1 ABSTRACT My on expressions study examines containing the colour colours symbolism in the two of sentimental Jane Eyre and The The colour Great symbolism Gatsby together is employed with throughout their Vietnamese whole versions novels which plots, plays shaping an important characters role and in deepening developing the the themes amazing These colours reader because were able they to run make through a deep the and whole huge impression novels and on they every also appear, contain especially a deep in layer sentimental meaning wherever expressions they of intentionally notable characters nations in general As far as or I England know, Western and Viet countries Nam in particular, and Eastern have to different their own cultural respective connotations cultural backgrounds, of the same basic which colours leads In of order sentimental to explain expressions clearly containing the similarities colours and under differences cognitive linguistic language cultures, viewpoints, historical I discussed backgrounds, the results religious of different beliefs, so modes of in thinking, Western and political Eastern systems, countries traditional customs and TABLE OF CONTENTS 5.1 REFERENCE APPENDIX QUYẾT ĐỊNH GIAO ĐỀ TÀI (bản sao) LIST OF TABLES Number Name of tables Page 2.1 Basic meanings of colours in Western countries 2.2 2.3 Sample of English and Vietnamese Color Idioms 10 13 Sample of English and Vietnamese Color Proverbs 14 2.4 Sample of English and Vietnamese Color Collocations 15 2.5 Sample of English and Vietnamese Color Metaphors 15 4.1 English and Vietnamese translation of the colour red in Jane Eyre English and Vietnamese translation of the colour black in 72 4.2 Jane Eyre 73 English and Vietnamese translation of the colour black in The 4.3 4.4 4.5 Great Gatsby English and Vietnamese translation of the colour blue in Jane Eyre English and Vietnamese translation of the colour blue in The Great Gatsby with positive connotations 74 75 76 English and Vietnamese translation of the colour blue in The 4.6 Great Gatsby with negative connotations 76 English and Vietnamese translation of the colour green in 4.7 Jane Eyre 79 English and Vietnamese translation of the colour green in The 4.8 Great Gatsby with positive connotations 80 English and Vietnamese translation of the colour green in The 4.9 Great Gatsby with negative connotations 81 English and Vietnamese translation of the colour green in The 4.10 Great Gatsby with negative connotations 81 English and Vietnamese translation of the colour white in The 4.11 Great Gatsby with positive connotations 83 Number Name of tables Page English and Vietnamese translation of the colour whitein Jane 4.12 Eyre with positive connotations 83 English and Vietnamese translation of the colour yellow in The 4.13 Great Gatsby with postive connotations 85 English and Vietnamese translation of the colour yellow in The 4.14 Great Gatsby with negative connotations 86 English and Vietnamese translation of the colour purple in Jane 4.15 Eyre with positive connotations 88 English and Vietnamese translation of the colour purple in 4.16 Jane Eyre with negative connotations 89 English and Vietnamese translation of the colour gray in Jane 4.17 Eyre and The Great Gatsby 91 English and Vietnamese translation of the colour pink in The 4.18 Great Gatsby 92 LIST OF CHART Number 4.1 Name of Chart Five element/ energy chart Page 80 Chapter INTRODUCTION 1.1 RATIONALE In order to complete a successful story, a writer will intentionally choose a lot of useful techniques so that he or she can convey his characters‘ thoughts and ideas in a wonderful way One of the most special ways to show the emotions and meanings between the lines is using colours because they themselves not only hold different meanings in different religions and cultures, but they also convey different feelings Colours themselves have the ability to make people express certain emotions Colours are even used as the titles of some famous novels, such as Blue Highways (1982), The White Princess (2013) and The Virgin Blue (1997) There are so many books successfully written in expressing characters‘ personalities through colours Most of them are wonderful and interesting but I am interested in The Great Gatsby and Jane Eyre together with those Vietnamese versions There are many reasons for me to choose those ones for representing in this thesis Firstly, these two authors successfully use colour symbolism more frequently throughout their masterpieces than others In addition, the colour symbolism is employed throughout the whole novel which plays an important role in developing the amazing plots, shaping characters and deepening the themes Finally, these colours are able to make a deep and huge impression on every reader because they run through the whole novels and they also contain a deep layer meaning wherever they intentionally appear, especially in sentimental expressions of notable characters As I have noted, I myself decided to choose —A Cognitive Study of Sentimental Expressions Containing Colours Used in English and Vietnamese novels” as my thesis 1.2 AIMS AND OBJECTIVES 1.2.1 Aims This research aims to investigate how colours are used in sentimental expressions in The Great Gatsby and Jane Eyre as well as their Vietnamese versions under the cognitive perspectives 1.2.2 Objectives The research is to: - Analyze sentimental expressions containing colours in The Great Gatsby and Jane Eyre as well as their Vietnamese versions - Compare sentimental expressions containing colours in The Great Gatsby and Jane Eyre versus their Vietnamese versions on the viewpoint of cognitive linguistics 1.3 RESEARCH QUESTIONS The research will find the answers for these following questions: 1) What are the semantic features of colours used in expressing emotions in The Great Gatsby and Jane Eyre ? 2) What are the semantic features of colours used in expressing emotions in their Vietnamese versions? 3) What are the similarities and differences in semantic features of colours used in expressing emotions of The Great Gatsby and Jane Eyre and in Vietnamese versions? 1.4 SCOPE OF THE STUDY The study investigate how colours are used to convey sentimental expressions in the two following novels: The Great Gatsby and Jane Eyre and their Vietnamese versions This study makes an attempt to facilitate better understanding of colour symbolism and its effects on the two mentioned novels and their Vietnamese versions 1.5 ORGANIZATION OF THE STUDY This study will consist of main chapters as follow: - Chapter : The introduction of the study, which includes the rationale, aims and objectives, the research questions, definition of terms, the scope of the study and organization of the study - Chapter 2: The literature review and theoretical background of the study, presents the previous study related to the thesis, and the theoretical framework - Chapter 3: Research methods and procedures- presents the research methods, the procedure of implement the study - Chapter 4: Findings and discussion Firstly, focus on identifying sentimental expressions containing colors in the two following novels The Great Gatsby and Jane Eyre Then this chapter will analyze these symbolic meanings and discuss the similarities and differences in semantic features of colours used in expressing emotions of The Great Gatsby and Jane Eyre and in Vietnamese versions under the viewpoint of cognitive linguistics Chapter 5: Conclusion suggestions for further and study Implications, the limitations, and Chapter LITERATURE REVIEW AND THEORETICAL BACKGROUND 2.1 PRIOR RESEARCHES RELATED TO THE STUDY So far, there have been many researches on colours In the 1920s, 1930s and 1940s, Sapir and Whorf rejected evolutionism for the doctrine of radical linguistic and cultural relativity The favourite field for the empirical establishment and rhetorical defense of the relativist view, which became established doctrine in the 1950s and 1960s, was the lexicon of color With respect to color categorization, there have been two major traditions of research stemming from the relativity thesis: a within-language, correlational line of research and a cross-language, descriptive one Early work in the former tradition (e.g., Brown and Lenneberg 1954; Lenneberg and Roberts 1956) is primarily concerned with establishing a correlation between a linguistic variable distinguishing colors ( for example, how easy different colours are to name or how easy they are to communicate about) and a nonlinguistic cognitive variable over colours memorability Discovery of such a correlation was interpreted as support for the Sapir-Whorf view that linguistic categorization can influence nonlinguistic perception/cognition In the 1950s and 1960s, such correlations were reported within English and, to a limited extent, in other languages (Stefflre, Castillo Vales, and Morley 1966) Because it was assumed at the time that the linguistic variable (codability or communication accuracy) would vary across languages, correlation between a linguistic and nonlinguistic variable within a single language (almost always English) was taken to validate the doctrine that the coding systems of different languages induce differences in the nonlinguistic cognition on the basis of their speakers Eleanor Rosch (e.g Heider 1972) challenged this assumption on the basis of the apparent universal lexical salience determines both the nonlinguistic and the linguistic variables of the correlational approach, thus understanding the logic of this line of research Rosch‘s view was criticized by Lucy and Shweder (1979), who was also challenged her experimental procedure; Lucy and Shweder‘s experimental procedure was in turn challenged by Kay and Kempton (1984) who supported Rosch‘s view of the matter Kay and Kempton, using a noncorrelational, crosslinguistic experimental procedure, showed that certain nonlinguistic colour classification judments may be influenced by the lexical classification of colour in a language, while others are not so influenced by the lexical classification of colour in a language, while others are not so influenced, thus re-establishing limited Whorfian effects in the colour domain In the tradition of cross-language description, the studies of the 1950s and 1960s likewise reflected the dominance of radical linguistic relativism (Ray 1952; Conklin 1955; Gleason 1961: 4) These studies sought to discover and celebrate the differences among color lexicons In 1969, using the original stimulus set of Lenneberg and Roberts (1956), Berlin and Kay compared the denotation of basic color terms in twenty languages and, based on these findings, examined descriptions of seventy-eight additional languages from the literature They reported that there are universals in the semantics of color: the major color terms of all languages are focused on one of eleven landmark colors Further, they postulated an evolutionary sequence for the development of color lexicons according to which black and white precede red, red precedes green and yellow, green and yellow precede blue, blue precedes brown, and brown precedes purple, pink, orange and gray These results were challenged on experimental grounds, mostly by anthropologists (e.g., Hickerson 1971; Durbin 1972; Collier 1973), and largely embraced by psychologists (e.g., Brown 1976; Miller and Johnson-Laird 1976; Ratliff 1976) A number of field studies stimulated by Berlin and Kay tended to confirm the main lines of the universal and evolutionary theory, while leading to reconceptualization of the encoding sequence (Berlin and Berlin 1975; Kay 1975) Based on earlier, unpublished work of Chad K McDaniel, which established the identity of some of the universal semantic foci of Berlin and Kay with the psychophysically determined unique hues (see also in this connection Miller and Johnson-Laird 1976: 342-355; Ratliff 1976; Zollinger 1979), Kay and McDaniel (1978) again reconceptualized the encoding sequence, Western countries and Eastern nations in general or England and Viet Nam in particular, have their own respective cultural backgrounds, which leads to different cultural connotations of the same basic colours Under cognitive linguistic viewpoints, different language cultures, historical backgrounds, religious beliefs, modes of thinking, political systems, traditional customs and so on in Western and Eastern countries are the correct answers for these similarities and dissimilarities 5.2 IMPLICATION In reality, it is difficult for Vietnamese learners of Englsih to learn to interpret sentimental expressions containing colours The learners will be possibly confused at clarifying the meanings of colours because colours are symbolic In addition, in daily life communication the native speakers have a tendency to use colour widely, which may become obstacle in carrying communication if they not know what the speakers means through colours That is more terrible because it may cause misunderstanding In order to help Vietnamese learners of English to overcome the above problems, we would like to give some suggestions for language teaching and learning Firstly, colour symbolism should be introduced to language learners at all levels However, they should be introduced in different ways for different levels For elementary levels, commonly used colour symbolism should be presented; infrequent and highly colloquial ones should be advoided The presented colour symbolism should be selected in accordance with their levels I think colour symbolism with complicated devices of meaning transfer such as metaphor, metonymy, should not be presented in order not to make them so confused Task or exercises comparing literal and figurative meanings of colours should be used to help learners to be familiar with them Exercises should be simply designed with the purpose to check their memory and help them remember From the specific communicative context, teachers should provide a link from the literal words to nonliteral meaning so that students can easily remember and used them properly For the intermediate and advanced levels, activities encouraging production of colour symbolism through conversations and discourses should be used to help learners grasp it in a communication way Reading and listening materials relating colour symbolism should also be picked fro teaching Teachers should encourage and give opportunities for students to use colour symbolism in speaking and writing By this way, learners are able to master colour symbolism and use them effectively The more teachers help students understand colour symbolism, the easier students find to translate them Secondly, teachers should be sensible in dealing with cultural differences to have more precise explanation for the learners Through this methof, learners will widen the knowledge about the culture of the two countries They also recognize how culture has influenced on languages Contexts should be published and explained for learners so that they can use these idioms correctly in social interaction Thirdly, the learners should be helped to use idioms in different communicative skills especially in speaking and writing Teachers should also assess their nderstanding and application We also give them comments so that they will improve next time Last but not leats, to understand the meanings of colours, one only has the basis knowledge of language but also have to know much more about culture, belief or knowledge of mental states such as interests, goals, opinions which are considered as barriers in their language acquisition 5.3 LIMITATION In spite of the fact that I have tried my best to search for necessary materials, there could leave the possibility that the following shortcomings can not be advoidable: - Firstly, this paper could not cover all constructions as well as sentimental expressions containing colours in English versus Vietnamese novels under discussion due to the limitation of time, lack of relevant materals relating to this topic in both English and Vietnamese - Secondly, I myself can not find out all the possible reasons for the similarities and dissimilarities in colour symbolism between English and Vietnamese 5.4 SUGGESTION FOR FURTHER STUDY In this thesis, we have confined ourselves to the study of a humble part of colour symbolism in English versus Vietnamese under the viewpoint of cognitive perspectives to find out the similarities and differences As a result, many other aspects need to be studied in further researches For example, the research of the idioms related to the concept of colour in English versus Vietnamese may be carried out in term of Pragmatic features under the viewpoint of cognitive perspectives REFERENCE ENGLISH Brent Berlin and Paul Kay (1969), Basic Color Terms: Their University and Evolution, University of California Press Brock, P (1970), Culture Shock, NewYork Cobuild, C (1987), English Language Dictionary, Oxford University Press Crowther, J (1995), Oxford Advanced Learner's Dictionary of Current English, Oxford University Press Ellis, K and Bavhkhuizen, G (2005), Analyzing Learners Language, Oxford University Press Fodor, J (1981), Language of Thought, New York Friedrich, U & Han-Jord, S (1996), An Introduction to Cognitive Linguistics, Longman, London Gardenfors, P., Allwood, J (eds) (2002), Cognitive Semantics, John Benjamins Publishing Company, Amsterdam/Philadenphia Gelfand, M.J (2011), Advances in Culture and Psychology, Oxford University Press Kovesces, Z and Radden, G (1999), Toward a Theory of Metonymy, John Benjamin Publishing Company Kramsch, C (1998), Language & Culture, Oxford University Press Lakoff, G., &Johnson, M (1980), Metaphors We Live By, The University of Chicago press Lakoff, G (2003), Cognitive Semantics, The University of Chicago Press Leonard, T (2000), Toward a Cognitive Semantics, Mit Press Longman (1987), Longman Dictionary of Language Teaching and Applied Linguistics, England Oxford (1995), Oxford Advanced Learner's Dictionary of Current English, Oxford University Press Oxford (2005), Oxford Advanced Learner's Dictionary, Oxford University Press Schusky, T Patrick Culbert (1973), Introducing Culture, Prentice - Hall Vyvyan Evans and Melanie Green (2006), Cognitive Linguistics: An Introduction, Edinburgh University Press VIETNAMESE Trần Thị Thu Huyền (12/2001) “Hoa cỏ màu sắc thành ngữ tiếng Anh tiếng Việt”, Tạp Chí Ngơn Ngữ đời sống, trang Mai Nguyễn Diệu Khoa (2003), An Investigation into Metaphoric Meanings of Words Denoting Colors in English and Vietnamese, M.A thesis, Da Nang University Nguyễn Lân (1998), Từ điển từ ngữ Việt Nam, Nxb TPHCM Phan Ngọc (1998), Bản sắc văn hóa Việt Nam, Nxb Văn hóa thơng tin Trương Thanh Ngọc (2003), A Study on the Semantics of Words Denoting Color in English and Vietnamese, M.A thesis, Da Nang University Từ Điển Việt -Anh (2002), Nxb Văn Hóa Thơng Tin, Hà Nội Nguyễn Quang (1997), Intercultural Communication, Foreign Language University Nguyễn Thị Thu Sương (1999), An Investigation into Semantic Feature Words Denoting Color in English, M.A thesis, Da Nang University Lý Tồn Thắng (2005), Ngơn ngữ học tri nhận - từ lý thuyết đại cương đến thực tiễn tiếng việt, Nxb Khoa Học Xã Hội, Hà Nội Trần Ngọc Thêm (1996), Tìm sắc văn hóa Việt Nam, Nxb TPHCM Nguyễn Đức Tồn, (2002), Tìm hiểu đặc trưng ngơn ngữ văn hóa tư người việt, Nxb Đại học quốc gia, Hà Nội SOURCES OF DATA VIETNAMESE AND ENGLISH STORIES & BOOKS [32] Jane Eyre ( Charles Bronte) [33] The Great Gatsby ( F.Scott Fitzgerald) [34] Jane Eyre ( Trịnh Y Thư dịch) [35] Gatsby vĩ đại ( Dịch giả Hoàng Cường) APPENDIX APPENDIX 1: Sentimental expressions containing colours extracted from Jane Eyre and its translated version ORIGINAL VERSION (1a) Take her away to the red-room, and lock her in there (2a) The red room was a square chamber, with curtains of deep red damask, ; the carpet was red (3 a) the secret of the red-room TRANSLATIONAL VERSION (1b) Đem nhốt vào phòng đỏ cho ta (4a) Daylight began to forshake the red room (5 a) Abbot and Bessie, I believe I gave orders that Jane Eyre should be left in the red-room till I came to her myself (6a) before me a terrible red glare the red glare was the nursery fire.” (4b) Ánh sang bắt đầu tan dần phòng đỏ (7a) I suppose, in the red-room with (8a) followed this incident of the red room (9a) I shall remember how you thrust me back-roughly and violently thrust me back into the red room (10a) a little red gallery high up against the wall filled with musical instruments (11a) — In the course of the tale I had mentioned Mr Lloyd as having come to see me after the fit: for I never forgot the, to me, frightful episode of the red room (12a) it seemed as if there was a fire lit, an altar burning behind its screen of marbled vapour, and out of apertures shone a golden redness (2b) Phịng đỏ phịng vng vức , treo tướng gấm đỏ thẫm ; thảm trải sàn màu đỏ (3b) bí mật phịng đỏ (5b) Abbot, Bessie, ta tin ta lệnh nhốt bé Jane Eyre vào phòng đỏ đích thân ta đến mà (6b) quầng sáng đỏ chói đáng sợ quầng sang đỏ chói lửa phịng sưởi trẻ (7b) Tơi đốn lúc bị nhốt phịng đỏ.” (8b) sau cố phịng đỏ (9b) Có chết quên chuyện bà đẩy - thơ bạo dằn - vào phịng đỏ khóa cửa nhốt tơi (10b) tít cao tường gác nhỏ màu đỏ chất đầy nhạc cụ (11b) Trong lúc kể, tơi có đề cập tới việc ông Lloyd đến khám cho sau bị ngất, chẳng thể qn kiện kinh hồng tơi phịng đỏ (12b) thể có quầng lửa, lửa bùng cháy án thờ đằng sau mỏng manh vân cẩm thạch, qua kẻ hở lóe lên r màu đỏ ối (13a) As I looked up at them, the moon (13b) Khi ngước lên nhìn thân dẻ chẻ appeared momentarily in that part of the sky đơi, vầng trăng thống khoảng trời which filled their fissure; her disk was đó, lấp đầy vết nứt tốc đó; mặt trăng trịn đỏ blood-red and half overcast máu bị che khuất nửa (14a) dreamt I lay in the red-room at (14b) tơi mơ thấy nằm Gateshead” phòng đỏ Gateshead (15a) the red moreen curtain nearly close, I (15b) rèm cửa sổ dày màu đỏ có họa tiết was shrined in double retirement nổi, tơi có nơi ẩn náu ngăn cách với họ đến hai lần (16a) The crimson curtain before the (16b) Từ vòm cửa , rèm màu đỏ arch: slight as was the separation this drapery tía rủ xuống tạo phân cách mỏng manh formed from the party in the adjoining với phòng tiệc bên cạnh saloon (17a) A ridge of lighted heath, alive, (17b) — Hình tượng phù hợp để mơ tả glancing, devouring, would have been a meet tâm trí tơi bị kết tội hăm dọa bà Reed emblem of my mind when I accused and đỉnh đồi hoa thạch nam cháy rưc, lóa menaced Mrs Reed: the same ridge, black sang tàn phá ; đỉnh đồi sau lửa and blasted after the flames are dead, would tắt trở nên đen kịt tan hoang, biểu tượng have represented as meetly my subsequent xác cho tâm trạng sau nửa lặng condition, when half an hour‘s silence and lẽ nghiền ngẫm nhận thức cách hành xử reflection had shown me the madness of my điên rồ vị buồn thảm conduct, and the dreariness of my hated and vừa ghét bỏ người khác lại vừa bị người khác hating position ghét bỏ (18a) stood the same black column which (18b) đứng cạnh bên Temple had frowned on me so ominously from the cột đen thui nhíu mày với tơi đầy vẻ hắc hearthrug of Gateshead ám thảm trước lò sưởi dinh thự Gateshead (19a) I looked up at - a black pillar! - such, at least, appeared to me, at first sight, the (19b) Tơi ngước nhìn lên.một cột nhà straight, narrow, sable-clad shape standing cháy! Ít nhìn tơi thấy erect on the rug hình thù thẳng đuột, dẹp lép, phủ màu đen từ đầu đến chân dựng đứng mặt thảm (20a) My dear children,” pursued the black (20b) Các trị u q,” ơng mục sư trơng marble clergyman, with pathos, cột đá cẩm thạch đen trũi (21a) I wish I could forget the roll of the red (21b) đơi trịng mắt đỏ ngầu trợn trừng eyes and the fearful blackened inflation of đường nét dữ, tím đen,sưng the lineaments phồng đáng sợ khn mặt (22b) ngày bầu trời xanh trong.chỗ (22a) days of blue sky.it became all green tàn sắc xanh (23b) Tơi phóng tầm mắt qua tất (23a) My eye passed all other objects to rest cảnh vật khác để dừng lai điểm xa nhất, on those most remote, the blue peaks; it was đỉnh núi màu lam; tơi mong có ngày those I longed to surmount, exile limits vượt qua đỉnh núi (24a) green fields (24b) cánh đồng xanh mướt” (25 a) as the sun shone in between the gray (25b) Khi ánh nắng chiếu vào qua khe hở blue chintz window curtains rèm cửa sổ may vài hoa xanh sắc sỡ (26a) It was a very grey day (26b) Đó ngày cự kì u ám (27a) Her grave is in Brocklebridge churchyard: for fifteen years after her death it (27b) Mộ chị nằm nghĩa trang thánh was only covered by a grassy mound; but đường Brocklebridge: mười lăm năm sau đó, now a grey marble tablet marks the spot, gị đất xanh, người inscribed with her name, and the word — ta dựng bia cẩm thạch màu xám, Resurgam” khắc tên chị chữ — Resurgam (28a) I like this day; I like that sky of steel; I like the sterness and stillness of the world (28b) Tơi thích ngày hôm nay, under this frost I like Thornfield, its thích bầu trời màu xanh ánh thép; tơi yêu antiquity, its retirement, its old crow trees nghiêm nghị tĩnh lặng giới and thorn trees, its grey faẹade, and lines of tình trạng bang Tôi yêu dark windows reflecting that metal welkin Thornfield , khơng khí cổ kính, an nhàn, rặng có bầy quạ làm tổ, gai, mặt tiền màu xám tòa nhà, dãy cửa sổ âm u phản chiếu bầu trời màu xám (29a) her dress, also in the mode of the day, (29b) váy cô mặc hợp mốt thời was of purple cloth, relieved by a sort of đó, may vải tím thẫm đáp diềm nung Spanish trimming of black velvet đen kiểu Tây Ban Nha (30a) purple chairs and curtains (30b) ghế rèm cửa màu tím” (31a) some vases of fine purple spar (31b) bình đá bang lan màu tím rực rỡ (32a) the window, and like it with a (32b) cửa sổ rèm màu tím Tyrian” Tyrian-dyed curtain” —white grapes and — chùm nho nho trắng ngần , bên vine leaves, beneath which glowed in rich trường kỉ ghế đôn bọc nệm contrast crimson couches and ottomans màu đỏ thẫm tương phản hoàn toàn” (33a) sparkling Bohemian glass, ruby red; and between the windows large mirrors repeated the general blending of snow and fire (34a) the large fire was all red and clear; the purple curtains (35a) her purple riding-habit (36a) This, sir, was purple (37a) I recognized well that purple face (33b) pha lê Bohemia màu hông ngọc; gương soi lớn treo ô cửa sổ phản chiếu pha trộn hai sắc màu tuyết lửa (34b) lửa lớn cháy đỏ rực lị sưởi, rèm màu tím sang trọng (35b) váy cưỡi ngựa màu tím thầm cơ” ’ (36b) Thưa ơng, khn mặt tím ngắt (37b) Tơi nhận mặt tím bầm (38a) I surveyed the grounds laid out like a map: the bright and velvet lawn closely girdling the grey base of the mansion; the field, wide as a park, dotted with its ancient timber; the wood, dun and sere , divided by (38b) Đứng dựa vào lỗ châu mai phóng tầm mắt xa xuống mặt đất, tơi nhìn ngắm dải đất trải đổ: thảm cỏ xanh mơn mởn viền sát chân tường màu xám dinh thự; cổ thụ lác đác a path visibly overgrown, greener with moss than the trees were with foliage; the church at the gates, the road, the tranquil hills, all reposing in the autumn day‘s sun; the horizon bounded by a propitious sky, azure, marbled with pearly white cánh đồng bát ngát ; khu rừng ngả màu nâu xám héo úa bị phân chia lối rêu mọc tràn lan, xanh vịm lá; ngơi thánh đường trước cổng , đường, đồi yên ả, quạnh hiu, tất nghỉ ngơi ánh nắng thu; đường chân trời màu thiên đầy hứa hẹn, với dải mây màu trắng ngọc trai trông vân cẩm thạch (39a) Out of these deep surrounding shades (39b) Giữa bóng đen thẫm rose high, and glared white, the piled-up đống đồ đạc đống nệm chăn gối mattress and pillows of the bed, spread with chồng cao, trắng toát , vải phủ giường hàng a snowy Marseilles counterpane Marseilles trắng tuyết (40a) I traced the white road winding round (40b) Tơi nhìn theo đường trắng uốn the base of one mountain , and vanishing in a lượn quanh chân núi hút vào gorge between two; how I longed to follow it hẻm núi , tha thiết xa farther đường APPENDIX 2: Sentimental expressions containing colours extracted from The Great Gatsby and its translated version ORIGINAL VERSION TRANSLATIONAL VERSION (1a) I bought a dozen volumes on banking (1b) Tôi mua khoảng chục sách and credit and investment securities, and they nói cơng việc ngân hàng, tín dụng stood on my shelf in red and gold like new chứng khoán đầu tư Những sách money from the mint thành hàng đỏ rực vàng chóe giá sách tơi đồng tiền toanh vừa đúc (2a) Across the courtesy bay the white (2b) Ở mé bên vịnh nhỏ xíu, palaces of fashionable East Egg glittered dinh thự trắng toát làng East Egg sang along the water,.” trọng lung linh bên bờ nước (3a) Their house was even more elaborate (3b) Nơi họ tòa nhà than I expected, a cheerful red-and-white tòa nhà lộng lẫy chờ đợi tơi: Georgian Colonial mansion, overlooking the tịa lâu đài theo kiến trúc Georgian thuộc bay địa với màu trắng màu đỏ vui mắt, trông xuống mặt vịnh (4b) Những cửa sổ lấp lánh (4a) The front was broken by a line of French ánh phàn chiếu vàng bạc windows, glowing now with reflected gold mở rộng để đón buổi chiều nóng nực and wide open to the warm windy afternoon lộng gió (5a) The windows were ajar and gleaming (5b) Các cánh cửa sổ mở hé, trắng lấp lánh white (6a) They were both in white (7a) Her gray , sun-strained eyes (8a) the autumn-leaf yellow of her hair (9a) a rosy-colored porch (10a) Sometimes she and Miss Barker talked at once, unobtrusively and with a bantering inconsequence that was never quite chatter, that was as cool as their white dresses and their impersonal eyes in the absence of all desire (6b) Cả hai mặc đồ trắng (7b) Đôi mắt xám dạn nắng Jordan Baker (8b) mái tóc vàng rực mầu thu người đàn bà” (9b) hàng hiên phơn phớt hồng (10b) Đôi Daisy Baker nói lúc, nói cách kín đáo, lửng lơ , cợt nhả , không đến chỗ huyên thuyên mà lời mát lạnh tà áo trắng đôi mắt trống rỗng không chứa đựng ham muốn hết họ (11a) From Louisville Our white girlhood (11b) Người Louisville Hai chúng em was passed together Our beautiful white sống tuổi thơ ấu trắng bên Tuổi thơ ấu trắng đẹp đẽ (12b) Em thích có anh ăn cùng, anh (12a) I love to see you at my table, Nick You Nick Anh làm em nghĩ đến remind me of a - of a rose, an absolute rose hồng, hồng (13a) Involuntarily I glanced seaward — and (13b) Bất giác tơi nhìn phía biển distinguished nothing except a single green khơng thấy đốm sáng xanh light, minute and far away, that might have đơn độc, nhỏ xíu xa tít, đầu been the end of a dock” bến thuyền (14a) You always have a green light that (14b) Chỗ nhà em lúc có burns all night at the end of your dock đốm sáng xanh, sáng suốt đêm đầu bến thuyền (15a) Gatsby believed in the green light, the (15b)Gatsby tin vào đốm sáng màu orgastic future that year by year recedes xanh ấy, tương lai hoan lạc before us năm rời xa ta (16a) —a valley of ashes” — where ashes take the forms of houses (16b) — vùng thung lũng bị and chimmneys and rising smoke” chìm ngập lớp bụi dày xám tro” — a line of gray cars” —nơi tro mang khói tỏa từ — the ash-gray men” ống khói ấy” — above the gray land” — đoàn tàu với toa tầu xám — the valley of ashes” xịt” — người xám ngoét” — bên mảnh đất xám xịt” — thung lũng tro” (17a) The eyes of Doctor T.J Eckleburg are (17b) Đó cặp mắt xanh khổng lồ bác blue and gigantic sĩ T.J Eckleburg (18a) Her face, above a spotted dress of dark (18b) Bà ta mặc áo kếp màu xanh blue crepe-de-chine, contained no facet or thẫm chấm hoa, khuôn mặt gleam of beauty, but there was an khơng có nét gọi đẹp, immediately perceptible vitality about her as nhận ran gay sức sống hừng hực người ba if the nerves of her body were continually ta thể dây thần kinh thân smouldering bà lúc nóng rực (19a) She has changed her dress to a brown (19b) Bà ta thay áo, mặc áo figured muslin mút-xơ-lin hoa nâu (20a) Mrs Wilson had changed her costume some time before, and was now attired in an (20b) Myrtle Wilson thay quần áo Bây elaborate afternoon dress of creamcoloured bà ta mặc kiểu áo cầu kì may chiffon, which gave continual rustle as she thứ sa màu kem, kêu sột soạt bà ta lướt thướt áo lại phòng swept about the room (21a) In his blue gardens men and girls came (21b) Trong khu vườn màu thiên and went likes moths among the whisperings Gatsby, đàn ông đàn bà nườm nượp and the champagne and the stars người đến kẻ đám bướm đêm tiếng thầm, rượu sâm panh sao.” (22a) Dressed up in white flannels I went (22b) Trong đồ nỉ trắng, đặt chân lên over to his lawn a little after seven khu vườn Gatsby vào lúc bẩy chút (23 a) Yet over the city our line of yellow (23b) Tuy nhiên dãy cửa sổ với ánh đèn windows vàng chúng tôi” (24a) yellow cocktail music (24b) điệu nhạc vàng” (25 a) It was a rich cream color (25b) Chiếc xe sơn màu vàng kem” (26a) his caramel-coloured suit (26b) quần áo màu kem trứng” (27a) Sitting down behind many layers of (27b) Ngồi sau nhiều lớp kính trơng glass in a short of green leather nhà kính ươm bọc da, conservatory, we started to town” cho xe chạy thành phố (28a) I put my arm around Jordan’s golden (28b) quàng tay lên bờ vai vàng óng shoulders Jordan (29a) She dressed in white, and had a little (29b) Chị mặc đồ màu trắng , có white roadster xe nhỏ mui trần hai chỗ màu trắng” (30a) Gatsby,in a white flannel suit, silver shirt, and gold -colored tie (30b) Gatsby comle nỉ trắng, sơ mi màu trắng bạc ca vát vàng (31a) We went up stairs, through period (31b) Chúng lên gác qua phòng ngủ bedrooms swathed in rose and lavender silk bày biện theo thời xưa, phủ lụa hồng lụa and vivid with new flowers tím nhạt, tưới tắn với hoa hái” (32a) shirts with stripes and scrolls and (32b) áo kẻ sọc, kẻ hoa, kẻ ô plaids in coral and apple-green and màu san hô, màu thiên thanh, màu lavender and faint orange, and monograms of Indian blue” (33 a) There was a pink and golden billow of foamy clouds above the sea (34a) I‘d like to just get one of those pink clouds and put you in it and push you around” (35a) It was James Gatz who had been loafing along the beach that afternoon in a torn green jersey and a pair of canvas pants (36a) The gray windows disappeared as the house glowed full of light (37a) The breeze stirred the gray haze of Daisy’s fur collar ngọc xám màu da cam nhạt , thêu chữ lồng màu xanh hồ thủy (33b) cuộn mây hồng vàng óng lơ lửng mặt biển” (34b) Em muốn với lấy cuộn mây hồng kia, đặt anh lên đẩy khắp nơi” (35b) Anh trai mặc áo thun xanh rách, chân giày vải, lúc tha thẩn bên hồ James Gatz (36b) Các ô cửa sổ xam xám tan biến tòa nhà chan hòa ánh sáng (37b) Một gió nhè nhẹ lay động lớp tuyết xam xám khan quàng long thú Daisy (38a) they came to a place where there were (38b) Họ tới nơi vắng bóng hè no trees and the sidewalk was white with đường lênh láng ánh trăng trắng xóa” moonlight (39a) I went with them out to the veranda (39b) Tôi với họ hàng On the green Sound, stagnant in the heat, one small sail crawled slowly towards the hiên Trên Eo biển xanh lè với mặt nước tù đọng nóng, cánh buồm nhỏ bị fresher sea Gatsby/eyes followed it momentarily; he raised his hand and pointed chầm chậm phía biển khơi mát mẻ Gatsby nhìn theo cánh buồm lát across the bay Anh giơ tay lên, sang bên vịnh” (40b) Cánh buồm trắng chầm chậm di (40a) Slowly the white wings of the boat chuyển ranh xanh mát bầu moved against the blue cool limit of the sky” trời” (41a) He wears a pink suit (41b) Thằng cha mặc quần áo màu hồng phấn (42a) In the sunlight, his face was green (42b) Ra nắng, mặt ông ta trông xanh lè” (43a) I looked at the house; there were two or (43b) tầng có hai ba cửa sổ sáng đèn three bright windows down-stairs and the buồng Daisy tầng hai sáng mờ pink glow from Daisy’room on the second mờ hồng hồng floor.” (44a) Wilson’s glazed eyes turned out to the (44b) Cặp mắt trân trân Wilson quay ashheaps, where small gray clouds took on phía gị đất màu tro, fantastic shape and scurried here and there in cụm mây xám nhỏ có hình dáng kì the faint dawn wind quái bị gió yếu ớt buổi sớm mai xua tan tác (45a) it was dawn now on Long Island and (45b) Long Island trời rạng, we went about opening the rest of the mở nốt cửa sổ tầng windows down-stairs, filling the house with gray-turning , gold-turning light The shadow of a tree fell abruptly across the dew and ghostly birds began to sing among the blue leaves ánh sáng chỗ nhờ nhờ xám, chỗ hoe hoe vàng ùa vào nhà Bóng thân ngả dài cắt ngang lớp sương đêm chim bóng ma bắt đầu cất lên tiếng hót đám cịn nhuốm màu xanh lam (46a) We all looked- the knuckles was black (46b) Tất chúng tơi nhìn: khớp and blue đốt ngón tay bị tím bầm (47b) đám người tắm biển thường ngày, (47a) the inevitable swimming party had run lạnh cóng thích thú, từ bãi biển đen up, chilled and exalted from the black beach ngòm chạy lên ĐẠI HỌC ĐÀ NẴNG TRƯỜNG HẠI HỌC NGOẠI NGỮ Số: /lCTCS/QĐ-ĐHNN CỘNG HÒA XÃ HỘI CHỦ NGHĨA VIỆT NAM Hộc lập - Tự - Hạnh phúc Đà Nằng, ngày 04 tháng 10 năm 20ỉ9 QUYẾT ĐỊNH việc giao đề tài trách nhiệm người hướng dẫn luận văn thạc sĩ HIỆU TRƯỞNG TRƯỜNG ĐẠI HỌC NGOẠI NGỮ Căn Nghị định số 32/CP ngày 04 tháng năm 1994 Chính phủ việc thành lập Đại học Đà Nang; Căn Quyết định số 709/QĐ - TTg ngày 26 tháng năm 2002 Chính phủ việc thành lập Trường Đại học Ngoại Ngữ, thuộc Đại học Đà Nằng; Căn Thông tư số 08/2014/TT-BGDĐT ngày 20 tháng năm 2014 Bộ trưởng Bộ Giáo dục Đào tạo việc ban hành Quy chế tổ chức hoạt động Đại học vùng sở giáo dục đại học thành viên; Căn Thông tư số 15/2014/TT-BGDĐT ngày 15 tháng năm 2014 Bộ trưởng Bộ Giáo dục Đào tạo việc ban hành Quy chế đào tạo trình độ thạc sĩ; Căn Quy định nhiệm vụ, quyền hạn Đại học Đà Nang, sở giáo dục đại học thành viên đơn vị trực thuộc ban hành kèm theo Quyêt định sô 6950/QĐĐHĐN ngày 01 tháng 12 năm 2014 Giám đốc Đại học Đà Nang; Căn Quyết định số 975/QĐ-ĐHNN ngày 04 tháng 11 năm 2016 Hiệu trưởng Trưòĩig Đại học Ngoại ngữ - Đại học Đà Nang việc ban hành Quy định Đào tạo trình độ thạc sĩ; Căn Biên họp hội đồng bảo vệ đề cương chi tiết luận văn tốt nghiệp thạc sĩ chuyên ngành Ngơn ngữ Anh khóa 36 ngày 19/7/2019; Theo đề nghị Trưởng phòng Phòng Đào tạo, QUYẾT ĐỊNH: Điều Giao cho học viên cao học Lương Thị Thảo Nguyên, lớp K36.NNA.ĐL, chuyên ngành Ngôn ngữ Anh, thực đề tài luận văn “A Cognitive Study of Sentimental Expressions Containing Colours in English and Vietnamese Novels”, hướng dẫn TS Trần Quang Hải, Trường Đại học Ngoại ngữ - Đạí học Đà Năng Điều Học viên cao học người hướng dẫn có tên Điều hưởng quyền lợi thực nhiệm vụ theo Quy chế đào tạo trình độ thạc sĩ Bộ Giáo dục Đào tạo ban hành Quy định đào tạo trình độ thạc sĩ Trường Đại học Ngoại ngữ - Đại học Đà Nang Điều Thủ trưởng đơn vị liên quan Trường Đại học Ngoại ngữ - Đại học Đà Năng, người hướng dân luận văn học viên có tên Điêu Quyêt định thi hành./ Nơi nhận: - Hiệu trưởng (để b/c); Như điều 3; Lưu: VT, P.ĐT TRƯỞNG u TRƯỞNG uyễn Văn Long ... reasons 4.1 Sentimental expressions containing colours in the two English novels and their Vietnamese translated versions 4.1.1 Sentimental expressions containing colours in Jane Eyre and its Vietnamese. .. viewpoints of cognitive linguistics in English and in Vietnamese From that we can find out the underlying reasons in the similarities and dissimilarities between sentimental expressions containing. .. —A Cognitive Study of Sentimental Expressions Containing Colours Used in English and Vietnamese novels? ?? as my thesis 1.2 AIMS AND OBJECTIVES 1.2.1 Aims This research aims to investigate how colours