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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
A STUDY OF ENGLISH TRANSLATION OF INDONESIAN

FIGURATIVE EXPRESSIONS IN EKA KURNIAWAN’S
CANTIK ITU LUKA INTO BEAUTY IS A WOUND
A Thesis
Presented to the Graduate Program in English Language Studies
in Partial Fulfilment of the Requirements
for the Degree of
Magister Humaniora (M.Hum)
in
English Language Studies
by
Agni Kusti Kinasih
156332005
THE GRADUATE PROGRAM OF ENGLISH LANGUAGE STUDIES
SANATA DHARMA UNIVERSITY
YOGYAKARTA
2019
A STUDY OF ENGLISH TRANSLATION OF INDONESIAN

CANTIK ITU LUKA INTO BEAUTY IS A WOUND
A Thesis
Presented to the Graduate Program in English Language Studies
in Partial Fulfilment of the Requirements
for the Degree of
Magister Humaniora (M.Hum)
in
English Language Studies
by
Agni Kusti Kinasih
156332005
THE GRADUATE PROGRAM OF ENGLISH LANGUAGE STUDIES
SANATA DHARMA UNIVERSITY
YOGYAKARTA
2019
i
APPROVAL PAGE
ii
THESIS DEFENSE APPROVAL PAGE
iii
MOTTO
“And you will remember what I [now] say to you, and I entrust my affairs
unto God. Truly, Allah is aware of His servants” (40:44)
“Indeed, after hardship there is ease” (94:6)
And that there is not for man except that [good] for which he strives; And
that his effort is going to be seen; Then he will be recompensed for it with the
fullest recompense (53: 39-41)
iv
STATEMENT OF ORIGINALITY
v
LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI

KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS
vi
ACKNOWLEDGEMENT
First and foremost, all the praises go to Allah Subhanahu Wa Ta’ala

since I would have not been able to finish the thesis without his mercy and
blessings.
My deepest gratitude goes to my thesis advisor Dr. E. Sunarto, M.Hum.
for guiding me, supervising me, and giving me a lot of important feedbacks
during the thesis completion. Also, I would love to express my gratitude to my
thesis reviewers and board of examinertd Dr. B.B. Dwijatmoko, M.A., Dr. J.
Bismoko, and Novita Dewi, Ph.D. for their meaningful ideas, suggestions,
assistance, and guidance for the sake of making this thesis possible.
I would like to express my special gratitude to my family: my parents
(i.e. Titiek Lestari and Dwi Kustanto), my beloved husband and son
Muhammad Hawas and Muhammad Luqman Hafidz El Hawas, and my
siblings Anisa Tanti Kinasih and Sukoco Aji Pamungkas for encouraging me
not to give up on my study and particularly to complete the thesis.
I would also like to thank two my data analysis validators Beniati
Lestyarini, M.Pd. as the expert of Indonesian literature and Pramesty
Anggororeni, M.Li. as the expert of translation studies for their patience and
persistence in checking, correcting, and giving feedbacks to my descriptive
analysis. Their feedbacks and correction have significantly helped me to feel more
confident towards the validity of my research.
At last not not least, I would like to extend my gratitude to Yosafat and
Octovianus (James) for willing to share their valuable ideas, suggestions, and
experience for my thesis improvement. Thank you, Yosafat for always
encouraging me and being a shoulder to cry on anytime I felt hesitant and
discouraged about my thesis. Finally, I would also like to thank all my good
friends and co-workers whom I cannot mention one by one in this piece of paper.
vii
TABLE OF CONTENTS
TITLE PAGE ......................................................................................................... i
APPROVAL PAGE .............................................................................................. ii
THESIS DEFENSE APPROVAL PAGE .......................................................... iii
MOTTO ................................................................................................................ iv
STATEMENT OF ORIGINALITY .................................................................... v
LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH
UNTUK KEPENTINGAN AKADEMIS .............................................................. vi
ACKNOWLEDGEMENT .................................................................................. vii
TABLE OF CONTENTS ................................................................................... viii
LIST OF TABLES ............................................................................................. xiii
LIST OF FIGURES ............................................................................................ xv
LIST OF APPENDICES ................................................................................... xiv
ABSTRACT ....................................................................................................... xvii
ABSTRAK .......................................................................................................... xix
CHAPTER 1 INTRODUCTION
1.1 Background to the Study ................................................................................... 1
1.2 Research Questions ........................................................................................... 7
1.3 Research Objectives .......................................................................................... 8
1.4 Research Benefits .............................................................................................. 9
viii
CHAPTER 2 LITERATURE REVIEW
2.1 Literature Review ............................................................................................ 11
2.1.1 Definitions of Translation and Progress of Translation Studies ........... 11
2.1.2 Figurative Expressions .......................................................................... 14
2.1.3 Translation Techniques ......................................................................... 38
2.2 Review of Relevant Studies ............................................................................ 47
2.3 Theoretical Framework ................................................................................... 58
CHAPTER 3 RESEARCH METHODOLOGY
3.1 Type of the Study ............................................................................................ 61
3.2 Data Selection ................................................................................................. 64
3.2.1 Sources of Data ..................................................................................... 64
3.2.2 Method of Data Collection .................................................................... 65
3.3 Data Analysis .................................................................................................. 65
3.3.1 Research Instrument .............................................................................. 65
3.3.2 Analyzing the Types of Figurative Expressions ................................... 73
3.3.3 Analyzing the Translation Techniques ................................................. 75
3.3.4 Determining the Retention and Omission of Figurative Senses in the

Target Language ................................................................................... 77
3.4 Trustworthiness of the Study .......................................................................... 81
CHAPTER 4 RESULTS AND DISCUSSION
4.1 Identification of Figurative Expressions ......................................................... 83
4.2 Transaltion Techniques of Figurative Expressions ......................................... 84
4.2.1 Translation Techniques of Similes ........................................................ 85
ix
4.2.1.1 Established Equivalent ............................................................. 89
4.2.1.2 Modulation ............................................................................... 91
4.2.1.3 Established Equivalent and Modulation ................................... 92
4.2.1.4 Established Equivalent and Amplification ............................... 93
4.2.1.5 Established Equivalent and Reduction ..................................... 94
4.2.1.6 Established Equivalent and Adaptation .................................... 96
4.2.1.7 Established Equivalent and Pure Borrowing ............................ 99
4.2.1.8 Amplification and Modulation ............................................... 100
4.2.1.9 Modulation and Adaptation .................................................... 101
4.2.1.10 Established Equivalent, Modulation, and Reduction............ 102
4.2.1.11 Established Equivalent, Transposition, and Adaptation ....... 104
4.2.1.12 Modulation, Amplification, and Reduction .......................... 105
4.2.1.13 Transposition, Reduction, and Generalization ..................... 106
4.2.1.14 Amplification, Transposition, Adaptation, and Established

Equivalent ............................................................................... 109
4.2.2 Translation Techniques of Idioms....................................................... 111
4.2.2.1 Adaptation .............................................................................. 113
4.2.2.2 Established Equivalent ........................................................... 118
4.2.2.3 Reduction ................................................................................ 120
4.2.3 Translation Techniques of Hyperboles ............................................... 120
4.2.3.2 Modulation ............................................................................. 125
4.2.3.3 Established Equivalent and Amplification ............................. 126
4.2.3.4 Establised Equivalent and Modulation ................................... 129
4.2.3.5 Amplification and Modulation ............................................... 131
4.2.3.6 Transposition and Established Equivalent .............................. 133
x
4.2.3.7 Modulation, Amplification, and Reduction ............................ 135
4.2.4 Translation Techniques of Metaphors................................................. 136
4.2.4.2 Modulation ............................................................................. 139
4.2.4.3 Adaptation .............................................................................. 141
4.2.4.4 Reduction ................................................................................ 141
4.2.4.5 Pure Borrowing and Amplification ........................................ 143
4.2.4.6 Adaptation and Transposition................................................. 144
4.2.4.7 Established equivalent, Amplification, Adaptation, and

Transposition .......................................................................... 145
4.2.5 Translation Techniques of Metonymies .............................................. 147
4.2.5.2 Adaptation .............................................................................. 151
4.2.5.3 Generalization......................................................................... 152
4.2.6 Translation Techniques of Personifications ........................................ 153
4.2.6.1 Modulation ............................................................................. 154
4.2.6.2 Reduction ................................................................................ 156
4.2.6.3 Amplification and Transposition ............................................ 156
4.2.6.4 Modulation and Reduction ..................................................... 157
4.2.7 Translation Techniques of Euphemisms ............................................. 158
4.2.7.2 Modulation ............................................................................. 161
4.3 Retention and Omission of Figurative Senses .............................................. 162
4.3.1 Retention and Omission of Similes’ Figurative Senses ...................... 163
4.3.1.1 Retained Figurative Sense ...................................................... 163
4.3.1.2 Omitted Figurative Sense ....................................................... 168
xi
4.3.2 Retention and Omission of Idioms’ Figurative Senses ....................... 169
4.3.3 Retention and Omission of Hyperboles’ Figurative Senses................ 172
4.3.4 Retention and Omission of Metaphors’ Figurative Senses ................. 176
4.3.5 Retention and Omission of Metonymies’ Figurative Senses .............. 181
4.3.6 Retention and Omission of Personifications’ Figurative Senses ........ 183
4.3.7 Retention and Omission of Euphemisms’ Figurative Senses ............. 185
CHAPTER 5 CONCLUSIONS AND SUGGESTIONS
5.1 Conclusion .................................................................................................... 188
5.2 Suggestions ................................................................................................... 194
5.2.1 Suggestions for the Translator of Kurniawan’s Cantik itu Luka ........ 194
5.2.2 Suggestions for Translators of Literary Works in General ................. 195
5.2.3 Suggestions for Other Researchers in Translation Studies ................. 196
xii
REFERENCES .................................................................................................. 197
APPENDICES ................................................................................................... 201
xiii
LIST OF TABLES
Table 3.1 List of Criteria for Types of Figurative Expressions ...................... 66
Table 3.2 List of Criteria for Identifying the Translation Techniques .......... 71
Table 3.3 Example on the Description of the Types of Figurative Expressions
............................................................................................................................... 74
Table 3.4 Example on the Description of the Translation Techniques .......... 75
Table 3.5 Criteria of Figurative Sense Omission in the Target Language .... 78
Table 4.1 Percentage of Figurative expressions in Kurniawan’s Cantik itu
Luka and the Figurativeness of their Translation ........................... 84
Table 4.2 Single Techniques for Translating the Similes and Their Types of
Translation .......................................................................................... 85
Table 4.3 Couplet Techniques for Translating the Similes and Their Types of
Translation .......................................................................................... 86
Table 4.4 Triplet Techniques for Translating the Similes and Their Types of
Translation .......................................................................................... 87
Table 4.5 Quadruplet Techniques for Translating the Similes and Their
Types of Translation........................................................................... 88
Table 4.6 Techniques for Translating Idioms and Their Types of Translation
............................................................................................................ 111
Table 4.7 Techniques for Translating Hyperboles and Their Types of
Translation ........................................................................................ 121
Table 4.8 Techniques for Translating Metaphors and Their Types of
Translation ........................................................................................ 137
xiii
Table 4.9 Techniques for Translating Metonymies and Their Types of
Translation ........................................................................................ 147
Table 4.10 Techniques for Translating Personifications and Their Types of
Translation ........................................................................................ 154
Table 4.11 Techniques for Translating the Euphemisms and Their Types of
Translation ........................................................................................ 158
xiv
LIST OF FIGURES
Figure 2.1 Translation Process........................................................................... 13
Figure 2.2 Theoretical Framework of the Study .............................................. 60
Figure 3.1 Process of Data Analysis .................................................................. 79
xv
LIST OF APPENDICES
APPENDIX 1: VALIDATION SHEET OF INDONESIAN FIGURATIVE
EXPRESSIONS IN EKA KURNIAWAN’S CANTIK ITU
LUKA ....................................................................................... 202
APPENDIX 2: VALIDATION SHEET OF TRANSLATION TECHNIQUES
OF FIGURATIVE EXPRESSIONS IN EKAKURNIAWAN'S
CANTIK ITU LUKA ................................................................ 204
APPENDIX 3: THE REVISED IDENTIFICATION OF INDONESIAN
CANTIK ITU LUKA .............................................................. 206
APPENDIX 4: THE REVISED IDENTIFICATION OF TRANSLATION
TECHNIQUES OF FIGURATIVE EXPRESSIONS IN EKA
KURNIAWAN'S CANTIK ITU LUKA ................................ 208
APPENDIX 5: DATA VALIDATORS’ PROFILES ..................................... 210
xiv
ABSTRACT
Kinasih, Agni Kusti. (2019). A Study of English Translation of Indonesian

Figurative Expressions in Eka Kurniawan’s Cantik itu Luka into Beauty is A
Wound. Yogyakarta: The Graduate Program in English Language Studies, Sanata
Dharma University
Translating figurative expressions in a novel can be challenging since they
contain imaginative words with connotative meaning, not every figurative
expression in the source language has an equivalent in the target language, and in
some contexts it is not always appropriate to attach a figurative tense in the TL
situation that requires translators to apply particular translation techniques to
bridge the gaps. Considering those challenges, this study aims at identifying the
types of figurative expressions in Kurniawan’s ‘Cantik itu Luka’ (2015),
identifying the translation techniques used in translating those figurative
expressions, and finding out the omission and retention of their figurative sense in
the target language.
Following the objectives, this study attempts to answer the three following
questions: (1) What types of figurative expressions are found in Kurniawan’s
Cantik itu Luka? (2) What translation techniques are used to translate the
Indonesian figurative expressions in Kurniawan’s Cantik itu Luka into English?
and (3) Are the figurative senses of the expressions retained or omitted in the
target language?
To answer these three questions, Descriptive Translation Study was used.
The process of data analysis consisted of three stages namely descriptive analysis,
trustworthiness checking of descriptive analysis, and revision of descriptive
analysis. In the descriptive analysis stage, the researcher identified, analyzed, and
described the types of figurative expressions found in Kurniawan’s Cantik itu
Luka and the translation techniques employed in translating them using the
available rubrics drawn from the theoretical constructs. Afterwards, the researcher
found out whether their figurative senses are retained or omitted in the target
language. In the stage of trustworthiness checking of the descriptive analysis, the
data cards given to the experts were corrected and given feedbacks. In the stage of
the revision of the descriptive analysis, the researcher revised the descriptive
analysis based on the feedback and correction.
The results showed that figurative expressions were identified in
Kurniawan’s Cantik itu Luka into Beauty is A Wound 170 of which were
translated figuratively (86.30%) while 27 of which were not translated
figuratively (13.70%) implying that the translator frequently decided to retain the
figurative sense of most of the expressions in the translation. The most frequently
used translation technique influencing the retained figurative sense of the
figurative expressions in the target language was Established Equivalence
occurring 21.59% in the similes, 28.21% in the idioms, 26.92% in the hyperboles,
27.27% in the metaphors, 70% in the metonymies, and 80% in the
personifications; implying that the translator frequently used the words in terms
available in the dictionary and the daily language in use. No dominant translation
technique was found in the translation of euphemisms. Nearly 50% of the idioms
(43.59%) were not translated figuratively with Adaptation as the most frequently
employed translation technique leading to the omission of the idioms’ figurative
xvii
sense in the target language. It implies that in solving the problems of the idioms’
equivalence, the translator used the TL culture terms more familiar to the target
reasers. Similarly, nearly 50% of the personifications (42.86%) were not
translated figuratively which implies that it is not always common to attach
human characteristics to the TL non-living beings.
Keywords: figurative expressions, translation techniques, omission and retention

of figurative senses in the target language
xviii
ABSTRAK
Kinasih, Agni Kusti. (2019).A Study of English Translation of Indonesian

Figurative Expressions in Eka Kurniawan’s Cantik itu Luka into Beauty is A
Wound. Yogyakarta: S2 Kajian Bahasa Inggris, Universitas Sanata Dharma
Menerjemahkan majas dalam novel mungkin menantang karena: majas
berisi kata-kata imajinatif dengan makna konotatif, tidak semua majas dalam
bahasa sumber mempunyai ekuivalen dalam bahasa target, dan dalam beberapa
konteks tidak selalu sesuai membubuhkan kemajasan dalam situasi bahasa target
yang mengharuskan penerjemah untuk menggunakan teknik penerjemahan
tertentu guna menjembatani celah ini. Mempertimbangkan tantangan-tantangan
tersebut, penelitian ini bertujuan untuk mengidentifikasi jenis-jenis majas dalam
novel ‘Cantik itu Luka’ oleh Kurniawan (2015), mengidentifikasi teknik
penerjemahan yang digunakan dalam majas-majas tersebut, dan mengetahui
apakah kemajasannya hilang atau bertahan dalam bahasa target.
Sesuai dengan tujuannya, penelitian ini berusaha menjawab tiga pertanyaan
berikut ini: (1) Jenis majas apa saja yang ditemukan dalam Novel Cantik itu Luka
oleh Eka Kurniawan? (2) Apa saja teknik penerjemahan yang digunakan untuk
menterjemahkan majas Bahasa Indonesia ke dalam Bahasa Inggris di Novel
Cantik itu Luka oleh Eka Kurniawan? (3) Apakah kemajasan dalam majas-majas
tersebut bertahan atau hilang dalam bahasa target?
Untuk menjawab ketiga rumusan masalah ini, Studi Penerjemahan
Deskriptif digunakan. Proses analisa data terdiri dari tiga tahap, yaitu analisis
deskriptif, validasi analisis deskriptif, dan revisi analisis deskriptif. Di tahap
analisa deskriptif, peneliti mengidentifikasi, menganalisa, dan menjelaskan jenis-
jenis majas yang ditemukan dalam novel ‘Cantik itu Luka’ oleh Eka Kurniawan
(2015) dan teknik penerjemahan yang digunakan untuk menerjemahkan majas-
majas tersebut menggunakan rubrik yang tersedia yang dirangkum dari konstruk
teori. Kemudian peneliti mengetahui apakah kemajasan dalam majas-majas
tersebut bertahan atau hilang di bahasa target. Di tahap validasi analisa deskriptif,
kartu data yang diberikan kepada ahli dikoreksi dan diberi saran. Di tahap revisi
analisa deskriptif, peneliti memperbaiki analisa deskriptif berdasarkan saran dan
koreksi yang diberikan oleh ahli.
Hasil penelitian menunjukkan bahwa terdapat 197 majas yang ditemukan
dalam Novel Cantik itu Luka dan Beauty is A Wound dimana 170 majas
diterjemahkan secara figuratif (86.30%) sementara 27 majas tidak diterjemahkan
secara figuratif (13.70%). Hal ini menyiratkan bahwa penerjemah sering
memutuskan untuk mempertahankan kemajasan dari sebagian besar majas ke
dalam terjemahan. Teknik penerjemahan yang paling sering digunakan yang
mempengaruhi bertahannya kemajasan dalam majas bahasa target adalah
Equivalen Tetap yang muncul 21.59% dalam simile, 28.21% dalam idiom,
26.92% dalam hiperbola, 27.27% dalam metafora, 70% dalam metonimi, dan 80%
dalam personifikasi; yang mengimplikasikan bahwa penerjemah sering
menggunakan kata dan istilah yang ada dalam kamus dan bahasa sehari-hari.
Tidak ada teknik penerjemahan dominan yang muncul dalam eufemisme. Hampir
50% idiom (43.59%) tidak diterjemahkan secara figuratif dengan Adaptasi
sebagai teknik penerjemahan yang paling sering digunakan yang menyebabkan
hilangnya kemajasan idiom dalam bahasa target. Hal ini mengimplikasihan bahwa
xix
dalam memecahkan masalah ekuivalensi idiom, penerjemah menggunakan istilah

budaya dalam bahasa target yang lebih dipahami oleh pembaca target. Hampir
50% personifikasi (42.86%) tidak diterjemahkan secara figuratif, yang
mengimplikasikan bahwa tidak selalu umum menyandangkan sifat-sifat manusia
pada benda mati di bahasa target.
Kata kunci: majas, teknik penerjemahan, kemajasan dalam bahasa target

bertahan atau hilang
xx
CHAPTER 1
INTRODUCTION
This first chapter introduces the background of the study containing some
rationales underlying the importance of the study and some prevalent theories
regarding to the study. Besides, it also provides the research questions as the
formulation of the problems, the research objectives, and the research benefits.
1.1 Background to the Study
Translation has generally been understood as “rendering the source
language text (SL) into the target language (TL) by ensuring that the surface
meaning of the two languages is approximately similar and the structures of the
SL are preserved as closely as possible but not so closely that the TL structures
will be seriously distorted” (Bassnett, 1996: 2). It consists of “transferring the
meaning of the source language into the receptor language by going from the form
of the first language to the form of a second language by way of semantic
structure, in which meaning must be held constant” (Larson, 1984: 3). Because
the goal of translation is to keep the meaning constant, whenever necessary, the
receptor language form should be changed in order that the source language
meaning not be distorted (Larson, 1984: 11).
“Translation itself cannot be seen as merely the replacement of lexical and
grammatical items between languages, because it may involve discarding the
basic linguistic elements of the SL text for the sake of achieving maintaining the
expressive identity between SL and TL texts and achieving the equivalence”
(Bassnett, 2002: 32). In addition, “translating is not just rendering the explicit
1
notion in the sentences but understanding the implicit intention beyond the
sentences” (Bassnett and McGuire in Hartono, 2014: 356). Larson (1984: 6)
affirms that “the best translation is the one which uses the normal language forms
of the receptor language, communicates to the receptor language speakers the
same meaning understood by the speakers of the source language, and maintains
the dynamics of the original source of language text”.
There have been many texts of various genres translated from SL to TL such
as history, science, legal documents, philosophy, psychology, and literature. Many
of Indonesian literary texts, particularly novels, have been translated into other
languages including English. In this case, translation plays an essential role in
introducing the richness of Indonesian literature to the audience worldwide.
Cantik itu Luka authored by Eka Kurniawan (2015) is a national best seller which
has been translated into Beauty is a Wound by Annie Tucker is selected to be the
subject of this study. The novel uses a lot of uniquely varied imaginative language
which makes translation a real challenge for the translator.
Novel itself is a literary work where the author attempts to communicate
messages to the readers through imaginative languages. Newmark in Hartono
(2014: 355) states that “translators of literary works like novels mainly have
difficulties in translating the linguistic aspects, socio-cultural aspects, and moral
aspects implicitly stated in the literary works”. There are also some constraints
that translators might face when translating a novel into the receptor language
according to Hartono (2014: 356). First, “linguistically they may find it a little
difficult to comprehend some long complex sentences with complicated

structures. Second, they may find it culturally difficult to have the closest natural
equivalence of the socio-cultural terms existing in the novel since the author tends
to use unique terms based on his or her cultural background”. Third, according to
Hardjoprawiro in Hartono (2014: 356), “they may find it difficult to translate
some figurative expressions stated in the novel, since they contain literary words
with connotative meanings that are technical words with denotative meanings”.
Fourth, “the translators may have problems in translating local proper nouns or
names” (Hardjoprawiro in Hartono, 2014: 356).
Referring to the constraints in the translation of figurative expressions as
highlighted by Hardjoprawiro in Hartono (2014: 356), not only do the translators
have difficulties regarding to connotative and denotative meanings, but also the
equivalence problems. In other words, not every type of figurative expressions in
the source language possess one-to-one equivalent in the target language. In this
case, translators should be able to bridge this gap by applying certain transtaion
technique to compensate the absent equivalent. Another challenge is in some
contexts it is not always appropriate to attach the figurative sense in the TL
situation as attached in the SL one. Thus, the omission instead of the preservation
of particular figurative senses is required.
Figurative language is one of imaginative languages frequently used in
novels. Figurative language is language which departs from the straight-forward
use of words, creates special effect, clarifies an idea, and makes writing more
colourful and forceful. It is a way of saying something other than using the literal
meaning of words which says less or more than what the author means, the
opposite of what she means, or something other than what he means. Therefore,
figurative languages cannot be interpreted or translated literally. Rozakis (1995:
28) defines figurative language as “saying one thing in terms of another; meaning
that through figurative language, an author expresses something in another way to
refer to one thing by giving the implied meaning”. It is frequently used in literary
works to demonstrate the creativity of the author and the beauty of the language
itself.
Figurative language is very effective in demonstrating the creativity of the
author and the beauty of the language due to several reasons: “it affords the
readers’ imaginative pleasure of literary works, it is a way of bringing additional
imagery into verse, it makes the abstract concrete and makes the literary works
more sensuous, it adds emotional intensity rather than merely conveying
informative statements, and it conveys attitudes along with information” Perrine
(1982: 55). Hartono (2014: 355) states that “in translating figurative language, a
translator must be able to maintain the imaginative pleasure, imagery, and
emotional intensity without eliminating the exact meaning and to make it socio-
culturally acceptable in thetarget language”.
In transferring the source language into the receptor language, a translator
has to cope with several problems concerned with meaning. Related to meaning, a
translator must consider primary meaning and secondary meaning. According to
Larson (1984: 9), “primary meaning takes place when there is one-to-one
correlation between form and meaning and secondary meaning takes place when
words have extended meanings and in the same way grammatical forms have
extended usages”. Highlighting ‘meaning’ as the first crucial issue in translation
outlined previously, a translator needs to distinguish primary sense from
secondary sense. Larson adds (1984: 11):
Primary sense refers to the senses coming to the minds of most

speakers of the language when a word is cited in isolation, while
secondary sense are those dependent upon context for the
indication of the sense intended such as expressions with figurative
meaning.
Translating expressions entailing figurative meaning gives a translator a
great challenge, since she must comprehend the context embedded within the SL
text before finding the equivalence. Translators will encounter a lot of expressions
with figurative meaning when translating literary works. Using figurative
expressions is the author’s style which should not be omitted by the translator and
translating such figurative expressions requires thorough carefulness (Suryawinata
and Hariyanto, 2003: 112). Among the mostly encountered figurative expressions
in novels are metonymy, synecdoche, idioms, euphemism, hyperbole, metaphors,
similes, and personification (Larson, 1984, Baker, 1992, Machali, 2000, and
Suryawinata and Hariyanto, 2003). Euphemism (Suryawinanta and Hariyanto,
2003: 112) is defined as follows:
Euphemism is a figurative expression involving the substitution of

one word or another or one expression for another to avoid an
offensive expression or one that is considered socially
unacceptable, offensive, rude, or unpleasant in certain social
contexts.
Below is the example of euphemism translation.
(1) ST Ibunya telah berpulang tiga tahun yang lalu.

TT His mother passed away three years ago.
In translating the euphemism berpulang in example (1), euphemism with similar
figurative meaning in TL is chosen. Other figurative expressions are simile and
metaphors. Larson (1984: 246) defines metaphors and similes as “grammatical
forms which represents two propositions in the semantic structure understood as
literary styles comparing two objects explicitly in literature”. Similes in
Indonesian language use words like bagaikan, bak, or seperti (Suryawinata and
Hariyanto, 2003: 113). Metaphors are similar to similes, but do not show explicit
comparison. There are two types of metaphors namely universal and culture-
bound. Universal metaphors are the ones having similar semantic domains in most
of the cultures around the globe, while culture-bound metaphors are the ones
using symbols, the meaning of which can only be understood by one particular
culture (Suryawinanta and Hariyanto, 2003: 115).
(2) ST Nasibku di ujung tanduk.

TT I’m hanging on a thread.
In translating the culture-bound metaphor di ujung tanduk in example (2),
metaphorical equivalence in TT is chosen. However, when the culture-bond
metaphor is considered essential and must be maintained to preserve the author’s
distinctive style, literal translation can be used.
(3) ST Tak seorangpun berani mendekat, hanya mendengarkan

kegaduhan dari kuburan tua itu bagaikan mengelilingi tukang
obat.
TT No one dared approach, they just listened to the uproar coming
from that old grave as if they were gathered around the medicine
peddler.
As shown in example (3), the simile in the source text is in active voice, while the
one in the target text is changed into passive voice. This translation involves a
change of grammar from the SL to the TL. Therefore, transposition takes place.
(4) ST Masih terbungkus kain kafan seolah ia dan kain kafannya

dikubur semalam saja.
TT Still wrapped in a shroud as if she’d only just been buried the
night before.
The simile in example (4) is translated through modulation that is the variation on
the form of the message that can be seen in the change of lexicons or points of
view. As shown above, the translator created variation by merging the phrase ia
dan kain kafannya in ST into pronoun she in TT and paraphrasing semalam saja
into the night before. In other words, there is a change on the point of view in the
translated version.
Considering the real challenge that the translator might have faced in
transferring the meaning of Indonesian figurative language into English and the
various techniques that she might have employed during the translation process,
the researcher is interested in identifying the types of figurative expressions in the
English translation of Kurniawan’s Cantik itu Luka into Beauty is a Wound,
investigating the translation techniques employed in translating its figurative
expressions, and exploring the retention and omission of the figurative sense of
the figurative expressions in the target language.
1.2 Research Questions
Based on the background of the study above, the research problems are
formulated as follows:
1. What types of figurative expressions are found in Kurniawan’s Cantik itu
Luka?
2. What translation techniques are used to translate the Indonesian figurative
expressions in Kurniawan’s Cantik itu Luka into English?
3. Are the figurative senses of the figurative expressions retained or omitted
in the translation?
1.3 Research Objectives
Based on the problems formulated in the research questions, this study
aimed at identifying the types of figurative expressions in Kurniawan’s Cantik itu
Luka, investigating the translation strategies and techniques employed in
translating the Indonesian figurative expressions into English in Kurniawan’s
Cantik itu Luka into Beauty is A Wound, and the effects of the translation
techniques towards the figurative sense of the figurative expressions in the target
language.
The identification of the types of figurative expressions in the source
language aimed at classifying the figurative senses of the selected data under the
categories of metonymies, hyperboles, similes, metaphors, personifications,
idioms, and euphemisms. In classifying the types of the figurative expressions, the
researcher used the rubrics in the form of the constructs drawn from the theories
and definitions of each figurative expression. The identification was done through
analytical descriptions based on the rubrics, which was furthermore reviewed and
validated by the expert of Indonesian language and literature and revised based on
the expert’s written feedback and comments.
The identification of the translation techniques and their combination aimed
at finding out the translation techniques used in translating each type of the
source-language figurative expressions into the target language. Each technique
found was described analytically based on the available rubrics drawn from the
theoretical constructs. The descriptions were then reviewed and validated by the
expert of translation studies and revised based on the expert’s written feedback
and comments.
Analysing the retention and omission of figurative senses of the figurative
expressions in the target language aimed at finding out the challenges of
translating each type of figurative expressions, meaning that that the difficulties of
the translation can be seen on whether or not the translator is able to preserve the
expressions’ figurativeness in the translation.
1.4 Research Benefits
Theoretically, this study is expected to give better understanding to
translators and English department students regarding to the kinds of figurative
expressions that will likely be found in novels, the possible translation techniques
that could be employed in translating them, and the effects of the translation
techniques towards the figurative senses of the selected expressions in the target
language. It is also expected to provide information in the field of translation for
any researchers who would like to analyze similar aspects in novels.

10
Practically, the methodology and results of this study are expected to
improve English department students’ ability and translators in translating
figurative expressions. Second of all, it might give insights to both English
department students and translators on the variety and combination of translation
techniques that could be used in translating some Indonesian figurative
expressions into English. It might also be parts of the novel translators’
consideration in regards to whether or not to retain the figurativeness of the
expressions in the target language by taking into account of the apparent
challenges and difficulties comprising the availability of the equivalent
expressions, the cultural gap between the two languages, and the possible
strategies of bridging the target audience’s unfamiliarity towards some terms
(either culturally-related or linguistically-related) embedded in the source
language.
CHAPTER 2
LITERATURE REVIEW
This chapter consists of literature review and theoretical framework. The
literature review discusses some theories related to the study covering definitions
of translations, types of figurative expressions, translation techniques, translation
quality, and a review of some relevant studies. The theoretical framework
explains the key concepts used in the study and shows how the theories are used
to answer the research questions.
2.1 Literature Review
This section discusses some theories related to the study covering
definitions of translation, types of figurative expressions, translation techniques,
translation quality, and a review of some relevant studies.
2.1.1 Definitions of Translation and Progress of Translation Studies
Different definitions of translation are provided by some translation
theorists. Newmark (1982: 7) defines translation as “a craft consisting in an
attempt to replace a written message or statement in one language by the same
message or statement in another language”. Larson (1984: 3) defines translation as
“a process of transferring the meaning of the Source Language (called SL
henceforth) into the Target Language (called TL henceforth), which is the
language of the receptors, by retaining the SL and changing its forms”.
Translation process involves the perspectives of formal equivalence which
represents the closest equivalent in terms of meaning and styles of both the SL
and TL.
11
12
Ordudari (2014: 3–4) highlights that “translation is commonly used to
transfer written or spoken SL texts to equivalent written or spoken TL texts”. In
general, the purpose of translation is to produce various kinds of texts of particular
issues into another language to make them more accessible and comprehensible to
wider readers. He also adds that “the difference between SL and TL and the
variation in their cultures makes the translation process very challenging”. There
are some problematic factors occurring in the translation process, such as form
(vocabulary and grammar), meaning, style, proverbs, idioms, and so on.
According to Baker (2008: 8):
The process of translation between two different written languages

involves the changing of original text (the source of text or ST) in
the original verbal languages (the source language or SL) into a
written text (the target text or TT) in a different verbal language
(the target language or TL).
In short, translation is an attempt of transferring the meaning and style of
written or spoken SL texts into their closest equivalent written or spoken TL texts
by maintaining the global meaning of the SL, considering the cultural variation
between the two, and altering its structure for the sake of making it more
understandable for the receptors. It is a process of rendering meaning, ideas, or
messages of a text from one language to another by considering the accuracy,
clarity, and naturalness of the meaning, ideas, or messages of the translation;
therefore “the translator must be convinced that the target text readers accept the
equivalent information as the source text readers do” (Nugroho, 2007: 67).
Larson in Suwardi (2013: 3) illustrates the process of translation that could
be shown by a diagram as follows.

13
SOURCE LANGUAGE RECEPTOR LANGUAGE

The text to be translated Translation
Discovering the meaning Re-expressing the meaning
Figure 2.1 Translation Process

When a translator is translating, the first step that must be done is “to
discover and understand the meaning in the message of the source language text,
then to analyze and look for its natural form in the receptor or target language”
(Podo and Sullivan in Suwardi (2013: 4). For example, there are some steps
involved when translating the source language text this is no time to lie down on
the job into the receptor language text sekarang bukan waktu mengabaikan tugas.
In discovering the meaning of the source text, the translator could grasp that
someone did not pay attention to the job at that time. The translator’s next task is
to look for the natural form of the target language having the same meaning or
message as the source language. Translating this text literally into sekarang bukan
waktunya berbaring di atas pekerjaan will make it sound unnatural; meaning that
meaning must have priority over the form in the process of translating.
According to Nugroho (2007: 68), “translation is not merely concerning on
rendering meaning as a unit of lexical meaning, but also involves diction,
grammatical structure, communication setting, and the cultural context of the
source text”.
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The translator should be assured that meaning of the source and

target texts; for example the Indonesian phrase ‘kambing hitam’ is
translated into its English equivalent ‘scapegoat’ since both mean a
person who is blamed for something that someone else has done.
Research attempts in the area of translation are called descriptive translation
studies (DTS) which generally examines the product, function, and process.
Holmes in Baker (2008: 17) states that “product-oriented translation examines
existing translations that involve the description or analysis of a single ST-TT pair
of a comparative analysis of several TTs of the same ST into one or more TLs”.
She also explains that “function-oriented DTS is a study of contexts rather than
texts which describes the functions of translations in the recipient socio-cultural
situations” (Holmes in Baker, 2008: 17).
She adds that “process-oriented DTS is concerned with the psychology of
translation that is trying to find out what happens in the mind of the translator
during the verbalization of the translation process as he translates” (Holmes in
Baker, 2008: 17). This study can be categorized as a product-oriented DTS since
it discusses the translation techniques of figurative expressions and their effects
towards the figurative sense of the translation by comparing the SL figurative
expressions and their translation in the TL.
2.1.2 Figurative Expressions
Arp and Johnson and Elder in Masroor and Pourmohammadi (2016: 131)
defines a figurative expression as “any way of saying something other than the
ordinary way and is used by authors to paint vivid pictures in the readers’ mind or
to achieve some other specific effects such as emphasis or humor”. It is

15
understood as “an imaginative tool in both literature and ordinary communications
used for explaining speech beyond its usual usage” (Fadaee, 2011: 175) and seen
as “a stylistic and literary framework which writers use to embellish the ordinary
language and hence to add a persuasive taste to it” (Perrine and Gibble in Altikriti,
2016: 131).
Figurative language involves “a deviation from what speakers of a language
apprehend as the ordinary or standard significance of sequence of words, in order
to achieve some special meaning or effect” (Abrams in Teilanyo, 2007: 310). It
refers to “any figures involving a use of words in a way that affects a conspicuous
change in their standard or literal meaning” (Abrams and Hawkes in Teilanyo,
2007: 310). As what has been touched upon previously, “figurative expressions
always carry secondary senses where meanings are dependent upon context to
indicate the sense intended” (Larson, 1984: 111). Using words or expressions in a
figurative sense means using them with a more abstract or imaginative meaning
than its ordinary literal one. According to Kennedy and Martin in Padillah et al
(2016: 71):
A figure of speech may be said to occur whenever a writer departs

from the usual denotations of words for the sake of freshness or
emphasisin order to create a greater effect especially when they do
not have their original or literal meaning.
It can be deduced from this definition that figurative expression is related to
connotative meaning. According to Nida and Taber in (Nugroho, 2007: 68),
“connotative meaning is not merely based on the referred object or its concrete or
16
abstract dimension, but also involves the writer’s emotional condition and
reaction which might be strong, weak, positive, or negative”.
In addition, “connotative meaning can be found in parallel words which are
always in pairs with other words to give different various connotations” (Nida and
Taber in Nugroho, 2007, p. 70). The word green, for example, is a kind of color
but has different meaning when it occurs before certain words that the receivers
might react differently (e.g. green with envy meaning cemburu, green at the gills
meaning pucat, a green worker meaning pekerja baru, and a green fruit meaning
buah yang masih muda). Besides, “connotative meaning is also affected by the
context” (Larson in Nugroho, 2007, p. 71). The word run has some connotative
meanings apart from its primary meaning (e.g. the boy runs fast meaning anak itu
berlari dengan cepat, he runs his eyes over the crowd meaning ia melayangkan
pandangannya pada kerumunan itu, and life must run its course meaning hidup
harus menempuh jalannya sendiri).
Egudu in Teilanyo (2007: 310) emphasizes that “figurative expression gives
literature its distinctiveness in the form of the imagination characterizing its
method of expression that provides readers with intellectual pleasure”. Padillah et
al. (2016: 74) adds that “figurative expression should be interesting, the
attractiveness of which can be identified through its variation, humor, sense of
excellence, and fanciful imagination”.
According to (Teilanyo, 2007: 31) “since the figurativeness of the language
is crucial to the literariness of the language of the work, a literary translation
would be expected to retain figurative expression in the target text (TT) the level
17
of literariness in the source language (SL)”. Nolan in Masroor and
Pourmohammadi (2016: 132) states that “translating figurative expressions into
other languages requires the translators to identify them in the source text at first
and then to render them using appropriate equivalents in the target-texts”.
In translating the figurative senses “the translator may apply adjustment by
using a nonfigurative correspondence or the other figurative expressions to
convey the same meaning into the target language” (Larson in Masroor and
Pourmohammadi, 2016: 132). In other words, the translator has a duty “to realize
an appropriate equivalent conveying the same meaning of the ST or to use a
different form to render the secondary meaning in the figurative expressions
naturally and accurately” (Larson in Masroor and Pourmohammadi, 2016: 132).
Britannica in Masroor and Pourmohammadi (2016: 133) divides figurative
expressions into two groups, namely “figures of resemblances or relationship such
as simile, metaphor, personification, and metonymy, and figures of emphasis or
understatement such as hyperbole, oxymoron, and rhetorical questions”.
Similarly, Larson (1984: 111-254) classifies figurative expressions into
“metonymy, synecdoche, idioms, euphemism, hyperbole, metaphors, similes”.
Suryawinata and Hariyanto (2003: 116) add another category namely
personification. Each type of the figurative expressions is explained as follows.
The first type of figurative expression is metonymy. Larson in Masroor and
Pourmohammadi (2016: 134) states that “metonymy is to use figurative meaning
of words because of associative relationship”. Larson (1984: 111) defines it as
“words in a figurative sense involving association”. Metonymy can be classified

18
based on spatial relationship, temporal relationship, logical contiguity, object
function, non-literal meaning, and object attribute. Masroor and Pourmohammadi
(2016: 134) adds that “there might be no exact equivalent among the languages in
which metonymy exists and translating metonymy literally can eliminate its
figurative meaning and associative relations”.
In metonymy based on spatial relationship, “one word is substituting for
another but the two words are not synonyms; the word substituting the other word
occasionally occurs in collocation with a particular phrase in a stretch of an
utterance” (Larson, 1984: 111). For example, in the words ‘kettle, head, and floor’
have substituted the words ‘water, brains, and people’ respectively in the
utterances shown in example (5) below.
(5) a. The kettle is boiling.

b. He has a good head.
c. The response from the floor is positive.
The word kettle in example (5a) is being used in a figurative sense to mean water.
It has a figurative sense which occurs in collocation with the word boil. Similarly,
head in example (5b) is used in a figurative way to refer to the brain, since head is
the place where the brain is located. In addition, the floor in example (5c)
represents the people or audience seated on the chairs.
Larson (1984: 111) defines metonymy based on temporal relationship as
“particular time expressions having close association to specific events”. Example
(6) lists some metonymies based on temporal relationship.
(6) a. We’ve waited for this day for anticipation.

b. Your hour has come.
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In example (6a), for example, this day might refer to an Independence Day used
for the holiday which they will have on that day. Similarly, example (6b) is used
in a figurative way to mean the time to take your exam has arrived.
Metonymy based logical contiguity is defined by Larson (1984: 111) as
“some words implying logical relationship with other objects”. Example (7) lists
some metonymies based on logical contiguity.
(7) a. Moses is read every day in the Jewish synagogues.

b. I read Bach
c. I read Shakespeare.
In example (7a), Moses (a person’s name) is used in a figurative way to stand for
what Moses wrote which is the law. There is a logical relationship between Moses
and the law, since Moses is the writer of the law. Similarly, in example (7b) and
(7c), Bach is used to mean the music he composed and Shakespeare is used to
mean the plays he wrote.
Metonymy based on object function is defined by Larson (1984: 112) as “an
object which is used in a figurative way to stand for what it is used for”. Example
(8) is a metonymy based on object function.
(8) Martin Beni lives by his gloves.
Example (8) means that Martin makes a living by boxing using his gloves.
Metonymy with non-literal meaning is defined by Larson (1984: 112) as “a
stretch of expression which might be completely misunderstood if translated
literally into some languages”. Example (9) lists some metonymies with non-
literal meaning.
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(9) a. The Provincial Commissioner jailed all the fighters.

b. The Prime Minister barred unskilled laborers from entering
Papua New Guinea.
In example (9a), the commissioner did not jail them directly but simply
ordered the police to do the action he was responsible for. The verb phrase needs
to be translated differently to avoid the impression that the commissioner himself
did it. Similarly, in example (9b), the Prime Minister initiated the action but the
immigration officials carried it out. Therefore, a proper adjustment might need to
be made in the translation.
Metonymy based on object attribute is defined by Larson (1984: 112) as “an
object is used for the attribute it symbolizes”. Example (10) lists some
metonymies based on object attribute.
(10) a. Don’t substitute the good for the best.

b. The arm of the law reached out to all corners of the country.
In example (10a), good means good work and best means best work.
Similarly, in example (10b), the object arm is used to symbolize authority.
Therefore, the literal translation using the word arm will give a wrong meaning in
some target languages.
There are three general ways to translate metonymy as suggested by Larson
in Yulianti and Yadnya (2016: 2). First is “the sense of the word may be translated
non-figuratively by making the intended meaning plain so that there is no longer a
figurative sense in the receptor language translation” (Larson in Yulianti and
Yadnya, 2016: 2). For example, the kettle is boiling can be translated into the
water is boiling. Second, “the translator can retain the word in the original, but
21
add the sense of the word” (Larson in Yulianti and Yadnya, 2016: 2). This way is
employed if there is a component of emotions or impact which might be lost. For
example, the sentence Moses is read in the synagogue might be translated into
The law book written by Moses is read in the synagogue. Third is “by substituting
a figurative expression of the receptor language for the figurative expression of
the source language, while making sure that the same meaning is retained”
(Larson in Yulianti and Yadnya, 2016: 2). The word tongue may be used
figuratively to mean speech or language in one language, but the word lips might
have this figurative sense in another language.
The third type of figurative expression is called idiom. Hooper in Harefa
(2015: 10) defines idiom as “a number of words which, taken together, mean
something different from the meanings of the words when they stand alone”.
Beckman and Callow in Larson (1984: 115) state that “idioms as expressions of at
least two words which cannot be understood literally and which function as a unit
semantically”. According to Baker (1992: 63), “idioms are frozen patterns of
language which allow little or no variation in form and often carry meanings
which cannot be deduced from their individual components”. She exemplifies
“how idioms such as burry the hatchet meaning to become friendly again after a
disagreement or a quarrel” (Baker, 1992: 63). Another example given by Baker
(1992: 63) is ‘the long and the short of it’ meaning the basic facts of the situation
which allows no variation in form under normal circumstances unless the speaker
makes a joke or attempts a play on words.

22
Crystal in Hartono (2012: 4) defines idiom or idiomatic expression as “a
term used in grammar and lexicology referring to a series of limited words
semantically and syntactically which functions as a single unit”. Crystal in
Hartono (2012: 4) adds that “an idiom is an expression functioning as a single unit
the meaning of which cannot be divided based on its constituents (e.g. she washed
her hands of the matter meaning she refused to have anything more to do with the
matter)”. Saeed and Leaney in Jabbari (2016: 507) state that “idiom is collocated
words becoming affixed to each other until metamorphosing into a fossilized term
the meaning of which is not the regular sum of the meanings of its component
parts”. Machali (2000: 86) proposes two definitions of idioms, namely “a group of
words the meaning of which cannot be predicted from the meanings of the
constituent words and a linguistic usage that is grammatical and natural to native
speakers of a language”.
The meaning of idioms is varied from one language to another and is very
culturally-bound. According to Harefa (2015: 10), “every language has different
idioms with different meanings (e.g. cinta monyet in Indonesian is not called as
monkey love in English but its specific idiom puppy love). According to Harefa
(2015: 10):
Idiom has its own peculiarity, since similar idioms may have
different meanings between two languages (e.g. the cat got your
tongue in English means to urge someone to start speaking and
French idiom donner sa langue au chat (to give tongue to the cat)
means to give up).
Besides, example (11) is literal English translation of some idioms in Brazil
and their idiomatic English equivalents given by Ham in Larson (1984: 115).
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(11) a. ST I don’t have my eye on you.

TT I don’t remember you.
b. ST I’ve already buried my eye.
TT I’m already ready to go .
c. ST I’ll pull your eyelid.
TT I’ll ask a favor of you.
d. ST My eye is hard on you.
TT I remember you.
e. ST My head is strong.
TT I’m stubborn, insistent.
f. ST I’ll do it with my head.
TT I’ll do it the way I think it should be done.
Baker (1992: 63) states that “a speaker or writer normally cannot do any of
the following with an idiom: changing the order of the words in it, deleting a word
from it, adding a word to it, replace a word with another, and changing its
grammatical structure”. However, as Baker (1992: 64) has highlighted that
“idioms must be distinguished from fixed expressions and proverbs in a sense that
both have fairly transparent meanings which are somewhat more than the sum of
meanings of its words”. In other words, the expression has to be taken as one unit
to establish meaning.
There are various types of English idioms according to Baker (1992: 65)
namely expressions violating truth condition, ill-formed expressions, and simile-
like structure. The first type which is more recognizable than the others is
“expressions which violate truth conditions, such as it’s raining cats and dogs,
throw caution to the wind, and food for thought (Baker, 1992: 65). The second
type is ill-formed expressions that do not follow the grammatical rule of the
language, such as trip the light fantastic, blow someone to kingdom come, the
powers that be, etc” (Baker, 1992: 65). The third type is “simile-like structures
24
which should not be interpreted literally, such as like a bat out of hell and like
water off a duck’s back (Baker, 1992: 65). Baker (1992: 65) also gives a clue that
“the more difficult an expression is to understand and the less sense it makes in a
given context, the more likely a translator can recognize it as an idiom, since
idioms do not make sense when interpreted literally” (Baker, 1992: 65)’
In addition, Witono et al. (2013: 3) classifies Indonesian idioms into nine
types. Those which are based on the meaning of their constituent elements are
called full idiom and partial idiom. Those which are based on the words
constructing them are called idiom using parts of the body, idiom using tactile
sense, idiom using colours, idiom using things from the nature, idiom using names
of the animals, idiom using parts of the plants, and idiom using numbers.
According to Witono et al. (2013: 3), “full idioms are idioms the meaning of
which cannot be understood from its constituent elements” (e.g. gulung tikar
meaning bangkrupt, berpangku tangan meaning not doing anything, and buang
penat meaning to take some rest)”.
Witono et al., (2013: 3) also classifies other types of idiom as follows.
Partial idioms are idioms the meaning for which can be understood from one of its
constituent elements (e.g. harga mati meaning something not debatable, naik
darah meaning furious, and kabar burung meaning unconvincing rumor or
gossip). Idiom using parts of the body use words in relation to parts of the body
(e.g. empat mata meaning a talk between two speakers, adu mulut meaning two
people arguing each other, setengah hati meaning not serious, kepala batu
meaning disobedient. Idioms using tactile senses use words in relation to the
25
tectile sense (e.g. perang dingin meaning a war without weapon between two
parties threatening each other, kering kerontang meaning a very dried weather of a
very skinny man, tertangkap basah meaning being caught in the act, and berita
hangat meaning a news gossiped by many people).
Idioms using colors use words having something to do with colors (e.g. jago
merah meaning fire, meja hijau meaning court, masih hijau meaning
inexperienced, hitam diatas putih meaning a written agreement, and lapangan
hijau meaning football court). Idioms using things from the nature use anything
found in the nature (e.g. tanah air meaning a country where someone was born,
bintang lapangan meaning a famous football player, menangkap angin meaning
invain works, and kabar angin meaning rumor). Idioms using names of the
animals use words in relation to animals (e.g. kambing hitam meaning a person
being blamed for a mistake he is not responsible for, kuda hitam meaning
something unexpected, kelas kakap meaning an outstanding or ruling group,
tenaga badak meaning strong and powerful, and akal kancil meaning smart in a
cunning way).
Idiom using parts of the plants use words in relation to parts of the plants
(e.g. sebatang kara meaning having no relatives or family, naik daun meaning
currently famous, bunga tidur meaning dreams, lidah bercabang meaning
unreliable, and bunga desa meaning the most beautiful girl). Idioms using
numbers use any words in relation to numbers (e.g. diam seribu bahasa meaning
not talking at all, satu suara meaning agreeing with something, kaki lima meaning
26
street vendors, setengah tiang meaning an expression of condolence, and tujuh
keliling meaning a bad headache).
In translating idioms, “one of the difficulties that a translator might
encounter is being able to recognize that she is dealing with idiomatic
expressions” (Baker, 1992: 65). In addition, “idiomatic expressions are peculiar in
a way that they cannot be translated literally or word for word (e.g. rain cats and
dogs which idiomatically means heavy rain (Harefa, 2015, 10). Larson in
Suwardi (2015: 2) states that “the real danger comes in translating an idiom
literally, since the result will usually be nonsense on the receptor language”.
According to Winarto and Tanjung (2015: 22):
Idiomatic expressions pose special challenges for translators

because they are forms of deviation either lexically, grammatically,
or logically which can be either colloquial or formal allowing little
or no variation and are culturally-bound.
Jabbari (2016: 507) adds that “idioms usually cannot be translated well and
when they are translated directly word-for-word into another language, either their
meanings are changed or turned meaningless”.
Baker in Wahid (2017: 2) highlights some difficulties in translating idioms.
First, “idioms may have no equivalent in the target language, as various meanings
cannot be predicted and only occasionally matches the way another language
chooses to express the same meanings”. Second, “an idiom may have a similar
counterpart in the target language, but its context of use may be different”. In
other words, the two expressions may have different connotations or may not be
pragmatically transferable. As Baker (1992: 69) has exemplified, “the English

27
idiom ‘to sing a different tune’ meaning to say or do something that signals a
change in opinion because it contradicts what one has said or done before”.
Meanwhile, “to sing different tunes/ ‘to sing a duet’, which is ‘chang-dui-tai-xi’ in
Chinese, refers to contradictory points of view with strong political connotations”.
Third, “an idiom can be used in the source text in both its literal and
idiomatic senses” (Wahid, 2017: 2). In other words, idioms cannot be successfully
reproduced in the target text unless the target-language idiom corresponds to the
source-language idiom both in form and in meaning. Fourth, “the convention of
using idioms in written discourse, the contexts in which they can be used, and
their frequency of use may be different in the source and target languages”.
Winarto and Tanjung, (2015: 22) also mentions some constraints in
translating idiomatic expressions. First, “translation of idiomatic expressions can
cause a change of both form and meaning”. Second, “considering that idiomatic
expressions consist of groups of words communicating ideas indirectly, the
translator needs to identify from the very beginning regarding to which
expressions are idioms and which ones are not”. Third, “there are some
difficulties on finding the equivalent of the SL’s idiomatic expressions in the TL”.
Fourth, “an idiom is ideally translated into an idiom, but the way in which
idiomatic expressions can be translated depends on the availability of an idiom
with equivalent meaning in the TL” (Wang in Hartono, 2012: 4).
Baker in Wahid (2017: 2) and Wang and Retmono in Hartono (2012: 4)
suggestseven strategies of translating idioms. First, “the translator can use an
idiom of similar meaning and form”. This strategy involves using an idiom in the
28
target language which conveys roughly the same meaning as that of the source-
language idiom. Besides, the translation consists of equivalent lexical items.
However, this kind of match is only occasionally achieved. The second strategy is
“using an idiom of similar meaning but dissimilar form”. Baker (1992: 74) affirms
that “it is frequently possible to find an idiom in the target language which has a
meaning similar to that of the source idiom but which consist of different lexical
items”.
The third strategy is translation by omission (Baker, 1992: 75). In this case,
“an idiom may be omitted altogether in the target text because it has no close
match in the target language, its meaning cannot be paraphrased easily, or due to
stylistic reasons” (Baker, 1992: 75). The fourth strategy is translation by
paraphrase (Baker in Wahid, 2017: 2). According to Baker (1992: 75),
“translation by paraphrase is the most common way of translating idioms when a
match cannot be found in the target language due to differences in stylistic
preferences of the source and target languages”. Wang in Hartono (2012: 4)
emphasizes that “paraphrase in translating an idiom can be done as far as the
translator can maintain its original taste; in other words, the sense and effect of the
original idiom should preserved”.
The fifth strategy is using literal translation, that is, “reproducing the content
and style of the whole text by paying attention to its language style, structure, and
sentence pattern” (Wang in Hartono,2012: 5). The sixth strategy is “using literal
translation with compensation that is, delivering the literal meaning of an idiom in
the SL by introducing its descriptive information and stylistic effect in the TL”
29
(Wang in Hartono, 2012: 5). The seventh strategy is “using free translation by
delivering the meaning and nature of the SL idiomatic expression without
reproducing the same sentence pattern or language style but interpreting it into the
TL text optimally” (Wang in Hartono, 2012: 5).
Winarto and Tanjung, (2015: 22) add that the use of certain strategies will
depend on the context in which a given idiom is translated; since it is difficult to
translate the SL idioms into the TL idioms, a translator may apply non-idiomatic
translation in order to maintain the meaning of the original expression in the TL.
Moreover, the translator has a choice not to realize an idiom in the translation
since it has no close equivalent in the TL or its meaning cannot be easily
paraphrased.
Suwardi (2015: 4) adds that in the effort to discover the equivalence of the
idiom in the TL, the translator might make two types of adjustments to make the
translation more natural in the TL such as by nonfigurative expression
equivalence in which the translator translates the idioms in the SL into non-
idiomatic expression in the TL and by figurative expression equivalence in which
the translator makes substitution of the idioms with the same meaning, message,
or function as the original idiom.
The fourth type of figurative expression is euphemism. Euphemism is “the
use of a mild, comforting, or evasive expression that takes the place of one that is
taboo, negative, offensive, or a little too direct” (Keraf in Yulianti and Yadnya,
2016: 3). According to Beekman and Callow in Larson (1984: 116), “euphemism
is a figurative expression where there is a substation of one word for another, or

30
one expression for another, used to avoid an offensive expression or one that is
socially unacceptable or unpleasant”. Suryawinanta and Hariyanto (2003: 112)
specifies euphemism as the use of particular words to replace some less
appropriate, rude, or offensive expressions. The word mati meaning dead in
Indonesian seems less appropriate. Therefore, the word berpulang is used as
substitution.
Most of the languages have euphemisms substituting certain words,
particularly regarding to sex, death, and supernatural (Suryawinata and Hariyanto,
2003: 122). In some languages to have sex is substituted with another expression
euphemistically such as to know, to touch, to come together, or to sleep with.
Regarding to death, some languages have various ways of saying die, e.g. pass
away for English, gone to the fathers and gone to sleep for Hebrew, eyes closed
for Papua New Guinea, and gone to one’s village for Twi language in Africa.
Regarding to supernatural things, the Jews use heaven for God and people in
Chotal substitute devil with elder brother.
In translating euphemism from the original source to the receptor language,
a comparable euphemism is used. Larson (1984: 116) states that “it is important
for the translator to recognize the euphemistic nature of the source language
expression and translate it with an acceptable and appropriate expression of the
receptor language whether using a comparable euphemism or a direct expression”.
For example, he died in Indonesian can be translated into he passed away in
English. Similarly, he is sleeping with his fathers in the Greek can be translated
into he went to his village. In some other languages, however, the direct
31
expression he died might be just acceptable and not offensive. Example (12) lists
some other euphemisms given by Suryawinanta and Hariyanto (2003: 113) where
the euphemisms in the source language are translated into their comparable
euphemisms in the receptor language.
(12) a. ST Ibunya telah berpulang tiga tahun yang lalu.

TT His mother passed away three years ago.
b. ST Putra Pak Bupati terganggu ingatannya.
TT The Regent’s son is mentally imbalanced.
c. ST He is a little slow.
TT Ia sedikit lambat.
d. ST She is not feeling well.
TT Ia sedang tidak enak badan.
The fifth type of figurative expression is hyperbole. According to Altikriti
(2016: 131), “the name hyperbole (hy-per-bol-lee) is from the Greek word
hyperballein (i.e. hyper overt and ballein to throw or to cast) meaning to exceed
or to hit beyond the mark”. Hyperbole is identified as “extravagant exaggeration
by which something is represented as much greater or less, better or worse, or as
involving a greater intensity than in reality or beyond possibility” (Oed in
Altikriti, 2016: 131). It is “bold overstatement or the extravagant exaggeration of
fact or of possibility used either for serious, ironic, or comic effects” (Abrams and
Harpham in Masroor and Pourmohammadi, 2016: 134) “in a case where the
writer’s description is stronger than is warranted by the state of affairs described”
(Leech in Altikriti, 2016: 133).
Beekman and Callow in Larson (1984: 117) define hyperbole as “the
exaggeration of something more than what the writer has intended the reader to
understand deliberately used for effect instead of a literal description”. In English

32
we have some exaggeration making and expression a hyperbole, such as they
turned the world upside down, I’m starving, I’m frozen to death, etc. It is
“intensification in the emotional sense heightening the force of the proposition
and marks the intensity of speaker involvement; meaning that while the writer is
committed to its deeper emotional and social truth” (Claridge in Altikriti, 2016:
132).
Kreuz in Altikriti (2016: 132) adds that “the goals of a hyperbole is to
clarify, to emphasize, to provoke, to be humorous, and to add interest regarding to
the proposition”. Kreuz adds (2016: 138–139):
Hyperboles have the functions of “boasting, insults, wishes,

challenge, accusation, self-humiliation, belittling, complaints,
confession, disapproval, contradictions, criticisms, disagreements,
expressing gratitude, offer, suggestion, promise, request,
compliment, advice, warning, reminding, threats, anger, lust, and
admiration.
A translator must make sure that “the desired effect and the correct meaning
of a hyperbole are retained in the TL, because deliberate exaggerations in the SL
may be understood as untruths if they are translated literally” (Larson, 1984: 117).
The translator should be assured that “the appropriate effect and the proper
meaning of the intentional exaggeration are conveyed into the target language”
(Brinannica and Larson in Masroor and Pourmohammadi, 2016: 134).
The sixth types of figurative expressions are metaphors and similes.
Metaphors and similes are “figurative expressions using comparisons showing
likeness” (Larson, 1984: 246). Nolan in Masroor and Pourmohammadi (2016:
133) defines metaphor as “a figurative expression representing the similarities

33
among words by replacing one word instead of the other”. According to Machali
(2000: 89) metaphor is “a figure of speech in which a word or phrase is applied to
an object or action that it does not literally denote in order to imply a
resemblance”. It is “a kind of analogy that compares two things but in the form of
a short in which the comparison between the things are not conveyed explicitly”
(Keraf in Padillah et. al., 2016: 73).
Meanwhile, Britannica in Masroor and Pourmohammadi (2016: 133) states
that “similes usually compare two things existing in the natural world that we are
acquainted with (e.g. He eats like a bird)”. Simile is “a comparison that is explicit
implying the same thing with another thing; it requires an effort explicitly
indicating that similarity through the comparing words as, like, as though, as if,
such or as” (Keraf in Padillah et. al., 2016: 72). Meanwhile, metaphors do not
have such comparing words so that the subject is directly connected to something
being compared with, but can often be paraphrased as similes. There are two
categories of simile namely clear similarity and unclear similarity (Padillah et. al.,
2016: 72); “Clear similarity is comparison between two things conveyed
obviously that also contains the details of similarity, while unclear similarity is
comparison between two things conveyed obviously that does not contain the
details of the similarity”.
Metaphors and similes are “grammatical forms representing two
propositions in the same semantic structure” (Larson, 1984: 246). The
propositions consist of a topic and a comment about the topic. The relationship
between the two propositions is in the form of comparison which comes in the
34
comment part of the propositions. It is not always easy for translators to identify
metaphors in a literary work. Ortony et al., Inhoff et al., and Gerrig and Healy in
Giora (1997: 188) state that “metaphors take longer to process than literal
language either within a short context or out of context and metaphors followed
by a context phrase took longer to read than the same metaphor preceded by a
context”.
To better understand contexts provided by metaphors and similes, Beekman
and Callow in Larson (1984: 247) emphasize that “metaphors and similes must at
least have four parts namely topic, image, point of similarity, and nonfigurative
equivalent”. Topic is “the topic of the first preposition (nonfigurative), that is, the
thing being talked about” (Larson, 1984: 247). Image is “the topic of the second
proposition (figurative), that is, what it is being compared with” (Larson, 1984:
247). Point of similarity is “the likeness found in the comments of both of the
propositions involved or the comment of the event proposition which has the
image as topic” (Larson, 1984: 247). In the simile the moon is like blood, moon is
the topic, blood is the image, and red is the point of similarity. In the metaphor
encoding event proposition the righteous judge will give you the crown of life,
God who judges righteously is the topic, officials (who normally give the
victorious athlete a crown) is the image, giving people reward for doing well is
the point of similarity between the topic and the image, and the nonfigurative
meaning of will give you the crown of life is will give you eternal life.
There are some problems in translating metaphors and similes outlined by
Larson (1984: 250-251) as follows. First, “if they are translated literally in the
35
receptor language, they might be completely misunderstood”. Second, “the image
used in the metaphor and simile may be unknown in the receptor language”. For
example, the simile his clothes were like a chimney sweep’s face might be
meaningless in some countries having no chimney sweeps. Third, “the topic of the
metaphor is not always clearly stated” (Larson, 1984: 252). In the metaphor the
tide turned against the government, for example, the topic public opinion is left
implicit. Fourth, “the point of similarity is sometimes implicit and is hard to
identify” (Larson, 1984: 253). The metaphor he is a pig, for example, does not
include the point of similarity and imply various ideas in different cultures, such
as dirty, someone who does not listen to people, etc.
Fifth, “the point of similarity may be understood differently in one culture
than another” (Larson, 1984: 254). The metaphor John is a rock, for example,
might mean he is still, he doesn’t move, he can’t talk, or he is always there. In
addition, one of the problems in translating metaphors and similes is related to the
culture, so “the target readers need to be acquainted with them, their figurative
images, and their comparison as the way the readers in the source language
comprehend them” (Newmark in Masroor and Pourmohammadi, 2016: 133).
Larson in Yulianti and Yadnya (2016: 2) suggests five ways that metaphors
and similes might be translated. First, “the metaphor might be kept if the receptor
language permits, that is, if it sounds natural and is understood correctly by the
readers”. Second, “a metaphor might also be translated as a simile by adding like,
as, or as if”. Third, “a metaphor of the receptor language which has the same
meaning might be substituted”. Fourth, “metaphor may be kept and the meaning
36
can be explained, i.e. the topic and point or similarity may be added” (Yulianti
and Yadnya, 2016: 2). Another technique is “the meaning of the metaphor may be
translated without keeping the metaphorical imagery” (Yulianti and Yadnya,
2016: 2).
Broeck and Miremadi in Fadaee (2011: 175) suggest that to find appropriate
equivalents for metaphors in the target language, a translator must have access to
the following: a clear-cut definition to differentiate between ordinary expressions
and metaphors, approaches to how a metaphor can be translated and the
maneuvers to curve around irregularities and discrepancies, an awareness of
different types of contexts in which the use of metaphors is needed to flavor the
writing and the limitation of their use, and a correct realization of constraints
which emanate from the nature of translation and are imposed on the rendering of
translation.
Morneau in Fadaee (2011: 176) suggests five techniques for translating
metaphors. First is “by translating the metaphor exactly word-for-word”. Second
is “by rephrasing the metaphor as a simile that may help only in languages where
metaphor is rarely used”. Third is “by translating the metaphor into an equivalent
metaphor in the target language (e.g. the metaphor the ship ravaged through the
waves is rendered into the ship pushed through the waves like a battering rain)”.
Fourth is “translating the metaphor using literal language to get the point across
even though it may destroy the imagery of the metaphor. Fifth is “using the
metaphor but providing all the necessary referents so that the readers will
understand it.
37
Larson in Fadaee (2011: 177) mentions three techniques for translating
simile namely, keeping the same simile; replacing the simile with another simile
but keeping the original meaning (e.g. translating the simile as harmless as a dove
into as harmless as an ant); and keeping the same simile but spreading it by
bringing its topic and point of similarity. In some cases “due to different cultural
features, a combination of more than one technique is needed to convey the
meaning”.
The seventh type of figurative expression is personification. According to
Masroor and Pourmohammadi (2016: 133), “personification is used to attribute
the person characteristics to things or concepts (e.g. the sea was angry or the sun
smiled)”. It is “the assigning of human characteristics to nonhumans” (Keraf in
Yulianti and Yadnya, 2016: 4). Suryawinanta and Hariyanto (2003: 116) define
personification as a figurative expression attaching human characters towards
other creatures or non-living things, such as plants and the things found in nature.
A translator can directly translate a personification literally by maintaining
the grammatical structure of the receptor language. If the literal translation is not
appropriate, the translator can modify the translation so that the message is well
received. According to Larson in Masroor and Pourmohammadi (2016: 133):
Since this figure of speech do not exist in all languages, it should

be translated by an appropriate equivalent in the target language by
using two procedures, namely retaining the figurative senses in the
target language and using nonfigurative meaning in the target
language.
Example (13) from Suryawinata and Hariyanto (2003: 116) shows some
modification in the translation of some lines of Gibran’s The Broken Wings.

38
(13) a. ST …and when I sat by the seashore I heard the waves

singing the song of Eternity.
TT …dan saat aku duduk di tepi laut, aku dengar ombak
menyanyikan lagu keabadian.
b. ST …when love opened my eyes with its magic rays and
touched my spirit for the first with its fiery fingers.
TT …saat cinta membuka mataku dengan sinar ajaibnya dan
untuk pertama kali menyentuh jiwaku dengan tangan-
tangan hangatnya.
2.1.3 Translation Techniques
Molina and Albir in Budiharjo and Minggus (2016: 102) state that “the term
translation technique instead of translation strategy or translation method because
translation technique is characterized as how the result of the translation functions
in relation to the corresponding unit in the source text”. Meanwhile, translation
strategies refer to how a translator solves the problems emerging during
translation process. Similarly, according to Baker in As-Safi (2010: 54), “a
translation strategy is a procedure for solving a problem encountered in translating
a text or a segment of it”.
In other words, translation techniques are associated with the result of the
translation product and translation strategies are concerned with the translation
process. In addition, translation techniques differ from translation methods in a
way that they operate at a different level. Translation techniques operate at micro
units of translation and methods affects the macro unit of the translation, that is,
the whole text. Newmark in Fadaee (2011: 176) distinguishes between translation
methods and techniques. Translation methods relate to the whole text, while
translation techniques are used for sentences and the smaller units of language.
39
Some experts propose different techniques of translation. Hatim and
Munday (2004: 149-151) propose seven translation techniques namely borrowing,
calque, literal translation, transposition, modulation, equivalence, and adaptation.
However, the currently and widely used translation techniques in translation
studies covering a large variety are the ones proposed by Molina and Albir (2002:
509-511). They outlined eighteen translation techniques namely adaptation,
amplification, borrowing, calque, compensation, description, discursive creation,
established equivalent, generalization, linguistic amplification, linguistic
compression, literal translation, modulation, particularization, reduction,
substitution, transposition, and variation. This study attempts to identify how
these 18 techniques proposed by Molina and Albir (2002) are employed in the
translation of figurative expressions in Eka Kurniawan’s Beauty is A Wound. Each
of the techniques is explained as follows.
The first technique is called adaptation. Molina and Albir (2002: 500) define
adaptation as “replacing a cultural element in a SL text with the one originating
from TL culture which makes the translation of the original more familiar in the
TL”. According to Hatim and Munday (2004: 151), “adaptation is used in those
cases where the type of situation being referred to by the SL message is unknown
in the TL culture”. Therefore, the translator has to create a new situation that can
be considered as being equivalent.
The second technique is called amplification. Molina and Albir (2002: 500)
define “amplification as the technique applied by adding or introducing
information item that is not present in the SL text to provide necessary additional
40
information”. Amplification occurs when the TL uses more signifiers to cover
syntactical or lexical gaps. Amelia et al (2016: 243) exemplifies an amplification
through the addition of the word kumpulan in the target text Saat itu aku
menyadari kami sesungguhnya adalah kumpulan persaudaraan cahaya dan api as
the translation for the source text At that moment, I realized that we were the
brothers of light and fire.
The third technique is called borrowing. Molina and Albir (2002:499) define
“borrowing as a word taken directly from another language”. Budiharjo and
Minggus (2016: 103) specify “borrowing as taking original words or expressions
existing in the SL text and using them in the TL text”. The words or expressions
can be presented in the TL text with or without any modification in terms of
spelling and pronunciation. Kardimin (2013: 207) distinguishes two kinds of
borrowing namely pure borrowing and naturalized borrowing. An example for
pure borrowing is translating operator in English into operator in Indonesian. An
example for naturalized borrowing is translating Polyjuice in JK Rowling’s Harry
Potter and the Sorcerers’ Stone into Polijius in its Indonesian version.
The fourth technique is called calque. Molina and Albir (2002: 499) define
“calque as a foreign word or phrase translated and incorporated into another
language”. Budiharjo and Minggus (2016: 103) specify calque as “the technique
employed by applying literal translation of a foreign word or phrase, either
structurally or lexically”. Hatim and Munday (2004: 149) state that “a calque is a
special kind of borrowing whereby a language borrows an expression form of
another but translates literally each of its elements”. The result of calque is either
41
a lexical calque or a structural calque. A lexical calque is the calque which
maintains the syntactic structure of the TL while introducing a new mode of
expression such as translating compliments of the season into compliments de la
saison. Meanwhile, a structural calque introduces a new construction of the
language. Kardimin (2013: 208) exemplifies the translation of Junior High School
into Sekolah Lanjutan Tingkat Pertama as a structural calque.
The fifth technique is called compensation. Molina and Albir (2002: 500)
explain that “compensation takes place when an item of information or a stylistic
effect from the ST that cannot be reproduced in the same place in the TT is
introduced elsewhere in the TT”. For example, the archaic thee in I was seeking
thee (taken from the Jungle Book) is compensated by the vocative O in the French
translation, because there is no corresponding archaic equivalent in French.
Budiharjo and Minggus (2016: 103) specify that “compensation is used whenever
there is a linguistic or stylistic element in the SL text which is reproduced in the
different part in the TL text”. This technique is commonly used if the original
linguistic or stylistic element cannot be reproduced and reflected in the same part
in the translation. Kardimin (2013, p 208) exemplifies compensation in example
(14) below.
(14) ST Enter, stranger, but take heed of what awaits the sin of
greed.
TT Masuklah, orang asing, tapi berhati-hatilah terhadap dosa
yang haru ditanggung orang serakah.
The sixth technique is called description. Molina and Albir (2002: 510)
define “description as replacing a term or expression with a description of its form

42
or function”. For example, “the Italian micro culture item panettone is translated
as traditional Italian cake eaten on New Year’s Eve” (Molina and Albir (2002:
510). Another example is “translating Ngaben into Balinese cremation ceremony
to send the deceased to the next life” (Kardimin, 2013: 208).
The seventh technique is called discursive creation. Molina and Albir (2002:
510) define “discursive creation as establishing a temporary equivalence that is
totally unpredictable out of context”. Kardimin (2013: 208) adds that “this
technique is commonly used to translate film titles which are out of context”. An
example for discursive creation is the Spanish translation of the film Rumble Fish
into La ley de la calle. Other examples are translating An Then There Were None
into Sepuluh Orang Negro, Khu Kam (a title of a Thai film meaning ill-fated
lovers) into Sunset at Chaopraya, and Rod Faifa Maaha Na Thoe (a title of a Thai
film meaning My Train is Seeing You) into Bangkok Traffic Love Story.
The eighth technique is called established equivalent. Molina and Albir
(2002: 510) define “established equivalent as using a term or expression
recognized by dictionaries or daily language in use as an equivalent in the TL”.
An example for established equivalent is given by Kardimin (2013: 209), that is,
translating Great Britain into Britania Raya. Other examples are translating
United Nations, Cote D’ivoire, and Jewish into Perserikatan Bangsa Bangsa,
Pantai Gading, and Yahudi” Kardimin (2013: 209).
The ninth technique is called generalization. Molina and Albir (2002: 510)
define “generalization as using a more general or neutral term”. Budiharjo and
Minggus (2016: 103) specify it as “translating using more super-ordinate term”.

43
Kardimin (2013: 209) adds that in generalization the translator changes a foreign
term having specific characteristics into a more familiar term in the receptor
language. For example, flat is translated into apartemen and nasi and gabah are
translated into rice.
The tenth technique is called linguistic amplification. Molina and Albir
(2002: 510) define “linguistic amplification as adding linguistic elements to the
translation”. Budiharjo and Minggus (2016: 103) specify that “linguistic
amplification is frequently used under the contexts of consecutive interpreting and
dubbing”. According to Kardimin (2013: 209), “the addition of linguistic elements
in the receptor language text makes the translation more contextual and easily
understood”. For example, translating the expression I am in into Aku Ikut.
The eleventh technique is called linguistic compression. Molina and Albir
(2002: 510) define “linguistic compression as synthesizing linguistic elements in
the TT that is frequently used in simultaneous interpreting and subtitling”. This
technique is in opposition to linguistic amplification, since the TT appears to be
longer than the ST. Kardimin (2013: 201) exemplifies the translation of I am not
following you into aku tidak mengerti as a linguistic compression.
The twelfth technique is called literal translation. Hatim and Munday (2004:
149) define “literal translation as the direct transfer of an SL text into a
grammatically and idiomatically appropriate TL text in which the translators’
tasks is limited to observing the adherence to the linguistic servitudes of the TL”.
Molina and Albir (2002: 510) define it as “translating a word or an expression
word for word corresponding to formal equivalent technique when form coincides
44
with function and meaning”. Literal translation is different from established
equivalent where the dictionary and language use are used as reference. Instead,
the translator finds the translation in which form, function, and meaning
correspond to each other. Kardimin (2013: 216) lists some literal translations in
example (15) as follows.
(15) a. ST Bumblebee landed beside him.

TT Seekor lebah hinggap di sampingnya.
b. ST How did you get here?
TT Bagaimana kamu bisa sampai sini?
c. ST He wrapped a leaf around himself to keep warm.
TT Dia menyelimuti badannya dengan selembar daun agar
tetap hangat.
The thirteenth technique is called modulation with the following definition
according to Hatim and Munday (2004: 150).
Modulation is a variation of the form of the message obtained by a

change in point of view when literal or transposed translation
results in a grammatically correct utterance or is considered
unsuitable, unidiomatic, or awkward in the TL.
Molina and Albir (2002: 510) specify that “it changes the point of view,
focus, or cognitive category in relation to the ST which can be either lexical or
structural”. For example, an Arabic expression satasiiru abban which literally
means you are going to be a father is translated into you are going to have a child.
Kardimin (2013: 213) adds that “modulation is a free translation where the
message accuracy depends on the context”. He also gives a list of modulation
(2013: 217) in example (16) as follows.
(16) a. ST The crunching munching caterpillar.

TT Ulat yang suka makan.
b. ST Until the light begin to dim.
TT Sampai hari mulai gelap.
45
c. ST He fell into a deep, deep sleep.

TT Si ulat sudah tertidur sangat lelap.
The fourteenth technique is called particularization. Molina and Albir
(2002: 510) define particularization as “using a more precise or concrete term”.
For example, window in English is translated into guichet in French. Kardimin
(2013: 209) adds that “particularization is in opposition to generalization in which
a general term in ST is made more specific in TT”. Another example is rice in
English is translated into padi, gabah, beras, or nasi depending on the context in
Indonesian language.
The fifteenth technique is called reduction. Molina and Albir (2002: 510)
define “reduction as suppressing or reducing information item found in the SL so
that it does not appear in the TL”. An example is given by Kardimin (2013: 210)
where the phrase the month of fasting for Moslem in English is translated simply
into Ramadhan in the receptor language. Examples (17) lists some reduction.
(17) a. ST Well, you can’t.

TT Tidak.
b. ST In the early morning.
TT Di awal pagi.
c. ST You’re far too fat to fly.
TT Kamu terlalu gemuk untuk terbang.
The sixteenth technique is substitution. Molina and Albis (2002: 511) define
“substitution as changing linguistic elements for paralinguistic elements either
intonation or gestures or vice versa”. For example, Arabic gesture of putting your
hand on your heart is translated into Thank you and they both Japanese bows each
other is translated into kedua orang Jepang itu saling memberikan salam.
46
The seventeenth technique is called transposition. Molina and Albir (2002:
511) define “transposition as changing the grammatical category”. Budiharjo and
Minggus (2016: 103) specify that “transposition means translating units of
translation by applying changes in grammatical category, because of the
difference between the grammar of the SL and that of the TL”. According to
Hatim and Munday (2004: 150), transposition involves “replacing one word class
with another without changing the meaning of the message”. Kardimin (2013:
212-213) shows some transposition in example (18) as follows.
(18) a. ST Caterpillar woke to the sound of twittering.

TT Si ulat terbangun oleh suara kicau burung.
(from active voice to passive)
b. ST Who knows? Perhaps one day you will fly, light as
feather, like me.
TT Siapa tahu suatu hari nanti kamu bisa terbang seringan
burung, seperti aku.
(from interrogative sentence to statement)
c. ST There are children playing in the garden.
TT Ada banyak anak bermain di taman.
(from plural noun to singular)
d. ST Road safety first.
TT Utamakan keselamatan di jalan raya.
(a change on grammatical pattern because there is no
corresponding equivalence in the receptor language but
less natural)
e. ST Manufacturer’s limited warranty.
TT Garansi terbatas pabrikan.
(a change on grammatical pattern to overcome the
differences in the use of lexical items)
The eighteenth technique is called variation. Molina and Albir (2002:511)
defines variation as “changing linguistic and paralinguistic elements such as
intonation and gestures that affect aspects of linguistic variation, e.g. changes of
style, social dialect, geographical dialect, etc”. Kardimin (2013: 210) exemplifies
47
the translation of He’ll never get to sleep with all this dim, said Ma Lion into Leo
tidak akan bisa tidur jika ramai seperti ini, kata Bu Singa as a variation”.
2.2 Review of Relevant Studies
As guidance and sources of comparison, four relevant studies in the area of
translation having similar characteristics as the present study are reviewed. The
studies are the ones that have been conducted to investigate the employment of
various translation techniques in translating figurative expression. They are “A
Study on Translation of Figurative Language from English to Malay: An Analysis
of the Translation of Harry Potter Series” conducted by Wahid (2017), “A Study
on Translation Problems of Figurative Expressions from English into Indonesian
in Lee’s To Kill A Mockingbird conducted by Hartono” (2014), A Study on a
Translation Analysis of Idioms in Rowling’s Harry Potter and the Goblet of Fire
into Harry Potter dan Piala Api conducted by Ernawati (2016), and A Study on
the Analysis of Translation Technique Used to Translate Metaphors in Hirata’s
Laskar Pelangi into Rainbow Troops by Amelia et al (2016). The review of each
of the studies is outlined as follows.
Wahid (2017: 1) conducted a study on analyzing the translation of figurative
expressions (i.e. idioms, similes, and metaphors) in the Harry Potter series from
English into Malay published by Pelangi Sdn Bhd. The study was conducted
“using the library and a text analysis research methodology by focusing on the
figurative expressions and the translation strategies used by the translator”

48
(Wahid, 2017: 3). The most translation strategies used is maintaining the image of
the figurative elements of the SL.
The six types of idiom (i.e. a string of words the meaning of which is
different from the meaning conveyed by individual words carrying certain
emotive connotations which are not expressed in the other lexical items (Larson in
Wahid (2017: 2)) were identified according to the categorization stated by Seidl
and Mcmordie in Wahid (2017: 3). Those are “informal idioms, verbal idioms,
idiomatic pairs, idioms used in special fields, idioms related to special themes,
and idioms containing special keywords” (Wahid, 2017: 4). According to the
analysis (Wahid, 2017: 4), “some idioms were not translated appropriately since
they were not used based on the context of the narrative in the novel” (Wahid,
2017: 4). The idiom Melin’s beard or Merlin’s pant expressing the feeling for
surprise is translated into astaga which is synonymous with astaghfirullah
according to Kamus Dewan Bahasa in Wahid (2017: 4). This translation is less
appropriate since it is not to be used based on the context of the narrative in the
novel but to facilitate the multi-ethnic readers in Malaysia instead.
The translation of similes (i.e. a figurative expression used to make an
explicit comparison through comparing words such as like or as between the items
referred to by two expressions (Nida and Cameron in Wahid, 2017: 2)) “mostly
maintains the image or element of the ST to facilitate the readers’ understanding
and to make the messaged conveyed in the narrative more easily understood, so
that they can be delivered effectively” (Wahid, 2017: 4). The strategies employed
by the translator are “using a simile of similar meaning and form (Larson in
49
Wahid, 2017: 4) (e.g. sitting like a child is translated into duduk seperti anak-
anak) and using a simile of similar meaning but dissimilar form when the SL form
is inappropriate to use in the TL” (Larson in Wahid, 2017: 4) (e.g. white as sheet
is translated into pucat seperti mayat since Malay society commonly associate a
pale face to a corpse’s face and nutty as squirrel poo is translated into agak sewel
since it is equivalent to the meaning intended by the author, that is, insane)
(Wahid, 2017: 4).
The translation of metaphors (i.e. a figurative expression used to make an
implicit comparison between the items referred to by two expression based upon
supplementary components, but does not have comparing words such as like or as
(Nida and Cameron in Wahid, 2017: 2)) often maintained a metaphorical
expression with the same image (Larson in Wahid, 2017: 4) (e.g. spineless worm
is translated into cacing lembek referring to the same image in the target culture,
dung bomb into bom najis referring to the bad news about Dumbledore, and
vulture into burung hering referring to Rita Skeeter’s attitude resembling a
vulture), substituted them with different metaphors in the TL carrying the same
meaning as those in the SL (Larson in Wahid, 2017: 4), changed them into similes
(Larson in Wahid, 2017: 5) (e.g. rippling scarlet caterpillar is translated into
seperti beluncas merah yang beralun-alun) or eliminated the image of the
metaphor by presenting the topic of the metaphor instead (e.g. that muck is
translated into surat kabar picisan) (Wahid, 2017: 4-5).
To sum up, the translation of figurative language should be handled
carefully and thoroughly to ensure that the message is conveyed, which is highly
50
crucial for the target readers having no knowledge or cultural background of the
SL. It required a deep understanding and interpretation to obtain the actual
meaning (Wahid, 2017: 5). In addition, the translation of figurative expressions
should be done effectively and resemble the original text, so that it will not affect
the overall presentation of the work (Wahid, 2017: 1).
The present study shared similar characteristics to the one conducted by
(Wahid, 2017) in a sense that it also aimed to analyze the translation techniques of
figurative expressions by referring to Molina and Albir’s 18 categorizations of
translation techniques (2002). Therefore, the researcher did not only attempt to
find out translation techniques in the level of figurative expressions as a whole but
also in the level of sentences, clauses, phrases, and words. In addition, the present
study also attempted to identify the types of figurative expressions thoroughly
through analytical descriptions based on the rubrics drawn from some theoretical
constructs. The researcher furthermore investigated whether or not the figurative
senses of the figurative expressions are retained in the target language.
Hartono (2014) conducted a study on identifying the translation problems of
figurative languages covering idioms, metaphors, similes, personifications, and
alliterations from English into Indonesian. The problems were taken from three
factors consisting of objective factor, generic factor, and affective factor. The
objective factor means the translation strategies of the aforementioned five types
of figurative expressions in Harper Lee’s to Kill a Mockingbird (TKM) from
English into Indonesian, the generic factor consists of the novel translator’s
51
education background and experiences in translating the novel, and the affective
factor is the readers’ responses regarding to the translation quality.
The research method used in this study is Qualitative Evaluative Research
Based on Holistic Criticism Approach (Sutopo in Hartono, 2014: 359) in which
the types of data used are primary data consisting of figurative languages taken
from the original and translated novel TKM, interview records with the novel
translator, and questionnaire results from the target readers; which are gathered
through documentation, interview, and questionnaire distribution (Hartono, 2014:
359). The data were analyzed “using domain, taxonomy, componential, and theme
analyses” (Spradley in Hartono, 2014: 359), “contrastive analysis” (James in
Hartono, 2014: 359), and “interactive analysis” (Miles and Huberman in Hartono,
2014: 359)”. Objective factor was categorized and analyzed contrastively; generic
and affective factors were categorized and each category was compared
componentially; and all the data were analyzed in the cycle of interactive analysis,
data reduction, analysis, data display, and verification (Hartono, 2014: 359).
In terms of the objective factor, “the idioms, metaphors, similes,
personifications, and alliterations are translated from English into Indonesian
based on particular methods, techniques, and ideology of translation used by the
translator” (Hartono, 2014: 362). Metaphors, similes, personifications, and
alliterations are mostly translated using direct techniques (i.e. literal translation
and borrowing), literal method, and the ideology of foreignization (i.e. referring
more to the cultural background of the source language); while idioms are mostly
translated using indirect techniques (i.e. transposition, modulation, adaptation and

52
established equivalent), idiomatic method, and the ideology of domestication (i.e.
referring more to the cultural background of the target language) (Hartono, 2014:
362).
In terms of the generic factor, “the translator’s background, experience,
competency, and strategy were reported based on the interview result with the
translator” (Hartono, 2014: 360). Regarding to the translator’s background, the
translator had non-formal education background of translation, had no English
education background, was a Chemical Engineering graduate, self-studied
theories and practices of translation, and was motivated by his parents (Hartono,
2014: 360). Regarding to his experience, he is a part-time translator for some
book publishers, and had translated more than 30 novels including To Kill a
Mockingbird (Hartono, 2014: 360). Regarding to his competency, he had a good
command of English grammar but was lack of attention to literary senses
(Hartono, 2014: 360). His strategies in performing his job effectively included
reading books on translation theory, having a contact with the author, having
discussion with the author, browsing the Internet, making a log of mini Thesaurus,
using a monolingual dictionary, taking part in translation seminars, doing cultural
research, and using idiomatic translation method, faithful translation method,
word-for-word translation method, literal translation method, and literal and
transposition techniques (Hartono, 2014: 361).
In terms the affective factor, that is, based on the target readers’ responses,
it was found out that idioms were translated accurately, while metaphors, similes,
personifications, alliterations were not accurate yet (Hartono, 2014: 362). Based
53
on the naturaleness level, the translation quality of idioms is natural, while
metaphors, similes, personifications, and alliterations are not natural yet (Hartono,
2014: 362). The translation quality of readibility level indicates that idioms had
high level of readibility, while metaphors, similes, personifications, and
alliteration are on the middle level of readibility (Hartono, 2014: 362).
To solve the problems in translating the novel, the researcher suggested the
Tripartite Cycle Model of Novel Translation which puts author, translator, and
reader in a simultaneous cycle in which the author is the source of information
whom should be known well by the translator since the author had a will and
purpose when carrying a message in the novel. The novel itself was the broad
message explored by the author which can be in the form of words, phrases,
sentences, paragraphs, and texts with both connotative and denotative meanings
(Hartono, 2014: 364). It is a must for the translator to understand, know, and
recognize both meanings before she reproduces the message in the target
language; thus there would be a solid collaboration among the author, translator,
and target readers in the translation process (Hartono, 2014: 364).
The present study shared similar characteristics to the one conducted by
Hartono (2014) in terms of the research problems and methodology. Both studies
aimed to analyze the translation techniques of figurative language. However, apart
from the translation techniques of idioms, metaphors, similes, and personifications
analyzed in Hartono’s study (2014), the present study also analyzed the translation
techniques of hyperboles and euphemism. Hartono’s study attempted to answer
the research problems by investigating three factors namely objective factor (i.e.
54
the translation of figurative expressions), generic factor (i.e. the translator’s
background, competency, and strategy in performing his job effectively), and the
affective factor (the target readers’ responses related to the translation’s
naturaleness, accuracy, and readibility). On the other hand, the present study
merely focused on the objective factor (e.g. translation techniques of the figurative
expressions.
However, this present study went further by analysing the preservation or
omission of the figurative expressions in the target language. In analyzing the
data, the present study also used domain and taxonomy categorization. The
domain analysis was done by identifying and classifying the types of figurative
expressions and the taxonomy analysis was done by identifying and explaining
the techniques. Both analyses used the available identification rubrics. Even
though the present study did not investigate the affective factor thoroughly, it still
included some sense of the affective factors in a way that it involved professional
raters with academic and practical background on translation studies instead of
common readers in validating the analytical descriptions on both the identification
of the types of figurative expressions and the identification of the translation
techniques
Ernawati (2016) conducted a translation analysis of idioms in the novel
Harry Potter and the Goblet of Fire by J.K. Rowling which is translated by
Listiana Srisanti. The aims of this study are to find the types of idiom used in J.K
Rowling’s novel entitled Harry Potter and the Goblet of Fire and to identify the
strategies of translating English idioms into Indonesian language in the novel.

55
This study uses descriptive qualitative method. Ninety seven idioms from
randomly-selected thirty pages are chosen as the source of data.
The result of the translation analysis indicated that there are nine types of
idioms found in the novel Harry Potter and the Goblet of Fire in which phrasal
verbs are the most frequent idioms (62.88%). The other types of idioms are
idioms with keywords from special categories, idiomatic expression with
prepositions (10.32%), idioms with nouns and adjectives (4.12%), idiomatic pairs
and verbal idioms (2.06%), and idioms with comparison (1.03%). It was found out
that translating by paraphrase is the most frequently used technique used to
translate idioms with percentage 96.91% of the whole data. The second technique
employed by the translator is using an idiom of similar meaning and form
(2.06%). The least technique to translate the idioms is using idioms of similar
meaning but dissimilar form (1.03%).
Ernawati (2016) uses Seidl and McMordie’s classification of idioms and
Baker’s classification (1992: 71-78) of strategies in translating idioms. Seidl and
McMordie in Ernawati (2016: 12-14) groups idioms into nine types, namely
words with idiomatic uses (adjectives, nouns, and miscellaneous), idioms with
noun phrases and adjective phrases, idiomatic pairs, idioms with prepositions,
phrasal verbs, verbal idioms, idioms for special subject, idioms for keywords from
special categories, and idioms with comparisons. In addition, as mentioned
previously in the literature review section, Witono (2013: 71-78) categorizes
strategies in translation strategies in translating idioms into using an idiom of

56
similar meaning and form, using an idiom of similar meaning but dissimilar form,
translation by paraphrase, and translation by omission.
In the present research, idiom was one of the types of figurative expression
in Kurniawan’s Cantik itu Luka into Beauty is a Wound whose translation
techniques were investigated. However, in classifying their types, the researcher
does not use Seidl and McMordie’s classification. Instead, Witono’s classification
(2013: 3) is used. This is because the classification of idioms (i.e. full idiom,
partial idiom, idiom using parts of the body, idiom using tactile sense, idiom using
colors, idiom using things from the nature, idiom using names of the animals,
idiom using parts of the plants, and idiom using numbers) suggested by Witono
(2013) is more feasible to be applied in Indonesian language rather than the one
made by Seidl and McMordie in Ernawati (2016: 12-14), since some categories in
the later (i.e. idiomatic pairs, phrasal verbs, and verbal idioms) are present in
English but might not present in another language.
In addition, in analyzing the translation techniques employed in translating
the idioms, the researcher used Molina and Albir’s translation techniques (2002),
since they suggest a more thorough and detailed categorization of translation
technique compared to Baker’s (1992). The technique called translating by
paraphrase, for example, can still be elaborated further into modulation,
compensation, description, or amplification. Another reason is because the
translation strategies proposed by Baker (1992) have been represented in Molina
and Albir (2002). Using idioms of similar meaning but dissimilar form, for
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example, can be categorized as adaptation. In addition, translation by omission
(Baker, 1992) can also be categorized as reduction (Molina and Albir, 2002).
Amelia et al (2016) conducted a study on the analysis of translation
technique used to translate metaphors in Hirata’s Laskar Pelangi into Rainbow
Troops. This study aims to identify the techniques of translation used to translate
metaphors in the novel Laskar Pelangi into Rainbow Troops and their effects on
the translation quality of the translated metaphors. It is a stylistic research on
translation which uses descriptive qualitative method. There are primary data and
secondary data as the sources of the study. The primary data were the novel
Laskar Pelangi and its translated version Rainbow Troops. The secondary data
were the information obtained from the raters. This study particularly employs
document analysis to find out the metaphors and the translation techniques used.
In obtaining the data on the translation quality of the metaphors, questionnaires
are distributed to the raters.
The data were collected through some steps. First, the researcher read the
original novel while identifying the metaphors. After that, the translations of the
metaphors in the translated version of the novel were searched. The translation
techniques found to be used in translating the metaphors are transposition, literal
translation, amplification, reduction, generalization, adaptation, and description.
Based on the results, literal translation was the most frequently used technique
employed by the translator of the novel. According to the information obtained
from the raters, this technique produced good translation, meaning that the
metaphors in the TL text are easily understood. Besides the translation quality of
58
the metaphors in the novel Laskar Pelangi into Rainbow Troops is categorized as
sufficient.
The study conducted by Amelia et al. (2016) had similar objectives to the
present study, which are, identifying the translation techniques of metaphors,
which is a type of figurative expression. However, she did not specify the
background and characteristics of the raters other than mastering the source
language and the target language. It did not specifically explain whether or not the
raters master the subject content or has attained years of experience in translating
literary works. In the other hand, the present study specified the quality of the
expected raters in terms of their academic background (i.e. graduate and scholar
of translation studies from reputable universities and lecturer of Indonesian
language and literature) and working experience in the field of translation and the
teaching and research of Indonesian language and literature. In Amelia’s study
(2006), the raters were involved in assessing the translation quality while in the
present study the raters were involved in assessing the accuracy of the analytical
description on the identification of the figurative expressions and the
identification of their translation techniques.
2.3 Theoretical Framework
This research was a descriptive qualitative study applied in translation.
Seven types of figurative expressions namely metonymy, idiom, euphemism,
hyperbole, metaphors and similes, and personifications were identified in
Kurniawan’s Cantik itu Luka. Furthermore, the translations of the figurative

59
expressions were identified in the translated version entitled Beauty is A Wound.
After both the source-language texts and the target-language texts were identified,
the translation techniques employed to translate those seven types of figurative
expression were identified, analyzed, and discussed. In determining which
figurative expression belongs to which type, a rubric with checklists containing
the criteria of metonymy, synecdoche, idioms, euphemism, hyperbole, metaphors
and similes, and personifications was used as the instrument.
After the types of the figurative expression were determined, the translation
techniques used in translating them were identified, analyzed, and discussed based
on a rubric with checklists containing the criteria of translation techniques
synthesized by Molina and Albir (2002). When both the types of figurative
expressions and their translation techniques were investigated, the researcher
moved further by analyzing the preservation or omission of their figurative sense
in the target language. They were then categorized into ‘Translated Figuratively’
(TF) or ‘Not Translated Figuratively (NTF).
Two checkers of the analysis trustworthiness (i.e. the expert in Indonesian
literature and the expert in translation studie) were involved to ensure the
correctness and turstworthiness of the descriptive analysis. They were given two
validation sheets with data cards consisting of the first tabulation covering Data
Code, Types of Figurative Expressions, Analytical Description, and Feedback
Columns and the second tabulation covering Data Code, Translation Techniques
Identified, Reasoning, TF (Translated Figuratively) Column using Check (√) or
Cross (X) method, and Feedback Columns. The TF Column aimed at identifying
60
whether or not the figurative sense of the expression was retained. The two
descriptive analysis tables were furthermore revised based on the validators’
feedback.
Below is the figure that may facilitate the comprehension on how this study
was conducted.
TRANSLATION PROCESS
METONYMY
HYPERBOLE
TRANSLATED
SIMILE FIGURATIVELY
TRANSLATION
METAPHOR TECHNIQUES
ORIGINAL NOVEL TRANSLATED

(SOURCE MEANING NOVEL
LANGUAGE TEXT) (TARGET
LANGUAGE TEXT)
PERSONIFICATION TRANSLATION
TECHNIQUES
IDIOM NOT TRANSLATED

FIGURATIVELY
EUPHEMISM
TRANSLATION PROCESS
Figure 2.2 Theoretical Framework of the Study

CHAPTER 3
RESEARCH METHODOLOGY
This chapter discussed the methodology of the study which covers type of
the study, data collection, data analysis, and result verification. The data selection
consisted of sources of data and method in selecting the data. The data analysis
included research instruments, analyzing the types of the figurative expressions,
analyzing the translation techniques, and determining the retention and omission
of the expressions’ figurative senses in the translation.
3.1 Type of the Study
This study was categorized as Descriptive Translation Studies (DTS)
corresponding to “a descriptive, empirical, interdisciplinary, and target-oriented
approach to the study of translation” (Rosa, 2016: 1). As a field of pure research,
“Translation Studies is defined as an empirical discipline with the dual purpose of
describing the phenomena of translating and translation as they manifest
themselves in the world of our experience and of formulating general principles to
explain and predict translational phenomena” (Holmes in Rosa, 2016: 2).
The map of the translation discipline encompasses a binary division
between the branches of 1) Applied Translation Studies which includes the
translation teaching, translation criticism, producing translation aids and devising
translation policies and 2) Pure Translation Studies which are further subdivided
into two branches namely Descriptive Translation Studies (DTS) with the aim of
describing the phenomena of translation and translating and Translation Theory
61
62
with the purpose of explaining and predicting translational phenomena, and
thereby producing general or partial theories (Rosa, 2016: 2).
Descriptive Translation Studies itself is “subdivided into three main types of
research namely Product-oriented DTS, Function-oriented DTS, and Process-
oriented DTS” (Rosa, 2016: 3). Product-oriented DTS focuses on the description
of individual translations, the comparative descriptions of several translations of
the same source text either in the same language or in different languages, and the
description of larger corpuses of translation, which led to the analysis of corpora
in translation studies. Function-oriented DTS researches contexts rather than
translated texts by considering the study of the function, influence, and value of
translation in the target context, the mapping of translations, and the analysis of
the effects of translation upon the context. Process-oriented DTS aims at a
systematic description of what goes on in the translator’s mind while translating,
which results in translation psychology, but may also comprehend the study of
more conscious decision-making processes, the selection of global strategies, or
the organization of translation services.
This study was classified as a Product-oriented DTS since it focuses on the
identification and description of the translation techniques and strategies of the
Indonesian figurative expressions into English in Kurniawan’s Cantik itu Luka
into Beauty is a Wound. The research method used in this Product-oriented DTS
was descriptive qualitative. In this study, a descriptive qualitative method was
used by the researcher in identifying and analyzing the gathered data which are in
the form of list of figurative expressions found in the two novels namely Cantik
63
itu Luka and Beauty is a Wound. According to Fraenkell and Wallen (1993:380),
“a descriptive qualitative method is a method to explain, analyze, classify
something, and investigate activities, situations, or materials using descriptions
and categories represented through words”. This study therefore used the
document analysis.
Bogdan and Knopp in Frankaell and Wallen (1993: 380-381) propose three
characteristics of descriptive qualitative method. First “the researcher should be
the key instrument” (Bogdan and Knopp in Frankaell and Wallen, 1993: 380).
Second “qualitative data should be selected in the form of words or pictures
instead of numbers” (Bogdan and Knopp in Frankaell and Wallen, 1993: 381).
Third, “descriptive qualitative researchers tend to analyze their data inductively”
(Bogdan and Knopp in Frankaell and Wallen, 1993: 381). In conclusion, this
study was categorized as Product-oriented Descriptive Translation Study using
descriptive qualitative method, particularly document analysis, which explained,
analyzed, and classified the types of Indonesian figurative expressions found in
Kurniawan’s Cantik itu Luka and their translation techniques in its English
translation version namely Beauty is a Wound. Furthermore, this study also
investigated the preservation and omission of the figurative sense of the
expressions in the target language.
In explaining, analyzing, and classifying the types of Indonesian figurative
expressions, their translation techniques into its English version, and the
preservation and omission of the figurative sense in the target language, the
researcher herself was the key instrument. In ensuring the correctness and
64
accuracy of the descriptive analysis in identifying the types of figurative
expressions and their translation techniques, two experts were involved to assess
and give feedback on the descriptive analysis. The analysis was furthermore
revised based on the experts’ feedback and comments.
3.2 Data Selection
This data selection section explained the source of data and method of
selecting the data.
3.2.1 Sources of Data
There were two sources of data in the study namely primary data and
secondary data. The primary sources of data are the original novel entitled ‘Cantik
itu Luka’ (2015) authored by Eka Kurniawan and the translated version entitled
‘Beauty is a Wound’ (2015) by Annie Tucker. The original novel consists of 479
pages with 17 chapters and is published by PT Gramedia Pustaka Utama in 2015.
The translation version consists of 470 pages with 17 chapters published by A
New Directions Paperbook Original in 2015. Meanwhile, the secondary source of
data was the analysis table focusing on the identification of the figurative
expression and their translation techniques.
This study was conducted to analyze what translation techniques were used
to translate the figurative expressions found in Cantik itu Luka into Beauty is a
Wound. Therefore, the data were the list of seven types of figurative expressions
namely metonymy, synecdoche, idioms, euphemism, hyperbole, metaphors,
similes, and personification (Larson, 1984: 111-254) and (Suryawinata and

65
Hariyanto, 2003: 116) foundin Cantik itu Luka and the translated figurative
expressions found in Beauty is a Wound.
3.2.2 Method of Data Collection
Since there were abundant data found in the two novels, a limitation was
made. Therefore, chapter I and even chapters were selected to be the sources of
data for the study. Supporting this procedure, Frankaell and Wallen (1993: 88)
state that the researcher is able to use her judgment to select the data that she
believes based on the relevant theoretical construct. This strategy of data
collection provided the data that the researcher needs. In applying this data
collection, the researcher identified the figurative expressions in Chapters 1, 2, 4,
6, 8, 10, 12, 14, and 16 of the novel. The figurative expressions investigated were
metonymy, idiom, euphemism, hyperbole, metaphor, simile, and personification
(Larson, 1984: 111-254) and Suryawinata and Hariyanto, 2003: 116).
3.3 Data Analysis
This data analysis section discussed the research instrument, the procedure
to identify and analyze the types of figurative expressions, translation techniques
of the figurative expressions, and the retention and omission of the figurative
sense of the figurative expression in the target language.
3.3.1 Research Instrument
There were two research instruments used to answer the research questions
in the study. The first instrument was the list of criteria to identify the types of
66
figurative expressions in Kurniawan’s Cantik itu Luka. The list of the criteria was
illustrated as follows:
Table 3.1 List of Criteria for Types of Figurative Expressions
No. Type of Figurative Expression Criteria

1. metonymy Figurative meaning of words because of
associative relationship or words in a
figurative sense involving association
(Larson in Masroor and
Pourmohammadi, 2016: 134).
a. metonymy based on spatial One word is substituting for another but
relationship the two words are not synonyms; the
word substituting the other word
occasionally occurs in collocation with a
particular phrase in a stretch of an
utterance (e.g. He has a good head where
head is used in a figurative way to refer
to the brain) (Larson, 1984: 111).
b. metonymy based on temporal particular time expressions which have
relationship close association to specific events (e.g.
Your hour has come where hour refers
the time to take your exam has arrived)
(Larson, 1984: 111)
c. metonymy based logical some words which imply logical
contiguity relationship with other objects (e.g. I
read Shakespeare in which Shakespeare
refers to the plays he wrote) (Larson,
1984: 112)
d. metonymy based on object an object which is used in a figurative
function way to stand for what it is used for (e.g.
Martin Beni lives by his gloves means
Martin makes a living by boxing using
his gloves) (Larson, 1984: 112)
e. metonymy with non-literal a stretch of expression which might be
meaning completely misunderstood if translated
literally into some languages (e.g. The
Provincial Commissioner jailed all the
fighters where the commissioner did not
jail them directly but simply ordered the
police to do the action he was
responsible for) (Larson, 1984: 112)
f. metonymy based on object an object which is used for the attribute it
attribute symbolizes (e.g. The arm of the law
67

reached out to all corners of the country
where the object arm is used to
symbolize authority) (Larson, 1984: 112)
2. Idiom a number of words which, taken together,
mean something different from the
meanings of the words when they stand
alone or frozen patterns of language
which allow little or no variation in form
and often carry meanings which cannot
be deduced from their individual
components because it is a siries of
limited words semantically and
syntactically which functions as a single
unit (Hooper in Harefa (2015: 10), Baker
(1992: 63), and Crystal in Hartono
(2012: 4))
a. full idiom idioms the meaning of which cannot be
understood from its constituent elements
(e.g. gulung tikar (rolling up one’s mat)
meaning bangkrupt) (Witono et. al.,
2013: 3)
b. partial idiom idioms the meaning for which can be
understood from one of its constituent
elements (e.g. kabar burung (bird’s
news) meaning unconvincing rumor or
gossip) (Witono et. al., 2013: 3)
c. idiom using colors idioms using words having something to
do with colors (e.g. meja hijau meaning
court) (Witono et. al., 2013: 3)
d. idiom using parts of the Idioms using things from the nature use
nature anything found in the nature (e.g. tanah
air (land and water) meaning a country
where someone was born) (Witono et.
al., 2013: 3).
e. idiom using animal names Idioms using names of the animals use
words in relation to animals (e.g. tenaga
badak (rhinocéros’ power) meaning
strong and powerful) (Witono et. al.,
2013: 3)
f. idiom using parts of the body Idiom using parts of the body use words
in relation to parts of the body (e.g.
empat mata (four eyes) meaning a talk
between two speakers) (Witono et. al.,
2013: 3)
68

3. Hyperbole bold overstatement of fact or of
possibility used either for serious, ironic,
or comic effects or extravagant
exaggeration by which something is
represented as much greater or less,
better or worse, or as involving a greater
intensity than in reality or beyond
possibility (e.g. I’m frozen to death
meaning I’m cold) (Abrams and
Harpham in Masroor and
Pourmohammadi (2016: 134) and Oed in
Altikriti (2016: 131))
4. metaphor a figure of speech in which a word or
phrase is applied to an object or action
that it does not literally denote in order to
imply a resemblance; a kind of analogy
that compares two things but in the form
of a short in which the comparison
between the things are not conveyed
explicitly (Keraf in Padillah et. al. (2016:
73) and Machali (2000: 89))
parts of metaphor A metaphor has at least three parts
namely topic, image, and point of
similarity in which topic is the topic of
the first preposition (nonfigurative), that
is, the thing being talked about, image is
the topic of the second proposition
(figurative), that is, what it is being
compared with, and point of similarity
is the likeness found in the comments of
both of the propositions involved (e.g.
the righteous judge will give you the
crown of life where God who judges
righteously is the topic, officials (who
normally give the victorious athlete a
crown) is the image, giving people
reward for doing well is the point of
similarity between the topic and the
image (Callow in Larson, 1984: 247).
5. Simile a comparison that is explicit implying the
same thing with another thing; it requires
an effort explicitly indicating that
similarity through the comparing words
as, like, as though, as if, such or as; it
69

compare two things existing in the
natural world that we are acquainted with
(Keraf in Padillah et. al. (2016: 72) and
Britannica in Masroor and
Pourmohammadi (2016: 133))
Parts of simile A simile has at least three parts namely
topic, image, and point of similarity in
which topic is the topic of the first
preposition (nonfigurative), that is, the
thing being talked about, image is the
topic of the second proposition
(figurative), that is, what it is being
compared with, and point of similarity
is the likeness
found in the comments of both of the
propositions involved (e.g. the moon is
like blood where moon is the topic, blood
is the image, and red is the point of
similarity) (Callow in Larson, 1984:
247).
6. Euphemism the use of a mild, comforting, or evasive
expression that takes the place of one
that is taboo, negative, offensive, or a
little too direct (e.g. the word mati
meaning dead in Indonesian seems less
appropriate; the word berpulang is used
as substitution. (Keraf in Yulianti and
Yadnya, 2016: 3)
7. Personification a figurative expression attaching human
characters towards other creatures or
non-living things, such as plants and the
things found in nature (e.g. the sea was
angry or the sun smiled) (Suryawinanta
and Hariyanto, 2003: 116)
The identification result of the types of figurative expressions was
transferred into an analysis table. The analysis table was used to put the identified
figurative expressions in the source-language texts and the target-language texts
and to describe the analysis of each type of the figurative expressions. The
analysis table consisted of four columns namely code, source language, target
70
language, and description of the figurative expression type. To make the analysis
more organized, the researcher used a certain numbering technique. In addition,
there was a code for each type of figurative expression.
For example, the code 002/CIL/Met/SL005/TL005 implied that it was the
second figurative expression found in the novel, it was categorized as metaphor
(MET), and it was located in page 5 of the original novel and page 2 in the
translation version. Another example, the code 064/CIL/SIM/SL007/TL008
implied that it was the sixty-fourth figurative expression found in the novel, it was
categorized as simile (SIM), and it was located in page 7 of the original novel and
page 8 of the translation version. Metaphor was transcribed as (META),
Metonymy was transcribed as (MET), Personification was transcribed as (PER),
Hyperbole was transcribed as (HYP), and euphemism was transcribed as (EUP).
The second instrument was the list of criteria to identify the translation
techniques of each figurative expression. The list of the criteria was described as
follows.
71
Table 3.2 List of Criteria for Identifying the Translation Techniques
No. Type of Translation Technique Criteria of Translation Technique
1. Adaptation The translator replaces a cultural

element in a SL text with the one
originating from TL culture which
makes the translation of the original
more familiar in the TL where the type
of situation being referred to by the SL
message is unknown in the TL culture
(Molina and Albir, 2002: 500 and
Hatim and Munday, 2004: 151).
2. Amplification The translator adds or introduces
information item that is not present in
the SL text to cover the lexical gaps
(Molina andAlbir, 2002: 500).
3. Borrowing The translator takes original words or
expressions existing in the SL text and
using them in the TL text with or
without any modification (pure
borrowing and naturalized borrowing)
in terms of spelling and pronunciation
(Budiharjo and Minggus, 2016: 103 and
Molina and Albir, 2002:499).
4. Compensation The translator reproduces an item of
information or a stylistic effect in the
ST elsewhere else in the TT when the
original linguistic or stylistic element
cannot be reproduced and reflected in
the same part in the translation
(Budiharjo and Minggus, 2016: 103 and
Molina and Albir, 2002:500).
5. Description The translator replaces a term or
expression with a description of its
form or function (Molina and Albir,
2002: 510).
6. Established equivalent The translator uses a term or expression
recognized by dictionaries or daily
language in use as an equivalent in the
TL (Molina and Albir, 2002: 510).
7. Generalization The translator uses a more general,
neutral, or more super-ordinate term for
a foreign term having specific
72
characteristics to make it more familiar

for the receptor language readers
(Molina and Albir, 2002: 510,
Budiharjo and Minggus, 2016: 103, and
Kardimin, 2013: 209).
8. Modulation The translators applies a variation of
the form of the message by changing its
point of view or focus when a literal or
transposed translation results in a
grammatically correct utterance or is
considered unsuitable, unidiomatic, or
awkward in the TL (Molina and Albir,
2002: 510 and Hatim and Munday,
2004: 150).
9. Particularization The translator makes a general term in
ST more specific, precise, or concrete
in TT (Molina and Albir, 2002: 510 and
Kardimin, 2013: 209).
10. Reduction The translator suppresses or reduces
information item found in the SL so
that it does not appear in the TL
(Molina and Albir, 2002: 510).
11. Transposition The translator translates units of
translation by applying changes in
grammatical category, because of the
difference between the grammar of the
SL and that of the TL, which
occasionally involves replacing one
word class with another without
changing the meaning of the message
(Molina and Albir, 2002: 511,
Budiharjo and Minggus, 2016: 103, and
Hatim and Munday, 2004: 150).
12. Variation The translator changes linguistic and
paralinguistic elements such as
intonation and gestures that affect
aspects of linguistic variation (e.g.
changes of textual tone, style, social
dialect, geographical dialect, etc.) to
introduce or change dialectical
indicators for characters when
translating for the theater and changes
in tone adapting novels for children
73
(Molina and Albir, 2002: 511).
The identification result of the translation techniques for each datum of
figurative expression was transferred into an analysis table. The analysis table was
used to put the identified figurative expressions in the source-language texts and
the target-language texts and to describe the translation technique of each type of
the figurative expressions. The analysis table consisted of five columns namely
code, source language, target language, translation technique of the figurative
expression, and description of the translation technique. In the analysis table of
the translation technique, the researcher used the same numbering and coding
technique as the analysis table for identifying the types of the figurative
expressions.
3.3.2 Analyzing the Types of Figurative Expressions
In analyzing the types of the figurative expressions, both the original and the
translation version of the novel are read and the sentences containing the
figurative expressions are highlighted. The figurative expressions are identified
and classified into seven types namely metonymy, idiom, simile, metaphor,
euphemism, personification, and hyperbole using the rubric called List of Criteria
for Types of Figurative Expressions in Table 3.1. After the types of the figurative
expressions were identified, they were analyzed descriptively and explained in
details. The result of the analysis was transferred in to an analysis table as
exemplified below.
74
Table 3.3 Example on the Description of the Types of Figurative Expressions
CODE Source Language Target Language Idiom Description

167/CIL/IDI/ Mereka mendengar They heard The phrase ‘kabar
SL094/TL097 kabar-kabar through the burung’ (literally
burung beberapa grapevine from means ‘the bird
dibawa Mama Mama Kalong and news’) is an idiom the
Kalong dan yang from a number of meaning of which
lain oleh beberapa the servants who cannot be predicted
pelayan yang came to help her. from the meanings of
datang the constituent words.
membantunya. The idiom ‘kabar
burung’ means rumor,
the news that has not
been true, or a
currently circulating
story or report of
uncertain or doubtful
truth.
In the CODE column, number 167 means it was the one-hundred sixty-
seventh datum found in the sources of data, which were, original novel and the
translation version. CIL stood for Kurniawan’s Cantik itu Luka, the title of the
original novel. IDI stood for Idiom, the type of figurative expression into which
the datum was categorized. Numbers SL094 and TL097 meant that the idioms
were found in page 94 in the original novel and in page 97 in the translation
version. Columns Source Language meant the datum found in the original novel
and Target Language meant the data found in the translation version. Column
Idiom Description was the descriptive analysis of the idiom based on the criteria
of each type of the figurative expression listed in Table 3.1.

75
3.3.3 Analyzing the Translation Techniques
Similar to the way in analyzing the translation strategies of the figurative
expressions, in analyzing their translation techniques, the researcher made use of
the data that have been categorized into their appropriate types of figurative
expression and have been analyzed descriptively as exemplified in Table 3.6.
Afterwards, the translation techniques were identified using the rubric called List
of Criteria for Identifying the Translation Techniques in Table 3.3. The reasoning
as the analytical description for the translation technique identification was also
provided. The result of the analysis was transferred into an analysis table as
exemplified below.
Table 3.4 Example on the Description of the Translation Techniques
CODE Source Target Translation Reasoning

Language Language Technique
140/CIL/SIM/ Ia berjalan He walked Established The clause Ia
SL316/TL311 lurus dan straight and equivalent berjalan lurus
tegak, tak tall, still full dan tegak in
menampakkan of resolve, not SL is
diri sedikitpun at all like a translated into
sebagai orang conquered the
yang man. He grammatically
dikalahkan. walked like a appropriate
Seolah ia commander TL text using
seorang certain he’d the words and
panglima soon win the expression
perang musuh wars still yet available in
yang to come. the dictionary
tertangkap and the daily
namun yakin language in
akan segera use.
bebas kembali Reduction The image of
untuk the underlined
memenangkan simile in SL
peperangan- seolah ia
peperangan seorang
76
CODE Source Target Translation Reasoning

Language Language Technique
berikutnya. panglima
perang musuh
yang
tertangkap
namun yakin
akan segera
bebas kembali
untuk
memenangkan
peperangan-
peperangan
berikutnya (as
if he were an
enemy
warlord who
was caught
but believed
to be free
again soon to
win the next
battles) is
suppressed
shorter in TL
into like a
commander
certain he’d
soon win the
wars still not
yet to come.
In reporting the description of the translation techniques of the figurative
expressions, Table 3.4 used the same numbering technique as Tables 3.3. SIM
stood for simile, the type of figurative expression into which the data was
categorized. Columns Source Language meant the datum found in the original
novel and Target Language meant the data found in the translation version.
Column Reasoning is the descriptive analysis for the identified translation
technique.
77
In the above example, there were two translation techniques identified in
translating the underlined simile. They were established equivalent and reduction.
In applying the established equivalent technique, the translator translated the topic
(the subject being talked about in the simile) in the SL simile using the words and
expressions available in the target language as the one-to-one equivalents for the
words and expressions in the source language. Meanwhile, in applying the
reduction technique, the translator suppressed the clause Seolah ia seorang
panglima perang musuh yang tertangkap namun yakin akan segera bebas kembali
untuk memenangkan peperangan-peperangan berikutnya (as if he were an enemy
warlord who was caught but believed to be free again soon to win the next battles)
in SL a little shorter in into like a commander certain he’d soon win the wars still
not yet to come.
3.3.4 Determining the Retention and Omission of Figurative Senses in the
Target Language
In determining the retention and omission of the figurative senses of the
figurative expressions in the target language, the researcher made use of the
information on the fulfillment criteria of types of figurative expressions in Table
3.1 and attempted to identify whether or not the criteria were still met in the target
language. If the criteria were met, it means the figurative sense of the related
expression is retained in the translation (TF/ Translated Figuratively). On the
other hand, if the criteria were not met, it means the figurative sense of the related
expression is omitted in the translation (NTF/ Not Translated Figuratively). Table
3.5 below specifies the circumstances in which the figurative expressions in the
78
source language are not translated figuratively in the target language. The
preservation and omission of the figurative sense in the target language were
represented by the Check (√) and Cross (X) signs in the TF (Translated
Figuratively) Column.
Table 3.5 Criteria of Figurative Sense Omission in the Target Language
No. Types of Figurative Omission of Figurative Sense in TL

Expression
1. Metonymy absence of association in figurative sense between
the words or phrases identified as the metonymy
and the primary concept (i.e. the literal words or
phrases that they substitute
2. Idiom absence of the frozen patterns which function
semantically and syntactically as a single unit
3. Hyperbole absence of the extravagant exaggeration or bold
overstatement and loss of the greater intensity
beyond possibility of the expression
4. Metaphor absence of resemblance, analogy, or comparison
which can be seen in the absence of topic (i.e. the
subject being talked about), image (i.e. the object
or concept being compared to), or point of
similarity (i.e. the likeliness between the topic and
the image)
5. Simile absence of resemblance, analogy, or comparison
which can be seen in the absence of topic (i.e. the
subject being talked about), image (i.e. the object
or concept being compared to), point of similarity
(i.e. the likeliness between the topic and the
image), or the explicit comparing words between
the topic and the image
6. Euphemism absence of mild, evasive, less offensive, and less
unpleasant expression substituting the offensive,
negative, or taboo expression
7. Personification absence of attachment of human characteristics
towards other living beings and non-living beings
The following figure may facilitate a comprehension on how the process
of the data analysis worked.

79
DESCRIPTIVE ANALYSIS TRUSTWORTHINESS REVISION OF

CHECKING OF DESCRIPTIVE
DESCRIPTIVE ANALYSIS ANALYSIS
ANALYSIS OF EXPERT OF
INDONESIAN REVISED ANALYSIS OF
FIGURATIVE
LANGUAGE AND FIGURATIVE
EXPRESSIONS
LITERATURE EXPRESSIONS
ANALYSIS OF
TRANSLATION REVISED ANALYSIS OF
TECHNIQUE TRANSLATION
EXPERT OF TECHNIQUE
TRANSLATION
STUDIES
ANALYSIS OF
RETENTION AND
OMISSION OF REVISED ANALYSIS OF
FIGURATIVE SENSE RETENTION AND
OMISSION OF
FIGURATIVE SENSE
Figure 3.1 Process of Data Analysis

Based on Figure 3.1 above, the process of data analysis consisted of three
stages namely descriptive analysis, trustworthiness checking of descriptive
analysis, and revision of descriptive analysis. In the descriptive analysis stage, the
researcher identified, analyzed, and described the types of figurative expressions
found in Kurniawan’s Cantik itu Luka and the translation techniques employed in
translating them using the available rubrics drawn from the theoretical constructs.
Afterwards, the figurative senses of the figurative expressions in the target
language were analyzed particularly on whether or not they are retained. All the
descriptive analyses were furthermore put into the tabulation called data cards.
80
In the stage of trustworthiness checking, the descriptive analysis which has
been put into the data cards was given to the experts. There were two experts
involved in this stage. One was the expert of Indonesian language and literature
whose duty was to validate the descriptive analysis on the identification of the
types of figurative expressions found in Kurniawan’s Cantik itu Luka and the
other was the expert of translation studies whose duty was to validate the
descriptive analysis on the identifications of translation techniques used in
translating all the types of figurative expressions and the retention and omission of
the figurative sense of the expressions in the target language. The experts checked
the trustworthiness of the descriptive analysis by correcting the accuracy of the
researcher’s identification on the types of figurative expressions and giving
feedback or revision in the Comment Column.
In the stage of the revision of the descriptive analysis, the researcher revised
all the identifications of the types of figurative expressions found in Kurniawan’s
Cantik itu Luka, the translation techniques used to translate the figurative
expressions, and the retention and omission of the expressions’ figurative senses
in the target language. The revision was made based on the feedback and
correction given by the two validators in the Comment Column. The revised
descriptive analysis was furthermore taken as a final analysis to be reported and
discussed in the result and discussion sections of the thesis.

81
3.4 Trustworthiness of the Study
According to Pilot and Beck in Connelly (2016, p. 435), trustwortthiness in
qualitative study refers to “the degree of confidence in data, interpretation, and
methods used to ensure the quality of a study”. Credibility of the study is one of
the important parameters in the trustworthiness of a qualitative study. Credibility
is defined as “the confidence in the truth of the study and therefore the findings, is
the most important criterion” (Polit and Beck in Connelly, 2016, p. 435).
To ensure that this study is reliable in terms of the interpretation of data and
method, the researcher formulated a rubric consisting of some criteria of types of
figurative expressions drawn from the theories on types of figurative expressions
stated by Larson in Masroor and Pourmohammadi (2016, p. 134), Hooper in
Harefa (2015, p. 10), Baker (1992, p. 63), Crystal in Hartono (2012, p. 4), Witono
et. al. (2013, p. 3), Oed in Altikriti (2016, p. 131), Keraf in Yulianti and Yadnya
(2016, p. 3), and Suryawinanta and Hariyanto (2003, p. 116). Another rubric of
identifying the translation techniques was formulated based on the theories of
translation techniques stated by Molina & Albir, (2002, p. 510-511), Hatim and
Munday (2004, p. 150), and Kardimin, (2013, p. 209). The rubric drawn from
these theories became the concepts or theoretical basis determining which data
should be gathered (i.e. which expressions are classified as figurative and which
techniques are used to translate them).
To ensure the credibility of the findings, two experts (i.e. the expert of
Indonesian language and literature and the expert of translation studies) were
involved in ensuring the trustworthiness the initial results of descriptive analysis

82
(See Appendix 5. the validators’ profiles). The experts checked, corrected, and
gave feedback regarding to the researcher’s descriptive analysis. Furthermore, it
was revised based on the experts’ comments, feedback, and correction.

CHAPTER 4
RESULTS AND DISCUSSION
This chapter elaborates the results of the analysis comprising the
identification of the figurative expressions found the primary data, their
translation techniques, and the retention and omission of the expressions in the
target language. In addition, it also discussed the combination of the translation
techniques employed in translating each of the figurative expressions.
There were 197 figurative expressions found in Kurniawan’s Cantik itu
Luka comprising 10 metonymies, 26 hyperboles, 88 similes, 22 metaphors, 7
personifications, 39 idioms, and 5 euphemisms. Of all the 197 figurative
expressions, 170 were translated figuratively (TF), meaning that the figurative
senses of the expressions were retained in the translation, while the rest 27 were
not translated figuratively (NTF), meaning that the figurative senses of the
expressions were omitted. The percentage of the types of figurative expressions
and the percentage of their figurativeness in the target language were presented
below.
4.1 Identification of Figurative Expressions
The table below shows the percentage of each type of figurative expressions
namely similes, idioms, hyperboles, metaphors, metonymies, personifications, and
euphemisms in Kurniawan’s Cantik itu Luka and the figurativeness of their
translation.
83
84
Table 4.1 Percentage of Figurative expressions in Kurniawan’s Cantik itu

Luka and the Figurativeness of their Translation
No. Types of Figurative Occurrence Percentage TF NTF

Expressions
1. Similes 88 44.67% 87 1
2. Idioms 39 19.80% 22 17
3. Hyperboles 26 13.20% 23 3
4. Metaphors 22 11.17% 20 2
5. Metonymies 10 5.07% 8 2
6. Personifications 7 3.55% 4 3
7. Euphemisms 5 2.54% 5 -
Total number of 197 100% 170 27
figurative expressions (86.30%) (13.70%)
The table above illustrates that most of the figurative expressions found in
the primary data were similes comprising 44.67% of the whole selected data. The
second most types of figurative expressions found in the data were idioms
accounting for 19.80% of the data. The third biggest types were similes and
hyperboles comprising 19.80% and 13.20% of the whole data respectively. The
fewest types of figurative expressions obtained in the selected data were
metonymies, euphemisms, and personifications accounting only for 5.07%,
3.55%, and 2.54% of the data respectively.
4.2 Transaltion Techniques of Figurative Expressions
This section explained the occurrence and percentage of translation
techniques used in translating each type of the figurative expressions comprising
similes, idioms, hyperboles, metaphors, metonymies, personifications, and
euphemisms
85
4.2.1 Translation Techniques of Similes
There were 88 (44.67%) similes found in the primary source of data, 87
(98.86%) of which were translated figuratively and one (1.14%) was not. It
implies that the translator has frequently attempted to retain the figurative senses
of the similes in the translation. The following tables illustrate the distribution of
translation techniques regarding to their figurativeness or non-figurativeness in
the target language.
In translating each of the similes, the translator may use one translation
technique (single) or the combination of two translation techniques (couplet),
three (triplet), or four (quadruplet). Each combination of the translation
techniques was summarized in the four tables below.
Table 4.2 Single Techniques Used in Translating the Similes and Their Types
of Translation
Translation Technique Occurrence Data Codes Types of

Translation
Modulation 16 (18.18%) 039, 043, 047, Figurative
048, 054, 057, 39 (44.32%)
063, 070, 071,
073, 080, 082,
090, 094, 098, 122
Established equivalent 19 (21.59%) 042, 045, 052,
056, 060, 062,
064, 069, 074,
075, 077, 079,
089, 095, 097,
100, 115, 118, 123
Amplification 1 (1.14%) 072
Reduction 2 (2.27%) 084, 110
Transposition 1 (1.14%) 088
Single techniques in 39 (44.32%)
total:
86
Table 4.2 illustrates the occurrence and percentage of single translation
techniques used in translating the similes figuratively. It can be drawn that
established equivalent (21.59%) and modulation (18.18%) were the most
frequently used techniques employed in translating the similes. It implies that the
translator has attempted to use the one-to-one equivalents in TL for the words,
phrases, terms, and expressions in SL based on the dictionary and the daily
language in use through the established equivalent technique. However, the
translator also tried to make some variation on the messages by changing their
points of view or changing their lexicons.
Table 4.3 Couplet Techniques Used in Translating the Similes and Their
Types of Translation
Translation Occurrence Data Codes Types of

Technique Translation
Established equivalent 9 (10.23%) 040, 055, 058, 059, Figurative
and Modulation 083, 091, 092, 101, 34 (38.64%)
111
Established equivalent 1 (1.14%) 041
and Compensation
Established equivalent 7 (7.95%) 044, 086, 093, 103,
and Amplification 104, 116, 120
Established equivalent 5 (5.68%) 051, 068, 112, 114,
and Reduction 117
Established equivalent 2 (2.27%) 053, 106
andAdaptation
Established equivalent 1 (1.14%) 099
and Pure Borrowing
Amplification and 1 (1.14%) 049
Reduction
Amplification and 4 (4.54%) 050, 061, 066, 105
Modulation
Amplification and 1 (1.14%) 109
Adaptation
Modulation and 1 (1.14%) 087
Adaptation
87
Translation Occurrence Data Codes Types of

Technique Translation
Modulation and 2 (2.27%) 065, 121
Reduction
Established equivalent 1 (1.14%) 085 Non Figurative
and Reduction 1 (1.4%)
Couplet techniques 35 (40.4%)
in total:
Table 4.3 illustrates the occurrence and percentage of the combination of
two different translation techniques employed in translating the similes
figuratively. It shows that the two most dominant combinations were established
equivalent and modulation (10.23%) and established equivalent and amplification
(7.95%). In other words, apart from using one-to-one equivalents and making
some paraphrasing, the translator also added some new information items to the
target language.
In translating one simile in a non-figurative way is the translator employed
the combination of employing established equivalent and reduction; meaning that
beside using the words and expressions available in the dictionary and the daily
language in use, the translator also omitted some information items in the source
language so that they did not appear in the target language.
Table 4.4 Triplet Techniques Used in Translating and Their Types of

Translation

Translation
Established equivalent, 1 (1.14%) 037 Figurative
Modulation, and Description 12 (13.64%)
Established equivalent, 1 (1.14%) 046
Modulation, and Variation
Established equivalent, 3 (3.41%) 067, 096, 108
Modulation, and Reduction
88

Translation
Transposition, and Reduction

Transposition, and Adaptation
Transposition, Reduction, and 1 (1.14%) 076

Generalization
Modulation, Transposition, and 1 (1.14%) 119
Amplification
Modulation, Amplification, and 3 (3.41%) 081, 102, 107
Reduction
Modulation, Compensation, and 1 (1.14%) 124
Reduction
Triplet techniques in total: 12 (13.64%)
Table 4.4 illustrates the occurrence and the percentage of the combination of
three translation techniques employed in translating the similes. It can be drawn
from the table that the most frequent combinations were established equivalent,
modulation, and reduction (3.41%) and modulation, amplification, and reduction
(3.41%). In these two triplets, modulation and reduction have reoccurred;
meaning that the translator has quite frequently made some variation and
paraphrasing on the similes by changing their lexicons or points of view and
omitted some information items in the SL so that they did not appear in the TL.
Table 4.5 Quadruplet Techniques Used in Translating the Similes and Their

Translation
Amplification, Transposition, 1 (1.14%) 038 Figurative
Adaptation, and Established 1 (1.4%)
equivalent
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Table 4.5 illustrates the combination of four translation techniques used in
translating one of the similes figuratively, namely amplification, transposition,
adaptation, and established equivalent.
The followings were the descriptions of identification, translation
techniques of similes. Simile is a comparison that is explicit implying the same
thing with another thing; it requires an effort explicitly indicating that similarity
through the comparing words as, like, as though, as if, suchor as (Keraf in
Padillah et. al., 2016: 72).
To be classified as simile, a figurative expression must at least consist of
three parts, namely topic, image, and point of similarity (Callow in Larson, 1984:
247). Topic is the topic of the first preposition (nonfigurative), that is, the thing
being talked about. Image is the topic of the second proposition (figurative), that
is, what it is being compared with. Point of similarity is the likeness found in the
comments of both of the propositions involved or the comment of the event
proposition which has the image as topic.
4.2.1.1 Established Equivalent
The below expression (19) is classified as a simile since it consists of the
topic (something being talked about) that is ketiga (kini empat) anaknya referring
to Dewi Ayu’s four children who were born out of wedlock as a result of sexual
intercourses with random guys; the image (the object being compared to) that is
kutukan pelacuran meaning a curse of prostitution, the comparing word that is

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sebagai (as), and the point of similarity between the topic and the image that is
something abject and humiliating.
(19) SL Ia tak pernah menganggap ketiga (kini empat) anaknya

sebagai kutukan pelacuran.
TL She had never thought of her three (and now four) children
as a curse of prostitution.
The translation technique used in translating this simile is established
equivalent. Some words in the source language are translated using the terms
available in the dictionary and the daily language in use in the target language.
The noun phrases ketiga (kini empat) anaknya and kutukan pelacuran are
translated into three (and now four) children and a curse of prostitution,
respectively.
(20) SL Jika ingin menaklukkan laki-laki dan mencampakkannya

bagai sampah hina, kau salah bertemu denganku, Alamanda.
TL If all you want to do is to conquer men and throw them away
like abject trash, well then it’s too bad you met me, Alamanda.
The highlighted expression in (20) above is classified as a simile since it
consists of the topic (something being talked about) referring to laki-laki meaning
men, the image (something being compared to) referring to sampah hina meaning
abject trash, the comparimg word referring to bagai meaning like, and the point
of similarity between the topic and the image that is both were dumped after they
became useless.
The translation technique used in translating the above simile is established
equivalent. The words and expressions in the source language are translated using
the terms available in the dictionary and the daily language in use in the target
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language. The verb phrase mencampakkannya is translated into throw them away
and the noun phrase sampah hina is translated into abject trash.
4.2.1.2 Modulation
In line with the context in (21), a person was so astounding to Dewi Ayu’s
raise from the grave that she could not put herself together or bother herself to
care about how she looked. The author compared her messy look to someone
trying to escape from a bullfight. This figurative expression is classified as a
simile because it fulfills four characteristics of a simile namely the topic
(something being talked about) referring to rambutnya tampak kacau meaning her
hair looked so messy, the image (something being compared to) referring to orang
yang bebas dari pertarungan dengan banteng meaning someone who has just
been free from a fight with a bull, the comparing word between the two that is,
serupa meaning resemble or look like, and the implied point of similarity between
the topic and the image that is, the state of having untidy and wretched look and
messy hair.
(21) SL Rambutnya tampak kacau sekali serupa orang yang bebas dari
pertarungan dengan banteng.
TL Her hair was a total mess, like someone staggering away
from a bullfight.
The translation technique used to translate this simile is called modulation.
There is a variation on the form of the message in the lexical level. The noun
phrase orang yang bebas dari pertarungan dengan banteng (someone who is free
from a battle with a bull) in SL is changed into someone staggering away from a
bullfight. The state of being free, that is, of not being under the control or in the
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power of another in SL is modified into the act of staggering away, that is, the act
of walking or moving unsteadily as if about to fall to a distance from a particular
place. The translator also changed the point of view of the message from the
circumstance where the character just fought with a bull into the other
circumstance where the character was merely one of the bullfight’s spectators.
4.2.1.3 Established Equivalent and Modulation
According to the context in (22), Dewi Ayu who had been buried for
twenty-one years rose from the grave in a clean, neat, and dainty look. Her body
stayed wholly intact and did not fall into decay. This figurative expression is
classified as a simile since it covers topic, image, and point of similarity. The non-
figurative proposition (topic) or the thing being talked about in the simile is
terbungkus kain kafan meaning Dewi Ayu who was wrapped in a shroud. The
figurative proposition (image) or the thing being compared with is dikubur
semalam saja meaning she’d only just been buried the night before. The point of
similarity between the two is the state of being clean, dainty, neat, and did not fall
into decay yet. The similarity is emphasized by the comparing word seolah
meaning as if.
(22) SL Masih terbungkus kain kafan seolah ia dan kain kafannya

dikubur semalam saja.
TL Still wrapped in a shroud as if she’d only just been buried
the night before.
There are two translation techniques used to translate this simile, namely
established equivalent and modulation. Established equivalent occurs when most
of the terms in SL are translated into the terms recognized by dictionaries and
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daily language us as an equivalent in TL (e.g. terbungkus is translated into
wrapped, dikubur into buried, and kain kafan into shroud). The term kafan is a
micro culture term in SL meaning a cloth used to wrap a corpse before she or he is
buried in a funeral ceremony. The translator used the term shroud as its translation
since it is the term recognized by the daily language in use and the dictionary as
the equivalent for kain kafan. In applying modulation, there is a change on the
point of view in the adverb of time selamaman meaning for a night indicating the
duration of the event which is replaced by the adverb of time the night before
indicating the time when the event took place.
4.2.1.4 Established Equivalent and Amplification
The highlighted expression in (23) is classified as a simile since it consists
of the topic (something being talked about) that is Maman Gendeng hearing that
Dewi Ayu demanded him to marry Dewi Ayu, her daughter; the image (the
situation being compared to) that is ada lebah di dalam tempurung kepalanya dan
capung terbang di dalam perutnya meaning he felt a bee buzzing inside his skull
and dragonflies flitting around his stomach; the comparing word seperti (as if),
and the point of similarity between the topic and the image that is Maman
Gendeng felt nauseaous, startled, and panic.
(23) SL Paling tidak, kawinlah dengannya demi cintamu padaku,” kata

Dewi Ayu akhirnya. Itu seperti vonis bagi Maman Gendeng.
Seperti ada lebah di dalam tempurung kepalanya, dan capung
terbang di dalam perutnya.
TL Marry her out of your love for me,” said Dewi Ayu finally, “if
for no other reason”. That was like a judge’s sentence for
Maman Gendeng. It was as if there was a bee buzzing inside
his skull and dragonflies flitting around in his stomach.
94
There were two translation techniques used in translating the above simile
namely established equivalent and amplification. The employment of
amplification can be found in the reduced adjective clause buzzing meaning
making a humming sound which is a new information item added into TL that is
not present in SL. In applying established equivalent, some words and expressions
in the source language are translated using the terms available in the dictionary
and the daily language in use in the target language. The noun phrases lebah,
tempurung kepala, capung, and perut are translated respectively into a bee, skull,
dragonflies, and stomach. The verb terbang is translated into flitting around (i.e.
to fly or move quickly and lightly).
4.2.1.5 Established Equivalent and Reduction
According to the context in (24) Comrade Kliwon, the leading activist of
Indonesian Communist Party in Halimunda, was arrested by the military soldier.
When being arrested, Comrade Kliwon was very confident that it would not be the
end of the Communist struggle in Halimunda. He was not desperate andconvinced
that the communists would fight back. This figurative expression is categorized
into a simile since it has all the four major characteristics of a simile. They are the
topic (something being talked about) referring to Ia berjalan lurus dan tegak
meaning He walked straight and tall, the image (something being compared to)
referring to Ia seorang panglima perang musuh yang tertangkap namun yakin
akan segera bebas kembali untuk memenangkan peperangan-peperangan

95
berikutnya meaning He was an enemy warlord who was captured but was sure he
would soon be free again to win the next wars, the comparing word that is seolah
meaning as if, and the implied point of similarity between the topic and the image
that is, the ability of enduring hardships, staying resilient and courageous, and not
giving up easily.
(24) SL Ia berjalan lurus dan tegak, tak menampakkan diri sedikitpun

sebagai orang yang dikalahkan. Seolah ia seorang panglima
perang musuh yang tertangkap namun yakin akan segera
bebas kembali untuk memenangkan peperangan-peperangan
berikutnya.
TL He walked straight and tall, still full of resolve, not at all like a
conquered man. He walked like a commander certain he’d
soon win the wars still yet to come.
There are two translation techniques used to translate this simile, namely
established equivalent and reduction. In applying established equivalent, the
translator used the equivalent words in the target language for the translation of
the source language based on the dictionary and the daily language in use. The
verb phrases berjalan lurus dan tegak is translated into walked straight and tall,
memenangkan peperangan into win the wars, and panglima into a commander. In
employing reduction, some words are omitted and repressed shorter in the
translation. The image of the underlined simile in SL seolah ia seorang panglima
perang musuh yang tertangkap namun yakin akan segera bebas kembali untuk
memenangkan peperangan-peperangan berikutnya meaning as if he were an
enemy warlord who was caught but believed to be free again soon to win the next
battles is suppressed shorter in TL into like a commander certain he’d soon win
the wars still not yet to come.

96
4.2.1.6 Established Equivalent and Adaptation
According to the context in (25), Comrade Kliwon was known as a
gentleman having such perfect good looks and astonishing intelligence in
Halimunda. Many people admired his physicality when he was a newborn baby
and compared his birth to the birth of a saint. In addition, a rare natural
phenomenon that is, a howling ajak also occurred at the time of the birth. Thus,
Halimunda people were convinced that Kliwon was not an ordinary. This
figurative expression is classified as a simile as it consists as three essential
features of a simile namely the topic that is, lolongan ajak meaning the howl of an
ajak, the image that is, bintang yang dilihat orang Majusi ketika Yesus lahir
meaning the star seen by the Magi when Jesus was born, the comparing word that
is, sebagai meaning as, and the implied point of similarity between the topic and
the image that is, the legend stating that both are mystical signs signifying and
admonishing the birth of a noble and extraordinary person.
(25) SL Dimana mereka memperbandingkan lolongan ajak sebagai

bintang yang dilihat orang Majusi ketika Yesus lahir.
TL With people comparing the howls of the wild dogs to the star
seen by the Magi when Jesus was born.
There are two translation techniques used to translate the above simile
namely established equivalent and adaptation. Applying established equivalent
means using a term or expression recognized by dictionaries or daily language in
use as an equivalent in the TL (Molina and Albir, 2002: 510). Some terms in the
source language are translated into the target language using the terms recognized
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by the dictionary such as the translation of orang Majusi into the Magi, bintang
into the star, Yesus into Jesus, dilihat into seen, and lahir into was born.
Applying adaptation means replacing a cultural element in a SL text with
the one originating from TL culture which makes the translation of the original
more familiar in the TL; it is used in those cases where the type of situation being
referred to by the SL message is unknown in the TL culture requiring the
translator to create a new situation that can be considered as being equivalent
(Molina and Albir, 2002: 500 and Hatim and Munday, 2004: 151). The micro
culture term ajak in SL means a forest dog inhabiting Asia particularly in the
south and east parts of the continent. It is an animal originally born in Indonesia
especially in Sumatra and Java Island which live in the mountain and forest areas.
This term is replaced by wild dogs since it is the one originating from TL culture
which makes the translation of the original more familiar in TL. Despite the fact
that wild dogs is not a perfect equivalent for ajak, this adaptation can bring the
situation in SL message which is unknown in TL culture that ajak is a kind of
wild dog living in mountain and forest areas.

98
(26) SL Mendengar hal itu Sang Shodancho memerah mukanya, lalu

matanya berkaca-kaca bagaikan anak kecil kehilangan
ibunya.
TL At that, Shodancho’s face turned red and his eyes welled up like
a little kid who has lost his mother.
In line with the context in (26), Shodancho, the soldier, and Maman
Gendeng, the preman of Halimunda made good friends. Maman Gendeng found
out that Shodancho had slept with Dewi Ayu, his sweetheart. Shodancho felt
remorseful. This figurative expression is classified as a simile as it contains the
four key features of a simile, namely the topic (something being talked about)
referring to Shodancho matanya berkaca-kaca (Shodancho’s eyes were teary
finding out that he once betrayed his friend), the image (something being
compared to) referring to anak kecil kehilangan ibunya meaning a little kid who
has lost his mother, the comparing word that is, bagaikan meaning like, and the
implied point of similarity between the topic and the image that is, the feeling of
deep regret and sadness.
There are two translation techniques used to translate the simile, namely
established equivalent and adaptation. In applying established equivalent, some
words in the source language are translated into the words in the target language
based on the dictionary and the daily language in use such as anak kecil into a
little kid, kehilangan into lost, and ibunya into his mother. In applying adaptation,
the SL cultural-bound words are translated into the words with slightly different
meanings which might be more familiar for the target readers. The simile
berkaca-kaca is a figurative expression bound to SL culture which means

99
glistening like glass. It typically illustrates teary eyes or eyes welled up with tears.
The translator made adaptation by referring to a similar situation in TL that can be
considered as the equivalent, that is, welled-up which is typically attached to
liquid appearing on the surface of something or coming slowly out from
somewhere (e.g. As she read the letter, tears welled up in her eyes).
4.2.1.7 Established Equivalent and Pure Borrowing
According to the context in (27), Shodancho detested the insurgents of the
Indonesian Communist Party as referring to them as excrement. The figurative
expressions above is classified as a simile since it contains four main features of a
simile namely, the topic (something being talked about) that is, preman-preman
kota meaning members of gang associated to violence and criminality, the image
(something being compared to) that is, tai bau meaning stinky turds, the
comparing word that is, seperti meaning like, and the implied point of similarity
that is, the fact that their presence disturbs others.
(27) SL Preman-preman kota itu…“Mereka seperti tai,” kata Sang

Shodancho, “semakin diaduk semakin bau.
TL The preman in the city… “They are like turds,” said
Shodancho, “the more you stir them, the more they stink.
There are two translation techniques used to translate this simile namely
pure borrowing and established equivalent. The word preman is a cultural-specific
term in SL meaning a member of an Indonesian organized gang encompassing
street level criminals up through crime bosses. Premans are often perceived
negatively throughout Indonesian society due to associations with violence and
criminality. The translator applied pure borrowing by taking the original word
100
existing in SL and using them in TL without any modification in terms of spelling
and pronunciation. In applying established equivalent, the translator translated
some words in the source language into their equivalents in the target language
based on the dictionary and the daily language in use. The word tai is translated
into turds and the comparative clause semakin diaduk semakin bau is translated
into the more you stir them, the more they stink.
4.2.1.8 Amplification and Modulation
The highlighted expression in (28) is classified as a simile since it consists
of the topic (something being talked about) referring to Maman Gendeng being
urged to get married, the image (the object being compared to) referring to
pecundang tak berdaya meaning helpless looser, the comparing word seperti
(like), and the point of similarity between the topic and the image that is the state
of giving up on the situation.
(28) SL Ia bahkan mulai merasa ada belukar tumbuh di dadanya,

semrawut dengan duri menusuk di segala tempat. Ia seperti
pecundang tak berdaya, bersandar ke sandaran kursi dengan
mata setengah terpejam.
TL Then he felt like there was a wild thicket growing in his chest,
with thorns stabbing everywhere. Like a weakling loser, he
collapsed against the chair with his eyes-closed.
There were two translation techniques used in translating this simile namely
amplification and modulation. The employment of amplification can be seen in
the possessive pronoun his attached to the noun phrase eyes-closed is a new
information item added in the target language. In employing modulation, there is a
variation of the form of the message in the lexical level than can be seen in the
change of the point of view in some translations. The noun phrase pecundang tak
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berdaya (helpless loser) is translated into a weakling loser. Helpless means the
state of being physically weak and frail, while weakling means the state of being
unable to defend oneself or to act without help. The verb phrase bersandar ke
sandaran kursi (leaned against the back of the chair) is translated into collapsed
against the chair. The prepositional phrase dengan mata setengah terpejam (with
his eyes half-closed) is translated into (with his eyes closed).
4.2.1.9 Modulation and Adaptation
According to the context in (29), an old man named Shodancho with a
chaotic appearance showed up in front of Dewi Ayu’s house after her raise from
the grave. The figurative expression above is categorized as a simile because it
consists of four major elements of a simile, namely the topic (something being
talked about) that is ‘Ia’ (he) referring to an ancient man sitting in front of the
blazing stove in Dewi Ayu’s house named Shodancho, the image (something
being compared to) that is, ‘gerilyawan’ meaning guerrilla, the comparing word
that is, ‘serupa’ meaning to resemble, and the stated point of similarity between
the topic and the image, that is ‘rambut yang kacau balau, gimbal, dengan ikat
kepala dari janur kuning layu’ meaning the state of having chaotic hair with
dreadlocks and a headband made of a yellow young coconut leaf.
(29) SL Ia berpenampilan serupa gerilyawan dengan rambut yang

kacau balau, gimbal dengan ikat kepala dari janur kuning
layu.
TL He looked like a guerrilla, with hair that was going every
way, matted and tied back with a wilted yellow leaf.
102
There are two translation techniques used to translate this simile namely,
modulation and adaptation. Modulation is found in the variation of the form of the
message in the lexical level that can be seen in the translation of the noun phrase
rambut yang kacau balau (messy hair) into hair that was going every way, the
translation of the verb phrase berpenampilan serupa gerilyawan (dressed up like a
guerrilla) into looked like a guerrilla, and the translation of the prepositional
phrase dengan ikat kepala (with a headband) into the phrasal verb tied back.
Adaptation is found in the translation of the cultural-specific term janur in SL into
another term more familiar for TL readers. The word janur is a cultural-specific
term in Javanese language meaning a young coconut leaf used by the Javanese
ethnic people as tools of everyday life. Retaining this term in the TL through pure
borrowing might make the type of situation being referred to by the SL message
unknown by TL readers. Therefore, the translator applied adaptation by replacing
the term janur with a yellow leaf to make it more familiar in TL.
4.2.1.10 Established Equivalent, Modulation, and Reduction
According to the context in (30) Kamino felt a little awkward knowing that
Farida, the woman he was secretly in love with, stayed in his house and cooked
him breakfast. This expression is classified as a simile since it consists of the topic
(something being talked about) referring to berjalan masih dalam keadaan
setengah sadar ke kamar mandi, hampir lupa mengambil handuk, dan mandi
dengan sangat cepat meaning Kamino who walked half-consciously to the
bathroom, almost forgot to take his towel, and bathed very quickly; the image
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(something being compared to) referring to seorang lelaki di bawah kendali
hipnotis meaning a man under the hypnotic influence; the comparing word seperti
(like); and the point of similarity between the topic and the image that is the state
of feeling so awkward that he was not aware of what he was doing.
(30) SL Ia seperti seorang lelaki di bawah kendali hipnotis, berjalan

masih dalam keadaan setengah sadar ke kamar mandi, hampir
lupa mengambil handuk, dan mandi dengan sangat cepat.
TL Like a hypnotized man, he walked only half-conscious to the
bathroom, almost forgetting to take his towel, and bathed as
quickly as he could.
There were three translation techniques used in translating this simile
namely established equivalent, modulation, and reduction. In employing
established equivalent, some verb phrases in SL are transferred directly into
appropriate TL texts using the words available in the dictionary and the daily
language in use. The verb phrase berjalan masih dalam keadaan setengah sadar
ke kamar mandi’ is translated into walked only half-conscious to the bathroom.
The verb phrase hampir lupa mengambil handuk is translated into almost
forgetting to take his towel.
In employing modulation, there is a variation of the form of the message in
the lexical level that can be seen in the translation of the verb phrase mandi
dengan sangat cepat (bathed very quickly) into bathed as quickly as he could. In
employing reduction, the complement seperti seorang lelaki di bawah kendali
hipnotis (He was like a man under the hypnotic control) was suppressed shorther
into like a hypnotized man in the translation.

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4.2.1.11 Established Equivalent, Transposition, and Adaptation
In line with the context in (31), Comrade Kliwon was arrested for being one
of the Communist Party Sympathizers. This figurative expression is classified as a
simile since it contains the four major features of a simile, namely the topic
(something being talked about) referring to (Komrad Kliwon) tampak demikian
penuh wibawa, penuh kekaguman diri meaning (Comrade Kliwon) looked full of
authority, full of self admiration, the image (something being compared to)
referring to ia akan mati sebagai syuhada meaning he was dying as a syuhada,
the comparing word referring to bagaikan meaning as if, and the implied point of
similarity between the topic and the image that is, the brave and fearless
personality.
(31) SL Di atas dipan, mayat hidup itu tampak demikian penuh

wibawa, penuh kekaguman diri bagaikan ia akan mati sebagai
syuhada, dan penuh kekaguman terhadap jalan hidup yang
pernah dipilihnya.
TL Lying in his cot, this living corpse looked full of authority, full
of self-satisfaction, as if he was dying as a martyr, full of
wonder at the life that he had chosen.
There are three translation techniques used to translate this simile, namely
established equivalent, transposition, and adaptation. In applying established
equivalent, the translator translated some words in the source language into the
target language based on the dictionary and the daily language in use. Some noun
phrases representing the Point of Similarity between the topic and the image such
as penuh wibawa, penuh kekaguman diri, and penuh kekaguman are translated
word for word accurately into full of authority, full of self-satisfaction, and full of
105
wonder, respectively. In applying transposition, there is a change on the
grammatical category between SL and TL. The passive voice in the phrase jalan
hidup yang pernah dipilihnya meaning the way of life that had been chosen by
him has been shifted into the active voice in the phrase the life that he had chosen.
Adaptation means changing the cultural specific term in the source language
into the other one in the target language which is more familiar for the target
readers (Molina and Albir, 2002: 500 and Hatim and Munday, 2004: 151). The
word syuhada is a cultural-specific term particularly in the Islamic terminology
meaning moslems who died in a battle to struggle and defend the religion of Islam
and defend the rights of the deprived people with great patience and sincerety for
the sake of obtaining God’s blessings. Since the target readers might not have any
cultural background regarding to this term, the translator applied adaptation by
replacing this cultural element with the one originating from TL culture which
makes the translation of the original more familiar in TL. The term martyr is
chosen as the equivalent for syuhada. Martyr means someone who suffers
persecution and death for advocating, renouncing, refusing to renounce, or
refusing to advocate a political or religious belief as demanded by an external
party; this refusal to comply with the presented demands therefore results in the
punishment or execution of the martyr by the oppressor.
4.2.1.12 Modulation, Amplification, and Reduction
According to the context in (32), Dewi Ayu saw her daughter sitting on the
veranda of her house after twenty-one years had passed. This expression is
classified as a simile since it consists of the topic (something being talked about)
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referring to the situation where Dewi Ayu met Beauty, her doughter, whom she
had not seen for years; the image (something being compared to) referring to
seekor sapi yang melihat anaknya tiba-tiba telah bisa berlari meaning a cow
seeing his calf has been able to run all of sudden; the comparing word bagaikan
(as if), and the point of similarity between the topic and the image that this the
feeling of getting overwhelmed and carried away with happiness.
(32) SL Bagaikan seekor sapi yang melihat anaknya tiba-tiba telah

bisa berlari.
TL Like a cow who sees that her glazed calf already knows how
to run.
There were three translation techniques used in translating the simile
namely modulation, amplification, and reduction. The employment of modulation
can be seen in the variation of the form of the message in the lexical level in the
form of the change on the point of view of the verb phrase. The verb phrase telah
bisa berlari (has been able to run) in SL is paraphrased into already knows how to
run. The employment of amplification can be seen in the adjective glazed
meaning tired and brightless as a new information item added to the noun calf in
TL that does not appear in SL. Reduction occurs in the adverb tiba-tiba (all of a
sudden) in SL which is omitted so that it does not appear in TL.
4.2.1.13 Transposition, Reduction, and Generalization
In line with the context in (33), when Dewi Ayu, the well-known prostitute
of Halimunda, was about to give birth to her third daughter, she did not wish her
to take after her attractiveness and charm for it would lead her to become a
prostitute. Dewi Ayu believed that attractiveness and charm of a woman in that
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era will make her prone to choose a life as a prostitute. This figurative expression
is classified as a simile because it contains four major feature of a simile namely
the topic that is, anaknya (the kind of baby that Dewi Ayu expected to look like),
the image that is, seekor babi hutan atau lutung (a wild pig or a monkey), the
comparing word that is, menyerupai (take after), and the implied point of
similarity between the topic and the image that is, the state of having a huge nose
with wide nostrils and large ears or having big eyes and a flat nose with tiny
nostrils.
(33) SL Ia tak mengharapkan anaknya seperti siapapun yang ia

kenal, kecuali menyerupai seekor babi hutan atau lutung, atau
tidak seperti apa-apa.
TL She was hoping that her baby would not be like anyone or
anything she had ever seen, except maybe a wild pig, or a
monkey.
There are three translation techniques found in the translation of this simile
namely, transposition, reduction, and generalization. Applying transposition
means changing the grammatical category due to the difference between the
grammar of the SL and that of the TL or replacing one word class with another
without changing the meaning of the message (Molina and Albir, 2002: 511 and
Hatim and Munday, 2004: 150). There is a change on the grammatical category
without any change on the meaning of the message. The negative polarity in SL’s
main clause Ia tidak mengharapan (she was not hoping) and the positive polarity
in SL’s subordinate clause anaknya seperti siapapun yang ia kenal (her child
would be like anyone she had ever known) are replaced by the positive polarity
she was hoping in TL’s main clause and the negative polarity that her baby would
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not be like anyone she had ever seen in TL’s noun clause respectively.
Reduction takes place when some information items found in SL does not
appear in TL because they are suppressed or reduced (Molina and Albir, 2002:
510). This translation technique was found in the omission of the comparing word
menyerupai (to resemble). It is omitted in SL so that it does not appear in TL. This
reduction is done because the meaning of this comparing word has been
represented in the previous clause particularly on the verb phrase would not be
like.
Generalization, meaning using the super-ordinate (general) term for the
subordinate (specific) one is found in the translation of lutung. The animal called
lutung in SL refers to an Old World monkey from the Colobinae subfamily (also
called trachypithecus auratus) that is found on and endemic to the island of Java
as well as on several of the surrounding Indonesian islands. It is most commonly
glossy black with a brownish tinge to its legs. Meanwhile, the animal called
monkey in TL is a haplorhine primate generally possessing tails and consisting of
about 260 known living species. There are two major types of monkey, namely
New World monkeys (Platyrrhines) from South and Central America and Old
World monkeys (Catarrhines of the super family Cercopithecoidea) from Asia
and Africa. It means that monkey is a more general and more super-ordinate term
for lutung. This process is called generalization where the translated changed the
foreign micro-culture term into a more familiar term in the target language.
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4.2.1.14 Amplification, Transposition, Adaptation, and Established Equivalent
According to the context in (34) Dewi Ayu just rose from her grave from
death and made the locals and their livestock ran off haphazardly. It is classified
as a simile since it covers a topic, an image, and a point of similarity. The topic in
the above simile is mendengarkan kegaduhan dari kuburan tua itu meaning the
people listening to the uproar from the old grave. It is the thing being talked about
in the simile. The image or the thing being compared with is the verbal clause
mengelilingi tukang obat meaning gathering around the medicine peddler.
(34) SL Tak seorangpun berani mendekat, hanya mendengarkan

kegaduhan dari kuburan tua itu bagaikan mengelilingi tukang
obat.
TL No one dared approach, they just listened to the uproar
coming from that old grave as if they were gathered around
the medicine peddler.
The likeness between the topic and the image is made clearer through the
comparing word bagaikan meaning as if. In addition, the point of similarity
between the two is the crowd’s state of being quiet, clustered, and crowded
because they paid attention to what happened and listened to it carefully without
making any noise. In this data, the author compared a group of people listening to
the uproar in the old grave to another group of people gathering around the
medicine peddler since both focused their attention to something interesting and
peculiar.
There were four translation techniques used to translate the simile, namely
amplification, transposition, adaptation, and established equivalent. Amplification
occurs when the pronoun they as new information item that is not present in SL is
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added in TL. This addition serves to cover the syntactical gap between the two
languages. Subject ellipsis is highly common in SL while it cannot occur anytime
in TL. Therefore, pronoun they as subject is mentioned twice and is not omitted in
TL. Transposition occurs when there is a change on the grammatical category
from active voice mengelilingi tukang obat (to surround the pharmachist) into
passive voice were gathered around the medicine peddler.
The third technique, namely adaptation means replacing a cultural element
in a SL text with the one originating from TL culture which makes the translation
of the original more familiar in the TL; it is used in those cases where the type of
situation being referred to by the SL message is unknown in the TL culture
requiring the translator to create a new situation that can be considered as being
equivalent (Molina and Albir, 2002: 500 and Hatim and Munday, 2004: 151). In
(34) adaptation occurs when the term tukang obat (pharmacist) as a cultural
element in SL is replaced by the term from TL culture which makes the
translation of the original more familiar in TL.
In SL situation, the traditional pharmacist particularly in the colonial period
sold the medicines by presenting and promoting them in the midst of crowd or
along the street from door to door. If the term ‘tukang obat’ was simply translated
into the pharmacist, the type of situation being referred to by the SL message
would be unknown in the TL culture. Therefore, the translator took the term
peddler that is, a person who offers merchandise such as fresh products for sale
along the street or from door to door from TL culture as a situation that can be
considered as being equivalent to SL culture. The final translation became the

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medicine peddler to refer to someone whose work is to sell medicine along the
street or from door to door.
Established equivalent occurs when the translator used common equivalence
from the dictionary for some terms. For example, kegaduhan is translated into
uproar where the term uproar means a situation in which a lot of people make a
lot of noise or a noisy state of confusion (CDOL, 2018) and kuburan tua is
translated into old grave as its common equivalence. Another amplification is
found in the addition of the verb coming in TL whish did not exist in SL.
4.2.2 Translation Techniques of Idioms
There were 39 idioms (19.80%) found in the primary source of data, 22 of
which (56.41%) were translated figuratively while the rest 17 (43.59%) were not
translated figuratively. Considering that 43.59% of the idioms in the primary data
were not translated figuratively, it can be inferred that it is sometimes difficult to
find the equivalent idiom in the target language. Thus, the translator occasionally
decided to translate the idioms into their direct definitions with primary meanings
in the target language. Table 4.6 below illustrates the translation techniques used
by the translator in translating the idioms, their combination, occurrence, and
percentage.
Table 4.6 Techniques Used for Translating Idioms and Their Types of
Translation
Translation Combination of Occurrence and Types of

Techniques Translation Data Codes Translation
Techniques
Single Adaptation 5 (12.82%) Figurative
(154, 161, 164, 173,
188) 22 (56.41%)
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Established 11 (28.21%)
equivalent (156, 157, 158, 159,
160, 166, 174, 177,
178, 180, 181)
Modulation 4 (10.26%)
(169, 171, 175, 189)
Reduction 1 (2.56%)
(191)
Couplet Established 1 (2.56%)
equivalent and (172)
Amplification
Single Reduction 3 (7.69%) Non Figurative
(155, 179, 182)
Adaptation 8 (20.51%) 17 (43.59%)
(162, 165, 167, 168,
176, 185, 186, 190)
(163)
equivalent (170, 183, 187)
Description 2 (5.13%)
(184, 192)
It can be drawn from Table 4.6 above that established equivalent is the most
dominant translation technique (28.21%) used in translating the idioms
figuratively. It means, in translating the idioms figuratively, the translator has
frequently attempted to use the terms, words, and expressions available in the
target language known as the one-to-one equivalent idioms for the original idioms
in the source language. As examples for this, bocah ingusan is translated into
snot-nosed kid, menikam dari belakang is translated into stab someone from the
back, and keras kepala is translated into hardheaded.
In addition, adaptation is found to be the second most frequently employed
translation techniques (12.82%) used in translating the similes figuratively.
Adaptation is also found to be the most dominant translation technique used in

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translating the idioms non-figuratively (20.51%). It implies that adaptation can
either preserve or omit the figurative sense of the idioms.
In using adaptation for translating the SL idioms figuratively, the translator
used the TL idioms which have different literal meanings but still fit the context.
For instance, kabar burung is translated into grapevine, perang dingin is
translated into standoff, and jual tampang is translated into full of oneself.
Meanwhile, in using adaptation for translating the SL idioms non-figuratively, the
translator used their direct meanings in the TL since she might have not found
either any one-to-one equivalent idioms with the same literal meaning or any
different idioms with different meaning but still fit the context. For example, mata
keranjang is translated into womanizer, rapat raksasa is translated into rally, and
angin busuk is translated into vicious rumor.
The followings are descriptions of the identifications of the idioms and the
translation techniques employed in translating them. Idiom is defined as a frozen
pattern in the form of a group of words allowing very little variation which cannot
be understood literally by their individual meanings and have to be comprehended
as a semantic unit if taken together (Hooper in Harefa, 2015: 10, Callow in
Larson, 1984: 115, and Baker, 1992: 63).
4.2.2.1 Adaptation
The phrase kabar burung in (35) which literally means the bird news is an
idiom, whose meaning cannot be predicted from the meanings of its constituent
words. The idiom kabar burung means rumor, the news that has not been true, or
a currently circulating story or report of uncertain or doubtful truth. According to

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the classification of idioms formulated by Witono et. al. (2013: 3), this idiom is
categorized into partial idiom since the meaning of which can be understood from
one of its constituent elements; where kabar means news and kabar burung
(bird’s news) means unconvincing rumor or gossip. In addition, it can also be
classified as the idiom using animal’s name.
(35) SL Mereka mendengar kabar-kabar burung beberapa dibawa

Mama Kalong dan yang lain oleh beberapa pelayan yang
datang membantunya.
TL They heard through the grapevine from Mama Kalong and from
a number of the servants who came to help her”.
The translation technique used to translate this idiom is adaptation. In
translating the idiom kabar burung, the translator applied adaptation by replacing
this cultural element with the one originating from TL culture which makes the
translation of the original more familiar in the TL. The TL idiom the grapevine is
chosen as the equivalent for kabar burung. Grapevine literally means a vine
native to both Eurasia and North America, especially one bearing grapes used for
eating or winemaking; for which numerous cultivars and hybrids have been
developed for the winemaking industry. Figuratively, grapevine is an idiom used
to refer to the circulation of rumors and unofficial information.
(36) SL Memastikan diri bahwa cintanya bertepuk sebelah tangan.

TL Convinced herself that her love was unrequited.
The phrase cintanya bertepuk sebelah tangan in (36) which literally means
her love claps with one hand is an idiom in which the constituent words cannot be
understood literally and should be taken as a semantic unit instead. The idiom
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cinta bertepuk sebelah tangan means the feeling of love which is unrequited, not
returned, or rewarded.
In translating the idiom cintanya bertepuk sebelah tangan, the translator
used adaptation by replacing it with an expression originating from TL culture
which makes the translation of the original more familiar in the TL. The
expression chosen is the adjective unrequited that is typically attached to a
feeling, especially love, which is not returned or rewarded.
(37) SL Perang berkecamuk di dalam hatinya, dimana egonya sebagai

seorang penakluk mengatakan bahwa ia harus sedikit jual
mahal.
TL A war raged in her heart; her ego as a conqueror said that she
had to play a little hard to get
The phrase jual mahal in (37) is formed of the words jual (sell) and mahal
(expensive). It is an idiom in which the constituent words cannot be understood
literally and should be taken as a semantic unit instead. The idiom jual mahal
means to play hard to get. It is typically associated to a woman who does not
return the love easily to the man who pursues her. Based on Witono’s
classification of idiom (2013: 3), this figurative expression is categorized as a full
idiom since it cannot be understood from any of its constituent words and must be
comprehended as a whole expression.
In translating the idiom jual mahal in SL, the translator applied adaptation
by replacing it with another idiom originating from TL culture which makes the
translation of the original more familiar in TL. The idiom chosen is to play hard
to get meaning to pretend that someone is less interested in a person than she
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really is as a way of making him more interested in her, especially at the start of a
romantic relationship.
(38) SL Demikian pula Kliwon bukan lagi seorang mata keranjang.

TL Comrade Kliwon was no longer a womanizer
(Tucker, 2015, Beauty is A Wound, p. 203)
The phrase mata keranjang in (38) is formed of the words mata (eyes) and
keranjang (basket). It is a full idiom using a part of the body (Witono, 2013: 3)
the meaning of which cannot be understood from any of its constituent words and
should be taken as a whole semantic unit. As a semantic unit, this idiom means
men’s nature which always feels lust when looking at the opposite sex or is very
fond of women.
In translating the idiom mata keranjang, the translator applied adaptation by
replacing it with the term originating from TL culture. The term chosen is
womanizer attached to a man who has temporary sexual relationships with
women, pursues casual sexual relationships with multiple women, or tries to get
women to have sex with him. This term is not an idiom since the meaning of
which can be understood literally.
(39) SL Namun banyak juga penduduk yang muak dengan prajurit-

prajurit yang sering jual tampang itu.
TL But many others were sick of the soldiers, who always seemed
so full of themselves.
The phrase jual tampang in (39) is formed of the words jual (sell) and
tampang (look). This is an idiom the meaning of which cannot be predicted from
the meanings of the constituent words. It is typically associated to someone who
likes to show off and who is too proud about themselves particularly about how
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they look like and what they wear. It is a partial idiom based on WIitono’s
classification (2013: 3) since the meaning of which can be predicted from one of
its constituent words, that is tampang meaning look; which contributes to the
whole sense of the idiom (i.e. being too proud of or bragging too much about how
he looks).
In translating the idiom jual tampang, the translator applied adaptation by
replacing it with another idiom originating from TL culture which makes the
translation of the original more familiar in TL. The idiom chosen is full of
themselves meaning being too confident about themselves or thinking that they
are very important in a way that annoys other people, having an inflated view of
one’s importance to the annoyance of others, or being conceited and self-centered.
In translating the idiom keras kepala, the translator used the idiom
recognized by the dictionary and daily language in use as its equivalent. The
idiom chosen is hardheaded meaning being very determined and not influenced
by emotions. This translation technique is called established equivalent.
(40) SL Diam-diam ada sedikit orang yang mengembuskan angin busuk

tak enak yang mengatakan bahwa ia meracuni anak-anak
sekolah dengan bacaan tak bermutu.
(Kurniawan, 2015, Cantik itu Luka, p. 360)
TL A vicious rumor spread that he was poisoning the minds of
schoolchildren by having them read non educational trash.
(Tucker, 2015, Beauty is A Wound, p. 349)
The phrase angin busuk in (40) is formed of the words angin (air/wind) and
busuk (stinky). This is a full idiom the meaning of which cannot be predicted from
the meanings of the constituent words. The adjective stinky is typically attached to
objects having a strong or unpleasant smell. In this context however, this idiom
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refers to a vicious rumor spread by the city folks that Comrade Kliwon had
negatively influenced the children with dangerous readings. The air figuratively
symbolizes rumor since it quickly spreads like a wind that blows, while stinky
figuratively symbolizes how vicious and fake the news is.
The translation technique employed in translating this idiom is adaptation.
The idiom angin busuk meaning stinky air in SL is replaced by the term
originating from TL culture which makes the translation of the original more
familiar for the target readers. The term chosen is vicious rumor meaning a
currently circulating story or repeat of uncertain or doubtful truth that sounds
deliberately cruel, offensive, or immoral.
The phrase menikam dari belakang in (41) meaning stab from the back is an
idiom the meaning of which cannot be predicted from the meanings of the
constituent words. The verb to stab literally means to thrust a knife or other
pointed weapon into someone so as to wound or kill. This idiom is figuratively
used to describe a betrayal or a hypocritical person; meaning that in the presence
of a particular person he seems polite and respectful, but in his absence he insults
and badmouths of him. This idiom also applies for betrayal; meaning a person
betraying someone who loves him and trusts him by doing cruel and dangerous
actions. In this context, the non-communist revolutionary parties made use of the
communist party’s reputation for their own interests and popularity but betrayed
them when they lost the political battle.

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(41) SL Beberapa partai mencoba berdiri di belakang mereka, mengaku

sebagai sesama revolusioner sambil mencoba menunggu orang-
orang komunis lengah untuk menikamnya dari belakang
TL Other parties claimed to be fellow revolutionaries and waited for
the communists to drop their guard so they could stab them in
the back.
The translation technique used in translating this idiom is established
equivalent; meaning the idiom menikamnya dari belakang in SL is transferred
directly into stab them in the back in TL using words available in the dictionary
and the daily language in use.
(42) SL Dan dalam hati Kamino justru berdoa agar gadis itu sungguh-
sungguh keras kepala dan tak akan pulang ke rumahnya.
TL And Kamino prayed silently that the girl was truly hardheaded
and that she would never go home.
The phrase keras kepala in (42) is formed of the words kepala (head) and
keras (hard). It is an idiom the meaning of which cannot be predicted from the
meanings of the constituent words. This idiom is typically used to illustrate a
person’s character who does not want to listen to advice and suggestion from
others. It can also be attached to an opinionated person or someone who is certain
about what they think and believe and who is determined to do what they want
and refuses to do anything else. In translating the idiom keras kepala, the
translator employed established equivalent that is by using the idiom recognized
by dictionaries and daily language in use as its equivalent. The idiom chosen is
hardheaded meaning being very determined.

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4.2.2.3 Reduction
The phrase omong kosong in (43) which literally means empty talks is an
idiom where the constituent words cannot be understood literally and taken as a
semantic unit instead. The idiom omong kosong means nonsense, rubbish,
hogwash, or meaningless. Therefore, hadiah-hadiah omong kosong means
meaningless gifts. It is a full idiom based on Witono’s classification (2013: 3)
since its meaning cannot be understood from any of its individual words.
(43) SL Melemparinya dengan hadiah-hadiah omong kosong.

TL Showered her with gifts.
The translation technique used to translate this idiom is reduction that is by
omitting it completely in the translation. The idiom omong kosong (hogwash,
nonsense, rubbish, or something meaningless) in SL is reduced so that it does not
appear in TL.
4.2.3 Translation Techniques of Hyperboles
There were 26 (13.20%) hyperboles found in the primary source of data, 23
(88.46%) of which were translated figuratively and the other three (11.54%) were
not. It implies that the translator has frequently attempted to retain the figurative
senses of the hyperboles in the translation. The following table illustrates the
percentage of translation techniques regarding to their figurativeness or non-
figurativeness in the target language.

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Table 4.7 Translation Techniques for Hyperboles and Their Types of

Translation
Combination of Translation Occurrence of Effects on

Translation Techniques Techniques and Translation
Techniques Data Codes
Single Established 7 (26.92%) Figurative
equivalent (012, 017, 018, 029, 23 (88.46%)
034, 035, 036)
(033)
Couplet Reduction and 1 (3.85%)
Generalization (016)
equivalent and (011, 014, 019, 023,
Amplification 025, 030)
Modulation
equivalent and (024, 026)
Transposition
Amplification 2 (7.69%)
and Modulation (015, 022)
and Description (021)
Triplet Modulation, 1 (3.85%)
Amplification, (027)
and Reduction
Quadruplet Transposition, 1 (3.85%)

Reduction, (020)
Amplification,
and Established
equivalent
(031) 3 (11.54%)
(033)
Couplet Established 1 (3.85%)
Modulation
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It can be drawn from Table 4.7 above that the method of translating the
hyperboles in the primary data either in figurative or non-figurative ways may use
one translation technique (single), the combination of two translation techniques
(couplet), three (triplet), or four (quadruplet). In single, established equivalent
(i.e. using the terms, words, or expressions available in the dictionary and the
daily language in use in the TL as one-to-one equivalents for the expressions in
the SL) is the most frequently-employed translation techniques. Established
equivalent technique also reoccurred in couplets, indicating that the translator has
attempted not to change and to retain the meanings of the figurative expressions in
the translation.
In addition, the combination of established equivalent and amplification
techniques occurred most of the time in couplets. Amplification is the addition of
new information item to the target language meant for explaining, specifying, or
qualifying the original expressions in the source language. Transposition (i.e. the
change of the grammatical category in the target language) and modulation
techniques (i.e. the variation on the form of the message that can be seen in the
change of point of view or lexical items) also occurred twice side to side with the
established equivalent. The followings were the description on the identification
of the hyperboles and their translation techniques.
The phrase api menyala dari bibir keduanya meaning a flame ignite
between the couple’s lips in (44) is a hyperbole in which the exaggeration is

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deliberately used for effect instead of being understood as if it were a literal
description. In this context, Alamanda escorted her lover, Kliwon to the platform
of Halimunda Station to depart to Jakarta. The two lovers were kissing
passionately in front of the ticket counter with no thought for the time or place.
The author made some exaggeration by deliberately comparing the passionate kiss
to the igniting flame with the intention of creating the effect of imagination in the
readers’ mind about how intense the kiss was.
(44) SL Begitu panas ciuman itu hingga orang-orang yang menjadi

saksi peristiwa tersebut kelak bertahun-tahun kemudian akan
menceritakannya bahwa mereka melihat api menyala dari bibir
keduanya.
TL Their kisses were so full of heat that the people who witnessed
the event and told the story for years to comewould swear they
saw a flame ignite between the couple’s lips.
The translation technique used in translating this hyperbole is established
equivalent. Some words in the source language are translated using the terms
The word api is translated itu flame, and menyala is translated into ignite. The
prepositional phrase dari bibir keduanya is translated into the couple’s lips.
(45) SL Kesempatan pertama mereka akan berkata, atau mengirimkan

surat, memuntahkan keinginan prasejarah mereka yang
terpendam bahwa Alamanda, aku mencintaimu.
TL At the first opportunity that arose they would speak up or send a
letter spewing their prehistoric pent-up desires: Alamanda, I
love you.
The phrase memuntahkan keinginan prasejarah mereka yang terpendam
meaning spewing their pent-up prehistoric desires in (45) is a hyperbole in which
the exaggeration is deliberately used for effect instead of being understood as if it

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were a literal description. The term prehistoric actually refers to the period of
human activity between the use of the first stone tools around 3,3 million years
ago and the invention of writing systems around 5,300 years ago. In this context, a
lot of men in Halimunda had been keeping their love to Alamanda for so long.
The author exaggeratively described their intention of expressing their love to
Alamanda as spewing their prehistoric desire to create the effect of imagination in
the readers’ mind that they had been keeping their feeling for a very long time.
The translation technique used in translating the above hyperbole is
established equivalent. Some words in the source language are translated using the
term available in the dictionary and the daily language in use in the target
language. The verb memuntahkan is translated into spew, the noun phrase
keinginan prasejarah is translated into prehistoric desire, and the adjective
terpendam is translated into pent-up.
(46) SL Mina pergi ke markas Partai dan meledak dalam kemarahan

pada anaknya.
TL Mina marched to the Party headquarters and blew up at her son.
The phrase meledak dalam kemarahan meaning blew up in rage or explode
in an ager in (46) is a hyperbole exaggerating someone’s fury or wrath. The verb
blow up is typically associated to something explosive which bursts or shatters
violently and noisily as a result of rapid combustion, decomposition, and
excessive internal pressure. However, in this context this verb is used figuratively
to illustrate someone who is extremely furious.

125
The translation techniques used in translating the hyperbole above is
established equivalent. The hyperbole in the source language is translated into its
equivalent hyperbole in the target language based on the reference available in the
dictionary and the daily language in use. The phrase meledak dalam kemarahan
meaning explode in anger is translated into blew up, a phrasal verb meaning to
suddenly become very angry figuratively and to destroy something with a bomb
literally.
4.2.3.2 Modulation
The clause malam semakin beku in (47) meaning the night was getting
frozen is a hyperbole in which the exaggeration is deliberately used for effect
instead of being understood as a literal description. In this context, Farida was
sitting directly on the sandy dirt next to his father’s at night without any blanket or
cushion. The term frozen is typically associated to water turned into ice, food
preserved by freezing, or a part of a person’s body which is very cold (CDOL,
2018). The author in an exaggerative way described the night as frozen to create
the effect of imagination in the readers’ mind that the weather at that night was
terribly cold. It intensifies the emotional sense and heightens the proposition of
the cold weather in that night. As stated by Claridge in Altikriti (2016: 132) that
the readers in SL have been committed to the deeper emotion and the social truth
of the statement that the term frozen can be used to intensify the cold weather.
(47) SL Jadi gadis itu tetap disana sementara malam semakin beku.
TL So as the night grew colder the girl stay where she was.
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The translation technique used in translating this hyperbole is modulation.
There is a variation of the form of the message in the clause malam semakin beku
in SL. The translator made a lexical change on the point of view of the message
by translating it into the night grew colder. This modulation is done since the
literal and transposed translation the night got frozen will result in an unsuitable,
unidiomatic, and awkward clause in TL.
4.2.3.3 Established Equivalent and Amplification
In the context of data (48), Beauty, Dewi Ayu’s daughter, had a hideous
look that made the city folks terrified. The expression siap memenggal kepala
mereka untuk sekali kebandelan, siap memangsa mereka hidup-hidup untuk setiap
kecengengan translated into ready to cut off their heads at the slightest
disobedience, ready to gobble them alive for any whiny complaint is a hyperbole
in which the exaggeration is deliberately used for effect instead of being
understood as if it were a literal description. The expression is used by the author
to figuratively illustrate how spooky and hideous Beauty was and how frightened
and terrified the old folks were. This is in line with Oed in Altikriti (2016: 13)
defining hyperbole as extravagant exaggeration by which something is
represented as much greater or less, better or worse, or as involving a greater
intensity than in reality or beyond possibility for effect.
(48) SL Orang-orang tua telah menceritakan kisah-kisah menakutkan

tentang si Cantik yang mengerikan, tinggal di rumah tersebut,
siap memenggal kepala mereka untuk sekali kebandelan, siap
memangsa mereka hidup-hidup untuk setiap kecengengan.
TL The old folks had already told them the scary tales about the
terrifying Beauty, who lived in that house ready to cut off their
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heads at the slightest disobedience, ready to gobble them

alive for any whiny complaint.
There were two translation techniques used in translating this hyperbole
namely established equivalent and amplification. Some words were translated into
appropriate TL text using the words, terms, and expressions available in the
dictionary. This can be seen in the noun phrases memenggal kepala mereka and
memangsa mereka hidup-hidup which were translated into to cut off their heads
and to gobble them alive, respectively.
Meanwhile, amplification that is, adding or introducing information item
that is not present in the SL text (Molina and Albir, 2002: 500). This technique
can be used to provide necessary additional information. The adjective the
slightest and the phrase complaint are new information items that are introduced
in TL but do not appear in SL. There was a lexical gap when translating sekali
kebandelan since it was a little difficult for the translator to find the exact
equivalent. Adding the adjective the slightest into the noun disobedience can
cover the lexical gap. Similarly, there was also a lexical gap when translating
kecengengan. Transferring it literally into whining might reduce the beauty of the
reading. Changing it into adjective whiny and adding the noun complaint can
cover the lexical gap and sustain the beauty of the expression.
(49) SL Alamanda berpacaran dengan Kliwon, dan semua orang

berpendapat bahwa itu adalah pasangan terindah yang pernah
ada di dunia.
TL Alamanda and Kliwon were dating and everyone thought they
were the most beautiful couple that had ever existed on the
face of the earth.
128
The phrase pasangan terindah yang pernah ada di dunia in (49) meaning
the most beautiful couple that had ever existed in the face of the earth is a
hyperbole in which the exaggeration is deliberately used for effect instead of
being understood as if it were a literal description. In this context, Alamanda and
Kliwon were intensely infatuated to each other. However, they were not literally
the most beautiful couple on earth. The author deliberately exaggerated their
romance with the intention of creating the effect of imagination in the readers’
mind about how intimate they were.
namely established equivalent and amplification. In applying established
equivalent, the phrase pasangan terindah yang pernah ada is translated into the
most beautiful couple that had ever existed. Each word in the phrase is translated
into the terms available in the dictionary and the daily language in use.
Meanwhile, the employment of amplification can be seen in the word face on the
phrase on the face of the earth as a new information item added in TL that is not
present in SL.
(50) SL Alamanda berharap bahwa hari itu tak akan pernah berakhir,
senja yang abadi dengan laki-laki paling tampan di dunia.
TL Alamanda wished the day would never end, but stretch out in
an eternal dusk spent with the most handsome man in the
world.
The phrase senja yang abadi dengan laki-laki paling tampan di dunia
meaning an eternal dusk spent with the most handsome man in the world in (50) is
a hyperbole in which the exaggeration is deliberately used for effect instead of
being understood as if it were a literal description. Dusk is in fact the time of day
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just after sunset that occurs at the darkest stage of twilight or at the very end of
astronomical twilight after sunset and just before night. Thus, it occurs at a
relatively short time and is highly unlikely to occur eternally. In this context,
Alamanda and Kliwon shared beautiful moments together at the beach passing the
dusk time. The author exaggeratively described the dusk as eternal to symbolize
Alamanda’s expectation that those moments would not end soon.
namely established equivalent and amplification. In applying established
equivalent, some words in the source language are translated using the terms
The noun phrase senja yang abadi is translated into an eternal dusk and laki-laki
paling tampan di dunia is translated into the most handsome man in the world.
The employment of amplification can be seen in the verbs stretch out and spent as
new information items added in TL that do not appear in SL.
4.2.3.4 Establised Equivalent and Modulation
The phrase kecemburuan tanpa ampun in (51) meaning merciless jealousy
(translated into a keen envy) is a hyperbole in which the exaggeration is
description. In this context, Alamanda and Comrade Kliwon were Halimunda’s
sweethearts. Their intimate relationship subsequently made both men and women
of Halimunda envious and jealous. The author deliberately described their

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jealousy as merciless with the intention of creating the effect of exaggeration in
the readers’ mind about how keen their jealousy was.
(51) SL Baik lelaki maupun perempuan akan mengenang peristiwa

tersebut dengan kecemburuan tanpa ampun.
TL Both men and women would remember the event with a keen
envy.
The translation techniques used in translating the hyperbole are established
equivalent and modulation. Established equivalent occurs when the translator uses
a term or expression recognized by dictionaries or daily language in use as an
equivalent in the TL Molina and Albir (2002: 510). In applying established
equivalent, the word kecemburuan is translated into envy; the term recognized in
the dictionary and in the convention of the daily language use as the equivalence
for kecemburuan.
Meanwhile, modulation occurs when the translator makes the variation on
the point of view, focus, or cognitive category in the ST which can be either
lexical or structural (Molina and Albir, 2002: 510); it is a free translation where
the message accuracy depends on the context (Kardimin (2013: 213). In applying
modulation, the translator makes variation on the translation of the adjectival
phrase tanpa ampun meaning merciless or without mercy into keen. The term keen
itself means “extremely felt or strongly felt” (CDOL, 2018) which is usually
attached to emotion or belief. It has a different meaning from merciless. In other
words, the translator changes the lexical point of view of the message. Taken
together, a keen envy means “a very strong feeling that a person wishes he had
something that someone else has” (CDOL, 2018).

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4.2.3.5 Amplification and Modulation
The clause sebab itu akan membuatmu bunuh diri in (52) meaning because
it would make you kill yourself is a hyperbole in which the exaggeration is
description. In this context, Alamanda and Adinda were in love with the same
man. Adinda said that she would never confess her feeling to Kliwon, since it
might make Alamanda feel miserable and agonized. The author used the
expression you would kill yourself instead of you would be agonized and
miserable to create the effect of exaggeration towards Alamanda’s agony and
misery in the readers’ mind.
(52) SL Kalaupun aku jatuh cinta kepadanya, tak akan pernah ku

katakan sebab itu akan membuatmu bunuh diri.
TL Even if I was in love with him, I would never say it because if I
did you would kill yourself.
The translation techniques used in translating this hyperbole are
amplification and modulation. Amplification occurs when the translator adds or
introduces information item that is not present in the SL text to provide necessary
additional information (Molina and Albir, 2002: 500). The clause if I did is a new
information item added in TL that is not present in SL. This addition is used to
cover the syntactical gap between the two languages. In English conditional
sentences, there should be two clauses namely the protasis that is, the dependent
clause expressing the hypothetical condition and the apodosis that is the main
clause expressing the consequence. The clause If I did is the protasis added to this
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type-two conditional sentence (counterfactual and speculative: dependent on a
condition that is known to be false or presented as unlikely).
In applying modulation, the translator made a variation of the form of the
message by a change in the point of view. The variation occurs on the lexical level
by changing the focus or subject of the clause from itu (saying that Adinda was in
love with Kliwon) to the protasis If I did. Another variation is changing the verb
phrase membuatmu bunuh diri (made you commit suicide or kill yourself) into the
apadosis you would kill yourself.
(53) SL
Ketika Alamanda tergoda untuk menaklukkan laki-laki paling
tampan di kota trsebutm waktu ia telah memperoleh reputasi
sebagai satu-satunya gadis yang telah mengecewakan dua puluh
tiga laki-laki yang jatuh cinta kepadanya, sementara Kliuwon
telah berpacaran dengan dua belas gadis dalam wajtu-waktu
singkat serta menegcewakan sisanya. Itu adalah pertarungan
pendekar paling mengerikan.
TL When Alamanda was tempted to conquer the most handsome
man in the city, she already had the distinguished reputation of
being the only young girl to have disappointed twenty-three
different men who had fallen in love with her, while Kliwon had
already gone out with twelve girls in a fairly brief period of time
and turned down the rest. It was to be a competition between
the most formidable warriors.
The clause itu adalah pertarungan pendekar paling mengerikan in (53)
which is translated into it was to be a competition between the most formidable
warriors is a hyperbole in which the exaggeration is deliberately used for effect
instead of being understood as if it were a literal description. In this context,
Kliwon was a womanizer. He was a guy who made zillions of women think that
he was in love with them and he was the best guy in the universe. Meanwhile,
Alamanda was a heartbreaker. She had looks, brains, and kindness which make
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the boys easily fall for her. However, she did not fall for anyone easily. When
Alamanda and Kliwon fell for each other, both were in an exaggerative way
described as formidable warriors in a figurative sense by the author due to their
superior qualities compared to the other men and women in Halimunda.
There are two translation techniques used to translate this hyperbole namely
modulation and amplification. In applying modulation, the translator made a
variation of the form of the message by changing the point of view of the
headword. In the phrase pertarungan pendekar paling mengerikan meaning the
most formidable fight of the warriors, the headword is the noun fight. However,
the variation on the lexical level occurred when the headword is shifted to the
noun warriors. The TL text became a competition between the most formidable
warriors. In other words, the adjective mengerikan meaning formidable is
attached to the term pertarungan (fight or competition) in the SL but is attached to
the term warriors in the TL. In applying amplification, the translator added the
preposition between in the TL which serves to provide necessary additional
information explaining that the fight solely occurred between two warriors;
figuratively referring to Kliwon and Alamanda.
4.2.3.6 Transposition and Established Equivalent
The highlighted sentence in (54) is a hyperbole in which the exaggeration is
deliberately used for effect instead of being understood as a literal description
(Abrams and Harpham in Masroor and Pourmohammadi, 2016: 134). In this
context, Alamanda had vowed never to betray Kliwon and had no intention of
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betraying him even though they had been distant from each other for a year and
she started to get bored. The author compared Alamanda’s devotion and
faithfulness to the height of mountain and the depth of ocean in an exaggerative
way to create the effect of imagination in the readers’ mind about how faithful and
devoted she was to Kliwon.
(54) SL Bagaimanapun ia masih mencintainya setinggi gunung-

gunung dan sedalam samudra.
TL Because her love for him was still as high as the mountains
and as deep as the ocean.
There are two translation techniques used to translate this hyperbole namely
transposition and established equivalent. Transposition means changing the
grammatical category due to the difference between the grammar of the SL and
that of the TL or replacing one word class with another without changing the
meaning of the message (Molina and Albir, 2002: 511 and Hatim and Munday,
2004: 150). The transposition can be seen on the change on the grammatical
category from the verbal clause ia mencintainya meaning she loved him in SL into
the noun phrase her love for him in TL.
Established equivalent means “using a term or expression recognized by
dictionaries or daily language in use as an equivalent in the TL” (Molina and
Albir, 2002: 510). The employment of established equivalent can be seen in the
translation of the hyperbole setinggi gunung-gunung and sedalam samudra into as
high as the mountains and as deep as the ocean. The grammatical rule of noun +
as + adjective + as + noun in TL is a common pattern used to literally or
figuratively compare one phenomenon to another; meaning that in translating the

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hyperbole the translator has used the common convention regarding to the target
readers’ daily language in use.
4.2.3.7 Modulation, Amplification, and Reduction
The phrase menembus batas-batas permukaan kertas in (55) which is
translated into seemed to penetrate the surface of paper is a hyperbole in which
the exaggeration is deliberately used for effect instead of being understood as if it
were a literal description. In this context, Shodancho, the head of military
aggression, reclined with Alamanda’s photos in his hand, faced them down on his
bare chest, and started at them intensely. The author in an exaggerative way
described his gaze at her photos as penetrating the surface of paper to create the
effect of imagination in the readers’ mind about how obsessed Shodancho was
towards Alamanda and to intensify the profoundness of his obsession.
(55) SL Sang Shodancho… berbaring dalam lamunan dengan foto-foto

Alamanda di tangannya, dipandangnya ganti berganti dengan
tatapan yang lekat menembus batas-batas permukaan kertas.
TL Shodancho… was reclining with the photos of Alamanda in his
hand, looking at them with a clammy gaze that seemed to
penetrate the surface of the paper.
There are three translation techniques used to translate this hyperbole
namely modulation, amplification, and reduction. Modulation occurs when the
phrase tatapan yang lekat meaning a very close gaze is translated into a clammy
gaze. There is a variation on the message in the lexical level on the translation of
the adjective lekat. The term lekat in SL has various meanings depending on the
context in which it occurs. It means sticky when it refers to “something made of or
covered with a substance that stays attached to any surface it touches” (e.g. sticky
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fingers or the children’s faces were sticky with chocolate) (CDOL, 2018). It also
means close when it refers to someone’s intensity in staring at something and
memorable when it refers to an unforgettable memory.
According to the context, lekat means a strong intensity of staring at
something since it is attached to the term gaze that is, “the act of looking at
something or someone for a long time especially in surprise or admiration”
(CDOL, 2018). However, the translator made a variation by translating it into
clammy meaning “slightly wet in unpleasant way” (e.g. a hot and clammy day or
my hands felt all clammy) (CDOL, 2018). The translation a clammy gaze therefore
means an intense looking at something out of admiration with teary eyes.
Amplification occurs when the adjectival clause that seemed to as a new
information item is added in TL. This addition is made to illustrate that the man’s
gaze penetrating the surface of the paper is merely an allegory. It leads to the
finding of another type of figurative expression namely simile. Reduction occurs
when the noun phrase batas-batas meaning boundary in SL does not appear in
TL.
4.2.4 Translation Techniques of Metaphors
There were 22 (11.17%) metaphors found in the primary source of data, 20
(90.91%) of which were translated figuratively and the other two (9.09%) were
not. It implies that the translator has frequently attempted to retain the figurative
senses of the metaphors in the translation. The following table illustrates the
distribution of translation techniques regarding to the figurativeness or non-
figurativeness of the metaphors in the target language.

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Table 4.8 Translation Techniques for Metaphors and Their Types of

Translation
Combination Translation Occurrence of Types of

of Translation Techniques Techniques and Translation
Techniques Data Codes
Single Transposition 1 (4.55%) Figurative
(125) 20 (90.91%)
equivalent (127, 130, 131, 132,
141, 143)
(128, 129, 140)
Adaptation 2 (9.09%)
(136, 146)
(138)
Reduction 1 (4.54%)
(142)
Couplet Modulation and 1 (4.54%)
Amplification (126)
Modulation and 1 (4.54%)
Established (139)
equivalent
Amplification and 1 (4.54%)
Pure Borrowing (133)
Amplification and 1 (4.54%)
Established (144)
equivalent
Adaptation and 1 (4.54%)
Transposition (137)
Quadruplet Established 1 (4.54%)
equivalent, (134)
Amplification,
Transposition, and
Adaptation
Single Adaptation 1 (4.54%) Non Figurative
(145) 2 (9.09%)
Couplet Modulation and 1 (4.54%)
Established (135)
equivalent
It can be drawn from the table 4.8 above that in translating the metaphors
the translator may have used one particular translation technique (single) or the
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combination of two (couplet) or four (quadruplet) translation techniques. As
many as 90.91% metaphors were translated figuratively, meaning that the
translator has frequently attempted to keep the figurativeness of the metaphors
preserved in the target language.
Of all the translation techniques employed in translating the metaphors,
established equivalent is the most frequently used one accounting for 27.27% of
the whole metaphors. This technique also reoccurred in couplets along with the
other translation techniques such as modulation and amplification. It can be
inferred that the translator has frequently tried to use the words, terms, phrases,
and expressions available in the dictionary and the daily language in use in TL as
one-to-one equivalents for the terms in SL. The followings are the descriptions of
the identifications of the metaphors in the source language and the translation
techniques employed in translating them.
According to the context in the highlighted expression below (56), the old
folks told their children about terrifying Beauty, Dewi Ayu’s daughter who had a
scary face.
(56) SL Semua cerita tersebut cukup untuk menghantui mereka sekaligus

membangkitkan minat mereka untuk sungguh-sungguh bertemu
membuktikan bahwa momok menakutkan itu sungguh-
sungguh ada.
TL All these stories haunted them, and yet at the same time
heightened their desire to meet her and determine whether such
a frightening specter truly did exist.
139
This expression is classified as a metaphor since it consists of the topic
(something being talked about) referring to Beauty, Dewi Ayu’s daughter, the
image (the object being compared to) referring to momok yang menakutkan
meaning a frightening spectre, and the point of similarity between the topic and
the image that si the state of having gruesome and hideous look.
4.2.4.2 Modulation
In line with the context in (57), as the neighbors pushed aside the cloth
hiding Dewi Ayu’s baby’s face, they screamed from a horror. This figurative
expression is classified as a metaphor since it implicitly compares one thing (the
topic being talked about) to another (the image being compared to) without any
explicit comparing word such as like, looks like, or as if so that the readers need to
catch the implied point of similarity between the topic and the image. This
metaphor consists of the topic (something being talked about) that is, mereka
meaning they referring to the terrified neighbors, the image (something being
compared to) referring to wajah-wajah idiot kehilangan ingatan meaning the
faces of idiots who lost their memories, and the implied point of similarity
between the two that is, the state of being clueless, flustered, and pale-faced.
(57) SL Mereka berdiri setelah pekikan sesaat itu dengan wajah-wajah

idiot kehilangan ingatan.
TL They just stood for a moment, with the faces of idiots whose
memories had been suddenly erased.
The translation technique used in translating this metaphor is modulation.
There is a variation of the form of the message in the lexical level by changing the
adjective clause kehilangan ingatan meaning who lost their memories in SL into
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whose memories had been suddenly erased in TL. In this context, the word
memories in object position moved to subject position.
(58) SL Mengelus permukaan kertasnya bagaikan itu adalah tubuh si

gadis dan ia semakin larut dalam berahi anjing di musim
kawin.
TL Caressing the paper as if it was the girl’s very body, and then he
was even more dissolved in lust, like a dog in heat.
According to the context in (58), Shodancho had Alamanda’s photograph
printed and slept with it at night. This figurative expression is classified as a
metaphor since it compares Shodancho’s lust to a male dog in his mating season.
It consists of the topic (the something being talked about) that is Ia (he) referring
to Shodancho who had a sexual imagination about Alamanda while caressing her
photograph, the image (the object or living being compared to) referring to berahi
anjing di musim kawin meaning a dog’s lust in his breeding season, and the
implied point of similarity between the topic and the image that is, the lustful and
passionate nature of the living beings, both Shodancho and the dog, when they are
willing to have sex with a partner who is considered attractive.
The translation technique used in translating this metaphor is modulation
which can be seen in the variation of the form of the message in the translation of
the metaphor in SL into a simile in TL. The expression berahi anjing di musim
kawin meaning the dog’s lust in the breeding season is translated into in lust, like
a dog in heat. The expression a dog in a heat scientifically refers to the female
dog’s reproductive cycle during which she becomes receptive to mating with
males. As a simile, this expression is often attached to someone who is very
energetic and enthusiastic, especially when sexually aroused.

141
4.2.4.3 Adaptation
According to the context in (59), Adinda, one of Dewi Ayu’s daughters,
called her sister Alamanda as a cheap female animal because she liked to repay
the men’s attention and refuse their love afterwards. This figurative expression is
categorized into a metaphor since it contains the topic (the subject being talked
about) that is, kau referring to Alamanda, the image (the person or subject being
compared to) referring to betina murahan yang doyan menyakiti hati lelaki
meaning a cheap female animal breaking men’s hearts, and the implied point of
similarity between the two that is, the fondness of hanging out and mating with
countless male counterparts.
(59) SL Kau betina murahan yang doyan menyakiti hati lelaki.

TL You are a cheap slut who likes to break men’s heart.
The translation technique used to translate this metaphor is adaptation that
is, by changing the cultural-specific term in the source language with another term
in the target language to make it more familiar for the target audience. The word
betina in SL is a term for a female gender in SL typically used for animals. There
might be no exact one-to-one equivalent in TL for this term. Therefore, the
translator applied adaptation by creating a new situation in TL that can be
considered as being equivalent and slightly represent the SL message. The phrase
cheap slut meaning a woman who has many sexual partners is chosen.
4.2.4.4 Reduction
According to the context in (60), Dewi Ayu urged Maman Gendeng to
marry her twelve-year-old daughter, Maya Dewi. Thinking about marrying Maya
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Dewi made Maman Gendeng nauseous, tense, and panic. This figurative
expression is identified as a metaphor since it compared Mama Gendeng’s
feelings of tense and panic when being urged to marry Maya Dewi to the
imaginary attacks of bees, thicket, and dragonflies inside his body. This metaphor
consists of three key elements, namely the topic (the subject being talked about)
referring to Maman Gendeng who felt tense and panic when being urged to marry
Maya Dewi, the image (the object or situation being compared to) referring to
segala yang membuat kepalanya diserang lebah dan belukar tumbuh di dadanya
sementara capung terbang di dalam perut meaning he felt his head was attacked
by bees, his chest was overgrown by thicket, and his stomach was filled by flying
dragonflies, and the implied point of similarity between the topic and the image
that is, the circumstance where Maman Gendeng was stuck in an unexpected and
irritating situation that made him nauseous, tense, and panic.
(60) SL Maman Gendeng tidur nyaris selama empat jam dalam tidur
yang lelap dengan dengkur halus. Begitulah caranya
melewatkan segala yang membuat kepalanya diserang lebah
dan belukar tumbuh di dadanya sementara capung terbang di
dalam perut.
TL Maman Gendeng slept soundly for almost four hours, snoring
softly. That was the only way to survive all of this bee and
thicket and dragonfly nonsense.
The translation technique used to translate this metaphor is reduction.
Reduction occurs when some information items in the form of words or phrases in
the source language is omitted or suppressed so that they do not appear in the
target language (Molina and Albir, 2002: 510). It can be seen where some words
and phrases in the image of the metaphor are omitted, such as segala yang
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membuat kepalanya diserang meaning all that made his head attacked, tumbuh
meaning grew, sementara meaning while, and terbang di dalam perut meaning
flew in his tummy. They were all suppressed shorter into all of this bee and thicket
and dragonfly nonsense.
4.2.4.5 Pure Borrowing and Amplification
According to the context in (61), a Kyai (a special title to address someone
or object that is highly respected or sacred), referring to a prominent figure or
expert in the religion of Islam, led the prayer in Dewi Ayu’s funeral with disgust.
This figurative expression is classified as a metaphor since it consists of the three
key features of a metaphor, namely the topic (the subject being talked about)
referring to The kyai felt disgusted when leading the funeral of a prostitute named
Dewi Ayu, the image (the thing or person being compared to) referring to rasa
jijik seorang gadis atas cacing tanah meaning a young girl who felt disgusted
with earthworms, and the implied point of similarity between the two that is, the
feeling of disgust towards abominate and loathsome creatures.
(61) SL Bahkan sang kyai yang bertahun-tahun lampau memimpin

pemakamannya dengan rasa jijik seorang gadis atas cacing
tanah.
TL Even the kyai, who years ago had led her funeral with
reluctance and looked at her with the disgust of a young girl
feels for earthworms.
There are two translation techniques used to translate this metaphor, namely
pure borrowing and amplification. In applying pure borrowing, the term Kyai
meaning a prominent figure or expert in the religion of Islam according to the
Javanese culture who are highly respected or sacred is retained in the target
144
language. It is a word directly taken from the original term existing in SL. This is
called pure borrowing since the word is presented in TL without any modification
in terms of spelling and pronunciation. In employing amplification, there are some
new information items presented in TL that are not present in SL. They are the
prepositional phrase with reluctance, the verbs looked at and feels, and the
adjective young.
4.2.4.6 Adaptation and Transposition
The context in (62) tells about Alamanda, Halimunda’s sweetheart, who
always played hard to get anytime there was a man approaching him. This
figurative expression is classified as a metaphor since it contains the three major
elements of a metaphor, namely the topic (the subject being talked about) that is,
Ia (she) referring to Alamanda, the image (the person, living being, or object
being compared to) referring to merpati jinak yang melompat-lompat setiap kali
hendak ditangkap meaning tamed pigeons who jump up and down every time they
are about to be caught, and the implied point of similarity between the two that is,
the act of playing hard to get anytime someone tried to pursue them.
(62) SL Ia akan berubah menjadi merpati jinak, yang melompat-lompat

setiap kali hendak ditangkap.
TL She would begin to change, turning into a half-tamed
turtledove who hops away every time you try to catch it.
There are two translation techniques used to translate this metaphor, namely
adaptation and transposition. An animal called merpati (dove) in SL is a stocky
seed-or-fruit eating bird with a small head, short legs, and cooing voice noted for
the apparent affection shown for its mate. The translator applied adaptation by
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replacing the bird with another type of bird called turtledove in TL having a
similar personality as doves in SL. In the target language culture, turtledove is a
small Old World dove with a soft purring call, noted for the apparent affection
shown for its mate. The employment of transposition can be seen in the change on
the grammatical category of the clause in passive voice setiap kali hendak
ditangkap meaning every time it is about to be caught in SL into the one in active
voice every time you try to catch it in TL.
4.2.4.7 Established equivalent, Amplification, Adaptation, and Transposition
In line with the context in (63), the kyai visited Dewi Ayu with decency
after her rise from the grave. This figurative expression is categorized into a
metaphor since it contains the three features of a metaphor, namely the topic (the
subject being talked about) referring to (Kyai) berkunjung kepadanya meaning the
kyai visiting Dewi Ayu, the image (the person or object being compared to)
referring to dalam kesopanan orang-orang saleh di hadapan para wali meaning
the pious people showing virtuous manners in front of a saint, and the implied
point of similarity between the topic and the image that is, the act of showed good
manners to the respected figures and treating them with honor and deference.
(63) SL Berkunjung kepadanya dalam kesopanan orang-orang saleh

di hadapan para wali.
TL Came to visit her with the virtuous manners of the pious in
front of a saint.
There are four translation techniques used to translate this metaphor, namely
established equivalent, amplification, adaptation, and transposition. In applying
established equivalent, some words in the source language are translated into the
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target language using the words found in the dictionary and in the daily language
in use. The verb phrase berkunjung is translated into visit, the words kesopanan is
translated into manners, and orang saleh is translated into the pious.
Amplification is employed when there are some new information items added into
TL that does not appear in SL, such as the verb came and the adjective virtuous
meaning having or showing high moral standards.
In applying adaptation, the cultural-specific term in the source language is
translated into a different cultural-specific term in the target language but more
familiar for the target audience. The word wali in SL is a cultural-specific term in
Indonesian language. It is originally an Arabic word whose literal meanings are
custodian, protector, helper, and friend of God. In the traditional Islamic
understanding, wali is portrayed as someone marked by special divine favor and
holiness and who is specifically chosen by God and endowed with exceptional
gifts such as the ability to work miracles. On the other hand, the word saint in TL
is a term originally came from Christian belief meaning a person recognized as
having an exceptional degree of holiness or likeness or closeness to God. It also
means any believer who is in Christ and in whom Christ dwells whether in
Heaven or Earth. If the term wali were retained in TL by the translator through
pure borrowing, the situation being referred to by the SL messagewould be
unknown in the TL culture, since most of the target readers might not not be from
the moslem background.
Therefore, the translator applied adaptation by replacing wali, the cultural
element in SL text with saint, the term originating from TL culture which makes
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the translation of the original more familiar in TL. In applying transposition, the
translator made a grammatical change on a particular word to bridge the
grammatical gap between the SL and TL. This technique is used in the translation
of the plural noun para wali into the singular noun a saint.
4.2.5 Translation Techniques of Metonymies
There were 10 (5.07%) metonymies found in the primary source of data,
eight of which were translated figuratively and the other two were not. The
following table illustrates the translation techniques regarding to their
figurativeness or non-figurativeness in the target language.
Table 4.9 Translation Techniques for Metonymies and Their Translation

Types
Number of Translation Occurrence of Types of

Metonymies Techniques Technique and Data Translation
Codes
8 (80%) Established 7 (70%) Figurative
equivalent (001, 003, 004, 006, 007, 8 (80%)
008, 009)
Generalization 1 (10%)
(010)
2 (20%) Adaptation 2 (20%) Non
(002, 005) Figurative
2 (20%)
It can be drawn from Table 4.9 above that the translator employed
established equivalent for most of the metonymies whose figurative senses are
retained in the target language; that is by using the words, terms, or expressions
available in the dictionary and the daily language known as the one-to-one
equivalent for the source language words, terms, or expressions without changing
any of their meanings. For one metonymy whose figurative sense is retained in the
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target language, the translator employed generalization; that is by using the more
general, neutral, or super-ordinate term in the TL for the more specific term in the
SL. On the other hand, the translator employed adaptation for all of the
metonymies in the source language whose figurative senses are omitted in the
translation; that is by replacing the unknown, less familiar, and less
comprehensible terms in the SL with the other terms in the TL more
comprehensible for the target readers by also taking the contexts into account. The
followings were the description on the identification of the metonymies and their
translation techniques.
The phrase colokan listrik in (64) meaning an electrical outlet is a
metonymy based on spatial relationship in which this phrase substitutes the word
hidung meaning nose, even though the two expressions are not synonyms.
Metonymy is to use figurative meaning of words because of associative
relationship or words in a figurative sense involving association (Larson in
Masroor and Pourmohammadi, 2016: 134 and Larson, 1984: 111). In this context,
the young girl character named Beauty has a nose resembling the shape of an
electrical outlet. Thus, the author associates her nose to an electrical outlet in a
figurative sense. This metonymy has a negative sense since an electrical outlet is
not a beautiful resemblance for a nose.
(64) SL Seorang gadis dengan colokan listrik di wajahnya.

TL A young girl with an electrical outlet in the middle of her face.
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The translation technique used in translating the metonymy is established
equivalent that is, using a term or expression recognized by dictionaries or daily
language in use as an equivalent in the TL (Molina and Albir, 2002: 510). The
phrase electrical outlet is a term or expression recognized by dictionaries or daily
language in use as an equivalent for colokan listrik in TL.
(65) SL Menggodanya dengan leher gaun yang sedikit terbuka.

TL Teasing him by leaving the neck of her dress unbottened.
The word leher in (65) meaning neck is a metonymy based on spatial
relationship in which this word substitutes the word collar, even though the two
words are not synonyms. The phrase leher translated into the neck is categorized
as metonymy since this figurative expression has an associative relationship with
the word collar that it substitutes (Larson in Masroor and Pourmohammadi, 2016:
134). In this context, Alamanda came to the mushroom farm pretending that she
wanted to help Comrade Kliwon with the daily morning mushroom harvest,
whereas in fact she intended to pursue him. The author associates Alamanda’s
dress collar to a neck in a figurative sense, since both are situated on the top of
something. Collar is on the top of a cloth and neck is on the top of someone’s
body.
The translator employed established equivalent technique by using the word
neck as a term or expression recognized in the dictionaries or daily language use
as an equivalent for leher in TL.
(66) SL Alamanda yang bahkan dibuat menangis melihat kepergiannya,

dan masih berdiri di tempatnya sampai ekor kereta menghilang.
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TL Seen off by Alamanda’s waving hand and her tears at his

departure, as she stood in the same spot until the train’s caboose
was out of sight.
The word ekor kereta in (66) meaning tail of the train (translated into
caboose) is a metonymy based on spatial relationship substituting the phrase the
most end wagon of the steam engine, even though the two expressions are not
synonyms. This figurative expression is classified into metonymy based on spatial
relationship since tail and the most end wagon of the steam engine have an
associative relationship in a sense that the later resembles the former (Larson,
1984: 111). In addition, the word ekor (tail) often occurs in collocation with the
word kereta (train) in a particular phrase within a stretch of an utterance (Larson,
1984: 111).
In this context, Comrade Kliwon got a scholarship from the Party to return
to university in Jakarta. Alamanda escorted her lover’s departure in the train
station. The author associates a train’s wagon to a tail in a figurative sense
because both are long and situated at the end of another object. Wagons are lined
up behind a steam engine, while a tail is a hindmost part of an animal prolonged
beyond the rest of its body (e.g. monkey, cow, and lion).
The translation technique employed in translating this metonymy is
established equivalent by using the phrase train’s caboose as the term or
expression recognized in the daily language in use for the equivalent of the phrase
ekor kereta (tail of the train) in TL (Molina and Albir, 2002: 510).
(67) SL Dan ia akan selalu mengenang saat-saat penaklukannya, tahap

demi tahap, bahkan sejak serangan pertama di tempat adu babi.
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TL She would always remember her days of conquest, step by step,

all the way back to the first offensive in the pig-fighting arena.
The phrase serangan meaning attack (translated into offensive) in (67) is a
metonymy based on spatial relationship substituting the term meeting, even
though the two expressions are not synonyms. In addition, this metonymy does
not only refer to the meeting between two lovers, but also the courtship and
flirting. In this context, Alamanda was aware that Shodancho, the most famous
male soldier, had been lured by her beauty at the first time they met in the pig-
fighting arena. The author associates the term meeting to attack in a figurative
sense since Shodanco had fallen for Alamanda at their very first encounter. In
other words, he was in love with her at the first sight.
The translation techniques used in translating the above metonymy is
established equivalent that is by using the terms or expressions available in the
target language (i.e. both dictionary and the daily language in use) as the one-to-
one equivalent for the SL expression. The word offensive is a term or expression
recognized by dictionaries or daily language in use as an equivalent for serangan
in TL. Offensive means a planned military attack which is used in a figurative
sense in this context.
4.2.5.2 Adaptation
The word pemburu in (68) meaning hunters (translated into pursuers) is a
metonymy based on spatial relationship in which this word substitutes the phrase
the men courting the girl named Alamanda, even though the two expressions are
not synonyms. In this context, a plenty of male soldiers and civilians in

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Halimunda are romantically involved with Alamanda and have intention of
marrying her. Thus, the author associates them to the hunters in a figurative sense.
In other words, pemburu (hunters) has connotative sense or secondary meaning
instead of genuine sense or primary meaning.
(68) SL Para pemburu tak akan menyerah hanya karena itu, mereka
menguburnya dengan rayuan penarik hati.
TL But her pursuers wouldn’t give up so easily, so they buried her
under charming flirtations.
The translation technique used in translating the above metonymy is
adaptation that is by changing the term in the SL with another term in the TL
culture which is more comprehensible and more familiar for the target readers.
The term pemburu (hunters) in SL is replaced by pursuers which makes the
translation of the original more familiar in the TL. Applying established
equivalent by directly transferring pemburu into hunters may be less
comprehensible since it does not take the context into account.
4.2.5.3 Generalization
The word binatang in (69) meaning animals (translated into creatures) is
categorized as a metonymy based on object attribute since it symbolizes the term
tension (Larson, 1984: 112). In other words, both the words animals and tension
have an associative relationship in a way that the former symbolizes the later. The
two expressions are nevertheless not synonymous. The word animals means a
living organism that feeds on organic matter, typically having specialized sense
organs and nervous system and able to respond rapidly to stimuli. Meanwhile,
tension means a mind that is somewhat affected by stress that it cannot think as
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clearly. In this context, Dewi Ayu (the middle-aged prostitute working for a
brothel called Mama Kalong) asked Maman Gendeng (a middle-aged man who
managed to kill the meanest thugs in Halimunda named Edi Idiot) to marry her
12-year-old daughter named Maya Dewi. He felt tense finding Dewi Ayu’s
demand too hard to accomplish. Therefore, he used the word animal to symbolize
his tension.
(69) SL Ia meminum habis limun dinginnya, dan tak berhasil

menghilangkan semua binatang di dalam tubuhnya.
TL He finished his lemonade but couldn’t rid his insides of all those
creatures.
The translation technique used in translating this metonymy is
generalization. In this technique, the word creatures is a more general or neutral
term for binatang (animals); meaning that the former is a more super-ordinate
term compared to the later.
4.2.6 Translation Techniques of Personifications
There were 7 (3.55%) personifications found in the primary source of data,
four of which (57.14%) were translated figuratively while the other three
(42.86%). Table 4.10 below illustrates the distribution of the combination of
translation techniques used in translating the personifications in the primary data
and their occurrence. Considering that 3 out of 7 personifications were not
translated figuratively, it can be inferred that it is not always common in the target
language to attach human characteristics to other living beings such as animals or
plants or to non-living beings. Modulation occurred in two personifications which
were not translated figuratively (28.57%), meaning that occasionally the translator
154
decided not to retain the human characteristics by changing some lexicons or
changing the points of view of the message.
Table 4.10 Techniques Used for Translating Personifications and Their

Translation Combination of Occurrence and Types of

Techniques Translation Data Codes Translation
Techniques
Couplet Amplification and 1 (14.28%) Figurative
Transposition (148) 4 (57.14%)
Established equivalent 1 (14.28%)
and Reduction (150)
Established equivalent 1 (14.28%)
and Amplification (151)
Modulation and 1 (14.28%)
Reduction (153)
(152) 3 (42.86%)
(147, 149)
The followings are descriptions of the identifications of the similes and the
translation techniques used in translating them. Personification is attaching human
characters towards other creatures or non-living things, such as plants and the
things found in nature or the assigning of human characteristics to nonhumans
(Keraf in Yulianti and Yadnya, 2016: 4 and Suryawinanta and Hariyanto, 2003:
116).
4.2.6.1 Modulation
The phrase kodok yang bernyanyi meaning the singing frogs in (70) above is
a personification in which the human character, that is, the habit of singing is
attached to frogs. In fact, frogs croak instead of singing.
(70) SL Disaksikan si kusir tua, kudanya, kodok yang bernyanyi,

155
burung hantu, nyamuk, dan ngengat, si gadis membuat

perjanjian.
TL With the old coachman, the horse, the croaking frogs, the owls,
the mosquitoes, and the moths as her witness.
The translation technique used to translate this personification is
modulation. There is a variation of the form of the message in the lexical level
that can be seen in the translation of kodok yang bernyanyi meaning the singing
frogs into the croaking frogs. Singing and croaking are different in meaning; the
former is making musical sounds with the voice, especially words with a set tune,
while the later is typically associated to a frog or crow making a characteristic
deep hoarse sound.
(71) SL Berbaring di pasir yang basah sementara air laut menghantam

dirinya.
TL Lying on the wet sand as the ocean water swirled all around
her
The clause air laut menghantam dirinya meaning the ocean water punched
him in (71) is a personification in which the human character, that is, the ability to
punch someone or something is attached to the ocean water. The translation
technique used to translate this personification is modulation; there is a variation
of the form of the message in the lexical level that can be seen in the translation of
air laut menghantam dirinya meaning the sea water knocked over her into the
ocean water swirled all around her. The verb swirl means to move in a twisting or
spiraling pattern. The modulated translation might sound more suitable and less
awkward than the literal translation.

156
4.2.6.2 Reduction
(72) SL Makojah… Ia hidup dengan meminjamkan uang pada penduduk

kota yang harus mengembalikannya dengan bunga yang
mencekik, sebab hanya itulah yang bisa ia kerjakan.
TL Makojah… She made her living by loaning money, because that
was the only thing she could do.
The phrase bunga yang mencekik meaning the suffocating interest in (72) is
a personification in which the human character, that is, the ability to squeeze or
constrict the neck of a person or an animal to cause them die from lack of air or
inability to breathe, is attached to interest. In this context, interest refers to money
paid regularly at a particular rate for the ufse of money lent. The word suffocating
is used to convey how high the amount of the interest that the debtors had to pay
to Makojah. The translator decided to omit the whole personification by applying
reduction technique, which is completely removing the expression, so that it did
not appear in the target language.
4.2.6.3 Amplification and Transposition
(73) SL Sepotong lagu cengeng yang sedang popular di masa itu.

TL One of thosewhiny love songs that were so popular at the time.
The phrase lagu cengeng meaning the whiny songs in the highlighted
expression above (73) is a personification in which the human character, that is,
whiny (i.e. human’s feeling of distress and irritation expressed through crying) is
attached to songs.
The translation techniques used translate this personification are
amplification and transposition. Amplification, which is the addition of a new
information item in the target language, occurs when the word love is added to the
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phrase lagu cengeng (whiny songs). The translation then becomes whiny love
songs. Transposition, that is the change of grammatical category in the translation,
can be seen in the change of the singular noun sepotong lagu cengeng meaning a
whiny song in the source language into the plural noun one of those whiny love
songs in the target language.
4.2.6.4 Modulation and Reduction
The clause cahaya fajar pertama menerobos celah daun kamboja meaning
the first morning light broke through the frangipani leaves in (74) is a
personification in which the human character, that is, their ability to force
themselves through something that is holding them back (e.g. Protestors broke
through the barriers), is attached to the nature-related term the morning light.
(74) SL Ia memikirkan gadis itu sepanjang malam, dan tertidur ketika

cahaya fajar pertama menerobos celah daun kamboja.
TL He thought about the girl all night long, dozing only when the
firstmorning light broke through the frangipani leaves.
There are two translation techniques used to translate this personification,
namely modulation and reduction. Modulation occurs when there is a variation of
the form of the message in the lexical level that can be seen in the translation of
the phrase cahaya fajar pertama (the first light of dawn) into the first morning
light. Dawn and morning are two entirely different time expressions. Dawn refers
to the first appearance of light in the sky before sunrise, while morning refers to
the period of time between midnight and noon especially from sunrise to noon. In
the employment of reduction, the word celah (pore) in SL meaning a very small
hole on the surface of plants in the verb phrase menerobos celah daun kamboja
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(broke through the pores of frangipani leaves) is reduced so that it does not appear
in TL.
4.2.7 Translation Techniques of Euphemisms
There were 5 euphemisms found in the primary source of data (2.54%), all
of which were translated figuratively (100%). It implies that the translator has
maintained the author’s effort in using less offensive, less unpleasant, and more
socially acceptable expressions to substitute the offensive sense of some particular
expressions in the source language. In addition, the translator also decided to
preserve the figurative sense of all the euphemisms in the selected data. Table
4.11 illustrates the translation techniques used in translating the euphemisms
figuratively.
Table 4.11 Techniques Used for Translating the Euphemisms and Their
Translation Techniques Occurrence Data Codes Types of

Translation
Established equivalent 4 (80%) 193, 195, 196, Figurative
197 5 (100%)
Modulation 1 (20%) 194
Table 4.11 shows that established equivalent is the most frequently
employed translation techniques used in translating the euphemisms; meaning that
most of the time the translator used the TL words or expressions available in the
dictionary or the daily language in use as the equivalents for the euphemisms in
the SL.
The followings are descriptions of the identifications of the euphemisms and
the translation techniques employed in translating them. Euphemism is defined as

159
substituting an expression with another one for the sake of avoiding an offensive
sense or one that is socially unacceptable or a little unpleasant.
The phrase sarapan pagi in (75) meaning breakfast in the morning is a
euphemism where there is a substitution of one expression for another used to
avoid an offensive expression or one that is socially unacceptable or unpleasant.
In this context, the girl was threatened by the Japanese that her parents would be
eaten by the wild dogs if she refused to be his concubine. The word pakan (animal
feed) would sound too offensive and unacceptable. Therefore, the author used the
word sarapan meaning breakfast, that is, a meal eaten in the morning as the first
meal of the day instead to figuratively refer to the wild dogs’ feed.
(75) SL Kenapa kau mau jadi gundik?” “Sebab jika tidak, Bapak dan
ibu akan jadi sarapan pagi ajak-ajak.
TL Why do you want to become someone’s concubine?” “Because
if I don’t, Mother and Father will be made into breakfast for the
ajak.
The translation technique used in translating this euphemism is established
equivalent. The term sarapan pagi is translated into breakfast, the term
recognized by dictionaries and daily language in use as its equivalent. The term
breakfast is less offensive and less unpleasant than animal feed.
(76) SL Ada desas-desus bahwa DN Aidit dan para pemimpin Partai

Komunis di ibukota telah sungguh-sungguh ditangkap dan
dieksekusi.
TL There was a talk that DN Aidit and the leaders of the
Communist Party had in fact been executed.
The word dieksekusi (executed) in (76) is a euphemism where there is a
substitution of one expression for another used to avoid an offensive expression or

160
one that is socially unacceptable or unpleasant. In this context, DN Aidit was
rumored to be sentenced to death. However, to make it sound less offensive, the
author used the term executed instead of sentenced to death since the later may
sound too frank and mean. The term executed is associated to a legally
condemned person to whom a sentence of death is carried out.
The translation technique used in translating this euphemism is established
equivalent. The verb dieksekusi is translated into had been executed, a term
recognized by dictionaries and daily language in use as its equivalent.
(77) SL Anak bodoh, ia seharusnya tahu semua orang komunis akan

berakhir di depan regu tembak.
TL That stupid kid should have known- all communists end up in
front of a firing squad.
The word berakhir meaning end in (77) is a euphemism where there is a
substitution of one expression for another used to avoid an offensive expression or
one that is socially unacceptable or unpleasant. In this context, all the communists
would die after being executed by the firing squad. However, the word die might
sound too direct and a little unpleasant. Therefore, the author used end meaning to
figuratively illustrate that all the communists died and to soften the expression.
In translating this euphemism, the translator used established equivalent.
The verb berakhir is translated into end up, a term recognized by dictionaries and
daily language in use as its equivalent. Furthermore, the verb end up which means
to finally be in a particular place or situation’ is used in the translation context
with its secondary meaning (figurative meaning) to refer to the state of finally
being in a death sentence situation.

161
(78) SL Maka tanpa menyia-nyiakan kemarahannya, ia membawa

orang-orang penting Partai itu ke belakang gedung tahanan
militer dan mengeksekusi mereka semua dengan pistolnya
sendiri.
TL To vent his anger, Shodancho brought the few important Party
men out behind the military prison and executed each one with
his very own pistol.
The verb mengeksekusi meaning to execute in (78) is a euphemism where
there is a substitution of one expression for another used to avoid an offensive
expression or one that is socially unacceptable or unpleasant. To execute means to
carry out a sentence of death on a legally condemned person. The expression
menghukum mati (to sentence someone to death) or menembak mati (to shoot
someone to death) may sound too direct and a little mean. Therefore, the author
used mengeksekusi (to execute) instead to refer to the killing to make it less direct
and more pleasant.
The translation technique employed in translating this euphemism is
established equivalent. The verb mengeksekusi is translated into executed, a term
recognized by dictionaries and daily language in use as its equivalent.
4.2.7.2 Modulation
The phrase jiwa-jiwa tentara yang sakit meaning the soldiers’ sick souls in
(79) is a euphemism where there is a substitution of one expression for another
used to avoid an offensive expression or one that is socially unacceptable or
unpleasant. In this context, Dewi Ayu, the prostitute in the whorehouse of Mama
Kalong, oftentimes had soldiers as her customers. Most of those soldiers were
depressed and lonesome during and after the military aggression and the battle
against the Communist Party. Desribing these soldiers as gila (insane) might
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sound a little offensive. Therefore, the author referred to them as the sick souls
instead, to make it sound more pleasant.
(79) SL Dewi Ayu menggeleng. “Kami merawat jiwa-jiwa tentara yang

sakit”. Katanya.
TL Dewi Ayu nodded. “We are caring for the souls of sick
soldiers,” she said.
The translation technique used in translating this euphemism is modulation.
There is a change on the point of view of the message that can be seen in the
translation of the phrase the soldiers’ sick souls into ‘the souls of sick soldiers. In
the original, the sickness is attached to the souls while in the translation the
sickness is attached to the soldiers.
4.3 Retention and Omission of Figurative Senses
This section elaborated the retention of the figurative senses of seven types
of figurative expressions namely metonymies, hyperboles, similes, metaphors,
personifications, idioms, and euphemisms in the target language; emphasizing on
whether or not the figurative sense is retained as a result of the translation
technique employment.
Regarding to whether or not the figurative expressions in the source
language were translated figuratively in the target language, the translator decided
to retain the figurative sense of most of the figurative expressions in the
translation. It can be drawn from the table that 86.30% of the figurative
expressions in the source language were translated figuratively, while the rest
13.70% were not translated figuratively.

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4.3.1 Retention and Omission of Similes’ Figurative Senses
This section elaborates the retention and omission of the figurative sense of
the similes in the target language.
4.3.1.1 Retained Figurative Sense
Referring to Tables 4.2, 4.3, 4.4, and 4.5, the figurative sense of 86 (98%)
similes were preserved in the translation. There were four groups of translation
techniques influencing the retained figurative sense of the similes in the target
language namely single, couplet, triplet, and quadruplet. Based on Table 4.4, 39
(44.32%) similes were translated using single technique in which the most
dominant translation techniques influencing the retained figurative sense of the
similes in the target language were Modulation occurring 16 times (18.18%) and
Established Equivalent occurring 19 times (21.59%).
In addition, referring to Table 4.5, 34 (38.64%) similes were translated
using couplet in which the most dominant combinations of translation techniques
leading to the retained figurative sense of the similes in the target language were
Established Equivalent and Modulation occurring 9 times (10.23%) and
Established Equivalent and Amplification occurring 7 times (7.95%). Based on
Table 4.6, 12 (13.64%) similes were translated using triplet in which the most
frequently employed combinations influencing the retained figurative sense of the
similes in the target language were Established Equivalent, Modulation, and
Reduction and Modulation, Amplification, and Reduction occurring each of
which 3 times (3.41%). Referring to Table 4.7, quadruplet technique leading to

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the preserved figurative sense of the simile was the combination of Amplification,
Transposition, Adaptation, and Established equivalent occurring once (1.4%).
Below are the descriptions of how some translation techniques preserved
the figurative sense of the similes in the target language.
The employment of Established Equivalent in data (19) and (20) preserved
the figurative sense of the similes in the target language since all the features of
simile namely topic (i.e. something being talked about), image (i.e. something
being compared to), comparing word, and implied point of similarity are retained.
In (19) the topic is three (and now four) children, the image is a curse of
prostitution, the comparing word is as, and the implied point of similarity between
the image and the topic is the state that both are something abject and humiliating.
In (20) the topic is them in …them away like abject trash referring to the men of
Halimunda, the image is abject trash, the comparing word is like, and the implied
point of similarity between the topic and the image is being thrown away when
they are useless.
Referring to data (21), even though the point of view of the image in the
source language is modified in the target language which leads to a change of
meaning, the modulation technique did not influence the figurativeness of the
simile in the translation since the target language still contains all the major
features of a simile namely the topic that is, her hair was a total mess, the image
that is, someone staggering away from a bullfight, the comparing word that is like,
and the implied point of similarity between the topic and the image that is, the
state of having scruffy and messy appearance especially with chaotic hair.
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The two translation techniques namely Established Equivalent and
Modulation in (22) preserved the figurativeness of the simile in the target
language since the salient features of a simile namely topic, image, and comparing
word retained in the translation. The topic is (Dewi Ayu) still wrapped in a
shroud, the image is she’d only just been buried the night before, and the
comparing word is as if. The point of similarity implied between the image and
the topic can still be identified, that is, both remained intact and have not been
corpse yet.
The employment of Established Equivalent and Amplification in (23)
preserved the figurative sense of the simile in the target language since all the
main features of a simile namely topic, image, comparing word, and implied point
of similarity between the topic and the image retained in the translation. The topic
is Maman Gendeng hearing that Dewi Ayu demanded him to marry Dewi Ayu, her
daughter which is not explicitly stated in the simile, the image is there was a bee
buzzing inside his skull and dragonflies flitting around in his stomach, the
comparing word is as if, and the implied point of similarity between the topic and
the image that is feeling nauseous, startled, and panic.
The employment of the two translation techniques namely established
equivalent and reduction in (24) did not influence the figurativeness of the simile
in the target language since it retained all the key features of the simile, namely
the topic referring to He walked straight and tall, the image referring to a
commander certain he’d soon win the wars still yet to come, the comparing word
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that is, like, and the implied point of similarity between the topic and the image
that is, their boldness, ability to endure hardships, and immunity to defeat.
The two translation techniques namely established equivalent and
adaptation in (25) preserved the figurativeness of the simile in the translation
since the target language retains all the four elements of the simile in the source
language. They are the topic (something being talked about) that is, the howls of
the wild dogs, the image (something being compared to) that is, the star seen by
the Magi, the comparing word that is comparing to, and the implied point of
similarity between the topic and the image that is, the people belief that both are
the natural signs about the birth of people or the phenomenon who/which are
considered sacred, remarkable, or exceptional.
Similarly, the two translation techniques namely established equivalent and
adaptation in (26) preserved the figurativeness of the simile in the target language
since it retained all the key characteristics of a simile, namely the topic that is, his
eyes welled up, the image that is, a little kid who has lost his mother, the
comparing word that is, like, and the implied point of similarity between the topic
and the image that is, the feeling of sadness and sorrow.
The employment of the two translation techniques namely pure borrowing
and established equivalent in (27) preserved the figurativeness of the simile in the
target language since it retained the four characteristics of a simile namely the
topic that is, the preman in the city, the image that is, turds, the comparing word
that is, like, and the implied point of similarity between the topic and the image
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that is, the state that the existence of both leads to others’ inconvenience and
annoys people.
The employment of the two translation techniques namely modulation and
adaptation in (29) preserved the figurativeness of the simile in the translation
since it retains all the four elements of the simile namely, the topic that is he
referring to the ancient man named Sodhancho, the image that is, guerrilla, the
comparing word that is looked like, and the stated point of similarity between the
topic and the image that is, hair that was going every way, matted and tied back
with a wilted yellow leaf.
The employment of the three translation techniques namely established
equivalent, transposition, and adaptation in (31) preserved the figurativeness of
the simile in the target language since it retained the four key characteristics of a
simile, namely the topic referring to this living corpse (Comrade Kliwon) looked
full of authority, full of self-satisfaction, the image referring to a martyr, full of
wonder at the life that he had chosen, the comparing word that is, as if, and the
implied point of similarity between the topic and the image that is, the state of
being fearless and not afraid to die.
The employment of the three translation techniques in (33) namely
transposition, reduction, and generalization preserved the figurativeness of the
simile in the target language since it retains the four major features of a simile,
namely the topic that is, her baby, the image that is, a wild pig or a monkey, the
comparing phrase that is, would not be like, and the implied point of similarity
between the baby and a wild pig or a monkey that is, the state of having a huge
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nose with wide nostrils and large ears or having big eyes and a flat nose with tiny
nostrils.
The four translation techniques namely Amplification, Transposition,
Adaptation, and Established Equivalent in (34) preserved the figurative sense of
the simile in the translation since the simile in the target language still has the
nonfigurative proposition (topic) that is, the crowd listening to the uproar coming
from the old grave; the figurative proposition (image) as something being
compared with that is, the crowd gathering around the medicine peddler; and the
point of similarity that is, the crowd’s state of being quiet, clustered, and crowded
because they paid attention and listened to something carefully without making
any noise.
4.3.1.2 Omitted Figurative Sense
Referring to Table 4.3, there was only one translation technique
combination namely Established Equivalent and Reduction omitting the figurative
sense of the simile in the target language. This can be found in the translation of
the simile ...si gadis buruk rupa itu memberinya senyum, atau sesungguhnya lebih
menyerupai seringai barongsai into …the hideous girl just gave her a smile.
The event-proposition topic si gadis buruk rupa itu memberinya senyum in
SL’s simile is transferred directly its equivalent words in TL the hideous girl just
gave her a smile in which form coincides with meaning and function. However,
the image of the sesungguhnya lebih menyerupai seringai barongsai meaning
actually looked more like a grinning lionesss in SL’s simile is deleted in TL. This
deletion of image in the simile has led to the omission of its figurative sense in the
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target language since a simile must consist of at least a topic (something being
talked about) and an image (something being compared to) without which an
expression cannot be called as a simile.
4.3.2 Retention and Omission of Idioms’ Figurative Senses
the idioms in the target language.
Referring to Table 4.6, the figurative sense of 22 (56.41%) of the idioms
was retained in the target language. The most frequently occurring translation
technique influencing the preserved figurative sense of the idioms in the
translation was Established Equivalent occurring 11 times (28.21%). Below is the
description of the effects of some translation techniques towards the retained
figurative sense of the idioms in the target language.
The employment of adaptation technique in (35) preserved the
figurativeness of the idiom in the target language since the selected translation
that is grapevine has also fulfilled the characteristic of an idiom; which is the state
that it cannot be understood from its constituent element nor its individual
meaning; thus it is identified as a full idiom and an idiom using a part of the plant
based on Witono’s classification of idioms (2013: 3). Furthermore, grapevine and
kabar burung have a similar meaning that is unconvincing rumor or mazy
information.
The employment of adaptation technique in (36) has preserved the
figurativeness of the idiom in the target language. The clause her love was
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unrequited is not an idiom since it is not a frozen pattern and the meaning of
which can be understood from its constituent words. In this context, the love that
the character feels for someone is not felt the same way by the other person.
Considering that the past participle adjective requited is not an idiom, it can be
concluded that the Indonesian idiom in the source language is not translated
figuratively into the target language. In other words, since the translator did not
find any one-to-one idiom equivalent in the target language when applying
adaptation, she decided to use the word carrying the direct meaning of the idiom
itself.
The adaptation technique in (37) preserved the figurativeness of the idiom in
the translation since the translator managed to find the one-to-one idiom
equivalent in the target language. More specifically, to play hard to get is
identified as a full idiom since it cannot be understood from its individual
constituent words and must be comprehended as a whole semantic expression. To
sum up, this idiom is translated figuratively into the target language.
figurativeness of the idiom in the target language since the adjectival phrase full of
themselves is also a full idiom whose meaning cannot be understood from any of
its word constituents. Despite the fact that the idiom figurativeness is retained in
the target language, it has undergone semantic broadening or expansion which can
be seen in the meaning extension of the original idiom that is being too proud of
how one looks into seeing oneself as more important than others; the former
emphasizes merely on someone’s pride on look while later seems more general.
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The employment of established equivalent in (41) preserved the
figurativeness of the idiom in the target language. The idiom in the target
language exactly has the same meaning as the original idiom in the source
language. In other words, the translator managed to find the highly-appropriate
equivalent idiom in the SL culture. To sum up, this expression is translated
figuratively in the target language.
figurativeness of the idiom in the target language. The phrase hardheaded is the
TL recognized equivalent idiom for the SL idiom keras kepala. Therefore, this
idiom is translated figuratively.
Based on Table 4.6, the figurative sense of 17 (43.59%) idioms was omitted
in the translation. The most frequently employed translation technique leading to
the omission of figurative sense of the idioms was adaptation occurring 8 times
(20.51%). Below is the description on how the use of some translation techniques
lead to the omission of figurative sense of some idioms in the target language.
The employment of adaptation technique in (38) has affected the
figurativeness of the idiom in the target language since the translation chosen that
is womanizer is merely a word having only a primary meaning (literal meaning)
and not a secondary meaning (figurative meaning). It is not an idiom or a frozen
pattern which should be understood as a semantic unit. In conclusion, the idiom
mata keranjang is not translated figuratively into the target language.

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The employment of adaptation in (40) has omitted the figurative sense of
the SL idiom. Considering that the chosen translation is not an idiom, in a sense
that it does not have any secondary meaning (figurative meaning) and the
meaning of which can be understood from its constituent words, the figurativeness
of the expression is absent in the target language. In other words, the original
idiom in the source language is not translated figuratively. Nevertheless, both
angin busuk (stinky air) in SL and vicious rumor in TL have the same sense and
there is no meaning distortion found in the translation process.
The reduction technique in (43) has omitted the figurativeness of the idiom
in the target language since the idiom is completely omitted in the translation.
Thus, the meaning of the idiom in the translation is absent as well. In other word,
this expression is not translated figuratively in the target language.
4.3.3 Retention and Omission of Hyperboles’ Figurative Senses
the hyperboles in the target language.
Referring to Table 4.7, the figurative sense of 23 (88.46%) hyperboles was
retained in the translation. There were four groups of translation techniques
influencing the retained figurative sense of the hyperboles in the target language
namely single (i.e. the use of one translation technique), couplet (i.e. the
combination of two translation techniques), triplet (i.e. the combination of three
translation techniques), and quadruplet (i.e. the combination of four translation

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techniques). For single, most of the translation techniques influencing the retained
figurative sense of the hyperboles are Established Equivalent occurring 7 times
(26.92%).
For couplet, most of the translation techniques influencing the retained
figurative sense of the hyperbole are the combination of Established Equivalent
and Amplification occurring 6 times (23.08%). For triplet, the translation
techniques leading to the retained figurative sense of the hyperboles are the
combination of Modulation, Amplification, and Reduction occurring once
(3.85%). For quadruplet, the translation techniques leading to the retained
figurative sense of the hyperboles are the combination of Transposition,
Reduction, Amplification, and Established Equivalent. Below is the description on
how the figurative sense of the hyperboles is retained by the translator.
The employment of established equivalent in data (44), (45), and (46) has
preserved the figurative sense of the hyperbole in the target language since the use
of words available in the dictionary and the daily language in use retained the
exaggeration. The TL hyperbole they saw a flame ignite between the couple’s lips
in (44) has emphasized and created a much stronger impression of the infatuation
felt by the couple compared to the one in the actual situation. The TL hyperbole
spewing their prehistoric pent-up desires in (45) intensified the yearning of
Halimunda men towards Alamanda’s presence. The TL hyperbole blew up in (46)
has preserved the exaggeration intensifying the character’s rage and anger.
The effect of amplification technique in (48) has preserved the figurative
sense of the hyperbole in the target language. This is because the addition of the
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new information items such as the superlative adjective slightest attached to the
noun disobedience and the noun complaint following the adjective whiny did not
only retain the hyperbole but also intensify it. Thus, the exaggeration of the
hideous and terrifying look of Beauty in the SL remains existent in the TL.
The employment of Established Equivalent and Amplification in (49) and
(50) has retained the figurative sense of the hyperboles in the target language.
Using the words and phrases available in the dictionary and the daily language in
use as in the TL hyperboles the most beautiful couple that had ever existed (49)
and eternal dusk spent with the most handsome man in the world (50) and adding
the word face on the phrase on the face of the earth (49) and the verbs stretch out
and spent (50) as new information items added in TL that do not appear in SL
have preserved the exaggeration of this hyperbole in the target language.
The amplification and modulation techniques in (52) preserved the
figurative sense of the translation, since the exaggeration of Alamanda’s agony
and misery is preserved in the target language through the conditional sentence If
I did, you would kill yourself. In other words, the hyperbole in the source language
is translated figuratively in the target language.
The two translation techniques namely modulation and amplification in (53)
have preserved the figurative sense of the hyperbole in the target language.
Despite the fact that the translator changed the point of view of the message, the
target readers can still feel the exaggeration on the flirtatious relationship
experience of both Alamanda and Kliwon through the translated hyperbole It was
a competition between the most formidable warriors.

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The transposition and established equivalent techniques in (54) have
preserved the figurative sense of the hyperbole in the target language, since the
target readers can feel the extravagant exaggeration on how Alamanda’s devotion
and faithfulness are represented in a much greater intensity beyond possibility as a
profound emotion as high as the mountains and as deep as the ocean. Thus, this
hyperbole is translated figuratively.
The three translation techniques in (55) namely modulation, amplification,
and reduction preserved the figurative sense of the hyperbole in the translation,
since the exaggeration on Shodancho’s obsession towards Alamanda in the source
language is retained in the target language. It can be found in TL in which
Sodhanco’s infatuation towards Alamanda is “represented beyond possibility and
in a greater intensity” with the goal of emphasizing his gaze of lust (Altikriti,
2016: 138-139) as being able to penetrate the boundaries of her picture surface.
As stated by Brinannica and Larson in Masroor and Pourmohammadi (2016: 134),
the translator is able to convey the appropriate effect and the proper meaning of
the intentional exaggeration into the target language.
Referring to Table 4.7, the figurative sense of 3 (11.54%) of the hyperboles
was omitted in the translation. There were two groups of translation techniques
leading to the omitted figurative sense of the hyperbole in the target language
namely single and couplet. For single, the translation techniques influencing the
omission of the figurative sense are Reduction occurring once (3.85%) and
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Modulation occurring twice (3.85%). For couplet, the translation technique
influencing the omission of the figurative sense is the combination of Established
Equivalent and Modulation occurring once (3.85%). Below is the description on
how the figurative sense of the hyperboles is retained by the translator.
The modulation technique in (47) has affected the figurative sense of the
translation since the exaggeration on the hyperbole in SL is not retained in TL.
The term beku meaning frozen intensifying the coldness of the night is not
preserved in the translation and is changed into its literal meaning that is, colder.
In conclusion, this hyperbole is not translated figuratively.
The combination of established equivalent and modulation techniques in
(51) has omitted the figurative sense of the translation, since it eliminates the
exaggeration of the envy strongly felt by made both men and women of
Halimunda towards Alamanda and Comrade Kliwon’s relationship. Considering
that the exaggeration effect of the expression is omitted, the hyperbole is not
preserved in the translation. In conclusion, the hyperbole in the source language is
not preserved in the target language.
4.3.4 Retention and Omission of Metaphors’ Figurative Senses
This section elaborates the retention and omission of the figurative senses of
the similes in the target language.
Referring to Table 4.8, the figurative sense of 20 (90.91%) metaphors was
preserved in the translation. There were three groups of translation techniques

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influencing the retained figurative sense of the metaphors in the target language
namely single, couplet, and quadruplet. The most frequently used translation
technique for single was Established Equivalent occurring 6 times (27.27%). The
second most frequently used one contributing to the preserved figurative sense of
the metaphors was Modulation occurring 3 times (13.64%).
For couplet, the combination of two translation techniques influencing the
retained figurative sense of the metaphors were Modulation and Amplification,
Modulation and Established Equivalent, Amplification and Established
Equivalent, and Adaptation and Transposition. For quadruplet, the translation
technique employed was the combination of Established Equivalent,
Amplification, Transposition, and Adaptation.
The employment of the modulation in (57) preserved the figurativeness of
the metaphor in the target language since it retained all the key feature of a
metaphor, namely the topic that is, they referring to the terrified people visiting
Dewi Ayu’s baby, the image that is, the faces of idiots whose memories had been
suddenly erased, and the implied point of similarity between the two that is their
faces that look dazed and confused.
The employment of the modulation in (58) preserved the figurativeness of
the metaphor in the target language since it retained all the three major elements
of the metaphor, namely the topic referring to he was even more dissolved in lust,
the image referring to a dog in heat, and the implied point of similarity between
the two that is, the act of showing lust when being sexually interested in the
opposite sex. In addition, this metaphor has shifted into a simile through the
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explicit comparison represented by the comparing word like. To sum up, this
metaphor in the source language is figuratively translated into the target language.
figurativeness of the metaphor in the target language because it still retained the
key elements of the metaphor, namely the topic referring to you, the image
referring to a cheap slut, and the implied point of similarity between the two that
is, the action of having sexual relationships with a lot of male counterparts
without any emotional involvement. In conclusion, this metaphor is translated
figuratively in the target language.
In spite of the intense reduction, the two translation techniques namely
reduction and amplification in (60) preserved the figurativeness of the metaphor
in the target language; it retained the three key elements of a metaphor namely the
topic referring to Maman Gendeng (who felt tense and panic after Dewi Ayu
insisted him to marry Maya Dewi, her daughter), the image referring to all this
bee and thicket and dragonfly nonsense, and the implied point of similarity
between the two that is, being trapped in an agonizing and torturous situation
leaving him no choice but accepting it.
The employment of the two translation techniques namely pure borrowing
and amplification in (61) preserved the figurativeness of the metaphor in the target
language since it retained all the three features of a metaphor, namely the topic
referring to the kyai, the image referring to with the disgust of a young girl feels
for earthworms, and the implied point of similarity between the two that is, the
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feelings of hatred and disgust for beings who are considered despicable. In other
words, this metaphor has been translated figuratively into the target language.
The employment of the two translation techniques namely adaptation and
transposition in (62) preserved the figurativeness of the metaphor in the target
language since it retained all the key features of the metaphor, namely the topic
that is, she referring to Alamanda, the image that is, a half-tamed turtledove who
hops away every time you try to catch it, and the implied point of similarity
between the two that is, their typical personality of not being easily approached by
other creatures or their counterparts. In other words, this metaphor is translated
figuratively.
The employment of the four translation techniques in (63) namely
established equivalent, amplification, adaptation, and transposition preserved the
figurativeness of the metaphor in the target language since the key features of a
metaphor are retained. Those are the topic that is, (the kyai) came to visit her, the
image that is, with the virtuous manners of the pious in front of a saint, and the
implied point of similarity between the two that is, someone who visits a valued,
respected, and sanctified person with full respect and honor or the respectable
person seeing his more superior other in terms of social hierarchy and sanctity
with a very deep respect and glorifying attitude. In other words, this metaphor is
translated figuratively in the target language.

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Based on Table 4.8, the figurative sense of 2 (9.09%) metaphors was
omitted in the translation. There were two groups of translation techniques leading
to the omission of figurative sense of the metaphors in the target language namely
single and couplet. The single translation technique affecting the figurative sense
of the metaphor was Adaptation and the couplet one was the combination of
Modulation and Established Equivalent.
The SL metaphor …dengan mata berkaca-kaca was translated into with
teary eyes using adaptation. The phrase mata berkaca-kaca (eyes resembling a
glass) is replaced by the phrase originating from TL culture which makes the
translation more familiar for the target readers. The expression chosen is teary
eyes in which teary means watery-eyed. This Adaptation technique has led to the
omission of the metaphor figurative sense since the resemblance between eyes as
the topic and glass as the image was no longer existent. Instead, it was replaced
by the explicit meaning of the expression that is teary eyes.
The SL metaphor aku orang suci, tak seorangpun menyentuhku selama dua
puluh satu tahun was translated into I am pure, not a single person has touched
me for twenty-one years using the combination of Modulation and Established
Equivalent. In the employment of Modulation, there is a variation on the form of
the message which can be seen in the change on the point of view in the
translation of the phrase orang suci meaning a saint or a sacred person simply into
the adjective pure. In applying Established Equivalent, some words and phrases in
SL are translated into TL using the terms available in the dictionary and the daily
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language in use. The noun phrase tak seorangpun is translated into not a single
person. The verb menyentuh is translated into touched, and the prepositional
phrase selama dua puluh tahun is translated into for twenty-one years.
The employment of these Adaptation and Modulation techniques has
omitted the figurative sense of the metaphor in the target language since the image
(i.e. something being compared to) a saint as the resemblance for the topic (i.e.
something being talked about) I referring to Dewi Ayu was deleted and replaced
by the adjective pure instead. Therefore, the expression can no longer be
classified as a metaphor for topic, image, and point of similarity are required
features of this figurative expression.
4.3.5 Retention and Omission of Metonymies’ Figurative Senses
the metonymies in the target language.
Referring to Table 4.9, the figurative sense of 8 (80%) metonymies was
retained in the translation. There were two techniques influencing this retained
figurative sense namely established equivalent occurring 7 times (70%) and
generalization occurring once (10%). Below is the description on how the
figurative sense is retained by the translator.
In data (64) the employment of established equivalent technique has
preserved the figurativeness of the metonymy; meaning that the metonymy
colokan listrik has been translated figuratively into electrical outlet.

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The effect of established equivalent technique in data (65) has retained the
figurativeness of the metonymy. In other words, the metonymy leher has been
translated figuratively into neck.
The employment of established equivalent technique in data (67) preserved
the figurativeness of the metonymy in the target language, since the association
between the couple’s meeting at the first sight in a denotative sense and the first
offensive in a connotative sense (i.e. the infatuation between the couple as a result
of the meeting) is retained. To sum up, this metonymy has been translated
figuratively into the target language.
Despite the fact that creatures in data (69) is a more super-ordinate term for
animals alongside human and plants, this generalization preserved the
figurativeness of the original expression in the target language. It means the
figurative sense of the metonymy is retained since creatures can still be used to
symbolize Maman Gendeng’s tension.
Referring to table 4.9, the figurative sense of 2 (20%) metonymies was
omitted in the translation. The translation technique influencing this omitted
figurative sense was adaptation occurring twice (20%). Below is the description
on how the figurative sense of the metonymies is omitted by the translator.
There is a shifting in the figurativeness of the expression in data (66) since
the figurative sense of the expression attached in the term ekor (tail) is no longer
retained. It means the metonymy is not translated figuratively. This technique has
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made the translation more familiar for the target language readers, considering
that applying a literal translation by directly transferring ekor into tail may be less
comprehensible for it does not take the context into account.
The employment of adaptation in data (68) has omitted the figurativeness of
the metonymy in the target language since there is no more association between
the men approaching Alamanda, the gorgeous and captivating lady of Hamimunda
and the wild-life animal hunters. The secondary or connotative meaning of the
metonymy has been omitted and replaced with its primary or denotative meaning
that is pursuers referring to the men pursuing Alamanda’s attention. In other
words this metonymy is not translated figuratively in the target language.
4.3.6 Retention and Omission of Personifications’ Figurative Senses
the personifications in the target language.
Referring to Table 4.10, the figurative sense of 4 (57.14%) personifications
was retained in the translation. The translation techniques influencing the
preserved figurative sense of the personifications in the target language are the
combinations of Amplification and Transposition, Established Equivalent and
Reduction, Established Equivalent and Amplification, and Modulation and
Reduction each of which occurred once (14.28%).
The employment of amplification and transposition techniques in (73)
preserved the figurativeness of the personification in the target language since one
of the human characteristics that is, their whiny nature or feelings of distress and
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irritation remains attached to the word songs. In conclusion, this personification is
translated figuratively into the target language.
The employment of modulation and reduction techniques in (74) preserved
the figurativeness of the translation in the target language since the attachment of
human characteristic that is their ability to force themselves through something
that is holding them back, remains attached to the phrase the first morning light
through the verb phrase broke through. To sum up, this personification is
Based on Table 4.10, the figurative sense of 3 (42.86%) personifications
was omitted in the translation. The translation techniques leading to the omitted
figurative sense of the personifications in the target language are Reduction
occurring once (14.28%) and Modulation occurring twice (28.57%).
The modulation technique in (70) has omitted the figurativeness of the
personification in the target language that is, the absence of the human
characteristic (the act of singing) which has been attached to frogs. The translator
decided to use the real attribute of frogs, which is their habit of croaking at dawn
and at night. Therefore, this personification is not translated figuratively into the
target language.
The employment of modulation in (71) has omitted the figurativeness of the
personification in the target language since the human’s ability of punching
someone or something presented through the verb menghantam (knocked over)

185
previously attached to the ocean water has been omitted and replaced by the verb
swirled around (moved quickly with a twisting circular movement) which is the
genuine nature of ocean water. In other words, this personification is not
translated figuratively into the target language.
The employment of reduction in (72) has omitted the figurativeness of the
personification in the target language; since its total omission in the translation
has consequently led to the absence of human characteristic previously attached to
it. The human act of suffocating meaning squeezing or constricting the neck of a
person or an animal to cause them die from lack of air or inability to breathe is
omitted; which has caused the distortion of meaning in the translation. In other
words, this personification is not translated figuratively in the target language.
4.3.7 Retention and Omission of Euphemisms’ Figurative Senses
the euphemisms in the target language.
Referring to Table 4.11, the figurative sense of 5 (100%) euphemisms was
retained in the translation. The most frequently used translation technique
influencing the preservation of euphemisms in the target language was
Established Equivalent occurring 4 times (80%). Below is the description on how
the employment of some translation techniques has led to the preserved figurative
sense of the euphemisms in the translation.
figurativeness of the euphemism in the translation since the translator decided to

186
retain the meaning of the euphemism that is breakfast as the translation for
sarapan pagi in the source language. In other words, this euphemism is translated
figuratively into the target language.
The figurativeness of the euphemism in (76) is retained in the translation
since the translator chose the term with exactly the same sense in the target
language. She used the less offensive and softer term that is executed, instead of
the blunt and straightforward one that is shot to death or sentenced to death. In
conclusion, the euphemism is translated figuratively in the target language and the
established equivalent technique preserved the figurative sense of the expression.
The established equivalent technique in (77) preserved the figurativeness of
the euphemism in the target language since the sense of the source language
euphemism is still retained there. The translator decided to use the less offensive
and less unpleasant term end up instead of the blunt and straightforward one die to
make it sound softer and more appropriate. In other words, the euphemism is
The employment of established equivalent technique in (78) preserved the
figurativeness of the euphemism in the target language since the meaning of the
euphemism in the source language is still retained there. The translator avoided
using the more distinct and explicit term such as shot someone to death or
sentenced someone to death and used the term executed instead as the established
equivalent for the term mengeksekusi for the sake of maintaining the less
unpleasant and less offensive sense of the expression in the target language. In
other words, the euphemism is translated figuratively.

187
Despite the fact that the employment of modulation technique in (79) has
changed the meaning of the expression, the figurativeness of the euphemism is
still retained in the target language. In other words, the translator maintained the
euphemism sense by using the less offensive phrase the souls of sick soldiers
instead of the blatant one mentally-disordered soldiers or insane soldiers. To sum
up, the euphemism is translated figuratively into the target language.

CHAPTER 5
CONCLUSIONS AND SUGGESTIONS
The last chapter of this study summarizes and concludes the results and
discussion of the descriptive analysis of the identifications of the types of
figurative expressions in Kurniawan’s Cantik itu Luka, the translation techniques
used to translate the figurative expressions into English, and the retention and
omission of the figurative sense of the expressions in the target language.
Furthermore, suggestions are also given to other researchers and translators.
5.1 Conclusion
There were 197 figurative expressions found in Kurniawan’s Cantik itu
Luka into Beauty is A Wound 170 of which were translated figuratively (86.30%)
and 27 of which were not translated figuratively (13.70%). These figurative
expressions consisted of 10 metonymies (5.07%), 26 hyperboles (13.20%), 88
similes (44.67%), 22 metaphors (11.17%), 7 personifications (3.55%), 39 idioms
(19.80%), and 5 euphemisms (2.54%). Considering that 170 (86.30%) out of 197
(100%) figurative expressions were translated in a figurative way, it implies that
the translator has frequently attempted to retain the figurative sense of the selected
figurative expressions in the target language.
The following paragraphs explain the implications of the use of different
translation techniques for each type of figurative expression and of their effects on
the figurativeness in the translation.
188
189
Knowing that 98.86% of the similes were translated figuratively with
established equivalent as the most reoccurring translation technique, it implies
that the translator has frequently attempted to retain the figurative sense of the
similes in the target language using the TL words, terms, and expressions
available in the dictionary and the daily language in use known as the equivalents
for the SL similes (e.g. translating bayi yang menyerupai onggokan tai hitam into
a baby who looked like a pile of black shit, ia lebih menyerupai colokan listrik
into it looked more like an electrical outlet, and menyerupai kelahiran seorang
nabi into to be like the birth of a prophet).
Considering that the translator oftentimes combined established equivalent
with modulation, it means the translator also made some variation on the similes
by changing their points of view or lexicons without eliminating any of their three
key features namely topic (something being talked about), image (something
being compared to), and the point of similarity between the topic and the image.
Since most of similes in Kurniawan’s Cantik itu Luka were translated using
established equivalent, translators of literary works in general may not find any
significant difficulties in finding their one-to-one equivalents for the terms, words,
and expressions in translating any possible similes. In fact, they also have freedom
to use different lexicons or change the point of view of the similes as long as the
three key features namely topic, image, and point of similarity are retained; since
their presence is the main characteristic for an expression to be called as a simile.
For idioms, it is oftentimes possible for translators of literary works in
general to find the equivalent idioms in the target language (e.g. translating patah
190
hati into brokenhearted, demam cinta into fever of love, membunuh rasa cinta itu
into to kill those amorous feelings, angkat tangan into throw up their hands,
bocah ingusan into a snot-nosed kid, and menikamnya dari belakang into stab
them in the back).
On the other hand, when translators of literary texts do not manage to find
the equivalent idioms in the target language, they can apply adaptation by using
the direct or primary meaning of the idioms to make it more familiar for the target
audience (e.g. translating mata keranjang into womanizer, angin busuk into a
vicious rumor, omong kosong into hogwash, and rapat raksasa into rally). Despite
the fact that the frozen pattern functioning as a single semantic unit, which is the
core nature of an idiom, is absent or missing in the translation, the meaning of the
idiom is successfully transferred.
Finding out that 88.46% of the hyperboles were translated figuratively, it
can be concluded that the translator has frequently attempted to retain the
figurative sense of the hyperboles in the target language. In addition, when
translating the hyperboles she often used the TL words, terms, and expressions
available in the dictionary and the daily language in use known as the equivalents
for the SL hyperboles (i.e. established equivalent) (e.g. translating mereka melihat
api menyala dari bibir keduanya into they saw a flame ignite between the couple’s
lips, melambung ke atas bintang-bintang into floating above the stars and
memuntahkan keinginan prasejarah mereka yang terpendam into spewing their
prehistoric pent-up desires).

191
This technique also occurred occasionally with amplification, meaning that
the translator decided to add some new information items to the TL hyperbole
(e.g. the adjective high is a new information item added into asphyxiating them
with her high interest rates as the translation for mencekiknya dengan bunga
pengembalian). The translator frequently used amplification together with
modulation meaning a variation or a change in the lexicons or the points of view
of the message (e.g. the change of point of view in translating pertarungan
pendekar paling mengerikan meaning the most formidable fight of warrior into a
competition between the most formidable warriors).
Since most of hyperboles in Kurniawan’s Cantik itu Luka were translated
using established equivalent, translators of literary works in general may not find
any significant difficulties in finding their one-to-one equivalents for the terms,
words, and expressions involved. However, considering that established
equivalent was used frequently with amplification, translators of literary works
may add new information items to the translation of hyperboles as long as their
exaggeration sense is retained. In addition, knowing that amplification was
frequently used with modulation, they also have freedom to make some variation
on the hyperboles by changing their points of view or using different lexicons to
express the exaggeration.
Considering that 90.91% of the metaphors were translated figuratively by
the translator, it means the translator has decided to keep the three key elements of
metaphor namely topic, image, and point of similarity retained in the target
language. It implies that translators of literary texts in general may not have any
192
significant constraints and obstacles in finding the equivalents for the words,
phrases, or expressions in translating any possible metaphors they will encounter
during the translation process.
Nevertheless, there might be some circumstances when retaining the
figurativeness of a metaphor in the target language may sound a little awkward
(e.g. translating mata berkaca-kaca into eyes resembling glasses). When such
challenge is encountered, translators may translate the metaphor in a non
figurative way through adaptation (i.e. using the direct meaning originating from
TL culture which makes the translation more familiar for the target readers) (e.g.
translating mata berkaca-kaca into teary eyes). Despite the fact that topic, image,
and point of similarity as the key features of a metaphor are absent here, the
primary meaning of the metaphor is successfully transferred.
Considering that 80% of the metonymies were translated figuratively, it
implies that the translator has frequently attempted to retain the figurative sense of
the metonymy in the target language. It can also be seen in the translation
technique that she employed most of the time, namely established equivalent,
meaning that she frequently used a term or expression recognized by dictionaries
or daily language in use as an equivalent in the TL in translating the metonymies
(e.g. colokan listrik referring to nose into an electrical outlet, leher gaun referring
to collar into neck of the dress, and serangan pertama referring to a man falling in
love at the first sight into the first offensive). Thus, she did not make a lot of
changes of meaning in transferring the SL metonymies into the TL ones.

193
Translators of literary texts in general dealing with the same situation may
consider retaining the figurative sense of the metonymies in the TL since it is
highly possible to do so. However, when retaining the figurative sense of a
metonymy may sound a little awkward for the target audience, translators can
apply adaptation by using the direct or denotative meaning of the metonymy into
the TL (e.g. pemburu (hunters) referring to men pursuing girls’ love into pursuers
and ekor kereta (tail of the train) referring to a small train carriage at the back of a
train into caboose).
Knowing that 42.86% of the personifications were translated in a non-
figurative way, it implies that it might not always be common in the target
language to attach human characteristics into all non-living beings and other
living beings. Thus, the translator decided to un-attach the human characteristics
in some personifications they she might think awkward (e.g. translating kodok
yang bernyanyi (singing frogs) into croaking frogs and air laut menghantam
dirinya (the ocean water punching/ striking at her hard) into the ocean water
swirled all around her). In conclusion, translators of literary texts in general have
authority and freedom not to attach the human characteristics in any SL
personifications they think are peculiar.
All of the euphemisms translated figuratively employed established
equivalent as their most frequently used translation technique (80%). It means, it
may always be possible for translators of literary texts to retain the use of refined
and less unpleasant words, phrases, or expressions to replace the so-called
offensive ones in the source language and find their one-to-one equivalents in the
194
target language (e.g. translating sarapan pagi ajak-ajak (feed for the beast) into
breakfast for the ajak, dieksekusi (sentenced to death) into had been executed, and
berakhir (die) into end up).
5.2 Suggestions
Taking into account of the details in the procedure of the study and the
various results it has shown, several suggestions for the translator, translators of
literary texts in general, and other researchers were given.
5.2.1 Suggestions for the Translator of Kurniawan’s Cantik itu Luka
Based on the results of the researcher’s descriptive analysis summarizing
that 86.30% of the figurative expressions were translated figuratively, the
translator might have quite successfully put her best effort to retain the figurative
sense of the SL figurative expressions in the TL. However, there were still some
circumstances where the figurative expressions were totally omitted through
reduction technique (e.g. 1) translating puncak reputasinya yang paling
mengguncangkan’ (the most shocking reputation) into the best reputation leading
to the absence of exaggeration in the hyperbole; 2) totally deleting the image of
the simile sesungguhnya lebih menyerupai seringai barongsai (actually looked
more like a grinning lioness) leading to the absence of comparison in the simile;
or 3) totally deleting bunga yang mencekik (the suffocating interest) leading to the
absence of human characteristics in the personification).
In the researcher’s point of view, it might be better for the translator to
retain the figurative sense of the expressions above through established equivalent
195
or adaptation instead of totally deleting the key elements of the figurative
expressions (i.e. omitting the exaggeration in (1), omitting the image of the simile
in (2), and omitting the human characteristics in (3)). In other words, it is not
really necessary for the translator to delete the figurative sense unless she cannot
find the equivalent expressions or she finds it awkward to retain it. Another
alternative will be using the primary meaning of the SL figurative expressions in
the TL instead of totally deleting them.
Applying pure borrowing by taking the original word existing in SL without
any modification in terms of spelling and pronunciation (e.g. translating kyai and
preman merely into kyai and preman) may cause confusion on the target readers
due to their unfamiliarity. It might be essential for the translator to put additional
information on the description or definition of those SL cultural specific terms
through foot notes or to use adaptation by finding more familiar terms in the TL
culture.
5.2.2 Suggestions for Translators of Literary Works in General
Translators of literary works in general may not find any significant
challenges in translating metonymies, hyperboles, similes, and metaphors;
considering that these four types of figurative expressions were mostly translated
figuratively in Kurniawan’s Beauty is A Wound. However, they may have some
difficulties in translating idioms and personifications since nearly 50% of these
figurative expressions were not translated figuratively based the results of the
study. When such challenge is encountered, they can apply the strategies that
Annie Tucker has applied, that is by employing adaptation (i.e. using the primary
196
meanings of the SL idiom in the TL despite the fact that it may lead to the absence
of the idiom key element) such as translating mata keranjang, omong kosong,
rapat raksasa, and angin busuk directly into womanizer, hogwash, rally, and
vicious rumor, respectively or by using description (e.g. translating kalang kabut
into ran in a blind panic). Another way is by un-attaching the human
characteristics for non-living beings in translating personifications through
reduction only if retaining them seems awkward for translators.
5.2.3 Suggestions for Other Researchers in Translation Studies
Other researchers in translator studies may be able to integrate the
approaches in linguistics such as Systemic Functional Linguistics, pragmatics, or
semantics in studying any of other Eka Kurniawan’s works to reveal the wealth of
Indonesian literary works, to show the interconnection between translation studies
as a separate discipline and the linguistics study, and to exhibit the direct use of
linguistics study in translation investigation and assessment.

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APPENDICES
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202
APPENDIX 1: VALIDATION SHEET OF INDONESIAN FIGURATIVE

EXPRESSIONS IN EKA KURNIAWAN’S CANTIK ITU
LUKA
The appendix can be accessed on:
https://www.academia.edu/39352015/APPENDIX_1_VALIDATION_SHEET_O
F_INDONESIAN_FIGURATIVE_EXPRESSIONS_IN_EKA_KURNIAWAN_S
_CANTIK_ITU_LUKA_PAGE_1-
98_APPENDIX_2_VALIDATION_SHEET_OF_TRANSLATION_TECHNIQU
ES_OF_FIGURATIVE_EXPRESSIONS_IN_EKA_KURNIAWANS_CANTIK_
ITU_LUKA_PAGE_99-194_
203
204
APPENDIX 2: VALIDATION SHEET OF TRANSLATION TECHNIQUES

OF FIGURATIVE EXPRESSIONS IN EKAKURNIAWAN'S
CANTIK ITU LUKA
The appendix can be accesed on:
https://www.academia.edu/39352015/APPENDIX_1_VALIDATION_SHEET_O
F_INDONESIAN_FIGURATIVE_EXPRESSIONS_IN_EKA_KURNIAWAN_S
_CANTIK_ITU_LUKA_PAGE_1-
98_APPENDIX_2_VALIDATION_SHEET_OF_TRANSLATION_TECHNIQU
ES_OF_FIGURATIVE_EXPRESSIONS_IN_EKA_KURNIAWANS_CANTIK_
ITU_LUKA_PAGE_99-194_
205
206
APPENDIX 3: THE REVISED IDENTIFICATION OF INDONESIAN

CANTIK ITU LUKA
https://www.academia.edu/39352018/APPENDIX_3_THE_REVISED_IDENTIFI
CATION_OF_INDONESIAN_FIGURATIVE_EXPRESSIONS_IN_EKA_KUR
NIAWAN_S_CANTIK_ITU_LUKA
207
APPENDIX 3: THE REVISED IDENTIFICATION OF INDONESIAN FIGURATIVE EXPRESSIONS IN EKA KURNIAWAN’S

CANTIK ITU LUKA
TABLE 3.1: DESCRIPTIONS OF METONYMIES
CODE Source Language Target Language Metonymy Description

001/CIL/MET/SL Seorang gadis A young girl with an The phrase ‘colokan listrik’ meaning ‘an electrical outlet’ is a
005/TL005 dengan colokan electrical outlet in the metonymy based on spatial relationship in which this phrase
listrik di wajahnya. middle of her face. substitutes the word ‘hidung’ meaning ‘nose’, even though the
two expressions are not synonyms. In this context, the young
girl character named Beauty has a nose resembling the shape of
an electrical outlet. Thus, the author associates her nose to an
electrical outlet in a figurative sense.
002/CIL/MET/SL Para pemburu tak But her pursuers The word ‘pemburu’ meaning ‘hunters’ (translated into
188/TL191 akan menyerah wouldn’t give up so ‘pursuers’) is a metonymy based on spatial relationship in
hanya karena itu, easily, so they buried which this word substitutes the phrase ‘the men courting the
mereka her under charming girl named Alamanda’, even though the two expressions are not
menguburnya flirtations. synonyms. In this context, a plenty of male soldiers and
dengan rayuan civilians in Halimunda are romantically involved with
penarik hati. Alamanda and have intention of marrying her. Thus, the author
associates them to the hunters in a figurative sense. In other
words, ‘pemburu’ (hunters) has connotative sense or secondary
meaning instead of genuine sense or primary meaning.
208
APPENDIX 4: THE REVISED IDENTIFICATION OF TRANSLATION

TECHNIQUES OF FIGURATIVE EXPRESSIONS IN EKA
KURNIAWAN'S CANTIK ITU LUKA
https://www.academia.edu/39352016/APPENDIX_4_THE_REVISED_IDENTIFI
CATION_OF_TRANSLATION_TECHNIQUES_OF_FIGURATIVE_EXPRESS
IONS_IN_EKA_KURNIAWANS_CANTIK_ITU_LUKA
209
APPENDIX 4: THE REVISED IDENTIFICATION OF TRANSLATION TECHNIQUES OF FIGURATIVE EXPRESSIONS IN

EKA KURNIAWAN’S CANTIK ITU LUKA
TABLE 4.1: TRANSLATION TECHNIQUES OF METONYMYS
CODE Source Language Target Language Translation Reasoning TF

Techniques
001/CIL/MET/ Seorang gadis A young girl with an Established The phrase ‘electrical outlet’ is a term or √
SL005/TL005 dengan colokan electrical outlet in equivalent expression recognized by dictionaries or daily
listrik di wajahnya. the middle of her language in use as an equivalent for ‘colokan
face. listrik’ in TL.
002/CIL/MET/ Para pemburu tak But her pursuers Adaptation The term ‘pemburu’ (hunters) in SL is replaced X
SL188/TL191 akan menyerah wouldn’t give up so by ‘pursuers’ which makes the translation of the
hanya karena itu, easily, so they buried original more familiar in the TL. Applying
mereka her under charming established equivalent by directly transferring
menguburnya flirtations. ‘pemburu’ into ‘hunters’ may be less
dengan rayuan comprehensible since it does not take the context
penarik hati. into account.
003/CIL/MET/ Di akhir permainan, At the end of the Established The word ‘game’ is a term or expression √
SL190/TL193 ia pun dibuat jatuh game, it turned out equivalent recognized by dictionariesor daily language in
cinta kepadanya. that she hadfallen in use as an equivalent for ‘permainan’ in TL.
love with him too.
004/CIL/MET/ Menggodanya Teasing him by Established The word ‘game’ is a term or expression √
SL192/TL196 dengan leher gaun leaving the neck of equivalent recognized by dictionaries or daily language in
yang sedikit her dress use as an equivalent for
terbuka. unbottened. ‘permainan’ in TL.
210
APPENDIX 5: DATA VALIDATORS’ PROFILES

https://www.academia.edu/39352019/APPENDIX_5_DATA_VALIDATORS_PR
OFILES
211
APPENDIX 5
DATA VALIDATORS’ PROFILES
1. Expert of Indonesian Language and Literature
Biodata:
Nama: Beniati Lestyarini, M.Pd.

Status: Dosen
NIP: 198605272008122002
Keahlian: Pengajaran Bahasa dan Sastra Indonesia
Evaluasi Pembelajaran Bahasa dan Sastra
Bahasa Indonesia untuk Penutur Asing (BIPA)
Riwayat Pendidikan: S1 Pendidikan Bahasa dan Sastra Indonesia UNY
2008
S2 Penelitian dan Evaluasi Pendidikan
UNY 2012
Unit Kerja: Jurusan Pendidikan Bahasa dan Sastra Indonesia
Golongan: III/ B
Jabatan: Asisten Ahli
e-mail: b.lestyarini@uny.ac.id/b_lestya@yahoo.com
Bidang Pendidikan:
Program Institusi/jurusan/program
Matakuliah Sem/tahun
Pendidikan studi
akademik
Gasal
Menulis Faktual S1 PBSI/PBSI
2010/2011
Membaca Gasal
S1 PBSI/PBSI
Komprehensi 2011/2012
Membaca Kritis Genap
S1 PBSI/PBSI
Kreatif Sintopis 2012/2013
Evaluasi Pengajaran Gasal
S1 PBSI/PBSI
BSI 2012/2013
Gasal
Kewirausahaan S1 PBSI/PBSI
2012/2013
Gasal
Kewirausahaan S1 PBI/PBI
2012/2013
Genap
Statistik S1 PBSI
2012/2013

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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

A STUDY OF ENGLISH TRANSLATION OF INDONESIAN

Presented to the Graduate Program in English Language Studies

in Partial Fulfilment of the Requirements

for the Degree of

Magister Humaniora (M.Hum)

English Language Studies

Agni Kusti Kinasih

THE GRADUATE PROGRAM OF ENGLISH LANGUAGE STUDIES

SANATA DHARMA UNIVERSITY

A STUDY OF ENGLISH TRANSLATION OF INDONESIAN

Presented to the Graduate Program in English Language Studies

in Partial Fulfilment of the Requirements

for the Degree of

Magister Humaniora (M.Hum)

English Language Studies

Agni Kusti Kinasih

THE GRADUATE PROGRAM OF ENGLISH LANGUAGE STUDIES

SANATA DHARMA UNIVERSITY

THESIS DEFENSE APPROVAL PAGE

unto God. Truly, Allah is aware of His servants” (40:44)

“Indeed, after hardship there is ease” (94:6)

fullest recompense (53: 39-41)

LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI

First and foremost, all the praises go to Allah Subhanahu Wa Ta’ala

TITLE PAGE ......................................................................................................... i

APPROVAL PAGE .............................................................................................. ii

THESIS DEFENSE APPROVAL PAGE .......................................................... iii

STATEMENT OF ORIGINALITY .................................................................... v

LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH

UNTUK KEPENTINGAN AKADEMIS .............................................................. vi

ACKNOWLEDGEMENT .................................................................................. vii

TABLE OF CONTENTS ................................................................................... viii

LIST OF TABLES ............................................................................................. xiii

LIST OF FIGURES ............................................................................................ xv

LIST OF APPENDICES ................................................................................... xiv

ABSTRACT ....................................................................................................... xvii

ABSTRAK .......................................................................................................... xix

1.1 Background to the Study ................................................................................... 1

1.2 Research Questions ........................................................................................... 7

1.3 Research Objectives .......................................................................................... 8

1.4 Research Benefits .............................................................................................. 9

CHAPTER 2 LITERATURE REVIEW

2.1 Literature Review ............................................................................................ 11

2.1.1 Definitions of Translation and Progress of Translation Studies ........... 11

2.1.2 Figurative Expressions .......................................................................... 14

2.1.3 Translation Techniques ......................................................................... 38

2.2 Review of Relevant Studies ............................................................................ 47

2.3 Theoretical Framework ................................................................................... 58

CHAPTER 3 RESEARCH METHODOLOGY

3.1 Type of the Study ............................................................................................ 61

3.2 Data Selection ................................................................................................. 64

3.2.1 Sources of Data ..................................................................................... 64

3.2.2 Method of Data Collection .................................................................... 65

3.3 Data Analysis .................................................................................................. 65

3.3.1 Research Instrument .............................................................................. 65

3.3.2 Analyzing the Types of Figurative Expressions ................................... 73

3.3.3 Analyzing the Translation Techniques ................................................. 75

3.3.4 Determining the Retention and Omission of Figurative Senses in the

3.4 Trustworthiness of the Study .......................................................................... 81

CHAPTER 4 RESULTS AND DISCUSSION

4.1 Identification of Figurative Expressions ......................................................... 83