Singlish Turns Indonesian in Crazy Rich Asians: Lost in Translation

2020 ◽  
Author(s):  
Retno Wulandari Setyaningsih ◽  
◽  
Puji Audina Lestari ◽  
Keyword(s):  
Love Story ◽  
Asian Identity ◽  
Movie Script ◽  
Lost In Translation ◽  
Hollywood Movie

Crazy Rich Asians (2018) is a movie telling about Singaporean wealthy families, and in particular a love story between an heir and a commoner. Taking place in Singapore and Malaysia, this Hollywood movie includes Singaporean English (Singlish) in the dialogues so as to expose Asian identity. This study purports to illustrate Singlish utilized in Crazy Rich Asian (2018), and the strategies applied in subtitling the Singlish into Indonesian. This study is descriptive in nature, and scrutinizes the movie script while comparing the Singlish found with the Indonesian subtitles. Utilizing a Microstrategies theory proposed by Cintas and Remael (2007), this study maps subtitle strategies to reveal their impact on viewers. There are 86 Singlish words and phrases identified, and the subtitle strategies found are calque, transposition, explication, loan, omission, substitution, lexical recreation and compensation. The most frequently applied subtitle strategy applied is calque, which turns Singlish specific lexical and grammatical features into a set of formal Indonesian words and phrases. As a consequence, the translator can be considered successful in providing information about the movie story for Indonesian viewers. However, the translator fails to effectively introduce Singlish words and phrases as markers of Asian identity to Indonesian viewers.

scholarly journals ADJACENCY PAIRS AS UTTERED IN THE CONVERSATIONS OF SOFIA COPPOLA’S LOST IN TRANSLATION MOVIE SCRIPT

Humanus ◽  
2018 ◽  
Vol 17 (1) ◽  
pp. 126
Author(s):  
Heri Mudra
Keyword(s):  
Speech Act ◽  
Complex Structures ◽  
Complex Sentence ◽  
Conversational Analysis ◽  
Analysis Study ◽  
Turn Taking ◽  
Sentence Patterns ◽  
Movie Script ◽  
Lost In Translation

This paper contains a discussion of the structures of Adjacency Pairs as uttered in the conversations of Lost in Translation movie script in terms of conversational analysis study. A conversation consists of at least two turns and two utterances which contain two acts of speech. Such utterances consisting of a first pair part which is followed by a second pair part form adjacent pairs which can be either preferred or dispreferred responses. Adjacency Pairs in term of preferred responses include twenty eight structures, while those in term of dispreferred responses include fourteen structures. The choice of a variety of responses is influenced by habits and cultures through which speakers convey meaning. Different habits and cultures of the speakers allow them to produce particular utterances which contain particular acts of speech. Subjectivity and intention influence the second speaker to respond the first speaker’s act based on what is intended. This is psychologically subjective rather than illogical. The complex structures of Adjacency Pairs are also caused by noises, unclear voices, and complex sentence patterns. The variations of adjacent pairs are basically contextual and situational which imply that Adjacency Pairs emerge in different structures within different contexts of conversations.          Keywords: Adjacency pairs, turn taking, conversation, speech act, utterance PASANGAN BERDAMPINGAN PADA UJARAN PERCAKAPAN DI NASKAH FILM LOST IN TRANSLATION KARYA SOFIA COPPOLAAbstrakArtikel ini berisi pembahasan tentang pola Pasangan Berdampingan berdasarkan ujaran percakapan pada naskah filem Lost in Translation melalui teori analisis percakapan. Percakapan terdiri atas dua giliran and ujaran yang mengandung dua tindak tutur. Ujaran-ujaran yang terdiri atas bagian berdampingan pertama dan diikuti bagian berdampingan kedua sehingga membentuk pasangan berdampingan baik dengan respon yang diharapkan maupun yang tidak diharapkan. Pasangan Berdampingan khususnya respon yang diharapkan terdiri atas dua puluh delapan pola berdampingan, sedangkan respon yang tidak diharapkan terdiri atas empat belas pola. Ragam respon dapat dipengaruhi oleh kebiasaan dan budaya pembicara pada saat berbicara. Perbedaan kebiasaan dan budaya mempengaruhi pembicara dalam membuat ujaran yang mengandung tindak tutur tertentu. Subjektifitas dan intensi juga dapat mempengaruhi respon pembicara kedua terhadap tindak tutur pembicara pertama. Hal ini bersifat subjektif namun bukan tidak logis. Pola yang komplels pada Pasangan Berdampingan juga dapat dipengaruhi oleh suasana ribut, suara yang kurang jelas, dan struktur kalimat yang kompleks. Ragam pola tersebut pada dasarnya bersifat kontekstual dan situasional yang berarti bahwa pola Pasangan Berdampingan akan berbeda pada konteks percakapan yang berbeda.   Kata kunci: Pasangan berdampingan, giliran berbicara, konversasi, tindak tutur, ujaran

Death: A love story

1999 ◽  
Author(s):  
Michelle Le Brun
Keyword(s):  
Love Story

Leser Empfehlen – Lost in translation

ergopraxis ◽  
2012 ◽  
Vol 5 (10) ◽  
pp. 41-41
Author(s):  
R. Xu
Keyword(s):  
Lost In Translation

MOTIF YANG BERPENGARUH PADA PROSES KEJIWAAN TOKOH SAM DALAM NOVEL SEBENING SYAHADAT KARYA DIVA SR

2020 ◽  
Vol 8 (2) ◽  
pp. 10
Author(s):  
Dandy Ashghor Dawudi ◽  
Kamidjan Kamidjan ◽  
Agus Sulton
Keyword(s):  
Research Method ◽  
Descriptive Analysis ◽  
Research Process ◽  
Cultural Factors ◽  
Qualitative Approach ◽  
Literature Study ◽  
Love Story ◽  
True Value ◽  
Analysis Technique ◽  
Qualitative Descriptive

This research takes the object of Sebening Syahadat by Diva SR, this work is a novel that tells the story of the journey ofa teenager named Sam who is in the process ofsearching for identity. The journey is filled with interesting twits and turns embelissed with a love story that is very suitable if consumed by the younger generation who are learning to find identit. This study aims to reveal the value motives that led Sam’s character in finding his identity, which expected to be a material for reflection for readers, especially young people who are in the process of discovering his identity, the scope of the problem in this study is to reveal the value motives that affect the character’s psyche. Sam is told to have a rascal character.The research method used in this study took a descriptive qualitative approach, data colletion used was a literature study technique with stages of reading, note taking, coding for futher analysis. The analysis technique used is qualitative descriptive analysis technique.The result of the research in this research process indicate that the mental process of Sam’s character influenced by several factors, including: a. Motives in cultural factors (Situasional Factors), b. The motive for love begins with admiration for the attitude of someone who is full of noble values of character, c. The motive of curiosity and fulfillment of his needs for true value.

Salvaging the Mother Tongue in Exile

2017 ◽  
Vol 14 (2-3) ◽  
pp. 187-204
Author(s):  
Tomás Espino Barrera
Keyword(s):  
Native Speakers ◽  
Mother Tongue ◽  
First Language ◽  
Language Attrition ◽  
The Past ◽  
Progressive Loss ◽  
First Language Attrition ◽  
Lost In Translation ◽  
Deliberate Effort ◽  
Deep Sense

The dramatic increase in the number of exiles and refugees in the past 100 years has generated a substantial amount of literature written in a second language as well as a heightened sensibility towards the progressive loss of fluency in the mother tongue. Confronted by what modern linguistics has termed ‘first-language attrition’, the writings of numerous exilic translingual authors exhibit a deep sense of trauma which is often expressed through metaphors of illness and death. At the same time, most of these writers make a deliberate effort to preserve what is left from the mother tongue by attempting to increase their exposure to poems, dictionaries or native speakers of the ‘dying’ language. The present paper examines a range of attitudes towards translingualism and first language attrition through the testimonies of several exilic authors and thinkers from different countries (Vladimir Nabokov's Speak, Memory, Hannah Arendt's interviews, Jorge Semprún's Quel beau dimanche! and Autobiografía de Federico Sánchez, and Eva Hoffman's Lost in Translation, among others). Special attention will be paid to the historical frameworks that encourage most of their salvaging operations by infusing the mother tongue with categories of affect and kinship.

Roses for the Revolution

2011 ◽  
Vol 4 (4) ◽  
pp. 361-384
Author(s):  
Ulises Moreno Tabarez
Keyword(s):  
Discursive Practices ◽  
Performative Writing ◽  
Sexual Identities ◽  
Love Story ◽  
Experimental Project ◽  
The Revolution

Representations of Mexican revolutionary hero, Emiliano Zapata, migrate across the Mexico/US borders. His specters inform and reflect sexual identities migrating across these borderlands. Theoretically guided by Madison's model of performative writing and Muñoz's disidentification, this experimental project highlights and challenges the heteronormativity that pervades these migratory representations and the discursive practices that bring them to life. Through a performative writing exercise, I travel through theory and time to (re)present the figure of Zapata in an intimate love story whose backdrop is violence and war.

PINGVINAS IR PROTĖJAS. Įsivaizdavimas kaip kitybė manyje

2007 ◽  
Vol 4 ◽  
pp. 21-37
Author(s):  
Kristupas Sabolius
Keyword(s):  
Fight Club ◽  
The World ◽  
The Moment ◽  
Hollywood Movie

Kitybės klausimas dažniausiai kyla iš ego santykio su kitais arba su pasauliu. Šiame straipsnyje daroma prielaida, kad įsivaizdavimo funkcija ištirpdo subjektą ir jame pačiame atveria intersubjektyvią perspektyvą. Šiuo tikslu sugretinami Sartre’o, Husserlio bei Merleau-Ponty įsivaizdavimo funkcijos tyrimai, kuriuose išryškėja vaizdo kaip iš ego centro išslystančios ribos statusas, ir Holivudo filmo „Kovos klubas“ siužetas. Viename iš šios juostos epizodų pasirodantis pingvinas žymi egologinės schizmos akimirką ir tampa fantazijos apsireiškimu ir įsikūnijimu.Išgryninus žaidybinį, savarankišką ir multiformišką charakterį, galime konstantuoti, kad įsivaizdavimas, jei kalbėtume Kanto terminais, yra ne papildanti tarpinė funkcija, bet transcendentalinio subjekto genezėje atlieka paradoksalų „svetimos vidujybės“ arba „vidinės svetimybės“ vaidmenį. Vaizduotė yra katalizatoriaus, kuris, likdamas šalia, įgalina transcendentalinių formų išsikristalizavimą.Pagrindiniai žodžiai: vaizduotė, įsivaizdavimas, fantazija, ego, kitybė, sąmonė.PENGUIN AND PROTEUSImagination as Otherness in meKristupas Sabolius SummaryThe question of Otherness is usually taken into account while discussing the Ego’s relation with Others as well as with the World. This article is based on the premises that the function of phantasy melts the subjectivity, revealing the perspective of intersubjectivity within it. On this purpose Sartre’s, Husserl’s and Merleau-Ponty’s researches on the function of imagination, which elucidate the image as the boundary slipping from the centre of Ego, are compared to the story of Hollywood’ movie „Fight Club“. The penguin, which appears in one of the episodes, registers the moment of egological schism, thus becoming the revelation and incarnation of phantasy. While the playful, autonomous and multiform character of imaginary is cleared out, we can ascertain, speaking in Kantian terms, that it has not a complementary or intermediary function, but, in the genesis of transcendental subject, plays the paradoxical role of „allien innerness“ or „inner alienity“. Thought remaining always beside, imagination is a catalyzer which enables crystallization of transcendental forms.Keywords: imagination, imaginary, phantasy, ego, otherness, consciousness.

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