PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

PLAGIAT PLAGIATMERUPAKAN MERUPAKANTINDAKAN TINDAKANTIDAK TIDAKTERPUJI TERPUJI

THE TRANSLATION OF ENGLISH FICTIONAL BOOK TITLES INTO INDONESIAN CONTEXTS: A FUNCTIONALIST APPROACH

AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements For the Degree of Sarjana Sastra In English Letters

By PURINDRASWARI DYAHPRAMESTI Student Number: 114214024 ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2015


THE TRANSLATION OF ENGLISH FICTIONAL BOOK TITLES INTO INDONESIAN CONTEXTS: A FUNCTIONALIST APPROACH

AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements For the Degree of Sarjana Sastra In English Letters

By PURINDRASWARI DYAHPRAMESTI Student Number: 114214024 ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2015

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STATEMENT OT ORIGINALITY

I certify that this undergraduate thesis contains no material which has been previously submitted for the award of any other degree at any university, and that, to the best of rny knowledge, this undergraduate thesis contaifls no material previou$ly written by any other person except where due refereflce is made in the text of the undergraduate thesis.

Yogyakarta, September 6, 2Al5


LEMBAR PERNYATAAN PERSETUJUAII PUBLIKASI KARYA ILMIAH I]NTUK KEPENTINGAN AKADEMIS Yang bertandatangan di bawah ini, saya mahasiswa Universitis'S*utu Dharma :

Nama Nomor

Mahasiswa

: Purindraswari Dyahpramesti

:114214024

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Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan Universitas Sanata Dharma karya ilmiah saya yang berjudul

THE TRANSLATION OF ENGLISH FICTIONAL BOOK TITLES INTO INDONESIAN CONTEXTS: A FUNCTIONALIST APPROACH Beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberikan

kepada Perpustakaan Sanata Dharma hak untuk menyimpan, mengalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan data, mendestribusikan

secara terbatas, dan mempublikasikannya di intemet atau media lain untuk kepentingan akademis tanpa perlu merninta ijin kepada saya maupun memberi royalti kepada saya selama tetap mencantumkan nama saya sebagai penulis. Demikian pernyataan ini saya buat dengan sebenarnya.

Dibuat di Yogyakarta Pada tanggal 6 September 2015 Yang menyatakan,

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The secret of life, though, is to fall seven times and to get up eight times. - Paulo Coelho

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ACKNOLEDGMENTS

For all the process and achievement in finishing this thesis, this page is meant to be a small gratitude for people who have helped me through until today. Like it is very impossible of me to finish this alone, therefore it is He who blesses me with every chance to encounter and feel all things that could possibly be the best parts of growing up. Secondly, I would like to thank my advisor, Harris Setiajid, S.S., M.Hum. for all his guidance given before I even began writing this thesis until it is eventually finished. Besides, I would like to thank Adventina Putranti, S.S., M.Hum., my thesis co-advisor, for helping me in correction and guidance to complete this thesis. I would also thank Sanata Dharma University for the better knowledge that builds me as a person and a student. Next, for my family who always encourages me to take the next step to the furthest extent, I thank them for the prayers and supports in many ways. Most of all, my biggest gratitude goes for all of my friends whom I particularly have during these four years. They have given more than I could ask for by making four years feel very short. I thank them so much for togetherness, laughter, time, lesson, support and motivation so that every weighs feel like a feather. Moreover, I thank them all for being another home to me. Purindraswari Dyahpramesti

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TABLE OF CONTENTS TITLE PAGE ....................................................................................................... ii APPROVAL PAGE ............................................................................................. iii ACCEPTANCE PAGE.........................................................................................iv LEMBAR PERSETUJUAN PUBLIKASI KARYA ILMIAH ...............................v STATEMENT OF ORIGINALITY ....................................................................vi MOTTO PAGE ................................................................................................... vii ACKNOLEDGMENTS ..................................................................................... viii TABLE OF CONTENTS .....................................................................................ix LIST OF TABLES .............................................................................................. xii ABSTRACT ....................................................................................................... xiii ABSTRAK ...........................................................................................................xiv CHAPTER I: INTRODUCTION .........................................................................1 A. Background of study ....................................................................................1 B. Problem Formulation ...................................................................................5 C. Objectives of Study......................................................................................5 D. Definition of Terms......................................................................................6 CHAPTER II: REVIEW OF LITERATURE .....................................................8 A. Review of Related Studies ...........................................................................8 B. Review of Related Theories.......................................................................11 1. Theory of Translation ..........................................................................11 2. Translation Equivalence.......................................................................11 3. Translation Acceptability.....................................................................12 4. Functionalist Approach ........................................................................13 5. Communicative Effectiveness .............................................................14 ix


6. Field, Mode and Tenor.........................................................................15 7. Lexical Density ....................................................................................16 8. Back Translation ..................................................................................17 C. Theoretical Framework ..............................................................................17 CHAPTER III: METHODOLOGY ...................................................................19 A. Areas of Research ......................................................................................19 B. Object of Study ..........................................................................................19 C. Method of Study ........................................................................................20 D. Research Procedure....................................................................................20 1. Types of Data .......................................................................................20 2. Data Collection ....................................................................................21 3. Population and Sample ........................................................................23 4. Data Analysis .......................................................................................23 CHAPTER IV: ANALYSIS RESULT AND DISCUSSIONS..........................27 A. The Translation Equivalence Assessment Using Communicative Effectiveness ..............................................................................................27 a. Equivalent Translation ...................................................................28 1. The Target Text Has the Same Field, Mode and Tenor as Source Text ..............................................................................28 b. Not Equivalent Translation ............................................................35 1. The Target Text Has the Same Field and Mode, but Different Tenor from Source Text...........................................................36 2. The Target Text Has the Same Mode, but Different Field and Tenor from Source Text...........................................................44 3. The Target Text Has the Same Mode and Tenor, but Different Field from Source Text ............................................................53 B. The Translation Acceptability Assessment................................................57 1. The Acceptability Translation in the Analysis Using Target Text’s Blurb .............................................................................58

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2. The Less Acceptability Translation in the Analysis Using Target Text’s Blurb..................................................................80 CHAPTER V: CONCLUSION...........................................................................85 BIBLIOGRAPHY ................................................................................................87 APPENDICES ......................................................................................................89 Appendix 1: List of Data, Genre Categorization and Lexical Density..........89 Appendix 2: Recapitulation of Equivalence Analysis Result........................91 Appendix 3: Acceptability Questionnaires....................................................93 Appendix 4: Recapitulation of Acceptability Questionnaires .....................106 Appendix 5: Data Recapitulation of Acceptability Analysis Result ...........110

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LIST OF TABLES Table 1. Example of Acceptability Analysis ........................................................ 22 Table 2. Example of Translation Equivalence Assessment Using Communicative Effectiveness .......................................................................................... 24 Table 3. Nababan’s Indicator of Acceptability (modified) ................................... 25 Table 4. Example of Acceptability Questionnaires (written in Indonesian) [translated back in English].................................................................... 26

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ABSTRACT DYAHPRAMESTI, PURINDRASWARI. The Translation of English Fictional Book Titles into Indonesian Contexts: A Functionalist Approach. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2015. This undergraduate thesis is about the equivalence and acceptability of several English fictional books which are translated into Indonesian. The concern studies a list of book titles which are specifically no word-for-word translation that are comprised in the thriller or romance genre category. The functionalist approach is taken as main theory used in this study since the analysis would go towards texts translation functions in bridging two different cultures from ST to TT. In the study, there are two problems raised to analyze. The first problem is to find whether the data of ST and TT are equivalent by using the assessment of communicative effectiveness theory, as a part of functionalist approach method in evaluating whether ST and TT translation achieve the same purpose. Besides, the second problem is how acceptable the translation of TT for TT readerships. The method used in this study is the library and field research. The field research takes acceptability analysis of study which needs 30 respondents to fill out the questionnaires of 30 data translation. The indications is used for questionnaires is Nababan’s acceptability category. The library research is also used for the needs of information, theories and study related to the topic discussed in such equivalence problem which only uses functionalist theory to analyze. In the analysis result, there are two findings of this research. The first analysis finds 7 data are considered equivalent. The equivalence is marked by the full fulfillment for field, mode and tenor of texts to appear the same. The rest of 23 data show different results that they all have the same mode in results, but apparently, the field and tenor are not found similar for ST and TT. Therefore, it is considered not equivalent. Meanwhile, the acceptability analysis taken from questionnaires result 27 data are called acceptable and 3 others are called less acceptable due to difference of indicator marks. Hence, functionalist approach is used has its function to translation analysis since its concerns are on interpretation of texts for functions that stand for meaning stylistically with reasons.

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ABSTRAK DYAHPRAMESTI, PURINDRASWARI. The Translation of English Fictional Book Titles into Indonesian Contexts: A Functionalist Approach. Yogyakarta: Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2015. Skripsi ini membahas tentang ekuivalensi dan keberterimaan beberapa buku fiksi bahasa Inggris yang diterjemahkan ke dalam konteks Bahasa Indonesia. Sasaran utama pada sekumpulan judul buku yang secara spesifik bukan terjemahan kata-per-kata yang telah di kategorikan dalam misteri dan romansa. Penelitian ini menggunakan pendekatan fungsional yang mana turut menjadi teori utama dikarenakan analisis teks akan mengenai fungsi teks terjemahan itu sendiri dalam menjembatani dua kebudayaan yang berbeda dari Teks Sumber (Source Text) dan TeksTarget (Target Text). Dalam studi ini terdapat dua permasalahan yang akan di analisis. Permasalahan pertama adalah menemukan ekuivalensi dari data ST dan TT menggunakan teori keefektifan komunikatif yang merupakan bagian dari metode pendekatan fungsional yang mengevaluasi belum atau sudahnya terjemahan ST ke TT mencapai tujuan yang sama, dan masalah kedua adalah seberapa berterima terjemahan TT untuk pembaca TT. Metode yang digunakan dalam studi ini adalah penelitian pustaka dan lapangan. Penelitian lapangan digunakan dalam analisis keberterimaan yang membutuhkan 30 responden untuk mengisi kuesioner yang terdiri dari 30 data terjemahan. Indikator yang digunakan dalam kuesioner adalah kategori keberterimaan milik Nababan. Penelitian pustaka digunakan sebagai sumber informasi, teoridanstuditambahan yang berhubungan dengan topik diskusi seperti permasalahan ekuivalen, yang hanya menggunakan teori fungsional dalam analisisnya. Pada hasil akhir, ditemukan dua penemuan dalam penelitian skripsi yaitu terdapat 7 data dinyatakan ekuivalen pada analisis pertama. Ekuivalensi ditandai dengan pencapaian penuh teks dalam memiliki field, mode dan tenor yang positif atau sama (ST dengan TT). Sisanya, 23 data, menunjukan hasil berbeda untuk field dan tenor-nya (perbandingan ST dan TT), sekalipun seluruh data memiliki hasil analisis mode yang sama, dan dinyatakan tidak ekuivalen. Pada hasil penelitian yang kedua, analisis keberterimaan yang memanfaatkan kuesioner sebagai studi lapangan, menghasilkan 27 data yang dinyatakan berterima dan 3 data kurang berterima dikarenakan perbedaan hasil skor rata-rata. Dari situ dapat disimpulkan bahwa pendekatan fungsional memiliki fungsinya dalam analisis terjemahan karena fokusnya pada interpretasi teks terhadap fungsi yang berhubungan denganarti secara stilistika dengan alasan penggunaan kata-kata tertentu dalam menerjemahkan.

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CHAPTER I INTRODUCTION A. Background of the Study Translation activity has been known and done for long time. It is a process of textual material substitution from source language (SL) into target language (TL) (Catford, 1974: 20). Therefore, translation is an activity of rendering information from one language to another which has also become a way or tool to broaden knowledge and experience views in the brief period of time and limited form of text. As important as language as it is used as system of communication for human beings, translation activity is inevitable to be said as vital as language in communication since it has to do with delivering messages from two different spoken or written words culturally or in meaning. “Translation is an operation performed on languages: a process of substituting a text in one language for a text in another.” (Catford, 1965:1). Moreover, the job of delivering messages in translation is also a crucial one that a translator must not mislead the messages conveyed to the target reader or receiver. Thus, the exigency of accuracy and acceptability are very essentially needed in the process of translation to be able to cope with catching the idea of two languages that also deals with the cultural differences from both Source Language (SL) and Target Language (TL). Likewise in nowadays, many imported books have been subtitled in other foreign languages in order to fulfill the gain of the books’ popularity throughout the world, so have English import books been, which are, in many case, translated in any other languages including Indonesian. However, there are some urgency

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PLAGIAT PLAGIATMERUPAKAN MERUPAKANTINDAKAN TINDAKANTIDAK TIDAKTERPUJI TERPUJI 2

and tendency of changing the books’ original element to make it more familiar in target language and attract target readerships. One example is to suit the culture of target language, by changing the books’ title, even farther from the original title. Accordingly, one example English fictional book title taken into account in which it embarks on the case mentioned above is Mitch Albom’s The Five People You Meet in Heaven translated and published into Indonesian version as Mitch Albom’s Meniti Bianglala. Whereas the Indonesian subtitle of the book’s title would be Lima Orang yang Anda Temui di Surga since Meniti Bianglala holds literal meaning Walking on the Rainbow when it is literally translated in English. Consequently, the impression of the book would be different as well because book titles represent different idea. The idea holds an explicit ambiguity of what the book is about, presenting a different first impression for Target Language (TL) further than the original one from Source Language (SL). To analyze such a case, the translation strategy in description is used to draw the meaning of SL into TL with the consideration of situational model and sociocultural meaning. The description strategy in situational model is a way of translation with understanding the meaning of expressions or sentences by seeing and determining its situational context (Widyamartaya, 1989: 22). As Catford seconds with “SL and TL texts or items are translation equivalents when they are interchangeable in a give situation” (1965: 3). Meanwhile, the application of socio-cultural meaning in descriptive translation strategy is the way the translator used other words or original SL to hold particular word meaning that describes more of original messages in less simple form. Later on, equivalence and


acceptability are chosen as the translation assessments to evaluate the translation’s quality further. Those two assessments are best applied to analyze and consider what particular words in TL shall replace any other words of SL, or why some words remain in the real form of not being translated in TL. Therefore, the thesis would analyze the translation of novel titles into Indonesian using functionalist approach. It is an approach that grasps the idea of descriptive and socio-in-cultural translation in dynamic flow persisting to complete the aim of conveying message, getting through two cultures (Nord, 1997: 3). The approach seconds the analysis of quality assessment in equivalence of a text in this thesis. Therefore, the presence of functionalist approach takes out its map of areas to be analyzed in which each of it has its specialist viewpoint bringing out intention in solving and answering why such translation of a text is conveyed and delivered in such particular another way. According to Boleslav, functional linguistics has its division of analysis that is divided into field, mode and tenor (2005: 1). In addition, there is communicative effectiveness theory is used that aspires the deeper flow of text analysis based on field, mode and tenor. The usage of field in this thesis would assist analysis in descriptive point of experiential elements through lexical words and proportions in divides that could be seen in the text itself. Furthermore, mode is more concerned on textual viewpoint about the style of the text produced and delivered, which is all over a point in a continuum defined by several axis (the spoken/written axis & the action/reflection axis), interactivity and spontaneity. As mode analysis takes more on textual aspect, therefore it revolves around counting lexical density also. Next,


tenor is the part of interpersonal metadata of text to analyze as it manages about the identity of author, the target readership and the relationship between author and target readership whether it is by chance or deliberate re-present. Lastly, the addition of communicative effectiveness keeps the analysis of translation in this thesis in the checking extent whether or not the text translated is considered effective to be said as translated already upon its accomplishment in conditional register of Field, Mode and Tenor. On the other hand, the translation novels also associates directly to TL, Therefore the necessity in proving how the translation could be accepted by target receivers is included in the study as well. The translation is acceptable when it could be accepted in target language by adapting the translation with the cultures and norms of the target language (Munday, 2011: 144). That means, if the translation is acceptable, it is understandable by target receivers. The understandable term stands for accomplishing message delivery and adjusting TL culture. Therefore, the terms of result is used in the acceptability analysis are acceptable and less acceptable. Since acceptable takes for a text is understandable by target readership, therefore less acceptable is for a text that results being less acceptable by target readership. That such consideration is taken because many TL’s translation books appear different from original titles; however they are still published and read by target receivers. Thus, less acceptable is chosen as a concern of functional aspect on how the translation is used and performed and its influences towards.


Additionally, the writer hopes that the thesis would be useful for the readers to give insights and understandings how translation process works and what problems usually occur in translating two different languages. B. Problem Formulation 1. How is the equivalence of the translation of English fictional book titles into Indonesian context seen from functionalist approach? 2. How acceptable arethe series of English fictional book titles translated into Indonesian context? C. Objectives of Study Based on the problem formulation above, there are three objectives in this study. The first objective is to find out how equivalent a list of English fictional book titles translated into Indonesian contextas the data inserted in this study. The determination of equivalence is followed by the functionalist approach that has been already constructed with its own conditional aspect to be precise in aim fulfilling the viewpoint of Field, Mode and Tenor, and also the communicative effectiveness goal. The second objective of this study is to identify the acceptability of several English fictional book titles with comparing to its translated version in Indonesian. Moreover, this will be followed by the result of acceptable and less acceptable classification. And the last is to find out the conclusion about how much functionalist approach influence the context-related translation and solve problems relate to it.


D. Definition of Terms There are several terms are used in this study. They are translation, equivalence, acceptability, functionalist approach and titles. To avoid misunderstanding and misinterpretation, here are the explanations of the terms. Translation is the process of transferring message rendered from one language into another different language. According to Nida and Taber (1969: 27) translation is reproducing the receptor language to closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style. Thus, the naturalness in translation is important to render and adjust in the same idea that appears in TL. Equivalence generally has a thing to do with being similar or the same, interchangeable with something else. Bell stated that “translation is the replacement of a representative of a text in one language by a representation of an equivalent text in a second language.” (1991: 6). Thus, to find equivalence in translation is to find similarity of the two texts with its substantial which is conveying the message of first language (Source Language) into second language (Target Language). Acceptability based on Hatim’s theory about standards of textuality is the term that means text receivers’ response (2001: 117). In addition, translation considered acceptable if the TL can understand the translated translation with their basis of culture. Meanwhile, the other result is less acceptable. It stands


for TL translation that appears in different idea from the original message conveyed. Functionalist approach is the approach that has other names such as functionalism or functional in the very simplest form into function in which it refers to what a text means or is intended to mean from the receiver’s point of view (Nord, 1997: 28). Accordingly, it is the form of semantically translation as the other words of the continuant of dynamic equivalence. Titles refer to the name of book, poem, painting, piece of music and other literary or artistic works (Oxford, 2015: 1626). Hence, book titles in this study are the texts which are represented by certain words. The words are the names that are designed to present the story inside. .


CHAPTER II REVIEW OF LITERATURE This chapter elaborates the studies done by other researchers on similar topics and reviews some theories applied in this thesis. The studies similar to this thesis are taken from Puspitaratri, Wachyuni and Kuil’s ones. Each study is reviewed somewhat at length to find the similarities and the different point of views in order to avoid topics duplication. Some theories applied are also reviewed and discussed to find a solid ground on which this thesis is carried on. A. Review of Related Studies 1. Diah Puspitaratri’s thesis “Translation Quality Assessment on Accuracy, Naturalness and Acceptability of the Translation of Leo Tolstoy’s After the Dance into Setelah Pesta Dansa by Anton Kurnia” This undergraduate thesis discusses the quality assessment on accuracy, naturalness and acceptability as translation strategies applied in the data of Leo Tolstoy’s fictional book entitled After the Dance which is translated into Setelah Pesta Dansa in Indonesian. In Puspitaratri’s analysis, the process and steps taken are by the consideration of whether or not the text translation found in the book are accurate when compared to its original Source Text.Furthermore, it steps on applying the second tool of translation strategy examining it into its naturalness to read for TL readers in order to check whether or not the TT is capable of reaching local custom and value in conveying messages.In short, these two theses may concern on different data and translation scope, however, they are equally drawn

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to the same issue, even such delete or adaption of several words are the analyzed material. The present thesis is quite different from Puspitaratri‘s thesis as it is evident from which the data are already different that Puspitaratri’s thesis uses some sentences, or excerpts to analyze in assisting brief and implicit explanation for the context and meaning of several words replaced or erased in the final TL’s translation, as this data thesis are lists of book titles that use reviews to analyze data. Furthermore, although the use of strategy is the same and the steps of analysis is similar, this thesis has concernon focusing on some particular diction,that change the whole phrase or sentence semantically and syntactically, and relating to the whole context of review. Meanwhile, Puspitaratri’s thesis comes down to the analysis of phrases and clauses into TL’s contexts. 2. Sophia F. Wachyuni’s “The Problem of the Translation of Lubis’s Jalan Tak Ada Ujung into A Road with No End” This undergraduate thesis discusses the equivalence of meanings in the novel which is originally from Indonesian translated into English. The scope data and analysis of Wachyuni‘s thesis is to analyze the English translated form as TL studied and compared to the original version written in Indonesian as SL. Also States that there are found many words that are wrongly or non-equivalent translated which leads to the final mark that the translation is unacceptable. That is an interesting study since it provides various evidence of words, phrases and sentences which come unnatural and understandable and it applies the


comparative method in bridging two different cultures that somehow become the problematic in translation. Nevertheless, Wachyuni‘s is different from this thesis as it concerns more to the cultural problem in the sense of dictions’ use and functions, with its effects,merely using equivalent strategy. Meanwhile, the present thesis analyzes the equivalence of two outputs from two different languages leading more to the reasons why such translation applied in such particular contexts, although both theses apply equivalent strategy analysis. 3. Fransisca Margaretha Kuil’s thesis “A Study on the Translation of Christian Related Terms in the Constitution of the Sisters of Notre Dame” This undergraduate thesis studies about the translation of Christian relatedterms in the Constitution of a religious Congregation of Notre Dame. To bridge the two cultural translation, the main goal of this thesis is to keep message and meaning by using certain methods of the theory of SL-emphasis and TLemphasis and finding method in later analysis. The thesis in some way relates to the writer’s thesis as there are found many theories and strategies applied that used semantic approach in bridging sociocultural case of context. However, there is difference found in the thesis from the writer thesis in which, the concerns of Kuil’s is broader that check and consider the data whether they are literal or faithful translation. Meanwhile, the concern of the writer thesis


has already specifically studied the data with the method of functionalist approach meaning to say, the data taken are already the dynamic translation type. B. Review of Related Theories 1. Theories of Translation Translation is the process of transferring message rendered from one language into another different language. Translating consists in reproducing in the receptor language the closest natural equivalent of the source language of the source language message, first in terms of meaning and secondly in terms of style. (Nida and Taber, 1969:27). In short, according to Nida and Taber, it is urgency that translation must keep meaning and style in delivering the data of translation. In other words, it does not only carry the point of message being rendered and transferred from SL (Source Language) to TL (Target Language), but also keeps its style, which is naturalness of translation,that the message of SL transferred and adjusted in the same idea that appears in TL. 2. Translation Equivalence Newmark says that “the principle of equivalent frequency of usage in source and target language applied to grammatical structures and lexis is particularly useful as an additional method of verifying a translation.” (1981: 145) Equivalence is a part of translation strategy that concerns on the process of conveying the same message from SL (Source Language) to TL (Target Language). According to Eugene Nida’s classification of equivalence in Susan Bassnett’s Translation Studies, there are two types of equivalence, which are formal and


dynamic ones. The difference is that formal equivalence is always based on the rule. Formal equivalence ‘focuses attention on the message itself, in both form and content. In such translation one is concerned with such correspondences as poetry to poetry, sentence to sentence, and concept to concept.’ Nida calls this type of translation a ‘gloss translation’, which aims to allow the reader to understand as much of the SL context as possible. (Bassnett, 2008: 33) Meanwhile, the dynamic equivalence has the translation in TL that may have different from SL. Dynamic equivalence is based on the principle of equivalent effect, i.e. that the relationship between receiver and message should aim at being at the same as that between the original receivers and the SL message. (Bassnett, 2008: 33) Even though, there are two different strategy of equivalence in translation, in for short can be categorized as ‘word-for-word’ and ‘free’ translation based on Catford’s theory; yet, those two emphasize the essence and necessity of equivalent translation that has to be able to cover up what is being rendered, delivered and received in the same way. 3. Translation Acceptability The strategy process in translating by considering the understanding or response of the audience is well-known as acceptability. This term is the continuant strategy to check whether or not the translation from SL into TL can be accepted as valid or invalid translation. According to Hatim’s theory about standards of textuality, the term acceptability means text receivers’ response (2001: 117). In addition, translation is


considered acceptable if the TL can understand the translated translation with their basis of culture. Thus, Bassnett in her book also states about the Durisin’s argument about translator. The translator of literary text is not concerned with establishing equivalence of natural language but of artistic producers. And those products cannot be considered in isolation, but must be located within the specific cultural-temporal context within which they are utilized. To conclude, acceptability is the keyword of cultural pass in which it functions to come into two sides of the door transferring messages faithfully but it is not engaged with rule. The rule itself is the strict playing of syntax and literalism. Moreover, acceptability must follow what is served in the TT, TL’s culture, and it is very urgent for the TL audiences to be able to understand the message of SL in their own understanding based on their own kind of context. 4. Functionalist Approach Functionalist approach is an approach in translation that is ‘functional’ which concerns on the function of text and translation. The typically recognazition of functionalist approach which is somehow also called as functional approach and functionalism, is in which, translation could be descriptive, but it still manages to render the message of original source. Briefly, it has the tendency to give situation-in-culture in exchanging communication material as the result of the translation in the basis of personal input. This approach has been a new continuant strategy system in translation of dynamic equivalence. Christiane Nord, Hans J. Vermeer stated term of functionalism or functional in the very simplest form into function in which it


refers to what a text means or is intended to mean from the receiver’s point of view. (1997: 28) In other words, functionalism is semantically translation or sense-for-sense as dynamic equivalence. Hence, to apply functionalism as the mean of translation two different titles, is to see how and why the target text take particular words and style and do check on its function. Furthermore, functionalism is also taken note as the process of rendering massage from source translation which must accomplish conditional goals, among others: Field (experiental point), Mode (textual point), and Tenor (interpersonal point). Those three points are also included as the ‘functionalist’ checklist of text translation that compulses text translation (Boleslav, 2015: 4) 5. Communicative Effectiveness The other practical guide that determine a target text has been translated based on its source—passing through the message and intended meaning of text—with fulfilling conditional goals and terms is to make sure the existence of text telling. Communicative effectiveness is a theory saying “a text is effective if it suceeds in achieving its purpose” (Boleslav, 2005: 13) focuses on accomplishing functions— different from function in functional approach—judged in a text that in which a text must have either “thematic organization” as the kind of text themes and elements, and “cohesion” as named sense-of-meaning for target receivers, or the goal accomplishment of Field, Mode and Tenor to be found. What Field, Mode and Tenor mean to categorize communicative effectiveness is merely the same expression as it is found in functionalist analysis texts. To elaborate in details, field stands for what the text is really about in which involves


text’s semantic domain and its specialization. Moreover, the “about” element conceived by Field also includes what kind of text is it practically have the talk about the process and circumstance types. Meanwhile, Mode deals with the textual element of a text which relates to the method taken by a text generated as it is. In this element, it is very likely a text’s method appears to be more than varies of production as a text may adjust interactivity or spontaneity-like. Furthermore, to analyze a text’s effectiveness, last categorization used is Tenor in which practically relates to the author and his audiences talking about language, social features, and the relationship between them. It is practically way in analyzing a text based on text produced and what kind of audiences expected to be presented with such language written in a text itself. 6. Field, Mode and Tenor According to Boleslav’s theory (2015: 4), there are three qualifications to determine whether a text is functional or not. The qualifications are field, mode and tenor which are explained below, as following: Field

Mode

Tenor

The experiential viewpoint from a text that basically concern on what text is about. The textual viewpoint from a text that displays the characteristics of its intended mode (high interactivity and high spontaneity (could be counted by lexical density)). The interpersonal viewpoint from a text that constructs the expected tenor for the participants.

Those three qualifications are essential in text analysis. Each of them carries role of viewpoints that construct text to accomplish its functionalism as well as the equivalence of two translations.


The study of field is the analysis of dictions used in ST and TT by drawing the meaning of words. It is also used to see how a word performs to replace and represent the idea of ST and TT as well as the genre of text. Meanwhile, mode is about the study of interactivity of text that is used to interest readers. It also studies the spontaneity of text that relies on the calculation of lexical density. What it indicates is the lower lexical density results; the more spontaneous text appears. On the other hand, tenor is about the technique on how text is constructed (personalization >< impersonalization). Next, by the stance of text that indicates what attitude is expressed. The analysis covers lexical choices and evaluative expression (asserted, assumed and triggered attitude in choices). 7. Lexical Density In this study, in proving how the translation works in theory, arts and market is also determined by lexical density. According to Hallday, “lexical density is distinguishing lexical and grammatical item (content words) to the total discourse.” It can be measured in various ways: the ration of the lexical items either to the total running words or some higher grammatical unit, most obviously the clause. (1987: 60). Therefore, the method of calculating Lexical Density (LD) is written in the following formula.

LD (%) =

(

)

× 100%

Moreover, LD is used in this study in the practice of mode analysis. The significance is the lower LD in a text, the more spontaneous the text is. The meaning of spontaneity of text in this study in which a title is formed in minimum


structures constructed. Therefore, a title is effective as possible that is able to attract target readership as well as produces intended result. 8. Back Translation According to Harkness and Glusberg (1998), back translation involves the translation of a text which itself is a translation back into the original language. It is most commonly used and recommended as a way to asses translation work. (Werner Campbell, 1970). Back translation also could be used as the translator assessment. It is used to bridge the translation of SL and TL in comparison of word meaning. C. Theoretical Framework The definition of translation based on Nida and Taber, and with translation quality assessments cover equivalence and acceptability aspects by Bassnett, Hatim and Durisin (stated in Bassnett’s book) with the addition of functional/functionalist approach/functionalism stated from Christiane Nord and practical guide for functional text analysis by Boleslav which also covering for communicative effectiveness; and field, mode and tenor are the basic understanding to the topic being discussed in this study. Along with the theory of lexical density and back translation, the translation analysis is also assessed by those theories to accomplish objectives. To begin, the theory of Translation by Nida and Taber is very essential in elaborating what and how translator and translation need to translate with the naturalist work. Relating to this study, the theory of equivalence and its type restated by Bassnett is needed to assess the first problem solving. In addition, the


acceptability theory by Hatim and Durisin help the writer to the understanding on the formality of ‘what is called acceptability’ and its importance. Furthermore, using the appliance of Nababan’s acceptability indicator and simplified category is to assess the data in this research. Functional/Functionalist Approach/Functionalism is the third theory used in this study that covers most of the work. The importance of this approach is to assess the traslation compentence and help the writer finding equivalence of ST and TT marking the the accomplishment of translation and its communicative effectiveness that also, later on becoming the additional theory. Field, Mode and Tenor which are a part of functionalist approach are the categorization that is used to assess the approach in analysis. Thus, these last theory, approach and qualifications are very useful in answering the first problem formulation. Lastly, lexical density is used to assess the equivalence analysis. It deals with the spontaneity that is included in the method on solving the first problem. On the other hand, back translation takes a part in assessing the analysis in the first and second formulations. It is a tool in this study to find the ‘functional’ aspect in texts.


CHAPTER III METHODOLOGY

A. Areas of Research The study concerns on the translation of source texts and targets texts with evaluation of English fictional book titles into its translated version of Indonesian contexts. It uses the implementation of a functionalist approach to work on its analysis extent. The data are evaluated consisted of 30 English fictional book titles completed with its Indonesian adaptation titles which are from two different genres, that are thriller for 15fictional titles preceded and 15 romance fictional book titles. According to Williams and Chesterman (2002: 6), this kind of study is text analysis and translation which functions to analyze the translation strategy and change or shift between SL and TL applied and its condition of use. B. Object of the Study The object of this study was 30 English fictional book titles that had been translated and adapted into Indonesian version; however, it was limited to several titles which were not word-to-word translation between original title and its translated ones. Since the translatable unit in the form of book titles, therefore they were in the phrase and sentence forms. The data of fiction titles are a series of romance and thriller bestseller books in TL. Moreover, in this study, there was a superior role of functionalist approach in which it was an approach that took more scale of space in the study as it had the counterbalance for the descriptive translation strategy and socio-cultural meaning in analyzing both compared data and findings. That happenedsince a list of titles


analyzed were far from each other in meaning impressed people who pickedwithout knowing the original names would think the title as it is.Therefore that was the task of functional approach in which it took concern on the equivalence between ST and TT titles dispersing around analysis viewpoints related to the work of text called as a good text through terms of Field, Mode and Tenor. C. Method of the Study The method taken in analyzing the work was a library research, as to second and complete this study;there is the needs of information, theories and study related to the topic which would be discussed. The data in this study was primary data in which it was collected by the researcher who studied the topic and was not taken from other sources. All the primary data were taken from referent books and internet. D. Research Procedure 1. Type of Data a. Objective Data The objective data used in this research are a list of English fictional book titles. There were several fictional titles originally written by Agatha Christie in thriller. Its number of titles and their Indonesian translation were 14, and the rest of total thriller fictions were the writing of John Fielding. Meanwhile, there are 15 romance English of fictional books titles compiled from several different authors.To note down, the books which are collected as data are merely objects


that are mostly found in Indonesian bookstores or libraries with the amount of translation versions are often read by target receivers. b. Affective Data This study also collected the affirmative data garnered from respondents to fill out questionnaires concerning translation equivalence and acceptability of the English of fictional titles translated into Indonesian context. The form of questionnaires would be the whole data which had been categorized differently based on its genres, into two divisions: thriller and romance. There were 30 randomly chosen respondents who were people in general without age levels or occupation differences as the base of measurement cover.That becomes the fair measurement since analysis would be focus on acceptability translation that relates to target receivers who could be anybody who understand Indonesian. The acceptability questionnaire always concerns on target receivers as it is up to the standard of the translation beneficiary. This affective data were used to measure how acceptable the translation was. 2. Data Collection Since the data in this study were a list of book titles, therefore the first step was to collect the English fictional book titles that had been translated into Indonesian with its particular conditions, that those books to choose had already had its Indonesian title versions in no word-for-word translation. The work of collecting data took any fictional titles which were found in the bookstore, library or even some websites in the internet. The picking-up came with the condition that the book titles chosen were the ones which had not been translated literally.


After having the list of titles to use and analyze, they were categorized by genres in order to limit the research area and to find the exact analysis and objectivity of its translation. As a result, there are two different genre of book categories used in this study, which are thriller and romance. Furthermore, the primary data collections were to use the assessment of questionnaires. The data of questions were taken by samples and it was in the kind of purposive samples so that it could give the information needed by the researcher to bridge the problem formulation between SL and TL. Therefore, it means that the questionnaires only took one of the quality assessments in translation, which was acceptability, to be sampled to and checked on respondents. Table 1.1.Example of Acceptability Analysis No

Data

1

1/ST/ThG/Ac/FL

2

2/ST/RoG/Ac/FR

ST Five Little Pigs Fools Rush In

TT MengungkitPembun uhan CintaTiba-tiba

In which, ST TTAc ThG RoG Ac FL FR

: Source Text : Target Text for Acceptability : Thriller Genre : Romance Genre : Acceptability of Quality Assessment Translation : Three Little Pigs : Fools Rush in

Category Acceptable Less Acceptable


After the data in the Source Text and Target Text were all coded, the data were given to respondents. The writer used the questionnaires to measure the acceptability among people in general. The respondents gave score for each data. 3. Population and Sample The population data in this study consisted of 30 English and Indonesian fictional book titles. 15 were thriller and 15 are romance genre book. All data were analyzed. 4. Data Analysis In analyzing the data, there were some steps taken to accomplish the analysis goal in this study based on the quality of assessments and approach used. Seeing from the problem formulation and objectivity, the first step was to put the list of titles it the equivalence analysis of two different expression titles from SL into TL. The measurement scope of quality assessment translation in equivalence here would take the functional approach to second the grip of analysis work. The basic aim of this approach was to analyze about how the readers get the message of what is told. Thus, by using the guide compass from Boleslav’s theory, the search of equivalence and non-equivalence would be determined by Field (for the experiential viewpoint), Mode (for the textual viewpoint) and Tenor (for the interpersonal viewpoint) as the method of score in analysis. In addition, there is communicative effectiveness as a tool of measurement on whether or not the text translated achieves the goal from rendering messages from SL to TL to convincing audience using TT.


In this instance, in the equivalence analysis, the theoretical practice of communicative effectiveness would be used to support. The proceeding was taken since the praxis which was used that suggested communicative effectiveness took the analysis of text came all over the text’s ideas of Field, Mode and Tenor the same way as equivalence. To make use of communicative effectiveness as an assessment, thereforethere will be a deeper practice analysis to texts equivalence and also effectiveness in use. Thus, the categorization would be induced into table for practical mode below. Table 4.2. Example of Translation Equivalence Assessment Using Communicative Effectiveness Code

ST

TT

22/ST/Ro The Twelve Nights DuaBelasHariTeri G/TNC/ of Christmas ndah DBH

Field

Mode

Tenor

X

√

√

The criteria were borrowed from the method of classification written by Boleslav which is sorted by the writer into three columns of category for field, mode and tenor. To analyze the text equivalence and effectiveness, two different titles are on display in comparison for both names followed by the checkedcolumn initially placed for a text consideration for accomplishing the same field, mode or tenor. To use those three criteria lead to a better problem, solving on how the translation English fictional book titles that somehow presents very far from original translation well-analyzed both theoretically and culturally. Seeing the example of table 4.2, it shows the two titles translated from English to Indonesian. Besides, the part which has the mark checked (√) in


column, indicates that a text produced and appeared based on both translation is considered equivalent. Therefore, the changes of title are considered effective as well. The equivalence takes for the same meanings implied for each element analyzed while the effectiveness takes for a text translation (both English and Indonesian translation) has achieved a text purpose—that is giving factual information until convincing receivers for its validity—and the expectations of Field, Mode and Tenor which is register completely register for a text. The second analysis would give room for quality assessment translation in acceptability which is the strategy process in translating by considering the understanding or response of the audience. This term was in the continuum strategy to check whether or not the translation from SL to TL can be accepted, as valid or invalid translation. Thus, the writer adapted and used Nababan’s score indicator from The Translation Theory (translated) (1999). Table 4.1.Nababan’s Indicator of Acceptability (modified) Scale

Score

Acceptability Category

Acceptability Indicator

1.00 – 1.5

1

Acceptable

The TL title is understood by target readership and naturally translated in Indonesian.

1.6 – 2.00

2

Less Acceptable

The TL title is not understood by target readership and not matched with the content of blurb.

According to the indicator score above, to apply it to questionnaire forms would be like table 4.3. There was an additional column of comment which functions as the respondents’ reasons of giving particular score (that is not


applicable to other to scores given to the same data) as consideration of supplementary analysis. Table 4.3.Example of the questionnaires (written in Indonesian) [translated back in English] Kode (Code)

Judul (Title of Book)

Nilai (Score) 1

2

Mengungkit Pembunuhan (Prying the Murder)

1/ST/Th G/TL

Isi Cerita (Content): Hasrat Amyas Cralepada lukisan dan wanita membuat namanya terkenal. Namun pembunuhan atas dirinya membuat namanya tercemar. Enam belas tahun kemudian istrinya yang cemburu dituduh dan dijatuhi hukuman seumur hidup karena pembunuhan yang menggemparkan. Kini Carla, putri mereka, wanita muda yang yakin ibunya tidak bersalah, menghadapkan Hercule Poirot pada tantangan yang menggoda: memulihkan nama baik ibunya dengan kembali ke tempat terjadinya pembunuhan dan mencari kekurangan fatal pada kejahatan yang sempurna itu.

(AmyasCrale’s murder made a fuss in city and put him in a bad name. Until 16 years later, his jealous wife was accused and sentenced to life due to the shocking homicide. It was all left to Carla, the Crale’sdaughter, who was certain that her mother was innocence. She confronted HerculePoirot to the tempting challenge: cleaned her mother’s name by coming back to the homicide scene and searched for fatal absence in that perfect crime.) Catatan (Note):

In which, Nilai(Score) 1:berterima (the data is acceptable for target readership) Nilai (Score) 2: kurang berterima (the data is less acceptable for target readership)


CHAPTER IV ANALYSIS RESULTS AND DISCUSSION This chapter is divided into two parts. The first part covers the analysis of the first problem formulated which is equivalence translation seen from functionalist approach. The analysis is assessed byBoleslav’scommunicative effectiveness theory (2005) that uses field, mode and tenor as deeper guide of text analysis in order to find the functional aspects of 30 translation data compared back to its source version. The second part covers the analysis of acceptability that studieshow texts which are considered acceptable in its native context. The analysis isgarnered from discussion of questionnaires filled in by 30 respondents using Nababan’s score and category in acceptability. 1. The

Translation

Equivalence

Assessment

Using

Communicative

Effectiveness The analysis of translation equivalence assessment is divided into groups of grade as result of Field, Mode and Tenor examination into 8 different resolutions, which are: (√√√), (√XX), (√√X), (√X√), (X√√), (X√X), (XX√), and (XXX). As noted in the column above, there has already been a sequence of (Field, Mode, and Tenor) in the following orders. In details, (√) indicates that source and target texts have the same analysis results, meanwhile (X) indicates that the analysis does not result the same.


To note down, all modes in text analyses apparently have the same result. All of TT modes are equivalent to ST modes because the data are book titles that use written language. a. Equivalent Translation The equivalent translation of the first problem formulation this study is marked by field, mode and tenor that appear positive or the same as the source text (√√√). Based on the analysis below, there are 7 equivalent translations of fictional book titles in Indonesian contexts as a result. 1. The Target Text Has the Same Field, Mode and Tenor as the Source Text i.

Data 2 Code

ST

TT

Field

Mode

Tenor

2/ST/ThG/ Dead Man’s Folly Kubur Berkubah √ √ √ DMF/KB In the analysis of Field, “dead man” in ST and “kubur” (grave) in TT are dictions that influence text equivalence. Moreover, “berkubah”(domed)and “folly” that are intriguing details in both texts that are put for clues of mystery. Therefore, as the dictions could relate to each other, the expression and ideas are also conveyed equivalently as well. In the analysis of mode, both texts show the same lexical density for 1 point indicating that the text is spontaneous. ST title has word “folly” as interactivity that signifies readers’ interest to see more of what the word means in text. Moreover, TT title functions dictions “kubur” (grave) and “berkubah” (doomed)as the interactivity. Those words combined signify thriller rather than ST title has.


The third analysis talks about tenor. Both ST and TT have the same tenor four using impersonalization. Both texts also put negative meanings in the dictions which relates to thriller stuff and impression of clues or such cases. ST uses “dead man” and “folly”; meanwhile, ST uses “kubur”. In addition, the evaluative expression used by ST and TT are triggered attitude as well. That is used by the author and translator to create titles with the meaning of words and its relation of content that encourages readers to imply more. ii.

Data 6 Code

ST

TT

Field

Mode

Tenor

6/ST/ThG/ Mawar Tak Sad Cypress √ √ √ SC/MTB Berduri In the field analysis, ST uses dictions “sad” and “cypress” that signifies for mourning and great loss. Meanwhile, TT uses dictions “mawar” (rose) and “tak berduri” (spineless) that are combined altogether signifies for weakness. In the term of field, both titles reflect the ugly experiences in interpreting the same idea, especially the adjective dictions (“sad” and “tak berduri”) chosen are quite contrasted to the nouns (“cypress” and “mawar”). Secondly, for the mode of text, ST has 1 point and TT has 0.7 point for lexical densities indicate that both texts are spontaneous. In ST word “cypress” and “sad” are used to make an emphasis of pessimistic ambience in story. Meanwhile, TT title uses “mawar” (rose) combined with “tak berduri” (spineless) that appears as unfamiliar knowledge for “rose” to have “spineless” character. Those all become the mystery point as text interactivity.


Thirdly, in analysis oftenor, both texts appear as impersonalization since there is no subjectivity. Furthermore, ST uses word “cypress” and “sad” which carry meaning for ‘mourning and unhappiness’ to construct a negative attitude in text. Similar to ST, the lexical choices of TT are “tak berduri” (spineless) and “mawar” (rose). They instantly have different meanings to imply. The word “tak berduri” is positively means no harm. However, when translator uses that word combined with “mawar”, it becomes negative in meaning that the rose has no strength to protect itself. Hence, both titles are included in triggered attitude since there is a lot to imply more. iii.

Data 12 Code

ST

TT

Field

Mode

Tenor

12/ST/ThG Death Comes as Ledakan √ √ √ /DCE/LD the End Dendam The analysis of field, ST uses the word “death” and “end” as the highlights of title. Those words make the impression of intrigue and put the text into thriller shelves. Meanwhile, TT title has “ledakan” (explosion) that stresses impression of how big the word “dendam” (revenge) functions in text. Moreover, in the term of field, two data show that both titles actually relate to each since with dictions “death”, “end” and “dendam” that relate in meanings. Next, the second analysis talks about mode in which ST has 0.6 point and TT has 1 point for lexical density which indicates that both texts are spontaneous. Furthermore, ST keeps the word “death” as interactivity to make title like the kind of threat. In TT title, based on “ledakan” (explosion) and “dendam” (revenge), it


shows to an allusion to which “revenge” has implied meaning to. It also becomes the interactivity that interest readers since it is included in thriller terms. Moreover, the third analysis is about tenor which ST and TT take impersonalization which press to the objectivity of text. Furthermore, for stance of lexical choices, the word “death” and “end” in ST represent negative meanings that the author uses to create such feeling of negative attitude due to thriller fiction. Meanwhile the word that stands out the most in TT is “revenge” which already brings negative meanings, then noun “explosion” added, it makes an emphasis used by the translator to construct negative attitude. Therefore, the evaluative expression is used in ST and TT are assumed attitude as well, since the title is built in the form of main idea. Thus, tenor in this data is equivalent. iv.

Data 15 Code

ST

TT

Field

Mode

Tenor

15/ST/ThG/ Ordeal by Mata Rantai √ √ √ OBI/MRH Innocence yang Hilang In analysis of field, ST title uses “ordeal” means s a very difficult situation which is a general word that represents the usual plot of thriller. Meanwhile, TT title takes dictions “Mata Rantai” (link)that also match the detective or mystery term. Added by the diction, “yang Hilang” (missing) that gives impression for riddles. Moreover, by the dictions chosen for ST and TT, “ordeal” could be represented by “mata rantai yang hilang” as the description of situation. Therefore, both texts are equivalent. Moreover, the second analysis is about mode in which ST has 0.7 point and TT has1 point for lexical density.Diction “innocence”, “ordeal” and “Mata


Rantai yang Hilang” show thriller terms. They all seem intriguing that could be interactivity for target readership. For tenor analysis, ST and TT titles which are constructed in a phrase, included in impersonalization since there is no personal derivatives inside text. However, they have strong lexical choices for “ordeal” and “innocence” that goes for negative meanings and causes implied negatives perspectives. It is then functioned by author to create one such negative atmosphere and attitude of what thriller is usually like. Meanwhile, TT uses “mata rantai” as the word which could relate to thriller term, added to an adjective “yang hilang” which brings negative meaning. Thus, the evaluative expressions for both texts are assumed attitude since the words that is displayed is implied to be supposed to. v.

Data 18 Code

ST

TT

Field

Mode

Tenor

18/ST/RoG Pernikahan Bed of Roses √ √ √ /BOR/PT Terindah In the analysis of field, data 18 is considered to have the same field as dictions “bed”, “roses”, “pernikahan” (wedding) and “terindah” (the most beautiful) represent the same idea. Each one is included in romance term that is often used. Diction “bed” in ST and “pernikahan” in TT are the symbol words of togetherness and comfort. For “roses” and “terindah” implies happiness meaning instead. In addition, Bed of Roses is English idiom for ‘an easy, comfortable situation” that is best replaced in Pernikahan Terindah(the most beautiful wedding) that has the same picture represented.


Furthermore, for the analysis of mode, ST has 0.7 point and TT has 1 point for lexical density indicating that both titles are structured spontaneously. The interactivity of SL on the choice of words that turns out to be idiom which makes readers believe the story must be good and expected that way. Meanwhile, for TL title uses allusion in the word “pernikahan” which attract readers for good romance. Moreover, the third analysis is tenor in which both texts use impersonalization for no subjectivity within their texts. Anyhow, ST title uses the stance of lexical choices for romance with “roses” and “bed”.With their meaning, they are constructed to a positive attitude marking the romance to have happy ending. Similarly, TT has positive meaning for words “pernikahan” and “terindah” used by the translator to make a positive attitude. Thus, the evaluative expressions found in these texts are assumed attitude since the title is put like it is something factual in the first place. vi.

Data 26

Code

ST

TT

Field

Mode

Tenor

26/ST/Ro Overbite Terpikat √ √ √ G/Ov/Te In the analysis of field, ST diction “overbite” and TT diction “terpikat” (attracted) are considered equivalent. “Overbite” itself means ‘misalignment of teeth in which the upper teeth is project over too far over the lower teeth when mouth is closed’. Meanwhile, “terpikat” means ‘to get drawn attention to someone else’. The word definitions seem different, but the expression appears equivalently for describing a situation where things are out of control naturally.


Secondly, for mode analysis, ST and TT have 1 point for lexical density which means both titles are spontaneous in structural way. Both data also show the same way of text produced by acquiring a word for title.Thus, it is the part of interactivity in text that is used to encourage readers’ curiosity. Thirdly, in the analysis of tenor, the two texts that do not project any subjectivity take for impersonalization. Both titles also display negative meaning by lexical choices. ST’s “overbite” negatively means the situation of something bites off more than it should. It is used by the author to construct the same attitude and ambience to how the story goes. “Attracted” in TT is also directed more negatively because it shows no control to oneself in handling circumstance of feeling. Hence, the evaluative attitude used for both texts, which appear to be the same, is assumed attitude in which needs for other statement to complete the entire meaning. vii.

Data 30 Code

ST

TT

Field

Mode

Tenor

30/ST/RoG Secret Fire Bersemi di Rusia √ √ √ /SF/BDR In the analysis of field, dictions that are related in romance term are “secret”, “fire” and “bersemi” (growing). Those dictions indicate meanings for ‘passion and sparks’ romantically based on the context. Therefore, in the term of field, both texts are equivalent since TT could represent what is meant in ST. Furthermore, in the analysis of mode, ST has 1 point and TT has 0.7 point for lexical density that means the structure of both titles are spontaneous. ST uses allusion in Secret Fire asan impression of the story inside to be beautiful and


romantic. Meanwhile, TT uses “Russia” as it is believed to be the setting of story as the interactivity. This detail interests readers in feeling intimate with the story before even reading it. Lastly, for the tenor analysis, ST and TT useimpersonalization that indicates there is no subjectivity. Lexical choices “secret” and “fire” are strong ones that stand for ‘passion’. It also prevails in TT title that “bersemi” indicates for positive attitude in text. Hence, both texts are in assumed attitude since the title appears in the construction of a main argument. In conclusion, the analyses above succeed in accomplishing the goal of field, mode and tenor which are equivalent. Field is equivalent since both texts could replace and represent each other in the same meaning and contexts. Mode is equivalent because all data are written texts. Besides, tenor is equivalent when both texts have standing and attitude which are constructed by the author/translator to appear as a complete substation. b. Not Equivalent Translation The not equivalent translation of the first problem formulation this in study is marked by field, mode and tenor that appear differently.There are 23 not equivalent translations in this study which are divided into 3 categories since the mode in this analysis is automatically equivalent. 8 translations have the same field and mode, but different tenor (√√X); 4 translations have different field, but the same mode and tenor (X√√); and 11 translations results the same mode, but different field and tenor (X√X).


1. The Target Text Has the Same Field and Mode, but Different Tenor from Source Text i.

Data 4 Code

ST

TT

Field

Mode

Tenor

Pembunuhan di 4/ST/ThG/ Hickory Dickory X Pondokan √ √ Dock HDD/PPM Mahasiswa In data 4, ST title tends to present the title in a form of clues which uses onomatopoeia to make it more interesting. As the genre of book is thriller, thus, the idea is gotten from reading the title is the mystery happened in the Hickory Dickory Dock which could be any crime could possibly demand salvation. Meanwhile, the TT title to be translated back in English would be “the Murder in Student Hostel”. However, based on that title, the expectation of TT readers who only glance in a second would get the idea that the book is practically about mystery, crime or detective things involved, which cover the whole materials needed as thriller. To relate them both with each other, the murder in the student hostel may be known as the infamous hickory Dickory dock. Furthermore, the field which is represented through the two titles are covered up that there is a mystery of the dock which is actually called dock. ST has 1 point and TT has 0.75 points for lexical density which shows spontaneity in texts. ST which is constructed as onomatopoeia could be engaged with readers curiosity by “sounding” the clues. Meanwhile, TT is more open and precise in mentioning the mystery itself. Thirdly, in the analysis of tenor, in ST and TT are impersonalization. The words “hickory”, ”dock”, “murder” and “student hostel” which carry the unusual


ambience that it is rare to hear, find and see in daily life making negative meanings towards texts. Therefore, ST is in triggered attitude which create the atmosphere of "hickory dickory dock” leaving the rest of it for readers to imply. Meanwhile, TT is asserted attitude in which the TT title is made quite openly for every reader to get the same idea once they read the title. ii.

Data 9 Code

ST

TT

Field

Mode

Tenor

9/ST/ThG/ The Moving Pena Beracun X √ √ TMF/PB Finger In the analysis of field, ST diction “finger” is replaced by “pena” (pen) in TT title. Both words are correlated because it is the form of symbol. The adjective dictions “moving” and “beracun” (poisoned) are details that indicates the titles uses intriguing words as riddles or hints of mystery. As the words create the same impression, therefore both texts are considered equivalent. Then, in the analysis of mode, ST has 0.7 point and TT has 1 point for lexical density indicating that both titles are structured spontaneous. Both texts have interactivity in choice of adjectives “moving” and “beracun” (poisoned) which construct intriguing words for thriller term. In the tenor analysis, ST and TT titles get into impersonalizationas there is objectivity within text.The lexical choices of “moving” and “beracun” (poisoned) are the ones used by the author and translator to create negative attitude since both words have negative meanings. That suits thriller term as well. Hence, the evaluative expression in ST is triggered attitude because the title is formed in the


way where readers could imply more from what it appears. However, TT tends to be assumed attitude as the way title is constructed onto supposing mode. iii.

Data 7 Code

ST

TT

Field

Mode

Tenor

7/ST/ThG/S Sparkling Kenangan √ √ X C/KK Cyanide Kematian In the analysis of field, dictions which are included in thriller terms are “cyanide” and “kematian” (death). The other details of “sparkling” and “kenangan” (memories) complete the thriller dictions to indicate that the titles are about hints or clues of mysteries. Although the word meanings are different, the role of message conveyed is equivalently fulfilled by both texts. The second analysis is about mode in which either ST or TT 1 point for lexical density has, showing that both texts have spontaneous structures constructed as titles. The interactivity of text is onto dictions which are “cyanide” and “kematian”. Both words are best to present thriller or mystery terms which are the interactivity part of text. Furthermore, in tenor analysis, ST and TT titles are included in impersonalization since there is no personal pronoun or address of term that readers could directly refer to. Nonetheless, the lexical choices “cyanide” and “kematian” are words used for negative attitude in texts by the author and translator. Hence, the evaluative expression is used in ST text is triggered attitude because the title does not really open identity and leaves enough parts for readers to imply the rest. Meanwhile, TT title is in asserted attitude because itsounds relative that the meaning of phrase is open for receivers to disagree/agree.


iv.

Data 16 Code

ST

TT

Field

Mode

Tenor

16/ST/Ro G/Re/SPH

Reckless

Sang Penggoda Hati

√

√

X

In the analysis of field, ST title Reckless uses allusion that means ‘without thought of danger’. The diction is relates to feeling expression. Meanwhile, TT uses diction “Sang Penggoda Hati” (the tempter) which is a connotation refers to characters of the story. Based on word meanings and its expression, both texts are included in romance term. They are also equivalently able to represent the same idea intended, although there are differences in perspectives on how texts served. Furthermore, in the mode analysis, ST has 1 point and TT has 0.7 point for lexical density indicating that both titles are spontaneous. Dictions “reckless” and “penggoda” (tempter) are the interactivity in both texts since both intend for romantic terms. They have ‘heavy’ meaning for ‘flirtatious’ which could be selling point of text. In tenor analysis, ST title is in impersonalization since there is no subjectivity bias in text. However, TT is down to personalization since “penggoda” implies to a character in story that is underplayed in such name. Moreover, as the mode created in texts are ‘flirtatious’ romance, therefore “reckless” and “penggoda” have roles that carry negative attitude constructed. Thus, the evaluative expression for ST is asserted attitude.Since the title is asserted in the form of an adjective which functioned as affectedness.Meanwhile, TT title is assumed attitude since there is only agency in title so that it needs another argument to follow up.


v.

Data 17 Code

ST

TT

Field

Mode

Tenor

17/ST/Ro Sang Penjerat Breathless √ √ X G/Br/SPH Hati In the analysis of field, ST uses Breathless that means ‘exciting and intense’ in romance term. On the other hand, TT title uses diction “Sang Penjerat Hati” (the trapper) which has denotation meaning for ‘seduction’ and included in romance term. In this instance, both titles are equivalent because the meanings of words are related with each other. ST title stands with ‘exciting and intense’ and TT stands with ‘seductive’. The second analysis is about mode of text that ST has 1 point and TT has 0.7 point for lexical density showing both titles are spontaneous. Moreover, ST that is an adjective is the interactivity that encourages readers’ curiosity. Meanwhile, TT uses diction “Sang Penjerat Hati” (the trapper) as allusion in title. Lastly, in tenor analysis, ST title is impersonalization because there is no subjectivity bias found in the text. However, TT title is personalization since “penjerat” implies a character in story. The lexical choices “breathless” and “penjerat hati” are lexical choices used by author and translator to construct negative attitude towards ‘seductive’ vibe. Hence, the evaluative expression in TT is assumed attitude since the word is an agent and has “occupation” attached to and known for. Meanwhile, in ST is asserted attitude because the title is only constructed by one adjective word that could mean more than what it actually is implied.


vi.

Data 21 Code

ST

TT

Field

Mode

Tenor

21/ST/RoG /FRI/CTT

Fools Rush in

Cinta Tiba-tiba

√

√

X

In the analysis of field, dictions “rush in” and “tiba-tiba” (sudden) have the same meaning. Then, seeing the contexts, “cinta” (love) is also possible to replace the word “fools” which usually becomes the connotations of love expression in romance. Therefore, the fields in this data are equivalent because they appear to have the same expression for text. Secondly, in the mode analysis, ST has 0.7 point and TT has 1 point for lexical density indicating that both titles are spontaneous in structure. The words “fools”, “rush in”, and “cinta tiba-tiba” imply more to negative meanings because of the allusion. Therefore, that could be interactivity that encourages readers’ curiosity. In the tenor analysis, both texts are impersonalization since there is no subjectivity in texts. However, lexical choices “fools”, “rush in” and “cinta tibatiba” are made use by the author/translator to construct negative attitude in romance. Nonetheless, ST is in triggered attitude since there is agency and affectedness inside title, but readers could imply more from it. Meanwhile, TT title is assumed attitude because it is constructed in a statement form. vii.

Data 23 Code

ST

TT

Field

Mode

Tenor

23/ST/RoG /EBY/PT

Every Breath You Take

PulauTakdir

√

√

X


In the analysis of field, ST uses phrase Every Breath You Take that commonly indicatesa piece of beautiful words in poem or love song lyric. The diction is more into poetic meaning. Meanwhile, “takdir” (fate)in TT is also romance word. By the allusion of ST title, it could relate to TT title “Pulau Takdir” (Land of Fate) since it shows the same idea. For the mode analysis, ST has 0.75 and TT has 1 point for lexical density which means both titles are spontaneous. As the texts are into romance, therefore the titles uses dictions and allusion to create romantic feeling. Every Breath You Take and Pulau Takdir are quite to show the romantic expression so that it is the interactivity of texts. For tenor analysis, ST title is personalization because it contains personal pronoun “you” that creates feeling subjectivity. Yet, TT is impersonalization for its objectivity. The phrase in ST title and the word “takdir” are lexical choices constructed to create positive attitude in this romance. Therefore, it results ST to have triggered attitude as well since the title appears poetic which could be implied more by readers. TT title is more towards assumed attitude because it is in the form of argument. viii.

Data 29 Code

ST

TT

Field

Mode

Tenor

29/ST/RoG Killing Me Softly Puncak Obsesi √ √ X /KMS/PO The field in data 29 appears equivalent for dictions of titles that could represent each other. “Killing” and “obsesi” (obsession) are strong words to mean passion in romance term. By phrase “Killing Me Softly” and “Puncak Obsession”


(Top Obsession), the impression of the field is the expression of troubling situation in romantic way. Thus, ST and TT deliver the same idea. Next, in the mode analysis, both texts have 1 point for lexical densitymarking both titles are structured spontaneous. The word “killing” with adverb “slowly” in ST and “obsesi” in TT are strong words that impress readers that this fiction is this romance has troubling story. The other interactivity is the pronoun “me” in ST diction creates intimacy for readers to relate the situation when reading it. Thirdly, in the analysis of tenor, both texts differ in standing. ST is included in personalization because there is directive “me” within text that speaks for the author. It creates intimacy to readers. However, TT has no subjectivity in text that makes it as impersonalization. Moreover, as both texts are about troubling romance, therefore the lexical choices “killing” and “obsesi” are words used to construct negative meaning attitude in text. Thus, the evaluative expression in TT is assumed attitude since the words given only imply to be main statement. It is different from ST title that has triggered attitude because the title could imply another meaning to readers. In conclusion, the analyses above succeed in accomplishing the goal of field and mode in texts which are equivalently the same. Field is equivalent since both texts could replace and represent each other in the same meaning and contexts. Mode is equivalent because all data are written texts. However, tenor is not equivalent because the standing and attitudes in texts are not constructed in the


same way. Therefore, the author and the translator use different perspectives and ideas for one text. 2. The Target Text Has the Same Mode, but Different Field and Tenor from Source Text i.

Data 1 Code

ST

TT

Field

Mode

Tenor

1/ST/ThG/ By the Pricking Rumah di Tepi √ X X BPM of My Thumb Kanal In the field analysis, ST has diction “pricking” that included in thriller term for its meaning. As a whole title, ST appears intriguing by using the expression of pain. However, it is not conveyed the same way in TT title that uses dictions “rumah” (house) and ”di tepi kanal” (at the edge of canal). The expression and description of mystery in ST is not equivalent with TT title which only appears as a setting in details. Secondly, in mode analysis, both texts have 0.5 point for lexical density showing that both titles are spontaneous. ST title appears by the expression of pain in “pricking” and “my thumb”. That is the interactivity which makes intimacy with readers. Meanwhile, TT title attracts readers using setting that could be hints. For the tenor study, both texts are included in impersonalization for the absence of objectivity. Lexical choices “pricking” and “di tepi kanal” are words that carry negative vibe for texts. They make texts seems thriller and mysterious. Hence, ST is in triggered attitude because the title is constructed in the way it


could imply more than what is written. Meanwhile, TT is in assumed attitude as it tends to be a piece of information for the story inside book. ii.

Data 5 Code

ST

TT

Field

Mode

Tenor

5/ST/ThG/ Peril at the End Hotel Majestic X √ X PEH/HM House In the analysis data 5, the ST and TT are considered not equivalent. That happens because there is no diction in TT that could represent or signify the idea conveyed in ST. Meanwhile, the only word that is in thriller term is “peril” in ST which means ‘danger’. To see what is in TT, “hotel” and “majestic” only possibly relates to setting or riddles in mystery. For mode analysis, ST has 0.6 point and TT has 1 point for lexical density which means both titles are spontaneous. The words “peril”, “end house”, and “hotel majestic” are the interactivity of texts because they contain riddles or clues for mystery story. For tenor analysis, both titles are in impersonalization which is caused by the absence of subjectivity in text. As the words that become interactivity in text mode, those lexical choices are also constructed to make negative attitude. However, ST ends up in assumed attitude because the way the title is presented is more to a statement. Meanwhile, TT title is asserted attitude since the title is asserted in “majestic” word. iii.

Data 8 Code

ST

TT

Field

Mode

Tenor

8/ST/ThG/ TC/MM

The Clocks

Mayat Misterius

X

√

X


In data 8, the texts are also not equivalent because ST uses diction “clocks” that symbolize for clues or hints; meanwhile, TT picks “mayat” (corpse) and “misterius” (mysterious) which more onto the text content. In addition, the words also do not signify the same expression or imply ideas in equivalence. For the mode analysis, ST has 0.5 and TT has 1 point for lexical density showing both titles are spontaneous. ST uses “clock” that has interactivity role as a riddle to notice. However, TT sells out in thriller dictions with “mayat” and “misterius” to make more intriguing impression. Furthermore, both have tenor that circle in impersonalization as there is no subjectivity. However, the attitude is created by these texts appears different. TT dictions “mayat misterius” are the construction of translator to make negative attitude in text. Whereas, “clock” in ST carries neutral meaning that only functions as clues or riddles in text. Thus, ST is triggered attitude because the text appears to be more to imply. Meanwhile, TT is asserted attitude since the title appears with relative form for adjective “misterius”. iv.

Data 10 Code

ST

TT

Field

Mode

Tenor

10/ST/ThG Misteri X The Pale Horse X √ /TPH/MPT Penginapan Tua In the term of field, texts in data 10 are not equivalent. ST title comes blurry with diction “pale horse” which could be anything that relates to names or clues. Meanwhile, TT has “misteri”(mystery) and “old” (tua) that relate to thriller term in mysterious way. Anyhow, there is no correlation of meaning and words above to substitute each other. That is why data 10 is not equivalent.


For the text mode, ST has 0.7 and TT has 1 point for lexical density indicating that both titles are spontaneous. The interactivity of ST and TT texts are dictions in title that signify clues of mystery even though they present different the kind of clues. Moreover, for the text tenor, ST and TT are in impersonalization since there is no subjectivity formed. “Pale”, “misteri” and “tua” are words with negative meanings. Hence, those lexical choices are used in both texts that are constructed to make negative attitude. Thus, ST is in triggered attitude as the title could imply to different directions from what it is intended by author. Yet, TT is in assumed attitude since the title is constructed to be like truth. v.

Data 11 Code

ST

TT

Field

Mode

Tenor

Why Didn’t Pembunuhan di They Ask X X √ Balik Kabut Evan? In data 11, ST title is in the form of question, meanwhile TT in the

11/ST/ThG/ WDT/PBK

statement. TT has dictions “Pembunuhan” (murder) and “di Balik Kabut” (behind fog) that indicates mystery in thriller terms. ST has diction “ask” and name “Evan” that signify something big to be put in title. They indicate the clues of mystery because of intriguing sentence arrangement. Although both texts imply for clues or riddles, the significance of dictions are out of connection. That is why the field in this data is considered not equivalent. In the mode analysis, ST has 0.6 and TT has 0.5 point for lexical density showing that both titles are spontaneous. In ST, the interrogative form is the interactivity of text because it directly address to audience which creates intimacy.


Meanwhile, in TT “di Balik Kabut” is the part that interest readers because it arouses curiosity towards character in story. Next, in tenor analysis, ST is onto personalization since there are “they” and “Evan” that indicate personal pronoun that involve readers directly. In TT there no subjectivity therefore it is in impersonalization. The words “why”, “didn’t”, “ask”, “pembunuhan” and “di balik Kabut” are negative words in the text to construct negative attitude for thriller. On the other hand, ST is also in different attitude from TT, that it is triggered attitude because the title construction affect readers to imply more than what is served. Therefore TT is in assumed attitude since it is written in statement form. vi.

Data 13 Code

ST

TT

Field

Mode

Tenor

13/ST/ThG Buku Harian Crooked House X √ X /CH/BHJ Josephine In the analysis of field, ST and TT show not equivalent result. ST appears with “crooked” and “house” that indicates thriller term. Meanwhile, TT goes with clues with diction “Buku Harian” (diary) and “Josephine” name. Based on the meaning of words imply, there is no relations of both texts. That is why the field of data 1 is not equivalent. For the mode of text, ST and TT have 1 point for lexical density which means they have spontaneous structures for titles. By the dictions are used in texts, those phrases points for clues and riddles. That becomes the interactivity to encourage readers’ curiosity towards the relation of object and thriller story.


On the tenor analysis, both texts are identified as impersonalization since there is no subjectivity. “Crooked” and “Buku Harian” are lexical choices used towards negative attitude in text. “Crooked” plays part for negative meaning while “Buku Harian” plays part as the clues in detective story. Therefore, ST is in asserted attitude since there is an adjective in text which affects relativity. TT is in assumed attitude as the title is made in an argument. vii.

Data 14 Code

ST

TT

Field

Mode

Tenor

14/ST/ThG /SJR/SSK

See Jane Run

Serpih-serpih Kenangan

X

√

X

In data 14, the analysis of field results not equivalent. ST has dictions “see”, “Jane” and “run” which are not substituted by TT dictions “serpih-serpih” (pieces) and “kenangan” (memories). Although dictions in ST and TT indicate for riddles or hints, the idea in ST could be completely conveyed and expressed in TT. Therefore, the field of this data is not equivalent. On the other hand, both texts have 1 point for lexical density indicating both titles are spontaneous. In ST, there are nouns “see” and “run” in between position of name of pronoun “Jane. Thus, it is interactivity makes readers feel directed in spontaneity. In TT, the impression “serpih-serpih kenangan” is the interactivity to interest readers. On tenor analysis, ST uses personalization since there is directive by the word “see” makes the text title more alive and related to audiences. Meanwhile, TT uses impersonalization for no subjectivity in text. As for thriller term, “see”, “run”, “serpih-serpih” and “kenangan” are words used to construct negative


attitude since they carries negative meaning and vibe within. Hence, ST has triggered attitude because the title makes readers to imply more for meaning behind. TT is in assumed attitude as it is written in supposed mode. viii.

Data 19 Code

ST

TT

Field

Mode

Tenor

Lukisan 19/ST/Ro The Shell Seekers X X √ Kesayangan G/TSS/LK In data 19, ST and TT titles are not equivalent because both titles show different ideas implied. Both ST and TT do not have romantic term, but the dictions could point to the significant objects in romance story. Therefore, in the term of field, as each word in texts could not represent the same idea, this data is considered not equivalent. On the mode analysis, ST has 0.7 and TT has 1 point for lexical density showing spontaneous structures for titles. The interactivity in these titles is the use of objects “shell seekers” and “lukisan” (painting) that is believed inside story to interest readers without spilling too many details. For tenor analysis, both ST and TT in is include in impersonalization for no subjectivity displayed through title. Based on lexical choices used in texts, the attitude that is formed in text is neutral attitude for romance. ST author uses words with neutral meaning, but TT translator adds “kesayangan” to make it romantic and construct positive attitude to text. Thus, Both ST and TT are in assumed attitude since the title are constructed in supposing mode.


ix.

Data 20 Code

ST

TT

Field

Mode

Tenor

20/ST/RoG Sang Penakluk √ X Shameless X /Sh/SPH Hati In the term of field, ST has diction “shameless” that refers to either character or situation in story. TT has diction “penakluk hati” (heart conqueror) that refers to character. As both dictions might be used as connotation in romance, but there is no relations among two texts because each text present different expression and impression. That is why data 20 is not equivalent. For the mode analysis, ST has 1 and TT has 0.7 point for lexical density that means both titles are spontaneous. The words “shameless” and “penakluk hati” are texts’ interactivity as they contain allusion and connotation that make titles beautiful as in romance terms. In tenor analysis, ST title is in impersonalization for showing no subjectivity. On the other hand, TT title is in personalization for “penakluk” (conqueror) that is underplayed as character of the story. Moreover, “shameless” and “penakluk” are lexical words used in text that leads to negative attitude. Hence, TT is in assumed attitude since there is only an agency in text that makes it a statement. Meanwhile, ST is in asserted attitude because of agency absence in text. x.

Data 27 Code

ST

TT

Field

Mode

Tenor

27/ST/RoG /SB/MS

Separate Beds

Milikmu Seutuhnya

X

√

X


In the field analysis, data 27 show contrast ideas that are not equivalent. ST has diction “separate beds” that means ‘being apart’. It contrasts to TT dictions “milikmu” (yours) and “seutuhnya” (completely) that means ‘being together’. Although they all uses romance terms, but the expression implied is very different. Therefore, the field is not equivalent as it differs impression too. For the mode analysis, ST has 1 and TT has 0.5 point for lexical density showing that they are spontaneous titles. ST uses “separate beds” that carries negative meaning as the interactivity. Meanwhile, TT uses all romance terms in dictions to make an expectation that the story would end happily. For tenor analysis, both texts are down to impersonalization because there is no subjectivity within text. As ST uses lexical choices “separate” with word “bed”, it leads to negative attitude in story. Thus, ST is in assumed attitude in title which only has affectedness in text. However, TT constructs positive attitude with “milikmu” and “seutuhnya” for happy romance. Hence, TT is in asserted attitude because the word “seutuhnya” that seems arguable. xi.

Data 28 Code

ST

TT

Field

Mode

Tenor

28/ST/Ro Abandon Yang Terpilih X √ X G/Ab/YT Data 28 also has contrast field between ST and TT. ST has diction “abandon” which is more into negative meaning. Whereas, TT has “yang terpilih” (the chosen one) that seems positive. Since the word of meaning is different, therefore idea transferred is also not equivalent.


In the term of mode, ST has 1 and TT has 0.5 point for lexical density indicating both titles are spontaneous. The interactivity of textsis both titles use minimum number of word.That also builds the spontaneity of texts. For tenor analysis, both texts are also use impersonalization since there is no objectivity within texts. The lexical choices in text are contrast to each other. ST uses “abandon” which affects negative attitude because the author possibly wants to make a twist of story. TT uses “yang terpilih” to construct positive attitude for romance instead. Nevertheless, ST and TT are in assumed attitude because both texts suppress affectedness when constructed as title. In conclusion, the analyses above succeed in accomplishing equivalent mode because all data are written texts. Field is not equivalent because both texts do not have dictions and expression represent the same meaning and contexts. In addition, tenor is not equivalent because the standing and attitudes in texts are not constructed by the translator in the same way. Therefore, the author and him feel like put different perspectives and ideas for one text. 3. Target Text Has the Same Mode and Tenor, but Different Field from Source Text i.

Data 3 Code

ST

TT

Field

Mode

Tenor

3/ST/ThG/ Mengungkit Five Little Pigs X √ √ FLP/MP Pembunuhan In data 3, ST uses allusion of “pigs” in referring to ‘the culprit or victim’ character in the story. TT uses thriller terms with “mengungkit” (prying) and “pembunuhan” (murder) instead. Apparently, dictions used in texts above mean


different that could not represent each other. Therefore the expression on how the story might be is also different. Hence, the field in data 3 is not equivalent. For the text mode, ST and TT have 1 point for lexical density indicating both titles are spontaneous. ST has interactivity by using allusion that sounds like the famous fable Three Little Pigs to make it seems familiar or symbolize the same experience. TT uses thriller terms whereas to make it noticeable as thriller text for TT receivers. Then, to tenor analysis, ST and TT titles are in impersonalization for the absence of subjectivity. “Pigs” and ”pembunuhan” are the lexical choices used in texts that construct negative attitude. “Pigs” creates ugly persona to whatever it is referred to and “murder” always stands for something negative. Therefore, both texs are included in assumed attitude because the title is structured in the form of main argument like how assumptions work. ii.

Data 22 Code

ST

TT

Field

Mode

Tenor

The Twelve Dua Belas Hari Nights of X √ √ Terindah Christmas In the analysis of field, this data actually has the same idea, but there is

22/ST/RoG /TNC/DBH

replacement in TT from ST that makes different impression. ST uses dictions “nights of Christmas” which means for ‘joy’ like how Christmas always represents. TT replaces it instead with “hari terindah” (most beautiful days) which also contain ‘joy’. However, what makes this data not equivalent is that the expression and impression both texts are quite different since TT words appear less special as ST does.


For the mode of text, ST has 0.6 and TT has 0.7 point for lexical density showing that both titles are spontaneous. The interactivity of text is “nights of Christmas” and “hari terindah” which appear like beautiful for romantic story. For tenor analysis, ST and TT use impersonalization due to absence of subjectivity in text title. “Christmas” and “terindah” are lexical choices used in text to construct positive attitude. They are used to make romantic ambience for titles. Therefore, both texts are included in assumed attitude since the construction of title leads to be the main argument. iii.

Data 24 Code

ST

TT

Field

Mode

Tenor

24/ST/RoG Selalu dan Bright Eyes X √ √ /BE/SDS Selamanya In the field analysis, ST has dictions “bright” and “eyes” that signify as symbols in story. Whereas TT has dictions “selalu dan selamanya” (always and forever) that refers to romantic expression. Therefore, in the term of field, both texts are not equivalent since the dictions are used to replace each other cannot represent the same expression. Thus, the impression would be different too. For the mode analysis, ST has 1 and TT has 0.7 point for lexical density showing both texts are constructed spontaneous. Titles “bright eyes” and “selalu dan selamanya” are text interactivity that imply to beautiful connotation. Therefore, the readers would see the text to have happy romance. The tenor in this data appears in impersonalization since both texts have no objectivity bias within texts. Moreover, “bright”, “selalu dan selamanya” are the lexical choices that are used to construct positive attitude in texts. Therefore, it


demands happy romance. Hence, ST and TT are assumed attitude since the composition and dictions used in phrase are for supposing. iv.

Data 25 Code

ST

TT

Field

Mode

Tenor

25/ST/RoG/ Gairah Cinta Fires of Winter X √ √ FOW/GCV Viking In the analysis of field, in ST “fires” and “winter” are used to symbolize romance term. Meanwhile, TT uses “gairah cinta” (passion) and “Viking” to present the idea of romance from a character. Consequently, the ideas created are not equivalent. The allusion of ST dictions could mean more than what TT presents. Meanwhile TT presents too specific description. For the mode analysis, ST has 0.7 and TT has 1 point for lexical density that shows both titles are spontaneous. The word “fires”, ‘winter” and “gairah cinta” are strong words that are used as text interactivity. They could hint a particular fantasy in romance for readers. In the term of tenor, both ST and TT have impersonalization category for no subjectivity in texts. Since the word “fires”, “winter” and “gairah cinta” carry strong impression in romance term, therefore it construct negative attitude. Thus, both texts are in assumed attitude since the titles are constructed in the form of argument. In conclusion, the analyses above only succeed in accomplishing goal of mode and tenor to be considered equivalent. Field is not equivalent because TT cannot replace ST with the same expression and impression that convey the same idea. On the other hand, mode is equivalent because all data are written texts.


Besides, tenor is equivalent when both texts have standing and attitude which are constructed by the author/translator to appear as a complete substation. To sum up the analysis of equivalence, here is the chart showing the equivalence translation of 30 English fictional book titles. The Translation Equivalence data result

12 10 8 6 4 2 0 Equivalent Translation The same Field, Mode and Tenor

Not Equivalent Translation

7

The Same Field and Mode; Different Tenor

8

different field; the same mode and tenor

4

The Same Mode; different Field and Tenor.

11

Chart 4.1. Equivalence Translation of Analysis Result Using Communicative Effectiveness Based on the chart above, there are only 7 data that are equivalent. The equivalent translation is depended on the accomplishment of Field, Mode and Tenor to be the same. The chart also suggests that 23 data remaining are not equivalent translation for not being able to fulfill the same categorization of field, mode and tenor. A. The Translation Acceptability Assessment The second part of analysis in this study is about acceptability usingthe method of acceptability adjusts to Nababan’s score and categorization.The jury is


shortened and modified only into two categories marked (1) acceptable and (2) less acceptable. The analysis garnered 30 respondents to fill in the questionnaires which include TT qualities in Indonesian reporting fictional book titles and its blurb in Indonesian version. Thus, these analysis data puts Indonesian blurb which has been backtranslated in English. The aim is to examine how functional the blurbs fulfill the acceptability for TT receivers and its context. In addition, the elaboration of acceptability is arranged based on acceptability and less acceptability order here as fallen: 1. The Acceptability Translation in the Analysis Using Target Text’s Blurb In this analysis, the acceptable data have been measured using score and categorization written by Nababan to find the average score in the scale of 1.001.5. The average score is derived from the sum total of score questionnaires taken and done by respondents and divided by numbers of respondents. There are 27 data that are acceptable based on this study. i.

Data 1 Code

ST

TT

Average Score

1/ST/ThG/BPM /RTK

By the Pricking of My Thumb

Rumah di Tepi Kanal

1.2

Rumah di Tepi Kanal presents a story in blurb about the curiosity of character named Tuppence who stared at a painting which dazzled him with its familiarity of having seen a house that is an object of painting. As he is in the state of feeling strange, he decided to take a train, searching for a house of the painting. Started from that, he took an adventure that made him involve into a murder case


repressed from the past. And, the murderer was waiting for him in that house—a house at the edge of canal. Collected from critics and suggestions written out in questionnaires, the translation of blurb is already well-written to match with title. It is proved by 23 of 30 respondents who consider it acceptable. Moreover, the title name Rumah di Tepi Kanal (House at the Edge of Canal) is also mentioned in the last line paragraph that signifies the title covers the content.In addition, the beginning of blurb also inserts “house” that makes the character begins to adventure. Hence, that is why most respondents agree that data 1 acceptable. ii.

Data 3 Code

ST

TT

Average Score

3/ST/ThG/FL P/MP

Five Little Pigs

Mengungkit Pembunuhan

1.4

The back cover of TT book tells the story of Amyas Crale’s murder which made a fuss in city and put him in a bad name. Until 16 years later, his jealous wife was accused and sentenced to life due to the shocking homicide. It was all left to Carla, the Crale’s daughter, who was certain that her mother was innocence, confronted Hercule Poirot to the tempting challenge: cleaned her mother’s name by coming back to the homicide scene and searched for fatal absence in that perfect crime. By reading the TT back cover above, the connection of title and blurb could be seen clearly. The title Mengungkit Pembunuhan (prying the murder) is obviously related to the scenario. What it is to be “pried” is the perfect crime which made Carla lost her father to grave and her mother to jail. Along with


Poirot, she became the character who pries the murder. Hence, 18 of 30 respondents considered it acceptable that results score 1.4. iii.

Data 5 Code 5/ST/ThG/ PEH/HM

ST

TT

Average Score

Peril at the End House

Hotel Majestic

1.5

From the original story of the back cover of ST, data 5 tells about a three fatal accidents in three days happened to a young girl who lived alone in End House. It made Hercule Poirot, a detective, suspicious whether they were pure accidents or not. As being interested, he decided to help out. Apparently, another accident occurred, with another victim was another girl. Moreover, TT title translation of Hotel Majestic (Majestic Hotel) is actually nowhere to concern with the idea represents in blurb. However, to connect one thing to another, the TT blurb appears to drag around End House which happens to be setting in ST title. Besides, from what ST title and TT blurbs express in each selected words, it constructs readers’ guess and imagination that Hotel Majestic is another name of End House.Thus, the connection influences 16 of 30 respondents select it as acceptable. However, putting aside from respondents’ response, TT title does not complement the story given in blurb due to no correlation of “Majestic” and “Hotel”. Besides, “End House”is hinted as where the poor girl lives impliesa house or neighborhood name instead. Secondly, word “Majestic” does not really signify a thing or support the word “Hotel” as well. Thus, although the average


score of data 5 might result acceptability, there is so much lack of connection for TT title and TT blurb making it more into less acceptable kind. iv.

Data 7 Code

ST

TT

Average Score

7/ST/ThG/SC/KK

Sparkling Cyanide

Kenangan Kematian

1.3

Kenangan Kematian(Death Memories) talks about a mysterious letter which was received by a husband of murder victim telling that his wife did not commit suicide, but she was killed instead. Then it lead to chronological time when his wife was suddenly dead after drinking champagne in her birthday in a room full of suspecting people—mentioned with their relationship with the wife— who may have to do with the man’s wife. Moreover, 21 of 30 respondents pick the word “memories” isacceptable enough to describe the content. “Memories” has much more covered about what happened with wife during time in the room of people. Those are included good or bad ones which they share together so that it connects to the story intended by author. v.

Data 8 Code

ST

TT

Average Score

8/ST/ThG/TC/MM

The Clocks

Mayat Misterius

1.3

From TT blurb, the tale begins with the story of murder happened at the house in Wilbraham Crescent, which had every comfort and beauty to live in. However, then there was found a dead man killed by kitchen knife until it drew a


young girl to follow the crowd to see what happened. Furthermore, strangeness occurred to that girl with her surprise of a voice whispering to her ear that made her turned around and found someone she did recognize. Within two minutes, the girl became the next dead body killed after being choked. Dictions “Mayat” (Dead body) and “Misterius” (Mysterious) are considered connect to the blurb of TT title.It connects to a chain murder with big questions of the murderer, the relationships with victims and the motives behind action.”Misterius” covers for the ambience produced in the whole scene of blurb. Meanwhile, ”mayat” takes part as one or two object characters that are being told and drawn upon readers’ interests. Hence, 21 of 30 respondents agree that the translation title of Mayat Misterius is acceptable. vi.

Data 9 Code

ST

9/ST/ThG/TMF/PB The Moving Finger

TT

Average Score

Pena Beracun

1.4

From the back cover of TT book it tells a mysterious letter coming from London that making scene and scaring everyone. It was composed with pieces of words cut and taken from a magazine. The writing itself meant hardly anything to understand, but it took everyone’s breath away. The letters were the first thing caused everyone scared to death, and the next thing happened, it started to take lives for death. Everything was a sort of mystery and threat with big giant question of whom will be the next for death. By the significance of dictions “pena” (pen) and “beracun” (poisoned), both relate to blurb content. In this context, “pena” symbolizes ‘writing’ and


“beracun” covers all implicit story elements written out in book giving negative influence through fright, threat and murder. Hence, 19 of 30 respondents consider the title is acceptable for the content of blurb. vii.

Data 10 Code

ST

TT

Average Score

10/ST/ThG/TPH/MPT

The Pale Horse

Misteri Penginapan Tua

1.4

The story began with a dying woman talked to Father Gorman with teary eyes emitting a pain, insisting bad things happened lately was too cruel, “please make it stop… It needs to stop…You have to…” For the moment, Pastor Gorman firmly said to trust him and comforted her while tucking a paper full of names mentioned by that old woman. It was a series of names without meanings; a list of people names who have no similarity. Then, on his way home, Father Gorman was killed, and the police found the list. Moreover, Mark Easterbrook started his investigation towards those names, and he finally found connections between them which lead him to a terrible pattern: everyone written down in the list had died—or his guess, they were marked as the target of murder. Dictions “misteri” (mystery) and “di penginapan tua” (in an old inn)builds a thriller ambience for readers to expect the atmosphere of mystery. Meanwhile “penginapan tua” likely refers to “an Old Inn” is the place where a series of killings happened that makes a dying woman as the opening character in blurb upset and asks for help from Father Gorman. In addition, it is supported by the result 17 of 30 respondents who picked out data 10 acceptable.


viii.

Data 11 Code

ST

TT

Average Score

11/ST/ThG/WDT/PBK

Why Didn’t They Ask Evan?

Pembunuhan di Balik Kabut

1.3

The blurbbegan with short description of setting where the place was surrounded by fog which slowly faded out. Then, story pointed out to a dying man—aged about 40s, fainted and counted on his breath—who is lying on the ground with all his exposure of brown curly hair, big nose, sturdy chin, a set of white clean teeth seen from his crooked lips, and his pair of legs that are bent over in a strange position. Until he suddenly opened his eyes and said one peculiar sentence, ‘Why didn’t they call Evans?’, then followed by his body went trembled, eyes and mouth shut closed afterwards… which meant he died. In the analysis data 11, TT title has diction “kabut” (fog) that means “muddle” signifying “confusion, blur and vague”. The dying man in blurb also fill the story content which is still blur and unclear.On the other words, the dying mind also utters his vague last sentence ‘why didn’t they call Evans?’ that eventually gives the ambience of vague for the whole plot. That is why 20 of 30 respondents pick it out as acceptable. ix.

Data 12 Code

ST

TT

Average Score

12/ST/ThG/DCE/LD

Death Comes as the End

Ledakan Dendam

1.4

The TT book cover gave a very brief blurb in which it started with an old 40.000 years murder mentioned in the first thing. Next, the story continued with a


woman named Renisenb who came back to her father’s house at the mountain side of Nil river after her husband died. However, the luxurious home of that woman’s father may incline to some other troublesome calling of greed, desire and murder. TT title “Ledakan Dendam”(the explosion of revenge) refers the idea conveyed in blurb.The title also describes the mystery of Reinensb’s father’s house which drags over greed, desire and murder as the matters. Furthermore, the titlealso could be the impact part or the result of the matters. Therefore, 17 of 30 respondents select this data as acceptable. x.

Data 13 Code

ST

TT

Average Score

13/ST/ThG/CH/BHJ

Crooked House

Buku Harian Josephine

1.4

Buku Harian Josephine is the story about the Leonides who are known as an affluent family lived in a big house at one great neighborhood in the side of London city. Nonetheless, after the death of Aristidle Leonides, it was revealed that one of family member was a murderer. Based on the result of questionnaires, 18 of 30 respondents select the title is acceptable for the content of blurb. However, to analyze deeper, the TT title gives an odd representation to be matched in the same degree with its story behind book cover. The name Josephine that occurs in title is not presented in blurb.That turnsher into two options: she is either the key of revelation or the murderer as mentioned. However, the writer argues that it is not supposed to be acceptable. The reason follows is such as above that TT title fatally mentions a name as


selling-point of book, but it does not give a little part for whoever is called Josephine. Hence, it is very arguable to be called acceptable. xi.

Data 14 Code

ST

TT

Average Score

14/ST/ThG/SJR/SSK

See Jane Run


1.4

The story began with a woman named Jane Whittaker who knew nothing about her own name, age or what she looked like. In the state of confusion and fear, she runs along the streets of Boston with a blood-covered dress and USD 10.000 money in her pocket. But, all she really felt was an empty life—her past was gone…or stolen. On the other hand, what was left for her was a handsome man who said as her husband, a rumor of dead little kid whom she didn’t completely recall...and frightened feeling of bad things that may happen. The word “kenangan” (memories)has role to speak for happen to the plot and the character of Jane Whittaker. Along with “serpih-serpih” (pieces) diction, TT title refers toher missing memories leading to questions to questions as the chain plot in this story. Thus, the title also symbolizes an ambience of solving puzzles of mystery like in thriller fictional book usually serves. Therefore, 19 of 30 respondents select it as acceptable. xii.

Data 15 Code

ST

TT

Average Score

15/ST/ThG/OBI/MRH

Ordeal by Innocence

Mata Rantai yang Hilang

1.2


The blurb presented the character of a man named Jacko Argyle who was accused of killing his own mother, and went to jail for that. However, he died in the prison. Next, the story jumped on two years later with an unknown person walked into home of the Argyles and destroyed the peace of the family. In the last part, the blurb was closed with three questions: Could the stranger find a missing link of Jacko’s case?; Had Jacko been punished for the murder he hadn’t ever committed?; and, if Jacko never killed his mother, then who did? The word “mata rantai” (link) signifies the closing question of blurb which represents the circumstance of time sequence of the murderer case, what happened to Jacko and the existence with the stranger. Above all, the word “yang hilang” (missing)emphasizes missing part of murder that needs to be re-opened and re-solved. Thus, 24 of 30 respondents consider it acceptable. xiii. Data 16 Code

ST

TT

Average Score

16/ST/RoG/Re/SPH

Reckless

Sang Penggoda Hati

1.2

This is a story about a named Viscount Adrian Alistair Rohan. As he got everything under his attractive face and behavior, Adrian never fails to flirt with women…until he met Charlotte Spenser whom he saw is her was a good woman to play around until he found any other women to flirt. The problem was Charlotte was more than a woman in an ordinary figure, that she was actually an adorable and smart woman.One thing led to another, Adrian got himself in the opposite position with Charlotte turned out attracting him instead.


The diction “sang penggoda hati” (the tempter) represents the whole situation lies in story. In the beginning, Adrian is the tempterwhose all attractiveness to flirt with women, including Charlotte Spenser who is out of his league. Until things unexpected happen that Charlotte turns to be the tempter for Adrian. Moreover, the idea and ambience written out in blurbbasically deals with romantic and seductive flings. Thus, 25 of 30 respondents consider it acceptable. xiv.

Data 17 Code

ST

TT

Average Score

17/ST/RoG/Br/SPH

Breathless

Sang Penjerat Hati

1.1

The story was preceded by the woman name Miranda Rohan whose bad reputation in society for a bad decision she once took affecting her to live apart from noblemen. Although she spent her days in happiness, she still felt something was missing for her life. On the other side, there was Lucien de Malheur who swore would take revenge towards the Rohans, which in fact he already began with destroyed the life of Lady Miranda which somehow still did not feel enough for himself. That was why he wanted more. He wanted to destroy and make more sadness to that family. However, the twist of life consumed him when he found that Miranda was not like what he thought, but charming. That made him confused over two options whether to keep taking revenge, or grabbing a life he had never even imagined. Diction “Sang Penjerat Hati” (the trapper) describes and refers to both characters. In the case of Lucien de Malheur, he is referred as the trapper for his motives to plan and trap a revenge for Miranda. Meanwhile, in Miranda’s case,


she is referred as the trapper as she has a charming effect to unintentionally trap and turn around Lucien’s game of revenge. Hence, 26 of 30 respondents consider it as acceptable. xv.

Data 18 Code

ST

TT

Average Score

18/ST/RoG/BOR/PT

Bed of Roses

Pernikahan Terindah

1.3

TT back book cover presented a story of Emmaline Grant who worked hard to have a beautiful wedding of her dreams. As she worked in Vows—a firm of wedding planner which she established with her three best friends—with a great contenting career, yet her love life didn’t go that contenting. Even though she did believe in love, Emma had never found the man she wished to have a danced under the moonlight. Yet, everything changed when her best friend, Jack Cooke, demanded a more relationship as friend that made her happy and scared at the same time. She didn’t want to lose Jack as her best friend and Jack as the man who gave her a chance of happiness she had been waiting for. Although Jack was not a perfect man, he could be a perfect man for Emma. As the big theme in this romantic story spins around love and wedding, thus what “Pernikahan Terindah” (the most beautiful wedding) presents through its title is the story of Emmaline Grant and Jack Cooke. They fill out the expectation of readers about Emma’s dream of beautiful wedding she has been saving up for. In addition, the title also implies the marriage that Emma has Jack to fill out as her perfect man mentioned in the last line of paragraph above. Hence, 20 of 30 respondents consider it as acceptable.


xvi.

Data 19 Code

ST

TT

Average Score

19/ST/RoG/TSS/LK

The Shell Seekers

Lukisan Kesayangan

1.2

This story is about Penelope Keeling who had experienced a colorful life in flashback: Bohemian childhood in London and Cornwall; unhappy marriage at the war; and the only one man she had always got her love for. As she was getting older, she had raised three children. Yet, she was still in her feet energetically and autonomously to keep on her old days in peace. Until one day she found out about the loving painting belonged to his father The Shell Seekers was worth so much making her realize that she had held decisions in her hands—the decisions of family whether to stay together or broken instead. The diction “lukisan kesayangan” (loving painting) in title has significance as the key of story—making the main character, Penelope Keeling, is in between choices of life decisions. Although there is no much description or ambience created by title, 24 of 30 respondents consider the dictions are good enough to relate the content and acceptable. xvii.

Data 20 Code

ST

TT

Average Score

20/ST/RoG/Sh/SPH

Shameless

Sang Penakluk Hati

1.3

The story began with a man name Viscount Benedick Francis Alistair Rohan who always liked a clumsy and well-mannered woman whom he could ignore after satisfying his desire. Thus, his least favorite was an independent


woman who could raise arguments. Having played with fate all this time, a woman named Lady Melisande Carstairs came into Benedick’s life and made a mess of his. That woman was a female warrior who saved women from the black valley. As Benedick’s sister was involved in the activity ofHeavenly Host which led to sadistic violence and one of Melisande’s women was threaten as well, Benedick and Melisande helped hand in hand to save them both. Up to time of full moon, mystery of Heavenly Host was eventually unfolded and some hearts were conquered. The word “Sang Penakluk Hati” (the heart conqueror) refers to the biggest theme of story written out briefly in blurb which is the warriors who conquer Heavenly Host mystery for the main purpose in the beginning. The title also alludesthe conquer of battle in which belongs to the relationship of Benedick and Melisande which explicitly described and developed through blurb. Hence, 21 of 30 respondents consider the title is acceptable for covering blurb. xviii. Data 21 Code

ST

TT

Average Score

21/ST/RoG/FRI/CTT

Fools Rush in

Cinta Tiba-tiba

1.2

This is the story about Millie Barnes who had already got everything in her hand—a fully dedicated job as a doctor at Cape Cod, a house of her own, and an adorable puppy to have a walk and attract men—,but an attention of young female ideal, Joe Carpenter who will complete her life. However, to reach out the completeness was not an easy job, especially after Sam Nickerson, a cop who entered her life and bothered her days, regarding of his need of friend as result of


being dumped by her materialist sister. Accordingly, did Millie need to enjoy the arrival of Sam though he was not a big part of his plan? Or did love come unexpectedly and all of sudden? TT title “Cinta Tiba-tiba” (sudden love)is constructed in the way it is connotation that represent the love life of Millie in blurb. Moreover, the title is also explicitly mentioned in the last line. Therefore, 24 of 30 respondents perceive the title to succeeds in wrapping the content. Thus, data 21 is has average score 1.2 making it into acceptable in target receivers. xix.

Data 22 Code

ST

TT

Average Score

22/ST/RoG/TNC/DBH

The Twelve Nights of Christmas

Dua Belas Hari Terindah

1.1

The story began with the setting of time in December centered on a life of Evie Arderson. Starting from her fiancé who suddenly called off the engagement, her job was turned over to be housekeeping, until now, she was kicked out from her apartment. The conflict began in the night she exhausted herself after working.She fell asleep in a bedroom of Penthouse, but she was woken up by an intoxicating kiss of a man who supposedly became her boss, Rio Zaceralli. Meanwhile, this December Rio Zacarelli himself had to keep reputation as white as snow for the sake of an important deal in his life. However, temptation never went easily to him through a modest and brave woman named Evie. Thus, the blurb ends with question on them keeping two opposite attractions more than twelve beautiful days they had spent together.


From the story in blurb, there found an ambience of secret romance between Evie Anderson and Rio Zacarelli that refers to the business of “Dua Belas Hari Terindah” (twelve most beautiful day). Although readers who read the back cover may not know what really happens among those two characters, but the existence of the last sentence in the last line of blurb ‘…a wonder of the possibility and their ability to keep on two opposite attractions more than twelve beautiful days they had spent together.’ create a new tension of expectation that there really are “twelve beautiful days”. Hence, 28 of 30 respondents fill out questionnaire with acceptable score. xx.

Data 23 Code

ST

TT

Average Score

23/ST/RoG/EBY/PT


Pulau Takdir

1.4

The blurb goes with a character of Kate Donovan who came to a beautiful tropical land as the consoled invitation of her boyfriend, Evan, after the death of her father. However, all she felt was more of lonesomeness and worst moods since Evan always put off to keep her company for the sake of his work. Moreover, there was Mitchell Wyatt who never expected an unintentional meeting with Kate who would change his life forever. Mitchell, who was ‘tossed out’ with no family who had ever loved him grew up being an arrogant and skeptical man that, in the other way around, was successful and confident businessman made of his own experiences. That was why there no women he couldn’t get or he could fall for as fast and strong as Kate did to him. On the other hand, Kate who began to feel the nerve of her relationship with Evan found a new and appealing thing in Mitchell.


Thus, how would Evan react to all the truths? And, how was the end of Kate and Mitchell’s love affair? The word “takdir” (fate) presents the plot of the story which is the meeting of Kate and Mitchell in ‘…there was Mitchell Wyatt who never expected an unintentional meeting with Kate would change his life forever’ that leads to the readers’ expectations of the possibility that the two people would end up together as if it is meant to be. Furthermore, the word “pulau” (land) represents the matter of setting that emphasizestheir meeting and their fate. Hence, 18 of 30 respondents consider data 23 is acceptable. xxi.

Data 24 Code

ST

TT

Average Score

24/ST/RoG/BE/SDS

Bright Eyes

Selalu dan Selamanya

1.4

Natalie Westfield let go of her dream to be a singer and married the man she once loved when she was only 18 years old. After 11 years, she come back to her parents’ house as a widower with two children and penniless as the cause of her cunning former husband who took all her wealth, except the legacy land of the Westfield from her grandmother. It was likely what Natalie always thought of, until her former husband, Robert, who was found killed in the garage, opened a new case that Natalie was deceived by a fake deal about legacy land that raised a police suspicion towards her considering a motive of murder. However, when everything fell apart for Natalie, there came an ideal cowboy, Zeke Coulter, who told her that he loved her. Nonetheless, Natalie did not want to believe it. Whereas, in the middle of life chaos and intentional accident happened to her


children and herself, Zeke was always there to help. Thus, Natalie was faced to difficult choices whether she would let go of the man who got through her bittersweet life for the sake of past trauma, or she would let the man who offers her an ‘always and forever’ love into her heart. What “selalu dan selamanya” (always and forever) means is to refer to Zeke Coulter. Based on the blurb, Zeke Coulter represents the idea of what Natalie misses for in her life, which is happiness.Her happiness is a recovering love, the kind of one which has sense of “always and forever” that is different from her past trauma with her former husband. Hence, 18 of 30 respondents feel that the TT title covers up the story served in blurb that is also acceptable. xxii.

Data 25 Code

ST

TT

Average Score

25/ST/RoG/FOW/GCV

Fires of Winter

Gairah Cinta Viking

1.3

The story began with a character named Lady Brenna Carmarham who accepted her arranged marriage with a Viking man named Garrick Haardrad. Surprisingly, the Vikings who came to her land that were expectedly to take her into her bridegroom stroke the Brenna tribes and took all women to be slaves. That made Brenna swore to never give in to be Viking’s slave, including to Garrick. Unexpectedly, Garrick showed his kind and patience to Brenna’s stubbornness. Even when Brenna planned to take revenge for great disaster of her tribes, she herself couldn’t resist the Viking man’s passion of love. Based on the blurb, the character that is referred as “Viking” is Garrick with personality description ‘kind and patient’. Whereas the Viking Character in


title is‘charming and loving’ instead. Although they are slightly different, they are still related as they carry positive meanings.Hence, that is why 22 of 30 respondents considered this data acceptable. xxiii. Data 26 Code

ST

TT

Average Score

26/ST/RoG/Ov/Te

Overbite

Terpikat

1.4

This is the story about Meena Harper who believed that there was no pure evil in this world with every creature was given over a choice to be good, including her ex-boyfriend, the dark prince. Unfortunately, to convince Alaric Wulf was not an easy job, as he wanted to destroy the dark prince, especially when there was a new threat that made everyone Meena loves in the danger. Thus, in the process of revealing the truth, Meena’s loyalty was tested along with her stir-up feelings and unexpected temptations attracted her. The title “terpikat” (attracted) summarizes the idea of story which is about temptation which attracts Alaric Wulf and also Meena Harper. What Alaric is attracted to, is his desire to destroy the dark prince. What Meena is attracted to, could be two things in option: her stir-up feelings or the unexpected temptation. Since the ideas and ambience is along the way with the title presented, therefore 19 of 30 respondents consider this data acceptable. xxiv. Data 27 Code

ST

TT

Average Score

27/ST/RoG/SB/MS

Separate Beds

Milikmu Seutuhnya

1.4


The blurb tells about an unexpected night when two different was united into a marriage. Those people were Clay Foster, a handsome law student, and Catherine, a serious and nerd students—two people who couldn’t be together. Nevertheless, that night was an exception. Under the moonlight and starts, they both spent the night together with a bottle of wine. In several months later, Catherine was pregnant and they both were married due to family name, although they both never wanted this marriage. As time went by, those spouses realized a different thing between them. A thing which was called as…love. From the blurb,the story that is implied is a catastrophe that turns to a happy ending. That is about different people who forcedly married due to accidental situation, but the next days they find themselves to find what’s already in front of their own eyes. Therefore, dictions “milikmu seutuhnya” (completely yours) plays a role as the romantic expression of the situation. Hence, 19 of 30 respondents consider the text is acceptable. xxv.

Data 28 Code

ST

TT

Average Score

28/ST/RoG/Ab/YT

Abandon

Yang Terpilih

1.4

The story began from Pierce Oliviera who tries to start a new beginning of his life after almost-dead accidents who made him knew the taste of death. However, after Pierce moved on to a small town and entered a new school, a man named John Hayden always appeared unexpectedly, especially in the time when she needed him the most. Besides, there were two definite things that Pierce always knew: John was not easy to refuse, and he was not an ordinary creature.


On the other hand, if Pierce let herself to fall for John, she would probably spend mortality in a place she never wanted to visit anymore. A world of spirits took a layover, which was John’s world: “Underwold”. Title “yang terpilih” (the chosen one) has described what is written out in blurb along with the ambience followed.The title refers to the character of Pierce who has undergone almost-dead accidents that brings her to John Hayden who chooses to stay near her, especially in the right time. Besides, the blurb creates an extraordinary atmosphere for what fictional story usually tells.It is as if the character is also extraordinary, fetching the idea ‘picked out from or preferred to the rest’ as what the title and Pierce’s character are defined. Thus, 19 of 30 respondents consider this title and text are acceptable. xxvi. Data 29 Code

ST

29/ST/RoG/KMS/PO Killing Me Softly

TT

Average Score

Puncak Obsesi

1.3

The story is about Alice Loundon who had everything: best friends, a loving boyfriend, and a successful career. One day, when she was walking down the street, she met a stranger and then she impulsively left her life for having a relationship with that man. That was the kind of relationship that took her into erotic life which was full of dark and danger. That was Adam Tallis, a hero who survived from climbing expedition and turned into catastrophe, took Alice into life adventure full of mysterious desire. Even when past life of his revealed one by one, there was a dark secret unpredicted started to uncover. However, love and


obsession that took over Alice made her ignore all those things…until they began to jeopardize her sanity and soul salvation. The word “obsesi” (obsession) covers the whole story idea in the line of ‘…she impulsively left her life for having a relationship with that man’ showing the sudden spontaneity of act to keep preoccupation. The phrase “puncak obsesi” (top obsession) refers to Alice who is the one who possess it with Adam Tallis as her top obsession, the man whom she follows around with unclear reason, yet constant pursue. Since the title suits the story in blurb, 21 of 30 respondents consider this text acceptable. xxvii. Data 30 Code

ST

TT

Average Score

30/ST/RoG/SF/BDR

Secret Fire

Bersemi di Rusia

1.3

The story began from Lady Katherine St. John who disguised herself into a maid outfit in order to trail her sister and fail her attempt to elope. Unexpectedly, she was also hunted by the Prince Dimitri Petrovich Alexandrov who paid a visit to London, and Katherine found herself kidnapped and taken to Russia! Dimitri refused to believe Katherine that she was a noblewoman and treated her as he pleased instead. Katherine was not a pretty woman, but she had something that attracted him inexplicably, which is far from his usual easily-bored man towards women. For what had happened, the two people had their own emotional outburst towards each other, and one of the question was…was there love among anger, hatred and revenge? They both definitely couldn’t think of it as it was.


The diction “bersemi” (growing) in title refers to the relationship of character leading to romance or sparks as the result of conflict mentioned in blurb. Secondly, the word “Russia” signifies the setting where the conflict happens and the ending is resolved. As dictions in title implies meanings to story in blurb, therefore that is why 21 of 30 respondents consider this text acceptable. 2.

The Less Acceptability Translation in the Analysis Using Blurb of

Target Text The less acceptable translation in this part is marked by higher score (≥1) given by respondents through questionnaires. A text is called as less acceptablewhen its fictional book title did not meet with the idea of a blurb taken from the back cover part of original book translated in Indonesian. Similar to equation of text’s acceptability, each data is calculated by summing every single result of score and then divided by 30 as number of total respondents. However, a text is considered less acceptable when grades show mark of scale 1.6-2.00. Furthermore, in final result, there are 3 data which are considered less acceptable in which are shown and described below. i.

Data 2 Code

ST

TT

Average Score

2/ST/ThG/DMF/KB

Dead Man’s Folly

Kubur Berkubah

1.6

The actual TT blurb was written out in the brief conversation between Mrs. Oliver and Hercule Poirot, a famous detective, talking about the game of tracking murder. The procedure of game was each contestant was given hints that would lead them to a place where the corpse lie. Whoever succeeded in guessing


who the murderer was would be the winner of the game with Mr. Poirot gave away the prize. Moreover, the problem started to float when Poirot asked who would be the corpse in the game. Mrs. Oliver led him to a room where a girl liedstill on the floor convincing Mrs. Oliver that she was truly a brilliant artist as if she was a true ‘corpse’. However, the truth was her convincing acting made Poirot realized that she was actually killed fifteen minutes ago. However, the word “kubur” (grave) may represent the room where Mrs. Oliver showed the fake corpse to Poirot in which becomes the grave or in other words in definition is ‘the last resting place’ of that girl who supposedly to be a fake corpse. Although the word does not really covers the idea of blurb or leads to plot in the same description near “grave” as the setting or the point idea. Secondly, the word “berkubah” (domed) also does signify anything for neither title nor blurb. Its role as an adjective also does not support the noun grave. Hence, from the reasons and analysis beforehand, 17 of 30 respondents consider this text less acceptable. ii.

Data 4 Code

ST

TT

Average Score

4/ST/ThG/HDD/PPM

Hickory Dickory Dock

Pembunuhan di Pondokan Mahasiswa

1.6

The story takes Poirot’s deft secretary, Miss Felicity Lemon, who, one day, made three mistakes when typing a very simple letter—which was a thing had never happened before. Nevertheless, the reason why she was like that because Mrs. Hubbard, her sister who had just come back from Singapore became


a matron in student hostel belonged to Mrs. Nicotelis at Hickory Road. Apparently, there had been a series of theft there: (one new) party shoe, (fake) bracelet, diamond ring (which later found in the plate of soup), powder box, lipstick, stethoscope, earrings, match, an old flannel trousers, electric light bulb, a box of chocolate, silk scarf (which later found torn), backpack, borax powder, bath salt and book of food recipe. However, what does not relate in this analysis data is that the word “pembunuhan” (murder)could not describe and cover the idea of blurb. It is such irrelevant how the title indicates an ambience of mysterious case of killing through the words “pembunuhan di pondokan mahasiswa” (the murder in student hostel), yet the blurb speaks differently by mentioning a series of good names which become the items of being stolen and found in the most unusual place and form. In addition, the lack of tense in blurb fails to attract and convinces blurb readers to accept that the inside of book presents the thriller of murder as the TT title. Hence, 17 of 30 respondents considered this data less acceptable because the title could not cover up the content of blurb. iii.

Data 6 Code

ST

TT

Average Score

6/ST/ThG/SC/MTB

Sad Cypress

Mawar Tak Berduri

1.6

“What would you asked me about—had I killed Mary Gerrard?” asked Elinor with her face turned red, as the story in this blurb began. Next, Poirot, the famous detective, replied with saying that he wouldn’t ask her anything further


because ause he did not want to know several things. The truth was, in spite of himself, Hercule Poirot sometimes lied. The man did want to know. Title “mawar tak berduri” (spineless roses) iss nowhere near in description in blurb. However, the object could be a symbol of character (Elinor, Hercule Poirot or Mary Gerrard). Nevertheless, they make short appearance in blurb that is quite difficult to refer. That is why the TT title is considered failing to wrap up the content of blurb implicitly and explicitly. Hence, data 6 garnered 17 of 30 respondents that consider this data is less acceptable. To sum up the acceptability analysis result, below is the chart that shows the average score given by each respondent in questionnaires. Diagram of Score Analysis Based on Respondents 1,8 1,6 1,4

Range

1,2 1 0,8 0,6 0,4 0,2 0 1 2 3 4 5 6 7 8 9 101112131415161718192021222324 24252627282930

Respondents Chart 4.2. The The distribution of respondents acceptability score Based on the chart above, there are 30 respondents who fill in the acceptability questionnaires that results various different results. Although most


respondents has lower average score 1.5, the chart suggests that the acceptability translation of English fictional book titles into Indonesian contexts still leaves problems. There are several data that are considered unacceptable, although the average score given by respondents reaching the acceptability score.


CHAPTER V CONCLUSION As written in the beginning chapter, this study focus on the functionalism of texts by comparing two translations coming from ST into TT by using the functionalist theory as the anchor of study analysis.There are 30 data of English fictional book titles that areanalyzed into two problem formulations discussed in this study. The first analysis takes for translation assessment for equivalence. This analysis focus on how the two texts bring for ST receivers and TT receivers by using communicative effectiveness, as a part of functionalist text approach, to evaluate texts in the analysis of field, mode and tenor which are the text component constructed by the author to make one particular version. Based on the result, all texts (30 texts) have the same mode since they are in written mode as written texts. There are also 15 equivalent fields resulted in the translation equivalence using communicative effectiveness analysis. Meanwhile, the other analysis results 15 equivalent tenors. By this means, to conclude there are 7 data results the same field, mode and tenor; 8 data results the same field and mode, but different tenor; 4 data results different field, but the same mode and tenor; and 11 data results the same mode, but different field and tenor. Moreover, what could be concluded from equivalence analysis using communicative effectiveness is that it is very possible that two different translations of titles to bring the same field since it depends on diction use and its word meaning to imply connotation for more. Meanwhile, the modes results the

85


same outcome because all texts are written mode therefore there are none are included in spoken modes. Furthermore, based on analyses, the result of tenor to equal depends on the construction of the last hand. TT tenor requires the translator’s accomplishment in which takes consideration on how the dictions could overcome the cultural problem as well as convey the original factual message of text. The second analysis concerns on translation acceptability assessment. Acceptability analysis is about how the texts are produced for TT receivers. The analysis takes on blurb of fiction in the back of book cover that are already written out in Indonesian and then it is analyzed and compared to each other whether or not the title could represent the idea of story. As a result, there are 27 data score 1.00-1.50 which are considered acceptable. Meanwhile, the rest of 3 data score 1.6-2.00 and are less acceptable for respondents. However, there are several data that respondents vote to be acceptable, that are apparently not enough to be called acceptable. The title does not have so connection with the story written in blurb although the average score accomplishes acceptability data.In conclusion, the result is not depended on the average score, but it depends on the dictions used as title matched with the synopsis written by the translator that makes the analysis. From equivalence and acceptability analyses, it is concluded that the translation of SL titles into TL aims to functionalist aspect of text to convey the same message. The changes and re-construction of title are done in order to make it more familiar in TL culture and attract target readership.


BIBLIOGRAPHY Bassnett, Susan. Translation Studies. London and New York: Routledge, 2008. Bell, T. Roger. Translation and Translating: Theory and Practice. New York: Longman, 1991. Boleslav, Michal. 2005. “A Practical Guide for Functional Text Analysis.” http://www.lexiconista.com/functionaltextanalysis.pdf. Accessed April 3, 2015. Catford, J.C. A linguistic Theory of Translation. London: Oxford University Press, 1965. Collins, V.H. A Book of English Idioms. London: Longmans, 1958. Halliday, M.A.K. (1987). Spoken and written language. 1st ed. [Waurn Ponds], Vic: Deakin University. Harkness, J. and Alicia Schoua-Glusberg. 1998. "Questionnaires in Translation." ZUMA-NachrichtenSpezial, January 1998. http:;//isites/harvard.edu/fs/docs/icb.topic506406.files/znspez3-04Harkness-Glusberg.pdf. Accessed August 22, 2015. Hatim, Basil. Teaching and Researching Translation Studies (Applied Linguistics in Action).London: Longman, 2001. Hatim, Basil and Jeremy Munday.Translation: An Advanced Resource Book. New York: Routledge, 2004. Hornby, A.S. Oxford Advanced Learner's Dictionary. Oxford University Press, 2005. Kuil, Fransiska Margaretha. “A Study on the Translation of Christian Related Terms in the Constitution of the Sisters of Notre Dame”. Undergraduate Thesis. Yogyakarta: Sanata Dharma University, 2010. Nababan. M. Rudolf. Teori Menerjemahkan Bahasa Inggris. Yogyakarta: Pustaka Pelajar, 1999. Nida, Eugene A. and Charles R. Taber. The Theory and Practice of Translation. Leiden: E.J. Brill, 1969. Newmark, Peter. Approaches to Translation. Oxford: Pergamon Press, 1981.

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Nord, Christiane. Translating as a Purposeful Activity. Manchester: St. Jerome Publishing, 1997. Puspitaratri, Diah. "Translation Quality Assessment on Accuracy, Naturalness and Acceptability of the Translation of Leo Tolstoy's After the Dance into Setelah Pesta Dansa by Anton Kurnia". Undergraduate Thesis. Yogyakarta: Sanata Dharma University, 2010. Stanton, Robert. An Introduction to Fiction. New York: Holt, Rinehart and Winston, Inc, 1965. Suryawinata, Zuchridiin and Sugeng Hariyanto. Bahasa Teori dan Penuntun Praktis Menerjemahkan. Yogyakarta: Kanisius, 2003. Tim Penyusun Kamus. Kamus Besar Bahasa Indonesia Edisi Ketiga. Jakarta: Balai Pustaka, 2005. Venuti, Lawrence. The Translation Studies Reader. New York: Routledge, 2004. Wachyuni, Sophia F. “The Problem of the Translation of Lubis’s Jalan Tak Ada Ujung into A Road with No End”. Undergraduate Thesis. Yogyakarta: Sanata Dharma University, 2002. Williams, Jenny and Andrew Chesterman. The Map: A Beginner’s Guide to Doing Research in Translation Studies. Manchester: St. Jerome Publishing, 2002.


APPENDICES Appendix 1: List of Data, Genre Categorization and Lexical Density

The Calculation of Lexical Density LD (Lexical Density) =

(

)

Lexical Words

: Noun, Adjective, Verb and Adverd found in title

Tokens

: Total number of words in title

Lexical Density No

Author

SL Titles

TL Titles

Genre

1

Agatha Christie

By the Pricking of my Thumb

Rumah di Tepi Kanal

Thriller

2

Agatha Christie

Dead Man’s Folly

Kubur Berkubah

3

Agatha Christie

Five Little Pigs


4

Agatha Christie

Hickory Dickory Dock Peril at the End House

5 6 7 8 9 10

Agatha Christie Agatha Christie Agatha Christie Agatha Christie Agatha Christie Agatha Christie

Sad Cypress Sparkling Cyanide The Clocks

of SL Total Titles

of TL Total Titles

3/6

0.5

2/4

0.5

3/3

1

2/2

1

Thriller

3/3

1

2/2

1


Thriller

3/3

1

3/4

0.75

Hotel Majestic

Thriller

3/5

0.6

2/2

1

Thriller

2/2

1

2/3

0.67

Thriller

2/2

1

2/2

1

Thriller

1/2

0.5

2/2

1

Mawar tak Berduri Kenangan Kematian Mayat Misterius

Thriller

The Moving Finger

Pena Beracun

Thriller

2/3

0.67

2/2

1

The Pale Horse


Thriller

2/3

0.67

3/3

1

89


11 12 13

Agatha Christie Agatha Christie Agatha Christie

Why Didn’t They Ask Evan? Death Comes as the End Crooked House

Pembunuh di Balik Kabut Ledakan Dendam Buku Harian Josephine

Thriller

3/5

0.6

2/4

0.5

Thriller

3/5

0.6

2/2

1

Thriller

2/2

1

3/3

1

14

John Fielding

See Jane Run


Thriller

3/3

1

3/3

1

15

Agatha Christie

Ordeal by Innocence


Thriller

2/3

0.67

3/4

0.75

1/1

1

2/3

0.67

1/1

1

2/3

0.67

Romance

2/3

0.67

2/2

1

Romance

2/3

0.67

2/2

1

Romance

1/1

1

2/3

0.67

Romance

2/3

0.67

2/2

1

Romance

3/5

0.6

3/4

0.67

Romance

3/4

0.75

2/2

1

Romance

2/2

1

2/3

0.67

16 17 18 19 20 21 22 23 24

Anne Stuart Anne Stuart Nora Roberts

Reckless Breathless Bed of Roses

Sang Penggoda Romance Hati Sang Penjerat Romance Hati Pernikahan Terindah

Rosamunde The Shell Lukisan Pilcher Seekers Kesayangan Anne Sang Penakluk Shameless Stuart Hati Kristan Fools Rush In Cinta Tiba-tiba Higgins The Twelve Sarah Dua Belas Hari Nights of Morgan Terindah Christmas Judith Every Breath Pulau Takdir McNaught You Take Catherine Selalu dan Bright Eyes Anderson Selamanya

25

Johanna Lindsey

Fires of Winter

Gairah Cinta Viking

Romance

2/3

0.67

3/3

1

26

Meg Cabot

Overbite

Terpikat

Romance

1/1

1

1/1

1

27

LaVyrle Spencer

Separate Beds

Milikmu Seutuhnya

Romance

2/2

1

1/2

0.5

28

Meg Cabot

Abandon

Yang Terpilih

Romance

1/1

1

1/2

0.5

Nicci French Johanna Lindsey

Killing Me Softly

PuncakObsesi

Romance

2/3

0.67

2/2

1

Secret Fire

Bersemi di Rusia

Romance

2/2

1

2/3

0.67

29 30


Appendix 2: Recapitulation of Equivalence Analysis Result Code

ST

TT

Field

Mode

Tenor

1/ST/ThG/ BPM


Rumah di Tepi Kanal

X

√

X

2/ST/ThG/ DMF/KB

Dead Man’s Folly

Kubur Berkubah

√

√

√

3/ST/ThG/ FLP/MP

Five Little Pigs


X

√

√



√

√

X


Hotel Majestic

X

√

X

Sad Cypress

Mawar Tak Berduri

√

√

√

7/ST/ThG/ SC/KK

Sparkling Cyanide

KenanganKematian

√

√

X

8/ST/ThG/ TC/MM

The Clocks

Mayat Misterius

X

√

X

Pena Beracun

√

√

X


X

√

X


X

√

X

Ledakan Dendam

√

√

√


X

√

X


X

√

X


√

√

√

4/ST/ThG/ HDD/PP M 5/ST/Th G/PEH/ HM 6/ST/ThG/ SC/MTB

9/ST/ThG/ The Moving Finger TMF/PB 10/ST/Th G/TPH/M The Pale Horse PT 11/ST/Th Why Didn’t They G/WDT/P Ask Evan? BK 12/ST/Th Death Come as the G/DCE/L End D 13/ST/Th G/CH/BH Crooked House J 14/ST/Th G/SJR/SS See Jane Run K 15/ST/Th G/OBI/M Ordeal by Innocence RH


16/ST/Ro G/Re/SPH 17/ST/Ro G/Br/SPH 18/ST/Ro G/BOR/P T 19/ST/Ro G/TSS/LK 20/ST/Ro G/Sh/SPH 21/ST/Ro G/FRI/CT T 22/ST/Ro G/TNC/D BH 23/ST/Ro G/EBY/P T 24/ST/Ro G/BE/SD S 25/ST/Ro G/FOW/G CV 26/ST/Ro G/Ov/Te 27/ST/Ro G/SB/MS 28/ST/Ro G/Ab/YT 29/ST/Ro G/KMS/P O 30/ST/Ro G/SF/BD R

Reckless

Sang PenggodaHati

√

√

X

Breathless

Sang Penjerat Hati

√

√

X

Bed of Roses

Pernikahan Terindah

√

√

√

The Shell Seekers

LukisanKesayangan

X

√

X

Shameless

Sang Penakluk Hati

X

√

X

Fools Rush in

Cinta Tiba-tiba

√

√

X



X

√

√


Pulau Takdir

√

√

X

Bright Eyes


X

√

√

Fires of Winter

Gairah Cinta Viking

X

√

√

Overbite

Terpikat

√

√

√

Separate Beds

Milikmu Seutuhnya

X

√

X

Abandon

Yang Terpilih

X

√

X

Killing Me Softly

Puncak Obsesi

√

√

X

Secret Fire

Bersemi di Rusia

√

√

√


Appendix 3: Acceptability Questionnaire Questionnaire on Acceptability ANGKET KEBERTERIMAAN TERJEMAHAN JUDUL NOVEL FIKSI BAHASA INGGRIS KE DALAM BAHASA INDONESIA DAN KONTEKNYA Responden Yth, Dalam rangka penulisan skripsi berjudul The Translation of English Fictional Book Titles into Indonesian Context: A Functionalist Approach, saya mengharapkan kesediaan Saudara/i untuk meluangkan waktu mengisi kuesioner ini. Kuesioner ini dimaksudkan untuk menilai kualitas terjemahan dari sekumpulan judul-judul buku fiksi dari bahasa Inggris ke bahasa Indonesia melalui metode kualitas acceptability yang menjadi tolok ukur mengenai dapat atau tidaknya terjemahan tersebut beserta konteksnya diterima oleh bahasa target yaitu bahasa Indonesia. Atas ketersediaan dan waktu Saudara/i, sayau capkan terimakasih. Hormat saya,

Purindraswari Dyahpramesti MahasiswaUniversitas Sanata Dharma Nomor Induk Mahasiswa: 114214024

Pada bagian ini, di sediakan dua pilihan penilaian untuk setiap terjemahan. Berilah tanda (√) pada salah satu kolom yang telah disediakan, yaitu: (1) Berterima, artinya judul terjemahan dapat dipahami dan terasa alami dalam Bahasa Indonesia (2) Kurang berterima, artinya judul terjemahan kurang dapat dipahami dan terasa aneh dalam bahasa Indonesia serta tidak sesuai dengan isi cerita. Anda dapat memberikan alasan, catatan atau saran untuk terjemahan tersebut pada kolom yang telah disediakan.Terimakasih. Kode

Judul

1/ST/Th G/BPM/

Rumah di Tepi Kanal

Nilai 1

2


RTK

Isi Cerita: Aneh, rasanya aku pernah melihat rumah itu sebelumnya, entah di mana", kata Tuppence sambil menatap lukisan tersebut. "Aku harus mencari rumah itu". Maka Tuppence pun naik kereta, mencari rumah dalam lukisan itu. Dari sini dimulailah petualangan yang melibatkannya pada suatu kasus pembunuhan terpendam di masa lampau. Sang pembunuh menantinya di rumah itu—rumah di tepi kanal.

Catatan:

Kubur Berkubah Isi Cerita: “Kami akan mengadakan permainan Pelacakan Pembunuhan,” jelas Mrs. Oliver pada Hercule Poirot. “Permainan apa?” tanya detektif kenamaan itu.

2/ST/Th G/DMF/ KB

“Masing-masing peserta diberi sejumlah petunjuk yang akan menuntunnya ke tempat mayat. Barang siapa yang bisa menebak pembunuhnya, dialah pemenangnya, dan Andalah, M. Poirot, yang akan menyampaikan hadiahnya.” “Lalu siapa yang menjadi mayatnya?” tanya Poirot. “Mari saya perkenalkan.” Waktu Poirot memasuki kamar itu, dilihatnya seorang gadis tergeletak di lantai, tak bergerak. “Marlene ini benar-benar aktris yang hebat, bukan?” seru Mrs. Oliver. “Dia menjadi ‘mayat’ yang begitu meyakinkan.” “Terlalu meyakinkan,” kata Poirot sambil mengangkat kepala gadis itu. “Dia telah terbunuh lima belas menit yang lalu!”

Catatan:

Mengungkit Pembunuhan Isi Cerita: Hasrat Amyas Crale pada lukisan dan wanita membuat namanya terkenal. Namun pembunuhan atas dirinya membuat namanya 3/ST/Th tercemar. Enam belas tahun kemudian istrinya yang cemburu dituduh dan G/FLP/M dijatuhi hukuman seumur hidup karena pembunuhan yang menggempakan. P Kini Carla, putrid mereka, wanita muda yang yakin ibunya tidak bersalah, menghadapkan Hercule Poirot pada tantangan yang menggoda: memulihkan nama baik ibunya dengan kembali ke tempat terjadinya pembunuhan dan mencari kekurangan fatal padak ejahatan yang sempurna itu.


Catatan:


4/ST/Th G/HDD/ PPM

Isi Cerita: Cerita ini berhubungan dengan sekretaris Poirot yang cekatan, Miss Lemon. Felicity Lemon yang sangat efisien suatu hari membuat tiga kesalahan saat mengetik surat yang sederhana—yang tidak pernah terjadi sebelumnya. Itu karena Mrs. Hubbard, adiknya yang baru kembali dari Singapura, menjadi matron—pengurus—di pondokan mahasiswa milik Mrs. Nicoletis di Hickory Road. Ternyata telah terjadi serangkaian pencurian di sana: sepatu pesta (masih baru dan hanya sebelah), gelang (perhiasan imitasi), cincinberlian (ditemukan di piring sup), kotak bedak, lipstik, stetoskop, giwang, pemantik, celana flanel yang sudah usang, bola lampu listrik, sekotak cokelat, syal sutra (ditemukan tercabik-cabik), tas ransel, bubuk boraks, garam mandi, dan buku resep makanan.

Catatan:

Hotel Majestic 5/ST/Th Isi Cerita: Tiga kecelakaan fatal dalam tiga hari. Tiga kecelakaan yang G/PEH/H nyaris merenggut nyawa Nick Buckley, gadis cantik yang tinggal seorang diri di End House. Hercule Poirot yang mengkhawatirkan keselamatannya M bertanya-tanya apakah semua itu memang kecelakaan—atau usaha pembunuhan? Ia pun membuka mata dan memasang telinga lebar-lebar. Tapi kecelakaan lain kembali terjadi, dan kali ini korbannya gadis lain. Catatan:

Mawar Tak Berduri 6/ST/Th G/SC/M TB

Isi Cerita: Wajah Elinor memerah. "Apakah akan Anda tanyakan pada saya—apakah saya yang telah membunuh Mary Gerrard?" Poirot bangkit. Cepat-cepat ia berkata, "Saya tidak akan menanyakan apaapa lagi pada Anda. Ada beberapa hal yang saya tak ingin tahu....” Namun bahkan Hercule Poirot pun kadang-kadang membohongi dirinya sendiri. Sebenarnya ia ingin—ingin sekali—tahu.

Catatan: 7/ST/Th G/SC/K

Kenangan Kematian


K

Isi Cerita: "Istri Anda, Rosemary, tidak bunuh diri. Dia dibunuh!" George Barton menerima surat kaleng yang misterius itu setahun setelah kematian istrinya, Rosemary. Semua berawal pada pesta ulang tahun Rosemary. Enam orang yang hadir ketika itu melihatnya mengangkat gelas sampanye dan meneguk isinya. Tiba-tiba dia tersungkur—mati. Keputusan hakim: bunuh diri dengan racun. Tapi setelah munculnya surat kaleng itu, orang mulai bertanya-tanya. Orang mulai mengingat-ingat: surat cinta Rosemary yang penuh asmara kepada kekasih gelapnya, Leopard yang misterius; ancaman-ancaman si tampan Anthony Browne; dan kenyataan bahwa Iris Marle, adiknya yang miskin, akan mewarisi kekayaannya. Dan ada orang yang ingat terlalu banyak. Maka si pembunuh pun beraksi lagi!

Catatan:

Mayat Misterius 8/ST/Th G/TC/M M

Isi Cerita: Rumah di Wilbraham Crescent… itulah tempat terjadinya pembunuhan! Kelihatannya begitu nyaman, tirai yang rapi, kebun yang terawat, dan sebagainya. Tetapi seorang laki-laki tewas terbunuh di sana dengan pisau dapur… Terpikat oleh orang-orang yang berkerumun di sekelilingnya, gadis itu memandang dan berhenti berfikir... Dia kaget ketika ada suara membisik telinganya. Dia menoleh dan mendapati dirinya berhadapan dengan orang yang dikenalnya. Sekitar dua menit kemudian, gadis itu mati dicekik...

Catatan:

Pena Beracun Isi Cerita: Kematian menyerang secara diam-diam. Aku ingat, surat itu tiba waktu kami sedang sarapan. Pengirimnya pasti dari desa ini saja, dan alamatnya diketik. Aku membuka surat itu sebelum dua surat lain yang 9/ST/Th berstempel pos London. Di dalamnya terdapat sehelai kertas yang G/TMF/P ditempeli kata-kata dan huruf-huruf cetak yang telah digunting dari sebuah B buku. Sesaat aku menatap kata-kata itu tanpa memahaminya. Kemudian napasku tersekat. Mula-mula surat-surat kaleng yang keji itu hanya menyebabkan rasa takut. Tapi kemudian surat-surat itu menyebabkan kematian. Pertanyaannya adalah siapa yang akan menjadi korban berikutnya? Catatan:

10/ST/Th G/TPL/



MPT

Isi Cerita: “Keji sekali... Begitu keji...” Wanita sekarat itu berbicara pada Pastor Gorman dengan mata yang memancarkan kesakitan. “Hentikan... Harus dihentikan... Kau harus...” Pastor itu lalu berbicara dengan sikap tegas yang menenangkan. “Aku akan lakukan apa yang perlu dilakukan. Kau bisa mempercayaiku.” Pastor Gorman menyelipkan daftar yang berisi nama-nama yang disebutkan wanita itu, ke sepatunya. Daftar tanpa makna; daftar nama orang-orang yang sama sekali tidak punya persamaan. Dalam perjalanan pulang, Pastor Gorman dibunuh, tapi polisi menemukan daftar itu. Dan ketika Mark Easterbrook mulai meneliti kondisi orangorang yang ada dalam daftar, dia mulai menemukan hubungan antara mereka, dan pola yang mengerikan: Semua orang di daftar itu sudah mati—atau menurut dugaannya, sudah ditandai sebagai sasaran pembunuhan!

Catatan:

Pembunuhan di Balik Kabut Isi Cerita: Angin bertiup dari laut. Perlahan -lahan kabut mulai menipis… menipis… 11/ST/Th G/WDT/ PBK

Dibawah sana terlihat sesosok tubuh terkapar tak berdaya… Laki-laki itu berusia empat puluhan, masih bernafas, meskipun pingsan. Bobby memandangnya. Rambut cokelat yang ikal, hidung yang besar, dagu yang kukuh, sederet gigi yang putih bersih terlihat dari celah bibirnya yang sedikit terbuka, dan ... sepasang kaki yang bertekuk aneh. Tiba - tiba orang itu membuka matanya, dan mengucapkan sebuah kalimat. "Mengapa mereka tidak memanggil Evans?" Tubuhnya bergetar, kelopak matanya menutup, dan dagunya turun ... Laki - laki itu mati.

Catatan:

12/ST/Th G/DCE/L

Ledakan Dendam


D

Isi Cerita: Pembunuhan empat ribu tahun silam. Setelah suaminya meninggal, Renisenb mencari kedamaian dengan kembali kerumah ayahnya di tebing Sungai Nil. Tapi di dalam rumah tangga ayahnya yang makmur itu mengintai keserahan, nafsu dan pembunuhan.

Catatan:

Buku Harian Josephine 13/ST/Th G/CH/B HJ

Isi Cerita: Keluarga Leonides adalah keluarga besar yang hidup berkelimpahan di rumah besar di daerah terpandang di pinggiran kota London. Setelah kematian Aristide Leonides, baru terungkap bahwa salah satu anggota keluarga itu ternyata pembunuh.

Catatan:


14/ST/Th G/SJR/S SK

Isi Cerita: Jane Whittaker seperti mendapat kabar buruk. Dia tidak tahu siapa dirinya, namanya, umurnya… atau bahkan seperti apa rupanya. Dalam kondisi bingung dan ketakutan dia merambahi jalanan-jalanan di Boston dengan mengenakan gaun berlumuran darah dan membawa uang USD 10.000 di sakunya. Hidupnya tiba-tiba kosong—masa lalunya lenyap… atau dicuri. Yang tersisa hanyalah seorang laki-laki tampan yang mengaku sebagai suaminya, dan ada desas-desus tentang anak kecil yang mati, namun tidak diingatnya sama sekali… serta perasaan menakutkan bahwa sesuatu yang benar-benar mengerikan akan terjadi.

Catatan:

Mata Rantai yang Hilang Isi Cerita: Jacko Argyle dituduh membunuh ibunya, dan dipenjarakan. Di penjara ia meninggal.

15/ST/Th G/OBI/M Dua tahun kemudian, muncul orang tak dikenal yang menghancurkan RH kedamaian dalam rumah tangga Argyle. Bisakah orang asing ini menemukan mata rantai yang hilang dalam kasus Jacko? Apakah Jacko memang dihukum atas pembunuhan yang tidak dilakukannya? Lalu kalau bukan Jacko yang membunuh ibunya... siapa pelakunya? Catatan:


Sang Penggoda Hati Isi Cerita: Viscount Adrian Alistair Rohan dikenal sebagai perayu ulung. Berkat wajahnya yang tampan dan sikapnya yang memikat, Adrian tak 16/ST/Ro pernah gagal menggodawanita... sampai ia bertemu Charlotte Spenser. G/Re/SP H Awalnya, Adrian hanya menganggap Charlotte gadis polos yang bisa dijadikan mainan sampai ia menemukan sasaran lebih baik. Tapi di balik penampilannya yang biasa, Charlotte ternyata wanita yang menawan dan cerdas. Tahu-tahu Adrian mendapati posisi mereka terbalik dan Charlotte berubah menjadi sang penggoda hati... Catatan:

Sang Penjerat Hati Isi Cerita: Reputasi Miranda Rohan di masyarakat rusak gara-gara satu keputusan buruk. Ia pun terpaksa hidup terasing dari para bangsawan. Meski menjalani hari-harinya dengan bahagia, ia tetap merasa ada yang kurang dari hidupnya.

17/ST/Ro G/Br/SP Lucien de Malheur bersumpah akan membalas dendam terhadap keluarga H Rohan. Kehancuran Lady Miranda beberapa tahun lalu dianggapnya tidak cukup, maka ia bertekad untuk mengakibatkan lebih banyak kesedihan kepada keluarga tersebut. Ia tak peduli meski harus menghancurkan Miranda dalam prosesnya. Tapi Lady Miranda tidak seperti perkirannya. Bahkan wanita itu memesona. Sekarang Lucien harus memilih antara membalas dendam dan mendapatkan kehidupan yang tak pernah ia kira bisa didapatkannya. Catatan:

Pernikahan Terindah Isi Cerita:Emmaline Grant bekerja keras demi menciptakan pesta pernikahan yang indah. Sebagai penata bunga dan partner di Vows— perusahaan perencana pernikahan yang didirikannya bersama ketiga 18/ST/Ro sahabatnya—karier Emma sangat memuaskan. Namun tidak demikian G/BOR/P dengan kehidupan cintanya. Meski memercayai cinta, Emma tak kunjung menemukan pria yang ingin diajaknya berdansa di bawah sinar rembulan. Ti Segalanya berubah ketika sahabatnya, Jack Cooke, mengajaknya menjalin hubungan yang lebih dari sekadar pertemanan. Dan Emma bahagia sekaligus takut. Ia tak mau kehilangan persahabatan dengan Jack, tapi juga tidak bisa melepaskan kesempatan baru untuk hubungan mereka. Karena meski Jack memiliki kekurangan, dia bisa jadi pria sempurna untuk Emma.


Catatan:

Lukisan Kesayangan Isi Cerita:Jika Penelope Keeling mengilas balik kehidupannya, putri seniman itu ternyata telah menjalani hidup yang penuh warna: masa kecil ala Bohemian yang berkisar antara London dan Cornwall, perkawinan 19/ST/Ro tidak bahagia di masa perang, dan satu-satunya pria tempat cinta sejatinya G/TSS/L berlabuh. Ia telah membesarkan tiga orang anak yang masing-masing telah berusaha ia terima sebagaimana adanya. Namun ia masih begitu energik K dan mandiri untuk menjalani masa tua yang tenang tanpa hanya berpangku tangan. Ketika diketahuinya bahwa lukisan karya ayahnya miliknya yang paling berharga The Shell Seekers, kini sangat tinggi nilainya, sadarlah ia bahwa keputusan sepenuhnya berada di tangannya. Penelopelah yang harus menentukan apakah keluarganya akan tetap utuh, atau tercerai berai sama sekali. Catatan:

Sang Penakluk Hati Isi Cerita:Untaian panjang kisah cinta tragis menghantui Viscount Benedick Francis Alistair Rohan. Kini ia lelah bermain-main dengan nasib. Benedick mendambakan istri yang kaku dan sopan, wanita yang bisa ia abaikan usai memuaskan hasrat. Bukan wanita mandiri yang gemar mendebat.

20/ST/Ro G/Sh/SP Lalu bak angin puyuh Lady Melisande Carstairs muncul dalam kehidupan H Benedick, memorak-porandakan kehidupan pria itu yang tertata rapi. Selama ini Melisande dikenal sebagai pejuang kaum wanita yang terpinggirkan, menyelamatkan mereka dari lembah hitam. Ketika adik Benedick terlibat kegiatan Heavenly Host yang menjurus ke tindak kekerasan sadis, yang akan mengorbankan salah satu wanita muda asuhan Melisande, Benedick dan Melisande terpaksa bahu-membahu untuk menyelamatkan keduanya. Pada malam bulan purnama, kebenaran terkuak, tentang misteri kelam Heavenly Host dan hati yang tertaklukkan... Catatan:

21/ST/Ro G/FRI/C

Cinta Tiba-Tiba


TT

Isi Cerita:Pekerjaan penuh dedikasi sebagai dokter di Cape Cod? Cek. Rumah mungil indah milik sendiri? Cek. Anak anjing lucu yang cocok diajak jalan dan mencuri perhatian pria tampan? Cek! Yang Millie Barnes butuhkan tinggal perhatian pemuda pujaan wanita sekaligus mantan gebetannya, Joe Carpenter, maka lengkap sudah hidupnya. Namun, meraih kesempurnaan tidak pernah mudah. Terutama karena kehadiran Sam Nickerson, si polisi setempat, begitu mengusik hari-harinya. Memang sih, Sam butuh teman setelah dicampakkan kakak-gila harta Millie. Tapi, apa perlu sebegitunya Millie menikmati kehadiran Sam? Bagaimanapun, pria itu jelas bukan bagian dari rencana besar Millie. Ataukah cinta memang tak terduga, dan bisa muncul dengan tiba-tiba?

Catatan:

Dua Belas Hari Terindah Isi Cerita: Desember ini, hidup Evie Anderson dipenuhi kejutan tak menyenangkan. Tunangannya memutuskan hubungan dengan tiba-tiba, jabatannya di hotel diturunkan jadi petugas housekeeping, dan kini ia diusir dari apartemen! Malam itu, karena kelelahan bekerja, Evie tertidur 22/ST/Ro di kamar Penthouse. Tetapi Evie dibangunkan oleh ciuman yang G/TNC/ memabukkan, dan seluruh indranya seolah terjaga sepenuhnya... sampai ia DBH menyadari pria yang menciumnya adalah bos barunya, Rio Zacarelli! Desember ini, Rio Zacarelli harus menjaga reputasinya seputih salju, demi perjanjian terpenting dalam hidupnya. Tetapi sepertinya kali ini Rio tak bisa menahan godaan berupa gadis sederhana dan berani yang bernama Evie. Mampukah ketertarikan di antara mereka bertahan lebih lama dari dua belas hari terindah yang mereka bagi bersama? Catatan:

Pulau Takdir Isi Cerita: Setelah ayahnya meninggal, Kate Donovan menerima ajakan Evan, kekasihnya, untuk berlibur di sebuah pulau tropis yang indah. Namun, bukannya terhibur, Kate malah merasa semakin kesepian dan terpuruk, apalagi Evan selalu menunda-nunda menemaminya dengan alasan ada perkerjaan.

23/ST/Ro G/EBY/P Sementara itu, Mitchell Wyatt tidak menduga kalau pertemuannya yang T tidak disengaja dengan Kate akan mengubah hidupnya selamanya. Sejak kecil, Mitchell sudah ‘dibuang’ oleh keluarganya. Tanpa keluarga yang menyanyanginya, Mitchell tumbuh menjadi pribadi yang sangat angkuh, tidak mudah percaya pada orang lain, tapi semua pengalamannya itu menjadikannya sebagai pengusaha yang sukses dan percaya diri. Selama ini, Mitchell tidak pernah kesulitan mendapatkan wanita yang diinginkannya, tapi tidak pernah ada wanita yang mampu membuatnya terpesona secepat dan sekuat yang dilakukan Kate. Di lain pihak, Kate


yang merasakan hubungannya semakin hambar dengan Evan, juga menemukan sesuatu yang baru dan memikat dalam diri Mitchell. Apakah Kate benar-benar menemukan pasangan hidupnya? Bagaimana reaksi Evan ketika mengetahui kebenarannya? Dan bagaimanakah akhir hubungan terlarang antara Kate dan Mitchell? Catatan:

Selalu dan Selamanya Isi Cerita: Di usia delapan belas tahun, Natalie Westfield harus melepaskan mimpinya menjadi penyanyi terkenal dan menikah dengan pria yang dicintainya. Sebelas tahun kemudian, ia kembali ke rumah orangtuanya sebagai janda beranak dua yang bangkrut. Mantan suaminya yang licik telah merebut semua hartanya, kecuali lahan keluarga Westfield yang diwariskan neneknya. Atau setidaknya begitulah yang dipikirkan Natalie. Saat mantan suaminya, 24/ST/Ro Robert Patterson, ditemukan tewas terbunuh di garasi, Natalie baru G/BE/SD mengetahui bahwa selama ini Robert telah menipunya dengan perjanjian palsu dan Robert hendak menjual lahan keluarganya pada orang lain. Itu S motif kuat yang membuat polisi mengarahkan kecurigaan pada Natalie. Saat hidup Natalie hancur dan tidak punya harapan, koboi tampan yang tinggal di sebelah rumahnya membawa secercah harapan baru. Zeke Coulter sebagai pria idaman semua wanita, menyatakan cinta, Natalie tidak mau memercayainya. Tapi di saat nyawa Natalie dan anak-anaknya terancam oleh serangkaian kecelakaan yang disengaja, Zeke selalu ada di sisinya membatu tanpa syarat. Apakah Natalie akan melepaskan pria yang bersedia mendampinginya di saat suka dan duka karena trauma masa lalu? Atau hati Natalie akan luluh oleh pria yang menawarkan kebahagiaan dan cinta selamanya? Catatan:

Gairah Cinta Viking Isi Cerita:Demi memenuhi keinginan ayahnya, Lady Brenna Carmarham dengan berat hati menerima rencana pernikahan yang dipaksakan 25/ST/Ro kepadanya. Betapa terkejutnya ia ketika bangsa Viking datang ke pulaunya G/FOW/ bukan untuk menjemputnya sebagai calon pengantin putra kepala suku GCV mereka, melainkan membantai rakyat Brenna dan menjadikan para wanita sebagai budak! Brenna bersumpah tak seorang pun bisa memperbudaknya, termasuk lakilaki Viking yang seharusnya menjadi calon suaminya, Garrick Haardrad.


Di luar dugaan, Garrick mampu menunjukkan kelembutan dan kesabaran luar biasa terhadap kekeraskepalaan Brenna. Bahkan saat Brenna merencanakan pembalasan atas malapetaka yang menimpa bangsanya pun, ia tak mampu mengabaikan gairah cinta sang laki-laki Viking....

Catatan:

Terpikat Isi Cerita:Meena Harper percaya tak ada yang benar-benar jahat di dunia ini, semua mahkluk memiliki pilihan untuk menjadi baik, bahkan mantan kekasihnya, sang pangeran kegelapan. Sayangnya meyakinkan Alaric 26/ST/Ro Wulf akan teorinya tidaklah mudah. Pria itu bertekad memburu sang G/ pangeran kegelapan dan memusnahkannya. Terutama ketika ancaman mematikan baru muncul dan menempatkan orang-orangterdekat Meena dalam bahaya. Dalam usahanya mengungkap kebenaran, kesetiaan Meena diuji, perasaannya diaduk, dan godaan yang tak terbayangkan memikatnya… Catatan:

Milikmu Seutuhnya Isi Cerita: Semuanya dimulai pada suatu malam. Suatu malam yang tak terduga. Malam ketika dua orang dari dunia berbeda terikat untuk selamanya. Clay Forester adalah mahasiswa Jurusan Hukum yang tampan, sementara Catherine adalah mahasiswa serius dan kutu buku—dua orang yang tak 27/ST/Ro mungkin bias bersatu. Namun, malam itu adalah pengecualian. Di bawah G/SB/M temaram bulan dan bintang-bintang dan ditemani sebotol anggur, keduanya akhirnya menghabiskan sisa hari itu bersama. S Beberapa bulan setelahnya, Catherine mendapati dirinya hamil. Karena alasan nama baik keluarga, keduanya pun terpakasa menikah dan menjalani hidup baru sebagai pasangan suami-istri. Baik Clay maupun Catherine sama-sama tak menginginkan pernikahan ini. Tapi keduanya baru sadari kemudian, suami-istri itu menyadari sesuatu yang berbeda di antara mereka. Sesuatu yang dikenal dengan nama… cinta.


Catatan:

Yang Terpilih Isi Cerita: Pierce Oliviera tahu rasanya mati. Pasca kecelakaan yang membuatnya nyaris mati, Pierce Oliviera berusaha membuka lembaran baru. Namun, bahkan setelah Pierce pindah ke kota kecil dan masuk ke sekolah baru, John Hayden selalu saja muncul. Kemunculan cowok itu tak 28/ST/Ro pernah bias diduga, tapi selalu terjadi tepat ketika Pierce amat G/Ab/YT membutuhkannya. Dua hal yang diketahui Pierce dengan pasti: John tak mudah ditolak, dan dia bukan makhluk biasa. Dan jika membiarkan diri jatuh cinta pada John, Pierce mungkin bakal melewatkan keabadian di suatu tempat yang tak ingin ia datangi lagi. Dunia tempat roh-roh singgah sebelum melanjutkan perjalanan mereka. Dunia John: Underwold. Catatan:

Puncak Obsesi Isi Cerita: Alice Loudon memiliki segalanya: sahabat-sahabat dekat, kekasih yang mencintainya, dan karier yang sukses. Suatu hari ketika menyeberang jalan, ia bertemu pria tak dikenal dan secara impulsif ia meninggalkan kehidupan lamanya demi menjalin hubungan dengan pria 29/ST/Ro itu. Hubungan yang membawa Alice menuju dunia erotis yang gelap dan G/KMS/ berbahaya. PO Adam Tallis, pahlawan yang selamat dari ekspedisi pendakian yang berubah menjadi malapetaka, membawa Alice menuju petualangan hidup yang penuh hasrat misterius. Saat lembar demi lembar kehidupan masa lalu Adam terungkap, tersingkaplah rahasia kelam yang tak terduga. Tapi cinta dan obsesi yang menguasai Alice membuatnya tidak peduli... sampai semua itu mengancam kewarasan dan keselamatan jiwanya. Catatan:

Bersemi di Rusia 30/ST/Ro G/SF/Bd Isi Cerita:Demi mencegah adiknya kawin lari, Lady Katherine St. John R menyamar dalam pakaian pelayan dan membuntuti sang adik. Siapa sangka di tengah jalan dirinya diincar Pangeran Dimitri Petrovich


Alexandrov yang tengah berkunjung ke London. Dan tiba-tiba saja Katherine mendapati dirinya diculik dan dibawa ke Rusia! Dimitri menolak memercayai Katherine wanita bangsawan tulen dan memperlakukan wanita itu sesuka hati. Katherine tidak cantik, tapi sesuatu dalam diri wanita itu memikat Dimitri hingga tak bisa berpaling ke wanita lain. Ini jelas di luar kebiasaan Dimitri yang pembosan sejauh menyangkut wanita. Emosi meledak-ledak yang Katherine dan Dimitri tujukan terhadap satu sama lain benar-benar campur aduk. Marah, jelas. Benci, ya. Dendam, pasti. Tapi cinta...? Katherine dan Dimitri sama-sama tidak berani berpikir ke arah sana! Catatan:


Appendix 4: Recapitulation of Acceptability Questionnaires Respo ndent Questi onnair e/No Data 1/ST/T hG/BT M/RD K 2/ST/T hG/D MF/K B 3/ST/T hG/FL P/MP 4/ST/T hG/HD D/PPM 5/ST/T hG/PE H/HM 6/ST/T hG/SC/ MTB

R 1

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R1 3

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R 22

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R 27

R 28

R 29

R 30

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Ave rage

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7/ST/T hG/SC/ KK 8/ST/T hG/TC/ MM 9/ST/T hG/TM F/PB 10/ST/ ThG/T PH/MP T 11/ST/ ThG/W DT/PB K 12/ST/ ThG/D CE/LD 13/ST/ ThG/C H/BHJ 14/ST/ ThG/SJ R/SSK 15/ST/ ThG/O BI/MR H

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16/ST/ RoG/R e/SPH 17/ST/ RoG/B r/SPH 18/ST/ RoG/B OR/PT 19/ST/ RoG/T SS/LK 20/ST/ RoG/S h/SPH 21/ST/ RoG/F RI/CT T 22/ST/ RoG/T NC/DB H 23/ST/ RoG/E BY/PT 24/ST/ RoG/B E/SDS

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1

1

1

2

2

1

1

1

1

2

1

1

1

1

1

1

1

2

1

1

2

1

1

1

1

36

1.2

1

1

1

1

1

1

1

1

2

1

1

1

1

1

2

1

1

1

2

1

1

2

1

2

2

1

1

2

2

2

38

1.3

2

2

1

1

1

1

1

1

2

1

1

1

1

1

1

2

1

1

1

1

1

1

2

1

1

1

1

1

1

2

36

1.2

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

2

2

1

1

1

1

1

1

32

1.1

2

1

1

1

1

1

1

1

1

1

1

2

2

1

1

1

1

2

2

1

2

1

2

2

1

2

1

2

2

2

42

1.4

2

1

1

1

1

1

1

1

1

2

2

1

1

1

2

1

1

1

1

2

1

2

2

2

2

1

2

2

2

1

42

1.4

108


25/ST/ RoG/F OW/G CV 26/ST/ RoG/O v/Te 27/ST/ RoG/S B/MS 28/ST/ RoG/A b/YT 29ST/ RoG/K MS/PO 30/ST/ RoG/S F/BDR

2

1

1

2

1

1

1

1

1

1

1

1

2

1

1

2

1

1

2

2

1

1

2

2

1

1

1

1

1

1

38

1.3

2

1

1

1

1

1

1

1

1

2

1

2

1

1

2

1

1

1

2

1

2

2

2

1

2

1

2

2

1

1

41

1.4

2

2

1

1

1

1

1

1

1

2

1

2

1

1

2

1

1

1

2

1

1

1

1

2

1

2

2

2

2

1

41

1.4

1

1

1

1

1

1

1

1

1

1

2

2

2

1

1

2

1

2

1

2

1

1

2

1

2

1

1

2

2

2

41

1.4

1

2

1

1

1

1

1

1

2

1

1

1

1

1

2

1

1

1

2

1

2

1

1

2

2

2

2

1

1

1

39

1.3

2

1

1

1

1

1

1

1

2

2

1

1

1

2

1

1

1

1

1

1

1

2

1

2

1

1

1

2

2

2

39

1.3

Total

42

40

32

34

34

34

31

30

41

42

37

40

36

35

49

39

37

37

42

47

41

38

50

48

43

39

42

43

45

41

Averag e Score

1. 4

1. 3

1

1

1

1

1

1

1.4

1. 4

1. 3

1. 3

1. 2

1. 2

1. 7

1. 3

1. 2

1. 2

1. 4

1. 6

1. 4

1. 3

1. 7

1. 6

1. 4

1. 3

1. 4

1. 4

1. 5

1. 4

109


Appendix 5: Data Recapitulation of Acceptability Analysis Result Code

ST

TT

Average Score

1/ST/ThG/BPM/RTK


Rumah di Tepi Kanal

1.2

2/ST/ThG/DMF/KB

Dead Man’s Folly

Kubur Berkubah

1.6

3/ST/ThG/FLP/MP

Five Little Pigs


1.4

4/ST/ThG/HDD/PPM



1.5


Hotel Majestic

1.5

6/ST/ThG/SC/MTB

Sad Cypress

Mawar Tak Berduri

1.6

7/ST/ThG/SC/KK

Sparkling Cyanide

Kenangan Kematian

1.3

8/ST/ThG/TC/MM

The Clocks

Mayat Misterius

1.3

9/ST/ThG/TMF/PB

The Moving Finger

Pena Beracun

1.4

10/ST/ThG/TPH/MP T

The Pale Horse

MisteriPenginapanTu a

1.4

11/ST/ThG/WDT/PB K

Why Didn’t They Ask Evan?


1.3

12/ST/ThG/DCE/LD

Death Comes as the End

Ledakan Dendam

1.4

13/ST/ThG/CH/BHJ

Crooked House


1.4

14/ST/ThG/SJR/SSK

See Jane Run


1.4

15/ST/ThG/OBI/MR H

Ordeal by Innocence


1.2

16/ST/RoG/Re/SPH

Reckless

Sang Penggoda Hati

1.2

5/ST/ThG/PEH/HM


17/ST/RoG/Br/SPH

Breathless

Sang Penjerat Hati

1.1

18/ST/RoG/BOR/PT

Bed of Roses

Pernikahan Terindah

1.3

19/ST/RoG/TSS/LK

The Shell Seekers

Lukisan Kesayangan

1.2

20/ST/RoG/Sh/SPH

Shameless

Sang Penakluk Hati

1.3

21/ST/RoG/FRI/CTT

Fools Rush in

Cinta Tiba-tiba

1.2

22/ST/RoG/TNC/DB H



1.1

23/ST/RoG/EBY/PT


Pulau Takdir

1.4

24/ST/RoG/BE/SDS

Bright Eyes


1.4

25/ST/RoG/FOW/GC V

Fires of Winter

Gairah Cinta Viking

1.3

26/ST/RoG/Ov/Te

Overbite

Terpikat

1.4

27/ST/RoG/SB/MS

Separate Beds

Milikmu Seutuhnya

1.4

28/ST/RoG/Ab/YT

Abandon

Yang Terpilih

1.4

29/ST/RoG/KMS/PO

Killing Me Softly

Puncak Obsesi

1.3

30/ST/RoG/SF/BDR

Secret Fire

Bersemi di Russia

1.3

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

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