INTRODUCTION
Background to the Study
While English is becoming an essential global language, translation remains vital in its native contexts, particularly in fields like literature, law, and journalism This is also true for Vietnam, where translation continues to play a crucial role in various sectors.
In 2014, Huu Viet highlighted a significant rise in translated books within the Vietnamese market, noting that original publications have been surpassed by translations, with translated works accounting for up to 90% of the industry at one point Despite this prevalence, the quality of these translated books remains modest, with the Vietnam Writers’ Association and Hanoi Writers’ Association recognizing only eight to ten notable translated works annually, a stark contrast to the larger pool of original literary creations.
(2018) addressed an issue that the quality of translated book has reached an “alarming level”.
Statement of the Problem
The researcher, with experience as a translator and editor, has faced numerous challenges in English-to-Vietnamese translation To enhance translation skills, broad and in-depth reading, along with guidance from seasoned professionals, proves to be beneficial This study focuses on analyzing two Vietnamese translations of Oscar Wilde's "The Picture of Dorian Gray," created by translators Thien Luong and Nguyen Tuan Linh.
"The Picture of Dorian Gray" is a classic work of literature highly recommended for those interested in exploring Oscar Wilde's distinctive language style It embodies the principle of art for art's sake, making it an essential read for literary enthusiasts.
Oscar Wilde crafted "The Picture of Dorian Gray" with a focus on intricate language and beauty, making it a complex work for translators, particularly in Vietnamese Notable Vietnamese translators, including Duong Tuong, Nguyen Tho Sinh, Thien Luong, and Nguyen Tuan Linh, have endeavored to present this literary masterpiece to local readers The researcher has chosen to analyze the translations by Thien Luong and Nguyen Tuan Linh due to their recency and reputation for being the most comprehensive adaptations of the novel.
Aims and Objectives of the Study
The research aims at comparing the two translated versions of The Picture of
Dorian Gray by Oscar Wilde in order to examine the differences and similarities of the two versions
This research aims to analyze and compare the translations of the novel "The Picture of Dorian Gray" by Thien Luong and Nguyen Tuan Linh, focusing on their handling of relative clauses, personal pronouns, idiomatic expressions, and foreign terms.
Research Questions
This research focuses on answering the following research question:
The two Vietnamese translations of Oscar Wilde's novel "The Picture of Dorian Gray" exhibit both similarities and differences in their handling of English relative clauses, personal pronouns, idiomatic expressions, and foreign terms While both versions strive to maintain the essence of Wilde's prose, they vary in their approaches to translating complex relative clauses, which can affect the clarity and flow of the narrative Additionally, the use of personal pronouns differs, influencing the tone and intimacy of the characters' dialogues Idiomatic expressions are often adapted differently, reflecting cultural nuances and linguistic preferences in Vietnamese Finally, the treatment of foreign terms showcases distinct choices that may resonate differently with readers, ultimately shaping their understanding and appreciation of the text.
Scope of the Study
This study explores the similarities and differences between two Vietnamese translations of the English novel The Picture of Dorian Gray, focusing solely on translation evaluation without considering text formatting.
Significance of the Study
Thien Luong has gained recognition in Vietnam for his translations of renowned works by Vladimir Nabokov, including "Lolita," "Cloud Castle Lake," and "A Russian Beauty and Other Stories." He advocates for preserving the original structure in translations to convey the style and cultural essence of the source material in Vietnamese, aligning with the externalization approach Additionally, Luong offers critical insights into previously published translations, aiming to rectify their shortcomings His work presents a valuable opportunity for researchers interested in the field of foreignization translation.
Nguyen Tuan Linh may not yet be a widely recognized translator, but his dedication to translating The Picture of Dorian Gray is evident through his thoughtful engagement with readers From the outset, he provides insights into his interpretative choices, showcasing his serious approach to the craft Analyzing Linh's interpretation of the original text offers a valuable opportunity for learning and understanding translation techniques.
The challenge of mastering Vietnamese, both in spoken and written forms, is increasingly faced by today's youth Influenced by a decline in reading and the prevalence of brief communication in the digital realm, many young individuals struggle with proper writing techniques and maintaining a decent style Translating Oscar Wilde's polished writing into Vietnamese holds significant value, as it can serve as a model for enhancing writing skills among the younger generation.
This research aims to compare two translated versions of the same original literary work to derive valuable insights for both the researcher and professionals in the translation industry The findings may enhance translators' approaches to their work, providing practical tips for improving translation practices.
4 with the differences of the two languages when it comes to translating English work into Vietnamese.
Definitions of Key Terms
An idiomatic expression refers to a phrase that conveys a figurative meaning rather than a literal one, although some idioms can maintain their literal interpretation while also being understood in a figurative context.
Personal pronouns are pronouns that are associated primarily with a particular grammatical person (McArthur, 2018)
A relative clause is a subordinate clause that relies on an antecedent for its meaning, creating an anaphoric relationship between the relativized element and the antecedent (Huddleston and Pullum, 2018)
Translation is defined as the replacement of textual material in one language (source language - SL) by equivalent textual material in another language (target language - TL) (Catford, 1965)
Organization of the Thesis
This study report comprises five separate chapters
Chapter 1 provides an introduction to the study through which the aims and objectives, hypotheses and
Chapter 2 is the review of literature related to translation and contrastive analysis, presenting the foundation of translation studies, of grammatical points that would be the criteria for this thesis’ analysis, and other previous studies that have been carried on the subject as well
Chapter 3 describes the methodology of the study It demonstrates how the study was carried out and other important notes on the process of research
Chapter 4 is the analysis and discussion, which presents results that have been found from the thesis Besides, discussion and suggestion are also provided as well
Chapter 5 presents an explanation of limitation of thesis and concludes on the matter
LITERATURE REVIEW
What is Translation?
Translation is defined and interpreted through various doctrines in both Western and Eastern cultures This thesis will explore select perspectives that are particularly relevant and beneficial to the research at hand.
In his 1965 book, "A Linguistic Theory of Translation," Catford defined translation as the process of replacing textual material in one language (source language - SL) with equivalent material in another language (target language - TL) He highlighted two crucial concepts: "textual material" and "equivalence." Catford noted that there are instances where the SL text cannot be completely conveyed in the TL, as textual material represents only a portion of the underlying meaning in the SL The primary challenge in translation practice, according to Catford, lies in identifying appropriate translation equivalents in the TL.
“defining the nature and conditions of translation equivalence”
Translation has been defined by various scholars, with Newmark (2005) stating it is the process of conveying the meaning of a text in another language as intended by the author Similarly, Nida (1975) described translation as reproducing the source language in the closest natural equivalent of the target language Most translation theorists agree that achieving equivalence is a key characteristic of effective translation, which necessitates that translators adhere to specific criteria for quality Thus, the history of translation reflects an ongoing debate over these essential criteria.
A Brief History of Translation Studies
Translation has a rich history intertwined with religious texts, such as the teachings of Buddha in the East and the Bible in the West However, it wasn't until the nineteenth century that translation emerged as a distinct field of study, complete with its own theories and principles.
In Tang dynasty, there was a Buddhist monk named Xuan Zang 玄奘 (602-664), who was also a traveler, a translator and a great scholar He set down the famous
Translation must be both truthful and intelligible to the populace, as emphasized by Zhong (2003) Xuan Zang, in his study of Buddhist Sanskrit scriptures and their translation into Chinese, introduced the concept of the Five Untranslatables, which are terms that should not be translated due to their unique characteristics: they may carry a magic spell, bear multiple meanings, lack equivalents in the target culture, have established translations, or generate positive associations (Pym, 2017) In modern Chinese academia, Yan Fu (1854-1921) was a pioneering scholar who translated influential works by thinkers such as Adam Smith and John Stuart Mill into Chinese He proposed three essential criteria for translation: faithfulness (xin), comprehensibility (da), and elegance (ya), which have since become foundational principles in Chinese translation theory (Wang, 2009).
In his book "Translation and Freedom" (2012), Ho Dac Tuc highlights a key weakness in the theories of prominent Chinese scholars regarding translation He points out that they focus primarily on comparing the source language with the target language, neglecting the actual process of translation between these languages In other words, their discussions overlook the communicative process and the psychological journey of the translator involved in the act of translation.
The primary flaw in renowned Chinese doctrine creators lies in their emphasis on comparing the source and target languages, neglecting the crucial process of translating from one to the other This oversight indicates a lack of focus on the intricacies of conveying meaning and the mindset of translators.
1 All references in Vietnamese in this study were translated into English for referring purposes only by the researcher
Các lý luận dịch thuật của người Trung Quốc thường tập trung vào kết quả mà không đi sâu vào quá trình dịch Họ ít chú ý đến các yếu tố như tâm lý, nhân sinh quan, động lực làm việc, khả năng cá nhân, cũng như mối quan hệ giữa người dịch và xã hội mà họ đang sống.
Chinese translation theories focus on the outcomes of the translation process rather than offering a comprehensive analysis of the process itself They often overlook critical factors such as the translator's psyche, life perspectives, motivations, personal abilities, and the relationship between translators and their societal context.
Influenced by Cicero and Horace in the 20s BC, Western perspectives on translation emphasized creativity and sense-for-sense translation According to Ho Dac Tuc (2012), translation during Cicero's time aimed not only to convey word meanings but also to enrich the target language The Anno Domini years saw the emergence of various Biblical translation schools, significantly shaping Western translation views A major debate of this era revolved around literal versus sense-for-sense translation From the 16th century onward, translation became essential during the Renaissance, leading to the development of numerous translation theories Ho Dac Tuc (2012) highlights five principles from French translator Etienne Dolet, as cited in Steiner (1992), that are crucial for translators.
(1) “The translator must perfectly understand the sense and material of the original author He also should feel free to clarify obscurities
(2) The translator should have perfect language knowledge of both SL and TL, so as not to lessen the majesty of the language
(3) The translator should avoid word-for-word renderings
(4) The translator should avoid Latinate and unusual forms
(5) The translator should assemble and liaise words eloquently to avoid clumsiness.” Dolet (1540)
In 1972, James Stratton Holmes aimed to comprehensively define the field of translation practice In his influential essay, "The Name and Nature of Translation Studies," he categorized translation studies into two main branches: pure translation studies and applied translation studies Furthermore, Holmes proposed a formal name for the discipline, significantly shaping its academic landscape.
"Translation Studies" encompasses the comprehensive practice of translation, integrating theories, research, practical application, training, and criticism The term gained official recognition among scholars following the contributions of Holmes, marking a significant development in this academic field.
As we can see until now, the history of translation is the history of debating between word-to-word and sense-for-sense theories.
Literary Translation Theories
Literature can be defined primarily in two forms: prose (fiction) and verse (poetry), emphasizing its aesthetic and stylistic qualities over factual content Different genres of literature exhibit varying levels of focus on aesthetics, with realistic works often being more factual compared to fantasy or surrealism Consequently, translating literature requires a distinct approach, differing from the translation of nonfiction texts While traditional translation theories can be applied, they may fall short for literary works, necessitating methods that consider linguistic and cultural nuances Theories such as those by Neubert and Shreve (1992) and Nida and Taber (1974) provide frameworks and strategies for literary translation, including techniques like adding or subtracting elements and balancing fidelity to the source text with the needs of the target audience.
When addressing translation, focusing solely on linguistic theory leads translators and critics to tackle equivalence primarily at the sentence structure level, potentially neglecting the overarching concepts and intentions of the original text, which is crucial in literary works While the target language (TL) structure may align with that of the source language (SL), the author's intentions may not be preserved Neubert and Shreve (1992) emphasized the importance of considering equivalence at a larger scale, examining the entire text's general intention and style Similarly, Nida and Tabert (1974) highlighted the significance of the message's intention over its form However, an excessive emphasis on form and content may overlook the essential aesthetic elements vital for translating literary works effectively.
In The Picture of Dorian Gray, this aspect is critical in the process of translating
Wilde’s work into Vietnamese The aesthetic value of the original work should not be sacrificed
Susan Bassnett (2002:114) critiques that a significant weakness in prose translation is the tendency of translators to prioritize content over the original structure of the work This is particularly evident in the novels of Oscar Wilde, where sentence structure is integral to the author's literary style In "The Picture of Dorian Gray," for instance, Wilde employs complex, lengthy sentences filled with commas and semicolons to convey philosophical ideas and character depth Notably, there is a 457-word sentence featuring over ten connected clauses, exemplifying his intricate style Additionally, the philosophical dialogues between Hallward and Lord Henry in Chapter 1 are characterized by long, eloquent sentences Thus, the author's intent plays a crucial role in the translation of prose.
Catford (1965) suggested that translation would be regarded as an art to create the new text in TL Consequently, standing before various translation theories, translators
11 have to consider choosing a theory (or some) that can integrate most suitable elements for the original literature
Translation is deeply intertwined with linguistics, which significantly influences the process Catford (1965) introduced a rank scale of grammatical hierarchy comprising five units: sentence, clause, group, word, and morpheme He highlighted the importance of the rank concept in both theoretical linguistics and its applications, including translation theory This concept is crucial as it impacts the selection of translation equivalence.
According to Catford, translators must recognize three key concepts of translation: extent, level, and rank These broad types of translation are essential for understanding the translation process and ensuring accuracy in conveying meaning.
2.3.1.1 Extent of translation: Full versus Partial Translation
Full Translation: In this translation, every unit of meaning of the SL text is replaced by equivalent textual TL material
Partial translation occurs when certain elements of the source language (SL) text remain untranslated, either due to their untranslatability or intentionally by the translator to infuse the target language (TL) text with local color, as noted by Catford.
2.3.1.2 Levels of Translation: Total versus Restricted Translation
Total translation refers to the process where every level of the source language (SL) text is entirely substituted with target language (TL) material In this approach, the grammar and vocabulary of the source language are replaced with their equivalent forms in the target language, ensuring a complete transformation of the original content.
Restricted translation: This translation is the replacement of the SL textual material by equivalent TL textual material at the level of phonology or graphology or grammar or lexis
2.3.1.3 Rank Translation: “Rank-bound” versus “Unbounded” translations
Rank-bound translation refers to a type of translation that adheres to the grammatical rank of the source language For example, when the translation unit is a "word," it is specifically termed word-for-word translation.
Rank-unbounded translation allows for flexibility beyond the sentence as the primary unit of translation In this approach, translators can create equivalence units that encompass larger structures, such as passages or literary styles, particularly when addressing the target language's collocational and idiomatic expressions.
A translator may choose any one of the above three types for his process of rendering
Or he may also combine all the three in different proportions It is determined by the nature of the work to be translated and the readership of it
Translation equivalence is central to understanding the nature and conditions of translation, as highlighted by Catford A critical aspect of this process involves selecting translation units, which leads to two primary tendencies in translation: domestication and foreignization.
Nida (1964) emphasized the importance of language within its social and cultural context, identifying two key translation orientations: formal equivalence and dynamic equivalence Formal equivalence prioritizes the form and content of the source language (SL) message, while dynamic equivalence focuses on eliciting the same effect in target language (TL) readers as experienced by the original audience The goal of dynamic equivalence is to convey the message in the most natural expressions for TL readers, ensuring that their understanding aligns closely with that of the SL receptors.
The domestication of source language (SL) emphasizes the significance of readers and the target language culture, suggesting that translated texts may inevitably sacrifice certain elements of the original.
When translating text, it is essential to consider not only the clarity and writing style but also the overall values of the original work Nida and Taber (1974) emphasized the importance of the message's intention over linguistic form However, this approach can neglect the aesthetic value of the original literature, risking the loss of the author's creativity Neubert and Shreve (1992) propose an alternative perspective, advocating for the recreation of the text in a way that aligns with the original work's intention and writing style.
Ho Dac Tuc (2012) emphasizes that both writing and translation are significantly shaped by the readers' perceptions, suggesting that if the target language (TL) audience rejects a translation, it may be deemed unsuccessful Furthermore, a translator must prioritize the aesthetic qualities of the original text and the cultural nuances of the target language, as these elements are crucial for effective translation.
Herder posited that individuals from various historical and cultural contexts possess distinct perspectives, leading to differences in the nature and mindset of both translators and original authors He advocated for a translation approach that emphasizes the original language, aiming to evoke the unique sensations of the source material for the translation's audience According to Herder, effective translation should maintain semantic fidelity, aesthetic appeal, and convey the emotional depth of the original work In literature, every punctuation mark and word count holds significance, as illustrated by an example from Nabokov's "Lolita."
Contrastive Analysis
Contrastive analysis is a systematic approach to studying pairs of languages, focusing on their similarities and differences, regardless of their historical connections Robert Lado (1957) laid the groundwork for this field, emphasizing that elements similar to a learner's native language are easier to grasp, while differing elements pose greater challenges This concept is particularly relevant in translation practice, where recognizing similarities between the source language (SL) and the target language can facilitate the translation process.
16 and TL will be advantageous to the translation process, and dissimilarities may cause troubles for translators
A relative clause, also known as an adjective clause, is a subordinate clause that modifies a noun by providing additional information about someone or something As a subordinate clause, it cannot stand alone and must be connected to an independent clause To introduce a relative clause, we typically use relative pronouns, which vary based on what is being referred to and the type of clause According to the Cambridge Dictionary Online, the most common relative pronouns include who, whom, whose, which, and that For a more detailed exploration of this grammatical concept, please refer to Appendix E.
Tran Trong Kim (1942) classified clauses in Vietnamese into three main types: independent clauses, main clauses, and subordinate clauses Among these, subordinate clauses are further divided into three sub-types: "mệnh đề phụ bổ túc," "mệnh đề phụ chỉ trường hợp," and "mệnh đề chỉ định." The "mệnh đề chỉ định" is specifically used to clarify the object of the subject or the main clause, typically connecting with the term it defines through the conjunction "mà."
E.g Con ngựa mà anh nói hôm nọ, hôm nay thì được giải nhất mà anh nói hôm nọ is a subordinate clause which determines the subject “con ngựa” to show which “con ngựa” is being addressed Sometimes the conjunction mà is ommited in order to lighten the utterance’s energy Tran Trong Kim (1942) also emphasizes that mệnh đề chỉ-định always comes after which it determines mà, hence, is used in all cases that need to determine or modifies the subject or object
For instance, mà is used here for which, who, that
E.g Tôi đã tìm thấy quyển sách mà anh nói hôm nọ (the book which/that you said)
Người mà anh gặp hôm qua vừa đến gặp tôi (the one whom/that you met yesterday)
2.4.3 Viewpoint on Translation of Idiom and Metaphorical Expression
Idioms are unique linguistic expressions found in every language, reflecting the figurative communication of a specific culture Defined as phrases whose meanings differ from the literal interpretation of their individual words, idioms play a crucial role in conveying cultural nuances and enhancing language richness.
According to the Merriam-Webster Dictionary, an idiom is a unique expression within a language that cannot be understood solely from the meanings of its individual parts Baker (1992) describes idioms as "frozen patterns of language" that allow minimal variation and often carry meanings that are not deducible from their components These definitions highlight two key characteristics of idioms: their uniqueness to specific groups and their meanings that extend beyond literal interpretations Consequently, it is important to note that not all idioms have direct equivalents in other languages, as formal correspondence does not guarantee textual equivalence.
The English proverb "a fish rots from the head down" is a prime example of an idiomatic phrase that loses its figurative connotation when translated word-for-word A literal translation into Vietnamese, "cá thối từ đầu xuống," may cause confusion among readers as it fails to convey the intended meaning This phrase is actually implying that leadership or the leader of an organization is the root cause of its failure or troubles, highlighting the importance of effective leadership in preventing organizational problems.
In leadership, accountability is paramount; when failure occurs, the leader must accept responsibility, regardless of the circumstances This concept resonates with the Vietnamese proverb "nhà dột từ nóc," which suggests that problems often stem from the top A review of online news and journals reveals numerous instances where this idiomatic phrase is used to emphasize the importance of leadership accountability in various contexts.
The Vietnamese expression "nhà dột từ nóc" serves as a figurative equivalent to the English saying "a fish rots from the head down." Similarly, while "trắng như tuyết" translates to "as white as snow," it lacks the naturalness of other Vietnamese similes like "trắng như bông bưởi" or "trắng như trứng gà bóc," which convey the message more effectively However, context is crucial; for instance, when describing Snow White, comparing her skin to grapefruit blossoms or peeled eggs would be inappropriate.
Translating idioms poses significant challenges due to their cultural nuances and the fact that their pragmatic meanings often exceed their literal interpretations This complexity makes it difficult to establish a one-size-fits-all approach to translation Consequently, the question arises: what is the most effective method for translating idioms, if such a method exists?
Translating idioms poses a significant challenge due to their non-equivalence, making word-for-word translation nearly impossible Nonetheless, even when equivalent words exist, effective translation can still be achieved by employing techniques suggested by Baker (1992).
(a) Translation by a more general word;
(b) Translation by a more neutral/less expressive word;
(d) Translation using a loan word or loan word plus explanation;
(e) Translation by paraphrase using a related word;
(f) Translation by paraphrase using unrelated words;
Previous Studies
2.5.1 Contrastive Analysis Studies on English and Vietnamese
English and Vietnamese belong to distinct language families, influencing both thought processes and sentence construction English, derived from Old English and part of the Germanic family, is characterized as a polysyllabic and partly inflectional language In contrast, Vietnamese is a non-inflecting monosyllabic language, making syntax a crucial component of its grammar compared to inflectional languages This fundamental difference also impacts the translation process between the two languages.
One of the most important research on Vietnamese as a systemic language is
"Vietnamese without veneer" (Tieng Viet khong son phan), authored by scholar Nguyen Dinh Hoa in 1997, explores various aspects of Vietnamese grammar across eleven well-structured chapters Notably, chapters 10 and 11 focus on the theoretical foundations of sentence construction and introduce Nguyen Dinh Hoa's classification of seven distinct types of Vietnamese sentences, making them particularly relevant to this research.
In 2017, Nguyen Van Hiep significantly contributed to the Vietnamese language with his book "Cu phap tieng Viet," which translates to "Vietnamese Syntax." This work, akin to Nguyen Dinh Hoa's publication, offers a comprehensive foundation of Vietnamese grammar, enhancing the understanding of the language.
The first significant discussion and contrastive analysis of English and Vietnamese took place in the 1970s, spearheaded by Nguyen Dang Liem's comprehensive project titled "A Contrastive Grammatical Analysis of English and Vietnamese." This extensive study meticulously compared the two languages at the sentence and clause levels, identifying five major independent sentence types and two major dependent sentence types Additionally, it introduced various clause types and classes, culminating in ten independent declarative clause types and ten distinct clause classes.
Nguyen Dang Liem's research identified ten complete clause classes and eighty-seven complete clause types in English, highlighting significant linguistic differences at the tagmemic level He developed a hierarchy of difficulty based on these insights and proposed effective teaching strategies tailored for Vietnamese learners.
Nguyen Dang Liem argues that the differences between Vietnamese and English constructions highlight the importance of understanding how grammatical meaning is expressed in Vietnamese This understanding is crucial for addressing the challenges Vietnamese students face when learning English grammar By focusing on these learning difficulties, Liem establishes a solid foundation for further research in the field of translation, particularly concerning grammatical aspects.
Duong Thanh Binh (1971) conducted a tagmemic comparison of sentence structures in English and Vietnamese, revealing both similarities and differences between these two unrelated languages The research offered an overview of modern written grammar in both languages, focusing on their sentence and trunk levels to facilitate a deeper understanding of their structural characteristics.
Localized researchers have made significant contributions to understanding specific differences in language, such as Ly Ngoc Toan's (2019) exploration of lexical expressions of path motion in Vietnamese, Le Xuan Thanh Giang's (2011) contrastive analysis of words and idioms related to "hearing" in English and Vietnamese, and Nguyen Thanh Huong's (2002) study on the translation of relative clauses.
Recent studies on English-to-Vietnamese translation have explored various aspects of the process, offering diverse perspectives Notably, some researchers, such as Frank Nhat Trinh, have concentrated on the significance of collocations and idioms in E-V translation, highlighting their impact on translation accuracy and cultural nuances.
2001; Le Xuan Thanh Giang, 2011) A case study of difficulties in translating TV programs in English into Vietnamese was conducted by Nguyen Le Uyen Minh
In her 2019 study, Nguyen Le Uyen Minh identified two main types of syntactic errors within the analyzed corpus: incorrect ordering of sentence components and grammatical structure errors Notably, these syntactic errors accounted for 27.3% of the total linguistic errors observed.
This is a chance for the researcher to conduct a thorough comparison research on one of the most influential novel of English literature.
Conceptual Framework
Figure 2.2 Conceptual framework of the study
The Picture of Dorian Gray by Oscar Wilde
DIFFERENCES IN RENDERING ENGLISH TO VIETNAMESE
Summary
This chapter explores essential concepts and theoretical foundations relevant to the research, focusing on translation studies and literary translation theories Key doctrines such as domestication versus foreignization and the unit of equivalence in prose are discussed Additionally, an overview of translation viewpoints, including theories of relative clauses, the translation of foreign terms and idioms, and cultural aspects of Vietnamese personal pronouns, is provided in preparation for Chapter 4 To establish a basis for translation analysis, the chapter also presents an examination of the content and literary style of the work under investigation.
On top of that, a couple of studies both on the issue has been reviewed to give an overview perspective of the problem
METHODOLOGY
Research Design
The methodology of this research was mainly data analysis on the researcher’s self- created database from the novel The picture of Dorian Gray which originates in
This article explores English and its two translated versions, detailing the respective books Data was systematically collected, classified, and compared to draw conclusions relevant to the research questions.
Research Site
The research was conducted in Ho Chi Minh City University of Technology, within the department of English Language.
Sample and Sampling Procedure
Samples for the research were chosen by convenient sampling method Those were officially published books in Viet Nam
The original materials are in two forms: imported hard copy of Alma Classics Ltd
(2014), and one soft copy from the Gutenberg Project, both includes one Preface chapter and 20 chapters of content
The first translation is Bức Tranh Dorian Gray (2019) by Thien Luong, Van Hoc Publisher And the second one is Bức Họa Dorian Gray (2018) by Nguyen Tuan
Linh, Hoi Nha Van Publisher
Along with those above are hard copies as well as e-books of reference materials and dictionaries, which are cited in References.
Research Instruments
In this thesis, no research instrument was adopted The primary method of the research was qualitative, and manually comparison and contrasting the two translated versions with the original text
Data Collection Procedure
The research began by reviewing the translated versions of the text, comparing them to the original source language Subsequently, the two translations were analyzed to identify both similarities and differences in the translators' approaches to the original material The accompanying flow chart illustrates the methodology employed in this study.
Figure 3.1 Research procedure flow-chart
The researcher utilized the FIND function in the WORD text processing application to identify instances of relative pronouns in Oscar Wilde’s work Due to Wilde’s distinctive style, marked by long sentences with intertwined clauses, the researcher selected several of the longest sentences and passages containing relative clauses for analysis Additionally, recognizing the impracticality of examining every instance in the story, the researcher randomly selected examples by scanning the text for discrepancies between the two versions.
Data Analysis Procedure
This study was conducted with the original and translated versions of the book:
The picture of Dorian Gray by Oscar Wilde (1891) Alma Classics
Translated version 1: Bức Tranh Dorian Gray (2019) NXB Văn Học
Translated version 2: Bức Họa Dorian Gray (2018) NXB Hội Nhà Văn
The Picture of Dorian Gray, a classic novel by Irish author Oscar Wilde from the nineteenth century, is categorized under fiction and literature The original book (OB) spans 176 pages and contains around 78,880 words The first translated version (TV1) was completed by Thien Luong and published by Van Hoc Publisher in 2019, while the second translated version (TV2) was translated by Nguyen Tuan Linh and released by Hoi Nha Van Publisher in 2018.
TV2 Furthermore, two translators Thien Luong and Nguyen Tuan Linh are coded as
T1 and T2, respectively Table 3.1 summarizes this coding system
The Picture of Dorian Gray OB
Translated version 1: Bức Tranh Dorian Gray (2019) TV1
Translated version 2: Bức Họa Dorian Gray (2018) TV2
This research on translation analysis includes numerous direct quotes from the original text and its two translations To enhance clarity, citations exceeding 20 words are presented in a separate passage, while shorter quotes are incorporated as in-quotes Additionally, italic and boldface formatting is utilized to emphasize the differences between the two translated versions.
Other notes on those typographical devices and their purpose of usage are presented in the following Table 3.2
Table 3.2 Typographical devices and purpose of usage
Italic + Boldface Highlights analyzed words or phrases in a quote
OB: Two months ago I went to a crush at Lady Brandon's (p.9)
Boldface Highlights analyzed words or phrases in-text
Lord Henry Wotton is referred to as y and gã in two versions, respectively
“italic” starts and ends a direct quote hence the most important task is to define
“the nature and conditions of translation equivalence” (Catford op cit.)
Square bracket + three dots […]: denotes an ellipse, i.e material that has been omitted when quoting someone's words
“[…] Your cynicism is simply a pose "
" Being natural is simply a pose , and the most irritating pose I know," […] (p.8)
Validity and reliability
The translators' introduction to the story emphasizes that their translations are grounded in the original text published by Ward, Lock & Company in 1891, ensuring that the research analyzes translated versions of the same work, thereby enhancing the reliability of the study.
Ethical issues
This thesis is intended solely for research purposes and is not designed for commercial gain All hard copy materials used are legally purchased copyrighted materials, while all electronic resources are publicly available online.
RESULTS AND DISCUSSION
Relative Clauses
The Literature Review highlights that English employs a structure known as the Relative Clause, which serves as a subordinate clause connected to the main clause via a Relative Pronoun In contrast, Vietnamese lacks the concept of Relative Clauses; instead, it typically uses adjectives to modify nouns or noun phrases When an adjective clause is present in Vietnamese, it is linked to the modified noun through the conjunction mà This distinction underscores the differences in how English and Vietnamese handle noun modification.
In the Vietnamese translation, the use of "mà" effectively conveys the relative clauses (RC), as detailed in Appendix E This distinction between the two translations is evident from the opening paragraph, where Wilde employs relative clauses four times to introduce a key character, Lord Henry Wotton, while also depicting the surrounding landscape and setting the context for their afternoon conversation.
Lord Henry Wotton reclined on a divan adorned with Persian saddle-bags, indulging in his habitual chain-smoking of cigarettes From his vantage point, he admired the honey-colored blossoms of a laburnum tree, whose delicate branches struggled to support their vibrant beauty Occasionally, the fleeting shadows of birds in flight danced across the tussore-silk curtains of his expansive window, evoking a momentary Japanese aesthetic and reminding him of the pale, jade-faced artists of Tokyo, who strive to express movement through their inherently static art.
In the analysis of two translations, the use of "on which," "whose," and "that" was handled distinctly, with TV1 employing "mà" to link the clauses This approach ensured that all components of the English relative clauses were effectively translated into Vietnamese, exemplified by phrases like "whose tremulous branches" rendered as "mà những cái cành run rẩy của nó" and "on which" translated as "mà trên đó." The following excerpt from TV1 illustrates how relative clauses were converted into the target language.
Từ góc chiếc đi-văng, huân tước Henry Wotton chỉ có thể nhìn thấy những bông hoa ngọt-mật của cây kim tước, với những cành run rẩy mang vẻ đẹp rực rỡ Thỉnh thoảng, bóng của những chú chim bay lượn vụt qua các tấm màn lụa, tạo ra cảm giác giống như một ấn tượng Nhật Bản, khiến ông liên tưởng đến những họa sĩ ở Tokyo, những người đã cố gắng truyền tải sự mau lẹ và chuyển động qua nghệ thuật bất động.
TV2 appears to intentionally restrict the usage of the word "mà," including phrases like "cái mà" and "người mà." This limitation can be beneficial at times.
Trong một góc phòng, Ngài Henry Wotton nằm dài trên chiếc tràng kỉ, hút thuốc phì phèo như thường lệ Ông nhìn thấy những bông hoa ngọt ngào, màu mật trên cây kim tước, với những cành cây run rẩy như không thể chịu nổi vẻ đẹp rực rỡ của mình Thỉnh thoảng, vài con chim bay qua bức màn lụa trước cửa sổ, tạo nên một ấn tượng nghệ thuật kiểu Nhật, khiến ông liên tưởng đến các họa sĩ Đông Kinh với gương mặt vàng vọt, sử dụng nghệ thuật tĩnh để truyền tải cảm giác về sự nhanh nhẹn và chuyển động.
In the first section, T2 skillfully shifts the phrase "from the corner of the divan of Persian saddle-bags on which he was lying" to create a prepositional phrase, effectively addressing the challenge of handling relative clauses This adjustment enhances the fluency of the sentence, showcasing T2's advantage over the previous version.
TV1 may sounds a little unnatural in this case, [t]ừ góc chiếc đi-văng thảm giả túi yên lạc đà Ba Tư mà trên đó y nằm hút […]
The second instance of RC in the passage highlights that TV2 is superior to TV1, particularly in its use of "với" to convey the possessive relationship of the tremulous branches belonging to a laburnum This expression is a perfect substitute for "whose" in this context In contrast, TV1's phrase "mà những cái cành run rẩy của nó" appears somewhat redundant.
However, with the next instance in this passage, TV2 may seems unsuccessful to deal with who
The artist reflects on the pale, jade-faced painters of Tokyo, who use their art to express a sense of swiftness and motion.
TV2 gợi nhắc đến hình ảnh các họa sĩ Đông Kinh với gương mặt mệt mỏi và vàng vọt, sử dụng một phương tiện nghệ thuật độc đáo để truyền tải cảm nhận về sự nhanh nhẹn và chuyển động.
TV2 encountered an issue with the phrase "nhằm truyền đạt tri giác," as "nhằm" serves as a conjunction meaning "in order to," which renders the phrase a subordinate clause lacking a verb Testing this reveals awkwardness when excluding words between the head noun "họa sĩ Đông Kinh" and the preceding phrase In contrast, TV1 demonstrates greater clarity by translating "who" as "những kẻ" and retaining the verb in its translation I would like to emphasize retaining the last example regarding "the medium of an art that is necessarily immobile" for further exploration of T1's effective approach in section 4.7 Suggestion, as "vốn/ vốn dĩ" presents an intriguing and valuable method for addressing relative clauses that warrants more attention.
Oscar Wilde’s distinctive writing style is characterized by intricate and lengthy sentences that flow effortlessly One of the longest sentences in his work features numerous relative clauses, showcasing Wilde's ability to create complex structures This particular sentence lists various characters Dorian encountered in a book, employing non-defining relative clauses that enrich the meaning of the nouns.
Dorian frequently revisited a captivating chapter that depicted the grotesque and beautiful figures shaped by vice and despair Among them were Filippo, Duke of Milan, who murdered his wife and tainted her lips with poison for her lover; Pietro Barbi, the Venetian Pope Paul II, whose vanity led to a costly sin; Gian Maria Visconti, who unleashed hounds on living men, later adorned with roses by a harlot; the infamous Borgia, stained with the blood of his kin; and Pietro Riario, the young Cardinal whose beauty matched his debauchery, hosting lavish feasts with mythological themes Ezzelin, driven by a morbid fascination with death, was rumored to be the son of the Fiend, while Giambattista Cibo, mockingly named Innocent, had his veins infused with the blood of three youths Lastly, Sigismondo Malatesta, a notorious figure, faced condemnation for his heinous acts, including the strangulation of Polyssena and the poisoning of Ginevra d'Este.
In a tale of tragic passion, a pagan church was constructed for Christian worship, influenced by Charles VI, who became infatuated with his brother's wife to the point of madness, warned by a leper of his impending insanity As his mental state deteriorated, he found solace in Saracen cards adorned with symbols of love, death, and madness Meanwhile, Grifonetto Baglioni, dressed in a trimmed jerkin and jeweled cap, infamously murdered Astorre alongside his bride, adding to the narrative of chaos and betrayal.
Personal Pronouns
Various Vietnamese translations exist for each English personal pronoun, as illustrated in Table 4.2 This list represents only a fraction of the potential translations, with numerous alternative options available beyond the examples provided.
Table 4.2 Vietnamese translation of English personal pronouns
English PP Vietnamese Translation of Personal Pronouns
I tôi, ta, tui, mình, tớ, tao em, anh, chị, cô, chú, ông, bà, ba, mẹ, etc chúng + tụi + bọn + tôi, ta, tui, mình, tớ, tao, etc
You bạn, cậu, mày, đằng ấy etc các + chúng/ bọn + bạn, cậu, vị, etc mày
He anh, anh ấy, anh ta ông, ông ấy, ông ta hắn, gã, y, lão chàng, cậu, etc bọn nó, bọn họ, những người đó bọn đấy
She cô, cô ấy, cô ta chị, chị ấy, chị ta bà, bà ấy, bà ta ả, thị, mụ, etc
The diverse use of personal pronouns in Vietnamese results in multiple translations that reflect the nuances of social relationships These translations depend on the nature of the relationship and the translator's interpretation of the literary text The level of intimacy in a relationship plays a crucial role in determining the appropriate pronoun usage.
The use of personal pronouns (PP) is significant in expressing changes in relationships within a work For instance, a couple's dynamic can shift dramatically if they alter their terms of address from "anh-em" to "mày-tao," highlighting the evolution of their connection.
The primary distinction between the two versions lies in the translators' handling of personal pronouns in the source language, as discussed in Chapter 2 Table 4.3 illustrates how each translator approached this aspect.
Table 4.3 Comparison of translating examples of personal pronoun
Lady Brandon Bà ấy Bà ta, mụ
Firstly, the choice of personal pronoun in two translations reflect each translator’s intention of how he wanted to convey the energy and ambience of the story in TL
Lord Henry Wotton is represented by the Vietnamese pronouns y and gã in two different translations As shown in Table 2.1, there are numerous Vietnamese expressions for the English pronoun "he." Both translators opted for these two target language pronouns, which convey a negative nuance Nguyen Kim Than (2006) provides definitions for y and gã, highlighting their significance in translation.
Y : đại từ Từ dùng đề chỉ người được đề cập đến trong câu nói với hàm ý ít nhiều coi thường (p.1369)
Gã : danh từ Từ chỉ người đàn ông với hàm ý coi là người xa lạ hoặc không có thiện cảm
I.e Chẳng ngờ gã Mã giám sinh,
Vẫn là một đứa phong tình đã quen (Truyện Kiều) (p.468)
The pronoun "Y" conveys a sense of disdain, while "gã" refers to a man perceived as a stranger or someone we lack sympathy for.
In "Truyen Kieu," the character gã represents the debauched figure responsible for procuring prostitutes for the brothel, paralleling Lord Henry Wotton from Oscar Wilde's narrative Wotton, a middle-aged aristocrat, embodies Hedonism with his captivating yet misguided perspective on life and humanity His charm and wit effectively lure Dorian Gray into a toxic lifestyle Both T1 and T2 appear to deliberately utilize negative pronouns to convey their critical stance towards these characters and their philosophies.
41 the character And this choice has built the atmosphere for the translation Given the background of Lord Henry Wotton, this choice of both translators seems to be a good one
Basil Hallward, the painter of the portrait, is a significant character in the narrative, distinguished by T1's use of "y" and T2's use of "anh," which conveys a more neutral and slightly positive nuance As a talented artist with a reserved nature, Basil distanced himself from vanity and the crowd His admiration for Dorian's beauty led him to invite the young man to model for his painting, which resulted in a deep affection that he felt was too personal to share publicly, despite Henry Wotton's insistence on its brilliance This unrequited love profoundly impacted Basil's artistic perspective, marking a pivotal moment in his career Unfortunately, his fears about Wotton's influence on Dorian materialized, and ultimately, the love Basil harbored was tragically intertwined with his demise at the hands of the very person he adored Through Basil, Oscar Wilde articulates his views on art and the artist, with T2's use of "anh" enhancing the softer connotation associated with Basil Hallward.
Let us investigate two characters that belong to noble circle, Lord Fermor and Lady
Brandon and Lord Fermor are minor characters in the narrative, embodying the superficiality of an aristocratic society where decaying morals are masked by opulent appearances Lord Fermor, Henry Wotton’s hot-tempered uncle, contrasts with Lady Brandon, an aristocrat known for hosting gatherings that attract royalty and artistic talent Lord Henry describes her as “a peacock in everything but beauty,” highlighting her ostentation The translation choices reflect differing perspectives; T1 uses neutral pronouns for both characters, while T2 employs the more formal "lão" for Lord Fermor, indicating a heavier emphasis on their social status.
In the context of the article, the term "42" symbolizes an old man, often conveying a sense of disdain, as seen in phrases like "lão thầy bói" (the fortune-teller) and "lão chủ keo kiệt" (the stingy boss) Similarly, the terms "mụ" and "bà ta" are used for Lady Brandon, with "mụ" being a particularly harsh noun that rarely describes women of respectable character in formal settings Both "lão" and "mụ" carry negative connotations, contributing to a grim atmosphere in the narrative, exemplified by phrases such as "mụ Tú Bà" (the procurer) and "mụ phù thủy" (the witch) Wilde's depiction of the corrupt and vain aristocratic European society in the 19th century is effectively captured through the strategic use of these terms, highlighting the skillful choices made in translation to reflect the underlying themes of the story.
The last character that needs to be analyzed in terms of personal pronoun is Dorian
Dorian Gray, the title character of the book, embodies the archetype of a young, handsome, and wealthy gentleman of his time In the narrative, T1 refers to him as "cậu," while T2 uses "chàng," both terms signifying a young man with positive connotations According to the Vietnamese dictionary, these words highlight the favorable attributes associated with youth and charm.
Chàng Noun Người đàn ông trẻ tuổi, có vẻ đáng mến, đáng yêu E.g anh chàng, mấy chàng lính trẻ (p.188)
Cậu Noun Từ dùng để chỉ người con trai còn ít tuổi, thường với ý mến trọng E.g
The terms "cậu" and "chàng" differ subtly in their connotations; "cậu" conveys a sense of youthful boyhood, while "chàng" typically refers to an older man Additionally, "chàng" carries a romantic undertone, often associated with protagonists in love stories or fairy tales.
He sought to collect the vibrant threads of existence and weave them into a meaningful design, navigating the intricate maze of passion that enveloped him.
Cậu đang nỗ lực thu thập những sợi chỉ đỏ tươi của cuộc đời để tạo nên một hoa văn, nhằm dẫn lối qua mê cung đầy đam mê và thử thách mà cậu đang khám phá.
Chàng đang nỗ lực thu thập những sợi chỉ đỏ của cuộc đời để dệt thành một tấm thảm, nhằm tìm ra lối đi qua mê cung đầy máu của đam mê mà chàng đã lạc lối.
Idiomatic Expressions
Translating idioms or metaphorical expressions poses a significant challenge for translators across languages due to their deep cultural ties This complexity leads to the understanding that absolute equivalence in the target language (TL) is often unattainable Therefore, a domestication approach is recommended, focusing on finding TL expressions that closely match the meaning of the source language (SL) In our examination, certain examples from the book highlight intriguing idiomatic expressions.
(8) OB: Two months ago I went to a crush at Lady Brandon's (p.9)
TV1: Hai tháng trước tôi đến dự một buổi hội họp đông đúc ở chỗ quý bà Brandon (p.24)
TV2: Hai tháng trước tôi dự tiệc tại nhà Phu Nhân Brandon (p.20)
A crush refers to a densely packed crowd, where individuals are pressed closely together, particularly in confined spaces This term encapsulates the lively atmosphere of a 19th-century high-class party, highlighting not only the festive nature but also Basil's discomfort and disdain for Lady Brandon's gatherings In this context, the Vietnamese term "tiệc" in TV2 falls short of conveying the full essence of a crush, while TV1 enhances the meaning by incorporating "đông đúc," effectively capturing the crowded characteristic associated with a crush.
(9) OB: Why, my dear Basil, he is a Narcissus , and you [ ] (p.6)
TV1: Sao vậy, Basil yêu quý của tôi, chàng ta là một Narcissus , còn anh […] (p.18) TV2: Có làm sao, Basil quí mến, chàng ta là Narcissus , và cậu […] (p.16)
The tale of Narcissus is intricately linked to "The Picture of Dorian Gray," as it foreshadows Dorian's obsession with his own beauty, leading him to consider trading his soul for eternal youth Regrettably, the translators overlooked providing context about Narcissus, likely assuming that the target audience was already familiar with the myth Including a brief summary of this Greek legend in the translations would have enriched the reader's understanding and connection to the themes presented in the story.
In a moment of unexpected impact, Lord Henry reflects on the profound effect his words have had on Dorian Gray, reminiscent of a book he read at sixteen that opened his eyes to new truths This chance encounter, likened to "shooting an arrow into the air," symbolizes the unpredictable nature of their meeting Lord Henry, captivated by Dorian's extraordinary beauty, openly praises it, causing the young man to feel both flattered and shy However, as Lord Henry shares his hedonistic views on the fleeting nature of beauty, Dorian becomes increasingly unsettled, revealing the unintended consequences of Lord Henry's influence This interaction highlights the delicate balance between admiration and the weight of expectation, as even Lord Henry is taken aback by the depth of Dorian's reaction.
TV1: Y cảm thấy bất ngờ trước sức ảnh hưởng mạnh mẽ của những lời nói của mình, và nhớ lại một cuốn sách mà y đã đọc khi mười sáu tuổi, cuốn sách đã mở ra cho y nhiều điều mới mẻ Y tự hỏi liệu Dorian Gray có đang trải qua một trải nghiệm tương tự không Y chỉ bắn một mũi tên vào không khí, không biết nó có trúng mục tiêu hay không Chàng trai này thật sự quyến rũ!
Hú họa refers to relying solely on chance, hoping for a lucky outcome without any solid foundation for success This concept aligns closely with the expression "shooting an arrow into the air," emphasizing the unpredictability and lack of certainty in achieving a desired result.
TV2: Gã không khỏi kinh ngạc trước những ấn tượng bất ngờ từ lời nói của mình Nhớ lại cuốn sách mà gã đã đọc lúc mười sáu tuổi, cuốn sách đã mở ra cho gã nhiều điều mới mẻ Gã tự hỏi liệu Dorian Gray có đang trải qua những trải nghiệm tương tự hay không.
47 mình không Gã chỉ đơn thuần bắn mũi tên lên trời Nó trúng đích ư? Chàng trai này mới cuốn hút làm sao! (p.35)
Baker (1992) suggested that fixed expressions or idioms can have corresponding phrases in the target language (TL), although their contexts and connotations may differ For instance, the Vietnamese phrase "bắn mũi tên lên trời" closely aligns with the English idiom "shoot an arrow in the air," yet it carries an ambiguity in the TL When compared, the translation might appear somewhat unusual to readers, as it lacks a crucial aspect of idiomatic expression—the connotation of "hú họa."
We can examine another example of a slang below
(11) OB: He had been a macaroni of the eighteenth century, and the friend, in his youth, of Lord Ferrars (p.131)
Macaroni refers to a slang term describing a group of fashionable young Englishmen from the late 18th and early 19th centuries who embraced foreign styles Notably, the famous writer Oscar Wilde also appreciated this distinctive fashion trend.
Oscar Wilde was known for his sophisticated and flamboyant style, often seen with well-groomed long wavy hair and fur-trimmed overcoats This distinctive appearance exemplifies the concept of "macaroni," effectively capturing its essence in translation.
TV1: Ông ta là một tay chơi theo phong cách Âu châu thế kỷ mười tám, và thời trẻ là bạn huân tước Ferrars (p.269)
TV2: Ông từng là một tay theo mốt đại lục ở thế kỉ mười tám, và bạn bè, thời trẻ, của Ngài Ferrars (p.182)
In conclusion, translating idiomatic or metaphorical expressions presents challenges for translators unfamiliar with the source language's culture Since idioms are fixed expressions with specific meanings, translating them through foreignization to evoke a novel feeling in the target language may not be the most effective approach.
Foreign Terms
A key distinction between the two translations lies in their approach to foreign terms, including those from French and Latin, as well as various specialized expressions.
Previously in 4.1, we have mentioned an instance in which TV1 differs with T2 in an eye-catching way That is with the word Fratricide
(12) OB: […] the Borgia on his white horse, with Fratricide riding beside him and his mantle stained with the blood of Perotto; […] (p.133)
TV1: […] Người nhà Borgia trên lưng bạch mã, với Tội loạn luân và Tội giết anh em phi bên cạnh, áo choàng vấy máu Perotto; […] (p.272)
TV2: […] người nhà Borgia trên con ngựa trắng của mình, với Fratricide rong ngựa bên cạnh, còn áo choàng nhuốm máu Perotto; […] (p.185)
The Borgia (or Borja) family, an influential Italo-Spanish noble lineage, played a significant role during the Italian Renaissance, marked by their notorious reputation for various crimes, including adultery, incest, simony, theft, murder, and fratricide This historical context suggests that the term "Fratricide" in the OB should be interpreted as a serious crime, emphasized with a capital "F," rather than as a character's name.
Another example of dealing with foreign terms is cited below
(13) OB: and gave poison to Ginevra d'Este in a cup of emerald
TV1: đem thuốc độc cho Ginevra d’Este trong cốc ngọc lục bảo
The term "d'Este" translates to "from Este" in French, and while T2 effectively conveyed this meaning in Vietnamese, T1 retained the original French term, potentially confusing readers unfamiliar with it This could lead to a misunderstanding that "d'Este" is Ginevra's last name, highlighting the challenges of translating foreign terms accurately.
SL (French in this case), translators generally choose to translate them into TL so that readers can understand the connotation
Wilde's characters frequently reference notable quotations from literary giants like Shakespeare, Gautier, Petronius, and Prevost, which convey deeper meanings beyond their literal words This raises the dilemma of whether to retain the original foreign phrases or translate them fully into the target language (TL) Keeping the original text may hinder readers of other languages from grasping the full meaning and connotation, limiting their comprehension Conversely, translating these phrases into TL enhances understanding for TL readers but robs them of the opportunity to appreciate the richness of foreign expressions.
SL readers can get with foreign terms cannot be transferred fully to TL readers this way We can take a look on some instances
As I grow older, I increasingly believe that the standards and values of our predecessors are insufficient for our generation This sentiment applies to both art and politics, suggesting that what was acceptable for our fathers is no longer adequate for us.
Càng sống lâu, Dorian, tôi nhận ra rằng những gì từng được xem là tốt đẹp cho cha ông ta không còn phù hợp với chúng ta Trong nghệ thuật và chính trị, ông bà luôn sai lầm.
Theo TV2, Dorian nhận thấy rằng qua thời gian, mọi thứ mà cha ông cho là tốt đẹp lại không còn phù hợp với thế hệ hiện tại Điều này thể hiện rõ trong nghệ thuật và chính trị, khi mà những quan điểm của thế hệ trước thường bị coi là sai lầm.
The French phrase "les grands-pères ont toujours tort," meaning "grandfathers are always wrong," is puzzlingly translated by T1 as “cứ già là phải,” which contrasts with the original meaning TV2, however, captures the essence of the quote with "lớp cha ông luôn luôn sai," but opts to present it in a target language format, losing the sense of foreignization that T1 maintained Another French quote illustrates the differing approaches of the two translators.
(15) OB: “[…] Was it not Gautier who used to write about _ la consolation des arts _? […]” (p.101)
TV1: “[…] Có phải Gautier là người từng viết về la consolation des arts không nhỉ? […]” (with a footnote: Niềm an ủi trong nghệ thuật) (p.210)
In the article, it is noted that Wilde's references to Shakespeare and Gautier are handled differently by two translators Translator 1 (T1) preserves the original French terms and includes footnotes, which the researcher supports for maintaining the foreign citation's impact on Vietnamese readers, similar to its effect on English readers Conversely, Translator 2 (T2) translates these references into Vietnamese but lacks the "local color" that Catford describes in his translation theory, resulting in a less effective cultural resonance in the target language text.
Table 4.5 below lists some other instances that two translators differ in rendering loan words
Table 4.5 Comparison of translating examples of foreign term
OB TV1 TV2 florin florin đồng lo-rin
Paul II Paul đệ nhị Paul Thứ Hai
Tokyo Tokyo Đông Kinh the divan chiếc đi-văng chiếc tràng kỉ
The article highlights the differences in translation approaches, noting that T2 sought to convert all loan words into the target language, including place names, while T1 opted to retain some original terms.
Other Discusion
When an original text is translated into multiple versions in the same target language, it often leads to discrepancies in how each translator understands and interprets the original message This phenomenon is not uncommon in translation practices.
51 two investigated translated versions This part will examine some random cases that the disagreement occurs
The following example demonstrates another disagreement in how two translators comprehend and render the word surrender
(16) OB: Oh, I can't explain When I like people immensely, I never tell their names to anyone It is like surrendering a part of them I have grown to love secrecy (p.7)
TV1 rendered surrender as giao nộp, while it is qui hàng in TV2 Let us examine the difference and evaluate each one by looking at verb’s property of transitivity
Khi tôi thích ai đó, tôi không bao giờ tiết lộ tên họ, vì điều đó giống như giao nộp một phần của họ Tôi ngày càng trân trọng sự bí mật này.
Khi tôi yêu ai đó sâu sắc, tôi thường không tiết lộ tên của họ cho bất kỳ ai, như một cách để giữ phần nào đó của họ cho riêng mình Tình yêu của tôi nảy nở một cách kín đáo và riêng tư.
Surrender can function as both a transitive and intransitive verb When used intransitively, it signifies "to stop fighting and admit defeat," following the structure of surrender + to something In contrast, a transitive usage requires a direct object, structured as surrender + something, indicating a different meaning.
Surrender is defined as "to give something that is yours to someone else because you have been forced to do so or because it is necessary" (Cambridge Dictionary Online) This definition is echoed in the Merriam-Webster Dictionary In Vietnamese, the intransitive meaning of surrender translates to terms like đầu hàng, quy hàng, or quy phục, while its transitive form corresponds to giao ra, giao nộp, or từ bỏ.
In the context of surrender, it is not a transitive action; rather, it implies giving up a part of someone we deeply care for When Basil mentions surrendering a part of someone he loves, it signifies the act of relinquishing or submitting a portion of that person In this sense, "surrender" translates to giao nộp, giao ra, or từ bỏ một phần của họ in Vietnamese, highlighting the emotional weight of letting go of a part of our loved ones.
In the opening chapter, Basil reveals to Lord Henry his deep affection for a young man whose innocent and thoughtless behavior simultaneously captivates and pains him.
The speaker expresses deep emotional turmoil, feeling that they have surrendered their entire being to someone who carelessly inflicts pain This relationship is likened to a superficial adornment, where their soul is treated as a mere decoration for the other's vanity, highlighting the disparity between genuine connection and thoughtless exploitation.
This case again witnesses the disagreement between two translators, because it seems that they understood the bold and italic texts above in different ways
Tôi cảm thấy rằng tôi sẵn sàng trao tặng cả linh hồn mình cho ai đó biết cách trân trọng nó, như một bông hoa để trang trí cho áo choàng của họ, biến thành một món trang sức nhỏ làm đẹp cho hư danh của họ trong những ngày hè.
Harry, tôi đã hoàn toàn hiến dâng linh hồn mình cho người xem, giống như một bông hoa cài áo hay một món trang sức trên bàn trang điểm, chỉ là một vật trang trí trong mùa hè.
The analysis focuses on the metaphor of treating something as a flower to place in one's coat, examining its positive or negative connotations T1 interprets this as Basil offering his best to someone he deems deserving, suggesting that those who respect his love will receive his full devotion However, this is contradicted by Dorian's thoughtless behavior, which reveals he does not merit such a gift In contrast, T2 correctly identifies the original tense, indicating that although Dorian does not deserve Basil's soul, he has received it nonetheless Dorian's treatment of it as a mere decorative ornament highlights his vanity and lack of appreciation The phrase "coi đó chỉ như" effectively conveys Basil's bittersweet emotions towards Dorian.
In conclusion, variations between two translations of the same original text are inevitable due to each translator's unique mindset and interpretation While some discrepancies may arise from structural and grammatical misunderstandings, these instances are rare and should be viewed as minor errors in a substantial work like The Picture of Dorian Gray Such errors can largely be minimized through careful post-translation review.
Summary
After observing both translations, we can deduct some comments as follows
The article highlights the contrasting translation strategies of two versions, TV1 and TV2 TV1 adopts a foreignization approach, preserving the original writing style and maintaining all components of relative clauses in Vietnamese, which generally results in clear expressions but can occasionally lead to awkwardness In contrast, TV2 employs a domestication strategy, simplifying relative clauses for a more natural target language structure, resulting in leaner sentences that may sometimes appear curt or ambiguous Additionally, the translators' choices in personal pronouns contribute to differing tones in their versions, with one maintaining a neutral tone while the other adopts a more intimate style.
In conclusion, both translators exhibit distinct tendencies in their translation methods while striving for a balanced approach in their versions Their differing techniques provide valuable insights into addressing specific English structures that lack direct equivalents in the Vietnamese language.
Suggestion
In case of relative clause, I suggest another way to deal with this kind of structure, that is to use the adverb vốn
The term "vốn" can function as both a noun and an adverb, each with distinct meanings This study focuses on its role as an adverb, defined in Tu dien Tieng Viet (Nguyen Kim Than, 2006:1323) as “nguyên từ trước hay nguyên trước kia là…”, indicating a comparison with the subsequent clause As an adverb, "vốn" highlights a feature or characteristic of the preceding noun, making it an effective translation method for certain relative clauses Examples illustrating this usage are provided below.
The organization, which was the governing body for professional cycling in
Great Britain, had recently hired Dave Brailsford as its new performance director
Tổ chức này, là cơ quan quản lý vận động viên đua xe đạp chuyên nghiệp tại Vương quốc Anh, vừa mới bổ nhiệm Dave Brailsford làm giám đốc hiệu năng.
The relative adjective which clarify the function that the organization is in charge of
The term "vốn" reflects the current state of the organization, aligning with the original meaning of the relative clause Similarly, a consistent approach is applied to the "which" clause in this context.
Of course, these pursuits also indirectly improve our odds of survival and reproduction, which is the deeper motive behind everything we do
Các mưu cầu này không chỉ cải thiện cơ hội sống sót mà còn nâng cao khả năng tái sinh sản, điều này chính là động lực sâu xa thúc đẩy mọi hành động của chúng ta.
This article explores the connection between survival and reproduction, emphasizing the importance of understanding these characteristics The term "vốn" illustrates the relationship between a noun phrase and the subsequent phrase A final example will highlight the effective use of "vốn" in translating relative clauses, showcasing its persuasive power.
Take a break from the space where you do your daily work, which is also linked to your current thought patterns
ST: Hãy tạm xa không gian cũ nơi bạn thường làm việc hằng ngày vốn đã gắn chặt với các mô thức tư duy hiện tại
With the above sentence, vốn works well because it shows in Vietnamese translation how closely the space connects with current thought patterns, from the past up to now
Conversely, the limitation of vốn, referring to "the feature or characteristic that the object has before," can hinder the translation of relative adjectives in certain instances This occurs particularly in cases lacking the connotation of "the feature it possesses previously." To illustrate this point, we will examine examples from the book discussed in Chapter 4, starting with an example from the very beginning of the story.
(1) From the corner of the divan of Persian saddle-bags on which he was lying, […], Lord Henry […]
Here it seems forced and unnatural if we use vốn to translate which here
However, there is one example T1 adopt this way of vốn to translate RP that, we can see it in the following instance
OB: […] the medium of an art that is necessarily immobile
TV1: […] nhờ vào sự trung gian của một nghệ thuật vốn dĩ tất yếu là bất động […] (p.16)
In translation, the term "vốn" can effectively replace the relative clauses "which" and "that," thereby reducing the reliance on "mà" or "cái mà." This approach enhances the variety of translation techniques employed in the text.