Linguistic and cultural features expressed in the metaphor in the english vietnamese bilingual grimm’s’ fairy tales

I, Nguyen Thu Hien, hereby certify my authority of the study project report entitled LINGUISTIC AND CULTURAL FEATURES EXPRESSED IN THE METAPHOR IN THE ENGLISH-VIETNAMESE BILINGUAL “GRIMM

VIETNAM NATIONAL UNIVERSITY, HA NOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF

POST-GRADUATE STUDIES -

-NGUYỄN THU HIỀN

LINGUISTIC AND CULTURAL FEATURES EXPRESSED

IN THE METAPHOR

IN THE ENGLISH-VIETNAMESE BILINGUAL

“GRIMM’S FAIRY TALES”

(Những đặc trưng về ngôn ngữ và văn hóa thể hiện qua phép ẩn dụ trong tác phẩm song ngữ Anh – Việt “Truyện

cổ Grim”)

M.A MINOR THESIS PROGRAMME I

Field: English Linguistics Code: 8220201.01

HA NOI – 2020

VIETNAM NATIONAL UNIVERSITY, HA NOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF

POST-GRADUATE STUDIES -

-NGUYỄN THU HIỀN

LINGUISTIC AND CULTURAL FEATURES EXPRESSED

IN THE METAPHOR

IN THE ENGLISH-VIETNAMESE BILINGUAL

“GRIMM’S FAIRY TALES”

(Những đặc trưng về ngôn ngữ và văn hóa thể hiện qua phép ẩn dụ trong tác phẩm song ngữ Anh – Việt “Truyện

cổ Grim”) M.A MINOR THESIS PROGRAMME I

Field: English Linguistics Code: 8220201.01

Supervisor: Asso.Prof Nguyen Van Do

I, Nguyen Thu Hien, hereby certify my authority of the study project report

entitled LINGUISTIC AND CULTURAL FEATURES EXPRESSED IN THE METAPHOR IN THE ENGLISH-VIETNAMESE BILINGUAL “GRIMM’S FAIRY TALES” submitted in partial fulfillment of the requirements for the degree

of Master in English Linguistics Except where the reference is indicated, no otherperson‟s work has been used without due acknowledgement in the text of the thesis

For the fulfillment of the master thesis, firstly, I would love to express mydeepest gratitude to my supervisor Asso.Prof Nguyen Van Do for his invaluableguidance, insightful comments and kind support

Besides, I also wish to send my sincere thanks to all my colleagues at thefaculty of Foreign Languages at Ha Noi University of languages and internationalstudies faculty of post-graduate studies for their suggestions that enable me tocomplete my study

Finally, I am also indebted to my family for their supports and care during thecompletion of my study

This thesis titled “linguistic and cultural features expressed in the metaphor

in the English-Vietnamese bilingual “Grimm‟s‟ Fairy Tales” points out someoutstanding factors of the conceptual metaphors which are used in literature and inculture The main theoretical background of the study includes the concepts of theconceptual metaphors express through the emotional conceptual metaphors in bothEnglish and Vietnamese culture and descriptive, as well as the features of culture

Firstly, varieties of metaphors terms are collected from authentic materials

and classified by two kinds of emotions: sad and happy Then, the research paper

focuses on comparing and contrasting the data, and showing the statistics of thecollected terms Lastly, the conclusion clarifies the research questions and somesuggestions for further study are given

I hope that the research may find out some interesting elements in emotionalconceptual metaphor in fairy tales and in culture

TABLE OF CONTENT

CHAPTER 1: INTRODUCTION 1

1.1 Rationale 1

1.2 Aims and objectives of the study 2

1.3 Research questions 2

1.4 Research hypothesis 2

1.5 Scope of the study 3

1.6 Structure of the thesis 3

CHAPTER 2: LITERATURE REVIEW 5

2.1 Framework of cognitive semantics 5

2.2 Definition of metaphor 6

2.3 Background of conceptual metaphor 8

2.3.1 Types of metaphors 8

2.3.2 Framework of conceptual metaphors 9

2.4 Emotional factors 10

2.4.1 Classifications of emotions 10

2.4.2 Universal of emotions in cultures 12

2.5 Characteristics of metaphors in the Grimm’s tales 12

2.6 Chapter summary 14

CHAPTER 3: METHODOLOGY 16

3.1 Research methods 16

3.2 Research process 17

3.4 Procedure of data analysis 18

3.5 Chapter summary 18

CHAPTER 4: ANALYSIS AND FINDINGS 19

4.1 Conceptual metaphors of happy in Vietnamese and English tales 19

4.1.1 Conceptual metaphors of happy with the source domain CONTAINER 19

4.1.2 Conceptual metaphors of happy with the source domain DIRECTION 22

4.1.3 Conceptual metaphors of happy with the source domain FORCE 23

4.2 Conceptual metaphors of sad in Vietnamese and English tales 25

4.2.1 Conceptual metaphor of sad with the source domain CONTAINER 25

4.2.2 Conceptual metaphors of sad with the source domain DIRECTION 27

4.2.3 Conceptual metaphors of sad with the source domain FORCE 29 4.3 Evaluation of the emotions expressed in the emotional conceptual metaphors in both Vietnamese and English fairy tales 31

4.4 Chapter summary 33

CHAPTER 5: CONCLUSIONS AND RECOMMENDATIONS 34

5.1 Conclusions 34

5.2 Suggestions for further research 36

REFERENCES 37

APPENDIX 41

V

CHAPTER 1: INTRODUCTION 1.1 Rationale

Glucksberg (2001, pp 13–15) identifies figurative language as an interestingand mysterious phenomenon in language and literature Figurative language canappear in plenty of different forms, from literature, science, journals, advertisement,

to common communication language (Dancygier and Sweetser, 2014, p 50) Based

on the characteristic of imposing effectiveness in a creative world, figurativelanguage has been become popular in literature Being considered as one of themost kinds of an exclusive figurative phenomenon, metaphors are primarily aphenomenon of a thought rather than of language, which have been applied to allaspects of life (Kovecses, 2010a) As other figures of speech, it is often a challenge

to gain a firm grasp on the ability to understand metaphors because “metaphors can usefully be seen as a kind of risk-taking in the interest of richer interpersonal communication” (Carter and McCarthy, 1997, p 140), it is always an attraction to

linguists and literary researchers

Therefore, the study will pursue three main purposes First, the study will aim

to make contribution in the views of the light onto the above questions by the theory

of emotional conceptual metaphors and the analysis of fairy tales Second, the studyaims to analyse how to convey and build meaning over centuries Third, the studyfocuses on analysing the influence of these factors on the cultural aspect in bilingualstories Franz (1996) expressed that:

“Of the various types of mythological literature, fairy tales are the simplest and purest expression of the collective unconscious and thus offer the clearest basic understanding of the human psyche.”

Although fairy tales have been studied from many theoretical angles, such assymbolism, feminist or structuralism However, the roles of conceptual metaphors,which are included in the fairy tales, and its affection on both language and cultureare still an interesting field for the researcher It is accepted that they have a hugesemiotic potency and an ever-varying polysemous nature Furthermore, with the

notion of metaphors, the central to any defining characteristics of the fairy tales canalso be seen to be reflected in the structured of the tales Nevertheless, the motifs offairy tales are consisted to the plot outline of the tales‟ types, although individualversions of fairy tales may vary.

Fairy tales share amazingly similar plot outlines and motifs even across distantcultures On the one hand, this may be accounted for by their characterization as

“the purest expression of the collective unconscious” (Franz, 1996, p 1) according

to Jung‟s theory, where there is “much less cultural overlay” than in myths orlegends (Franz, 2017, p 1) On the other, from a linguistic point of view, since fairytales are abundant in symbols (conceptual metaphors), similarities may be explained

by the manifestation of a specific kind of metaphor which is thought to be grounded

in universal primary experience, namely, primary metaphor Primary conceptualmetaphors in fairy tales may reveal common ground between cultures and theiranalysis is important for the enhancement of intercultural competence

1.2 Aims and objectives of the study

The study aims to find out the roles of emotional conceptual metaphors,expressed in English – Vietnamese bilingual “Grimm‟s Fairy tales” For theachievement of aims of the study, there are objectives, including (i) identifyclassification characteristics of the system of metaphorical conceptual metaphorsfrom the aspect of cognitive semantics; (ii) identify human emotion expressionmechanisms expressed in Vietnamese and English tales; and (iii) find the commonfeatures and characteristics of language, cultural that are expressing emotions inEnglish and Vietnamese in bilingual tales

1.3 Research questions

Based on the aims and objectives, the research question is as following:

How are the emotional conceptual metaphors expressed in the Grimm’s tales

in both Vietnamese and English versions ?

1.4 Research hypothesis

To achieve the aims and objectives, the study evaluates emotional conceptual

metaphors influence on both language and culture Obviously, conceptualmetaphors can be an effective tool, conveyed knowledge throughout humangenerations It is not only a pervasive device used in fairy tales at a local level, but afull structuring of the plot outline that underlies the essence of the fairy tale As aresult, the readers will not only make sense out of the basic events of the stories, butalso deeply understand the morality, punishments, love, humanity, cultural, themagic, contained in it Lakoff (1999, p 194) expressed as following:

“Conceptual metaphor is pervasive in both thought and language It is hard to think of a common subjective experience that it is not convened conceptualized of metaphors… Conceptual metaphors are built out of primary metaphors plus forms of commonplace knowledge: cultural models, folk theories, or simply knowledge of beliefs that are widely accepted in a culture.”

1.5 Scope of the study

Due to limitation of time, the study only focuses on the emotions of theGrimm‟s brother fairy tales (1857); and the Vietnamese version that translated bythe famous translator Hữu Ngọc The study is conducted in fairy tales of theGrimm‟s brothers, the latest publication in 1857; and Vietnamese version, which is

translated by the famous translator Hữu Ngọc Kinder- und Hausmärchen, collected

by Jacob and Wilhelm Grimm, was first published in 1812, with a second volumefollowing in 1814 (pre-dated 1815) A revised edition appeared in 1819 The lastGerman edition to appear during the Grimm brothers' lifetime was the seventh(1857) Although the most accurate translation of the Grimms' title would

be Children's and Household Tales, most English readers know these stories as Grimms' Fairy Tales, or all-too often, ungrammatically as Grimm's Fairy Tales - Kinder- und Hausmärchen (Children and Household Tales) is listed by UNESCO in

its Memory of the World Registry

1.6 Structure of the thesis

In addition to Abstract, Table of Content, Bibliography and Appendix, thethesis are including five chapters as following:

Chapter 1: Introduction: This chapter provides an overview of the study

including the reason for choosing the topic, scope, aims, and structure of theresearch

Chapter 2: Literature Review: This chapter provides an overview of literature

theories, related to the research topic

Chapter 3: Methodology: This chapter presents analyses and discusses the

essential methodology in this research

Chapter 4: Analysis and Finding: This chapter shows analysis of collected

data and the finding of the research

Chapter 5: Conclusion and Recommendation: The chapter make a summary

of research result and suggestion for future research

CHAPTER 2: LITERATURE REVIEW

2.1 Framework of cognitive semantics

Cognitive linguistics contributes four important models for inclusive wordresearch, including (i) typical model of classification structure; (ii) theory aboutconceptual metaphor and conceptual metonymy; (ii) model of idealized cognitive;and (iv) frame theory (Kristiansen et al., 2008, pp 21–30) However, within thescope of this study, the second theory (ii) is the only research subject

Cognitive semantics are quite similar to cognitive linguistics, which are not asingle theory framework According to Evans and Green (2018, p 130), there arefour main principles of cognitive semantics, including conceptual structures areembodied or called the embodied cognition thesis; semantic structures areconceptual structures; meaning representation is encyclopaedia; and meaningconstruction is conceptualization The concept of cognitive semantics for metaphors

is a complex theory Thus, metaphors are made up of a series of parts orcomponents that interact with each other (Kövecses, 2003, pp 3–10) According toKövecses (2003, pp 3–20), there are ten components, which are experiential basis,source domain, target domain, relationship between target domain, source domain,metaphorical linguistic expression, mapping, entailment, blend, non-linguisticrealization, and cultural models The conceptual metaphor has the structure of two

spaces, which are source domain and target domain Source domain is more specific

while target domain is more abstract Moreover, source domain provides knowledge

to understand target domain The choice of specific source domains goes with target

domains is driven by the experience basis The relationship between target domainand source domain maybe a source domain which can be applied for some targetdomains and a target domain can go with some source domains

The specific pairs of target domain and source domain are expressed throughthe metaphorical linguistic expression by mapping Mapping is the process ofassigning an image of the source domain to the target domain The source domainusually maps the data into the target domain based on the basic correspondences

The extra mappings are called entailment or the deduction The entailment isunderstood by the receiving a knowledge by the well-known knowledge The sets ofsource and target domains often produce a blend, that means creates a new creatingconceptual materials that are considered new to both the source and target domains.The conceptual metaphor is often realized in a nonverbal way, that is, not only inlanguage or in thought but also in social reality The conceptual metaphors converge

on and often create cultural models that are expressed in various forms depending

on the characteristics of the national cultural language and practical experience ofhuman That means the conceptual units are structured as a whole

2.2 Definition of metaphor

There are no universally definitions for culture However, most of researchersagreed culture as an organic system of human and material values created andaccumulated through practical activities, in the interaction between people and thenatural and social environment (Eliot, 2010, p 26) Along with the development ofculture, language played an important roles in the cultural formation process.Barnbrook (2002, pp 1–10) expressed language as a mean of communicationbetween the elements of society, reflecting many aspects of a certain culture Thestructure of language is made up of two important factors, including the innerfactor, consisting the intellect of the individual speaker, and the external factor,meaning a common culture for many people speaking the same language

Metaphors, according to Kövecses (2003, pp 40 - 50), is one of the mostimportant and widespread figures of speech Thus, from the different point of view

of the researchers, metaphors have been described in different ways Historically,the word “metaphor” is originated from the Greek word “metapherin” which means

“to carry something across” or “to transfer” (Gross and Walzer, 2008, pp 200–203).Thus, Aristotle was credited as the pioneer that built a theory of metaphor.According to Lucas (1968, p 204, cited in Leezenberg, 2001, p 33), metaphor isdescribed as a “transfer of a name belonging elsewhere” However, the definition ofAristotle was merely at the level of words and later authors made more extensive

studies about the nature of metaphor than he did Lakoff and Johnson (2008, pp 7–24) defined metaphor as a process by which perceive as “one thing in terms ofanother, and its primary function understands” Metaphors has been considered as

the interaction between two words only Kövecses (2003) argued that “in cognitivelinguistic view, metaphor is defined as understanding one conceptual domain interms of another conceptual domain” Accordingly, in conceptual metaphor,Conceptual domain A is conceptual domain B The two conceptual domains have aunique name, including target domain (T.D) and the source domain (S.D) Whilethe conceptual domain that we try to understand is T.D, the one that we use for this

purpose is S.D For example, in the sentence “Love is a journey”, love is a T.D and journey is a S.D.

Currently, there is a systematic procedure for the identification ofmetaphorically used words and expressions in real discourse The system is called

as metaphor identification procedure (MIP), designed by the Pragglejar Group(Steen, 2010) Accordingly, there are four steps in MIP First, read the entire text-discourse to establish a general understanding of the meaning Second, determinethe lexical units in the text-discourse Third, for each lexical unit, establish itsmeaning in context, that is how it applies to an entity, relation, or attribute in thesituation evoked by the contextual meaning Take into account what comes beforeand after the lexical unit For each lexical unit, determine if it has a more basiccontemporary meaning in other contexts than the one in the given context If thelexical unit has a more basic current – contemporary meaning in the other contextsthan the given context, decide whether the contextual meaning contrasts with thebasic meaning but con be understood in comparison with it If yes, mark the lexicalunit as metaphorical (Group, 2007, p 33)

Understanding one domain in terms of another involves a set of fixedcorrespondences (technically called mappings) between a source and a targetdomain This set of mappings obtains between basic constituent elements of thesource domain and basic constituent elements of the target Understanding a

conceptual metaphor is to know the set of mappings that applies to a given target pairing The mapping provides much of the meaning of the metaphoricallinguistic expressions (or linguistic metaphors) that make a particular conceptual

source-metaphor manifest Turning back to the example, Love is journey, we can have a set

of mapping as follow:

The obstacles encountered => The difficulties experienced

For example: We have hit a dead end.

Their marriage is on the rock.

We cannot turn back now.

Obviously, these definitions meet one another at a point that they all regardmetaphor as the description or conception of this object in terms of another due tosome of their similar qualities Besides, metaphor is not only a common device used

in language but also an important process concerning human‟s cognition about theworld

2.3 Background of conceptual metaphor

For example, in the “Time is motion” conceptual metaphor, the mapping is as

following: (i) Times are things; (ii) The passing of time is motion; (iii) Future times

are in front of the observer; (iv) Past times are behind the observer; (v) One thing ismoving the other is stationary; and (vi) The stationary thing is the deictic centre.Ontological metaphor provides an extremely fundamental but crucialunderstanding for target concepts (Kovecses, 2010b, pp 231–240) Therefore,ontological metaphor can see more sharply delineated structure where there is verylittle or none Personification is a form of ontological metaphors (Lakoff and

Johnson, 2008) For example, Life has cheated me; and The company went dead on

me

Orientational metaphor provide less conceptual structure for target conceptsthan ontological one (Kovecses, 2010b, pp 231–240) Thus, orientational metaphorprimarily play a role as an evaluative function Due to its characteristics, thismetaphor makes large groups of metaphors coherent with each other For example,

More is up, less is down: speak up, please! – Keep your voice down please.

2.3.2 Framework of conceptual metaphors

Geeraerts (2010, pp 182–213) identifies that conceptual metaphor theory isbased on three essential propositions First, metaphor is a cognitive phenomenon.Second, the metaphor must be analysed as a mapping between two domains Third,semantics is based on epistemological experience

The first clause of conceptual metaphors, which is the cognitive nature ofmetaphors, leads to the fact that metaphor is not a mere lexical phenomenon, outside ofthe linguistic level; rather than that, it is a profoundly conceptual constructivistphenomenon There are three main points should be noticed Firstly, conceptualmetaphor appears in the model which are out of every single vocabulary unit; the

metaphor imagines can be used creative, for example, “to walk on the cloud nine” means “very happy” could be understood like the light strange way: “you may be walk

on the cloud nine now, but don‟t forget there‟s a world with other people underneath” Obviously, the imagine in the patterns “to walk on the cloud nine” in the example is the reality Finally, model of metaphor happens outside of the language The second clause

of conceptual metaphors theory is analysis of

mappings inherent to metaphorical models Metaphors conceptualize the targetdomain based on source domain and such a map has the form of a link betweensource and target domain aspects The third clause of conceptual metaphor theoryargues that metaphors are based on epistemological experience It means language

is fixed by the knowledge of human

2.3.3 Emotional conceptual metaphors

Along with the development of linguistic sector, plenty of researchers hasbeen attracted by the aspects of conceptualizing metaphor in the field of cognitivelinguistics Barcelona (2003), Carter and McCarthy (1997), Dancygier and Sweetser(2014), Evans and Green (2018), Kovecses (2010b), Kristiansen et al (2008),Lakoff (1999), Maalej and Yu (2011) share a common result about the relationshipbetween emotional concepts and metaphors Specifically, the emotional conceptsthat people use in different cultures around the world are structured and understood

in terms of metaphor Moreover, these researchers conclusively demonstrate that theemotional language used in different cultures is largely metaphorical

The mapping relationship between the source and target domains can be used

to distinguish different types of metaphorical models Lakoff and Johnson (2008)introduced three types of emotional conceptual metaphors according to their

cognitive function, including directional metaphors, structural metaphors and ontological metaphors Besides, Barcelona (2003, p 57) also mentioned another

type of conceptual metaphor, consisting two types of emotional metaphor which are

perception and structure metaphor These metaphors are created from sensory

experience (Barcelona, 2003, p 58) Kovecses (2010b, p 253) distinguishes three

types of emotional metaphors, including physiological metaphors, cognitive metaphors and cultural metaphors.

2.4 Emotional factors

2.4.1 Classifications of emotions

Based on the research of Gross (2012, pp 220–235), understanding emotionsplays an important role in life Thus, a life without emotions would become dull and

empty (Sinclair, 1926, p 37) Emotions are usually expressed in special situations,and often appear with the body language like the glance, smile or even a frown, toconvey feeling to others (Empath, 2019, p 48) While there is much argument aboutwhat constitutes the basic and secondary emotions, most cross-cultural researchersagree that there are four basic universal emotions including happy, afraid, angry andsad Linguists also set criteria for classifying emotions From a linguisticperspective in relation to emotions, linguists also set criteria for classifyingemotions Kövecses (2003) introduced emotional ideas that have attracted the

attention of various scholars in this field including anger, fear, joy, sadness, love, desire, pride, shame and surprise Plutchik (1991) used the circle approach.

According to the research of Plutchik, there are eight basic emotions, including

happy, scared, truth, surprised, angry, bored, sad and defend Eight mentioned

emotions set on a circle, creating four opposite pairs – arranged symmetrically witheach other, as following:

Figure 1 The circle of eight kind of basic emotion of Robert Plutchik

According to Co (2011), Vietnamese has a unique way of classifying emotionsthat reflects the type of category of the emotional world of Vietnamese people by

two words, niềm and nỗi indeed Normally, niềm expresses the positive emotions while nỗi shows the negative ones, for example nỗi ám ảnh (obsession), nỗi buồn

(sadness), nỗi sầu (sorrow), niềm vui (joy), niềm tự hào (pride) or niềm đam mê

(passion)

2.4.2 Universal of emotions in cultures

Wierzbicka (1999, p 15) conducted a survey of emotional contexts from thestudy of linguistics and ethnography of different languages and cultures Someuniversals have basic theories, however, most of research are only hypotheticalones According to Wierzbicka (1999, p 35), the universal of emotions are asfollowing:

(1) Every language has the same words to express the conceptual of feeling

(Vietnamese: cảm thấy)

(2) Some of emotions can be expressed as “good”, some are “bad” (while

some are not considered as good or bad)

(3) There have the similar words, though they are not though not necessarily identical in meaning

(4) In every culture, people seem to relate some gestures on the face with the good or bad emotions

(5) In every language, there are interjectional emotions.

(6) In every language, there are some emotional terms, words point out the

emotions indeed

(7) An individual can describe emotions based on perception through the

"symptoms" of observing the body, that is, through a number of manifestations of thebody that are considered characteristic of emotions

(8) Emotions can be described by the senses of body

(9) Emotions which are based on conceptual can be described through

estimated images

2.5 Characteristics of metaphors in the Grimm’s tales

“The Grimm‟s fairy tales” (“Kinder- und Hausmärchen”) collected by Jacob

and Wilhelm Grimm, was first published in 1812, with a second volume following

in 1814 (pre-dated 1815) A revised edition appeared in 1819 The last German

edition to appear during the Grimm brothers' lifetime was the seventh (1857) Thebrothers were not only the writers but also the great German literary researchers ofthe XIX century They both belonged to the German romantic style (Heidelberg),however, they did not try to reach the limited of the Heidelberg but learnt a lot fromits strength They also devoted their lives into collecting the tales They firstdepended on their memories, they found the elderly farmers and the craftsmen, whohad the huge knowledge about the tales, after that, they diligently searched allpossible sources The most challenging task was how to keep the original form,letters and language, and the truthful and closeness to hearts of folk tales They tried

to keep the soul folklore in each tale because they thought the traditional literaturehad their own artistic beauty and the collectors might keep its specificcharacteristics

The name “Kinder- und Hausmärchen” means the household and children‟stales showed that the tales were not only for children but also for all people Thefairy tales or fantasy originates mainly from the dreams and aspirations of ordinarypeople The stories also show moral concepts in life Animal stories, symbolicstories often have social criticism, implying education Besides, some tales have noeducational goal, only to make humorous

Moreover, in Viet Nam, the famous translator Huu Ngoc spent lots of histime studying, then collecting, translating and publishing the excellent stories of theGrimm Brothers He tried his best to keep the meaning of the tales while using hisenormous knowledge about traditional culture In the translation process, he alwaystried to use simple, normal words, just like the spirit of the Grimm brothers whencompiling ancient capital Huu Ngoc is a famous Vietnamese scholar who hasauthored numerous articles and publications on Vietnamese culture and how itintertwines with the world‟s multi-cultural fabric Born in 1918 in Hanoi, this Asianintellectual doesn‟t just limit himself to analysing the cultural identity of his owncountry He also casts his eyes over French, American, Laotian, Japanese cultures,

to name but a few At the age of 95 this writer continues to strive for his passion:

spreading and extending the influence of cultural diversity as well as upholding thevalues of cultural integration and universal reciprocation The 89-year-old man is arenowned expert on Vietnamese culture and has recently published a 1124-pagebook on the subject Author of dozens of books on Vietnamese culture in bothEnglish and Vietnamese, as well as thousands of articles, cultural historian Huu

translator who translated The Grimm‟s Fairy tales from German into Vietnamese

Vietnamese, he managed the Vietnam – Sweden Culture Fund for 16 years and theNorway Culture Fund for five years He views all those achievements as simplywanderings through Vietnamese culture and he allowed us to join him on such a

a great number of works involving introducing Vietnamese culture to the world,which will bring about the indispensable task of translating Vietnamese authenticwords of culture into English His greatest of all work, “Wandering throughVietnamese culture”, is assessed by an American writer, Lady Borton as “onecomprehensive resource on Vietnamese culture in English” (Wandering through

of translation how flexibly free translation or paraphrasing could be used to crackthe hard cultural nuts

2.6 Chapter summary

This chapter mainly deals with the four main principles of cognitive semantics

as the basis for conceptual metaphor theory, including (1) The conceptual structure

is embodied; (2) semantic structure is conceptual structure; (3) meaningrepresentation has encyclopedic; (4) meaning construction is conceptualization.Besides, the theory of conceptual metaphor has also been evaluated The theory ofconceptual metaphor is the theory frame that is developed earliest of cognitivesemantic to promote researching the relationship between languages, thinking andembodied experience Moreover, Chapter 2 also has overview of theory and kinds

of the conceptual metaphors All concepts of conceptual metaphors have listed andhave focused on the roles of metaphors in the idioms through the fairy tales.Additionally, the study focuses on the general ideas about emotion study, andidentifies the method of the study is studying emotions by the perspective ofcognitive linguistic The classification of these terms will be of great importance as

we move on the next chapter

CHAPTER 3: METHODOLOGY 3.1 Research methods

Based on the aims and the objectives of this research, there are two metaphors,

which has been used as research subject, are including sad and happy Those two

metaphors are expressed by the idioms in the fairy tales and analysed quantitativelyand qualitatively

The research methods of this research are including description method,sematic analysis method, quantitative research method and comparative researchmethod Description method is the system of research tactics that are applied topoint out the embody the characteristics of linguistic phenomena during certainstages of their development (Scheithauer, 2011) This method was used to describethe main object of the study, which is emotional idioms by the established criterialobjects Semantic analysis method is used to analysing and generalizing themeanings and cultural values of emotional idioms that are subject to research(Landauer et al., 2013) Quantitative research method will be used as a supportingmethod for description method and semantic analysis The advantage of quantitativemethod is clear results (Balnaves and Caputi, 2001) However, this option is one ofthose cases where the source of the problem cannot be solved Thus, the qualitativemethod is additional to fix the gap of the quantitative Comparative method is themain method of the thesis This method is used to find out the similarities and thedifferences in Vietnamese and English in using emotional conceptual metaphor.Then, it can identify the general characteristics and cultural characteristicsexpressed through idioms expressing emotions The way of this method is todetermine the basis of collation according to the function-semantics approach,which means to identify the universal conceptual semantics, the characteristic ofthem inside the specific language and the characteristics of the means ofexpressions in different languages

3.2 Research process

The conceptual metaphors were collected and analysed in terms of their forms.Thus, each analysis includes a description of the context and the text for interpretingthe metaphor Accordingly, the metaphors were examined to disclose how modesinteract to represent the source and domain, followed by intended message Besides,English versions were compared and contrasted to clarify the similarities anddifferences of using structures or making meanings with their Vietnamese versions.The next step is collecting typical features and their mappings from theGrimm‟s Fairy tales The data is collected through the procedure of criticalanalysis, based on the research of Kovecses (2010b) Kovecses (2010b) focused onmetaphors analysis stress in conceptual metaphors, the linguistic, context, cognitive.The results should be combine for an effective account for metaphor in anylinguistic expressions

During the research process, the study will aim to classify cultural featuresfrom English versions with Vietnamese ones Based on the classification, the studywill define how conceptual metaphors effect on both the languages and cultures.Essential research methods, such as qualitative and quantitative research methods,will be applied to carry out the thesis Furthermore, comparative analysis anddescription research method will be used for the supporting purposes Additionally,quantitative description is also used to help to count the data Due to the aim of thestudy to compare and contracts the data from the tales, primary data will become themain source for this study

3.3 Data collection

Based on the research methods and research process of this study, the datacollection process includes four steps First, collecting kinds of metaphors fromboth English and Vietnamese versions Second, classifying collected English andVietnamese metaphors Third, according to term groups in chapter 2, collectedEnglish and Vietnamese emotional conceptual metaphors in step 1 are chosen intotwo emotions, which are happy and sad Fourth, finding the common meaning in