Professional Documents
Culture Documents
Thesis of Adaptation
Thesis of Adaptation
INTRODUCTION
A. Background of Study
each language and pour some ideas, thoughts, and ideas on the partner said. Every
idea they convey according to specific goals and interests of partners in order to catch
some clearly said. The purpose of submission of these languages depends on the
speakers, the owner of the first idea. Then it came from a wide variety of languages
due the background, purpose, goals, and different messages. As Chaer and Agustina
said about the language was varied. Even if a language has certain rules or patterns
are similar, but due to a social background and habits are different, then it becomes a
variety of languages, both from the level of phonological, syntactic, and at the level
of the lexicon.
communications, the language is influence of local accent and her social everyday.
And if it is calculated not just one or two groups, they are following the use of the
same language. Back to each community they can not be separated by language
1
Translation is the transfer in writing a text message from a language into
another language text.1 Understanding the content level is not only related to the basic
meaning (meaning of material), an idea or concept contained in the content, but all
the information in the text SL, ie., all the norms of language, such as lexical meaning,
situation, and cultural contacts between the two languages are done through the
author of the message should be maintained and communicated to the reader the
translation, the contents of the SL should be the same as the TL to the message
intended by the SL can be understood in a reader TL although its form may differ.
Thus, equivalent in this case does not mean the same, but contain the same message.
From the description above, it can be argued that the translation is not
something simple, not limited to transliterate from one language into another
language and not anyone can do without studied. As stated in Simatupang Luther2
that "Translation is not everybody's art". Translate, for Luther, is an art that can not
simply belong to every person. This suggests that translating is not easy. He requires
1
Hoed,Proses tentangpenerjemahan, (Jakarta : PusatPembinaandanPengembanganBahasa, 2006 ) ,p.51
2
Simatupang Luther, Proses Pengantarteoriterjemahan, ( Jakarta : Ditjen. Dikti,
DepartemenPendidikanNasional, 2000 ), p.3-5
2
a complex skill. As an art, as well as art music, visual arts, dance, translating intuitive
The opinion above, Hidayat suggested that developing proficiency may not
intensive training and experience that a lot.3In line with what was raised suggests that
phases, namely the instinct, experience and habits.4 These three stages are actually
that the relationship between experience and habits of a triad framework that stems
from instinct through experience and eventually become a habit. In this process,
experience (experience) which is based on events and activities that affect the lives of
individuals from the outside; and third, custom (habit) is more important than the
combines the precision of both the process actions in particular to act in certain ways
under certain conditions which are formed by experience, for example translating
certain texts in certain ways. The accuracy of this action is by Piaget referred to as
3
Rahayu. S. Hidayat, PengatarPenerjemahan, (Depok : LembagaPenelitianUniversitas Indonesia,
2000), p. 35
4
Ibid, p.163-164
3
what to do. If someone managed to find the right answer to a problem of living with
many possible answers, he is a clever man. But there is more that needed to be a
languages, for example from English, German, Dutch, French, and Arabic. Uptake
words entered into the Indonesian language through the ways the word was adopted,
namely the adoption, adaptation, translation and creation. How to adoption occurs
when the language user to take shape and meaning of foreign words being absorbed
absorption of adoption. Way of adaptation occurs when the language user simply
takes the meaning of Source Language (English language) being absorbed and
Kingdom of Heaven movies in two languages between English and Indonesian. For
determine the culture equivalent between two situations that can be accepted or
understood by the reader and the message in the source language and can be instantly
understandable.
4
So, which is the analyzed in this research there is a change in adaptation when
translating a source language into target language in. “Kingdom of Heaven movie” in
2. What are the differences of meaning adaptation between English and bahasa
research as following:
5
2. To know what meaning change in adaptation from English into Indonesian
translation that a translator can be more aware of the change some language to be
adapted to the meanings that exist in the target language. To know the language
element transferred from one culture to another, which may often, as in this case,
involve translation, and which, as mentioned earlier, has been ignored in many
studies on adaptations.
F. Research Methodology
tries to describe the adaptation in translation “in the Kingdom of Heaven movie” in
2. Data Analysis
The Analyze data are collected by using qualitative, among others;
1. The writer read Kingdom of heaven movies in two languages between English
and Bahasa. Then, search for a words using the adaptation from the text
Kingdom Of Heaven
6
2. The writer read the English and Indonesian text, and then search for text
which includes adaptation. After that, the writer marked and recorded on a
small note.
The technique of data collecting by the writer take advantage of the research’s
own self as the main instrument to obtain the required data. First, the writer reads the
theory of translation from various sources; book, internet, etc. second, the writer
target language and choose which contains the adaptation of translation by using
adaptation.
7
CHAPTER II
THEORETICAL FRAMEWORK
other even in cross culture, it provides access to something, some message, that
other and appreciating the original event. And translation is the replacement of
5
Tom McArthur, The Oxford Companion to the English Language,( Oxford: Pergamon Press ed.,
1992), p.54.
6
J.M. Cohen, "Translation", (New York: Encyclopedia Americana, 1986), vol. 27, p. 12.
8
overs have imported useful source-language calques and loanwords that
have enriched the target languages. Indeed, translators have helped
substantially to shape the languages into which they have translated.7
3. The word translation derives from the Latin translatio (which itself comes
from trans- and fero, together meaning "to carry across" or "to bring
across"). The modern Romance languages use words for translation
derived from that source and from the alternative Latin traduco ("to lead
across"). The Germanic and Slavic languages likewise use calques based
on these Latin sources.8
4. Translation can be defined as an act of interpretation of the meaning of a
content and consequent re-production of equivalent content. The content
or the text that is required to be translated is called "Source Text" and the
language in which the source text is to be translated is known as "Target
Text". In simple language, translation is also described as a
communication written in second language having the identical meaning
as written in a first language.
representing a source text of about the same length. As such, the term may
embrace numerous vague notions such as imitation, rewriting, and so on. Strictly
7
Christopher Kasparek, The Translator's Endless Toil,( The Polish Review, vol. XXVIII, no. 2, 1983),
p. 84-87.
8
Ibid, p. 83.
9
adaptation, as a somehow more constrained mode of transfer. For this reason, the
The initial divide between adaptation and translation might be dated from
working word-for-word and distinguished this method from what they saw as
a] faithful translator') - irrespective of whether they were for or against the word-
be recognized.9
centuries, the epoch of the bellesinfideles, which started in France and then
spread to the rest of the world. In the 1970s, the formalist theorist tried to define
come into play the target norms that constrain communication10. The very free
translations carried out during this period were justified in terms of the need for
foreign texts to be adapted to the tastes and habits of the target culture, regardless
of the damage done to the original. The nineteenth century witnessed a reaction
9
John Milton, Research Model In Translation Studies, (Brazil: Universidade de São Paulo, Brazil
2011),p.1-2
10
Lawrence Venuti, The Translation Studies Reader ( London: Routledge 2000 ),p.483
10
to this 'infidelity', but adaptations continued to predominate in the theatre. In the
Sometime it’s very difficult to say that Adaptation is part of Translation while
it is not true that all good translations are in fact adaptations. In reality, a good
translation is not an adaptation. A truly good translation must remain faithful to the
full context of the source text in terms of meaning as well as style, appearance,
register and message. The words used to convey it are as important as the message,
and while of course one must make allowances for what the reader will or will not
11
register in the source language, it must be targeted to the corresponding text and
An adaptation, on the other hand, takes the ideas of the source text and re-
writes them in a completely new way. The source text may be altered somewhat to
appeal more to a new text in some movie or it may be placed in a different setting.
Adaptations are more common in literary, poetic or advertising media, where you can
choose to, either media (form) or literal meaning in favor of conveying a particular
message or emotion, if one or the other is considered more important to the individual
situation. The same kind of decision can be made on whether to translate or to adapt a
piece of text. For example, "food on the table" in a translation meant “ makanan di
atas meja but an adaptation that creates a new version of the same text, but with a
twist that is meant mencari nafkah, different from makanan diatas meja. Both,
A related nation is that of localization. This is where this concept gets tricky,
modern reality. Localization is the process used to adjust a product or service (usually
software and websites but it can also include products that come with a lot of manuals
and accessory packages) to a particular language, culture, and desired local "look-
details as time zones, currencies, national holidays, local color sensitivities, product
or service names, gender roles and geographic examples must all be considered. A
12
successfully localized service or product is one that appears to have been developed
within the local culture. Basil Hatim and Ian Mason said when translating is looked
upon as an act of communication which attempt to relay, across cultural and linguistic
boundaries, another act of communication (which may have been intended for
may have to be produced several times in the same language, but adjusted for
dialectal and other cultural differences (mencari nafkah versus food on the table,
bertani versus food on the ground, etc.), or texts that specifically target one area
where that language is spoken. This is not, however, an adaptation, because the same
content and message are generally still expressed in the same way, and such products
are often designed to be easily localized without needing to alter the format, style or
imagery. Meanwhile, it is not only translations of scientific and legal texts that
articles must retain all the same facts and be addressed to a corresponding audience in
information booklets, travel guides, textbooks and many other types of texts have to
retain the same content, same register, same style and same format when translated
even while respecting the structure, grammar and cultural baggage of the target
language. Otherwise, you no longer have a translation but have moved into the area
reality, and the meanings of linguistic item are used. For example, a simple
11
Basil Hatim, Ian Mason, The Translator as communicator,(London : Routledge 1997),p.1-2
13
expression such as we had Dinner written in British cultural context cannot be
without considering the different cultural meaning this expression acquires in these
different context12
which the target language culture might be expected to share the cultural assumption,
beliefs and value systems discernible in the source language. a true translation must
be written in a manner that is natural and appropriate to the target language, but may
not diverge from the essence of the source text; nothing may be added, deleted or in
any other way altered from the source text.13 A true adaptation is a re-invention of the
message to suit a new audience, whether that be a new language or different age or
cultural group, modern vs. previous era, etc. Is an innovative translation agency that
D. Kind of Adaptation
Adaptations are widespread and universal. They seem common and natural, but pose
12
Juliana House, Translation, ( Oxford: University press 2009 ),p.11-12
13
Op.cit.146
14
curious problems in content, structure, and intertextual. The work here looks to
tend to overlap. this is the freest form translation. It is used mainly for plays
(comedies) and poetry; the theme; characters, the SL culture converted to the TL
culture and text rewritten.14And then sometime adaptation can be untranslatable from
or of any utterance, in one language, for which no equivalent text or utterance can be
rather, the degree of difficulty of translation depends on their nature, as well as on the
14
Peter Newmark, A Text Book of Translation(UK: Prentice hall International 1988),p.46
15
5. Mayday Mayday
6. Proceed
7.
8.
9.
10.
the translator negotiate the Linguistic and cultural differences of the foreign text
by reducing them and supply another set to differences, basically domestic, drawn
from the receiving language and culture to enable the foreign language to be
the original text does not exist in the culture of the target text, thereby
15
Loc cit,p.482
16
Adaptation is, perhaps, most easily justified when the original text is of a
metalinguistic nature, that is, when the subject matter of the text is language itself.
languages.16 Points out that in these cases the adaptation has to be based on the
translator's judgment about readers' knowledge. Argues that this kind of adaptation
gives precedence to the function over the form, with a view to producing the same
effect as the original text. However, while such writers start from the principle that
nothing is untranslatable.
Definitions of adaptation reflect widely varying views about the concept the
issue of remaining 'faithful' to the original text. Some argue that adaptation is
necessary precisely in order to keep the message intact (at least on the global
level), while others see it as a betrayal of the original author. For the former, the
refusal to adapt confines the reader to an artificial world of foreignness; for the
latter, adaptation is tantamount to the destruction and violation of the original text.
Even those who recognize the need for adaptation in certain circumstances are
obliged to admit that, if remaining faithful to the text, then there is a point at
intertextual activity, where a story is transposed from one text to another, usually
16
Peter Newmark, Approaches to Translation,(Oxford:Pergamon Press 1981), p.
17
from one medium or signification system to another as well. Delineated as a form of
another medium. For example the problem of fidelity, the articulations of and
departures form the source text, the measure of structural changes between the source
text and adaptated text, when someone talking neighborhood watch scheme the so-
culture. Even the question of medium specificity – a perspective that assumes that
distinguish and differentiate them from other practices or to put it more shortly that
every medium should develop its own unique language a perspective, that might, at
associated with the genres of advertising and subtitling. The emphasis here is on
preserving the character and function of the original text, in preference to preserving
the form or even the semantic meaning, especially where acoustic and/or visual
factors have to be taken into account. Other genres, such as children's literature,
different readership the main features of this type of adaptation are the use of
Corrigan, Timothy “Literature on Screen, a history: in the gap”. ( In Cartmell, Debora, Imelda
17
18
.When we take broader perspective, the inter-relationship between the languages
of comic and film language is rather intriguing as a system of mediation. The birth of
a comic as sequential art coincides by and large with the birth of the cinema and as
cinema in the beginning, comic strips too struggled with the static and “theatrical”
to form a narrative, thus sharing many common problems and developments, at the
Thus one hand the languages have a constant need to discover and develop
their specificity and uniqueness that differentiates them from other languages of
creolization, languages influencing each other. And Lot man notes that many texts are
made in mixed languages but we do not notice that. Even the film languages can be
viewed as a mixture of the principles and elements of the language of silent cinema
and the language of sound cinema. Thus in the sphere of language, there are always
When we approach the field of adaptation and translation with extended and yet
limited notion of language as semiotic resources any medium must have to be able to
produce texts, adaptations emerge as a meeting point of not only stories but languages
18
Lacassin, Francis, “The Comic Strip and Film Language“ ( Film Quarterly: Autumn 1972), Vol. 26,
p. 11-19
19
Lotman, Mihhail,Kultuurifenomen/ Phenomena of culture (Akademiaa :Sign System Studies 2002),
Vol. 30.2.,pp. 2644-2662
19
as well – sphere of their interplay, mutual influences and hybridization. If text as
transposed from one language to another adapts to new means of expression, doesn’t
recipient language as well. What kind of literacy these intermedial and intersemiotic
relations require from a creator and a reader and what kind of new competences they
produce.
20