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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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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
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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:
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- 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.
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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
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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
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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:
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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
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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.
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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
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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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28
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
Code SL Title Code TL Title
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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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
Code SL Title Code TL Title
2/SL/AD Appointment with Death 2/TL/PM Perjanjian dengan Maut
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
Code SL Title Code TL Title
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
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30
Bahasa Indonesia). Furthermore, the structural form is also maintained in the TL.
Thus, formal equivalence is achieved.
iii. Data 8
Code SL Title Code TL Title
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
Code SL Title Code TL Title
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
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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
Code SL Title Code TL Title
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.
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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
Code SL Title Code TL Title
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
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33
Indonesian gerund Matinya which emphasizes the things undergone by Lord
Edgware, in this case undergoing death.
vii. Data 16
Code SL Title Code TL Title
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
Code SL Title Code TL Title
20/SL/MOE Murder on the Orient
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.
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34
ix. Data 21
Code SL Title Code TL Title
21/SL/OTB One, Two, Buckle My
Shoe
21/TL/SDP Satu, Dua, Pasang
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
Code SL Title Code TL Title
31/SL/TMB The Mystery of the
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
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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
Code SL Title Code TL Title
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
Code SL Title Code TL Title
33/SL/TAT Three Act Tragedy 33/TL/TTB Tragedi Tiga Babak
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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
Code SL Title Code TL Title
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
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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
Code SL Title Code TL Title
6/SL/DMF Dead Man’s Folly 6/TL/KB Kubur Berkubah
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
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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
Code SL Title Code TL Title
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.
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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
Code SL Title Code TL Title
23/SL/SC Sad Cypress 23/TL/MTB Mawar Tak Berduri
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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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
Code SL Title Code TL Title
14/SL/HDD Hickory Dickory Dock 14/TL/PPM Pembunuhan di
Pondokan Mahasiswa
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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
Code SL Title Code TL Title
23/SL/TF Taken at the Flood 23/TL/MAK Mengail di Air Keruh
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,
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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:
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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)
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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.
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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
30/SL/TMB The Mystery of the
Blue Train
Misteri Kereta Api
Biru
Borrowing
32/SL/TAT Three Act
Tragedy
Tragedi Tiga Babak Borrowing
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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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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
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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-
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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
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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
No TL Technique Used
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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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
No TL Technique Used
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.
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53
d. The essence of the story
No TL Technique Used
13/SL/PMN Pembunuhan di Malam
Natal
The essence of the story
28/SL/PRA Pembunuhan atas Roger
Ackroyd
The essence of the story
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.
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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,
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
57
BIBLIOGRAPHY
Alisjahbana, S. Takdir. Tatabahasa Baru Bahasa Indonesia. Jakarta: Dian Rakyat,
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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.
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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.
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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
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
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 21/TL/SDP Satu, Dua, Pasang 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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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
32/SL/TG Third Girl 32/TL/GK Gadis Ketiga
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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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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
21/TL/SDP Satu, Dua, Pasang
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
32/SL/TG Third Girl 32/TL/GK Gadis Ketiga
33/SL/TAT Three Act
Tragedy
33/TL/TTB Tragedi Tiga
Babak
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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
3/SL/CT Cards on the
Table
3/TL/KKM Kartu-Kartu di
Meja Literal Translation
4/SL/CAP Cat Among the
Pigeons
4/TL/KTB Kucing di Tengah
Burung Dara
Particularization,
Discursive Creation
5/SL/C Curtain 5/TL/T Tirai Literal Translation
6/SL/DMF Dead Man’s
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
11/TL/PTP Pembunuhan di
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
13/TL/PMN Pembunuhan di
Malam Natal Discursive Creation
14/SL/HDD Hickory Dickory
Dock
14/TL/PPM Pembunuhan di
Pondokan
Mahasiswa
Discursive Creation
15/SL/LED Lord Edgware
Dies
15/TL/MLE Matinya Lord
Edgware
Modulation,
Borrowing
16/SL/MMD Mrs McGinty’s
Dead
16/TL/MMS Mrs McGinty
Sudah Mati
Literal Translation,
Borrowing
17/SL/MM Murder in
Mesopotamia
17/TL/PDM Pembunuhan di
Mesopotamia Literal Translation
18/SL/MR Murder in
Retrospect
18/TL/MP Mengungkit
Pembunuhan Discursive Creation
19/SL/ML Murder on the
Links
19/TL/LGM Lapangan Golf
Maut Discursive Creation
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
63
Appendix 4: The Title Writing Technique Analysis Result
20/SL/MOE Murder on the
Orient Express
20/TL/PAO Pembunuhan di
Atas Orient
Express
Borrowing, Literal
Translation
21/SL/OTB One, Two,
Buckle My Shoe
21/TL/SDP Satu, Dua,
Pasang Gesper
Sepatunya
Literal Translation,
Modulation
22/SL/PEH Peril at End
House
22/TL/HM Hotel Majestic Discursive Creation
23/SL/SC Sad Cypress 23/TL/MTB Mawar Tak
Berduri Discursive Creation
24/SL/TF Taken at the
Flood
24/TL/MAK Mengail di Air
Keruh Adaptation
25/SL/TAM The A.B.C
Murders
25/TL/PA Pembunuhan
ABC
Literal Translation,
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
29/TL/PRA Pembunuhan atas
Roger Ackroyd Literal Translation
30/SL/TMA The Mysterious
Affair at Styles
30/TL/PS Pembunuhan di
Styles Discursive Creation
31/SL/TMB The Mystery of
the Blue Train
31/TL/MKA Misteri Kereta
Api Biru
Literal Translation,
Transposition,
Borrowing
32/SL/TG Third Girl 32/TL/GK Gadis Ketiga Literal Translation,
Transposition
33/SL/TAT Three Act
Tragedy
33/TL/TTB Tragedi Tiga
Babak
Literal Translation,
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
3/SL/CT Cards on the
Table
3/TL/KKM Kartu-Kartu di
Meja Essence of the story
4/SL/CAP Cat Among the
Pigeons
4/TL/KTB Kucing di Tengah
Burung Dara Symbolic
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
64
5/SL/C Curtain 5/TL/T Tirai Symbolic
6/SL/DMF Dead Man’s
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
11/TL/PTP Pembunuhan di
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
13/TL/PMN Pembunuhan di
Malam Natal Essence of the story
14/SL/HDD Hickory Dickory
Dock
14/TL/PPM Pembunuhan di
Pondokan
Mahasiswa
Essence of the story
15/SL/LED Lord Edgware
Dies
15/TL/MLE Matinya Lord
Edgware Essence of the story
16/SL/MMD Mrs McGinty’s
Dead
16/TL/MMS Mrs McGinty
Sudah Mati
Combining the
main character with
a predicate
17/SL/MM Murder in
Mesopotamia
17/TL/PDM Pembunuhan di
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
19/TL/LGM Lapangan Golf
Maut Essence of the story
20/SL/MOE Murder on the
Orient Express
20/TL/PAO Pembunuhan di
Atas Orient
Express
Essence of the story
21/SL/OTB One, Two,
Buckle My Shoe
21/TL/SDP Satu, Dua,
Pasang Gesper
Sepatunya
Symbolic
22/SL/PEH Peril at End
House
22/TL/HM Hotel Majestic Symbolic
23/SL/SC Sad Cypress 23/TL/MTB Mawar Tak
Berduri Symbolic
24/SL/TF Taken at the
Flood
24/TL/MAK Mengail di Air
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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
65
Appendix 5: Data Recapitulation of Analysis Result
29/SL/TMR The Murder of
Roger Ackroyd
29/TL/PRA Pembunuhan atas
Roger Ackroyd Essence of the story
30/SL/TMA The Mysterious
Affair at Styles
30/TL/PS Pembunuhan di
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
33/TL/TTB Tragedi Tiga
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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI