, the translator also borrowed the word

Mrs into the TL title. This is considered as pure borrowing. The word Mrs itself

actually has meaning Nyonya in Bahasa Indonesia, but the translator tends to

preserve the original word probably for the sake of aesthetic.

viii. Data 20



Express 20/TL/PAO

Pembunuhan di Atas

Orient Express

This translation is translated by its literal meaning. The word Murder is

literally translated into Pembunuhan. The preposition on the also literally

translated into di atas. However, the translator borrowed the name Orient Express

without any further explanation on the TL title. Orient Express itself is a name of

a train.


34

ix. Data 21


21/SL/OTB One, Two, Buckle My

Shoe


Gesper Sepatunya

In Data 21, the word Buckle is translated into Pasang Gesper. The word

Pasang is added to the TL title because in the original text, Buckle is already

carried a meaning of ‘to fasten something or be fastened with a buckle’ (Oxford

Advanced Learning’s Dictionary). This is similar to the number 8/SL/DN. The

translator added the word Pasang because if it is translated as Satu, Dua, Gesper

Sepatunya, the meaning would be different.

This translation also undergoes a similar characteristic to number

15/SL/LED and 19/SL/ML, which the point of view is changed. In the SL, the

point of view is indicated by the use of possessive pronoun My. My Shoe indicates

that the shoe belongs to the speaker who speak that utterance. Meanwhile, in the

TL, there is a change by using the suffix –nya, which indicates the third person

singular pronoun. On the other hand, the lexical meaning both in SL and TL

remains the same.

x. Data 31



Blue Train

31/TL/MKA Misteri Kereta Api

Biru

This translation maintains the lexical meaning and the grammatical form

is adjusted to meet the criteria of Indonesian grammatical form. The phrase Blue


35

Train is translated into Kereta Api Biru, not Biru Kereta Api because it does not

meet the Indonesian grammatical rules in which the modifier always comes after

the head. In this example, Blue is the modifier and Train is the head. Meanwhile,

the translator also borrowed the word Mystery into the word Misteri. This is

because Mystery and Misteri considered as kata serapan / naturalized borrowing

in Bahasa Indonesia. Those words have the same meaning, both are related to

something that is difficult to understand or to explain.

xi. Data 32


32/SL/TG Third Girl 32/TL/GK Gadis Ketiga

The translator translates the title by its lexical meaning. The word Third is

literally translated into Ketiga. Furthermore, the word Girl is also translated into

Gadis. After that, the grammatical and structural form in the TL title are adjusted

in order to match the Diterangkan-Menerangkan rule in TL. The word Third is

the modifier and the word Girl is the head. The translator changed it into Gadis

Ketiga in the TL. It is match with the Diterangkan-Menerangkan rule in which

modifier always comes after the head. Even though the structural form

experienced changes, it does not change the lexical meaning.

xii. Data 33


33/SL/TAT Three Act Tragedy 33/TL/TTB Tragedi Tiga Babak


36

In Data 32, the translation is word-by-word by its lexical meaning. The

word Three is literally translated into Tiga. Furthermore, the translator borrowed

the word Tragedy and naturalized it into Indonesian word Tragedi. This is because

Tragedi is considered as kata serapan in Bahasa Indonesia. The meaning of Act

in this title is one of the main divisions of a play (Oxford Advanced Learner’s

Dictionary). This is in accordance with the meaning of the word Babak which is

also related with one of several short pieces in a play (Kamus Besar Bahasa

Indonesia). Furthermore, the grammatical and structural form in the TL title are

adjusted in order to be accepted in TL. Three Act is the modifier and Tragedy is

the head. The translator changed it into Tragedi Tiga Babak in the TL. It is in

accordance with the Diterangkan-Menerangkan rule in which modifier always

comes after the head. Thus, formal equivalence is achieved.

2. Dynamic Equivalence

The second type of Nida’s equivalence is dynamic equivalence. This

theory is resembling Newmark’s communicative translation. Based on the

translation of the titles assessed, there are 12 translations that are included into

dynamic equivalence. The examples of the translation considered as dynamic

equivalence are shown below:

Table 8. The Example of Dynamic Equivalence in the Translation of Agatha

Christie’s Book Titles


6/SL/DMF Dead Man’s Folly 6/TL/KB Kubur Berkubah

11/SL/EUS Evil Under the Sun 11/TL/PTP Pembunuhan di Teluk

Pixy


37

14/SL/HDD Hickory Dickory Dock 14/TL/PPM Pembunuhan di

Pondokan Mahasiswa

23/SL/SC Sad Cypress 23/TL/MTB Mawar Tak Berduri

24/SL/TF Taken at the Flood 24/TL/MAK Mengail di Air Keruh

In dynamic equivalence, the translator tends to re-create each sentence of

the SL text and transforming it into a sentence in the TL text that conveys the same

meaning, but it does not always use the exact phrase or word of the original. This

may be because the sentence would be confusing if it is translated literally. This

is supported by Newmark’s statement that in this type of equivalence, the thoughts

and ideas of the translator are involved to reproduce the same response.

i. Data 6



In Data 6, the TL title does not have any correlation with the SL title. The

lexical and structural meaning are also different. The word Dead Man is translated

into Kubur, which Kubur stands for the meaning a place in the ground where a

dead person is buried. It is unpredictable out of context because the SL title does

not say anything about Kubur or grave, even though Kubur is sometimes related

with the dead body, while the TL title describes about grave that is domed. The

word Folly also did not have equivalent word in Bahasa Indonesia. The meaning

of Folly according to Oxford’s Advanced Learner’s Dictionary is a building that


38

has no practical purpose but was built in the past for decoration, often in the garden

of a large country house.

Meanwhile, this translation achieved the dynamic equivalence because the

thoughts and ideas of the translator are involved to reproduce the same response

to the readers. The translator attempted to bridge the difference of cultural

background generated from the image of Folly that are less familiar to readers of

Indonesia. Therefore, the translator translated this title through thematic

interpretation in such a way that it would be very relevant to the readers.

ii. Data 11


11/SL/EUS Evil Under the Sun 11/TL/PTP Pembunuhan di Teluk

Pixy

In the translation above, it can be seen that the TL title does not have any

correlation with the SL title. It is unpredictable out of context because the SL title

does not say anything about murder, even though the story is about a murder case,

whereas in the TL title describes there is a murder in the Pixy Cove.

The title is translated using the sentence that is much different to the

original title. The SL title is Evil Under the Sun while the TL title is Pembunuhan

di Teluk Pixy. The translated title is much different with the author’s idea. The

translator does not translate Evil Under the Sun literally because it will be

ambiguous to the Target Reader. The SL title Evil Under the Sun has a connotative

meaning, which refers to the context of the story that is about a beautiful actress

body is discovered in Pixy cove. She is dead because of strangulation.


39

In addition, there is a probability that the title Evil Under the Sun is derived

from the statement in one scripture in the bible, named Ecclesiastes, which reads,

"There is an evil that I have seen under the sun, and it lies heavy upon humankind."

(https://en.wikipedia.org/wiki/Evil_Under_the_Sun). This is supported by a

saying in the story which indicates that the term Evil Under the Sun was taken

from the bible: “I was interested, M. Poirot, in something you said just now. You

said that there was evil done everywhere under the sun. It was almost a quotation

from Ecclesiastes,” (Stephen Lane’s saying inside the book, page 73). The

translator’s thoughts and ideas are needed to re-create this SL title in order to be

understood by the Target Reader in the TL. Thus, dynamic equivalence is

achieved.

iii. Data 13



In the analysis of Data 13, the original title Sad Cypress is drawn from a

song in Shakespeare's play Twelfth Night, which said “Come away, come away,

death, and in sad cypress let me be laid.” (Act-II, Scene-IV). In the book

Shakespeare’s Feminine Endings: Disfiguring Death in the Tragedies, Berry

states that “while in Twelfth Night, ‘sad cypress’ emblematizes the self-

concealment of those marked by death or loss” (1999:97).

The point of Sad Cypress in this context is a term to express the deep

sorrow for someone who has died. This term has no equivalent term in Indonesian


https://en.wikipedia.org/wiki/Evil_Under_the_Sun

40

and it would be confusing if it is translated literally. According to Newmark, a

translator should interpret the text if he is convinced that the relevant background

is inaccessible to his reader (1981:63). Consequently, the translator should

interpret this term in order to be understood by Indonesian readers. Moreover, the

translator should adapt the term using a different expression but convey the same

message.

The TL title Mawar Tak Berduri is chosen by the translator. The translator

chose to translate the term with Mawar Tak Berduri because the term Sad Cypress

is not familiar to the Indonesian readers. Thus, the translator take this Indonesian

term based on the essence of the story and in accordance with the context of the

story. In addition, the term Mawar Tak Berduri symbolizes a hint related to the

murder case in the story. This is supported by Hercule Poirot when he investigated

the murder in the story, “the plant is a kind of ground cover roses - Zephyrine

Drouhin. The flowers are fragrant and the color is pink. The plant is not prickly”

(2011: 239)

Dynamic equivalence is achieved because the purpose of this action is to

reproduce the same response to the Indonesian readers. The thoughts and ideas of

the translator are involved in order to give the hint or clue of what’s happening in

the story.

iv. Data 14


14/SL/HDD Hickory Dickory Dock 14/TL/PPM Pembunuhan di

Pondokan Mahasiswa


41

The SL title is Hickory Dickory Dock and the TL title is Pembunuhan di

Pondokan Mahasiswa. The translator’s thought and idea are involved in this

translation. The translator did not translate Hickory Dickory Dock literally because

it is actually an English nursery rhyme and has no equivalent word in Bahasa

Indonesia. The TR, in this case Indonesian people, would probably not having

knowledge or familiar about this nursery rhyme.

According to Newmark, a translator should interpret the text if he is

convinced that the relevant background is inaccessible to his reader (1981:63).

Thus, the SL title is translated to the TL title with adding the translator’s ideas to

the translation. The translation of the SL title becomes Pembunuhan di Pondokan

Mahasiswa.

The translator tends to re-create the TL title that is based on the highlight

event or what is happening in the story. It also uses common words, so that it

becomes more understandable to the readers. In addition, because the translator’s

ideas are involved in translating the title, dynamic equivalence is achieved in this

translation.

v. Data 23



The title Taken at the Flood is originally taken from a phrase

in Shakespeare’s Julius Caesar, where Brutus talks to Cassius saying “There is a

tide in the affairs of men. Which, taken at the flood, leads on to fortune” (Act-IV,


http://literarydevices.net/tag/shakespeare/

http://literarydevices.net/tag/julius-caesar/

42

Scene-III). Brutus means to say that the key to win success in life lies in knowing

that a tide or simply a motivated men, and it is up to a man to understand, and

seize the affordable opportunity (http://literarydevices.net/there-is-a-tide-in-the-

affairs-of-men).

The point of Taken at the Flood in this context is to take opportunities from

every chance that happen in life and gain success from it. The translator wants to

transfer this message from SL to TL because in dynamic equivalence the message

is important. Moreover, this phrase adapted into Indonesia context in order to

express message using a different expression, especially when there are

differences in cultural background.

The Indonesian proverb Memancing di Air Keruh is chosen by the

translator. Memancing di Air Keruh means ‘to take advantage of a hard situation’.

The word Memancing has a similar meaning with Mengail. They are synonymy.

The translator chose to translate the phrase Taken at the Flood into Indonesian

proverb because this proverb has a meaning that is likely equal to the SL text and

in accordance with the context of the story. In addition, the meaning of this

proverb is also very familiar to the Indonesian people as TR.

B. Translation Techniques Analysis of Agatha Christie’s Book Titles

The translation techniques used in translating Agatha Christie’s book titles

can be presented in the following chart:


http://literarydevices.net/there-is-a-tide-in-the-affairs-of-men


43

It can be seen from the table that the translation techniques used for

translating Agatha Christie’s book titles are eight techniques out of sixteen

techniques that are proposed by Molina and Albir. They are adaptation,

amplification, borrowing, discursive creation, literal translation, modulation,

particularization, and transposition. Some of the book titles are translated using

more than one technique.

The technique that is mostly used by the translator is literal translation.

There are 22 translations (67%) that used this technique. This proves that literal

translation are the commonly applied technique in translating Agatha Christie’s

book titles. The second mostly used technique is discursive creation. There are 12

translations (36%) that used this technique. Discursive creation becomes one of

the commonly applied technique in translating Agatha Christie’s book titles. The

third mostly used technique is transposition. There are 7 translations (21%) that

used this technique. Transposition also becomes one of the commonly applied

technique in translating Agatha Christie’s book titles.

0

5

10

15

20

25

Chart 2. The Result of Translation Techniques Analysis in

Agatha Christie’s Book Titles (in Percentage)


44

Literal translation is the most used technique in translating Agatha

Christie’s book titles. It shows that lexical, grammatical, or structural form of the

SL title is important to be maintained and adjusted in translating book titles.

Bahasa Indonesia, as the TL, has some grammatical and structural differences

with English. It is important for a translator to reproduce the sentence in order to

be understandable to the readers.

a. Adaptation

The first technique is adaptation. There is one translation that uses this

technique. The example is provided below:

No SL TL Technique

23/SL/TF Taken at the Flood Mengail di Air Keruh Adaptation

Based on the example, the translator chooses to reproduce the cultural

element in SL title into target culture, in this case, Indonesian culture. The

Indonesian proverb Memancing di Air Keruh is chosen by the translator.

Memancing di Air Keruh has meaning ‘to take advantage of a hard situation’. The

word Memancing has similar meaning with Mengail. The translator chose to

translate the phrase Taken at the Flood into Indonesian proverb because this

proverb has a meaning that is likely equal to the SL text and in accordance with

the context of the story. In addition, the meaning of this proverb is also very

familiar to the Indonesian people as TR.


45

b. Amplification

The second technique is amplification. There are two translations that

use this technique. The examples are provided below:

No SL TL Technique

8/SL/DN Death on the Nile Pembunuhan di

Sungai Nil

Amplification

27/SL/TH The Hollow Rumah Gema Amplification

According to the first example, the word Nile is translated into Sungai Nil.

The translator is adding the word Sungai to introduce more detailed information

about Nile to the readers. In its SL form, the word Nile itself is carrying the meaning

of the name of a river.

For the second example, the phrase The Hollow is translated into Rumah

Gema. The word Rumah is added in TL because it would be unclear if it is only

translated as Gema. Besides that, the translator aims to give more detail that is

connected to the story of the book.

c. Borrowing

The third technique is borrowing. There are three translations that use this

technique. The examples are provided below:

No SL TL Technique

20/SL/MOE Murder on the

Orient Express

Pembunuhan di Atas

Orient Express

Borrowing


Blue Train

Misteri Kereta Api

Biru

Borrowing

32/SL/TAT Three Act

Tragedy

Tragedi Tiga Babak Borrowing


46

There are two types of borrowing that is proposed by Molina and Albir,

they are pure borrowing and naturalized borrowing. Based on the example, the first

example is categorized as pure borrowing, while the rest are categorized as

naturalized borrowing. The word Orient Express is transferred into Orient Express

in the TL without any change. Meanwhile, the word Mystery and Tragedy are

modified from the usual pronunciation in SL and phonologically transferred into

TL. The sound and how to pronounce the words in SL and TL are likely the same.

The word Mystery /mɪstəri/ changes into Misteri /misteri/ and the word Tragedy

/trædʒədi/ changes into Tragedi /tragedi/.

d. Discursive Creation

The fourth technique is discursive creation. There are six translations that

use this technique. The examples are provided below:

No SL TL Technique

11/SL/EUS Evil Under the Sun Pembunuhan di

Teluk Pixy

Discursive

Creation

14/SL/HDD Hickory Dickory

Dock

Pembunuhan di

Pondokan

Mahasiswa

Discursive

Creation

26/SL/TC The Clocks Mayat Misterius Discursive

Creation

Based on the definition of discursive creation proposed by Molina and

Albir, those examples are having non-lexical equivalence that only works in

context. This translation involves the translator’s thought and idea. The making of

TL title is based on the highlight event or what is happening in the story. It is

because if the SL title is translated literally, it might be confusing or ambiguous to


47

the reader. There are some factors that affect this ambiguity, for example, different

cultural backgrounds, different metaphorical sense, and others. The phrase Evil

Under the Sun, Hickory Dickory Dock, and The Clocks are translated by the

translator using this technique to provide more understandable titles that are

reasonable to the Indonesian reader.

e. Literal Translation

The fifth technique is literal translation. There are twenty one translations

that use this technique. The examples are provided below:

No SL TL Technique

5/SL/C Curtain Tirai Literal Translation

7/SL/DA Death in the Air Maut di Udara Literal Translation

25/SL/TBF The Big Four Empat Besar Literal Translation

Based on the example, the words or expression in the titles are translated

word by word by their lexical meaning . The first example is the word Curtain is

translated into Tirai. It is the lexical meaning of curtain. The second example is

Death in the Air is translated into Maut di Udara. The expression in the title is

translated also word by word. The same thing also happened in the translation of

The Big Four into Empat Besar.

f. Modulation

The sixth technique is modulation. There are three translations that use this

technique. The examples are provided below:

No SL TL Technique

15/SL/LED Lord Edgware Dies Matinya Lord

Edgware Modulation


48

No SL TL Technique

21/SL/OTB One, Two, Buckle

My Shoe

Satu, Dua, Pasang

Gesper Sepatunya Modulation

From the examples above, there are changes in the point of view, without

change the meaning. In modulation, the translator changes the focus or point of

view that exist in the SL. In the first example, the emphasis is on the subject, Lord

Edgware. But in the TL, the translator chooses to emphasize the death of Lord

Edgware. The second example is the word My Shoe is translated into Sepatunya.

There is a change in the point of view. My Shoe means the shoe belongs the person

who say it, but in the TL it becomes Sepatunya, which means the shoe belongs to

someone else. The word my in the SL functions as a possessive determiner.

Possessive determiner is used before a noun (Shoe). The suffix –nya in the TL

functions as a personal pronoun in Bahasa Indonesia.

g. Particularization

The seventh technique is particularization. There is one translation that use

this technique. The example is provided below:

No SL TL Technique

4/SL/

CAP

Cat Among the

Pigeons

Kucing di Tengah

Burung Dara

Particularization

Based on the example above, the word Pigeons is translated into Burung

Dara. The translator chooses to use the term Burung Dara in the TL because the

word Pigeons in general has many meaning if it is translated to Bahasa Indonesia.

It can be Burung Dara, Burung Merpati, or Burung Punai (Kamus Inggris-


49

Indonesia). Particularization is chosen by the translator to specify the translated

meaning Pigeons into Burung Dara.

h. Transposition

The eighth technique is transposition. There are ten translations that use

this technique. The examples are provided below:

No SL TL Technique

24/SL/TAM The A.B.C Murders Pembunuhan ABC Transposition

31/SL/TG Third Girl Gadis Ketiga Transposition

Based on the two examples above, the grammatical structures from the SL

are adjusted in the TL. It should be done in order to comply with the correct

grammatical structure in Bahasa Indonesia. For example, Third Girl is translated

into Gadis Ketiga. In order to meet the characteristic of structure in Bahasa

Indonesia, the translator adapts the pattern by putting the initial word of phrase as

the main focus or emphasis of the phrase in both SL and TL. For instance, the word

third emphasizes the noun girl, thus the word third in the initial position is the

emphasis. In the TL, the word gadis is the emphasis of the TL.

C. Title Writing Techniques Analysis of Agatha Christie’s Indonesian Book

Titles

In this part, the writer wants to discuss the title writing technique used by

the translator for making Agatha Christie’s Indonesian book titles. There are 33

book titles that are assessed in this part. These titles are derived from Agatha

Christie’s books in English which had been translated and adapted in Indonesian


50

language. The writer wants to explain the technique used by the translator to create

Indonesian titles from the SL, which is English.

These translation are analyzed based on Putra’s theory of how to write

interesting titles. Putra proposes six techniques to create an interesting title. The

data are analyzed and classified based on those six techniques, along with the

explanation according to the theory. Below is the result of the analysis as shown in

the chart:

Based on the data above, there are four techniques out of six techniques

that are used to write Agatha Christie’s Indonesian book titles. They are combining

the main character with a predicate, symbolic, alias, and the essence of the story.

The technique that is mostly used by the translator is the essence of the story. There

are 17 translations (52%) that used this technique. The second mostly used

technique is symbolic. There are 13 translations (39%) that used this technique. The

Taking the main character's name

0%

Combining the main character

with a predicate3%

Symbolic39%

Alias6%

The essence of the story

52%Eulogy

0%

CHART 3. THE RESULT OF TITLE WRITING TECHNIQUES IN

AGATHA CHRISTIE’S INDONESIAN BOOK TITLES


51

third mostly used technique is alias. There are two translation (6%) that used this

technique.

a. Combining the main character with a predicate

No TL Technique Used

16/SL/MSM Mrs McGinty Sudah Mati Combining the main character with a

predicate

Based on the example, it can be seen that the title involved the name of the

main character. The main character of the story, also subject, is Mrs. McGinty.

Thus, the translator takes the name of the main character to be included in the title.

After that, the name of the main character is combined with a predicate. Predicate

in Bahasa Indonesia means a part of the sentence which marks what is said by the

speaker on the subject (Kamus Besar Bahasa Indonesia). In this title, Sudah Mati

is the predicate. It gives further information about the subject. The translator creates

the TL title by combining the main character with a predicate.

b. Symbolic


4/SL/KTB Kucing di Tengah Burung

Dara

Symbolic

From the example above, it can be seen that some symbols contained in

the title. The first example, Cat among the Pigeons, is a phrase derived from a

British idiom, which means ‘a disturbance caused by an undesirable person’

(https://en.wikipedia.org/wiki/Throw_the_cat_among_the_pigeons). Thus, the


52

translation of the SL title is indeed the exact meaning word by word in the TL title,

but the translator puts Kucing di Tengah Burung Dara because it conveys the same

symbols as the SL because the literal expression of the TL also have the same

idiomatic meaning with the SL, therefore it is unnecessary to conduct a

modification during the translation process. Kucing and Burung Dara are symbols

because in everyday life usually cats prey on animals such as mice and birds. The

culprit in the story is symbolized as a cat that always preys on small animals.

c. Alias


9/SL/SB Saksi Bisu Alias

25/SL/EB Empat Besar Alias

Alias is chosen to give a hint about nickname or epithet addressing the

main character. Based on the example, the noun phrase will act as the phrase

representing the characters in the story. For example, Dumb Witness and Saksi Bisu

explains the main character who acts as a witness and dumb (not being able to speak

up). On the other hand, The Big Four and Empat Besar signifies that there will be

four main characters in the story based on the quantity mentioned in both titles in

SL (four) and TL (empat). In this story, The Big Four is also described as an epithet

for the four criminal in the four different countries.


53

d. The essence of the story


13/SL/PMN Pembunuhan di Malam

Natal


28/SL/PRA Pembunuhan atas Roger

Ackroyd


Based on the example, the translator takes the essence of the story to be

the title of the books. Both of the examples have the word pembunuhan in TL,

which indicate the story is about a murder case. Without the word pembunuhan in

the TL, there will be no hint at all for the readers that there will be an act of murder

in the story, thus causing the title as a title that is not representative to the main idea

of the story.


54

CHAPTER V

CONCLUSION

There were objectives in this thesis as stated in Chapter I. The first

objective is to find the equivalence of Agatha Christie’s translated book titles.

The writer assessed those book titles by using Nida’s formal and dynamic

equivalence. Based on the analysis, formal equivalence is mostly used by the

translator to translate the book titles. From 33 Agatha Christie’s book titles that

are assessed, there are 19 translations considered as formal equivalence and 14

translations considered as dynamic equivalence.

The second objective of this thesis is to know the translation techniques

applied to translate Agatha Christie’s book titles. The translation techniques

used to translate Agatha Christie’s book titles are eight techniques out of

sixteen techniques that are proposed by Molina and Albir. Those techniques

are adaptation, amplification, borrowing, discursive creation, literal translation,

modulation, particularization, and transposition. Some of the book titles are

translated using more than one technique. The technique that is mostly used by

the translator is literal translation. There are 22 translations that used this

technique. It shows that the lexical and literal meaning from the SL title is

important to be maintained in translating book titles.

The third objective is to analyze the title writing techniques used to

write Agatha Christie’s Indonesian book titles. The translation is assessed

based on Putra’s theory of how to write interesting titles. Based on the analysis,


55

the title writing techniques used to write Agatha Christie’s Indonesian book

titles are four techniques out of six techniques that are proposed by Putra. Those

techniques are combining the main character with a predicate, symbolic, alias,

and the essence of the story. The title writing technique that is mostly used by

the translator is the essence of the story. There are 17 translations that used this

technique.

Furthermore, based on the result, the writer can see that there is a pattern

emerging from the analysis of the third objectives above. Almost all of Agatha

Christie’s book titles which are categorized as formal equivalence are

translated using literal translation. Thus, the title writing technique that is used

mostly is the essence of the story. This is relevant with the characteristic of

formal equivalence that tries to remain as close to the original text as possible.

This type of equivalence is much more of a word–to–word translation by each

lexical meaning.

On the other hand, the rest Agatha Christie’s book titles which are

considered as dynamic equivalence are translated using discursive creation.

The characteristic of discursive creation is that the words used in SL title and

TL title are pretty much different. Hence, the title writing technique that is used

mostly is symbolic. This is relevant with the characteristic of dynamic

equivalence that sometimes does not necessarily use the exact phrasing or

idioms of the original, yet still conveys the same meaning.

Based on those findings, the writer concludes that the translator

translates and creates the Indonesian book titles using the words that are


56

familiar and easily understood by the reader. The translator tends to translate

the titles as close as the original titles so that no considerable difference

between the SL title and the TL title. For some titles that have certain elements,

such as expressions or idioms which have no exact translation in the TL, the

translator adjust the translation in order to be understood by the reader.


57

BIBLIOGRAPHY

Alisjahbana, S. Takdir. Tatabahasa Baru Bahasa Indonesia. Jakarta: Dian Rakyat,

1983.

Berry, Phillipa. Shakespeare’s Feminine Endings: Disfiguring Death in the

Tragedies. London: Taylor & Francis, 2002.

Catford, John C. A Linguistic Theory of Translation: An Essay in Applied

Linguistic. Oxford: Oxford University Press, 1965.

Christie, Agatha. Evil Under The Sun. London: Harper Collins, 2011.

Christie, Agatha. Sad Cypress. London: Harper Collins, 2011.

Crowther, John, ed. “No Fear Julius Caesar.” William Shakespeare’s Julius Caesar.

SparkNotes LLC. 2003.

(http://nfs.sparknotes.com/juliuscaesar/page_166.html). June 16, 2016.

Crowther, John, ed. “No Fear Twelfth Night.” William Shakespeare’s Twelfth

Night. SparkNotes LLC. 2003.

(http://nfs.sparknotes.com/twelfthnight/page_90.html). June 16, 2016.

Dyahpramesti, Purindraswari. “The Translation of English Fictional Book Titles

Into Indonesian Contexts: A Functionalist Approach”. Undergraduate

Thesis. Yogyakarta: Sanata Dharma University, 2015.

Hatim, Basil and Ian Mason. Discourse and the Translator. London: Longman,

1990.

Hornby, A.S. Oxford Advanced Learner’s Dictionary. Oxford: Oxford University

Press, 2010.

Kardimin. Pintar Menerjemah: Wawasan Teoritik dan Praktek. Yogyakarta:

Pustaka Pelajar, 2013.

LiteraryDevices Editors. “There is a Tide in the Affairs of Men.” LiteraryDevices

net. November 4, 2014. (http://literarydevices.net/there-is-a-tide-in-the-

affairs-of-men). June 25, 2016.

Molina, Lucia and Amparo Hurtado Albir. “Translation Techniques Revisited: A

Dynamic and Functionalist Approach”.

(http://www.erudit.org/revue/meta/2002/v47/n4/008033ar.pdf). 2002.


http://nfs.sparknotes.com/juliuscaesar/page_166.html

http://nfs.sparknotes.com/twelfthnight/page_90.html



http://www.erudit.org/revue/meta/2002/v47/n4/008033ar.pdf

58

Newmark, Peter. Approaches to Translation. London: Pergamon Press, 1981.

Nida, Eugine. Toward a Science of Translating. Leiden: E.J. Brill, 1964.

Nida, Eugine and Charles Tabir. The Theory and Practice of Translation. Leiden:

E.J. Brill, 1974.

Putra, Masri Sareb. Literary Journalism: Jurnalistik Sastrawi. Jakarta: Salemba

Humanika, 2010.

Tim Penyusun Kamus. Kamus Besar Bahasa Indonesia Edisi Ketiga. Jakarta: Balai

Pustaka, 2005.

Violine, Melody. “Translating Titles of Novels: Why and How We (Don't)

Translate Them”.

(https://www.academia.edu/1102624/Translating_Titles_of_Novels). 2011.

Wikipedia Team. “Evil Under the Sun.” Wikipedia. n.d.

(https://en.wikipedia.org/wiki/Evil_Under_the_Sun).

Williams, Jenny and Andrew Chesterman. The Map: A Beginner’s Guide to Doing

Research in Translation Studies. Manchester: St. Jerome Publishing, 2002.


https://www.academia.edu/1102624/Translating_Titles_of_Novels

https://en.wikipedia.org/wiki/Evil_Under_the_Sun

59

APPENDICES

Appendix 1: Data of Agatha Christie’s Book Titles

Code SL Code TL

1/SL/ATF After The Funeral 1/TL/SP Setelah Pemakaman


3/SL/CT Cards on the Table 3/TL/KKM Kartu-Kartu di Meja

4/SL/CAP Cat Among the Pigeons 4/TL/KTB Kucing di Tengah Burung

Dara

5/SL/C Curtain 5/TL/T Tirai


7/SL/DA Death in the Air 7/TL/MU Maut di Udara

8/SL/DN Death on the Nile 8/TL/PSN Pembunuhan di Sungai Nil

9/SL/DW Dumb Witness 9/TL/SB Saksi Bisu

10/SL/ECR Elephants Can Remember 10/TL/GSI Gajah Selalu Ingat

11/SL/EUS Evil Under the Sun 11/TL/PTP Pembunuhan di Teluk Pixy

12/SL/HP Halloween Party 12/TL/PH Pesta Halloween

13/SL/HPC Hercule Poirot’s Christmas 13/TL/PMN Pembunuhan di Malam Natal

14/SL/HDD Hickory Dickory Dock 14/TL/PPM Pembunuhan di Pondokan

Mahasiswa

15/SL/LED Lord Edgware Dies 15/TL/MLE Matinya Lord Edgware

16/SL/MMD Mrs McGinty’s Dead 16/TL/MMS Mrs McGinty Sudah Mati

17/SL/MM Murder in Mesopotamia 17/TL/PDM Pembunuhan di Mesopotamia

18/SL/MR Murder in Retrospect 18/TL/MP Mengungkit Pembunuhan

19/SL/ML Murder on the Links 19/TL/LGM Lapangan Golf Maut


Express

20/TL/PAO Pembunuhan di Atas Orient

Express

21/SL/OTB One, Two, Buckle My Shoe 21/TL/SDP Satu, Dua, Pasang Gesper

Sepatunya

22/SL/PEH Peril at End House 22/TL/HM Hotel Majestic



25/SL/TAM The A.B.C Murders 25/TL/PA Pembunuhan ABC

26/SL/TBF The Big Four 26/TL/EB Empat Besar

27/SL/TC The Clocks 27/TL/MM Mayat Misterius

28/SL/TH The Hollow 28/TL/RG Rumah Gema

29/SL/TMR The Murder of Roger

Ackroyd

29/TL/PRA Pembunuhan atas Roger

Ackroyd


60

Appendix 2: The Equivalence Analysis Result

30/SL/TMA The Mysterious Affair at

Styles

30/TL/PS Pembunuhan di Styles

31/SL/TMB The Mystery of the Blue

Train

31/TL/MKA Misteri Kereta Api Biru


33/SL/TAT Three Act Tragedy 33/TL/TTB Tragedi Tiga Babak

Code SL Code TL Formal Dynamic

1/SL/ATF After The

Funeral

1/TL/SP Setelah

Pemakaman

2/SL/AD Appointment

with Death

2/TL/PM Perjanjian dengan

Maut

3/SL/CT Cards on the

Table

3/TL/KKM Kartu-Kartu di

Meja

4/SL/CAP Cat Among

the Pigeons

4/TL/KTB Kucing di Tengah

Burung Dara

5/SL/C Curtain 5/TL/T Tirai

6/SL/DMF Dead Man’s

Folly

6/TL/KB Kubur Berkubah

7/SL/DA Death in the

Air

7/TL/MU Maut di Udara

8/SL/DN Death on the

Nile

8/TL/PSN Pembunuhan di

Sungai Nil

9/SL/DW Dumb

Witness

9/TL/SB Saksi Bisu

10/SL/ECR Elephants

Can

Remember

10/TL/GSI Gajah Selalu Ingat

11/SL/EUS Evil Under

the Sun

11/TL/PTP Pembunuhan di

Teluk Pixy

12/SL/HP Halloween

Party

12/TL/PH Pesta Halloween

13/SL/HPC Hercule

Poirot’s

Christmas

13/TL/PMN Pembunuhan di

Malam Natal

14/SL/HDD Hickory

Dickory

Dock

14/TL/PPM Pembunuhan di

Pondokan

Mahasiswa


61

15/SL/LED Lord

Edgware

Dies

15/TL/MLE Matinya Lord

Edgware

16/SL/MMD Mrs

McGinty’s

Dead

16/TL/MMS Mrs McGinty

Sudah Mati

17/SL/MM Murder in

Mesopotamia

17/TL/PDM Pembunuhan di

Mesopotamia

18/SL/MR Murder in

Retrospect

18/TL/MP Mengungkit

Pembunuhan

19/SL/ML Murder on

the Links

19/TL/LGM Lapangan Golf

Maut

20/SL/MOE Murder on

the Orient

Express

20/TL/PAO Pembunuhan di

Atas Orient

Express

21/SL/OTB One, Two,

Buckle My

Shoe


Gesper Sepatunya

22/SL/PEH Peril at End

House

22/TL/HM Hotel Majestic

23/SL/SC Sad Cypress 23/TL/MTB Mawar Tak

Berduri

24/SL/TF Taken at the

Flood

24/TL/MAK Mengail di Air

Keruh

25/SL/TAM The A.B.C

Murders

25/TL/PA Pembunuhan ABC

26/SL/TBF The Big Four 26/TL/EB Empat Besar

27/SL/TC The Clocks 27/TL/MM Mayat Misterius

28/SL/TH The Hollow 28/TL/RG Rumah Gema

29/SL/TMR The Murder

of Roger

Ackroyd

29/TL/PRA Pembunuhan atas

Roger Ackroyd

30/SL/TMA The

Mysterious

Affair at

Styles

30/TL/PS Pembunuhan di

Styles

31/SL/TMB The Mystery

of the Blue

Train

31/TL/MKA Misteri Kereta Api

Biru


33/SL/TAT Three Act

Tragedy

33/TL/TTB Tragedi Tiga

Babak


62

Appendix 3: The Translation Techniques Analysis Result

Code SL Code TL Translation

Techniques

1/SL/ATF After The

Funeral

1/TL/SP Setelah

Pemakaman Literal Translation

2/SL/AD Appointment

with Death

2/TL/PM Perjanjian

dengan Maut Literal Translation


Table


Meja Literal Translation

4/SL/CAP Cat Among the

Pigeons


Burung Dara

Particularization,

Discursive Creation

5/SL/C Curtain 5/TL/T Tirai Literal Translation


Folly

6/TL/KB Kubur Berkubah Discursive Creation

7/SL/DA Death in the Air 7/TL/MU Maut di Udara Literal Translation

8/SL/DN Death on the Nile 8/TL/PSN Pembunuhan di

Sungai Nil

Literal Translation,

Amplification

9/SL/DW Dumb Witness 9/TL/SB Saksi Bisu Literal Translation,

Transposition

10/SL/ECR Elephants Can

Remember

10/TL/GSI Gajah Selalu

Ingat Discursive Creation

11/SL/EUS Evil Under the

Sun


Teluk Pixy Discursive Creation

12/SL/HP Halloween Party 12/TL/PH Pesta Halloween Literal Translation,

Transposition,

Borrowing

13/SL/HPC Hercule Poirot’s

Christmas


Malam Natal Discursive Creation


Dock


Pondokan

Mahasiswa

Discursive Creation

15/SL/LED Lord Edgware

Dies


Edgware

Modulation,

Borrowing

16/SL/MMD Mrs McGinty’s

Dead


Sudah Mati


Borrowing

17/SL/MM Murder in

Mesopotamia


Mesopotamia Literal Translation

18/SL/MR Murder in

Retrospect

18/TL/MP Mengungkit

Pembunuhan Discursive Creation

19/SL/ML Murder on the

Links


Maut Discursive Creation


63

Appendix 4: The Title Writing Technique Analysis Result


Orient Express


Atas Orient

Express

Borrowing, Literal

Translation

21/SL/OTB One, Two,

Buckle My Shoe

21/TL/SDP Satu, Dua,

Pasang Gesper

Sepatunya


Modulation


House

22/TL/HM Hotel Majestic Discursive Creation


Berduri Discursive Creation


Flood


Keruh Adaptation

25/SL/TAM The A.B.C

Murders

25/TL/PA Pembunuhan

ABC


Transposition

26/SL/TBF The Big Four 26/TL/EB Empat Besar Literal Translation,

Transposition

27/SL/TC The Clocks 27/TL/MM Mayat Misterius Discursive Creation

28/SL/TH The Hollow 28/TL/RG Rumah Gema Amplification

29/SL/TMR The Murder of

Roger Ackroyd


Roger Ackroyd Literal Translation

30/SL/TMA The Mysterious

Affair at Styles


Styles Discursive Creation

31/SL/TMB The Mystery of

the Blue Train

31/TL/MKA Misteri Kereta

Api Biru


Transposition,

Borrowing

32/SL/TG Third Girl 32/TL/GK Gadis Ketiga Literal Translation,

Transposition

33/SL/TAT Three Act

Tragedy


Babak


Transposition,

Borrowing

Code SL Code TL Title Writing

Techniques

1/SL/ATF After The

Funeral

1/TL/SP Setelah

Pemakaman Essence of the story

2/SL/AD Appointment

with Death

2/TL/PM Perjanjian

dengan Maut Symbolic


Table


Meja Essence of the story

4/SL/CAP Cat Among the

Pigeons


Burung Dara Symbolic


64

5/SL/C Curtain 5/TL/T Tirai Symbolic


Folly

6/TL/KB Kubur Berkubah Symbolic

7/SL/DA Death in the Air 7/TL/MU Maut di Udara Essence of the story

8/SL/DN Death on the Nile 8/TL/PSN Pembunuhan di

Sungai Nil Essence of the story

9/SL/DW Dumb Witness 9/TL/SB Saksi Bisu Alias

10/SL/ECR Elephants Can

Remember

10/TL/GSI Gajah Selalu

Ingat Symbolic

11/SL/EUS Evil Under the

Sun


Teluk Pixy Essence of the story

12/SL/HP Halloween Party 12/TL/PH Pesta Halloween Essence of the story

13/SL/HPC Hercule Poirot’s

Christmas


Malam Natal Essence of the story


Dock


Pondokan

Mahasiswa

Essence of the story

15/SL/LED Lord Edgware

Dies


Edgware Essence of the story

16/SL/MMD Mrs McGinty’s

Dead


Sudah Mati

Combining the

main character with

a predicate

17/SL/MM Murder in

Mesopotamia


Mesopotamia Essence of the story

18/SL/MR Murder in

Retrospect

18/TL/MP Mengungkit

Pembunuhan Essence of the story

19/SL/ML Murder on the

Links


Maut Essence of the story


Orient Express


Atas Orient

Express

Essence of the story

21/SL/OTB One, Two,

Buckle My Shoe

21/TL/SDP Satu, Dua,

Pasang Gesper

Sepatunya

Symbolic


House

22/TL/HM Hotel Majestic Symbolic


Berduri Symbolic


Flood


Keruh Symbolic

25/SL/TAM The A.B.C

Murders

25/TL/PA Pembunuhan

ABC Symbolic

26/SL/TBF The Big Four 26/TL/EB Empat Besar Alias

27/SL/TC The Clocks 27/TL/MM Mayat Misterius Essence of the story

28/SL/TH The Hollow 28/TL/RG Rumah Gema Symbolic


65

Appendix 5: Data Recapitulation of Analysis Result

29/SL/TMR The Murder of

Roger Ackroyd


Roger Ackroyd Essence of the story

30/SL/TMA The Mysterious

Affair at Styles


Styles Essence of the story

31/SL/TMB The Mystery of

the Blue Train

31/TL/MKA Misteri Kereta

Api Biru Essence of the story

32/SL/TG Third Girl 32/TL/GK Gadis Ketiga Symbolic

33/SL/TAT Three Act

Tragedy


Babak Symbolic

Code SL Title Code TL Title Equiva-

lence

Translation

Techniques

Title Writing

Techniques

1/SL/

ATF

After The

Funeral

1/TL/

SP

Setelah

Pemakaman Formal

Literal

Translation

Essence of the

story

2/SL/

AD

Appointment

with Death

2/TL/

PM

Perjanjian

dengan Maut Formal

Literal

Translation Symbolic

3/SL/

CT

Cards on the

Table

3/TL/

KKM

Kartu-Kartu

di Meja Formal

Literal

Translation

Essence of the

story

4/SL/

CAP Cat Among

the Pigeons

4/TL/

KTB

Kucing di

Tengah

Burung Dara

Dynamic

Particularization,

Discursive

Creation

Symbolic

5/SL/

C Curtain

5/TL/

T Tirai Formal

Literal

Translation Symbolic

6/SL/

DMF

Dead Man’s

Folly

6/TL/

KB

Kubur

Berkubah Dynamic

Discursive

Creation Symbolic

7/SL/

DA

Death in the

Air

7/TL/

MU

Maut di

Udara Formal

Literal

Translation

Essence of the

story

8/SL/

DN Death on the

Nile

8/TL/

PSN Pembunuhan

di Sungai Nil Formal

Literal

Translation,

Amplification

Essence of the

story

9/SL/

DW Dumb

Witness

9/TL/

SB Saksi Bisu Formal

Literal

Translation,

Transposition

Alias

10/SL

/ECR

Elephants

Can

Remember

10/TL

/GSI Gajah Selalu

Ingat Dynamic

Discursive

Creation Symbolic

11/SL

/EUS

Evil Under

the Sun

11/TL

/PTP

Pembunuhan

di Teluk Pixy Dynamic

Discursive

Creation

Essence of the

story


66

12/SL

/HP Halloween

Party

12/TL

/PH Pesta

Halloween Formal

Literal

Translation,

Transposition,

Borrowing

Essence of the

story

13/SL

/HPC

Hercule

Poirot’s

Christmas

13/TL

/PMN

Pembunuhan

di Malam

Natal

Dynamic Discursive

Creation

Essence of the

story

14/SL

/HDD

Hickory

Dickory

Dock

14/TL

/PPM

Pembunuhan

di Pondokan

Mahasiswa

Dynamic Discursive

Creation

Essence of the

story

15/SL

/LED

Lord

Edgware

Dies

15/TL

/MLE Matinya Lord

Edgware Formal

Modulation,

Borrowing

Essence of the

story

16/SL

/MM

D

Mrs

McGinty’s

Dead

16/TL

/MMS Mrs McGinty

Sudah Mati Formal

Literal

Translation,

Borrowing

Combining the

main character with

a predicate

17/SL

/MM Murder in

Mesopotamia

17/TL

/PDM

Pembunuhan

di

Mesopotamia

Formal Literal

Translation

Essence of the

story

18/SL

/MR

Murder in

Retrospect

18/TL

/MP

Mengungkit

Pembunuhan Dynamic

Discursive

Creation

Essence of the

story

19/SL

/ML

Murder on

the Links

19/TL

/LGM

Lapangan

Golf Maut Dynamic

Discursive

Creation

Essence of the

story

20/SL

/MOE Murder on

the Orient

Express

20/TL

/PAO

Pembunuhan

di Atas

Orient

Express

Formal

Borrowing,

Literal

Translation

Essence of the

story

21/SL

/OTB One, Two,

Buckle My

Shoe

21/TL

/SDP

Satu, Dua,

Pasang

Gesper

Sepatunya

Formal

Literal

Translation,

Modulation

Symbolic

22/SL

/PEH

Peril at End

House

22/TL

/HM

Hotel

Majestic Dynamic

Discursive

Creation Symbolic

23/SL

/SC Sad Cypress

23/TL

/MTB

Mawar Tak

Berduri Dynamic

Discursive

Creation Symbolic

24/SL

/TF

Taken at the

Flood

24/TL

/MAK

Mengail di

Air Keruh Dynamic Adaptation Symbolic

25/SL

/TAM The A.B.C

Murders

25/TL

/PA Pembunuhan

ABC Formal

Literal

Translation,

Transposition

Symbolic

26/SL

/TBF The Big Four

26/TL

/EB Empat Besar Formal

Literal

Translation,

Transposition

Alias

27/SL

/TC The Clocks

27/TL

/MM

Mayat

Misterius Dynamic

Discursive

Creation

Essence of the

story


67

28/SL

/TH The Hollow

28/TL

/RG Rumah Gema Dynamic Amplification Symbolic

29/SL

/TMR

The Murder

of Roger

Ackroyd

29/TL

/PRA

Pembunuhan

atas Roger

Ackroyd

Formal Literal

Translation

Essence of the

story

30/SL

/TMA

The

Mysterious

Affair at

Styles

30/TL

/PS Pembunuhan

di Styles Dynamic

Discursive

Creation

Essence of the

story

31/SL

/TMB The Mystery

of the Blue

Train

31/TL

/MKA Misteri

Kereta Api

Biru

Formal

Literal

Translation,

Transposition,

Borrowing

Essence of the

story

32/SL

/TG Third Girl

32/TL

/GK Gadis Ketiga Formal

Literal

Translation,

Transposition

Symbolic

33/SL

/TAT Three Act

Tragedy

33/TL

/TTB Tragedi Tiga

Babak Formal

Literal

Translation,

Transposition,

Borrowing

Symbolic


INDONESIAN TRANSLATION OF AGATHA CHRISTIE’S BOOK … · indonesian translation of agatha...

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