INTRODUCTION
RATIONALE
In language communication, understanding interpersonal meaning, or modality, is crucial for grasping the speaker's attitude and the relationship with the audience This aspect of meaning plays a significant role in both encoding and decoding messages, making it essential for effective communication For non-native English speakers, expressing and interpreting modality can be challenging, as while basic content can often be translated directly, the nuances of interpersonal meaning require a deeper understanding Translators, especially when adapting English films into Vietnamese subtitles, must not only convey the descriptive meaning but also accurately reflect the modal meanings to enhance viewers' understanding of character interactions and relationships.
While traditional discussions of modality have focused on lexical and grammatical means, there remains a need to explore prosodic devices and syntactical structures in communicative sentences These aspects have been largely overlooked in the context of modal meaning and pragmatic functions, possibly due to challenges in creating a spoken corpus for phonetic analysis Notably, the modal meaning of intonation and its syntactic forms in English, as well as their Vietnamese equivalents, have received scant attention Additionally, linguistic resources like modal particles and set phrases in subtitles require further investigation Although many English modality expressions can be translated into Vietnamese with relative ease, understanding paraverbal signs and sentence structures is crucial for achieving accurate translations.
In the movie "The Pursuit of Happyness," the father's statement, "I don't want you out here shooting this ball around all day and night, all right?" is translated into Vietnamese as "được chứ?" while the son's response, "all right!" becomes "được ạ." This translation highlights the linguistic modalities and interpersonal meanings that researchers seek to understand in the context of English film subtitles Analyzing these expressions reveals the governing factors that shape the communicative messages between characters, offering insight into the nuances of language and culture in cinematic dialogues.
These concernings have inspired me to choose to conduct the research with the title "AN INVESTIGATION INTO MODALITY EXPRESSIONS IN ENGLISH FILM SUBTITLES AND THEIR CORRESPONDING EXPRESSIONS IN VIETNAMESE”.
AIMS AND OBJECTIVES
This study explores the use of modality expressions in English film subtitles and their Vietnamese equivalents, offering valuable insights for English learners and translators By analyzing various speech acts, the research aims to enhance understanding of modality in both languages, facilitating better translation practices.
The study intends to fulfil the following objectives
1) To identify what types of English modality expressions and Vietnamese equivalents are used in the Vietnamese translated subtitles of the English films
2) To identify the pragmatic factors that govern the use of modality expressions and the Vietnamese equivalents for the Vietnamese translated subtitles of the English films
RESEARCH QUESTIONS
For the fulfilment of the objectives of the study, the research attempts to answer the following questions
1) What types of English modality expressions and Vietnamese equivalents are used in the Vietnamese translated subtitles of the English films?
2) What are the pragmatic factors that govern the use of modality expressions and the Vietnamese equivalents for the Vietnamese translated subtitles of the English films?
JUSTIFICATION OF THE STUDY
This research will serve as a valuable reference for viewers watching English films with Vietnamese subtitles, helping them better understand the characters' attitudes during conversations.
The findings of this study aim to assist Vietnamese English learners in understanding the use of modal particles, highlighting the key factors that enable translators to select the most appropriate options from the available modal particles.
Finally, the study provides materials for language teaching and learning as well as translating.
SCOPE OF STUDY
This article examines the various types of modality in English films, highlighting the lexical and syntactic elements, such as intonation patterns, across different sentence types: declarative, interrogative, imperative, and exclamatory It also analyzes the Vietnamese subtitles to identify equivalent modality expressions, including modal particles The study pays particular attention to the syntactic realizations of Vietnamese modal particles and their pragmatic functions, focusing on how they convey the speaker’s attitude and mood in dialogues from English films.
This article explores the pragmatic factors influencing modality expressions and their Vietnamese equivalents in English film subtitles It focuses on illocutionary acts within character conversations, the mood of interactions, and the speaker's intent alongside the potential perlocutionary effects Key considerations include the relationship between interlocutors and phonetic features, particularly the speaker's intonation.
LITERATURE REVIEW
REVIEW OF PREVIOUS STUDIES
The study of modality expressions has gained increasing attention among grammarians, semanticists, and pragmatists, as it encompasses both semantic values and interpersonal meaning in communication Cross-linguistic comparisons of modality expressions have been explored in various contrastive studies However, there remains a scarcity of research focusing on paraverbal means of expressing modal meaning and their corresponding devices in target languages.
Khomutova (2014) explored the relationship between mood and modality in Modern English, examining the connections between logical and linguistic modalities while defining the semantic scope of linguistic modality The study aimed to categorize the linguistic means used to express modality by analyzing various approaches to mood as a morphological tool However, it did not address the prosodic means of expressing modality from a cross-linguistic perspective.
Haan (2006) conducted a survey of typological literature on modality, focusing on the functional analysis of language structures through comparisons and generalizations He emphasized diachronic explanations of typological approaches, presenting a variety of modality expressions, including lexical, grammatical, and phonological means, though not delving into detailed discussions for each type.
Khisamova and Moullagaliev (2016) conduct a comparative analysis of the lexical and semantic tools used to express modality in Harriet Beecher Stowe's novels and their translations into Tatar They examine speech formation through the lenses of intonation, grammar, and lexical characteristics, while highlighting the influence of the Russian language on Tatar translation practices The authors explore the transfer of real, irreal, and imperative modality from English to Tatar, employing various linguistic strategies and approaches to fiction translation.
Intonation and modal particles play a crucial role in expressing modality in translation, as highlighted in the scope of this study Numerous studies have explored modal particles from both typological and pragmatic perspectives.
Hladký (1976) highlighted various means of expressing modality, including intonation, moods, and lexical/syntactical elements such as modal particles, verbs, adjectives, nouns, and adverbs He argued that the term 'grammatical' in the context of modality encompasses not only grammatical structures but also lexical and intonational aspects.
Shnurovska (2017) describes intonation in English as a modal tool that segments speech into sentences and phrases, conveys emotional nuances, expresses the speaker's intent, and reflects the relationship between the utterance and reality, as well as the speaker's attitude The study highlights the importance of syntagm in the semantic-intonational structure of texts Additionally, Shnurovska elaborates on the modal nature of sentences, emphasizing logical and emphatic stress, while discussing the role of intonation in conveying evaluative information and the heterogeneity of utterance content along with the speaker's perspective.
Degand et al (2013) explored the relationship between modal particles and discourse markers within the broader framework of linguistic categorization They analyzed existing definitions in the literature and identified various factors contributing to the confusion between these two linguistic classes, including their functional similarities and historical connections The authors also debated the feasibility of distinguishing between these two types of expressions.
Alm et al (2018) examined the sentence type restrictions of modal particles from a grammatical perspective, highlighting the importance of semantic, formal, and functional factors in their usage across various grammatical configurations They argued for a multi-level representation of both modal particles and their grammatical contexts to explain these usage restrictions Their research emphasizes that the limitations on sentence types for modal particles arise from a complex interaction between individual modal particles and specific grammatical constructions, particularly those that reflect distinct speech act orientations, such as sentence type constructions.
Aijmer (2013) explores the modal adverb "of course" within the framework established by Quirk et al (1985), classifying it as a conjunct, disjunct, and subjunct The study examines discourse markers and modal particles through a grammaticalization lens, utilizing translations as a methodology to create paradigms for categorizing the diverse functions of "of course." The author provides examples illustrating its use as a modal particle.
This literature review explores the role of Vietnamese modal particles in conveying modality, particularly in the context of utterances found in English films It highlights significant research contributions from Vietnamese scholars, including notable works by Nguyen Van Hiep, which have advanced the understanding of these linguistic elements.
(2001), Pham Thi Ly (2002), Vu Thi Kim Anh (2005), Ho Thi Kieu Oanh (2010), Nguyen Duy Dien (2014)
Nguyen Van Hiep (2001a, 2001b) provided a comprehensive classification of modal particles, distinguishing them from other word types He introduced an analytical framework based on a semantic and pragmatic model, which facilitates the identification of the functional scope of modal particles within various layers of utterance.
In her 2005 study, Vu Thi Kim Anh conducted a pragmatic analysis of 28 commonly used sentence-final modal particles in Vietnamese, focusing on their role in shaping the illocutionary force of utterances The research delves into the semantics and mechanisms of these modal particles, highlighting their function as signals of explicit performative utterances while considering the principles of politeness.
Nguyễn Duy Diện (2014) emphasized that modal particles play a crucial role in conveying the speaker's emotions and attitudes These particles help articulate the speaker's intent and reflect their varying assessments of the message, the context, and the conversation.
This literature review highlights research that is directly relevant to the analysis of modality expressions in films and their corresponding equivalents in subtitles.
THEORETICAL BACKGROUND
According to Matthews (2005: 228), modality encompasses both a type of speech act and the level of certainty expressed in a statement This semantic aspect of confidence regarding the truth of a proposition highlights the subjective nature of utterances, which can be reflected in sentence structure, word choice, and stylistic variations.
Modality, as defined by Erhart (1984: 117), encompasses the subtle variations in how statements are expressed, allowing a simple assertion to convey different meanings such as fact, possibility, subjective obligation, request, or objective necessity.
Lock (1996) asserts that a broad definition of modality encompasses all expressions of interpersonal meanings that exist between affirmations and negations This perspective allows us to identify the desired illocutionary force through various linguistic means, not just through traditional modal verbs, adverbs, or adjectives Language offers a diverse array of tools to convey a speaker's stance regarding the truth-value of an utterance or its components, thus facilitating the communication of modal meaning Consequently, 'broad modality' extends beyond the core modal meaning to include all potential expressions of a speaker's subjective attitude.
Thus, the linguistic resources for expressing modality clearly go well beyond the grammatical system of modal auxiliaries As Kress and Hodge have said:
Modality can be expressed in various ways, both verbally and non-verbally It encompasses non-deliberate features like hesitations and fillers, as well as deliberate systematic elements such as modal auxiliaries (e.g., can, must), adverbs (e.g., probably, quite), and mental process verbs (e.g., think, understand, feel), along with intonation.
In the same vein, as Bybee and Fleischman (1995: 2) stated,
Modality refers to the semantic domain that encompasses the various meanings expressed by languages, including nuances such as jussive, desiderative, and hypothetical These elements add layers of meaning beyond the basic factual and declarative value of a statement Modality can be conveyed through different methods, including morphological, lexical, syntactic forms, or even intonation.
2.2.2 Intonation as language means to express modality
To effectively analyze modality in language, it is essential to compare the narrow definition of predication center modality with the broader modal meanings derived from various linguistic elements.
Intonation serves as a crucial element that aligns with both definitions of modal meaning, transforming individual lexical items into meaningful utterances It plays a significant role in conveying the modal meaning of spoken language, as noted by Fónagy (1983: 341).
Modal intonation patterns exemplify the pinnacle of semantic organization achieved through tonal means Initially, intonation merely reflected emotional states; however, it has evolved significantly to denote various modal categories, traversing a considerable semantic distance.
Prosodic elements, such as stress and intonation, play a crucial role in conveying modal strength and subjectivity in language According to Lyons (1995), all natural languages utilize these prosodic resources to articulate various forms of epistemic modality, allowing speakers to express their levels of commitment and certainty.
Intonation is the variation in voice pitch that expresses different meanings In this study, intonation is treated as a measurable physical phenomenon, focusing on the acoustic properties of the speaker's voice Utilizing speech analysis software, we will quantify the speaker's tone, with detailed discussions presented in Chapters Three and Four.
Pitch serves as a key acoustic indicator of stress, as highlighted by Underhill (1994) It refers to the perceived highness or lowness of a tone, which is determined by the rate of vocal cord vibration Typically, a faster vibration of the vocal cords results in a higher pitch.
Pitch movement refers to the variations in the quality of a speaker's voice during communication It occurs within speech units that are separated by pauses and is characterized by the musicality and rhythm linked to vocal pitch (Roach, 1983, p 113) This distinctive pattern of voice variation is known as 'tone.'
The pitch level in speech is crucial for indicating the semantic importance of specific words or phrases, reflecting the speaker's emphasis Additionally, it plays a significant role in expressing different shades of modal attitudes and emotional nuances.
2.2.2.2 Tone Stress and Tonic Syllable
In Brazil (1997), it is noted that when one syllable in an intonation unit is produced more prominently than others, it indicates stress Each intonation unit typically contains a single peak of stress, known as 'tonic stress' or 'nucleus', which is predominantly located in a content word at the end of the utterance The syllable that carries the most stress within an intonation unit is referred to as the 'tonic syllable' Examples illustrate this concept with the tonic syllable highlighted.
I love cooking with my mom
In the intonation unit, in spite of receiving less force and prominence than the tonic syllable, the previous syllables still get stressed
In spoken language, words that convey substantial information are emphasized more than those that are predictable or carry less significance These informative words, known as 'content' words, include nouns, verbs, adjectives, and adverbs, while 'function' words, such as articles, prepositions, conjunctions, and modal auxiliaries, primarily serve grammatical purposes.
Table 2.1 Classification of stressed and unstressed words shows the list of the content words and function words
Table 2.1.Classification of stressed and unstressed words
Content/Stressed words Function/Unstressed words
Adverbs Prepositions question words Pronouns prepositional adverbs Negatives
2.2.2.3 Types of Tones in English
SUMMARY
This chapter defines modality as a linguistic system that conveys a speaker's intentions and beliefs regarding the truth, obligation, desirability, or reality of a proposition Modal options can be expressed through various means, including word order, modal auxiliaries, adjuncts, intonation, and particles Modality is closely related to illocutionary force, as both encompass expressions that convey modal meanings The literature review highlights existing research on modality but notes a lack of information on expressions like intonation patterns and modal particles in film conversations Thus, modal meaning is intricately linked to the prosodic features accompanying different communicative types in English.
In the upcoming chapter, we will closely examine the components of speech act films and the use of modal particles to convey interpersonal meanings Additionally, we will detail the methods used to gather information and analyze both qualitative and quantitative data.
RESEARCH METHODOLOGY
RESEARCH DESIGN
This study aims to explore the pragmatics of modality expressions in English film subtitles and their Vietnamese equivalents, providing English learners and translators with valuable insights By examining both qualitative and quantitative data, the research focuses on the use of modality in various speech acts, enhancing understanding of how these expressions function in both languages.
1 Types of English modality expressions and Vietnamese equivalents are used in the Vietnamese translated subtitles of the English films
2 The pragmatic factors that govern the use of modality expressions and the Vietnamese equivalents for the Vietnamese translated subtitles of the English films
With the guiding questions, the research was designed as a descriptive study with the employment of documentary review and observation for quantitative and qualitative data
This descriptive research aims to systematically analyze the pragmatic characteristics of modality expressions in films and their Vietnamese equivalents The author chose this design due to the limited existing knowledge regarding prosodic means and syntactic structures that convey modalized utterances, including intonation, sentence types, speech acts, and modal particles.
This research utilized an explanatory approach, based on the premise that intonation, communicative sentence types, and modal particles have not been thoroughly explored The design aimed to enhance the understanding of the pragmatic aspects of the study in a comprehensive manner.
RESEARCH METHODS
This study utilizes observations as a qualitative method to collect descriptive data, focusing on pragmatic behaviors and modality expressions in communication By analyzing how interlocutors use modalized utterances, the research aims to understand their communicative actions Additionally, descriptive statistics and document analysis are employed to examine the frequency of modality expressions in English and their Vietnamese counterparts.
The document analysis and observation used to gather qualitative and quantitative data were expected to provide descriptive information about
1) intonation patterns accompanying kinds of speech acts realized by communicative types of sentence used in English films
2) pragmatic features related to the choice of speech acts and intonation patterns accompanying these speech acts
3) the pragmatic factors that allows explanation for the corresponding means to render the modal meanings of modalized utterances used in conversations in English films
This study employed a qualitative approach, focusing on documentary and contrastive analysis to explore the intonation patterns and modal particles in Vietnamese subtitles of English films It examines the pragmatic factors influencing the use of modal particles and the syntactic structures that convey various communicative functions, reflecting different shades of the speaker's attitude and mood.
This study employed a quantitative method to analyze the percentage of syntactic components and pragmatic features that influence utterances with various communicative functions It also examined how modal particles convey different shades of the speaker's attitude and mood, particularly in translating modalized English utterances into Vietnamese subtitles.
PROCEDURE OF STUDY
To carry out the study properly, the following steps will be taken:
- Doing literature review to identify gaps for problems to be examined in the research
- Putting questions for guiding the research in seeking both qualitative and quantitative information for the objectives set up to achieve the aim of study
- Designing research as a descriptive and explanatory study with both qualitative and quantitative approach
- Picking out instances of sentence that realized modalized utterances signalled by intonation in English films and Vietnamese sentences containing modal particles in the chosen English films with Vietnamese subtitles
- Collecting and classifying modal particles based on data utterances selected from English films under the descriptive framework of study
This article explores the calculation of percentages for various syntactic and pragmatic components that serve as indicators of a speaker's attitude and mood when translating English sentences into Vietnamese It emphasizes the role of modal particles in this translation process, highlighting their significance in conveying nuanced meanings and emotional contexts By analyzing these elements, the study aims to enhance understanding of effective translation strategies and improve the accuracy of conveying speaker intent across languages.
- Investigating what pragmatic factors that influence the choice of translating modalized utterances in English films with Vietnamese sentences containing modal particles
- Finding the effective ways under the framework of syntactic and pragmatic framework that translators choose to translate Vietnamese sentences containing modal particles into English
SAMPLING
The study analyzed instances of modalized utterances in English films, focusing on specific communicative sentence types and their corresponding intonation patterns It also examined the Vietnamese translations that conveyed the modal meanings present in the subtitles.
The modalized utterences realized by communicative sentences and the Vietnamese sentences containing modal particles were collected from 10 English films with Vietnamese subtitles
1 Click (Cú Click Huyền Bí)
2 The pursuit of happiness (Mưu Cầu Hạnh Phúc)
3 Toy story 4 (Câu Truyện Đồ Chơi 4)
4 La La Land 2016 (Những Kẻ Mộng Mơ)
5 Black Panther (Chiến Binh Báo đen)
6 Frozen 2 (Nữ Hoàng Băng Giá Phần 2)
7 Captain Marvel (Đại Úy Marvel)
8 The boss baby (Nhóc Trùm)
9 Lion King 2019 (Vua Sư Tử 2019)
10 Avengers: Endgame (Biệt Đội Siêu Anh Hùng: Hồi Kết)
This study randomly selected individuals from modalized utterances in English film conversations, ensuring that each member of the population had an equal opportunity for selection The random sampling aimed to provide an unbiased representation of the entire population.
In this study, every member of the selected subset of modalized utterances from English films has an equal chance of being included in the sampling process The overall count of modalized utterances analyzed is significant for the research findings.
A sample group of 400 modalized utterances was randomly selected for observation, ensuring that each member of the subgroups had an equal chance of being included in the survey This approach allowed for a comprehensive description of the modalized utterances.
To minimize sampling errors and ensure that the group or sample accurately represents the overall population, individual modalized utterances were selected from subgroups based on the types of communicative sentences and their corresponding intonation patterns Subsequently, Vietnamese translational equivalents were identified as the corresponding items for each individual in English films.
DATA COLLECTION
The data of the study was intended to collect all English modalized utterances with Vietnamese subtitles containing common modal particles which have the high frequent occurency
This study utilized document analysis to examine and interpret data derived from the analysis of modalized utterances in English films and their Vietnamese equivalents Through this method, the research aimed to uncover the pragmatic meanings and understand the characteristics and behaviors of intonation patterns that accompany communicative sentences expressing modalized utterances.
In this study, the document with modalized utterances is treated as a source of valuable information, akin to a respondent (O’Leary, 2014) The researcher engages with the text by posing questions and highlighting the corresponding answers Additionally, content analysis is employed to quantify specific words, phrases, and concepts The researcher identifies key elements to investigate and systematically records the frequency of speech acts, communicative sentence types, intonation patterns, and modal particles Ultimately, this information is organized to align with the central research questions.
The steps for collecting data included:
- Identify issues for collecting data
- Plan an approach and methods including”
+ What will the data be collected about?
+ What locations or geographical areas will the data be gathered from?
+ What categories will be used to identify the sample
+ how should data be collected (qualitative or quantitative data)?
- Collecting individual modalized utterances from English films
- Picking out instances of modalized utterances realized by communicative types of sentence and intonation patterns and Vietnamese equivalents containing modal particles
- Identifying communicative types of sentences, modal particles according to syntactic realizations and functions
- Identifying governing factors for the choice of communicative types of sentence that realize speech acts and corresponding modal particles in the view of analytical framework
DATA ANALYSIS
Data from the first sample of modalized utterances in English films was analyzed and classified into types of pragmatic features: speech acts, communicative types of sentence, intonation patterns
Data from the second sample of Vietnamese translation equivalents in subtiles was analyzed and classified into different types of modal particles used for translation
The qualitative analysis focused on examining the pragmatic features of English films, including speech acts, syntactic structures of modalized utterances, and various intonation patterns Additionally, it explored the modal meanings and functions of modal particles in their Vietnamese translation equivalents.
A quantitative analysis was conducted to examine the frequency of various speech acts and their corresponding communicative sentence types, along with the frequency of intonation patterns utilized in conversations within English films.
The qualitative and quantitative results were expected to reveal the information about these following aspects:
1) intonation patterns accompanying kinds of speech acts realized by communicative types of sentence used in English films
2) pragmatic features related to the choice of speech acts and intonation patterns accompanying these speech acts
3) the pragmatic factors that allows explanation for the corresponding means to render the modal meanings of modalized utterances used in conversations in English films
The SIL Speech Analyzer Version 3.1.0.148 software was utilized to transform raw audio data into phonetic information for detailed analysis By incorporating audio files of modalized utterances in English, the software generated waveforms that illustrated intonation contours, enabling the identification of specific intonation patterns within communicative sentences.
Figure 3.1 Representation of contour of “what do you wanna do?”
Figure 3.2 Representation of contour of “why does that soldier look so familiar?”
What do you wan na do
Why does that sol dier look so fa mi li ar
FINDINGS AND DISCUSSION
COMMUNICATIVE TYPES OF SENTENCE AND MODAL PARTICLES
PARTICLES IN SHAPING THE ILLOCUTIONARY FORCE
In chapter 2, section 2.2.4.4.a, it is established that an utterance qualifies as a direct speech act when there is a clear connection between its structure and communicative intent Conversely, when the illocutionary act does not align with the syntactic form, it is classified as an indirect speech act In Vietnamese translations of modalized utterances, modal particles serve as indicators of the illocutionary force behind these expressions.
4.1.1 Direct Illocutionary acts of representative by Declarative sentence
In Chapter 2, Table 2.3 illustrates that the modal function of declarative sentences establishes the illocutionary force of a representative speech act, where the speaker asserts the truth of a proposition This speech act reflects the speaker's belief in a statement that can be assessed as either true or false, and such acts were the most prevalent in our data set.
Declarative sentences, the most prevalent among the four sentence types, typically follow the structure of Subject + Verb + X, where X represents any additional elements like objects or complements These sentences end with a full stop and can be expressed in either positive or negative forms across various tenses They serve to make statements about reality, indicating how things are or are not.
An analysis of sentences from 10 films reveals that 18 modal particles are suitable for this context, including: à, ạ, chứ, cơ, đâu, đấy, đây, hả, mà, mất, nhé, nhỉ, rồi, thế, thôi, ư, vậy, and sao.
Its usual function is to create statement (affirmative or negative) But not always! Sometimes its form used for asking a question or giving a command
Let’s consider these sentences below with the speaker’s different intention in asserting his/her belief in each case:
(1) After scoring a goal, Laura said
LAURA: That's a goal We are now one apiece [9]
Một điểm nữa Bây giờ chúng ta hòa nhau rồi
(2) One of the toys was kept in a cramped closet said
It's getting hot in here [2]
Trong này nóng lên rồi
The declarative mood plays a crucial role in forming representative speech acts, as demonstrated in the examples provided In Vietnamese sentences, modal particles such as “à,” “ạ,” “mà,” “rồi,” “cơ,” “mất,” and “thôi” serve to indicate the illocutionary force of these statements All the examples presented consist of positive statements, showcasing how these modal particles enhance the meaning and clarity of the declarative mood in Vietnamese communication.
In the examples provided, the modal particle "rồi" serves two distinct purposes: in the first instance, it indicates a completed situation, while in the second, it emphasizes the content of the speech.
While at the park with his son, Chris retrieved the bone density scanners he had previously lost to a homeless man at the subway station, who mistakenly believed the devices were a time machine.
I got to get back to the '60s, man [1]
Tôi phải quay lại hồi năm 60 anh bạn à
(4) An air hostess asked two children why they sat there and they politely replied
A CHILD: He told us to sit here [7]
Bố bảo bọn cháu ngồi đây ạ
ROCKET: You can do it [9]
Anh có thể làm được mà!
Modal particles such as "à," "ạ," and "mà" serve important communicative functions in language They help convey the speaker's intent while also indicating the relationship between the speaker and the listener Specifically, the particle "ạ" is used to signify that the speaker is younger or of a lower social status compared to the listener, thereby establishing a respectful tone in the conversation.
Anh ấy chỉ đùa thôi
(7) Tim told his parents about the strange behavior of the baby
TIM: They were having a meeting [7]
Lúc nãy chúng còn mới họp nữa cơ
(8) Fury met Carol again in the pub and found that she changed her clothes
FURY: Grunge is a good look for you [6]
Cô hợp với phong cách bụi đời đấy
(9) Elsa was bewildered because the voice from nowhere came into her ears, so she decided to go to sleep
EALSA: I think I'll turn in [5]
Chắc là chị đi ngủ đây
(10) SEBASTIAN: Look at Louis Armstrong, you know He could have just played the marching band charts that he was given But he didn't do it
Nhìn Louis Armstrong mà xem Ông ấy chỉ cần chơi những bản nhạc diễu hành được giao, nhưng ông lại không làm thế
MIA: What did he do? Well, I'm gonna stop auditioning and I'm gonna make history instead
[3] Ông ta đã làm gì? Vậy chắc em cũng phải ngừng đi thử vai và phải làm nên lịch sử mất
(11) ANNA: I'm sorry I left you behind I was just so desperate to protect her Em xin lỗi đã bỏ anh lại Em chỉ quá tuyệt vọng muốn bảo vệ chị ấy
KRISTOFF: I know I know It's okay My love is not fragile [5] Anh biết Không sao đâu Tình yêu của anh đâu có mong manh thế
(12) A play? You better give us all roles
Kịch ư? Tốt nhất là cậu nên cho thêm vai của chúng tớ!
MIA: Actually, it's a one woman show So I can't [3]
Thực ra đây là kịch độc diễn thôi Nên tớ không thể
(13) After completing the plan together, Tim told Boss Baby:
TIM: I guess we do make a pretty good team [7]
Chúng ta cũng khá là ăn ý đấy chứ
Modal particles such as "chứ, vậy, cơ, đấy, đây, đâu, mất, thôi, thế" play a crucial role in emphasizing the content of speech Notably, the particles "đâu" and "mất" are primarily used to construct negative statements.
In short, there are 18 modal particles are used for the purpose of creating a statement or direct representative speech act
4.1.2 Indirect Illocutionary acts by Declarative sentence
In reality, almost any illocutionary act can be realized by almost any mood structure, and alomst any mood structure can carry out different illocutionary acts
In the study's data analysis, any mood structure exhibiting an atypical illocutionary force is classified as an indirect illocutionary act This means that when an illocutionary act is executed indirectly, it is conveyed through a different, direct illocutionary act.
4.1.2.1 Indirect Illocutionary acts of Questions by Declarative sentence
Data analysis reveals that certain sentences in declarative form can function as questions These declarative statements, which are intended to pose a question, are indicated with a question mark in written text In spoken language, this questioning tone is often recognized by a falling intonation.
Let’s consider the examples below for the indirect illocution of question in syntactic form of a declarative sentence
(14) WOODY: Forky's still in there If we hurry, we can get him before they lock him up
Forky còn ở trong kia, nếu như nhanh lên thì có thể cứu trước khi bị nhốt lại
DUCKY: You want us to go back in there? [2]
Anh muốn bọn tôi quay lại trong kia à?
(15) Michael's parents left after dinner at his home he said:
MICHAEL: You had a fun time hanging out with me? [10]
Bố mẹ vui khi chơi với con chứ?
(16) Timon asked Pumbaa if he could bring a baby lion with them
TIMON: Well then, we can keep him? [8]
Vậy tụi mình giữ cậu ấy lại nhé?
(17) Sebastian met Mia again after the first meeting at the luxury party
SEBASTIAN: I’ve seen you on anything? [3]
Hình như tôi gặp cô ở đâu đó rồi?
(18) Sebastian rebuked his sister when she gave him some advices
SEBASTIAN: The thing is you're acting like life's got me on the ropes?[3]
Vấn đề là chị cư xử như kiểu đời xô đẩy em quá vậy?
(19) WOODY: Bo, I'm so sorry Really Just tell me how to help
BO: You really wanna help? Stay out of my way [2] Anh thực sự muốn giúp hả? Làm ơn tránh xa đi
(20) Tim recounted the strange behavior of the baby to his parents but they did not believe it
TIM: I'm the only one that thinks there's something weird about this guy?
Bộ con là người duy nhất thấy thằng nhóc này rất kỳ lạ sao? [7]
(21) When Anna heard Kristoff talk about his negative thoughts, she asked: ANNA: You don't think we're gonna make it out of here ? [5]
Anh không nghĩ mình có thể thoát khỏi đây ư?
(22) The toys were fun when they could play with the kids One of them said:
It's a good day to play? [2]
Một ngày đẹp trời để chơi nhỉ?
In spoken English, modalized declarative sentences are more prevalent than in written form These sentences primarily serve to confirm prior information or to pose questions that may not require answers While they exhibit the illocutionary force of questions, they are often understood as assertive statements, thus not necessitating a response like typical questions do.
Translators can enhance Vietnamese declarative sentences that function as questions in English by incorporating nine modal particles: "à, chứ, nhé, rồi, vậy, hả, sao, ư, nhỉ." These particles can be added at the end of sentences to convey a questioning tone, effectively bridging the linguistic gap between the two languages.
4.1.2.2 Indirect Illocutionary acts of Directive by Declarative sentence
Data analysis indicates that declarative sentences can also serve as commands This phenomenon is evident in various examples of directive speech acts, where a statement is presented in declarative form yet functions as a command.
(23) The boy was practicing to ride a bicycle and his parents encouraged him: you got this! [7]
(24) The teacher introduced the children to make a pencil holder
Today, we're going to make pencil holders [2]
Hôm nay mình sẽ làm một hộp đựng bút chì nhé!
(25) Bo and Woody went into the play area One of the toys said:
We got to get this wagon train a-movin'! [3]
Chúng ta phải cho đoàn tàu này khởi hành thôi!
(2) Simba asked everyone to follow his plan:
Không ai được di chuyển nhé!
(23) seems to be a roundabout way of saying “You are doing well Keep practicing” (24) seems to be an instructive suggestion “Let’s make pencil holders”
The phrase (24) can be interpreted as a strong suggestion with a deontic meaning, akin to "Let’s get this wagon train moving." In translating these indirect directive speech acts into Vietnamese, modal particles such as "mà," "nhé," and "thôi" are added at the end of sentences, transforming them into declarative statements that effectively convey commands.
MODAL FUNCTIONS OF INTONATION PATTERNS IN SPEECH ACTS
The study's sample revealed cases of illocutionary acts that convey various shades of modal meaning through different moods, including indicative, interrogative, imperative, and exclamatory These modalized utterances, accompanied by distinct intonation patterns, indicate (1) the completion of the statement, (2) the speaker's intention, and (3) the associated emotion Listeners interpret the complex meaning of these intonational patterns by considering specific intonational features, along with the grammatical structure, semantic content, and context of the utterance.
Intonation plays a crucial role in conveying the intention behind an utterance, serving as its principal modal function This primary function is distinct from the subsidiary modal function, which pertains to expressiveness and reflects subjective modality, such as emotionality.
The semantic impact of an intonation pattern is influenced by the sentence type in which it is employed, as the inherent meaning of the intonation often aligns with the communicative intent of the sentence For instance, a falling intonation typically conveys finality and assertiveness in statements, while a rising intonation suggests incompleteness in yes-no questions Consequently, certain intonation patterns are deemed ‘normal’ for specific sentence types, while others may be considered ‘not normal,’ indicating an added effect or connotation that alters the communicative meaning This additional effect is generally of a modal-emotional nature, manifesting in implicatory statements or insistent and skeptical general questions.
The use of modal particles in Vietnamese subtitles for English films is influenced by several pragmatic factors This article will analyze specific English sentences alongside their corresponding modal particles in Vietnamese, highlighting the nuances and contextual meanings conveyed through these linguistic elements.
4.2.1 Rising intonation patterns as indicators of completeness of a question with interrogative sentence and Vietnamese translation equivalents with modal particles
The study sample reveals that characters in films often employ a rising intonation pattern in interrogative sentences These sentences can be categorized into three speech act types: close questions, open questions, and confirming questions Typically, the pitch of voice rises for Yes/No questions, while it tends to fall for Wh-questions.
(50) After performing a play, Mia asked Sebastian
MIA: Are people gonna like it? [3]
Mọi người sẽ thích chứ?
Figure 4.1 Representation of contour of “Are people gonna like it?”
In this example, speaker used a rising intonation pattern to expect the answer from the hearer Put simply, if the person asking a question is not sure of the
Are people gon na like it answer, a rising pitch should be applied And the translator used the modal particle
"chứ" to expess that she’s not sure whether her audience “like it”
(51) Do you remember that rent is due next week? [1]
Anh có nhớ tuần sau là tới ngày trả tiền nhà không đấy?
Figure 4.2 Representation of speaker’s performance of “Do you remember that rent is due next week?”
The wife notices that the man already two months behind in rent, even though he promised to pay To avoid a direct confrontation, she said as example
(51) Such a question serves as a recommendation or a suggestion Modal particle
4.2.2 Falling intonation patterns as indicators of completeness of a question with interrogative sentence and Vietnamese translation equivalents with modal particles
This article explores various communicative sentence types and their corresponding intonation patterns, which serve as realizations of illocutionary acts It highlights examples of speech acts accompanied by these intonation patterns and provides their Vietnamese translational equivalents, complete with modal particles.
Yes/no questions are typically asked with a rising intonation at the end, making this pattern more common than using a falling intonation However, the intonation of these questions is not limited to just a rising pitch; there are various nuances to consider.
Remember, rent is due next week In contexts where yes/no questions are used, the pitch often falls, especially when confirming information that is likely already known or clear, as well as when making suggestions.
(52) Do you think Mum and Dad would call this a "home"? [3]
Em nghĩ bố mẹ sẽ gọi đống hỗn độn này là “nhà” à ?
Figure 4.3 Representation of speaker’s performance of “Do you think Mum and
Dad would call this a "home”?”
In La La Land, when Sebastian's older sister found his house too messy, she asked as example (52) The answer to that question will more than likely be "yes."
The question "Do you think Mum and Dad would call this a 'home'?" seeks validation for a belief you likely already hold The translator employs the modal particle "à" to convey surprise regarding the listener's actions.
(53) when the people of the mysterious forest came, they saw Anna was wearing a scarf which their queen had used, they asked:
Where did you get that scarf? [5]
Cô lấy cái khăn đó ở đâu thế?
Do you think Mum n Dad would call this a "home"
Figure 4.4 Representation of speaker’s performance of “Where did you get that scarf?”
Wh- questions usually conclude with a falling pitch, contrasting with yes/no questions that typically have a rising intonation The speaker asks these questions to gain information about their actions In this context, the translator employs the modal particle "thế" to enhance the meaning of the statement.
Wh- questions usually conclude with a falling pitch; however, a rising pitch may indicate a request for repetition or clarification of known information For example, this can be illustrated through specific instances where the speaker seeks further understanding.
(54) The boy has just told about his story The question here was used for emphasizing the information that he has just told
Where did you get that scarf
Figure 4.5 Representation of speaker’s performance of “How do I know?”
In this context, a rising pitch is employed to request repetition and confirm previously known information Additionally, the modal particle "ư" is utilized to emphasize the statements made by the interlocutor.
Last but not least, let's mention the intonation of tag questions The meaning of a tag question can be changed when using different intonations
Falling intonation is used by speakers to assert their thoughts confidently rather than to pose a question This intonation style often invites agreement or confirmation from the listener Native speakers frequently employ falling tags, particularly when they anticipate a "yes" response or when they do not expect any reply at all.
(55) Thor has returned to the past and met his mother When she found that Thor was too sloppy, she asked
The future hasn't been kind to you, has it? [9]
Tương lai đối xử khắc nghiệt với con quá à?
In example (55) modal particle “à” used for making a statement become an interrogative sentence in Vietnamese like “question tag” added to a statement to turn into an interrogative sentence in English
Rising intonation indicates a lack of confidence in a statement and seeks a response from the listener It is often used when anticipating a negative answer or with tag questions designed for a straightforward yes or no reply Additionally, suggestions may be accompanied by a rising question tag using "shall," while imperatives can follow a rising tag that includes modal verbs such as will, could, or would.
(56) When the man answered the phone and knew that the box of the stone was glowing, he seemed to grow serious and asked
They didn't open it, did they? [9]
Họ chưa mở cái hộp ra chứ?
(57) The Ancient One hit Hulk in the chest, pushing Banner's Astral Body out of Hulk's body and said
Let's start over, shall we? [9]
Ta sẽ bắt đầu lại nhé?
Similar to example (55), modal particles “chứ, nhé” in examples (56), (57), are also added at the end of the statement to convert them into a question
4.2.3 Rising intonation pattern as indicators of Statement intended as Question
Native speakers often turn statements into questions by changing their pitch at the end of the sentence
(58) Michael was surprised to find out that his two friends were dating MICHAEL: You guys have been dating a couple months now? [10]
Hai người hẹn hò được vài tháng rồi à?
Figure 4.6 Representation of speaker’s performance of “You guys have been dating a couple months now?”
(59) Anna was surprised to hear that Elsa woke the magical spirits at the Enchanted Forest To confirm that information, she asked
ANNA: The one that father warned us about? [5]
Cái mà ba đã cảnh báo mình ấy à?
Figure 4.7 Representation of speaker’s performance of “The one that father warned us about?”
In English, a statement can be transformed into a question by raising the intonation at the end of the sentence Similarly, in Vietnamese, the addition of the modal particle "à" serves to turn a statement into a question However, in Vietnamese, this construction is frequently employed to convey the speaker's surprise or suspicion regarding the reality of the utterance.
In addition, some modal particles such as chứ, ư, sao, hả are also used for translating into Vietnamese statement having purpose as question from the equivelent English statement
Hey You guys have been dating a couple months now
The one fa ther warned us a bout
(60) Nebula and Tony are on the Benatar playing paper football When
Nebula had won against Tony He asked:
Figure 4.8 Representation of speaker’s performance of “You have fun?”
(61) When Anna heard Christopher said they could not escape from the mysterious forest, Anna asked
ANNA: You don't think we're gonna make it out of here? [5]
Anh không nghĩ mình có thể thoát khỏi đây ư?
Figure 4.9 Representation of speaker’s performance of “You don't think we're gonna make it out of here?”
FUNCTION OF EMOTIONAL EXPRESSION OF MODAL PARTICLES
In subtitling English films, translators employ a range of modal particles to convey different nuances of modality Given the complexity of human emotions and attitudes, translating these modalized utterances requires careful consideration to accurately reflect the intended meaning.
All this will be long to me
English into Vietnamese, it's necessary to pay attention to the feelings of the speaker
In Vietnamese subtitles, modal particles serve both as lexical and prosodic units, effectively conveying human emotions and attitudes within sentences These modalized sentences can be classified into seven categories based on their expressive capabilities.
4.3.1 Expressing a conative force applied to directive speech acts
The most frequently used modal particles found in the data collection is
The modal particle "đi" serves to emphasize the illocutionary force of directive speech acts, enhancing their persuasive and compelling nature.
Let’s consider the following examples
(63) Scar, who saw Simba being scared when he saw Mufasa die, advised Simba:
(64) Simba wanted to help Mufasa chase the hyenas out of his land but Mufasa requested
MUFASA: Stay with the other cubs [8] Ở nhà với tụi con nít khác đi
(65) Gardner gave his son a gift and asked him to open it
(66) Gardner told his son to imagine that they were being in prehistoric times and were seeing dinosaurs
GARDNER: Look at all these dinosaurs [1]
Nhìn mấy con khủng long đi
(67) Gardner asked his son to take his luggage to move to another place
Lấy đồ của con đi
GARDNER: Chris, sit down, please
(69) A toy named Dolly, afraid that their owner would come back unexpectedly while they were talking, so she suggested a toy named Pricklepants return to his place
DOLLY: All right, Pricklepants, back to your bakery [2] Được rồi, Pricklepants, quay về tiệm bánh đi
(70) Bo was upset and asked Woody to stay away from her because he didn't follow her plan
BO: Stay out of my way [2]
Làm ơn tránh xa đi
The use of the modal particle “đi” in sentences reflects a striving action linked to a wish or intention When placed at the end of a directive speech act, “đi” signifies the speaker's effort or inclination to act purposefully This addition enhances the illocutionary force, making the speaker's request more explicit and urging the listener to take action.
In many instances, the term "đi" effectively translates the speech act modality of direct directive illocutionary acts characterized by imperative sentences Additionally, it can also serve to translate indirect directive speech acts presented in interrogative or declarative forms, as illustrated in the following example.
(71) The landlord came and asked Gardner to move to another place When Gardner deferred by asking for a few more days to pay the rent, the landlord said:
Why don't you go two blocks over at the Mission Inn motel? [1]
Sao cậu không đi thêm hai dãy nhà ở nhà nghỉ Mission Inn đi?
In certain instances, speakers use "thôi" after a verb in directive speech acts to emphasize a compelling force behind their suggestion or command, indicating that the decision is assertive and leaves no room for alternative possibilities This use of "thôi" in Vietnamese conveys a sense of finality, suggesting that there are no other options to consider or anticipate.
(72) SIMBA: Come on, Dad, let's go And today has started You promised!
Mau lên cha, đi thôi , cha nói hôm nay con có thể đi với cha Hôm nay bắt đầu rồi, cha hứa rồi mà Cha hứa rồi mà
(73) Bo and Woody walked into a toy cellar, one of the toys said:
We got to get this wagon train a-movin'! [7]
Chúng ta phải cho đoàn tàu này khởi hành thôi!
Using various modal particles in sentences is an effective way to convey intimacy between the speaker and the listener Notable modal particles that express this closeness include: à, ạ, cơ, nhỉ, hả, nhé, mà, and thôi.
Here are some examples of modal particles used in Vietnamese subtitles of English films that signal the intimacy in the context of conversation between the interlocutors
(74) BONNIE: Can I bring a toy? (Con mang đồ chơi được không?)
DAD: Toys don't go to school, that's the rule [2] Đồ chơi không được mang đi học, đó là quy định con à
(75) Simba told his father when he saw that he didn't take him to hunt
SIMBA: Let's do this So, what's first? Give orders for the hunt? Chase away evil intruders? Dad! You're going the wrong way!
Tiến hành thôi Làm gì trước đây? Ra lệnh đàn đi săn, hay đuổi bọn xấu xa đi? Cha, cha đi sai đường rồi ạ!
(76) Tim agitated when he saw the babies could talk, he explained to his parents but no one believed him
TIM: It wasn't me! It was the baby's fault It's true! He can talk They all can talk They were having a meeting
Không phải con! Lỗi của em bé đấy Đúng vậy! Nó biết nói Tất cả chúng có thể nói Lúc nãy chúng còn mới họp nữa cơ
(77) The father came home and woke the children up by asking
NEWMAN: Hello, hello! How can you goons sleep when you know l got you presents?
Xin chào, xin chào! Làm sao các con có thể ngủ khi biết bố có quà cho các con nhỉ?
(78) The cafe owner asked the employee to follow her instructions
Mia, you're closing Friday [3]
Mia, em đóng cửa quán vào thứ Sáu nhé
In the examples (74), (75), (76), (77), and (78), modal particles "à", "cơ",
The Vietnamese modal particles "nhỉ," "nhé," and "mà" are utilized to convey intimacy and persuade listeners to comply with requests or instructions Additionally, the particle "ạ" serves a dual purpose: while it also expresses intimacy, it primarily demonstrates the speaker's respect towards listeners who hold a higher social status, age, or position.
In summary, the use of modal particles in the dialogue enhances the intimacy between the speaker and the listener, effectively fulfilling the communicative intent These particles in the translated subtitles allow movie viewers to grasp the speaker's aim of fostering a closer relationship between interlocutors.
Translated sentences in subtitles often reveal the speaker's surprising attitude towards the situation Modal particles such as "ư," "sao," "cơ à," and "thế" are frequently used to express surprise.
(79) BABY: Tim, I may look like a baby but I was born all grown up I can't even imagine not being a kid
Mặc dù tôi có thể trông như một đứa trẻ, nhưng tôi đã luôn mang trong mình trách nhiệm của một người lớn Tôi không thể hình dung được cuộc sống mà không còn là một đứa trẻ nữa.
TIM: You missed out on your whole childhood [7]
Cậu đã mất toàn bộ tuổi thơ của mình ư
(80) After a moment, another person appears in front of them This time, it’s a baby in the Ant-Man suit
ROGERS: It's a baby It's Scott Bring Scott back [9]
Một đứa bé sao Đó là Scott Mang Scott trở lại đi
The speaker was taken aback to see an unexpected figure—a baby—in place of his colleague This revelation highlights the surprising twist in his expectations, prompting him to encourage the listener to rethink the situation.
(81) Newman didn't remember the family plan and asked Donna
DONNA: So we good for tomorrow?
Ngày mai vẫn theo kế hoạch chứ?
NEWMAN: What are you talking about? [10]
Em đang nói gì thế?
This is a question without requiring the answer It shows the speaker's surprise because he didn't believe what he's just heard
A declarative sentence ending with a question mark functions as a rhetorical question, asserting to the listener that the speaker is not irrational In English, when a statement is delivered with a rising intonation, it conveys the speaker's intention to validate a situation that may be difficult for them to accept or believe.
In the data collection, instances of modalized utterances were found to express the interpersonal meaning of irony along with the other modal meaning conveyed by the speaker
Let’s consider the following examples
(83) SEBASTIAN: Not much to look at, huh? I've seen better [3]
Chẳng có cái gì đẹp hơn mà ngắm nhỉ? Tôi từng thấy cảnh đẹp hơn nhiều
(84) When Ulysses Klaue escaped from prison, he mocked T'Challa and his team
ULYSSES KLAUE: I see you took your time, didn't you? [4]
Bọn mày thong thả quá nhỉ?
(85) A commander named Arendelle, who was trapped in the mysterious forest, asked Anna about his lover who was outside the forest After knowing that she got married, he told Anna:
ARENDELLE: Why didn't that make me feel better? [5]
Sao tôi không thấy vui hơn nhỉ?
(86) Michael pressed the button of the magic remote control to teleport to his son's wedding party in the future When he saw his son's wife, he said:
MICHAEL: Ben's wife seems like a nice kid, huh? [10]
Vợ Ben có vẻ là một cô bé ngoan nhỉ?
When a speaker uses a rise-fall intonation pattern with a high head, it may indicate that they are referring to something insignificant or expressing the opposite of what is stated in their proposition.
The speaker may express dissatisfaction with the scenery, indicating poor quality The hearers' leisurely pace is deemed unacceptable and unthinkable Additionally, the speaker's lack of improvement in mood reflects a sense of discontent Furthermore, the speaker's comment regarding Ben's wife may be deceptive, potentially implying the opposite of what is stated.
4.3.5 Expressing assurance or restricted alternative
THE PRAGMATIC FACTORS THAT GOVERN THE USE OF MODAL
This study employs modal analysis to explore the semantic-pragmatic information within utterances in English films By focusing on the supplementary information that accompanies descriptive content, the research aims to illuminate how this information enhances the semantic structure of sentences and the types of speech acts they convey.
In doing this, the study focused on the following groups of pragmatic information
4.4.1 The information of the particular communicative situation or the relationships between the utterances
Effective communication relies on structuring the speaker's intent to impact the listener For instance, a single directive sentence can convey varying meanings depending on the intonation patterns or modal particles used, resulting in different utterances that reflect distinct nuances.
Let’s consider the following examples
(97) While investigating Carol's memory, Yon-Rogg saw his enemy -Talos, he asked the technician to stop at that memory section
(98) Mia thought that Sebastian had gone somewhere to perform but when she got home, she saw Sebastian at her house Sebastian said:
SEBASTIAN: I got to leave first thing in the morning, but I just I had to see you [3]
Mai anh sẽ phải dậy từ sáng sớm nhưng anh phải về gặp em đã
(99) The father urged his daughter to prepare for going to kindergarten
Come on, we have to go [2] Đi nào, mình phải đi thôi
(100) The band leader asked Sebastian to play the song requested by Mia
All right, piano man, tickle those ivories [3] Được rồi, anh chàng chơi piano, chuẩn bị vuốt phím thôi
In directive speech acts, the modal particle "thôi" is applicable when both the speaker and the hearer are engaged in another action (P'), while "đã" is reserved for contexts where the action in proposition (P) is perceived as preceding or interrupting the ongoing action (P') Therefore, "thôi" is suitable for translating modalized utterances of directive speech acts under specific conditions.
The action in P’ has to be ceased before the performance of the action in P at the moment of the utterance
The Vietnamese word "đã" can effectively translate a modalized directive speech act under two specific conditions: first, if both the speaker and the hearer are currently engaged in action P’, the action must be paused to carry out action P Second, if the hearer is about to initiate action P’, action P should be completed beforehand.
Interrogative sentences can be used to express a definite fact or event that is known to both the speaker and the listener However, the speaker may still pose a question if they believe there is something unusual or surprising about the situation that warrants further inquiry.
Let’s consider the following examples
Michael lamented his excessive use of the magical remote control, realizing it wasted precious time in his life He expressed his regrets to Morty, the one who gifted him this enchanting universal device.
MICHAEL: Why'd you make me waste my entire life? [10]
Tại sao ông khiến tôi lãng phí cả cuộc đời thế?
(102) Okoye jokingly told T'Challa that he shouldn't be frozen when he saw Nakia-his lover He said:
T’CHALLA: What are you talking about? [10]
Cô đang nói gì thế?
(103) Bonnie was playing in her room, the father approached and asked:
Con đang làm gì thế?
(103) Michael asked why Morty gave him a magical universal remote
MICHAEL: Why are you doing this, then? [10]
Tại sao ông làm thế?
(104) When Gardner took Christopher to school, he looked at his son's bag and asked:
GARDNER: What's that say on the back of your bag? [1] Đằng sau túi con ghi gì thế?
(105) When Mia was talking to a friend in the bathroom, another friend came from outside and asked:
Why is there a convention in the bathroom? [3]
Sao lại nói chuyện trong phòng tắm như thế này?
In the scenarios presented, both the speaker and the hearer share an understanding of the speaker's unusual experiences, prompting the speaker to ask questions In the second context, the speaker's curiosity is sparked by the words on the hearer's bag, highlighting a shared awareness Furthermore, the use of "thế này" emphasizes the closeness between the speaker and hearer, reinforcing the immediate connection in their conversation.
4.4.2 The information that signals the the speaker’s supposition to the hearer’s status of mind and knowledge
This information serves as an indicator of the speaker's judgment regarding the hearer's abilities and understanding The speaker expresses expectations about the hearer and seeks a specific response through language This anticipation influences the speaker's choice of words, sentence structure, and intonation patterns.
The speaker's assumptions regarding the listener's mental state can be examined through the use of declarative and interrogative sentences, which are delivered with varying tones and modal particles This analysis highlights how tone and structure influence the perception of meaning in communication.
In modalized utterances that inquire about unconfirmed propositions or speculations, the use of "nhỉ" or "à" in translation can vary based on the hearer's mental state and presuppositions For instance, the context of the conversation significantly influences how these terms are interpreted and understood by the listener.
(106) Some toys which were in the playground of a kindergarten were waiting to be played with children, one of them said:
It's a good day to play? [2]
Một ngày đẹp trời để chơi nhỉ?
(107) After the strange experience that Furry encountered, he met Carol in the pub She asked:
CAROL: Did you have a rough day, Agent Fury? [6] Đặc vụ Fury, hôm nay quả là ngày khó khăn của anh nhỉ?
(108) Sebastian told Mia about where he worked, where some popular bands used to perform but later it became a samba-tapas place - a samba place where they serve tapas
SEBASTIAN: So the joke's on … history? [3]
Có vẻ như là lịch sử tự biến nó thành trò cười nhỉ?
In the context of (106), the speaker asserts that the day is beautiful, believing the hearer shares this perspective The use of “nhỉ” in this translated sentence indicates a question aimed at eliciting agreement rather than information, fostering a connection through shared feelings Similarly, in (107), the speaker seeks to establish understanding with the hearer who has faced a difficult day, demonstrating positive politeness and solidarity rather than merely seeking confirmation Additionally, the modal particle “nhỉ” can convey irony when both parties recognize that the situation described is contrary to reality, as illustrated in (108), where the historical context cannot be trivialized.
When translating modalized utterances where the speaker lacks sufficient evidence for their hypotheses, it is important to consider that the speaker may believe the listener possesses greater knowledge to confirm or deny these speculations In such cases, using an interrogative sentence can effectively convey this uncertainty and invite the listener's input.
Accordingly, a question with “à” can signal the speaker’s presupposition about the hearer’s knowledge and reliable evidence for the thing being questioned
(109) When Tim tried to remove Boss Baby from his family, Boss Baby said to him:
BABY: Do you think they'd pick you over me? [7]
Chú nghĩ họ sẽ chọn chú mà bỏ anh à?
(110) Tim imagined that the toy was talking to him:
Has that little dwarf made you blue? [7]
Cái tên lùn đó làm ngươi buồn à?
(111) Boss baby took Tim to Baby Corp., a place where infants with adult- like minds work to preserve infant love everywhere
TIM: So this is where babies come from? [7]
Vậy đây là nơi tạo ra em bé à?
In the context of references (109), (110), and (111), the speaker presumes that the listener possesses superior knowledge and the mental capacity to confirm the discussed topics, such as choosing one person over another, identifying the little dwarf as the cause of someone's sadness, and understanding the origins of babies.
4.4.3 The information that signals the social status, role of the interlocutors or communicative partners
In any conversation, participants must evaluate factors such as social status, age, and intimacy, as these elements shape the expected behaviors and language use in communication This universal principle influences how individuals interact, guiding them to adhere to social norms and appropriate speech acts For instance, the use of modal particles can convey the speaker's attitude toward the listener, especially when assumptions about age and social status are established beforehand.
Let’s consider the following examples
(112) Simba told his father when he saw that he didn't take him to hunt
SIMBA: Let's do this So, what's first? Give orders for the hunt? Chase away evil intruders? Dad! You're going the wrong way! [8]
Tiến hành thôi Làm gì trước đây? Ra lệnh đàn đi săn, hay đuổi bọn xấu xa đi? Cha, cha đi sai đường rồi ạ!
(113) AIR HOSTESS: What are you two boys doing up here?
Hai nhóc làm gì ở đây?
TIM: We're Captain Ross's kids Our father told us to sit here [7]
Chúng cháu là con của Cơ trưởng Ross Bố bảo bọn cháu ngồi đây ạ
(114) Zazu was talking to Mufasa (the Lion King), then the king left Zazu said:
In interactions characterized by social variables such as family hierarchy and age, the modal particle "ạ" serves as an honorific expression that conveys respect towards the hearer.
4.4.4 The information that orientates the response or feedback from the other interlocutors
DISCUSSION
This investigation reveals the syntactic realizations and pragmatic functions of modal particles in various communicative sentence types The analysis highlights the complexity of modal particles, which often serve multiple functions, making it challenging for learners and translators to accurately convert English modality expressions into their Vietnamese counterparts The study identifies effective translation strategies, noting that while some modal particles can be universally applied across sentence types, others are context-dependent Translators must consider the context and communicative intent to select the most suitable modal particles for translation A summary of the corresponding modal particles for English modality expressions, based on data from films, is presented in Table 4.4.
Table 4.4 The identification of corresponding modal particle of the modality expressions in English film subtitles
Imperative sentences à X X ạ X X chứ X X cơ X X đã X đâu X đấy X X đây X X X đi X X hả X X mà X mất X nào X X nhé X X X nhỉ X X rồi X sao X X thế X X thôi X X ư X X vậy X X với X X
Modal particles can interact with one another within a single sentence to enhance their meaning Additionally, these particles can be paired with various speech acts, highlighting the dynamic relationship between the speaker and the listener, as well as influencing the overall mood of the sentence.
Modal particles play a crucial role in communication by indicating or modifying illocutionary acts and expressing the speaker's attitude These particles convey emotional states and attitudes in an implicit manner, often requiring interpretation through implicature As a result, they enhance the delicacy and gentleness of speech acts, influencing the perlocutionary force effectively.
This study highlights the pragmatic factors influencing the use of modal particles in Vietnamese subtitles of English films, particularly focusing on the relationship between the speaker and the interlocutor, as well as intonation The speaker selects appropriate modal particles based on the interlocutor's status, age, gender, and relationship to enhance communication effectiveness Additionally, intonation plays a crucial role, allowing the speaker to choose modal particles that align with the interlocutor's intentions, whether to convey questions, statements, or nuanced emotions like surprise, disbelief, sarcasm, or teasing.
Modal particles play a crucial role in the modality system of Vietnamese, as they guide the listener in interpreting the truth value of a statement and aligning it with the context By adding a modal particle to a declarative sentence, it can be transformed into an interrogative form For instance, the declarative sentence "We gotta postpone the camping trip" translates to "Chúng ta phải hoãn chuyến cắm trại rồi." In this case, appending the modal particle "ư" at the end changes the sentence to an interrogative one, expressing surprise: "Chúng ta phải hoãn chuyến cắm trại ư?"
To effectively choose the appropriate modal particles in modality expressions in Vietnamese, it is essential to take into account three key factors: syntactic realizations, pragmatic functions, and the pragmatic factors that influence the usage of these particles.
To achieve success in communication and translation, language users must consider the context of their sentences, particularly those with modal particles As discussed in section 4, learners and translators can effectively utilize appropriate modal particles to convey modality expressions from English to Vietnamese.