AIMS AND OBJECTIVES
SCOPE OF THE STUDY
This study examines the phenomena of loss and gain in the Vietnamese translation of speech devices (SDs) in the novel series "The Lord of the Rings" (TLTR), specifically focusing on the translations by Nguyễn Thị Thu Yến and Đặng Trần Việt in "Part I: The Fellowship of the Ring" (Đoàn).
Hộ Nhẫn); Đặng Trần Việt (Part II The Two Towers - Hai Tòa Tháp) and Tâm Thủy & An Lý
Part III of "The Return of the King" marks the first and only translation of this work in Vietnam This study focuses on analyzing the losses and gains in lexis, structure, and meaning within the translation.
SIGNIFICANCE OF THE STUDY
This article examines the phenomena of loss and gain in the Vietnamese translation of the speech devices (SDs) in the novel series "The Lord of the Rings" (TLTR), specifically focusing on the translations by Nguyễn Thị Thu Yến and Đặng Trần Việt for Part I, "The Fellowship of the Ring" (Đoàn Hộ Nhẫn), and by Đặng Trần Việt for Part II.
In "The Two Towers" and "The Return of the King," the researcher aims to enhance the understanding of the phenomena of loss and gain in translation.
This study serves as a valuable resource for translators, offering insights into the differences between the original English novel and its Vietnamese translation It highlights the inherent challenges of loss and gain that arise when translating stylistic devices (SDs), providing a deeper understanding of the translation process.
ORGANIZATION OF THE STUDY
This thesis is composed of five chapters as follows:
Chapter 1, “Introduction”, mentions the rationale, aims and objectives, and the significance of the study.
Chapter 2, “Literature Review and Theoretical Background”, presents the previous
Two researchers have explored the complexities of strategic decisions (SDs) and the concepts of loss and gain in the translation process of SDs Their study delves into theoretical aspects, including a comprehensive definition of translation, the dynamics of loss and gain during translation, and an overview of the novel series TLTR, highlighting the intricate relationship between translation practices and narrative strategies.
Chapter 3, “Research Methodology”, states the methods and the procedures of the research This chapter also offers the description of samples and how the data are collected, described and analyzed.
Chapter 4, titled "Findings and Discussion," serves as the core section of the study, focusing on the stylistic devices (SDs) employed in the TLTR novel series It thoroughly examines the losses and gains encountered during the translation process of these stylistic elements in the Vietnamese version.
Chapter 5, titled “Conclusions and Implications,” summarizes the study's development and reiterates the key findings It highlights the implications for learning, teaching, and translating Sustainable Development (SD) concepts in both English and Vietnamese Additionally, the chapter addresses the study's limitations and offers suggestions for future research.
Chapter Two LITERATURE REVIEW AND THEORETICAL BACKGROUND
In this section, a review of literature on previous studies relating to SDs as well as translation will be covered.
Up to now, there have been a number of studies relating to SDs used in language conducted by a lot of English and Vietnamese researchers Many linguists such as Galperin
(1977), Vendonk (2003) and Simpson (2004) have done a lot of researches on linguistics including SDs to find out their semantic, syntactic as well as pragmatic features, especially their positive effect.
According to Galperin (1977: 29), a stylistic device (SD) is defined as the deliberate and intentional use of language features, including expressive means, elevated to a generalized level to create a generative model.
SDs refer to the strategic use of language within a linguistic unit—such as words, sentences, and texts—tailored to a specific context This approach enhances the appeal and expressiveness of an image, evoking emotions and captivating readers with a compelling narrative.
In Stylistics, Vendonk (2003) explored the concept of style in both literary and non-literary texts, emphasizing that understanding style is influenced by socialization The author examined the interplay between text and discourse, highlighting the dynamic nature of meaning production and reception as contextual interactions Additionally, Vendonk addressed the importance of perspective and the varied representations of reality, suggesting that stylistics can enhance literary criticism.
In Stylistics, Simpson (2004) emphasizes that the study of language involves a deep exploration of creativity in its use Engaging in stylistics enhances our comprehension of language and significantly improves our understanding of texts.
In Vietnam, there have been a number of linguists studied and interested in SDs such as Đinh Trọng Lạc (1998), Cù Đình Tú (2001) and Nguyễn Thái Hòa (1997) In the books entitled
In "Dẫn luận phong cách học" (1997) by Nguyễn Thái Hòa and "Phong cách học Tiếng Việt" (1998) by Đinh Trọng Lạc and Nguyễn Thái Hòa, a clear definition of stylistic devices (SD) in Vietnamese is presented, along with an extensive list of various SDs Notably, Đinh Trọng Lạc emphasizes the significance of these devices in enhancing the richness and expressiveness of the Vietnamese language.
In 1998, a comprehensive presentation on various stylistic devices (SDs) was delivered, outlining their definitions, functions, and classifications Building on this foundation, Cù Đình Tú expanded the discussion of stylistic devices in his 2001 work, “Phong cách học và đặc điểm tu từ Tiếng Việt.”
In the 2007 publication "Giáo trình lí luận văn học," a team of Vietnamese linguists, including Trần Đình Sử, Phan Huy Dung, La Khắc Hòa, Phùng Ngọc Khiêm, and Lê Lưu Oanh, provide a clear definition of stylistic devices (SDs) They emphasize that the artistic measure of literary writing involves the strategic use of language to create vivid artistic images, effectively conveying the essence of life.
Translation plays a crucial role in the English language, attracting the attention of numerous linguists and translators, including notable figures like Bassnett (1980) and Hatim and Mason (1990) This field has been the subject of extensive research over the years.
Translation involves the decoding of the source language (SL) and encoding of the translator's understanding into the target language (TL) It encompasses both the process of converting a text from one language to another and the final product that emerges from this transformation.
Hatim and Mason (1990) emphasize that translation serves as a valuable lens for understanding the role of language in social contexts Their analysis explores the interplay between translation and various factors such as context, structure, and pragmatics Through this examination, the authors aim to equip learners and translators with essential knowledge for effective translation practices.
In Translation Studies, Bassnett (1988: 30) emphasizes that when exact equivalence cannot be achieved between two languages during translation, the inevitable question of loss and gain arises.
In Viet Nam, in the books entitled Mất mát trong dịch thuật, Nguyễn Thượng Hùng
(2006) presented the absence of any factors in stylistics of a language in comparison with the other language is a problem, which seems inevitable in translation.
Recent studies, including the work of Trần Thị Mai Lê (2011), have explored the complexities of translation, focusing on the concepts of meaning loss and gain.
Vietnamese translational version of The World is Flat by Thomas L Friedman and Nguyễn Thị Lành (2015) carried out the thesis with the title “An Investigation into Stylistic Device in
Perfect Spy by Larry Berman and their Vietnamese Translational Equivalents” to find out the
THEORETICAL BACKGROUND
Definition of Stylistic Devices
Rhetorical devices, also known as figures of speech, are specialized language techniques used in speaking and writing to evoke images, emotions, and attitudes By employing the appropriate rhetorical devices, communicators can enhance their expressions and create unique value in their messages This interest in rhetorical devices has led linguists and researchers to explore and define them in various ways, resulting in a diverse range of interpretations.
Galperin (1977: 62) asserts that "SD serves as an abstract framework, adaptable to various content." He emphasizes that the typical encompasses not only commonly used elements but also those that most clearly and powerfully express the essence of a phenomenon.
Kramsch (1998: 22) states that the stylistic use of a language unit develops a stylistic meaning, and a stylistic device (SD) embodies a recognized abstract scheme aimed at creating a specific artistic effect.
In his 1996 work, "99 Phương Tiện và Biện Pháp Tu Từ Tiếng Việt," Đinh Trọng Lạc highlights that stylistic devices (SDs) in Vietnamese language consistently convey extra layers of meaning, whether emotive or logical.
SDs, or stylistic devices, encompass various techniques used to enhance the meaning, emotion, or concept within a text Commonly referred to as figures of speech or rhetorical devices, these techniques aim to evoke imagery, emphasize key points, and clarify ideas, ultimately engaging the reader more effectively.
The emergence of speech devices (SDs) represents a natural evolution in language media As language units are employed for specific communicative purposes across different writing styles, they begin to acquire new characteristics and expand their functional range, leading to polyfunctionality.
In conclusion, stylistic devices (SDs) are purposefully employed to convey profound thoughts and enhance the effectiveness and persuasiveness of written texts Defined as unique linguistic expressions, SDs serve specific functions and create artistic effects for readers and listeners This study is grounded in the definitions of SDs provided by Galperin, which form the theoretical framework for our analysis.
Functions of Stylistic Devices
SDs are considered as distinctive linguistic expressions which make writing more effective, persuasive and successful for various purposes As Bazerman (2000: 39) concludes,
Rhetoric fundamentally serves to utilize language as a tool by which individuals can shape attitudes and inspire actions in others This function is deeply embedded in the very essence of language, which is inherently realistic and constantly evolving.
According to Galperin (1977), in detail, SDs can help:
- To emphasize and highlight an attitude or opinion
- To amuse or entertain the reader
- To impress someone’s position or situation on someone
- To criticize or satirize the issue that the writer mentions
- To make a train of thought more obvious to the audience
- To awaken the understanding, sympathy and pity for someone’s situation
- To make remarks statements vivid and unforgettable
- To make something clear and understandable to the audience
Stylistic devices (SDs) play a crucial role in enhancing a writer's intention and adding beauty to their work However, when used carelessly or excessively, these devices can render artistic pieces unnatural or mechanical Conversely, when employed appropriately, stylistic devices engage readers and effectively capture their attention, enriching the overall impact of the writer's message.
In conclusion, rhetorical devices (SDs) enhance writing by making it more effective and persuasive Our research identifies various issues regarding the functions of SDs, grounded in Galperin's theoretical framework.
Classification of Stylistic Devices
According to Galperin (1977), SDs are divided into three kinds based on their specific features and functions: phonetic, lexical and syntactical SDs.
The stylistic approach to language extends beyond mere structure and meaning (Galperin, 1977) The aesthetic value of a word, phrase, or sentence diminishes when considered in isolation While the sound of a word may create a euphonic impression, this experience is ultimately subjective, shaped by individual perception and emotion.
The stylistic approach to utterances focuses on the auditory quality of words, phrases, or sentences While individual words may lack aesthetic appeal, their combination can create a desired phonetic effect, enhancing the overall sound and impact of the expression.
The primary function of a word is to represent objects, people, actions, or states of being Therefore, the denotative meaning serves as the key semantic feature of a word.
The term "transferred meaning" refers to the relationship between dictionary meanings and contextual meanings of words, highlighting how a word can gain additional lexical meanings that are not always reflected in dictionaries.
Related to contextual logical meanings, the lexical SDs are divided into the following types: a Simile
There are some simile’s definitions both in English and Vietnamese.
Simile is the comparison between two objects of different kinds which have at least one common point.
Galerin (1977) defines simile as a literary device that draws a comparison between two distinct entities that share at least one common characteristic In formal writing, similes serve both artistic and explanatory purposes, helping to clarify unfamiliar concepts—such as objects, events, or processes—by relating them to something familiar to the reader.
A simile is a figure of speech that makes a direct comparison between two unlike things, typically using the words "like" or "as" to highlight similarities This literary device can also incorporate other words that signal an explicit comparison, enhancing the vividness of the description.
Let us consider these examples
Life is just like an ice-cream, enjoy it before it melts.
In his 1996 work, Đinh Trọng Lạc defines simile as a figurative comparison that serves as a semantic trope This rhetorical device juxtaposes two distinct entities from objective reality, which are not entirely homogeneous, highlighting a shared characteristic By doing so, similes create a fresh perspective on the subjects being compared, enriching the reader's understanding through vivid imagery.
Cù Đình Tú (2001: 259) emphasizes that simile is an effective literary device for expressing ideas in a clear, concrete, and vivid manner.
“Tình anh như nước dâng cao Tình em như dải lụa đào tẩm hương’”
Similes enhance the appeal of the subjects they describe, making sentences more vivid and engaging By invoking our imagination, similes play a significant role in poetry, enriching the overall experience and depth of the text.
Let’s analyze the following example:
“Mặt trời xuống biển như hòn lửa, Sóng đã cài then đêm sập cửa Đoàn thuyền đánh cá lại ra khơi”
Huy Cận masterfully employs vivid imagery such as "the sun," "the sea," and "the fireball," paired with similes, to depict the enchanting transition from day to night The simile "like a fireball" in his verse allows readers to visualize the breathtaking beauty of the sunset Additionally, the use of repetition enhances the emotional impact of the scene, drawing the audience deeper into the experience.
Repetition is a stylistic device that involves the intentional reiteration of words or phrases to enhance clarity and memorability of an idea This technique is prevalent in both prose and poetry, serving as a rhetorical device that can encompass a word, phrase, full sentence, or poetic line, all aimed at emphasizing its importance within the overall text.
Repetition, rooted in emotive language, serves as a powerful device that enhances expression In logical contexts, it functions merely as a grammatical tool Its significance lies in the heightened excitement and intensity that accompany the expression of strong feelings.
Let us have a look at the following example:
She believed I could nourish the child with what others consumed, but the little one continuously wept, becoming frail and emaciated The caregiver grew frustrated, dismissing the situation as mere stubbornness.
The writer effectively emphasizes the plight of a destitute child by repeatedly using the phrase “and cry,” illustrating the child's suffering and malnutrition Living in dire conditions, the child is described as nothing but skin and bones, which explains his incessant cries day and night.
Repetition can be regarded as the typical SD in speeches It is also resorted to in order to persuade the audience, to add weight to the speaker’s opinion.
Repetition serves as a significant stylistic device (SD) to emphasize key concepts and capture the reader's attention It can be categorized into various compositional patterns, including anaphora, epiphora, chain repetition, and anadiplosis, each contributing uniquely to the overall impact of the text.
Related Translation Issues
Translation is a complex art that involves accurately conveying the meaning of one language into another Mastering this skill is challenging, as it requires a deep understanding of both languages Numerous definitions of translation highlight its intricate nature.
Translation, as defined by Newmark (1988), involves conveying the meaning of a text in another language while preserving the author's intent Translators often face the challenge of balancing various elements, such as the temptation to directly transfer words from the source language to the target language However, effective translation cannot merely replicate the original text It must navigate tensions between sound and sense, emphasis and naturalness, figurative and literal meanings, as well as neatness and comprehensiveness, ensuring both concision and accuracy in the final output.
Translation involves creating a natural equivalent in the target language that accurately conveys the meaning and style of the original message, as stated by Nida and Taber (1969: 12).
According to Carbonell (2006), translation serves as a form of communication and a means to accomplish various objectives It is essential to understand that translation involves relocating the original communicative act to a new context, where different participants engage for distinct purposes This process includes a mediation mechanism that influences the entire act at multiple levels.
Translation is a key area of applied linguistics, where translators actively compare and contrast various elements of two languages to identify equivalent meanings.
The primary goal of a translator is to create a vivid representation that evokes the same emotional response in readers as the original text To achieve an effective translation, the translator must understand the social, religious, historical, and cultural contexts of both the source and target languages This involves finding appropriate equivalents, providing explanations, or conveying the original meaning to ensure clarity and resonance with the target audience.
To conclude, translation is understood in many different ways In this study, many problems related to translation are based on the theory of Newmark (1988).
Translational equivalence refers to the relationship between a word or expression in one language and its corresponding translation in another language This relationship arises from the overlapping meanings and references between the two languages Essentially, a translation equivalent is the word or expression that accurately represents this similarity in meaning across languages.
Translation equivalence is an important concept of translation theory Finding translation equivalents is one of the core problems of the translation process As Catford (1965:
21) claims, “the central problem of translation practice is that of finding TL equivalents A central task of translation theory is that of defining the nature and conditions of translation equivalence.”
Catford (1965: 27) regards “translation equivalence” as “an empirical phenomenon discovered by comparing SL and TL texts”.
Translation equivalence is a crucial concept in the evaluation of translations, as highlighted by Catford (1965), who defined translation as the replacement of original text with equivalent material in the target language He identified two primary types of translation equivalents: linguistic equivalence, which focuses on the language structure, and cultural equivalence, which addresses the cultural context of the source and target languages.
According to Baker (2011), translational equivalence is any meaning from the SL which expresses the same meaning in the TL.
It can be seen that translational equivalence is the output of translation procedure involving a change in the grammar from SL to the TL.
At the syntactic level, Catford (1965/2000), defines translation shifts as departures from formal correspondence in the process of going from the source language (SL) to the (TL).
Catford identifies two primary types of translation shifts: Level shifts and Category shifts Level shifts arise when a source language (SL) item at one linguistic level, such as grammar, corresponds to a target language (TL) equivalent at a different level, like lexis Category shifts are further classified into four types: Structure-shifts, Class-shifts, Unit-shifts, and Intra-system shifts.
- Structure-shifts, which involve a grammatical change between the structure of the source text and that of the target text.
- Class-shifts, when a SL item is translated with a TL item which belongs to a different grammatical class, i.e a verb may be translated with a noun.
Unit-shifts refer to the changes in rank that occur during translation, where the equivalent of a unit at one rank in the source language (SL) differs from the corresponding unit at another rank in the target language (TL) This phenomenon highlights the complexities of translation, as it involves moving away from a direct correspondence between linguistic units Understanding unit-shifts is essential for achieving accurate and meaningful translations that respect the nuances of both languages.
Intra-system shifts occur when the source language (SL) and target language (TL) have formally similar systems, yet the translation involves choosing a term in the TL that does not correspond directly An example of this is when a singular noun in the SL is translated into a plural form in the TL.
Catford (1965/2000) significantly advanced translation theory by introducing the concepts of translation types and shifts He categorized translation into broad types based on three key criteria, providing a foundational framework for understanding the complexities of translation processes.
- The extent of translation (full translation vs partial translation);
- The grammatical rank at which the translation equivalence is established (rank-bound translation vs unbounded translation);
- The levels of language involved in translation (total translation vs restricted translation).
Rank-bound translation focuses on finding equivalent words or morphemes in the target language (TL) for each element present in the source text (ST) In contrast, unbounded translation allows for equivalences that are not restricted to specific ranks, enabling the identification of equivalents at the sentence, clause, and other levels.
According to Popovic (1970), in his definition of translation equivalence, distinguishes four types:
- Linguistic equivalence: where there is homogeneity on the linguistic level of both SL and TL texts, i.e word for word translation.
- Paradigmatic equivalence: where there is equivalence of “the elements of a paradigmatic expressive axis”, i.e element of grammar, which Popovic sees as being a higher category than lexical equivalence.
- Stylistic (translational) equivalence: where there is “functional equivalence of elements in both original and translation aiming at an expressive identity with an invariant of identical meaning.
- Textual (syntagmatic) equivalence: where there is equivalence of the syntagmatic structuring of a text, i.e equivalence of form and shape.
Translation serves as a vital means of communication, highlighting the necessity of achieving equivalence between the source and target texts While complete equivalence is impossible, the effectiveness of a translation largely hinges on the translator's ability to choose and establish a reasonable balance between the original text and its translation.
In summary, translation equivalence is an approximate concept that reflects the relationship between the source text and its target language counterpart The translation process involves substituting the original text with a corresponding version in the target language (TL) This process is guided by two primary types of translation equivalence: linguistic equivalence, which focuses on language structure, and cultural equivalence, which considers cultural context.
In this study, many problems related to translation equivalence are based on the theory of Catford.
Loss and Gain in Translation
Once the principle is accepted that sameness cannot exist between two languages, it becomes possible to approach the question of loss and gain in the translation processes.
When translating a language, complete equivalence in meaning and form between the two languages is unattainable This fundamental principle is a key focus in Translation Studies.
Bassnett McGuire (1980) asserts that acknowledging the impossibility of achieving complete sameness between two languages allows for a deeper exploration of the concepts of loss and gain inherent in the translation process.
Loss refers to the absence of a direct equivalent for a source language concept in the target language This phenomenon highlights the challenges in translation, where certain nuances or meanings may be overlooked or omitted in the target text Understanding loss is crucial for translators to maintain the integrity and richness of the original message.
The alteration of information in a message can occur through the omission of details present in the source text When the target language lacks a grammatical category found in the source language, the information conveyed by that category may need to be excluded.
Loss in translation refers to the absence of specific features found in the source language text when rendered into the target language This phenomenon occurs primarily due to the lack of direct equivalence in concepts, vocabulary, phrases, and syntax between the two languages Additionally, the "linguistic distance" between the source and target languages significantly impacts this loss, as does the cultural divergence inherent in each language.
Loss in translation often arises when a translator fails to convey elements of meaning, such as expressiveness, resulting in a diminished impact and vividness of the text Incompetence in the target language may lead to the omission of key words and phrases, further contributing to this loss To mitigate these issues, a translator must be versatile and innovative in their approach to language.
Untranslatability is a significant factor contributing to translation loss, categorized into two types: linguistic and cultural Linguistic untranslatability arises when the target language lacks grammatical or syntactic equivalents, making it challenging to find suitable replacements for entire texts, despite individual words being easier to translate Cultural untranslatability, on the other hand, occurs when the target culture lacks relevant situational features found in the source culture The disparities in language systems and cultural contexts between the source and target languages complicate the translation process, leading to potential misunderstandings and loss of meaning.
Gain is something not in the SL text that appears in the TL has no direct equivalent of a source language concept.
According to McGuire (1980: 30), gain refers to the enrichment or clarification of the source language during translation, allowing language to evolve and adapt to the needs of its speakers For instance, technological advancements often lead to the creation of new terminology in the target language, highlighting the dynamic nature of language This dynamism facilitates gain, which also relies on the expressive capabilities of a language and the creativity of the interpreter The interpreter's creativity is evident when they harmonize language with social contexts to produce meaningful interpretations.
In translation, "gain" refers to the necessity of expanding upon certain words or phrases from the source language to convey their meaning accurately in the target language This often involves adding extra elements to clarify concepts that may not have a direct equivalent, ensuring that the essence of the original text is preserved.
Mona Baker (2011) highlights that variations in grammatical structures between source and target languages can lead to alterations in the information conveyed during translation Such changes may include the addition of information in the target text that is absent in the source text, particularly when the target language possesses grammatical categories that the source language does not.
In summary, the concepts of loss and gain in translation are shaped by linguistic and cultural factors Gain refers to the enhancement or clarification of the source language text during translation, while loss and gain are common and often unavoidable aspects of the translation process This dynamic allows readers to access more information and facilitates their acceptance of the translated text Consequently, translators should evaluate the extent of meaning that has been lost or gained in the source language and strive to effectively compensate for any discrepancies.
THE NOVEL SERIES TLTR
An Overview of the Novel Series TLTR
The TLTR novel series, authored by J R R Tolkien, was first published in 1954 and consists of three volumes: The Fellowship of the Ring, The Two Towers, and The Return of the King.
The TLTR novel series is set in Tolkien's rich fictional universe of Middle-earth, which features a diverse geography and a variety of races, including elves, dwarves, humans, hobbits, and ents This enchanting world is characterized by its unique languages and a history that spans thousands of years.
The TLTR novel series centers on the epic struggle of Middle-earth's inhabitants against a dark lord, known as the Lord of the Rings As they battle for survival, their primary goal is to destroy a powerful ring that would grant the dark lord immense power However, the only location capable of destroying the ring lies deep within enemy territory, adding to the peril of their quest.
Set in the fictional realm of Middle Earth, the narrative follows a quest to locate and destroy the Ring of Lord Sauron Although Sauron perished thousands of years ago, his malevolent spirit lingers, relentlessly seeking the Ring to regain his lost power.
Sauron forged the ring to exert control over Middle Earth, prompting the People and Tien clan to unite against his tyranny In a climactic battle at Mount Doom, Sauron killed the king of men, Elendil, but his son, Prince Isildur, severed Sauron's connection to the ring This act caused Sauron's demonic army to falter, yet his essence remained tied to the ring, ensuring his survival until it was ultimately destroyed.
The ring, after being lost for a long time, ultimately came into the possession of Frodo Baggins, who, along with eight companions from the Fellowship of the Ring, took on the monumental task of destroying it Their perilous journey leads them to Mount Doom in Mordor, the only location capable of annihilating the ring.
In an epic journey from their hometown, "the Shrine," four hobbits embark on an adventure to destroy the Lord's ring, facing unprecedented dangers along the way Guided by Gandalf, they are joined by nine companions, but tragedy strikes when Boromir falls to his death in a battle with the monster Balrog As Frodo and Sam continue their quest toward Mount Doom, Aragorn, Legolas, Gimli, Pippin, Merry, and Gandalf each pursue their own missions, united by the promise to eliminate the ring Despite numerous challenges and moments of despair, their unwavering determination, hope for the future, and acts of courage empower them to fulfill their destinies Ultimately, the dark lord and his forces are vanquished, paving the way for new beginnings and the resurgence of life in a once-desolate land.
The Vietnamese Translational Version of TLTR
In Vietnam, Literature Publishing House associated with Nhã Nam Culture and
Media Company has released TLTR with three volumes compiled by Nguyễn Thị Thu Yến, Đặng Trần Việt, Tâm Thủy and An Lý in 2018.
Vietnamese readers can fully appreciate the themes, artistry, and concepts of the TLTR novel series through the Vietnamese translation, "Chúa tể của những chiếc nhẫn," skillfully rendered by translators Nguyễn Thị Thu Yến, Đặng Trần Việt, Tâm Thủy, and An Lý.
This novel has garnered widespread acclaim from readers worldwide, offering valuable insights into the struggles of the peoples of Middle-earth against the forces depicted in The Lord of the Rings, particularly for Vietnamese audiences through its translated versions.
SUMMARY
This section has provided a comprehensive literature review and theoretical framework relevant to the study of stylistic devices (SDs) While numerous theses have explored SDs, there is a notable gap in research focusing on the loss and gain of Vietnamese translational equivalents of SDs in J R R Tolkien's TLTR novel series The theoretical foundation of this study draws primarily from Galperin's concepts of SDs, Catford's principles of translation equivalence, and Newmark's translation methods.
RESEARCH DESIGN
To investigate the phenomena of loss and gain in the SDs within the TLTR novel series, the researcher utilized a mixed-methods approach, integrating both qualitative and quantitative analysis.
RESEARCH METHODS
The study was carried out with a combination of several methods The descriptive method was mainly employed to give a detailed description of SDs used in the novel series
TLTR and the contrastive method was used to discover similaities and differences between
This article examines the English stylistic devices (SDs) in the TLTR novel series and their Vietnamese translations, focusing on the characteristics of lexical, structural, and semantic loss and gain A qualitative method was employed to identify and analyze these aspects, while a quantitative approach was used to gather data on the frequency of SD categories and the phenomena of loss and gain during the translation process The study highlights the complexities involved in translating stylistic elements from English to Vietnamese within the TLTR series.
DATA COLLECTION
Samples
A comprehensive investigation identified 463 instances of five stylistic devices (SDs) — simile, repetition, metaphor, personification, and rhetorical questions — from the novel series "The Lord of the Rings" (TLTR) The corresponding Vietnamese translations were sourced from "Chúa tể của những chiếc nhẫn." Among these, 150 samples demonstrated both loss and gain in the Vietnamese equivalents of the SDs Notably, all translated samples preserved the distinctive features of the original stylistic devices.
Sampling criteria
The samples were collected based on three criteria:
- The English sample must be a sentence or a sequence of sentences containing a SD based on the definition of SDs mentioned in Chapter Two.
- The Vietnamese sample must be a Vietnamese translational equivalent of the English sample.
The samples will be drawn from the English text "The Lord of the Rings" by J R R Tolkien and the Vietnamese translation "Chúa tể của những chiếc nhẫn" by translators Nguyễn Thị Thu Yến, Đặng Trần Việt, Tâm Thủy, and An Lý This translation is notable as it is the first and only version published in Vietnam.
DATA ANALYSIS
The researcher analyzed to find out all SDs in the novel series TLTR.
The researcher analyzed the phenomena of lexical loss and gain in the Vietnamese version of the TLTR novel series, highlighting common characteristics and presenting the findings in percentage form within tables.
The researcher conducted a comprehensive analysis of the structural losses and gains in the Vietnamese version of the TLTR novel series, presenting the findings through detailed tables and figures that illustrate the frequency of these aspects.
To address the phenomena of loss and gain, the researcher systematically classified the SDs into distinct categories, identified various types, and organized their distribution into tabulated groups.
The researcher meticulously analyzed the occurrences of loss and gain phenomena of speech disfluencies (SDs) in the TLTR novel series, providing examples and explanations for their functions Through this detailed examination, key insights were summarized, highlighting the significance of these phenomena within the narrative.
RESEARCH PROCEDURE
To carry out the study properly and provide a deep and detailed research on the large number of SDs in the novel series TLTR, the researcher follows major steps:
- Identifying the stylistic devices in the novel series TLTR.
- Finding out the lexical loss and gain of SDs in the novel series TLTR.
- Exploring the meaning loss and gain of SDs in the novel series TLTR.
- Discovering the syntactic loss and gain of SDs in the novel series TLTR.
- Providing some suggestions for the English as foreign language teaching and learning.
RELIABILITY AND VALIDITY
In term of validity, the data collection of this study are taken from the English version
J.R.R Tolkien's "The Lord of the Rings" has been expertly translated into Vietnamese as "Chúa tể của những chiếc nhẫn" by translators Nguyễn Thị Thu Yến, Đặng Trần Việt, Tâm Thủy, and An Lý Each translation has been meticulously reviewed to ensure its authenticity and fidelity to the original work.
The reliability of the data sources establishes the criteria for understanding the phenomena of loss and gain in language Furthermore, the statistics presented clearly categorize loss and gain in terms of lexis, syntax, and meaning, supported by precise and logical examples.
The study adhered closely to the research design, ensuring that all procedures were meticulously executed to uphold the validity and reliability of the findings.
Chapter Four FINDINGS AND DISCUSSION
This chapter is divided into two main sections: the first focuses on the description and analysis of stylistic devices (SDs) commonly utilized in Tolkien's novel series, "The Lord of the Rings," including simile, repetition, metaphor, personification, and rhetorical questions The second section examines the complexities of translating these stylistic devices into Vietnamese, highlighting the phenomena of loss and gain in meaning during the translation process.
STYLISTIC DEVICES IN THE NOVEL SERIES TLTR
Lexical SDs
Simile is a rhetorical device that makes direct comparisons between two different things using connective words like "like," "as," "as as," or "as if." This literary technique enhances descriptions, making them more vivid and impactful.
Maybe thanks to the expressive function as well as the simple construction, simile are commonly used in literary works, especially in novels to attract the attention of the readers.
In the novel series TLTR, Tolkien also used comparative elements such as equational
(as, as as, like) , superior (more more, more than) or superlative (the most, the least) to compare and describe the character objects appearing in the novel.
In fact, in literature, simile plays an important role in attracting readers’ attention and makes the sentences or verses supple because of its inherent characteristics.
+ Similar Comparison (as as, like/as)
Riding through Buckland, I was engulfed in fear as I witnessed the chaos around me, reminiscent of a disturbed ant hive Upon reaching Crickhollow, I discovered the house had been broken into and was deserted, yet on the doorstep lay Frodo's cloak, a haunting reminder of his presence.
Tolkien effectively illustrates the chaos in Buckland by comparing it to "a hive of ants that has been stirred with a stick," reflecting the turmoil caused by Saruman's forces Gandalf arrives in Buckland feeling anxious and unsettled, particularly upon discovering Frodo's cloak on the ground, which heightens his confusion This vivid imagery emphasizes the disorder and gloom that envelops Buckland during this tumultuous time.
Tolkien employed various comparisons in his writing, utilizing phrases such as "like," "as," and "as if" to vividly describe objects This technique enhances the imagery in his work, as demonstrated in several notable examples.
Gandalf's artistry evolved beautifully over time, resembling a dazzling display of rockets akin to vibrant birds, their melodious songs enchanting all The lush green trees, with trunks resembling dark smoke, revealed leaves that blossomed instantaneously, reminiscent of a spring awakening in a single moment.
In the example provided, the author employs the simile "like a flight of scintillating birds singing with sweet voices" to vividly illustrate the fireworks at Bilbo's birthday party This comparison between the rockets and melodious birds allows readers to easily appreciate the beauty, shimmer, and sparkle of the fireworks display.
(4.3a) In the dark without moon or stars a drawn blade gleamed, as if a chill light had been unsheathed (Tolkien, 1954, p.231)
The author employs the phrase "as if" to vividly illustrate the chilling image of Mordor's knife, comparing its light to a "chill light unsheathed." This comparison enhances the reader's experience of the dark night in Bree, where the fellowship of the ring finds rest, emphasizing the eerie atmosphere created by the knife's glow.
Similes can be created without the explicit use of "like" or "as." Comparative adjectives serve to highlight differences between two nouns, typically following the structure: noun (subject) + verb + comparative adjective + than + noun (object) The second noun can often be omitted if the context is clear Forming comparatives is straightforward, with the method varying based on the number of syllables in the adjective For one-syllable adjectives, the suffix -er is added, while two-syllable adjectives may form comparatives in multiple ways.
In English, comparative adjectives can be formed by adding "-er" or by using "more" before the adjective, particularly for those with three or more syllables Notably, some adjectives possess irregular comparative forms This method of comparative comparison is frequently employed in the popular novel series TLTR.
As he ventured forward, he was suddenly confronted by a grotesque figure emerging from the shadows beneath the cliff—an abomination more terrifying than any nightmare Resembling a massive spider, this creature was larger than the fiercest hunting beasts, exuding a menacing aura amplified by the malicious intent reflected in her unyielding eyes Those very eyes, which he believed to be extinguished, now glowed with a sinister light, gathering intensity in her protruding head.
“Huger than” and “more terrible than” are used in this situation to emphasize that
Sam and Frodo confront a relentless predator, symbolizing the escalating forces of darkness that threaten them with greater quantity and destructive power As they journey toward Mordor, they will encounter even more formidable challenges ahead.
In the TLTR novel series, the author frequently employs double comparison to illustrate when two elements change at the same rate This technique is effectively demonstrated through various examples throughout the text.
In a moment of caution, Gollum warns himself to proceed carefully, emphasizing that rushing can lead to danger He lifts his head to gaze at the moon but quickly closes his eyes, highlighting his anxious nature and the need for vigilance in his actions.
In Gollum's quest to steal the precious ring from Frodo, he reminds himself that "more haste, less speed," highlighting his understanding that rushing could lead to failure This self-reflection emphasizes the importance of being sober, persistent, and calm, as well as acting with greater wisdom than before, in order to seize the opportunity to reclaim the coveted ring.
(4.6a) „All except one thing,’ said Aragorn: „leaf from the Southfarthing in Isengard.
Isengard fascinates me, despite never having visited it My travels through the land have given me a deep understanding of the desolate regions that exist between Rohan and the Shire.
Syntactical SDs
The analysis of the collected data revealed the presence of a single syntactical stylistic device: the rhetorical question Unlike standard yes/no or informational questions, rhetorical questions are crafted to elicit no response, as their answers are often implied within the question itself This unique usage serves to emphasize deeper meanings, distinguishing rhetorical questions from typical inquiries that seek specific information.
A rhetorical question is a statement disguised as a question, often conveying sentiment or negativity rather than seeking an answer This literary device enhances the narrative by engaging readers' imaginations and emotions Its significance and impact are evident in the TLTR novel series, where rhetorical questions are utilized in diverse ways to enrich the storytelling experience.
Rhetorical questions, often framed as Wh-questions, serve a unique purpose beyond seeking information; they are strategically used by speakers to convey specific meanings or provoke thought Common examples include "Where," "What," and "When/What time," showcasing the diverse applications of these questions in communication.
Which, How many /much /often /far /etc, Why ” as in the following examples:
(4.26a) 'Éowyn, Éowyn!' he cried at last: 'Éowyn, how come you here? What madness or devilry is this? Death, death, death! Death take us all!' (Tolkien, 1955, p.1104)
In a moment of despair, Éomer confronts the sight of his sister Éowyn lying motionless on the ground, expressing his hopelessness and fear through two rhetorical questions that reveal his disbelief in the tragic reality unfolding before him These questions poignantly capture Éomer's anguish and uncertainty as he grapples with the possibility of losing his sister in a brutal battle.
(4.27a) Nobody left alive! Whose had been that horrible dying shriek? 'Frodo, Frodo! Master!' he cried half sobbing 'If they've killed you, what shall I do?
Well, I'm coming at last, right to the top, to see what I must.' (Tolkien, 1955, p 1183)
In response to the horrifying scream from the towers, Sam poses two poignant rhetorical questions: "Whose had been that horrible dying shriek?" and “If they've killed you, what shall I do?” These questions highlight Sam's deep affection for Frodo, revealing his fear that the Orcs might harm his master to seize the precious ring Sam's thoughts are solely focused on Frodo's safety, completely overshadowing his own potential dangers His overwhelming concern stems from his singular purpose: to accompany and protect Frodo, the bearer of the precious ring.
In the TLTR novel series, rhetorical questions differ from typical yes-no inquiries, as they do not require audience confirmation Instead, these questions guide readers' understanding of the characters' situations, enhancing the narrative experience.
In a moment of frustration, she questions her constant role of being overlooked, expressing a deep sense of bitterness about being left behind while the Riders embark on their adventures She feels burdened with the responsibilities of managing the household and providing for their needs upon their return, contrasting her mundane tasks with their quest for glory.
In Éowyn's response to Aragorn, Tolkien employs two rhetorical yes-no questions, notably "Shall I always be chosen?" This concise inquiry reflects Éowyn's determination and desire to join the men in battle, emphasizing her longing to fight alongside them rather than being left behind.
Strider questioned whether anyone would have believed him up to that point, highlighting his uncertainty about the letter's significance He acknowledged his lack of knowledge about it and understood that he needed to earn the group's trust without any tangible evidence in order to assist them effectively.
In (4.29a), Strider's rhetorical questions serve as a reprimand, highlighting his struggle to gain the trust of the Fellowship of the Ring Despite his efforts, his unusual appearance and demeanor create skepticism among them However, upon revealing his true identity, Strider's frustration is evident as he questions, "Would it? Would any of you have believed me till now?" This moment underscores the challenges he faces in earning their confidence.
The rhetorical questions presented serve as affirmative statements, designed to assert and emphasize the harsh realities faced by slaves in their daily lives.
He opened his eyes and greeted the newcomers with excitement, saying, "Hullo, hullo! You've returned just in time for my birthday tomorrow Can you believe I’ll be one hundred and twenty-nine?"
The rhetorical questions in this passage serve as a warm welcome to the Fellowship of the Ring returning home It also marks Bilbo's 129th birthday, highlighted by his question, "Do you know, I shall be one hundred and twenty-nine?" This statement signifies a significant milestone in his life as he prepares to embrace a new age without the presence of the precious ring.
Or it can be seen through examples below.
(4.31a)'Hinder me? Thou fool No living man may hinder me!' (Tolkien, 1954, p.1101)
(4.32a)'Safely! 'said Sam 'All alone and without me to help you? I couldn't have a borne it, it'd have been the death of me.' (Tolkien, 1954, p 521)
Negative rhetorical questions share a common structure, beginning with the word "Not" followed by auxiliary verbs This distinctive format is utilized in various ways throughout the TLTR novel series, showcasing its versatility in conveying meaning.
(4.33a) “Bill Ferny?” said Frodo “Isn’t there some trick? Wouldn’t the beast bolt back to him with all our stuff, or help in tracking us, or something?” (Tolkien, 1954, p.234)
Sam expressed his relief, acknowledging his fortunate escape while lamenting the presence of Orcs and the looming threat of a nefarious villain nearby.
Or “Didn’t/Don’t/ Won’t/Can’t/Couldn’t/ Wouldn’t + S + bare infinitive?”
(4.35a) “Pippin,” said Frodo, “didn’t you say that Gandalf was less close than of old? He was weary of his labours then, I think Now he is recovering ” (Tolkien, 1955, p.1271)
(4.36a) “What, just in time to meet Bilbo? Said Frodo “Wouldn’t an Orc suited it better?” (Tolkien, 1954, p.73)
(4.37a) I hope Strider or someone will come and claim us! But ought I to hope for it?
Won’t that throw out all the plans? I wish I could get free!” (Tolkien, 1954, p.579)
(4.38a) “What about the Elves? said Sam, too excited to trouble about the rider “Can’t we go and see them?” (Tolkien, 1954, p.103)
Frequency of Occurrences of SDs in the novel series TLTR
Table 4.1 Frequency of Occurrences of SDs in the novel series TLTR
The Lord of The Rings
The analysis reveals that simile is the most prevalent stylistic device, comprising 32.7% of the total, followed by rhetorical questions at 26.7% Repetition ranks third at 25.3%, while personification accounts for 10% and metaphor is the least common at 5.3% Overall, lexical stylistic devices are more frequently utilized than syntactical ones, making up 73.3% of the total occurrences.
The novel series TLTR prominently features literary devices such as simile, repetition, metaphor, personification, and rhetorical questions, enhancing readers' comprehension and providing deeper insights into various concepts The author's use of metaphor not only enriches the vocabulary of the target language but also showcases the effective and flexible combination of these five stylistic devices, contributing to the unique appeal of the series.
The percentage of occurrences of SDs in the novel series TLTR is illustrated as follows:
Avoiding word-for-word translation is crucial for producing a smooth and valuable translation Instead, employing techniques such as word replacement, reduction, and addition can enhance the quality of the translation A proficient translator must possess a deep understanding of both the source and target languages, including cultural nuances and idiomatic expressions, to achieve an accurate and effective translation This discussion also highlights the phenomenon of loss in lexis, structure, and meaning when translating stylistic devices.
Figure 4.1 Percentage of Occurrences of SDs in the novel series TLTR
Based on translation shifts suggested by Catford (1965/2000), 150 samples of loss and gain in the Vietnamese translational equivalents of SDs in the novel series
TLTR by Tolkien were examined to find out Level shifts and Category shifts, the latter consists of Class shifts, Structure shifts, Unit shifts and Intra-system shifts 4.2.
LOSS IN THE VIETNAMESE TRANSLATIONAL VERSION OF