PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

PLAGIAT PLAGIATMERUPAKAN MERUPAKANTINDAKAN TINDAKANTIDAK TIDAKTERPUJI TERPUJI

VINAY AND DARBELNET’S TRANSLATION PROCEDURES IN DJENAR’S PAINTING A WINDOW

A SARJANA PENDIDIKAN THESIS

Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education

By Yuvita Ardhani Student Number: 091214116

ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2015


VINAY AND DARBELNET’S TRANSLATION PROCEDURES IN DJENAR’S PAINTING A WINDOW

A SARJANA PENDIDIKAN THESIS

Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education

By Yuvita Ardhani Student Number: 091214116

ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2015

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DEDICATION I dedicate this paper to the greatest love of my life, Rahayuning Prapti (†) and my lifetime hero, Sudaryanto.

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ABSTRACT

Ardhani, Yuvita. 2015. Vinay and Darbelnet’s Translation Procedures in Djenar’s Painting a Window. Yogyakarta: English Language Education Study Program. Department of Language and Arts Education. Faculty of Teachers Training and Education. Sanata Dharma University. Melukis Jendela is a literary piece of Djenar Maesa Ayu, a short story published by Horison. The English version of Melukis Jendela, Painting a Window was published as a compilation along with the book in 2005. Michael Nieto Garcia is the person who translates Melukis Jendela into Painting a Window. There were two blocks formed after the release of Djena‟r book. The first block thinks that Djenar‟s work is sex-oriented and too vulgar for Indonesian reader. The other side agreed that Djenar‟s work is a breakthrough for the modern literature. Obviously, there are pros and cons about Djenar Maesa Ayu and her works. The researcher finds it interesting to conduct a research on Djenar‟s works. There is one research problem in this study: What are the Vinay and Darbelnet‟s translation procedures found on Djenar‟s Melukis Jendela? To answer the research problem, the researcher uses Jean-Paul Vinay and Jean Darbelnet (1958) theory on translation procedures. This study is qualitative content analysis research. The data is one of the short stories from the antology Djenar‟s book Melukis Jendela translated into Painting a Window by Michael Nieto Garcia. At the end, the researcher find 185 collected data which were analyzed using Jean-Paul Vinay and Jean Darbelnet‟s translation procedures. There are seven procedures in this theory, namely, „borrowing‟, „calque‟, „literal‟, „transposition‟, „modulation‟, „equivalence‟, and „adaptation‟. Key words: Melukis Jendela, Painting a Window, Vinay and Darbelnet‟s translation procedures

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ABSTRAK Ardhani, Yuvita. 2015. Vinay and Darbelnet’s Translation Procedures in Painting a Window. Yogyakarta: Program Studi Pendidikan Bahasa Inggris, Jurusan Pendidikan Bahasa dan Seni, Fakultas Keguruan dan Ilmu Pendidikan, Universitas Sanata Dharma. Melukis Jendela adalah sebuah karya sastra Djenar yang dipublikasikan sebagai cerita pendek oleh Horison. Versi berbahasa Inggris dari Melukis Jendela, Painting a Window diterbitkan sebagai bagian dari kompilasi dalam buku tersebut pada 2005. Michael Nieto Garcia adalah orang yang meterjemahkan Melukis Jendela ke dalam Painting a Window. Setelah diterbitkannya buku Djenar ini, masyarakat terbagi menjadi dua kubu. Salah satu kubu mengganggap karya Djenar sarat akan sex dan terlalu vulgar untuk kalangan pembaca Indonesia. Kubu yang lain setuju bahwa karya Djenar merupakan terobosan bagi sastra modern. Jelas bahwa karya Djenar menimbulkan pro dan kontra. Penulis merasa tertarik untuk mengadakan penelitian tentang karya Djenar.Ketertarikan tersebut mendasari penulis untuk mengadakan sebuah studi mengenai penggunaan prosedur terjemahan milik Jean-Paul Vinay dan Jean Darbelnet di dalam“Painting a Window”. Ada sebuah pokok permasalahan dalam studi ini: Apa saja prosedur terjemahan milik Jean-Paul Vinay dan Jean Darbelnet yang ditemukan dalam “Painting a Window”?Untuk menjawab pokok permasalahan tersebut, peneliti menggunakan teori Jean-Paul Vinay dan Jean Darbelnet (1958) tentang prosedur terjemahan. Studi ini merupakan sebuah penelitian konten analisis kualitatif. Data yang dianalisa adalah cerita pendek dari antologi cerita pendek Djenar Maesa Ayu “Melukis Jendela” yang diterjemahkan oleh Michael Nieto Garcia ke dalam versi Bahasa Inggris yang berjudul “Painting a Window”. Pada akhirnya, peneliti menemukan 185 data terjemahan, yang dianalisa dengan menggunakan prosedur terjemahan milik Jean-Paul Vinay dan Jean Darbelnet. Dalam prosedur terjemahan tersebut terdapat tujuh prosedur. Prosedur tersebut meliputi kategori dari „borrowing,‟„calque,‟ „literal,‟ „transposition,‟ „modulation,‟ „equivalence,‟dan„adaptation‟. Kata kunci: Melukis Jendela, Painting a Window, Vinay and Darbelnet‟s translation procedures

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ACKNOWLEDGEMENTS

I would like to express my gratitude to Jesus Christ for the guidance and the wonderful blessings upon me. I would also thank myself for finally went through hardships and proving that pain is not an excuse. It is an honor for me to let myself achieve the wonderful feeling of self-trust. Second, my gratitude goes to my faithful friends Astika Christia Destin, Ika Wahyuti and Sandy Ferianda. They have always been by my side, giving me the love and support. I also do not want to miss to thank my fellow coworkers of PT PMA MINDO for their support and affection. I am very grateful to have my academic advisor, Christina Kristiyani, S.Pd., M.Pd. and Paulus Kuswandono, Ph.D., for inspiring me to regain the strength and faith in myself. The next gratitude goes to my thesis advisor, Drs. Barli Bram M.Ed., Ph.D. The coolest and the most meticulous lecturer and thesis advisor I have ever met. Lastly, I would like to thank my wonderful family for the advice and understanding. It is a blessing to have Hery Stiawan and Krisna Wahyu Prahmawati, my brother and sister, for being good parents while I was away from my father. I cannot thank them enough for all the sincere love and now I will do what is best for me. The Writer

Yuvita Ardhani

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TABLE OF CONTENTS

TITLE PAGE .......................................................................................... APPROVAL PAGE ............................................................................... DEDICATION PAGE ............................................................................. STATEMENT OF WORK’S ORIGINALITY ...................................... PERNYATAAN PERSETUJUAN PUBLIKASI ....................................... ABSTRACT ............................................................................................ ABSTRAK ................................................................................................ ACKNOWLEDGEMENTS .................................................................... TABLE OF CONTENTS ........................................................................ LIST OF APPENDICES ........................................................................ LIST OF TABLES ................................................................................. LIST OF FIGURES ...............................................................................

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CHAPTER I: INTRODUCTION ........................................................... A. Research Background ................................................................. B. Research Problem........................................................................ C. Problem Limitation ..................................................................... D. Research Objective...................................................................... E. Research Benefit ......................................................................... 1. The students of ELESP Sanata Dharma University .............. 2. Readers .................................................................................. 3. Future Researchers ............................................................... F. Definition of Terms .................................................................... 1. Translation ............................................................................ 2. Vinay and Darbelnet’s Translation Procedures ....................

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CHAPTER II: REVIEW OF RELATED LITERATURE ...................... A. Theoretical Description .............................................................. 1. Translation ............................................................................ 2. Theory of Integrated Skills .................................................. a. Borrowing ...................................................................... b. Calque ............................................................................. c. Literal Translation .......................................................... d. Transposition .................................................................. e. Modulation ..................................................................... f. Equivalence .................................................................... g. Adaptation ...................................................................... B. Theoretical Framework ..............................................................

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CHAPTER III: METHODOLOGY ....................................................... A. Research Method ......................................................................... B. Research Subjects .......................................................................

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C. Research Instruments and Data Gathering Technique ............... D. Data Analysis Technique ............................................................ E. Research Procedure ....................................................................

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CHAPTER IV: RESEARCH RESULTS AND DISCUSSION .............. A. Vinay and Darbelnet’s Translation Procedures in Djenar’s Painting a Window ..................................................................... B. Occurence Frequency of Vinay and Darbelnet’s Translation Procedures Applied in Djenar’s Translation ...............................

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CHAPTER V: CONCLUSIONS AND RECOMMENDATIONS ......... A. Conclusions ................................................................................ B. Recommendations ......................................................................

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REFERENCES........................................................................................

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APPENDICES .......................................................................................

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LIST OF APPENDICES APPENDIX 1. DATA COLLECTION OF TRANSLATION ...............

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LIST OF TABLES Table 4.1 Sample Data of Borrowing Procedure ................................................... Table 4.2 Sample Data of Calque Procedure ......................................................... Table 4.3 Sample Data of Literal Procedure .......................................................... Table 4.4 Sample Data of Transposition Procedure ............................................... Table 4.5 Sample Data of Modulation Procedure .................................................. Table 4.6 Sample Data of Equivalence Procedure ................................................. Table 4.7 Sample Data of Adaptation Procedure ................................................... Table 4.8 Data Collection Result ........................................................................... Table 4.9 Sample Data of Double Procedure ......................................................... Table 4.10 Data Calculation Result ..........................................................................

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LIST OF FIGURES Figure 2.1 Translation Process (Larson 1984; 4) .................................................... Figure 3.1 Data Calculation Formula ...................................................................... Figure 4.1 Data Calculation Formula ......................................................................

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CHAPTER I

INTRODUCTION

This chapter presents six sections of subdivided parts of the introduction. The six sections presented are namely (1) research background, (2) research problem, (3) problem limitation, (4) research objectives, (5) research benefits, and (6) definition of terms.

A.

Research Background

Day (1971) states that everyone is born with a natural desire to be entertained by fiction. He also admits that reading a piece of literary piece gives different satisfactions and pleasures also wider and deeper feeling of enjoyment from reading to obtain facts (p. ix). Therefore literary piece could be one of some simple ways to lose the tense from the routines. Reading literary piece such as novel, novella, short story, or poem enables the reader to explore and interpret the meaning by themselves because there are no boundaries which limit reader’s imagination. Still in his book, Grove Day says that reading a fiction provides many rewards for the readers, but the ultimate reward which the readers could obtain is that it enables the readers to understand the meaning of being a human and understand it better (1971, p.x). Fiction tells a tale or a story to the readers and also delivers a message in which the writer implicitly or explicitly states. When the readers obtain the message, have a thought of it, and understand it then it can

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2 be concluded like Grove Day said that the readers have found the so called reader’s reward. As a literary piece devotee, the researcher tries to show that each literary piece has its characteristics to be admired. The Encyclopedia of Indonesian Literature affirms that the characteristic of the piece reflects the author’s characteristic (“Karakteristik”). Therefore, each literary piece devotee has its own favorite author based on the characteristic of the literary piece. In Indonesia, there is a quite controversial author emerged in the last decade. She is Djenar Maesa Ayu, a defiant author who has successfully published her first book, a compilation of her short stories entitled Mereka Bilang Saya Monyet in 2003 followed by the English version They Say I’m a Monkey in 2005 translated by Michael Nieto Garcia. Sutardji Calzoum Bachri as a senior in Indonesian modern literature on Djenar’s book commented that Djenar is one of the most impressive fiction writers in the last decade. Bachri adds that Djenar’s language also expresses herself simply and directly (2005: p.124). As seen from Bachri’s comment, he sees Djenar’s work in a positive way that the language used in Djenar’s work is the expressions of herself as a simple and direct person. Bachri did not mention any words related to the word controversy. There were two blocks formed after the release of Djenar’s book. The contrary side stated that there were too much sexual content exposed in her book, in which, exposing sexuality is quite taboo on our country. On the other hand, the pro society agreed that Djenar’s way of expressing the message through her book is a breakthrough


3 in the modern literature. Obviously, there are pros and cons about Djenar Maesa Ayu and her works. The researcher finds it interesting to conduct a research on Djenar’s works. This study limits the scope of the research in one of Djenar’s short story titled Melukis Jendela or Painting a Window. The research will not focus on the overall quality of the translation. However, the focus of this research will be more on the application and the occurence of Vinay and Darbelnet’s translation procedures in the translation. Melukis Jendela is a literary work of Djenar Maesa Ayu, printed as a short story by Horison, November edition in 2001. The English version of Melukis Jendela, Painting a Window was published as a compilation along with the book in 2005. Michael Nieto Garcia is the man who translates Melukis Jendela into Painting a Window. Djenar Maesa Ayu’s work is famous for its direct language and sexoriented content. This could be an interesting study to gain further knowledge on how well do a translator translate such a controversy work. The researcher decides to analyze further on Djenar’s Painting a Window and compare it to the original version Melukis Jendela. The researcher conducted a surface research by comparing Painting a Window to Melukis Jendela using Vinay and Darbelnet’s translation procedures.


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Research Problem The study aims to address the following research question:

1.

What are the Vinay and Darbelnet’s translation procedures found in Djenar’s Melukis Jendela?

C.

Problem Limitation

In this study the researcher sets some parameters in order to obtain the deep and content answers from the research problem without going out of the boundary. This study focuses on the translation procedures proposed by Vinay and Darbelnet which are applied in Djenar’s Painting a Window. There is one main point to be concerned in this study. The main point is the occurence of Vinay and Darbelnet’s translation procedures in the translation of Djenar’s Painting a Window. However, there is an additional point that can also be concluded after finding the results of the first point. The additional point that can be added what the most applied procedure in Djenar’s Melukis Jendela is. The results of these two important points will be presented as a precentage. Data calculation will be the main task for the researcher to answer the research problem.

D.

Research Objectives

Based on the problem limitation, this study has two objectives. The first objective is that this study aims to first, analyse the translation procedures applied in Djenar’s Painting a Window using Vinay and Darbelnet’s translation


5 procedures. Moving on to the second objective of this study is that it aims to point out

the most applied procedure proposed by Vinay and Darbelnet in the

translation of Djenar’s short story .

E.

Research Benefits

This study is expected to have valuable contributions heartily for ELESP (English Language Education Study Program) students, readers who put interest in fictional piece and translated fiction, and for future researchers.

1.

ELESP Students

This study might be useful and valuable for Sanata Dharma ELESP students to become critical and aware of the expansions and reductions in translation. Further contribution of this study for students of ELESP is to expand and enrich their knowledge on translation study.

2.

Readers

Readers who enjoy reading fictional work and translated fictional work, it is expected that this study could give valuable information about measuring a good translated fictional work.


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Future Researchers

Other researchers who will be discussing issues in translation especially the translation of fictional work, it is hoped that this study would be able to provide sufficient data and information for the research.

F.

Definition of Terms

This section provides some definition of terms related to this study. 1.

Translation

Meetham and Hudson (1972) as cited by Bell (1991) define translation as the replacement of a representation text in certain language by the most likely best representation of the text in the other language (p.6). Synthesizing from what Meetham and Hudson said, translation here could be defined as an equivalence representation of a text derived from the source language into the target language.

2.

Vinay and Darbelnet’s Translation Procedures This study uses Vinay and Darbelet’s translation procedure as a core of

analysis to get the precentage of occurence of theie procedure in Djenar’s Painting a Window. The following list are the procedures proposed by Vinay and Darblenet’s.


7 The following list are the procedures proposed by Vinay and Darblenet’s.

1.

Borrowing Borrowing is the simplest procedure of all translation procedures proposed

by Jean-Paul Vinay and Jean Darbelnet. The nature of borrowing is to introduce the element of the source language into the target language by simply borrows the original words (Vinay and Darbelnet, 1958:84).

2.

Calque A calque is a special kind of borrowing whereby a language borrows an

expression form of another, but then translates literally each of its elements (Vinay and Darbelnet, 1958:85).

3.

Literal Translation This procedure directly transfers the source language into the target

language. Literal translation procedure is most commonly used when translating between two languages of the same family (Vinay and Darbelnet, 1958:86).

4.

Transposition Transposition procedure is a procedure of changing the word class of certain

elements of translation (Vinay and Darbelnet, 1958:88).


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Modulation The fifth translation procedure is the modulation procedure. Modulation

procedure let the translator to translate the source language in different points of view (Vinay and Darbelnet, 1958:89).

6.

Equivalence Equivalence enables the translator to observe the message certain unfamiliar

phrases or idioms from the source language and then translate it into the commonly used phrases or idioms in the target language (Vinay and Darbelnet, 1958:90).

7.

Adaptation The last translation procedure is called adaptation. In general, adaptation

procedure is adapting certain segment of source language and then applied the adopted worh in the target language (Vinay and Darbelnet, 1958:90). The researcher used these procedures as the guidance to analyze and calculate the occurence of Vinay and Darbelnet’s translation procedures.


CHAPTER II REVIEW OF RELATED LITERATURE This chapter consists of two sections. The first section contains the theories in relevance with the subject matter. The second section of this chapter presents the synthesis of the first section, which is theoretical description. The synthesis of the theoretical description will be used to solve the research problem of the study. A.

Theoretical Description

In this part, the researcher explains some theories employed in this study. There are definition of translation and Jean-Paul Vinay and Jean Darbelnet’s translation procedures.

1.

Translation

Meetham and Hudson as cited by Bell (1991) define translation as the replacement of a representation text in certain language by the most likely best representation of the text in the other language (p.6). Synthesizing from what Meetham and Hudson said, translation here could be defined as an equivalence representation of a text derived from the source language into the target language. According to Cartford (1965), translation is an operation of text substitution in one language to another (p.1). By Catford definition, it can be clearly seen that there is a linkage between languages engaged in the translation process. Catford

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10 added that the linkage between the languages offer a condition where any theory of translation must be related to a theory of language (p.1). On the other hand, Larson (1984) simply said that translation is a change of form. Further, Larson explained that the form of the SL which changed, is replaced by the form of the receptor (target) language (p.3). The replacement of the SL form to the receptor language (TL) form indicates a change of form. In his book Meaning-Based Translation: A Guide to Cross-Language Equivalence (1984), Larson described how the change is accomplished. It is done by going from the form of the SL to the form of the TL within the semantic area (p.3). It means that it is only the form which changes and the meaning being transferred must be the same with the original form. The following figure is the visualization of translation process according to Larson (p.4).

SOURCE LANGUAGE

RECEPTOR LANGUAGE

Text to be translated

Translation

Re-express the meaning

Discover the meaning

MEANING

Figure 2.1 Translation Process (Larson, 1984;4)


11 Larson further explains, a translator needs to learn about every aspects of language, such as lexicon, grammar, cultural context and communication situation (1984;4). The text need to be analyzed in order to establish the meaning and then transfer it to TL appropriately on behalf of every language aspects. It is on the translator’s hand to choose the most agreeable definitions of translation proposed by the expertise. The ultimate goal of translation is to deliver the meaning of the text in a natural way, no matter what side translator stand behind. Larson (1984, p.6) presented three criteria of the best translation.The first one is that best translation uses normal language form of the target language. When a translation uses a normal form of the target language, the translation language forms will become more natural. Second is the generous amount of communication between the target language speaker and the source language speaker using the same meaning that was understood by both groups. The last one is to maintain the dynamics of the source language text originality. Maintaining the dynamics of the source language text originality means that the translation can hopefully evoke the respose in the same way as the source language did. 2.

Vinay and Darbelnet’s Translation Procedures

a.

Borrowing

In general speaking, borrowing is the the simplest of all translation methods. Vinay and Darlbernet (1958, p.84) agreed that borrowing is the proper method to overcome a lacuna or gap. (p.84) This method can be applied to


12 introduce a characteristic of the culture that was delivered in the source language into a foreign term. For example, some Italian and German food names such as pizza and lasagna or frankfurter and bratwurst. As a Bahasa Indonesia speaking country, Japanese words like tsunami and karaoke are already familiar. As Vinay and Darbelnet (1958) said that, many borrowings enter a language through translation. New borrowings are waiting to enter a language when the decision to borrow a source language (SL) word or expression for introducing an element of local color is a matter of style and consequently of the message SL: I ate pizza yesterday. TL: Saya makan pizza kemarin. As can be seen above, the linguistic features are the same as the source language text and target language.

b.

Calque

Calque is a translation of the word-by-word literal of a phrase or even a word in the source language into the target language by maintaining a sequence of linguistic units phrase or word original. Calque produces linguistic forms (meaning and structure of the phrase) on the same target language to the source language (Vinay and Darbelnet, 1958:85). This is actually a loan that was translated literally without changing the composition of the morpheme or word. Consider the following example: English

: Antibody

Indonesian : Antibodi


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: Blue blood

Indonesian : Darah Biru English

: Spiderman

Indonesian : Spiderman In Bahasa Indonesia it is possible to literary translate it into Manusia Labalaba. Calque is a special kind of borrowing whereby a language borrows an expression form of another, but then translates literally each of its elements. The result is either a (i) lexical calque, as in the first example, below, i.e. a calque which respects the syntactic structure of the TL, whilst introducing a new mode of expression; or (ii) a structural calque, as in the second example, below, which introduces a new construction into the language, e.g.: English-French calque Adam’s Apple - pomme d'Adam English-Latin calque Rest in Peace - requiescat in pace Almost similar to borrowing, calque translates the source language into the target language without adding any necessary changes. The examples above are called structural calque translation. English and French do not share the same root language, that is why there are some differences in the translation, structurally. However, these small differences do not change the meaning and the message of the translation at all. It will be a different case when French and Italian are compared since they are basically share the same root language and even cultures.


14 On the other hand, as English and Latin shares the same root since the root of English is Latin, there is no difference in the translation, structurally. The researcher does not need to make any adjustment to the translation since they share the same structural arrangement. Therefore, it is easier to apply calque procedure when the source language and the target language share the same root language. As with borrowings, there are many fixed calques which, after a period of time, become an integral part of the language. These too, like borrowings, may have undergone a semantic change, turning them into faux amis.

c.

Literal Translation The next translation procedure of Jean-Paul Vinay and Jean Darbelnet’s

translation procedures is the literal translation. Literal translation procedure also known as word to word translation is the commonly used translation procedure among all (Vinay and Darbelnet, 1958:86). This procedure lets the translator to directly translate the source language into the target language into grammatically and idiomatically appropriate translation. Below is the example of a literal translation. SL: Yesterday I met Mary in the canteen. TL: Kemarin saya bertemu Mary di kantin. It is obvious that the sentences above, both the source language sentence and the target language sentence share the same grammatical structure. Each word in the target language translation is translated exactly the same translation of the


15 source language sentence. That is why literal translation procedure is also known as word to word translation. This translation procedure is also known as the simplest procedure of all Jean-Paul Vinay and Jean Darbelnet’s translation procedures. Borrowing becomes the simplest procedure out of all translation procedures simply because it limits the translation only to observe the language and translate the word into the best closest translation of the target language. However, there are five important indicators which can measure when the use of literal translation procedure is unacceptable. Literal translation procedure is unacceptable when it: (i) gives another meaning ; (ii) has no meaning, or; (iii) is structurally impossible, or; (iv) does not have a corresponding expression within the metalinguistic experience of the target language, or; (v) has a corresponding expression, but not within the same register. When these five indicators occured, translator must turn the method into the oblique translation. These indicators do not necessarily appear all together in a translation. However, when one of the indicators appears in a translation, then the translation should be considered as an unacceptable translation.

d.

Transposition

Another translation procedure is transposition. It is a procedure that can change the arrangement of the words in the sentence. Its main characteristic is to change the type of the verb into a noun or vice versa. Yet, this procedure does not necessarily change the meaning of the sentence. In fact, every word class changes,


16 for example from a noun into a verb, an adjective into an adverb, can be called transposition (Vinay and Darbelnet, 1958:88). See the following example: SL: Setelah dia berdiri, saya menjatuhkan sendok tersebut. TL: As soon as he gets up, I dropped the spoon. In the above example, setelah belongs to preposition word class which means after. Setelah is translated into the target language as as long as. As long as on the other hand, is a conjuction. It is obvious that the original word from the source language which belongs to the preposition word class is changed into a conjuction. From a stylistic point of view, the base and the transposed expression do not necessarily share the same value. Translators must, therefore, choose to carry out a transposition if the translation thus obtained fits better into the utterance, or allows a particular nuance of style to be retained. Indeed, the transposed form is generally more literary in character.

e.

Modulation

Modulation is a transposition that leads to different points of view within the target language (TL). This change can be justified when, although a literal, or even transposed, translation results in a grammatically correct utterance, it is considered unsuitable, unidiomatic or awkward in the TL (Vinay and Darbelnet, 1958:89). SL: You're quite a stranger.


17 TL: Kamu orang yang aneh. The above example shows modulation from English to Bahasa Indonesia. Strangers in the example above particularly carries the meaning of a weird guy, instead of the literal meaning which is an outsider. Therefore, the word aneh which literally means weird, can be used to translate the word stanger.

f.

Equivalence

Equivalence or equivalent further 'distance' to the linguistic form of the source language (Vinay and Darbelnet, 1958:90), (Note that the use of word equivalence or equivalent here has completely different meanings the word "equivalence" or 'equivalent' in the discussion of translation theory in general.)With this procedure, the translator said wear style and different structures with subtitles sources. This is usually used to translate proverbs, idioms, or the like. Consider the following examples: SL : It rains cats and dogs. TL : Hujannya sungguh lebat. SL: Joko tertangkap tangan mencuri kalung. TL: Joko caught redhanded stealing the necklace. Rain cats and dogs is an English idiom. The real meaning of hujan lebat is heavy rain. In this case, the translator needs to use the equivalence procedure to deliver the closet equivalence of the idiom. The example of the proper translation for idioms can be seen from the examples above.


18 The second example is similar to the first one. Tertangkap tangan is an Indonesian idiom which means someone getting caught doing something. The best english word to translate this idiom is redhanded. Joko got caught when he tried to steal a necklace. From this sentence, it is clear that Joko is redhanded stealing a necklace. It can be concluded that the use of the equivalence procedure in both idioms are well executed. Each country has different idioms and this is where equivalence translation procedure becomes the most efficient procedure to be used as a translation procedure. Equivalence translation procedure enables the translator to observe the idiom and find the meaning of the idiom in the source language. The next step is, the translator needs to find an idiom in the target language which shares the same meaning as the idiom from the source language. g.

Adaptation

Last procedure according to Vinay and Darbelnet (1958) is an adaptation. Linguistic form (meaning of words and sentence structure) generated target language text further than the equivalence results. Adaptation is done if the situation described in the source language text is not in the target language culture (Vinay and Darbelnet, 1958:90). This procedure enables the translator to adapt the situation so that it can describe events equivalent in the target culture with the events described in the text of the source language. Adaptation can, therefore, be described as a special kind of equivalence, a situational equivalence. The refusal to make an adaptation is invariably detected


19 within a translation because it affects not only the syntactic structure, but also the development of ideas and how they are represented within the paragraph. Even though translators may produce a perfectly correct text without adaptation, the absence of adaptation may still be noticeable by an indefinable tone, something that does not sound quite right. B.

Theoretical Framework

This section presents the framework of the discussion using some relevant theories. The aim of this section is to solve the reserarch problem, related to the translation procedure used in Djenar’s Melukis Jendela. The first problem focuses on the occurence of Vinay and Darbelnet’s translation procedures in Djenar’s Melukis Jendela. The second problem focuses on the procedure which most widely applied in the translation. In this case, the researcher employs some calculations in order to narrow down the data and points out the most applied procedure. The researcher applies Jean Paul Vinay and Jean Darbelnet’s translation procedures theories. There are two methods which translator can choose from Vinay and Darbelnet’s translation procedures, namely direct, or literal translation and oblique translation. Using Vinay and Darbelnet’s translation procedures, translator can transpose the source language message from substant to substant into the target language. The basic of using this way are (i) parallel categories, cope the structural parallelism field, or (ii) on parallel concepts, which are the


20 result of metalinguistic parallelisms. In this phase, translator can apply the direct method. It possible for the translator to find gaps or lacunae during the process of translating the source language into the target language. In his book, Vinay and Darbelnet’s also states that it is possible that certain stylistic effects cannot be transposed into the target language without violating the syntactic order and any small elements of the language. This happens because of the difference of the structural or metalinguistic. (Vinay and Darblenet p.1) In this case more advanced methods need to be used to overcome the problem. This advanced method used to overcome the lacunae during the translation process called oblique translation.


CHAPTER III

METHODOLOGY

In this chapter, the researcher discussed the method used in this study to solve the research problem. The discussion consists of some parts, namely, the research method, research subjects, instruments and data gathering techniques, data analysis techniques, and research procedures.

A.

Research Method

The researcher employed qualitative research in conducting the research. According to Merriam (2002), qualitative research explores the interpretation in a certain point in time and context. In addition, Miles and Huberman (1994) state that qualitative data presents data in the form of words. Since the data of this study are Melukis Jendela and Painting a Window. Thus, the researcher considered qualitative research is likely the best fit to analyze and interpret the data. The method used in this study was qualitative content analysis. According to Smith (1966), content analysis is a method to synthesize certain information from a body of material by objectively and systematically identifying specified characteristics of material (p. 314). Content analysis enables the researcher to identifies and analyze the content of the text. Leedy and Ormord (2005) state that content analysis is typically performed on forms of human communication, including books, newspapers, films, televisions, art, music, videotapes of human

21


22 interaction, and transcript of conversations (p. 142). In line with Leedy and Ormord’s statement, Smith (1966) states content analysis is applied to qualitative material obtained from archived records, recording of naturally occurring behavior, or evoked responses (p. 314). In this research the data were obtained from two short stories, Melukis Jendela and Painting a Window. The Glossary of Literary Terms (2011, Vol. III) defines short story as a brief work of prose fiction and it can be analyzed as the way the components elements, types, and narrative techniques of novel are analyzed (“short story”). Considering the purpose, the aim of the method and the possible match of the method for analyzing the short story, the researcher used content analysis as a method to analyze the translation product because it is the most applicable method.

B.

Research Subjects The subject of this study was Djenar’s short story entitled Melukis Jendela

and the English version Painting a Window translated by Michael Nieto Garcia. Melukis Jendela was published along with other of Djenar’s short stories on December 2003 by Gramedia Pustaka Utama. The short stories are compiled into one book of fictional stories titled Mereka Bilang Saya Monyet. The title of the book is taken from the title of one of Djenar’s short stories within. The book contains eleven short stories.


23 The details of the sources analyzed in the study were as follows: 1.

Melukis Jendela, a short story by Djenar Maesa Ayu, Modern Indonesian

Fiction writer. 2.

Painting a Window, the translated version of Djenar’s Melukis Jendela by

Michael Nieto Garcia. Mereka Bilang Saya Monyet!, is an anthology of Djenar’s short stories. Gramedia Pustaka Utama is the publishing house of Mereka Bilang Saya Monyet!. The book is one hundred and fifty (150) pages thick and published in January 2002. C.

Research Instruments and Data Gathering Techniques The instruments of this study were Djenar’s original work Melukis Jendela

and translation product Painting a Window. There is one research problem which this study focused on. The research problem of this study aims to convey the translation procedures proposed by Vinay and Darbelnet. The rresearcher gathered the data for the first research problem by putting the source text and translated text side by side. Then, the source text and the translated text were compared at words, phrase, and sentence level. Since Garcia stated that the punctuation had been standardized as in Standard English, the researcher did not include the punctuation as the data to be analyzed. The reserarched added some addtional information regarding the numbers of occurence of each procedure. This additional research aims to find out what


24 procedure is most used in the translation. To answer this research, the researcher employed data calculation. D.

Data Analysis Techniques

This section presents the techniques used by the researcher to analyze the object of the study, which is Djenar’s Painting a Window. There were five techniques used by the researcher to solve the research problem. 1.

Data Input The researcher collected the data and put it into data compilation. This

technique helps the researcher to make the data categorization much easier. 2.

Data Categorization Data categorization aims to help the researcher analyze and identify the data

one by one. There are seven categories based on Vinay and Darbelnet’s research procedures. 3.

Data Analysis and Identification The researcher analyzed each category to find certain features in the

translation and thoroughly observed them. Identification is a further step to validate whether the features found in the translation match to the given category. 4.

Data Measurement The final step is data measurement. This technique aims to provide logic

and countable research findings.


25 The researcher calculated the precentage of the data by using the formula below: 𝑥 𝑛

X 100%

Figure 3.1 Data Calculation Formula

In where:

= The total of the collected data based on the category = The total of the collected data The formula above is used to calculate the percentage of the data on each of the procedure by dividing the total of the collected data based on the category by the total of the collected data. The result of the calculation represents the amount of each data based on the category. E.

Research Procedures

This study applied several procedures, which were done as follows: 1.

Collecting the data The researcher observed the data to find some insights. Then, the researcher

collected the data from Djenar’s Melukis Jendela and Painting a Window. 2.

Inputting data into the table. The second step requires the reserarcher to put the data into the table. The

organized data in the table helps the data analysing process become much easier.


26 3.

Analysing the data After putting the data into the table, the researcher analysed the data by

using Vinay and Darbelnet’s translation procedures as the guidance. 4.

Placing the data based on the category Categorization was the second last step in this section. After finishing the

analisis part, the researcher placed each data based on their translation procedures category. 5.

Calculating the occurence of each procedure in the translation The last step after completing data collection and analysis was calculating

the occurence of each procedure in the translation. The researcher used a formula (see figure 3.1 ) to gather the occurence precentage of each procedures.


CHAPTER IV RESEARCH RESULTS AND DISCUSSION

This chapter consists of two parts where the researcher discusses the results of the research. There is an additional part which has a relation with the main part. The main part discusses the translation procedures used in Djenar Maesa Ayu’s Melukis Jendela. Whereas the additional part points out the occurence of the procedures in Painting a Window. The researcher calculated the results and presented it as a calculated data in a form of precentage.

A.

Vinay and Dalbernet Translation Procedures in Djenar's Painting

a Window Research results section contains the data collected from Djenar’s Painting a Window. The data were categorized into different group according to Vinay and Darbelnet’s theory on Translation Procedures.

In categorizing the data, the

researcher uses the methods described in the previous chapter, Methodology. The researcher underlined the sentences, phrases, or words in the source and target language for the parts using Vinay and Darbelnet’s certain translation procedures. Table 4.1 contains the list of data (sentences, phrases, and words) from Painting a Window which used Vinay and Darbelnet’s translation procedures.

27


28 The sample of the data collection results can be seen from the following tables: a.

Borrowing Borrowing is the simplest procedure of all translation procedures proposed

by Jean-Paul Vinay and Jean Darbelnet. The nature of borrowing is to introduce the element of the source language into the target language by simply borrows the original words. Table 4.1 Sample Data of Borrowing Procedure SL.003

TL.003

So she began to

Maka ia mulai paint a mother, melukis seorang with hair done up ibu, bersanggul dan in a formal bun and berkebaya emas wearing a golden dengan selendang kebaya and a light coklat muda yang brown scarf kontras dengan kain contrasted with the berwarna coklat tua brown saroong that yang dikenakannya, she wore. In the sedang duduk painting she was memangku Mayra sitting with Mayra sambil menatap on her lap, gazing mata Mayra hangat into her daughter's dan mesra. eyes affectionately.

Borrowing


29 SL.024

"Wah… Anton KO

TL.024

sama cewek!"

"Whoa! Anton got

Equivalence

knocked out by a girl!"

Table 4.1 shows that the translation used borrowing procedure. It can be seen from the word kebaya which is literally translated into the original word kebaya. As Vinay and Darbelnet’s points out that borrowing introduces the taste of the source language’s culture or tradition, Garcia applied borrowing properly to translate kebaya. By applying this procedure, the readers will gain an opportunity to learn about Indonesian culture. The second example in SL.024 is KO which is basically an English abbreviation for knocked out. In this sentence, the translator did not make any dramatic change despite breaking down the abbreviation into the original phrasal word of knocked out. KO or knocked out is obviously a borrowing from English to Bahasa Indonesia.

b.

Calque A calque is a special kind of borrowing whereby a language borrows an

expression form of another, but then translates literally each of its elements. The result is either a (i) lexical calque, as in the first example, below, i.e. a calque which respects the syntactic structure of the TL, whilst introducing a new mode of expression; or (ii) a structural calque.


30 Table 4.2 Sample Data of Calque Procedure

SL.073 Ia meluapkan

TL.073 She let her joy bubble Calque over, …

kegembiraannya. SL.079 Ayah dan Ibu

TL.079 Mommy and Daddy

menciumnya bertubi-

kissed her over and

tubi.

over again.

Calque

The idea of calque procedure is to deliver an expression form then translates it into the target language without violating the linguistics structure. Generally almost the same as borrowing but calque procedure enables the translator to deliver it using the target language. SL.073 shows an expressions of joy from the word kegembiraan. It is not an ordinary joy but the overflowing one, as further described by using the verb meluapkan. In TL.073 the translator used the word bubble over to deliver the message of the overflowing feeling that Mayra experienced. The translator put it together in a sentence into “She let her joy bubble over, ...” which best described what Mayra felt. The same case happened in TL.079 where the word bertubi-tubi which means non-stop is translated into over and over again.

c.

Literal The third procedure of Vinay and Darbelnet’s translation procedures is

literal translation procedure. Literal translation procedure is most commonly used


31 when translating between two languages of the same family. This procedure directly transfers the source language into the target language. Table 4.3 Sample Data of Literal Procedure

SL.006 Ia mendengar Ibu

TL.006 She heard her mother

dengan lembut

softly say everything

mengatakan segalanya

would be better

akan membaik esok

tomorrow.

Literal

hari. SL.051 Ia tersenyum.

TL.051 She smiled.

Literal

SL.057 Sudah hampir dua

TL.057 It was almost two

Literal

tahun sejak Mayra

years since Mayra cut

menyayat mukanya.

her face.

SL.062 Siang itu Mayra

TL.062 That afternoon Mayra Literal

SL.062 sangat bahagia.

TL.062 was very happy.

Literal

There are several examples of literal translation in table 4.3. In SL. The sentences from table 4.3 are transalated word to word from Bahasa Indoneasia to English. The most obvious example is from SL. 051. Ia tersenyum, the word ia refer to Mayra so the pronoun is “she” and tersenyum is a verb meaning smile in English. Then, the final literal translation for “Ia tersenyum.” is “She smiled.” The same procedure applied in SL.057 and SL. 062. There is one example of quite complex version of litereal translation, which can be seen in SL. 006. Nothing complicated but there is one word which needs more elaboration to be translated


32 in English. The word Ibu which means mother, gets some additional replacement to make a clear point that it refers to Mayra’s mother. In this transalation, the translator uses possesive noun and translated as “... her mother.” d.

Transposition Transposition procedure is a procedure of changing the word class of certain

elements of translation. Table 4.4 Sample Data of Transposition Procedure

SL.080 Mayra merasa geli

TL.080 It tickled her …

Transposition

TL.116 She had no more

Transposition

dan girang. SL.116 Kepada Ayah dan Ibu ia sudah tidak

expectations

punya pengharapan

whatsoever of her

apa-apa.

mother and father.

SL.124 Bayangan rambut

TL.124 In her imagination

hitam laki-laki yang

the man rode

tergerai hingga dada

bareback on a white

menari-nari tertiup

horse. His black hair

angin di atas kuda

hung down his

putih tak berpelana.

chest, dancing in the wind.

Transposition


33 Transposition procedure is a procedure of changing the word class without changing the meaning or message. As can be seen in TL.080 Where the subject is Mayra, in the source language, the translator moved it all the way around. The translator change Mayra as the object and the action that tickled her as subject without changing the meaning or message. The same action of swifting the subject all the way into object occured in TL.116 and TL.124. In SL.116 it is the father and mother playing the role as a subject in the sentence but then the translator change it to an object and vice versa. As in TL.080 and TL.116, TL.124 also applied the same method of changing the subject into the object and vice versa. In TL.124, Mayra’s imagination plays a role as a subject and the imaginary man as an object. e.

Modulation The fifth translation procedure is the modulation procedure. Modulation

procedure let the translator to translate the source language in different points of view. Once again, this procedure is free to use as long as it does not violate the meaning or the message from the source language. Table 4.5 Sample Data of Modulation Procedure

SL.021 Mereka kembali

TL.021 They all started

tertawa sambil

laughing again, and

memegangi perut.

grabbed her around the midriff.

Modulation


34 SL.117 Ia sudah menerima

TL.117 She had already

bahwa kenyataan

accepted this was

itulah yang mutlak ia

reality, she had to

telan bulat-bulat.

swallow it

Modulation

unconditionally.

The fourth procedure is called modulation. It is simply applied by changing the point of view without violating the message. SL.021 delivers a simple message of the boys laughing at Mayra. Then, in TL.021 some changes were made where the translator added some more words to points out some details of the actions. Eventhough there were some addition in the sentence, it does not necessarily changed the message from the source language. The traslator added “again” as the boys laughed several times before. There are some more words added to let the readers get some insights and visualization regarding the action. The changes can be seen from this little part of the sentence, “ ... grabbed her around the midriff.” TL.117 also used the same method of delivering message by using transposition procedure.

f.

Equivalence Idioms are usually translated by using equivalence procedure. Equivalence

enables the translator to observe the message certain unfamiliar phrases or idioms


35 from the source language and then translate it into the commonly used phrases or idioms in the target language. Table 4.6 Sample Data of Equivalence Procedure

SL.020 Biar kami garap sekalian!" SL.141 Seperti kerbau

TL.020 We should have a

Equivalence

go at her too!" TL.141 Like water buffaloes

dicucuk hidungnya

led by the nose, they

mereka mengikuti

followed her steps to

langkah Mayra

the canteen.

Equivalence

menuju kantin.

There are two samples presented in table 4.6 . The first one is the word garap which is translated into water have a go in SL. 020. The word garap is an expression which carries a meaning getting an act on something. In SL. 020 the word garap is translated into have a go which have the same equivalence as getting an act on something. SL.141 is a unique example of equivalence as the original source is using Indonesian proverb. Vinay and Darbelnet in his book suggested that it is better to translate a proverb using equivalence procedure. The reason behind it is that as it is a local proveb that might contains some cultural knowledge and meanings, translator does not want to deliver a wrong message. The equivalence of “Seperti kerbau dicucuk hidungnya ...” is best translated into “Like water buffaloes led by the nose ...”


36 g.

Adaptation The last translation procedure is called adaptation. In general, adaptation

procedure is adapting certain segment of source language and then applied the adopted worh in the target language. Adaptation enables the translator adapt the situation so that it can describe events equivalent in the target culture with the events described in the text of the source language. Table 4.7 Sample Data of Adaptation Procedure

SL.173 Mereka lebih mirip

TL.173 … looking more like

bidadari ketimbang

fairies than human

anak manusia.

children.

Adaptation and Calque

Note: SL: Source Language; TL: Target Language Table 4.7 shows that Garcia used adaptation procedure to translate bidadari into fairies. Bidadari in Indonesia is illustrated as a princess or a goddess from heaven than fairy is a type of mythical being which is illustrated as a small sparkly creature with wings. In conclusion, bidadari and fairy are two different kind of creatures. The discussion is given to each points of Vinay and Darbelnet’s translation procedure in general. This section presents the calculation of the occurrence frequency of each translation procedure. Some examples will are already explained in section A of this chapter. This section will mainly discuss the percentage of occurence of Vinay and Darbelent’s translation procedures in the translation. The following

table presents the data in a form of number.


37 Researcher reviewed and calculated the precentage from the table data which can be seen in the appendix. B.

Occurrence Frequency of Vinay and Darbelnet's Translation

Procedure Applied in Djenar's Translation The discussion is given to each points of Vinay and Darbelnet’s translation procedure in general. This section presents the calculation of the occurrence frequency of each translation procedure. Some examples are already explained in section A of this chapter. This section will mainly discuss the percentage of occurence of Vinay and Darbelent’s translation procedures in the translation. The following table presents the data in a form of numbers. Reseracher reviewed and calculated the precentage from the table data which can be see in the appendix. Table 4.8 Data Collection Result

TP

B

C

L

T

M

E

A

Double

Total

2

3

130

25

19

5

1

4

Note: TP: Translation Procedures; B: Borrowing; C: Calque; L: Literal; T: Transposition; M: Modulation; E: Equivalence; A: Adaptation

Table 4.8 shows that literal translation procedure dominates the results. Literal translation procedure is in the first place followed by transposition, modulation, equivalence , calque, and the last is borrowing. However, there are four data which have double procedure in a sentence.


38 Table 4.9 Sample data of Double Procedure

SL.002 Sebagai anak tunggal

TL.002 As an only child she Literal and

ia menghabiskan

spent much of her Modulation

banyak waktu hanya

time day dreaming,

dengan melamun

since she had no one

tanpa seorang pun

to talk to.

untuk diajak berbicara. SL.046 Mayra menerima

TL.046 Mayra took the

pisau itu kedalam

knife in her hand

tangannya dan

and they walked

mereka bergandengan

arm in arm back to

kembali ke kamar

the bedroom,

lalu mengunci pintu.

locking the door.

SL.056 Ibu sudah kembali ke

TL.056 She was back in the

dalam lukisan, duduk

painting, sitting

tersenyum manis

there smiling

sambil memangku

sweetly, while

dirinya, mengenakan

taking Mayra on her

kebaya emas dan

lap, wearing golden

selendang coklat

kebaya with the

SL.056 muda.

TL.056 light brown scarf. Note: SL = Source language; TL = Target language

Literal and Equivalence

Literal and Borrowing


39 Double procedure sentence is a sentece which applied two procedures in a sentence. In TL.002, the first half part of the sentence applied literal translation. The first half part of the literal translation is: “Sebagai anak tunggal ia banyak menghabiskan waktu dengan melamun ...” translated into “As an only child she spent much of her time day dreaming ...”. This half part of the sentence is structurally and grammaticaly the same between the source language and the target language. However, starting from the second half of the sentence, Garcia changed the procedure into modulation. In this part of the sentence: “... tanpa seorang pun untuk di ajak bicara.” Garcia translated the sentence into “... since she had no one to talk to.” The translator added the conjunction “since” and change the point of view of the message. The actual message visualizes that it was there was no one around. That is why Mayra spent much of her time day dreaming. It is the environment which made Mayra does not have any companion. By applying modulation procedure, Garcia actually did not change the message at all. The use of the conjuction simplify the structure of the source language. The conjuction let the translator to directly points out that Mayra does not have anyone to talk to. However, the outcome of the translation did not really points out why Mayra does not have anyone to talk to. The second combination of the procedures is in SL.046. The translator combines literal translation procedure and equivalence translation procedure. Most of the words are literaly word to word translation except for one word


40 bergandengan which means holding hands. The translator translated the word bergandengan into an English idiom arm in arm, ehic shares the same message of holding hands or bergandengan in Bahasa Indonesia. SL.056 on the other hand, used the combination of literal procedure and borrowing procedure. The procedure can be clearly seen from the structure and grammar of both source and target language. Borrowing procedure is used mainly to translate the cultural word, kebaya. The researcher gathered and calculated the results in order to find the precentage of each procedures used in the translation. The following formula is the formula used in the data calculation (see figure 4.1). The results of the data calculation is presented in table. 4.1.

𝑥 𝑛

X 100%

Figure 4.1 Data Calculation Formula

In where:

= The total of the data based on the category = The total of the collected data


41 Table 4.10 Data Calculation Result

No.

Category

Total Data

Result

1.

Borrowing

2

1.08%

2.

Calque

3

1.62%

3.

Literal

130

70.27%

4.

Transposition

25

13.5%

5.

Modulation

19

10.27%

6.

Equivalence

5

2.7%

7.

Adaptation

1

0.54%

8.

Double Procedure

4

2.16%

Michael Nieto Garcia as the translator of Djenar Maesa Ayu’s Melukis Jendela used all of the translation procedures proposed by Jean-Paul Vinay and Jean Darbelnet. The calculation above shows that the most applied procedure is the literal translation. Literal translation dominates all other procedures by seventy point twenty seven percent (70. 27%). There are one hundred and thirty (130) entries of literal translation in Painting a Window. The second procedure which occurs frequently is transpotion (25 entries), followed by modulation (19 entries), equivalence (5 entries), calque (3 entries) and borrowing (2 entries). Adaptation is the least used procedure in this translation. Double procedure data are not commoly found in the translation but the researcher managed to point out four entries.


CHAPTER V

CONCLUSIONS AND RECOMMENDATIONS

This

chapter

consists

of

two

parts,

namely,

conclusions

and

recommendations. Conclusions present the essential points of the discussion. Recommendations

present

some

suggestions

for

students

of

English

Departments, readers and future researchers.

A.

Conclusions

The researcher discovered one hundred and eighty five (185) data from Djenar’s Painting a Window. Vinay and Darbelnet’s literal translation procedure is the most applied procedure found in this translation. There are one hundred and thirty (130) data which are using this procedure. The least applied translation procedure is the adaptation procedure. There are only a few cultural words in this translation which affected the use of borrowing procedure application in this translation. Based on the analysis, there were two borrowings discovered, namely, kebaya and saroong. Since Bahasa Indonesia and English have different structure, modulation helps Garcia deliver the message from a different point of view. While transposition is used to simplify the sentence structure without changing the meaning. Calque, on the other hand, is used to translate the expression of some words in Bahasa Indonesia to English so that they will share the same corresponding expressions. Equivalence is also used by Garcia to translate 42


43

Indonesian proverb “Seperti kerbau dicucuk hidungnya...” to “Like water buffaloes led by the nose...”. From the analysis, the researcher concluded that Vinay and Darbelnet’s literal translation procedure is the most inconveninent procedure to help Garcia translate Djenar’s Melukis Jendela. As this procedure is the simplest and safest procedure to avoid amibiguity and incoherence in translating Djenar’s short story. In addition, adaptation is the least procedure to be found in this study as this procedure could lead to innacuracy in translation. Moreover, adaptation could sometimes violate the meaning of the actual message in the source language. Moreover, the researcher also discovered what the most applied translation procedures from Vinay and Darbelnet is. There is an important point related to Vinay and Darbelnet’s translation procedures in this study. The important point is that literal translation procedure is the most applied procedure in this study as this procedure is the simplest yet the safest.

B.

Recommendations

In this section, the researcher addressed some recommendations for students of English Departments, readers and next researchers. First, for students of English Departments, this research will be useful to enrich their understanding on Vinay and Darbelnet’s translation procedures. Moreover, this study can be used as a reference in the translation class. Therefore, this study can help them understand more about Vinay and Darbelnet’s translation procedures.


44

Second, for the readers to enrich their understanding on translation study, especially translation procedures. Moreover, the researcher hopes that the reader could gain some insights translation procedures that are useful to be used in translate a fictional work from Bahasa Indonesia to English. Lastly, future researchers can use this study as a reference for a similar study. In addition, this study can also be extended to discuss other translations. In addition, the future researchers can analyze the innacuracy of Djenar’s Painting a Window translation.


REFERENCES Abrams, M.H., & Harpham, G.G. (2009). A glossary of literary terms (9th ed.). Boston: Wadsworth Language Learning. Ayu, D., M. (2003). Mereka bilang, saya monyet!. Jakarta: Gramedia Pustaka Utama. Ayu, D., M. (2005). They say I’m a monkey. (M. Nieto Garcia, Trans.). Jakarta: Methapor Publishing. (Original work published 2003) Bell, R., T. (1991). Translation and translating: Theory and practice. London. Longman Inc. Campbell, S. (1998). Translation into the second language (3rd ed.). London: Addison Wesley Longman Inc. Catford, J. C. (1965). A linguistic theory of translation. London. Oxford University Press Departemen pendidikan nasional. (2005). Kamus besar bahasa Indonesia (3rd ed). Jakarta: Balai pustaka. Ensiklopedia sastra Indonesia. (2004). Bandung: Titan Ilmu. Hatim, B. (2001). Teaching and researching translation. Essex: Pearson Education Ltd. Hatim, B., & Munday, J. (2004). Translation: An advanced resource book. New York: Routledge. Larson, M., L. (1984). Meaning based translation: a guide to cross-language equivalence. Lanham: University Press of America. Ltd. Leedy, P. D., & Ormrod, J. E. (2005). Practical research: Planning and design. (8th ed). New York: Pearson Prentice Hall. Merriam, S.B. (2002). Qualitative research in practice: example for discussion and analysis. San Fransisco: Jossey-Bass. Metzler, K. (1986). Newsgathering (2nd ed.). Englewood Cliffs; NJ: PrenticeHall, Inc. Miles, M. B., & Huberman, A., M. (1994). Qualitative data analysis. Thousand Oaks, CA: Sage Publications. Inc. Munday, J. (2001). Introducing translation studies: theories and applications (2nd ed.). London. Routledge 45


Nevendorf, K., A. (2002). The content analysis guidebook. Thousand Oaks, CA: Sage Publications Inc. Newmark, P. (1981). Approaches to translation. London: A Wheaton and Co. Newmark, P. (1981). Approaches to translation. Oxford. Pergamon Press Shaffer, B.,W., & Ball, J.C. (Vol. Ed.). (2011). The encyclopedia of twentiethcentury fiction: twentieth-century world fiction (Vol. III). West Sussex: Willey-Blackwell

46


APPENDIX I DATA COLLECTION OF TRANSLATION


47 No. SL.001

Source Language

No.

Sejak kecil Mayra senang melukis. Sebagai

anak

tunggal

TL.001

ia

SL.002 hanya dengan melamun tanpa TL.002 seorang pun untuk diajak

mulai

emas

lap,

gazing

into

her

Whenever Mayra come home from school-- greeted only by

dan kesejukan dari dalam rumahnya yang ber-AC, ia akan segera masuk kamar dan menghabiskan

waktu

bercakap-cakap

dengan

the loneliness and coldness of TL.004 the airconditioned house-- she would go straight to her room and spend her time talking to the painting.

lukisan itu. Ia berkeluh kesah tentang di

sekolah yang kerap merabapayudara

with the dark brown saroong

daughter's eyes affectionately.

disambut dengan kelengangan

raba

brown scarf that contrasted

her

Setiap Mayra pulang sekolah,

prianya

dreaming, since she had no

she was sitting with Mayra on

Mayra hangat dan mesra.

teman-teman

day

that she wore. In the painting

memangku

Mayra sambil menatap mata

SL.005

time

golden kebaya and a light

coklat tua yang dikenakannya,

SL.004

her

in a formal bun and wearing a

dengan

SL.003 kontras dengan kain berwarna TL.003

duduk

of

mother, with her hair done up

selendang coklat muda yang

sedang

much

So she began to paint a

melukis

seorang ibu, bersanggul dan berkebaya

liked to paint.

one to talk to.

berbicara. ia

From an early age Mayra

As an only child she spent

menghabiskan banyak waktu

Maka

Target Language

dan

With sigh, she complained TL.005

about the boys at school who often fondled her breasts and genitals, filling her with terror


48 kemaluannya menyebabkan

sehingga teror

whenever she went to school.

dalam

dirinya setiap berangkat ke sekolah. Ia mendengar Ibu dengan

She heard her mother softly

SL.006 lembut mengatakan segalanya TL.006 say akan membaik esok hari. SL.007

mendekapnya hingga tertidur. harinya

would

be

better tomorrow.

Mayra mengecup Ibu lalu

Keesokan

everything

TL.007

Mayra

Mayra kissed her mother and held her until she fell asleep. The next day Mayra went to

SL.008 pergi ke sekolah tanpa beban TL.008 school, relieved and full of dan penuh pengharapan.

hope.

Namun setibanya di sekolah segerombolan anak laki-laki SL.009

sudah

menghadangnya

depan

pintu

pagar

di dan

But when she arrived, a gang TL.009

beramai-ramai menariknya ke

of boys cut her off in front of the gate and pulled her into the empty school canteen.

kantin yang masih sepi. "Kalian

tidak

akan

bisa

"You guys aren't going to

SL.010 menyentuh saya hari ini!" TL.010 touch teriak Mayra. "Kenapa,

Manis…

today!"

kenapa

hari ini?" "Karena Ibu saya mengatakan begitu!"

"Why not, sweetie? Why can't we touch you today?"

TL.012 "Because my mother says so!"

SL.013 "Ibumu?

TL.013 "Your mother?

SL.014 Ibu yang mana?

TL.014 What mother?

SL.015

Mayra

screamed.

SL.011 kami tidak bisa menyentuhmu TL.011

SL.012

me

Ibu yang tidak pernah kami lihat satu kali pun juga selama

TL.015

The mother that none of us has ever seen in five years of


49 lima tahun bersekolah?

going to the same school?

Ibu yang tidak pernah datang

The mother that never even

SL.016 saat

mengambil

rapormu TL.016 comes when it's time to pick

sekalipun?!"

up your report card?!"

SL.017 Mereka ramai-ramai tertawa. SL.018

Seseorang

dari

mereka

berlima ikut berteriak,

TL.017 They laughed boisterously. TL.018 One of the five yelled,

"Aku mau lihat ibumu, pasti SL.019 ibumu

yang

"I want to see your mother.

menurunkan TL.019 You must have gotten your

kecantikannya kepadamu. SL.020 Biar kami garap sekalian!"

SL.021

Mereka

kembali

sambil memegangi perut. Mayra

SL.022

tertawa

pretty looks from her. TL.020

tepat

mengenai

hidung salah satu anak laki-

SL.024

Darah segar meleleh dari dalam hidungnya. "Wah… Anton KO sama cewek!"

kencang

Mayra swung her fist, hitting TL.022 one of the boys square in the nose.

TL.023

TL.024

menuju TL.025

kelasnya. Tidak SL.026

ada

yang

berubah

sebelum dan sesudah mayra meninggalkan rumah kecuali mobil ayahnya yang sudah

laughing

the midriff.

Mayra melepaskan diri lalu SL.025 berlari

started

TL.021 again, and grabbed her around

laki. SL.023

too!" They all

mengacungkan

tinjunya,

We should have a go at her

A trickle of fresh blood emerged above his lip. "Whoa! Anton got knocked out by a girl!" Mayra broke free and ran to her class. Nothing had changed since

TL.026

Mayra left the house earlier that day except that her father's car was no longer in


50 tidak

terparkir

di

dalam

the garage.

garasi. SL.027

Segala sesuatu masih tetap berada di tempatnya.

TL.027

Everything else was still in its place:

Lukisan-lukisan karya para

the paintings by famous artist,

pelukis terkenal, dua patung

two Balinese statues on either

Bali di samping pintu kamar

side

ayahnya yang terbuat dari

wood door to her father's

of

the

Jepara-carved

SL.028 kayu ukiran Jepara, barang- TL.028 room, various antiques, and a barang antik dan bingkai foto

framed portrait of herself and

ia dengan ayahnya , semuanya

her

rapi,

everything perfectly inorder

bersih

dan

tidak

terjamah.

SL.029

father

together--

and untouched.

Namun sama sekali tidak ada foto Ibu.

But

there

were

no

TL.029 photographs of her Mother at all.

Mayra menangis berlari ke

Mayra ran sobbing into her

SL.030 kamarnya dan mengeluarkan TL.030 room and pulled out the lukisan Ibu.

SL.031

SL.032

Ia

painting of her mother menumpahkan

kekecewaannya kepada Ibu. Tentang janji bahwa segala sesuatunya akan lebih baik.

She poured out all of her TL.031 disappointment to her mother in the painting. TL.032

SL.033 meninju hidung berandalan TL.033 itu hingga berdarah. Dan Ayah.

ia

mengadu

the

promise

that

everything would be alright. About how good it felt to

Tentang kepuasannya berhasil

SL.034

About

punch that naughty boy in the face and give him a bloody nose.

tentang

TL.034

And she complained about her father.


51 SL.035

Ayah yang idak pernah mau menceritakan asal-usul Ibu.

TL.035

Ayah yang tidak pernah ada

SL.036 namun menghabiskan waktu TL.036 seharian menulis di dalam

SL.037

tangan

Ibu

merasakan mengelus-elus

rambutnya lalu bersenandung

home and who, when he was home, spent all day in his office writing.

kamar kerja. dapat

to tell her about her mother. The father who was never

di rumah atau di rumah

Mayra

The father who never wanted

Mayra felt her mother's hand TL.037 caress her hair while she hummed soothingly to her.

menenangkan dirinya. Mayra menggenggam tangan

She held her mother's hands

SL.038 Ibu lalu menciumnya satu per TL.038 tightly, kissing each of them satu. SL.039

in turn.

"Ibu, apakah Ibu secantik yang mereka katakan? Dan

mengapa

TL.039

hanya

SL.040 kecantikan itu saja yang Ibu TL.040 wariskan? SL.041 Saya ingin Ibu SL.042

ini." ia

merasakan

rambutnya. Ibu berjalan menuntunnya ke dan

And why did you leave me only your beauty?

TL.042 I don't want your beauty."

SL.043 tangan Ibu berhenti mengelus TL.043

SL.044 dapur

as they say?

TL.041 I want you, Mommy.

Saya tidak ingin kecantikan

Lamat-lamat

"Mommy, are you as beautiful

memberinya TL.044

sebuah pisau. SL.045 "Sayat wajahmu, Nak…"

She felt her mother's hand stop stroking her hair.

Her mother led her to the kitchen and gave her a knife.

TL.045 "Cut your face, child."

SL.046 Mayra menerima pisau itu TL.046 Mayra took the knife in her


52 kedalam

tangannya

mereka kembali

dan

hand and they walked arm in

bergandengan

arm back to the bedroom,

kamar

locking the door.

ke

lalu

mengunci pintu. SL.047

Ia duduk di depan kaca meja rias. Kaca

SL.048

di

depannya

memantulkan bayangan Ibu sedang

TL.047

berdiri

di

SL.050

Perlahan

Mayra

menyayat

pipinya. Darah segar meleleh hangat di pipinya.

SL.051 Ia tersenyum.

SL.054

of

which

TL.049

Mayra slowly cut across her cheek.

TL.050 No translation TL.051 She smiled.

keluar

dari

She thought of the fresh blood

hidung TL.052 that had come out of her schoolmate's nose.

Merasakan

kenikmatan

meninju anak laki-laki itu. Merasakan

ia

kaki-kakinya

tersadar

She felt again the pleasure of TL.053 punching the boy in the nose, …

berlari kencang menuju kelas. Waktu

mirror

standing behind her.

temannya.

SL.053

the

TL.048 reflected her mother's image

Ia membayangkan darah segar SL.052 yang

table, … …

belakangnya. SL.049

She sat in front of the dressing

TL.054

dari

… and running her feet to class. When she snapped out of her

SL.055 lamunannya, Ibu sudah tidak TL.055 reverie, her mother wasn't

SL.056

ada di belakangnya.

behind her anymore.

Ibu sudah kembali ke dalam

She was back in the painting,

lukisan, manis

duduk sambil

tersenyum memangku

dirinya, mengenakan kebaya

TL.056

sitting there smiling sweetly, while taking Mayra on her lap, and wearing her golden


53

SL.057

emas dan selendang coklat

kebaya with the light brown

muda.

scarf.

Sudah hampir dua tahun sejak Mayra menyayat mukanya.

TL.057

Ayahnya marah besar dan SL.058

memindahkan

Mayra

ke

sekolah lain dengan alasan

tidak

SL.059 menceritakan

TL.058 angry and had moved Mayra to a new school out of shame.

pernah apa

yang TL.059

sebenarnya terjadi.

SL.060 pindahkan ke sekolah lain dan TL.060 mendapa reaksi dari Ayah.

untuk disandingkan dengan

Siang

itu

not to get such a reaction from

TL.061

then

painted

placing

him

her next

father, to

the

painting of Mother. Mayra

sangat

bahagia. Setelah

moved to a new school, and

She thanked her mother, and

lukisan Ibu. SL.062

had actually happened.

her father.

Ia berterimakasi kepada Ibu dan kini ia melukis Ayah

Mayra never told anyone what

She was happy enough to be

Ia sudah cukup bahagia di

SL.061

Mayra cut her face. Her father had been very

malu. Mayra

It was almost two years since

dinyatakan

TL.062

That afternoon Mayra was very happy.

lulus

After completing elementary

Sekolah Dasar dengan nilai

school with high marks, she

SL.063 cemerlang, ia diterima masuk TL.063 had been accepted into the

SL.064

SL.065

Sekolah Menengah Pertama

middle

yang diinginkannya.

wanted.

Sesampainya di rumah, mobil Ayah masi terparkir di garasi. Ia bergegas ke dalam lalu mengetuk

pintu

kamar

TL.064

TL.065

school

that

she

Her father's car was still in the garage when she got home. She

hurried

inside

and

knocked on the door to her


54 ayahnya

untuk

berbagi

father's

kegembiraan SL.066

Pintu

kamar

share the joy with him. dibuka

oleh

seorang wanita muda.

SL.067 "Apakah kamu Ibu?" Biasanya

room, wanting to

itu

TL.066

A young woman opened the door.

TL.067 "Are you my mommy?"

yang

selalu

That what was Mayra usually

SL.068 Mayra tanyakan kepada setiap TL.068 asked every woman that her wanita yang dibawa ayahnya. SL.069

SL.070

SL.071

Namun kali ini Mayra tidak ingin bertanya. Ia tahu wanita itu terlalu muda sebagai ibunya. Dan ia tahu ayahnya sedang tidak ingin diganggu.

father brought home. TL.069

TL.070

But Mayra didn't feel like asking this time. She knew that the woman was too young to be her mother. And she knew that her father

TL.071 didn't want to be bothered right now.

Dengan langkah gontai Mayra

Listlessly, she dragged her

SL.072 masuk ke dalam kamarnya TL.072 feet to her room and got out lalu membuka lukisan Ayah. SL.073

Ia

meluapkan

kegembiraannya.

SL.074 Ayah pun turut gembira.

the painting of her father. TL.073

TL.074

Ia mencium dahi Mayra lalu mengatakan

… … and her father couldn't help but share in the cheerfulness. He kissed Mayra's forehead

betapa

SL.075 bangganya Ayah pada Mayra TL.075 dan melantunkan puja puji

and told her how proud he was of her, heaping praise on her.

kepadanya. SL.076 Mayra membuka lukisan Ibu.

She let her joy bubble over,

TL.076

Mayra got out the painting of her mother.

SL.077 Mereka bertiga berpelukan TL.077 The three of them all hugged


55 dan berjanji akan merayakan

and

kebahagiaan

celebrate with a special dinner

ini

dengan

makan malam yang indah di

they

promised

to

at Mayra's favorite restaurant.

restoran kesukaan Mayra. Dengan

manja

Mayra

Mayra leaned her head on her

SL.078 menyandarkan kepalanya ke TL.078 father's pundak Ayah. SL.079

shoulder

affectionately.

Ayah dan Ibu menciumnya bertubi-tubi.

TL.079

Mommy and Daddy kissed her over and over again.

SL.080 Mayra merasa geli dan girang. TL.080 It tickled her …

SL.081

SL.082

Ia

tertawa

keras

hingga

terguling dari kursi.

… and she laughed so hard TL.081 that she rolled out of her chair.

Mereka memapah Mayra ke atas tempat tidur.

TL.082 They carried her to bed … …

Menyelimuti, membelai dan SL.083 mendekapnya hingga Mayra TL.083 bermimpi.

mengenakan

giwang,

kalung dan cincin berlian SL.086

yang diberikan ayahnya saat ulang tahun, lalu menyapu halus bedak.

wajahnya

in,

caressing her and holding her tight until she nodded off into

Mayra

put

on

her

most

sambil TL.085 beautiful dress and preened

mematut-matut di depan kaca. Ia

her

TL.084 Night came.

Mayra menggunakan gaunnya terindah

tucked

her dreams.

SL.084 Malam tiba.

SL.085 yang

and

dengan

herself in front of the mirror. She put on the earrings, necklace, and diamond rings TL.086 that her father had given her for her birthday. Then she powdered her face.

SL.087 Luka bekas sayatan di pipinya TL.087 The scar on her cheek began


56 mulai memudar dan ternyata

to fade, and it turned out that

tidak

it didn't really hide her beauty.

juga

dapat

menyembunyikan kecantikan Mayra. Ketika SL.088

segalanya

dirasakan bergegas

sudah

sempurna, mengetuk

ia

kamar

Once everything felt perfect TL.088

Ayah. wanita

membukakan

keluar

pintu

lalu

mengatakan bahwa ayahnya

A woman opened the door TL.089 and said that her father was resting now.

sedang beristirahat. Mayra

room and knocked on the door.

Seorang SL.089

she rushed to her father's

bersikeras

kalau

Mayra

insisted

he

had

SL.090 ayahnya sudah berjanji pergi TL.090 promised they would go out makan malam dengan Ibu.

for dinner with Mother.

Wanita itu menggelengkan SL.091 kepala lalu perlahan menutup TL.091 pintu. Mayra berteriak dan menangis

The woman shook her head and slowly shut the door. Mayra pounded the door to

SL.092 keras sambil memukul-mukul TL.092 her pintu kamar ayahnya. SL.093

SL.094

Tidak

ada

jawaban

terus

dari

She

berteriak

memanggil Ayah dan Ibu.

TL.093 There was no answer. Mayra continued to scream, TL.094 calling for her father and mother.

Tetap tidak ada jawaban, SL.095

room.

screamed and bawled.

dalam. Mayra

father's

semuanya sunyi dan hening sama seperti ketika Mayra terjaga dari mimpinya.

Still no answer. Everything TL.095

was completely silent, just as when Mayra woke from a dream.


57 Hanya sedikit cahaya emas SL.096

bulan menembus masuk dari celah-celah

gorden

kamar

Silvers of golden moonlight TL.096

Mayra. SL.097

SL.098

SL.099

SL.100

the

curtains

in

Mayra's

bedroom.

Sekujur tubuh Mayra basah berkeringat. Lukisan Ayah dan Ibu masih menempel di dadanya.

hanya mimpi. Ia bangkit lalu menyalakan lampu kamar. Dibukanya

lemari

TL.097 She was soaked in sweat, … … still holding the paintings TL.098 of Father and Mother close to her breast.

Ia merasa lega semua itu

SL.101 dan

pierced through the gaps of

TL.099

TL.100

pakaian

mengeluarkan

gaun TL.101

malam. Tiba-tiba ia diserang perasaan

She felt relieved that it had all been just a dream. Getting up, she turned on the bedroom light, … … and opened her wardrobe, taking out her nightdown. Suddenly she was overcome

SL.102 cemas jika mimpinya menjadi TL.102 with apprehension that the kenyataan. Sambil SL.103 gaun

dream might come true.

masih malam

memegang ia

Still holding the nightgown,

berjalan TL.103 she walked to her father's

menuju kamar Ayah. SL.104 Kamar Ayah tidak tertutup. SL.105

Kembali rasa lega menyelinap dalam dada.

SL.106 Ia mengintip ke dalam. SL.107

Ranjang Ayah teratur rapi, namun tidak ada Ayah.

SL.108 Tidak ada wanita muda itu.

room. TL.104 The door wasn't shut. TL.105

The earlier sense of relief slowly returned.

TL.106 She peeked inside. TL.107

TL.108

Her father's bed was made, but he wasn't there. Neither woman.

was

the

young


58 Lampu kamar mandi Ayah SL.109

bersinar

terang,

mengucur

suara

terdengar

air dari

The light from his bathroom TL.109

dalam.

was on and the sound of running water could be heard from inside.

Mayra membuka pintu kamar

Mayra slowly opened the

mandi Ayah perlahan dan SL.110 hanya menemukan Bi Inah TL.110 yang sedang membersihkan

maid, Bi Inah, cleaning the bathroom.

kamar mandi. SL.111 Mayra melukis jendela.

bathroom door and found the

TL.111 Mayra painted a window.

Ia sudah merobek-robek dan

She had ripped up and burned

SL.112 membakar lukisan Ayah dan TL.112 the paintings of her father and Ibu.

mother

SL.113 Ia merasa dirinya dikhianati.

TL.113 She felt betrayed. She hated the paintings of

Ia lebih membenci lukisan Ayah SL.114

dan

Ibu

ayahnya yang seharian pergi atau menulis di dalam kamar kerja

atau

Father and Mother more than

ketimbang

mengunci

the father who was gone all TL.114 day, or who was always working in his office at home,

diri

or locking himself in with

dengan wanita.

some woman.

Kebenciannya lukisan

Ayah

melebihi SL.115

terhadap dan

Ibu

Her hatred for the paintings of

kebenciannya

terhadap

Ibu

yang

pernah

berusaha

tidak untuk

her TL.115

father

exceeded

and

her

mother

hatred

for

mother who had never tried to

mencari dirinya seperti yang

find her, as her father was

selalu

always telling her.

dikatakan

Ayah

kepadanya. SL.116 Kepada Ayah dan Ibu ia TL.116 She had no more expectations


59 sudah

tidak

punya

whatsoever of her mother and

pengharapan apa-apa.

father.

Ia sudah menerima bahwa

She had already accepted this

SL.117 kenyataan itulah yang mutlak TL.117 was ia telan bulat-bulat.

A

SL.119 tirai menghadap ke sebuah TL.119 dunia yang ia inginkan.

dirinya terbaring di hamparan hangat pasir putih dan riak

Ia sadar sedang menunggu seseorang.

SL.122 coklat

dan

dapat

A man on horseback with a

berkulit

SL.123 derap

SL.124

mendengar

kaki

kuda

world as she would have

TL.121 She was waiting for someone.

untuk

broad chest and brown skin tinged reddish by the sun, who would carry her away.

menjemputnya. Ia

curtains, looking out on a

the tips or the toes.

dengan

surya

no

with rippling waves tickling

kemerah-merahan TL.122

terbakar

with

TL.120 warm stretch of white sand

kakinya.

bidang

window

and found herself lying on a

ombak menggelitik pucuk jari

dada

big

She often entered the window

jendela itu lalu menemukan

berkuda

to

wanted it.

Ia sering masuk ke dalam

Laki-laki

had

TL.118 So Mayra painted a window.

Sebuah jendela besar tanpa

SL.121

she

swallow it unconditionally.

SL.118 Maka Mayra melukis jendela.

SL.120

reality,

jelas

She could clearly hear the

yang TL.123 hoof beats of his horse as it

mendekat dari kejauhan.

approached from the distance.

Bayangan rambut hitam laki-

In her imagination the man

laki yang tergerai hingga dada menari-nari tertiup angin di atas kuda putih tak berpelana.

TL.124

rode bareback

on a white

horse. His black hair hung down his chest, dancing in the


60 wind. SL.125

Ia menunggu laki-laki itu datang.

TL.125

Mengecup kening, mata lalu SL.126 bibirnya,

dan

mereka TL.126 eyes,

SL.127 mulai tumbuh seperti yang TL.127 pernah ia rasakan di kantin

saling

SL.128 menikmati kehangatan tubuh TL.128 mereka. Saling erat, saling mengaduh, hingga senja tiba dan pasang ombak menghanyutkan tubuh

SL.130

mereka

tertawa

TL.129

dan

tepi pantai lalu bercinta untuk kesekian kalinya.

benar tenggelam bagai di

SL.131

laki-laki

mengulurkan

itu

tangannya,

membantunya naik ke atas kuda

dan

mereka

pergi

meninggalkan pantai menuju sebuah

dunia

experienced in the school

She wanted them to enjoy the warmth of each other's body.

moaning as one until dusk came and the rising tide

Then they would laugh and TL.130

race each other back to the shore and make love for the umpteenth time.

Dan ketika matahari benar-

lautan,

budding breasts, as she had

pulled them out to sea.

berlomba berlari kembali ke

telan

they

To pull each other close,

mereka ke tengah. Lalu

and

canteen.

sekolah.

SL.129

lips,

She imagined him feeling her

itu meraba payudaranya yang

mereka

her

embraced, naked.

Ia membayangkan laki-laki

ingin

arrive. He kissed her forehead, her

berpelukan tanpa busana.

Ia

She waited for the man to

yang

tak

And when he sun had set, as if the sea had swallowed it whole, the man would stretch TL.131 out his hand, pull her up onto the horse, and they would leave the beach for a world where there was no suffering.


61 terjamah penderitaan. SL.132

Dunia penuh sukacita dan kebahagiaan.

TL.132

Atau, Mayra masuk ke dalam SL.133 jendela

dan

A world full of happiness and laughter. Or, Mayra would enter the

menemukan TL.133 window and find herself a

dirinya berada di sekolah.

school, …

Udara pagi menusuk kulitnya

… the chilly morning air

SL.134 namun hatinya hangat oleh TL.134 pierced her skin, but her heart rasa suka cita. SL.135

warmed by feeling of joy.

Seragam SD-nya berlumuran darah. Tangan

Her

school

uniform

was

smeared with blood.

kanannya

menggenggam SL.136 sama

TL.135

denga

pernah

ia

pisau

yang

pisau

yang TL.136 knife, the same knife she had

gunakan

Her right hand clasped a

untuk

use to cut her cheek.

menyayat pipinya. Dan SL.137

tangan

kiri

Mayra

menggenggam

sebuah

kantong plastik hitam juga

And in her left hand she TL.137 clutched a black plastic bag full of blood.

penuh darah. Beberapa menit yang lalu ia SL.138

SL.139

tiba di sekolah dan seperti biasa lima anak berandalan itu

A few minutes earlier she had TL.138

usual, the five naughty boys

mencegatnya di pintu pagar.

cut her off at the gate.

Sebelum

But before they could grab her

mereka

menarik

tangan Mayra, Mayra berkata bahwa ia ingin segera ke

TL.139

kanin sekolah. SL.140

arrived at school and, as

Segerombolan anak laki-laki iu menyeringai senang.

hand and yank her away, Mayra said that she wanted to go with them to the canteen.

TL.140

The gang of boys grinned with pleasure.


62 Seperti SL.141

kerbau

dicucuk

hidungnya mereka mengikuti langkah

Mayra

menuju

Like water buffaloes led by TL.141 the nose, they followed her steps to the canteen.

kantin. Dengan pasti Mayra berdiri SL.142

bersandar pada tembok lalu perlahan

membuka

Mayra leaned against the wall TL.142 self-assuredly

Kini

Mayra

tak

lagi

berbusana.

TL.143 She stood completely naked.

Kelima anak berandal itu SL.144 menatap

Mayra

slowly

undid her buttons one by one.

kancingnya satu-persatu. SL.143

and

dengan TL.144

pandangan kosong.

The five rogues stared at her with blank looks.

SL.145 Lalu Mayra berkata,

TL.145 Then Mayra said, …

SL.146 "Mengapa kalian diam saja?

TL.146 "Why are you all so quiet?

Tidakkah kalian ingin segera SL.147

melucuti pakaian kalian dan menggarap

saya

satu

per

Don't you guys want to strip TL.147 your clothes and have a go at me?"

satu?" SL.148 Mereka semua terdiam kelu.

TL.148 They were all dumbstruck. Up until now they had been

Selama ini mereka senang SL.149 melihat

Mayra

ketakutan, TL.149

memberontak dan berteriak.

SL.150

happy just to see Mayra's terror as she struggled and screamed.

Mereka ingin menunjukkan

They wanted to show Mayra--

kepada Mayra, seorang anak

the child of a celebrated

berayahkan pengusaha

penulis

dan

terkenal,

satu-

TL.150

author

and

well-known

businessman, and the only

satunya murid yang pulang

student

who

was

always

dan pergi sekolah dengan

dropped off and picked up in


63 selalu

mengendarai

mobil

a luxury car driven by a

mewah dengan sopir pribadi,

private

agar tidak seenaknya saja

couldn't just look down on

melihat

them.

mereka

dengan

chauffeur--that

she

sebelah mata. Namun akhirnya keheningan SL.151

pecah oleh sebuah suara dari salah satu anak berandalan

TL.151

Finally,

the

silence

was

broken by one of the gang.

itu. SL.152 "Apa susahnya buka baju?!

SL.153

Ayo kita buka, kita garap beneran…!"

TL.152

TL.153

Lalu laki-laki bernama Anton SL.154 yang

pernah

Mayra

tetap diam di tempat.

The rest did so too, but they TL.155 remained motionless where they stood, …

SL.156 berjalan lebih dulu mendekati TL.156 Mayra.

SL.157 saya

semau

menyergap kalian,

turns, and not in here. TL.158 We'll do it in the bathroom.

harus

SL.159 menunggu satu per satu di TL.159 setiap kamar mandi.

her first.

tapi TL.157 want, but you have to take

SL.158 Kita ke kamar mandi. berlima

… letting Anton walk toward

"You guys can do me all you

bergiliran dan tidak di sini.

Kalian

good!"

nose, took his shirt off.

Mereka membiarkan Anton

boleh

Come on! Strip! We'll do her

tinju TL.154 that Mayra had punched in the

Yang lain mengikuti namun

"Kalian

taking your clothes off?!

Then he boy, Anton, the boy

hidungnya membuka bajunya.

SL.155

"What's the big deal about

Each of you has to wait in one of the stalls.

SL.160 Jika saya selesai, saya akan TL.160 When I'm finished, I'll come


64 mendatangi kalian." SL.161

get you.

Mereka setuju dan berjalan beriringan ke kamar mandi.

TL.161

They agreed and filed off to the stalls.

Mayra berjalan lebih dulu dengan Anton sementara yang SL.162

lainnya

mengikuti

dari

belakang dan masing-masing menunggu

dalam

Mayra went off with Anton TL.162

kamar

first, while the rest followed behind and then waited in the row of stalls.

mandi sekolah yang berjajar. Mereka

mendengar

Anton

They heard Anton moaning

mendesah pelan, lalu makin SL.163

lama makin tak beraturan hingga

Anton

berteriak

softly. Then the moaning TL.163 became increasingly irregular until Anton suddenly cried

kencang dan setelah itu tidak

out, and then it was quiet.

ada suara lagi terdengar. Setelah itu Mayra pindah ke SL.164

kamar mandi sebelah, mereka kembali mendengar apa yang

After that Mayra moved to the TL.164 next stall, and they each heard the same thing over again.

baru saja mereka dengar. Mereka tidak tahan menunggu

Each of them could hardly

SL.165 giliran, mereka ingin cepat- TL.165 wait his turn, wanting her to cepat Mayra datang. Semua

berlangsung

hurry up and get to him. And each got his turn, just as

sama

SL.166 dengan sebelumnya hingga TL.166 kamar mandi yang kelima. Mayra mengenakan kembali SL.167

baju seragamnya hingga darah di tangannya menempel pada seragam sekolahnya.

the one in front of him had, right down to one in the fifth stall. Mayra put her school uniform

TL.167 back on, staining it with the blood on her hands.


65 Sebelum SL.168

melirik Anton

Mayra

pergi,

sepintas yang

ke

ia arah

telentang

di

Before she left, she glanced at TL.168

kamar mandi tanpa penis lagi. Mayra

melukis

masuk

dan

SL.169 dirinya

sebuah TL.169

taman indah penuh warna-

Dua anak perempuan kecil SL.170 menghampiri dan tersenyum TL.170 kepadanya. Wajah mereka mirip dengan namun

jauh

no

entered it, and found herself in a beautiful garden filled with flowers of all colors.

warni bunga.

SL.171 Mayra

floor--with

Mayra painted a window,

menemukan di

bathroom penis.

jendela,

berada

Anton stretched out on the

lebih TL.171

cantik.

Two young girls came up to her and smiled.

Their faces looked like hers but they were much prettier.

Pipi mereka merona merah,

Their cheeks were rosy, their

kulit mereka putih bersih,

skin fair and spotless. They

SL.172 baju yang mereka kenakan TL.172 wore beautiful dresses, and

SL.173

begitu indah dengan mahkota

flower tiaras on their heads,

bunga di kepala mereka.

…

Mereka lebih mirip bidadari ketimbang anak manusia. Mayra

SL.174

mengecup

TL.173

mereka

dengan lembut dan menuntun mereka menuju pelangi emas

SL.176

Seorang

laki-laki

than human children. Mayra kissed them gently,

TL.174

bertahtakan mutiara. SL.175

… looking more like fairies

took their hands and led them to a golden rainbow inlaid with pearls.

sudah

menunggu di sana. Merentangkan tangan untuk memeluk mereka semua.

TL.175 A man was waiting there.

TL.176

He stretched out his arms to embrace them all.


66 Pagi-pagi SL.177

sekali

Bi

Inah

mengetuk pintu kamar Mayra untuk membangunkan Mayra

Early in the morning Bi Inah TL.177

sekolah. SL.178

tidak terkunci.

TL.178

bergambar

jendela TL.179

berserakan di seisi kamar. SL.180 Mayra tidak ada di kamarnya.

SL.182

Seprainya tetap rapi seperti tidak pernah ditiduri. Bi

Inah

mengetuk

kamar

majikannya.

mengatakan

SL.185

scattered

TL.181

menunggu. Tapi ia tahu, Mayra tidak

all

over

the

TL.182

The bed was made, as if it hadn't been slept in. Bi Inah knocked on her employer's door. A woman opened it and said

tuannya TL.183 that

Bi Inah menghela napas dan

akan pernah kembali.

with windows drawn on them,

TL.180 Mayra was not in her room.

masih tidur. SL.184

usually was.

bedroom.

Seorang wanita membukakan SL.183 pintu

The door wasn't locked as it

Bi Inah found sheets of paper

Bi Inah menemukan kertas-

SL.181

door to wake her up for school.

Tidak seperti biasa, kamar itu

SL.179 kertas

knocked on Mayra's bedroom

her

boss

was

still

sleeping. TL.184 Bi Inah sighed and waited.

TL.185

But she knew Mayra would never be'back.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

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