INTRODUCTION
Rational of the study
In today's interconnected world, the need for a common language has become essential for fostering deeper understanding among people from different countries English has emerged as the global language, playing a crucial role in various aspects of life, including politics, economics, education, and everyday interactions Its significance in modern society cannot be overstated, as it facilitates communication and collaboration across diverse fields.
Mastering English as a second language poses a significant challenge for many around the globe With nearly a decade of experience in language learning, I emphasize the critical role of grammar in acquiring new languages, including English The field of linguistics has explored various grammatical frameworks to understand English, with systemic functional grammar (SFG) by M.A.K Halliday standing out for its focus on language as a tool for social interaction and relationship-building (Halliday, 2004) SFG serves as a valuable resource for analyzing both spoken and written texts effectively (Halliday, 2004: xv) This approach to grammar emphasizes the interplay of form and meaning, viewing language not in terms of right or wrong but as appropriate or inappropriate for effective communication (Thompson, 1996: 6; Eggins, 2004: 22).
My thesis examines reporting strategies within the projection relation of clause complexes, a fascinating aspect of Systemic Functional Linguistics (SFL) A key motivation for this research is the translation of reports in novels, particularly in the acclaimed war novel "Nỗi buồn chiến tranh," which has garnered significant recognition.
The Foreign Fiction Prize highlights the exceptional talent of writers who vividly capture the essence of war through their narratives Notably, the translated work by Phan Thanh Hao and Frank Palmos was recognized as one of the Best 50 Translations of the 20th Century by the Society of Authors in London in 2010, underscoring its high regard in literary circles Additionally, SFG serves as a valuable resource for examining the translation process and identifying the reporting strategies that differentiate the original novel from its translated counterpart.
Significance of the study
The study's importance extends beyond theoretical insights, as it aims to provide practical applications for translation Additionally, the contrastive analysis of the original and translated novel is anticipated to aid in translation efforts and serve as a valuable reference for ESL linguistics courses that incorporate Halliday’s Systemic Functional Grammar (SFG) theory.
Aims of the study and research questions
This study aims to investigate the similarities and differences in reporting strategies used by the author of the source text, Nỗi buồn chiến tranh, and the translator of the target text, The Sorrow of War, through the lens of systemic functional grammar (SFG) To achieve this objective, three key research questions are formulated for analysis.
(i) What reporting strategies does the writer employ to construct the source language text?
(ii) What reporting strategies does the translator employ to construct the target language text?
(iii) What are the similarities and differences between the source language text and target language text in terms of reporting strategies?
Scope of the study
This study compares the use of reporting strategies based on Systemic Functional Grammar (SFG) theory in a Vietnamese novel and its translated version To maintain focus and manageability, the research will adhere to specific limitations aligned with the paper's objectives.
- Only issues relating to above the clause, specifically reports as one kind of projection, are taken into consideration
- The approach of grammar used to analyze in the paper is Systemic Functional Grammar developed by M.A.K Halliday
This minor thesis focuses solely on a comparative analysis of Chapter 1 from the original text, consisting of 37 pages, and its translated counterpart, which contains 31 pages.
Methodology
This is a comparative study; hence, the following steps should be taken so as to make full analysis of the research paper
Firstly, the ST and the TT are analysed for reporting clause complexes, using SFG as the analytical framework
Secondly, the reporting clause complexes in the ST and TT are further analysed to reveal reporting strategies in the two texts
Finally, the reporting strategies in the ST and TT are compared to reveal similarities and differences
To achieve the study's objectives, two sequential methods will be employed: descriptive and analytical The overall research methodology utilized in this paper is inductive, ensuring comprehensive and effective research outcomes.
Organization of the thesis
The thesis is designed in five main chapters
Chapter I, Introduction, presents the rationale for choosing the topic, the aims, scope of the study and methods to be applied in the paper and how the study is designed
Chapter II, Theoretical Background, offers a comprehensive overview of the research materials, including both the Vietnamese and English versions of the novel, along with essential details about the author and translators It also delves into the principles of systemic functional grammar, with a specific focus on the concepts of projection and reports.
Chapter III, Research methodology, shows a guiding framework on which the research is based on It consists of research questions, research method and analytical framework
Chapter IV, provides a detailed description of data analysis Some comparisons including the similarities and differences and some interpretations of the findings of the study are also presented
Chapter V, the Conclusion, summarizes the study's findings, focusing on three key research questions It highlights the similarities and differences in reporting strategies between the source novel and its translated version Additionally, this section discusses implications for translation practices and offers suggestions for future research.
THEORETICAL BACKGROUND
Overview of research materials
2.1.1 The source novel and the translated version
The novel "Nỗi buồn chiến tranh," written by Bao Ninh in 1987, explores the psychological aftermath of war rather than focusing solely on the physical suffering and death it causes Originally titled "Thân phận của tình yêu," this work serves as Bao Ninh's graduation project at the Nguyen Du Writing School, offering a poignant reflection on human derangement in the wake of conflict.
The novel "School" quickly gained popularity in the Vietnamese literary scene and has since been translated into multiple languages for publication in various regions and countries While many translations were adapted from the English version by Palmos, three were directly translated from the original Vietnamese text, including the French version by Phan Huy Đường in 2004 and the Japanese version by Okawa Hitoshi.
The novel, originally published in 1999 and translated into English by Phan Thanh Hao in collaboration with Australian journalist Frank Palmos, has received numerous accolades, including the Vietnam Writers’ Association Award (1991), the Shim Hun Literary Award in South Korea (2016), the Asia Literature Award from Nihon Keizai Shimbun in Japan (2011), and the Independent Foreign Fiction Prize in the UK Recognized as "the most touching novel about the war in Vietnam" and "the biggest achievement of Vietnam’s reformed literature," it has profoundly resonated with readers, earning the distinction of "touching the hearts of humans."
2004 under the title The Sorrow of War It is considered as the best translation of all
In "The Sorrow of War," North Vietnam's renowned ex-soldier author transforms his nation's struggle against South Vietnam and the United States into a poignant elegy This work stands out as it addresses the often-overlooked narrative of the Vietnam conflict, highlighting that while the pain has been extensively recounted in the West, North Vietnam's perspective has remained largely silent until now.
"The Sorrow of War" is a poignant novel that begins with Kien, an infantry cadre from Hanoi, tasked with the grim duty of retrieving and burying the dead after one of the war's bloodiest battles The narrative shifts between Kien's youthful experiences of adolescent love and his struggles as a writer in postwar Hanoi, where he grapples with the horrors he has witnessed Through this journey, Kien seeks to understand the complexities of death, love, loss, and his own survival amidst the chaos of war.
2.1.2.1 The ST Vietnamese author – Bao Ninh
Bao Ninh, born Hoàng Ấu Phương on October 18, 1952, in Nghe An, is a prominent Vietnamese novelist and essayist, renowned for his acclaimed novel, *The Sorrow of War* At the age of seventeen, he joined the Glorious 27th Youth Brigade during the Vietnam War, where he was one of only ten survivors out of five hundred soldiers His vivid memories of intense battles and the pervasive fear experienced by Vietnamese soldiers are poignantly captured in his writing, illustrating the devastating impact of war, such as the terrifying destruction caused by American bombings, which transformed lush jungles into fiery landscapes.
Bao Ninh, primarily recognized for his acclaimed novel "The Sorrow of War," has also made significant contributions to literature through his diverse works, including the 1987 short story collection "Camp of Seven Dwarves" and the poignant short story "A Marker on the Side of the Boat" (Khắc dấu mạn thuyền).
2.1.2.2 The TT translator: Phan Thanh Hao and Frank Palmos
Phan Thanh Hao, born in 1950, is a renowned translator celebrated for her diverse body of work, which includes historical fiction, war narratives, action-adventure tales, personal stories, and biographies Throughout her career, she has published 17 works across 50 publications in three languages, with her writings held in 2,157 libraries A passionate advocate for the experiences of Vietnamese women soldiers during and after the war, some of her notable translations include "The Sorrow of War," which has 12 editions published in English from 1993 to 2018, and "Even the Women Must Fight" by Karen Turner-Gottschang, with six editions released since 1998.
Phan Thanh Hao has played a pivotal role in introducing Vietnamese literature to American audiences, notably through her translation of "The Sorrow of War," which became one of the fifty Best Translations of the 20th Century and was broadcast as a serial on Vietnam National Radio from 1990 to 1991 This novel marked the first introduction of Vietnamese literature to American readers Alongside authors Hồ Anh Thái, Lê Minh Khuê, Nguyễn Quang Thiều, and Nguyễn Nguyệt Cầm in the 1990s, she contributed significantly to the promotion of Vietnamese literary works in the USA In 2003, they published "Love after War" (Tình yêu thời hậu chiến), a collection of 50 excellent translated short stories, which was recognized as one of the 100 best books of that year by The Annals of San Francisco.
Frank Palmos, a distinguished journalist, author, and translator, has gained recognition for his contributions in South East Asia He graduated with degrees in Journalism and Indonesian Studies from the University of Melbourne and, at just 24 years old, became Australia's youngest Foreign Correspondent in the region in 1964.
He established the first foreign newspaper bureau in Jakarta, Indonesia, serving as the bureau chief for the Sydney Morning Herald-Sun groups, which represented multiple Australian and international daily newspapers From 1965 to 1969, he held the position of Dean of Foreign Correspondents and co-founded the Djakarta Foreign Correspondents Club Additionally, he contributed as a special writer for prominent publications such as The New York Times, Washington Post, The Economist, Groene Amsterdammer, and Vrij Nederland.
From 1964 to 1966, he served as an honorary translator for Indonesia's first President Sukarno and various political leaders During the Vietnam War, from 1965 to 1968, Palmos worked as a war correspondent and was the only survivor of a Viet Cong ambush that targeted five western correspondents in Cholon on May 5, 1968, amid the second Tet Offensive.
Frank Palmos documented his missions and a two-year investigative search from 1988 to 1990 in his autobiography, “Ridding the Devils.” He later became a trustee for the Indochina Media Memorial Foundation and contributed to the book ‘Requiem’ (Random House, 1997), honoring 135 photographers and correspondents who lost their lives in the Indochina Wars Throughout his career, Palmos received numerous awards in art and literature, including the Australian Winston Churchill Fellowship for Pioneering Journalism in Asia in 1971-1972 He was also a Television Journalism Logie winner in 1974 as part of the Current Affair Channel 9 team, which covered significant events such as Cyclone Tracy, with contributions from notable figures like Executive Producer Michael Schildberger and Producer Graham Coddington.
Systemic functional grammar and the clause
Systemic functional grammar, developed by M.A.K Halliday and Matthiessen (2004), is a grammatical model that emphasizes a functional rather than a formal approach This model is termed "functional" because it represents texts in three closely related ways, focusing on their conceptual framework.
According to Halliday, language is inherently functional, evolving to meet human needs and reflecting how it is used The core components of meaning in language are its functional elements, each defined by its role within the broader linguistic system Halliday's grammar model, known as systemic grammar, includes detailed system networks, such as mood types, that pertain to various aspects of English grammar His theory identifies three primary functions of language, referred to as metafunctions.
- The ideational function is to organize speaker’s or writer’ experience of the real world, including the inner world of his own consciousness
- The interpersonal function is to indicate, establish or maintain social relationship between people
- The textual function is to provide links with language itself and with the features of the situation in which it is used
Different systems realize the functions of language, with the first function, Transitivity, representing the grammar of processes—material, mental, relational, verbal, behavioral, and existential—along with their participants and circumstances The second function, interpersonal, is expressed through the Mood structure, which consists of Mood and Residue Mood carries the syntactic burden and includes the Subject, a nominal component, and the Finite, a verbal component that makes the proposition finite The Residue contains the Predicator, Complement, and Adjunct, with the Predicator represented by a verbal group, the Complement typically being a nominal group, and the Adjunct often functioning as an adverbial group The third function, the textual function, is realized through Thematic structure, which includes Theme and Rheme The Theme serves as the message's starting point and sets the context for the Rheme, which provides additional information and develops the Theme According to Halliday and Matthiessen, these three meanings in language are essential for fulfilling functions in social life.
Systemic functional linguistics, as highlighted by Hoang Van Van (2006: 161), offers a comprehensive set of analytical tools that address various linguistic challenges, including phonology, grammar, semantics, and discourse This theory examines all language levels, focusing on phonological elements such as intonation and rhythm, while integrating lexico-grammar, which combines vocabulary and grammar into a cohesive system Additionally, semantics explores the intricacies of meaning, and unlike traditional grammatical frameworks, this approach features a contextual analysis model defined by three key components: field, tenor, and mode.
From the point of view of functional grammarians, in any kinds of language, there exists the notion “rank scale” which relates to “constituency”
“whereby larger units are made up out of smaller ones”; however, it differs from this language to others In English grammar, the rank scale is described as below:
Above the Clause: The Clause Complex
Morpheme Word Phrase/ Group Clause
A clause is the highest unit in the rank scale according to Halliday's theory A clause simplex consists of a single clause, while a clause complex includes a head clause along with other modifying clauses Halliday and Matthiessen (2004) emphasize this distinction, highlighting the difference between a simple clause and a more complex structure that incorporates additional clauses for modification.
A clause is defined as a fundamental element of grammar, while a sentence serves as a higher-ranking unit of punctuation in writing (Halliday and Matthiessen, 2004) The concept of "clause complex" allows for a comprehensive understanding of how clauses are grammatically combined (Halliday and Matthiessen, 2004) Furthermore, clauses exhibit interrelations based on their interdependency and logico-semantic relationships (Halliday and Matthiessen, 2004).
This thesis focuses on the logico-semantic relationships of clauses, specifically expansion and projection Expansion occurs when a secondary clause elaborates, extends, or enhances the primary clause, while projection involves the secondary clause being expressed through the primary clause, positioning it as a locution or idea.
This basic logico-sematic relation made by the grammar has come to be reflected in the conventions of comic strips, as illustrated schematically:
Projection and expansion represented by the conventions of comic strips (Halliday and Matthiessen, 2004: 377)
In the limitation of the thesis, report as a type of projection is the unique aspect which will be explored to serve the purposes of the study
2.3.1 Reports as a kind of projection
Projection, as one of the two logico-semantic relations in clause complexes, serves as a representation of a linguistic representation rather than a direct depiction of non-linguistic experiences (Halliday and Matthiessen, 2004) This process allows individuals to convey the wording or meaning of an original event instead of their own experiences Halliday and Matthiessen highlight various discourse applications of projection, including its role in news reporting, scientific discourse, narrative dialogue construction, and framing questions in conversation The differentiation of projection types involves three systems: the level of projection (idea vs locution), the mode of projection (hypotactic vs paratactic reporting), and the speech function (reported proposition vs projected proposal).
The figure below clarifies the relationship among variants in the network of projection
System network of pojection (Halliday and Matthiessen, 2004: 445)
This article explores the differentiation of three types of projection systems: the level of projection, which distinguishes between mental ideas and verbal locutions; the mode of projection, which contrasts reporting with quoting; and the speech function, which differentiates between propositions (statements and questions) and proposals (offers and commands) The focus of this thesis will specifically be on exemplifying reports as a distinct form of projection.
Language is not solely conveyed through words; it is also shaped by thought processes This mental formulation plays a crucial role in communication, particularly in dialogues and narratives The concept of projecting nexuses encompasses various aspects, including a speaker's thoughts during conversations, a listener's interpretation, a character's inner thoughts in stories, and expert opinions in news and scientific discussions In these projecting locutions, the projecting clause represents a phenomenon, while the content of that clause serves as a metaphenomenon.
Some experts believed that people someday will have their unique genetic code on smart cards
The phenomenon – the projecting clause
The meta-phenomenon – the projected clause which contains ‘content’ of the projecting clause
According to Halliday and Matthiessen (2004), the key distinction between quoting and reporting lies in the nature of the projecting clause; reporting involves a mental process clause focused on cognition, while quoting is based on verbal expression They further explain that hypotactic projection, used in reporting, maintains the speaker's deictic orientation, whereas paratactic projection in quoting shifts this orientation to the Sayer Additionally, while paratactic projection can capture various dialogue features, hypotactic projection is primarily used for mental processes, which are categorized into two sub-types: cognition and desideration.
|||Do you know || where the scissors are? ||| α ‘β
|||I want || him to go out ||| α ‘β
For coginiton hypotactic projection (report) is applied in both (a) like type and
(b) please type, two ways to express mental process withput changing the active voice of clauses For example:
|||I notice || that Eve’s disloyalty and ingratitude must be contagious! ||| α ‘β
|||It strikes me || that Eve’s disloyalty and ingratitude must be contagious! ||| α ‘β
(Halliday and Matthiessen, 2004: 449) Besides mental process, hypotactic projection is employed in verbal process
In verbal processes, the speaker often paraphrases rather than directly quoting the original statement, leading to variations in wording (Halliday and Matthiessen, 2004: 454) This can obscure the speech functions of statements, questions, offers, or commands, making the use of reporting verbs crucial for clarity.
In hypotactic projection, apart from some general reporting verbs employed, there are also some verbs for elaborated speech functions which are listed in the following table
Verbs used to report (Halliday and Matthiessen, 2004: 450)
Question [indirect interrogative clause: whether/ if; who, which, when…]
The perfective non-finite clause, also known as a modulated indirect declarative clause, encompasses a range of perceptive and cognitive verbs such as "believe," "guess," "think," "know," and "wonder." These verbs express various mental states and processes, including doubt, memory, and prediction Additionally, they involve actions like considering, determining, and ascertaining information, which are essential for critical thinking and decision-making.
“please” type Strike, occur to desiderative ‘like’ type - - want, would like, wish, intend, plan for, hope for emotive - - -
The table presents two distinct sets of verbs linked to indirect statements and indirect questions In indirect statements, the structure is fixed regarding polarity and transitivity, typically introduced by "that." In contrast, indirect questions are flexible in polarity, using "whether" or "if" for yes/no inquiries, and can vary in transitivity, introduced by wh- words like "who," "which," "when," and "where." Consequently, mental clauses illustrate these variations effectively.
The 'undecided' state of mind often manifests through indirect questions, encompassing clauses of wondering, doubting, and contemplation These expressions typically involve specific lexical verbs like "wonder" and "ascertain." Additionally, uncertainty is conveyed through grammatical features such as negative polarity, interrogative mood, or by using projection within the verbal group as a Process The perfective aspect may also appear in purpose clauses, highlighting the complexity of expressing uncertainty.
A projected phenomenon, known as a 'metaphenomenon,' represents a linguistic occurrence that operates at the semantic level rather than the lexicogrammatical level This concept has already been explored in various contexts.
The linguistic system processes experiences to create meaning, but this occurs only once, unlike wording, where an experience is first interpreted as meaning and then transformed into specific wording.
In short, in reporting, there exist two unequal status clauses This can be applied for both mental and verbal process.
Summary
This chapter offers an overview of the novel, including insights into the translated version, the author, and the translators It also presents key concepts of Systemic Functional Grammar (SFG), which will serve as the theoretical framework for the thesis.
The novel "The Sorrow of War," known as "Nỗi buồn chiến tranh" in Vietnamese, is acclaimed as the most poignant portrayal of the Vietnam War, earning prestigious awards including the Vietnam Writers’ Association Award in 1991, the 2016 Shim Hun Literary Award in South Korea, and the Independent Foreign Fiction Prize in the UK Written by Bao Ninh in a stream of consciousness style, the narrative follows Kien, a North Vietnamese soldier, as he embarks on a postwar mission to retrieve the bones of fallen comrades, reflecting on his lost innocence, love, and the haunting memories of war Bao Ninh, a renowned Vietnamese novelist and essayist, gained international recognition through this work, which was translated into English by Phan Thanh Hao, who passionately explores the experiences of Vietnamese women soldiers in her notable writings such as "Even the Women Must Fight" and "Hidden Warriors: Women on the Ho Chi Minh Trail."
The chapter provides an overview of Systemic Functional Grammar (SFG) based on Halliday’s theory, emphasizing that SFG prioritizes the meaning and functions of language over its form and structure SFG is a contextual model of language that encompasses three metafunctions: ideational, interpersonal, and textual Each metafunction is represented by distinct systems: the ideational metafunction through the transitivity system, the interpersonal metafunction through mood structure, and the textual metafunction through thematic structure These metafunctions are interconnected, corresponding to clauses as representation, exchange, and message Additionally, the chapter introduces the concept of clauses, particularly clause complexes and their logico-semantic relationships.
This article examines reports as a form of projection to analyze the reporting strategies used in both the source novel and its translation According to Halliday and Matthiessen (2004), the projected clause is considered a metaphenomenon, highlighting its significance in language This clause primarily emphasizes meaning, showcasing the intricate relationship between the projecting and projected elements.
RESEARCH METHODOLOGY
Research questions
This study investigates the reporting strategies utilized by the writer in the source language text and by the translator in the target language text It aims to identify the similarities and differences in these strategies between the two texts, providing insights into the translation process and its impact on text construction.
Research method
This study utilizes data from the original novel "Nỗi buồn chiến tranh" and its translated version, "The Sorrow of War." The focus is specifically on Chapter 1 of the original text, which spans 37 pages, and its corresponding Chapter 1 in the translated version, consisting of 31 pages.
This study aims to analyze the application of reporting strategies in Vietnamese novels and their English translations, highlighting the similarities and differences in these translations To ensure data reliability, reporting complexes have been selected and categorized into groups The processed reporting strategies are then examined within the context of reporting speeches and thoughts in both the source text (ST) and target text (TT) for effective analysis and discussion.
This study utilizes both descriptive and analytical research approaches to collect and classify data on report complexes in source text (ST) and target text (TT) The author categorizes these complexes into groups of reporting speeches and reporting thoughts in Vietnamese and English The findings are presented in the following table.
Reporting clauses in Vietnamese version and English version
Clause Vietnamese version English version
1 st ||| α Kiên nghe kể || “β đi đêm ở vùng này có thể nghe thấy chim chóc khóc than như người |||
||| α Kien was told || “β that passing this area at night one could hear birds crying like human beings |||
2 nd ||“β Đã có người nom thấy những quầng sáng đom đóm lớn tày cái mũ cối, có khi hơn ||
||| α Some said || “β they’d seen firefly lights rise before them as big as a steel helmet – some said bigger than helmets |||
Vào cuối tháng tám, hoa hồng ma nở rộ ven các cánh rừng dọc triền suối, khoe sắc trắng xoá và tỏa hương thơm ngát trong mưa.
In late August during our initial visit, the area between the jungle and the forest along the stream was adorned with blooming rosa canina Its white blossoms filled the air with a captivating fragrance, particularly noticeable at night.
4 th ||| α Nhưng cũng phải khá lâu sau mới khám phá được || ‘β rằng nguyên nhân của những cơn ảo giác đêm khuya ở vùng này là hương thơm của hồng ma |||
||| α It took us months to discover||‘β that our nightly passion frenzied freams were caused by the canina perfume |||
5 th ||| “β Chúng gây độc còn có thể hơn cả loài cá ráu chuyên ăn mã tiền, || α người ta bảo thế
||| α The local people say ||“β canina thrives in graveyards or any area carrying the scent of death |||
6 th […] và ||‘β họ ngửi thấy mùi tanh máu từ chúng ||
[…]|||α or imaged|| ‘β they smelled the stench of their own blood |||
7 th || “β Nhiều người đã chính mắt nom thấy những toán lính da đen không đầu chơi trò rước đèn ở ven rừng ||
||| α Many said ||| “β they saw groups of headless black American soldiers carrying lantern aloft, walking through in India file |||
Người ta nghi ngờ rằng tiếng hú gọi đàn của bầy vượn người thái cổ cuối cùng trên hành tinh xuất phát từ sự tồn tại của các tổ tiên này ở Tây.
Nguyên đã từng được đồn đại từ nhiều năm trước |||
||| […]α thinking || ‘β they were the howls of pain from the last group of orange-utans said to have lived in the Central Highlands in former times |||
9 th ||| […], || ‘β ai nấy nơm nớp một lệnh hành quân ứng chiến, cấp tập quăng mình vào cõi một sống một chết |||
||| […],|| α hoping||‘β they would not be ordered in as support forces, to hurl themselves into the arena to almost certain death |||
Chân trời chết chóc mở ra với những nấm mồ bộ đội nhấp nhô tựa sóng cồn, bên bếp lửa, quân lính năm 74 cất lên những bài hát khốc liệt, tạo nên không khí lạnh lẽo trong những đêm dài.
||| α Some of those waiting found
||‘β they were hearing a musical air in their heads, the sound of guitars rising and falling with the sounds of the Kontum carnage |||
11 th || […]‘β như chực cuốn văng đi cả đôi bờ ||
[…], as if ||| α it wished ||‘β to wash the banks away |||
12 th ||| ‘β Anh đón đợi cái chết, nhưng ngay cả nó, cái chết cũng tầm thường và vô vị |||
||| α Kien waited for death, calmly recognizing ||‘β that it would be ugly and inelegant |||
13 th ||| α […]||để thông báo || “β anh được xếp vào danh sách đi
α informed β that he had been chosen to participate in a long-term training course at the Infantry Institute located near Hanoi.
14 th ||| α Đài họ loan thế, bảo là ||
||| α The radio says ||“β it’s never rained as hard |||
15 th ||‘β Thế mà hổi nhỏ tôi đã suýt thi đỗ vào trường dòng đấy ||
|||α And to think|| ‘β that as a child I wanted to take orders and go into a seminary |||
16 th ||| α Tôi thường tự hỏi, ||‘β mình vào đây làm gì|||
||| α I used to ask myself ||‘β why I’m down here|||
17 th ||| α Tôi biết ||‘β anh là người tốt|||
||| α I know ||‘β you’re a real friend |||
Chẳng ai tìm hiểu nguyên nhân cái chết của Can, liệu có phải do bị giết, kiệt sức giữa dòng nước lũ, hay là tự sát Mọi người cũng không còn quan tâm để kết tội Can.
||| α No one bothered to find out ||
‘β why he had died, whether he was killed or had just exhausted himself in the jungle, or whether he’d committed suicide |||
19 th ||| “α Tiếng hú của loài ma núi,
||| α Some said || “β it was mountain ghost |||
20 th ||| […],α Kiên biết, ||‘β dưới cái lũng âm u, hoang vắng nọ, trong khu trại tang gia của huyện đội 67 đã nhiều năm bị bỏ quên […]|||
||| α He now recalled ||‘β there had been a prosperous farm there by a waterfall, before the war had spread inland |||
|||[…] || α he now knew || ‘β what was happening and ||that he understood their feelings |||
22 nd ||| ‘α “Nhưng hãy nghĩ nhanh đến một cái gì khác đi, hãy nghĩ đến một cái gì khác!” || – β
Tâm tưởng anh thổn thức kêu lên |||
In his dream, he was aware that he was dreaming, and he struggled to alter the distressing images, desperately seeking to escape the pain and desolation that came with the realization of its illusory nature.
Bài hát "β Song le" khắc họa một mối tình đầy phi lý và tội lỗi, thể hiện sự san sẻ của những người con gái, con trai đã khuất Những cảm xúc sâu sắc trong mối duyên tình này khiến người nghe phải suy ngẫm về những ký ức và mối liên hệ đã mất.
|||But the love|| α he knew||‘β had been within him seemed now to have drained away |||
24 th |||‘α Có người! || – β Anh nghĩ nhanh nhưng… |||
||| α He was certain || ‘β someone was in there… ||| and discussed to determine what kinds of reporting strategies are employed in
A contrastive analysis of the source language text (ST) and target language text (TT) reveals the similarities and differences in reporting strategies This analysis also includes evaluations of the effectiveness of these differences Consequently, it enables us to draw conclusions and address the three questions posed earlier.
Analytical framework
The analytical frameworks for this study are based on the features of reports which are given in the SFG theory of Halliday and Matthiessen (2004)
In their theory, Halliday and Matthiessen (2004) describe a report as a projection that encompasses various representations, including the speakers’ and addressees’ thoughts in dialogue, character consciousness in narratives, institutional or expert opinions in news reporting, and the speaker’s perspective in scientific discourse The structure of a report consists of two primary clauses: a reporting clause that presents a phenomenon and a reported clause that reflects a metaphenomenon.
A CONTRASTIVE ANALYSIS OF REPORTING
Introduction
The analysis in Appendix 3 reveals that "Nỗi buồn chiến tranh" features 24 instances of reporting mode Notably, there are 10 reporting clauses positioned before the reported clauses, specifically at the 1st, 4th, 5th, 8th, 13th, 14th, and 16th positions.
1 st : ||| α Kiên nghe kể || “β đi đêm ở vùng này có thể nghe thấy chim chóc khóc than như người |||
4 th : ||| α Nhưng cũng phải khá lâu sau mới khám phá được || ‘β rằng nguyên nhân của những cơn ảo giác đêm khuya ở vùng này là hương thơm của hồng ma |||
5 th : ||| “β Chúng gây độc còn có thể hơn cả loài cá ráu chuyên ăn mã tiền, || α người ta bảo thế |||
Người ta nghi ngờ rằng tiếng hú gọi đàn của bầy vượn người thái cổ cuối cùng trên hành tinh xuất phát từ Tây Nguyên, nơi mà sự tồn tại của các tổ tiên này đã được đồn đại từ nhiều năm trước.
13 th : ||| α […]||để thông báo ||“β anh được xếp vào danh sách đi học dài hạn trường Sĩ quan Lục quân |||
14 th : ||| α Đài họ loan thế, bảo là || “β to chưa từng thấy |||
16 th : ||| α Tôi thường tự hỏi, ||‘β mình vào đây làm gì|||
17 th : ||| α Tôi biết ||‘β anh là người tốt|||
Chưa ai tìm ra nguyên nhân cái chết của Can, liệu là do bị giết, kiệt sức giữa dòng nước lũ hay tự sát, và cũng không ai còn muốn kết tội Can nữa.
20 th : ||| […],α Kiên biết, ||‘β dưới cái lũng âm u, hoang vắng nọ, trong khu trại tang gia của huyện đội 67 đã nhiều năm bị bỏ quên […]|||
3 others, including clause 19 th , 22 nd , 24 th , reporting clauses follow reported clauses:
19 th : |||| “α Tiếng hú của loài ma núi, || β người ta bảo thế
22 nd : ||| ‘β “Nhưng hãy nghĩ nhanh đến một cái gì khác đi, hãy nghĩ đến một cái gì khác!” || – α Tâm tưởng anh thổn thức kêu lên |||
24 th : |||‘ β Có người! || –α Anh nghĩ nhanh nhưng… |||
Moreover, it is noticeable that there are 10 clause complexes in ST without reporting clauses:
2 nd : ||“β Đã có người nom thấy những quầng sáng đom đóm lớn tày cái mũ cối, có khi hơn ||
Vào cuối tháng tám, hoa hồng ma nở rộ bên các cánh rừng dọc triền suối, tạo nên khung cảnh trắng xoá và tỏa hương thơm ngát trong mưa.
6 th : […] và ||‘β họ ngửi thấy mùi tanh máu từ chúng ||
7 th : || “β Nhiều người đã chính mắt nom thấy những toán lính da đen không đầu chơi trò rước đèn ở ven rừng ||
9 th : ||| […], || ‘β ai nấy nơm nớp một lệnh hành quân ứng chiến, cấp tập quăng mình vào cõi một sống một chết |||
Chân trời chết chóc mở ra với những nấm mồ bộ đội nhấp nhô như sóng cồn, tạo nên một khung cảnh mênh mông và u ám Bên bếp lửa, âm thanh của đàn ghita vang lên, quân lính thời 74 cất tiếng hát, mang theo lời ca khốc liệt khiến lòng người lạnh giá trong những đêm dài.
11 th : || […]‘β như chực cuốn văng đi cả đôi bờ ||
12 th : ||| ‘β Anh đón đợi cái chết, nhưng ngay cả nó, cái chết cũng tầm thường và vô vị |||
15 th : ||‘β Thế mà hổi nhỏ tôi đã suýt thi đỗ vào trường dòng đấy ||
Bài hát "β" thể hiện một cách sâu sắc tính phi lý và tội lỗi trong mối quan hệ tình cảm giữa những người con gái và con trai, những người đã không còn hiện hữu trong cuộc sống này.
And in clause 21 st , the reported clause does not exist in the complex
Appendix 3 reveals that in TT, there are 24 clause complexes that include reporting ideas Each of these complexes features a complete reporting structure, comprising both reporting and reported clauses, adhering to the consistent format where reporting clauses precede reported clauses.
1 st : ||| α Kien was told || “β that passing this area at night one could hear birds crying like human beings |||
2 nd : ||| α Some said || “β they’d seen firefly lights rise before them as big as a steel helmet – some said bigger than helmets |||
8 th : ||| […]α thinking || ‘β they were the howls of pain from the last group of orange-utans said to have lived in the Central Highlands in former times |||
16 th : ||| α I used to ask myself ||‘β why I’m down here|||
In short, in both ST and TT, there are 24 clause complexes which contain reporting contents.
The similarities
In all 24 reports in ST and TT, the author Bao Ninh and Phan Thanh Hao share the same aim at projecting what character’s words and ideas For instances,
Vào cuối tháng tám, hoa hồng ma nở rộ dọc theo triền suối, tạo nên cảnh sắc tuyệt đẹp với những bông hoa trắng xoá và hương thơm ngát trong không khí mát mẻ của mùa mưa.
In late August, during our initial visit, the area between the jungle and the forest was adorned with blooming rosa canina along the stream, its white flowers creating a stunning sight The enchanting fragrance of these blossoms filled the air, particularly at night, enhancing the beauty of the surroundings.
In the complex third section of the ST and TT project, Kien reflects on the forest and jungle along the stream where he served, marked by the presence of rosa canina Both versions convey Kien's deep anguish over his war memories, highlighting the shared hardships he and his comrades faced, including haunting sights and terrifying tales, such as birds crying like humans and fireflies resembling steel helmets, alongside the canina's scent that fueled their frenzied dreams Additionally, both the ST and TT incorporate reporting speeches and thoughts, as illustrated in the accompanying tables.
Reported statements in the projection of locution
Clause Vietnamese version English version
1 st ||| α Kiên nghe kể || “β đi đêm ở vùng này có thể nghe thấy chim chóc khóc than như người |||
||| α Kien was told || “β that passing this area at night one could hear birds crying like human beings |||
2 nd ||“β Đã có người nom thấy những quầng sáng đom đóm lớn tày cái mũ cối, có khi hơn ||
||| α Some said || “β they’d seen firefly lights rise before them as big as a steel helmet – some said bigger than helmets |||
5 th ||| “β Chúng gây độc còn có thể hơn cả loài cá ráu chuyên ăn mã tiền, || α người ta bảo thế |||
||| α The local people say ||“β canina thrives in graveyards or any area carrying the scent of death |||
7 th || “β Nhiều người đã chính mắt nom thấy những toán lính da đen không đầu chơi trò rước đèn ở ven rừng ||
||| α Many said ||| “β they saw groups of headless black American soldiers carrying lantern aloft, walking through in India file |||
13 th ||| α […]||để thông báo || “β anh được xếp vào danh sách đi học dài hạn trường Sĩ quan Lục quân |||
||| […] and || α told ||“β he was on the list of officers selected to attend a long-term training course at the Infantry Institute near Hanoi |||
14 th ||| α Đài họ loan thế, bảo là ||
||| α The radio says ||“β it’s never rained as hard |||
19 th ||| “α Tiếng hú của loài ma núi,
||| α Some said || “β it was mountain ghost |||
Reported statements in the projection of idea
Clause Vietnamese version English version
Vào cuối tháng Tám, hoa hồng ma nở rộ bên các cánh rừng dọc triền suối, tỏa hương thơm ngát trong những cơn mưa.
In late August, during our initial visit, the area between the jungle and the forest along the stream was adorned with blooming rosa canina The flowers, which flourished in the rain, filled the air with their enchanting fragrance, particularly noticeable at night.
4 th ||| α Nhưng cũng phải khá lâu sau mới khám phá được || ‘β rằng nguyên nhân của những cơn ảo giác đêm khuya ở vùng này là hương thơm của hồng ma
||| α It took us months to discover||‘β that our nightly passion frenzied freams were caused by the canina perfume |||
6 th […] và ||‘β họ ngửi thấy mùi tanh máu từ chúng ||
[…]|||α or imaged|| ‘β they smelled the stench of their own blood |||
Người ta nghi ngờ rằng tiếng hú gọi đàn của bầy vượn người thái cổ cuối cùng trên hành tinh xuất phát từ Tây Nguyên, nơi mà sự tồn tại của tổ tiên này đã được đồn đại từ nhiều năm trước.
||| […]α thinking || ‘β they were the howls of pain from the last group of orange-utans said to have lived in the Central Highlands in former times |||
9 th ||| […], || ‘β ai nấy nơm nớp một lệnh hành quân ứng chiến, cấp tập quăng mình vào cõi một sống một chết |||
||| […],|| α hoping||‘β they would not be ordered in as support forces, to hurl themselves into the arena to almost certain death |||
Chân trời chết chóc mở ra mênh mông với những nấm mồ bộ đội mọc lên nhấp nhô như sóng cồn, bên bếp lửa ấm cúng, âm thanh đàn ghita vang lên bập bùng, tạo nên không khí trầm lắng của quân lính thời chiến.
74 hát, lời ca khốc liệt làm ớn lạnh những đêm trường ||
||| α Some of those waiting found
||‘β they were hearing a musical air in their heads, the sound of guitars rising and falling with the sounds of the Kontum carnage |||
11 th || […]‘β như chực cuốn văng đi cả đôi bờ ||
[…], as if ||| α it wished ||‘β to wash the banks away |||
12 th ||| ‘β Anh đón đợi cái chết, nhưng ngay cả nó, cái chết cũng tầm thường và vô vị |||
||| α Kien waited for death, calmly recognizing ||‘β that it would be ugly and inelegant |||
15 th ||‘β Thế mà hổi nhỏ tôi đã suýt thi đỗ vào trường dòng đấy ||
|||α And to think|| ‘β that as a child I wanted to take orders and go into a seminary |||
16 th ||| α Tôi thường tự hỏi, ||‘β mình vào đây làm gì|||
||| α I used to ask myself ||‘β why I’m down here|||
17 th ||| α Tôi biết ||‘β anh là người tốt|||
||| α I know ||‘β you’re a real friend |||
Chẳng ai tìm hiểu nguyên nhân cái chết của Can, liệu có phải do bị giết, kiệt sức giữa dòng nước lũ hay tự sát Thậm chí, không ai còn quan tâm đến việc kết tội Can nữa.
||| α No one bothered to find out
|| ‘β why he had died, whether he was killed or had just exhausted himself in the jungle, or whether he’d committed suicide |||
20 th ||| […],α Kiên biết, ||‘β dưới cái ||| α He now recalled ||‘β there lũng âm u, hoang vắng nọ, trong khu trại tang gia của huyện đội
67 đã nhiều năm bị bỏ quên
[…]||| had been a prosperous farm there by a waterfall, before the war had spread inland |||
|||[…] || α he now knew || ‘β what was happening and ||that he understood their feelings |||
22 nd ||| ‘α “Nhưng hãy nghĩ nhanh đến một cái gì khác đi, hãy nghĩ đến một cái gì khác!” || – β Tâm tưởng anh thổn thức kêu lên |||
In his dream, he was aware that he was dreaming, and he struggled to alter the images, desperately trying to escape the pain and desolation that came with the realization that it was all just a dream.
Bài hát 'β Song le' phản ánh tính phi lý và tội lỗi trong mối quan hệ tình cảm giữa những người đã khuất, thể hiện sự chia sẻ và gắn bó của các chàng trai, cô gái trong quá khứ.
|||But the love|| α he knew||‘β had been within him seemed now to have drained away |||
24 th |||‘α Có người! || – β Anh nghĩ nhanh nhưng… |||
||| α He was certain || ‘β someone was in there… |||
This thesis highlights the differences in reporting strategies between the source text (ST) and the target text (TT), focusing on clause structure, the use of reporting verbs, and non-linguistic conventions These variations are essential for understanding how reporting is expressed across different contexts.
The differences
4.3.1 Differences in terms of the structure of clauses in the complex
As presented above, there are 24 reports used in the source extract and the translation one, in which:
The order of clauses in the complexes in ST and TT
Reporting clause precedes reported clause
Reporting clause follows reported clause
Clause complex does not exist reporting clause
Clause complex does not exist reported clause
Table 5 highlights a significant difference in the positioning of reporting and reported clauses within the clause complex in the source text (ST) In contrast to the straightforward structure of the target text (TT), where the reporting clause consistently precedes the reported clause (100% of clause complexes), the ST demonstrates a more complex application of reporting structures In the ST, reporting clauses appear in various positions, occasionally preceding the reported clauses.
1 st : Kiên nghe kể đi đêm ở vùng này có thể nghe thấy chim chóc khóc than như người
Người ta cho rằng tiếng hú gọi đàn của bầy vượn người thái cổ cuối cùng trên hành tinh xuất phát từ Tây Nguyên, nơi mà sự tồn tại của các tổ tiên này đã được đồn đại từ nhiều năm trước.
16 th : Tôi thường tự hỏi, mình vào đây làm gì
Dưới cái lũng âm u và hoang vắng của khu trại tang gia huyện đội 67, nơi đã bị bỏ quên nhiều năm, có một câu chuyện chờ được kể lại.
19 th : Tiếng hú của loài ma núi, người ta bảo thế
22 nd : “Nhưng hãy nghĩ nhanh đến một cái gì khác đi, hãy nghĩ đến một cái gì khác!” – Tâm tưởng anh thổn thức kêu lên
24 th : Có người! - Anh nghĩ nhanh nhưng…
The author highlights a notable difference in reporting styles between Bao Ninh and Phan Thanh Hao, with Ninh utilizing only 10 clause complexes where the reporting clause precedes the reported clause, accounting for nearly 42% of his work In contrast, Phan Thanh Hao employs this structure 100% of the time This discrepancy illustrates how Vietnamese reporting often alters the order of reported clauses, influencing readers' perceptions of events and stories Meanwhile, the translator's adherence to the original structure helps maintain the reader's focus on the content of the reports.
The structure of reporting statements reveals a significant disparity, particularly in the ST, which contains 11 clause complexes lacking both reporting and reported clauses Notably, clauses 2, 3, 6, 7, 9, 10, 11, 12, 15, 21, and 23 prioritize the content of reported clauses over the reporting clauses For instance, in the second clause, "Đã có người nom thấy những quầng sáng đom đóm lớn tày cái mũ cối, có khi hơn," and in the sixth clause, "và họ ngửi thấy mùi tanh máu từ chúng," the absence of reporting clauses underscores Bao Ninh's focus on the reported content, specifically the "những quầng sáng đom đóm."
The dreadful lights from fireflies and the stench of blood create an atmosphere of war that is both terrifying and gloomy This imagery immerses the reader in a ghostly space surrounded by fallen soldiers In the 21st clause, the phrase "Biết hết" (Know all) serves as a pivotal moment, drawing the reader's attention to the unfolding narrative This prompts curiosity about what Kien knows, compelling readers to continue their engagement with the text.
In TT, Phan Thanh Hao demonstrates simplicity in the use of target grammar, employing consistent structures for reporting ideas Each instance features a reporting clause positioned before the reported clause, with 24 clause complexes incorporating both elements This approach effectively conveys objectivity across all events.
2 nd : Some said they’d seen firefly lights rise before them as big as a steel helmet
– some said bigger than helmets
(Đã có người nom thấy những quầng sang đom đóm lớn tày cái mũ cối, có khi hơn.)
The reporting clause adds objectivity to the event, as the disturbing sights are not just in Kien's mind or that of the soldiers, but are also observed by the local residents.
In 3 rd complex, the author in ST only writes Hồi đó, vào độ cuối tháng tám, ven các cánh rừng dọc theo triền suối này hoa hồng ma nở rộ trong mưa, đâm bông trắng xoá, thở hương thơm ngát while Phan Thanh Hao translates into Kien recalls: At that time of our first stay here it was late August Between the jungle and the forest along this stream, rosa canina blossomed in the rain, whitened everywhere, its perfume filling the air, especially at night The context of the event seems to be clearer with the presence of reporting clause Kien recalls The readers wallow in Kien’s memory, enjoys the fresh atmosphere of this place, with the perfume of rosa canina, with the blossom of flowers
Or in clause 7 th : Many said they saw groups of headless black American soldiers carrying lantern aloft, walking through in India file
(Nhiều người đã chính mắt nom thấy những toán lính da đen không đầu chơi trò rước đèn ở ven rừng.)
The readers believe completely in the true story of headless black American soldiers with their lantern aloft by using the reporting clause Many said
The case of 21 st clause – statements without reported clause in ST, TT writes he now knew what was happening and that he understood their feelings
Readers have complete confidence in the author's knowledge, demonstrating the clarity of English language users The use of a well-structured format enhances the persuasiveness of reports, while a clear writing style ensures that translated versions are easily accessible to readers of all ages.
The structure of reports significantly influences their content and subject matter This is particularly evident in the clause complexes without reporting clauses, such as the 2nd, 3rd, 6th, 7th, 9th, 10th, 11th, 12th, 15th, and 23rd complexes For instance, the 2nd clause complex in the source text (ST) merely conveys a statement about what someone witnessed on the battlefield In contrast, the target text (TT) enhances this by including the reporting clause "Someone said," which attributes the speech to others and bolsters the reliability of the statement.
The presence of a reporting clause in the seventh complex shifts the reporting strategies from merely stating observations of headless soldiers to capturing the speech of various individuals In the reported statements across the third, sixth, ninth, tenth, eleventh, twelfth, fifteenth, and twenty-third complexes, the strategies evolve from relaying statements to reflecting Kien's reminiscences, as seen in the third complex, to portraying the local people's imaginations in the sixth complex Additionally, they convey the soldiers' hopes during the war in the ninth and eleventh complexes, highlight new discoveries in the tenth complex, and recognize events in the twelfth complex Finally, they encapsulate Can's and Kien's thoughts in the fifteenth and twenty-third complexes, using verbs like "think" and "knew."
The source text (ST) showcases diversity through varied clause orders in complex sentences, while the target text (TT) simplifies these differences This structural complexity enhances the novel's intrigue and engages readers' curiosity, whereas the coherence of clause structures in translation promotes objectivity and accessibility Notably, alterations in the reporting and reported clauses lead to shifts in reporting strategies, particularly in conveying thoughts.
4.3.2 Differences in terms of using reporting verbs in the ST and TT
This section analyzes the distinctions in the use of reporting verbs between the original novel and its translated version Reporting verbs, along with nouns and phrases that convey context, are utilized to articulate dialogue, express beliefs or thoughts, evoke memories of the challenging war years, and inspire hope for a better future post-war The subsequent table presents the reporting verbs identified in 24 clauses.
Reporting verbs used in ST and TT
1 st nghe kể was told
14 th loan thế, bảo là says
16 th tự hỏi ask myself
18 th tìm hiểu find out
22 nd tâm tưởng anh thổn thức kêu lên knew
24 th nghĩ nhanh was certain
Table 5 shows that there is a big gap in using reporting verbs in ST and
TT All of complexes in TT contain reporting verbs while 10 of 24 complexes in
The analysis presented in Tables 2 and 4 reveals two types of hypotactic projection: reporting thoughts and reporting speeches Among the 24 clause complexes examined, reporting thoughts, with 17 occurrences, significantly outnumbers reporting speeches, which has only 7 instances This finding aligns with Halliday and Matthiessen’s theory that suggests reporting thought is more prevalent than reporting speech The use of reporting verbs serves to convey statements, express Kien’s reflections or others’ beliefs, and evoke memories of the hardships endured during wartime, while also fostering hope for a brighter future post-war.
Summary
This part shows reporting statements used in the extract of Chapter 1 in
"Nỗi buồn chiến tranh" and its English version utilize 24 complexes to convey the thoughts and experiences of individuals affected by war This analysis focuses on the similarities and differences in reporting strategies between the source text (ST) and the target text (TT) Both versions aim to illustrate the harsh realities faced by characters, particularly young soldiers like Kien and Can Notably, both ST and TT incorporate reporting speech and reporting thought However, key differences in translation between ST and TT highlight the nuances of each version, forming the basis of the thesis.
The analysis of translation techniques (TT) reveals three key perspectives: the structure of clauses, the use of reporting verbs, and non-linguistic conventions In the Vietnamese text, the structure of reporting and reported clauses is diverse, allowing for variations such as the reporting clause preceding or following the reported clause, or even omitting it entirely In contrast, the TT adheres closely to a standard structure where the reporting clause consistently precedes the reported clause This structural variation influences reporting strategies, particularly in conveying thoughts Additionally, the choice of reporting verbs in the source text (ST) significantly alters reporting strategies in the TT, with ST verbs often accompanied by more extensive comments or context Furthermore, differences in non-linguistic conventions reflect the distinct writing styles of the two authors, further impacting the reporting strategies employed.
The comparison of "Nỗi buồn chiến tranh" and its translated version, "The Sorrow of War," highlights the significance of functional grammar in text analysis and translation This examination enhances translation skills by emphasizing the critical role of grammar in conveying meaning accurately.