INTRODUCTION
Rationale
Language serves as a crucial medium for interpersonal communication, enabling the exchange of knowledge, beliefs, and emotions In today's globalized world, proficiency in English is vital across various sectors such as science, business, tourism, and entertainment As the dominant international language, learning English is essential for effective global interaction Additionally, the study of language includes fascinating elements like metaphors, enriching the learning experience.
Metaphoric language serves to highlight familiar patterns of experience while also opening up new conceptual and aesthetic possibilities For instance, poet Ammons describes a poem as a walk, suggesting that poetry is a leisurely, unpredictable, and purposeful journey of the mind and imagination This perspective may transform how some readers engage with poetry, while others may resonate with Ammons' metaphor due to their existing beliefs about the poetic experience In both scenarios, metaphor emphasizes the thematic connections that shape our understanding of the world and our experiences within it.
In contemporary writing, metaphors are commonly employed, often without our conscious awareness Traditionally seen as decorative and secondary, cognitive linguists now assert that metaphors are fundamental to our daily lives, influencing not just language but also our thoughts and actions This modern perspective positions metaphors as essential tools for comprehending various aspects of our experiences.
Writing stories is a powerful way to communicate messages, utilizing various rhetorical techniques to enhance their impact One notable author who exemplifies this is Jack London, renowned for his iconic work, "The Call of the Wild."
Jack London's "The Call of the Wild," published serially in 1903 by The Saturday Evening Post, is regarded as his masterpiece and remains his most widely read work.
Jack London effectively employs metaphors in his writing to enhance the characterization, settings, and events in his works This article explores the use of conceptual metaphors in "The Call of the Wild" by Jack London and examines its Vietnamese translations by Hoàng Hà Vũ.
This study explores the conceptual metaphors utilized in Jack London's "The Call of the Wild" and its Vietnamese translation The aim is to assist Vietnamese learners of English and translators in effectively translating metaphors from Vietnamese to English, while also fostering a deeper understanding of metaphors in a relatable context By highlighting the familiarity of conceptual metaphors in everyday life, this research seeks to enhance comprehension and translation skills.
Aims and objectives
The study aims to examine the conceptual metaphors of the short novel
―The Call of the Wild‖ by Jack London and their Vietnamese translation by Hoàng Hà Vũ and examine the loss and gain in the Vietnamese translation
This study aims to identify and classify the conceptual metaphorical expressions in Jack London’s "The Call of The Wild" and its Vietnamese translation, followed by a quantitative analysis of these metaphors Additionally, it examines the loss and gain of meaning in the translation of these conceptual metaphors between the two languages.
Research questions
To achieve the above aims and objectives, the researcher attempted to answer the following questions:
1 What types of conceptual metaphors are used in the story ―The Call of The Wild‖ by Jack London and in their Vietnamese translation by Hoàng Hà Vũ?
2 What are the loss and gain of conceptual metaphors in the Vietnamese translation of ―The Call of The Wild‖?
Scope of the study
This study examines three types of conceptual metaphors—ontological, orientational, and structural—while exploring the similarities and differences of these metaphors in a literary work across two languages.
This thesis focuses on the definition of metaphor, providing brief examples, and explores cognitive metaphors within "The Call of The Wild," along with their Vietnamese translation by Hoàng Hà Vũ The analysis is limited to metaphorical expressions found exclusively in the story.
Significance of the study
This study significantly contributes to both theoretical and practical understanding by demonstrating the value of cognitive theories of metaphor It highlights that metaphor extends beyond poetic expression and rhetorical embellishment, serving as a crucial tool for comprehending the world through human thought and action By utilizing concrete and simple domains, metaphors facilitate our understanding of abstract and complex concepts.
This study enhances the understanding of Vietnamese idioms and their translation from English to Vietnamese, while also playing a significant role in the teaching and learning process.
I hope that this research will help Vietnamese learners of English and translators manage better when translating metaphors from Vietnamese into English.
Organization of the study
There are five main chapters in this study
Chapter One serves as the introduction to the study, outlining its rationale and objectives while identifying the specific tasks it addresses Additionally, this chapter discusses the scope of the research, highlights its significance, and provides an overview of the thesis's organization.
Chapter Two: Literature Review This section examines prior research relevant to the study and offers foundational insights into metaphors and conceptual metaphors pertinent to the topic.
Chapter Three focuses on the methodology, detailing the research methods and procedures employed in the study Building on the aims and objectives outlined in Chapter One, this section comprehensively covers the research design, data collection techniques, data analysis processes, and the overall research procedures necessary for conducting the study effectively.
Chapter four , Findings and discussion It presents the findings obtained, analyzes and discusses the results based on those findings
Chapter five presents the conclusions and implications derived from the research, addressing each research question specifically It summarizes key findings and offers strategies to aid learners in using metaphors more effectively in their writing Additionally, this chapter outlines teaching implications and proposes directions for future research, providing practical value that readers can benefit from.
LITERATURE REVIEW
Theoretical framework
Metaphor has long been essential in our lives, captivating the interest of both foreign and Vietnamese linguistic researchers across various fields, including semantics, pragmatics, and translation.
Lakoff is a person who has had many studies about metaphor In ―The Contemporary Theory of Metaphor‖, he helps people initially understand metaphor in detail
A metaphor is a creative linguistic expression that uses words in unconventional ways to convey similar concepts Rather than focusing solely on definitions, understanding metaphors involves exploring empirical questions The general theory of metaphor is based on cross-domain mappings, revealing that everyday abstract concepts such as time, states, change, causation, and purpose are often metaphorical in nature.
According to Snell-Hornby (1988), the translatability of a metaphor is determined by its structure and function within the specific text, rather than by a fixed set of abstract rules.
According to Marugina (2014), the conceptual metaphor ―A Man is an
Animal/Beast‖ can supply many functions in the discourse of the literature
Established mappings of the "Animal/Beast" metaphor can be assessed in relation to human behavior, social status, and the dualistic world that reflects the relationship between animals and humans.
An investigation into the conceptual elements in "Fifty Shades Darker" by Erika Leonard James and its Vietnamese translations reveals the critical role of conceptual metaphors in literature The study identifies notable losses and gains in meaning and structure during the translation process While the thesis examines three types of conceptual metaphors, it does not thoroughly explore each aspect or highlight the mapping patterns within the metaphorical expressions.
To date, there have been no studies examining cognitive metaphors in Jack London's "The Call of the Wild." This absence highlights the significance of metaphor in literature, particularly in this story, offering fresh insights and enhancing our appreciation of various literary works.
Definition
The theoretical basis of this work is the metaphorical doctrine obtained by two authors, Lakoff and Johnson, in the vital work of cognitive linguistics,
Cognitive metaphor theory, as proposed by Lakoff and Johnson, emphasizes that cognitive metaphors allow us to conceptualize and understand one phenomenon through the lens of another, highlighting the interconnectedness of our thoughts and perceptions.
Cognitive linguistics explores the concept of cognitive or conceptual metaphors, which serve as tools for understanding complex ideas According to Kittay (1987), metaphors offer a perspective that helps individuals comprehend metaphorical representations She emphasizes that metaphors enable speakers to use one domain of language to understand another, facilitating cognitive processes for both speakers and listeners Additionally, Kittay highlights that metaphors are significant not only for their emotional and rhetorical impact but also for their cognitive contributions to communication.
Lakoff and Johnson (1980) emphasize the profound connection between language and thought, asserting that metaphor extends beyond mere linguistic expression to encompass fundamental concepts They propose that metaphor serves as a systematic way to understand specific areas of experience through the lens of other domains of knowledge.
Lakoff and Johnson (1980) emphasize the cognitive aspects of metaphor, illustrating how metaphors influence our perceptions and understanding Their theory of metaphorical systematicity highlights the integral role of human thought processes in shaping our interpretations and interactions with the world.
Metaphorical entailments can create a cohesive framework of metaphorical concepts alongside a consistent set of metaphorical expressions (Lakoff & Johnson, 1980) Their work explores socially ingrained metaphors that have become so prevalent in our society that we often fail to recognize them as metaphors.
Kaplan expands the understanding of metaphor beyond the literary realm, maintaining a cognitive theoretical perspective He defines metaphor as a combination of two ideas—expressed through words or nonverbal images—that helps conceptualize one idea in relation to the other (Kaplan, 1992:198) This cognitive approach is significant for two reasons: it aids in developing a unified theory of metaphors and moves away from traditional language-based explanations (Kaplan, 1992) Kaplan outlines two essential conditions for an image or phrase to be deemed symbolic: shared features between the two ideas and a violation of linguistic norms that creates tension (Kaplan, 1992:98) His work, "Conceptual Analysis of Form and Content in Visual Metaphors," categorizes metaphors based on form, type of tension, and metaphorical content (Kaplan, 1992:206).
Metaphor transcends mere language, serving as a cognitive tool that shapes our understanding of one domain through another This challenges the traditional notion that metaphors are limited to poetic or figurative expressions In fact, metaphors are omnipresent in our daily lives, often operating beneath our conscious awareness They enable us to comprehend abstract concepts by relating them to more concrete experiences, highlighting their foundation in our everyday interactions with the world.
It is true that metaphor is very necessary for daily discourse due to its powerful abilities
Metaphors are recognized as a significant linguistic phenomenon in everyday language, with numerous definitions and interpretations provided by researchers and linguists over the decades Max Black (1962) argues that metaphors should not be viewed as mere isolated words or decorative elements; instead, he emphasizes their conceptual importance through his interaction theory Traditionally, metaphors have been seen as stylistic devices predominantly employed in poetry and song lyrics.
Richards introduces key terminology still relevant in contemporary discussions of metaphors, highlighting the comparison between two entities through the transfer of a word from its conventional meaning to a new context He identifies two essential components of a metaphor: the "topic," which is the subject being discussed, and the "vehicle," which is the term employed metaphorically The relationship between these two elements is referred to as the "ground," emphasizing their connection based on shared similarities (Richards, 1936, cited in Gibbs, 1994:211) For example, consider a metaphor that illustrates this concept effectively.
(1) The lamp throws its light on the page
The combination of "throw" and "lamp" evokes two distinct ideas: an individual throwing an object and a lamp emitting light This connection anthropomorphizes the lamp, allowing us to perceive it as if it were a person.
Ungerer and Schmid (1996) argue that metaphor is often seen as the exclusive domain of literary scholars and a few linguists focused on rhetoric or stylistics This traditional perspective limits metaphor to a linguistic phenomenon primarily associated with poetic or figurative language, reducing its importance to merely an ornamental device in rhetorical style.
Traditionally, Generative Linguistics views metaphor as a form of deviant language, where word meanings are defined by distinct bundles of necessary and sufficient features, establishing clear boundaries between semantic categories (Ignasi, 1999:2).
Metaphor involves transferring meaning from one object to another, highlighting similarities despite differences It serves as a comparison that reveals how two seemingly dissimilar things can share a significant connection The following examples will illustrate the use of metaphors during the Pre-Cognitive Periods.
(2) My father was boiling mad
As we can see from (2), boiling mad is used to imply that he was too angry When one is enraged, his/her temper is similar to ―boiling liquid‖
(3) The skies of his future began to darken
Darkness is a threat; therefore, this implies that the coming times will be hard for him
This evening, the football player is truly carrying the team on his shoulders Commentators frequently use this phrase to illustrate how a team relies heavily on its running back The powerful imagery of one individual exerting effort while supporting the entire team symbolizes commitment and determination.
Cognitive Linguistics emerged as a significant branch of modern linguistics in the late 1970s and early 1980s, with George Lakoff and Ronald Langacker recognized as its founders Lakoff introduced the term "cognitive grammar" in his 1975 publication, "Cognitive Grammar: Some Preliminary Speculations." He later coined the term "cognitive linguistics" in his influential 1987 book, "Women, Fire, and Dangerous Things." In 1990, the field further established itself with the launch of the magazine Cognitive Linguistics.
An overview of the story The Call of The Wild
This research utilized both qualitative and quantitative methods to uncover the characteristics of conceptual metaphors in "The Call of The Wild" and its translation by Hoàng Hà Vũ.
The quantitative method was employed to identify and analyze the frequency of conceptual metaphors present in the tale This approach aimed to gather statistical data on the prevalent strategies utilized by the translator in the translation of conceptual metaphors within the novel.
The qualitative approach was instrumental in exploring the cognitive metaphor in "The Call of the Wild," allowing for a comprehensive analysis that addressed the research questions in depth This method facilitated an understanding of the how and why behind the phenomena, rather than just providing a superficial overview By examining both the English source text and its Vietnamese translation, the study aimed to identify the conceptual metaphors present Subsequently, data was collected to analyze how the translator handled these metaphors, revealing the relevant procedures involved in the translation process.
The data analysis utilized a descriptive qualitative method, involving several key steps Initially, the strips were scanned for presentation purposes, followed by an analysis of the data focusing on translation losses and gains This process included a detailed description of the various types of losses and gains identified in both the source and target languages.
METHODOLOGY
Data collection
In my research, I analyzed data from Jack London's novel "The Call of The Wild" and its Vietnamese translation by Hoàng Hà Vũ, identifying 231 instances of conceptual metaphors These metaphors were categorized into 39 distinct patterns in the English version.
I presented the conceptual metaphor together with their linguistic manifestations according to the categorization of metaphors by their nature and in accordance with the scope of this study
The metaphorical expressions were analyzed and grouped based on the conceptual metaphors by Lakoff & Johnson (1980)
The source of the data was collected from the books ―The Call of The
Wild, University of Oklahoma Press, 1997‖ and ―Tiếng gọi nơi hoang dã‖ by Hoàng Hà Vũ, Literary publishing House‖
The procedure of data collection was carried as below:
1 Reading the novel "The Call of The Wild‖ by Jack London and its Vietnamese version by Hoàng Hà Vũ carefully
2 Identify the conceptual metaphors and their linguistic manifestations by applying the model of conceptual metaphor by Lakoff and Johnson (2003)
3 Finding out the Vietnamese equivalents of these metaphors and linguistic expressions are extracted from the Vietnamese version
4 Studying all metaphorical expressions in the original novel and consider if they exist in the translated work or not
5 Grouping the data in both works in terms of the theory of cognitive metaphors and metaphor translation into two columns of the table; one for English lines with metaphors and the rest for the Vietnamese equivalents
After collecting data from work ―The Call of The Wild‖ and choosing Lakoff & Johnson‘s Conceptual Metaphor, the following steps will be executed:
1) Identifying and classifying the data into suitable categories
2) Presenting, describing and analyzing the types of conceptual metaphors in the novel and its Vietnamese version
3) Comparing data to identify and describe the loss and gain of meaning and structure of metaphors when translated into Vietnamese; then discussing the findings and giving some results
4) Giving some implications for teaching and learning language, as well as translation work.
Research procedures
The research work was carried out with the steps below:
Firstly, I chose the research topic based on previous studies
Secondly, I read the stories and picked metaphorical expressions
Next, the metaphorical expressions in the tale were identified and classified into three types of conceptual metaphors under the theory of Lakoff and Johnson (1980)
Then, I discussed the finding based on cognitive linguistics
After that, I gave some implications for teaching, learning and translating language.
FINDINGS AND DISCUSSION
Quantitative Analysis of Metaphors in ―The Call of The Wild‖ by
Table 4.1 Types of conceptual metaphors and their occurrence frequency used in
“The Call of The Wild.”
Types of metaphors Number Percentage (%)
Table 4.1 reveals that ontological metaphors are the most prevalent, comprising 62.5% with 144 instances Structural metaphors follow with 26.3%, totaling 61 occurrences, while orientational metaphors are the least common at 11.2%, with only 26 examples.
4.1.1 As far as the ontological metaphors are concerned, the most common subtype is personification metaphors (66.9%), which shows that the dogs/wolves have human activities Here the nonhuman things were specified as persons Other subtypes of ontological metaphors frequently used in the novel were entity and container metaphors (20% and 13.1%, respectively) Here the concepts were represented as having an inside and outside boundary or capable
Table 4.2 Subtypes of ontological metaphor and their occurrence frequency in “The
Subtypes of ontological metaphors Occurence Percentage (%)
In general, all subtypes of ontological metaphors together did the job of giving us a coherent understanding of the dogs, nature and life experience
Ontological metaphors enhance storytelling by adding vividness and liveliness, allowing narratives to reveal the essence of human life from a social perspective Buck's journey toward independence serves as a powerful symbol of the universal struggles that individuals face throughout their lives.
4.1.2 About structural metaphors, seventeen subtypes were discovered They were mapped systematically onto the entities in six main target domains: DOGS/WOLVES, NATURE, TIME, ANGER, LIFE, and DEATH These intangible concepts were described vividly and intimately by attaching them exciting properties of natural notions such as OBJECT, LIGHT, SICKNESS, WATER, WAR, BUILDING, etc This metaphor is a concrete factor, which has sound, rhythm, and can be heard The author used this metaphor to explain that an abstract conceptual domain is understood through a specific conceptual domain Thanks to it, the story becomes more soulful and engaging
4.1.3 Finally, in my analysis, I have found four subtypes of orientational metaphors, i.e STATES ARE LOCATIONS, DEATH IS PASSING OUT, LESS IS DOWN, and SILENCE IS DOWN An orientational metaphor is a metaphor that involves spatial relationships Downward orientation in the story, such as “down” with a negative evaluation And it helps the readers understand Buck‘s mood like ―gloomy unrest‖ or ―futile rage‖ This metaphor turns the dogs or nature into an object with feelings and abilities
The overview will be followed by a detailed account of each conceptual metaphor and the metaphorical expressions reflecting it.
Qualitative Analysis of Metaphors in ―The Call of The Wild‖
Ontological metaphors allow us to interpret our experiences with physical objects and substances as distinct entities or uniform substances This article examines various subtypes of ontological metaphors, including entity, personification, container, and substance metaphors, highlighting their role in shaping our understanding of the world around us.
A case of ontological metaphors related to personification allows us to understand nonhuman entities as human motivations, characteristics and activities
Personification allows people to make sense of different phenomena in the world in human terms Let us take a few examples of personification from the novel:
The pervasive conceptual metaphor throughout the text highlights the significant role of dogs and wolves, which are understood through human attributes, actions, thought processes, and social relationships This relationship is illustrated with 41 examples showcasing the human expression of these animals.
(11) His madness knew no caution Cơn điên giận khiến nó không còn biết suy tính thiệt hơn [E-3]
(12) He felt ashamed Nó phát ngượng (Buck) [E-4]
In the examples provided, the portrayal of dogs and wolves as anthropomorphic beings highlights their capacity for human-like emotions such as hatred, madness, and shame The author emphasizes Buck's frustrations, hardships, and deep-seated feelings, illustrating that he experiences emotions akin to those of humans This characterization reinforces the idea that Buck, despite being a non-human entity, shares the same complex emotional landscape as people do.
(14) He would not be content with less Nó sẽ không đời nào chấp nhận một vị trí thấp kém hơn [E-21]
(15) He became more morose and irritable Nó ủ rũ và bẳn gắt hơn [E-
(16) His dignity was sorely hurt Lòng kiêu hãnh tổn thương nghiêm trọng [E-12]
(17) His intelligence Trí khôn của nó [E-3]
(18) Faithfulness and devotion Bên cạnh lòng trung thành và sự tận tụy [E-34]
(19) For he was learning fast Nó học chiêu này khá nhanh [E-8]
(20) He did not steal for joy Nó không ăn cắp cho vui [E-13]
(21) Buck reasoned it out Buck không nghĩ được đến như vậy
(22) (Forever, Buck avoided his blind side) and to the last of their comradeship … tình đồng liêu giữa nó với lão chó già [E-11]
The author skillfully imbues dogs with a rich tapestry of human emotions, allowing them to express feelings such as contentment, shame, irritability, and dignity This emotional depth extends to their relationships with one another and their master, showcasing traits like intelligence, faithfulness, and devotion.
These dogs exhibited a range of human-like behaviors, including thinking, reasoning, stealing, robbing, teaching, serving, learning, and refusing.
Furthermore, the relationships that hold between the dogs/wolves are understood in human terms
In expression (22), Buck experiences camaraderie with Sol-leks and his fellow dogs, highlighting his connection to his wild instincts as he runs alongside his wild brother Previously, Buck was a king in Judge Miller's household, showcasing his noble nature The English version of the narrative consistently refers to Buck and the other dogs using personal pronouns like he, him, and his, emphasizing their traits, actions, and emotions This detailed personification of dogs and wolves in the novel illustrates their complex characters and relationships.
NATURE IS A HUMAN BEING/ AN ANIMAL
There are two conceptual metaphors found in the stories, i.e NATURE
Humans and animals share a unique connection, as both can perform actions that reflect the essence of nature This relationship is illustrated through a combination of metaphors, where nature is represented by either humans or animals, with a total of 44 examples showcasing this interplay.
(23) The stars leaping Những ngôi sao nhấp nháy [E-47]
(24) The land is numb Vùng đất hoang vu [E-49]
(25) The sun kissed Santa Clara Vallery Thung lũng Santa Clara đầy nắng [E-43]
(26) Naked mountains Những ngọn núi trọc [E-78]
(27) Lonely beaches Bờ bãi hiu quạnh [E-79]
(28) The roaring fire Ngọn lửa rừng rực [E-82]
(29) The sun ate from above Mƣợn sức mặt trời làm tan chảy băng bên trên [E-70]
(30) The sun dropped to its bed Mặt trời chầm chậm lặn xuống phía chân trời phía Tây Bắc [E-60]
In this novel, nature is personified, depicted as living entities akin to animals or humans It encompasses a variety of natural elements, including celestial bodies like the sun and stars, geographical features such as rivers, mountains, and beaches, as well as animals like birds and squirrels Additionally, natural phenomena, including fire, breezes, and swirling water, are portrayed as having dynamic actions, exhibiting movements reminiscent of human and animal behavior.
In expression (25), the sun is depicted as kissing the Santa Clara Valley, radiating warmth and brightness Meanwhile, in expression (30), the sun is portrayed as gently descending to its bed at day's end, symbolizing the close of daylight.
The frozen water gradually disappears, while stars appear to twinkle in the sky Additionally, another aspect of this perspective on nature involves the land itself.
(31) At the mouth of White River Cửa sông White [E-72]
(32) A narrow neck of land Một rẻo đất hẹp [E-51]
(33) He ran him into a blind channel Một lối cụt vốn từng là dòng suối [E-80]
(34) The backbone of the continent Chiếc xương sống của lục địa [E-54]
(35) The naked bed-rock Dưới lòng vực lổn nhổn những đá [E-76]
Expressions (31) to (35) illustrate how natural features resemble human anatomy, with rivers having mouths, land resembling necks, islands likened to breasts, and continents compared to backbones Additionally, mountains can appear bare, channels may be blind, and river shores can exhibit a frowning demeanor Together, these descriptions create a vivid, large-scale image of the human body, highlighting the interconnectedness of nature and human-like characteristics.
Animals like birds, squirrels, and crickets can be perceived as engaging in various forms of communication, such as talking, chatting, singing, or quarrelling Additionally, natural phenomena often mimic the actions of animals or humans; for instance, soft breezes can sigh and whisper, frost can dance, and the wind can strike with a biting chill.
The portrayal of nature often embodies the essence of an animal or human capable of humming, remaining silent, and exhibiting patience, highlighting the intricate relationship between the wild and its inhabitants.
(36) The Call of The Wild Tiếng gọi nơi hoang dã
In "The Call of the Wild," the titular call represents a powerful sound that resonates throughout the novel, appearing twelve times as a concrete element that Buck hears from a great distance in the deep forest This sound symbolizes his connection to his ancestors and evokes memories of his primitive past, often surfacing during quiet moments by the campfire As Buck journeys back to the wild, these vivid images of his ancestral home emerge, reinforcing the deep-seated call of his forebear and highlighting his inherent connection to the primal world.
THE LASH IS AN ANIMAL/ A HUMAN BEING
In the novel, the lash—a thin leather strip at the end of a whip—serves as a powerful symbol of control, particularly in its role in commanding the sledge dogs This imagery aligns with the conceptual metaphors that draw parallels between animals and humans, as the lash is depicted not just as an object, but as an entity that moves gracefully through the air, akin to an animal in motion.
(vút trong không khí), biting (quật xối xả) and stinging (lỳ lợm chịu đau) It is shown through examples (37) to (41) as follows:
(37) His lash was always singing among the dogs Sợi roi da của anh quất liên tục xuống bầy chó [E-86]
(38) He paid no heed to the stinging lash Song nó lỳ lợm chịu đau chứ nhất quyết không chịu tuân theo [E-87]
(39) The lash of Francois‘s whip sang through the air Ngọn roi của
Francois đã vút trong không khí [E-88]
(40) They had become insensible to the bite of the lash Chúng trơ lỳ trước những vệt toạc do roi quật [E-89]
(41) The lash bit into him Roi quật xối xả [E-90]
In each case, we can see the lash is compared to a human In (37, 39,
40), we find singing, bite and sang which is described the activities of a human ―quất liên tục, vút, quật” It emphasizes the beatings, the pain which
Buck has endured ― He paid no beed to the stinging lash‖ – ―Song nó lỳ lợm chịu đau chứ nhất quyết không chịu tuân theo‖
TIME IS AN ANIMAL/ HUMAN
Loss and gain in conceptual metaphors in ―The Call of The Wild‖
by Jack London and “Tiếng gọi nơi hoang dã” by Hoàng Vũ Hà
Bassnett (2002:38) asserts that absolute sameness is unattainable between two languages, highlighting the complexities of loss and gain in translation This notion reflects the often undervalued status of translation in linguistic studies, as it prompts extensive examination of the nuances involved in conveying meaning across different languages.
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
In this part, I am going to analyze the conceptual metaphorical expressions in
―The Call of the Wild‖ and their Vienamese version by Dang The Binh to find out their loss and gain
4.3.1 The same metaphor in “The Call of The Wild” by Jack London and in Hoàng Hà Vũ’s Vietnamese version
Despite some loss in metaphorical richness, Hoàng Hà Vũ's translation of "The Call of The Wild" into Vietnamese preserved many original metaphors Approximately 126 expressions maintained their conceptual metaphor, demonstrating the translator's fidelity to the source material Notable examples of these metaphors can be found in Table 4.4 below.
Table 4.4 The same metaphors in “The Call of The Wild” and its
The Call of The Wild by Jack London Tiếng gọi nơi hoang dã by Hoàng
He felt ashamed Nó phát ngƣợng
Buck hated him Buck ghét
His intelligence Trí khôn của nó
Buck ran with them, side by side with the wild brother
Và Buck chạy theo chúng, sóng đôi với con sói anh em của nó
Buck smiled Nó nhe răng cười
He pleaded with eyes to remain there Mắt nó như khẩn thiết van nài
He was become wise Buck chẳng thiếu kinh nghiệm
But in spite of this great love he bore for John Thornton
Dẫu mang nặng một tình yêu lớn lao nhường ấy đối với John Thornton
His madness knew no caution Cơn điên giận khiến nó không còn biết suy tính thiệt hơn NATURE IS A HUMAN BEING
The frost dance Vũ điệu sương giá
The music of the unseen fountains Những con suối cũng cất lên những tiếng rì rầm hân hoan
It ate away from the beneath Nó chuyên tâm đào khoét băng bên dưới LOVE IS SICKNESS But love that was feverish Như đang lên cơn sốt
This article examines the preservation of conceptual metaphors in translation, demonstrating how maintaining these metaphors helps retain the original meaning of verses For example, the metaphor "Dogs are human" is illustrated through translations such as "He felt ashamed" rendered as "Nó phát ngượng" and "Buck hated him" translated to "Nó ghét." Additionally, the metaphor "Nature is a human being" is exemplified with the phrase "the frost dance," which translates to "vũ điệu sương giá." The consistency of these metaphors, such as in "But love that was feverish" translated as "Như đang lên cơn sốt," highlights the importance of preserving conceptual frameworks in translation.
The phrase "Love is sickness" maintains a consistent metaphor, as both the English expression and its Vietnamese equivalents convey the same conceptual metaphor The meanings of these expressions remain unchanged across languages.
In the metaphor "Dogs are human," the translation of "Buck ran with them, side by side with the wild brother" becomes "Và Buck chạy theo chúng, sóng đôi với con sói anh em của nó," where the addition of "anh em" enriches the meaning Similarly, "Buck smiled" is translated as "Nó nhe răng cười," incorporating the detail of "teeth" while maintaining the original metaphor These translations not only enhance the descriptive quality but also alter the structure, making the Vietnamese version more engaging and appealing, all while preserving the metaphor's core meaning.
The author maintains the same conceptual metaphor while employing a different imagery, as seen in the phrase "The music of the unseen fountains," which reflects the metaphor "Nature is a human being."
The streams produce joyful murmurs, illustrating the metaphor that "fountains are human." Similarly, the English phrase "It ate away from beneath" translates to "Nó chuyên tâm đào khoét băng bên dưới," where the verb "ate" is transformed into "đào khoét," suggesting the metaphor "the sun is a human."
The metaphor "Dogs are human" illustrates a shift in perspective, as seen in the sentence "He pleaded with eyes to remain there" and its Vietnamese counterpart "Mắt nó như khẩn thiết van nài." In the English version, the subject is "he," emphasizing the actor, while the Vietnamese version shifts the focus to the "eyes," portraying them as the instrument of expression This transformation highlights how the eye, originally a part of the source text, takes on the role of the actor in the target text.
In this process, the essence of the conceptual metaphor from the source text is expressed using a distinct metaphor in the target text Examples of this can be found in Table 4.5.
Table 4.5: Using a different metaphor in “The Call of The Wild” and its Vietnamese version
The Call of The Wild by Jack
Tiếng gọi nơi hoang dã by Hoàng Hà
The sun-kissed Santa Clara Valley Thung lũng Santa Clara ngập nắng
The rest of the team went from bad to worse
Lũ chó còn lại cư xử bố láo hết sức
Table 4.5 illustrates the transformation of metaphors in translation, exemplified by the phrase "The sun-kissed Santa Clara Valley," which conveys the metaphor "The sun is a human" in English but shifts to "Thung lũng Santa Clara ngập nắng" in Vietnamese, adopting the metaphor "Light is water." Similarly, the expression "The rest of the team went from bad to worse," rooted in the conceptual metaphor "States are locations," is translated as "Lũ chó còn lại cư xử bố láo hết sức," which introduces the metaphor "Dogs are human."
The procedure for converting a conceptual metaphor involves translating the metaphor while ensuring that the translation does not include any conceptual metaphors Key expressions related to this metaphor can be found in Table 4.6 below.
Table 4.6: Converting the conceptual metaphor in “The Call of The Wild” and its
The Call of The Wild by Jack
Tiếng gọi nơi hoang dã by Hoàng Hà
STATES ARE LOCATIONS The two man in bad tempers Còn hai ông chủ đang nhăn nhó
He stormed (and raged at them through the bar)
Nó giận dữ (chồm tới)
The roaring fire Ngọn lửa rừng rực
The metaphorical expressions in the original text often lose their figurative meaning in translation For instance, "The two men in bad tempers" is translated as "Còn hai ông chủ đang nhăn nhó," which lacks any metaphorical context Similarly, the phrase "He stormed," translated to "Nó giận dữ," fails to convey the metaphor "Anger is a natural force." Another example is "The roaring fire," which, when translated, does not retain the metaphor of "A fire is an animal." These instances highlight the challenges of preserving metaphorical language in translation.
―Ngọn lửa rừng rực‖ with no conceptual metaphor for the fire
4.3.4 The loss of metaphor in “The Call of The Wild” by Jack London and in Hoàng Hà Vũ’s Vietnamese version
In "The Call of The Wild," a total of 231 samples were analyzed, revealing that 11 metaphors were lost in Hoàng Hà Vũ's translation Several metaphorical expressions were omitted in the Vietnamese version, lacking equivalent imagery, as illustrated in the accompanying table.
Table 4.7: The loss of metaphor in “The Call of The Wild” by Jack London and in
Hoàng Hà Vũ’s Vietnamese version
The Call of The Wild by Jack
Tiếng gọi nơi hoang dã by
He would lie by the hour, studying it No translation
NATURE IS A HUMAN Squirrels were chattering No translation
Through the soft-sighing breezes No translation
STATES ARE LOCATIONS/CONTAINERS That Hal‘s view on art…should have anything to do with the chopping of a few sticks passes comprehension
Chẳng hiểu làm thế nào
TIME IS A MOVING OBJECT When the long winter nights come on Những đêm đông dài lạnh lẽo
TIME IS A HUMAN BEING The second day saw them Ngày thứ hai
Morning found Sáng hôm sau
DEATH IS PASSING OUT Death as a passing out No translation
In the Vietnamese translation by Hoàng Hà Vũ, several metaphors were omitted, as highlighted in the preceding table The author opted not to translate these metaphors, resulting in their absence from the Vietnamese version.
The metaphor "Time is a moving object" is entirely absent in the translator's version, with the expression "come on," which conveys this metaphor in English, being omitted in the Vietnamese translation Additionally, the translator failed to include the corresponding word, further diminishing the metaphor's impact in the translated text.
―saw‖ and ―found‖ in his version, which leads to the disappearance of the metaphor ―Time is a human being‖ in the Vietnamese version