CADRE THÉORIQUE
Définition de la traduction
Many professionals in the translation field agree on the challenge of providing a relevant definition of translation In fact, translation is a complex research area, leading to various definitions.
According to the Larousse dictionary, translation is defined as the expression in another language (the target language) of what has been stated in a source language, while maintaining semantic and stylistic equivalences.
According to Umberto Eco (2007), translation is essentially about conveying the same meaning in another language Ioana Irina Durdureanu's analysis of this definition highlights the significance of the word "almost." She elaborates that translation represents a negotiation between the two messages involved in the translation process.
According to Mounin (1963), a prominent researcher in translation, the process involves creating the closest natural equivalent in the target language to the message conveyed in the source language, focusing first on meaning and then on style.
Edmond Cary defines translation as an operation aimed at establishing equivalences between two texts in different languages These equivalences are influenced by the nature of the texts, their intended purpose, and the cultural relationships between the two peoples, including their moral, intellectual, and emotional climates Additionally, they are shaped by the specific circumstances of the time and place of both the source and target texts.
Procédés techniques de la traduction
Vu mon objectif de la recherche, je m’intéresse d’abord aux procédés techniques de la traduction
According to the interpretative theory of translation proposed by Sesleskovitch and Lederer, the translation process is based on a triad: comprehension, which requires significant linguistic skills and in-depth encyclopedic knowledge; de-verbalization, a cognitive process where the physical form of words is set aside to retain only the mental image of concepts and ideas; and re-expression, where the full meaning of the text is conveyed in a different language This approach aligns with the translation of all document types, but translators must be aware of the differences between the source and target languages to facilitate the re-expression stage and provide the best translation of the text.
The term "technical procedures" in the field of translation continues to attract the attention of researchers and linguists In their work on comparative stylistics between French and English, authors Jean-Paul Vinay and Jean Darbelnet emphasize that the comparative analysis of the source and target languages is crucial for enhancing translation quality They argue that it is essential for translators to identify the technical procedures they employ after reviewing the theoretical principles.
In the classification of translation techniques by Jean-Paul Vinay and Jean Darbelnet, there are seven methods divided into two main categories: direct translation and oblique translation Direct translation includes three methods: borrowing, calque, and literal translation In contrast, oblique translation encompasses four methods: transposition or recategorization, modulation, equivalence, and adaptation These methods are arranged in increasing order of difficulty or deviation from the original text.
The borrowing process in translation is considered one of the simplest methods, as noted by Vinay and Darbelnet (1958) This technique involves retaining a word or entire expression from the source language in the translation when there is no lexical equivalent available For instance, the Vietnamese term "ô a xớt" is borrowed from the French "ô acide" due to the lack of a Vietnamese vocabulary to describe this chemical product Additionally, translators may choose to use borrowing to create a stylistic effect, emphasizing an idea or highlighting local cultural characteristics, even when it is not strictly necessary This is evident in the retention of names for traditional Vietnamese dishes like "ô phở" and "ô bỳn chả" in foreign texts.
The calque is considered a unique method of borrowing in translation, as described by Vinay and Darbelnet Translators can borrow phrases from the source text and perform a literal translation in two ways: expression calque and structure calque When using expression calque, translators are allowed to maintain the syntactical structures of the target language, such as the English phrase "Adam's Apple," which is a calque of the French "pomme d’Adam." In contrast, when adopting structure calque, translators can introduce a new construction in the target language, exemplified by the term "Gouverneur Général," translated as "Governor-General" in English.
The latest method of direct translation, known as literal translation, involves creating a target text that adheres to the formal characteristics of the source text while also conforming to the grammatical norms of the target language The examples provided below to illustrate this technical process are drawn from Chapter II of "A Moveable Feast" and its French translation "Paris est une fête" by Marc Saporta.
Version anglais Version franỗais ô Our own apartment was warm and cheerful ằ ô Notre propre appartement ộtait chaud et gai ằ
Dans son œuvre, les auteurs ộnoncent que la traduction littộrale est ô une solution unique, rộversible et complốte en elle-mờme ằ (Vinay & Darbelnet, 1958 :
28) Les exemples de ce type se trouvent principalement dans les traductions entre les langues d'une mờme famille comme le franỗais et l’italien, et surtout de la mờme culture
When a translator relies on literal translation, they may find that it often fails to deliver an acceptable solution, as it can convey a different meaning from the original text, lack coherence, or present structural challenges in the target language Additionally, it may not align with the metalinguistic aspects of the target language, or even if it does match something, there may still be a gap between the two languages In such instances, it is crucial to employ an oblique translation approach that encompasses transposition, modulation, equivalence, and adaptation.
Transposition involves the grammatical replacement of one part of speech with another, maintaining the original message's meaning (Vinay & Darbelnet, 1958: 30) Translators are advised to use this technique when a literal translation may lead to confusion for the audience.
According to Dụ Lan Anh's study on translation errors from French to Vietnamese, particularly among students in French departments in Vietnam, she identifies several methods of transposition in translation These include replacing a noun or noun phrase with a verb or verbal phrase, as well as substituting a verb with a noun phrase Examples of both methods illustrate these techniques.
Moyens de la transposition Exemples
Remplacement du nom ou du syntagme nominal par le verbe ou le syntagme verbal ô À la recherche du temps perdu ằ ô Đi tỡm thời gian đó mất ằ
The yellow color of the Myanmar flag symbolizes solidarity This vibrant hue represents the spirit of unity among the people of Myanmar.
Modulation involves restructuring a statement from the source language into the target language by altering the perspective or emphasis compared to the original formulation This adjustment is based on the differing perceptions, ideologies, and logics across cultures In her study, Dô Lan Anh outlines three approaches that Vietnamese translators can adopt when translating French texts.
Exemples Original Version en vietnamien
Conversion des phrases passives en ô Un nouveau cas de COVID-
19 a été signalé au Vietnam à ô Vào 20h30, ngày 16 thỏng 3, bộ Y tế thông báo ca nhiễm phrases actives et vice versa
20h30 le 16 mars par le ministère de la Santé, portant à 61 le nombre total de cas confirmé d’infection dans le pays ằ
COVID-19 mới tại Việt Nam, nâng tổng số ca nhiễm trong nước lờn 61 ằ
Changement de position des éléments de la phrase ô Un nouveau cas de COVID-
19 a été signalé au Vietnam à 20h30 le 16 mars par le ministère de la Santé, portant à 61 le nombre total de cas confirmé d’infection dans le pays ằ ô Vào 20h30, ngày 16 thỏng
3, bộ Y tế thông báo ca nhiễm COVID-19 mới tại Việt Nam, nâng tổng số ca nhiễm trong nước lờn 61 ằ
Conversion des phrases négatives en phrases positives ô Je n ’ai pas rộdigộ cette thốse en peu de temps ằ ô Tụi đó viết luận văn này trong khoảng thời gian dài ằ
The equivalence process in translation involves a strategy that allows translators to use entirely different stylistic and structural means to convey the same idea in the target language This use of equivalences is deeply rooted in the culture of each country and language, with many expressions being fixed and part of a phraseological repertoire that includes idioms, clichés, proverbs, and nominal or adjectival phrases (Vinay, Darbelnet 1958: 32) For instance, the French expression "poser un lapin," which means to not show up for a meeting without notifying the person waiting, is translated by Vietnamese translators as "cho leo cõy," conveying the same concept.
Additionally, it is important to note that Vietnamese rarely use an artificial subject at the beginning of a sentence Therefore, when translating, we should rearrange the sentence structure This concept is well demonstrated in the translation of the following sentence.
Original Version en vietnamien ô Il est absolument nộcessaire de moderniser les infrastructures urbaines ằ ô Hiện đại húa cơ sở hạ tầng đụ thị là vụ cựng cần thiết ằ
In cases where the situation referenced in a message does not exist in the target language, translators may resort to adaptation as an extreme form of translation This process is particularly evident when translating a text that describes a father kissing his daughter on the lips as a loving greeting after a long journey As a Vietnamese person, I find this description not only confusing but also disturbing, as such actions are not culturally accepted in Vietnam Therefore, the translator must adapt the phrase to "ô ba ụm con gỏi thật chặt" to resonate appropriately with Vietnamese readers.
Dans cette recherche scientifique, je vais emprunter ces concepts pour la partie des analyses de mon corpus dans le quatrième chapitre.
Méthodologie de recherche
In scientific research, the application of appropriate methods is essential; a robust method that withstands scrutiny yields reliable results that can be deemed scientific Conversely, if a research method is flawed and fails to endure rational critique and logical analysis, its results cannot be regarded as established facts.
To successfully conduct my research on the translation techniques employed in the Vietnamese version of the literary work "Les bêtises du Petit Nicolas," I utilize a categorical, descriptive, and evaluative analysis method on a corpus formed from systematically gathered observational data.
3.1 Méthode de collecte de données
Systematic observation is one of the most recognized data collection methods in the social sciences due to its effectiveness and low cost It is considered a fundamental technique applied in the early stages of any scientific inquiry and is typically used in the preliminary phases of problem research According to Nguyên Quang Thuân, this method is particularly suitable when the research aims to provide precise descriptions of the study objects.
The aim of my scientific research is to gain a deeper understanding of the translation methods employed by translators in the Vietnamese version of the literary work "Les bêtises du Petit Nicolas." I believe that the application of systematic observation techniques will provide a clear comparison between the French and Vietnamese versions This method allows the researcher to document behaviors as they occur, without interference, and when applied in the field, it offers an accurate representation of reality.
I implemented systematic observation by creating a comparison table of major equivalences in two languages The table consists of three columns: the first displays numbers for easier reference to examples in the analysis chapter, the second lists all phrases and words worth noting in the French version of the literary work "Les bêtises du Petit."
Nicolas, et la dernière colonne montre leurs équivalences dans la version en vietnamien Je suis convaincue que ce tableau favorise le plus mes analyses catégorielle, descriptive et évaluative.
After gathering data, we proceed to the analysis phase of the corpus Given the structure of the comparison table based on the collected data from both the French and Vietnamese versions, I have selected three analysis methods for this study: categorical analysis, descriptive analysis, and evaluative analysis.
Firstly, categorical analysis will help identify and classify the technical processes used by translators for each example, allowing for the grouping of examples into different categories for deeper analysis Next, descriptive analysis will explain the choice of technical processes applied in each example, preparing for the third and most critical step: data evaluation This evaluation will enhance my understanding of literary translation and the frequently used technical processes in translating from French to Vietnamese.
CONTEXTUALISATION
Série du Petit Nicolas
1.1 Brève présentation des auteurs René Goscinny et Jean-Jacques Sempé
René Goscinny was a renowned French comic book artist, writer, journalist, and humorist, born in Paris on August 14, 1926, to a Jewish Polish family Following the death of his father, Goscinny had to seek employment, leading him to leave home in 1945 with the ambition of joining Walt Disney Studios in New York, although he ultimately faced failure in this pursuit.
In 1948, Goscinny was hired by a small advertising agency where he met Maurice de Bévère, better known as Morris This encounter led to a collaboration that resulted in the creation of one of the most famous comic book characters in the world: Lucky Luke, the fastest cowboy in the West.
In 1952, Goscinny became the director of the Paris branch of World Press, where he met illustrator Albert Uderzo Together, they created the iconic Astérix series and launched the magazine Pilote, which published the first adventures of Astérix in 1959.
Jean-Jacques Sempé, a French illustrator born in 1932 in Bordeaux, had a challenging childhood as he was adopted by a modest family amidst constant parental conflict He later described his early years as desperate and tragic Interestingly, Sempé confessed that he never had a fondness for comic strips; instead, he developed a passion for humorous drawings, which he began creating at the age of eighteen for the newspaper Sud-Ouest.
En 1953, Goscinny rencontre Jean-Jacques Sempé dans les bureaux parisiens de World Press Les deux décident de collaborer pour écrire et dessiner l’histoire du Petit
2.2 Brève présentation de la série du Petit Nicolas
Le Petit Nicolas est une œuvre littéraire célèbre en France, écrite sous forme de courts récits par René Goscinny et illustrée par Jean-Jacques Sempé Elle est publiée le
29 mars, 1959 et devenue un phénomène non seulement dans la littérature pour la jeunesse
Le Petit Nicolas presents an idealized depiction of childhood in urban France during the 1950s The stories capture the daily adventures of Little Nicolas, highlighting his interactions with family, friends, teachers, and various encounters in his life.
Nicolas's anecdotes are deeply inspired by Sempé's own childhood memories Sempé reveals that he frequently shared these memories with Goscinny, recounting experiences from school and summer camps, which encouraged Goscinny to draw upon these stories This collaboration led to the creation of the charming and whimsical tales of a young boy named Nicolas, resonating with children today and maintaining a playful tone that captivates young readers.
The childlike tone in storytelling allows readers to revisit their childhood experiences However, themes such as neighborly relationships, the dynamics between a father and his boss, and parental love enable adults to view these scenarios through the eyes of a child.
La série comprend 223 histoires divisées en 8 livres L’œuvre Les Bêtises du Petit Nicolas est le premier volume des Histoires Inédites du Petit Nicolas.
Traduction vietnamienne de l’œuvre Les Bêtises du Petit Nicolas
La Maison d’édition de Hôi Nha Van a été fondée en 1957, spécialisée dans l’édition de romans, poèmes, recherches et journalisme C’est l’un des éditeurs les plus prestigieux du Vietnam
In 2006, the Hôi Nha Van Publishing House released the first Vietnamese edition of "Le Petit Nicolas," translated by Trac Phong and Huong Lan.
ANALYSE DES PROCÉDÉS TECHNIQUES DE
Analyse des exemples utilisant la traduction directe
As outlined in the theoretical framework, direct translation encompasses three technical processes: borrowing, calque, and literal translation However, among 50 examples drawn from eight stories in the literary work "Les bêtises du Petit Nicolas," I found no instances of the borrowing process Therefore, this chapter will focus solely on examples that utilize calque and literal translation.
1.1 Analyse des exemples utilisant le calque
Après la lecture attentive de l’œuvre littéraire Les bêtises du Petit Nicolas et l’observation minutieuse de 50 exemples, je peux constater qu'il existe 4 exemples qui utilisent le calque :
No Original Version en vietnamien
4 ô Quand nous sommes descendus ce matin, à l’école dans la cour pour la rộcrộ ằ ô Sỏng nay ở trường, khi chỳng tụi xuống sõn chơi … ằ
37 ô Clotaire a amenộ ses soldats de plomb … ằ ô Clotaire mang theo cỏc chỳ lớnh chỡ … ằ
In the fourth example, Vietnamese translators interpret "cour" as "sân chơi." According to the Larousse online dictionary, "cour" has eight different meanings, but in the context of the story centered around the school life of Petit Nicolas, it primarily refers to an "open space surrounded by walls and/or buildings, typically part of a residence or educational institution." Thus, "cour" can be accurately translated to "sân" in Vietnamese Furthermore, "récré" is a colloquial form of "récréation," defined in Larousse as "time allocated for students to play or relax." Consequently, the Vietnamese equivalents "giờ giải lao" or "giờ ra chơi" are appropriate translations for this term.
In the Vietnamese version of the initial narrative, the translators adopt phrases from the source text and perform a literal translation of its components However, instead of maintaining the original structure of the term and translating it as "ô sõn để chơi ằ," they settle for the version "ô sõn chơi ằ."
Le 37 e exemple est un cas similaire d’utilisation de calque L’expression ô soldat de plomb ằ, qui est un nom pour un type de jouet infantile, est traduite en ô lớnh chỡ ằ dans la version en vietnamienne Si les traducteurs avaient suivi la structure de la langue franỗaise, la traduction aurait ộtộ ô chỳ lớnh (làm) từ chỡ ằ, mais ils dộcident d’ộliminer le mot ô từ ằ pour qu’il soit plus naturel en vietnamien
In the examples provided, translators effectively use calque to maintain the syntactic structures of the Vietnamese language This translation method is rooted in the Vietnamese tendency to place the subject's function or material immediately after the noun without a preposition, perceiving it as an adjective Consequently, the translators successfully preserve the cultural nuances of the Vietnamese language through their translations.
Un autre exemple utilisant le calque est le 6 e exemple
No Original Version en vietnamien
6 ô le Brouillon ằ ô thầy Nước Lốo ằ
In this article, the translator literally translates the professor's nickname "Le Brouillon" as "thầy Nước Lốo" in Vietnamese This choice by the translators helps maintain the humorous essence of the nickname and the comical tone of the story from a child's perspective in the Vietnamese version of the literary work "Les bêtises du Petit Nicolas."
Le procédé technique du calque se manifeste également dans le 36 e exemple
No Original Version en vietnamien
36 ô Dimanche aprốs-midi … ằ ô Chiều chủ nhật … ằ
When translating text from French to Vietnamese, translators often alter the order of adverbial elements, particularly regarding time and place For instance, instead of saying "on Sunday afternoon," the translation would be "afternoon Sunday." This reflects the Vietnamese convention of typically stating the time of day before revealing the date in a sentence This approach also aligns with the concept of calque in translation.
1.2 Analyse des exemples utilisant la traduction littérale ẫtant donnộ que le franỗais et le vietnamien ne sont pas dans la mờme famille de langues, il est rare de constater le procédé de la traduction littérale dans la traduction du franỗais vers le vietnamien et vice versa Cependant dans la traduction vietnamienne de l’œuvre littéraire Les bêtises du Petit Nicolas, je remarque que les traducteurs utilisent parfois cette méthode pour traduire phrases ayant de structures syntaxiques simples Le 10 e exemple est un exemple illustrant l’utilisation de la traduction littérale
No Original Version en vietnamien
10 ô M Mouchabiốre nous a regardộs avec des grands yeux et il nous a dit
: ô Rompez ! ằ, avec une voix toute petite ằ ô Thầy Mouchabiốre nhỡn chỳng tụi bằng đôi mắt mở to rồi thầy bảo chúng tôi: "Nghỉ!" với một giọng rất nhỏ nhẹ ằ
In the Vietnamese version, translators maintain all grammatical and structural elements of the original text, creating a remarkable effect on its tone Since "Le Petit Nicolas" is narrated from the perspective of a primary school child, the sentences are often succinct and straightforward Therefore, the use of literal translation is a wise choice, allowing readers to experience the childlike tone of "Le Petit Nicolas" and immerse themselves in the carefree and innocent world of a student.
Analyse des exemples utilisant la traduction oblique
According to Vinay and Darbelnet's theory, oblique translation consists of four distinct techniques: transposition, modulation, equivalence, and adaptation In translating from French to Vietnamese, oblique translation appears to be more favorable, leading translators to effectively apply these techniques in rendering most texts of this literary work.
2.1 Analyse des exemples utilisant la transposition
Transposition is an effective and frequently used translation method when translating from French to Vietnamese After carefully analyzing 50 translation examples from the literary work "Les bêtises du Petit Nicolas," I identified five instances that clearly illustrate this technical process.
No Original Version en vietnamien
17 ô Guynemer à tour de contrụle ằ ô Guynemer gọi thỏp chỉ huy ằ
19 ô … ils essayaient de se faire des croche-pieds ằ ô … hai thằng đang tỡm cỏch ngỏng chõn nhau ằ
20 ô … il n’est pas encore suffisamment aguerri ằ ô … cậu ấy vẫn chưa cú đủ kinh nghiệm đõu ằ
41 ô - C’est Alceste qui nous a donnộ envie ằ ô - Tại Alceste làm bọn em thốm quỏ ằ
Clotaire's amusing facial expressions provided a humorous element in the story The phrase "Guynemer à tour de contrôle" is commonly used by pilots during aerial battles to signal the control tower in emergencies In the book, a student embodies Guynemer, a heroic French pilot from World War I, using this expression while playing with friends The Vietnamese translation, "Guynemer gọi thỏp chỉ huy," transforms the original noun phrase into a verbal phrase by incorporating the word "gọi." Maintaining the original structure would have led to confusion, as readers might interpret it as Guynemer going to the control tower instead of calling it This translation approach demonstrates the translators' clever handling of the text.
The 19th example describes the action of two students attempting to trip each other, which means trying to make someone fall by placing a foot between their legs, according to the online dictionary linternaute.fr In this example, the author uses the noun "tripping" in the sentence, but translators choose to use the verb "to trip" instead If they had adhered to the original version and retained the noun, the Vietnamese translation would read "two guys trying to find a way to trip each other," which seems lengthy and unnatural for Vietnamese readers Therefore, in the process of rephrasing this sentence, converting a noun into a verbal phrase appears to be a suitable option.
Le 41 e et le 47 e exemple sont également similaires au cas du 19 e Dans le 41 e exemple, Goscinny ộcrit le nom ô envie ằ qui signifie ô Dộsir d’avoir ou de faire quelque chose, dộsir que quelque chose arrive ằ dans le dictionnaire Larousse pour montrer que les enfants de l’histoire ont également soif de nourriture que mange Alceste Au lieu de conserver le nom et de le traduire en ô cơn thốm thuồng ằ, les traducteurs appliquent la transposition du nom au verbe et utilisent le verbe ô thốm ằ
As a result, we have a more natural and concise Vietnamese phrase: "ô - Tại Alceste làm bọn em thốm quỏ ằ." Translators also utilize this technique in the 47th example, transforming the phrase "ô un tas de grimaces ằ" into the verbal expression "ô nhăn mặt đủ kiểu ằ" to effectively describe Clotaire's actions.
Le 20 e exemple est assez diffộrent : le mot utilisộ dans le texte franỗais original est un adjectif, tandis que dans la version en vietnamien, les traducteurs utilisent un syntagme verbal Comme indiqué dans le dictionnaire en ligne Linternaute.fr, le mot ô aguerri ằ est dộfini comme ô Caractốre de quelqu’un ou de quelque chose endurci par ses expộriences passộes ằ Par consộquent, lorsque ô le Bouillon ằ dộcrit Monsieur Mouchabiốre comme ôn’est pas aguerri ằ, cela signifie que Monsieur Mouchabiốre a peu d’expérience dans la gestion et la prise en charge des élèves coquins Sur la base de cette explication, les traducteurs présentent aux lecteurs une traduction fluide de la phrase : ô … cậu ấy vẫn chưa cú đủ kinh nghiệm đõu ằ
2.2 Analyse des exemples utilisant la modulation
Modulation is a widely accepted technical process in translating from French to Vietnamese In the fourth chapter, I provide 50 examples, of which 13 illustrate the use of modulation I will first analyze six examples that demonstrate changes in the positioning of adverbs indicating time and location within the sentence.
No Original Version en vietnamien
5 ô Quand nous sommes descendus ce matin, à l’école dans la cour pour la rộcrộ … ằ ô Sỏng nay ở trường , khi chỳng tụi xuống sõn chơi… ằ
If I were Michel Tanguy, I would be immersed in a story I read in my class from the Pilot newspaper This tale captivates me as I sit in the classroom, reflecting on the adventures of the character.
43 ô … nous sommes arrivộs à l’ộcole drụlement content ằ ô … chỳng tụi rất phấn khởi khi đến trường ằ
Alceste told me that his mom makes a delicious apple pie every Sunday just for him.
45 ô Joachim est arrivộs à l’ộcole, aujourd’hui , avec les jumelles ằ ô Hụm nay Joachim mang đến trường một cỏi ống nhũm ằ
48 ô Et puis j’ai vu, tout d’un coup , le
Bouillon tout prốs de Clotaire… ằ ô Rồi bỗng nhiờn tụi nhỡn thấy thầy
Nước Lèo đừng ngay bên cạnh Clotaire ằ
In French informative texts, adverbs of time and place are typically positioned immediately after the verb and are often found in the middle of the sentence In contrast, Vietnamese sentence structure allows for time and place adverbs to appear at the beginning or end of the sentence The six examples in the table illustrate that translators are well aware of this linguistic difference; thus, modulating the placement of adverbs is an effective solution for crafting natural sentences in Vietnamese.
In the fifth example, if the adverb's position in the Vietnamese version matched that of the original, the sentence would read: "When we arrived at the playground today." Consequently, this construction appears meaningless in Vietnamese because the subject's action is obscured, leading to confusion among readers.
In example 48, the translation of the phrase reveals that if the translator consistently places the adverb in the middle of the sentence, it can lead to awkward phrasing This approach may disrupt the flow of reading, causing readers to feel interrupted.
Translators not only alter the placement of adverbs but also adjust the position of pronouns This method can be observed in examples seven and fifteen.
No Original Version en vietnamien
7 ô - Regardez-moi bien dans les yeux, vous tous ! ằ ô - Tất cả cỏc em , hóy nhỡn thẳng vào mắt thầy đõy! ằ
Ce 7 e exemple est une phrase impérative Dans sa traduction en vietnamien, les traducteurs dộplacent le pronom ô vous tous ằ de la fin de la phrase au dộbut Il s’agit d’une exécution subtile de la part des traducteurs, car dans la structure en vietnamien, le pronom de la phrase impérative est généralement placé au début pour attirer l’attention des auditeurs Certes, il est toujours acceptable de respecter la structure en franỗais et de mettre le pronom à la fin, mais la phrase ne captiverait pas autant les lecteurs
No Original Version en vietnamien
15 ô … il leur a dit d’aller au piquet tous les deux ằ ô … thầy bắt cả hai đứa ra đứng cạnh cột chịu phạt ằ
SUGGESTIONS POUR AMÉLIORER L’APPLICATION
Renforcement du travail en groupe
Aprốs avoir reỗu le devoir, les ộtudiants peuvent se diviser en groupes pour travailler ensemble, chacun pouvant comprendre de 2 à 4 personnes
At the beginning of learning translation and interpretation, it can be challenging to translate sentences from the source language to the target language without relying on the syntax and structures of the source language Consequently, translations by novice translators may not sound natural to native readers.
Group work enables students to discuss the technical processes used in their respective translations and evaluate each other's work through peer review The objective feedback from fellow group members can significantly enhance students' translation skills.
My research focuses on the techniques used in the Vietnamese translation of the literary work "Les bêtises du Petit Nicolas." I aim to explore the specific translation methods applied to convey the original meaning and nuances of the text effectively.
The article explores various definitions of translation and presents the technical processes of translation according to the Vinay and Darbelnet theory It first discusses direct translation methods, which include borrowing, calque, and literal translation Following that, it highlights oblique translation techniques, encompassing transposition, modulation, equivalence, and adaptation.
I developed the analysis corpus using data collected from both the original French text and the Vietnamese version of the literary work "Les bêtises du Petit Nicolas." This data is presented in a comparison table highlighting the key equivalences between the two languages The goal of this step is to examine how translators have rendered the text from French into Vietnamese.
J’ai effectué des analyses et des interprétations des données dans le cinquième chapitre afin de trouver des réponses aux questions posées dans la problématique
Firstly, I observe that direct translation is rarely utilized in Vietnamese translation, with only 5 out of 50 examples demonstrating its application, none of which involve borrowing Given that Vietnamese and French belong to different language families, challenges arise in maintaining the syntax and structures of the French language during translation into Vietnamese However, translators consistently perform admirably in translating these 5 examples Their use of calque and literal translation is always well-adapted, making the Vietnamese version feel natural for native readers while preserving the childlike tone of the stories.
The analysis reveals that oblique translation is effectively employed in the Vietnamese version of "Les bêtises du Petit Nicolas." A careful review of 45 examples shows that translators frequently use transposition to convert noun phrases into verb phrases, while modulation is applied to rearrange sentence elements Furthermore, equivalence emerges as the predominant technique throughout the translation process This trend can be attributed to cultural differences; many phrases would appear unnatural and unfamiliar to Vietnamese readers if French structures and expressions were retained For instance, the Vietnamese language does not utilize the impersonal structure "il est + adjective + de" or "c'est + adjective + que." Consequently, translators carefully adjust the structure to ensure clarity for Vietnamese readers Additionally, there are three instances of adaptation to create a more comprehensible translation Most examples are executed flawlessly, although one instance fails to convey the author's intent due to a change in the position of the verbal complement.
Enfin, j’ai abordé quelques suggestions concernant le renforcement de la lecture et du travail en groupe pour améliorer l’application des procédés techniques de traduction chez les étudiants
In conclusion, I firmly believe that the Vietnamese version of the literary work "Les bêtises du Petit Nicolas" is an adequate translation that effectively conveys all meanings and messages to Vietnamese readers while preserving the original's childlike and innocent tone This makes it an ideal example for presentation in university translation courses I hope that my research can assist students in understanding the application of translation techniques and using them appropriately in their classroom translations.
1 CARY Edmond, 1985, Comment faut-il traduire ?, Lille, Presses Universitaires du Septentrion
2 COLLECTIF Larousse, 2007, Le petit Larousse illustré-2008, Paris, Larousse
3 ĐỖ Lan Anh, 2016, ẫtude des erreurs en traduction du franỗais en vietnamien
(Le cas des ộtudiants des dộpartements de franỗais au Vietnam), Universitộ de
4 ECO Umberto, 2007, Dire presque la même chose Expériences de traduction, Paris, Grasset
5 GOSCINNY René, 2004, Les bêtises du Petit Nicolas, Paris, IMAV Éditions
6 GOSCINNY René, 2006, Nhóc Nicolas: Những chuyện chưa kể, Hà Nội, NXB Hội Nhà Văn
7 LEDERER Marianne, 1994, La traduction aujourd’hui, Paris, Hachette F.L.E
8 MOUNIN Georges 1963, Les problèmes théoriques de la traduction, Paris,
9 NGUYỄN Quang Thuấn, 2007, Phương pháp luận nghiên cứu khoa học, Hà
Nội, NXB Đại học Quốc gia Hà Nội
11 VIDAL Guy et GOSCINNY Anne et GAUMER Patrick, 1997, René Goscinny profession : humoriste, Paris, Dargaud
12 VINAY Jean-Paul et DARBELNET Jean, 1958, Stylistique comparée du franỗais et de l’anglais, Paris, Didier
1 Larousse, ô cour ằ, https://www.larousse.fr/dictionnaires/francais/cour/19870?q= cour#19756, consulté le
2 Larousse, ô rộcrộ ằ, https://www.larousse.fr/dictionnaires/francais/récré/67173?q= récré #432901, consulté le 8 avril 2020
3 Larousse, ô envie ằ, https://www.larousse.fr/dictionnaires/francais/envie/30147?q= envie#30060, consulté le 8 avril 2020
4 Larousse, ô quarantaine ằ, https://www.larousse.fr/dictionnaires/francais/ quarantaine/65501?q=quarantaine#64757, consulté le 8 avril 2020
5 Larousse, ô cafard ằ, https://www.larousse.fr/dictionnaires/francais/cafard/12073? qard#11922, consulté le 8 avril 2020
COMPARAISON ENTRE L’ORIGINAL ET LA VERSION EN VIETNAMIEN
No Original Version en vietnamien
Je – Tu (Les amis de
2 Je – Vous (Les enseignants s’adressent aux élèves) Thầy – Em
3 Titre M Mouchabière nous surveille Titre Thầy Mouchabière giám sát chúng tôi
Page 7 ô Quand nous sommes descendus ce matin, à l’école dans la cour pour la rộcrộ ằ
Page 157 ô Sỏng nay ở trường, khi chúng tôi xuống sân chơi … ằ
5 ô Quand nous sommes descendus ce matin, à l’école dans la cour pour la rộcrộ … ằ ô Sỏng nay ở trường , khi chúng tôi xuống sân chơi… ằ
6 ô le Brouillon ằ ô Thầy Nước Lốo ằ
7 ô - Regardez-moi bien dans les yeux, vous tous ! ằ ô - Tất cả cỏc em , hóy nhỡn thẳng vào mắt thầy đõy! ằ
You will kindly promise to behave, follow the guidance of Mr Mouchabière, and refrain from causing him any distress.
9 ô - Courage, Mouchabiốre, mon petit ằ ô - Dũng cảm lờn, Mouchabière, chàng trai trẻ ằ
M Mouchabiore looked at us with wide eyes and softly instructed us to "Break!" in a quiet voice.
"Nghỉ!" với một giọng rất nhỏ nhẹ ằ
Page 8 ô … ỗa ne fait pas longtemps qu’il allait à l’ộcole … ằ
Page 158 ô … thầy mới đến trường làm chưa lõu … ằ
We are like airplanes, running with our arms wide open, making sounds of excitement as we soar through the air.
Page 9 ô … je serais Michel Tanguy, c’est une histoire que je lis en classe dans mon journal Pilote… ằ
Page 159 ô … tao sẽ là Michel Tanguy trong một truyện mà tao đọc được trên tờ báo Phi công lúc ngồi trong lớp học… ằ
In class, I came across a story about Michel Tanguy in my Pilote magazine, which sparked my interest.
Page 10 ô … il leur a dit d’aller au piquet tous les deux ằ Page 160 ô … thầy bắt cả hai đứa ra đứng cạnh cột chịu phạt ằ
16 ô Maixent, il faut toujours qu’il commande ằ Page 161 ô Tại sao lỳc nào Maixent cũng được quyền ra lệnh ? ằ
Page 12 ô Guynemer à tour de contrụle ằ Page 162 ô Guynemer gọi thỏp chỉ huy ằ
18 ô Alceste… tournait en rond, vroum vroum … ằ Page 163 ô Alceste… vừa quay trũn vừa kêu "gừm… gừm…" … ằ
19 ô … ils essayaient de se ô … hai thằng đang tỡm cỏch faire des croche-pieds ằ ngỏng chõn nhau ằ
Page 15 ô … il n’est pas encore suffisamment aguerri ằ Page 164 ô … cậu ấy vẫn chưa cú đủ kinh nghiệm đõu ằ
21 ô … c’est le Brouillon qui nous a surveillộs ằ Page 165 ô … thầy Nước Lốo lại giỏm sỏt chỳng tụi ằ
22 ô C’est dommage … ằ ô Thật là đỏng tiếc … ằ
24 Page 17 ô La porte de la classe s’est ouverte et on a vu entrer le directeur ằ
Page 166 ô Cửa lớp học mở ra và thầy
25 Page 17 ô Puis, Rufus s’est levộ
- Oui, mon petit ? a répondu le directeur ằ
Page 166 ô Rồi thằng Rufus đứng lờn
- Gì vậy em? thầy Hiệu trưởng trả lời ằ
Page 18 ô - C’est Geoffroy, m’sieur, a dit Rufus
- T’es pas un peu malade ? a demandộ Geoffroy ằ
Page 166 ô - Là Geoffroy đấy thưa thầy, Rufus nói
- Mày có bị hâm không? ,
27 ô Le Bouillon, c’est notre surveillant ; on l’appelle comme ỗa parce qu’il dit tout le temps : Regardez- moi bien dans les yeux ằ, et dans le bouillon il y a des yeux ằ
Page 167 ô Thầy Nước Lốo là thầy giám thị của chúng tôi; chúng tôi gọi thầy như vậy vì lúc nào thầy cũng bảo:
"Nhìn thẳng vào mắt thầy đây", làm chúng tôi nghĩ tới những cái bong bóng tròn thô lố như mắt trong thùng nước lốo ằ
28 ô C’est les grands qui ont trouvộ ỗa ằ ô Biệt hiệu ấy là do hội lớp lớn đó nghĩ ra ằ
29 Page 20 ô - Avec des mots moins longs, a dit Clotaire, parce Page 171 ô - Giỏ mà cú thể viết cõu ngắn hơn, Joachim nói, vì que je ne sais pas écrire inadmissible
- Moi, je l’écris avec deux s , a dit Eudes ằ em không biết viết đúng chính tả chữ "chấp nhận"
- Xì, tao viết bằng ch nhẹ ,
30 Page 21 ô Il a donnộ des petites tapes sur la tête d’Agnan… ằ
Page 172 ô Thầy vỗ nhố nhẹ lờn đầu
31 Titre La quarantaine Titre Hít le
Page 27 ô Bah ! il a dit Geoffroy… ằ
Page 176 ô ễi dào! Geoffroy núi… ằ
33 ô … tout seul je vais bien rigoler avec ce que j’ai apportộ dans mon paquet ằ ô … tao chơi một mỡnh với cái đồ tao mang trong gói kia cũn thớch hơn ằ
Page 28 ô … il lui prờte son taille- crayon, celui qui ressemble à un petit avion,… il a pris son taille-crayon et il s’est amusé en faisant ô rrrrrr ằ… ằ Page 176 ô Thằng Geoffroy lại đi hỏi mượn Eudes cái gọt bút chì hình máy bay… cậu ta cầm cái gọt bút chì lên vừa bắt đầu nghịch vừa kêu "rừ… rừ…"… ằ
I must not play with my pencil sharpener during math class, as it distracts me from understanding the lesson.
36 Page 33 ô Dimanche aprốs- midi … ằ Page 181 ô Chiều chủ nhật … ằ
37 ô Clotaire a amenộ ses soldats de plomb … ằ ô Clotaire mang theo cỏc chỳ lớnh chỡ … ằ
38 Page 34 ô Je me demande comment
Alceste fait pour se faire comprendre quand tu n’es pas là… ằ
Page 183 ô Bỏc tự hỏi nếu khụng cú cháu ở đây thì làm sao mọi người có thể hiểu được Alceste … ằ
39 Page 35 ô Il en avait la figure toute mouillộe ằ Page 184 ô Mặt bố đầm đỡa mồ hụi ằ
Page 42 ô … c’ộtait Alceste, qui ộtait allé acheter de la barbe à papa ằ
Page 189 ô … chớnh là thằng Alceste, vì nó vừa chạy đi mua kẹo bụng ằ
41 ô - C’est Alceste qui nous a donnộ envie ằ
Page 190 ô - Tại Alceste làm bọn em thốm quỏ ằ
42 ô - Mademoiselle, a dit Agnan, Eudes veut aller aussi acheter de la barbe à papa
- Tu peux pas te faire, espèce de cafard ? … a demandộ Eudes ằ ô - Thưa cụ, Agnan núi, Eudes cũng muốn đi mua kẹo bông ạ
- Mày không thể im đi được hả, đồ hớt lẻo ? Eudes hỏi ằ
43 Page 49 ô … nous sommes arrivộs à l’ộcole drụlement content ằ Page 196 ô … chỳng tụi rất phấn khởi khi đến trường ằ
44 Page 52 ô Maman, m’a dit Alceste, fait une tarte terrible avec des pommes Elle fait ỗa les dimanches pour moi ằ
Page 200 ô Mẹ tao, Alceste núi với tôi, làm bánh táo ngon tuyệt
Chủ nhật nào mẹ tao cũng làm cho tao ằ
45 Page 57 ô Joachim est arrivộs à l’école, aujourd’hui , avec les jumelles ằ
Page 204 ô Hụm nay Joachim mang đến trường một cái ống nhũm ằ
Page 61 ô … c’ộtait rigolo de voir Clotaire qui faisait des tas de grimaces… ằ
Page 209 ô … trụng Clotaire rất buồn cười khi nó nhăn mặt đủ kiểu ằ
47 ô … c’ộtait rigolo de voir Clotaire qui faisait des tas de grimaces … ằ ô … trụng Clotaire rất buồn cười khi nó nhăn mặt đủ kiểu ằ
48 ô Et puis j’ai vu, tout d’un coup , le Bouillon tout près de Clotaire… ằ ô Rồi bỗng nhiờn tụi nhỡn thấy thầy Nước Lèo đừng ngay bờn cạnh Clotaire ằ
49 Page 68 ô - Pourquoi es-tu mộchant comme ỗa, Nicolas ? Tu vois ce qui arrive après ? Tu crois que ỗa nous fait plaisir à maman et à moi de te punir ?
Tại sao con lại cư xử hỗn như vậy, Nicolas? Con có nhận ra điều gì đã xảy ra sau đó không? Con có nghĩ rằng bố mẹ cảm thấy vui khi phải phạt con hay không?