Thesis - Ninna - Loss and Gain in Translation

LOSS AND GAIN IN TRANSLATION PROCESS OF A COMIC
THE ADVENTURES OF TINTIN: TINTIN IN AMERICA INTO

INDONESIAN VERSION PETUALANGAN TINTIN: TINTIN DI
AMERIKA
THESIS
Submitted in partial fulfillment of the requirements for the

Degree of Sarjana Sastra (S.S.) in English Language
By:
SULISTYOKO AGUSTINA
C11. 2008. 00932
FACULTY OF HUMANITIES
DIAN NUSWANTORO UNIVERSITY
SEMARANG
2013
LOSS AND GAIN IN TRANSLATION PROCESS OF A COMIC
THE ADVENTURES OF TINTIN: TINTIN IN AMERICA INTO
INDONESIAN VERSION PETUALANGAN TINTIN: TINTIN DI
AMERIKA
THESIS
Submitted in partial fulfillment of the requirements for the

Degree of Sarjana Sastra (S.S.) in English Language
By:
SULISTYOKO AGUSTINA
C11. 2008. 00932
FACULTY OF HUMANITIES
DIAN NUSWANTORO UNIVERSITY
SEMARANG
2013
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PAGE OF APPROVAL
This thesis has been approved by board of Examiners, Strata 1 Study
Program of English Language, Faculty of Humanities Dian Nuswantoro
University on October 11th, 2013.
Board of Examiners
Chair Person First Examiner
Sunardi, S.S., M.Pd. Raden Arief Nugroho, S.S., M.Hum.
Second Examiner Advisor
Nina Setyaningsih, S.S., M.Hum. Achmad Basari, S.S., M.Pd.
Approved by :
Dean of
Faculty of Humanities
Achmad Basari, S.S., M.Pd
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STATEMENT OF ORIGINALITY
I certify that this thesis is absolutely my own work. I am completely

responsible for the content of this thesis. Opinions or findings of others are quoted
and cited with respect to ethical standard.
Semarang, October, 2013
Sulistyoko Agustina
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MOTTO
Optimism is the faith that leads to achievement. Nothing can be done without
hope and confidence.
(Hellen Keller)
If you can dream it, you can do it.
(Walt Disney)
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DEDICATION
This thesis is proudly dedicated to:
1. The Almighty Allah SWT.

2. My beloved parents who always give love, support, and prayers.
3. My beloved sisters Sulistyoko Wahyuni and Sulistyoko Handayani who
always support me to finish my thesis.
4. My sweet heart, Eko Susanto, S.E. who always support and accompany
me in any situation.
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ACKNOWLEDGEMENT
At this happiest moment in my life, I pray to Allah SWT who has
blessed and gave me health during the writing of my thesis. I would like,
furthermore, express my sincere thanks to:
1. Mr. Achmad Basari, S.S., M.Pd., Dean of the Faculty of Humanities Dian
Nuswantoro University, who gave permission to conduct this study. And as my
advisor for his continuous and valuable guidance, advice and encouragement in
completing this thesis.
2. Mr. Sarif Syamsu Rizal, M.Hum., Head of English Department of Strata 1
Program, the Faculty of Humanities - Dian Nuswantoro University, who gave
me permission to conduct this thesis.
3. Mrs. Rahmanti Asmarani, M.Hum, thesis coordinator of English Department of
Strata 1 Program, the Faculty of Humanities, Dian Nuswantoro University,
who gave me permission to conduct this thesis.
4. All lecturers at the English Department of Faculty of Humanities Dian
Nuswantoro University, who have taught, motivated, and guide me during my
study at this university.
5. The librarian of Self Access Centre in Faculty of Humanities Dian Nuswantoro
University for their permission to use some valuable references in doing my
research.
6. My beloved boyfriend, Eko Susanto, S.E. who has supported me.
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7. My beloved best friends Anni, Sabricha, Rika, Lina, Dania, Bobby who always
support and help me in writing this thesis.
8. My friends in RCT FM, Smart FM Semarang and TVRI Jawa Tengah who has
supported and gave me concessional times to get my thesis done.
9. The last but not least, my family who have supported me for my research.
Finally, I do realize that due to my limited ability this thesis must have
shortcoming. For this I welcome any suggestions and criticism.
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TABLE OF CONTENTS
PAGE OF TITLE i
PAGE OF APPROVAL . ii
STATEMENT OF ORIGINALITY. iii
MOTTO .. iv
DEDICATION v
ACKNOWLEDGEMENT .. vi
LIST OF TABLES .. vii
LIST OF FIGURES viii
LIST OF APPENDICES . ix
ABSTRACT x
CHAPTER I. INTRODUCTION
1.1. Background of the Study . 1
1.2. Statement of the Problem . 5
1.3. Scope of the Study 5
1.4. Objective of the Study .. 5
1.5. Significance of the Study .. 5
1.6. Thesis Organization .. 6
viii
CHAPTER II. REVIEW OF RELATED LITERATURE .. 7
2.1. Definition of Translation 7
2.2. Comic and Its Translation .. 8
2.3. Context in Utterance Interpretation 9
2.4. Language and Translation .. 10
2.5. Kinds of Translation ... 12
2.6. The Principles of Translation . 16
2.7. The Analysis of Meaning ... 17
2.8. Naturalness .. 19
2.9. Expressive Utterances . 21
2.10. Loss and Gain 23
CHAPTER III. RESEARCH METHOD 27
3.1. Research Design .. 27
3.2. Unit of Analysis .. 27
3.3. Source Data . 28
3.4. The Technique of Data Collection .. 28
3.5. The Technique of Data Analysis . 29
CHAPTER IV. DATA ANALYSIS ... 30
4.1. The Discussion of Word Class Loss 32
4.2. The Discussion of Phrase Class Loss ... 42
4.3. The Discussion of Clause Class Loss .. 54
4.4. The Discussion of Word Class Gain 60
4.5. The Discussion of Phrase Class Gain .. 65
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ix
CHAPTER V. CONCLUSION AND SUGGESTION ... 69
5.1. Conclusion 69
5.2. Suggestion 70
BIBLIOGRAPHY .... 72
APPENDICES
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x
LIST OF TABLES
Table 4.1. Loss Process in The Comic The Adventure of Tintin: Tintin in
America into Petualangan Tintin: Tintin di Amerika
Table 4.2. Gain Process in The Comic The Adventure of Tintin: Tintin in
America into Petualangan Tintin: Tintin di Amerika
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LIST OF FIGURES
Figure 2.1. Diagram of The Translation Process
xii
LIST OF APPENDICES
Appendix 1 Loss Process 1
Appendix 2 Gain Process 44
xiii
ABSTRACT
The thesis is entitled Loss and Gain in Translation Process of a

Comic The Adventures of Tintin: Tintin in America into Indonesian
Version Petualangan Tintin: Tintin di Amerika. The aim of the thesis is to
analyze deeply about the kinds of structural loss and gain found in the
comic.
The discussion began by collecting the data both the English
version and Indonesian version to be read and to find some loss and gain in
the translation process of the comic. The next step was describing the kinds
of loss and gain in the process of translation. Qualitative research was used
as the method of the research. The documentation method was used to
complete this study.
There are 130 patterns of loss and gain in the translation process
of the comic The Adventures of Tintin: Tintin in America into Indonesian
version Petualangan Tintin: Tintin di Amerika. The number of loss is 111
patterns and the number of gain is 19 patterns.
As the result of the research, the researcher concluded that the
translator sometimes lost or gained some words, phrases or even clauses to
make the translation works acceptable and readable to the target readers and
to make it sounds more natural in the target language.
Keywords: loss, gain, translation, comic
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CHAPTER I
INTRODUCTION
1.1 Background of The Study
People use language to communicate each other. By using language,
people can give or get any information about anything from many ways.
Language itself is a system of communication that enables human to cooperate.
Language is considered to be a system of communication with other people using
sound, symbols, and words in expressing a meaning, idea, or what is thought.
According to The New International Websters Comprehensive
Dictionary of The English Language (2003:716), language means:
The expression and communication of emotions/ideas between human

beings by means of speech and hearing, the sounds spoken or heard
being systematized and confirmed by usage among a given people over
a period of time or the words forming the means of communication
among members of a single nation or group at a given period.
Furthermore, according to Hornby (2000:721), language means The
system of communication in speech and writing that is used by people of a
particular country. It is clear that language is used for communication among
people in a particular country over a period of time.
Every place always has its own language, but there is one language
that becomes the main language for the whole world, that is English. Over 330
million people speak English as a first language, with over 580 million speaking it
as an additional language (http://wikipedia.com/EnglishLanguage). But what
makes English become the international language is the official language of the
United Nations and aviation. It is the most widely used language in science and on
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the Internet. If two non-native speakers want to communicate, it is likely they will
do so in English.
Nowadays, English becomes an important language for the whole
world. In many countries in the world, people start to use English as a daily
language although they have their own language already. So, people always learn
how to make a good translation from English into their own language and from
their own language into English. There are various reasons why people want to
learn English. Some people need it so much to enlarge their business or another
projects or jobs, some other people just want to know about English so they can
understand the meaning anytime they watch an English movie or listen to an
English song. However, some other people do it because they want to be an expert
of English. Because of this reason also, there are so many people who wants to
know how to make a good translation from English into their own languages and
vice versa. About translation, Brislin (1976: 1) explained that, Translation is a
general term referring to the transfer of thoughts and ideas from one language to
another, whether the language is in written or oral form, whether one or both
languages are based on signs, as with signs of the deaf. However, Larson
(1984:3) states that:
Translation is studying the lexicon, grammatical structure,

communication situation, and cultural context of the source language
text, analyzing it in order to determine its meaning, and then
reconstructing this same meaning using lexicon and grammatical
structure which are appropriate in the receptor language and its cultural
context.
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Another expert, Wilss (1982: 3), states that:
Translation is a transfer process which aims at the transformation of a

written source language text (SLT) into an optimally equivalent target
language text (TLT), and which requires the syntactic, the semantic, and
the pragmatic understanding and analytical processing of the source text.
Syntactic understanding is related to style and meaning. Understanding
of semantics is meaning related activity. Finally, pragmatic
understanding is related to the message or implication of a sentence. This
definition does not states what is transferred. Rather, it states the
requirement of the process.
Translation typically has been used to transfer written or spoken SL
texts to equivalent written or spoken TL texts. In general, the purpose of
translation is to reproduce various kinds of textsincluding religious, literary,
scientific, and philosophical textsin another language and thus making them
available to wider readers. The difference between a SL and a TL and the
variation in their cultures make the process of translating a real challenge.
There are many kinds of texts or scripts that can be translated into TL,
for example: short text, movie script, song lyric, comic, novel, etc. And the
researcher uses comic as a subject to be analyzed because there are some
difficulties in translating comic which sometimes it could not be found in other
texts.
Comic is magazine that contains story in pictures (Collins Cobuild
Dictionary, 2006). There are some difficulties in translating comic which are not
found in other texts. For example: the translator of comic should be able to choose
the simple words to fit the capacity in the bubbles. Besides that, the comic
translators have to build their imagination by using the right words to bring the
readers to get inside the story. And to make a good translation of comic, one of
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the strategies that ususally used by the translators is loss and gain. And this is
what the researcher analyze about.
There are so many comics that have been translated into some other
languages. One of the most popular comic in the world is The Adventures of
Tintin that were written by Herge. This comic is originally written in France then
it was translated into some languages including English by Leslie Lonsdale-
Cooper and Michael Turner and into Bahasa Indonesia by Donna Widjajanto.
The Adventures of Tintin (French: Les Aventures de Tintin) is a series
of comic albums created by Belgian artist Georges Remi (19071983), who wrote
under the pen name of Herg. The series is one of the most popular
European comics of the 20th century, with translations published in more than 50
languages and more than 200 million copies of the books sold to date
(http://en.wikipedia.org/wiki/The_Adventures_of_Tintin).
And for this research, the researcher uses one of the popular series of
Tintin entitled The Adventures of Tintin: Tintin in America. This honorific title
was written in 1931 and was published for the first time at 1932 and had been
republished at 2002. The researcher decided to use this comic because there is
something interesting in the comic. Tintin was firstly written in Belgian language
and it was translated into some languages includes English, so the data used by
the researcher is the translation of the translated comic. The researcher compares
between the English version and Indonesian version of this comic.
The case being analyzed in this research is loss and gain, one of the
key issues in translation studies. According to Bassnett, loosing or gaining
meaning in the TLT results from language differences (1991: 30). Language
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differences usually result in untranslatability (Bassnett, 1991: 32), which
inevitably leaves the translator no choice but to pick a TL expression that has the
closest meaning. It happens due to various causes. Lack of tenses in the TL, for
example, would lead to loss of temporal meaning, while different mind set
between SL and TL readers may, at the same time reduce and gain meaning.
1.2 Statement of The Problem
The statement of the problem in this research is based on the questions
of what kinds of losses and what kinds of gains applied in the data.
1.3 Scope of The Study
The scope of the study of this research focuses on the loss and gain
which was described by Bassnett (1991:30) found in the comic The Adventures
of Tintin: Tintin in America into Indonesian Version Petualangan Tintin: Tintin
di Amerika.
1.4 Objective of The Study
The objective of the study is to desribe kinds the loss and gain of
translation applied in the comic.
1.5 Significance of The Study
The researcher hopes that the result of this study can give some
benefits to:
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1. The researcher
Enlarging knowledge about loss and gain and to learn how to make a
good analysis, especially in translation analysis.
2. The readers
a. Giving knowledge about loss and gain.
b. Helping to decrease confusion when reading any kinds of English
texts.
c. Giving a lot of information about translating comics.
1.6 Thesis Organization
This research is presented in five chapters with the following
organization:
Chapter I is the introduction of the research. It consists of background
of the study, statement of the study, scope of the study, objective of the study, and
significance of the study.
Chapter II is the review of related literature which consists of
definition of translation, comic and its translation, context and text, language and
translation, kinds of translation, the principle of translation, the analysis of
meaning, naturalness, expressive utterances, comic, and the last one is loss and
gain.
Chapter III is the research method which consists of research design,
unit of analysis, source of data, technique of data collection, and technique of data
analysis.
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Chapter IV is the data analysis that covers the analysis of the data that
presents the research findings and discussion.
Chapter V is the conclusion and suggestion.

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CHAPTER II
REVIEW OF RELATED LITERATURE
To run this research, the researcher needs some theories as the
references for the study. The theories are related to the problems discussed in this
study as follows:
2.1 Definition of Translation
Translation has some definitions according to some scholars. But in
this research, the researcher agrees with the definition by Nida and Taber
(1982:12) which is said that Translating consist in reproducing in the receptor
language the closest natural equivalence of a source language message, firstly in
terms of meaning and secondly in terms of style. It means that when we translate
a text, we do not only have to look at the words, but we also have to look at the
style and grammar rules. Because every language has their own style and
grammar. Translating a text by word for word without making a right grammar
will be hard to be understood.
Beside that, the researcher also agrees with the definition of the
translation by Malinowski (1965: 11 2) which is quoted by Tou (1999:31) who
says that:
Translation must always be re-creation of the original into something

profoundly different. On the other hand, it is never substitution of word
for word but invariably the translation of whole contexts. So, a
translator must be able to translate the whole context, not only the
words inside, then re-write it into the target languange by using the
appropriate text.
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And after all, the researcher makes a conclusion about translation. It is
the way to transfer from the original text into the target text by using an
appropriate words deal with the target text but still have a same meaning of the
original text.
2.2 Comic and Its Translation
Comic is a hybrid medium in which illustrations are strongly blended
with other types of communicative representations, usually written words (see
comics vocabulary), in order to convey information or narrative, thus seeking
synergy by using both visual and verbal (or otherwise communicative) elements
in interaction (estimate: wikipedia).
Comic books represent not only the typical constraints of language
(idiolect, double meanings, idioms, et al.) but also space limitations. For
information, comics provide information not only through words but they are also
linked to an image and the translator should confine translation to the space they
have. Keep in mind that in most cases the original author does not do their work
thinking about how it will be translated but about ensuring that the bubbles have
the exact right size to fit the text. The translator also doesnt have some of the
same workarounds that can be used in other texts, such as explanatory notes,
footnotes, etc.
Therefore, in order to provide a more or less acceptable translation that
is as close as possible to the original, a translator have to remove any merely
accessory content which is the same that happens with subtitling, for example,
which also has strict space limits.

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Unfortunately, this type of translation, there will be occasions when
important text will be eliminated because there is no possible way in the target
language to translate the original idea in the limited space available, which is quite
frustrating for translators who knows that the reader will not receive the full
information; however, this is something that has to be understood as a part of the
work.
An equally important problem is the varying onomatopoeia in comics,
both which are not inside the bubbles but also those in the animation, since, in
general, they tend to be highly characteristic of the use of country of origin (for
example, they are widely used and, indeed, play a key role in U.S. comics) but for
the reader from another country they may have no meaning. The solution in these
cases is usually a change to the design but in addition to being quite expensive, it
brings into question the extent to which the work of the cartoonist, who is an artist
whose work should be respected, should be amended. In most cases the original is
usually left or other solutions, which are normally unsuccessful, are used, such as
attempting to put the translation in the blank space left between bullets or add a
small sign next to the onomatopoeia.
2.3 Context in Utterance Interpretation
According to the Websters New World Dictionary of the American
Language, context means The parts of a sentence, paragraph, discourse, etc.,
immediately next to or surrounding a specified word or passage and determing its
exact meaning. It also refers to the whole situation, background, or environment
relevant to a particular event, personality, creation, etc.. There are the dictionary
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meanings of context, and based on them, people develop their own definition of
context.
Context, simply speaking, is the surroundings where an utterance is. It
plays an important role in the process of utterance interpretation. Its function can
be classified into the explaining function and the restrictive function. The
explaining function refers to the fact that context may explain the utterance
interpretation.
Utterance serves as a context, affecting sentence and word-level
interpretation, giving the interpretation of what would otherwise be ambiguous
words or phrases in a certain direction. For example, some sentences can be
interpreted literally (according to standard usages of the words) or figurative (by
deviating from what we understand to be the standard significance of the words
for some special meaning or effect). Context can prompt readers to engage in one
or the other.
On the processing of the utterance communication, speaker and hearer
are not negatively, or simply act as the utterance information receiver. They often
used the clues, which the context provides to the utterance understanding and to
the utterance interpretation. The utterance understanding cannot leave the context,
and in a certain context utterance is receive by the restriction of context.
2.4 Language and Translation
Understanding language in its relationship to social structure for
example, brings about the consequence of defining the context in which language
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plays. There is also an example of this phenomenon which was frequent by an
anthropologist Borislaw Malinowski.
Malinowski encounteres some problems in his investigation to
understand the people living in Trobriand Island which are essentially problems
with language. He doing all his fieldwork among the island people, who make
their lives by fishing and gardening, in the islands native language so called
Kariwian.
He comes to the problem of how to interpret or present his ideas on
the culture to English-speaking readers. The culture he is studying is different
from the culture of English. Malinowski then adopted various methods. At this
stage he introduces the notions of context of situation and context of culture; and
he consideres both of these were necessary for the adequate understanding of text
before translating it.
Context of situation, Malinowski means the total environment of the
text that included the verbal environment and the situation in which the text is
uttered. From the sentence above, it can be said that in understanding the given
text, one must also know what is going on when the text is being uttered.
A language, however, has its meaning only in the culture, as Newmark
(1981:183) states that, A language is partly the repository and reflection of a
culture. Thus, different languages may content different cultures or different ways
of thinking.
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2.5 Kinds of Translation
According to Larson (1984:15) Translation is classified into two
main types, namely form-based and meaning-based translation. Form-based
translation attempts to follow the form of the Source Language and is known as
literal translation, while meaning-based translation makes every effort to
communicate the meaning of the SL text in the natural forms of the receptor
language. Such translation is called idiomatic translation.
An interlinear translation is a completely literal translation. For some
purposes, it is desirable to reproduce the linguistic feature of the source text, as in
a linguistic study of that language. Although these literal translations may be very
useful for purposes related to study of the SL, they are of little help to speakers of
the receptor language who are interested in the meaning of SL text. A literal
translation sounds like nonsense and has little communication value. The literal
translation can be understood if the general grammatical forms of the two
languages are similar.
Except for interlinear translation, a truly literal translation is
uncommon. Most translator who tend to translate literally actually make a
partially modified literal translation. They modify the order and grammar to use
an acceptable sentence structure in the receptor language. However, the lexical
items are translated literally and still the results do not sound natural.
Larson (1984:16) says that Idiomatic translations use the natural
forms of the receptor language both in grammatical constructions and in the
choices of lexical items. A truly idiomatic translation does not sound like a
translation. It sounds like it was written originally in the receptor language.

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Therefore, a good translator will try to translate idiomatically. This is his or her
goal.
Unduly free translations are considered unacceptable translations for
most purposes. Translations are called unduly free according to the following
characteristics:
a. If they add extraneous information not in the source text,
b. If they change the meaning of SL, and
c. If they distort the facts of the historical and cultural setting of the SL text.
Sometimes unduly free translations are made for the purpose of humor
or to bring about a special response from the receptor language speakers.
However, the are unacceptable as normal translation.
Based on the purposes of translation, Brislin (1976:3-4) categorizes
translation into four types, namely:
a. Pragmatic Translation
It refers to the translationof a message with an interest in accuracy of
the information that was meant to be conveyed in the source language form and it
is not concerned with other aspects of the original language version. The clearest
example of pragmatic translation is the translation of the information about
repairing a machine.
b. Aesthetic-poetic Translation
This refers to translation in which the translation takes into account the
affect, emotion, and feelings of an original agnate version, the aesthetic form used
by the original author, as well as any information in the message. The example of
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this type are the translation of sonnet, rhyme, heroic couplet, dramatic dialogue,
and novel.
c. Etnographic Translation
The purpose of ethnographic translation is to explicate the cultural
context of the source and TL version. Translators have to be sensitive to the way
words are used and must know how the words fits into cultures. An example is the
use of the word yes versus yea in America.
d. Linguistic Translation
This is concerned with equivalent meanings of the constituent
morphemes of the source language and grammatical form, an example is language
in a computer program and machine translation.
And there are some procedures in translating process, like what Nida
(1964 : 246-247) mentioned:
1. Technical procedures:
a. analysis of the source and target languages;
b. a through study of the source language text before making attempts
translate it;
c. Making judgments of the semantic and syntactic approximations. (pp.
241-45)
2. Organizational procedures:
Doing re-evaluation of the attempt made constantly, contrasting it
with the existing available translations of the same text done by other translators,
and checking the text's communicative effectiveness by asking the target

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language readers to evaluate its accuracy and effectiveness and studying their
reactions.
According to Larson (1984: 17), When translating a text, the
translators goal is an idiomatic translation which makes every effort to
communicate their meaning of the SL text into the natural forms of the receptor
language. Furthermore, he states that translation is concerned with a study of the
lexicon, grammatical structure, communication situation, and cultural context of
the SL text, which is analyzed in order to determine its meaning. The discovered
meaning is then re-expressed or re-constructed using the lexical and grammatical
structure which are appropriate in the receptor language and its cultural context.
Larson (1984: 4) also simply presents the diagram of the translation process as
follows:
Source Language Target Language
Text to be translated Translation
Discover the meaning Re-expressed the

meaning
Meaning
Figure 2.1 Diagram of The Translation Process
Source: Bassnet (1991:10)

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2.6 The Principles of Translation
It is dispensable to value some guidelines on how to evaluate the
works on translation. Some general principles in the following are relevant to all
translation. The principles below are proposed by Duff (1989:10-11):
a. The translation should reflect accurately the meaning of the original text.
Nothing should be arbitrarily added or removed, though sometimes part of the
meaning can be transposed.
b. The ordering of the words and ideas in the translation should match the original
as closely as possible. This is particularly important in translating legal
documents, guarantees, contracts, etc. However, differences in the language
structure often require changes in the form and order of words. When in doubt,
underlibe in the original text the words on which the main stress falls.
c. Languages often differ greatly in their levels of formality in a given context, for
example in the business letter. To resolve these differences, the translator must
distinguish between formal and fixed expression, and personal expression in
which the writer or speaker sets the tone.
d. One of the most frequent criticisms of translation is that it does not sound
natural. This is because the translators thoughts and choice of words are too
strongly molded by the original text. A good way to avoid the influence of the
source language is to set the text aside and translate a few sentences aloud from
memory. This will suggest natural patterns of thought in the first language
which may not come to mind when the eye is fixed on the SL text.
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e. It will be better if the translator does not change the style of the original. But if
it is needed, for example because the text is full of repetitions or mistakes in
writing, the translator may change it.
f. Idiomatic expressions including similes, metaphors, proverbs, and sayings,
jargon, slang, and colloquialisms and phrasal verbs are often untranslatable.
The principles mentioned above can be a very useful guideline for
translators to help them make some choices. The guidelines can be formulated in
such a way that basically the requirements of translation works have to be making
sense, conveying the message of the original texts without omission or addition,
having a natural and easy form of the expression, and producing a similar
response to the reader.
2.7 The Analysis of Meaning
In the translation process, the first thing to do is understad the total
meaning of the source text. There are three types of meaning that can be
determined in the analysis of meaning of the source text (Nida and Taber, 1982:
34), namely:
a. Grammatical Meaning
When one thinks of meaning, it is almost inevitably in terms of words or
idioms. Generally grammar is taken for granted since it seems o be merely a set of
arbitrary rules about arrangements, rules that must be followed if one wants to
understand, but not rules themselves that seem to have any meaning.
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b. Referential Meaning
This refers to words as symbols which refer to objects, event, abstracts,
and relations.
c. Connotative Meaning
Connotative meaning refers to how the users of the language react,
whether positively or negatively, to the words and their combination.
2.8 Naturalness
Naturalness is a reader-oriented approach and can be checked at both
macro and micro structural level (Lambert and Vangorp, 1985). In order to judge
about naturalness of translation, the norms of target language are considered as the
scales of evaluation. These norms are specified by native speakers of that
language.
Native speaker is defined by The Oxford Advanced Learners
Dictionary as A person who speaks a language as their first language and has not
learned it as a foreign language. All languages have particular terminology, some
of which are deeply rooted in the culture of the speakers of the specific language;
consequently, they can pose unique difficulties in the comprehension of culture
specific texts. To evaluate naturalness of a translation, reader should be aware of
these items which are constituent of target culture norms.
With this section, the researcher attempts to approach the concept of
naturalness based on different definition offered by several scholars. Barnavel in
his book Introduction to Semantic and Translation (1980) says, for a translation
to be acceptable is to use a natural form of target text. Newmark (1988) believes a

20
translation which is written in ordinary language -he means target language
grammar, idiom and words- is the natural one. In his classification of different
types of translation, communicative translation and its subsets are nearer to this
definition. Nida and Taber (1969) consider a translation as a good one when it
doesnt show to be translation. Venuti explain the same concept by the term
invisibility. However, both scholars are rejected by followers of fidelity theory,
such as Gutt (1991). Beekman and Callow (1983) have offered another criterion
for assigning the naturalness of translation. Their definition is based on the term
ease. They say there is correlation between ease of understanding the meaning of
a text and the level of naturalness which it has.
In all above mentioned approaches there is a dichotomy between what
is considered as natural and unnatural while there is no necessitate assuming such
polarity; proposing a continuum begins from naturalness and go toward
unnaturalness is a more practical approach. Toury (1995) suggests a degree
between adequacy (unnaturalness) and acceptability (naturalness). Herman (1999)
rejects existence of such axis, explaining that translation is a sociocultural activity,
so assuming such a dichotomy for distinction of naturalness and unnaturalness is
not appropriate. It is the norm of a language which determines naturalness. With
regard to nature of dominant norms in a society, which are under the shadow of
cultural changes, it is evident that they are dynamic so subject to any changes. It is
resulted that considering a set of abstract principle in order to evaluate naturalness
of translation and even the source text is not possible.

21
Finally it should be mentioned that some scholars say two terms of
naturalness and unnaturalness shouldnt be considered as two opposite concept
but along each other with a leveled gradation.
There is agreement among all theorists that clashes are prior factor for
unnaturalness; what causes clashes in a translation firstly are interferences from
source language. As Mollanazar (2001) says interference is a universal
phenomenon in translation and adjustment can somehow treat the problem. Toury
(1995) reminds interference happens whenever translator fails to adapt translation
to target language. In other word differences between source and target languages
pattern may cause interference from source language. There is an agreement about
discarding the problem of interference; as it was said adjustment is the offered
solution. Shifts can be taken into account as a useful technique for making
adjustment. Shifts in translation show translators awareness in finding the
necessity of deviating from the source language form.
Catford (1965) considers two kinds of shift: (1) shift of level and (2)
shift of category. Level shifts are shifts between grammar and lexis. Level shifts
are subdivided into structure shifts, class shifts, unit shifts and intra-system shifts.
Since a survey on usage of shifts, where it sounds necessary, can be regarded as a
useful strategy in measuring naturalness of translation.
However, based on theories of translation no one can specify a set of
factors for grading the naturalness of a translation. Some theorists call translation
a relative task; when a translation is good for a particular reader in a special time,
may be regarded absurd for him in another situation.

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2.9 Comic
Comic book itself is a magazine made up of comics, narrative artwork
in the form of separate panels that represent individual scenes, often accompanied
by dialog (usually in word balloons, emblematic of the comic book art form) as
well as including brief descriptive prose. And there are some kinds of comics:
a. Alternative/ esoteric comic books are more realistic than superhero comic
books, but they do not necessarily have to be real to life. Readers who
want to think a bit more about what they are reading enjoy these comic
books. Some are about fictional events, while others are educational or
based on history. These comic books tend to receive more critical
recognition and acclaim. Examples include American Splendor, Strangers
in Paradise, Ghost World, and Sandman.
b. Manga comic books are Japanese. In the United States, these books are
translated into English. With the popularity of these comic books, the style
is often also produced in countries other than in Japan.
c. Science fiction comic books tell futuristic stories that incorporate advanced
technology and, usually, travel through space. Many superhero comic
books also fall under the science fiction category because of the
superpowers and weapons they include. Nonetheless, superhero comic
books belong to a category of their own.
d. Fantasy comic books involve fantasy creatures, swords, sorcery, and
mythological figures. Some of the most successful fantasy comic books
are also turned into very successful fantasy novels. An example of a

23
fantasy comic book that has had widespread success is the Conan the
Barbarian series.
e. Action/ adventure comic books usually involve characters that do not have
special powers. Rather, they are everyday people experiencing a conflict.
Most of the characters, however, are detectives or police, and the story
focuses on their battles against criminals.
f. Horror comic books feature characters such as zombies, monsters, and
vampires. These comic books tend to be gruesome and often include
nudity and profanity. Humor comic books also generally contain dark
themes. They are not strictly funny, as a comic strip found in the Sunday
newspaper would be. Humor comic books often cross over into many
different genres of comic books.
g. Romance comic books involve stories about love and relationships. Many
times, these comic books also cross over to other genres. In fact, comic
books that are strictly about romance are no longer very common.
h. Childrens comic books are also not that common, as most comic books
are geared towards an adult audience. Comic books that are geared toward
children are generally whimsical and humorous.
i. Adult comic books are considered the underground publications of the
comic book genre. Nonetheless, there are numerous adult comic books to
choose from. Many mainstream bookstores and even comic book shops do
not carry this genre. Rather, most are downloaded from the Internet.
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From the explanation above, the comic that being discussed in this
study is belonging to action or adventure comic book because it tells about a
journalist who trying to investigate some criminals.
2.10 Loss and Gain
Once the principle is accepted that sameness cannot exist between two
languages, it becomes possible to approach the question of loss and gain in the
translation processes. It is again an indication of the low status of translation that
so much time should have been spent on discussing what is lost in the transfer of a
text from SL to TL whilst ignoring what can also be gained, for the translator can
at times enrich or clarify the SL text as a direct result of the translation process.
Moreover, what is often seen as `lost' from the SL context may be replaced in the
TL context.
Eugene Nida (1964:119) is a rich source of information about the
problems of loss in translation, in particular about the difficulties encountered by
the translator when faced with terms or concepts in the SL that do not exist in the
TL. The generic differences in the two language systems naturally generate loss
on all levels.
Gain, on the other hand, is very rare, if ever, because, as Bassnett
(2002:38 ) points out, translation theoreticians as well as practitioners are mainly
concerned with matters of equivalence and the like, Ignoring what can also be
gained, for the translator can at times enrich or clarify the SL text. Moreover, what
is often seen as lost from the SL context may be replaced in the TL context. By
the same token, Nida and Taber (1974:106) stated that Whereas one inevitably
25
loses many idioms in the process of translation, one can also stands to gain a
number of idioms. Another scholar, Newmark (1998 : 91) stated that:
The additional information a translator may have to add to his version is

normally cultural (accounting for difference between SL and TL culture),
technical (relating to the topic) or linguistic (explaining wayward use of
words), and is dependent on the requirement of his, as opposed to the
original, readership. In expressive texts, such information can normally
only be given outside the version, although brief 'concessions' for minor
cultural details can be made to the reader.
Meanwhile, Basnett McGuire (1991 : 30) also state that :
Once the principle is accepted that sameness can not exist between two
languages, it becomes possible to approach the question of loss and gain
in translation process. It is again an indication of the low status of
translation that so much time should have been spent on discussing what
is lost in the transfer of a text from SL to TL whilst ignoring what can
also be gained, for the translator can at times enrich or clarify the SL text
as adirect result of the translation process. Eugene Nida is a rich source
of information about the problems of loss in translation, in particular
about the difficulties encountered by the translator when faced with terms
or concepts in the SL that do not exist in the TL.
In this research the researcher only analyze the sentences which
influenced by loss and gain in translated comic. From this statement, the
researcher includes the definition of sentence and also the elements of the
sentences. They are word, phrase, and clause.
2.11. Definition of Words, Phrases, and Clauses
a. Word
Word is a smallest class in the languages. Every word has a meaning
and sound, but when someone makes a conversation to each other it is impossible
26
if he or she just said a word. It must more than one word, so what he said is
meaningful.
b. Phrases
A phrase is a group of related words used as a single part of speech. A
phrase lacks of a subject, a predicate, or both. Consequently, a phrase cannot be a
sentence. Phrases can be divided into three, they are prepositional phrase,
appositive phrase, and verbal phrase.
1. Prepositional phrase consists of a preposition, its object, and any
modifiers of that subject. In most prepositional phrases, the preposition
precedes the object. In the following sentence, the prepositional phrases
are in boldface.
2. Appositive phrase
An appositive phrase is a noun or pronoun placed near another noun or
pronoun to explain or identify it. The appositive is underlined below. An
appositive phrase includes all he words or phrases that modify the
appositive. The appositive phrase identifies a noun or pronoun.
3. Verbal phrase
Verbal is form of verb that functions as noun, adjective, or adverb. For
instance, a verbal may be the subject of a sentence, or it may be a predicate
nominative. Even though verbal functions as other part of speech, it has
someof the properties of verb.

27
c. Clauses
A clause is a group of related words that contains both a subject and a
predicate. There are two kinds of clause, they are independent clause and
subordinate clause.
1. Independent clause
Independent clause can stand by itself as a sentence.
2. Subordinate clause
A subordinate clause is a group of words that has a subject and a predicate
but cannot stand by itself as a complete sentence because it does not
express a complete thought. Subordinate clauses are sometimes called
dependent clauses.
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CHAPTER III
RESEARCH METHOD
The research method used in this study is qualitative research because
the source of data of this research is text. The qualitative method investigates
the why and how of decision making, not just what, where, when. Wilkinson
(2000:7) states that The resulting data (of qualitative research) is presented in the
form of quotations or descriptions, though some basic statistics may also be
presented. The source of data that was be used in this research is an English
comic The Adventures of Tintin: Tintin in America that has been translated into
Indonesian Version Petualangan Tintin: Tintin di Amerika.
3.1 Research Design
The aim of this research is to analyze the loss and gain in translation
process of the comic. The method used in this research is qualitative research
method. And the source data used is the comic of Tintin The Adventures of
Tintin: Tintin in America and the Indonesian version entitled Petualangan
Tintin: Tintin di Amerika.
3.2 Unit of Analysis
The researcher focuses on the utterances written in the source
language comic and the target language comic which show the loss and gain in its
translation process.
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29
3.3 Source Data
The data were taken from the comic of Tintin entitled The
Adventures of Tintin: Tintin in America and the Indonesian version entitled
Petualangan Tintin: Tintin di Amerika. There are 639 utterances in each version
of the comic, English and Indonesian version.
3.4 The Technique of Data Collection
A documentation method is used by the researcher to complete this
study. The method is taken from the statement by Goetz & Le Compte (1985:87)
which states that There are many kinds of data source in qualitative research. It
can be persons, events and places or locations, objects, and documents or files.
The data of this study were collected by using following steps:
a. Collecting the data from a comic Tintin entitled The Adventures of
Tintin: Tintin in America and the Indonesian version entitled
Petualangan Tintin: Tintin di Amerika
b. Scanning the comics for presentation needs
c. Analyzing the data consisting of loss and gain in translation
d. Describing kinds of losses and gains found the utterances both in English
and Indonesian version

30
3.5 Technique of Data Analysis
After the data were completely collected, it is analyzed by using the
following steps:
a. Writing the data that has been classified into tables
b. Comparing the data of the English and Indonesian version
c. Identifying the utterances consisting of loss and gain in translation
d. Interpreting the data

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CHAPTER IV
DATA ANALYSIS
This chapter presents the data analysis in order to present the result of
the research. The data analysis covers the finding of loss and gain in the comic
The Adventures of Tintin: Tintin in America that has been translated into
Indonesian version Petualangan Tintin: Tintin di Amerika and its discussion.
One utterance is in one bubble, and as the result, the researcher found
130 bubbles of loss and gain in the comic. They can be stated as follows:
The number of loss process is 111 bubbles and the number of gain process is 19
bubbles, so the total number of loss and gain process found in the comic The
Adventure of Tintin: Tintin in America which has been translated into
Petualangan Tintin: Tintin di Amerika is 130 bubbles.
For the brief explanation about loss and gain process in the comic
The Adventure of Tintin: Tintin in America into Indonesian version
Petualangan Tintin: Tintin di Amerika, the researcher explains it into the
following tables below:
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32
Table 4.1. Loss Process in The Comic The Adventure of Tintin: Tintin
in America into Petualangan Tintin: Tintin di Amerika
No. Patterns of Loss Quantity Percentages

1. Word Loss 34 30 %
2. Phrase Loss 62 56 %
3. Clause Loss 15 14 %
Total 111 100 %
From the table above, it can be seen that the number of loss process
found in the utterance of the comic The Adventure of Tintin: Tintin in America
and its translation Petualangan Tintin: Tintin di Amerika is 111 bubbles, consists
of 33 word losses or it can be said 30% of all patterns, 62 phrase losses or 56%,
and 15 clause losses or 14% of all patterns. The highest percentage of all is phrase
class loss.
Table 4.2. Gain Process in The Comic The Adventure of Tintin: Tintin
in America into Petualangan Tintin: Tintin di Amerika
No. Patterns of Gain Quantity Percentages

1. Word Gain 15 79 %
2. Phrase Gain 4 21 %
Total 19 100 %
In the gain process of the comic The Adventure of Tintin: Tintin in
America and its translation Petualangan Tintin: Tintin di Amerika the researcher
found 19 bubbles, consists of 15 patterns of word gain or 79% of all patterns and
4 phrase gains or 21% of all patterns. The researcher did not found any pattern of
clause gain in the comic.

33
4.1. The Discussion of Word Loss
The researcher found 33 bubbles of word loss in the comic The
Adventures of Tintin: Tintin in America and its Indonesian version Petualangan
Tintin: Tintin di Amerika. To know more about the details, the researcher explains
the analysis below:
Excerpt 1, Page 3
In the first excerpt, there is an utterance in the source language hands
up, buddy! and angkat tangan in the target language. It can be seen that the
translator did not translate the word buddy from source language into target
language. The translator did the process that way because the italicized word
mentioned before is just an adrressing word, so it does not make any difference if
the translator lost that word. Besides that, the contexts in both versions of comic
are still the same. The important one is that the readers can get the information
34
that the policeman is arresting the man on the car and asks him to put his hands
up.
Excerpt 2, Page 4
In the picture above, it can be seen that Tintin is carried by the
ambulance guard and there are some people who see him. One of them says an
utterance that is written in the source language Gee! The poor kid However, in
the target language, the same utterance has been translated into Pemuda
malang The words Gee! and The in the first utterance and the word He in the
second utterance of the source language had been abolished by the translator and
this process is called ethnographic translation. The translator did the process this
way to explicate the cultural context of the source language and the target
language. Besides, the italicized word mentioned before is a kind of expression of
compassion towards other and the meaning of the utterance already sent to the
readers by the utterance of pemuda malang.

35
Excerpt 3, Page 12
The utterance in the picture above can be categorized into compliment
expression because the man in the picture is praising the gadget he has. Other than
that, it can be seen an utterance Marvellous little gadget, just under my foot!
and in the picture of target language there is an utterance Alat yang hebat, tepat
di kakiku! The italicized words, little and under is not being translated by the
translator into target language.
In this kind of translation process, the researcher concludes that the
translator was purposely divesting the words little and under to get reflect the
meaning without translating the whole text. However, the point of the meaning
can be received well by the readers.

36
Excerpt 4, Page 14
In the picture of source language above, there is an utterance by Tintin
who says Move one muscle, and Ill blow your brains out! And in the picture of
target language, it is written Bergerak sedikit saja, kutembak kepala kalian!
The word and in the source language had not been translated into target language,
because there is an idiom in the source language blow your brains out which can
be translated into kutembak kepala kalian. It sounds awkward if the translator put
the translated word of and between the first phrase and the next clause. On the
other hand, by losing the word and, the target language text sounds more natural
and acceptable by the readers.

37
Excerpt 5, Page 22
The fifth excerpt in the research has the same process as the third
excerpt. In the picture, there is an utterance in the source language that says
Sachem, this little jokes gone far enough! Untie these ropes and let me go!
While in the target language, there is an utterance of Sachem, lelucon ini sudah
terlalu jauh! Lepaskan tali ini dan biarkan aku pergi! The translator does not
translate the word little into target language.
As in the first excerpt before, the researcher concludes that the
translator lost the word little to reflect the meaning without translating the whole
text. However, the point of the meaning can be received well by the readers.
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Excerpt 6, Page 24
There is an utterance in the picture of source language above said by
the bad guy, Alcatraz! What a drop! The canyon goes down hundreds of
feet I can scarcely see the bottom while in the target language it is written
Alcatraz! Jatuhnya jauh! Jurang ini dalamnya ratusan meter Aku tak bisa
melihat dasarnya The italicized word had not been translated by the translator
into target language to keep the communicative effectiveness of the text in order
that the text will be more acceptable by the readers without changing the meaning
and the context of the text.

39
Excerpt 7, Page 30
Source Language
Target Language
It can be seen in the picture on excerpt 7, in the source language text,
there is an utterance by Tintin who said Terribly sorry! Im only borrowing it!
Whereas, in the target language text, it is written Maaf sekali! Aku
meminjamnya! So it can be seen that the translator does not put the translation
work of the word only in the source language into the target language because he
abolished it.
The researcher concludes that the translator intentionally lost the word
only to make his translation work more simple. Whether it is written or not, it
40
does not make any significant difference in the meaning or it can be said that the
readers still can understand well about the meaning of this utterance although
without the word only.
Excerpt 8, Page 35
In the excerpt 8, it can be seen that two men are arresting Tintin, while
Tintin states his objection, so this dialogue can be categorized into protesting
expression. Moreover, this dialogue is included into word class loss because
Tintin says in the source language, But why? I protest! Meanwhile, in the target
language, it is only written Kenapa? Aku protes! The translator abolished the
italicized word and does not translate it into target language.
The researcher considers that this loss process of translation has a goal
to make the target language text simpler without changing the style or meaning of
the source language text. In particularly, the target readers of this comic are
mostly children and juveniles, so it will be easier for them to read and to
understand the whole context and meaning.

41
Excerpt 9, Page 43
The utterance in the source language And to you, too! is rendered into
Dan untukmu! in the target language. It can be seen that the word too in the
source language is not translated into the target language. It is lost. It happens
because the translator considered the space limit to put some more words in the
bubble. Since the space in the bubble is not enough to go around, the word too is
not rendered and this does not distort the whole meaning of the target language.
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Excerpt 10, Page 54

In the previous picture, excerpt 5, it can be seen that the two
utterances which is one of them has been translated by a loss process translation.
It refers to the utterance by Snowy the white dog who is grumbling to a guy he
called Mr. Meatball. In the utterance of the target language, it is written A nasty
piece of work, our Mr. Meatball! and its translation on the target language Cara
yang kasar, Tuan Bakso! It means that the translator lost the word our in the SL
and did not translate it into the TL.
The researcher already explained about the comic and its translation in
chapter II. It is stated that in most cases, the original authors does not do their
work how it will be translated but about ensuring the bubbles to have the exact
right size to fit the text. The translator must be able to find the right word to fit the
bubble. And the researcher is deducing that the translator lost the word our to fit
in the bubble. Furthermore, it does not change the meaning or style of the source
language text.
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4.2.The Discussion of Phrase Loss
The researcher found 62 bubbles of phrase loss in the comic The
Tintin: Tintin di Amerika. To know more about the details, the researcher explains
the analysis below:
Excerpt 11, Page 3

In the picture of source language text, it is written an utterance by
Tintin You kidnapped me! Come on...Why? And it can be seen an utterance in
the picture of target language text Kau menculikku! Kenapa? This dialogue
included to the phrase class loss because the translator does not put the phrase
come on in source language to target language, or it can be said that the translator
lost this phrase.

44
As written in chapter II, naturalness for a translation to be acceptable
is to use a natural form of target text. Based on this information, the researcher
concludes that the translator purposely lost the phrase come on to get a natural
translation, so it can be more comfortable to be read by the readers.
Excerpt 12, Page 5

In the dialogue in the picture of excerpt 7, Tintin says an utterance
describes his happiness and it can be said that he is thanking to God for his
salvation. It also can be seen that the utterance in source language text and target
language text has some different words of translation. In the target language it is
written Im glad to be back on my feet again. However, in the target language
text, it is written Aku senang sudah sehat lagi. It means the translator did some
transformation in translating process of the dialogue. The translator lost the phrase
of back on my feet in the source language was transformed into a word sehat in
45
the target language to get a natural form. Besides, the italicized word in the source
language is an idiom, so the translator has to translate it naturally and acceptably.
Excerpt 13, Page 7

There is only one utterance by the man with a gun on his hand. He
states in the source language text Holy smoke! A real little tough guy! He
knocked out the boss and Pietro too! In the target language text, it can be seen
an utterance Sialan! Tangguh juga! Dia menjatuhkan bos dan Pietro! There is
a phrase which had not be translated by the translator, that is a real tough guy. It
means the translator transformed the phrase a real tough guy in the source
language into tangguh juga in the target language text. The resercher certainly
sure that the translator transformed the underlined phrase above into that kind of
phrase in the target language, to get the closest natural equivalent of the source
language message that the guy (Tintin) is a tough guy.

46
Excerpt 14, Page 9

As can be seen in the picture on excerpt 9, there are two utterances by
Tintin and his dog, Snowy and yet the utterance by Tintin has involved in a phrase
class loss in its translation process. In the source language text, it is written,
Youre a brave fellow, Snowyand clever! Whereas in the target language text,
it is written Kau berani sekali, Milo! It is clearly seen that there is a phrase class
loss in the process of translation because the translator lost a phrase of and clever.
As the researcher explained before in the chapter II about comic and
its translation, comic books represent not only the typical constraints of language,
but also space limitation. For information, comic provides information not only
through words, but they are also linked to the image and the translator should
confine translation to the space they have. Because of this explanation, the
researcher concludes that the translator purposely loss the phrase and clever to fit
the bubble without changing the meaning of the source language text.
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Excerpt 15, Page 20

In the source language text of the picture above, it is written, Alcatraz
and sing sing! Dumb redskins wont fight Ive gotta get out of here! while
in the target language text, it is written Sialan! Kulit merah bodoh tak mau
perang Aku harus pergi dari sini! The italicized phrase shows that the
translator lost a phrase of Alcatraz and sing sing then transformed it into Sialan.
Based on the meaning of ethnographic translation, the purpose of
ethnographic translation is to explicate the cultural context of the source and TL
version. Translators have to be sensitive to the way words are used and must
know how the words fits into cultures. The phrase Alcatraz and sing sing
would be so awkward if it translated into target language with the same phrase as
in the source language. That is why the translator lost this phrase and change it
into one cultural word of target language which has the same meaning as in the
48
source language. Another reason is to make it as natural as possible so the reader
can read it comfortably.
Excerpt 16, Page 41

In the picture above, it can be seen an utterance by Tintin in the source
language text who says, And how! If you hadnt stopped Id be playing a
harp by now! Meanwhile, in the source language text, he says Kalau saja kau
tidak berhentiaku sudah di surga sekarang! This utterance may included in
the category of phrase class loss because the translator did not put or translate a
phrase in the beginning of the utterance and how! The translator decided to lose
the phrase because it is an untranslatable phrase and it would be sounds awkward
if it translated word for word in the target language text. That is why the translator
decided to lose it.

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Excerpt 17, Page 49

It is clearly seen that the utterance in the picture above is an
apologizing expression, because the man express his apology. Other than that, it
can be seen an utterance in the source language text You have to pardon me, Mr.
Tintin, for keeping you so long while in the target language, it is written
Maafkan aku, Tuan Tintin, karena menahanmu begitu lama. It proves that the
translator lost a phrase of you have to.
As what has been explained in the previous section, comic books
represent not only the typical constraints of language, but also space limitation.
For information, comic provides information not only through words, but they are
also linked to the image and the translator should confine translation to the space
they have. It can be seen that the bubble of the source language text is full with
words. Because of this reason, the translator lost the phrase of you have to without
changing the meaning of this apologizing expression.

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Excerpt 18, Page 49

There is an utterance in the picture above shows that Tintin starts to
speak to the police and ask about the man he is looking for. In the source language
text, it is written Excuse me, Officer, but have you by any chance seen a man
in a cloth cap, with a large parcel under his arm? Somewhere here, about an
hour ago? Meanwhile, in the target language it is only written Maaf, Pak Polisi,
apakah kau melihat pria bertopi membawa bungkusan besar? Kira-kira
sejam yang lalu? It is clearly seen that the translator lost a phrase of somewhere
here in source language and it does not being translated into target language.
The researcher make a conclusion that the translator lost the phrase of
somewhere here because it is clearly showed that Tintin asking for the
information about the man he are looking around. In addition, the translator lost
the phrase to fit the text into the bubble.

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Excerpt 19, Page 52

Source Language
Target Language
In the picture of source language above, there is an utterance says
Dumbcluck! Hes hiding in the keepno way out, weve got him cornered
like a rat! Meanwhile, it can be read in the target language an utterance of Dasar
bodoh! Dia bersembunyi di menara! Tidak ada jalan keluar, kita sudah
memojokkannya! The phrase of like a rat had not been translated into target
language because the space is limits, so the translator keep the text fit the bubble.
Moreover, the phrase like a rat would not change the meaning or the style of the
source text.
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Excerpt 20, Page 53

In the picture above, Tintin and Snowy, his dog, talks about the
invitation to see the Grynde Cannery, but there is a protest from Snowy when
Tintin said he will go, because Snowy also want to go and it can be seen an
utterance by Snowy in the source language text Correction! Well go, you mean!
While in the target language, it is written Koreksi! Kita akan pergi! It means the
translator lost a phrase of you mean and it does not being translated into target
language. The researcher concludes that the translator did not translate the phrase
of you mean on the end of the utterance in the source language text into target
language text, because it was clearly explained that the underlined phrase is must
be Tintin, so it does not matter if the translator did not translate it into the target
language.
53
Excerpt 21, Page 57

Source Language
Target Language
In the pictures above, there are two utterances by the man with a glass
on his hand, and by Snowy, Tintins white dog. In this part, the researcher focuses
on the utterance by Snowy. In the source language text, it is written I must say
these official dinners are a bit of a bore. Meanwhile, in the target language, the
translator wrote it Makan malam formal sangat membosankan ya? The phrase
of I must say had not been translated into target language because the translator
wanted to transform it into a terser translation. The translator reproduced the
phrase by using the closest natural equivalence without changing the meaning.
54
Excerpt 22, Page 59

It can be seen in the picture above, in the source language, there is an
utterance that says My clever little friend, Ive got a surprise for you. Were
gonna clamb this dumb-bell to your leg. Of course, it wont be all that easy to
walk dragging this behind you, but thenha!ha!ha! you wont need to
walk Meanwhile, in the target language, it is written Aku punya kejutan
untukmu. Kami akan mengikat pemberat ini ke kakimu. Tentu saja tidak
mudah berjalan dengan menyeret benda ini, tapiha!ha!ha! kau tidak harus
berjalan
It is clearly seen that the translator lost the phrase of my clever little
friend. The researcher certainly sure that the translator lost the mentioned phrase
because he was only has a limit space to write and the italicized word above is
only an andressing phrase, so the translator lost it without changed the meaning of
the text and it has the same context.

55
4.3.The Discussion of Clause Loss
The researcher found 15 bubbles of clause loss in the comic The
Tintin: Tintin di Amerika. To know more about the details, the researcher explain
the analysis below:
Excerpt 23, Page 2

The researcher categorized the dialogue in the picture above into
protesting expression. It is said so because there is an utterance which explained
that the guy (Tintin) denying that he is not a gangsters stood. It also can be read
that in the source language text there is an utterance Get your hands up, you
crook! And Ill take care of that paper. Just remember, I came to Chicago to
clean the place up, not to become a gangsters stooge! Meanwhile, in the target
language, it is written Anak tangan penjahat! Dan ingat saja, aku datang ke
Chicago untuk membersihkan tempat ini, bukan menjadi anak buah

56
gangster! It is clearly seen that the translator purposely wipe the underlined
clause out.
As the researcher explained in the chapter II about comic and its
translation, comic books represent not only the typical constraints of language
(idiolect, double meanings, idioms, et al.) but also space limitations. For
information, comics provide information not only through words but they are also
linked to an image and the translator should confine translation to the space they
have. Keep in mind that in most cases the original author does not do their work
thinking about how it will be translated but about ensuring that the bubbles have
the exact right size to fit the text. Thus, the researcher concluded that the
translator abolished the underlined clause to fit the bubble of the comic.
Excerpt 24, Page 20

There is only one utterance in the picture above, said by the man who
sits by the campfire and is grumbling about Tintin. From the whole utterance, it
57
can be concluded that the utterance above is included in complaining expression.
Other than that, this utterance had a clause class loss in its translation process.
In the end of the source language utterance, it is written Theyre
going to find that Tomahawk if its the last thing they do! While in the target
language, it is written Mereka harus menemukan Tomahawk itu, harus! It can
be seen that the translator lost the clause If its the last thing they do! and just
transformed it into a word harus!
There is a theory explains that translation must always be re-creation
of the original into something profoundly different. On the other hand, it is never
substitution of word for word but invariably the translation of whole contexts. So,
a translator must be able to translate the whole context, not only the words inside,
then re-write it into the target languange by using the appropriate text. Thus, the
translator looked for the appropriate word to make the translation in the target
language simpler and easier to be read by the readers.
Excerpt 25, Page 44

58
In the picture of excerpt 18, shows that the policeman make a call to
the newspaper office and he greets the call receiver. On the opening part of the
utterance, it is written in the source language That you Chuck? How are my
favorite newshound? and in the target language it is written Hallo, kantor surat
kabar? It is clearly seen that the translator lost the clauses That you Chuck? and
How are my favorite newshound?. However, the translator translate it into Hallo,
kantor surat kabar?
As the researcher explained in the chapter II of this research, there is
an explanation about comic and its translation. In order to provide a more or less
acceptable translation that is as close as possible to the original, a translator have
to remove any merely accessory content which is the same that happens with
subtitling, for example, which also has strict space limits.
Based on this explanation, the researcher certainly sure that the
translator purposely transformed the underlined clause of the source language in
the picture become what can be read in the underlined clause of the target
language, because the translator has a strict space limit. Thus, the translator made
it simpler by using the appropriate word which has the same meaning as the
source language.
59
Excerpt 26, Page 62

There is a quite long utterance by a man who looks like a radio
announcer and he is announce people about Tintins bravery and heroic action. It
can be seen in the last sentence of the utterance above that written We know that
every American will wish to show his gratitude, and honour Tintin, the
reporter and his faithful companion, Snowy, heroes who put out of action the
bosses of Chicagos underworld. And how it had been translated into target
language Kita tahu setiap orang Amerika ingin menunjukkan rasa
terimakasihnya dan menghormati Tintin dan teman setianya, Milo!
The researcher found a clause class loss in the picture above, because
the translator did not translate the last underlined clause of the utterance and it had
60
been deleted from the utterance in the target language. In the chapter II, it is
already explained that comic books represent not only the typical constraints of
language (idiolect, double meanings, idioms, et al.) but also space limitations. It
can be seen that the translator had a space limitation, thus, the translator removed
the last clause to fit the bubble of the comic without changing the meaning and the
style of the source language text.
4.4. The Discussion of Word Gain
The researcher found 15 bubbles of word gain in the comic The
Adventure of Tintin: Tintin in America and its translated version in Indonesian
Language, Petualangan Tintin: Tintin di America. For further discussion, the
researcher explain about the details in the analysis below:
Excerpt 27, Page 5

61
The first excerpt of word class gain in expressive dialogue of the
comic found in the page 5. The researcher focuses on the first sentence in the
source language So! The famous reporter! which has been translated into target
language become Jadi inilah si wartawan terkenal! The italicized word is the
word added by the translator although this word can not be found in the source
languange. The researcher concludes that the translator added a word inilah in
the target language to give an emphasizing in the utterance.
Excerpt 28, Page 12

In the source language text of the picture above, it is written My dear
Mr. Tintin, this is a pleasure! Im glad to meet you! Meanwhile in the target
language text it is written Tuan Tintin yang baik, sungguh kehormatan besar!
Thus, the translator was gained a word besar in the target language which does
not exist in the source language. In this case, the translator wanted to emphasize
the feeling of the man who says that he feels so honored, so the translator added a
word besar in the target language text.

62
Excerpt 29, Page 16

In the excerpt 23 above, there are to utterances said by the man and
Tintin, but in this analysis, the researcher focuses on the utterance bu Tintin. It is
written in the source language text Good, just what I want! While, in the target
language, it is written Bagus, tepat seperti yang kuinginkan! It can be seen that
the translator added a word seperti in the target language. It is because the
translator wants to make the translation work sounds natural. Without the word
seperti, it will sounds awkward.

63
Excerpt 30, Page 20

There are two utterances in the excerpt above, but the researcher uses
the utterance by the Indian man. In both the source language and the target
language, the Indian man says about his gripe. The researcher categorize it into
complaining expression. In the source language text is written Alas, Blackfeet
still cannot find their Tomahawk It is lost! And the target language is written
Sial, Blackfoot belum menemukan Tomahawk mereka Kapak itu hilang! It
can be seen that the translator added a word kapak in the target language.
The researcher is sure that the translator added the word kapak to
inform the readers that the word it in the source language refers to kapak in the
target language, or it can be said the referential meaning of the word it is kapak.
64
Excerpt 31, Page 26

It can be seen in the source language of the picture above an utterance
that says Its about two miles while in the target language is written Jaraknya
kira-kira tiga kilometer The translator added the word jaraknya to replace the
word it because the translator wanted to emphasize the referential meaning of
the text. The word it in the source language refers two the interval or jarak in the
target language.
Other than that, the translator also replaced a phrase of two miles in
the source language become tiga kilometer in the target language. The translator
did it because the word mile is peculiar for the target readers, so he changed it
into kilometer which ordinary used in by the target readers. And the translator
change the number of two become three or tiga in the target language because one
mile is equal to 1,6 kilometers. Besides that, the translator did this process to
make the translation works sounds natural and acceptable by the readers of the
target language.
65
4.5. The Discussion of Phrase Gain
The researcher found 4 bubbles of phrase gain in the comic The
Adventure of Tintin: Tintin in America which has been translated into
Petualangan Tintin: Tintin di Amerika. For further explanation, the researcher
gives the details in the following analysis result below:
Excerpt 32, Page 2

There are two utterances in the picture above said by Tintin and
Snowy. In the source language, there is an utterance by Snowy that says Were
stymied then. Even I cant chew through those! while in the target language is
written Tamatlah kita. Kalau baja, aku tak bisa menggigitnya! The translator
added a phrase of kalau baja in the target language to make the text as natural as
possible. Besides that, it will be sounds awkward if the translator translate it word
for word without adding that phrase. It is also because the translator wanted to
make an aesthetic form of the text.

66
Excerpt 33, Page 5

The man with a gun in his hand says in the source language of the
picture above Take it easy, Bambino, I gotta you covered. The bosshes-a
coming Meanwhile, in the target language it can be read Tenang, Bambino,
aku menjagamu. Sebentar lagi bos datang. The translator added a phrase of
sebentar lagi in the target language. What is often seen as lost from the source
language context may be replaced in the target language context. Thus, the
translator added a phrase of sebentar lagi to replaced hes coming behind a phrase
The boss in the target language text. Moreover, in the picture can be seen that the
boss is not there yet, but he is on his way to come over.

67
Excerpt 33, Page 9

It is interesting because in the target language of the picture above, he
translator added a phrase of an idiom. In the source language there is an utterance
by Tintin That, Mr. Al Capone, is what I think of yout threats. Meanwhile, in
the target language the translator wrote an utterance by Tintin that says Ah, Tuan
Al Capone, bagiku ancamanmu pepesan kosong. In the picture can be seen that
Tintin rips the paper and it looks like the paper means nothing for him. Pepesan
kosong is an idiom which in the target language has the same meaning as
something that has no meaning. Therefore, the researcher concludes that the
translator added an idiom phrase of pepesan kosong to make it acceptable and
natural to be read by the target readers.

68
Excerpt 34, Page 43

In the picture above it can be seen a man running while swinging the
bottle in his hand. There is an utterance in the source language that says Well,
better late that never! and an utterance in the target language says Lebih baik
terlambat dari pada tidak sama sekali! The translator added a phrase of sama
sekali in the target language to emphasize the meaning of the text. Morever, the
adding phrase makes the target language sounds more natural, so it is more
acceptable to be read by the readers.

69
CHAPTER V
CONCLUSION AND SUGGESTION
5.1. Conclusion
In this chapter the researcher would like to give the conclusion about
this thesis. The researcher had done all the analysis of this thesis and especially on
the fourth chapter. Based on the fourth chapter, the researcher concludes that in
this thesis the process of loss and gain can be found. The process of loss and gain
gives the effects to the readers to catch the messages of the SL to the TL easily.
In the research of Loss and Gain in Translation Process of a Comic
The Adventures of Tintin: Tintin in America into Indonesian Version
Petualangan Tintin: Tintin di Amerika, the researcher found 110 patterns of loss
and 19 patterns of gain in the translation process of the comic.
After reading both English version as the SL and Indonesian version
as the TL, the researcher found 129 processes of loss and gain. It can be divided
into two parts. The first part is the loss process. The researcher found 110 pattern,
they are 33 or 30% patterns of the word class loss, 62 or 56% patterns of the
phrase class loss, and 15 or 14% of the clause class loss.
The second part is gain process. The researcher only found 19 patterns
of gain process in this study. They are 15 or 79% of the word class gain, and 4 or
21% of the phrase class gain. Meanwhile, the clause class gain is not found by the
researcher in this translated comic.
69
70
The reasons why the translator did the loss and gain process in
translating the comic The Adventure of Tintin: Tintin in America into
Petualangan Tintin: Tintin di Amerika are mostly because the translator wanted
to make a good translation that sounds natural and acceptable by the readers.
Besides that, the translator sometimes did the loss process because of the space
limitation, so he tried to eliminate some words without changing the meaning or
the context of the source text.
Finally, the researcher concludes that the translation result of the
comic The Adventure of Tintin: Tintin in America into Petualangan Tintin:
Tintin di Amerika is good and acceptable.
5.2. Suggestion
The researcher suggests to the translator, when translating this comic
the translator should pay attention to use the loss and gain techniques. It is
because by deleting or adding information in the target language it can give
effects on the target language, although this approach is possible to use. If the
translator not pay attention or translate not carefully in translating this comic, it
will be difficult to the readers to get the meaning of the story.
This suggestion is not only given to the translator of this comic, but
also to all translators. Besides, this suggestion will also be given to all English
students who study in the translation department.

71
BIBLIOGRAPHY
Baker, Mona. 1992. In Other Words a Course Book on Translation. London :

Routledge.
Bassnet-McGuire, Susan. 1980. Translation studies. New York : Methuen & Co,
Ltd.
Brislin, R.W. (1976). Translation: Application and Research. New York: Garden
Press, Inc.
Campbell, Stuart. 1998. Translation into the Second Language. England :

Addison
Catford, J.C. 1965. A Linguistic Theory of Translation. London: Oxford

University Press.
Choliludin. (2009). The Technique of Making Idiomatic Translation. Jakarta:

Kesaint Blanc.
Fudiyartanto, Fuad Arif. 2007. Penambahan dan Pengurangan dalam

Penerjemahan I. Yogyakarta.
Goetz, J. P., & LeCompte, M. D. (1984). Ethnography and qualitative design in

educational research. Orlando, FL: Academic Press.
Halliday, M.A.K. and Hasan, R. (1985). Language, context and text: Aspects of
language in a social semiotic perspective. Deakin University Press/OUP:
Geelong/Oxford.
Hartono, Rudi. 2009. Teori Penerjemahan (A Handbook for Translators).

Semarang : Cipta Prima Nusantara.
Hoed, Benny Hoedoro. (2006). Penerjemahan dan Kebudayaan. Jakarta: Pustaka

Jaya.
Hornby, A.S. 2000. Oxford Advanced Learners Dictionary. UK : Oxford

University Press.
Larson, Mildred L. 1984. Meaning Based Translation. America : University Press

of America.
Newmark, Peter. (1988). Textbook of Translation. Oxford: Pergamon Press.
Nida, E. A. 1964. Toward A Science of Ttranslating. Netherlands : E.J. Brill.
71
72
Nida, E.A. & Taber, C.R. (1982). The Theory and Practice of Translation.
Leiden: E.J. Brill.
Peter Newmark. (1981). Approaches to Translation. Oxford and New York:

Pergamon.
Snell-Hornby, M., F. Pchhacker & K. Kaindl (1996). Translation Studies: An

Integrated Approach . Amsterdam: Benjamins.
Sutopo, H.B. 2002. Metodologi Penelitian Kualitatif. Surakarta : Universitas

Sebelas Maret Press.
Widyamartaya, A. (1989). Seni Menerjemahkan. Yogyakarta: Penerbit Kanisius.
Wojowasito. S. and Wasito, Tito. W. 1991. Kamus Lengkap Indonesia-Inggris.
http://cec.vcn.bc.ca/cmp/modules/rsh-krm.htm
http://en.wikipedia.org/wiki/Comic
http://en.wikipedia.org/wiki/Language
http://en.wikipedia.org/wiki/Tintin
http://translationjournal.net/journal/41culture.htm
http://www.qualitative-research.net/index.php/fqs/article/viewArticle/175/391
http://www.sociology.org.uk/methodq.pdf
http://www.uop.edu.jo/download/research/members/424_2060_A.B..pdf
1
APPENDIX
In the research of loss and gain in the process of translating comic
The Adventures of Tintin: Tintin in America become Petualangan Tintin: Tintin
di Amerika, the researcher found 111 patterns of loss and 19 patterns of gain. For
the complete explanation, the researcher describes all of the findings below:
I. Loss Process
a. Word Loss
1. Page 2
Loss the word I
2. Page 3
Loss the word buddy
1
2
3. Page 4
Loss the word all
4. Page 4
Loss the word Gee! and the in the first utterance.
5. Page 4
Loss the word He in the second utterance.

3
6. Page 7
Loss the word himself
7. Page 9
Loss the word fellow and the phrase and clever
8. Page 9
Loss the word wanting

4
9. Page 12
Loss the words little and under
10. Page 14
Loss the word and
11. Page 14
Loss the word here

5
12. Page 14
Loss the word you
13. Page 16
Loss the word really

6
14. Page 16
Loss the word and
15. Page 16
Loss the word before
16. Page 20
Loss the word so

7
17. Page 20
Loss the word certainly
18. Page 21
Loss the word truly
19. Page 21
Loss the word but

8
20. Page 22
Loss the word little
21. Page 22
Loss the word little
22. Page 23
Loss the word splendid

9
23. Page 23
Loss the word now
24. Page 24
Loss the word scarely

10
25. Page 24
Loss the word and
26. Page 24
Loss the word possible
27. Page 26
Loss the word then

11
28. Page 27
Loss the word now
29. Page 30
Source Language
Target Language
Loss the word only

12
30. Page 35
Loss the word but
31. Page 38
Loss the word now
32. Page 41
Loss the word now and someone

13
33. Page 43
Loss the word too
34. Page 54
Loss the word our

14
b. Phrase Loss
1. Page 1
Source Language
Target Language
Loss the phrase right, you guys
2. Page 2
Loss the phrase trust me

15
3. Page 3
Loss the phrase all right
4. Page 3
Loss the phrase come on
5. Page 5
Loss the phrase back on my feet

16
6. Page 6
Loss the phrase stone cold
7. Page 7
Loss the phrase a real little
8. Page 7
Loss the phrase the heck

17
9. Page 7
Loss the phrase game, set and match
10. Page 8
Loss the phrase what happened and by now
11. Page 12
Loss the phrase theyre

18
12. Page 13
Loss the phrase give him a
13. Page 14
Loss the phrase no extras

19
14. Page 15
Loss the phrase I hope
15. Page 15
Loss the phrase I used and custom-made colanders
16. Page 16
Loss the phrase you did

20
17. Page 16
Loss the phrase to justice
18. Page 17
Loss the phrase little bit
19. Page 19
Loss the phrase let us

21
20. Page 19
Loss the phrase in the world
21. Page 20
Loss the phrase alcatraz and sing sing
22. Page 21
Source Language
22
Target Language
Loss the phrase I tell you
23. Page 21
Loss the phrase got a yellow streak
24. Page 23
Loss the phrase to cowardly dogs

23
25. Page 23
Loss the phrase and see
26. Page 23
Loss the phrase I can hear
27. Page 24
Loss the phrase surely it cant be

24
28. Page 24
Loss the phrase to bit
29. Page 25
Loss the phrase at there
30. Page 25
Loss the phrase why dont

25
31. Page 25
Loss the phrase more and more
32. Page 25
Loss the phrase around here
33. Page 26
Loss the phrase a nice little meal

26
34. Page 27
Loss the phrase I wonder
35. Page 28
Loss the phrase to work then
36. Page 29
Loss the phrase and theres me

27
37. Page 29
Source Language
Target Language
Loss the phrase dont you know
38. Page 30
Loss the phrase station master

28
39. Page 34
Loss the phrase now then
40. Page 36
Loss the phrase right, are you
41. Page 37
Loss the phrase like always

29
42. Page 38
Loss the phrase in the world
43. Page 40
Loss the phrases big of me and Ill see
44. Page 41
Loss the phrase and how

30
45. Page 42
Loss the phrase some people
46. Page 44
Source Language
Target Language
Loss the phrase you got there

31
47. Page 48
Loss the phrase steady, cool, and collected
48. Page 48
Loss the phrase and fast
49. Page 49
Loss the phrase you have to

32
50. Page 49
Loss the phrase somewhere here
51. Page 50
Loss the phrase excuse me, while
52. Page 52
Source Language
33
Target Language
Loss the phrase like a rat
53. Page 52
Loss the phrase bit of
54. Page 53
Loss the phrase you mean

34
55. Page 54
Loss the phrase thats whats
56. Page 55
Loss the phrase you hear
57. Page 55
Loss the phrase for a sucker, by any chance?

35
58. Page 57
Source Language
Target language
Loss the phrase I must say
59. Page 58
Loss the phrase Im sure

36
60. Page 58
Source Language
Target Language
Loss the phrase it gives me creeps out here
61. Page 59
Loss the phrase I must say

37
62. Page 59
Loss the phrase my clever little friend
c. Clause Loss
1. Page 2
Loss the clause were in luck!
2. Page 11
Loss the clause thats a great work

38
3. Page 11
Loss the clause Ill take care of that paper
4. Page 13
Loss the clause give him a swing
5. Page 20
39
Loss the clause if its the last thing they do
6. Page 22
Loss the clause He do no wrong
7. Page 33
Loss the clause you can take my word

40
8. Page 34
Source Language
Target Language
Loss the phrase and we hanged a few fellers right away
9. Page 36
Loss the clause ill be a monkeys uncle

41
10. Page 39
Loss the clause I can tell you
11. Page 44
Loss the clause how are my favourite newshounds?
12. Page 54
Loss the clause The boss will be tickled pink!

42
13. Page 57
Source Language
Target Language
Loss the phrase you may be certain

43
14. Page 62
Loss the clause heroes who put out of action the bosses of Chicagos
underworld
II. Gain Process
a. Word Gain
1. Page 5
Gain the word inilah

44
2. Page 9
Gain the word akhirnya
3. Page 9
Gain the word kamar
4. Page 9
Gain the word hingga

45
5. Page 10
Gain the word tolong
6. Page 12
Gain the word besar
7. Page 12
Gain the word tenggelamkan

46
8. Page 15
Gain the word setelah
9. Page 15
Gain the word kan?
10. Page 16
Gain the word seperti

47
11. Page 20
Gain the word kapak
12. Page 23
Gain the word hukuman
13. Page 24
Gain the word saja

48
14. Page 26
Gain the word jaraknya
15. Page 29
Gain the word tapi
b. Phrase Gain
1. Page 2
Gain the phrase kalau baja

49
2. Page 5
Gain the phrase sebentar lagi
3. Page 9
Gain the phrase pepesan kosong
4. Page 43
Gain the phrase sama sekali

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LOSS AND GAIN IN TRANSLATION PROCESS OF A COMIC

THE ADVENTURES OF TINTIN: TINTIN IN AMERICA INTO

Submitted in partial fulfillment of the requirements for the

Submitted in partial fulfillment of the requirements for the

This thesis has been approved by board of Examiners, Strata 1 Study

Program of English Language, Faculty of Humanities Dian Nuswantoro

University on October 11th, 2013.

Chair Person First Examiner

Sunardi, S.S., M.Pd. Raden Arief Nugroho, S.S., M.Hum.

Second Examiner Advisor

Nina Setyaningsih, S.S., M.Hum. Achmad Basari, S.S., M.Pd.

Achmad Basari, S.S., M.Pd

I certify that this thesis is absolutely my own work. I am completely

Semarang, October, 2013

hope and confidence.

If you can dream it, you can do it.

This thesis is proudly dedicated to:

1. The Almighty Allah SWT.

At this happiest moment in my life, I pray to Allah SWT who has

furthermore, express my sincere thanks to:

Nuswantoro University, who gave permission to conduct this study. And as my

completing this thesis.

2. Mr. Sarif Syamsu Rizal, M.Hum., Head of English Department of Strata 1

Program, the Faculty of Humanities - Dian Nuswantoro University, who gave

me permission to conduct this thesis.

3. Mrs. Rahmanti Asmarani, M.Hum, thesis coordinator of English Department of

Strata 1 Program, the Faculty of Humanities, Dian Nuswantoro University,

who gave me permission to conduct this thesis.

4. All lecturers at the English Department of Faculty of Humanities Dian

Nuswantoro University, who have taught, motivated, and guide me during my

study at this university.

5. The librarian of Self Access Centre in Faculty of Humanities Dian Nuswantoro

University for their permission to use some valuable references in doing my

6. My beloved boyfriend, Eko Susanto, S.E. who has supported me.

support and help me in writing this thesis.

supported and gave me concessional times to get my thesis done.

shortcoming. For this I welcome any suggestions and criticism.

STATEMENT OF ORIGINALITY. iii

LIST OF TABLES .. vii

LIST OF FIGURES viii

1.1. Background of the Study . 1

1.2. Statement of the Problem . 5

1.3. Scope of the Study 5

1.4. Objective of the Study .. 5

1.5. Significance of the Study .. 5

1.6. Thesis Organization .. 6

2.1. Definition of Translation 7

2.2. Comic and Its Translation .. 8

2.3. Context in Utterance Interpretation 9

2.4. Language and Translation .. 10

2.5. Kinds of Translation ... 12

2.6. The Principles of Translation . 16

2.7. The Analysis of Meaning ... 17

2.9. Expressive Utterances . 21

2.10. Loss and Gain 23

CHAPTER III. RESEARCH METHOD 27

3.1. Research Design .. 27

3.2. Unit of Analysis .. 27