Justification du choix du sujet de recherche
Communication involves conveying information from one subject to another with a specific purpose While language serves as the primary means of communication, other forms such as gestures, non-verbal signals, and technical communication methods also exist However, language holds the most significant role, as other forms can be ambiguous and are typically used only within closed groups or specialized fields.
Every culture is unique to its people, encompassing both material and spiritual values developed throughout human evolution Language serves as a key component of culture, varying significantly from one region to another For individuals from different nations to communicate effectively, it is essential for them to understand each other's cultural backgrounds.
Language is the most effective means of conveying information between individuals However, to understand what people from a foreign country are saying, translation is essential For instance, Vietnamese and French speakers need translation services to communicate effectively, translating from French to Vietnamese and vice versa.
Translating is not merely a word-for-word process; it requires a deep understanding of both foreign languages and the cultures of the respective countries Acknowledging this necessity, I conduct thorough research on both Vietnamese and French languages, as well as their cultural contexts In my university thesis, I aim to explore the impact of the differences between these two cultures on translation practices.
8 cultures de communication vietnamienne et franỗaise sur la traduction comme le rộsultat de mon travail durant 4 ans universitaires.
Objectifs de la recherche
Cette recherche est réalisée pour plusieurs raisons Tout d’abord, tout au long de mes quatre années universitaires, en tant qu’étudiant du Département de langues et de
Civilisation franỗaises de l’Ecole Supộrieure de Langues Etrangốres – Universitộ
At the National University of Hanoi, I have observed that translation students struggle with text translation This observation motivates me to conduct a study aimed at helping French learners enhance the quality of their translations By examining the differences between the communicative cultures of the two peoples, I hope to identify effective translation methods applicable in various communication contexts Ultimately, this research will not only satisfy my passion for the French language but also serve as a significant stepping stone in launching my professional career.
Méthodologie de recherche
Dans le cadre de cette recherche, nous utiliserons la méthode quantitative car elle nous aide à mieux nous poser de bonnes questions et d’identifier de bonnes hypothèses
Throughout the research process, particularly in data collection and analysis, various methods are employed, including observation, reading, comparison, and induction.
First, we employ an observational method to gather documents related to the topic During my studies, I explored various resources, including books, university theses, and websites in both French and Vietnamese, focusing on the cultures and languages of the two peoples By comparing the communicative cultures of France and Vietnam, I identify their differences Ultimately, by examining these differences, I conclude with the most effective translation methods to apply in various situations.
Structure du mémoire
Sans compter l’introduction et la conclusion qui sont considérées comme deux parties à part, ce mémoire est divisé en 3 chapitres comme suit :
Dans le premier chapitre, seront présentées les généralités des contenus envisagés :
- Traduction interprétative : quelques conceptions interprétatives de la traduction de l’ESIT, le processus de la traduction et les critères d’évaluation d’une traduction
Le deuxième chapitre sera réservé à l’analyse des caractéristiques de la culture et de la langue:
- Les caractéristiques de la culture d’origine agricole (vietnamienne) et ceux de la culture d’origine nomade (franỗaise)
- Les caractéristiques de la langue isolante (vietnamienne) et ceux de la langue analytique et flexionnelle (franỗaise)
The third chapter will focus on the influences of cultural differences between French and Vietnamese cultures on translation In this section, I aim to deepen my research to identify the most effective methods applicable to specific communication situations and contexts.
PREMIÈRE CHAPITRE : LA THÉORIE DE LA TRADUCTION
1 Qu’est ce que la traduction ?
J.-R Ladmiral defines translation as a specific case of linguistic convergence, broadly referring to any form of inter-linguistic mediation that facilitates the transmission of information between speakers of different languages Translation encompasses both the act of translating, which involves the translator's dynamic activity, and the outcome of this process, known as the target text, representing a static result.
According to D Seleskovitch and M Lederer, a translator acts as both a reader, seeking to understand, and a writer, aiming to convey the original intent Rather than merely translating from one language to another, the translator comprehends a message and expresses it in a way that ensures clarity for the audience This definition effectively encapsulates the translation process and serves as a benchmark for evaluating translation quality The process involves two key phases: understanding and making understood To assess a translator's work, one must address two essential questions: "What needs to be understood?" and "What actions are necessary to ensure comprehension?"
The meaning of a message stems from two origins: its semantic load and the cognitive context added by the author Before delivering a message, the author must consider the communication situation and the shared knowledge with the recipient Therefore, linguistic competence alone is insufficient for understanding; the translator must possess adequate cognitive knowledge This includes not only the verbal context, which pertains to the formal aspects of the message, but also the cognitive context, which encompasses the information retained throughout the discourse, along with relevant encyclopedic knowledge to fully grasp the message's meaning.
To translate effectively, one must first ensure understanding According to the authors of "Interpreting for Translation," honest and faithful translation involves making oneself understood, which requires finding the right expression Translators must detach from the linguistic form and grammatical structure of the original language and strive to communicate in a way that resonates with the reader, utilizing the expressions inherent to their language The clarity of the message conveyed by the translation depends on how well the new wording aligns with the compositional logic of the target language.
Le processus de la traduction
According to the interpretative theory of translation, the translation process consists of three distinct phases: comprehension, de-verbalization, and re-expression While comprehension is not unique to translation, as it is part of all communication acts, it is crucial for the success of the translation task Comprehension involves both linguistic competence and encyclopedic knowledge, as highlighted by M Lederer Therefore, understanding a text can be defined as the ability to mobilize linguistic skills and general knowledge to align with the content conveyed by the text itself This dynamic and intuitive process is essential, as it serves as the starting point for translation Ultimately, the primary condition for translating a text effectively is a thorough understanding of it, which must not be overlooked.
Understanding a text requires more than just linguistic elements; it necessitates a combination of linguistic knowledge and extralinguistic knowledge A translator must have a strong command of the language and consider various factors that influence comprehension, enabling the transformation of linguistic data into meaningful content Additionally, grasping the meaning involves understanding the communication situation, including the context in which the discourse is presented and the broader socio-historical framework of the cultural reality addressed in the text Mobilizing these extralinguistic insights is crucial, as words alone only partially convey the intended meaning of the translation This may sometimes require the translator to engage in extensive documentary research.
Translating allows for an in-depth analysis of the complexities involved in comprehension, as translators must fully grasp the text at hand Understanding the comprehension process helps translators navigate numerous challenges in their work However, it is important to note that comprehension is not exclusive to translation; it is a fundamental phase of all communication acts Therefore, comprehension itself extends beyond the realm of translation theory, while issues like de-verbalization and re-expression present significant challenges within translation theory.
Simultaneous interpretation clearly highlights the process of de-verbalization that occurs at the final stage of understanding This de-verbalization of meaning occurs because meaning is a mental, non-verbal memory, as previously discussed.
In spoken communication, words quickly fade, leading to de-verbalization at the moment of receiving the discourse In written communication, de-verbalization can occur at various stages, as readers can review and revisit the text This process has enabled translators in our corpus to avoid the pitfalls of literal translation, particularly when translating the phrase "ô un cerveau brûlé" discussed earlier.
The existence of the de-verbalization phase highlights the importance of distinguishing between linguistic form and meaning Meaning arises from the interpretative process carried out by the individual, where the transfer of a message from one language to another occurs through non-verbal meaning rather than through words De-verbalization subsequently facilitates this process.
12 l’expression de ce contenu inédit dans une autre langue d’une manière spontanée et naturelle
We now arrive at the final phase of the translation process: the free linguistic reexpression of meaning, which results from understanding and de-verbalization Despite being the last step, reexpression is crucial In this phase, the translator must replace the author to convey the intended meaning, requiring the search for the precise expression Throughout reexpression, the translator must remember that the starting point is not the original text's language but the non-verbal meaning that has transformed into the intended message.
On the other hand, since translation is a specific form of communication, during the re-expression phase, the translator must act as a speaker with a message to convey They need to ensure clarity by using the accepted forms of the linguistic community in which the text is being translated.
It is crucial to emphasize that both reexpression and comprehension engage the individual's entire cognitive apparatus To effectively express ideas, the subject requires linguistic knowledge as well as the integration of extralinguistic knowledge As a communicator, the translator must consider all parameters of the speech situation, particularly the shared knowledge with the recipient of the translation Understanding what is accessible and what is not for the reader is essential for effective communication.
To effectively convey the original author's intent, a translator must move beyond a word-for-word translation and fully detach from the source language They should consider all elements involved in normal communication, including the linguistic habits of the target audience and the cognitive background they assume their readers possess The length and precision of their statements will vary based on this shared knowledge It is crucial for the translator to anticipate the reader's reaction and understanding throughout the translation process, not just after completing the work This means continually asking how a potential reader will interpret the text, selecting terms and expressions that minimize misunderstandings Additionally, when expressing ideas in a language, it is essential to utilize the natural resources of that language rather than imposing unnatural or unfamiliar forms.
Des critères d’évaluation d’une traduction
Les caractộristiques de la culture d’origine nomade (franỗaise)
La France se situe au nord-ouest Alors, elle fait partie de la culture d’origine nomade Elle a des caractéristiques suivantes :
In their relationship with nature, pastoral societies often adopt a nomadic lifestyle, which leads to a diminished reliance on natural resources This detachment can result in a tendency to undervalue nature, driven by a desire to conquer it Consequently, Western societies have made significant advancements and achievements in this area.
In terms of knowledge, people exhibit objective, analytical, reasonable, and experimental thinking This has led to significant advancements in Western sciences and technologies, with many discoveries and inventions attributed to Westerners In literature, the classicist movement emphasizes reason over love and values distinctive elements, which shapes a pragmatic lifestyle focused on materialism.
In the community, farming demands significant strength, leading to a high appreciation for talented individuals, particularly men who are perceived as stronger than women Unlike the sedentary lifestyles of those in the southeast, these individuals do not belong to a specific community for extended periods, valuing personal achievement over collective identity This emphasis on individualism is reflected in the competitive lifestyle, with early influences of market economy and capitalism in Europe Westerners tend to adhere to precise rules in their behavior, developing a habit of living according to laws and rights, as evidenced by common phrases in the French language such as "punctual as a clock" and "time is money."
In social interactions, nomadic cultures often exhibit arbitrariness in their engagement with other cultures and a desire to dominate adversaries In contrast, French culture presents a distinct approach.
En cette matière, celle-ci a des points communs avec la culture vietnamienne : en France, les gens de différentes races, de différentes pays peuvent vivre ensemble en paix, il n’y a
The French culture is a harmonious blend of various influences, including prehistoric France, the Gauls (Celts who invaded around 1000 BC), the Romans (who, led by Julius Caesar, began to conquer Gaul in 59 BC, leading to the Romanization of the Gauls), and the Franks (a Germanic tribe that subsequently subdued the Gaul-Romans) Additionally, the impact of diverse foreign cultures and European influences during the globalization process further enriches the cultural landscape of France.
En un mot, on peut dire que la culture franỗaise est une culture variộe, ouverte et amicale.
Caractéristiques de la langue 1 Les caractéristiques de la langue isolante (vietnamienne)
Les caractộristiques de la langue analytique et flexionnelle (franỗaise)
Premièrement, il existe dans ce type de langues la transformation de figure
- La transformation partielle de la flexion à la fin du mot :
- La transformation des pronoms exprimant les sens de complément : Je – me ; Tu – te ; Il/Elle/ - le/la/lui ; Ils/Elles – eux/leur ; On – soi ;…
D’ailleurs, les langues flexionnelles ont aussi la transformation des voyelles et des consonnes au sein d’un mot appelộ ô flexion à l’intộrieur ằ :
- La transformation du singulier au pluriel :
- La transformation du masculin au féminin :
- La transformation du présent au passé du verbe :
Deuxièmement, la langue flexionnelle a aussi des affixes Voyez les exemples !
- Les prộfixes ô di ằ, ô tri ằ, expriment la pluralitộ comme : diaxide, dihydrite, trilingue, triangle,…
- Les prộfixes ô aprốs ằ, ô post ằ expriment la postộrioritộ : aprốs-demain, aprốs guerre, post-face, post-scolaire,…
- Le suffixe ô -ir ằ est ộquivalent à ô devenir + adjectif ằ :
Thirdly, inflectional languages are divided into two groups: analytical inflectional languages and synthetic inflectional languages French belongs to the first group, where there is a reduction in word form transformations and an increased use of function words, word order, and intonation to express grammatical relationships and meanings of words and phrases within a sentence.
- Par l’utilisation des mot-outils :
- Par utilisation de l’ordre des mots :
Papier de décor – Décor de papier
Machine à laver – Laver la machine
Tu lis un livre de Banzac (une déclaration)
Tu lis un livre de Balzac (une interrogation)
TROISIÈME CHAPITRE : INFLUENCE DES DIFFÉRENCES DES DEUX CULTURES COMMUNICATIVES SUR LA TRADUCTION
We have examined the characteristics of both French and Vietnamese cultures, as well as their languages In this section, I aim to explore the differences in their communicative styles to understand their influence on translation and to identify the most effective methods for specific communication situations and contexts.
In Vietnamese culture, understanding and evaluating communication objects is essential, as they prioritize knowing details about their conversation partners, such as age, hometown, level of knowledge, social status, and family situation In contrast, the French may find inquiries about personal matters like age, family status, and weight intrusive and offensive.
Par exemple, pour saluer, les Vietnamiens peuvent dire : Chào bác ; Bác ạ ; Cháu chào bỏc ; Chỏu chào bỏc ạ,… Mais en franỗais, c’est simplement ô Bonjour ằ ou ô Bonsoir ằ (madame/mademoiselle/monsieur)
- Bác đi làm về rồi đấy ạ ?
(Vous êtes rentré du bureau ?)
(Vous êtes rentré du marché ?)
- Bác đang làm gì đấy ?
It's important to recognize that these questions serve as greetings; they are posed to interlocutors without expecting a response The translator must understand this and translate them into French as "ô Bonjour" or "ô Bonsoir" (madame/mademoiselle/monsieur).
Pour entrer dans une conversation, les Vietnamiens et les Franỗais ont leur propre faỗon Veuillez voir ces deux exemples suivants tirộs de leur vie quotidienne :
Exemple 1 : L’entrée dans une conversation des Vietnamiens (dans cette conversation, il y a 3 personnages : Lan, le père de Lan et Hùng – ami de Lan Lan présente Hung à son père)
Lan : Bố ơi đây là anh Hùng, bạn trai của con Anh ấy là kĩ sư tin học đang làm việc tại Viện tin học
(Papa, je te présente Hung, mon ami Il est ingénieur informaticien et travaille maintenant à l’Institut de l’Informatique)
Bố Lan : Cháu uống nước đi
Hùng : Dạ cháu cảm ơn bác
Bố Lan : Cháu và Lan nhà bác quen nhau lâu chưa ?
(Lan et toi, vous vous connaissez depuis quand ?)
Hùng : Chúng cháu quen nhau được hơn 2 năm rồi bác ạ
(Depuis plus de deux ans, monsieur)
Bố Lan : Năm nay cháu bao nhiêu tuổi ?
Hùng : Dạ, cháu 30 tuổi bác ạ
Bố Lan : Gia đình cháu ở đâu ?
Hùng : Nhà cháu ở đường Tây Sơn ạ
(Nous habitons à rue de Tay Son)
Bố Lan : Thế hả, cũng xa đấy Bố mẹ cháu làm gì ?
(Ah bon ? C’est loin d’ici Et qu’est ce que tes parents font ?)
Hùng : Bố cháu là giáo viên, mẹ cháu là bác sĩ ạ
(Mon père est enseignant, et ma mère est médecin)
Bố Lan : Thật hả ? Mẹ Lan cũng là bác sĩ đấy Thế bố mẹ cháu đang công tác ở đâu ?
Hùng shares that his father teaches English at a teacher training university, while his mother works at E Hospital He inquires about the workplace of Lan's mother, showing interest in their family backgrounds.
(Mon père est professeur d’anglais à l’École Normale Supérieure, et ma mère travaille à l’hơpital E Monsieur, ó travaille madame ?)
Bố Lan : Mẹ Lan đang làm ở bệnh viện Bạch mai cháu ạ
(Elle travaille à l’hôpital de Bach Mai )
Exemple 2 : L’entrộe dans une conversation des Franỗais :
Lui : La place est libre, s’il vous plait ?
Elle : Non, je suis canadienne
Lui : Qu’est ce que vous aimez à Lyon ?
Elle : Les restaurants…et les Lyonnais aussi Ils aiment boire et manger Ils sont gentils, souriants
Lui : Vous aimez les Parisiens ?
Elle : Les Parisiens sympathiques, oui !
Lui : Je m’appelle Frédéric Et vous ?
Lui : Vous êtes à Paris pour le week-end, Francine ?
Lui : Et qu’est ce que vous faites à Paris le week-end ?
Elle : Je vais au théâtre, à l’opéra, au concert
Lui : Vous aimez le jazz ?
Lui : Je vais à un concert de jazz à 9h au New Morning Il y a un pianiste sud-africain Vous voulez venir ?
(M Verdelhan Bourgade, M Verdelhan, P.Dominique Sans frontière 1)
Through these two brief conversations, we can draw the following conclusions: in the first conversation, Vietnamese people show a strong interest in personal details such as age, occupation (even salary), family situation, and private life when getting to know someone In contrast, the French tend to avoid discussing these topics, preferring to ask about names, residences, and hobbies This difference stems from the distinct cultural backgrounds; individuals in Southeast Asia are more concerned with the intimate lives of others due to their communal village lifestyles, necessitating a deeper understanding of one another's situations Additionally, sharing personal secrets is often seen as a way to express friendship On the other hand, people from the northwest region, with their individualistic lifestyle and respect for personal boundaries, tend to refrain from prying into others' lives.
Pourtant, plus les Vietnamiens cherchent à comprendre la vie privée d’autrui, moins ils sont courageux dans l’expression des sentiments Ils ne disent presque jamais
Popular songs often convey deep emotions, thoughts, and feelings, subtly expressing love, regret, and sadness These themes are prevalent in everyday life, reflecting the emotional landscape of listeners Below are some examples that illustrate this connection.
Hôm qua tát nước đầu đình Để quên chiếc áo trên cành hoa sen
Em được thì cho anh xin
Hay là em để làm tin trong nhà ? Áo anh sứt chỉ đường tà
Vợ anh chưa có, mẹ già chưa khâu Áo anh sứt chỉ đã lâu
Mai mượn cô ấy về khâu cho giùm
Khâu rồi anh sẽ trả công
Mai mốt lấy chồng anh sẽ giúp cho
Gíup em một thúng xôi vò
Một con lợn béo, một vò rượu tăm
Gíup em đôi chiếu em nằm Đôi chăn em đắp, đôi tằm em đeo
Gíup em quan tám tiền treo
Quan hai tiền cưới, lại đèo buồng cau
While drawing water with a scoop for the rice field, I accidentally left my shirt behind If you found it, please return it to me, or do you intend to keep it as collateral? My shirt has been torn for quite some time, and no one has mended it; my mother is elderly, and I am not yet married I would greatly appreciate your help in repairing it Later, when you plan your wedding ceremony, I will assist by providing a large pig, a basket of sticky rice cooked with mung beans.
27 bonne bouteille d’alcool, deux nattes, deux couvertures, une paire de boucles d’oreilles, l’argent fixé pour le mariage et un régime d’aréquiers)
By asking the girl to help him sew his shirt, the man expresses his love, as Vietnamese tradition holds that only a woman, mother, or lover sews shirts for a man, symbolizing deep affection Additionally, when he mentions gifts for the girl, he subtly reveals his intentions of proposing marriage, offering these gifts as a representation of a groom's offerings.
Hôm qua anh tới chơi nhà
Thấy mẹ nằm võng, thấy cha nằm giường
Thấy em nằm đất anh thương
Anh đi mua gỗ đóng giường tám thang
Bốn góc thì anh bịt vàng
Bốn chân bịt bạc, tám thang chạm rồng
When I visited your home, I noticed your mother was lying in the hammock and your father was in bed, while you were on the floor Therefore, I would like to buy some wood to create a beautiful bed just for you.
In this beautiful song, the man expresses his deep love for the girl It is well-known that only those very close to the bride or groom gift a bed during the wedding Therefore, if a man chooses to offer a bed to a girl, it serves as undeniable proof of his affection for her.
Dans ces deux chansons, l’homme ne déclare pas explicitement son amour mais l’exprime par des préoccupations, des souhaits d’aider la fille
Vietnamese people are known for their subtlety and discretion, not only in expressing affection but also in conveying sadness and regret The song referenced below exemplifies this cultural nuance.
Trèo lên cây bưởi hái hoa
Bước xuống vườn cà hái nụ tầm xuân
Nụ tầm xuân nở ra xanh biếc
Em lấy chồng anh tiếc lắm thay
Ba đồng một mớ trầu cay
Sao anh không hỏi những ngày còn không ?
Bây giờ em đã có chồng
Như chim đã vào lồng, như cá cắn câu
Cá cắn câu biết đâu mà gỡ
Chim vào lồng biết thuở nào ra ?
When I climb into the grapefruit tree to gather flowers or descend into the garden of nightshades to pick the budding green rose hips, I am always filled with sorrow over your marriage to someone else.
A handful of betel leaves costs just 3 dongs, so why didn't you propose when I was still single? Now, as a married woman, I feel like a bird trapped in a cage or a fish caught on a hook, finding it very difficult to accept your love.
L’homme et la femme se manifestent tous les deux regrets d’avoir perdu l’occasion de vivre ensemble L’homme est très triste quand son amante s’est
In the song, the pain of being married to someone else is vividly illustrated through the imagery of flowers, where the protagonist perceives green blooms instead of their true violet hue, symbolizing profound sorrow This striking detail encapsulates limitless anguish, while also showcasing the beauty of the lyrics The woman expresses her own despair and loveless family life by likening it to a caged bird or a fish caught on a hook Although they do not explicitly articulate their sadness, the powerful metaphors and comparisons effectively convey their emotional turmoil.
Contrairement à cette caractộristique des Vietnamiens, les Franỗais sont trốs francs, très directs dans l’expression des sentiments et des intentions Voyez ces exemples !
Frédéric : -Allo, ici Frédéric Est-ce que je peux parler à Francine, s’il vous plait
Frédéric : -Alors ne la réveillez pas !
-Si si Elle travaille à 9 heures et demie Je vais l’appeler Ah, elle vient de se réveiller Francine ! Téléphone
-Ton copain de Paris, Frédéric
Frédéric : - Bonjour Francine Excuse-moi, je te réveille
Francine :- Non, non D’ó est-ce que tu m’appelles ?
Frédéric :- De Roissy Je viens d’arriver à mon travail
Francine :- Mais quelle heure est-il ?
Francine : - Oh la la ! J’ai encore sommeil Je n’ai pas assez dormi
Frédéric : - Qu’est ce que tu as fait hier soir ?
Modes de communication
En matière des modes de communication, les Vietnamiens apprécient la finesse, la courtoisie et vivent en bonne intelligence
People rarely address issues directly in communication, unlike Westerners who tend to be straightforward Instead, they prefer a more indirect approach, often discussing various topics before getting to the main issue Initially, conversations typically begin with inquiries about the health and family situation of the other person, reflecting a more nuanced style of interaction.
Betel and areca nuts were traditionally offered to visitors, but today, they have been largely replaced by tea, cigarettes, and beer Despite this shift, these customs remain essential across cultures and throughout history.
In Vietnamese culture, common phrases reveal insights into personal situations For instance, one might ask, "Are your parents still in good health?" to inquire about a person's family Similarly, asking, "Does your husband complain about your late return home?" can provide information about family dynamics To estimate someone's age, one might say, "You look so young; I assume you're not yet 40?" This approach can also lead to discussions about children, as in the question, "Are your children still well-behaved?" which allows the respondent to share whether they have kids.
In the rich tapestry of Vietnamese folk songs, there are countless examples that showcase their unique character Notably, an intriguing dialogue between a man and a girl reveals their complex emotions, highlighting the depth of sentiment found in these traditional melodies.
Bây giờ mận mới hỏi đào
Vườn hồng đã có ai vào hay chưa ?
Mận hỏi thì đào xin thưa
Vườn hồng có lỗi nhưng chưa ai vào
(-Il veut bien demander à la fille qu’il aime discrètement si elle a déjà son copain ou pas encore ?
-Puisqu’il le lui demandé, elle lui répond franchement qu’elle est maintenant à l’âge nubile n’a pas encore son copain.)
The man seeks to gauge the girl's feelings for him, but he masks his intentions by suggesting that someone else is inquiring The girl plays along with this pretense Ultimately, through their conversation, the man realizes that the girl has affectionate feelings for him, giving him the confidence to pursue her heart further.
The subtle use of the third person singular in this song highlights the man's lack of shame if the girl rejects his love, as both individuals understand each other's feelings.
Thuyền về có nhớ bến chăng
Bến thì một dạ khăng khăng đợi thuyền
( Traduction textuelle : Après le départ, est-ce que l’embarcation se souvient de l’embarcadère ? Quant à l’embarcadère, il l’aime bien et atteindra longuement
Traduction d’adaptation : Je ne sais pas si tu te souviens de moi Mais moi, je t’aime et je t’attendrai longuement.)
In this example, the pronoun "ô je" is represented by the image of a dock, while "ô tu" is symbolized by a boat The dock represents the girl and loyalty, whereas the boat symbolizes the man who may love another girl, just as a boat can have another dock Although the girl loves her man, she hesitates to directly express her worries and feelings Instead, she employs the imagery of the static dock and the mobile boat Their emotions are conveyed subtly yet profoundly, and both understand them.
In Example 4, a man expresses his love for a woman by offering her a beautiful bed, symbolizing his desire to marry her However, he does not immediately propose; instead, he begins by recounting his visit to her home, setting the stage for his heartfelt intentions.
Yesterday, when I visited your home, I noticed your mother was resting in the hammock and your father was in bed, while you were on the floor Therefore, I would like to buy wood to create a beautiful bed just for you.
Suivez un autre exemple (Exemple 11)
Chiếc thuyền giăng câu Đậu ngang cồn cát Đậu sát mé nhà
Anh biết em có một mẹ già
Muốn vô phụng dưỡng, biết là được không ?
There is a fishing boat near the sand dune and your home, casting its net I understand that your mother is elderly, and I would like to offer her assistance Would you be in agreement with this?
This song parallels the previous one in its expression of love, where the man wishes for the girl to take on a maternal role, essentially desiring to be his mother's son-in-law The narrative begins with "There is a boat that " Similar themes can be observed in examples 9 and 10, highlighting a characteristic trait of Eastern cultures that significantly influences their daily lives.
The subtle and discreet mode of communication stems from a lifestyle that values emotions and careful consideration This approach leads individuals to weigh their words before speaking, as reflected in proverbs emphasizing the importance of thoughtful communication For instance, the saying "think before you speak" parallels the necessity of chewing food before swallowing Additionally, wise individuals take their time to express themselves, akin to a dog circling its nest before settling down The principle of speaking only when knowledgeable and listening when uncertain further illustrates this mindset Ultimately, this practice fosters a culture where communication is approached with caution and respect, allowing for deeper connections and understanding.
Vietnamese people often exhibit indecision, which leads them to smile frequently to avoid making choices and to prevent discomfort This smile plays a crucial role in their communication, even in unexpected situations.
Cela cause leur caractère de céder la meilleur part aux autres Les exemples le justifieront :
Một sự nhịn là chín sự lành
Chồng giận thì vợ bớt lời, cơm sôi nhỏ lửa có đời nào khê
(Quand le mari est furieux, la femme doit apaiser sa colère)
Le mode de communication des Franỗais est contraire à celui des Vietnamiens En ce qui le concerne, les Franỗais prộfốrent la franchie et l’ouverture C’est pourquoi ils
38 abordent directement le problème : ils parlent de leur but dès le début de la conversation
In Vietnam, it is customary for people to visit others to engage in conversation before addressing any work-related matters, while the French typically reserve such discussions for administrative hours As a result, during work meetings, offering tea or coffee is not a standard practice This gesture is more common at the beginning of social visits or leisure outings Conversations usually start with inquiries about health and work rather than family situations.
Suivez attentivement cette chanson populaire très intéressante suivante ó la femme exprime ironiquement sa déception envers son mari :
Le petit mari Mon père m’a donné un mari Mon Dieu, quel homme, quel petit homme ! Mon père m’a donné un mari
Mon Dieu, quel homme, quel petit homme !
Dans mon grand lit je le perdis Mon Dieu, quel homme, quel petit homme ! Dans mon grand lit je le perdis
Mon Dieu, quel homme, qu’il est petit !
Pris la chandelle et le cherchais
A la paillasse le jeu prit
Je trouverai mon mari tôt Sur une assiette je le mis
Le chat le pris pour une souris
Au chat, au chat, c’est mon mari
Fillettes qui prenez un mari Mon Dieu, quel homme, quel petit homme ! Fillettes qui prenez un mari
Ne le prenez pas si petit ! Aprốs avoir lu cette chanson franỗaise, on pense tout de suite à la chanson des enfants vietnamienne qui lui ressemble beaucoup :
Bé tẹo tèo teo Chân đi cà kheo Chồng gì chồng gánh Rụt cổ rụt vai
The traditional French society was predominantly agricultural, similar to Vietnam, which explains the commonalities found in their folk songs despite differing cultural origins However, notable differences exist: in French songs, it is often the woman who expresses her grievances about her husband, while in Vietnamese songs, it is typically the children who mock the woman's husband.
Décorum de la parole
Vietnamese culture features a rich system of address that surpasses the use of personal pronouns found in the French language Unlike French, which relies primarily on personal pronouns, Vietnamese employs a diverse array of kinship terms that often take precedence over pronouns This unique system of address is characterized by three key features.
The intimate nature of the community is reflected in the way individuals address each other, treating everyone as if they were family For instance, children are referred to affectionately as "ô con" (my child), even if they are not one's own Similarly, peers of one's parents are called "ô bác, cụ, chỳ" (uncle, aunt), and elders are addressed as "ô ông, bà" (grandfather, grandmother), regardless of blood relations This practice highlights a deep respect for feelings and familial bonds, with numerous terms used as personal pronouns, such as "ông" (grandfather), "bà" (grandmother), "bác, chú" (uncle), "cô, bác" (aunt), "mẹ, má" (mother), "bố, ba, tía" (father), and "anh, chị, em" (siblings), all reflecting the nuances of "I-you" or "I-you" in French.
Secondly, it embodies a communal character Personal pronouns are not universally applicable; instead, they vary based on the age, social status of the participants, and the context of time and space in the communication.
In Vietnamese conversations, the terms used to address individuals can vary based on the relationship, such as "ô chỳ ằ" for formal "you" and "ô mi ằ" for informal "you." These terms reflect different relational dynamics, combining both familial and social contexts For instance, "chỳ-con" denotes a relationship akin to uncle-niece/nephew, while "ụng-con" signifies a grandfather-grandchild bond Similarly, "bỏc-em" represents a younger uncle or aunt relationship, and "anh-tụi" indicates a younger brother-sibling connection Thus, the usage of these terms can indicate either familial ties or respectful social interactions.
B : Chào cháu, bố mẹ cháu có nhà không ?
In this context, it refers to a social relationship between a child and an individual who is of the same age as the child's parents, but not a familial relationship.
B : Bonjour, est-ce que tes parents sont à la maison ?
2 A : A, ông đến chơi rồi mẹ ơi ! Cháu chào ông ạ
B: Ừ chào cháu Cháu của ông dạo này lớn quá!
In this example, the context clearly indicates a familial relationship between the grandfather and his grandson, rather than a social one.
A : Ah, grand-papa arrive, maman Bonjour grand-papa !
B : Salut mon petit fils ! Tu as vite grandi !
In Vietnam, it is common for individuals to refer to others by their names, often using the names of their children or grandchildren, or based on their birth order among siblings, such as Cả (Eldest), Hai (Second), Ba (Third), and Tư (Fourth).
Quatrième,…) Voyez un autre exemple qui est plus compliqué !
A : A dì Lan ! Cháu chào dì ạ
B : Chào cháu Mai ơi bác Cả có nhà không cháu ?
A : Bác cả đi thăm chị Tư nhà bác Hai rồi dì ơi Chị ấy bị ốm vào viện từ hôm qua
Bố cháu cũng đang ở trong đó Dì vào đó luôn đi ạ
B : Thôi chết, thế mà dì không biết Thế Tư nó đang nằm ở viện nào hả cháu ?
(A: Ah, ma tante Lan! Bonjour ma tante !
B : Salut Est-ce que mon grand frère Ainé est à la maison, Mai ?
A : Mais non L’oncle Ainé est allé voir ma cousine Quatrième de l’oncle Second Mon père est aussi là-bas Vas-y !
B : Ah bon ? Je ne sais rien C’est quel hopital ?
A : L’hopital E, la salle 203, ma tante.)
Thirdly, it reflects a close hierarchy The naming convention in Vietnam adheres to the principle of modesty when referring to oneself and showing respect when addressing others In a conversation between two speakers, both can refer to themselves as "ô em" (I) while addressing each other as "ô chị" or "ô anh" (you).
A : Mời chị dùng cơm với gia đình chúng em !
B : Vâng, chị cứ kệ em, em vừa ăn ở nhà lúc nãy rồi !
(A : Prenez le diner avec nous, s’il vous plait !
B : Merci madame, soyez comme l’habitude ! Je viens de diner à la maison.)
In Vietnamese culture, showing respect to others involves the custom of avoiding the direct use of superiors' names Names are typically used only during disputes or in friendly relationships When naming a child, it is customary to refrain from using the names of family superiors, as only superiors are permitted to address inferiors by name Additionally, there is a traditional practice where, upon visiting someone’s home, guests inquire about the host's name to avoid directly mentioning it.
The Vietnamese language features a wide variety of names used as personal pronouns, while French has a more limited selection However, French includes the indefinite personal pronoun "on," which offers rich expressive variations "On" serves as the subject of a sentence and primarily refers to living beings, especially people It can convey a general meaning, indicating humanity as a whole or a specific group This neutral and normative use of "on" is prevalent across all styles of the French language, evident in expressions such as "on dit," "on voit," and "on sait."
-On ne fera jamais admettre cela aux Franỗais (P.Danios Un certain Monsieur Blot)
-Je dis aussi que je sais ce que l’on attend de moi (M.de Saint Pièrre Les ộcrivains) ô on ằ = l’humanitộ, la nation et les jeunes qui viendront
In spoken language, the value of "ô" and "ằ" can be concretized, as "ô" and "ằ" can replace any other subject pronoun This substitution lends various expressive nuances to the statement, which are clarified by the context and situation.
Emploi de ô on ằ pour la premiốre personne du singulier et du pluriel :
-Alors, ce rhume, ca va ?
-Comme ca, monsieur On tousse encore
(Dialogue entre le maitre de la maison et la bonne)
Trốs frộquent et l’emploi familier ô on ằ ộquivalent à ô nous ằ :
A : Si on allait au cinéma ce soir ?
B : Mais il n’y a pas de films récents On va au disco Qu’est-ce que tu en penses ?
A : Ah, c’est une bonne idée Ca fait longtemps depuis notre dernière fois au disco Alors, ce soir, on doit y bien s’amuser
She shouted again, "Oh, you'll get out of prison, and we will marry!" I replied, "Oh, do you really think so?" but it was mainly to say something She then quickly and loudly affirmed that yes, I would be acquitted and that we would enjoy baths together again.
L’emploi de ô on ằ pour la deuxiốme personne du singulier et du pluriel est familier et implique une certaine dộsinvolture ô On ằ peut s’adresser à une ou plusieurs personnes Par exemple :
La mốre : -On a ộtộ bien sage ? (ô on ằ= l’enfant de celui qui parle)
Elle : Eh bien, on ne m’embrasse pas ?
Lui : Si si, mon chouchou ô On ằ pour les pronoms de la troisiốme personne du singulier et du pluriel :
-Tandis qu’il trottine à ses malades, elle reste à ravauder des chaussettes Et s’ennuie !
On voudrait habiter la ville, danser la polka tous les soirs (G.Flaubert Madame Bovary)
-On ne savait pas trop à quoi employer leur temps, c’était visible (L.Aragon Les Communistes)
Dans le premier exemple, ô on ằ accentue le mộpris condescendant de ô lui ằ pour ô elle ằ Dans le second, l’emploi de ô on ằ est simplement familier
Cette extension de l’emploi ô on ằ qui apparait à la place de tous les autres pronoms personnels est un des traits marquants du franỗais parlộ
In conclusion, Vietnamese features a diverse system of personal pronouns, including names used in place of pronouns In contrast, French has a less varied pronoun system, primarily relying on the personal pronoun "on." To achieve accurate translations in this context, it is essential to master the use of pronouns, including their meanings, through memorization and understanding their application in specific situations.
Caractéristiques de l’art du verbe du Vietnam
I have outlined three characteristics that significantly impact Vietnamese-French translation However, there is another factor that also plays a crucial role, which I would like to emphasize: the art of the verb in Vietnamese.
La langue est le moyen de communication le plus efficace Et la langue vietnamienne reflète l’âme est les caractères des Vietnamiens mais aussi les caractéristique de la culture vietnamienne
D’abord, le vietnamien a une haute symbolisation Cela est exprimé par la généralisation et des conventions symboliques avec des structures symétriques, harmonieuses
The trend of symbolism in Vietnamese culture is prominently reflected in their preference for expressions using symbolic numbers For instance, instead of saying "from all sides," they use the phrase "ô ba bề bốn bờn." Symbolic numbers convey completeness and emphasize meaning, such as "ba phải" (always agreeable), "năm cha ba mẹ" (heterogeneous), "năm châu bốn biển" (the entire world), "năm thì mười họa" (rarely), "tam khoanh tứ đốm" (having more than one trick up one's sleeve), "tam sao thất bản" (the original becomes unrecognizable after many copies), "tam tứ núi" (all difficulties), "chín suối" (the realm of the dead), "chín tầng mây" (the ethereal vault), and "chín phương trời mười phương phật" (the ten directions of the Buddha).
From all directions, money is abundant; the people are numerous; and everything is interconnected Honestly, it is quite challenging to encapsulate the essence of these terms.
46 trouver des ộquivalents en franỗais qui gardent à la fois leur valeur sộmantique et valeur rhétorique En effet, on ne trouve que des équivalents ayant la même valeur sémantique
The synthetic thought process and stable life contribute to the tendency for symmetry in verb structure, which is a distinctive feature of the Vietnamese language and a hallmark of its symbolic nature.
Vietnamese is classified as a monosyllabic language; however, it contains a significant number of disyllabic words, with nearly all isolating words having disyllabic variants This prevalence of disyllabic structures is a notable feature of the Vietnamese language, as illustrated by various proverbs and expressions.
The Vietnamese proverbs convey deep cultural wisdom, such as "Trèo cao/ngã đau," which warns that those who aim high may face severe consequences "Ăn mật/trả gừng" illustrates the idea of repaying kindness with wrongdoing "Ăn ốc/nói mò" highlights the tendency to speak without a solid foundation "Ăn trên/ngồi trốc" refers to those who hold a superior position while benefiting from others The phrase "Đời cha ăn mặn/đời con khát nước" reflects the consequences of a parent's greed on their children Lastly, "Được ăn cả/ngã về không" emphasizes the risks of going all-in for potential rewards These proverbs encapsulate lessons on ambition, reciprocity, and the impact of one's actions across generations.
Biết thì thưa thốt/không biết thì dựa cột mà nghe (Prends la parole si tu connais la question, sinon, tais-toi et écoute !)
Parallel sentences play a significant role in the daily lives of Vietnamese people, serving as a unique form of literature that reflects both the beauty of symmetry and harmony, as well as the depth of Eastern philosophy Historically, these expressions were found in every family home and temple throughout Vietnam While they still exist today, their presence is not as prominent as it once was.
Vietnamese literature is predominantly characterized by its poetic nature, in contrast to the prose-centric literature of the West Almost every Vietnamese individual can write poetry, making the history of Vietnamese literature largely a history of poetry This poetry adheres to strict rules, including specific meters such as six-eight or seven-seven-six-eight, and follows precise rhyme schemes that convey symmetry and harmony Additionally, traditional Vietnamese prose also possesses a poetic inclination, stemming from the rich tonal qualities of the Vietnamese language.
When translating terms from Vietnamese to French, it is impossible to maintain their original strength in the source language, such as symbolism, symmetry, and tonal richness, due to the lack of equivalents in the target language Therefore, only the main idea of each term can be conveyed Conversely, when translating from French to Vietnamese, it is essential to seek out Vietnamese proverbs, expressions, or popular songs that capture the beauty of the Vietnamese language and reflect the author's intent in the original text This approach makes the translation more fluid, vibrant, and engaging.
Ensuite, l’art du verbe vietnamien a une très riche expressivité qui est le fruit de la culture encline aux sentiments
In vocabulary, there is a phenomenon where words have a neutral base meaning alongside expressive derivatives For instance, the neutral color "green" (xanh) has variants such as "verdant" (xanh rờn), "very green" (xanh rì), "pure blue" (xanh ngắt), "lush green" (xanh um), and several others that convey specific shades Similarly, the neutral term "red" (đỏ) includes expressive forms like "brilliant red" (đỏ rực), "vivid red" (đỏ au), and "crimson" (đỏ tía), each used in particular contexts Additionally, the use of expressive reduplicated words is common in the language, enhancing its vividness and emotional depth.
48 le franỗais) Par exemple : xanh xanh (vert), tim tớm (violet), đo đỏ (rouge), lấp lỏnh (scintiller), lấp la lấp lánh (scintillant),…
In Vietnamese grammar, various particles are utilized to enhance communication, including "à" (ah), "ư" (hein), "nhỉ" (isn't it?), "nhé" (please, right?), "chăng" (isn't it?), "chớ," "chứ," "sao" (what? how?), "hử," "hở" (hey, how?), "phỏng" (isn't it?), and "hừ" (hum) These words play a crucial role in expressing nuances and engaging in conversation.
Additionally, the structure "ô iếc ằ," which lacks semantic value but holds significant rhetorical importance, is used after the word "souche" in phrases like "sách siếc" (books) and "bàn biếc" (tables) This contributes to the expressive diversity of the language.
The rise of poetry over prose in literature is attributed to its symbolic and expressive nature This trend is evident in Vietnamese literature, where significant works do not celebrate war but instead convey the sorrow and pain it brings, as seen in pieces like "Ô Chinh Phụ Ngõm Ằ."
The solution for derived words with expressive meanings and reduplicated words is to identify root words in French and, if necessary, add modifiers to indicate degree, particularly for derived terms For function words, it is relatively easy to find equivalents in both languages Regarding the structure used after a noun, since this structure does not exist in French, it is essential to translate according to its evaluative meaning by seeking other corresponding terms in French.
The Vietnamese language is characterized by its mobility and dynamism, particularly evident in its grammar Unlike the strict grammatical structure of French, Vietnamese primarily employs function words to convey meaning and grammatical relationships, allowing for greater flexibility for its users.
49 pourquoi le parleur peut exprimer une fois, plusieurs fois, ou non un sens grammatical quelconque Voir les phrases :
Tôi sẽ đi Hà Nội (Je pars pour Hanoi)
Tôi sẽ đi Hà Nội (Je partirai pour Hanoi)
Ngày mai tôi đi Hà Nội (Je pars pour Hanoi demain)
Ngày mai tôi sẽ đi Hà Nội (Je pars pour Hanoi demain)
C’est grâce à cette vivacité que le vietnamien a une haute généralisation, on peut prononcer une phrase sans tenir compte du temps, du mode, ni de la personne
Cette caractéristique se voit ensuite dans la préférence d’utilisation des verbes : dans une phrase, il y a autant d’actions autant verbes Or, les Franỗais aiment mieux les noms Comparez les exemples :
Cảm ơn anh đã tới chơi (Merci pour votre visite)
Xin lỗi anh vì tôi đã tới muộn (Je m’excuse de mon retard)
Les gens de la zone du sud-est préfèrent également la structure active : ils l’utilisent même dans des phrases passives :
Cô ấy bị thầy giáo phạt (Elle a été punie par son professeur)
Cô ấy được bố mẹ tặng một chiếc váy rất đẹp (Elle a été offerte une très belle robe par ses parents)