a study of translation of stylistic devices in “thời xa vắng” by lê lựu into english i

RATIONALE

Modern life increasingly keeps us busy, prompting many to seek entertainment and relaxation after a long day Reading has become a popular leisure activity, allowing us to enjoy literature from renowned writers both in Vietnam and globally Literature serves as a mirror reflecting societal events and plays a vital role in broadening our knowledge while alleviating stress The value of literature and the benefits of engaging with captivating stories are undeniable Furthermore, literature is integral to language, showcasing its beauty and enabling emotional expression and opinion exchange Writers utilize various linguistic techniques, particularly stylistic devices (SDs), to effectively convey their messages This is why I am drawn to the study of SDs, especially in the context of translating them between languages.

The novel "Thời xa vắng" by Lê Lựu is a renowned work from the post-liberation era in Vietnam, celebrated for its stylistic devices that highlight the author's unique style and the beauty of the narrative This novel stands out as the most significant piece in Lê Lựu's writing career In 2004, it was adapted into a film by director Hồ Quang Minh, earning the "Cánh diều bạc" award Additionally, the story has been translated into English by co-translators Ngô Vinh.

Hải, Nguyễn Bá Chung, Kevin Bowen, and David Hunt and was published by University of Massachusetts Press in 1997

As an English teacher and a postgraduate in Linguistics from the University of Foreign Language Studies - University of Da Nang, I recognize the importance of studying the translation procedures of stylistic devices (SDs) in literary works, particularly in translating "Thời xa vắng" into English as "A Time Far Past." While numerous authors have explored SDs in English and Vietnamese literature, there has been limited research on the translation procedures of these devices in this specific context Therefore, my study aims to provide insights into the translation of stylistic devices, enhancing understanding for English learners and contributing to the field of language teaching and learning.

AIMS AND OBJECTIVES

Aims

This study aims to investigate the frequency of three Vietnamese stylistic devices—antithesis, simile, and metaphor—in Lê Lựu's "Thời xa vắng" and analyze their translation into English in "A Time Far Past." The research seeks to identify the reduction and expansion of translation procedures used in this process Ultimately, the findings will serve as a valuable reference for those interested in the subject and assist Vietnamese learners of English in understanding these stylistic devices and their translation methods.

Objectives

To reach the above-mentioned aims, this research is intended:

- To investigate, analyze and find out the occurrence frequencies of antithesis, simile and metaphor as SDs employed the most commonly in “Thời xa vắng” and their English translational equivalents

- To examine the translation theory and procedures used for translating SDs in English version

- To give some implications for translating SDs from Vietnamese to English.

SCOPE OF THE STUDY

The researcher found out many SDs applied in “Thời xa vắng” and procedures of translating employed to render these SDs into English in “A Time Far

Past” However, this study only investigates and analyzes three commonly used

SDs i.e antithesis, simile and metaphor I use the novel “Thời xa vắng” written by

Lê Lựu and its English version “A Time Far Past” translated by Ngô Vinh Hải, Nguyễn Bá Chung, Kevin Bowen, and David Hunt to become my research data.

RESEARCH QUESTIONS

The investigation tries to find out the answers to the following questions:

1 What are translation procedures employed to render Vietnamese antithesis in “Thời xa vắng” into English in “A Time Far Past”?

2 What are translation procedures used to translate Vietnamese simile in

“Thời xa vắng” into English in “A Time Far Past”?

3 What are translation procedures applied to render Vietnamese metaphor in

“Thời xa vắng” into English in “A Time Far Past”?

SIGNIFICANCE OF THE STUDY

This study aims to explore three stylistic devices in Vietnamese literature—antithesis, simile, and metaphor—present in Lê Lựu's "Thời xa vắng." Additionally, it analyzes the translation of these devices into English in the translated version titled "A Time."

This research aims to enhance the understanding of translation procedures for rendering socio-cultural dimensions (SDs) from Vietnamese to English It is expected to make significant contributions to the field of translation studies, particularly in aiding learners and translators to effectively read and translate Vietnamese stories into English.

ORGANIZATION OF THE STUDY

This thesis consists of 5 main chapters as follows:

The first chapter presents the rationale, the aims and objectives, the research questions, the scope of the study, the significance of the study and the organization of the study

Chapter 2 Literature review and theoretical background

This second chapter states a review of previous studies closely related to the thesis and some theoretical framework selected to make a linguistic foundation for this study

Chapter 3 Research Design and Methodology

The third chapter exposes the research method, research design, description of samples, data collection, and data analysis and research procedure of the thesis

The fourth chapter explores the stylistic devices of antithesis, simile, and metaphor in "Thời xa vắng," analyzing their translation from the original Vietnamese text to the English version This study examines various translation procedures used for these stylistic devices, presenting the frequency of each procedure to offer concrete data for the findings.

Chapter five encapsulates the key findings and conclusions of the study, discusses its implications, outlines its limitations, and offers recommendations for future research.

Chapter two LITERATURE REVIEW AND THEORETICAL BACKGROUND

LITERATURE REVIEW

A stylistic device is a technique employed by authors and speakers to convey meaning and persuade audiences to view a topic from a fresh perspective By utilizing carefully crafted sentences, these devices evoke emotional responses and encourage engagement with the content Stylistic devices enhance the liveliness and interest of speeches and essays, fostering a deeper connection between writers or speakers and their readers or listeners This connection ultimately aids in better understanding and appreciation of the narratives presented.

Significant reasons contribute to the frequent presence of stylistic devices (SDs) in literary works by various writers Renowned English and Vietnamese linguists have conducted extensive research on the translation procedures of these SDs Notable scholars in this field include Galperin (1977), Catford (1965), Nida (1969), Newmark (1995), Đinh Trọng Lạc (1996), Wales (2001), Verdonk (2003), and Đinh Trọng Lạc & Nguyễn Thái Hòa (2006), among others.

At the start of the 20th century, stylistics in English was primarily viewed as a secondary aspect of rhetorical and grammatical analysis, as well as broader literary studies Despite this perception, it emerged as a distinct discipline, notably explored in Demetrius's work "On Style."

Anglo-American linguistics has also explored the connection between literary stylistics and structural linguistic analysis This research led to the establishment of two significant journals, Style (1967) and Language and Style (1968), which helped to recognize stylistics as an academic discipline in Britain and America Subsequently, notable linguists such as Galperin (1977), Widdowson, Thorne, and Crystal contributed to the field with a series of related studies.

Galperin (1977) explored the concept and classification of stylistic devices (SDs) in his book "Stylistics." Similarly, Verdonk (2003) examined the study of style in language, focusing on how various styles and features can be identified In Vietnam, Đinh Trọng Lạc (1996) classified 99 SDs, providing definitions and examples in his work "99 phương tiện và biện pháp tu từ tiếng Việt."

Trọng Lạc and Nguyễn Thái Hòa (2006) studied SDs in another book entitled

“Phong cách học tiếng Việt”

In the realm of translation, key contributions have been made by various scholars Newmark (1982 & 1988b) outlined the theory of translation, methods, and procedures in his book "Approach to Translation." Similarly, Nida and Taber (1969) explored translation concepts in "The Theory and Practice of Translation." Earlier, Catford (1965) addressed this issue in "A Linguistic Theory of Translation." Additionally, Bell (1991) and Duff (1996) further examined translation in their respective works.

“Translation and Translating: Theory and Practice” and “Translation” respectively In Vietnamese, Hoàng Vân Vân (2005) gave some comments about translation with vivid illustrations in his study “Nghiên cứu dịch thuật”

Numerous studies have explored the translation of stylistic devices (SDs), including Lê Văn Thành's 2011 thesis titled “An Investigation into Translation of Metaphor and Simile in The Tale of Kieu from Vietnamese into English.” Additionally, Nguyễn Thị Thy Thơ's 2014 thesis, “An Investigation into Stylistic Devices Used in The Life We Were Given by Dana Sachs and Their Vietnamese Translational Equivalents,” further examines this topic.

In her 2016 master's thesis, Võ Thị Vân Vân explored the translation of stylistic devices, including simile, hyperbole, and antithesis, in the work "Cho Tôi Xin Một Vé Đi Tuổi Thơ" by Nguyễn Nhật Ánh, translating it into English as "Ticket To Childhood" by William Naythons, based on Peter Newmark's translation theory Similarly, Đỗ Thị Bích Trâm conducted a study on the translation procedures of stylistic devices, focusing on Oscar-winning films and their Vietnamese equivalents in her research titled “An Investigation into Stylistic Devices in the English Script of Oscar Winning Films and Their Vietnamese Equivalents.”

Numerous studies have examined translation and stylistic devices (SDs) in both English and Vietnamese However, there appears to be a lack of research specifically focused on the SDs utilized in "Thời xa vắng" and their English translations Therefore, my study is titled "A Study of Translation of SDs in 'Thời Xa Vắng' by Lê."

This study explores the translation of "Lựu" in "A Time Far Past," aiming to enhance the understanding of stylistic devices (SDs) among English learners and translators It focuses on effective translation strategies for conveying SDs between Vietnamese and English, ultimately broadening the awareness and skills of those engaged in cross-language translation.

THEORETICAL BACKGROUND

Stylistic devices

Stylistics is a branch of general linguistics which is the study and interpretation of texts regarding to their linguistic and tonal style

Galperin (1977) in his book "Stylistics" defines stylistic devices as a branch of general linguistics, emphasizing their role as a language science He notes that stylistics focuses on the outcomes of communication, highlighting the importance of rhetoric in understanding the effects of communicative acts.

In the linguistic field, SDs are also called rhetorical devices or figures of speech

Lunsford (2009) claimed that “Rhetoric is the art, practice and the study of human communication.”

Plato defined rhetoric as "the art of winning the soul by discourse," while Quintillian emphasized it as "the art of speaking well." Đinh Trọng Lạc (1996, p.11) elaborates that rhetorical devices are linguistic tools that provide supplementary meanings and rhetorical nuances beyond their basic logical significance.

SD is stated as using words in a certain way to convey meaning or to persuade It can also be a technique used to evoke emotions within the reader or audience

A figure of speech is a form of figurative language that consists of a single word or phrase It involves the intentional repetition, arrangement, or omission of words with literal meanings, or it may convey a specialized meaning that diverges from the literal interpretation of the words.

To sum up, SDs are figures of speech which the author employed in his/her work so as to present and convey his/her intention to readers effectively

In this study, the writer mainly applied SDs theory suggested by Galperin,

(1977) and Đinh Trọng Lạc (1999) for describing SDs in terms of semantic features

In his 1969 work "A Rhetoric of Motive," Burker highlights the fundamental role of symbolic actions (SDs) in communication, emphasizing that language is employed by individuals to shape attitudes and motivate actions in others.

Wales (1989) asserts in “A Dictionary of Stylistics” that the primary role of most stylistic devices (SDs) is not merely to outline the formal characteristics of texts for their own merit, but to highlight their functional importance in interpreting the text This involves connecting literary effects to their linguistic origins when deemed pertinent.

General speaking, SDs help to make the text more interesting and lively as well as attract the reader’s / listener’s intention

As defined in "Stylistics” by Galperin (1997), SDs are divided into three groups: phonetic, lexical and syntactic

Phonetic SDs, or phonetic stylistic devices, utilize phonemes and their visual representations to create meaning This type of stylistic device encompasses elements such as rhythm, rhythmic structure, rhyme, alliteration, assonance, and onomatopoeia, highlighting the relationship between sound and meaning Additionally, it includes variations from standard pronunciation, enhancing the expressive quality of language.

Lexical stylistic devices (SDs) serve to convey both direct and figurative meanings, enhancing the contextual interpretation of words within a text These devices encompass a range of techniques, including metaphor, metonymy, irony, pun, hyperbole, simile, personification, allegory, and allusion, each contributing to the richness and depth of language.

Syntactical stylistic devices (SDs) encompass variations of the general syntactic models within a language This area of study focuses on the analysis of syntax, expressive means, word order, and word combinations It also examines various sentence types, sentence length and structure, as well as different types of syntactic connections.

The oxford dictionary releases the definition of antithesis that “It is a rhetorical or literary device in which an opposition or contrast of ideas is expressed.”

Antithesis, as defined by Galperin (1997), involves relative opposition that emerges from context by expanding objectively contrasting pairs to characterize the nature of things or phenomena Similarly, Đinh Trọng Lạc (1996) echoes this concept in his book, reinforcing the idea that antithesis serves to highlight contrasts in understanding.

"99 Figures and Methods of Vietnamese Rhetoric" explores the concept of antithesis, which involves juxtaposing contrasting ideas expressed through different word units within the same syntactic structure This technique aims to emphasize the characteristics of an object by placing it in a contrasting position, thereby enhancing its significance and impact in communication.

Both Galperin and Đinh Trọng Lạc claimed antithesis is set up based on the context

Antithesis, meaning "opposite," is a rhetorical device that juxtaposes two contrasting ideas within a sentence to create a striking effect By employing parallel structures in the phrases or clauses, antithesis emphasizes the differences between the ideas, capturing the attention of readers or listeners effectively.

In conclusion, it is believed that antithesis is a stylistic device employed to reveal an opposition or contrast of ideas

Some following examples are presented as an illustration

The opening lines of Charles Dickens’ novel “A Tale of Two Cities” provide an unforgettable antithesis example

E.g “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief , it was the epoch of incredulity , it was the season of Light, it was the season of Darkness, it was the spring of hope , it was the winter of despair , we had everything before us, we had nothing before us, we were all going direct to Heaven , we were all going direct the other way ”

The contrasting ideas, set in parallel structures, markedly highlight the conflict that existed in the time discussed in the novel

Also, we can find antithesis in John Donne’s poem “Community”:

“Good we must love , and must hate ill,

For ill is ill, and good good still;

But there are things indifferent,

Which we may neither hate , nor love ,

But one, and then another prove,

As we shall find our fancy bent.”

The juxtaposition of "love" and "hate" highlights our inherent inclination to embrace goodness and reject negativity, illustrating that our feelings toward neutral subjects are ultimately a matter of personal choice.

Martin Luther King, Jr famously stated, "We must learn to live together as brothers or perish together as fools," highlighting the importance of unity and choice in our relationships Life presents us with decisions, such as choosing to be friends or opponents, which reflects the contrasting paths we can take This duality emphasizes the significance of our choices in fostering harmony or conflict.

Galperin (1997) pointed out that antithesis has four basic functions as bellows:

Interestingly, these functions often go together and intermingle in their own peculiar manner

Đinh Trọng Lạc (1996) highlights the significance of antithesis in artistic expression, scientific discourse, and public communication He underscores the enhanced impact that arises from the interplay between antithesis and other stylistic devices in public messaging.

The function of antithesis as a SD confirmed:

Theory of translation

Translation is the process of conveying meaning from the source language (SL) to the target language (TL) Numerous definitions of translation exist, as articulated by various linguists and translators around the globe.

Translation, as defined by the Oxford Dictionary, refers to the process of converting words or text from one language to another However, this definition does not encompass the full linguistic complexities involved in the translation process.

In terms of the definition of translation, Catford (1965, p.20) stated in “A

Linguistic Theory of Translation” that it is the replacement of textual material in one language (source language) by equivalent textual material in another language (target language)

In their 1973 work "Dictionnaires de linguistique," Dubois et al defined translation as the process of conveying the meaning of a source language in a target language while maintaining both semantic and stylistic equivalences.

Nevertheless, the researcher based on translation theory of Peter Newmark for analyzing the translation of SDs from Vietnamese into English in this thesis

Newmark (1988) defined translation as a skilled practice focused on replacing a written message or statement from one language with an equivalent message or statement in another language.

In summary, translation is a cognitive process that involves converting the meaning of a text from a source language (SL) to a target language (TL) For effective translation, a translator must possess a strong understanding of both languages Additionally, the translated text should accurately reflect the original author's intentions, thoughts, and opinions.

Newmark (1988) gave his point of view in “Textbook of Translation”:

Translation equivalence is an essential, albeit unwritten, principle that guides the translation process, influencing how translations are approached Achieving perfect equivalence is rarely possible on a word-for-word or sentence-for-sentence basis; instead, it is more realistically attained on a paragraph or, in exceptional cases, a text level Consequently, while translation equivalence and the concept of a 'unit of translation' serve as useful operational tools, they can only be roughly defined for specific segments of language.

Translation equivalence is achieved when a source language (SL) text and a target language (TL) text share relatable features of substance The quality of a translation improves as the number of situational features that align with the contextual meanings of both SL and TL texts increases.

Catford (1965) also divided translation equivalence into four different types:

- Linguistic equivalence: is homogeneity on the linguistic level of both source language and target language texts, i.e word-for-word translation

- Paradigmatic equivalence: refers to implicate and strategies of avoidance during the translation process, i.e elements of grammar, which he sees as being a higher category than lexical equivalent

- Stylistic (translational) equivalence: is functional equivalence of elements in both original and translation aiming at an expressive identifying with an invariant of identical meaning

- Textual (syntagmatic) equivalence: refers to the equivalence between a

SL text and a TL text in terms of thematic and information structure She also adds the discussion in this section about cohesion, i.e equivalence of form and shape

Literary translation consists of the translation of poetry, plays, literary books, literary texts, as well as songs, rhymes, literary articles, fiction novels, novels, short stories, poems, etc

Literary translation stands apart from other translation categories due to its emphasis on the poetic communicative function This principle highlights that, in addition to conveying information, literary translation serves an aesthetic purpose The artistic imagery crafted within a literary work—whether depicting characters or nature—profoundly influences the reader's experience.

A literary translator must consider the unique characteristics of the text, particularly its poetic elements, which distinguish literary translation from informative translation This focus on the artistic nuances is essential when engaging with any literary work that has been translated.

Translating literature from a source language (SL) to a target language (TL) involves capturing the text's meaning, emotions, and characters, making it a challenging endeavor The primary goal is to create a vivid image for the reader, which may require deviations from standard translation rules A literal translation often fails to convey the depth and nuances of the original work; thus, a literary translator offers a non-literal rendition that reflects their interpretation This process includes rewriting the text comprehensively, such as substituting obvious expressions with synonyms or altering sentence structures to enhance the overall impact.

Various translation methods have been discussed by linguists and translation scholars globally Among these, Peter Newmark's perspective (1982) serves as a key guideline, presenting eight methods that translators can utilize to effectively address challenges in translating from the source language (SL) to the target language (TL).

Word-for-word translation involves maintaining the original word order of the source language while translating each word individually by its most common meaning, often disregarding context Additionally, cultural terms are translated literally, which may not always convey the intended meaning in the target language.

E.g She learns English very well // Cô ấy học tiếng Anh rất giỏi

- Literal translation: This method renders from the SL grammatical constructions to the nearest TL equivalents Nevertheless, the lexical words are again translated singly, out of context

E.g She is deaf to all his advice // Cô ta lờ đi tất cả những lời khuyên của anh ta

Faithful translation aims to accurately convey the original context while adhering to the grammatical structures of the target language It effectively transfers cultural terms and maintains the level of grammatical and lexical deviation from the source language norms.

E.g He was as fast as a kangaroo // Anh ấy nhanh như một con kangaroo

Semantic translation prioritizes the aesthetic value and natural sound of the source language text, contrasting with faithful translation, which is more rigid and dogmatic While faithful translation adheres strictly to the original text, semantic translation allows for greater flexibility and encourages the translator to empathize intuitively with the source material.

E.g Coral reefs fringing the Okinawan islands just like a necklace can be seen only in warm and very clear water // Những rặng san hô bao quanh các đảo vùng Okinawa giống như một chiếc vòng cổ nổi bật trên nền nước biển trong xanh

Overview of “Thời xa vắng”

Lê Lựu, born on December 12, 1942, in Khoai Chau District, Hung Yen City, is a prominent Vietnamese writer known for his novels and short stories A member of the Vietnam Writers Association since 1974, he currently serves as the director of the Culture and Entrepreneurs Centre in Hanoi.

He authored several renowned literary works, including "Thời xa vắng" (1986), "Sóng ở đáy sông" (1994), "Chuyện làng Cuội" (1991), "Người cầm sung" (1970), "Mở rừng" (1976), and "Truyện ngắn Lê Lựu" (2003) His most famous novel, "Thời xa vắng," was adapted into a film by director Hồ Quang Minh and released in 2004, earning the "Cánh diều bạc" prize that same year.

2.2.3.2 “Thời xa vắng” – The original version

"Thời xa vắng" is considered Lê Lựu's best novel, earning the prestigious "Cánh diều bạc" prize in 2004 It gained significant popularity during its release and continues to captivate readers today, making it a compelling choice for those interested in engaging storytelling.

2.2.3.3 “A Time Far Past” - The English version

“ A Time Far Past ” - the Vietnamese version translated into English by Ngô

Vinh Hải, Nguyễn Bá Chung, Kevin Bowen, and David Hunt was published by University of Massachusetts Press in 1997

2.2.3.4 The Content of “Thời xa vắng”

“Thời xa vắng” is an epic novel that vividly depicts the tumultuous journey of war and peace in Northern Vietnam, spanning from the French defeat to the mid-1980s The narrative centers on Giang Minh Sai, a peasant boy married at just 10 years old, whose life is disrupted by the Vietnam War, leading to the disintegration of his marriage After the conflict, he struggles to adapt to life in urban Hanoi, showcasing the experiences of ordinary people Lê Lựu emphasizes that the novel is more about the soldier's perspective than traditional war narratives, illustrating the profound repression and emotional turmoil faced by individuals caught in societal expectations The characters grapple with their identities, particularly Sai, as they navigate a world where personal desires are often sacrificed for the intentions of others, highlighting the complex interplay of pain and happiness in the human condition.

Chapter three RESEARCH DESIGN AND METHODOLOGY

RESEARCH DESIGN

This study employs a mixed-methods approach, integrating both qualitative and quantitative methods to collect and analyze data The qualitative method is utilized to identify and examine the specific semantic deviations (SDs) and the translation procedures used to convey these SDs into English Meanwhile, the quantitative method focuses on analyzing the data and providing statistical frequencies, expressed in percentages, of the three SDs studied and their corresponding translation procedures found in "A Time Far Past."

RESEARCH METHODOLOGY

Sampling

This study focuses on the selection and analysis of three prevalent types of stylistic devices—antithesis, simile, and metaphor—in Lê Lựu's novel “Thời xa vắng” and their English equivalents in “A Time Far Past.”

The criteria for choosing the samples are that they must appear three types of above SDs in the samples in Vietnamese original version “Thời xa vắng”.

Data collection

218 samples of three above-mentioned SDs were collected from the book

The article analyzes "Thời xa vắng" by Lê Lựu, also known in English as "A Time Far Past," highlighting its rich use of literary devices The study identifies 95 instances of antithesis, 83 similes, and 40 metaphors, showcasing the text's complexity and depth The data, collected randomly, ensures a high level of objectivity in the analysis.

Data analysis

In my analysis, I gathered samples of three significant stylistic devices—antithesis, simile, and metaphor—found in the novel "Thời xa vắng" by Lê Lựu, along with their English translations in "A Time Far Past."

Next, I examined, classified and analyzed the data carefully in regard to theoretical background relied on

After that, I chose and described the most typical samples to illustrate each SD as well as each translation procedure mentioned in the research

Then, the frequency of each translation procedure was shown in the tables and described in the thesis

At last, I examined and found out the answers for the investigation.

RESEARCH PROCEDURES

I recently read the Vietnamese novel "Thời xa vắng" by Lê Lựu, where I explored the various stylistic devices employed by the author Additionally, I ordered the English version titled "A Time Far Past" from Amazon.com to deepen my understanding of the book's themes and narrative techniques.

Secondly, the author classified SDs in the story “Thời xa vắng” and selected three SDs with the highest frequency They are antithesis, simile and metaphor respectively

Thirdly, the researcher collected the English translational equivalents of three commonly used SDs i.e antithesis, simile and metaphor in the Vietnamese version

Fourthly, I investigated, analyzed and listed categories of the translation procedure applied to translate each group of SD mentioned in this thesis from Vietnamese into English

Fifthly, the writer chose and analyzed the typical samples of each translation procedure discovered of each group of SD in the thesis

Finally, through the study, I put forward the conclusion and gave some implications as well as suggestions for teaching and learning translation in SDs.

RELIABILITY AND VALIDITY

It can be undeniable that reliability and validity were two most important criteria to guarantee the quality of the data collection in the study

The data sources for this study are highly reliable, drawing from the original Vietnamese text "Thời xa vắng" by Lê Lựu and its English translation "A Time Far Past." Additionally, the foundational theories referenced in this research are sourced from credible books and reputable websites, ensuring the integrity and reliability of the information presented.

The researcher ensured the validity of the study by analyzing data grounded in a reliable theoretical framework Adhering closely to the proposed research methods and procedures, the investigation yielded results and findings that were exclusively derived from the data analysis.

In short, as mentioned above, this study was carried out reliably and validly by the writer

Chapter four FINDINGS AND DISCUSSION

This chapter provides a detailed analysis of commonly used stylistic devices (SDs) in Lê Lựu's "Thời xa vắng," drawing on the theoretical frameworks of Galperin and Đinh Trọng Lạc Additionally, the researcher explores English translational equivalents of these SDs as presented in "A Time Far Past."

Particularly, three most typical SDs in “Thời xa vắng” i.e antithesis, simile, and metaphor were investigated and searched

What is more, according to translation theory suggested by Newmark, I carried out to examine what the translation procedures were employed to translate

This article presents a study of 218 Vietnamese samples of antithesis, simile, and metaphor translated into English It includes tables that illustrate the frequency of various translation procedures, providing a comprehensive summary for each category: antithesis, simile, and metaphor.

In this chapter, the Vietnamese examples are sourced from Lê Lựu's book "Thời xa vắng," while their English counterparts are derived from the translated version titled "A Time Far Past."

ANTITHESIS IN “THỜI XA VẮNG”

Antithesis

The researcher discovered antithesis as the most typical SD in the novel

“Thời xa vắng” of the author Lê Lựu This kind of the SD contributed a very large part in his story in order to express his writing style successfully

Before showing and analyzing the antithesis, let’s look at the example bellowed:

(1a) Cả ba năm học cùng lớp, Sài ngồi bàn đầu tiên bên trái, còn cô ta ngồi bàn cuối cùng bên phải

For three years, Sai and her classmate shared the same classroom, with Sai positioned at the first table on the left and her classmate at the last table on the right.

[Ngô Vinh Hải et al, p.24]

(2a) Nỗi lo lắng của người con gái lại là niềm hạnh phúc vô giá của người con trai

[Lê Lựu, p.89] (2b) Her worry, in this case, turned out to be the cause of his joy

In the provided examples, contrasting pairs are effectively utilized within the same sentence or in consecutive sentences to highlight opposing positions and attitudes Specifically, sample (1a) employs antithesis to illustrate the stark differences in the actions of Sai and Huong, using the word pairs "đầu tiên" and "cuối cùng," as well as "trái" and "phải." These contrasts serve to deepen the reader's understanding of the characters' divergent perspectives.

In Lê Lựu's work, contrasting pairs such as "first" with "last" and "left" with "right" illustrate the concept of antithesis Additionally, the juxtaposition of "worry" and "joy" highlights this contrast, with "nỗi lo lắng" translated to "worry" and "niềm hạnh phúc" to "joy." Furthermore, the words "con trai" serve to emphasize these contrasting themes.

“con gái” were transferred to “her” and “his” in this example

Antithesis is a rhetorical device that juxtaposes two opposing ideas within one or two sentences to create a striking contrast By paralleling the structures of the contrasting words, phrases, or clauses, antithesis effectively highlights the differences, capturing the attention of readers or listeners This technique not only emphasizes the contrast but also enhances the overall impact of the message.

In "Thời xa vắng," Lê Lựu skillfully uses antithesis to highlight the relative opposition between the actions, situations, and attitudes of the characters This technique emerges from the narrative context, emphasizing objectively contrasting pairs that enrich the story's depth.

My research collected and investigated 95 samples of the Vietnamese original version corresponding with the same ones in their translational version

Through a studying process, it was discovered that the antithesis can appear not only in a sentence but also in two sentences

Firstly, the following examples illustrate the antithesis in a sentence Let’s take a look:

The Original version The Translational version

(3a) Rất mong Sài lấy vợ để mình đỡ day dứt, lại rất sợ một người đàn bà nào đó làm khổ Sài thêm

(3b) She wanted Sai to marry so she could have peace, but she feared another wrong choice would make Sai suffer even more

(4a) Những lần "đi với nhau" Sài thường chạy đi trước hoặc tụt lại thật xa

(4b) During the time when all was supposedly well and they made regular visits to Tuyet's parents, Sai was, in fact, always walking ahead of her or lagging far behind

[Ngô Vinh Hải et al, p.18] (5a) Người tôi yêu không bao giờ được tới, kẻ tôi ghét không được phép tránh xa

(5b) I am not allowed to approach the ones I love; I am not allowed to avoid the ones I hate

The writer utilized three instances to illustrate antithesis through varying levels of words, phrases, and clauses By employing the contrasting terms “mong” (want) and “sợ” (fear), Lê Lựu effectively conveyed Huong’s conflicting emotions regarding Sai’s potential marriage The translator preserved this word-level contrast in example (3b) with “wanted” and “feared.” While example (3a) showcased word pairs to express antithesis, example (4a) employed contrasting phrases, with “đi trước” (walking ahead) juxtaposed against “tụt lại thật xa” (lagging far behind), translated into English as “walking ahead” and “lagging far behind.”

In the novel, Lê Lựu highlights the contrast between Sai and his arranged wife, Tuyet, to illustrate Sai's aversion towards her The author employs a pair of verb phrases to emphasize this opposition, which is evident in both the original text and the translation This antithesis not only underscores the conflict in Sai's life but also reveals the tragic elements of his love and marriage, ultimately suggesting a deeper paradox in his existence.

Secondly, the antithesis can be also expressed in the level of two sentences Let’s look the following example for an illustration:

Ban ngày, người làm công chứng phải thể hiện bản thân như một người hoàn hảo để làm hài lòng mọi người, đặc biệt là vợ Tuy nhiên, vào ban đêm, khi chỉ có một mình, họ trở về với con người thật của mình, không thể chịu đựng được việc sống chung với người mà họ đã ghét từ lâu.

He sought to strengthen himself and enhance his stamina to earn admiration for his daytime efforts However, in the solitude of night, he revealed his true self as Sai Increasingly, he struggled to connect with the young girl who had become his wife.

The author effectively illustrates the stark contrast in Sai's actions and attitudes between day and night by juxtaposing the pairs "during the day" and "at night," as well as "pretend" and "true." Sai outwardly pretends to love his former wife, Tuyet, in public during the day, but his true feelings emerge at night when he is alone This antithesis is evident not only in the word pairs but also in the contrasting sentences The translator successfully preserves this antithesis in the English version by translating the Vietnamese terms accordingly, ensuring that the author's original intent remains intact.

Translation procedures of antithesis

The researcher analyzed 95 samples of antithesis and investigated an equal number of English translation samples to explore the translation procedures used for these antitheses.

My research identified seven key translation procedures: literal translation, paraphrase, reduction, compensation, transposition, synonymy, and couplet In the following sections, I will present and analyze each of these categories in detail.

According to Newmark (1988), literal translation is a fundamental procedure in both communicative and semantic translation, focusing on preserving the original structure and meaning This method involves a direct correspondence, translating one word from the source language (SL) to one word in the target language (TL).

Translation occurs across various levels, including groups, collocations, clauses, and sentences Additionally, the literal meaning from the source language (SL) is preserved in the target language (TL).

This procedure occurs 11 times reaching the peak with the portion of 12% in the total of all procedures of translating

Then, I will present and examine this translation procedure basing on the level of the word, phrase, clause or sentence

First, the example (7a) is used to analyze literal translation procedure under the word level

(7a) Người ta có thể bỏ ruộng chứ không thể bỏ nghề làm thuê

(7b) In the end, people could leave their fields, but they could not leave positions as hired hands

It can be clearly seen that there is a contrasted pair in the example above

In the original text, the contrasting terms "có thể" and "không thể" were translated as "could" and "could not" to highlight the differing actions of the Ha Vi villagers, emphasizing the duality of their capabilities.

The antithesis in the translation effectively highlights the paradox faced by farmers in Ha Vi village, who, despite having fields for production, choose to relinquish them and become impoverished laborers working for landowners This contrast is successfully conveyed in both the Vietnamese and English versions, preserving the core message of the original text.

The second example as follows illustrates the translation procedure of literal with the level of a phrase and a clause

(8a) ở ngoài đường họ đùa nghịch huyên náo, vào đến nhà họ lặng lẽ nghiêm trang

(8b) Out on the street people had joked noisily, but entering the house, they became solemnly silent

In (8a), the author applied the antithesis by adding contrasted phrases such as

“ở ngoài đường” opposite “vào đến nhà” and “đùa nghịch huyên náo” against

The phrase "lặng lẽ nghiêm trang" was translated as "Out on the street," in contrast to "entering the house," while "joked noisily" was rendered as "became solemnly silent." This translation effectively maintains the antithesis present in the original text, highlighting the contrasting meanings of two positions, actions, and clauses Specifically, the attendees at Sai's father's funeral displayed their sympathy, albeit insincerely.

Kẻ hèn nhát không dám đánh đổi bất cứ điều gì sẽ không bao giờ đạt được điều gì đáng giá Ngược lại, người dám hy sinh tất cả vì một mục tiêu cao cả thường chỉ còn lại những mảnh vỡ của bản thân.

(9b) The coward who doesn't dare to lose anything wins everything The one ready to sacrifice ends up a lonely ghost

The author reveals a harsh truth about life through the use of contrasting nouns and verbs, as seen in example (9a) This contrast highlights two opposing types of individuals in society: "the coward" and "the one ready." The translator effectively maintains this antithesis by translating the terms accordingly Additionally, the contrasting verbs "không dám mất đi" and "đánh đổi tất cả" further emphasize these two character types The antithesis in this context underscores the opposing meanings between the sentences The literal translation approach preserves both the antithesis and the author's intended implications, which is a common reason for its frequent use in translation between languages.

This translation procedure focuses on providing a more comprehensive explanation of the meaning in the target language (TL) text, especially when the source language (SL) text is poorly written or lacks clarity Consequently, the translated version is often more detailed than the descriptive equivalent found in the original text.

In this investigation, 5 samples of Vietnamese version were paraphrased in

English version with 5% in the whole procedure of rendering the antithesis

Two following examples are analyzed to modify this kind

(10a) Chuyến cuối cùng họ "rà" từ đầu làng đến cuối xã nhưng không còn gì

(10b) On the last trip, they searched from one end of the village to the other till they saw that no one and nothing was left behind

(11a) Cả khi đi và về trên đoạn đường mười cây số, Sài học từng bước

(11b) On his way to school and on his way home a round trip of about ten kilometers he studied

In instance (10a), Lê Lựu employs antithesis through contrasting word pairs, highlighting the positions of "đầu" (beginning) and "cuối" (end) This literary device conveys the thoroughness of the search throughout the commune, ultimately revealing an absence of people and things The essence of the author's message is preserved while being articulated more clearly Specifically, the phrase “từ đầu làng đến cuối xã nhưng không còn gì” is effectively paraphrased in the translation as “from one end of the village to the other till they saw that no one and nothing was left behind.”

The translation method used has obscured the original antithesis in the sentence, making it challenging for readers in the target language to grasp the author's intended meaning A literal translation complicates the understanding of the novel's implications, highlighting the importance of nuanced translation for effective communication.

Similarly, the example (11a) was also paraphrased to become easier to understand in the English equivalent in (11b) The writer used the opposite verbs

The terms "going" and "returning" highlight the contrasting actions of Sai as he travels to school and back home Despite the familiar route, Sai consistently engages in studying and reviewing his lessons, demonstrating his dedication to education during both journeys.

The translation process involved the phrase "Cả khi đi và về," which was rendered as "On his way to school and on his way home." This translation clarifies the author's intent, enhancing the overall understanding of the text.

In detail, “đi” means “on his way to school ” and “về” implies “on his way home ”

In (11b), the translator added the words “school” or “home” to make the English readers understand the message and keep the antithesis as well c Reduction

Reduction translation is a key procedure for translating similes, characterized by the omission of certain elements from the source text while preserving its meaning This approach allows translators to modify the syntactic structure of the original text, enhancing readability and clarity for the target audience.

Let’s look the sample below for an illustration:

Frequency of procedures for translating antithesis

The researcher utilized Newmark's (1988) theoretical framework to analyze the translation process, identifying 95 instances of Vietnamese text in the novel "Thời xa vắng" and an equivalent number in the English translation "A Time Far Past." The investigation revealed seven distinct procedures for translating antithesis, which are ranked by frequency in the accompanying table.

Table 4.1 The occurrence frequencies of the antithesis’s translation procedures

Chart 4.1 The occurrence percentage of the antithesis’ s translation procedures

The occurrence percentage of the antithesis’s translation procedures

CoupletReductionTranspositionLiteral translationParaphrase

In Lê Lựu's novel "Thời xa vắng," the use of antithesis serves as a prominent stylistic device, with 95 instances illustrating the contrasting actions, behaviors, and situations of characters This technique effectively highlights the paradoxes of life, revealing deeper truths within the narrative.

Table 4.1 illustrates that couplet is the most frequently used method in the translation of antithesis, occurring 37 times, which accounts for 39% of the total procedures In contrast, compensation is utilized only 3 times, representing 3% Reduction follows with 20 occurrences, making up 21% and securing the second position Transposition ranks third with 14 occurrences, contributing 15% to the total, while literal translation is fourth with 11 instances, accounting for 12% Lastly, both paraphrase and synonymy are employed 5 times each, representing 5% of the procedures used in translating antithesis.

Summary

In short, the antithesis appeared the most commonly in the novel of Lê Lựu

The article "Thời xa vắng" highlights the writer's intent and enhances the beauty of the writing through the use of antitheses, which strengthen arguments by juxtaposing contrasting ideas This technique not only makes sentences more memorable but also emphasizes key concepts for the reader My study analyzes 95 samples of the Vietnamese text and their English translations, revealing seven translation procedures identified by Peter Newmark: literal translation, paraphrase, reduction, compensation, transposition, synonymy, and couplet.

After studying samples and procedures of translating antithesis, the author of this thesis discovered that couplet translation was found the most popularly

When two languages struggle to convey the same semantic meaning, translators must employ various procedures to effectively transition from the source language (SL) to the target language (TL) One effective strategy is the use of a couplet, which combines multiple translation techniques to enhance the overall quality of the translation Utilizing two or more procedures, especially in translating antithesis, not only makes the translated text more engaging but also aids reader comprehension This approach highlights the translator's expertise and encourages others to adopt similar methods to achieve a polished and accurate translation.

Translating between languages can present minor challenges, but these can often be addressed with a single translation method It’s essential to select a translation approach that enables the reader in the target language to easily grasp the content In cases where the goal is to minimize verbosity, employing reduction as a strategy is an effective choice for translators.

In Lê Lựu's novel "Thời xa vắng," the antitheses are intricately presented, leading the translator to omit certain elements for clarity while preserving their meaning in the target language This reduction process ranks second in the overall translation procedures used Following this, transposition is employed, which involves restructuring sentences according to the grammatical norms of the target language, highlighting the differences between the two languages Additionally, literal translation is frequently observed during the rendering process.

The SL to TL translation process is often regarded as the least challenging for translators, particularly when dealing with simple words or expressions that lack specific cultural significance This method effectively conveys the intended messages to readers while preserving the source text's stylistic devices, especially in cases of antithesis The study revealed that only a few translation procedures, such as paraphrase, synonymy, and compensation, were utilized, which enhance the clarity of the writer's intent Synonymy was specifically applied when cultural differences between the source and target languages emerged.

TL or paraphrase as well as compensation in order to make the reader in the TL master the message profoundly.

SIMILE IN “THỜI XA VẮNG”

METAPHOR IN “THỜI XA VẮNG”

IMPLICATION OF THE STUDY

Định dạng
Số trang	122
Dung lượng	2,49 MB