CHAPTER I INTRODUCTION

A.

Background of Study
Language is the communication tool used in society, which is transmitter of

each language and pour some ideas, thoughts, and ideas on the partner said. Every idea they convey according to specific goals and interests of partners in order to catch some clearly said. The purpose of submission of these languages depends on the speakers, the owner of the first idea. Then it came from a wide variety of languages due the background, purpose, goals, and different messages. As Chaer and Agustina said about the language was varied. Even if a language has certain rules or patterns are similar, but due to a social background and habits are different, then it becomes a variety of languages, both from the level of phonological, syntactic, and at the level of the lexicon. Language born of an individual to another individual. Then the two individuals forming a group (community) has to hold communication. In communications, the language is influence of local accent and her social everyday. And if it is calculated not just one or two groups, they are following the use of the same language. Back to each community they can not be separated by language background and habits in which they originated.

Translation is the transfer in writing a text message from a language into another language text.1 Understanding the content level is not only related to the basic meaning (meaning of material), an idea or concept contained in the content, but all the information in the text SL, ie all the norms of language, such as lexical meaning, grammatical meaning, nuance stilistis / expressive nuance. In other words, the translation is an assessment of the lexicon, grammatical structure, communication situation, and cultural contacts between the two languages are done through the analysis to determine the meaning. The definition of the translation above refers to the importance of disclosure of meaning or the message intended in the original discourse. In translation, the author of the message should be maintained and communicated to the reader the translation, the contents of the SL should be the same as the TL to the message intended by the SL can be understood in a reader TL although its form may differ. Thus, equivalent in this case does not mean the same, but contain the same message. From the description above, it can be argued that the translation is not something simple, not limited to transliterate from one language into another language and not anyone can do without studied. As stated in Simatupang Luther2 that "Translation is not everybody's art". Translate, for Luther, is an art that can not simply belong to every person. This suggests that translating is not easy. He requires

Hoed, Proses tentang penerjemahan, (Jakarta : Pusat Pembinaan dan Pengembangan Bahasa, 2006 ) ,p.51 2 Simatupang Luther, Proses Pengantar teori terjemahan, ( Jakarta : Ditjen. Dikti, Departemen Pendidikan Nasional, 2000 ), p.3-5

a complex skill. As an art, as well as art music, visual arts, dance, translating intuitive therefore unlikely to be developed without the knowledge, training and experience. The opinion above, Hidayat suggested that developing proficiency may not translate into professional skills without the knowledge of translation techniques, intensive training and experience that a lot.3 In line with what was raised suggests that translation is a series of learning process that moves continuously through three phases, namely the instinct, experience and habits.4 These three stages are actually thinking an American philosopher and inventor of the science of semiotics, Charles Sanders Peirce is simplified by Robinson as a foundation in translating. Peirce states that the relationship between experience and habits of a triad framework that stems from instinct through experience and eventually become a habit. In this process, instinct (instinct) or a general readiness unfocused ranks first; second is the experience (experience) which is based on events and activities that affect the lives of individuals from the outside; and third, custom (habit) is more important than the differences between general readiness and experience from outside because it combines the precision of both the process actions in particular to act in certain ways under certain conditions which are formed by experience, for example translating certain texts in certain ways. The accuracy of this action is by Piaget referred to as intelligence. According to Piaget, intelligence is what we use when we do not know

Rahayu. S. Hidayat, Pengatar Penerjemahan, ( Depok : Lembaga Penelitian Universitas Indonesia, 2000 ), p. 35 4 Ibid,p.163-164

what to do. If someone managed to find the right answer to a problem of living with many possible answers, he is a clever man. But there is more that needed to be a creative aspect that is smart as a means to discover something new. Indonesian vocabulary words are enriched by absorption of various foreign languages, for example from English, German, Dutch, French, and Arabic. Uptake words entered into the Indonesian language through the ways the word was adopted, namely the adoption, adaptation, translation and creation. How to adoption occurs when the language user to take shape and meaning of foreign words being absorbed as a whole, like supermarkets, plaza, mall, hotdog is an example of how the absorption of adoption. Way of adaptation occurs when the language user simply takes the meaning of Source Language (English language) being absorbed and spelling or the way of writing customized by Target Language (bahasa). Such as scare crow, Neighborhoods watch scheme, food on the ground, and presents an example of uptake word Cultural adaptation. Therefore, the writer interested in analysis the adaptation that occurs in Kamus Lengkap Indonesia-Inggris by Allan M. Stevens and A. Ed SchimidgallTelling For determine the culture equivalent between two situations that can be accepted or understood by the reader and the message in the source language and can be instantly understandable.

So, which is the analyzed in this research there is a change in adaptation when translating a source language into target language in. Kamus Lengkap IndonesiaInggris by Allan M. Stevens and A. Ed Schimidgall-Telling

B.

Focus of the Study

In order to limit this research, the writer only focuses on the adaptation occurred in the translation Kamus Lengkap Indonesia-Inggris by Allan M. Stevens and A. Ed Schimidgall-Telling in two languages English as the source language and Bahasa as the target language.

C. The Research Question

The questions in this research is: 1. How does change of meaning in adaptation from bahasa Indonesia into English language in Kamus Lengkap Indonesia-Inggris by Allan M. Stevens and A. Ed Schimidgall-Telling? 2. What are the differences of meaning adaptation between Bahasa Indonesia and English language in the Kamus Lengkap Indonesia-Inggris by Allan M. Stevens and A. Ed Schimidgall-Telling?

D. Objective of the Research

Based on the research questions above, the writer has several objectives of the research as following:

To know change of meaning in adaptation from bahasa into English language in Kamus Lengkap Indonesia-Inggris by Allan M. Stevens and A. Ed SchimidgallTelling. To know what meaning change in adaptation from Bahasa Indonesia into English language Kamus Lengkap Indonesia-Inggris by Allan M. Stevens and A. Ed Schimidgall-Telling

E. Benefit of the Research

The benefit of this research is to increase knowledge about the adaptation of translation that a translator can be more aware of the change some language to be adapted to the meanings that exist in the target language. To know the language element transferred from one culture to another, which may often, as in this case, involve translation, and which, as mentioned earlier, has been ignored in many studies on adaptations.

F. Research Methodology
1. The Method of Research In this research the writer use the qualitative descriptive method, the writer tries to describe the adaptation in translation Kamus Lengkap Indonesia-Inggris by Allan M. Stevens and A. Ed Schimidgall-Telling 2. Data Analysis The Analyze data are collected by using qualitative, among others;

1. The writer read Kamus Lengkap Indonesia-Inggris by Allan M. Stevens and A. Ed Schimidgall-Telling Then, search for a words using the adaptation from the text. 2. The writer read the bahasa Indonesia and English language text, and then search for text which includes adaptation. After that, the writer marked and recorded on a small note. 3. The Technique of Data Collecting The technique of data collecting by the writer take advantage of the researchs own self as the main instrument to obtain the required data. First, the writer reads the theory of translation from various sources; book, internet, etc. second, the writer reading Kamus Lengkap Indonesia-Inggris by Allan M. Stevens and A. Ed Schimidgall-Telling between Bahasa Indonesia as a source language and English language as a target language and choose which contains the adaptation of translation by using Adaptation Culture Theory. 4. The Unit of Analysis This unit of analysis in this research is Kamus Lengkap Indonesia-Inggris by Allan M. Stevens and A. Ed Schimidgall-Telling

CHAPTER II THEORETICAL FRAMEWORK

A. The Meaning of Translation

Translation is the communication process in how you communicate to each other even in cross culture, it provides access to something, some message, that already exist, than it always therefore a secondary communication. Normally, a communicative event happens just once. With translation communication more easier reduplicated for people originally and preventing miscommunication to each other and appreciating the original event. and translation is the replacement of an original text with another text

1. Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text.5 Whereas interpreting undoubtedly antedates writing, translation began only after the appearance of written literature; there exist partial translations of the Sumerian Epic of Gilgamesh (ca. 2000 BC) into Southwest Asian languages of the second millennium BCE.6

2. Translators always risk inappropriate spill-over of source-language idiom and usage into the target-language translation. On the other hand, spillTom McArthur, The Oxford Companion to the English Language,( Oxford: Pergamon Press ed., 1992), p.54.
6

J.M. Cohen, "Translation", (New York: Encyclopedia Americana, 1986), vol. 27, p. 12.

overs have imported useful source-language calques and loanwords that have enriched the target languages. Indeed, translators have helped substantially to shape the languages into which they have translated.7 3. The word translation derives from the Latin translatio (which itself comes from trans- and fero, together meaning "to carry across" or "to bring across"). The modern Romance languages use words for translation derived from that source and from the alternative Latin traduco ("to lead across"). The Germanic and Slavic languages likewise use calques based on these Latin sources.8 4. Translation can be defined as an act of interpretation of the meaning of a content and consequent re-production of equivalent content. The content or the text that is required to be translated is called "Source Text" and the language in which the source text is to be translated is known as "Target Text". In simple language, translation is also described as a communication written in second language having the identical meaning as written in a first language. B. The Meaning Adaptation in Translation

Adaptation may be understood as a set of translative operations which result in a text that is not accepted as a translation but is nevertheless recognized as representing a source text of about the same length. As such, the term may embrace numerous vague notions such as imitation, rewriting, and so on. Strictly speaking, the concept of adaptation requires recognition of translation as non-

Christopher Kasparek, The Translator's Endless Toil, ( The Polish Review, vol. XXVIII, no. 2, 1983), p. 84-87.
8

Ibid, p. 83. 9

adaptation, as a somehow more constrained mode of transfer. For this reason, the history of adaptation is parasitic on historical concepts of translation.

The initial divide between adaptation and translation might be dated from CICERO and Horace, both of whom referred to the interpret (translator) as working word-for-word and distinguished this method from what they saw as freer but entirely legitimate results of transfer operations. The different interpretations given to the Horatian verse, Nee verbum verbo eurabis reddere fidus interpres (' and you will not render word-for-word [like a] faithful translator') - irrespective of whether they were for or against the word-for-word precept - effectively reproduced the logic by which adaptations could be recognized.9

The golden age of adaptation was in the seventeenth and eighteenth centuries, the epoch of the belles infideles, which started in France and then spread to the rest of the world. In the 1970s, the formalist theorist tried to define Translation as a communicative act while a knowledge the domestic values that come into play the target norms that constrain communication10. The very free translations carried out during this period were justified in terms of the need for foreign texts to be adapted to the tastes and habits of the target culture, regardless of the damage done to the original. The nineteenth century witnessed a reaction
John Milton, Research Model In Translation Studies, (Brazil: Universidade de So Paulo, Brazil 2011),p.1-2 10 Lawrence Venuti, The Translation Studies Reader ( London: Routledge 2000 ),p.483
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to this 'infidelity', but adaptations continued to predominate in the theatre. In the twentieth century, the proliferation of technical, scientific and commercial documents has given rise to a preference for transparency in translation, with an emphasis on efficient communication; this could be seen as licensing a form of adaptation which involves rewriting a text for a new readership.

Generally speaking, historians and scholars of translation take a negative view of adaptation, dismissing the phenomenon as distortion, falsification or censorship, but it is rare to find clear definitions of the terminology used in discussing this controversial concept.

C. Distinction Adaptation In Translation. Sometime its very difficult to say that Adaptation is part of Translation while it is true that in certain situations, a so-called "straight" translation is not appropriate it is not true that all good translations are in fact adaptations. In reality, a good translation is not an adaptation. A truly good translation must remain faithful to the full context of the source text in terms of meaning as well as style, appearance, register and message. The words used to convey it are as important as the message, and while of course one must make allowances for what the reader will or will not understand in the target language, the translator should be understand neighborhood watch scheme if it is targeted to a particular text and is written in a particular

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register in the source language, it must be targeted to the corresponding text and written in the corresponding register of the target language. An adaptation, on the other hand, takes the ideas of the source text and rewrites them in a completely new way. The source text may be altered somewhat to appeal more to a new text in some movie or it may be placed in a different setting. Adaptations are more common in literary, poetic or advertising media, where you can choose to, either media (form) or literal meaning in favor of conveying a particular message or emotion, if one or the other is considered more important to the individual situation. The same kind of decision can be made on whether to translate or to adapt a piece of text. For example, "pakeweuh in a translation meant feel shy but an adaptation that creates a new version of the same text, but with a twist that is meant awkwardness or uncomfortable different from feel shy. Both, however, are equally good but serve different purposes. A related nation is that of localization. This is where this concept gets tricky, because while localization often involves translation, it belongs to a very specific modern reality. Localization is the process used to adjust a product or service (usually software and websites but it can also include products that come with a lot of manuals and accessory packages) to a particular language, culture, and desired local "lookand-feel." In localizing a product, in addition to idiomatic language translation, such details as time zones, currencies, national holidays, local color sensitivities, product or service names, gender roles and geographic examples must all be considered.
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A successfully localized service or product is one that appears to have been developed within the local culture. Basil Hatim and Ian Mason said when translating is looked upon as an act of communication which attempt to relay, across cultural and linguistic boundaries, another act of communication (which may have been intended for different purpose and different readers/hearers).11 Localized texts include texts that may have to be produced several times in the same language, but adjusted for dialectal and other cultural differences (Blangkon versus headgear, dagelan versus joke, etc.), or texts that specifically target one area where that language is spoken. However, an adaptation have the same content and message are generally still expressed in the same way, and such products are often designed to be easily localized without needing to alter the format, style or imagery. Meanwhile, it is not only translations of scientific and legal texts that require faithfulness to the text often referred to as straight translations. Newspaper articles, dictionary must retain all the same facts and be addressed to a corresponding audience in the target language community. Government documents, corporate literature, public information booklets, travel guides, textbooks and many other types of texts have to retain the same content, same register, same style and same format when translated even while respecting the structure, grammar and cultural baggage of the target language. Otherwise, you no longer have a translation but have moved into the area of adaptation. Language is culturally embedded: it both expresses and shapes cultural reality, and the meaning of linguistic item are used. For example, a simple expression
11

Basil Hatim, Ian Mason, The Translator as communicator,(London : Routledge 1997),p.1-2

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such as we had Dinner written in British cultural context cannot be transposed into Arabic, German, Finnish or indeed an American English context without considering the different cultural meaning this expression acquires in these different context12 in order to concentrate now on what happens to the text world in translation independently of situation of cultural hegemony, let us first consider an example which the target language culture might be expected to share the cultural assumption, beliefs and value systems discernible in the source language. a true translation must be written in a manner that is natural and appropriate to the target language, but may not diverge from the essence of the source text; nothing may be added, deleted or in any other way altered from the source text.13 A true adaptation is a re-invention of the message to suit a new audience, whether that be a new language or different age or cultural group, modern vs. previous era, etc. Is an innovative translation agency that provides diverse language solutions that include customized translation, editing, revision and proofreading services to meet clients' communication needs. D. Kind of Adaptation A Theory of Adaptation presents a comprehensive and general theory of adaptations. Adaptations are widespread and universal. They seem common and natural, but pose curious problems in content, structure, and intertextual. The work here looks to develop a theory of adaptations in general, not just with novels to film.
12 13

Juliana House, Translation, ( Oxford: University press 2009 ),p.11-12 Op.cit.146

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It is possible to classify definition of adaptation under specific themes (translation' technique, genre, meta-language, faithfulness), though inevitably these definitions tend to overlap.this is the freest form translation. It is used mainly for plays ( comedies ) and poetry; the theme; characters, the SL culture converted to the TL culture and text rewritten.14 And then sometime adaptation can be untranslatable from Source language into Target language it call Untranslatability is a property of a text, or of any utterance, in one language, for which no equivalent text or utterance can be found in another language when translated. Terms are, however, neither exclusively translatable nor exclusively untranslatable; rather, the degree of difficulty of translation depends on their nature, as well as on the translator's knowledge of the languages in question. In before explanation, we have talked about the kind of translation, but we will learn the other kind of adaptation according Juliana. Language is culturally embedded: it both expresses and shapes cultural reality, and the meaning of linguistic item are used.15 There are two kind adaptation in translation, ; Intransbility and Untransbility

14 15

Peter Newmark, A Text Book of Translation (UK: Prentice hall International 1988),p.46 Juliana house (2009),op.cit

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Here, the example intransbility adaptation in translation from source language into target language Table 1. Intransbility adaptation Translation No. 1. 2. 3. 4. 5. Source Language Gado-gado Keblinger Blangkon Pocong Pontang-panting Target Language Uncooked vegetables Walking fallen into trap Style headgear permanent sewn in shape Burial Shroud Scattered

Untranslatability is a property of a text, or of any utterance, in one language, for which no equivalent text or utterance can be found in another language when translated. Terms are, however, neither exclusively translatable nor exclusively untranslatable; rather, the degree of difficulty of translation depends on their nature, as well as on the translator's knowledge of the languages in question. Quite often, a text or utterance that is considered to be "untranslatable" is actually a lacuna, or lexical gap. That is, there is no one-to-one equivalence between the word, expression or turn of phrase in the source language and another word,

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expression or turn of phrase in the target language. A translator can, however, resort to a number of translation procedures to compensate for this16. Here, the example Untransbility adaptation in translation from source language into target language Table 2. Untransbility adaptation Translation No. 1. 2. 3. 4. 5. Source Language Parafin Paragraf Parafrase Paradoks Paranoid Paraffin Paragraph Paraphrase Paradox Paranoid Target Language

Based on the example above, Adaptation in translation have two kind the first is Intrasbility and the second is Untransbility, Because the both of those terms extremely happen in a dictionary, either from English to Indonesian dictionary or vice versa, so the experts extremely cautious in translating word-for-word from a source language into target language, if translators or do not have an equivalent to the word that difficult to translate the language translator to write back and kemuadian adjusted to the equivalent of words and grammar of the target language.

16

http://EzineArticles.com/3033978

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Example: blangkon on the source language word meaning a hat or head covering used by the Javanese people, especially men, but said there has been no word blangkon headcloth meaningful, then translators translate into style head gear, or that means the head covering that full of style. From the the word has the good sense of the word meaning or cultural significance, then the interpreter interpret these words mean by looking from the cultural side.

E. Adaptation in Translation studies As a translation technique, adaptation can be defined in a technical and objective way. Translation never communicate in an untroubled fashion because the translator negotiate the Linguistic and cultural differences of the foreign text by reducing them and supply another set to differences, basically domestic, drawn from the receiving language and culture to enable the foreign language to be received there17 who list adaptation as their seventh translation procedure:

adaptation is a procedure which can be used whenever the context referred to in the original text does not exist in the culture of the target text, thereby necessitating some form of re-creation. This widely accepted definition views adaptation as a procedure employed to achieve an equivalence of situations wherever cultural mismatches are encountered.

Adaptation is, perhaps, most easily justified when the original text is of a metalinguistic nature, that is, when the subject matter of the text is language itself.
17

Loc cit,p.482

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This is especially so with didactic works on language generally, or on specific languages.18 Points out that in these cases the adaptation has to be based on the translator's judgment about readers' knowledge. Argues that this kind of adaptation gives precedence to the function over the form, with a view to producing the same effect as the original text. However, while such writers start from the principle that nothing is untranslatable. Definitions of adaptation reflect widely varying views about the concept the issue of remaining 'faithful' to the original text. Some argue that adaptation is necessary precisely in order to keep the message intact (at least on the global level), while others see it as a betrayal of the original author. For the former, the refusal to adapt confines the reader to an artificial world of foreignness; for the latter, adaptation is tantamount to the destruction and violation of the original text. Even those who recognize the need for adaptation in certain circumstances are obliged to admit that, if remaining faithful to the text, then there is a point at which adaptation ceases to be translation at all.

F. Definition of Adaptation in Translating

Adaptation is defined as one specific, sometimes even quintessential, form of intertextual activity, where a story is transposed from one text to another, usually from one medium or signification system to another as well. Delineated as a form of dialogic relation among texts, the problem of an adaptation is generally theorized as a

18

Peter Newmark, Approaches to Translation,( Oxford:Pergamon Press 1981), p.

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text-based issue, concerned with what happens to a text when it is transferred to another medum. For example the problem of fidelity, the articulations of and departures form the source text, the measure of structural changes between the source text and adaptated text, when someone talking neighborhood watch scheme the socalled adaptation of intertextuality as such and the function of adapted stories in culture. Even the question of medium specificity a perspective that assumes that representational practices have individual material and formal structures that distinguish and differentiate them from other practices or to put it more shortly that every medium should develop its own unique language a perspective, that might, at first glace, seem rather as a question of expressive material.19 Adaptation is also associated with the genres of advertising and subtitling. The emphasis here is on preserving the character and function of the original text, in preference to preserving the form or even the semantic meaning, especially where acoustic and/or visual factors have to be taken into account. Other genres, such as children's literature, require the re-creation of the message according to the sociolinguistic needs of a different readership The main features of this type of adaptation are the use of summarizing techniques, paraphrase and omission. .When we take broader perspective, the inter-relationship between the languages of comic and film language is rather intriguing as a system of mediation. The birth of a comic as sequential art coincides by and large with the birth of the cinema and as

Corrigan, Timothy Literature on Screen, a history: in the gap. ( In Cartmell, Debora, Imelda Whelehan (eds.) A Cambridge Companion to Literature on Screen 2007). p. 29-43

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cinema in the beginning, comic strips too struggled with the static and theatrical point of view. Both consist of sequential arrangement of framed elements combined to form a narrative, thus sharing many common problems and developments, at the same time borrowing visual solutions from one another.20 Thus one hand the languages have a constant need to discover and develop their specificity and uniqueness that differenciates them from other languages of culture. On the other hand we have a constant process of hybridisation and creolisation, languages influencing each other. And Lotman notes that many texts are made in mixed languages but we do not notice that. Even the film languages can be viewed as a mixture of the principles and elements of the language of silent cinema and the language of sound cinema. Thus in the sphere of language, there are always these two process of disintegration of languages on one hand and of integratsion of languages on the other that is part of cultural dynamics.21 When we approach the field of adaptation and translation with extended and yet limited notion of language as semiotic resources any medium must have to be able to produce texts, adaptations emerge as a meeting point of not only stories but languages as well sphere of their interplay, mutual influences and hybridisation. If text as transposed from one language to another adapts to new means of expression, doesnt this text, being uncompatible at first, trigger some changes or developments in
Lacassin, Francis, The Comic Strip and Film Language ( Film Quarterly: Autumn 1972), Vol. 26, p. 11-19
20

Lotman, Mihhail, Kultuuri fenomen/ Phenomena of culture (Akademiaa : Sign System Studies 2002), Vol. 30.2.,pp. 2644-2662
21

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recipient language as well. What kind of literacy these intermedial and intersemiotic relations require from a creator and a reader and what kind of new competences they produce.

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