Luận văn a translation quality assessment of the vietnamese version of chapter 6 in the novel lady chatterley's lover using j house's model

Based on the analysis of this text, some major findings and suggestion of phonological and cultural problems might be drawn as well Furthermore, the study shows that the application of c

VIETNAM NATIONAL UNIVERSITY, IIANOT UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES

FACULTY OF POST-GRADUATE STUDIES

CAO HUYEN TRANG

A TRANSLATION QUALITY ASSESSMENT OF TILE VIETNAMESE VERSLON OF CHAPTER 6 LN THE NOVEL

“LADY CHATTERLEY’S LOVER” USING J HOUSE’S MODEL

@ANII GLA CHAT LUQNG BAN DICT TIENG VIET CIIUONG 6 TIỂU

'THUYẾT NGƯỜI TÌNH PHU NHÂN CHATTERLEY DỰA TRÊN MÔ

HINH CUA HOUSE)

MA MINOR THESIS

Major: English Linguistics Code: 60.22.02.01

HANOI - 2014

VIETNAM NATIONAL UNIVERSITY, IIANOT UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES

FACULTY OF POST-GRADUATE STUDIES

CAO HUYEN TRANG

A TRANSLATION QUALITY ASSESSMENT OF THE VIETNAMESE VERSION OF CHAPTER 6 IN THE NOVEL

“LADY CHATTERLEY’S LOVER” USING J HOUSE’S MODEL

(ANH GIA CHAT LUONG BAN DICH TIENG VIỆT CHƯƠNG 6 TIỂU

THUYET NGUOL TINH PHU NHAN CHATTERLEY DỰA TRÊN MÔ

HIiNH CUA HOUSE)

DECLARATION

1, Cao Lluyen ‘rang, hereby declare that this thesis, which is entitled “1 translation quality assessment of the Vietnamese version of Chapter 6 in the novel "Lady Chaiterley's lover" using J House's model", bs nol been submitted as an exercise for a degree at this or any other university and it is entirely my own work as the result of my awn original research All materials used as references in this thesis are quoted clea

wly with Wei sources while data collection and results were

comprehensively done by me,

Signature

CAO HUYỆN TRANG

ACKNOWLEDGEMENT

This thesis would nol have been possible without the guidance and the help

of several individuals around me, to only some of whom it is possible to give particular mention here

Firat and foremost, T would like to express iny ulmost gralilude to my advisor

Assoc Prof Dr Lé Wing Tién for his motivation, enthusiasm, and immense

imowledge From the early stage, it was his fascinating lectures on translation studies thal inspired tre to conduct (his thesis During the process this thesis was

conducted, £ have received his valuable guidance, insightful comments and sincere

encouragement thal T would never forgel My sincerest thanks go Lo my tremendous

anentor for cncowaging my research and for allowing me to grow as a rescarch

scientist,

T would like to express my decpest gratitude toward my whole family and my

friends for their kind support and great encouragement which urges me in

completing this thesis

ABSTRACT

The field of translation has never witnesses a strongly increase in the

requirement for literary translation before Thanks to good translations, readers over

the world are offered a chanse to access and enjoy many timeless works ‘Ihis field,

however, involves various challenges Therefore, this minor thesis aims at

discovering many factors causing lo these diffivullies and suggesting several yecommendations to improve the quality of translation More specifically, the thesis attempts to evaluate the quality of the Vietnamese version of Chapter 6 in the novel

"Lady Challerley's lover" using J House's model Based on the analysis of this text, some major findings and suggestion of phonological and cultural problems might be

drawn as well Furthermore, the study shows that the application of covert

translation and abuse of some Vietnamese colloquial expressions tend Lo lower Ihe true value of the source text so that readers are likely to experience a “sloppy translation” with pornographic rather than erotic scenes due to its preference of

physical clement to spiritual one

ii

LIST OF ABBREVIATIONS

SL: Source Language

TI Targel Language

ST: Source Language Text

‘TT: Target Language lext

TQA: Translation Quality Assessment

Ww

LIST OF FIGURES AND CHARTS

Figure 1.4 model for translation quality assessment by House (1977)

Figure 2: A Scheme for Analyzing and Comparing Original! and 'lranslation ‘Text in

by House (1997).

W Aims of the study

3 Scope of the study

4 Methorlology of the study

5, Design of the study SH HH HH H0 HH0 tái

PART B: DEVELOPMENT

Chapter 1 LITERATURE REVIEW

1.1, Literary translatlon s10 21 1i

LLL Definition of literary translation

1.1.2 Difficulties of literary translation

1.1.2.1, Cultural translation problemns is neo

1.2.3.2 Stylistic translation problems

1.2.2.3 Linguistic translation problems

1.2.2.4 Text specific translation problems

1.2 Translation qualily assessment

1.2.1 The role of translation quality assesstmenf

1.2.2 Approaches towards translation quality assessment

1.2.3 Previous models for translation quality assessmenL

1.2.3.1, Nida's responso-based approaoh co no

1.2.3.2, Koller’s text-based approach

1.3, Housc’s model of translation quality assessment

1.3.1 LÍouse” origial model

2.1 Source Language Text Analysis

2.1.1, Source Language ‘Text Backgzound

2.1.2 Analysis of ST in accordance with Ilouse's model

3.1.3 Statement of function

2.2 ST and I'l comparison and Statement of Quallity

2.2.1 ST and TT comparison for mismatches

PART A: INTRODUCTION

1 Rationale for the study

‘The field of translation, especially literary translation has undergone many shifts and trends over the last few decades with wide-range arguments Numerous

approaches have come and gone in a hope to define “a good literary translation”

which satisfies all the requirements of literary translation ‘To resolve these issues,

many theories have been proposed and applied in an attempt to assess the quality of

a translation This would be of great benelit for both translators amd readers in

Vietnam nowadays after some mishaps in literary translation, It is obvious that there

have been many literary translations so far such as Harry Porter, Twilight, The

Miserables, The call of the wild, Woman ia Jove, Lady Chatierley’s lower, etc

However, the quality of these translations still involves countless arguments

because of conflicting theories Thus, i is vilal to address an appropriate theory for

evaluating translation quality Among them, Juliane House with ber well-known model for assessing translation quality is widely accepted Despite of its

unavoidable limitations, J House’s model, based mainly on the theory of fumetional

grammar by K Halliday, is chosen by most researchers thanks to its best

applicability

Feeling interested in D.H Lawrence’s novels, especially Lady Chatterley’s

Lover, the researcher tries to conduct this miner thesis with a hope that it would be

of help for translators, readers and other of concern With its four-letter words and

its exphcit descriplions of sexual intercourse, Lady Chalterley’s Lover is the novel

with which DH Lawrence is most often asyociated First published privately in Florence in 1928, it attracted countless controversies due to the reputation of being

a sordid book Also, its present Viebumnese version by Ho Ath Quang is still a snatter of criticism Among other chapters, chapter 6 is an interesting one with

Connie’s new awareness of the self and sexuality through a beauty revelation

featured with erotic scenes

2 Aims of the study

‘The overall aim of the study was to apply J.fouse’s TQA model in order to evaluate the quality of the Vietnamese version of Chapler 6 in the novel "Lady Chatterley's lover translated by Ho Anh Quang Specifically, the research tries to analyze the source text and target text using Iouse’s model, in the light of MAK Halliday’s theory to assess the quality of the translation, find oul some mismatches between the two texts aud draw a conclusion of what type of wanslation is employed The thesis also suggests some implications for a better

edition of this novel

‘Yo achieve this aim, the two research questions are generated as follows:

- Hew good is the quality of translation text in the light of House’s model?

- What need to he done ta improve the quality of the iranslation?

3 Scope of the study

Within the scope of a minor thesis, it is impossible to analyze the entire

novel “Lady Chalterley’s Lover” with 19 chaplers Therefore, the thesis will focus

only on analyzing Chapter 6 which raises Connie’s new awareness of the self and

sexuality and appraises Tawrence’s bitler indiciment of modem industrial society and explicitly describe sexual intercourse between man and woman This chapter

consists of 13 pages, from page 46 to page 58, published in 2005 by Wordwarth

Editions Timuted) As mentioned above, wilh this controversial novel, D-H

Lawrence took a different view of the relationship between the two sexes than was

generally mentioned before Thus, it is unsurprising that this novel was considered

as a pomographic rather than erotic work until 1960 Like its original text,

Vietnamese version also attracts countless attention from translators, readers and

literary critics Therefore, this thesis is conducted in hope to present a

comprehensive analysis of this literary translation as well as seek the true value of

the novel.

4 Methodology of the study

‘This thesis is conducted to investigate the translation quality of Chapter 6 in

the novel “Lady Chailerley’s Lover’ by D.H Lawrence, applying Julian House’s

model, which is set up on the basis of functional pragmatic theories of language use

To conduct this research, qualitative analysis is employed to study an

individual text closely More specific, the chapler 6 of the novel Lady Chalterley’s

Lover’ was selected for assessment based on J House’s model (1977) with eight

dimensions of language use and language user Also, the analysis makes a strong,

comparison between ST and TT in order to find out mismatches on each ditnension

and declares the quality of translation Descriptive and comparative techniques are also used to evaluate the translation text The data for this study is collected through

the procedure of critical analyzing, based un House's model

5, Design of the study

This research is presented in three chapters as bellow:

Đan A: Tatraduction - gives an overview of the rationale, aim, scope,

methodology and design of the study

Part B: Development

- Chapter 1: Literature Review — presents an overview of some related

concepts of translation theory and some typical models of translation quality

asscasinenl

- Chapter 2: Results and discussion analyzes the source text, the target text as well as compare the two texts based on the framework provided

in chapter 1

Part C: Conclusion - summarizes the results of the research and suggests

some recommendations for a better translation.

PARTR DEVELOPMENT

CHAPTER 1 LITERATURE REVIEW

‘This chapter is designed to re-examme some fundamental concepts in the literary translation and introduce some typical models for assessing translation

quality im order to provide theoretical orientalions for the analysis of the Chapter 6

in the novel ‘Lady Chatterley’s Lover’ including translation theory, literary translation and translation quality assessment Several well-known linguistics such

as Nida, Peter Newmark, Koller and J House with their notable works are presenLed

in this section

1.1 Literary translation

1.1.1 Definition of literary translation

Among other types of translation, literary translation seems to be discussed

at greatest length due to its special features, that is, it implies the translation of all genres of literaoe, which include prose, drama and poetry As affinned by Bush

(1998:127), “fiterary translation is the work of literary translators That is truism

which has ta serve as a starting point for a description of literary translation, and

original subjective activity at the center of a complex network of savial and cultural

practices The imaginative, intellectual and intuitive writing of the translator must

not be last to the disembodied abstraction which is often described as

“Sransiation” With this definition, Bush pul a stress on the mission of a ‘lilcrary

translator” as well as the social and cultural factors

Following Bush’s idea of literary translation, Lambers (1998:130) also

asserted thal “a published translation is the fruit of a substantial creative effort by

the translator, who is the key agent in the subjective activity and social practice of

translation” He clauns that it is the literary translator who decides to translate and gives the literary translation its existence no matter what restraints of the network of social and culliral factors arc Literary translation, mdecd, is a matter of challenges

In order to emphasize its difficulties, Johnson (1999:1) presented it as ‘gn apparently nebulous body of knowledge in oral or written form, an imitation of life, which reflecis civilisation and culture, and which covers every angle of hranan

activities-culture, tradition, entertainment, information among others Sharing the

same view with other predecessors, John Bester (quoted by Landers, 2011: 10)

claimed thal hlerary translalion is "an art of the possible; compromise is inevilable

and universal” Llowever, this art also emphasizes aspect of equivalence between source text and target text in literary translation “the translation of texts which are regarded as “hlerary” im the source culiure and the translation of a lexi (in principle, at least, any text) in a way that the product be acceptable as “literary” to

the recipient cutiure”, as affirmed by Toury (1993)

Tn general, literary translation is considered as ome of the groal creative and universal means of conununicating the emotional, spiitual and intellechial concems

of humankind, Consequently, it may be said to have the grealest number of peculiar problems melding cultural, linguistic, stylistic factors and the text itself, which will

be discussed in the next section

1.1.2, Difficulties in literary translation

Since every language portrays the world in diverse way and has its own

grammar structure, grammar rules and syntax variance, literary translation involves

challenges for both inexperienced and experienced translators This section,

therefore, is designed to discover prominent difficulties that translators tend to cope

wilh literary translation as ‘“Swhen there is any kind of translation problem, Hlerary translation is normally (not always) out of the question” (Newmark, 1988:70)

The difficully im translation, indeed, just hes in the fact thal botl the content and the style are already cxistont in the original and as a result, the translator must

reproduce them as they are in quite a different language,

Obviously, literary translation is a challenging activity and there are already

a great number of difficulties that emerge throughout the translation process According 10 Christiane Nord (1997), a (ranslalor might experience Inanslation difficulties if he lacks the skilled required for a certain translation job No matter how good and experienced he is, he is likely to encounter obstacles when translating two different languages To illustrate his viewpoint, he formulated a made) in which he divides different translation problems into four sub-types, namely, cultural, stylistic, linguistic and text-specific problems, which will be briefly

discussed in the following sections

4.1.2.1, Cultural translation problems

Undeniably, culture is also a major concern of litorary translation, As a

result, cultural translation problems refer to the differences in ‘conventions (norms)

and habits’ (Schjoldager, 2008) between ST culture and TT culture One particular

genre is set up and written in a certain way in the ST culture but may have to be

different if the TT conventions are not the same in that specific genre Certainly,

culture is a key role thal enables one 1o understand a literary work, which is quile a

relatively difficult issue to handle even in the SL, not that of TT It leads to a

requirement of the translator’s understanding of the beliefs, values, attitudes of the

SL so that ho can successfully transmit it to pcople of difforent scts of beliefs,

attitudes and values lt might be drawn that the closer the two cultures are, the less

challenging the work of translator seems

Jn terms of the relationship between receptors and translators, Larson (1984:436} develops the idea that “The receptor audience will decode the

translation in terms of his own culture and experience not in terms of the culture

and experience of ihe author and audience of the original document The translator then must help the receptor audience understand the content and intent of the

source document by iranslating with hoth cultures in minds” Consequently, tis not

an casy task to transplant a text steeped in one culture into another, especially it

possesses its own metaphors and allusions

1.2.2.2, Stylistic translation problems

Another factor challonging translators belongs to stylistic feature, caused in rendering the style in which a SI is written According to Landers, “style” is an

“oxymoron” to a translator In order to perform his or her task well, it would be suggested that the translator strives to have no style at all and disappears into and become “indistinguishable from the style of SL author” Preferably, translator

should adapt to the style of each author translated but always as faithful to the

original as much as possible In narrow sense, style can be understood as the way

one says a thing or the way something is written as distinct from its subject matter

1.2.2.3 Linguistic translation problems

‘the third challenge is linguistic translation problem, which is derived from structural dilferenees between the soures language and the target language (Nord, 1997) Linguistically, each language possesses its own metaphysics which determines the spirit of a nation and its behavioral norms It rejects the commonly

held belief thai all people of different countnes have @ commen logical structure

when processing with language independent of communication Instead, it emphasizes the influences of linguistic pattems on the way people peroeive the world Consequently, the modes of thinking and perceiving in groups utilizing different linguistics systems will result in basically different world views Since words or images may vary considerably fram one group to ancther, the translator

necd to pay alloriion lo the atyle, language and vocabulary peculiar to the two

languages in question in order to produce an ‘exact’ translation of the source

language text

1.2.2.4, Text specific translation problems

The last problematic issue involves text feature As the name indicates, text- specific Ganslation problems are specific far this one toxl, The aforementioned

elements prove to be bound to this specific $1’ In order to successfully translate the

ST, the translator must know that they are and what they refer to after reading the

entire novel

Consequently, it is vital to suggest an effective solution which satisfactorily answers all the aforementioned challenges Despite various ways of solving these problems, Schjoldager’s concept is shortly noted with three questions for tanslator

as follows:

© While translaling, arc you expected to focus on the form and content

of the SY or on the effect of the

KỆ

® Are you expected to act as a communicator of somebody else’s

communication or as a tedialor between primary parties?

@ Is your translation to appear as an overt translation or as a covert one? (Schjoldager, 2008)

Answering these questions will help the translator decide whether 10 choose

a ST oriented stategy or a TT oricnied strategy While the loner one mainly focus

on ST form and content with the preference an overt translation the latter one put a

stress on the effect of the TT with the emphasis on covert transkalion,

1.2 Translation quality assessment

1.21 The rale of translation quality assessment

As mentioned earlier, translation quality assessment plays important role in Tinguistic fick Nowmark (1995) regards translation criticism or translation quality assessment (QA) as a crucial link between translation theory and its practice and

as “the keystone of any course in comparative literature, or literature in translation, and a component of any professional translation course with the appropriate text-

types as an exercise for criticism and discussion” In his work, “A textbook of translation” (1995), Newmark affirms that quality assessment in translation could

‘be considered a very crucial and usefut tool for transtatars which could perfect their

competence as well as gain more essential professional experiences Secondly, TQA

could help translators cxpand their knowledge and understanding of linguistics regarding either their mother tongues and the foreign language or topics discussed

in the translation Ultimately, this activity offers a goud chance for translators 10, furst, re-organize their knowledge of translation in terms of translation principles

and then, to sharpen their comprehension of translation theories which are

extremely important for professional translators

1.22 Approaches towards translation quality assessment

It has long been discussed that the aim of each translation activity is ta

produce a good translation, a good TT However, whal criteria should be based on

to say that one ‘I'l is a ‘good’ translation while another is ‘bad’ or ‘poor’ still remains a challenging question to answer Schaffner (1997) states that the criteria listed are supposed to be dilferent regarding the purpose of the assessmonl and on the theoretical framework which the people in charge of assessing translation

quality apply House (1997) also agrees that ‘diferent views of translation lead to

different concepis of translation qualily, and hence different ways af assessing it’

‘The answer to what a good translation is still remains controversies A large

majority of studies on this issue, im facl, has been conducted House (1986)

classifies the studics into four main categories: pre-linguistic studies, responsed-

based paycholinguistic studies, source text-based studies, and studies based on pragmatic theories of language use

Undertaken by professional translators, philologists, and poets on the subject

of wanslation and translation quality, pre-linguistics studies put emphasis on such

criteria including the faithfulness to the ST and the preservation of the ST's

* specific flavor’ (House, 1986) ‘These criteria may seem valid but rather vague and impractical, as asserted by Cicero, ‘a translation should be free A translation

should be literal”

Meanwhile, advocates of the second group consider a good wanslation one which accomplishes the purpose of the ST but in target language (Forster, 1958) The leading representalive for Ultis approach is Nida with the ‘dynamic equivalence

principle’ According to him (1964), the response of TT receptors should be similar

to that of Si’ audience ‘he question, however, is whether this criterion can be

tested or nol if would remain ‘mentalistic and needs further defimition’ (Newmark,

1974) Though many experimental studies conducted by Nida and ‘aber (1969), Miller and Beebe-Center (1958), and later Carroll (1966) suggested different tests and slandard to produce concrete quslity statements, a score of drawbacks of Ihe tests were recoguuzed and thoroughly explained by House

The third group consists of researchers who use the ST as the basis to

evaluate a translation text A consistenl model meluding crileria for the

comprehensive description and explanation of the SI and for the evaluation of the

TT should be built to overcome shortcomings of previous studies on TQA (Wilss, 1974) Supporting Wilss’s concep! Reiss (1973) also shares a common idea thal quality of a translation can be determined on the basis of the ST, more specifically,

its function and type The suggested models are potentially useful, however, lack of

conerete ideas to be effeelively applied

‘The Jast group of studies represented by House (1986) proposes a model of

transtation quality assessment based on pragmatic theories of language use Given clear and comprehensive linguistic theories as the foundation and specific steps, the

model is built to overcome the inadequacies of previous models Yet, it should be

noled thal the model requires translation critics lo reach a ceriaim level of both

linguistic knowledge and professional skills to apply, which makes it difficult to be widely used

In his book, Newmark (1995) also suggests another method to evaluate a translation text which is a “comprehensive criticiym of a translation’ This method including five main steps is actually a summary by Newmark of the process that any

transtalor must experience when translaling a texI Despite the weakness regarding

theoretical ground in comparison with Llouse’s model, Newmark’s model seems to

be an effective tool with a wider application

10

1.2.3 Previous models for translation quality assessment

1.2.3.1 Nida’s response-based approach

Before Nida, most scholars writing aboul translalion applied a particular linguistic approach to the topic, taking translation to be a type of applied linguistics

In favor of systematic approach to translation, Nida (1961) suggested three criteria

to assess qualily of a translation which are programmatic and generat genorat efficiency of the communication process; comprehension of intent; equivalence of zesponse The third and most important criterion is, of course, closely to Nida’s

well-known besic principle of “Dynamic (or Functional) Equivalence of a

translation”, the manner in which receptors of the translation text responds to the translation text must be equivalent to the manner in which the receptors of the

source (ext respond to the source texls Nida and Taber (1969:173) also provides

three similar criteria: the correctness with which the receptors understand the

message of the original, the ease of comprehension and the involvement a person

experiences as a resull of the adequacy of the form of the transtation Again, these behavioral criteria need to be further explained and put to the practical tests

1.2.3.2 Koller’s text-based approach

Koller (1974) acknowledges the impertanes of a linguistic model of translation

quality assessment with three steps The first step is to consider the transferability of

the original text Tf the original text is transferable, il Lends to achieve the most

equivalent translation Lf the original text is untansferable, there would be no

equivalence or no translation is made The source text should be remained the same

The second step is to re-translate the target into the source language A translation is

acceptable if the target text is similar in meaning with the source text after it is re- translated The following step is to have the translation ‘proof-read by native

speck

speakers of the target language It means that they are able to interpret the

s of the target language’ A translalion must salisfy readers as native

‘translation without challenges

11

In general, in spite of its strengths, Koller’s model scemingly docs not go beyond a very general outline with no suggestions for application Criteria that the

transferabilily of a text based bave nol been mentioned in bis model Moreover, the

approach might not offer a specific method so that it might not be applied in a real

translation Thus, it needs to be further developed and made more concrete in order

to form a workable model of TOA

1.2.3.3 Peter Newmark’s comprehensive criticism approach

According to Peter Newmark, translation criticism is an essential component in

a Wanslalion course He suggests three reasons in order to explain for this idea

First, it considerably improves your competence as a translator Second, it expands your knowledge and understanding of your own and foreign language, as well as perhaps of Ihe lopic Thirdly, it will help you to sort out your ideas about translation As an academic discipline, translation criticism ought to be the keystone

of any course in comparative literature, or literature in translation, and a component

of any professional translation course with the appropriale tex(-Llype as an exercise for criticism and discussion

According to Peter Newmark, a comprehensive criticism should cover five

topics to criticize a text:

1 A brief analysis of the SL text stressing its intention and its functional aspects

2 The iranslator’s interpretation of the ST lexi’s purpose, his translation method and the translation’s likely readership

3 A selective but representative detailed comparison of the translation with the

Despite its prominence among those previous models, this model scems hard to apply as it mainly relies on the translator’s experience Consequently, it is likely to

bơ inelToetive [or inexperienced translators

in short, in spite of their strength, the three first models still experience limitations In Nida and Taber’s model, all the tests and criteria suggested by these two theorisls seem unfruilful, This might be explained by the limitation of intelligibility and lack of reference to the ST Although Koller’s model tumed out to

‘be more appropriate, emphasizing on the necessity of developing a comprehensive,

linguistic model of translation, he seems not to go beyond a very general outline

without further implications Conceming Peter Newmark’s notion, all five topics to criticize a text are clearly stated but rely on translator’s experience As a result, this

model is inched to challenge new translators Meanwhile, House’s model, based

on semantic, pragmatic and textual aspect, is considered the most appropriate one to

assess translation quality

1.3 House’s model of translation quality assessment

Unlike other theorists, Juliane House put a sess on semantic and pragmatic

equivalence and argues thal ST and TT should maich one another in function She suggests that it is possible to characterize the function of a text by detcrmining the

situational dimensions of the ST More specifically, every text itself is placed within

a particular situalion which has to be correctly identified and taken into account by

the translator If the ST’ and the II differ substantially on situational features, then

they are not functionally equivalent, and the translation is not of a high quality In

fact, she claims that a translation text should not only match its source text in

function, but employ equivalent situational-dimensional means to achieve that

function

1.31 House’ original modet

Juliane Llouse gives a model for ‘IQA which is based on pragmatic theories of language This model attempts to avoid anecdotalism, reductionism, programmatic

statements and intuitively implausible one-sided considerations of the ST and TT

13

alone In this modol, there is an analysis of linguistic-situational particularities of the source and target texts, a comparison of the two texts, and an assessment of their relative match The basie requirement (or equivalence is (hal the translation should have a fimetion which is equivalent to that of the original, aud should also employ equivalent pragmatic means for achieving that function An initial analysis of the original according to sel of siluationsl dimensions for which linguislies correlates are established will be made ‘Then, there will be a comparison between the original and the translation in terms of textual profiles and functions In this comparison, some mismatches are likely to occur, namely, dimensional mismatches and non dimensional mismatches

In order to do so, each text must be analyzed individually for establishment of cenvesponding Iextual function, which was defined by House as "dhe use of the lext

in a particular situation" (louse, 1977; 38) This situation bound the text and for the purpose of analysis, it was broken down into specific situational dimensions,

which are presented im her model as follows:

A Dimensions of Language User 1, Geographical Origin

The theoretical framework for above scheme was Crystal and Davy (1963)'s model, of which most of dimensions were adopted by House, those of Time, Medium, Participation and Province,

The next step, according to House, is to figure out how above situational

dimensions "are realised syntactically, lexically and textually" (House, 1977-51)

14

To do so, analyzer shall, in cach dimension, pick up syntactic, lexical and textual ameans which are “fext-specific linguistic correlates io the situational dimensions"

(House, 1977-52) The basis for hose Imguistic correlates were taken by House

(1977: 51-61) from linguistic theories such as grammatical models of Quirk and Greenbaum (1973), treatment of the textual means based on Enkvit (1973), theme- theme distribution of Prague school, types of text constilution of Sall (1974),

illocutionary forces What are found will lead researcher to statement of in S'l’s

function composed by ideational and interpersonal textual components, two terms

are adopted from Halliday (1970, 1971, 1973)

At might be concluded that the main purpose of Llouse’s model is to analyze the

SL text and TL text according to given situational dimensions of the model to get

the respective textual profiles, and that of ST lext will be further used as vonn bo

judge the appropriateness of the TL text (House, 1997: 52) The secondary objective

is to identify the possible mismatches between the original and translation The

above mentioned detailed comparison of text by silustional dimension helps to xeveal possible mismatches, and such mismatches were named covertly erroneous

eros This lype of error, on the other hand, suggests another type: overtly cironcous ciror, which is used to name the amismatches in denotative meaning or

breaches of IL system More specifically, over translation is "one in which the IT addressees are quite "overtly" not being direcily addressed”, thus an overt

translation is one which must overtly be a translation, not, as it were, a "second

original" (louse, 1977; 189) and covert translation is "a translation which enjoys

or enjoyed the status of an original ST in the target culture (House, 1977:194)

House's notion of overt and covert translation, according to Munday (2008:93), is

"rather confusing’ and the difference between them "is cline rather than a binary

opposite" (2008: 94) To distinguish, House clarified “the ST of overticovert

translation is respectively tied/ not tied to source language community and culture"

(1977: 189,194) As a result, ST of covert translation is tied to expectation of the jarget culture addressee while that of overt translation ta less likely to be so This

15

leads to the definition of cultwal filter — a concept suggested by House as "a means

of capturing socio-cultural differences in shared conventions of behavior and communication, preferred rhetorical siyles and expectation norms in the bro speech communities" saust be applied to covert translation Such application challenges

either translator or evaluator by demanding a considerable consideration of cultural

presuppositions of both SL's communily and TT's community, ie the translator aust, in House's words, "view the ST through glasses of target culture member" (1977: 196, 197)

1.3.2 Hause’s revised translation quality assexsment model

1lcuse”s original model attracted numerous comments and criticisms, which led

to her further refinement in 1997 The most controversial issue in her model,

according to many crilics, is the overlapping of data while analyziry: Ihe text by

dimension

In her revised model, House added the new category of Genre in order to

provide more comprchensive analysis for (ext profile Genre here is defined as ‘a socially established category characterized in terms of occurrence of use, source and a communicative purpose or any combination of these’ (House, 1997) Genre,

Register and Language correlates to cach other According to House, Genre serves

as a bridge connecting Register and I'unction In general, the application of her

revised model enables researchers to cxamime a text on different levels: Fimeiion,

Register and Language, which are illustrated as bellow:

Subject matter and Participant relationship « Medium

social action = Author’s provenance and (simple/complex)

Figure 2: A Scheme for Analyzing and Comparing Original and Translation Text in by Louse (1997)

‘Yo sum up, in her revised model, [louse (1997) introduces the component Genre, to thoroughly categorize a text’s function and the language required Genre

is defined as “a social established category characterized in terms of occurrence of use, source and a communicative purpose or any combination af these” Besides, based on Halliday’s ‘trinity’, House uses “Field Mode and Tenor” to build her model and make it easier to be applied Compared with her original model, the operation of the newer one is also kept in the same way Besides, she put a stress on

the importance of cultural filter

1.4, Summary

This chapter has provided the theoretical background relevant to the objectives of the study The researcher has illustrated an overview of the notions of literary translation and wanslation quality assessment To begin with, ihe thesis attempts to emphasize some general characteristics of literary translation as well as its four typical challenges with a clear explanation Then, the role of TQA or is also taken ilo consideration with fou TQA models, suggested by several well-known linguistics Finally, House's original mode! and her revised one have also been introduced as the last findamental concept for the study In the next part, Chapter 6

of the novel ‘Lady Chatterley’s Lover, will be investigated, applying House's model 1977 as the theoretical framework,

CHAPTER 2

RESULTS AND DISCUSSIONS

‘This chapter will present the application of Mlouse’s ‘translation quality assessment model to assess the quality of the target text To be more specific, a source text profile will be analyzed on dimension of language use and language user A statement of fimotion is then drawn to see the degree to which the original

tex! fulfills its ideational and interpersonal function The nex slage is a comparison

of original and translation text on the aforementioned dimensions Any violation of these dimensions is categorized as covert mistakes, and also a demonstration of

overt mistakes arc also given Finally, statement of quality can be asserled based on

House’s model,

2.1 Source Language Text Analysis

2.1.1 Source Language Text Background

D.IL Lawrence is regarded as one of the most controversial authors of the

20" century history of English literature as well as the first great working-class

British writer Like many other writers, he was deeply opposed to the industrial

civilization of his time with the belief that modem civilization had a destructive effect on the life of spirit Most of his works reflec! emotional life, praise the natural

beauty of human beings and free love with sacred erotic scenes (David Lillis, 2005, University of Kent at Canterbury)

OF all the novels, none has received a more hostile reception than thie last

one, Lady Chatterley's Lover, a story of an aristocratic woman who finds escape

from a frustrated marriage in the arms of her husband's gamekeeper The book

itscH, though rife with unprintable, is rivaled for scandal by [he hislory of ils publication, It was first published privately in Florence in 1928, but bamed in the

WS and UK

18

Despite its controversy this novel succeeds in not only depicting the political and economic malaise of British society after the Mirst World War but also stating the regenerative power of sexual love belween man and woman - an a(fimation of life and the possibility of happiness, Chapter 6 is an interesting chapter which took

a different view of the relationship between the two sexes than was generally discussed ever before This chapler begins with a discussion between Commie and

‘Tonuny Dukes on male-female relations, vontinues with description of Connie’s sexual depression and ends in her discovery of natural beauty of human beings

J.2.Analysis of ST in accordance with House's model

A Dimensions of Language Users:

(1) Geographic origin: for the namative, il is non-narked Standard English British For the speeches among interlocutors, it is marked as Hiberno- English This geographical dialect is most strongly marked phonologically

Sn’ sixpence an’all! Oh, your Ladyship, you shouldn't, you shouldn't’

b use of ye Lor you:

Why, are yer back a’ready!"

Why, where was yer Dad?’

‘Fancy Lady Chatterley takin’ all that trouble over yer!"

‘Why, isn’t Lady Chatterley goed to yer!

® Lexical means:

a presence of a few Hiberno-English words and phrases:

‘Oh, you'd no right ave bothered, Lady Chatterley, T’m sure! I’m sure it was very good af you, but you shouldn’t ‘ave bothered’

‘Fancy Lady Chatterley takin’ all that rouble over yer! Why, she shouldn’r

‘ave bathered!’

19

‘Why, I'm sure ‘bwas very kind of you, I must say! So she was crying! I knew there'd be something afore they got far She’s frightened of ‘im, that’s where

il is Seems *

3 almost a siranger to ‘er, fair a stranger, and I don't think

they're two as’d hit it off very easy He's got funny ways’

(2) Social class: the narrative is non-marked, Educated Middle-class while some speeches are marked [or uncdueated low-class As wilh the geographical dialect above, the class dialect is most strongly marked phonologically

© Syntactic means

a syntactic means listed above under Geographical Origin are also

applicable here (cf Geographical Origin)

b abundance of contractions and elliptical clauses throughout the text

c frequent use of contractions ‘d’ for ‘weuld’ and ‘ave’ for ‘have’

‘Oh, you'd no right t'ave bothered, Lady Chatterley, I’m sure! I’m sure it

was very good of you, but you shouldn’t ‘ave bothered Why, did ever you

seel’,

‘Fancy Lady Chatterley taltin’ all that trouble over yer!) Why, she shouldn't

‘ave bothered!’

(3) Time: marked, 1928

B Dimensions of Language User:

(1) Medium: written to be read as if heard because when reading the text,

readers are aware of the fact thal they are listener and the narrator acts as

story-teller, witnessing what is happening The medium is characterized by

20

presence of deletion, elliptical clauses, commentary phrases, colloquial, interjection, short and simple sentences, lack of conjunction

® Syntactic means:

a Typical pattems characterizing the spoken mode reproduced in form of a narration Dialogues in the text are, therefore, sel up in one direetion The structure always is: A said “{imessage X)” B said “(message Y}”

‘twas no bother, just a walk’, said Conme smiling.”

‘Ti isn't true’, she suid ‘Men can love women and talk to them I don’t see

how they can love them WILHOUT talking, and being friendly and intimate Well,’ he said, T don’t know What's the use of my generalising?

b Short and simple structured sentences, this is casy to sce throughout the

text and thus not necessary to be listed here In the case of narrative, some

sciicnces sland alone which brings le readers the feclingg thal the

information is left unfinished

c Repetition of some word to intensify the types of narrative, at all levels,

on the one hand, and to hold life together and give it beingness On the stylistic level, the repetition involves the types of lexical cohesion

1? What am I doing but talking perfectly sincerely ta a woman at this

moment?’

‘Yes, talking ”

3 think they ought to’

‘All right The fuck that things ought 10 be somethings else than whai they

are, is not my department’

e Lexical means:

a Presence of interjections or spoken language signals: “Oh', “4h’, Well”,

“ugh”, “Weil then’, “None at all”,

b Ample use of expletives and colloquial in both narrative and speeches:

‘Be damned to the artificial sex-compulsion’

‘dh, shut it up, tha false little bitch!

21

‘So that’s THAT’

‘The bitch-goddess! Well, if one had to prostitute oneself, let it be to a bitch- goddess’

c Fore-grounded words: frequent use of verbal process The repeated use of this verb helps to maintain the atmosphere throughout the text

Tady Chatterley!’ he said

‘¢{ only called with a message from Sir Clifford; she said in her soft, rather

breathless voice’

Would you care to sit down?’ he asked’

‘With the child?’ asked Connie

‘Only she looked up at him again, and remarked: I hope I didn't disturk you?

‘But isn’t there something special about him?! Connie insisted

‘Might he?’ said Clifford T hadn't noticed’

© Textual means: Lack of transitional words and phrases sentences

indicating the transition of theme between juxtaposed and thus reveals

lack of premeditation typical of spoken mode as it seems

(2) Patticipations: this category is complex predominantly monologous with

a few traces of indirect, implied addressee participation

Addressees are elicited by the use of direct addressee (Crs personal

pronoun, second and third pronoun, possessive pronouns) and indirect ones which are manifested linguistically, for instance, switching among

imperalive, inlerrogalve and declarative uHeranees, presence of

exclamations, rhetorical questions and question tags

e Syntactic means:

a Use both monologue and dialogue

b ‘The text is a kind of narrative fiction ‘Iherefore, there is an ample use of

the second and third personal and possessive pronouns to indicate direct and

indirecl inleraction siLsalions in the text This also shows the presence of direct

and ‘implied’ addressees Besides, the “You” and “She” in the deepest sense are

2

used to convey Lawrence’s attitudes towards his characters Among these pronouns, the third personal pronoun “she ” is the most frequently used

c Presence of rheforical questions and embodded questions in uticrances produced by interlocutors through which the addressees are invited indirectly to participate

‘Oh God, if the mechanism of the consciusness itself was going lo go wrong, then what was one to do? Hang it all, one did one’s bit! Was one to be let down absolutely?’

Why, one might even rather hate him, personally Vet if he was the man, what would one’s personal hate matter?’

(3) Social role relationship: synmetrical relationship: the relationship between addresser (remralor) & addressee (readers) in which the addresser ries lo attract the addressee to his story wnthơut any authority over addressee

e Syntactic means:

Presence of reference: Proper names (Connie, Tommy Clifford, Mellor) are,

in many case, replaced by singular personal pronouns to express the neutral attitude towards interlocutors (she, he, Tonuny, Clifford, the keeper )

® Textual means:

Tresence of events in chronological order reveals the role of a narralor

(4) Social attitude: consultative-casual

‘The text is mixed by the tone of formal and informal, depending on each

situation which sets the frame for interlocutors and addresser At the beginning of

the text, an informal tone is employed to show intimacy relationship between Connie and Tommy to imply an open discussion on a sensitive topic [lowever, in

the rest of Chapter 6, the narrator uses consultative tone to deliver his message as

well as express his attitude {he social attitude of the addresser towards his addressees then is reflected on the level of a consultative-casual style

Consultative slyle is manifested in the way the addresser was aware thal he

could not skip certam parts of his message, and hence be fairly claborate in

23

providing background information in which addresses are now considered as temporary “insiders”, and this is where the casual style is characterized, Relatively elaborated explicitness throughout the text more or less roveals the intimacy that

addresser has set between himself and his ‘unplied’ addressees sơ that he could

express freely his own confidence Casual style is manifest in conversations among imlerloeulors (House, 1977)

© Syntactic means:

a Incompleteness of clause: presence of elliptical clauses which adds to the

conversational and chatty tone of the text It 1s obvious that Lawrence inserts

additional incomplete sentences im order to invite the reader to focus his

attention on the acts and deeds of the characters (cf Mfediumi)

b, Short and very short sentences indicating the style of a story teller and signaling the direct speech belweau addresser and addressoc Also, he uses the indirect speech and even direct so as to push the reader closer to the character’s

mind

‘Yes, talking."

‘Nothing perhaps But a woman ’

‘But they shouldn’t be!”

‘T think they ought to’

‘But isn’t there a difference?’

‘I should hate it’

"You may feel it, T don't’

© Lexical means:

¥ore-grounded verbal process marked [-formal] due to the relation that the

addresser set up with his addressees and high frequency of colloquial and

expletives used in existing relationship between him and his addressee (cf

Medium)

(5) Province

14

Regarded as an orotic rather than a pomographic work, Lady Chatterley’s Lover discusses the subject of sexual relations between two adults as something tulural, a8 a source of pleasure rather (han shame Furthermore, the novel represents the author’s struggle to convey his firm conviction that

a full sexual relationship might not be detached from love, feelings and emotions In Chapter 6, we, readers, will approach the author’s view on Ihe sexual relationship between man and woman via an interesting, discussion between Connie and Tommy Dukes, social distance in two conversations (between Cormie and the gamekeeper, between Connie and his mother) and Connie’s discovery of beauty’s revelation which emphasize Lawrence's influence of Freud To cover the above mentioned issues, a high proportion

ary words in conversulions, direcl and indirect s

repetition instead of conjunction, morphemic variants, alliteration, voicing

and colloquial items were successfully employed What is more, the text is

featured by Ihe presenee of inversions, oddments of using punctuation marks; parallelism and contrast, adjective order violation and symbolic

melaphors

e Syntactic means:

a Consistent use of Ihe past simple lense which is popular in narrative [on

b Deliberate use of verbal process in narrative form (c.f Medrum)

c Presence of figurative language: those of simile (cf Medi); rhetorical

questions:

‘No doubt water ought not to be so wet as it is; it overdoes it in wetness’

‘Like a chip on a dreary pond, she felt’

‘The child was already us full io the brim with iricks as a lille monkey, and

so self-assured’

‘Twas a sort of magic, ceriainly it was triumph’

‘Itseemed as if most of the ‘really good’ men just missed the bus’

‘As life have a child to rabbit!

25

‘ subtle as a weasel playing with water and utterly alone’

d Presence of clausal linkage which is described by a system of basically

logical relation beLw

cn clauses and sentences in the text, for example

additive, alternative, causal, explanatory, or illative relation

» Lexical means:

a The text is dominated with words and phrases belonging to the theme of

sex, love and money: like, desire, want, love, talk, Inaman species, men,

women, preience, male, female, sex things, cocktail parties, youth, life, home,

Jos, marriage, happiness, husband, mother, father, stoicism, money, fame,

business, bilch-goddess, first-class, solution, child, baby, dying, stopped,

end, motionless, inwardness, aristocratic, silence, strength, hips, loins, back, bowi, head, arms, ears, creature, nudity, purity, mind, body, confusion,

position, generation

b Preponderance of adjectives and adverbs which are used to describe the

characters’ appearance and their mind as well as the foregrounding

The readers might find not only the pattem of ideas hinted at in the narrative

but also the tone of Lawrence’s voice there indicates some logical specially

in the word order In this text, the author breaks the rule of adjective order

and puts them in a reverse order, for example: ‘a fittle, rather dry woman’,

‘that thin, proud man’, ‘that little sharp woman’, ‘a creature purely alone’

c Use of lexical items marked [thuman] For example, the ‘wood’ is used with [thuman] subject noun: “From the old wood vame an ancient melancholy, somehow soothing to her, better than the harsh insentience of

the outer world She liked the INWARDNESS of the remnant of forest, the

unspeaking reticence of the old trees They seemed a very power of silence, and yet a vital presence They, too, were waiting: obstinately, stoically

wailing, and giving off a potency of silence Perhaps they were only wailing

(for the end: to be cut down, cleared away, the end of the forest, for them the

end of all things But perhaps their strong and aristocratic silence, the

26

silence of strong trees, meant something else’ In fact, the ‘sacred’ wood is emblematic of spontaneity, fertility, and vitality against the mechanistic lifestyle of Wragby thal symbolizes the modern icchnological society Ta contrast to Wragby, the wood comes to symbolize natural energy, exceptional and sexual fertility, nature, silence and tenderness

® Textual means:

Textual cohesion is relatively loose due to that it is maintained mainly by the

use of phrases indicating chronological events and the distribution of main themes throughout the text ‘This textual mean, however, helps to characterize the text as

narrative and reflecis the professional a

clivily of aulhor as writer Main themes are

indicated through several mechanisms of theme-dynamics and clausal linkage:

Lheme-dynamics:

a Ropolition of lexical items which carry the thome and act as key-words in the text: love, like, talk, desire, sex, men, woman, money, marriage, happiness, body

b Iconic linkage through the use of structural parallelism:

‘Home was a place you live in, love was a thing you didn’t fool yourself

about, jay was a word you applied to a good Charleston, happiness was a term of Iypocrisy used io bluff other people, a father was an individual who enjayed his

own existence, a husband was a man you lived with and kept going in spirits’

‘These men seemed so old and cold Everything seemed ald and cold’

‘Tt was a question of power H was a question of will; a subtle, subtle, powerful emanation of will out of yourself brought back to you the mysterious nothingness of

money a word on a bit of paper It was a sort of magic, certainly it was trhanph”

c Clausal linkage through logival connectors: “but’, ‘and’

‘And what more could I do if you were a man, than talk perfectly sincerely to

you?’

‘But don't take me as a general example, probably I’m just a special case’/

‘But doesn’t it make you sad?’.

‘Ani you see there’s no question of kissing between us, is there ’

‘She didn’t want people But her quick ear caught another sound, and she

roused; if was a child sobbing’

2.1.3 Statement of function

The function of the text consisting of an interpersonal and an idestional component may be summed up in the following way: the addresser’s main intention

is to affect or change the addressee’s attitude toward sexual relation, social distance

in love as well as to praise the physical beauty of human beings with his own

writing style

The interpersonal functional component is the dominant one in this text, being strongly marked on cach dimensions of language use The ideational functional component, while implicit present, is never specially marked The individual dimensions operate in the following way: On the dimensions Geographical Origin, il is obvious thal the text is partly marked [or Hiberno-

Hnglish and lower social class dialect (through Mellor and his mother’s dialect)

This dimension operates to support the interpersonal functional component because

the dialect features add lo ihe (cxl’s emotive and humorous effects as well as Ube

social distance among interlocutors

On the Adeditum dimension, we found that the text has a complex mode:

written to be read as if heard This mode acts in support of the interpersonal

component of the texts’ fumetion by promoting a direel imvolvement of the

addressees, suggesting that the addresser is speaking to the addressees Also, the interpersonal functional component is supported by the dimension Participation

‘because of the implied addressce participation manifest in the presence of personal and possessive pronouns and the use of addressee-directing utterances in the text Similarly, on the dimension of Social Rolz Relationship, a symmetrical relaliouship

‘between addresser (narrator) and addressee (readers) is built to enhance the

interpersonal functional component ‘the Social Atritude dimension is marked for

28

consultative-casual style, a style level suitable for expressing the interpersonal functional component with a considerable presence of ellipses, contractions ‘The

last dimension, Province, ia the notable one with ils allempl lo convey the iđestional

as well as interpersonal function of the text, revealed through the conversations among characters, and Mellor’s bathing scene, the first erotic scene in this novel,

2.2 ST and TT comparison and Statement of Quality

2.2.1 8T and TP comparison for mismatches

The following mismatches of the TT in comparison with the ST are pointed ont on the basis of situational dimensions suggested in House’s model

a Geographical Origin There is a tolal mismatch on this parameter, no

attempt has been made in TT to find a Vietnamese geographical dialect as a

“match” for the lhbernc-Lnglish one in ST’ It is, of course, true that differences in

the cultural heritage of the wo language communities makes transference of culture-specific phenomena sometimes impossible However, culturally different

‘but somehow ‘comparable’ phenomena can be sought for a TT of a given ST By

failing to select a Vietnamese dialect, the translator failed to deliver the writer’s

intention whose use of dialect to unply the social distance in British society at that

time Actually, the dialect itself is one of the numerous symbols that characterize

the novel ‘The symbol of industrial society, of the proletarial, of Mellar’s world,

which is just the opposite to the high-brow society represented by Wragby.” (Lorena

Perez Hernandez, 1998)

ST: ‘Nay, you mun ax ‘er’, he replied callously, in broad vernacular

TT: ‘Hay da, hông, hông có gì cả”, gã gần giọng trả lời, têng dia phương, kha thé thiễn

ST: ‘You did, your Ladyship’, he said; then, with a return to the vernacular:

‘but I canna tell yer’

TT: 'Bà đã hội, thưa phụ nhân", gã đáp và rồi, quay trữ lại với giọng điệu

thê ngữ địa phương: “Những bả hông thế nói cho lệnh bà biéi

29

ST: Lady Chatterley!" he said ‘Will you come in?’

11: Phu nhan Chatterley!” Gd néi ‘C6 vao nha chú?”

Most importantly, il is 2 aymbol of Mellor’s sincerity, honesly and warmth in using the dialect, At the beginning of the story, Mellor makes use of the dialect to achieve precisely the opposite goal: to make explicit the distance between Connie and himself, and therefore, to mark his territory However, in the following chapters, Comnie’s attempts to imitate his dialect are likewise linked to the development of their relationship At last, Connie crosses the class line to follow her passionale love for Mellors, the gamekeeper

b Medium

This dimension is also strongly violated since TT has fewer features

characterizing the spoken component of the complex medium written to be read as

¥f heard As slated in the above scction, Lawrence represenis the concept off

*repetition’, for like any prophetic writer, he lets lus reader be aware of such

‘repetition’ as to intensify the types of narrative However, the TT failed to transfer

the ST’s miention

ST: ‘I knew there’d be something afore they got far She’s frightened of ‘im,

that's where it is Seems ‘e's almost a stranger ia ‘er, fair a stranger, and I don’t

think they’re bwo as’d hit it off very easy’

TT:

'ái biết rước đây bon chúng từng đi quá xa, trong một số việc Con bé

rãi sợ bố nó, thê đây.Với con bé có vẻ bố nó là một người xa lạ, một người lạ tốt

bụng, tôi không nghĩ hai bố con nhà nó lại có thể dễ dàng trở nên thân thiết với nhau được

ST: In the very experience of the nothingness of life, phase after phase, TAPE afier TAPE, there was a certain grisly satisfaction So that's THAT! Always this was the last utterance: home, love, marriage, Michaelis: So that's TILAT! And when

one dided, the last words to life would be: So that’s THAT!

30

TT: Trong những trải nghiệm về tình trạng hu không của cuộc dời, hết giai đoạn nàp đến giai đoạn khác, hết cuộn băng này đến cuộn băng khác, vẫn tồn tại

câm giác hãi lòng, mổn nguyện đến kinh khủng Thế đá

¢ Participations: addressee is less involved in TT than in the ST; no implied addressee participation

Addressees seems to be Tess involved in TT to which the translator applied strategies to make it more reader-targeted friendly, this accidentally reduce the involvement of addressee into the text that ST tried to bring Moreover, the TT does

nol succeed in mentioning ‘implied reader’ due to Lhe translalor’s misusage of the

plural second person pronounce ‘ You" and the third person neutral pronoun “One”

ST: ‘Since, of course, it's not your own fault you are alive Once you are alive, money is a necessity, and (he only ubsohue nevessily Al the rest you can gel

along without, at a pinch But not money’

TT: Tat nhiên, khi việc sống trên cõi đời này chẳng phải là lỗi lầm của chỉnh bạn Chỉ cân mội lần bạn sống trong dời, tiên bạc là thứ cần tuết và đấy là thứ duy nhất hệt đối cân thiết Tắt cả những thứ khác bạn có thể không cần đến, diẫu chỉ một mẫu Nhưng tiền bạc thì không"

ST You couldn’t spend your last sou, and say finally: So that's THAT! Ne,

if you lived even another ten minutes, you wanted a few more sous for something or other Just to keep the business mechanically going, you needed money You had to have it, Money you HAVE to have You needn't really have anything else So that's

buộc phải có Bạn thực sự không cần đến bất cứ điều gì khác Thế đây!

ST: Tf you were young, you just set your teeth, and bit on and held on, till the money began to flow from the invisible; it was a question of power Tt was a

3I