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AN ANALYSIS OF PUN TRANSLATION
IN THE ANIMATION MOVIE “Madagascar II Escape to Africa”
THESIS
Submitted as a Partial Fulfillment of the Requirement for Sarjana Degree at
English Department of Faculty of Letters and Fine Arts
Sebelas Maret University
By:
NIKEN WINARTI
C 1306508
ENGLISH DEPARTMENT
FACULTY OF LETTERS AND FINE ARTS
SEBELAS MARET UNIVERSITY
SURAKARTA
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PRONOUNCEMENT
Name : Niken Winarti
NIM
: C1306508
Stated whole-heartedly that this thesis entitled An Analysis of Pun Translation in
the Animation Movie “Madagascar II Escape to Africa” is originally made by the
researcher. It is neither a plagiarism, nor made by others. The things related to
other people’s works are written in quotation and included within bibliography.
If it is then proved that the researcher cheats, the researcher is ready to take the
responsibility.
Surakarta, April 2011
The researcher
Niken Winarti
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MOTTO
Smile…and the world will smile back at you. (Anonym).
Do good…feel good…and look good. (Anonym).
Do the best, and let Lord the Almighty do the rest. (Anonym).
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DEDICATION
This thesis is dedicated to:
Lord the Almighty, Allah SWT
Bunda, and my beloved family
Beibies
And myself
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ACKNOWLEDGEMENT
First of all, I would like to bestow my greatest thank to Allah SWT for the
blessing, guidance, and love that have been given to me throughout my entire life,
especially lately, that I am able to finish writing this thesis as partial fulfillment of
graduating requirement of Sarjana degree. However, I deeply realize that I will
not be able to accomplish this thesis without support and assistance from people
surrounding me. Therefore, I would like express my gratitude to these following
people:
1. The Dean of the Faculty of Letters and Fine Arts, Drs. Sudarno, M.A for
approving this thesis.
2. The Head of S1 Non Regular English Department, and my Academic
Consultant, Drs. Budi Waskito, M.Pd for giving an admission to this thesis
to be examined.
3. My Thesis Consultant, Ida Kusuma Dewi, S.S, M.A for giving not only
assistance and guidance in compiling the thesis, but also precious life
lessons.
4. All the lecturers who have shared their knowledge through each course.
5. All raters, Mr. Heri, Mr. Dion, and Ms. Umi for the comments, inputs, and
suggestions.
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6. My second home and family at Focus Independent School Solo for all the
happiness and support, especially Ms. Ririn for giving me a way to make
one of my dreams comes true.
7. All 2006 Non Regular English Department, especially Diong, Ayu, Tiwi,
Susi, Inul, and Rika for the support and assistance.
8. My new family in Tipes, brothers and sisters in law, Dhea, Diva, and
Fanny, for the warm welcome and love.
9. My beloved Bunda, Babhe, brothers, sisters in law, and my lovely niece
and nephew for the remarkable support and love. Words can’t express my
gratitude.
10. My beloved beibi, for accompanying, supporting, helping, and loving me.
You mean the world to me. L.U.
11. My baby, you’re not here yet, but you already bring tons of happiness and
strength.
12. My trusted and beloved friends, the one whose name should not be
mentioned, you know who you are. Thank you for growing up and old
together.
13. Other friends and relatives whom I cannot mention here for all the good
and bad times.
14. Last but not least, to myself for being who I am today through all ups and
down, tears and joy.
Niken Winarti
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TABLE OF CONTENT
THE APPROVAL OF THE CONSULTANT .......................................................................
ii
THE APPROVAL OF THE BOARD OF EXAMINERS ........................................................
iii
PRONOUNCEMENT ....................................................................................................
iv
MOTTO .......................................................................................................................
v
DEDICATION ...............................................................................................................
vi
ACKNOWLEDGEMENT ................................................................................................
vii
TABLE OF CONTENT ...................................................................................................
ix
ABSTRACT ...................................................................................................................
xi
CHAPTER I. INTRODUCTION
A. Research Background ....................................................................................
1
B. Problem Statements .....................................................................................
3
C. Research Limitation ......................................................................................
4
D. Research Objective .......................................................................................
4
E. Research Benefit ...........................................................................................
4
F. Thesis Organization .......................................................................................
5
CHAPTER II. LITERATURE REVIEW
A. Definition of Translation ...............................................................................
7
B. Problems in Translation ................................................................................
8
C. Film Translation .............................................................................................
12
1. Subtitles .....................................................................................................
13
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2. Dubbing .....................................................................................................
15
D. Humor ...........................................................................................................
16
1. Wordplay or Punning ................................................................................
17
E. Pun Translation .............................................................................................
22
F. Assessing Translation Quality .......................................................................
24
G. The Animation Movie “Madagascar II Escape to Africa” ..............................
26
CHAPTER III. RESEARCH METHODOLOGY
A. Research Method ..........................................................................................
29
B. Data & Sources of Data .................................................................................
30
C. Sample and Sampling Technique ..................................................................
31
D. Research Procedure ......................................................................................
32
E. Data Collection Technique ............................................................................
33
F. Technique of Data Coding .............................................................................
34
G. Technique of Data Analysis ...........................................................................
35
CHAPTER IV. DATA ANALYSIS
A. TYPES OF PUN ...............................................................................................
36
a. Paronymy ..................................................................................................
37
b. Homonymy ................................................................................................
49
c. Polysemy ...................................................................................................
52
B. TRANSLATION TECHNIQUE ...........................................................................
55
1. Pun Rendered as Non Pun ......................................................................
56
a. Paronymy ............................................................................................
57
b. Homonymy .........................................................................................
59
c. Polysemy .............................................................................................
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2. Pun Rendered as Zero Pun .....................................................................
62
C. ACCURACY LEVEL OF THE TRANSLATION ......................................................
64
1. Less Accurate Translation .......................................................................
65
2. Inaccurate Translation ............................................................................
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CHAPTER V. CONCLUSION AND SUGGESTION
A. Conclusion .....................................................................................................
83
B. Suggestion .....................................................................................................
84
BIBLIOGRAPHY
APPENDICES
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ABSTRACT
Niken Winarti. C 1306508. An Analysis of Pun Translation in the Animation
Movie “Madagascar II Escape to Africa”. Undergraduate Thesis: English
Department, Faculty of Letters and Fine Arts. Sebelas Maret University.
Surakarta. 2011.
This research is a descriptive qualitative research aimed to describe the
types of pun, the translation technique, and the impact of the application of the
techniques on the accuracy level of the pun translation in the animation movie
“Madagascar II Escape to Africa”
This research analyzed 40 puns taken from animation movie “Madagascar
II Escape to Africa” and its translation in form of subtitle texts, and the comments
and suggestions from the raters.
The result of the analysis showed that there were three types of pun found
throughout the movie dialogue. They are paronymy, polysemy , and homonymy.
Paronymy puns dominate the dialogue with 32 data or 80% of all 40 data. The
next dominating pun is homonymy puns which amount 5 data or 12,5% of all 40
data. The least dominant pun is polysemy puns which amount only 3 data or 7,5%
of all 40 data.
The analysis on translation techniques showed that there were two
techniques used namely pun rendered as non pun and pun rendered as zero pun.
Among the puns that were rendered as non pun, 30 puns or 75% are paronymy
puns, 3 puns or 7,5% are polysemy puns, and 4 puns or 10% are homonymy puns.
Among the puns that were rendered as zero pun, 2 puns or 5% are paronymy puns
and 1 pun or 2,5% is homonymy pun.
The analysis on the translation accuracy level showed that 35 translations
(87,5%) were considered to be less accurate and 5 translations (12,5%) were
considered as inaccurate. Among the less accurate translations, 33 translations or
82,5% of them were resulted from pun rendered as non pun technique and 1
translation or 2,5% was resulted from pun rendered as zero pun. Among the
inaccurate translation, 4 translations or 10% were resulted from pun rendered as
non pun technique, and 2 translations or 5% was resulted from pun rendered as
zero pun technique. The analysis also showed that none of the translations were
considered to be accurate.
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CHAPTER I
INTRODUCTION
A. Research Background
It is undeniable that comedy as one of movie genres has shown its
significance in entertainment world. People are getting more and more excited to
watch comedy movies so that some comedies films become best seller movies. Thus,
developing countries including Indonesia are vastly interested to import comedy.
Regarding to this fact, translation demand has increased due to the translation purpose
of facilitating people who come from different countries and speak different
languages to understand the message intended in the source language. Comedy films,
however, might be challenging for translators since they contain humour which is
closely related to the source language culture.
Wordplay is one of humor sources which can be found in movies. Wordplay
as a part of humor which can be found in movie dialogues is not easy to translate
since it is closely related to the source language (SL) culture and the SL system of
grammar. A joke which is considered to be very funny for SL speakers can be
meaningless for the target language speakers.
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The animation movie entitled Madagascar II Escape to Africa is an example
of a comedy movie which exploits wordplay to create a humorous atmosphere within.
The movie which is directed by Eric Darnell and Tom McGrath was released on
November 7, 2008. It was produced by DreamWorks Animation and distributed by
Paramount Pictures. It stars the voices of Ben Stiller, Chris Rock, David Schwimmer,
Jada Pinkett Smith, Sacha Baron Cohen, Cedric the Entertainer, and Andy Richter. It
is also supported with the voices of Bernie Mac, Alec Baldwin, Sherri Shepherd,
Elisa Gabrielli, and will.i.am.
The film starts as a prequel, showing a small part of Alex's early life, which
includes his capture by the hunters. It soon moves to shortly after the point where the
original left off that the animals decide to return to New York. They board an airplane
in Madagascar, but crash-land in Africa, where each of the main characters meets
other animals of the same species. Eventually, Alex is reunited with his parents.
Problems arise, and their resolution takes part on the rest of the film.
Several wordplays are found in the movie dialogues, for instance:
Marty is enjoying his new experience with his new friends, the zebra herd and as
Marty feels that he has chemistry with the herd, he says “It's one for all...”
Afterwards, the zebra herd reply “ And all for all, y'all!” The dialogue can be
recognized as similar to a well known proverb taken from Three Musketeers movie,
being “one for all, and all for one”. The sentence “It's one for all...” is translated into
“Satu untuk semua….”, and the sentence “ And all for all, y'all!” is translated into
“dan semua untuk semua, kalian semua!”
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Based on the example above, it is obvious that translating humor in a movie is a
complicated task to accomplish. Furthermore, translating wordplay in a movie
dialogue into subtitle is even more challenging as the translator is expected to
produce translation which must consider time limits and space constrains. At the
same time, the translator is required to present the same sense and effect of the source
language expression into the expression in target language having different culture
and sense of humor.
The above phenomena leads the researcher to analyze types of pun which occur
in the movie, the technique of translation applied in translating the puns, and the
accuracy level of the pun translation.
B. Problem Statements
In current research, the following problems are proposed:
1.
What kinds of puns are found in the animation movie Madagascar II
Escape to Africa?
2.
What techniques of translation are applied in translating the puns found in
the animation movie Madagascar II Escape to Africa?
3.
What are the impacts of the translation technique on the accuracy level of
translation of the dialogue containing puns of the animation movie
Madagascar II Escape to Africa?
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C. Research Limitation
This research focuses its discussion and analysis upon subtitling pun in a
movie dialogue. It also highlights the types of pun found in the animation movie
“Madagascar II Escape to Africa”. This thesis also analyzes the technique of
translation. Furthermore, the research examines the accuracy level of pun translation.
D. Research Objectives
There are three objectives achieved in this research, they are:
1.
To describe the types of pun found in the animation movie Madagascar II
Escape to Africa
2.
To describe translation techniques applied in translating the puns in the
animation movie Madagascar II Escape to Africa
3.
To explain the impact of the translation techniques on the accuracy of the pun
translations in the animation movie Madagascar II Escape to Africa
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E. Research Benefits
This thesis is compiled to give benefits to these following parties, being:
1.
Students.
The result of the study can be used as additional information about puns and how
to translate them.
2.
Other researchers.
The content of this thesis is expected to provide information on pun translation in
the form of subtitle and be able to stimulate other researchers to conduct further
research of the similar subject.
F. Thesis Organization
In order to be able to present data and discussion effectively and
informatively, this thesis is divided into five chapters. The five chapters are organized
as follow:
CHAPTER I, Introduction.
This chapter consists of research background, problem limitation, problem
statements, research objectives, research benefits, and thesis organization.
CHAPTER II, Literature Review.
The second chapter of this paper provides reference-based definitions, explanations,
and theories related to the research such as translation, subtitling, wordplay, and so
forth.
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CHAPTER III, Research Methodology.
The third chapter of the paper discusses the type of research done by the researcher.
Furthermore, this chapter presents the data along with its source of data, method of
data collection, techniques of data analysis, and research procedure.
CHAPTER IV, Research Findings and Discussion.
This chapter discusses the analysis of the data including the types of pun, the
translation techniques, and the accuracy level of the pun translations.
CHAPTER V, Conclusion.
The last chapter of this thesis presents the conclusion. As an addition, it provides
some suggestions and recommendations related to the research findings.
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CHAPTER II
LITERATURE REVIEW
A. Definitions of Translation
Many experts have delivered various ideas upon the definition of
translation. “Translation, generally understood involves the rendering of a source
language (SL) text into the target language (TL) so as to ensure that (1) the
surface meaning of the two will be approximately similar and (2) the structures of
the SL will be preserved as closely as possible but not so closely that the TL
structures will be seriously distorted.” (Bassnett, 1991:2). In his book Pengantar
Teori Terjemahan, Maurits D.S. Simatupang (2000: 2) states that translating is
transferring the meaning existing in the SL to the TL, and makes it as natural as
possible along with the rules of the TL. He highlights an issue that a translation
product should read as an original text instead of a translation. To achieve it, a
translation product should apply natural TL forms, optimally communicate the
intended meaning of the ST, and retain the ST dynamism.
The book Thinking Spanish Translation mentions that translation as a
process includes two types of activity; they are to understand a ST, and to
formulate a TT. These two activities occur simultaneously (1995:7). In other
words, “translation encompasses the process of extracting information (by way of
comprehension and interpretation) from a given text, and then re-expressing the
details of that information in another text using a different form of words”
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(1995:8). Furthermore, according to Nida (1991:33), “the activity of translating
consists in reproducing in the receptor language the closest natural equivalence of
a source language message, firstly in terms of meaning and secondly in terms of
style.”
From those definitions, it can be concluded that translation is a process to
transfer messages in SL into TL, which should consider the content of the
messages, the language structures, and the style as well.
Throughout the process of translating a SL text, a translator is highly
required to understand the content of the text to subsequently be able to produce
their equivalence in the TL, as natural and close as possible.
B. Problems in Translation
Several problems may occur during the process of translation. In a more
specific examination, the most common problem is non-equivalence take place in
the word level or so called non-equivalence at word level. It means that the target
language has no direct equivalence for a word which occurs in the source text.
The type and difficulty of non equivalence depend on the nature of the non
equivalence. There are eleven non-equivalences proposed by Baker (1992:18),
namely culture-specific concepts, the source-language concept is not lexicalized
in the target language, the source-language word is semantically complex, the
source and target languages make distinctions in meaning, the target language
lacks a superordinate, the target language lacks a specific term (hyponym),
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differences in physical or interpersonal perspective, differences in expressive
meaning, differences in form, differences in frequency and purpose of using
specific forms, the use of loan words in the source text.
Culture-specific concepts mean that the source language word may express
a concept which is totally unknown in the target culture. The concept maybe
abstract or concrete; it may relate to a religious belief, a social custom, or even a
type of food. Such concepts are often referred to as “culture-specific”. An
example is the word privacy which rarely understood by people from other
cultures as the word represents a very „English‟ concept so that the word is
notoriously difficult to translate.
The source-language concept is not lexicalized in the target language,
means that the source language word may express a concept which is known in
the target culture but simply not lexicalized, that is not „allocated‟ a targetlanguage word to express it. As an example, the word standard (meaning
„ordinary, not extra‟, as in standard range of products) expresses a concept which
is very accessible and readily understood by most people, yet Arabic has no
equivalent for it.
Another difficulty in translating from SL to TL is that the source-language
word is semantically complex. A single word which consists of a single
morpheme can sometimes express a more complex set of meaning than a whole
sentence. Languages automatically develop very concise forms for referring to
complex concepts if the concepts become important enough to be talked about
often. An example is the word arruacao, a Brazilian word which means clearing
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the ground under coffee trees of rubbish and pilling it in the middle of the row in
order to aid the recovery beans dropped during harvesting (ITI News, 1988:57).
The source and target languages make distinctions in meaning as the target
language may make more or fewer distinctions in meaning than the source
language. What one language regards as an important distinction in meaning,
another language may not perceive as relevant. For example, Indonesian makes a
distinction between going out in the rain without the knowledge that it is raining
(kehujanan) and going out in the rain with the knowledge that it is raining (hujanhujanan). English does not make this distinction, that it brings the difficulties for
the translator to translate such context.
The target language lacks of a superordinate as the target language may
have specific words (hyponyms) but no general word (superordinate) to head the
semantic field. For example, Russian has no ready equivalent for facilities,
meaning „any equipment, building, services, etc, that are provided for a particular
activity or purpose‟. It does, however, have several specific words and
expressions which can be thought as a type of facilities, for example sredstva
peredvizheniya („means of transport‟), naem („loan‟), etc.
The target language lacks of a specific term (hyponym) as generally,
languages tend to have general words (superordinates) but lack specific ones
(hyponyms), since each language makes only those distinctions in meaning which
seem relevant to its particular environment. For example the word house, English
has variety of hyponyms which has no equivalents in many languages, such as
bungalow, cottage, croft, ‘chalet, lodge, hut, mansion, manor, villa, and hall.
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A difference in physical or interpersonal perspective is another difficulty
that the translator may face in transferring the message from the SL to the TL.
Physical perspective may be of more importance in one language that it is in
another. Physical perspective has to do with where things or people are in relation
to one another, or to a place, as expressed in pairs of words such as come/go,
take/bring, arrival/depart, and so on. Perspective may also include the
relationship between participants in the discourse (tenor).
Differences in expressive meaning mean that there may be a targetlanguage word which has the same propositional meaning as the source language
word, but it may have different expressive meaning. The difference may be
considerable or it may be subtle but important enough to pose a translation
problem in a given context. It is usually easier to add expressive meaning than to
subtract it.
Differences in form are caused by, often, no equivalent in the target
language for a particular form in the source text. Certain suffixes and prefixes
which convey propositional meaning and other types of meaning in English often
have no direct equivalents in other languages. It is relatively easy to paraphrase
propositional meaning, but other types of meaning cannot always be spelt out in a
translation.
Differences in frequency and purpose of using specific forms mean that
even when a particular form does have a ready equivalent in the target language,
there may be difference in the frequency with which it is used or the purpose for
which it is used.
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The use of loan words in the source text possesses a special problem in
translation. Loan words such as au fait, chic, and alfresco in English are often
used for their prestige value, because they can add an air of sophistication to the
text or its subject matter. This is often lost in translation because it is not always
possible to find a loan word with the same meaning in the target language. Once a
word or expression is borrowed into a language, we cannot predict or control its
development or the additional meanings it might or might not take on.
C. Film Translation
It is stated in Routledge encyclopedia of Translation Studies (2000: 245)
that translating a movie, or so-called film translation, is slightly different from
translating a text. The differences lay in the source materials and the product
itself. The materials in film translation can be in the form of movie dialogues or
movie text. Moreover, the outcomes are in form of dialogue and subtitle text. The
process of film translation to produce spoken product is known as dubbing, while
the written product of film translation is known as subtitle text.
Spanakaki in www.wikipedia.com states that there are two types of film
translation. They are interlingual and intralingual film translation. In interlingual
the ST is foreign language, whereas in intralingual film translation the ST is
native language. Generally, intralingual film translation occurs in subtitle text in
which the text is intended to assist people with hearing disabilities to enjoy the
movie. Gottlieb (in Baker, 2001:247) states that from linguistic point of view,
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there are two types of film translation which are interlingual film translation or so
called diagonal translation and intralingual film translation which is known as
vertical translation.
1. Subtitles
Generally, subtitle is known as the written product of a film translation. It
can be found in form of written text in the bottom of the screen that appears at the
same time the audience hear the dialogue (www.wikipedia.com). According to
Shuttleworth and Cowie's Dictionary of Translation Studies (1997: 161),
subtitling is defined as the process of providing synchronized captions for film
and television dialogue. www.wikipedia.com also cited that subtitles are textual
versions of the dialog in films and television programs, usually displayed at the
bottom of the screen. They can either be a form of written translation of a dialog
in a foreign language or a written rendering of the dialog in the same language—
with or without added information intended to help viewers who are deaf and
hard-of-hearing to follow the dialog.
In accordance to the definition of subtitle as a process, Gottlieb in Baker
(2001: 244) mentions that, “Subtitles sometimes referred to as captions are
transcription of a film or TV dialogue presented simultaneously on the screen.
They usually consist of one or two lines of an average maximum length of 35
characters. Furthermore, as a rule, subtitles are placed at the bottom of the picture
and are either centered or left-aligned.”
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Subtitle as one of film translation types can be used to translate dialog
from a foreign language to the native language of the audience. It is the quickest
and the cheapest method of translating content, and by employing this technique,
the audiences still have the possibility to hear the original dialog and voices of the
actors. In the book THINKING SPANISH TRANSLATION, it is stated that a
subtitle is not an oral target text, but an excellent example of crossover between an
oral ST and written TT.
As an addition, in www.translationjournal.net, Spanakaki mentions that
translation of subtitling is sometimes very different from the translation of written
text. Usually, when a film or a TV program is subtitled, the translator watches the
picture and listens to the audio sentence by sentence. The translator may or may
not have access to a written transcript of the dialog. Especially in commercial
subtitles, the translator often interprets what is meant, rather than translating how
it is said, i.e. meaning being more important than form.
Moreover, Gottlieb mentions that linguistically there are two kinds of
subtitles, being intralingual subtitling and interlingual subtitles. Intralingual
subtitling is defined as a vertical subtitling in which the speech is taken down to
writing by changing its style but not its language. In the other hand, intralingual
subtitling is considered as a diagonal type where the speech of one language is
transferred to writing of another language. Therefore, intralingual subtitling
changes both mode and language of the source language message (2001:245).
As an addition, Gottlieb (in Baker, 2001: 245) states that in subtitling, the
translator has four simultaneous factors to consider, such as: a) verbal auditory
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channel, including dialogue, background voices, and sometimes lyrics; b) nonverbal auditory channel, including music, natural sounds, and sound effect; c)
verbal visual channel, including superimposed titles and written signs on the
screen, d) non verbal visual channel, being picture composition and flow.
In sum, subtitle text always focusing on the speech act as intentions and
effects are more important than isolated lexical elements. Moreover, as a basic
rule, most television broadcasters demand a two-line subtitle that consist of more
or less 60-70 characters to stay on the screen for about 5-6 seconds, and
presentation rates of more than 12 characters per second (cps) are not acceptable
(Baker, 2001:247).
2. Dubbing
It has been stated that one of the types in film translation that produces
spoken product is known as dubbing. By applying this film translation technique
into foreign movies, the voice of the actor speaking in SL is replaced with the
voice of the voice actor in TL. In www.wikipedia.com, it is stated that dubbing is
the process of recording or replacing voices for a motion picture. The term most
commonly refers to voices recorded that do not belong to the original actors and
speak in a different language from the one in which the actor is speaking.
"Dubbing" also describes the process of an actor re-recording lines they spoke
during filming that must be replaced to improve audio quality or reflect dialog
changes.
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Foreign-language films and videos are often dubbed into the local
language of their target markets to increase their popularity with the local
audience by making them more accessible. In Indonesia, most South American
movies or known as telenovelas are translated into Indonesian in order to
popularize the movies. This goal can be achieved by employing dubbing
technique as this technique facilitates the audience to easily understand the story
of the movies.
D. Humour
In general, humour is defined as a funny thing which arouses laughter,
which can be found both in verbal and written expression. The term humour, as it
is mentioned in www.wikipedia.com, derives from the humoural medicine of the
ancient Greeks, which stated that a mix of fluids known as humours controlled
human health and emotion. As an addition, in www.wikipedia.com, Alastair
Clarke explains that humour is an evolutionary and cognitive explanation of how
and why any individual finds anything funny. Effectively it explains that “humour
occurs when the brain recognizes a pattern that surprises it, and that recognition of
this sort is rewarded with the experience of the humorous response, an element of
which is broadcast as laughter."
Moreover, as it is mentioned in Cambridge Advanced Learner‟s
Dictionary, humour is defined as the ability to find thing funny, the way in which
people see that some things are funny or the quality of being funny (2008:705).
Furthermore, Webster‟s Dictionary and Thesaurus for Home, School, and Office
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mentioned that humour is a fluid of the body, esp one of the four that were
formerly believed to determine temperament; the ability to appreciate or express
what is funny (2002: 182).
As
an
addition,
Attardo
(in
Katia
Spanakaki
in
www.translationjournal.net) mentions that, in the field of literary criticism for
instance, there is a need for a fine-grained categorization, whereas linguists have
often accepted broader definitions, arguing that whatever evokes laughter or is felt
to be funny is humour, e.g. that humour can be deduced from its effect.
As an addition, Katia Spanakaki also states that there are three general
categories of humour/jokes: a) universal humour/jokes, b) culture-specific
humour/jokes, and c) language-specific humour/jokes.
1. Wordplay or Punning
Widely known, wordplay as one type of humour is quite common in oral
cultures as a method of reinforcing meaning. It is stated in www.wikipedia.com
that wordplay is a literary and narrative technique in which the nature of the
words used themselves becomes part of the subject of the work. Puns, phonetic
mix-ups such as spoonerisms, obscure words and meanings, clever rhetorical
excursions, oddly formed sentences, and telling character names are common
examples of wordplay.
Wordplay or punning, is defined by Delabastita as follow: "Wordplay is
the general name for the various textual phenomena in which structural features of
the language(s) use are exploited in order to bring about a communicatively
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significant confrontation of two (or more) linguistic structures with more or less
similar forms and more or less different meanings" (Delabastita, 1996: 128,
original emphasis). Further, "the pun contrasts linguistic structures with different
meanings on the basis of their formal similarity". Furthermore, a pun may be
either vertical or horizontal. “The formal similarity of two linguistic structures
may clash by being co-present in the same portion of text (in this case it is vertical
wordplay), or by being in a relation of contiguity by occurring one after another in
the text (the horizontal wordplay)”, ( Delabastita, 1996:128).
According to wikipedia.com, pun is classified into a type of punning
which is based on the techniques that involve the phonetic values of words.
Moreover, according to the type and degree of similarity, puns can be further
divided into four types namely: homonymy, homophony, homograph, and
paronymy (Delabastita, 1996:128). Other types of pun are proposed by Schr ter,
they are polisemy and paronymy which are specifically deal with linguistic
structures (1996:210).
Below are the definition and examples of homonymy, homophony,
homograph, paronimy, and polisemy.
a.
Homonymy according to Delabatista is words that have identical sounds and
spelling (1996:128). As an addition, it is mentioned in wikipedia.com that
homonym means words with same sounds and same spellings but with
different meanings. Examples of homonyms are stalk (which as a noun can
mean part of a plant, and, as a verb, to follow/harass a person), bear (animal)
and bear (carry), left (opposite of right) and left (past tense of leave). Another
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example of homonymy in the movie is “I'll need a CAT scan just to get
started!” The dialogue exploits the identical sounds and spelling of the word
“CAT” which refer to computer-assisted tomography scan (Webster‟s
Dictionary and Thesaurus, 2002: 61) or generally known as a health check up
scan and “cat” as a small animal with fur, four legs, a tail, and claws, usually
kept as a pet or for catching mice, or any member of the group of similar
animals such as the lion (Cambridge Advanced Learner‟s Dictionary, 2008:
212)
b.
Homograph according to Delabatista is words with different sounds but
identical spelling (1996:128) and in wikipedia.com, it is mentioned that the
definition of homograph is words with same spellings but with different
meanings, the examples are:
shift n. (a change)
shift n. (a period at work)
shift v. (to move quickly)
Table 2.1. Examples of Homograph
Word
Example of first meaning
Example of second meaning
The dove cooed at the passers-
Patricia dove into the pool
by.
with barely a splash.
(A white or grey bird, often
(Past simple form of the word
used as a symbol of peace.)
dive)
"Will you please close that
The tiger was now so close
Dove
Close
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door?"
that I could smell it...
(Change something from being
(Not far in position.)
open to not being open.)
The wind howled through the
Frank's arthritic fingers could
woodlands.
not wind up the clock again.
(A current of air moving
(To turn or cause something to
approximately horizontally,
turn.)
especially one strong enough
Wind
to be felt.)
c.
Homophony, by Delabatista, is defined as words which hold identical
sounds but different spellings (1996: 128). Moreover, in Wikipedia.com it is
mentioned that homophone is words with same sounds but with different
meanings such as rose (flower) and rose (past tense of "rise"), or differently,
such as carat, caret, and carrot, or to, two and too.
d. Paronymy is the relationship between linguistic structures that are
formally similar, but not identical on either phonetic or the orthographical
level. De Fries also highlighted the difference of words on the surface
level as the characteristic of paronymy. Most similarities involve only one
or two letters. The similarity of paronymy is weaker than homonymy.
However, the relation is strong enough for the reader or listener to spot out
(De Fries in Schroter, 2005: 207). Moreover, Schroter also mentions that
paronymy is the relationship
between
linguistic structures that are formally
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similar, but not identical on either phonetic or the orthographical level
(2005:197). The example of paronymy in the movie is the dialogue
“Someone's been knotty. This won't hurt a bit.” The pun “knotty” is the
play on the word “naughty”. When the dialogue was said, at the same
time, the scene showed Melman‟s teasing expression. It highlights the play
between the word “knotty” that refers to the elephant‟s tangled trunk, and
“naughty” which represents bad behavior. The sound of “knotty” and
“naughty” are not identical. However, it can be recognized that Melman
also intended to say “naughty” as the scene showed his teasing expression.
e. Polisemy is a clash of orthographically and phonetically identical
structures with divergent meanings and etymologically connected.
Schr ter stated that puns can be categorized as polysemy when they have
semantic link between the core items which readily established without the
assistance of additional information (2005:181). In addition, Bussman
stated that polysemy is an expression which has two or more definitions
with some common features that are usually derived from a single basic
meaning (1996:210). The example of polisemy in the movie is the
dialogue “You're a little tangled, aren't you?”. The word “tangled” has two
meanings being messy condition that refers to the thread, and puzzled or
clueless condition of the man. The scene supports the play on both words
as when the dialogue is uttered, the scene shows the man‟s puzzled face,
and the messy condition of the thread.
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E. Pun Translation
When it comes to translating humor in subtitling, the translator needs to
use the limited space and time in an optimal way, in order to virtually retain the
meaning effect in the subtitle translation. Though, the constraints themselves
clearly cannot predict whether the meaning effect tends to be preserved or lost in
subtitles.
The translation methods of puns available for the translator's disposal are
presented as follow (Delabastita, 1993:192-226; Delabastita, 1996:134):
Pun to pun or so called pun rendered as pun. By applying this method, the
ST pun is translated by a TL pun. This method is possible to be conducted if in
both languages can be found pun that have identical meaning.
Pun to non pun or by rendering pun as non-pun. In this method a nonpunning phrase may retains all the initial senses (non-selective non-pun), or a nonpunning phrase renders only one of the pertinent senses (selective non-pun), or
diffuse paraphrase or a combination of the above. The application of this
technique in the movie translation is for example:
ST: Don't look, doll. This might get hairy.
TT: Jangan menatap, manis.Ini menakutkan.
In the sentence, the pun “hairy” is derived from the word “scarry”.
Generally known, in the native culture, something hairy is scarry for children.
Moreover, the word “hairy” and “scarry” has similar sound. Therefore, the word
“hairy” becomes a pun which is derived from the original word “scarry”. From the
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translation, it can be seen that the translator employed pun rendered as non pun
technique to transfer the referential meaning into the receptor‟s language.
Pun translated into related rhetorical device. In this method, pun is
rendered with another rhetorical device, or punoid (repetition, alliteration, rhyme,
referential vagueness, irony, paradox etc), which aim to recapture the effect of the
ST pun.
Pun to zero, or so called pun rendered as zero pun, means that pun in SL is
rendered with zero pun in TL. In other words, in this method, the pun is simply
omitted. When this method is applied, it indicates that SL pun do not have an
equivalence in TL. The example of the application of this technique in the movie
translation is
ST: What the heck is going on?
TT: Apa yang terjadi?
In the sentence which is said by Marty, the pun “the heck” can be simply
recognized as “the hell” by adults. However, this pun succeeds in concealing the
harsh atmosphere for the young viewers. The translation of the sentence “What
the heck is going on?” is “Apa yang terjadi?”, in which it can be seen that there is
no translation of “the heck” in the subtitle text. In other words, the pun “the heck”
is simply omitted in the translation. Therefore, the technique which is applied in
translating the sentence containing swearing word pun is pun rendered as zero
pun.
Pun in ST = Pun in TT. Here, the ST pun is copied as TT pun, without
being translated.
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Non pun à Pun is introducing a new pun. At this point, a compensatory
pun is inserted, where there was none in the ST, possibly making up for ST puns
lost elsewhere (strategy 4 where no other solution was found), or for any other
reason.
Zero to pun. In other words, it is a method of giving addition of a new pun.
By applying this method, totally new textual material is added, containing
wordplay as a compensatory device.
Editorial Techniques are done by providing explanatory footnotes or
endnotes, comments in translator's forewords, 'anthological' presentation of
different, complementary solutions, and so forth.
Responding to the methods delivered by Delabastita, in www.translation
journal.net, Spanakaki states that although techniques 2 and 4, as well as
techniques 6 and 7, are found overlapping with each other at some point, they can
be combined in variety of ways. For instance, in the case of technique 2, where
the pun is suppressed, it can be followed by a footnote explaining what was left
out and why (technique 8, Editorial Techniques), as same combination can apply
with technique 6. In subtitling, the case of footnotes is out of a question, the
combination of these techniques and especially technique 8 (editorial techniques)
are inadequate and completely irrelevant for the purpose of this study.
F. Assessing Translation Quality
Subsequent to the activity of translating certain work, assessing the quality
of the translation product is very essential as the activity reveals how successful a
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translator translates the work. A good translation product should meet several
requirements which encompass several aspects such as readability, accuracy, and
acceptability. These three aspects determine the quality of a translation product.
Subsequently, every translator should attempt to formulate a translation from SL
text into TL text that is readable, accurate, and acceptable to the readers.
Readability means that the translation product is understandable by its reader. It
relates to the choice of vocabulary, the length of the sentence, and so forth.
Accuracy indicates the degree of conformity. It deals with how accurate is a
translator transfers the message in SL into TL. In this case, the translator is
required to translate the content of the text correctly. Acceptability deals with how
the reader accepts the translation product in terms of cultural aspects, literary
systems, and how the reader finds that the translation product is appropriate.
Related to this, generally there are several aspects of translation quality
assessment. In his first significant book of translation, Tytler states that “a good
translation is one in which the merit of original work is so completely transfused
into another language as to be as distinctly apprehended and as strongly felt by a
native of the country to which that language belongs as it is by those who speak
the original work”. Furthermore, a translator must respect good writing
scrupulously by accounting for its language, structures and content, whether the
piece is scientific or poetic, philosophical or fictional (Newmark, 1981: 43).
Accordingly, Larson states that there are three main reasons for testing a
translation, namely: accuracy, clarity, and naturalness (1998: 532).
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There are several ways to assess a translation product. An expert or
experienced translator will put a big favor in assessing a translation product.
However the readers‟ reaction towards the translation product can also measure
the quality of the translation product.
In film translation, especially in form of subtitle text, a translator should
highly consider the accuracy, acceptability, and the readability of the film
translation product. The readability and acceptability of a subtitle text examined
not only by the viewers understanding upon the subtitle text, but also by the
length of the sentence of the subtitle text considering that the text appears on
screen for limited time.
G. The animation movie Madagascar II Escape to Africa
Madagascar: Escape 2 Africa (or simply just Madagascar 2) is the 2008
animated sequel to the 2005 film Madagascar, about the continuing adventures of
Alex the Lion, Marty the Zebra, Melman the Giraffe, and Gloria the Hippo. It is
directed by Eric Darnell and written by Etan Cohen. It stars the voices of Ben
Stiller, Chris Rock, David Schwimmer, Jada Pinkett Smith, Sacha Baron Cohen,
Cedric the Entertainer, and Andy Richter. The movie is also providing voices are
Bernie Mac, Alec Baldwin, Sherri Shepherd, Elisa Gabrielli, and will.i.am. It was
produced by DreamWorks Animation and distributed by Paramount Pictures, and
was released on November 7, 2008.
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The film has received mixed to positive reviews from critics. Rotten
Tomatoes has reported that 65% of critics based on 137 reviews with the
consensus stating that "Madagascar: Escape 2 Africa is an improvement on the
original, with more fleshed-out characters, crisper animation and more consistent
humor." Another review aggretagor, Metacritic classified the film into the
"generally favorable reviews" category with 61/100 approval rating based on 24
reviews, also a bit higher a score than the original.
Michael Phillips of the Chicago Tribune has stated in his review that the
film "goes easy on the pop culture jokes, I should clarify: one of the smarter
things in the script is how Alex, who digs his Bob Fosse and Jerome Robbins
dance moves, becomes the film's primary pop-cult gag." Roger Ebert of the
Chicago Sun-Times gave the film 3 stars and wrote "This is a brighter, more
engaging film than the original Madagascar. Steven D. Greydanus complained
the film's plot was similar to The Lion King, Joe Vs. The Volcano, and Happy
Feet. Carrie Rickey of the Philadelphia Inquirer gave the film 2 stars and wrote
"Take the flat tire that was Madagascar. Retread it with The Lion King storyline.
Pump it up with air. Now you have Madagascar: Escape 2 Africa." John
Anderson gave the film 3 1/2 approval rating and stated "Madagascar 2: Escape
to Africa, the sequel to the enormously successful DreamWorks adventure and a
film that hews close to the whole Lion King/species-as-destiny/self-fulfillment
paradigm."
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The film starts as a prequel, showing a small part of Alex's early life,
including his capture by hunters. It soon moves to shortly after the point where the
original left off, with the animals deciding to return to New York. They board an
airplane in Madagascar, but crash-land in Africa, where each of the central
characters meets others of the same species; Alex is reunited with his parents.
Problems arise, and their resolution occupies much of the remainder of the film.
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CHAPTER III
RESEARCH METHODOLOGY
A. Research Method
In discussing the accuracy of wordplay translation in the animation movie
Madagascar II Escape to Africa, the researcher applies descriptive qualitative
method which deals with the observation and interpretation of the researcher
toward the subject of the research. Sutrisno Hadi states that a descriptive research
is a research in which the researcher needs only to collect and analyze the data to
subsequently be able to draw a conclusion upon the data without making a
generalization (1983: 3). Qualitative research, according to Moleong (1990: 4) is a
type of research that does not include any calculation or enumeration. In addition,
Sutopo implies that the data in qualitative research is not in the form of numbers
but in the form of words or sentences (2002:35).
In this research, the researcher does not need to find and prove the
hypothesis. The research encompasses the process where the researcher collects,
observes, and presents the data in the form of sentences. Next, the researcher
analyzes the data and interprets the analysis result. As the research conducts those
steps, it can be said that the research employs a descriptive qualitative method.
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B. Data and Sources of Data
This thesis is compiled and analyzed based on two kinds of data. The first
data were taken from animation movie Madagascar II Escape to Africa. The
movie which is directed by Eric Darnell and Tom McGrath was released on
November 7, 2008. It was produced by DreamWorks Animation and distributed
by Paramount Pictures. The researcher decided to choose the animation movie
Madagascar II Escape to Africa because of these following reasons:
1. The movie was awarded as the Favorite Animated Film by Nickelodeon Kids
Choice Awards (www.imdb/title/tt0429952/awards)
2.
The movie contains numerous wordplays. Subsequently, the subtitle text of
the serial into Indonesian shows various wordplay translation, which functions
as the data of the research.
The second data were taken from the raters in the form of questionnaire
result and the comments given upon the translation. The raters were expected to
determine the accuracy level of the subtitle text of dialogues containing wordplay
in the animation movie Madagascar II Escape to Africa.
The other sources of data were written sources such as books and also
information taken from relevant and reliable online journals or other internetbased information.
In his book Metodologi Penelitian Kualitatif, Sutopo states that in
choosing resource person, researcher is required to acknowledge the stand point
along with his or her various roles and relation to the information access which is
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relevant to the need (2002: 51). Referring to Sutopo’s statement, the researcher
sets several standards for the raters. The qualifications are as follow:
1.
The raters are fluent both in source and target languages
2.
The raters have background knowledge and experience in translation
3.
The raters are willing to take a part in this research
The raters’ responsibilities are to examine the data and to give score to the
translation indicating the accuracy level of the puns translation presented in the
questionnaire. Moreover, they can give comment, information, suggestion, or to
make revisions if it is felt to be necessary.
C. Sample and Sampling Technique
As it has been stated in the previous part, the subject of this research is pun
translation in the animation movie Madagascar II Escape to Africa. Therefore, the
samples of this research are the dialogues containing puns, along with the
translations. To be able to present relevant samples, the researcher employed total
sampling. The sampling technique was chosen as it will help the researcher in
holistically analyzing the pun translation as the subject of the research discussion.
Furthermore, this sampling technique accommodates the researcher in presenting
the complete examples of three types of pun from the movie along with their
translation in Indonesian subtitle text.
D. Research Procedure
The research procedures taken by the researcher are:
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1. Preparation.
Preparation includes deciding the object of the research, collecting references,
composing research proposal, and having the research proposal presented in a
seminar class.
2. Data Collection.
Data collection includes collecting data from the dialogue in the film and the
subtitles, arranging and then distributing questionnaire about the translation
accuracy to three competent raters.
3. Data Analysis.
Data analysis consists of classifying the data into types of pun and identifying
the technique applied to translate them. Afterwards, the researcher asked a
competent person to validate the wordplay types and the translation technique.
Furthermore, the researcher checked and analyzed the questionnaire result
4.
Research Report.
Research report includes compiling final report to present the analysis upon
wordplay types, the translation technique, the accuracy level of the wordplay
translation and drawing a conclusion from the analysis.
E. Data Collection Technique
To be able to find the puns and to know the types of pun, and determine
the techniques which are applied in translating the puns, the researcher had a
content analysis upon the animation movie Madagascar II Escape to Africa.
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To support the researcher in presenting proper analysis towards the topic,
the researcher collected the data by giving questionnaire to three raters. The
questionnaire is designed to reveal the level of accuracy of the puns translation
found in the movie dialogue. Subsequently, the raters are required to score the
level of accuracy of the data based on the scale. The questions in the questionnaire
are in form of closed ended questions. However, in the questionnaire, the raters
are allowed to give their comments, information, or suggestion upon the puns
translation. The scale standards to score the accuracy of the data are as follows:
Score
1
Category
Accurate
Description
The meaning of pun in the source text is
conveyed into target text in accordance
to the context, the effect of pun in the
target text is equal to the source text
2
Less Accurate
The meaning of pun in the source text is
conveyed into target text. However the
effect of the pun in the target text is not
equal to the source text
3
There is a distortion of meaning of pun
Inaccurate
in the target text
F. Technique of Data Coding
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To be able to analyze the data optimally, the researcher needs to organize
the data by encoding the data. Wiersma mentions that coding is a process of
organizing data and obtaining data reduction (2000: 203). In encoding the data,
the researcher consider several aspects, they are:
1. The exact time when the dialogue take place
2. The type classification of the data
3. The number of the data based on the type classification
Here is an example of data coding which will be presented in this thesis :
SL: He shall wear this Hat of Shame...
TL: Dia harus memakai Topi Kekalahan…
(41.55/Pn/016)
The clarification of the codes above is as follow:
1. 41.55 refers to the exact time when the dialogue take place
2. Pn refers to the type of pun
3. 016 refers to the ordinal number of the specified datum of each wordplay type
G. Technique of Data Analysis
After getting all the data needed, both from the movie dialogue and
questionnaire result, the researcher took these following steps in analyzing the
data:
1.
The researcher marked out the dialogue in the movie which contains
wordplay and compared it to the translation. Afterwards, the data were
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translating the data. The techniques used in the analysis were those proposed
by Delabatista: pun rendered as pun, pun rendered as non pun, pun translated
into related rhetorical device, pun rendered as zero pun, pun in ST = Pun in
TT, non pun à Pun , zero to pun, editorial techniques.
2.
The researcher examined the result of the questionnaire and made the
percentage of the quality of translation of each data category, namely the
accuracy of the translation.
3.
The researcher delivered the research result and answered the problem
statement by presenting a discussion of the pun types, the translation
technique, and the accuracy level of the translation.
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CHAPTER IV
DATA ANALYSIS
This chapter will particularly discuss the result of the research analysis
which is divided into three sub-chapters. The first sub-chapter highlights the types
of pun which are found in the dialogue of the animation movie Madagascar II
Escape to Africa. The second sub-chapter focuses on the translation technique
employed by the translator in translating the puns from the dialogue in the SL into
the subtitle text in TL. The last sub-chapter will specifically discuss the level of
accuracy of the pun translation.
A. Types of Pun
There are three types of pun found in the movie of Madagascar II Escape
to Africa, they are paronymy, homonymy, and polysemy. The table below shows
the distribution of each type.
Table 4.1. Types of Pun in Madagascar II Escape to Africa.
Types of Pun
Amount
Percentage
Paronymy
32 data
80 %
Homonymy
5 data
12,5 %
Polysemy
3 data
7,5 %
Total
40 data
100%
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a. Paronymy
In chapter II, it is stated that according to Schroter, paronymy is the
relationship between linguistic structures that are formally similar, but not
identical on either phonetic or the orthographical level (2005:197). De Fries also
highlights the difference of words on the surface level as the characteristic of
paronymy. Most similarities involve only one or two letters. The similarity of
paronymy is weaker than homonymy. The relation, however, is strong enough for
the reader or listener to spot out (De Fries in Schroter, 2005: 207).
In the movie, the greatest amount of pun type is paronymy. It can be seen
on the table 4.1 that 80% or 32 numbers of 40 data are paronymy. There are 32
data that show how paronymy is exploited to arouse audiences‟ laughter.
Following are three extracts of paronymy that illustrate the similarity of linguistic
structures in phonetic or orthographical level. The puns are underlined.
Datum number 09.15/Pn/001
Mort
: King Julien, wait for me! I'm all packed! I have a whole itinerary
planned!
King Julien
: Oh, no! It's Mort! He's so annoying Don't let him on. Stop that
thing! He's carrying scissors and hand cream!
King Julien, together with all New York zoo inhabitants intended to get on
the plane that left for New York. Suddenly, one of Madagascar citizen, Mort,
came and insisted to join the flight. King Julien , however, disapproved him to
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join the flight as Mort was considered as an irritating fellow. King Julien tried to
stop Mort to join the flight by shouted out loud “He's carrying scissors and hand
cream!”
The visual of the movie showed that King Julien shouted out the sentence
with terrified expression as if Mort was carrying gun and bomb or another
dangerous weapon, while Mort was actually only carrying a suitcase. Though the
words “scissors and hand cream” and “gun and bomb” are not closely similar in
phonetic or orthographical level, the tone and face expression when King Julien
uttered the sentence highlighted the panic of King Julien when Mort intended to
join the flight as if he had carried dangerous weapon. Therefore the expressions
“scissors and hand cream” is considered as paronymy.
Datum number 12.08/Pn/002.
Gloria
: Yeah, dating.
Melman
: Other... other guys?
Gloria
: What do you mean other guys?
Melman
: Darn it!
Melman was trapped in a conversation which forced him to reveal his
feeling toward Gloria. To avoid this, Melman tried to distract his friends‟ attention
by asking about the beverage service that seems to take so long to arrive. To
create a shocking and distracting effect Melman sayd “Darn it!”
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The movie “Madagascar II” is categorized as an animation family movie
in which the movie accommodates entertainment for all family members. The
movie, however, has several swearing words in the dialogue such as “Shit!”,
“Damn it”, and so forth. Therefore, to make the dialogue more child friendly,
those swearing words are changed into less explicit expression such as “sit” for
“shit”, “darn it” for “damn it”, and so forth. In the dialogue, the swearing word
“damn” is said twice, and both swearing are changed into “darn”. The words
“darn” and “damn” are similar in phonetic level. The difference lies only on /α:n/
as the end sound of “darn”, and /æm/ as the end sound of “damn”. Consequently,
the word “darn” is considered as paronymy.
Datum number 12.42/Pn/003.
King Julien
: In-flight slave.
Private
: Can I help you, Mr. Mankiewicz?
King Julien
: Bring my nuts on a silver platter.
Melman
: We were checking on our drink order.
King Julien was enjoying a movie in his first class cabin when Melman
came in to ask about the drink order. A few second afterward, Private showed up
to ask what service he could gave to them. King Julien permitted Private to get in
to the cabin by saying “In-flight slave” and addressed Private as “flight slave”
instead of “steward” to highlight his superior position compared to other
passengers.
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Generally, every airway has its flight attendants; steward for male
attendant, and stewardess for female attendant. In his plane, King Julien did not
address the attendant “steward” or “stewardess” but he called them a “flight
slave” . It can be inferred from the dialogue that King Julien is a character who
considers that class segregation still exists. As a king, he surely sits on the highest
class or society rank. Therefore, he considers himself as the noblest person in the
society, and at the same time, he looks down on other people who have lower
social class. His way of thinking explains how he changes the way he names a
flight attendant into a flight slave. The word attendant and slave share similar
meaning, which is someone who helps other people in doing specific thing.
However, the word slave highlights more on class segregation, to show that the
person holds a low social class. Therefore, the compound noun “flight slave” is
considered as a paronymy.
Datum number 43.40/Pn/020.
Elephant: Don't ask.
Melman: Someone's been knotty. This won't hurt a bit.
Melman, the new witch doctor, was seen in the scene to help to cure the
animals around him. One of them was the elephant who was in trouble for his
trunk gets tangled. With an upset expression, the elephant tried to prevent Melman
from giving any comment upon his condition. Seeing the elephant, however,
Melman gave comment “Someone‟s been knotty”. Melman showed teasing
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The scene when Melman said the word “knotty” shows Melman‟s teasing
expression. In relation to the visual aspect, the word “knottty”, which is uttered by
Melman when he saw the condition of the elephant‟s trunk, actually refers to two
different meanings. The first is the actual meaning of the word heard, “knotty”, in
which referring to Webster‟s Dictionary& Thesaurus means something is in a
messy or tangled condition (p.208). The second meaning refers to “naughty”
which has similar pronunciation to the word “knotty”. The way the word “knotty”
and “naughty” pronounced is merely similar. The word “knotty” is pronounced
/noti/, and “naughty” is pronounced /n t‟i/. Therefore, the word “knotty” is
considered as paronymy.
The tendency reveals that throughout the dialogue paronymy is used not
only to give humorous effect but also to conceal harsh swearing words to develop
the atmosphere of child friendly movie. There are 9 of 32 data or 39% of all
paronymy data which confirm that the data show the similarity of the linguistic
structures in phonetic or orthographical level of swearing words. The data are
datum number 12.08/Pn/002; 14.34/Pn/005; 16.07/Pn/006; 17.34/Pn/007;
36.04/Pn/012;
37.04/Pn/013;
47.31/Pn/021;
01.05.58/Pn/022;
and
01.10.58/Pn/023.
Not only does paronymy exploit similarity of linguistic structures in
phonetic or orthographical levels, but it deals with other aspects especially
cultural issues. Cultural related issues which can lead to the exploitation of
paronymy are word, phrase or sentence which refer to native cultural specific
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terms or issue, saying in the source language; and specific group or event in the
native country.
The example of paronymy puns which is derived from cultural specific
terms is datum number 41.55/Pn/019.
Makunga: As your new leader, I hereby banish Alakay! He shall wear this Hat of
Shame...
...and leave the watering hole for a thousand years, or life!
In the watering hole area, the animals had a tradition that when an animal
lost in the fight of the rite passage ceremony, he or she would not be accepted in
the community and had to leave the area. Makunga uttered the expression to
banish Alakay from the animal reservation as Alakay was lost in the battle against
Teetsi.
The pun “Hat of Shame” is drawn from “Hall of Fame”, a very famous
spot in Hollywood where great actors and actresses with great achievement can
put their name on it. The pun “Hat of Shame” and its original phrase “Hall of
Fame” have similar sound but they have different meanings. “Hall of Fame”
symbolizes a success or an achievement, while the pun “Hat of Shame” represents
the penalty for someone‟s lost or failure. Therefore, the pun is considered as
paronymy.
The example of paronymy puns which refer to sayings in the source
language is datum number46.50/Pn/024.
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Melman
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: Don't worry, you can flirt around with Mr. Hot Pants after I'm
gone
Gloria
: Melman, why am I the parade and you're the rain?
Melman
: Why are you driving your parade under my rain?
Gloria
: Maybe I'll parade in another part of town!
Melman said the sentence because he felt disappointed as Gloria was
going to have a date with Moto-moto while he was dying from the witch doctor
illness. At the same time, Melman also felt jealous for actually he had a crush to
Gloria. On the other hand, Gloria was annoyed by Melman‟s utterance. Gloria
thought that all of his friends, including Melman, should have felt happy for her.
Those reasons made Melman and Gloria got involved in a conflict.
The sentence “Maybe I'll parade in another part of town!” is the
continuance of the previous sentence “Melman, why am I the parade and you're
the rain?” which is drawn from the saying “To parade under someone‟s rain.” The
similarity of the sentence “Maybe I'll parade in another part of town!” to the
saying, lays on the words „parade‟. Though the similarity only lays on one word,
the audience can recognize the similarity as the previous sentences between
Melman and Gloria also contain puns which are derived from the saying.
Therefore, the sentence “Maybe I'll parade in another part of town!” can be
classified into paronymy.
The example of paronymy puns which refers to specific group or event in
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the native country is datum number 30.23/Pn/011.
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Tourist : You are one tough cookie.
Nana : Brownies Troop 416, Yonkers.
In the first sequel of Madagascar, Nana had a fight with Alex and beat
him up. In this second sequel, Nana met Alex and beat him up once more. The
tourists who saw it were amazed and admired her courage and spirit in fighting
against Alex, considering that she was a senior citizen and Alex was a young and
strong lion. The tourist gave compliment by saying “You are one tough cookie.”,
and Nana explained that she became a tough woman since in her young ages she
joined the brownies troop community.
The sentence spoken by Nana “Brownies Troop 416, Yonkers.” is drawn
from the name of a very famous Boy Scout community namely Boy Scout
America 416 or known as Boy Scout Troop 416. Troop 416 was formed in 2000
to serve the community with road cleanups, food drives, and various other
activities (www. bsa416.org). As the result, the sentence “Brownies Troop 416,
Yonkers” can be categorized as paronymy pun.
Several paronymy puns in the movie dialogue are derived from the
previous dialogue. They occurs when the previous dialogue of one character are
being misheard by another character in the movie. The examples are data number
16.45/Pn/007, and 01:12:47/Pn/028.
Datum number 16.45/Pn/007.
Alex
: How are you gonna fix this?
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Skipper: Grit, spit and a whole lot of duct tape. We should be up and running in,
say, six to nine months.
Alex
: Sixty-nine months?!
Skipper: No, six to nine months.
The visual of the movie showed a scene where Alex was wondering how
long the penguin would repair the plane after the plane had crash landing.
Therefore, Skipper said “We should be up and running in, say, six to nine
months.” However, as Alex got panic, he misheard Skipper‟s sentence. To
confirm what he had heard, he uttered “Sixty-nine months?!”
In the movie, the scene showed that Alex was in panic as he wanted to go
home to New York while the plane had crash landing in a place which is certainly
not New York. As he got panic, he was not fully engaged to the conversation and
misheard what Skipper said. When Skipper said “six to”, Alex thought that it was
“sixty”. The pronunciation of “six to” is similar to the pronunciation of “sixty”
however, the words six to and sixty have totally different meanings. Therefore, the
pun can be categorized as paronymy.
Datum number 01:12:47/Pn/028.
Alex:
she‟s got a gun! Get out while we can! Pass it on!
Monkey:
He said let's have some fun and take out the dam.
Marty:
Skipper! Alex wants to take out the dam.
Skipper:
All right! But it's his funeral
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The scene showed that Alex was trying to get away from the dam and
Nana, who intended to cook him into a lion casserole. His friends came to rescue
him by throwing down a bucket which was tied to an airplane, where he could get
on to, yet he was trapped in the bucket. Therefore, Alex tried to give instructions
to take them away from that place by saying “She‟s got a gun”. However, what he
has said was misheard by the monkeys into “Let‟s have some fun”. As a
consequence, his friends who are on the plane got the wrong message and took a
wrong action.
By saying the sentence “She‟s got a gun”, Alex tried to warn everyone that
Nana was holding a weapon. Alex was in the bucket, and the monkeys tried to
help passing the message to his friends on the airplane. What Alex has said was
misheard by the monkeys so that they said “Let‟s have some fun” instead of
“She‟s got a gun”. Though not identical, the two sentences are similar in their
pronunciation. Therefore, the pun can be classified as paronymy.
Below is a table which lists down the paronymy found in the dialogue.
Table 4. 2. Paronymy Puns
No
1.
No of Data
09.15/Pn/001
Data
King Julien:
He's carrying scissors and hand cream!
2.
12.08/Pn/002
Melman:
Darn it!
3.
12.42/Pn/003
King Julien:
- In-flight slave.
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4.
13.38/Pn/004
Skipper;
Don't look, doll. This might get hairy.
5.
14.34/Pn/005
Marty:
- The horror!
6.
16.07/Pn/006
Gloria:
What in the world?
7.
16.45/Pn/007
Alex:
Sixty-nine months?!
8.
17.34/Pn/008
Gloria:
How in the hell-o will they fix this plane?!
9.
25.40/Pn/009
Marty:
- It's one for all...
Zebra herd:
- And all for all, y'all!
10.
28.32/Pn/010
Skipper:
Operation Tourist Trap is a go.
11.
30.23/Pn/011
Nana:
Brownies Troop 416, Yonkers.
12.
30.35/Pn/012
Nana:
I'm too old to die.
13.
35.39/Pn/013
Mort:
No, shark, no! Sit!
14.
35.53/Pn/014
Kowalski:
- Six to nine years.
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15.
36.04/Pn/015
Kowalski:
Darn you, Darwin!
16.
37.04/Pn/016
Monkey:
All right, but you're so darn ugly.
17.
37.14/Pn/017
Alex:
Remember, little cub scouts,
18.
39.26/Pn/018
Alex:
Come on, little tsetse fly.
19.
41.55/Pn/019
Makunga:
He shall wear this Hat of Shame...
20.
43.40/Pn/020
Someone's been knotty.
21.
46.07/Pn/021
Alex:
It is lackin' in the crackin', my friend.
22.
46.50/Pn/022
Gloria:
Melman, why am I the parade and you're the rain?
23.
46.50/Pn/023
Melman:
Why are you driving your parade under my rain?
24.
46.50/Pn/024
Gloria:
Maybe I'll parade in another part of town!
25.
47.31/Pn/025
Marty:
What the heck is going on?
26.
01.05.58/Pn/026
Marty:
Oh, snap! I just used my last stick this morning!
27.
01.10.58/Pn/027
Tourist guide:
What
the heck?
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28.
01:12:47/Pn/028
Monkey:
He said let's have some fun and take out the
dam.
29.
01:12:47/Pn/029
Monkey:
Basset hound.
30.
01:13:45/Pn/030
Monkey:
They say no pull up. Kill us.
31.
01:13:45/Pn/031
Monkey:
There's no other way.
32.
01:13:45/Pn/032
Monkey:
Basset hound.
b. Homonymy
It is mentioned in the second chapter that Routledge Dictionary of
Language and Linguistics defines homonymy as a type of lexical ambiguity
involving two or more different words (Bussman, 1996:210). Schroter also
delivers a definition that homonymy is the relationship between two (or more)
linguistics structures that are formally identical, both in spelling and sound, but
have divergent meanings (2005:168).
There are 5 numbers or 12,5% of all data found in the movie which can be
classified as homonymy. Homonymy is employed throughout the dialogue to add
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a humorous atmosphere to the movie. Following are the examples that show the
application of homonymy in the dialogue. The puns are underlined.
Datum number 11.32/Hn/001.
Alex: It was incredible. I think it'll seem more fun the further we are from it.
Marty: Like when you bit me on the butt?
Alex: I'm gonna take that thing you're holding onto and use it onstage. It's all part
of my little actor's salad bar of emotional tidbits.
Marty: Are the butts next to the croutons?
Alex and Marty were discussing a situation where Alex got crazy because
of his hunger and bit Marty‟s butt. The scene referred to the first sequel of
Madagascar in which the visual showed that Alex was terribly hungry and had a
hallucination that Marty‟s butt was a fresh meat steak. Therefore, Alex bit Marty‟s
butt. Marty tried to remind Alex to this moment in a cynical way. When Alex
said “It‟s all part of my little actor‟s salad bar of emotional tidbits”, Marty replied
it “Are the butts next to the croutons?”
Alex intended to cover his action in the past by saying that when he bit
Marty‟s butt he was just acting to do so. However, Marty disbelieved him, and in
a cynical way he said “Are the butts next to the croutons?” as the reply of Alex‟s
sentence “It‟s all part of my little actor‟s salad bar of emotional tidbits”. In saying
the sentence, Alex defined actor‟s salad bar as a skill to act in various character in
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which an actor should have. However, Marty‟s cynical expression showed that he
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defined actor‟s salad bar as a bar of dishes where generally salad and crouton are
served. Therefore, the phrase “actor‟s salad bar” is categorized as homonymy.
Datum number 44.12/Hn/003.
Melman: So this Witch Doctor's Disease is a real thing?
Giraffe: You'll find a cure. You've got at least 48 hours!
Melman: But I've never heard of it. I mean... I don't have any penicillin. I'll need a
CAT scan just to get started!
Giraffe: Have a lion look you over. They'd be happy to.
Melman‟s new friends informed that Melman has spots on his shoulder.
The symptom was just the same with the previous witch doctor‟s symptom that
got dying of the illness. This information made him got panic as Melman was
being in a place with minimum health facilities. As he got panic he started to
mumble that he needed to have a health scanning by saying “I'll need a CAT scan
just to get started!” When Melman uttered the sentence “I'll need a CAT scan just
to get started!” his new friends saw this as a funny thing, as in Africa, health
facilities were so minimum. Therefore, they suggested Melman to have the lion as
one of species member of cat family, to check him.
From the conversation, it can be inferred that Melman refered CAT scan as
one kind of health check up scanning, an abbreviation of computer-assisted
tomography scan, whereas his friends‟ reply showed that they made joke of it by
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referring CAT scan as a scanning which is done by a cat. Subsequently, the word
“CAT” is classified as homonymy.
Of all homonymy data that can be found throughout the dialogue, none of
the homonymy is applied in form of sentence. All data shows that homonymy is
employed only on word or phrase level. There are three data showing that
homonymy is applied on word level. The examples are datum number
44.12/Hn/003; 45.35/Hn/004; and 01.08.58/Hn/005. Two data showing that
homonymy being employed on phrase level are datum number 11.32/Hn/001 and
36.29/Hn/002.
Below, is the table of homonymy found in the dialogue.
Table 4. 3.Homonymy Pun
No
1.
No of Data
11.32/Hn/001
Data
Alex;
It's all part of my little actor's salad bar of emotional tidbits
2.
36.29/Hn/002
Skipper:
Well, I'll be a monkey's uncle.
3.
44.12/Hn/003
Melman:
I'll need a CAT scan just to get started!
4.
45.35/Hn/004
Skipper;
Looks impressive,
Kowalski, but will it fly?
5.
01.08.58/Hn/005
Monkey:
The plane won't be fixed until the suits meet our demands.
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c. Polysemy
As it is discussed in the second chapter, the definition of polysemy is a
clash of orthographically and phonetically identical structures with divergent
meanings and etymologically connected (Schr ter, 2005: 181). Schr ter states
that puns can be categorized as polysemy when they have semantic link between
the core items which readily established without the assistance of additional
information. As an addition, Bussman states that polysemy is an expression which
has two or more definitions with some common features that are usually derived
from a single basic meaning (1996:210)
There are 3 data or 7,5 % of all data which exploit polysemy in order to
give humorous sense to the dialogue. Below is the discussion of an example of
polysemy found in the movie. The pun is underlined.
Datum number 25.09/Ps/00.
Zuba: Hey, everybody! I just found out that my son is a doggone king! The King
of New York! Show me some of your moves, son. Don't be bashful.
Alex: All right. This one always knocks 'em dead. Roar!
Zuba was so happy to find his lost son. Moreover, he was extremely proud
of his son as his son was the king of New York. Therefore, to announce that Alex
was a king and to express his proud in front of his people, he loudly shouted “The
king of New York”.
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Zuba shouted out the sentence as he thought that Alex was a king in a
place named New York, while actually, Alex was the main attraction in a zoo
namely New York Zoo, so that the New York Zoo visitors named Alex as the
King of New York. The word “king” shared different meanings and senses when
it was uttered by Alex and Zuba. However, it shares the similar value being a
leader of certain place or a massive group. The word “New York” also had
divergent meaning when it was said by Zuba and Alex. Alex referred the word to
his residence, New York Zoo. On the other hand, Zuba simply thought that New
York was a region similar to the animal reservation area in Africa. Subsequently,
the sentence “The King of New York!” can be classified as polysemy.
Below is the table of polysemy.
Table 4. 4. Polysemy Puns
No
1.
Number of Data
25.09/Ps/001
Data
Zuba:
The King of New York!
2.
39.39/Ps/002
Teetsie:
Not "dance" dance! Fight!
3.
01.05.50/Ps/003
Nana:
You're a little tangled, aren't you?
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B. Translation Technique
This second sub chapter extensively presents the discussion on the
translation techniques which are applied in translating the three types of wordplay
which can be found in the dialogue of the animation movie Madagascar II Escape
to Africa. In the previous sub chapter, it has been mentioned that there are three
types of wordplay found in the movie, namely homonymy, paronimy, and
polisemy.
To
deal
with
the
various
types
of
wordplay,
an
expert,
Delabatista(1996:134), introduced several techniques in translating wordplay
namely pun rendered as pun, pun rendered as non pun, pun rendered as other
rhetorical device, pun rendered with zero pun, ST pun is copied to TT pun, a new
pun introduced, addition of a new pun, and editorial techniques.
Among eight techniques, there are two techniques employed as the
translation techniques in translating the puns which are found throughout the
dialogue of Madagascar II Escape to Africa, they are pun rendered as non pun,
and pun rendered as zero pun. The table below shows the translation technique
employed by the translator to translate the puns in Madagascar II Escape to
Africa.
Table 4. 5. Translation Techniques
No
1.
Translation Technique
Pun rendered as non pun
Number of Data
09.15/Pn/001,
11.32/Hn/001,
12.08/Pn/002,
12.42/Pn/003,
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13.38/Pn/004,
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Total
37
Percentage
92,5%
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2.
Pun rendered as zero pun
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14.34/Pn/005,
716.07/Pn/006,
16.41/Pn/007,
25.09/Ps/001,
25.40/Pn/009,
28.32/Pn/010,
30.23/Pn/011,
30.35/Pn/012, 35.39/Pn/
013, 35.53/Pn/014,
36.04/Pn/015,
36.29/Hn/002,
37.04/Pn/016,
37.14/Pn/017,
39.26/Pn/018,
39.39/Ps/002,
41.55/Pn/019,
43.40/Pn/020,
44.12/Hn/003,
46.07/Pn/021,
46.50/Pn/022,
46.50/Pn/023,
46.50/Pn/024,
01.05.50/Ps/003,
01.05.58/Pn/ 026,
01.08.58/Hn/005,
01.10.58/Pn/027,
01:12:47/Pn/028,
01:12:51/Pn/029,
01:13:45/Pn/030,
001:13:45/Pn/031,
01:13:49/Pn/032
17.34/Pn/008,
45.35/Hn/004,
47.31/Pn/025
3
7,5%
1. Pun rendered as non pun
One of the translation techniques which is employed in translating pun in
the dialogue of Madagascar II Escape to Africa is pun rendered as non pun.
Delabatista(1996:134) defines the technique as (pun rendered as non-pun) a noncommit to user
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punning phrase which may retain all the initial senses (non-selective non-pun), or
a non-punning phrase which renders only one of the pertinent senses (selective
non-pun), or diffuse paraphrase or a combination of the above. In the other word,
this technique allows the translator to translate wordplay from SL into TL by
delivering one of the meanings of the pun.
In the data analyzed, there are 37 data or 92,5 % which are translated
using the technique of pun rendered as non pun. The technique is used to translate
puns in the forms of paronymy, homonymy, and polisemy.
a. Paronimy
In the translation of the movie dialogue using pun rendered as non pun
technique, there are 30 paronymy or 81 %. Most paronymy puns in the source
language are translated into non pun in the target language. They are paronymy
puns which refer to native cultural specific term; the paronymy puns which refer
to saying in the source language; and the paronymy puns which refer to specific
group or event in the native country.
The example of paronymy pun which is derived from cultural specific
terms is Datum number 13.38/Pn/004.
ST: Don't look, doll. This might get hairy.
TT: Jangan menatap, manis.Ini menakutkan.
In the sentence, the pun “hairy” is derived from the word “scarry”.
Generally known, in the native culture, something hairy is scarry for children.
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Moreover, the words “hairy” and
“scarry”
have similar sound. Therefore, the
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word “hairy” becomes a pun which is derived from the word “scarry”. From the
translation, it can be seen that the translator employed pun rendered as non pun
technique to transfer the referential meaning into the receptor’s language.
The example of paronymy puns which refer to sayings in the source
language is datum number 25.40/Pn/009.
ST: And all for all, y'all!
TT: dan semua untuk semua, kalian semua!
The sentence “And all for all, y'all!” is the reply to the previous dialogue
“It's one for all...”. In other words, the complete pun is “one for all, and all for
y’all”. The pun is drawn from a very popular saying in the Three Musketeers
movie, “one for all, and all for one”. The pun and its original saying sound
similar, however they have slightly different meanings. Yet, the saying in the
movie dialogue has no exact equivalence in the receptor’s language. It is
reasonable that the pun is rendered as non pun.
The example of paronymy puns which refers to specific group or event in
the native country is datum number 28.32/Pn/010.
ST: Operation Tourist Trap is a go.
TT: Operasi penjebakan turis sudah siap.
Operation Tourist Trap refers to familiar names of military operation in the
United
States
of
America
namely
Operation
Turning
Table
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(www.wikipedia.org/wiki/Timeline_of_United_States_military_operations). Both
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phrases “Operation Tourist Trap” and “Operation Turning Table” have similar
vowels sound. The pun “Operation Tourist Trap” is rendered as non pun since it
has no equivalence in the receptor’s language.
b. Homonymy
The amount of homonymy puns which are rendered as non pun are 5 data
or 13,5%.
The puns are in the forms of phrases and words. The puns are
translated using pun rendered as non pun. The application of pun rendered as non
pun technique can be seen from the subtitle text which retains only one of the
pun’s meanings. Generally, the translator retains the referential meaning of the
pun.
The example of homonymy in form of phrase is datum number
36.29/Hn/002.
ST: Well, I'll be a monkey's uncle.
TT: Aku akan jadi paman seekor kera.
In this sentence, Skipper was very happy to have more monkeys to come
and help the pinguin to repair the plane. He expressed his happy feeling through
the sentence “Well, I'll be a monkey's uncle.”. However, seeing the number of the
monkeys who are coming and the reply from one of the monkeys, the sentence
becomes ambiguous. On one hand, the sentence is an idiom that represents an
extreme happiness. On the other hand, the sentence also means that skipper might
become the monkeys’ uncle as he is leading those monkeys to work. As the
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phrase has two meanings, it is then classified as homonymy and translated using
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the technique of pun rendered as non pun. The technique application can be seen
from the translation which succeeds in transferring one of the pun meanings into
the receptor’s language.
The example of homonymy in form of word is datum number
01.08.58/Hn/005.
ST: The plane won't be fixed until the suits meet our demands.
TT: Pesawat tak akan beres sampai para eksekutif memenuhi tuntutan
kami.
The sentence was said by the leader of the monkeys when they want to
bargain for extra holidays. However, Skipper was trying not to grant their wish.
To reach their goal, the monkey leader then said “The plane won't be fixed until
the suits meet our demands.” The word “suits” has double meanings in accordance
to the scene when the sentence is spoken and the word has idiomatic meaning as
well. Related to the scene when the sentence is spoken, the word “suits” refers to
the physical appearance of the penguins which looks like animals that wear suits.
On the other hand, the word “suits” is an idiom for the executive who rules the
project. The word in the sentence is translated using the technique of pun rendered
as non pun as the translation transfer only one of the pun meanings.
c. Polysemy
In the pun translation of the animation movie Madagascar II Escape to
Africa, there are 2 data or 5,5% of polysemy puns which are translated using the
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technique of pun rendered as non pun. They are data number 25.09/Ps/001 which
is in the form of sentence and 01.05.50/Ps/003 which is in the form of word.
Polysemy in the form of a sentence can be seen in datum number
25.09/Ps/001.
ST: The King of New York!
TT: Raja New York!
The sentence is said by Zuba. He was so excited knowing that his son is
the king of New York. However, Alex and Zuba actually had different
interpretation toward the word “king” and “New York”. In Alex’s mind, king
meant the leading attraction, and New York meant New York Zoo. In the other
hand, Zuba thought of king as the leader of a certain region, and New York as a
specific region. The technique which is applied in translating the sentence is pun
rendered as non pun. This can be seen from the translation in which the subtitle
text retains one of the meanings of the pun in the source language.
Paronymy in form of word is represented in datum number
01.05.50/Ps/003.
ST: You're a little tangled, aren't you?
TT: Agak kusut, ya.
The sentence was said by Nana to tease the man who has difficulties in
knitting the thread. The word “tangled” in the sentence actually has two meanings.
The first meaning is related to the condition of the thread, “tangled” means that
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the thread is in a messy condition. The second meaning is related to the
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psychological condition of the man, “tangled” means that the person is in total
confusion toward what he is doing. The sentence” You're a little tangled, aren't
you?” is then translated into “Agak kusut, ya.”. The translation covers only one of
the meanings of the pun. It can be said that the sentence is translated into the
receptor’s language using pun rendered as non pun technique.
2. Pun rendered as zero pun
Another technique which is employed in translating the puns in the
dialogue of Madagascar II Escape to Africa is pun rendered as zero pun. As it has
been mentioned in the second chapter, Delabatista(1996:134) states that when pun
to zero or known as pun rendered as non pun technique is applied on a text, the
pun is simply omitted.
In the translation of puns in the movie dialogue into Indonesian subtitle
text, there are 3 data or 7,3 % which are rendered as zero pun. Two of the data, are
paronymy puns which are created to conceal swearing words. It is possible that
the pun is created to develop a more child friendly atmosphere to the dialogue.
The example of puns which is created from swearing words and translated using
pun rendered as zero pun technique is datum number 47.31/Pn/025.
ST: What the heck is going on?
TT: Apa yang terjadi?
In the sentence which was said by Marty, the pun “the heck” can be simply
recognized as “the hell” by adults. However, this pun succeeds in concealing the
harsh atmosphere for the young viewers. The translation of the sentence “What
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the heck is going on?” is “Apa yang terjadi?”, in which it can be seen that there is
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no translation of “the heck” in the subtitle text. In other words, the pun “the heck”
is simply omitted in the translation. Therefore, the technique applied in translating
the sentence containing swearing word pun is pun rendered as zero pun.
Another example is datum number 45.35/Hn/004. In this particular datum,
the pun involves not only play on words but also visual aspect.
ST: Looks impressive,Kowalski, but will it fly?
TT: Tampaknya mengesankan, Kowalski, tapi apa bisa terbang?
When Skipper uttered the sentence, the visual showed that Kowalski was holding
a piece of paper. On the paper was the plane design to be employed on their broken plane.
The word “it” refers to the design drawn on the paper. Skipper was wondering whether
the design drawn on the paper will work out in fixing and flying the plane. The way
Kowalski answers the question is shown by the scene where he folds the paper and throw
it to the air that the paper flies. The word “it” in the sentence “ Looks
impressive,Kowalski, but will it fly?” is not translated into the subtitle. In other
words, the word “it” is omitted. Therefore, it can be said that the technique which
is employed in translating the sentence is pun rendered as zero pun.
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C. Accuracy Level of the Translation
This sub chapter will analyze the accuracy level of the pun translation by
evaluating the questionnaire result from the three raters. These three raters are
responsible to give score that represent the accuracy level of each pun translation.
Furthermore, they are also assigned to give comment or suggestion when it is
necessary. The three rates are coded as R1, R2, and R3.
Below is the table which shows the parameter in scoring the accuracy level
of the pun translation.
Table 4. 6. Accuracy Score
Score
Category
Description
1
Accurate
The meaning of pun in the source text is
conveyed into target text in accordance
to the context, the effect of pun in the
target text is equal to the source text
2
Less Accurate
The meaning of pun in the source text is
conveyed into target text, however the
effect of the pun in the target text is not
equal to the source text
3
Innacurate
There is a distortion of meaning of pun
in the target text
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The average point or so called mean is obtained using this following
formula:
Mean
=
The average points which are employed in determining the accuracy level
of the pun translation are as follows:
a. Accurate translation
The datum is considered to be accurately translated if the mean
score is 1,0 point
b. Less accurate translation
The datum is considered to be less accurately translated if the mean
score is 1,1 up to 2,0 point
c. Inaccurate translation
The datum is considered to be inaccurately translated if the mean
score is 2,1 up to 3,0 point
Of all 40 data, 35 data are considered to be less accurately translated and 5
data are rated as inaccurately translated. The explanations upon the data based on
the accuracy level are as follow:
1.
Less Accurate Translation
In the translation of the dialogue in the movie Madagascar II Escape to
Africa, there are 35 data or 87,5 % data which can be classified into less accurate
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translation. Following are several extracts which represent the less accurate
translations.
Datum number 16.41/Pn/007
ST: We should be up and running in, say, six to nine months.
TT: Kita akan bisa operasikan lagi dalam 6 sampai 9 bulan.
Alex was shocked and got panic as the plane had just crashed and landed
on an unknown teritory which means that he was a step backward from going
back to New York. He asked the penguin, Skiper, how long would they took time
to fix the plane. Skipper was actually answered “We should be up and running in,
say, six to nine months.” Since Alex was in panic, he got misheard the reply into
sixty nine months.
Datum number 35.53/Pn/014,
ST: Six to nine years.
TT: 6 sampai 9 tahun.
Kowalski was reporting to Skiper that they would not be able to finish fixing the
plane in time. Skipper wondered for how long the delay would take time, and
Kowalski answered “Six to nine years.” Skipper was seemed to be less attentive in
listening to Kowalski’s reply that he got the answer misheard into “sixty nine
years”.
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For the first example, datum number 16.41/Hp/001, Skipper is trying to
explain to Alex that it will take six to nine months for them to fix the plane. Alex
is actually feeling panic that somehow he thinks that instead of saying six to nine
months, Skipper says sixty nine months. It also happens on the second example,
datum number 35.53/Hp/003. In the conversation, Kowalski inform Skipper that
they will need six to nine years to fix the plane. However, Skipper misheard that
into sixty nine years.
Both data show that “six to” is translated into “enam sampai”. The word
“six” is translated into “enam, and the word “to” is translated into “sampai”. On
both data, R1 and R2 gave the same opinion, that the puns are accurately
translated into TT and have the equal effect in the receptor’s language. However,
R3 considered the translation to be less accurate as there is not any pun in the
translation, and the translation has referential meaning only. In other word, the
meaning of the word can be accurately translated yet the translation could not
produce the same effect as that in the ST. Therefore, both translations are
considered as less accurate.
In the researcher’s opinion, by only looking at the subtitle text as the
translation of the dialogue, the translation can be categorized as less accurate
translation regarding that the subtitle text cannot produce the same humorous
effect as it is in the SL. However, while reading the subtitle text, the viewers can
feel the funny atmosphere from the visual and audio aspect. By the time the
characters utter the dialogue, the scene highlights the panic mimic of the character
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who misheard the sentence. Moreover, the audio aspect also presents the panic
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tone when the character says “sixty nine….” Those two aspects create humorous
ambience and arouse audience laughter.
The third example is datum number 25.40/Pn/008 which is an example of
the application of pun rendered as non pun in translating paronimy pun.
ST: And all for all, y'all!
TT: dan semua untuk semua, kalian semua!
Marty was enjoying himself being in a zebra herd, as what he always
dreamt of. He felt great for the unity of one species, zebra. Marty uttered the
sentence “One for all…” and the herd replied back by saying “And all for all,
y'all!” to highlight the unity of a herd.
In the dialogue, the zebra herd says “And all for all, y'all!” as their reply to
Marty’s utterance “It’s one for all…”. The pun is categorized as paronymy as the
pun “And all for all, y'all!” refers to a popular proverb from the movie Three
Musketeers “One for all, and all for one.” The application of pun rendered as non
pun can be seen from the translation “dan semua untuk semua, kalian semua!”
which does not contain any pun. Moreover, the proverb “One for all, and all for
one” is not recognized in the target culture. Subsequently, the original saying and
the pun which is derived from it do not have equivalent in the receptor’s language.
The subtitle text, however, succeeds in delivering the referential meaning of the
dialogue.
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According to R2 the pun is accurately translated and in the receptor’s
language it has the similar effect as in the source language. However, R1 and R3
consider it to be less accurate translation as the message is literally successfully
translated into the target language yet failed in creating the same humorous effect.
According to R3, the pun in the ST is not recognized in the target language.
Moreover, R3 also stated that there is no pun in the translation and the translation
only covers the referential meaning. Therefore, the translation is considered to be
less accurate translation.
The forth example is datum number 30.35/Pn/011 which shows the
application of pun rendered as non pun technique.
ST: I'm too old to die.
TT: Aku terlalu tua untuk mati
The penguin gank was succeeded in taking away the jeep from the tourists
group. The tourist guide suggested them to wait for another jeep which might
passed the same route in the next few hours. However, Nana tought this as a bad
idea where the wild animals in that area might came and attacked them. As the
argument, Nana uttered “I'm too old to die.”
In the dialogue, Nana, an aged lady, uttered “I'm too old to die.” The
paronymy pun is originally derived from the phrase “too young to die”. Nana
uttered the sentence to show her energy that old ages should not be wasted and got
easily surrender to death. The phrase “too young too die” is not well recognized in
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the receptor’s culture. In the other hand, the receptor’s culture also tends to
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consider that die in a young age is such a sad condition. The sentence “I'm too old
to die.” is translated into “Aku terlalu tua untuk mati.” The word “I’m” is
translated into “Aku”, the word “too” is translated into “terlalu”, the word “old” is
translated into “tua”, the word “to” is translated into “untuk”, and the word “die”
is translated into “mati”. Moreover, the translation also shows that the target text
presents the identical grammatical structures as that in the source text. It can be
seen that the target text does not contain any pun nor arouse humorous effect as in
the source text.
For this dialogue, R2 regards the translation succeeds in transferring the
message and create the same effect as in the source language. However, according
to R1, the pun is not recognized in the target language and according to R3, there
is not any pun in the translation. Furthermore, the translation transfers the
referential meaning only. In other word, R1 and R3 think that the translation failed
to arouse the same humorous effect as in the source language. Therefore, the
translation is considered to be less accurate translation.
In dealing with the translator’s failure in creating the same humorous
effect as that in the source language, the researcher proposes the phrase “mati
muda” as the equivalence of the phrase “too young to die” and the translation for
the pun “I'm too old to die.” is “aku tidak mau mati tua”. Though the translation
does not retain the same grammatical structures, but it is more acceptable for
Indonesian viewers and it sounds more natural.
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Datum number 30.23/Pn/011 is another example of paronymy pun which
is translated using pun rendered as non pun technique.
ST: Brownies Troop 416, Yonkers.
TT: Pasukan Brownies 416 dari Yonkers.
Nana had just beaten up Alex that it made the tourists group got amazed at
her. One of the tourists gave a compliment to Nana by saying “You’re a tough
cookie.” which means that Nana is a tough old lady. To reply, Nana said
“Brownies Troop 416, Yonkers.” The answer also explained that the troop
Brownies 416 made her tough.
The pun “Brownies Troop 416, Yonkers” refers to a well known American
boy scout organization, Boy Scout Troop 416. The pun is translated using pun
rendered as non pun as the main technique. It can be seen from the translation
“Pasukan Brownies 416 dari Yonkers.” which does not contain any pun and loses
its humorous effect. Furthermore, the translation retains the referential meaning.
For this translation, all three raters, R1, R2, and R3 consider the translation
to be succeeds in finding the equivalence, though it fails to arouse the same pun
effect as that in the source language.
Another example is datum number 46.50/Pn/02 which is translated by
applying pun rendered as non pun technique.
ST: Melman, why am I the parade and you're the rain?
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TT: Melman, kenapa kau mengganggu kesenanganku?
When the dialogue took place, Gloria was so happy and excited that Motomoto got interested at her and asked her to go out for a date with him. She tried to
share this happy news to her New York Zoo friends and most of them were happy
to hear the news, except one friend, Melman. He was quite upset to hear the news
as he was actually had a crush on Gloria. However, Gloria got no idea of what
reason that led Melman to act that way.
From the dialogue, it can be seen that Gloria felt irritated as Melman
looked upset upon her happiness and so Gloria said “Melman, why am I the
parade and you're the rain?”. The sentence is derived from the saying “To parade
under someone’s rain” which mean that someone is happy about other’s sadness.
Therefore, the pun is categorized as paronymy.
The sentence “Melman, why am I the parade and you're the rain?” then
translated into “Melman, kenapa kau mengganggu kesenanganku?”. The words in
the translation are actually not related to the words in the source text. However,
they deliver the referential meaning of the pun. It can be seen that the translation
does not contain any pun or give the same humorous effect as that in the source
text. In other word, the translator employed pun rendered as non pun technique in
translating this pun.
Upon this sentence, all three raters consider the translation to be able to reexpress the message into the target language correctly. However, the translation
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cannot produce the same humorous
effect.toAccording
to R1, in the translation, the
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pun effect is lost. Referring to R3’s opinion, the translation does encompass the
referential meaning but failed to produce an equivalent pun effect in the target
language.
In accordance to it, the researcher offers different translation. In Bahasa
Indonesia, a saying about being happy upon other’s sadness is “Menari di atas
penderitaan orang lain”. Regarding to the existing saying in Bahasa Indonesia, the
sentence “Melman, why am I the parade and you're the rain?” can be translated
into “Melman, kenapa sepertinya aku menari di atas penderitaanmu?”
Datum number 01.05.58/Pn/ 026 shows the application of pun rendered as
non pun technique:
ST: Oh, snap! I just used my last stick this morning!
TT: Astaga! Aku sudah meledakannya tadi pagi!
Marty and Alex was trying to investigate the cause of draught in the
reservation area. They found out that a group of people lived near the dam and
blocked the water in the dam that it did not flow anywhere. They wanted to blow
the dam to make the water flows. However, since they did not equipped with any
dynamite, Marty refused this idea and said “Oh, snap! I just used my last stick this
morning!”
The dialogue expressed Marty’s regret that he had already blown the last
dynamite in the morning as he said “Oh, snap! I just used my last stick this
morning!” The sentence then translated
“Astaga! Aku sudah meledakannya
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tadi pagi!” The word “snap” is derived from the swearing word “shit”. However,
to create a child-friendly atmosphere, the word “shit” is changed into “snap”.
The translation of the pun “snap” into “astaga” employs pun rendered as
non pun as the main technique. The translation covers the referential meaning of
the pun. However, it does not give any humorous effect.
For this sentence, all of the three raters regard the translation to be less
accurate. R1 stated that the pun effect is not transferred into the translation in the
receptor’s language. R3 affirmed that there is not any pun in the translation.
Though, the translation has referential meaning and expressive meaning.
According to R3, though the translation failed in creating the equivalence for the
pun, it succeeded in transferring the message and the tone of the sentence.
In the researcher’s opinion, the equivalence of “shit” in Bahasa Indonesia
is “sialan”. In relation to the failure in transferring the pun into Bahasa Indonesia,
the researcher proposes other option being “Siulan! Aku sudah meledakannya tadi
pagi.” The word “Siulan!” derived from the word “Sialan!” and the word create a
more child-friendly subtitle text for the young viewers.
2.
Inaccurate Translation
Of all 40 puns which are found in the Madagascar II, Escape to Africa,
there are 5 data which are considered to be less accurate. They are data number
12.42/Pn/003, 17.34/Pn/008, 35.39/Pn/
39.26/Pn/018, and 46.50/Pn/023. Of
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all five data, all of them are translated using pun rendered as non pun technique.
Those translations which are considered to be inaccurate translation are all
paronymy puns. The raters consider that the translation is inaccurate since the
translation succeeds in transferring the message but not the pun effect.
Datum number 39.26/Pn/018 is an example of the application of pun
rendered as non pun technique in translating paronymy pun.
ST: Come on, little tsetse fly.
TT: Ayolah teetsi.
Alex was very excited about the rite passage ritual as he thought that that it
was a dance competition. Therefore, he confidently challenged Teetsie without
knowing at all that it would be a real battle instead of a dance battle. As he felt
confident and optimistic that he would win the battle, Alex challenged Teetsie,
and even make fun of his name by calling him “Come on, little tsetse fly.”
In the dialogue, Alex tried to challenge the huge and mean lion, Teetsie.
Alex teased Teetsie to rise his anger by saying “Come on, little tsetse fly.” The
name that Alex called Teetsie, as a matter of fact, was vice versa to Teetsie’s
physical look as Tsetse flies are a very dangerous species, regardless to their small
size. The sentence is simply translated into “Ayolah teetsi.”
The pun “little tsetse fly” is translated into “teetsi”. From the translation, it
can be seen that the translation does not contain any pun in the receptor’s
language. The translation only covers
meaning of the pun “little
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tsetse fly”, but does not deliver the equivalent for the phrase “little tsetse fly”. In
the other word, the translator applied pun rendered as non pun as the main
translation technique.
According to R1, the pun in the source language is not recognized in the
receptor’s language. Moreover, R3 stated that the translation does not include any
pun as it only covers the referential meaning. Slightly different from the other two
raters, R2 considers that the translation is inaccurate.
Tsetse flies are widely known as a dangerous fly’s species from Africa.
Looking at the failure of the translation, instead of translating the sentence “Come
on, little tsetse fly.” into “Ayolah teetsi.”, the researcher proposes different option
being “Ayolah, lalat tsetse kecil.” The translation “Ayolah teetsi.” does cover the
referential meaning since Alex calls little tsetse fly to refer to Teetsie. On the
other hand, there is no reason not to put lalat tsetse into the translation as the flies
species is widely known in the whole wide world. Moreover, the translation
“Ayolah, lalat tsetse kecil.” will create a more humorous translation as when the
audience read the subtitle text, the visual shows the scene where Alex talking to a
huge, mean and dangerous lion.
Datum number 46.50/Pn/023 is another example of translation which
applies pun rendered as non pun technique.
ST: Why are you driving your parade under my rain?
TT: Kenapa kau berpawai di bawah hujanku?
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Gloria came to her friends to share the happy news that she would went for
a date with Moto-Moto, a sexy native hippopotamus. Melman was talking to
Gloria expressing his disappointment that Gloria was going to have a date with
Moto-moto. Melman said “Why are you driving your parade under my rain?”
The pun “driving your parade under my rain” is translated into “berpawai
di bawah hujanku”. From the translation “driving your parade” into “berpawai”, it
can be seen that a change in the phrase point of view occurs. The word “driving”
shows that the subject is doing an activity; meanwhile, the word “berpawai”
shows a passive verb in the receptor’s language. Moreover, it can be seen that the
translation does not contain any pun as the translator delivered only the referential
meaning of the pun. Therefore, it can be said that pun rendered as non pun is
employed as the translation technique.
According to R1, the pun in the source language is not recognized in the
receptor’s language. As an addition, R3 stated that the translation does cover the
referential meaning but does not have any pun in it. In the other hand, R2 gave the
opinion that the translation is inaccurate.
Dealing with the failure of reproducing the equivalence for the sentence
“Why are you driving your parade under my rain?”, the researcher proposes an
idea to translate the sentence into “Kenapa kau menari di atas penderitaanku?” for
the saying “Menari di atas penderitaan orang lain” in Bahasa Indonesia is the
equivalence for the saying “To parade under someone’s rain.” in English.
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Throughout the examination upon the dialogues of the animation movie
Madagascar II Escape to Africa into Indonesian subtitle text, there are three types
of pun which are found namely paronymy, homonymy, and polisemy. The table
below shows the detail of puns type, the techniques which are applied in
translating puns, and the accuracy level of the translation.
Table 4. 7. Type of Pun, Translation Technique, and Accuracy Level.
Type of Pun
Translation
Technique
Accuracy
Level
No of Data
Amount
(%)
16.41/Pn/007
35.53/Pn/014
14.34/Pn/005
25.40/Pn/009
30.35/Pn/012
36.04/Pn/015
41.55/Pn/019
01:13:45/Pn/031
Pun rendered as
non pun
Less
accurate
translation
09.15/Pn/001
12.08/Pn/002
13.38/Pn/004
16.07/Pn/006
28.32/Pn/010
30.23/Pn/011
Paronymy
37.04/Pn/016
37.14/Pn/017
43.40/Pn/020
46.07/Pn/021
46.50/Pn/022
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01.05.58/Pn/ 026
01.10.58/Pn/027
01:12:47/Pn/028
01.12.35/Pn/029
01:13:45/Pn/030
01:13:49/Pn/032
Pun rendered as
zero pun
Pun rendered as
Less
accurate
translation
Inaccurate
translation
non pun
47.31/Pn/025
1 datum
(2,5%)
12.42/Pn/003
35.39/Pn/ 013
39.26/Pn/018
4 data
(10%)
46.50/Pn/023
Pun rendered as
zero pun
Polisemy
Pun rendered as
Inaccurate
translation
17.34/Pn/008
Less
accurate
translation
01.05.50/Ps/003
Less
accurate
translation
01.08.58/Hn/005
11.32/Hn/001
36.29/Hn/002
44.12/Hn/003
Less
accurate
translation
45.35/Hn/004
non pun
Pun rendered as
Homonymy
non pun
Pun rendered as
zero pun
39.39/Ps/002
25.09/Ps/001
1 datum
(2,5%)
3 data
(7,5%)
4 data
(10%)
1 datum
(2,5%)
The table 4. 7 shows that 30 data or 75% of paronymy puns are rendered
as non pun, while 2 data or 5% are rendered as zero pun. Among the 30 paronymy
puns which are rendered as non pun, none of them is rated as accurate translation.
However, 26 data or 65% are rated as less accurate translation and 4 data or 10%
are rated as inaccurate translation. From the table, it can be seen that 2 data or 5%
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are paronymy which are rendered as zero pun. None of the puns is considered to
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be accurate. 1 datum or 2,5% is considered to be less accurate, and another datum
or 2,5% is considered to be inaccurate.
The table 4. 7 informs that there are 3 data or 7,5% polisemy puns which
are rendered as non pun and considered to be less accurate. Moreover, there are 4
data or 10% homonymy puns that are rendered as non pun and all of them are
considered to be less accurate. As an addition, 1 datum or 2,5% homonymy is
rendered as zero pun and rated as inaccurate translation.
The table 4.7 also shows that most of the translations are considered to be
less accurate. It means that the translator succeeds in transferring the referential
meaning of the pun. However, the translation cannot create the same effect as that
in the source language. There are several reasons that lead to the failure in
creating the same humorous effect in the translation such as the pun is not familiar
in the receptor’s language; the pun refers to a specific saying, figure, place,
saying, or others cultural specific issues which do not have equivalence in the
receptor’s language.
The table 4. 7 presents the information that the technique of pun rendered
as non pun dominates the translation of the movie dialogue. There are several
factors that make the translator needs to apply this technique, they are: a) The pun
is not recognized in the target language; b) The equivalent meaning in the target
language fails in reproducing the same humorous effect as that in the source text;
c) The difference in culture background and knowledge of the source text viewers
to the target text viewers. By applying the technique, the translator can transfer the
referential meaning of the pun in the source text as stated by Delabatista “In this
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method a non-punning phrase may retains all the initial senses (non-selective nonpun), or a non-punning phrase renders only one of the pertinent senses (selective
non-pun), or diffuse paraphrase or a combination of the above. “ (1996:134). On
the other hand, the translator fails in producing the same humorous effect in the
translation.
Another technique which is applied in the movie dialogue translation is
pun rendered as zero pun. The application of this technique indicates that SL pun
do not have an equivalence in TL (Delabatista, 1996:134). By applying this
technique, the translator can simply omit the pun. The application of this
technique should not change the whole meaning of the dialogue. In this research,
however, the analysis result shows that the application of this strategy results in
inaccurate translation.
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CHAPTER V
CONCLUSION AND SUGGESTION
The last chapter of this thesis presents the conclusions of the research and
suggestions in relation to puns translation in a movie dialogue into subtitle text.
A. Conclusion
Throughout the research activity which is presented in the fourth chapter,
the researcher is able to draw these following conclusions:
1. The analysis on types of pun in the dialogue of the animation movie
Madagascar II Escape to Africa shows that there are three types of puns; they
are paronymy, homonymy, and polisemy pun. Paronymy puns dominate the
dialogue with 32 data or 80% of all 40 data. The next dominating pun is
homonymy puns which amounts 5 data or 12,5% of all 40 data. The least
dominant pun is polysemy puns which amounts only 3 data or 7,5% of all 40
data. The interesting finding is that paronymy is exploited throughout the
movie to create a funny and more child friendly atmosphere by concealing
harsh swearing words and slip them into jokes.
2. The analysis on translation techniques shows that there are two techniques used
namely pun rendered as non pun and pun rendered as zero pun. Among the
puns that are rendered as non pun, 30 puns or 75% are paronymy puns, 3 puns
or 7,5% are polysemy puns, and 4 puns or 10% are homonymy puns. Among
the puns that are rendered as zero pun, 2 puns or 5% are paronymy puns and 1
pun or 2,5% is homonymy pun.commit to user
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3. The analysis on the translation accuracy level shows that 35 translations
(87,5%) are considered to be less accurate and 5 translations (12,5%) are
considered as inaccurate. Among the less accurate translations, 34 translations
or 85% of them are resulted from pun rendered as non pun technique and 1
translation or 2,5% is resulted from pun rendered as zero pun technique.
Among the inaccurate translation, 4 translations or 10% are resulted from pun
rendered as non pun technique, and 1 translations or 2,5% is resulted from pun
rendered as zero pun technique. The analysis also shows that none of the
translations are considered to be accurate.
B. Suggestion
Based on the findings and the experience in conducting the research, the
researcher can give suggestions to students, translators, and other researchers.
1.
Students
The students are suggested not only to enjoy but also to study humor in order
to have a better understanding upon translation in general, and particularly
pun translation into subtitle text.
2.
Translator
It is advised that the translator pays more attention on the occurrence of pun
in comedy movies. Furthermore, the translator should be more aware of the
characteristics of the pun as each type of pun needs specific translation
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technique. The result of the analysis shows that most puns in the movie
dialogue are literally translated.
To some extent, it indicates that the
translator is not aware at the existence of puns in the movie dialogue,
3.
Other researchers are suggested to know the characteristics of different type
of puns so the pun can be analyzed thoroughly. As the result, they can share
more reliable information about puns to students and other researchers.
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BIBLIOGRAPHY
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Baker, M. (2000). Routledge encyclopedia of translation studies. London: Routledge
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Delabatista, D. (1996). Traductio: Essays on punning and translation. United Kingdom: St.
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http://en.wikipedia.org/wiki/Timeline_of_United_States_military_operations
http://www.rottentomatoes.com/m/madagascar_escape_2_africa/
http://www.bsa416.org/
http://chicagotribune.com/topic/entertainment/movies/madagascar%3A-escape-2-africa%28movie%29-ENMV000003255.topic
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