a study on connotative equivalence between gone with the wind and its translation in vietnamese by duong tuong = nghiên cứu tương đương biểu cảm giữa tác phẩm cuốn theo chiều gió

Data collection The study is designed in accordance with the theory proposed by Koller 1979, that is characterizes the connotative dimensions of a source language with the support of st

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES

FACULTY OF POST GRADUATE STUDIES

NGUYỄN THỊ DIỆU THÚY

A STUDY ON CONNOTATIVE EQUIVALENCE BETWEEN

"GONE WITH THE WIND" AND ITS TRANSLATION IN

VIETNAMESE BY DUONG TUONG NGHIÊN CỨU TƯƠNG ĐƯƠNG BIỂU CẢM GIỮA TÁC PHẨM

"CUỐN THEO CHIỀU GIÓ" VÀ BẢN DỊCH TIẾNG VIỆT CỦA

DƯƠNG TƯỜNG

MA Combined Programme Thesis

FIELD: ENGLISH LINGUISTICS CODE: 60.22.15

HANOI - 2012

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES

FACULTY OF POST GRADUATE STUDIES

NGUYỄN THỊ DIỆU THÚY

A STUDY ON CONNOTATIVE EQUIVALENCE BETWEEN

"GONE WITH THE WIND" AND ITS TRANSLATION IN

VIETNAMESE BY DUONG TUONG

NGHIÊN CỨU TƯƠNG ĐƯƠNG BIỂU CẢM GIỮA TÁC PHẨM

"CUỐN THEO CHIỀU GIÓ" VÀ BẢN DỊCH TIẾNG VIỆT CỦA

DƯƠNG TƯỜNG

MA Combined Programme Thesis

SUPERVISOR: Assoc Prof Dr LÊ HÙNG TIẾN

HANOI - 2012

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TABLE OF CONTENTS

DECLARATION ……… i

ACKNOWLEDGEMENT……….ii

ABSTRACT………iii

PART A: INTRODUCTION……… 1

I Statement of the problem and rationale for the study………1

II Research aims and research questions………2

III Scope of the study……….3

IV Methods of the study……….3

PART B: DEVELOPMENT……….5

CHAPTER 1: LITERATURE REVIEW………5

1.1 Definition of translation……….5

1.2 Translation equivalence……….6

1.2.1 Jakobson and the concept of equivalence in difference………6

1.2.2 Nida and Taber's Formal dynamic equivalence………7

1.2.3 Catford and translation shifts……… 10

1.2.4 Kade and quantitative equivalence ……… 11

1.2.5 Baker's approach to translation equivalence……….12

1.2.6 Koller's theory of equivalence……… 13

1.3 Translation of literature ………15

1.4 Translation methods……… 17

1.5 Translation procedures……….19

1.6 The author and the novel ……….22

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1.6.1 The author Margaret Mitchell……… 22

1.6.2 The novel "Gone with the wind"………26

1.7 The translator and the translation……… 29

1.7.1 The translator Dương Tường……… 29

1.7.2 The translation "Cuống theo chiều gió"……….30

CHAPTER 2: DEVELOPMENT……… 31

2.1 Connotations of socially determined usage………31

2.1.1 The language of the upper class ………31

2.1.2 The language of the slaves……… 35

2 2 Connotations of speech level……… 41

2.2 1 Elevated……….41

2.2.2 Colloquial……… 47

2.2.2 1 Interjections……….48

2.2.2.2 Exclamations………50

2.2.3 Poetic……… 54

2.3 Connotations of geographical origin or relation……… 58

2.4 Connotations of register……… 62

2.4.1 Military usage………62

2.4.2 Religious usage……….67

2.4.3 Normal usage……….68

2.5 Connotations of evaluation………72

2.5.1 Pejorative………73

2.5.2 Positive………76

2.5.3 Ironic………80

CHAPTER 3: FINDINGS AND RECOMMENDATIONS………85

3.1 Summary of findings……… 85

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3.1.1 Types of connotative equivalence achieved………85

3.1.2 Strategies adopted to achieve connotative equivalence……… 86

3.2 Recommendations………89

3.2.1 To achieve connotations of socially determined usage………89

3.2.2 To achieve connotations of speech level……….90

3.2.3 To achieve connotations of geographical origin……… 90

3.2.4 To achieve connotations of register……….90

3.2.5 To achieve connotations of evaluation………91

PART C: CONCLUSION………92

I Summary and conclusion of the study……….92

II Contributions of the study……… 92

III Limitations of the study……….93

IV Suggestions for further studies……… 94

REFENRENCES……….95

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PART A: INTRODUCTION

I Statement of the problem and rationale for the study

Over the past few decades, international exchange is processing vigorously

in various aspects, especially in culture By using language to bridge the gap between different cultures, inevitably, translation has contributed significantly to this process Besides, literature has been chosen as a rich source for translation Literary works are not only written in different languages but they also feature different cultures and civilizations Accordingly, the literary translation process is quite complex as it requires the translator to consider every aspect of the material,

or even beyond the material in order to produce a good translation It poses a great challenge for anyone who attempts to assess the quality of translated literary works

According to Chesterman (1989) “Equivalence is obviously a central concept in translation theory” “The notion of equivalence held sway as a key issue

in translation throughout the 1970s and beyond.” (Munday, 2008, p 49) Various works on translation theories have been carried out just to show how vital equivalence is in translation Great importance has been attached to equivalence since this is a controversial issue and it is likely to cause debates in the coming time However, despite its significance, little investigation has been carried out in the field of translation evaluation, particularly evaluation of equivalence between English and Vietnamese literary works

All the above made the researcher decide to carry out the study on equivalence in literary translation Specifically, the study investigates connotation equivalence achieved in the translation of “Gone with the wind” – one of the most famous novels of the 20th century This novel has been chosen as the source

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language text due to its distinctive features, aesthetic values and popularity worldwide The novel was first translated into Vietnamese more than 20 years ago Among several versions of the translation, the one translated by Duong Tuong is most praised by readers With the aim of investigating one of Duong Tuong's best translated works, the researcher chose his translation as the target text

II Research aims and research questions

The study firstly aims at providing a theoretical background on some issues relevant to the topic of the study, which are translation, literary translation, equivalence in translation and strategies to achieve equivalence

Secondly, the study is to investigate the types of connotative equivalence achieved between the novel and its translated version

Thirdly, the study is also aimed at finding out what strategies adopted by the translator in order to achieve that equivalence

Addressing the above issues is hoped to help English learners, especially those specialize in translation enhance their awareness of various expressive means employed in a particular literary text and decide the most appropriate strategies to deal with different translation situations

The study is also expected to be a good reference of criteria to any Vietnamese readers who love romantic novel, and are fans “Gone with the wind” for a good translation

These aims can be formulated into the following research questions

1 What types of connotative equivalence achieved between the novel "Gone with the wind" and its translation by Duong Tuong?

2 What strategies adopted by the translator to achieve such types of connotative equivalence?

III Scope of the study

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Firstly, the theoretical background of the study only focuses on some fundamental issues in translation theory which are of vital importance to the issue examined, which are translation, equivalence, methods, and procedures

Secondly, the research focuses on one kind of equivalence, which is connotative equivalence Then only the most outstanding types of connotative equivalence are examined

IV Methods of the study

1 Data collection

The study is designed in accordance with the theory proposed by Koller (1979), that is characterizes the connotative dimensions of a source language (with the support of stylistic studies) to analyse their features and structural elements, and then relate these to the connotative dimenstions of a given target language In the first stage, the study explores the source language text to find out the different dimensions of connotations The features and structural elements of each connotative dimension are defined Data are collected in both English and Vietnamese to illustrate these dimensions Even though the novel is almost six hundred pages long, the researcher tries to collect comprehensive data by investigating almost every chapter Subsequently, the examples are grouped according to the stated catergory for the sake of comparison and assessment

2 Data analysis

In the second stage of the study, an assessment of the features in the target language text is carried out with the criteria established in the first stage The translation and the data are considered from various viewpoints The study is based

on technical data of semantic densities, occurrence probabilities and repetition rates of both the source language and target language text to evaluate the degree of

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connotative equivalence achieved As stated by Koller (1979), equivalence is defined in terms of the frame and conditions that the target text must fulfill if there exists equivalence between a given source text and a given target text The conditions can be content, style, function, etc Therefore, the requirement of equivalence has the following form: quality (qualities) X in the source language text must be preserved, meaning the source language content, form, style, function, etc must be preserved or at least the translation must seek to preserve them as far

as possible (Koller, 1979) Besides, the connotations are transmitted by means of the word choice Thus, the word choices that can affect the content, form, style or function of translation are investigated carefully After that, conclusions on types

of connotative equivalence achieved are drawn Furthermore, based on the translation of Duong Tuong, the researcher also figures out the strategies employed

to achieve connotative equivalence The strategies are categorized according to Newmark's theory about translation methods and translation procedures

In the “Dictionary of Translation Studies”, Shuttleworth and Cowie acknowledge that translation is an “incredibly broad notion which can be understood in many different ways” And this idea is proved by numerous definitions proposed by different researchers around the world

As early as 1959, the structural linguist Roman Jakobson proposes a tripartite definition of translation The first type is intralingual translation or rewording, which is an interpretation of verbal signs by means of other signs of the same language The second type is interlingual, or another name is translation proper It is an interpretation of verbal signs by means of some other language The third type is intersemiotic translation or transmutation, which is an interpretation of verbal signs by means of signs of nonverbal sign systems

Hatim and Munday (2004) take a different approach with the focus on “the ambit

of translation”, which is defined as 1) the process of transferring a written from SL

to TL, conducted by a translator, or translators, in a specific socio-cultural context; 2) the written product, or TT, which results from that process and which functions

in the socio-cultural context of the TL; and 3) the cognitive, linguistic, visual, cultural and ideological phenomena which are an integral part of 1) and 2) However, in Munday‟s viewpoint, such definitions like those of Roman Jakobson

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or by he and Hatim do not address the limits on translation and other outstanding issues in this field

Nida and Taber (1982, p.12) claim that “Translation consists in reproducing

in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style”

Catford (1965, p.20) defines translation as “the replacement of textual material in one language (Source language) by equivalent textual material in another language (target language)." This idea is shared by Hartmann and Stock (1972, p713) with their definition “Translation is the replacement of a representation of a text in one language by a representation of another equivalent text in a second language.”

Interestingly, Dubois (as cited in Bell, 1991, p.5) expresses the same notion

“Translation is the expression in another language (or target language) of what has been expressed in another (source language), preserving semantic and stylistic in equivalences”

1.2 Translation equivalence

As stated in the introduction, the concept of equivalence in translation is highly controversial Numerous theories have been devoted to the study of equivalence The thesis introduces the most distinguished theories and its influence

1.2.1 Roman Jakobson and the concept of equivalence in difference

Roman Jakobson claims “equivalence in difference is the cardinal problem

of language and the pivotal concern of linguistics” and introduced the notion of

"equivalence in difference" On the basis of his semiotic approach to language, he suggests three kinds of translation (1959, 232)

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- Intralingual (within one language, i.e rewording or paraphrase)

- Interlingual (between two languages)

- Intersemiotic (between sign systems)

In his point of view, “there is ordinarily no full equivalence between units” because “the translator recodes and transmits the message from another source Thus translation involves two equivalent messages in two different codes” (p.139) The problem of meaning and equivalence lies in the structure and terminology of languages rather than the inability of one language to render a message into another language He acknowledges that "whenever there is deficiency, terminology may be qualified and amplified by loanwords or loan-translations, neologisms or semantic shifts, and finally, by circumlocutions" (p 234) Jakobson's theory requires the translator has to recode the source text message first and then s/he has to transmit it into an equivalent message for the target readers

code-1.2.2 Nida and Taber's Formal equivalence and dynamic equivalence

Nida quotes Belloc (1931) “There are, properly speaking, no such things as identical equivalents”, and affirms that “One must in translating seek to find the closest possible equivalent” (Nida, 1964, 159) Nida categorizes equivalence into two fundamental types: formal equivalence and dynamic equivalence

“Formal equivalence focuses attention on the message itself, in both form and content….One is concerned that the message in the receptor language should match as closely as possible the different elements in the source language.”

(Nida, 1964, 159) Apparently, formal equivalence focuses on the source text structure, whose role is to determine the accuracy of the translation Formal equivalence is used to get closer to the language and customs of the source culture

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The second type of equivalence proposed by Nida is dynamic equivalence (or functional equivalence), in which “the relationship between receptor and message should be substantially the same as that which existed between the original receptors and the message” (Nida, 1964, p.159) In Nida‟s viewpoint,

“naturalness” is a central requirement, and the goal of dynamic equivalence is to seek “the closet natural equivalent to the source language message” (Nida, 1964, p.166; Nida & Taber, 1982, p.12) To satisfy this requirement, the message has to

be adapted to the linguistic needs and cultural expectations of the reader

Formal equivalence focuses on style, meanwhile dynamic equivalence emphasizes on meaning The difference in focus of attention between these two kinds of equivalence may pose difficulty for the translator as which type should be prioritized when conflict arises The fundamental rule drawn up by Nida is

“correspondence in meaning must have priority over correspondence in style” if equivalence is to be achieved

Nida‟s theory of translation is significant in introducing a reader-based orientation to translation theory However, it is also a controversial theory Munday does summarize some of the comments on Nida‟s work in the book For instance, Van den Broeck (1978, p.40) and Larose (1989, p.78) claim that it is impossible to achieve equivalent effect Edwin Gentzler (2001) criticizes Nida‟s work for it intentionally converts the readers to the dominant discourse and ideas

of Protestant Christianity Nonetheless, Nida‟s theory is without a doubt a remarkable step in the development of Translation Studies, and exerts great influence on many subsequent translation scholars, among them are Peter Newmark and Werner Koller

Five years later, Nida and his colleague Taber published another book on translation called “The theory and practice of translation”, which Nida calls “the

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logical outgrowth of the previous book “Toward a science of translation” In the introduction, Nida claims that previously, translating only focused on the form of the message, meaning that translator only searched for “formal equivalence” - Nida‟s term However, the new focus in the response of the receptor or the reader, meaning that translator should look for what Nida calls “dynamic equivalence”

“Dynamic equivalence” was discussed in Nida‟s work in 1964, and was further discussed in this book The impacts of dynamic equivalence on the translation of grammatical meaning, referential meaning and connotative meaning are studied Furthermore, the effect on translation of idioms, discourse structure, language variety, types of discourse and style are also the topic of discussion

Nida‟s theory is proved to be a controversial one and receives quite a lot of disagreements and criticisms from other scholars The French theorist Henri Meschonnic (1987, p.77) argues that Nida‟s dynamic equivalence makes translation become adaptation Catford accused Nida of cultural imperialism (1969, 134) The Chinese scholar Qian Hu voiced the fiercest criticism Nida‟s concept is wrong because “Total compatibility between any two languages is precluded” He explained that even two speakers of the same language do not understand the same utterance the same way, let alone people speaking different languages That sounds reasonable and even Nida admitted that “Of course no communication, even within

a single language, is ever absolute (for no two people ever understand words in exactly the same manner), and we certainly cannot expect a perfect match between languages” (1969, 4-5)

Despite criticism against Nida‟s equivalence theory, Fawcett affirms that

“the book should be compulsory reading for all translators” (Translation and Language Linguistic theories explained, 58)

1.2.3 Catford and translation shifts

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Catford considers equivalence a central term and says that “the central problem of translation practice is that of finding target language translation equivalents” while “a central problem of translation theory is that of defining the nature and conditions of translation equivalence” (1965, p.21) He approaches the issue of textual equivalence through translation “shifts”, meaning "departures from formal correspondence in the process of going from the source language to the target language" (p.73) He categorizes shifts into four types, which are structure shifts, class shifts, unit shifts and intra – system shifts In his viewpoint, two utterances can be equivalent but they do not have the same meaning as different languages will verbalize different situational features Equivalence can be achieved when the source and target words are “interchangeable in a given situation” and this happens when “a source language and a target language text or item are relatable (at least some of) the same features of substance” (Catford, 1965, 50) Catford‟s theory may sound strange because his translation theory is closely related

to his linguistic theory He also acknowledges that his theory of textual equivalence has flaws and is the target of some criticism from other scholars However, his theory is no doubt valuable in the history of finding equivalence

Catford was very much criticized for his linguistic theory of translation One

of the most scathing criticisms came from Snell-Hornby (1988), who argued that Catford's definition of textual equivalence is 'circular', his theory's reliance on bilingual informants 'hopelessly inadequate', and his example sentences 'isolated and even absurdly simplistic' (p 19-20) She considers the concept of equivalence

in translation as being an illusion She asserts that the translation process cannot simply be reduced to a linguistic exercise, as claimed by Catford for instance, since there are also other factors, such as textual, cultural and situational aspects, which should be taken into consideration when translating In other words, she does not

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believe that linguistics is the only discipline which enables people to carry out a translation, since translating involves different cultures and different situations at the same time and they do not always match from one language to another

1.2.4 Kade and quantitative equivalence

Otto Kade (as quoted in Pym, 2010) develops a theory that categorizes equivalence at word or phrase- level into four modes:

“One – to- one”: one source language item corresponds to one target language item Most of the examples can be found in technical terms

“One- to – several” or “several-to-one”: an item in one language corresponds to several in the other language

“One- to- part”: only partial equivalents are available, resulting in “approximate equivalence”

“One – to- none”: no full equivalence is available in the target language

Kade‟s quantitative approach has been criticized because it is restricted to the word level and it assumes that the language system can be equated with concrete realization in text (Snell – Hornby, 1988, 20)

1.2.5 Baker's approach to translation equivalence

Baker (1992) explores the notion of equivalence at different levels, in relation to the translation process, including all different aspects of translation putting together the linguistic and the communicative approach

The first level is equivalence at word- level and above word- level Baker acknowledges that, in a bottom-up approach to translation, equivalence at word level is the first element to be taken into consideration by the translator When the translator starts analyzing the source text s/he looks at the words as single units in order to find a direct 'equivalent' term in the target language It is vital to notice

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that a single word can sometimes be assigned different meanings in different

languages This means that the translator should pay attention to a number of

factors when considering a single word, such as number, gender and tense 12)

(p.11-The second level is grammatical equivalence, referring to the diversity of grammatical categories across languages Grammatical rules may vary across languages and this may pose some problems in terms of finding a direct correspondence in the target language Baker claims that different grammatical structures in the source language and target language may cause remarkable changes in the way the information or message is carried across These changes may induce the translator either to add or to omit information in the target text because of the lack of particular grammatical devices in the target language itself Amongst these grammatical devices which might cause problems in translation Baker focuses on number, tense and aspects, voice, person and gender

The third level is textual equivalence, which refers to the equivalence between a source language text and a target language text in terms of information and cohesion Texture is a very important feature in translation since it provides useful guidelines for the comprehension and analysis of the source text which can help the translator in his or her attempt to produce a cohesive and coherent text for the TC audience in a specific context The translation has to decide whether or not

to maintain the cohesive ties as well as the coherence of the SL text, based on three main factors, that is, the target audience, the purpose of the translation and the text type

The final level is pragmatic equivalence, referring to implicatures and strategies of avoidance during the translation process Implicature is not about

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what is explicitly said but what is implied Therefore, the translator needs to work out implied meanings in translation in order to get the source text message across The role of the translator is to recreate the author's intention in another culture in such a way that enables the target reader to understand it clearly

1.2.6 Koller's theory of equivalence

The thesis's focus is the theory of equivalence proposed by Koller According to Koller (1979), equivalence refers to the relationship between source language text and target language text, rather than between two languages When mentioning the concept of equivalence, it is necessary to define the frame and conditions Then, if the target text fulfill certain conditions as defined, there exists equivalence between

a given source text and a given target text Koller claims that the relevant conditions refer to such aspects as content, style, function, etc thus, the requirement of equivalence has the following form: quality (qualities) X in the source language text must be preserved, or at least the translation must seek to preserve them as far as possible

After defining the conditions of equivalence, Koller categorizes equivalence into five types The first type is denotative equivalence, which is “related to equivalence of extralinguistic content of a text” This kind of equivalence focuses

on the lexicon, meaning the words and syntagma of a language From Koller's point of view, denotative equivalence is in principle attainable

The second types of equivalence and also the focus of the study is connotative equivalence, which is related to the lexical choices, especially between near – synonyms Koller categorizes the following connotative dimenstions relevant for translation:

(d) Connotations of medium (spoken language, written language)

(e) Connotations of stylistic effect (archaic, pompous, artificial, fashionable, euphemistic, plain, descriptive, etc)

(f) Connotations of frequency (common, uncommon)

(g) Connotations of register (normal usage, technical, medical)

(h) Connotations of evaluation (positively evaluative, pejorative, ironic, etc) (i) Connotations of emotion (emotive, neutral)

Koller states that the achievement of connotative equivalence is one of the hardest tasks of the translator Therefore, it is important to focus on particular lexical and syntactic areas that are connotatively "loaded" The translator needs to characterize the connotative dimensions of individual languages to analyse the features and structures, then relate these to the connotative dimensions of a given target language Problematic cases in translations of particular texts can be examined, and translation procedures involved in the area of connotation may be identified

The third type is text – normative equivalence, which is related to text – type specific features

The fourth type is pragmatic equivalence, which is oriented towards the receiver of the text or message The achievement of pragmatic equivalence means that the text is translated to reach the intended receiver

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The last type is formal equivalence, which is related to the form and aesthetics of the text, including wordplays and stylistic features of the source text

To achieve formal equivalence, the translation must exploit the formal possibilities

of the target language text or even create new forms if necessary

It is impossible to achieve all these equivalences in one translation Hence, the translator must set up a hierarchy of values to be preserved in translation, or in other words, the translator must order the equivalences hierarchically according to the communicative situations

1.3 Translation of literature

According to Tokarz, B (quoted in Fast, P & Osadnik, W.M), “a literary translation is a product of translatorial process, comprised of those linguistic texts which serve the aesthetic ends in the communication process They emotively influence the receptor by their mode of expression, engaging his/her imagination, intellect and sensitivity A literary translation is characterized by its intersubjectivity and the level of extra – and intratextual communication, as well as its intertextuality and repicability in the ontological perspective with regard to its form of existence within the universe of texts.”

Legezynska (1986, p 11- 44) claims that because the translator being a receptor of the original and the second author of the translation at the same time, in

a translation, the image of the original‟s author is parallel to the one of the translator

Landers as a translation theorist and translator himself states the requirement for a literary translator “In addition to a thorough mastery of the source language, the literary translator must possess a profound knowledge of the target language In reality, being in love with one or both languages, if not an absolute necessity, is a

Stockwell (2002, a), Venuti (1996), Pilkington (2000), Berman (1985/2000) all mention the typical features of literary translation, and collected by Baker, including: they have a written – based form, they enjoy canonicity (high social prestige), they fulfill and effective/aesthetic rather than transactional or informational function, they aim to evoke emotions and/or entertain rather than influence or inform; they have no real- world truth- value (meaning they are judged

as fictional, whether fact-based or not); they feature words, images with ambiguous and/or indeterminable meanings; they are characterized by “poetic” language use Conventional “core literary” genres are drama, poetry, and fictional prose However, a text only display some of the features listed above

According to Baker, the focus of literary translation studies is source- target text relations Specifically, equivalence and communicative purpose are the main focus of attention Holmes (1988, 53) & Jones (1989) claim that the pivotal issue regarding equivalence is the translator‟s ability to convey exactly the stylistic features of literary texts In case that situation is impossible, what should be given priority? Another school of thought is that the translator should attach importance

to communicative effectiveness instead of equivalence In terms of communicative purpose, the question posed here is to what extent should the translator be loyal to the original text?

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According to Parks (1998/2007) & Boase – Beier (2006a), another concern is translation of literary text is style The writer‟s “cultural space – time” as well as his/her intention and attitude are conveyed through the style of the text

1.4 Translation methods

According to Newmark (1988), the central problem of translating has always been whether to translate literally or freely He proposes eight methods, ranging from source text oriented methods to target text oriented ones

1.4.1 Word-for-word translation

The typical feature of this method is that the source language word-order is preserved and words are translated singly by their most common meanings, out of context Cultural words are translated literally Word-for-word translation method

is used mainly to understand the mechanics of the source language or construe a difficult text as a pre - translation process

1.4.2 Literal translation

In this kind of translation method, the source language grammatical constructions are converted to their nearest equivalents but the words are still translated singly, out of context This method is used as a pre – translation process 1.4.3 Faithful translation

Faithful translation aims at reproduce the precise contextual meaning of the original within the constraints of the target language grammatical structures Cultural words are transferred and grammatical and lexical "abnormality" are preserved in the translation

1.4.4 Semantic translation

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This method attaches great importance to the aesthetic value (the beautiful and natural sounds of the source language text, compromising on meaning where appropriate) Less important cultural words may be translated by culturally neutral third or functional terms but not by cultural equivalents Semantic translation offers great flexibility and creation

1.4.5 Communicative translation

Communicative translation attemps to render the exact contextual meaning

of the original so that both the content and language are readily acceptable and comprehensible to the target readers

1.4.6 Idiomatic translation

This kind of translation method reproduces the message of the original but tends to prefer colloquialism and idioms where these do not exist in the original 1.4.7 Free translation

Free translation reproduces the matter without the manner, or the content without the form of the original This method often produces much longer paraphrase than the original, resulting in prolix and pretentious translation

1.4.8 Adaptation

This is the "freest" form of translation This method is mainly used for plays, in which the themes, characters and plots are usually preserved; the source language culture is converted to the target language culture and the text is rewritten

1.5 Translation procedures

Translation methods relate to whole texts, while translation procedures are used for sentences and the smaller units of language Newmark introduces various procedures that can be employed by translators

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1.5.1 Literal translation

Newmark (1988) claims that literal translation is the most important and basic procedure Literal translation ranges from one word to one word through group to group, collocation to collocation, clause to clause, to sentence to sentence 1.5.2 Transference

Transference is the process of transferring a source language word to a target language text as a translation procedure The word then becomes a "loan word" Proper names are often transferred

1.5.5 Functional equivalent

This procedure requires the use of a culture – free word, sometimes with a new specific term It neutralizes or generalizes the source language word This procedure, which is applied to cultural words, is the most accurate way of translating as it deculturalize a cultural word

1.5.6 Descriptive equivalent

1.5.8 Through translation

Through translation is the literal translation of common collocations, names

of organizations Normally, this procedure should be used only when they are already recognized terms

1.5.9 Shifts or transpositions

This procedure involves a change in the grammar from source language to target language This procedure may be used when a source language grammatical structure does not exist in the target language, or when literal translation is grammatically possible but may not accord with natural usage in the target language Another kind of transpositions is the replacement of a virtual lexical gap

by a grammatical structure Transposition is the only procedure concerned with grammar

1.5.10 Modulation

Modulation is defined as a variation through a change of viewpoint, of perspective, and of catergory of thought There are several types of modulation, such as "positive for double negative", "part for the whole", "abstract for concrete",

"cause for effect", "one part for another", "active for passive", "reversal of terms",

"change of symbols"

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1.5.11 Compensation

This occurs when loss of meaning, sound-effect, metaphor or pragmatic effect in one part of a sentence is compensated in another part, or in a contiguous sentence 1.5.12 Componential analysis

This is the splitting up of a lexical unit into its sense components, often one-to-two, -three or –four translatios

1.5.13 Paraphrase

This is an amplification or explanation of the meaning of a segment of the text It is used in an "anonymous" text when it is poorly written, or has important implications or omissions

1.5.14 Couplets

Couplets, triplets, quaderuplets combine two, three or four of the above - mentioned procedures respectively for dealing with a single problem They are particularly common for cultural words

1.6 The author Margaret Mitchell and the novel “Gone with the wind”

1.6.1 The author Margaret Mitchell

Margaret Mitchell was the author of “Gone with the wind” Published in

1936, the novel sold more than a million copies in the first six months, which was phenomenal considering it was the Great Depression era Margaret Mitchell was awarded the Pulitzer Prize for the book in 1937 More than 30 million copies have been sold worldwide in thirty-eight countries It has been translated into twenty-seven languages Every year, there are approximately 250,000 copies are still sold

Margaret Munnerlyn Mitchell was born on November 8, 1900, in Atlanta A number of her family members had fought in wars, which can partly explain why the setting of “Gone with the wind” is the Civil War Mitchell‟s mother's family

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Ireland and eventually settled on a plantation near Jonesboro in Fayette County These details were all portrayed in her characters in the novel

From 1914 to 1918 Mitchell attended the Washington Seminary, a prestigious Atlanta finishing school, where she was a founding member and officer

of the drama club She was also the literary editor of Facts and Fancies, the high

school yearbook She was president of the Washington Literary Society

At a dance in the summer of 1918 Mitchell met Clifford Henry, a wealthy and socially prominent from New York The two fell in love and became engaged shortly before he was shipped overseas He was killed in October 1918 while fighting in France

In September 1918 Mitchell entered Smith College in Northampton, Massachusetts, where she began using the nickname "Peggy" In January her mother contracted influenza and died the day before her daughter reached home Mitchell completed her freshman year at Smith, then returned to Atlanta to take her place as mistress of the household and to enter the upcoming debutante season

Soon Mitchell met Berrien Kinnard Upshaw, who was from a prominent Raleigh, North Carolina, family They were wed in 1922, but the marriage was brief After four months Upshaw left Atlanta for the Midwest and never returned The marriage was annulled two years later

In the same year that she married, Mitchell landed a job with the Atlanta Journal Sunday Magazine She used "Peggy Mitchell" as her byline Her

interviews, profiles, and sketches of life in Georgia were well received During her

four years with the Sunday Magazine, Mitchell wrote a huge number of articles,

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worked as a proofreader, substituted for the advice columnist, reviewed books However, complications from a broken ankle led her to end her career as a journalist

Mitchell's second marriage was to John Robert Marsh on July 4, 1925 In

1926, to relieve the boredom of being cooped up with a broken ankle, Mitchell

began to write Gone With the Wind She completed the majority of the book in

three years She wrote the last chapter first and the other chapters in no particular order She eventually accumulated almost seventy chapters

In April 1935 Harold Latham, an editor for the Macmillan publishing company in New York City, toured the South looking for new manuscripts Latham heard that Mitchell had been working on a manuscript and asked her if he could see it, but she denied having one When a friend commented that Mitchell was not serious enough to write a novel, Mitchell gathered up many of the envelopes and took them to Latham at his hotel He had to purchase a suitcase to carry them He read part of the manuscript on the train to New Orleans, Louisiana, and sent it straight to New York By July Macmillan had offered her a contract She received a $500 advance and 10 percent of the royalties

As she revised the manuscript, Mitchell cut and rearranged chapters, confirmed details, wrote the first chapter, changed the name of the main character (originally called Pansy), and struggled to think of a title that suited her Titles

considered included Tomorrow Is Another Day, Another Day, Tote the Weary Load, Milestones, Ba! Ba! Blacksheep, Not in Our Stars, and Bugles Sang True

Finally she settled on a phrase from a favorite poem “I have forgot much, Cynara! gone with the wind, / Flung roses, roses riotously with the throng.” Published in

1936, Gone With the Wind was 1,037 pages long and sold for three dollars

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Gone With the Wind was a phenomenal success and received rave reviews

Overnight, Mitchell became a celebrity and remained very much in the public spotlight through the production and premiere of the film based on her novel in

1939 She was in constant demand for speaking engagements and interviews

Gone With the Wind was Mitchell‟s only published novel At her request, the

original manuscript and all other writings were destroyed Possibly one of the reasons that Mitchell never wrote another novel was that she spent so much time working with her brother and her husband to protect the copyright of her book

abroad Up until the publication of Gone With the Wind, international copyright

laws were ambiguous and varied from country to country Correspondence also took much of her time During the years following publication, she personally answered every letter she received about her book With the outbreak of World War II (1941-45), she worked tirelessly for the American Red Cross, even outfitting a hospital ship She also set up scholarships for black medical students

On August 11, 1949, Mitchell and her husband decided to go to a movie, A Canterbury Tale, at the Peachtree Art Theatre Just as they started to cross

Peachtree Street, near 13th Street, Mitchell was hit by a speeding taxi She was rushed to Grady Hospital but never regained consciousness During the five days before she died, crowds waited outside for news U.S president Harry Truman, Georgia governor Herman Talmadge, and Atlanta mayor William B Hartsfield all asked to be kept informed of her condition Special phone lines were installed at Grady Hospital, and friends manned the lines in four-hour shifts Mitchell died on August 16, 1949, and was buried in Oakland Cemetery in Atlanta

1.6.2 The novel “Gone with the wind”

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Scarlett O‟Hara, a pretty Southern belle, lives on Tara, a large plantation in Georgia She concerns herself only with her numerous suitors and her desire to marry Ashley Wilkes One day she hears that Ashley is engaged to Melanie Hamilton, his frail, plain cousin from Atlanta At a barbecue at the Wilkes plantation the next day, Scarlett confesses her feelings to Ashley He tells her that

he does love her but that he is marrying Melanie because she is similar to him, whereas he and Scarlett are very different

The Civil War begins Charles Hamilton, Melanie‟s timid, dull brother, proposes to Scarlett She spitefully agrees to marry him, hoping to hurt Ashley Over the course of two months, Scarlett and Charles marry, Charles joins the army and dies of the measles, and Scarlett learns that she is pregnant After Scarlett gives birth to a son, Wade, she becomes bored and unhappy She makes a long trip

to Atlanta to stay with Melanie and Melanie‟s aunt, Pittypat The busy city agrees with Scarlett‟s temperament, and she begins to see a great deal of Rhett Rhett infuriates Scarlett with his bluntness and mockery, but he also encourages her to flout the severely restrictive social requirements for mourning Southern widows

As the war progresses, food and clothing run scarce in Atlanta Scarlett and Melanie fear for Ashley‟s safety After the bloody battle of Gettysburg, Ashley is captured and sent to prison, and the Yankee army begins bearing down on Atlanta Scarlett desperately wants to return home to Tara, but she has promised Ashley she will stay with the pregnant Melanie, who could give birth at any time

On the night the Yankees capture Atlanta and set it afire, Melanie gives birth

to her son, Beau Rhett helps Scarlett and Melanie escape the Yankees, escorting them through the burning streets of the city, but he abandons them outside Atlanta

so he can join the Confederate Army Scarlett drives the cart all night and day

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through a dangerous forest full of deserters and soldiers, at last reaching Tara She arrives to find that her mother, Ellen, is dead; her father, Gerald, has lost his mind; and the Yankee army has looted the plantation, leaving no food or cotton Scavenging for subsistence, a furious Scarlett vows never to go hungry again

Scarlett takes charge of rebuilding Tara She murders a Yankee thief and puts out a fire set by a spiteful Yankee soldier At last the war ends, word comes that Ashley is free and on his way home, and a stream of returning soldiers begins pouring through Tara One such soldier, a one-legged homeless Confederate named Will Benteen, stays on and helps Scarlett with the plantation One day, Will brings terrible news: Jonas Wilkerson, a former employee at Tara and current government official, has raised the taxes on Tara, hoping to drive the O‟Haras out

so that he might buy the plantation Distraught, Scarlett hurries to Atlanta to seduce Rhett Butler so that he will give her the three hundred dollars she needs for taxes Rhett has emerged from the war a fabulously wealthy man, dripping with earnings from his blockade-running operation and from food speculation However, Rhett is

in a Yankee jail and cannot help Scarlett Scarlett sees her sister‟s beau, Frank Kennedy, who now owns a general store, and forges a plan Determined to save Tara, she betrays her sister and marries Frank, pays the taxes on Tara, and devotes herself to making Frank‟s business more profitable

After Rhett blackmails his way out of prison, he lends Scarlett enough money to buy a sawmill To the displeasure of Atlanta society, Scarlett becomes a shrewd businesswoman Gerald dies, and Scarlett returns to Tara for the funeral There, she persuades Ashley and Melanie to move to Atlanta and accept a share in her lumber business Shortly thereafter, Scarlett gives birth to Frank‟s child, Ella Lorena

Scarlett and Rhett‟s marriage begins happily, but Rhett becomes increasingly bitter and indifferent toward her Scarlett‟s feelings for Ashley have diminished into a warm, sympathetic friendship, but Ashley‟s jealous sister, India, finds them in a friendly embrace and spreads the rumor that they are having an affair To Scarlett‟s surprise, Melanie takes Scarlett‟s side and refuses to believe the rumors

After Bonnie is killed in a horse-riding accident, Rhett nearly loses his mind, and his marriage with Scarlett worsens Not long after the funeral, Melanie has a miscarriage and falls very ill Distraught, Scarlett hurries to see her Melanie makes Scarlett promise to look after Ashley and Beau Scarlett realizes that she loves and depends on Melanie and that Ashley has been only a fantasy for her She concludes that she truly loves Rhett After Melanie dies, Scarlett hurries to tell Rhett of her revelation Rhett, however, says that he has lost his love for Scarlett, and he leaves her Grief-stricken and alone, Scarlett makes up her mind to go back to Tara to recover her strength in the comforting arms of her childhood nurse and slave, Mammy, and to think of a way to win Rhett back

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1.7 The translator Duong Tuong and the translation “Cuốn theo chiều gió”

1.7.1 The translator Duong Tuong

Tran Duong Tuong was born in August 4th 1932 in Nam Dinh province Duong Tuong started his schooling at Nam Dinh Then he moved to Hanoi to study

at secondary school When the August Revolution broke out, Duong Tuong quit school and became a focal point for Viet Minh (The Vietnam Revolutionary League) in Vinh Yen His family forced him to back to school After several months of studying at Phan Chu Trinh high school, he quit again and joined the army in 1949

In 1955, Duong Tuong was demobilized and has lived in Hanoi since then

He went to old bookstores in Ba Trieu street, Sinh Tu street, Son Tay street to look for good books He spent most of his free time reading books in libraries

Duong Tuong is a well – rounded artist He is a translator, a poet, a journalist, a music, theatre, literary, and movie critic

He has translated more than 50 works of various languages, many of which are great works, such as “Anna Karenina” (Lev Tolstoy), “Wuthering Heights” (Emily Bronte), “Alexis Zorbas” (Nikow Kazantzakis), “The Tin Drum” (Gunter Grass), etc “Gone with the wind” is also translated by Duong Tuong for quite a long time ago However, this is considered the most successful translation of the original novel

1.7.2 The translation “Cuốn theo chiều gió”

“Cuốn theo chiều gió” was published in 1988 by Literature Publishing House and since then has proved to be one of the most favourite novel of many generations Millions of copies have been sold and still there are requests for reprint even

29 though this book was first published more than 20 years ago This is a huge success which is not easy to achieve for many translated works

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CHAPTER 2 – DEVELOPMENT

As stated in the introduction, this part deals with different dimensions of connotations as well as the procedures used to achieve equivalence The connotation dimensions are categorized according to Koller's theory, and each part covers one type of connotative equivalence

2.2 Connotations of socially determined usage

The language used in “Gone with the wind” belongs to two ends, on the one end is the language of the upper class, on the other end is that of the slaves, the uneducated in the society The distinct features in the language of the two classes are clearly illustrated in the novel

2.2.1 The language of the upper class

Language is one of the symbols of social class Each class has its own and unique style In the novel, the upper class's language is highly formal, mainly manifested by the use of formal grammatical structures and word choices In order

to achieve this kind connotation, it is important for the translation to convey the formality of the language in the translation First of all, consider the following examples taken from the novel The formal expressions are italicized for better illustration

Example 1: I fear I cannot agree with you about Mr Thackeray‟s works I fear he is

not the gentleman Mr Dickens is

Translation: Em không thể đồng ý với anh về tác phẩm của Thackore Em cho rằng ông ta không phong lưu mã thượng như Đickenz

Example 2: Gentlemen, may I say a word?

Translation: Thưa quí vị, tôi có thể nói một câu được không?

Example 3: You promised to show me your library, sir Would it be a too great favor to ask to see it now?

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Translation: Thưa ngài, ngài đã hứa là sẽ giới thiệu với tôi thư viên của ngài Giả

dụ tôi muốn xem ngay bây giờ, có phải là đòi hỏi quá đáng không?

Example 4: Sir, you would have made known your presence

Translation: Thưa ông, lẽ ra từ nãy ông phải lên tiếng cho biết là ông đang ở đó Example 5: Ashley, you have not favoured us with your opinion!

Translation: Asli, anh chưa hạ cố cho chúng tôi biết ý kiến của anh

Example 6: Permit me! I hardly hoped that you would recall me, Miss O‟Hara! Translation: Cho phép tôi…Tôi chẳng mấy hi vọng là tiểu thư còn nhớ ra tôi, thưa

tiểu thư; Âuhero

Example 7: May I lead you to a window?

Translation: Tiểu thư cho phép tôi dìu ra cửa sổ?

Example 8: We must all give grateful thanks to the charming ladies whose

indefatigable and patriotic efforts

Translation: Tất cả chúng ta phải chân thành cảm ơn các vị phu nhân và tiểu thư

tuyệt vời đã cố gắng không biết mệt, với lòng yêu nước nồng nàn

Example 9: I was greatly disturbed to hear of your recent conduct

Translation: Mẹ vô cùng lo lắng khi nghe nói về hành vi của con gần đây

Example 10: Accept, dear Madam, this token of my reverence for your courage

and do not think that your sacrifice has been in vain, for this ring has been redeemed at ten times its values

Translation: Bà thân mến, xin bà nhận cho biểu hiện này của lòng kính phục đối

với sự can đảm của bà và đừng nghĩ rằng bà đã hy sinh vô ích, vì chiếc nhẫn này được chuộc lại với số tiền gấp mười giá trị của nó

In the source text, such expressions as “Gentlemen”, “Sir”, “May I….”, “I was greatly disturbed….”, “favour us with… ”, "permit me", "I fear…" etc are the illustrations of the formal language Duong Tuong attaches great importance to this

The most powerful and rich families in the novel are also the ones who own the most number of slaves In their culture, the black work for them in exchange of food, shelter and care Therefore, the Southern people consider it normal to own slaves When talking to their slaves, the upper class uses a different kind of language, which is more informal and full of commands Let‟s consider the following examples:

Original sentences Translated sentences

I‟m going to beat your hide off for that Tao thì đánh tuốt xương mày ra vì cái

thói ấy bây giờ You ain‟t going to get anything

Because you are going home and tell

Ma that we won‟t be home for supper

Mày sẽ chẳng được ăn gì…Bởi vì mày phải về thưa với bà là chúng tao không

về nhà ăn tối

I‟ll make a hant out of you if you don‟t

get out of this wagon

Nếu mày không ra khỏi xe thì tao sẽ biến mày thành ma

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Now you hurry right straight back Vậy mày phải đi thật nhanh, rồi về

thẳng đây, nghe chưa

Never mind what she said Chị ấy bảo gì tao không cần biết

And if you don‟t hurry back this time,

I‟ll skin you alive

Nếu lần này mày không khôn hồn mau mau trở về, tao sẽ lột da sống đó

I don‟t know I‟m telling you to ask for

news

Tao không biết vì thế tao mới bảo mày

đi hỏi tin

And if you so much as breathe to her

where the fighting is, I‟ll sell you South

as sure as gun‟s iron

Và nếu mày thở ra một câu nào để cô ấy biết là đang đánh nhau ở đâu, tao sẽ bán mày cho bọn mãi nô miền Nam, chắc chắn như một với một là hai vậy

You black liar – what do you mean? Con cuội cái da đen này….mày nói thế

nghĩa là thế nào

Oh, hush! Ồ, câm đi!

Well, I‟ll wear you out if you don‟t Được thế thì tao sẽ róc xương mày nếu

mày không đi You‟ll go or I‟ll sell you down the river Mày không đi thì tao đem bán mày cho

bọn mãi nô ở dưới hạ nguồn Run, you goose Chạy đi, đồ ngu

You‟re a fool nigger…and if I ever get

the use of my arm again, I‟ll wear this

whip out of you

Mày là một con nhọ vô tích sự….Và nếu tao mà còn cử động được cánh tay thì tao sẽ đánh mày kỳ đến gẫy cái roi này

Then hush Thế thì câm mồm đi

Lights? Why is the house so dark, Pork?

Bring candles

Đèn đóm đâu cả? Tại sao nhà tối om thế, Pork? Mang nến lại đây!