THE IMPACT OF TRANSLATION STRATEGIES TO THE READABILITY LEVEL IN HUSH, HUSH A Thesis Submitted to Adab and Humanities Faculty In Partial Fulfillment of The requirements for The Degree of Strata One in English Letters Department
SITI ANNISA FITRIANI 109026000116
ENGLISH LETTERS DEPARTMENT ADAB AND HUMANITIES FACULTY SYARIF HIDAYATULLAH STATE ISLAMIC UNIVERSITY JAKARTA 2014
ABSTRACT Siti Annisa Fitriani, The Impact of Translation Strategies to The Readability Level in Hush, hush Novel, A Thesis: English Letters Department, Adab and Humanities Faculty, Syarif Hidayatullah State Islamic University Jakarta 2014 The main concern of this research is translation strategies namely domestication and foreignization which is postulated by Lawrence Venuti. This research focuses on the impact of that translation strategies application to the readability level in a New York Times best-selling Novel, Hush, hush, and its Indonesian version. The objectives of this research are: (1) to know the most frequently translation strategy applied by the translator, (2) to know how the domestication and foreignization are applied in the translation of Hush, hush, (3) to know the readability level of those domesticated and foreignized items. This research uses qualitative descriptive method to reach the objectives of the research. The researcher herself acts as the main research instrument by doing all the steps of technique of collecting and analyzing the data above. In addition, the judgments from the informants about the readability level will assist the researcher to analyze the data based on the relevant theories. Based on the research finding, the most frequently translation strategy is foreignization. From the total 242 data, there are 128 foreignized items, while the rests are 114 domesticated items. In addition, the researcher used 10 samples, 5 from each strategy, to be analyzed; they are data number 034, 154, 155, 063, 006, 192, 136, 127, 083, and 149. From the 10 samples, six of them have medium level of readability, three of them are in high level, and the rest is low.
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DECLARATION
I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of the university or other institute of higher learning, except where due acknowledgement has been made in the text.
Jakarta, October 27, 2014
Siti Annisa Fitriani
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ACKNOWLEDGEMENT In the name of Allah, the most gracious, the most merciful. “Thank you, Allah, Fulfiller of Hope and Hearer of Prayers” All praises be to Allah SWT, the lord of Universe, on the overflow of graces and mercies to mankind. Peace and salutation be upon the greatest prophet Muhammad SAW, his family, companion, and adherent, who changed the world from the darkness into the lightness. On this occasion, the researcher would like to say the greatest and deepest gratitude to her beloved parents Yadi Supriadi and Andi Nurwati, who always give their best and pray for their daughters and son;“Dad, mom, I finally graduate from this university!”, Masami, Ka Lia, Dede Akmal, Tante, Om, Papi, Mami, and cousins; “I love you all”, thank you for your support.” The researcher also wants to give her gratitude to Mr. Agus Suriadi, M.Hum as the advisor, for his time, guidance, patience, kindness and contribution in correcting and helping the researcher during conducting her thesis, and the researcher would like to express her appreciation to the following people: 1. Mr. Prof. Dr. Oman Fathurahman, M.Hum the Dean of Adab and Humanities
Faculty,
State
Islamic
University
of
Syarif
Hidayatullah Jakarta; 2. Mr. Dr. H. Muhammad Farkhan, M.Pd, the Assistant of Dean of Adab and Humanities Faculty, State Islamic University of Syarif Hidayatullah Jakarta; 3. Mr. Dr. Saefudin, M.Pd, the Head of English Letters Department and Ms. Elve Oktafiyani, M.Hum, the Secretary of English Letters Department;
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4. All lecturers of English Letters Department, especially for Ms. Sholikatus Sa‟diyah, M.Pd and Mr. Moh. Supardi as the examiner. 5. The researcher‟s friends in English Letters Department 2009, the D class “I miss you, guys.”; All Translation class friends (Umi, Stella, Nazlia, Mega, Jhe, Juni, etc.) especially to Agus Edi Sumitro for his help, support, and smile; and all friends of KKN BETA 2012. 6. The Big Family of UKM Bahasa FLAT, kakak-kakak senior, Renovatio ‟09 (Aisyah „my partner in crime‟, Reisha „Mbeee‟, Umi, Midol, Winda, Kaka Mano, Mas Hadyan, Mahmud, Arif, Sari, etc.), Flawless ‟10, Dede-dede La Flamme ‟11, Dede-dede Capolista ‟12, Dede-dede Treize‟13. “Bravo Bahasa! See you.” 7. QQ~FF : Putri, Maria, Nurul. 8. ASPI ‟09 (Tika, Ulan, Elin, Uko, Nia, Tia, Madhu, Anggi, Meta, etc.) and Batubara roommates and friends; Mbak Rizqi, Selvy, Kak Laili, Tiwi, Kak Wina, Kak Nina, Kak Iin, Kak Betty, Fatimah, and etc. 9. All informants of this research and friends that are not mentioned. May Allah SWT always bestow all people above, a mercy and blessed life. Aamiin…
Jakarta, October 27, 2014
The Researcher
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TABLE OF CONTENTS
ABSTRACT ........................................................................................................ i APPROVEMENT .............................................................................................. ii LEGALIZATION ............................................................................................. iii DECLARATION .............................................................................................. iv ACKNOWLEDGMENT.................................................................................... v TABLE OF CONTENT ................................................................................... vii LIST OF TABLES ............................................................................................ ix LIST OF FIGURES ........................................................................................... x CHAPTER I INTRODUCTION ....................................................................... 1 A. Background of the Study ........................................................ 1 B. Focus of the Study .................................................................. 8 C. Research Question .................................................................. 9 D. Significance of the study ........................................................ 9 E. Research Methodology ........................................................... 9 1. Objective of the Research .................................................. 9 2. Method of the Research ................................................... 10 3. Technique of Data Collecting and Analysis ...................... 10 4. Instrument of the Research............................................... 11 5. Unit of Analysis ............................................................... 11 6. Time and Place of the Research ....................................... 12
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CHAPTER II THEORETICAL FRAMEWORK .......................................... 13 A. Definition of Translation ...................................................... 13 B. A Brief Overview about Translation and Culture .................. 15 C. Translation Method .............................................................. 16 D. Translation Strategy ............................................................. 29 1. Domestication ................................................................ 29 2. Foreignization ................................................................ 31 E. Readability Level Measurement in the Object of the Study .... 33 CHAPTER III RESEARCH FINDINGS ........................................................ 36 A. Data Description................................................................... 36 B. Data Analysis ....................................................................... 37 CHAPTER IV CONCLUSION AND SUGGESTION ................................... 49 A. Conclusion ........................................................................... 49 B. Suggestion............................................................................ 51 BIBLIOGRAPHY ............................................................................................ 53 APPENDICES .................................................................................................. 55
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LIST OF TABLES
Table 1: Details of the Hush, hush Novel........................................................... 11 Table 2: Instrumen pengukur Tingkat Keterbacaan Terjemahan ........................ 35
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LIST OF FIGURES
Figure 1: Translation Methods by Peter Newmark ............................................ 17 Figure 2: Simplification of Translation Methods by Benny Hoedoro Hoed ........ 23 Figure 2: Description of relation between Newmark’s method and its simplification by Hoed ....................................................................... 24
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CHAPTER I INTRODUCTION A. Background of the Study Language is an element of communication. It enables us to share information, idea, knowledge, or anything with other people. Kramsch explains that language is the principal means whereby we conduct our social lives. When it is used in contexts of communication, it is bound up with culture in multiple and complex ways. 1 Furthermore, Kramsch divides the relations between language and culture into three aspects. First, language expresses cultural reality. Words that are used by people in communication reflect their authors‟ attitudes and beliefs, their point of view, that are also those of others. Second, language represents cultural reality through its verbal and non-verbal aspects. The way in which people use the spoken, written, or visual medium creates meanings that are understandable to the group they belong to. The last, Kramsch says that language symbolizes cultural reality. It is a system of signs that is seen as having itself a cultural value. 2 Since language is various with its own characteristics and uniqueness— grammatical system, kinds of letters, pronunciation, vocabularies, etc.—it creates a barrier among the users. People from different countries speak different languages. Moreover, difference in language might mean difference in culture or tradition.
1
Claire Kramsch, Language and Culture (New York: Oxford University Press, 1998),
2
Ibid.
p. 3
1
2
For example, asking “Where are you going?” to the foreigner can be considered as interfering one‟s business or might sounds offended while, in Indonesia it is considered as friendliness to say the same, “Mau ke mana, Bu/Pak?”, to someone walking in front of your house, though you do not know who they are. In the terms of communication, gaining understanding while people communicate each other is the main purpose of the communication itself. To illustrate, when Indonesian people listen to a news program on radio broadcasted from Japan, in Japanese, they will not gain any information if they do not understand the language; or when some students have to find some references for their papers, they may find some difficulties if the books or articles found are in foreign languages. As a consequence, we need solution to reach the understanding. Furthermore, as stated above, language obviously has relation with culture. It is not only about distinctions among the languages with their own characteristics and uniqueness, but also about its cultural sense. For instance, when a letter written in English, a closing statement “sincerely yours” cannot simply be understood as “dengan sesungguhnya” in Indonesian; it should be “hormat saya” instead (social communication feature, ciri-ciri komunikasi sosial).3 Despite the fact that the language diversity causes problem in understanding what is in the information or the message of the things people utter; it will be solved through translation. As Hatim and Mason in Machali state that 3
Rochayah Machali, Pedoman Bagi Penerjemah (Bandung: Kaifa, 2009), p.27
3
translation (translating) is an activity which clearly prove language role in social life. 4 Translation can be said as stating or delivering something either written or oral (interpreting) in different language; from a Source Language (SL) to a Target Language (TL). Again, translation can be a bridge to connect people. Furthermore, regarding the relation between language and culture in the terms of communication; it impacts, significantly, translation. Translation is not only about rendering one language into another, but also involving the cultural sense of the languages. As Nida states in Hoed, kendala dalam penerjemahan adalah perbedaan dalam empat hal, yaitu (1) bahasa, (2) kebudayaan sosial, (3) kebudayaan religi, dan (4) kebudayaan materiil 5 (There are four obstacles in translating; language, socio-culture, religious-(culture), material-culture). The last three items can be considered as culture. Thus, it can be said that translation involves language and culture. These cultural obstacles have a big impact in translation, for a word does not always have its equivalent in another culture. 6 According to Eagleton in Nugroho and Prasetyo, the foundation of the world today is neither God nor Nature, but culture. Then, he says: The promotion of culture as a primary concept is indeed implied in translation studies itself in the „cultural turn‟ the discipline took in the late 1970s and 1980s. Where the use of „culture‟ becomes problematic is not so much in whether we intend the term in an anthropological (what humans do in their daily lives) or an aesthetic sense (what humans do in 4
Ibid, p. 26 Benny Hoedoro Hoed, Penerjemahan dan Kebudayaan (Jakarta: PT Dunia Pustaka Jaya, 2006), p. 24 6 Andy Bayu Nugroho and Jhonny Prasetyo, “Domestikasi dan Foreignisasi dan Dampaknya terhadap Terjemahan”, a paper in International Conference on SFL and Its Contribution to TranslationStudies,http://staff.uny.ac.id/sites/default/files/132310009/Domestika si%20danForeignisasi.pdf, (accessed Aug 29 2014) 5
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the realm of creative expression) but in how cultures have to come understand culture.”7 As a consequence, translators will be faced by, at least, two different languages and culture so that, they have to be bilingual-competent and biculturally competent 8 as well. Again, this is intended to gain the understanding in communication, for translation is a communication act. 9 Translation development goes rapidly nowadays. It can be seen from the needs of translation product have been increased globally year by year, including in Indonesia. Various products either fictions or non-fictions such as books, novels, newspapers, magazines, website contents, journals, movies, songs and so forth; are published in multi-languages. Those come from diverse fields such as technology,
law
(legal documents),
economy,
science,
arts,
literature,
entertainment, and so on. Products of translation, especially literary translation, in Indonesia are dominated by creations distributed from foreign (especially western) countries. It is proven by literary works which are published in cinemas or bookstores in the form of movies, short stories, and of course novels which many of them are published in English. In this research, the researcher particularly focuses on literary translation. It is because literary translation is bound up with culture. Moreover, literary
7
Ibid. Roswita Silalahi, Dampak Teknik, Metode, dan Ideologi Penerjemahan pada Kualitas Terjemahan Teks Medical-Surgical Nursing dalam bahasa Indonesia, Dissertation, University of North Sumatera, 2009, p. 46 9 Rochayah Machali, op.cit., p. 39 8
5
translation itself is the work of literary translators, whom are bilingual and bicultural. 10 Further, the researcher will discuss it specifically in novel translation. The Harry Potter series by J.K Rowling, The Alchemist by Paulo Coelho, The Kite Runner by Khaled Hosseini, and Laskar Pelangi by Andrea Hirata are some of international best-selling novels; literary works which are sold million copies. Those novels are immensely popular and have been translated into various languages—The Harry Potter series are translated, at least, into 67 languages; the work by Paulo Coelho are translated into 56 different languages 11 ; The Kite Runner has been published in 38 countries and translated into 42 languages 12; and the last, Laskar Pelangi or The Rainbow Troops has been published in 20 countries—this is, again, a proof that translation plays an important role. Translation, indeed, becomes a bridge to connect people around the world. In this case, translation connects the writers to the readers. Every translator, consciously or not, uses strategy, technique, method, or procedure in translating. Applying the appropriate strategy, technique, method, or procedure, may determine whether the translated texts are accurate or not. As a result, it also may determine the quality of the translation itself. Regarding the object of the research, Hush, hush, a translated novel (Indonesian version); the researcher will particularly discuss about strategy of translation namely domestication and foreignization which are found in the object.
10
Douglas Robinson, “Literary Translation”, Routledge Encyclopedia of translation Studies (London: Routledge, 2001), p. 127 11 Paulo Coelho, The Alchemist, (Jakarta: PT Gramedia Pustaka Utama, 2007) 12 Boyd Tonkin, “Is the Arab world ready for a literary translation?”, The Independent.co.uk website, www.independent.co.uk/arts-entertainment/books/features/is-the-arabready-for-a-literary-revolution-808946.html (accessed Oct 4 2013)
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These two strategies postulated by Lawrence Venuti in 1988.13 They provide both linguistic and cultural guidance. 14 However, domestication and foreignization are two different concepts. As Yang explains: Domestication designates the type of translation in which a transparent, fluent style is adopted to minimize the strangeness of the foreign text for target language readers; while foreignization means a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. 15 Related to the definition above, nowadays in Indonesia, people especially teenagers or young adults, often use Indonesian mixed with English while they communicate. They are even more familiar with the English words rather than the Indonesian. For example, they know CD or Compact Disk better than cakram padat or piringan, they prefer say make-up than riasan, handphone rather than ponsel or telepon seluler, and T-shirt instead of kaus or kaos. This is also happened in the Hush, hush (Indonesian version); “Sejujurnya, perasaanku campur aduk soal makeup gratisan.”16, “Dan setelah itu yang terdengar hanya nada dial”. 17 The examples that are mentioned show the application of foreignization strategy. It is undeniable that the novel translation comes as one of the reasons why those novels mentioned above become that popular. In other words, it may not be
13
Esmail Zare-Behtash and Sepideh Firoozkoohi, “ A Diachronic Study of Domestication and Foreignization Strategies of Culture-Specific Items: in English-Persian Translation of Six of Hemingway‟s Works”, World Applied Sciences Journal 7, XII (2009), p. 1576 14 Wenfen Yang, “Brief Study on Domestication and Foreignization in Translation”, Journal of Language Teaching and Research, I (January, 2010), p. 77 15 Ibid. 16 Becca Fitzpatrick, Hush, hush. trans. Leinovar Bahfein, (Jakarta: PT. Ufuk Publishing House, 2013), p. 125 17 Ibid., p. 123
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happened if the novels are not translated. It is, of course, also related with the quality of the translation. When we read a translation product, we often questioning about whether it is “good” or “not good” and how we can measure the quality of the translation. Therefore, measurement of translation quality must be based on the objective norms. As Nida and Taber and Newmark in their books postulate that a “good” translation is when it is oriented to the target reader or hearer of the TL18. Above all, it is because gaining a good quality of translation is the main goal and the target reader should get the prime quality of the translation product. Furthermore, the translator, even the editor and the publisher, have to pay more attention to what strategy of translation will be applied in the translated text, who will be the target reader, what category of the novel that will be translated— is it for children, young-adult, adult, or etc. As the trend of mix-languages usage which is described above that related to the translation strategies, the translator has to consider and adjust the word preferences or the words choice that will be used. Moreover, the words should be familiar and easy to be understood, so that the translated text will be enjoyable to be read or in other words the text has good readability. The novel that used in this research, entitled Hush, hush, is categorized as young-adults fantasy novel. It is about a romance between immortal human and fallen angel. This kind of story is a trending theme nowadays; just like the famous Twilight tetralogy (Twilight, New Moon, Eclipse, Breaking Dawn) by Stephanie
18
Roswita Silalahi, op. cit., p. 33
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Meyer or The Mortal Instrument series by Cassandra Clare (City of Bones, City of Ashes, City of Glass, City of Fallen Angels, City of Lost Souls). Becca Fitzpatrick, Hush, hush’s author, also makes her works into four series: Hush, hush, Cresendo, Silence, and Finalé. Those four books were all New York Times bestsellers. 19 Above all, as what mentioned above that whether a translation is good or not is when it is oriented to the target reader or consumer of the TL. Further, the appropriate translation strategy and the words choice will determine the readability of the translation. It will indicate whether the target readers enjoy the product, familiar with the words in the text and understand it easily or not, because it is obvious that every writer (a novel writer) wants their works will be accepted, enjoyable to be read, widely sold, and become a best-selling product not only in their origin country but also in overseas market. Based on those reasons, the researcher will analyze the impact of the translation strategies application towards the readability of the novel, Hush, hush; whether the novel (translation) is easy to be understood or enjoyable enough to be read or not. B. Focus of the Study Based on the background of the study above, the research will focus on the impact of the translation strategies, domestication and foreignization, regarding the level of readability in the translation of Hush, hush.
19
“About the Author”, Amazon.com website, www.amazon.com/gp/aw/d/1416 989420?pc_redir=1408591641&robot_redir=1#productDescriptionsecondary_view_pageState_14 09165107501 (accessed Aug 28 2014)
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C. Research Question According to the background and focus of study above thus the researcher formulates the research questions as follows: 1. What is the most frequently translation strategy applied by the translator? 2. How are the domestication and foreignization applied in the translation of Hush, hush? 3. How is the impact of domestication and foreignization application to the readability level of domesticated and foreignized items in the translation of Hush,hush? D. Significance of the Study The study will be fruitful to the readers and those who intend to do same researches. Furthermore, this study will give contribution to the development of translation, particularly about the impact of the translation strategy (domestication and foreignization) regarding the readability level in novel translation, especially, from English into Indonesian. It may also become a guide to novel translators in producing high-quality translation products. E. Research Methodology 1. Objective of the Research Based on the research questions above, so the aims of this research are: a.
To know the most frequently translation strategy applied by the translator.
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b.
To know how the domestication and foreignization are applied in the translation of Hush, hush.
c.
To know the impact of domestication and foreignization application to the readability level of the domesticated and foreignized items in the translation of Hush,hush.
2. Method of the research The method used in the research is descriptive qualitative. Through this method, the researcher will identify domesticated and foreignized items and the impact of domesticating and foreignizing items regarding readability level of the translation. 3. Technique of Data Collecting and Analysis These following steps are used by the researcher to collect and analyze the data: a.
Reading the novel and its translation at the same time.
b.
Classifying all domesticated and foreignized items in the novel translation by analyzing the translation method used.
c.
Tabulating the classified data.
d.
Making a readability questionnaire.
e.
Distributing the readability questionnaire to seven informants. The informants are some readers that considered as market or target readers of the novel. Since the novel‟s category is young-adult, so the informants will be 13 to 25 years old people.
f.
Supervising each informant while they are filling the questionnaire.
11
g.
Analyzing the selected data based on the theories used in this study.
h.
Making a report of the study.
4. Instrument of The Research Since the method of this research is qualitative (descriptive), so the researcher herself acts as the main research instrument by doing all the steps of technique of collecting and analyzing the data above. In addition, the judgments from the informants about the readability level will assist the researcher to analyze the data. 5. Unit of Analysis The analysis units of the research are Hush, hush, a novel by Becca Fitzpatrick, its Indonesian translation by Leinovar Bahfein, and also readability measurement data (see Appendix 2A). The details of the novel and its translation can be seen in the table below: Table 1: Details of the Hush, hush Novel
Language
English
Indonesian
Title
Hush, hush
Hush, hush
Writer/Translator
Becca Fitzpatrick
Leinovar Bahfein
Year of
September 2010
January 2013
Publication
(paperback edition)
(third edition)
Publisher
Simon & Schuster
Number of Pages
391
PT. Ufuk Publishing House 484
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6. Time and Place of the Research The research has been done from June 2013 to August 2014, at the English Latters Department, libraries at State Islamic University Syarif Hidayatullah Jakarta, some university libraries in Jakarta, and the researcher‟s house.
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CHAPTER II THEORETICAL FRAMEWORK A. Definition of Translation Various statements have been made by the experts to define what translation is. It can be seen in Oxford Advanced Learner‟s Dictionary that translation is the process of changing something that is written or spoken into another language. 20 Besides, Catford states translation as replacement of textual material in one language by equivalent textual material in another language. 21 In brief, translation means that stating something, either in written text or spoken material, from one language into another by considering the equivalence of the languages. Another translation expert, Newmark, postulates that translation is rendering the meaning of a text into another language in the way that the author intended the text.22 In line with Newmark, Larson emphasizes on the meaning, as stated here that translation is transferring the meaning of the source language into the receptor language. 23 Meanwhile, according to Nida and Taber “Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of
20
A.S. Hornby, Oxford Advanced Learner’s Dictionary of Current English (New York: Oxford University Press, 2000), p. 752. 21 J.C. Catford, A Lingustic Theory on Translation (London: Oxford University Press, 1965), p. 20. 22 Peter Newmark, A Textbook of Translation (New York: Prentice Hall, 1988), p. 5. 23 Mildred L. Larson, Meaning-Based Translation: A Guide to Cross-Language Equivalence (Lanham: University Press of America, 1984), p. 3
13
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style”.24 Summarizing the definitions, it can be said that Newmark, Larson, and Nida and Taber agree that translation is about meaning; it is rendering the meaning, transferring the meaning, or reproducing the closest natural of the SL message in terms of meaning and also the style. When the readers of the TT understand what the author of the SL intends in the ST, it means the translation is readable. This is an essential thing in translation. According to Jakobson, definitions about translation above correspond to „interlingual translation‟, for it involves different languages „some other language‟; the source and target language. As he distinguishes three categories of translation below:25 1. intralingual translation, or „rewording‟: „an interpretation of verbal signs by means of other signs of the same language‟; 2. interlingual translation, or „translation proper‟: „an interpretation of verbal signs by means of some other language‟; 3. intersemiotic translation, or „transmutation‟: „an interpretation of verbal signs by means of signs of non-verbal sign system. Furthermore, Munday mentions in his book that there are two forms in translation, written and oral. The first is called translation, and the second known as interpretation,26 and then he explains the term translation has several meanings: it can refer to the general subject field, the product (the text that has been translated) or the process (the act of producing the translation, otherwise known as translating).27 From those definitions on the first two paragraphs, it can be concluded that translation, indeed, involves two different languages, the SL and TL. Producing 24
Andy Bayu Nugroho and Johnny Prasetyo, op. cit., p. 4. Jeremy Munday, Introducing Translations Studies (London: Routledge, 2001), p. 4 26 Ibid., p. 5 27 Ibid., pp. 4-5 25
15
equivalence and delivering the meaning correctly are the main issue. Bassnet describes: what is generally understood as translation involves the rendering of a source language (SL) text into the target language (TL) so as to ensure that (1) the surface meaning of the two will be approximately similar and (2) the structures of the SL will be preserved as closely as possible but not so closely that the TL structures will be seriously distorted.28 In other words, translation is rewriting, restating, changing, or transferring the text, the message, or the meaning from the SL to TL by attending what the SL writer intends. Moreover, as stated on the first chapter that translation is a communication act, therefore it must produce understanding. The Target Text (TT) readers must understand what the writer means; the message on the Source Text (ST) must be delivered correctly by using the equivalent or the closest words represent the SL in the TL, so the readable translation will be successfully created. B. A Brief Overview about Translation and Culture When translators do their job, they will be faced not only by two different languages, but also by two different cultural senses within. It is because, as stated in the previous chapter that translation has a relation with culture. They are strongly intertwined. Newmark in Hoed declares that sebuah teks sumber (TSu) dipengaruhi oleh sejumlah faktor, antara lain, faktor penulis (pemroduksi TSu), norma yang berlaku dalam bahasa sumber (BSu), kebudayaan yang melatari TSu, budaya tulis dan cetak TSu, dan hal yang dibicarakan dalam TSu29 (a SL is influenced by some factors as follows: the author (the Source Text (ST) producer), norms in the SL, background culture in the ST, writing and printing format of ST, and the topic/theme discussed in the ST).
28 29
Susan Bassnet, Translation Studies (New York: Routledge, 2002), p. 12 Benny Hoedoro Hoed, op.cit., p. 79
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There are also some factors influenced the TL text: calon pembaca yang diperkirakan, norma yang berlaku dalam bahasa sasaran (BSa), kebudayaan yang melatari teks sasaran (Tsa), budaya tulis dan cetak TSa, dan penerjemah 30 (the target reader of the Target Text (TT), norms in the TL, background culture in the TT, writing and printing format of the TT, and the translator). Nida even points out that, “For truly successful translation, biculturalism is even more important than bilingualism, since words only have meanings in terms of the cultures in which they function.” 31 Therefore, the relation between translation and culture should become consideration for the translators to render what is in the ST to the TT carefully; particularly to the cultural text such as literary works; poems, films, plays, prose, novels, lyrics, etc. The message which the target readers of the TT get or feel from it, should be the same way with the reader of the original work acquired. Thus, the translated text readers will understand what the author intended, then the text itself is readable or understandable. C. Translation Method Before translating a text, it is important for translators to determine the target readers and the purpose of the text itself, what it is made for. Consequently, the translator will (consciously or not) use the method of translation which appropriate for the target reader and the purpose. In this context, Hoed defines method as prinsip yang mendasari cara kita menerjemahkan yang sudah barang
30 31
Ibid. Wenfeng Yang, op.cit.
17
tentu bermuara pada bentuk (jenis) terjemahannya32(the principle which forming the way we translate, which absolutely ends up in a form (kind) of the translation). According to Newmark‟s concept, there are eight methods of translation. They are divided into two groups; each group consists of four methods. The first four are SL oriented (SL emphasis) and the rest are TL oriented (TL emphasis). Again, he describes those methods in a diagram (namely „V Diagram‟) below: SL Emphasis
TL Emphasis
Word-for-word
Adaptation Free translation
Literal translation Faithful translation Semantic translation
Idiomatic translation Communicative translation
Figure 1: Translation Methods by Peter Newmark33
The SL emphasis translation methods are represented by word-for-word translation, literal translation, faithful translation, and semantic translation. Dalam metode jenis ini, penerjemah berupaya mewujudkan kembali dengan setepattepatnya makna kontestual TSu, meskipun dijumpai hambatan sintaksis dan semantis pada TSa (yakni hambatan bentuk dan makna) (In those methods, translators try to recreate the contextual meaning in the SL precisely, though they will be faced by syntactic and semantic obstacles in the TL (the obstacles of form and meaning).34 Those methods above will be explained as follow:
32
Benny Hoedoro Hoed, op.cit., p. 55 Peter Newmark, op. cit., p. 45 34 Rochayah Machali, op. cit., p. 76 33
18
1. Word-for-word Translation This method is used as a pre-translation process. The purpose is to know the structure of a SL or the meaning of the words in the SL itself. According to Newmark, “The main use of word-for-word translation is either to understand the mechanics of the source language or to construe a difficult text as a pre-translation process”. 35 For example, when we translate a text from Japanese into Indonesian, it is recommended to use this method, for sentence structure of the Japanese is quite different with Indonesian. Even though this method is SL emphasis and used in the pretranslation process, if we want to make the translation good; we must rearrange and adjust the sentence structure of the SL to the TL‟s, since we retain the structure of the SL in the translation and just render the meaning of the words. The sentence structure here, for example, is about the order of the subject, verb, or object in the sentence. In some languages the verb or the object comes first before the subject, while such order is not acceptable in the other languages. 2. Literal Translation Like the previous method above, literal translation can be used in the pre-translation process. When we translate a long and difficult sentence, using this method can be helpful. However, we still need revision for perfection in the translation.
35
Peter Newmark, op. cit., p. 46
19
The difference between word-for-word and literal translation is on the structure of the SL which is already adjusted with the TL‟s, but the words and language style of the SL is remained in the TL. Newmark explains, “The SL grammatical constructions are converted to their nearest TL equivalents, but the lexical words are again translated singly, out of context”.
36
Again, as word-for-word
translation, this is also cannot produce a good translation. 3.
Faithful Translation Faithful
translation,
in
Indonesian
is
well-known
as
Penerjemahan Setia. A faithful translation attempts to reproduce the precise contextual meaning of the original within the constraints of the TL grammatical structure.37 Furthermore, Machali states, “Di sini katakata yang bermuatan budaya dialihbahasakan, tetapi penyimpangan dari segi tata bahasa dan pilihan kata masih tetap dibiarkan.” (It transfers cultural words, but preserves the abnormality of the grammar and the words choice.) 38 It attempts to be completely faithful to the intentions and the text-realisation of the SL writer.39 Hence, sometimes the translation is rigid and foreign („strange‟). Though the meaning in the translation is so close (faithful) with the meaning of the original, it still needs adaptation process and modification to fit with the norms of TL.
36
Ibid. Ibid. 38 Rochayah Machali, op. cit., p. 79 39 Peter Newmark, op. cit., p. 46 37
20
A translator can make some „creativity‟ by making new words, though those words have not completely acceptable yet for the reader or the user of the translation. It is called translationese. 40 As Hoed explains, Dalam penerjemahan setia juga bisa terjadi metafora (dalam penerjemahan teks sastra) atau ungkapan (dalam penerjemahan teks hukum) atau istilah (dalam penerjemahan teks hukum atau teks informatika) diterjemahkan ke dalam BSa meskipun tidak lazim dikenal sehingga menjadi apa yang disebut “translationese” 41 (In faithful translation there might be some metaphors (in literary translation), phrases (in legal translation) or technical terms (in legal document or informatics translation) which are translated into a TL, though they have not being common or well-known yet. This is called as translationese.). Some of translationese that have been accepted become the part of TL vocabularies, e.g. broker/ pialang, bonded zone/ kawasan berikat (terms of stock exchange in Indonesian). 42 4. Semantic Translation Based on Newmark‟s concept, semantic translation is more flexible than faithful translation. However, it must consider the esthetic value of the SL by compromising the meaning as long as it is still proper. Further, it may translate less important cultural words by neutral words or functional terms, but not by cultural equivalent. For instance, He is a book-worm can be translated into Dia adalah seorang yang suka sekali membaca. The translation can be easily understood,
40
Eugene A. Nida and Charles A. Taber, The Theory and Practice of Translation (Leiden: Brill, 1974), p. 124 41 Benny Hoedoro Hoed, op.cit., p. 57 42 Ibid.
21
even though there is an equivalent idiom of the TL (Dia adalah seorang kutu buku).43 By using this method a translator strongly emphasize in using technical term, keyword, or phrase that must be used in the translation. This is generally used in translating scientific work or legal document, because there are some technical terms which is already defined in the TL and must
be translated semantically accurate to avoid
misunderstanding. Based on the V Diagram by Newmark, the TL emphasis methods are represented
by
adaptation,
free
translation,
idiomatic
translation,
and
communicative translation. Dalam metode kedua (TL emphasis), penerjemah berupaya menghasilkan dampak yang relatif sama dengan yang diharapkan penulis asli terhadap pembaca versi BSu44 (In these methods, the translator tries to produce relatively same influence as the SL writer expects to the ST reader.). They will be explained below. 1. Adaptation This is the „freest‟ form of translation. It is used mainly for plays (comedies) and poetry; the themes, characters, plots are usually preserved. In contrast, the SL culture is converted to the TL culture and the text is rewritten. 45 Adaptation (saduran) translation is more emphasized in rendering “the content” of the ST message, but the form
43
Rochayah Machali, op. cit., p. 80 Ibid., p. 76 45 Peter Newmark, op. cit., p. 46 44
22
is adjusted to the needs of the TT readers.46 Generally when a plays or drama is adapted into another language, as happened in a fable from French adapted into Indonesian, some elements has been changed such as the animals, the food, which originate from Europe changed into Indonesian; the fox (Rubah) into Mouse deer (Kancil), cheese into dendeng.47 2. Free Translation While in the adaptation translation we have to adjust the culture in the ST to the TL‟s, in free translation we do not need to do that. Newmark describes, “Free translation reproduces the matter without the manner, or the content without the form of the original. Usually it is paraphrase much longer than the original….” 48 In addition, it is commonly used by the translator just to fulfill the client‟s need who just want to know the message in the ST.49 3. Idiomatic Translation This method reproduce the „message‟ of the original but tends to distort nuances of meaning by preferring colloquialisms and idioms where sometimes these do not exist in the original. In other words, as Machali describes, this is intended to create intimacy or familiarity by using idiomatic phrase which does not exist in the original, e.g. ST: “Mari minum bir sama-sama; saya yang bayar.” (Indonesian) TT: “I‟ll shout you a beer.” (Australian English) idiomatic 46
Benny Hoedoro Hoed, op.cit., p. 56 Ibid. 48 Peter Newmark, op. cit., p. 46 49 Benny Hoedoro Hoed, op.cit., p. 57 47
23
TT: “Let me buy you a beer.” (Alternative version) semantic50 4. Communicative Translation We can use this method if we emphasize on the message, but without trying to translate it freely. This is commonly used in translating brochures, announcements, and popular written texts. 51 Communicative translation attempts to render the exact contextual meaning of the original in such way that both content and language are readily acceptable and comprehensible to the readership. 52 Moreover, this method concerns in the principles of communication; the readership and the purpose of the translation itself. 53 Hoed has simplification of translation methods by Newmark. Hoed explains this simplification is for giving a way to a translator to choose the appropriate method related to the target reader and purposes of the translation.54 He describes it in a line as follows: [Kebudayaan]Bsu----M1----M2----M3----M4----M5----M6----Bsa[Kebudayaan] ([Culture] SL----M1----M2----M3----M4----M5----M6----TL [Cuture]) Keterangan (Explanation): M1: metode “eksotis”. (“Exotic” method) M2: metode pinjaman kutural. (Cultural borrowing method) M3: metode calque. (Calque method) M4: metode [penerjemahan] komunikatif. (Communicative method) M5: metode [penerjemahan] idiomatis. (Idiomatic method) M6: metode adaptasi. (Adaptation method) Figure 2: Simplification of Translation Methods by Benny Hoedoro Hoed 55 50
Rochayah Machali, op. cit., p. 82 Ibid., p. 58 52 Peter Newmark, op. cit., p. 47 53 Rochayah Machali, op. cit., p. 83 54 Benny Hoedoro Hoed, op.cit., p. 59 55 Ibid. 51
24
Based on the distance between the methods and the language orientation, the first method, M1, is the nearest to SL culture and the last, M6, is the closest to the TL culture. This figure below is the description between translation method by Newmark and its simplification by Hoed (illustrated by the researcher): Newmark’s
Hoed’s
Word for word translation Literal translation
M1: Metode “eksotis”
Faithful translation
M2: Metode pinjaman kultural
Semantic translation
M3: Metode calque
Communicative translation Idiomatic translation
M4: Metode [penerjemahan] komunikatif M5: Metode [penerjemahan] idiomatis
Free translation Adaptation
M6: Metode adaptasi
Figure 3: Description of relation between Newmark‟s method and its simplification by Hoed (illustrated by the researcher)
According to Hoed, metode “eksotis” above is equal to, or in line with, faithful translation by Newmark. Metode pinjaman kultural can be included to the semantic translation and equal to faithful translation. Metode calque is in line with the faithful translation. 1.
M1, Metode “eksotis” On the figure 2, M1 is the nearest to the SL culture. It is intended to give “exotic” sense in the TT. In addition, it retains the SL culture in the TT. As we can see on the example:
25
a. “May be some bacon and eggs?” Mrs. Henry Rice said coaxingly. 56 (ST) b. “Mau bacon dan telur?” Kata Nyonya Henry Rice lemah lembut.57 (TT) Retaining bacon and Nyonya (which is not common in Indonesian) in the TT is the result of Metode “eksotis” that is intended to represent culture and foreignness sense in the TT. Moreover, bacon is a dish for breakfast in England, so this is what we can call “exoticism”. This is also happened in translating these words into Indonesian; Camembert [French], café [French], cappuccino [Italian], and pub [English].58 If those words are retained in the TT or translated by using contextual explanation, for example keju Camembert, this is also Metode “eksotis” application. 2.
M2, Metode pinjaman kultural This method is used in translating particular terms such as in psychology, philosophy, scientific text, technology, culture, and politics. For example some words in Indonesia: demokrasi (which is originated from Dutch, democratie), bank, jender, or manajemen. 59 Those words are adopted from the SL but not just the words. The concept from the SL culture is also included, which is not exist in the TL—Indonesian, before.
56
Ibid., p. 60 Ibid. 58 Ibid., p. 61 59 Ibid., p. 62 57
26
3.
M3, Metode calque Metode calque is translating idiomatic phrase from the ST to the TT, though the result still sounds “foreign”. This method is not only about word, but also phrase or sentence which differ it from metode pinjaman kultural, though they resemble. Therefore, its existence in the TT is more prominent, so the structure or grammatical can be seen distinctly. To describe, some application of this method are appropriate, succeed, while some others are not; which means not acceptable for the TT readers. One of those appropriate (although it is considered as reprehensible for some linguists) can be seen in the language of the news such as, Ditanya mengenai hal itu [Asked about the issue], and Menjawab pertanyaan, Menteri mengatakan… [Answering the question, the Minister said…], such languages are often used by journalists. 60 That kind of structure or grammar, actually, not belongs to Indonesian.
Metode [penerjemahan] komunikatif emphasizes on the message conveyance and the translation itself is pointed to the acceptable and natural form in the TL. Metode [penerjemahan] idiomatis and metode adaptasi have the same concepts as Newmark‟s. The former is used to translate idiom in the SL into idiom in the TL, meanwhile the latter is more emphasized in rendering “the content” of the ST message, but the form is adjusted to the needs of the TT readers.
60
Ibid., p. 63
27
1.
M4, Metode [penerjemahan] komunikatif The important thing in applying this method is message on the ST is delivered in TT. Moreover, the translation should be acceptable and natural in the TL. In translating phrase like it’s raining cats and dogs into Indonesian, by using this method, will produce Hujan lebat sekali. 61 In the same way, when we translate Camembert [one of hundred kinds of French cheese] into keju in Indonesian without explain it further, what kind of cheese it is, for the message is already delivered in the TT that Camembert is cheese.
2.
M5, Metode [penerjemahan] idiomatis Metode [penerjemahan] idiomatis is translating phrases from the SL into phrases in the TL. For example, It’s raining cats and dogs = Hujan bagaikan dicurahkan dari langit. Additionally, some kind of
offensive phrases from movies like Shit!, or Son of a bitch! = Sialan!; Newmark categorized this as idiomatic translation or Metode [penerjemahan] idiomatic.62 3.
M6, Metode adaptasi In Metode adaptasi or adaptation, culture elements in ST are substituted with culture elements of the TT readers. As we can see in Lafontaine‟s fable (a French author of the 17th century) which is translated into Indonesian that there are some substitution in the element of the story, the character—fox became kancil that has similar
61 62
Ibid., p. 64 Ibid.
28
characteristic; smart, sly, tricky—and the food, cheese, translated into Indonesian traditional food, dendeng. 63 On the example of metode eksotis above that Mrs. Henry Rice is translated into Ibu Henry Rice, and also when Monsieur le Maire is translated into Pak Wali Kota (not Tuan Wali Kota) which is done by Nh. Dini, 64 these translation shows that the translator used „limited‟ adaptation. This is not just a translation, but adjustment with culture of the TT readers, both „full‟ adaptation and „limited‟ adaptation. Those methods above, particularly the simplification methods by Hoed, will be used to describe, explain, and prove whether the data collected from the object of this research are domesticated or foreignized. The using of simplification methods by Hoed is intended to identify the translation strategies, domestication and foreignization, because the methods are more applicable and suitable with the purpose of this research rather than Newmark‟s version. It can be seen from the examples given in the explanation of each method. Furthermore, some of methods in the V Diagram by Newmark are categorized as pre-translation methods—wordfor-word, literal translation—that will produce low translation quality. The simplified version by Hoed is equal to only four methods of Newmark—Faithful translation, Communicative translation, Idiomatic translation, and Adaptation.
63 64
Ibid., p. 65 Ibid.
29
D. Translation Strategy In theory of translation, there is a term namely translation strategy. As the method of the translation, the strategies of translation also emphasize either on the SL or the TL. There are two strategies of translation that will be explained here. They are domestication and foreignization. Both of them are basic translation strategies which provide both linguistic and cultural guidance. 65 1. Domestication Domestication is the strategy which emphasizes on the TL, so that it will be indicated by the application of adaptation, free translation, idiomatic translation, and communicative translation methods. Hoed conveys “. . .bila kita kaitkan dengan Diagram-V dari Newmark, metode yang dipilih biasanya juga metode yang berorientasi pada bahasa sasaran, dimulai dari adaptasi (yang paling jauh, yakni dari bahasa sumber), kemudian makin mendekati bahasa sumber dengan penerjemahan bebas, penerjemahan idiomatis, dan yang paling jauh dari bahasa sasaran adalah penerjemahan komunikatif.” 66 (Related to the V-Diagram by Newmark, the methods chosen are oriented to the TL, they are adaptation translation (the nearest with the TL), next those closer to the SL; free translation and idiomatic translation, and the last, the farthest from TL, communicative translation.) Moreover, if it is associated with the simplified translation methods by Hoed, it will be indicated by the implementation of M4 or metode [penerjemahan] komunikatif, M5 or metode [penerjemahan] idiomatic, or M6 as known as metode adaptasi.
65 66
Wenfen Yang, loc. cit., p. 77 Benny Hoedoro Hoed, op.cit., p. 84
30
This strategy is termed by Lawrence Venuti who adapted the concept
from a
German theologian and
philosopher,
Friedrich
Scheleirmacher. In an 1813 lecture on the different methods of translation, Scheleirmacher argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him”. 67 The notion “leaves the author in peace” means domestication;
bring the author
back home.
As Venuti states
“Schleirmacher allowed the translator to choose between a domesticating method, an ethnocentric reduction of the foreign text to target-language cultural values, bringing the author back home. . . .”68 Generally speaking, domestication designates the type of translation in which a transparent, fluent style is adopted to minimize the strangeness of the foreign text for target language readers. 69 It means making the text recognizable and familiar and thus bringing the foreign culture closer to that of the readers‟.70 Implementation of this strategy can be illustrated in the example below: 1a. ST: The photographer transfers his photos into a CD-ROM. 1b.TT: Fotografer itu memindahkan foto-fotonya ke dalam cakram padat. 67
Lawrence Venuti, The Translator’s Invisibility: A History of Translation (London & New York: Routledge, 1995), pp. 19-20 68 Ibid., p. 20 69 Wenfen Yang, loc. cit., p. 77 70 Esmail Zare-Behtash and Sepideh Firoozkoohi, loc. cit., p. 1577
31
In 1a the word “CD-ROM” is translated into “cakram padat” which is the equivalent word of “CD-ROM” in the TT, Indonesian. Apart from the word “CD-ROM”, or compact disc read-only memory, is already familiar and widely used by native Indonesian speaker, but in 1b the translator used “cakram padat” as a form of domestication strategy implementation. It can be seen from the method used in the sentence; that is communicative translation method or metode penerjemahan komunikatif, since the message from the ST is already delivered in the TT without explain the “CD-ROM” in detail. 2. Foreignization On the different side, this strategy is indicated by the using of faithful translation and semantic translation (word-for-word and literal translation are used (only) for pre-translation activity as had explained before); SL emphasis methods. Hoed points out “Ini berarti, jika kita kaitkan dengan jenis terjemahan menurut Diagram-V Newmark, metode yang digunakan adalah cenderung jenis penerjemahan setia (faithful translation) dan penerjemahan semantik (semantic translation).” 71 (This means, if we relate to the kinds of translation based on Newmark‟s VDiagram, the methods used are likely lead to faithful and semantic translation). In addition, while domestication is indicated by application of M4, M5, or M6, foreignization is indicated by M1, M2, M3 or metode eksotis, metode pinjaman kultural, and metode calque.
71
Benny Hoedoro Hoed, op.cit., p. 87
32
In the Schleirmacher‟s concept, while domestication brings the author back home; foreignization leaves the reader in peace, as much as possible, and moves the author towards him. 72 In addition, a foreignizing method is an ethno deviant pressure on those values to register the linguistic and cultural difference of the foreign text, sending the reader abroad.73 Yang explains that foreignization means a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. 74 It means to take the readers to the foreign culture and to make them feel the linguistic and cultural differences. 75 To get a clearer description about the relation between the strategy and the method, let‟s take a look at this example below: 2a. ST: Martin is serving a pan of pizza with extra mozzarella topping. 2b.TT: Martin menyajikan seporsi piza dengan ekstra keju mozzarella. The word “piza” in 2b is “pizza” in Indonesian. It shows that metode pinjaman cultural is applied in this sentence, because it takes a concept from English/Italian to be adopted in Indonesian. It is just like a word in Indonesia, “demokrasi” that comes originally from a word in Dutch, “democratie”. Furthermore, “keju mozzarella” presents foreign sense from the ST as an implementation of metode eksotis by adding contextual explanation that mozzarella is a kind of keju or cheese. It would be
72
Lawrence Venuti, op.cit., p. 20 Ibid. 74 Wenfen Yang, loc. cit., p. 77 75 Esmail Zare-Behtash and Sepideh Firoozkoohi, loc. cit., p. 1577 73
33
different if it is translated to “keju” only, because it eliminates cultural element from the ST. E. Readability Level Measurement in the Object of the Study As the reader of translation product sometimes we do not understand clearly what the text discusses. We might find some strange words, unfamiliar terms, idioms phrases, or a sentence with peculiar structure; which make us read the translation over and over till it made sense. Therefore, the translator should do their job carefully and pay more attention to every elements of the text. In doing so, those probabilities that happened to the readers can be avoided. Measuring the quality of the translation product closely related to translation‟s function as a communication tool between the ST author and the TT reader. Before translating a text, it is important to the translators to determine the target readers and the purpose of the text itself, what it is made for. This is related to which methods and strategies of translation used by the translator. Consequently, the appropriateness of methods and strategies usage will determine the translation quality. Producing readable translation is one of the main goals in translating. It can be indicated from the reader who understands what the translation product discusses. Based on the research questions, the researcher will find out the readability in the object of the study regarding the identified domesticated and foreignized items. Readability is a derivative noun from “readable” which means “1 (of a book, article, etc.) that is easy, interesting and enjoyable to read; 2 (of written or
34
printed words) clear and easy to read.” 76 In line with the previous definition, readability or “keterbacaan” (in Indonesian) is defined as “perihal dapat dibacanya teks secara cepat, mudah dipahami dan diingat.”77 (it is about being able to be read rapidly, understandable, and easy to be remembered). To sum up, readability is associated with how well a text is for its reader, whether it is easy to be understood, interesting, enjoyable, can be read or not. Readability itself is one of the essential things that should be noticed and considered by a translator. As stated by D. Rahadi Notowidigdo78 that he has a principle: if the reader still needs a dictionary to understand my translation, it means I’m failed. It shows that translators, obviously, must be able to make the readers get what the author the original text intends. Now the question is, how do we measure the readability? The researcher will use Silalahi‟s concept as she used in her dissertation. There are two general factors that influence readability level of a text; first, linguistic elements that used to deliver the message, and the second is reading skill of the readers. The indicator to measure the readability level is the word, phrase, clause, or sentence used can be easily understood by the reader. 79 In addition, Nababan states that other factors influence the readability of translation text are the usage of foreign or local words, ambiguous words and sentences, incomplete sentence, and incoherent plot.80
76
A.S. Hornby, op.cit. , p.1097 Departemen Pendidikan Nasional, Kamus Besar Bahasa Indonesia Pusat Bahasa (Jakarta: PT Gramedia Pustaka Utama, 2008), p. 110 78 D. Rahadi Notowidigdo is a professional translator and the Chief of Association of Indonesian Translator (Himpunan Penerjemah Indonesia (HPI)) for 2014-2016 term of office. 79 Roswita Silalahi, op.cit., p. 100 80 Ibid., p. 102 77
35
Table 2: Instrumen pengukur Tingkat Keterbacaan Terjemahan81
Skala
Definisi
Kesimpulan
3
Kata, frasa, klausa, dan kalimat terjemahan dapat dipahami dengan mudah oleh pembaca.
Tingkat keterbacaan tinggi
2
Pada umumnya terjemahan dapat dipahami oleh pembaca; namun ada beberapa bagian tertentu yang harus dibaca lebih dari satu kali untuk memahami terjemahan.
Tingkat keterbacaan sedang
1
Terjemahan sulit dipahami oleh pembaca.
Tingkat keterbacaan rendah
Since the object of this research is a popular novel which categorized as a young-adult, so that the readability level will be measured by the target reader of this novel. It can be people between 13 to 25 years old who considered as those who can represent the potential readers.
81
Ibid.
36
CHAPTER III RESEARCH FINDINGS A. Data Description In this chapter, the researcher describes the findings in the research object; Hush, hush, a novel by Becca Fitzpatrick and its Indonesian translation (translated by Leinovar Bahfein). The findings of the research are data in which translation strategies by Lawrence Venuti (domestication and foreignization) applied, in the novel translation. The researcher analyzes the translation methods used in the data to classify it as domesticated or foreignized item. The translation methods themselves are postulated by Peter Newmark. The researcher uses its simplified version by Benny Hoedoro Hoed. Furthermore, based on the research questions, the readability levels of the data are also discussed regarding the application of the translation strategies. The measurement of readability level is based on Roswita Silalahi‟s concept in her dissertasion. In this research, the researcher chose seven people to be the informants of the research. There are two types of data in this research. The first is all data categorized based on the strategy of translation application, domestication and foreignization. The second is the readability questionnaire which is intended to measure the readability level of the first data. The first and the second type of data can be checked in Appendix 1 and 3. From the total of all data in Appendix 1—242 items—there are 114 data categorized as domesticated, while 128 data are
36
37
foreignized. On Appendix 3, 73,3 % data are considered has high readability level, 21,2% has medium readability level, and the rest 5,5% are in the low level. B. Data Analysis The most frequently translation strategy applied by the translator is foreignization which is represented by 128 items, while domestication are 114 items. From the tabulated data the researcher takes 10 samples as representative of all data (see Appendix 1). The researcher tries to analyze the selected data by categorizing them based on two types of the translation strategies and based on the readability level using relevance theories. The 10 samples of the data are analyzed as follows: 1) Domestication Sample 1, no. 034 I swallowed discreetly and tried to Diam-diam aku menelan ludah dan ignore the queasy tap dance in my berusaha mengabaikan tarian pocostomach.
poco yang membuat mual di perutku.
(ST, page 25)
(TT, Page 35)
The data above shows the application of M6 or Metode adaptasi by Hoed. It can be seen from the „tap dance‟ phrase which is translated into „tarian pocopoco‟. It means that culture element from the ST is substituted with culture element of the TT. In this case, the translator explains the queasy feeling as if someone is dancing inside the stomach of the character “I”. The writer uses a kind of dance or a dance name here, which is well known in the SL culture; so that the translator uses a popular dance name in the TL culture. The translator uses the
38
same supposition by adapting the dance name although those dances are such a different kind. It is intended to create familiarity for the readers. The Target Text (TT) of this data can be understood by almost informants of the research. By applying domestication strategy, it got 2,71429 points of readability on average. Six of seven informants gave 3 points, while one informant gave only 1 point. In other words, it is in a „slightly‟ high level because almost all informants understand the data easily, except one of them. Sample 2, no. 154 “Forget about being a poet,” Vee “Lupakan karir menjadi penyair,” said. “I‟m destined for stand-up kata Vee. “Aku ditakdirkan menjadi comedy. Knock, knock.”
pelawak panggung. Tok-tok.”
“What?” I said.
“Apa?” kataku.
The nurse rolled her eyes. “Who‟s Sang perawat memutar bola matanya. there?”
“Siapa di sana?”
“Crab,” said Vee.
“Swedia,” kata Vee.
“Crab who?”
“Swedia apa?”
“Crab your towel, we‟re going to “Swedia payung sebelum hujan!” the beach!” (ST, page 158)
(TT, page 199)
The dialogue among the characters above is about a joke, a “Knock-knock Jokes”. The character “Vee” tried to play with her best friend “Nora”, the main character of the novel, and also with a nurse in hospital where she treated. Since this kind of joke contains puns or wordplays, the TT should follow or be made based on this joke‟s rules. In the ST the word “crab” is supposed to be “grab”, “grab your towel…”, while in the TT the word “Swedia” is meant “Sedia” (means
39
“prepare” in English), “Sedia payung sebelum hujan!” (You should prepare an umbrella in case of raining). From the method used in this sample, the M4 or metode [penerjemahan] komunikatif, the researcher concludes it as domesticated item. The application of this method is emphasizing on message delivery from the ST to TT. Although on the translated text we do not find the exact „equivalence‟, but the core of the message can be said successfully delivered. As the previous data above, domestication strategy application produces medium or middle level of readability. It got 2,28571 points on average. The first three of seven informants gave 3 points, the other three gave 2 points, and one person gave 1 points. It can be said that the translator quite succeed in render the message from the ST. The seven informants, mostly, got the funny sense of the joke in the TT though some of them had to reread the text several times. Sample 3, no. 155 My
doctor
is
lard-arse.
Closely Dokter gendut abis. Mirip sekali dengan
resembles an Oompa Loompa.
tambur.
(ST, page 158)
(TT, page 200)
“Oompa Loompa”, a name of a character in the well-known story by Roald Dahl ”Charlie and the Chocolate Factory”, was translated into a musical instrument “tambur” (means genderang atau gendang besar or a huge drum) in the TT. It indicates the application of M6 or Metode adaptasi by substituting the
40
culture elements from the ST to the TT. To illustrate, Oompa Loompa and tambur themselves have same characteristics namely corpulent and short. In line with the sample 1 above, the application of Metode adaptasi itself shows the translation strategy which is emphasizing the TL, domestication. Although this strategy emphasize on the TL, but it makes the data got an average of 1,85714 point or in other words it has „slightly‟ low readability level. One of the seven informants gave 3 points, four of them gave 2 points, and the rests gave 1 point. While the researcher supervising the informants filling the questionnaire, they said that they are not familiar with “tambur” or do not know what it is and how it looks like. Sample 4, no. 062 “What color?” I asked.
“Warna apa?” tanyaku.
“Make-me-gag-Granny-Smith-green. I “Kurasa hijau baju nenek-nenek.” think.” (ST, page 44)
(TT, page 61)
The dialogue above has a setting in a library. There are two characters here; the first “I” in the first line is Nora while the “I” in the second line is Vee. They are talking about a diet program taken by Vee which is called “color-wheel fruit diet”. Vee has to consume three red fruits a day, two blue, and a handful of green. Now is her turn to consume the green fruit. She held up a bag of apple chips, and then Nora asks what color of fruit she has to take. Vee replies, it is the green one, “Make-me-gag-Granny-Smith-green. I think.”
41
Granny Smith itself is a kind of apples which is named after its founder, Maria Ann Smith. In her sixties, she had become affectionately known to all as “Granny”82, so that the apple is commonly known as Granny Smith Apple. However, in the translated text above the translator rendered the phrase “Make-me-gag-Granny-Smith-green. I think.” into “Kurasa hijau baju neneknenek” which is the form of M4 or metode [penerjemahan] komunikatif. This method application only focuses to the color of the fruit “green” and the word “Granny” or grandmother, which is translated into “hijau” and “nenek-nenek”. It emphasizes on the message in the ST in order to make it communicatively delivered in the TT. In spite of there is „no‟ detail information about who Granny Smith is, the usage of domestication strategy through applying the M4 method makes this data get 2,71429 points on average or has „slightly‟ high readability. Five of the seven informants gave it 3 points and the rests gave it two points. Overall, they understand the phrase quite easily.
82
“The Real Granny Smith,” Granny Smith.net.au website, http://www.grannysmith. net.au/who-we-are/real-granny-smith/ (accessed Sep 11 2014)
42
Sample 5, no. 006 She‟s green-eyed, minky blond…. Dia memiliki mata hijau, rambut pirang seperti cerpelai…. (ST, page 9)
(TT, page 14)
Domestication strategy is used in this sample by applying M4 or metode [penerjemahan] komunikatif. Presenting communicative translation has made the sentence structure adjusted with the TL rules. The word “minky” has become an „adjective‟ form of the word mink or cerpelai in Indonesian. So that, it makes the translation having extra information by adding word “seperti” or in other words “blond as a mink”. However, this communicative form of translation does not make it easy to be understood by the readers. Although it is the equivalent word or the exact meaning in the TT, the word “cerpelai” here is still unfamiliar enough for the informants. It is proved by two of seven informants gave this sample 1 point, and then one person gave it 2 points, while the rest of them gave it 3 points. Hence, this sample got 2,28571 points on average and can be said that this sample has medium readability level.
43
2) Foreignization Sample 1, no. 192 After
changing
into
a
stretchy Setelah
berganti
pakaian
dengan
camisole and floral pj pants, I called kamisol ketat dan celana tidur bermotif Vee.
bunga, aku menelepon Vee.
(ST, page 247)
(TT, page 307)
This sample shows an adoption in a fashion terms. It is camisole, which is originated from French, from Occitan camisolla, diminutive of camisa shirt, from Late Latin camisia83 . Based on the theory of translation method by Hoed, this sample belongs to M2 or metode pinjaman cultural because the word camisole is translated into kamisol which is a form of cultural borrowing word, as happens in the terms of technology such as e-mail, disave, chatting, didownload, or mengupload. By applying foreignization strategy, in this case through the M2, the foreign sense is retained in the TT through the cultural borrowing word. It is proved by the result of its readability level. It gets 2,14286 points on average. Furthermore, three of the seven informants gave 3 points, two of them gave 2 points and the other two gave 1 point. Those who give it 2 and 1 point said that they are not familiar with the word kamisol. In other words, this sample is considered has medium readability level.
83
http://i.word.com/dictionary/camisole, I Word.com website (accessed Sep 11 2014)
44
Sample 2, no. 136 “Did they look like anyone we know? “Apa mereka orang yang kita kenal? For example…a cross between Pippi Misalnya…campuran antara Pippi Longstocking and the Wicked Witch si
Kaus
Kaki
Panjang
dan
of the West would obviously give us Penyihir Jahat dari Barat akan Marcie Millar.”
menghasilkan Marcie Millar.”
(ST, page 137)
(TT, page 175)
This sample tells about the illustration of a character in the novel (ST) namely Marcie Millar. She is the rival of Nora Grey and her friend, Vee; and is described as a troublemaker. One day, Nora and Vee went to a shop and found themselves were being stalked by someone. On the previous day, Nora had a „fight‟ with Marcie, so that she suspected that the stalker was Marcie. Further, the author of the novel wrote the description of the stalker resemble to a combination of Pippi Longstocking and the Wicked Witch of the West. Pippi Longstocking is a character created by Astrid Lindgren. She is a naughty, exasperating, but helpful girl; who has orange hair in very tight plaits and always wears long stocking. In addition, the Wicked Witch of the West is a figure created by L. Frank Baum and developed by Gregory Maguire in his bestselling novel Wicked: The Life and Times of the Wicked Witch of the West. In other words, the combination of Pippi Longstocking and The Wicked Witch from the West will match the characteristic of Marcie Millar, a troublemaker.
45
Moving further to the translation text above, foreignization strategy is applied in this sample as the translator chose to retain the description of a character in the novel (ST) by using the „equivalent‟ illustration, Pippi si Kaus Kaki Panjang and Penyihir Jahat dari Barat. This time the M1 or metode “eksotis” is chosen, as its purpose that is presenting the cultural element and foreign sense in the TT, as the concept of foreignizing strategy, sending the reader abroad. It will be different if the translator change or substitute Pippi Longstocking and the Wicked Witch of the West with familiar figures in the TL culture which match with the „wicked‟ or bad characteristics, for example Nenek sihir, etc. Pippi si Kaus Kaki Panjang and Penyihir Jahat dari Barat are not familiar enough for the informants. Four of the seven informants gave 3 points, while three of them gave 2 points, therefore it got 2,57143 points on average or in the medium level of readability. They said that they did not get enough explanation about Pippi si Kaus Kaki Panjang and Penyihir Jahat dari Barat and the relation among their characteristics and Marcie Millar‟s.
46
Sample 3, no. 127 Taking the key, I edge around him.
Mengambil
kunci
itu,
aku
bergeser ke depannya. (ST, page 120)
(TT, page 156)
The sentence structure in this sample shows the application of the M3 or calque. Retaining the same sentence structure of two different languages, English and Indonesian, is the form of calque. As what foreignization strategy all about, that is retaining some foreigness in the TT; the translator use the sentence structure which is not exists in Indonesian. However, this kind of structure is often used in news language. 84 If the sentence is adjusted with Indonesian sentence structure, it will be “Aku bergeser ke depannya, setelah mengambil kunci itu”. Independent clause
Conj. Dependent clause
This form put the subject in the beginning of the sentence and is added with a conjunction (conj.) to connect the independent clause and the dependent clause. Though the English sentence structure is applied in the TT, this sample is quite understandable for the readers. Only one informant give 1 point to this data, while the other six considered it has high readability by giving 3 points. As a result, it is equal to 2,71429 points on average or „slightly‟ high readability.
84
Benny Hoedoro Hoed, op.cit., p. 63
47
Sample 4, no. 083 A ceramic cactus and a stuffed coyote Kaktus keramik dan patung coyote were mounted on the wall above.
gendut berdiri di atas dinding tinggi.
(ST, page 74)
(TT, page 97)
As in the sample 2 above, the word “coyote” indicates the applications of the first method or M1 (metode “eksotis”). It is intended to present the foreign culture. The setting in the story itself is in a Mexican restaurant where the coyote put as a decoration. Actually, “coyote” can be translated into “anjing hutan”, but the translator retains the foreigness. It means to take the readers to the foreign culture and to make them feel the linguistic and cultural differences 85. By using foreignization strategy, this sample gets 2,14286 on average with specification as follows; three informants gave 3 points, two informants gave 2 points, and the other two informants gave 1 point. It means this sample has medium readability. Generally they can understand the translation, but they considered that “coyote” sounds foreign, unfamiliar.
85
Esmail Zare-Behtash and Sepideh Firoozkoohi, loc. cit., p. 1577
48
Sample 5, no. 149 After confirming no one was watching Setelah memastikan tak ada yang over my shoulder, I Googled "Patch mengawasi dari belakang, aku mengCipriano."
Google "Patch Cipriano".
(ST, page 151)
(TT, page 192)
The foreign sense exists in this sample indicates the foreignization strategy. It is showed by the word ”meng-Google” in the TT. Based on the Merriam-Webster dictionary, the word “Googled” in the ST means “to use the Google search engine to obtain information about (as a person) on the World Wide Web”86. The translation strategy itself is applied by using M1 or metode “eksotis”. Regarding the readability level as the effect of foreignization strategy application, this sample obtains 2,42857 points on average. Four informants of this research gave 2 points, while the rests gave it 3 points. As a conclusion, this sample has medium readability level, because the informants have to reread the sample several times before getting the meaning of the word “meng-Google”.
86
http://i.word.com/dictionary/google, I Word.com website (accessed Sep 12 2014)
49
CHAPTER IV CONCLUSION AND SUGGESTION A. Conclusion Language is an element of communication. When it is used in the context of communication, it is related to culture. Since language is various with its own characteristics
and
uniqueness—grammatical
system,
kinds
of
letters,
pronunciation, vocabularies, etc.—it creates a barrier among the users. The language barrier will be a problem in communication, so that a solution is needed in order to obtain the goal in communication. In this case, the goal will be reached through translation. In theory of translation there are strategies namely domestication and foreignization. These two strategies are postulated by Lawrence Venuti. Further, domestication emphasizes on the TL, whereas foreignization emphasizes on the SL. The application of these strategies can be analyzed from the translation methods used in the text because the methods also emphasize both on the SL and the TL. The translation methods itself is a theory by Peter Newmark which have the simplified version formulated by Benny Hoedoro Hoed. In addition, a translation process will produce a translated text or product. Since the product is made for the consumer, in this case is the target reader; therefore, it must have high quality in order to make the reader enjoy the text and understand what the text is all about, in other words it has high readability. Based on the purposes of this research: to find out the impact of translation strategies towards the readability level; the researcher has completed analyzing
49
50
the research findings based on the relevance theories used in this research, so that it can be concluded into some points as follow: 1. Domestication is the translation strategy which emphasizes on the TL, so that it will be indicated by the application of the M4 or metode [penerjemahan] komunikatif, M5 or metode [penerjemahan] idiomatis, and M6 or metode adaptasi. On the other side, foreignization is emphasized on the SL. It is indicated by M1, M2, M3 or metode eksotis, metode pinjaman kultural, and metode calque. 2. After analyzing the data using the translation methods, the most frequently translation strategy used in the findings of the research is foreignization. It is showed by 128 items, while there rests are 114 domesticated items (from the total findings 242 items). 3. Based on the theory of readability by Roswita Silalahi, there are three indicators to measure the readability level of the translated text. The first is high readability level, then medium readability, and the last is low readability. Each level marked by 3, 2, and 1 point. Furthermore, each level has indicator as we can see in the Table 2. 4. Each data of the research was categorized based on the two translation strategies, domestication and foreignization. Moreover, those data which have given scores by seven informants of the research based on the indicators on Table 2, were counted into the average points, see Appendix 3.
51
B. Suggestion After completing all the process of this research, the researcher would like to offer suggestions to the translator of the novel, the publisher of the novel translation (PT. Ufuk Publishing House), and the next researcher: 1. The translator of the novel In the translation field there are various theories can be applied in the translation process. Generally, as a practitioner of translation, a translator more relies on their experience and their sense of language when translating a text. They pay „less‟ attention to the theories of translation, yet the theories can ease them to do their job as a translator. In this case, for example, knowing about the strategy and the method of translation can assist them to select the words in the text, which can be emphasized either on the SL or the TL. Therefore, they will know which word can be easily understood or is familiar for the target reader. 2. The publisher of the novel After the whole text of SL is translated, it is necessary to review the novel translation and determine the strategy of translation applied in the text. This step is required to make sure that all the words used in the TT is easy to be understood by the reader. Furthermore, the publisher, the editor, and of course the translator should cooperate to specify the target reader and adjust the words selections, so that it will produce a high quality novel translation.
52
3. The next researcher In conducting a research of translation studies, this thesis is able to be a reference in doing a further research related to translation strategy and the quality of translation, in this case is the readability level. Moreover, those who want to do a similar research, the researcher suggest to you to explore more about the accuracy and the acceptability of the translation besides the readability level as what has done in this research. You can use the same object of the research, Hush, hush novel, by using the findings of this research provided in the appendices.
53
BIBLIOGRAPHY Books and journals: Bassnet Susan. 2002. Translation Studies. New York: Routledge. Catford J.C. 1965. A Linguistic Theory on Translation. London: Oxford University Press. Coelho Paulo. 2007. The Alchemist. Jakarta: PT Gramedia Pustaka Utama. Departemen Pendidikan Nasional. 2008. Kamus Besar Bahasa Indonesia Pusat Bahasa. Jakarta: PT Gramedia Pustaka Utama. Fitzpatrick Becca. 2013. Hush, hush. trans. Leinovar Bahfein. Jakarta: PT. Ufuk Publishing House. Hoed Benny Hoedoro. 2006. Penerjemahan dan Kebudayaan. Jakarta: PT Dunia Pustaka Jaya. Hornby A.S. 2000. Oxford Advanced Learner’s Dictionary of Current English. New York: Oxford University Press. Kramsch Claire. 1998. Language and Culture. New York: Oxford University Press. Larson Mildred L. 1984. Meaning-Based Translation: A Guide to CrossLanguage Equivalence. Lanham: University Press of America. Machali Rochayah. 2009. Pedoman Bagi Penerjemah. Bandung: Kaifa. Munday Jeremy. 2001. Introducing Translations Studies. London: Routledge. Newmark Peter. 1988. A Textbook of Translation. New York: Prentice Hall. Nida Eugene A. and Charles A. Taber. 1974. The Theory and Practice of Translation. Leiden: Brill. Robinson Douglas. 2001. “Literary Translation”. Routledge Encyclopedia of translation Studies. London: Routledge. Silalahi Roswita. 2009. Dampak Teknik, Metode, dan Ideologi Penerjemahan pada Kualitas Terjemahan Teks Medical-Surgical Nursing dalam bahasa Indonesia, Dissertation, University of North Sumatera.
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54
Venuti Lawrence. 1995. The Translator’s Invisibility: A History of Translation. London & New York: Routledge. Yang Wenfen. 2010. “Brief Study on Domestication and Foreignization in Translation”. Journal of Language Teaching and Research. I. Zare-Behtash Esmail and Sepideh Firoozkoohi. 2009. “A Diachronic Study of Domestication and Foreignization Strategies of Culture-Specific Items: in English-Persian Translation of Six of Hemingway‟s Works”, World Applied Sciences Journal 7. XII. Websites: Nugroho Andy Bayu and Jhonny Prasetyo. “Domestikasi dan Foreignisasi dan Dampaknya terhadap Terjemahan”. A paper in International Conference on SFL and Its Contribution to Translation Studies. UNY.ac.id website. Accessed on August 29th 2014. http://staff.uny.ac.id/sites/default/files/ 132310009/Domestikasi%20danForeignisasi.pdf Tonkin Boyd. “Is the Arab world ready for a literary translation?”. The Independent.co.uk website. Accessed on October 4th 2013. www.independent.co.uk/arts-entertainment/books/features/is-the-arabready-for-a-literary-revolution-808946.html “About the Author”. Amazon.com website. Accessed on August 28th 2014. www.amazon.com/gp/aw/d/1416989420?pc_redir=1408591641&robot_re dir=1#productDescription secondary_view_pageState_1409165107501 “The Real Granny Smith.” Granny Smith.net.au website. Accessed on September 11th 2014. http://www.grannysmith.net.au/who-we-are/real-granny-smith/ I
Word.com website. Accessed on http://i.word.com/dictionary/camisole
September
11th
2014.
I
Word.com website. Accessed http://i.word.com/dictionary/google
September
12th
2014.
on
APPENDICES
Appendix 1 Page No.
Source Text (ST)
Target Text (TT)
ST Chauncey tengah bersama seorang putri petani di rerumputan tepi sungai…Sekarang dia terpaksa 1 mengandalkan kedua kakinya sendiri untuk kembali ke château. "Do not play with the Duc de "Jangan main-main dengan Langeais"…"Duc?" The boy Duc de Langeais"…"Duc?" 2 leaned againts a twisted…Or Anak itu menyandarkan bastard? badannya ke pohon…"Atau bajingan?" His next words were spoken Kata-kata berikut yang keluar 4 with icy venom. dari mulutnya setajam silet. Pictures of this in the eZine Masukkan gambar itu ke eZine 7 would be all the evidence…. dan aku sudah mendapatkan cukup bukti…. I sounded like I was Jawabanku terkesan seperti 8 auditioning for the audiobook keluar dari buku audio. of our text. Dia memiliki mata hijau, She's green-eyed, minky 9 rambut pirang seperti blond…. cerpelai…. And I'm all legs, like a bar Dan tubuhku tulang melulu, 9 stool. seperti bangku di bar. The ball was in his court— Keputusan berada di I'd smiled, and look how well tangannya— aku tersenyum, 11 that turned out. dan bermaksud melihat hasilnya. I stared at him a moment, Aku menatapnya tak berkedip. Kaget betapa jitunya dia. shaken by how dead on he 13 Kurasa itu bukan hasil tebakan. was. I didn't get the feeling it was a lucky guess. "And my first?" I demanded. "Dan yang pertama?" aku "You keep life on a short mencecar. "Kau hidup di atas 14 leash." jembatan yang rapuh."
TT
Translation Strategy
Chauncey was with a farmer's daughter on the grassy banks…to his own two feet to 001 carry him back to the château.
5
Foreignization
002
6
Foreignization
9
Domestication
12
Foreignization
13
Domestication
14
Domestication
14
Domestication
17
Domestication
20
Domestication
20
Domestication
003 004
005
006 007
008
009
010
Ordinarily I would have gone Tadinya aku ingin langsung ke straight to Coach's desk and meja Pelatih untuk meminta 011 requested a new seating chart. partner baru. "Partner baruku ," kataku "My new partner," I said, pointing into the hallway at the menunjuk punggung Patch 012 yang berjalan di lorong back of Patch. sekolah. He had an annoyingly Gaya berjalannya yang penuh confident walk, the kind you percaya diri sungguh find paired with faded T-shirts menjengkelkan. Sesuatu yang 013 and a cowboy hat. akan kita padankan dengan T Shirt belel dan topi koboi. It's the only house on Hawthrone Lane, and the 014 nearest neighbors are almost a mile away. …he chose to construct the house in the eye of a mysterious atmospheric inversion that seems to suck 015 all the fog off Maine's coast transplant it into our yard.
Kediaman kamu adalah satusatunya rumah di Hawthrone Lane, dan tetangga terdekat jaraknya hampir satu mil. Kemudian mereka memilih untuk membangun rumah berdasarkan rumus atmosferik misterius yang sepertinya menelan seluruh kabut di pesisir Maine dan menumpahkannya ke halaman kami. My mom works for the Hugo Ibuku bekerja di perusahaan Renaldi Auction Company, pelelangan Hugo Renaldi. coordinating estate and antique Tugasnya mengkoordinasikan auctions all along the East pelelangan tanah dan barang016 Coast. This week she was in barang antik untuk kawasan Pesisir Timur. Pekan ini dia upstate New York. berada di Charleston, South Carolina. She stood at the sink, Dia berdiri di depan wastafel, scrubbing overbaked lasagna menggosok pinggan kaserol 017 off a casserole dish. yang menghitam akibat lasagna yang gosong. I hated that I was eating my Aku benci karena harus 018 words. menelan ludah sendiri. I hated Patch for rubbing it in. Aku benci karena Patch 019 mengungkitnya. Pada dering keempat, On the fourth ring her voice terdengar voice mail dari 020 mail picked up. telepon ibu. "...Call me at lunch tomorrow, "...Telepon aku saat makan siang besok, kalau Ibu mau. 021 if you want. Love you." Love you ."
14
20
Domestication
16
24
Foreignization
16
24
Foreignization
18
26
Foreignization
18
26
Domestication
19
27
Domestication
19
27
Domestication
21
29
Domestication
21
29
Domestication
22
31
Foreignization
22
31
Foreignization
Setelah menutup telepon, aku After I hung up, I found a 022 quarter in the kitchen drawer. melihat uang logam di laci dapur. "Heads I go," I told George "Kalau kepala berarti aku Washington's profile, "tails I pergi," kataku kepada gambar George Washington, "kalau 023 stay." ekor berarti aku tetap di rumah." "It's out of my hands now," I "Urusan ini tidak berada di 024 said. tanganku lagi," kataku. …the rust spreading unchecked …karat yang menyebar di 025 across the back fender,…. spatbor belakang,…. With the map flattened to the steering wheel, I pulled…. Clearly Bo's would be filled with future Ivy Leaguers and 027 model citizen. 026
Dengan peta terbuka di kemudi, aku memarkir…. Jelaslah, Bo adalah tempat berkumpulnya para pentolan Ivy League dan tokoh-tokoh masyarakat di masa depan.
He grunted. "You want past 028 me, you pay."
Dia menggerutu. "Kalau ingin melewatiku, kau harus bayar." …, tanda bahwa aku harus …showing I owed fifteen 029 dollars. Cash only. membayar lima belas dolar. Tunai. I was not going to drive all this Buat apa jauh-jauh ke sini dan 030 way and leave empty-handed. pulang dengan tangan kosong? Before he could change his 031 mind, I shook off his hand…. …, I shook off his hand and 032 weaved through the table toward Patch. I couldn't quite put my finger on it, but something 033 about Patch was right. I swallowed discreetly and tried to ignore the queasy tap 034 dance in my stomach.
Sebelum dia bisa mengubah pikiran, aku tepis tangannya…. …, aku tepis tangannya lalu melenggang di antara meja menuju Patch. Apa persisnya aku sulit memastikan, tapi aku merasakannya seperti aliran listrik. Diam-diam aku menelan ludah dan berusaha mengabaikan tarian poco-poco yang membuat mual di perutku.
22
31
Domestication
22
31
Domestication
22
32
Foreignization
23
32
Domestication
23
32
Foreignization
23
32
Domestication
23
33
Domestication
23
33
Domestication
24
33
Domestication
25
35
Foreignization
25
35
Domestication
25
35
Domestication
25
35
Domestication
I took a step back to balance myself and looked up just in 035 time to receive cold eyes from the other two players as they departed. He sounded sincere, but I 036 didn't buy it. I accidentally nudged the solid purple while writing Definitely 037 cigars on line three.
Aku mundur untuk menyeimbangkan diri dan mengangkat mata, persis ketika dua pemain lain berlalu dengan tatapan dingin. Suaranya terkesan jujur, tapi aku tidak percaya. Tanpa sengaja aku mendorong bola ungu saat menulis Perokok sejati di baris ketiga..
"I bus tables at the Borderline. "Aku menjadi pelayan di 038 Best Mexican in town." Borderline. Restoran Mexico terbaik di kota ini." Dia lebih tinggi satu kepala He was a full head taller. 039 dariku. Patch laid his pool stick across Patch meletakkan tongkat biliarnya di atas meja dan the tabletop and crooked a 040 finger for me to come closer. menggerakkan telunjukkan sebagai isyarat agar aku mendekat. "Your eyes, Nora.Those cold, "Matamu, Nora. Mata yang 041 pale grey eyes are surprisingly dingin, kelabu, dan sulit sekali irresistable." ditolak." "That's it . I'm out of here." "Selesai. Aku pergi dari sini." 042 Dan aku mulai membayangkan I started wondering if there was a cosmic purpose for the bahwa barangkali ada 043 way I was feeling. tujuan alam di balik perasaanku seperti itu. …but somehow, my medical Tapi entah mengapa, aku condition was a vulnerability merasa kondisi medis adalah 044 that felt better kept secret. faktor rapuh yang sebaiknya dirahasiakan saja. "Well, think fast." "Well, pikirkan dengan cepat." 045 "Vulnerable?" he asked. "How so?" "…Have you ever watched a male lobster rise up on the 047 tips of his legs and snap his claws,…." 046
"Rapuh?" tanyanya. "Kenapa begitu?" "…Pernahkah kalian melihat kepiting jantan mengangkat ujung kaki dan menjepitjepitkan capitnya…."
26
36
Foreignization
26
37
Domestication
26
37
Domestication
27
37
Domestication
27
38
Foreignization
28
39
Domestication
28
40
Foreignization
28
40
Foreignization
31
43
Foreignization
33
46
Foreignization
34
47
Foreignization
34
48
Domestication
35
48
Domestication
"…Attraction is the first element of all animal reproduction, humans 048 included. Why don't you give us your list, Miss Sky?" "That is so sexist," Vee protested. "…And the more children you have, the greater your 050 contribution to the gene pool." 049
051 052
I practically heard Vee's eyes rolling. "I study her," Patch said.
At first glance, all the Xs and 053 Os made it look like he'd been playing tic-tac-toe. I resisted gritting my teeth. 054 "That defeats the point." "…, but I put him next to you and—bingo. His grade in here 055 is going to improve." 056 057 058 059
060
061
062
063
"….That was makeup, right?...." Blame the Peeping Tom at my window last night. "I have to admit, his dark side calls to me." "What? You disagree, or rough-and-roughish isn't your type?" "…Your spectrum is about as wide as one of Coach's microorganisms…." Vee opened a bag of dried apple chips. "Want some?" "I'm good, thanks." "What color?" I asked. "Makeme-gag-Granny-Smith-green. I think." Just then Marcie Millar, the only sophomore…in the history of Coldwater High,….
…Daya tarik adalah unsur utama dalam reproduksi hewan, termasuk manusia. Bagaimana kalau kau menyebutkan kriteriamu, Miss Sky?" "Pertanyaan yang sangat seksis," protes Vee, …." "…Dan semakin banyak anak yang kau miliki, semakin besar kontribusimu terhadap kolam gen." Aku praktis melihat Vee memutar bola matanya. "Aku mempelajarinya," kata Patch. Sekilas, barisan X dan O itu membuatku mengira dia sedang bermain catur. Aku menahan diri untuk tidak menggerenyitkan gigi. "Dia tidak termasuk." "…, tetapi begitu aku tempatkan dia di sebelamu—bingo . Nilainya pasti naik." "…Itu karena makeup ,' kan?...." Salahkan Si Pengintip di jendelaku kemarin malam. "Harus kuakui, sisi gelapnya membuatku berminat." "Apa? Kau tidak sependapat denganku, atau cowok macho bukan tipemu?" "…Spektrummu tak lebih besar dari mikroorganisme Pelatih…." Vee membuka kantong keripik apel. "Mau?" "Tidak, terima kasih." "Warna apa?" tanyaku. "Kurasa hijau baju neneknenek." Tepat pada saat itu marcie Millar, satu-satunya anak kelas dua…sepanjang sejarah Coldwater High,….
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Her strawberry blond hair was Rambutnya yang pirang combed into low pigtails, and bercampur merah ditata 064 like always,…. menjadi dua ekor kuda pendek. Dan seperti biasa…. I hadn't seen any of Marcie's Aku tak pernah melihat bintikfreckles since seventh grade, bintik Marcie sejak kelas tujuh, 065 the same year she discovered yakni tahun ketika dia Mary Kay. menemukan Mary Kay. "Hi, Supersize," Marcie said to "Hai, Gendut," kata Marcie kepada Vee. "Hai, 066 Vee. "Hi, freakshow," Vee said back. Kuntilanak," balas Vee. Marcie's mom manages the Ibu Marcie bekerja sebagai 067 local JCPenney,…. manajer untuk JCPenney setempat. "Oh, boy. He is so on your "Ya, ampun. Dia benar-benar 068 mind…." ada dalam kepalamu…." …I tried to locate the …aku berusaha menemukan tombol yang menghidupkan 069 windshield wipers. fungsi wiper . I fed the Neon more gas. Aku menambah kecepatan. 070
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I pushed the car to forty-five.
Kutancap gas sampai speedometer menunjukkan 071 angka empat puluh lima. I speed-dialed Vee. Aku menghubungi Vee melalui 072 speed-dial . "…You hit a deer? Are you "…Kau menabrak rusa? Apa kau baik-baik saja? Bagaimana 073 okay? What about Bambi?" dengan Bambi?" …, earbud menutupi …, earbuds plugged in,…. 074 telinganya,…. "Don't look now," Vee said, "Jangan lihat," kata Vee, "Mr. 075 "but Mr. Green Sweater keeps Sweter Hijau terus looking this way,…." memperhatikan kita,…." He was blue-eyed, with Dia bermata biru, dengan rambut pirang berpotongan stylishly shaggy blond hair 076 shaggy yang sedang tren, swept across his forehead. menyapu dahinya. Jules lowered all himself into Jules menjatuhkan badan ke a seat beside Vee, dwarfing kursi di samping Vee, lantas 077 the chair. saja membuat kursi itu tampak kerdil. She said to him, "I think you "Kurasa kau cowok paling might be the tallest guy I've tinggi yang pernah kulihat. 078 ever seen. Seriously, how tall Berapa tinggimu?" kata Vee. are you?" "Six foot ten," Jules "Enam koma sepuluh kaki," muttered,…. gumam Jules,….
I didn't take much perception 079 to realize he was trouble,….
Tak perlu banyak berpikir untuk menyadari kalau dia adalah biang kerok. If the door was unlocked and Kalau pintunya tidak dan arsip the files were alphabetized, I disusun berdasarkan abjad, aku 080 would have no trouble locating tentu tak akan kesulitan menemukan file Patch. Patch's quickly. 081
Tell me about it.
Ya, iyalah.
…and I wondered if Coldwater Aku jadi bertanya-tanya, High was the last school in the apakah Coldwater High adalah sekolah terakhir di negara ini 082 country not computerized. yang tak berkomputer? A ceramic cactus and a stuffed 083 coyote were mounted on the wall above me. Our waiter was on her heels. 084
Kaktus keramik dan patung coyote gendut berdiri di atas dinding tinggi. Pelayan kami menghampiri.
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…and in an unortodox way, 085 incredibly sexy.
Dan dari sudut yang tidak 74 kuno, tubuhnya luar biasa seksi. "I'll break out in hives if I don't "Aku akan pingsan kalau tak eat something saltty within the makan sesuatu yang asin dalam next forty-five seconds. And empat puluh lima detik. Dan 086 anyway, the first three letters in omong-omong, tiga huruf 75 the word diet should tell you pertama dalam kata 'diet' sudah what I want it to do." menjelaskan alasanku." "They make salsa with tomatoes,"I pointed out. "That's 087 a red. And avocados are a fruit. I think." He rubbed lip gloss between his thumb and forefinger. 088 "You'd look better without it."
"Mereka punya salsa dengan tomat," aku menunjuk menu. 75 "Itu makanan merah. Dan alpokat itu buah. Kupikir." Dia menghapus lip gloss dengan menggosokkan ibu jari 76 dan telunjuknya. "Kau tampak lebih cantik begini." "The front office realized I "Kantor kepala sekolah baru haven't had PE for the past two tahu kalau aku tak mengikuti years. It's not required in mata pelajaran olahraga selama private school. They're dua tahun terakhir. Di sekolah 089 debating how thy're going to fit swasta, itu tidak diwajibkan. 82 four years' worth…." Mereka berdebat bagaimana menyesuaikan ketinggalan empat tahun itu…."
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I eyed the building doors but knew it was to no avail; Miss 090 Sully was hard-core.
Aku mengawasi pintu-pintu gedung, tapi sadar tak akan ada 82 gunanya. Miss Sully tak ada matinya. "Do we want to stand out here Apa kita akan berdiri seharian all morning waiting for the rain di sini menunggu hujan, atau 091 to come, or get down to 84 segera bermain?" tanya Miss business?" Miss Sully asked. Sully. 092
"Grey! Head in the game!"
"You have plans tonight? You and Vee have something up 093 your sleeves? Maybe a movie here at the house?" "When I was a little girl in Germany, I had to choose 094 between two boys…."
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The phone rang, and Vee's number showed on the caller ID. Dorothea had moved down the hall to the powder room. I was left listening to the dial tone. …and navy blue driving moccasins. …, the way I'd learrned to manage my natural curls, and… voilà! …Vee bounced the Neon up the driveway and beeped the horn staccato-style.
"Grey! Konsentrasi!" "Ada rencana malam ini? Kau dan Vee punya rencana rahasia? Mungkin menonton film di rumah?" "Ketika aku masih gadis kecil di Jerman, aku harus memilih satu di antara dua cowok…." Telepon berbunyi. Nomor Vee terlihat di caller ID . Dorothea telah bergerak ke kamar kecil. Dan setelah itu yang terdengar hanya nada dial . …dan mokasin warna biru laut untuk berjalan-jalan Begitulah cara yang kupelajari untuk mengatur rambut ikalku yang alamiah, dan…voilà ! …Vee memasukkan Neonnya ke halaman rumahku dan menekan klakson dengan gaya stakato.
…, but limit wasn't part of her …, tapi "batas" tak ada dalam vocabulary. kamusnya. Cherry red lipstick. Bibirnya dipoles lipstik merah 102 manyala. "I do not have an eye disease!" "Aku tak menderita penyakit 103 mata!" "Just covering my bases." "Sekadar meyakinkan." 104 101
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"I'll pass."
"Tak usahlah."
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Delphic Amusement Park's Rasakan Sensasi Terbaru dari Newest Sensation! The Taman Hiburan Delphic Archangel Remodeled and Sebuah Wahana yang Telah Fall Didesain Ulang dan Direnovasi 97 106 Renovated! Archangel from Grace on This OneMeluncur Bebas dari Hundred-Foot Vertical Drop. Ketinggian Seratus Kaki If I was lucky, Vee hadn't seen Seolah dewi fortuna 107 him. 98 berpihak kepadaku, Vee tampaknya tak melihat Patch. "Can I buy you both a Coke?" "Kalian mau Coke?" 108 98 …, he rubbed his hands 109 together and surveyed the floor. "Ooh look!" Vee interjected. 110 "Foosball!" Elliot was far too nice to be 111 sent up against Patch. "Have I seen him before?" 112
…, dia menggosok kedua tangannya dan memantau sekeliling. "Ooh lihat!" Vee memotong. "Foosball !" Elliot terlalu manis kalau dilawankan dengannya. "Apa aku pernah melihatnya?"
"Noooora!" Vee called over the "Noooora!" Vee memanggil di antara berisik suara orang dan din of voices and electronic 113 bunyi mesin permainan. beeps. Patch came around behind me, Patch berdiri di belakangku, and a chill shimmied up my desiran dingin membuat 114 tulang punggungku spine. merinding. "...Barely contained jealousy." "…Cemburu abis." 115
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…,"Answering that would mean shedding light on my 116 past. And I'd like to keep it in the dark."
…,"Kalau aku menjawab, masa laluku akan terbongkar. Padahal aku ingin 110 tetap merahasiakannya."
…, a brushed connection that 117 caused the hairs on my arm to rise. Patch jerked his chin up the 118 ramp. "Looks like we're up."
Sekilas persentuhan ini membuat bulu-bulu tanganku 110 berdiri. Patch mengarahkan dagunya ke gerbong. "Itu tempat kita." 110
At the crest of the hill there 119 was a moment's hesitation.
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Di puncak bukit, ada momen ketika roller coster seolah 111 ragu-ragu berjalan. I tried to shout at Patch, but my Aku berusaha berteriak pada 120 voice was swallowed up in the Patch, tapi suraku tertelan deru 112 rush of air. udara.
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My hands found nothing, and I tumbled over the edge, 121 plunging straight down through the black air. I thought I'd be safer hitching a 122 ride from a stranger. I couldn't believe Vee had left without me. He swung on and tipped his 124 head at the seat behind him. 123
…, hoping my bravado masked my terror of moving at speeds upward of sixty-five miles an 125 hour with nothing standing between me and the road. I slid the helmet over my curls and strapped it under my 126 chin. Taking the key, I edge around him. "I hate to break it to you, but it's red. I could light it on fire 128 and it wouldn't turn any redder." 127
"Can I take a rain checked?" I asked upon finding him still 129 hard at work in the kitchen two minutes later. Stepping back, he gave me a thorough twice-over, 130 seemingly scrutinizing any imperfection—…. "Cooking isn't taught," Patch said. "It's inherent. Either you've got it or you don't. Like 131 chemistry. You think you're ready for chemistry?"
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"Sweet dreams tonight."
Tanganku tak menemukan apa pun, dan aku terlempar ke sudut, bergantung dengan posisi kepala di bawah, menghadap udara yang gelap. Kupikir akan lebih aman kalau aku meminta tumpangan dari seorang asing saja. Aku tak percaya, Vee pergi tanpa aku. Patch mengayunkan kakinya dan mengarahkan kepalanya ke kursi belakang. …, berharap keberanianku menutupi rasa takutku akan kecepatan lebih dari enam puluh lima mil per jam, sementara tak ada pembatas antara aku dan jalanan. Kuselipkan helm menutupi ikal rambutku dan mengikatkan talinya di bawah dagu. Mengambil kunci itu, aku bergeser ke depannya. "Aku tak ingin membocorkan rahasia, tapi warna rambutmu merah. Aku bisa menyalakan api dan rambutmu itu tak akan bertambah merah." "Sepertinya waktunya sudah habis?" tanyaku saat melihatnya masih asyik bekerja di dapur dua menit kemudian.
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Melangkah mundur, dia menilai penampilanku, 123 sepertinya melihat apakah ada yang tidak sempurna. "Memasak tidak bisa diajarkan," kata Patch. "Itu adalah bakat yang ada dalam dirimu. Entah kau memilikinya 124 atau tidak. Seperti alkemi. Menurutmu, kau siap untuk mendapatkannya?" "Semoga mimpi manis." 127
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It was like someone had dropped a scoop of ice cream 133 down the back of my shirt.
Rasanya seperti satu sekop es krim dijatuhkan di belakang blusku.
…, but on the other side of the plate-glass window,…. "Did they look like anyone we know? For example. . .a cross between Pippi Longstocking 135 and the Wicked Witch of the West would obviously give us Marcie Millar."
Tapi di luar jendela pelat kaca,…. "Apa mereka orang yang kita kenal? Misalnya. . .campuran antara Pippi si Kaus Kaki Panjang dan Penyihir Jahat dari Barat akan menghasikan Marcie Millar."
I directed my voice at the 136 saleslady. "Is there a back door to the shop?" "Is the person male or female?" 137 Vee wanted to know. "I can't tell." Other than the fact that she was a few inches too tall, and a few 138 pounds too voluptuous, she passed as me. Outside, the rain had turned 139 into the downpour. Grabbing Vee's umbrella, I picked up my pace, keeping 140 under the awnings, steering clear of the pelting rain. I accepted the note. "Miss 141 Greene?" I didn't have any teachers by that name. Dear Nora, I'll be taking over Dr. Hendrickson's role as your psychologist. I noticed you missed your… 142 All best, Miss Greene
Aku bertanya kepada pelayan, 137 "Bisa ke toko itu melalui pintu belakang?" "Orang itu laki-laki atau perempuan?" Vee penasaran. 137 "Tak bisa kukatakan." Kecuali lebih tinggi beberapa inci dan lebih gemuk beberapa 138 pon dariku, Vee tampak seperti aku. Di luar hujan bertambah lebat. 138
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Setelah menarik payung Vee, aku berjalan cepat di bawah 138 kerai, berusaha menghindari kucuran hujan. Aku menerima catatan itu. "Miss Greene?" Aku tak punya 143 guru bernama itu. Dear Nora, Aku akan menggantikan Dr. Hendrickson sebagai psikolog sekolahmu. Sepertinya kau tidak… 143 Salam, Miss Greene
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The same fern hung by the window, but under Dr. Hendrickson's care, it had 143 been far more brown than green.
Pohon pakis yang lama bergantung di samping jendela. Tapi di bawah perawatan Dr. Hendrickson, warnanya 145 jauh lebih cokelat dibandingkan hijau.
There was a pink paisley chair Ada sebuah kursi merah muda bercorak paisley di seberang 144 opposite the desk,…. meja,…. "Just between the two of us, "Hanya di antara kita saja, his handwriting gives me a tulisan tangannya 145 migraine, so I'm copying over membuatku sakit kepala. all the files…." Jadi aku menyalin semua file nya. "Do you have a best friend? A "Apa kau punya sahabat? boyfriend? Someone you can Pacar? Seseorang tempat 146 talk to when your housekeeper mencurahkan isi hati ketika pelayanmu sepertinya. . doesn't quite. . .fit the bill?" .kurang cocok?" After leaving Miss Greene Keluar dari ruangan Miss 147 office, I called the hospital. Greene, aku menelepon rumah sakit. I had a vintage IBM computer Ada komputer IBM kuno di 148 at home with dial-up internet rumah, dilengkapi layanan service,…. internet dial -up . After confirming no one was Setelah memastikan tak ada watching over my shoulder, I yang mengawasi dari belakang, 149 aku meng-Google "Patch Googled "Patch Cipriano." Cipriano". I spread my online search to Aku menyebar penelusuran 150 all newspaper in Maine. online -ku ke seluruh surat kabar di Maine. Sebuah link ke surat kabar A link to Kinghorn Prep's sekolah Kinghorn Prep 151 school popped up. muncul. I clicked on the link,…. Aku meng- klik link itu,…. 152
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I retraced my step to the Aku mengambil jalan computer, keeping my eyes on kembali ke komputer, sambil 153 guard in case he reappeared. tetap berjaga-jaga seandainya 155 dia muncul kembali.
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“Forget about being a poet,” Vee said. “I’m destined for stand-up comedy. Knock, knock.” “What?” I said. The nurse rolled her eyes. 154 “Who’s there?” “Crab,” said Vee. “Crab who?” “Crab your towel, we’re going to the beach!”
“Lupakan karir menjadi penyair,” kata Vee. “Aku ditakdirkan menjadi pelawak panggung. Tok, tok.” “Apa?” kataku. Sang perawat memutar bola matanya. “Siapa di sana?” “Swedia,” kata Vee. “Swedia apa?” “Swedia payung sebelum hujan!”
My doctor is a lard-arse. 155 Closely resembles an OompaLoompa. Last time he came in, he broke 156 into the Funky Chicken.
Dokterku gendut abis . Mirip sekali dengan tambur.
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"…Kucing kan tak suka air. Air membuat kami lemah. Seperti kriptonit bagi kami." "Dan mendapatkan obatobatan ini? Ah-ah. Tidaklah yau ." "…Tetapi justru berkata, "…It was more like, 'Holy 'Astaga! Darah akan muncrat freak show, I'm about to go 159 dari tubuhku!' Dia splat!' He growled,…." membentak,…." "...Wa need find a gullible little "...Kita harus menemukan granny neighbor who could be seorang nenek-nenek di coaxed into mounting a lingkungan itu yang memungkinkan kita untuk 160 webcam in her window and menempatkan webcam di aiming it at his house." jendelanya dan diarahkan ke rumah Patch." "...Cat's don't like water. It 157 impairs us. It's our kryptonite." "And get all the drugs? Uh-uh. 158 No way."
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“Vee—“ “Knock-knock.” “This is really important—“ “Knock-knock.” “It’s about Elliot—“ “Knock, knoooock,” she said in a singsong voice. 161 I sighed. “Who’s there?” “Boo.” “Boo who?” “Boo-hoo, somebody’s crying, and it’s not me!” She broke into hysterical laughter.
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“Vee—“ “Tok, tok.” “Vee, ini penting—“ “Tok, tok.” “Ini tentang Elliot—“ “Tok, tooook,” kata Vee seolah sedang bernyanyi. Aku mendesah. “Sipa di 164 sana?” “Nasir.” “Nasir apa?” “Nasir sudah menjadi tukang bubur!” Vee tertawa terpingkalpingkal.
"Gee, I had no clue."
"Wah, aku tak tahu."
"And the answer is no. As in no way." "Almost five inches. They left 'high' behind at four." "You should see his house. Bruce Wayne can't compete…." "Where is your partner in crime?" …, and a mural of a Mexican pueblo spanned two walls.
"Dan jawabannya tidak. Titik ." "Hampir lima inci. 'Tinggi' terlewat di angka empat." "Kau harus melihat rumahnya. Bruce Wayne saja kalah…."
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"Di mana partner 170 kriminalmu?" …, dan sebarisan 167 pueblo Mexico berjejer di dua 170 dinding. "Sick?" Vee demanded. "How "Sakit?" desak Vee. "Seberapa sick? What kind of excuse is sakit? Alasan macam apa itu?" sick?" "Sakit sampai berlendir168 170 "Sick as in it's coming out lendir." both ends." 166
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Jaws meets Coldwater, Maine. Waktunya beraksi.
What happened to flirting? I 170 asked myself. What happened to Marcie Millar? Maybe he had dark, disturbing secrets, but running around in 171 a ski mask wasn't one of them.
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The ghost of pirate smile lurked at his mouth.
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Mana rayuannya? T anyaku dalam hati. Mana gaya Marcie 177 Millar -nya? Boleh jadi dia punya beberapa rahasia kelam yang menggangu, tapi berkeliaran 180 dengan topeng ski bukan salah satunya. Sekilas senyum pembajak 182 menghiasi bibirnya.
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The older woman waiting for admittance looked at me, then over her shoulder at Patch, who was vanishing down the hall. "Honey," she told me, "he looks slippery as soap." "Good description," I 173 mumbled. She fluffed her short, crockscrew grey hair. "A girl could lather up in soap like that."
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Perempuan tua yang menunggu untuk masuk menatapku, kemudian menengok ke Patch yang sudah menghilang ke dalam ruangan. "Sayang," katanya kepadaku, "kelihatannya dia licin seperti sabun." "Komentar 183 yang tepat," gumamku. Dia menepuk-nepuk rambut pendeknya yang kelabu dan berbentuk spiral. "Seorang gadis akan berbusa-busa dengan sabun seperti itu."
"Nope," said Vee. "Same old, "Tidak," kata Vee. "Tak ada same old." yang berubah." "Rain check?" Vee said. "Sampai lain kali?" kata Vee.
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…, and I expected to find the 176 house quiet, dark, and cold.
Aku berpikir akan mendapati 185 rumahku sepi, gelap, dan dingin. "Let's talk about something "Mari kita berbicara tentang brighter," mom said, pushing sesuatu yang lebih cerah," her mouth into a smile. "How kata ibu, memaksa diri untuk 177 187 was dinner?" tersenyum. "Bagaimana makan malamnya?" "It's a good thing she broke her left arm. Otherwise she wouldn't be able to take notes 178 in class, and I can only imagine how disappointing that would have been for her." "Because I thought I was in love. And when you think you're in love, you're willing to 179 stick it out and make it work until it is love."
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"Untungnya yang patah tangan kirinya. Kalau tidak, dia tidak bisa menulis di kelas, dan bisa 188 kubayangkan betapa akan kecewanya dia."
"Karena kupikir aku jatuh cinta. Dan ketika kau berpikir kau jatuh cinta, kau akan 188 berusaha mempertahankannya sampai ia benar-benar menjadi cinta."
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Hugo was my mom's boss, and to say he called all the time was putting it mildly. Once he'd called her into work on a 180 Sunday because he couldn't figure out how to operate the copy machine. "I think you're overanalyzing this. Maybe…maybe he has IBS." 181 “IBS?” “Irritable Bowel Syndrome.”
Hugo adalah bos Ibu. Kalau dibilang dia menelepon setiap waktu , itu masih mending. Pernah suatu kali dia menyuruh ibuku masuk kerja hari Minggu, karena dia tidak tahu bagaimana menjalankan mesin fotokopi. “Kurasa kau berlebihan. Mungkin…mungkin dia kena SUM.” “SUM?” “Sindrom Usus yang Menjengkelkan.”
It was almost like Elliot had Seolah Jules ada dalam 182 Jules in the palm of his hand. telapak tangan Elliot. I spun around. “That’s it. One more word, and I’ll. . .” We 183 both knew it was an empty threat. "Am I supposed to act offended? Try this on for size. 184 Old news. At least I know how to exercise a little self-control." "Talk to her," Marcie said, pointing a finger at me. "I'm the one who's trying to be nice. 185 She verbally attacked me. I was just offering my condolences to her friend." "I have questions," I said. "A 186 lot of them." When Patch came up short, I did too. He was at the nose of 187 the car, and I was at the tail. "We called each other a few names," I said,…. "...When I was in high school, I only offered rides to girls I was 189 interested in…." 188
Aku berbalik. "Cukup. Satu kata lagi, aku akan. . ." Kami berdua tahu, itu cuma gertak sambal. "Apa aku seharusnya pura-pura tersinggung?" Katanya tahu etika. Basi. Setidaknya aku bisa sedikit mengendalikan diri." "Bicara kepadanya," kata Marcie, menuding ke arahku. "Aku justru berusaha bersikap baik. Tapi dia menyerangku secara verbal. Aku hanya menyampaikan simpati untuk temanku." "Aku punya pertanyaan," katataku. "Banyak pertanyaan." Kalau Patch berhenti mendadak, aku juga. Dia berada di moncong mobil, dan aku di ekornya. "Kami saling mengatangatai," kataku,…. "…Ketika di SMA, aku hanya menawarkan tumpangan kepada gadis yang kuincar.…"
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253 Foreignization
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266 Domestication
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266 Domestication
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266 Foreignization
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269 Domestication
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270 Foreignization
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282 Domestication
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283 Domestication
"…Let's carry that a step 190 further. What's your relationship…." "…I don't believe high school students should worl during the school year. You have enough 191 on your plates already."
"…Mari kita melangkah 226 lebih jauh. Bagaimana hubunganmu…." "…Aku pribadi berpikir siswa SMA seharusnya tidak bekerja selama masa bersekolah. 243 Tugas sekolahmu saja sudah cukup menyita waktu."
After changing into a stretchy Setelah berganti pakaian camisole and floral pj pants, I dengan kamisol ketat dan 192 247 called Vee. celana tidur bermotif bunga, aku menelepon Vee. "Freak," Vee choked. "You "Buset," Vee terperanjat. "Kau 193 saw him naked?...." 247 melihat Patch telanjang?...." "…Because, honestly? I'm not buying this whole he-didn't194 try-anything version of the story." "Shut up!" 195 196 197
"You don't say!" Vee said. "Who'd have guessed?" "Sweet dreams, babe."
"…Karena terus terang, aku tidak percaya kalau dia lurus-lurus saja." "Yang benar?" "Jelas saja!" kata Vee. "Siapa yang heran?" "Mimpi manis, say."
A single bare bulb hung there. Sebuah bohlam telanjang tergantung di sana. …and I typed "angel wing Aku ketik "malaikat sayap 199 scars" into the Google search luka" ke kotak telusur Google. bar. …, was it possible. . . could …, mungkinkah. . . bisakah Patch be a fallen angel? Did he Patch adalah malaikat 200 want to possess my body? terbuang? Benarkah dia ingin menempati tubuhku? Fallen angels who have a Malaikat terbuang yang sexual relationship with a melakukan hubungan seksual human produce superhuman dengan manusia akan 201 melahirkan keturunan offspring called Nephilim. adimanusia, disebut Nephilim. 198
"When was the last time you went to church?" "Do you think the Bible is 203 accurate? I mean, do you think it's real?" 202
"Kapan kali terakhir kau ke gereja?" "Apa menurutmu Alkitab itu akurat? Maksudku, kau pikir itu nyata?"
283 Foreignization
304 Domestication
307 Domestication
308 Domestication
249
310 Domestication
249
311 Domestication
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311 Domestication
249
311 Domestication
250
311 Foreignization
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311 Foreignization
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After I hung up, I went to my 204 room and slid under the covers. Around six I gave up, dragged myself out of bed, and padded down the hall for a hot 205 shower.
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Setelah menutup telepon, aku ke kamar dan menyelipkan diri di bawah bedcover . Sekitar jam enam, aku menyerah. Aku menyeret tubuhku untuk bangkit dari ranjang, dan terhuyung-huyung menuju toilet untuk mandi air hangat. "Rasanya aku akan memesan "I'll guess I'll have a slice of pie." sejuring pai." "You're going to want a "Kau pasti ingin limun raspberry lemonade to wash raspaberi untuk mendorong pai that pie down." itu." Outside, the weather had Di luar cuaca bergeser ke shifted to cold and drizzling. dingin dan membekukan. "So he can come kill you? No "Supaya dia bisa datang dan sorry. He and Jules ran to membunuhmu? Tidak, maaf. Kinghorn to pick up Dia dan Jules sedang ke something, and I'm chilling Kinghorn untuk mengambil solo. I could use a sesuatu. Dan aku kedinginan wingwoman. Hey!" Vee sendirian. Andai saja ada shouted into the background. perempuan bersayap. Hei!" Vee berteriak kepada "Hands off, okay? O-F-F. seseorang. "Lepaskan Nora?…." tanganmu, oke? L-E-P-A-SK-A-N, Nora?...." Stepping over crates and sacks Melompati kotak-kotak dan of trash, I picked my way down bungkusan sampah, aku the alley. melewati jalan itu. “I was winning a condo.” "Aku memenangkan kondo." “A condo?” "Kondo?" I can't remember it," I said, "Tak ingat," kataku, duduk sitting up taller to get a better tegak akar bisa melihat keluar look out the windows. jendela dengan lebih jelas.
Of all the cars, he had to win the lemon. Which left me, Patch, and a motel in te same equation for 214 an undetermined amount of time. His mom? He had to be forty. 215 Not that it was any of my business. She was wearing painted-on 216 jeans and a pink tank top, and she was bare foot. 213
Di antara banyak mobil, dia memenangkan yang loyo. Jadi hanya ada aku, Patch, dan motel dalam persamaan dengan jumlah waktu yang tak tertentu. Ibunya ? Dia pasti sudah empat puluh. Bukannya aku ingin campur tangan. Dia mengenakan jeans ketat dan tank top warna merah muda. Kakinya tak beralas.
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331 Domestication
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331 Foreignization
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333 Foreignization
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335 Foreignization
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340 Foreignization
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343 Foreignization
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344 Domestication
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346 Domestication
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348 Foreignization
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350 Foreignization
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She was sucking on a lollipop. Miss Greene sedang menghisap lollipop . …, if I was really eight …, kalau aku tertinggal months in the past, how did delapan bulan, bagaimana Miss Greene and Patch know Miss Greene dan Patch saling each other? mengenal? "Yeah, but that would cause a "Yeah, tapi itu akan menjadi scene." tontonan." "No!" I drove my elbow down "Tidak!" aku menyikut into his thigh. pahanya dengan siku. Patch had already cleared the Patch sudah memeriksa, tapi house, but I didn't think an kupikir tak ada salahnya extra pair of eyes would hurt. memeriksa lagi.
Next I call Vee's cell. After five rings I was sent to voice mail. "Where are you?" I said. 222 "Call me back at this number ASAP."
Berikutnyaa aku menelepon Vee. Setelah dering kelima, aku mengirim voice mail . "Kau di mana?" tanyaku. "Telepon balik ke nomor ini, ASAP." I backed along the edge of the Aku bergeser sambil outer counter, keeping space memunggungi pinggiran 223 between us. meja, menjaga jarak di antara kami. Scrambling forward, I took the Terhuyung-huyung ke depan, stairs two at a time, using the aku melewati tangga, dua undakan sekaligus, 224 banister to propel me faster. menggunakan pegangan untuk mempercepat gerakanku. My elbow bumped a stack of Tetapi siku tanganku menyenggol tumpukan kotak shoe boxes, toppling them. I sepatu hingga berjatuhan. Aku 225 mouthed a curse. menyumpah tanpa bersuara. Coldwater's movie theater has two screens, behind the doors 226 on either side of a concession counter.
Bioskop Coldwater punya dua layar. Satu di belakang pintu sebelah kanan gerai penjualan tiket, satu lagi di sebelah kiri.
I pulled out the emergency cell Aku mengeluarkan ponsel phone and checked for missed darurat dan memeriksa apakah 227 ada missed call . Ternyata calls. None. tidak ada. I was tucking the phone in my Kujejalkan ponsel ke dalam pocket when a carton of saku ketika sebuah kantong 228 popcorn materialized beside berondong jagung menjelas di me. sampingku.
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360 Domestication
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372 Domestication
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373 Domestication
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397 Foreignization
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400 Domestication
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405 Foreignization
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408 Domestication
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413 Domestication
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414 Foreignization
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414 Domestication
"You're impinging on my private space," I said, inching backward. Patch gave a barely229 there smile. "Impinging? This isn't the SAT, Nora."
"Kau menginvasi wilayah pribadiku," kataku, mundur selangkah. Patch tersenyum 339 seulas. "Menginvasi? Ini bukan SAT, Nora."
"Are you keeping anything else from me?" I wanted to know. “I’m keeping a lot of things from you.” 230 My insides took a steep dive. “Like?”
“Masih ada yang kau rahasiakan dariku?” aku ingin tahu. “Aku merahasiakan banyak hal 340 darimu.” Jantungku serasa akan putus. “Seperti?”
"There's all kinds of right," he "Semuanya benar," dia murmured. "On the spectrum, menggumam. "Dalam 231 we're still in the safe zone." spektrum, kita masih berada di zona aman." "Door's locked," he said. "And "Pintunya terkunci," katanya. "Dan antara kita ada urusan we have unfinished 232 business." yang belum terselesaikan." “I think we should call the police.” He shook his head. “You’ll send Vee to juvie for destruction of property and 233 B and E. One more thing. Jules. Who is this guy?”
I stepped into semidarkness.
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421 Domestication
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424 Domestication
“Kupikir kita harus menelepon polisi.” Patch menggelengkan kepala. “Pertama kau akan menyeret Vee ke dalam penjara atas tuduhan pengerusakan 346 properti dan kedua kau menjebloskan Elliot juga. Ada satu lagi. Jules. Siapa dia?”
Aku masuk ke lingkungan semigelap. Turning left would lead to the Belok ke kiri adalah ruangan 235 band and orchestra rooms and band , orkestra, dan kafeteria. the cafeteria. Jules stood with his back to the Jules berdiri dengan punggung bleachers, and I saw Patch menempel di panggung kayu, 236 move behind him. dan kulihat Patch berjalan di belakangnya. "Revolver," Jules explained. "Revolver," Jules menjelaskan. 237 "The other five chambers are "Lima katup lainnya berisi." loaded." 234
420 Foreignization
428 Domestication
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436 Domestication
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Domestication 437 (Typographical Error)
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461 Domestication
Looking over my shoulder, I found Jules limping toward 238 me, his injured leg buckling under each step.
Aku menoleh, dan melihat Jules beringsut-ingsut ke arahku. Kakinya yang cedera 375 terincat-incat di setiap langkah. Drilled into the wall above the Ada sebuah tangga besi bleachers was an iron ladder. It menempel di dinding di atas 239 reached to the grid of rafters at panggung. Ujungnya mencapai 375 the top of the gym. kuda-kuda di atas gimnasium. At the far end of the rafters, on the opposite wall, almost 240 directly above where I stood, was an air shaft. The slow, agonizing sound of 241 metal creaking.
Di ujung kuda-kuda, di dinding seberang sana, nyaris tepat di 375 atasku berdiri, ada tingkap udara. Suara itu pelan dan mengganggu, bunyi logam 376 yang mengilukan. "Why don't you have a seat, "Bagaimana kalau kau Nora, and tell us what duduk, Nora, dan ceritakan 242 389 happened," Detective Holstijic peristiwa itu," kata Detektif said. Holjistic.
463 Domestication
464 Domestication
464 Domestication
465 Domestication
481 Domestication
Appendix 2A READABILITY LEVEL MEASUREMENT DATA (DATA PENGUKURAN TINGKAT KETERBACAAN) No.
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Target Text (TT) (Teks Sasaran) Chauncey tengah bersama seorang putri petani di rerumputan tepi sungai…Sekarang dia terpaksa mengandalkan kedua kakinya sendiri untuk kembali ke château. "Jangan main-main dengan Duc de Langeais"…"Duc?" Anak itu menyandarkan badannya ke pohon…"Atau bajingan?" Kata-kata berikut yang keluar dari mulutnya setajam silet.
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Masukkan gambar itu ke eZine dan aku sudah mendapatkan cukup bukti…. Jawabanku terkesan seperti keluar dari buku audio. Dia memiliki mata hijau, rambut pirang seperti cerpelai…. Dan tubuhku tulang melulu, seperti bangku di bar. Keputusan berada di tangannya— aku tersenyum, dan bermaksud melihat hasilnya. Aku menatapnya tak berkedip. Kaget betapa jitunya dia. Kurasa itu bukan hasil tebakan. "Dan yang pertama?" aku mencecar. "Kau hidup di atas jembatan yang rapuh." Tadinya aku ingin langsung ke meja Pelatih untuk meminta partner baru. "Partner baruku," kataku menunjuk punggung Patch yang berjalan di lorong sekolah.
Readability (Keterbacaan)
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Gaya berjalannya yang penuh percaya diri sungguh menjengkelkan. Sesuatu yang akan kita padankan dengan T-Shirt belel dan topi koboi. Kediaman kami adalah satu-satunya rumah di Hawthrone Lane, dan tetangga terdekat jaraknya hampir satu mil. Kemudian mereka memilih untuk membangun rumah berdasarkan rumus atmosferik misterius yang sepertinya menelan seluruh kabut di pesisir Maine dan menumpahkannya ke halaman kami. Ibuku bekerja di perusahaan pelelangan Hugo Renaldi. Tugasnya mengkoordinasikan pelelangan tanah dan barang-barang antik untuk kawasan Pesisir Timur. Pekan ini dia berada di Charleston, South Carolina. Dia berdiri di depan wastafel, menggosok pinggan kaserol yang menghitam akibat lasagna yang gosong. Aku benci karena harus menelan ludah sendiri. Aku benci karena Patch mengungkitnya. Pada dering keempat, terdengar voice mail dari telepon ibu. "...Telepon aku saat makan siang besok, kalau Ibu mau. Love you ." Setelah menutup telepon, aku melihat uang logam di laci dapur. "Kalau kepala berarti aku pergi," kataku kepada gambar George Washington, "kalau ekor berarti aku tetap di rumah." "Urusan ini tidak berada di tanganku lagi," kataku. …karat yang menyebar di spatbor belakang,…. Dengan peta terbuka di kemudi, aku memarkir…. Jelaslah, Bo adalah tempat berkumpulnya para pentolan Ivy League dan tokoh-tokoh masyarakat di masa depan.
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Dia menggerutu. "Kalau ingin melewatiku, kau harus bayar." …, tanda bahwa aku harus membayar lima belas dolar. Tunai. Buat apa jauh-jauh ke sini dan pulang dengan tangan kosong? Sebelum dia bisa mengubah pikiran, aku tepis tangannya…. …, aku tepis tangannya lalu melenggang di antara meja menuju Patch. Apa persisnya aku sulit memastikan, tapi aku merasakannya seperti aliran listrik. Diam-diam aku menelan ludah dan berusaha mengabaikan tarian poco-poco yang membuat mual di perutku. Aku mundur untuk menyeimbangkan diri dan mengangkat mata, persis ketika dua pemain lain berlalu dengan tatapan dingin. Suaranya terkesan jujur, tapi aku tidak percaya. Tanpa sengaja aku mendorong bola ungu saat menulis Perokok sejati di baris ketiga.. "Aku menjadi pelayan di Borderline. Restoran Mexico terbaik di kota ini." Dia lebih tinggi satu kepala dariku. Patch meletakkan tongkat biliarmya di atas meja dan menggerakkan telunjukkan sebagai isyarat agar aku mendekat. "Matamu, Nora. Mata yang dingin, kelabu, dan sulit sekali ditolak." "Selesai. Aku pergi dari sini." Dan aku mulai membayangkan bahwa barangkali ada tujuan alam di balik perasaanku seperti itu. Tapi entah mengapa, aku merasa kondisi medis adalah faktor rapuh yang sebaiknya dirahasiakan saja. "Well, pikirkan dengan cepat." "Rapuh?" tanyanya. "Kenapa begitu?"
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"…Pernahkan kalian melihat kepiting jantan mengangkat ujung kaki dan menjepit-jepitkan capitnya…." …Daya tarik adalah unsur utama dalam reproduksi hewan, termasuk manusia. Bagaimana kalau kau menyebutkan kriteriamu, Miss Sky?" "Pertanyaan yang sangat seksis," protes Vee, …." "…Dan semakin banyak anak yang kau miliki, semakin besar kontribusimu terhadap kolam gen." Aku praktis melihat Vee memutar bola matanya. "Aku mempelajarinya," kata Patch. Sekilas, barisan X dan O itu membuatku mengira dia sedang bermain catur. Aku menahan diri untuk tidak menggerenyitkan gigi. "Dia tidak termasuk." "…, tetapi begitu aku tempatkan dia di sebelamu—bingo . Nilainya pasti naik." "…Itu karena makeup,' kan?...." Salahkan Si Pengintip di jendelaku kemarin malam. "Harus kuakui, sisi gelapnya membuatku berminat." "Apa? Kau tidak sependapat denganku, atau cowok macho bukan tipemu?" "…Spektrummu tak lebih besar dari mikroorganisme Pelatih…." Vee membuka kantong keripik apel. "Mau?" "Tidak, terima kasih." "Warna apa?" tanyaku. "Kurasa hijau baju nenek-nenek." Tepat pada saat itu marcie Millar, satusatunya anak kelas dua…sepanjang sejarah Coldwater High,…. Rambutnya yang pirang bercampur merah ditata menjadi dua ekor kuda pendek. Dan seperti biasa…. Aku tak pernah melihat bintik-bintik Marcie sejak kelas tujuh, yakni tahun ketika dia menemukan Mary Kay.
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"Hai, Gendut," kata Marcie kepada Vee. "Hai, Kuntilanak," balas Vee. Ibu Marcie bekerja sebagai manajer untuk JCPenney setempat. "Ya, ampun. Dia benar-benar ada dalam kepalamu…." …aku berusaha menemukan tombol yang menghidupkan fungsi wiper . Aku menambah kecepatan. Kutancap gas sampai speedometer menunjukkan angka empat puluh lima. Aku menghubungi Vee melalui speeddial . "…Kau menabrak rusa? Apa kau baikbaik saja? Bagaimana dengan Bambi?" …, earbud menutupi telinganya,…. "Jangan lihat," kata Vee, "Mr. Sweter Hijau terus memperhatikan kita,…." Dia bermata biru, dengan rambut pirang berpotongan shaggy yang sedang tren, menyapu dahinya. Jules menjatuhkan badan ke kursi di samping Vee, lantas saja membuat kursi itu tampak kerdil. "Kurasa kau cowok paling tinggi yang pernah kulihat. Berapa tinggimu?" kata Vee. "Enam koma sepuluh kaki," gumam Jules,…. Tak perlu banyak berpikir untuk menyadari kalau dia adalah biang kerok. Kalau pintunya tidak dikunci dan arsip disusun berdasarkan abjad, aku tentu tak akan kesulitan menemukan file Patch. Ya, iyalah. Aku jadi bertanya-tanya, apakah Coldwater High adalah sekolah terakhir di negara ini yang tak berkomputer? Kaktus keramik dan patung coyote gendut berdiri di atas dinding tinggi. Pelayan kami menghampiri. Dan dari sudut yang tidak kuno, tubuhnya luar biasa seksi.
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"Aku akan pingsan kalau tak makan sesuatu yang asin dalam empat puluh lima detik. Dan omong-omong, tiga huruf pertama dalam kata 'diet' sudah menjelaskan alasanku." "Mereka punya salsa dengan tomat," aku menunjuk menu. "Itu makanan merah. Dan alpokat itu buah. Kupikir." Dia menghapus lip gloss dengan menggosokkan ibu jari dan telunjuknya. "Kau tampak lebih cantik begini." "Kantor kepala sekolah baru tahu kalau aku tak mengikuti mata pelajaran olahraga selama dua tahun terakhir. Di sekolah swasta, itu tidak diwajibkan. Mereka berdebat bagaimana menyesuaikan ketinggalan empat tahun itu…." Aku mengawasi pintu-pintu gedung, tapi sadar tak akan ada gunanya. Miss Sully tak ada matinya. Apa kita akan berdiri seharian di sini menunggu hujan, atau segera bermain?" tanya Miss Sully. "Grey! Konsentrasi!" "Ada rencana malam ini? Kau dan Vee punya rencana rahasia? Mungkin menonton film di rumah?" "Ketika aku masih gadis kecil di Jerman, aku harus memilih satu di antara dua cowok…." Telepon berbunyi. Nomor Vee terlihat di caller ID . Dorothea telah bergerak ke kamar kecil. Dan setelah itu yang terdengar hanya nada dial . …dan mokasin warna biru laut untuk berjalan-jalan Begitulah cara yang kupelajari untuk mengatur rambut ikalku yang alamiah, dan…voilà ! …Vee memasukkan Neonnya ke halaman rumahku dan menekan klakson dengan gaya stakato.
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…, tapi "batas" tak ada dalam kamusnya. Bibirnya dipoles lipstik merah manyala. "Aku tak menderita penyakit mata!" "Sekadar meyakinkan." "Tak usahlah." Rasakan Sensasi Terbaru dari Taman Hiburan Delphic Sebuah Wahana yang Telah Didesain Ulang dan Direnovasi Archangel Meluncur Bebas dari Ketinggian Seratus Kaki Seolah dewi fortuna berpihak kepadaku, Vee tampaknya tak melihat Patch. "Kalian mau Coke?" …, dia menggosok kedua tangannya dan memantau sekeliling. "Ooh lihat!" Vee memotong. "Foosball !" Elliot terlalu manis kalau dilawankan dengannya. "Apa aku pernah melihatnya?" "Noooora!" Vee memanggil di antara berisik suara orang dan bunyi mesin permainan. Patch berdiri di belakangku, desiran dingin membuat tulang punggungku merinding. "…Cemburu abis." …,"Kalau aku menjawab, masa laluku akan terbongkar. Padahal aku ingin tetap merahasiakannya." Sekilas persentuhan ini membuat bulubulu tanganku berdiri. Patch mengarahkan dagunya ke gerbong. "Itu tempat kita." Di puncak bukit, ada momen ketika roller coster seolah ragu-ragu berjalan. Aku berusaha berteriak pada Patch, tapi suraku tertelan deru udara.
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Tanganku tak menemukan apa pun, dan aku terlempar ke sudut, bergantung dengan posisi kepala di bawah, menghadap udara yang gelap. Kupikir akan lebih aman kalau aku meminta tumpangan dari seorang asing saja. Aku tak percaya, Vee pergi tanpa aku. Patch mengayunkan kakinya dan mengarahkan kepalanya ke kursi belakang. …, berharap keberanianku menutupi rasa takutku akan kecepatan lebih dari enam puluh lima mil per jam, sementara tak ada pembatas antara aku dan jalanan. Kuselipkan helm menutupi ikal rambutku dan mengikatkan talinya di bawah dagu. Mengambil kunci itu, aku bergeser ke depannya. "Aku tak ingin membocorkan rahasia, tapi warna rambutmu merah. Aku bisa menyalakan api dan rambutmu itu tak akan bertambah merah." "Sepertinya waktunya sudah habis?" tanyaku saat melihatnya masih asyik bekerja di dapur dua menit kemudian. Melangkah mundur, dia menilai penampilanku, sepertinya melihat apakah ada yang tidak sempurna. "Memasak tidak bisa diajarkan," kata Patch. "Itu adalah bakat yang ada dalam dirimu. Entah kau memilikinya atau tidak. Seperti alkemi. Menurutmu, kau siap untuk mendapatkannya?" "Semoga mimpi manis." Selagi mengendus-endus botol Dream Angels, aku merasakan suatu keberadaan seseorang yang familer tak jauh dariku. Rasanya seperti satu sekop es krim dijatuhkan di belakang blusku. Tapi di luar jendela pelat kaca,….
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"Apa mereka orang yang kita kenal? Misalnya. . .campuran antara Pippi si Kaus Kaki Panjang dan Penyihir Jahat dari Barat akan menghasikan Marcie Millar." "Orang itu laki-laki atau perempuan?" Vee penasaran. "Tak bisa kukatakan." Kecuali lebih tinggi beberapa inci dan lebih gemuk beberapa pon dariku, Vee tampak seperti aku. Di luar hujan bertambah lebat. Setelah menarik payung Vee, aku berjalan cepat di bawah kerai, berusaha menghindari kucuran hujan. Aku menerima catatan itu. "Miss Greene?" Aku tak punya guru bernama itu. Dear Nora, Aku akan menggantikan Dr. Hendrickson sebagai psikolog sekolahmu. Sepertinya kau tidak… Salam, Miss Greene Pohon pakis yang lama bergantung di samping jendela. Tapi di bawah perawatan Dr. Hendrickson, warnanya jauh lebih cokelat dibandingkan hijau. Ada sebuah kursi merah muda bercorak paisley di seberang meja,…. "Hanya di antara kita saja, tulisan tangannya membuatku sakit kepala. Jadi aku menyalin semua file -nya. "Apa kau punya sahabat? Pacar? Seseorang tempat mencurahkan isi hati ketika pelayanmu sepertinya. . .kurang cocok?" Keluar dari ruangan Miss Greene, aku menelepon rumah sakit. Ada komputer IBM kuno di rumah, dilengkapi layanan internet dial -up . Setelah memastikan tak ada yang mengawasi dari belakang, aku mengGoogle "Patch Cipriano".
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Aku menyebar penelusuran online -ku ke seluruh surat kabar di Maine. Sebuah link ke surat kabar sekolah Kinghorn Prep muncul. Aku meng- klik link itu,…. Aku mengambil jalan kembali ke komputer, sambil tetap berjaga-jaga seandainya dia muncul kembali. “Lupakan karir menjadi penyair,” kata Vee. “Aku ditakdirkan menjadi pelawak panggung. Tok, tok.” “Apa?” kataku. Sang perawat memutar bola matanya. “Siapa di sana?” “Swedia,” kata Vee. “Swedia apa?” “Swedia payung sebelum hujan!” Dokterku gendut abis . Mirip sekali dengan tambur. Terakhir kali datang, dia malah berbelok ke Funky Chicken. "…Kucing kan tak suka air. Air membuat kami lemah. Seperti kriptonit bagi kami." "Dan mendapatkan obat-obatan ini? Ahah. Tidaklah yau ." "…Tetapi justru berkata, 'Astaga! Darah akan muncrat dari tubuhku!' Dia membentak,…." "...Kita harus menemukan seorang neneknenek di lingkungan itu yang memungkinkan kita untuk menempatkan webcam di jendelanya dan diarahkan ke rumah Patch."
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“Vee—“ “Tok, tok.” “Vee, ini penting—“ “Tok, tok.” “Ini tentang Elliot—“ “Tok, tooook,” kata Vee seolah sedang bernyanyi. Aku mendesah. “Sipa di sana?” “Nasir.” “Nasir apa?” “Nasir sudah menjadi tukang bubur!” Vee tertawa terpingkal-pingkal. "Wah, aku tak tahu." "Dan jawabannya tidak. Titik ." "Hampir lima inci. 'Tinggi' terlewat di angka empat." "Kau harus melihat rumahnya. Bruce Wayne saja kalah…." "Di mana partner kriminalmu?" …, dan sebarisan pueblo Mexico berjejer di dua dinding. "Sakit?" desak Vee. "Seberapa sakit? Alasan macam apa itu?" "Sakit sampai berlendir-lendir." Waktunya beraksi. Mana rayuannya ? Tanyaku dalam hati. Mana gaya Marcie Millar -nya? Boleh jadi dia punya beberapa rahasia kelam yang menggangu, tapi berkeliaran dengan topeng ski bukan salah satunya. Sekilas senyum pembajak menghiasi bibirnya. Perempuan tua yang menunggu untuk masuk menatapku, kemudian menengok ke Patch yang sudah menghilang ke dalam ruangan. "Sayang," katanya kepadaku, "kelihatannya dia licin seperti sabun." "Komentar yang tepat," gumamku. Dia menepuk-nepuk rambut pendeknya yang kelabu dan berbentuk spiral. "Seorang gadis akan berbusa-busa dengan sabun seperti itu."
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"Tidak," kata Vee. "Tak ada yang berubah." "Sampai lain kali?" kata Vee. Aku berpikir akan mendapati rumahku sepi, gelap, dan dingin. "Mari kita berbicara tentang sesuatu yang lebih cerah," kata ibu, memaksa diri untuk tersenyum. "Bagaimana makan malamnya?" "Untungnya yang patah tangan kirinya. Kalau tidak, dia tidak bisa menulis di kelas, dan bisa kubayangkan betapa akan kecewanya dia." "Karena kupikir aku jatuh cinta. Dan ketika kau berpikir kau jatuh cinta, kau akan berusaha mempertahankannya sampai ia benar-benar menjadi cinta." Hugo adalah bos Ibu. Kalau dibilang dia menelepon setiap waktu , itu masih mending. Pernah suatu kali dia menyuruh ibuku masuk kerja hari Minggu, karena dia tidak tahu bagaimana menjalankan mesin fotokopi. “Kurasa kau berlebihan. Mungkin…mungkin dia kena SUM.” “SUM?” “Sindrom Usus yang Menjengkelkan.” Seolah Jules ada dalam telapak tangan Elliot. Aku berbalik. "Cukup. Satu kata lagi, aku akan. . ." Kami berdua tahu, itu cuma gertak sambal. "Apa aku seharusnya pura-pura tersinggung?" Katanya tahu etika. Basi. Setidaknya aku bisa sedikit mengendalikan diri." "Bicara kepadanya," kata Marcie, menuding ke arahku. "Aku justru berusaha bersikap baik. Tapi dia menyerangku secara verbal. Aku hanya menyampaikan simpati untuk temanku." "Aku punya pertanyaan," katataku. "Banyak pertanyaan."
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Kalau Patch berhenti mendadak, aku juga. Dia berada di moncong mobil, dan aku di ekornya. "Kami saling mengata-ngatai," kataku,…. "…Ketika di SMA, aku hanya menawarkan tumpangan kepada gadis yang kuincar.…" "…Mari kita melangkah lebih jauh. Bagaimana hubunganmu dengan partner biomu itu. . .di luar sekolah?" "…Aku pribadi berpikir siswa SMA seharusnya tidak bekerja selama masa bersekolah. Tugas sekolahmu saja sudah cukup menyita waktu." Setelah berganti pakaian dengan kamisol ketat dan celana tidur bermotif bunga, aku menelepon Vee. "Buset," Vee terperanjat. "Kau melihat Patch telanjang?...." "…Karena terus terang, aku tidak percaya kalau dia lurus-lurus saja." "Yang benar?" "Jelas saja!" kata Vee. "Siapa yang heran?" "Mimpi manis, say." Sebuah bohlam telanjang tergantung di sana. Aku ketik "malaikat sayap luka" ke kotak telusur Google. …, mungkinkah. . . bisakah Patch adalah malaikat terbuang? Benarkah dia ingin menempati tubuhku? Malaikat terbuang yang melakukan hubungan seksual dengan manusia akan melahirkan keturunan adimanusia, disebut Nephilim. "Kapan kali terakhir kau ke gereja?" "Apa menurutmu Alkitab itu akurat? Maksudku, kau pikir itu nyata?" Setelah menutup telepon, aku ke kamar dan menyelipkan diri di bawah bedcover .
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Sekitar jam enam, aku menyerah. Aku menyeret tubuhku untuk bangkit dari ranjang, dan terhuyung-huyung menuju toilet untuk mandi air hangat. "Rasanya aku akan memesan sejuring pai." "Kau pasti ingin limun raspaberi untuk mendorong pai itu." Di luar cuaca bergeser ke dingin dan membekukan. "Supaya dia bisa datang dan membunuhmu? Tidak, maaf. Dia dan Jules sedang ke Kinghorn untuk mengambil sesuatu. Dan aku kedinginan sendirian. Andai saja ada perempuan bersayap. Hei!" Vee berteriak kepada seseorang. "Lepaskan tanganmu, oke? LE-P-A-S-K-A-N, Nora?...." Melompati kotak-kotak dan bungkusan sampah, aku melewati jalan itu. "Aku memenangkan kondo." "Kondo?" "Tak ingat," kataku, duduk tegak akar bisa melihat keluar jendela dengan lebih jelas. Di antara banyak mobil, dia memenangkan yang loyo. Jadi hanya ada aku, Patch, dan motel dalam persamaan dengan jumlah waktu yang tak tertentu. Ibunya ? Dia pasti sudah empat puluh. Bukannya aku ingin campur tangan. Dia mengenakan jeans ketat dan tank top warna merah muda. Kakinya tak beralas. Miss Greene sedang menghisap lollipop. …, kalau aku tertinggal delapan bulan, bagaimana Miss Greene dan Patch saling mengenal? "Yeah, tapi itu akan menjadi tontonan." "Tidak!" aku menyikut pahanya dengan siku. Patch sudah memeriksa, tapi kupikir tak ada salahnya memeriksa lagi.
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Berikutnya aku menelepon Vee. Setelah dering kelima, aku mengirim voice mail . "Kau di mana?" tanyaku. "Telepon balik ke nomor ini, ASAP." Aku bergeser sambil memunggungi pinggiran meja, menjaga jarak di antara kami. Terhuyung-huyung ke depan, aku melewati tangga, dua undakan sekaligus, menggunakan pegangan untuk mempercepat gerakanku. Tetapi siku tanganku menyenggol tumpukan kotak sepatu hingga berjatuhan. Aku menyumpah tanpa bersuara. Bioskop Coldwater punya dua layar. Satu di belakang pintu sebelah kanan gerai penjualan tiket, satu lagi di sebelah kiri. Aku mengeluarkan ponsel darurat dan memeriksa apakah ada missed call . Ternyata tidak ada. Kujejalkan ponsel ke dalam saku ketika sebuah kantong berondong jagung menjelas di sampingku. "Kau menginvasi wilayah pribadiku," kataku, mundur selangkah. Patch tersenyum seulas. "Menginvasi? Ini bukan SAT, Nora." “Masih ada yang kau rahasiakan dariku?” aku ingin tahu. “Aku merahasiakan banyak hal darimu.” Jantungku serasa akan putus. “Seperti?” "Semuanya benar," dia menggumam. "Dalam spektrum, kita masih berada di zona aman." "Pintunya terkunci," katanya. "Dan antara kita ada urusan yang belum terselesaikan."
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“Kupikir kita harus menelepon polisi.” Patch menggelengkan kepala. “Pertama kau akan menyeret Vee ke dalam penjara atas tuduhan pengerusakan properti dan kedua kau menjebloskan Elliot juga. Ada satu lagi. Jules. Siapa dia?”
Aku masuk ke lingkungan semigelap. Belok ke kiri adalah ruangan band , orkestra, dan kafeteria. Jules berdiri dengan punggung menempel di panggung kayu, dan kulihat Patch berjalan di belakangnya. "Revolver," Jules menjelaskan. "Lima katup lainnya berisi." Aku menoleh, dan melihat Jules beringsutingsut ke arahku. Kakinya yang cedera terincat-incat di setiap langkah. Ada sebuah tangga besi menempel di dinding di atas panggung. Ujungnya mencapai kuda-kuda di atas gimnasium. Di ujung kuda-kuda, di dinding seberang sana, nyaris tepat di atasku berdiri, ada tingkap udara. Suara itu pelan dan mengganggu, bunyi logam yang mengilukan. "Bagaimana kalau kau duduk, Nora, dan ceritakan peristiwa itu," kata Detektif Holjistic.
Appendix 2B
QUESTIONNAIRE READABILITY LEVEL MEASUREMENT DOMESTICATION AND FOREIGNIZATION IN HUSH, HUSH
Yth, ______________________________ di tempat
Assalamualaikum warahmatullahi wabarakaatuh, Pertama, saya ingin mengucapkan terima kasih atas kesediaan Anda menjadi salah satu informan dalam penelitian ini. Masukan dari Anda akan sangat membantu dalam pelaksanaan penelitian ini. Salah satu tujuan penelitian ini adalah untuk mengetahui apakah suatu terjemahan mudah dipahami atau tidak. Suatu terjemahan disebut mudah dipahami apabila kata, frasa, klausa, kalimat, dan istilah-istilah dalam terjemahan tersebut dapat dipahami dengan mudah oleh pembaca sasaran. Sebagai pembaca sasaran (potensial) novel berkategori remaja-dewasa (youngadult), Anda diminta untuk menilai tingkat keterbacaan terjemahan (data terlampir) dengan berpedoman pada instrumen pengukur tingkat keterbacaan berikut ini:
Skala
3
Definisi Kata, frasa, klausa, dan kalimat terjemahan dapat dipahami dengan mudah oleh pembaca.
Kesimpulan Tingkat keterbacaan tinggi
Pada umumnya terjemahan dapat dipahami oleh 2
pembaca; namun ada beberapa bagian tertentu yang harus dibaca lebih dari satu kali untuk
Tingkat keterbacaan sedang
memahami terjemahan.
1
Terjemahan sulit dipahami oleh pembaca.
Tingkat keterbacaan rendah
Pada kolom yang tersedia, berilah skor yang sesuai dengan penilaian Anda. Jika Anda memberi skor 2 atau 1 pada sebuah data, tandailah bagian-bagian dari data tersebut dengan highlighter. Tambahkan juga penjelasan yang menyebabkan data tersebut memiliki tingkat keterbacaan sedang atau rendah. Terima kasih.
Peneliti
Siti Annisa Fitriani NIM: 109026000116
Appendix 3 Readability Level Measurement Result
Data No. Translation Strategy 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041
Foreignization Foreignization Domestication Foreignization Domestication Domestication Domestication Domestication Domestication Domestication Domestication Foreignization Foreignization Foreignization Domestication Domestication Domestication Domestication Domestication Foreignization Foreignization Domestication Domestication Foreignization Domestication Foreignization Domestication Domestication Domestication Domestication Foreignization Domestication Domestication Domestication Foreignization Domestication Domestication Domestication Foreignization Domestication Foreignization
In 1 In 2 In 3 1 3 1 1 2 1 3 3 3 1 2 1 2 3 2 2 3 1 3 3 3 3 3 1 3 3 3 3 3 2 3 3 3 3 3 3 3 3 2 3 3 3 3 2 2 3 3 3 3 2 2 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 2 3 3 3 3 3 2 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 2 3 3 3 3 3 3 3 3 3 3 3 2 3 3 3 3 2 2 3 3 3 3 3 3 3 3 2 3 2 3
Score Average In 4 In 5 In 6 In 7 3 3 3 1 2,142857 1 2 2 1 1,428571 3 2 3 3 2,857143 2 3 2 2 1,857143 3 3 3 1 2,428571 3 3 3 1 2,285714 3 3 3 1 2,714286 3 3 3 1 2,428571 3 3 3 1 2,714286 3 2 3 3 2,714286 3 3 3 3 3 3 3 3 3 3 2 2 2 3 2,428571 3 3 3 3 3 3 2 2 3 2,428571 3 3 3 3 3 2 3 3 3 2,571429 3 3 3 2 2,857143 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 2,857143 3 3 3 2 2,857143 2 3 3 3 2,714286 3 3 3 3 3 2 3 3 3 2,857143 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 2,857143 3 3 2 3 2,857143 2 3 3 3 2,857143 3 3 3 1 2,714286 3 3 2 3 2,714286 3 3 3 3 3 3 3 3 3 2,714286 3 3 2 1 2,571429 3 3 3 1 2,714286 2 3 2 1 2,285714 3 3 3 1 2,571429
042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089
Foreignization Foreignization Foreignization Foreignization Domestication Domestication Foreignization Foreignization Foreignization Foreignization Foreignization Domestication Domestication Foreignization Foreignization Domestication Domestication Domestication Foreignization Domestication Foreignization Foreignization Domestication Foreignization Domestication Foreignization Domestication Foreignization Domestication Foreignization Foreignization Foreignization Foreignization Foreignization Foreignization Foreignization Foreignization Domestication Foreignization Domestication Foreignization Foreignization Foreignization Foreignization Foreignization Foreignization Foreignization Foreignization
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 2 3 3 3 3 2 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 2 3 3 3 2 3 3 2 2 2 3 2 3 3 3 3 3 2 2 3 3 3 2 3 3
3 2 3 3 3 3 3 2 3 3 3 3 2 3 3 3 3 3 2 3 2 3 2 1 3 3 3 3 3 3 3 3 3 3 2 3 3 3 3 3 3 3 3 2 3 3 3 2
3 2 3 3 3 3 3 1 3 2 3 3 2 3 3 3 3 3 2 3 3 3 3 2 3 3 3 2 3 3 3 2 3 3 2 3 3 3 3 3 3 1 2 1 3 1 3 3
3 3 3 3 3 3 3 2 3 3 3 3 1 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 1 3 3 3 3 3 3
3 2 2 3 3 3 2 3 2 3 3 2 2 3 3 2 3 3 2 3 2 3 3 2 3 2 3 3 3 3 3 3 3 3 3 3 2 3 3 3 3 2 3 2 3 3 3 3
3 3 3 3 3 3 3 2 3 2 3 3 1 2 3 3 3 3 2 3 3 3 1 3 1 3 2 3 3 3 3 1 2 3 3 3 2 3 3 3 3 3 3 2 3 3 3 2
3 2,571429 2,714286 3 3 3 2,857143 2,142857 2,857143 2,714286 3 2,857143 2 2,857143 3 2,857143 3 3 2,428571 3 2,714286 3 2,571429 2,285714 2,714286 2,857143 2,857143 2,714286 3 3 2,857143 2,428571 2,714286 3 2,571429 3 2,714286 3 3 3 2,857143 2,142857 2,857143 2,285714 3 2,571429 3 2,714286
090 091 092 093 094 095 096 097 098 099 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137
Domestication Domestication Domestication Domestication Foreignization Foreignization Foreignization Foreignization Foreignization Foreignization Foreignization Domestication Domestication Domestication Domestication Domestication Foreignization Domestication Foreignization Domestication Foreignization Domestication Foreignization Domestication Foreignization Domestication Domestication Domestication Domestication Foreignization Foreignization Domestication Foreignization Foreignization Foreignization Foreignization Domestication Foreignization Foreignization Domestication Foreignization Foreignization Foreignization Foreignization Foreignization Foreignization Domestication Foreignization
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 2 1 2 2 3 3 3 3 3 3 3 2 3 2 2 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 2 3 2 3 3 2 3 3 2 3
3 3 3 3 3 3 3 3 1 3 2 3 3 3 3 3 2 3 3 3 2 2 3 3 2 3 3 2 2 2 3 3 3 3 3 3 2 3 3 3 3 2 3 3 2 2 3 3
3 3 3 3 3 3 3 3 2 2 2 3 3 3 3 3 2 3 3 3 1 3 3 2 3 3 3 2 3 2 3 3 2 3 3 2 3 1 1 3 2 2 3 2 3 2 2 2
3 3 3 3 3 3 3 3 2 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 2 3 3 3 3 3 3 3 3 3 3 2 3 3 3 3 3 3
3 3 3 3 3 3 2 3 2 3 2 3 3 3 3 3 2 3 3 3 2 2 3 3 3 3 3 2 3 3 3 3 3 3 3 3 2 3 1 3 3 3 2 3 3 3 2 3
3 3 3 3 3 3 3 3 2 3 3 3 3 3 3 3 3 3 2 3 2 1 3 1 1 2 3 1 3 3 3 1 2 3 2 2 2 3 2 3 3 2 2 2 2 2 3 2
3 3 3 3 3 3 2,857143 2,857143 1,857143 2,714286 2,428571 3 3 3 3 3 2,571429 3 2,714286 3 2,142857 2,285714 3 2,571429 2,571429 2,857143 3 2,285714 2,857143 2,714286 2,857143 2,714286 2,714286 3 2,857143 2,714286 2,571429 2,714286 2,142857 3 2,714286 2,428571 2,714286 2,571429 2,714286 2,571429 2,571429 2,714286
138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185
Foreignization Foreignization Foreignization Foreignization Foreignization Foreignization Foreignization Foreignization Domestication Foreignization Foreignization Foreignization Foreignization Foreignization Foreignization Foreignization Domestication Domestication Foreignization Foreignization Domestication Domestication Foreignization Domestication Domestication Domestication Foreignization Foreignization Foreignization Foreignization Domestication Domestication Domestication Foreignization Foreignization Foreignization Domestication Domestication Foreignization Foreignization Foreignization Foreignization Domestication Domestication Foreignization Domestication Domestication Foreignization
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 2 3 3 3 2 3 3 2 2 2 3 3 3 3 2 2 2 3 3 3 3 3 3 3 3 2 3 2 3 3 3 3 3 3 3 2 3 3 3 3 3 2 3 3 3 3
3 3 2 3 3 2 2 3 3 3 3 3 2 3 3 3 2 2 3 2 2 3 3 3 3 3 1 2 3 2 3 3 3 3 3 2 3 1 3 2 3 3 3 3 3 3 2 3
2 3 1 3 3 3 2 3 3 3 3 2 3 2 3 2 1 1 3 1 2 3 3 3 3 3 1 3 2 1 2 3 3 3 2 1 3 2 3 2 3 3 3 3 2 2 3 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 1 3 3 3 3 3 3 3 3 3 3 3 3 2 3 3 3 3 3 3 3 3 3 3 3 3 3 3 2 3 3
3 3 3 3 3 2 2 3 3 3 3 2 2 3 3 2 3 2 3 3 3 3 3 2 3 3 2 3 3 2 2 3 3 3 2 2 3 2 2 2 3 3 3 3 2 3 3 3
2 3 3 3 3 2 2 2 3 3 3 2 2 3 3 2 2 2 2 2 2 2 3 2 3 3 1 3 3 1 2 3 2 3 3 3 3 2 3 3 3 3 3 1 3 3 2 2
2,714286 3 2,428571 3 3 2,571429 2,285714 2,857143 3 2,857143 2,857143 2,428571 2,571429 2,857143 3 2,571429 2,285714 1,857143 2,714286 2,428571 2,571429 2,857143 3 2,714286 3 3 2 2,714286 2,857143 2 2,428571 3 2,857143 3 2,714286 2,428571 3 2,142857 2,857143 2,571429 3 3 3 2,571429 2,714286 2,714286 2,714286 2,857143
186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233
Domestication Foreignization Domestication Domestication Foreignization Domestication Domestication Domestication Domestication Domestication Domestication Domestication Foreignization Foreignization Foreignization Foreignization Domestication Foreignization Foreignization Foreignization Domestication Foreignization Foreignization Foreignization Foreignization Foreignization Domestication Domestication Foreignization Foreignization Foreignization Foreignization Domestication Domestication Domestication Domestication Foreignization Domestication Foreignization Domestication Domestication Foreignization Domestication Foreignization Domestication Domestication Domestication Domestication
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 2 3 3 3 3 2 3 3 3 2 3 3 3 3 2 3 3 3 3 3 3 3 3 3 2 3 2 2 3 3 3 3 3 3 3 3 3 3 3 3 3 2 2 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 2 2 2 2 3 3 3 3 2 3 3 3 3 2 3 3 2 1 3 3 1 3 2 3 3 3 3 3 2 3 2 1 3 2 3 2
1 2 3 3 3 3 1 3 3 3 2 3 2 2 2 3 2 3 3 3 2 1 2 1 1 1 2 2 1 2 3 2 2 3 3 3 3 3 2 3 3 3 2 1 3 3 3 3
3 3 3 3 3 3 1 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 2 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 2 3 2 3 2 3 3 3 3 2 3 2 2 3 3 3 3 3 3 3 3 3 3 2 3 2 1 3 3 3 3 3 3 3 3 3 3 2 3 3 2 3 3 2 3 3
1 1 3 3 3 3 3 3 3 3 3 3 2 1 3 3 3 3 3 3 2 2 2 1 3 3 2 1 1 3 3 3 1 3 3 3 3 3 3 3 2 2 2 2 1 3 3 3
2,428571 2,428571 2,857143 3 2,857143 3 2,142857 3 3 3 2,714286 2,857143 2,571429 2,285714 2,571429 2,714286 2,857143 3 3 3 2,571429 2,571429 2,714286 2,428571 2,714286 2,142857 2,714286 2,285714 1,857143 2,571429 3 2,857143 2,285714 3 2,857143 3 3 3 2,857143 2,857143 2,714286 2,857143 2,285714 2,142857 2,714286 2,714286 3 2,857143
3 3 3 2 3 3 3 234 Domestication 235 3 3 3 3 3 3 3 Domestication 3 3 3 2 3 3 3 236 Domestication 237 3 2 3 2 3 2 2 Domestication 3 3 2 2 3 3 3 238 Domestication 239 3 2 1 1 3 3 2 Domestication 3 2 1 2 3 2 2 240 Domestication 241 3 3 2 3 3 2 3 Domestication 3 3 3 3 3 2 3 242 Domestication TOTAL AVERAGE 2,967 2,773 2,649 2,537 2,917 2,723 2,496 Note: In= Informant Domestication= 114 items or 47,11% Foreignization= 128 items or 52,89 % 3 points= 73,3 % 2 points= 21,2 % 1 point= 5,5 %
2,857143 3 2,857143 2,428571 2,714286 2,142857 2,142857 2,714286 2,857143 2,72314
