AN ANALYSIS OF METAPHOR TRANSLATION STRATEGY IN

“THE FAULT IN OUR STARS” BY JOHN GREEN

THESIS
Submitted in Partial Fulfillment
of the Requirements for the Degree of
Sarjana Pendidikan

Errisha Resty Octavia

112011078

ENGLISH LANGUAGE EDUCATION PROGRAM

FACULTY OF LANGUAGE AND LITERATURE

SATYA WACANA CHRISTIAN UNIVERSITY

SALATIGA

2015
AN ANALYSIS OF METAPHOR TRANSLATION STRATEGY IN

“THE FAULT IN OUR STARS” BY JOHN GREEN

THESIS
Submitted in Partial Fulfillment
of the Requirements for the Degree of
Sarjana Pendidikan

Errisha Resty Octavia

112011078

ENGLISH LANGUAGE EDUCATION PROGRAM

FACULTY OF LANGUAGE AND LITERATURE

SATYA WACANA CHRISTIAN UNIVERSITY

SALATIGA

2015

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 COPYRIGHT STATEMENT

This thesis contains no such material as has been submitted for examination in any

course or accepted for the fulfillment of any degree or diploma in any university. To

the best of my knowledge and my belief, this contains no material previously

published or written by any other person except where due reference is made in the

text.

Copyright@ 2015. Errisha Resty Octavia and Maria Christina EkoSetyarini,

S.S.,M.Hum

All rights reserved. No part of this thesis may be reproduced by any means without

the permission of at least one of the copyright owners or the English Language

Teaching Program, Faculty of Language and Literature, Satya Wacana University,

Salatiga.

Errisha Resty Octavia:

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 AN ANALYSIS OF METAPHOR TRANSLATION STRATEGY IN
“THE FAULT IN OUR STARS” BY JOHN GREEN
Errisha Resty Octavia

Abstract

Metaphors which compare two unrelated things indirectly without using any
expressions of comparison are often used in literary works such as novels, short
stories, and poetry. Translating a metaphor is challenging as it cannot be translated
literally if the message is to be fully transferred. Hence, a deep understanding is
needed in order to be able to understand the meaning of the metaphors. This study
attempts to find out the strategies used in translating the metaphor in "The Fault in
Our Stars" novel by John Green. The data were collected by listing the metaphors
from the source text and the translated version. The data were analyzed by using
metaphor translation strategies which are proposed by Newmark (1988) and Larson
(1988). Out of seven the strategies, there are only three strategies used by the
translator to translate the metaphors. The finding is expected to help the study of
meaning related to metaphors, also it can be useful for the readers who intend to have
a research on metaphor translation.

Keywords: metaphor, metaphor translation strategy, The Fault in Our Stars

INTRODUCTION

Reading the novel is what some people do in their leisure time. Reading a

novel is very fun and entertaining as it can let the imagination of the readers flow

freely and the readers can be whoever they wanted to be in that novel. In writing the

novels, most writers do not only use daily language, but they also use figurative

language. “Figurative language sparks the imagination by taking words beyond their

literal meaning” (Ferrer, 2011). Therefore, by using figurative language, writers

intend to make the story more alive by giving more description to help the readers

picturing the story. There may less difficulties in reading novels in Indonesian, even

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though the writers use figurative languages. But when it comes to reading English

novels, it is another story. The figurative language that is used, especially metaphors,

is closely related to the writer’s culture and background, so it is probably a bit harder

to be understood. What is more, the Indonesian versions of the English novels are

somehow sounds less natural. Translating works from one language to another

language is not an easy job. There are things that have to be considered in order to be

able to transfer the intended meaning from the source language into the target

language. As cited in Venuti (2000, p.126), Nida (1964) stated that two languages

cannot exactly have the same meaning. It is not the same either on the comparable

symbol or how the symbols are put in phrases or sentences.

Gut (1991) said a translation is a receptor language text which is similar to the

text in the source language (Stolze, 2011). Therefore, the translator should master

both languages which are English and Indonesian in order to produce a good

translation work.

Moreover, in translating literary work like novels, there are so many figurative

languages that are used by the writer to make the novel more interesting and alive.

According to Harris and Hodges (1995, p. 84) figurative language is “expressive, non-

literal use of language for special effects, usually through images” (in Fredericks,

2006). Or, the use of figurative language in novels is for giving a real image to so that

the reader can easily picture the condition. The figurative languages that are usually

used in novels are similes, metaphors, metonymy, hyperbole, personification, etc.

However, not all of them can be literally translated into the target language. One of

the figurative languages that are rarely translated literally is metaphors.

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 John Green, the writer of “The Fault in Our Stars” also used figurative

language in writing this novel. He used similes, hyperboles, but mostly he used

metaphors. Gibbs (2008) says that writers use metaphor to broaden their linguistic and

conceptual resources and to supply novel perceptivity into experiences done by

human. Hence, through metaphor, the writer wants the reader to think beyond the

words that are written in the novel. The thing is, translating metaphor is not easy as

metaphor usually is related to the writer’s culture that is much different from

Indonesian culture. As both the novel and the film “The Fault in Our Stars” have gone

worldwide, through this study the researcher would like to discover what metaphors

are used in the novel and what strategies which the translator applied to be able to

transfer the metaphor meaning that fit to the target language. However in this study,

the researcher will only focus on the Indonesian translation of “The Fault in Our

Stars” novel.

There are some studies on metaphor translation that had been conducted, such

as a study by Madsar (2010). She did a research of metaphor translation strategies on

The God of Small Things by Arundhati Roy. The result of her study is there are only

two strategies that are used by the translator of the novel, which are translating a

metaphor into a metaphor and translating a metaphor into a simile.

Suprajaheni (2011) also did a study of metaphor translation strategies; she did

the study on Stars Shine Down by Sydney Sheldon. The result of her research, there

are three strategies that are used by the translator which are translating a metaphor

into a metaphor, translating a metaphor into a simile, and translating a metaphor into a

non-figurative language.

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 The last study is conducted by Fithri (2011); she did a study of metaphor

translation in Avatar the Na'vi Quest novel. She found the seven metaphor strategies

that are used in the novel, which are translating a metaphor into a metaphor,

translating a metaphor that does not clash with target language, translating a metaphor

into a simile, translating a metaphor into a simile plus sense, converting a metaphor

into sense, translating a metaphor that combined with senses, and deleting a metaphor.

The present research more or less will be similar the studies above.

The researcher used these questions “What metaphors are found in the novel?”

and “What strategies does the translator apply to transfer the metaphor meaning?” as a

guidance to do this study. After conduct the study, this study is expected to help the

study of meaning that related to metaphor. Besides, it can be useful for the readers

who intend to have a research on metaphor translation.

LITERATURE REVIEW

Definition of Translation

Newmark (1988) defined translation as delivering the text meaning into

another language based on what the writer intended. As cited in Popa (2004), Bell

(1991, p. 20) also said that “translation is the replacement of a representation of a text

in one language by a representation of an equivalent text in a second language”. So,

translation is delivering the text meaning into another language which is equivalent

and it is just as what the writer intended.

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 Metaphor

‘Metaphor’ originally comes from the Greek word ‘metaphor’. Metaphor

came from the word meta, meaning ‘over’ and pherein which mean ‘to carry’, the

word metaphor itself means to carry or to transfer something. Shaw (1972) defines

metaphor as cited in Fadaee: (2010, 21)

A figure of speech in which a word or phrase is applied to a person, idea or object to

which it is not literally applicable. A metaphor is an implied analogy which
imaginatively identifies one thing with another. A metaphor is one of the topes, a
device by which an author turns, or twists, the meaning of a word.

Meanwhile, as cited in Abdullah and Shuttleworth (2013, p. 610), Newmark (1988)

believes that metaphor is:

Any figurative expression: The transferred sense of a physical word; the

personification of an abstraction; the application of a word or collocation to what it
does not literally denote. Metaphors may be 'single' (one-word) or 'extended' (a
collocation idiom, a sentence, a proverb, an allegory, a complete imaginative text).

Both experts have similar ideas about metaphors which relate thing with another, but

Newmark says that the things which are being related actually do not have any

relation to each other but they have similar characteristics. Shawn added that by using

metaphor the writer can twist or change the meaning of the words.

There are six types of metaphor according to Newmark (1988, pg. 100):

a. Dead metaphors

Dead metaphors are metaphors that are not witting of the image. It is usually related

to the universal term. Olynix (2014) adds that dead metaphor is the metaphor that has

lost its figurative meaning. Example:

(1) “This furniture costs an arm and a leg.” The phrase ‘cost an arm and a leg’

means sangat mahal (very expensive) in Indonesia.

b. Cliché-metaphors

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 This metaphor is used for the connotative function to convey thoughts with sharing

emotions. Example:

(2) “The lecturer’s explanation is crystal clear”, the words ‘crystal clear’ is

translated into sangat jelas (can be clearly understood) in Indonesia.

c. Stock metaphors

This metaphor is used to describe the abstract concept and has emotional effect for the

reader. Example:

(3) “It's raining cats and dogs” is translated in Indonesian means hujannya rintik-

rintik (it is drizzling).

d. Adapted metaphors

This is the kind of metaphor in which the image has been changed according to the

new context but it still has the same sense. Example:

(4) “You are my fire” is translated in Indonesian into kamulah jantungku (you are

my heart).

e. Recent metaphors

This is where unidentified metaphorical neologism has been generally used in the

source language. It can be made up by our own. Example:

(5) “He is a cake to my birthday party” is an example of metaphor that is made

up by own. ‘A cake to my birthday party’ in Indonesian can be transferred into

sangat penting (very important).

f. Original metaphors

This metaphor is made up by the writer or speaker to make the talk more interesting.

Or, if it is taken from another language, it still uses the word from the source language

Example:

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 (6) “Best friends are the sugar for your bitter life” is translated in Indonesian into

teman adalah gula dalam kehidupanmu yang pahit (best friends add sweetness in

your bitter life).

Translation Strategies

Mona Baker (1992, pg. 26-42) lists eight strategies that are used for translating text:

a. Translation by a more general word

This strategy is used when there is no specific term in the target language that

equivalent with the word from the source language. Example:

(1) The word ‘violet’ is translated into ungu (purple) in Indonesian as in Indonesia

there is no term specific term for ‘violet’.

b. Translation by more neutral or less expressive word

The translator uses this strategy to reduce the word’s stress and or to make the word

more polite. Example:

(2) “I don’t give a damn” is translated in Indonesian into saya tidak perduli (I

don’t care) instead of persetan (who the hell cares) which sounds harsh.

c. Translation by cultural substitution

The words from one culture may not have the same propositional word, but it has the

same meaning in other culture. The translator substitutes the word so that it will be

sounds more natural and can be understood by the target readers. Example:

(3) The word ‘meow – meow’ is translated into meong – meong (miaw – miaw) in

Indonesian.

d. Translation using a loan word or loan word plus explanation

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 It is used when there is a problem dealing with the cultural specific concept.

Therefore, it borrows or loan the word. Example:

(4) The word ‘spaghetti’ is still translated into spageti (spaghetti) in Indonesian.

e. Translation by paraphrase using a related word

This strategy is used when the frequency of certain form in source item is higher than

in target text. An example that is taken from Baker (1992):

(5) (Source text)

“The rich and creamy KOLESTRAL-SUPER is easy to apply and has a

pleasant fragrance.”

(target text, back-translated from Arabic)

“Kolestral super is rich and concentrate in its make up which give a product to

resemble cream.”

f. Translation by paraphrase using unrelated word

This strategy is applied when the concept from the source language is not lexicalized

at all in the target language. This example is taken from Baker (1992):

(6) (source text)

“In the words of a Lontho affidavit dated 2 November 1998, the allegations

...”

(target text, back – translated from Arabic)

“According to the text of a written communication supported by an oath

presented by the Lontho organization and dated 2 November 1998, the

allegation ....”

g. Translation by omission

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 This strategy is applied by the translator when the word is not important to develop

the text or if it’s omitted it does not change the whole meaning. Example:

(7) Someone stole her car is translated in Indonesian into mobilnya dicuri (her car

was stolen).

h. Translation by illustration

This strategy is used when the target equivalent item does not cover some aspect of

source item; the equivalent aspect refers to a physical entity that can be illustrated.

These eight strategies by Baker generally sum up the strategies that usually done

by the translator in translating their work into the target language.

Metaphor Translation Strategies

Larson (1984) proposes five strategies to translate metaphors. Those are:

a. The metaphor can be kept if the receptor language permits

This strategy can be used when the image that is used in the metaphor is

understandable in the target language. Example:

(1) “Anika’s decision is a slap for her family” is translated in Indonesian become

Keputusan Anika adalah sebuah tamparan bagi keluarganya (Anika’s

decision makes her family upset).

b. The metaphor can be translated as a simile

This strategy is used to hold the image. Example:

(2) “The road is a snake” is translated in Indonesian into jalannya seperti ular (the

road is like a snake) (Madsar, 2010).

c. The metaphor can be replaced by another metaphor that belong to the target

language

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 This is used to make the metaphor more understandable and fit the target language

since in the target language there is a metaphor that has the same meaning although

has a different image. Example:

(3) ‘Carrying coals to Newcastle’ is translated in Indonesian becomes membuang

garam dilaut (do unnecessary thing).

d. The metaphor can be kept and explain the meaning

This strategy is used to keep the message of the metaphor, but it is given the

explanation to make the message clearer. Example:

(4) In Indonesian, the sentence “The tongue is fire” is translated into lidah adalah

api. Api dapat menghanguskan benda, dan perkataan kita bisa mengancurkan

orang lain (The tongue is fire that can burn anything. Our words can make

other people suffered) (Pardede, 2013).

e. The metaphor can be converted into non-metaphor word

This strategy is used when there is no equivalent metaphor in the target language and

it does not fit in the target language. Example:

(5) “Andre is bad news”, the ‘bad news’ phrase is translated in Indonesian into

berbahaya (dangerous, trouble maker).

Meanwhile, Newmark (1988) divides the strategies of translating metaphors into

seven strategies as cited in (Tobias, 2009), which are:

a. The metaphor is reproduced with the same image in target language

When the image is translated, and it can be understandable and fit in the target

language then this strategy is used. Example:

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 (1) ‘The poverty trap’ is translated in Indonesian into perangkap kemiskinan

(hardship trick).

b. The metaphor is replaced with a standard target language that does not clash

with target language’s culture. Example:

(2) ‘Price spikes’ is translated in Indonesian into lonjakan harga (price jump).

c. The metaphor is translated into a simile

This strategy is favorable as there is no equivalent image in the target language, but

the analogy makes sense. Example:

(3) “He is a giant” is translated to be dia seperti raksasa (he is like a giant) in

Indonesian.

d. The metaphor is translated into simile plus meaning

This strategy is used when the metaphor that is translated into simile still does really

not show the meaning, but it still worth keeping. Example:

(4) “He is a giant” is translated in Indonesian into badannya tinggi dan besar

seperti raksasa (he is very tall and big just like a giant).

e. The metaphor is converted into meaning

When there is no equivalent metaphor and the image that is translated cannot be

understandable in target language, this strategy is used. Example:

(5) ‘Oily manner’ is translated to be kehilangan sopan santun (have no attitude) in

Indonesian.

f. The metaphor is deleted along with its component of meaning

This strategy is applied when the metaphor is no relevance with the target reader.

Example:

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 (6) “Good morning, sunshine” is translated in Indonesian into selamat pagi (good

morning).

g. The metaphor is translated into a metaphor that combined with meaning

This strategy is used when the translator wants to make the meaning of the metaphor

clearer. Example:

(7) “The tongue is fire” is translated to be lidah adalah api – api yang akan

membakar (tongue is a fire that will burn things down) in Indonesian.

Basically, both Larson (1984) and Newman (1988) strategies to translate metaphor are

similar. Larson proposes five strategies while Newman proposes seven strategies.

From the metaphor translation strategies that are proposed by Larson and Newman,

there are seven strategies that can be used to translating metaphors. The seven

strategies are the metaphor is reproduced using a similar metaphor, the metaphor can

be translated into a simile, the metaphor can be translated into a simile and add sense,

the metaphor can be replaced by another metaphor that belongs to the target language,

the metaphor can be kept and add the meaning, the metaphor can be translated into

senses, and the metaphor can be deleted along with its component.

METHODOLOGY

The object of this study is one of the young-adults novels by John Green

which is “The Fault in Our Stars”. The researcher chooses this novel because in this

novel there are many metaphors that are used and also this novel is not too thick so it

is easier to be analyzed. In this novel, the numbers of metaphors that can be found in

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each chapter are different, so the researcher decides to analyze the metaphors in all

the chapters.

This research is descriptive qualitative research which is a research that uses

observation and description to collect the data. To collect the data for this research,

the researchers using some instruments to make it easier. The researcher also uses pdf

reader to find the metaphors in the English version novel. The researcher also uses a

marker to mark on the translated metaphors that are found on the printed novel of

“The Fault in Our Stars” in Indonesian. Also, the researcher uses notes to write down

both the metaphors that are found in English and Indonesian version.

First step done by the researcher was reading "The Fault in Our Stars" novel

and its Indonesian translation, which has the same title. While reading the novel, the

researcher made a list of metaphors found in the novel. After that, the researcher

looked for its Indonesian translations. After all the data are gathered, the researcher

classified the metaphors according to the strategy that is used.

Later on the data is classified by the metaphor translation strategies according

to both Larson and Newmark. The researcher decided to use both typologies because

both typologies complete each other. Those strategies are the metaphor is reproduced

using a similar metaphor, the metaphor can be translated into a simile, the metaphor

can be translated into a simile and add sense, the metaphor can be replaced by another

metaphor that belongs to the target language, the metaphor can be kept and add the

meaning, the metaphor can be translated into senses, and the metaphor can be deleted

along with its component. The data were analyzed using the researcher’s

interpretation and both Newmark and Larson theory about metaphor translation

strategy. The researcher also used Oxford Dictionary to help analyze the data. After

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all the data has been analyzed, then the researcher made the conclusion which is based

on the data analysis and researcher's interpretation.

FINDINGS AND ANALYSIS

The result of the study shows that among the seven strategies proposed by

both Larson and Newmark, the translator of “The Fault in Our Stars” only applied

three strategies in translating the metaphors in the novel. They are (1) the metaphor is

translated into a simile, (2) the metaphor is translated into senses, and (3) the

metaphor is reproduced using a similar metaphor.

The Metaphor is Translated into a Simile

Translating metaphor into a simile is the first strategy found which is used by

the translator in translating the metaphors in the novel. This strategy is used almost

one-eighth from all the data that have been gathered. It is likely that the translator

used this strategy when the metaphorical image can be used in the target language.

Even though the image can be understood, but it does not convey the basic intended

meaning that is meant by the author. So, the translator translated a metaphor into a

simile. A simile is a comparison that use ‘like’ or ‘as’. The use of comparison makes

the metaphors are easier to be imagined. The words bagaikan (as…as) and seperti

(like) are the expressions found in the translated novel which indicating that they are

similes. Also, the use of prefix “se-“ can be used to show the simile besides two other

words that have been mentioned before. The examples which are used in the novel are

sebiru and serasa. The word sebiru here means ‘as blue as’. Meanwhile, the word

serasa means ‘it feels like’ in English. Here the metaphor that is translated into a

simile using prefix ‘se-‘ in which it useds the word serasa.

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 Data (1)

SL: “Oh, I’m grand.” Augustus Waters smiled with a corner of his mouth.
“I’m on a roller coaster that only goes up, my friend.”
TL: “Oh, luarbiasa.” Augustus Waters tersenyum dengan salah satu ujung
bibirnya. “Serasa berada diatas roller coaster yang hanya melesat
keatas, Sobatku.”

The first data presented is about the conversation happens when Patrick, the

support group leader, asks how Augustus is. Augustus says he is in a good state

because he has freed from cancer. The translator seemed to translate the metaphor into

a simile to make the reader really know how exactly the condition of Augustus water

is.

Talking about condition is an abstract thing to describe which is why the

translator translated this metaphor into simile. By using simile, the reader can easily

imagine how the condition of Augustus is how and how he feels. The use of the word

serasa in the beginning of the sentence explains it all. The word serasa is actually

from the word rasanya seperti, another way to express the simile in Indonesian. It is

likely that the translator did not only want to transfer the meaning but also wanted to

keep the language more aesthetic. Besides, it also seems that the translator was

making Gus talks to the reader and asks them to imagine.

Another example of the use prefix “se-“ is in the conversation in which Hazel

is talking to Gus. She looks right at Gus in the eyes and realizes how beautiful Gus’

eyes are. Again, the translator here translated metaphor into simile using prefix ‘se-‘

but this time the translator used the word sebiru (as blue as).

Data (2)

SL: I could not match the intensity of his water blue eyes.

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 TL: Aku tidak bisa menandingi kedalaman matanya yang sebiru air.

The form of simile that is used in this translation is actually almost similar with the

previous one. If the previous one was like asking the reader to imagine, but this one is

giving the exact description of what color of Gus’ eyes are. The word sebiru is from

the word biru seperti which means ‘as blue as’. As it can be seen Aku tidak bisa

menandingi kedalaman matanya yang biru seperti air (I cannot match how deep his

eyes which are as blue as water), it seems that it is not effective because it can be

merged into a word which is sebiru (as blue as) which has the same meaning with

biru seperti (is blue like…). The word sebiru and biru seperti may have the same

meaning, but using the word sebiru here is more aesthetic.

Moving on to the next example, the form of the simile in this translation uses

the word bagaikan (as though), which is different from the other two examples.

Data (3)

SL: I imagined the tumor metastasizing into my own bones, boring holes into
my skeleton, a slithering eel of insidious intent.
TL: Aku membayangkan tumor itu bermetastasis kedalam tulang-tulangku
sendiri, melubang-lubangi kerangkaku, bagaikan belut licin yang
bermaksud jahat.

This conversation happens when Hazel gets really sick because of the tumor in her

lung. She imagines that the tumor will destroy her bones just like when an eel is

boring into the mud. It seems that the translator wanted to want create the mood of the

reader when they read this part. It also had been said before that translating metaphor

is not only to transfer the meaning but it have to consider the important element of the

language that construct the novel. The use of word bagaikan (as though) makes this

translation sounds more poetic and dramatic.

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 Here is one more example of translating metaphor into a simile, in this part the

translator is using the word seperti (like) in translating the conversation.

Data (4)

SL: My dad understand my cancer the way I did: in the vague and
incomplete way people understand electrical circuits and ocean tides.
TL: Dad memahami kankerku sama seperti caraku memahaminya: dengan
cara yang tidak jelas dan tidak menyeluruh, sama seperti orang
memahami sirkuit listrik dan air pasang. (p. 126)

The conversation takes a place when Hazel wants to go to Amsterdam to meet her
favorite author. In here she is a bit confused whether she wants her mother to
accompany her or her father. While the other three examples of simile words are used
for making the language sounds more aesthetic like what it is written in the novel, this
time the translator used different choice of word that indicate the simile. It seems that
the translator chose the word seperti (like) because the conversation is just a casual
conversation. So the word seperti (like) is proper to be used besides the explanation of
the metaphor was already clear enough.

The Metaphor is Translated into Senses

Translating metaphors into senses is another strategy that is used by the

translator to translate the metaphor in “The Fault in Our Stars” novel. It seems that the

translator used this strategy when the metaphors are hardly to be understood if the

translator keeps the metaphorical image. It is probably because the image that is used

in the metaphor is unfamiliar in the target language or there is no equivalent

metaphorical image that can be used. By translating the metaphor into sense, it will

make the metaphors can be understood easily because the readers can grasp the

meaning. In this strategy there are two ways that can be chosen in translating. First,

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the meaning can be taken from the characteristic of the object and the second one is

that it is just translated into the words that fit with the target language.

This strategy was used in a conversation in which Gus is inviting Hazel to go

to his house. There are several quotes that are posted on the wall of Gus’ house.

Though, the quotes are such a good enlightenment but Gus does not like it that much,

that is why her mother speak that Gus is such a Debbie downer.

Data (5)

SL: “You’re such a Debie Downer,” his mom said.

TL: “Kau benar-benar merusak suasana,” ujar ibunya.

Debby downer is a fictional character in SNL, a television program in the US. Her

character happened to be the one who always made the situation become awkward or

uncomfortable. In target language, there is nothing that can be compared or have

equivalent with Debbie Downer as it is a cultural matter. In western culture, it is a

common thing to say that, but in target language it is so unfamiliar. The readers will

not understand if the translator keep the metaphor. Perhaps, this is why the translator

translated Debbie Downer into merusak suasana (makes things awkward or

uncomfortable) which is the character of Debbie Downer in the television show and it

can convey the basic intended meaning.

Another example happens when it is the first time Hazel meets Gus. They do

not know each other before, but Hazel already feels attracted to Gus. Gus is really a

good-looking boy who in fact is already freed from cancer. On the other hand, she

feels that she is not good enough. She has fat chipmunked cheek because of the cancer

treatment. Here Hazel compared her cheeks to chipmunk cheeks.

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 Data (6)

SL: Furthermore, I had ridiculously fat chipmunked cheeks, a side effect of

treatment.
TL: Selanjutnya pipiku gembil dan gemuk gara-gara efek samping
pengobatan.

‘Chipmunk’ is a kind of animal who has big cheeks because they save their food in

there. The translator translated this metaphor into sense because it is possible that

‘chipmunk’ is quite unfamiliar in the target language. The translator could translate

the word ‘chipmunk’ into tupai which is basically similar, but it is too literal. In that

case, maybe this is why the translator chose to translate to pipiku gembil dan gemuk

(chubby cheeks) which is the characteristic of chipmunk instead of pipiku gemuk

seperti pipi tupai (I have fat cheeks like a chipmunk) in which it is translated literally.

While the two previous examples are using the characteristic of the objects, on

this example the translator translated the metaphor using the word that fit in the target

language. It is to do so because it is kind of difficult to determine the equivalent word.

It can be seen in the following conversation which happens when Hazel and Her

parents are having a dinner. Hazel is so quiet and her father thinks that it may be

Hazel is thinking about Gus. Her father is teasing heras he says that Hazel is

‘twitterpated’.

Data (7)

SL: “Twitterpated,” my dad said, smiling. “I am not a bunny, and I am not

in love with Gus Waters or anyone,” I answered, way too defensively.
TL: “Mabuk Kepayang,” ujar Dad sambil tersenyum. “Aku tidak mabuk,
dan tidak sedang jatuh cinta dengan AugustusWaters atau siapapun,”
jawabku dengan amat sangat defensive. (p.135)

19
The word ‘twitterpatted’ is assosiated with rabbits. That is why Hazel answered it that

she is not a bunny. The word ‘rabbit’ has some meanings in the western culture. One

of them is that mabuk (drunk) in target language. The explanation of why ‘a bunny’ or

‘a rabbit’ is associated with mabuk (drunk) is because in Aztec mythology rabbit is

linked into ‘Pulque’. ‘Pulque’ is an alcoholic beverage known in Aztecs. It seems that

is why the translator translated the word ‘bunny’ into mabuk in the target language. If

the word ‘a bunny’ or anak kelinc is still kept, the meaning will not be conveyed

because in the target language ‘bunny’ is not assosiated with drunkenness.

The Metaphor is Reproduced Using a Similar Metaphor

This strategy is the most used strategy by the translator of the novel to

translate the metaphors which is five-eight of all the data gathered. It seems that the

translator used this strategy when the metaphorical image of the metaphor is familiar

in the target language. It means that if the metaphorical image is kept, the reader can

understand the meaning because the image is well-known in the target language. It

also means to avoid the ambivalent meaning if it is translated from source language

into target language. It can be seen in the following data.

The first example of translating by using this strategy happens in the

conversation when Gus asks Hazel to come with him to watch a movie. Hazel thinks

that Gus will like to light the cigarette. She is kind of mad because she thinks that Gus

is smoking. He does not light it, actually. He just wants to show Hazel a metaphor.

This is also the most popular line from the book that gone viral.

Data (8)

20
 SL: “They don’t kill you unless you light them,” he said as Mom arrived at the
curb. “And I’ve never lit one. It’s a metaphor, see: You put the killing
thing right between your teeth, but you don’t give it the power to do
its killing.”
TL: “Rokok tidak akan membunuhmu, kecuali jika dinyalakan,” katanya
ketika Mom tiba di pinggir jalan. “Dan aku tidak pernah
menyalakannya.Lihat, ini metafora: Kau meletakkan pembunuh itu
persis di antara gigimu, tapi tidak memberinya kekuatan untuk
pembunuhan.”

The “they” word which is found in the sentence above refers to ‘cigarettes’. In here

Gus is comparing the ‘cancer’ and ‘cigarettes’. Both of the object have a similarity

which is it can kill people. In here Gus just wanted to show that even you have things

in you that could kill you, do not let it to affect you. ‘Cigarette’ is a finely ground

tobacco wrapped in a paper for smoking. People do understand the concept of what it

is called cigarette and it is not hard to find the equivalent words of ‘cigarette’ in

Indonesian which is rokok. So, probably this is why the translator kept the metaphor.

Another data which applied this strategy can be looked in the following

example. It happens in the conversation when Hazel is having a chat with her parents

after she stalks the Facebook of Caroline Mathers. Caroline Mathers is Gus’ ex-

girlfriend who died of cancer. By seeing that Caroline’s death is also affecting other

people, so Hazel becomes a bit emotional. She then thinks that if she dies, it will

affect her beloved too.

Data (9)

SL: “I’m like. Like. I’m like a grenade, Mom. I’m a grenade and at some
point I’m going to blow up and I would like to minimize the casualties,
okay?”
TL: “Akuseperti. Seperti. Aku granat dan suatu ketika aku akan meledak,
sehingga aku ingin meminimalkan jumlah korban, oke?” (p.136)

21
‘Grenade’ is a small bomb thrown by hand or launched mechanically. If the grenade

is thrown, it will explode and injure the people surround it. In here, Hazel is

comparing herself to a grenade. If Hazel dies, her death will effect and make other

people upset. It seems that people know and understand the concept of the grenade, so

that is why the translator here kept the image of the grenade which is granat in the

target language.

One more data presented from this strategy is taken from the conversation

when Hazel has just come back from the hospital and Gus comes to visit her. Hazel

actually does not want to Gus see her in a not-really-good condition, but then Hazel

says that it is okay because she cannot always get what she want.

Data (10)

SL: “Is that so?” he asked. “I’d always thought the world was a wish-granting
factory.”
TL: “Benarkah?” tanyanya. “Aku selalu berpikir dunia adalah pabrik
pewujud-keinginan.” (p. 150)
In here Gus compares the world to a ‘factory’, a ‘wish-granting factory’ to be

exact. ‘Factory’ is a building or group of buildings where goods are manufactured or

assembled chiefly by machine. The things that are made in the factory are usually to

meet the human wants and needs. Perhaps, because of this the translator decided to

keep the word factory into the word that is equivalent to the target language as people

already know the concept of a factory.

CONCLUSION

This study is expected to help the study of meaning related to metaphors.

Besides, it can be useful for the readers who intend to have a research on metaphor

22
translation. The result of the study shows that the translator of the book “The Fault in

Our Stars” only used three strategies out of seven strategies that have been proposed

by Larson and Newmark.

In this study, the researcher examined all chapters of "The Fault in Our Stars"

novel because not all chapters have metaphors. There are only three strategies found

that are used by the translators. The three strategies are translating a metaphor into a

simile, translating a metaphor into senses, and reproducing a metaphor using a similar

metaphor. The strategies found may be used to translate another novel from the same

genre.

The most strategy that is used by the translator to translate the metaphors in

the novel is reproducing a metaphor using a similar metaphor. It is likely because the

metaphorical image is familiar in the target language. If the image is kept, the readers

still understand the meaning. By keeping the metaphorical image, it is also to avoid

the ambivalent meaning that may happen if the image is replaced in the target

language. The second most used strategy is translating a metaphor into a simile. The

translator seems to use this strategy because if the metaphorical image is kept, it can

be understood but somehow it cannot convey the basic intended meaning. So, the

translator used a simile which is a comparison using ‘like’ or ‘as’ to help the readers

to understand the metaphors easily. The least strategy that is used is translating a

metaphor into sense. It seems that the translator used this strategy because the

metaphors seem hardly to be understood if the translator keeps the metaphorical

image. It is probably because the image that is used in the metaphor is unfamiliar in

the target language or there is no equivalent metaphorical image that can be used. By

23
translating the metaphor into sense, it will make the metaphors can be understood

easily because the readers can grasp the meaning.

This study is only limited on the romantic novel “The Fault in Our Stars” by

John Green. It explains why there are only three strategies found. Different novels

may be used and the result may vary as it depends on what genre of the novel, who

the writer is, who the translator of the novel is, and what language it will be

translated.

The metaphor translation strategies that are used by the translator are already

effective because while doing the research, the researcher can grasp the intended

meaning of the translated metaphors. Maybe, the translator can use the other strategy

which might improve the metaphor translation to be better.

For the future research, it is suggested to conduct the similar study, but it is

better done in the different genre of novels and from different writers. The difference

between genre and writers may enrich the study of metaphor translation meaning.

ACKNOWLEDGEMENT

First of all, I would like to thank to my Almighty God, Jesus Christ, for his

blessing to guide and give me strength in doing my thesis. Also, I would like to send

my gratitude to my supervisor, Maria Christina Eko S.S, M. Hum., for her supports

and suggestions in guiding me so that I can finish my thesis. I would also thank my

examiner, E. Titik Murtisari, M.TransStud., P.hD who is willing to read and examine

my thesis.

24
 I also thank to my father, mother, and brother for their support and endless

prayer that means so much for me. Also, to my best friends Riry, Rinta, Ratna,

Meirista, Anis, and Endah who always support me. At last, I would thank to my

friends in ED 2011 for giving me unforgettable memory when I am studying in this

department. Also to my lecturers in English Department for teaching and educating

me the whole time I study in SWCU.

REFERENCES

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Technical Texts Into Malay: A Preliminary Study. Journal of Asian Scientific
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_technical_texts_into_Malay_A_preliminary_study

Bailey, R. (2003). Conceptual Metaphor. Language, Literature, and Pedagogy.

Journal of Language and Learning. Retrieved From:
http://webspace.buckingham.ac.uk/kbernhardt/journal/jllearn/1_2/bailey.html

Baker, M. (2001). In Other Words: A Coursebook on Translation. London:

Routledge.

Fadaee, E. (2011). Symbols, metaphors and similes in literature: A case study of

"Animal Farm". Journal of English and Literature Vol. 2(2), 19-27. Retrieved
from: www.academicjournals.org/article/article1379412793_Fadaee.pdf

Ferrer, S. (2011). Color Your Words With Figurative Language. Retrieved from:
teacherweb.com/FL/.../EPI0010-Figurative-Language-Book.docx

Fithri, R. (2011). An Analysis of Metaphor Translation in Novel Avatar The Na'vi

Quest. Jakarta: Syarif Hidayatullah State Islamic University. Retrieved from:
http://repository.uinjkt.ac.id/dspace/bitstream/123456789/5013/1/RISLAH%2
0NUUR%20FITHRI-FAH.pdf

Fredricks, L. E. (2006). EVERYONE’S A CRITIC: INTRODUCING FIGURATIVE

LANGUAGE WITH. The Reading Matrix, 106-112.

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Gibbs, R. W. (2008). The Cambridge Handbook of Metaphor & Thought. New York:
Cambridge University Press.

Green, J. (2012). The Fault in Our Stars. New York: Dutton Children's Book.

Green, J. (2014). The Fault in Our Stars. Bandung: Penerbit Qanita.

Lakoff, G., & Johnsen, M. (2003). Metaphors We Live By. London: The University of
Chicago Press.

Larson, M. L. (1984). Meaning-Based Translation: A Guide to Cross Language.

Lanham: University press of America.

Madsar, S. (2010). The Analysis of The Translations of Metaphorical Expressions In

The Novel The God Of Small Things By A. Rahartati Bambang Haryo.
Surakarta: Program Pascasarjana UNS Surakarta. Retrieved from:
/eprints.uns.ac.id/3588/1/142811208201001111.pdf

Newmark, P. (1988). A Textbook of Translation. New York: Prentice-Hall

International.

Olynyk, T. (2014). Metaphor Translation Methods. International Journal of Applied

Science and Technology, 123-126. Retrieved from:
http://www.ijastnet.com/journals/Vol_4_No_1_January_2014/13.pdf

Popa, D.-E. (2004). Language and Culture in Joke Translation. Ovidius Iniversity
Annals of Philology, 153-159. Retrieved from:
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_2004

Stolze, R. (2011). The Translator's Approach: Introduction to Translational

Hermeneutics : Theory and Examples from Practice. Frank & Timme GmbH.

Tobias, S. (2009). Untangling and Re-spinning the Web: Translations of Metaphor in

Tanizaki’s “Shisei”. The International Journal for Translation & Interpreting
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int.org/index.php/transint/article/viewFile/27/44

Venuti, L. (2000). The Translation Studies Reader. Routledge.

Zohdi, M., & Saeedi, A. A. (2011). Translating Metaphor and Simile from Persian to
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Language Studies, 1122-1138. Retrieved from:
www.academypublisher.com/tpls/vol01/no09/tpls0109.pdf

26
 APPENDIX
Metaphors Translated into Similes
No Source Language
1. Oh, I’m grand.” Augustus
Waters smiled with a corner
of his mouth. “I’m on a
roller coaster that only goes
up, my friend.”
2. I could not match the
intensity of his water blue
eyes
3. I imagined the tumor
metastasizing into my own
bones, boring holes into my
skeleton, a slithering eel of
insidious intent.
4. My dad understood my
cancer the way I did: in the
vague and incomplete way
people understand
electrical circuits and
ocean tides.
5. (Off topic, but: What a slut
time is. She screws
everybody.)
Metaphors Translated into Senses
No Source Language
1. You’re such a Debbie
Downer,” his mom said.
Target Language
“Oh, luar biasa.” Augustus
Waters tersenyum dengan
saah satu ujung bibirnya.
“Serasa berada diatas
roller coaster yang hanya
melesat ke atas, Sobatku.”
(p.20)
Aku tidak bisa menandingi
kedalaman matanya yang
sebiru air
Aku membayangkan tumor
itu bermetastasis ke dalam
tulang-tulangku sendiri,
melubang-lubangi
kerangkaku, bagaikan
belut licin yang bermaksud
jahat.
Dad memahami kankerku
sama seperti caraku
memahaminya: dengan cara
yang tidak jelas dan tidak
menyeluruh, sama seperti
orang memahami sirkuit
listrik dan air pasang. (p.
126)
(Di luar topic, tapi Betapa
waktu memang seperti
pelacur, menyetubuhi
semua orang.) (p. 152)
Target Language
“Kau benar-benar
merusak suasana,” ujar
ibunya. (p.41)
27
Back Translated
“Oh, I’m super fine.”
Augustus Waters smiled
with a corner of the mouth
turned up. “It feels like
I’m riding a roller coaster
that only goes up, my
friend.”
I could not match the
depth of his eyes which is
as blue as water.
I imagined the tumor
spread throughout my
body and dug some holes
on my bones, like an eel
that is dangerous.
My dad understood my
cancer like I did: in an
indefinite and incomplete
way, just like people
understand electrical
circuits and ocean tides.
Out of topic, but: Time
really is like a slut. She
screws everybody.
Back Translated
“You are really ruining the
moment,” said his mom.
2. Furthermore, I had Selanjutnya pipiku gembil
ridiculously fat chipmunked dan gemuk gara-gara efek
cheeks, a side effect of samping pengobatan. (p.17)
treatment.
3. “I am not a bunny, and I am
not in love with Augustus
Waters or anyone,” I
answered, way too
defensively
Metaphors Reproduced Using Similar Metaphors
No Source Language
1. “They don’t kill you unless
you light them,” he said as
Mom arrived at the curb.
“And I’ve never lit one. It’s a
metaphor, see: You put the
killing thing right between
your teeth, but you don’t
give it the power to do its
killing.”
2. No one likes a corpse, after
all.
3. I was a bit of a Victorian
Lady, fainting wise.
4. We’re all just side effects.
Barnacles on the container
ship of consciousness.
5. “I’m like. Like. I’m like a
grenade, Mom. I’m a
grenade and at some point
I’m going to blow up and I
would like to minimize the
“Aku tidak mabuk, dan
tidak sedang jatuh cinta
dengan Augustus Waters
atau siapapun,” jawabku
dengan amat sangat
defensive. (p.135)
Target Language
“Rokok tidak akan
membunuhmu, kecuali jika
dinyalakan,” katanya ketika
Mom tiba di pinggir jalan.
“Dan aku tidak pernah
menyalakannya. Lihat, ini
metafora: Kau meletakkan
pembunuh itu persis di
antara gigimu, tapi tidak
memberinya kekuatan
untuk pembunuhan.” (p
32)
Bagaimanapun, tak
seorangpun menyukai
mayat. (p.36)
Aku sedikit menyerupai
Perempuan era Victoria
yang gampang pingsan.
(p.46)
Kita semua hanya efek
samping, bukan? Tertitip di
kapal-kapal kesadaran .
(p.101)
”Aku seperti. Seperti. Aku
granat dan suatu ketika aku
akan meledak, sehingga aku
ingin meminimalkan jumlah
korban, oke?” (p.136)
28
Moreover, my cheeks are
very fat like chipmunk’s
because of the side effect
of treatment.
“I am m not infatuated, I
am not in love with
Augustus Waters or
anybody,” I answered
defensively.
Back Translated
“Cigarettes will not kill
you, unless you light it
up,” he said when Mom
arrived. “And I’ve never
light it. See, it is a
metaphor: You put the
cigarettes in between your
teeth, but you do not give
it a power to kill.”
No one likes a corpse,
anyway.
I was kind of a Victorian
Lady, faint easily.
We are just undesirable
effects, right? Parasites on
the container ship of
consciousness
“I’m like a grenade Mom
and one day I will explode.
I just want to minimize the
casualties.”
 casualties, okay?”
6. Gus has taken to calling
Caroline HULK SMASH,
which resonates with the
doctors.
7. I screamed to wake up my
parents, and they burst into
the room, but there was
nothing they could do to dim
the supernovae exploding
inside my brain, an endless
chain of intracranial
firecrackers that made me
think that I was once and for
all going, and I told
myself—as I’ve told myself
before—that the body shuts
down when the pain gets too
bad, that consciousness is
temporary, that this will
pass.
8. “Then I am a cancer-fighting
machine,” I told him.
9. “Is that so?” he asked. “I’d
always thought the world
was a wish-granting
factory.”
10. ….. although I had a moral
opposition to eating before
dawn on the grounds that I
was not a nineteenth-
century Russian peasant
fortifying myself for a day
in the fields.
11. You were a rare and fragile
flower once.
12. ....I’m in love with you, and I ..... Aku jatuh cinta
know that love is just a
shout into the void, and that bahwa cinta hanyalah
Gus mulai menjuluki Gus started to call
Caroline MESIN Caroline a Hulk Smash,
PENGHANCUR, dan ini and then the doctors did
diikuti oleh para dokter.
too
(p.138)
Aku berteriak untuk I shrieked to wake up my
membangunkan orangtuaku, parents, and they directly
dan mereka bergegas went into my room. They
masuk, tapi tak ada yang could not do anything to
bisa mereka lakukan untuk ease the supernovae
meredakan supernova yang exploding inside my brain,
meledak didalam otakku an endless chain of
itu. Serangkaian kembang intracranial that made me
api tanpa akhir yang think that I would finally
membuatku berpikir bahwa die.
akhirnya aku akan pergi
untuk selamanya. (p.143)
“Kalau begitu, aku mesin “If so, I am a cancer-
yang memerangi kanker,” fighting machine though,”
kataku kepadanya. (p.148) I told him.
“Benarkah?” tanyanya. “Really??” he asked. “I
“Aku selalu berpikir dunia always thought that the
adalah pabrik pewujud- world was a factory, a
keinginan.” (p. 150) wish-granting factory.”
….. walaupun secara moral …..even though I never eat
aku tidak setuju untuk before down, because I
makan sebelum fajar, was not a nineteenth-
karena aku bukanlah century Russian farmer
petani Rusia abad who had to eat before
kesembilan belas yang working on the field all
harus memperkuat tubuh day long.
untuk bekerja di ladang
seharian. (p.185)
Kau pernah menjadi bunga Once, you were a rare and
yang rapuh dan langka. (p. fragile flower.
196)
I’m in love with you, and I
kepadamu, dan aku tahu know that love is just a
scream into the empty
29
 oblivion is inevitable, and
that we’re all ...”
13. “Do you know,” he asked in
a delicious accent, “what
Dom Pérignon said after
inventing champagne?”
“No?” I said. “He called out
to his fellow monks, ‘Come
quickly: I am tasting the
stars.’
14. “…I know those are great
odds, but I kept thinking it
was a game of Russian
roulette.”
15. I mean, I was going to have
to go through hell for six
months or a year and lose my
leg and then at the end, it
still might not work, you
know?”
16. It is a civil war, Hazel Grace,
with a predetermined winner
17. They had reached the end of
a hurdling sprint, too.
18. My thoughts are stars I can’t
phantom into constellations.
19. A desert blessing, an ocean
curse
teriakan kedalam
kekosongan, dan pelupaan
abadi tak terhindarkan, dan
kita semua..... (p. 207)
“Tahukah kalian,” tanyanya
dengan aksen yang
memikat, “apa kata Dom
Perignon setelah
menemukan sampanye?”
“Tidak,” kataku. “Dia
memanggil sesama
biarawan lainnya,
‘Datanglah cepat” aku
sedang mencicipi bintang-
bintang” (p. 219)
“...Aku tahu itu peluang
yang besar, tapi aku terus
menerus berpikir bahwa itu
permainan roulette Rusia.”
(p. 224)
“Maksudku, aku harus
menjalani neraka selama
enam bulan atau setahun
dan kehilangan sebelah
kakiku, lalu pada akhirnya
semuanya itu mungkin
masih tidak akan berhasil.
Kau mengerti, bukan?”
(p. 224)
Ini perang saudara, Hazel
Grace, dengan pemenang
yang sudah ditentukan
sebelumnya
Mereka juga telah mencapai
akhir dari perlombaan lari
gawang. (p. 360)
Tapi, pikiraanku adalah
bintang – bintang yang
tidak bisa kujadikan
konstelasi. (p. 416)
Berkah padang pasir,
kutukan laut
30
space, and that oblivion is
unavoidable, and we are
all…”
“Do you know?” he asked,
“what did Dom Perignon
said after discovering
champagne?” “No?” I
answered. “He cried out
his companion monks,
“Come here: I am enjoying
the stars.”
“… I know those are big
chances, but I kept
thinking that it was a
Russian roulette game.”
“I mean, I would have to
go through hell for six
months or a year and I lose
one of my legs. At the end,
it might
It is a civil war, Hazel
Grace, and the winner has
been determined.
They also had reached the
end of the hurdling sprint.
But, my thoughts are stars
that I can’t imagine into
constellations.
A blessing of the desert, a
curse of the ocean